Exercise 1: Rendering Still Images

Launching the Program

This exercise consists of acquiring basic notions about materials, lighting and textures.

Objective: Launching Artlantis and opening the "Room

Start.opt" file.
Double click on the Artlantis icon in the folder where the
application has been installed.
Open the "Room Start.opt file in the "Tutorial 1" sub-folder of
the main "Tutorial" folder.
Two information windows appear in succession in the middle of
the screen, indicating the phases of the loading process: reading
points (5654), reading objects (9199), sorting faces (9199) and
calculating projections (224).
In the middle of each information window, sliding status gauges indicate the progress
of the calculations being loaded.

Once the loading process is complete, Artlantis begins the second phase of the
calculation, which is displayed progressively in the Preview window.

Tutorial Exercise 1 Rendering Still Images

When the display is finished, you may begin to work.

Two windows will be displayed on your screen: to the right, the Preview window
containing the scene and to the left, the window for adjusting the first shader, which
corresponds to the first material on the list.
FYI:

What is an Artlantis Shader?

Shader is the term used in Computer-Generated Imagery to describe the

appearance of an objects surface. Each object has a material, made up of a color
and basic characteristics (matte or shiny, for example). In addition, you can apply a
shader to a material to give it a much more sophisticated look, in keeping with
what is known in the industry as photo-realism.
FYI: Application of materials to objects:
In the Materials list window, youll find a list of the names which correspond to
the different materials that were assigned to each object in the modeling program
(table, wall, etc...).
A word of caution!
These materials are not 3D objects, because the same object can be made up of
several materials, and the same material can be applied to several different objects
(a wall and a ceiling can be made up of the same material, for example.)
All objects of the same material can be selected by clicking directly on them in the
Preview window:

Tutorial Exercise 1 Rendering Still Images

While holding down the mouse button, drag the cursor onto the objects in the
Preview window.

Keep the cursor on the selected object(s) for a pause of one or two seconds.
The object you have selected will be
displayed with the material color that was
assigned to it, while all other objects (of a
different material) in the scene will be
dimmed.
This process allows for an interactive and
intuitive selection of the objets of a
common material.

Tutorial Exercise 1 Rendering Still Images

Modifying Colors
Objective: To directly select an object and modify its color
working with the color palette, or "Picker."
When a file is opened, the current material is automatically defined by Artlantis as
the first material in the materials list.

Move the cursor inside the Picker.

The materials color changes immediately in the Preview
window.
Between the color patch and the Picker, a color saturation
bar is displayed.
You have just completed your first scene adjustment. If it
didnt seem very difficult, youll be pleased to know that the
other adjustments will not, in general, be any more complex
than this one!

FYI: For further information about the saturation bar, please refer to the Users
Guide.

Tutorial Exercise 1 Rendering Still Images

The Shaders Library

Objectve: To open the library and master the tools for
navigating through the pages and families of shaders.
You can now customize your image by choosing shaders and attributing them to
objects in the scene.

Open the shaders library by selecting the Edit Shaders item in the Windows
menu.
The library is presented in the form of numerous families.
The current family is made up of one or several pages of
shaders, whose names appear below their thumbnails:
Wood, Chrome, Plastic, Marble, etc.

To view the contents of a family:

Click on the families pop-up menu in the bottom lower-left of the window, and
hold down the mouse button.

Scroll to the name of the family you wish to display.

Release; the contents of the family are displayed in the window.

To display the list of families:

Tutorial Exercise 1 Rendering Still Images

Click on the

Activate the display of each family by a simple mouse click on its name in the
list.

button in the bottom-left corner of the window.

If a family contains several pages, simply click on the

Right or Left buttons to flip through them.

Tutorial Exercise 1 Rendering Still Images

Applying a Shader
Objective: To attribute shaders directly to objects in a
scene.

Select the first shader in the Wood family.

Click on the shader and drag the cursor onto the wooden bureau in the
Preview window while holding down the mouse button.
As soon as you release the mouse button, Artlantis applies the Wood shader to the
bureau. The program works continuously, meaning that the scene will be displayed
and updated non-stop from bottom to top. This leaves you free to continue working
on your scene, without having to wait for a recalculation or update.

Tutorial Exercise 1 Rendering Still Images

More Shaders!
Objective: To go through the final steps for applying
shaders to objets to complete the "dressing" of the 3D
scene.

Apply a shader, in the manner described earlier, to each material.

To choose a new shader:

Choose a shader from one of the families.

Click on its thumbnail in the family while holding down the mouse button.

Drag it into the Preview windows 3D scene onto the object where you wish to
apply it.

Release the mouse button.

The new shader is applied to the material of the object and the scene is updated
immediately.

Now apply the shaders according to the illustration below:

Bravo! You have just
applied all the shaders to
every object in the scene!

Tutorial Exercise 1 Rendering Still Images

Saving a Shader Family

Objective: To create and update a new shader family
containing the entirety of the shaders used in the 3D scene.
Once you have "dressed" your 3D scene, you can create a new family in the shaders
library, in which shaders used in the 3D scene will be saved with all their pre-set
parameters: color, shininess, roughness, orientation, etc.
Open the shaders library by selecting the Library item from the
Windows menu.
Select the Save Shader Family command in the File menu.
The library displays a new, blank page in which all of the families
of shaders used in the 3D scene are kept.
The name of this new family corresponds to the file name:
"Room Start"

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Change families, and choose Marble.

Choose the first Marble shader in the window and drag it onto the column in
the 3D scene.

Change families, and choose Floor.

Change families, choose Circle 2 colors and drag it onto the ceiling in the 3D
scene.

Tutorial Exercise 1 Rendering Still Images

Using the methods described above,

change your 3D scene once again by
modifying the shaders of your choice.

After these modifications are complete, the

shaders in the "Room Start" family no
longer correspond to those used in the
3D scene.
We are now going to update this family.

Choose the Save Shader Family

command in the File menu.
As the "Room Start" family already exists
in the library, Artlantis will display a
message prompting you to validate your
update.

Click on the OK button.

The library now displays a new page, which

updates the Room Start family.
Artlantis will add extra shaders, replace those shaders which have been modified,
and delete those that are no longer used in the 3D scene.

Tutorial Exercise 1 Rendering Still Images

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The shader library is organized in the form of shader folders. Each family is
represented by a folder in which the shaders are saved.
The advantage of the creation of a family
is the ability to be able to create a new
folder, in the library, containing the
entirety of the shaders used in the file.
You can also transfer your files "Room
Start.opt" and "Room Start.db" with the
folder of the corresponding shaders.

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Tutorial Exercise 1 Rendering Still Images

A Surface's Roughness
Objective: To understand the Roughness parameter by
experimenting with its shader modification dialog box on one
of the objects in the scene.

Close the Library by clicking in the box in the upper left part of the window.

You are now going to click on an object in the scene, causing the shader
modification dialog box for this object to be displayed.

Click on the mirror (the surface on which the Mirror shader has been applied).
The dialog box corresponding to the Mirror shader opens
automatically, offering you different intuitive graphic
adjustment options. This dialog box contains: the color picker
and its patch, the Shininess sliding gauge, and the
Roughness sliding gauge.

Drag the
Roughness gauge slightly
to the right.
Youll notice that the
breadth of the light
resulting from the luminous
rays diminishes the more
you slide the cursor to the
right.
The roughness cursor
allows you to "slide" either
more or less light onto a
surface.

Moving the cursor towards the right gives you a more confined spot-lighting, while
sliding it to the left results in light that is more spread out along the surface.

Tutorial Exercise 1 Rendering Still Images

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Naturally, this parameters effects depend on the way objects are positioned in relation
to light sources.

A Surface's "Shininess"
Objective: To understand the "Shininess" parameter by
experimenting with its shader modification dialog box.

Drag the cursor on the Shininess gauge to the left.

Drag the cursor on the Shininess gauge to the right.

Youll notice that the mirror catches even more light
when it has a high level of shininess. Contrarily, a
lower level gives the shader a more matte
appearance, and the object seems to absorb the
ambient light.

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Tutorial Exercise 1 Rendering Still Images

Ray Tracing
Objectif: To use the Ray Tracing option to calculate a scene
in the 3D Preview window and to observe its effects on a
reflective object, like a mirror.
After you clicked on the Mirror shader and applied it to the mural, you saw that the
material wasnt reflective. In effect, the Ray Tracing option requires longer calculation
time, therefore it is not active by default.
The mirror does not reflect objects in the
scene. Go into the Options menu and activate
the Ray Tracing command. Once it is
activated, it is highlighted in the menu.

Tutorial Exercise 1 Rendering Still Images

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Wait for the calculation of the reflection to be complete: this might take a few
moments the first time Ray Tracing is launched.

Now, all the objects in the scene are reflected in the mirror.
Note: About selecting the Ray Tracing Option:
To make sure that the Preview mode remains rapid, we recommend leaving the ray
tracing option inactive until you need to see how ray tracing effects reflective
objects in the scene.
A word of caution!

The Ray Tracing calculation for a scene which includes several objects whose shaders
have a high level of shininess could considerably slow down the Preview windows
update process. To keep this calculation time to a minimum, we recommend that you
keep an eye on the indicator beneath the Shininess sliding gauge. When it is red, this
means that a Ray Tracing is going to be calculated. You can then choose whether or
not to activate the option, depending on the number of calculations to be carried out
and the complexity of the scene.

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Tutorial Exercise 1 Rendering Still Images

Deactivate Ray Tracing in the Options menu by selecting the command once
again with your mouse.

FYI : The illustrations below demonstrate the reflections visible for a viewer
between two mirrors, according to the number of reflections (recursive rays)
defined in the "Preferences" window.

Tutorial Exercise 1 Rendering Still Images

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The Flip and the Compass

Objective: To understand and master the manipulation of

each of these two shader orientation tools.
The Flip command allows you to turn a shader around the object it's applied to, much
like the way you would turn a cube or die; the texture is going to follow the geometric
contours of the volume.
Below are four examples of successive Flips made on a cube to better understand the
way this function operates on the geometry of the shader.

Select the floor by clicking on it.

Click on Flip once, then twice, then once more to return to the original
orientation.

The Compass function allows you to orient a shader on a surface, the way you would
turn a piece of paper on the surface of a table.

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Always use the same shader on the floor: Lines 2 Smooth.

Tutorial Exercise 1 Rendering Still Images

Click to move the Compass needle with the cursor. Orient the shader to 45,
then to 90.

Note: Depending on your screens definition, the lines may appear imprecise. Dont
worry: when Artlantis calculates the final image, it uses antialiasing.

Return the needle to 0.

Tutorial Exercise 1 Rendering Still Images

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The Color Table

Objective: To understand how to use the Color Table to
change the geometry and gradation of a shader's colors.

Continue using the Lines 2 Smooth shader modification dialog box.

In the bottom left of the dialog box, you will see a graph named Color Table. This
graph allows you to change the gradation of a shader in an interactive and intuitive
manner.
To change the Color Table, click in the graph next to the default
lines position, and while holding down the mouse button redraw
the curve of your choice with the cursor.

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Click and redraw the line to resemble the curves shown below. As you make
each change, watch how the patterns of the shader on the floor changes in the
Preview window.

Tutorial Exercise 1 Rendering Still Images

The Artlantis Color Table allows you to define the gradation from one color to
another for any shader thats made up of at least two colors. Thus in the floor example,
the table defines the gradation between the two colors yellow and the green:

A horizontal line at the top of the table (screen 1) tells Artlantis that the color
green will be completely dominant.

A horizontal line at the bottom of the table (screen 2) tells Artlantis that the
color yellow will be completely dominant.

A curve broken into "staircases" between the two horizontal lines at the top and
the bottom of the table (screen 3) gives a transition without gradation between
the two colors, yellow and green.

A curve with several "jags" (screen 4) results in a succession of lines with

dramatic gradations between the two colors.

A more gentle curve without "jags" (screen 5) creates a progressive gradation

from one color to the other, in which the two colors mix in a sort of longish
transition zone.

Try for yourself designing other curves and study the results. The color table is a
sophisticated tool for creating a wide range of color gradation profiles, applicable to
numerous materials having several colors and a more or less complex color scheme
(the veins in wood or marble, for example).
Mastering the Color Table will allow you to create very diverse and rich color
variations.

Tutorial Exercise 1 Rendering Still Images

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Adjusting Proportion and Scale

Objective: To understand and master the manipulation of the
two parameters for changing the size of repetitive patterns
in a shader.

Apply the Circles 2 Colors shader from the Floor family to the ceiling, then
close the library to open the parameters dialog box.

Move the cursor to the far left of the Proportion gauge, observe changes, then
move it to the far right.

In a shader having a two-colored pattern, the Proportion cursor defines the geometric
rapport between these two colors, as explained below for the circles on the ceiling of
our example:

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Tutorial Exercise 1 Rendering Still Images

- Cursor at the center of the gauge: neutral position. The colors will be evenly
distributed (with circles and intervals between them).
- Cursor to the left: the circles will be much smaller and the intervals between them
very large.
- Cursor to the right: the opposite scenario of the one described above.

Now click and slide the Scale cursor to the left and then to the right of the
sliding gauge.

Choose a scale that suits you.

The Scale gauge defines the relative size of the shaders pattern, without effecting the
proportion of the colors which could eventually make up the material, as explained
below for the circles in our example:
A low-level Scale results in small circles with narrow intervals between them, but with
a constant distance between each. A higher level results in large circles, with large
intervals between them.
These two parameters Proportion and Scale - apply to a wide range of shaders in
Artlantis, each of which has very varied geometry and patterns. Regardless of the
shaders individual geometry, these parameters always function in the same way, for
all shaders.

Tutorial Exercise 1 Rendering Still Images

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Transparency and Opacity

Objective: To manipulate a shader's opacity modification

dialog box and launch a ray tracing calculation in the 3D
Preview window.

Method: Activate the "Transparency" option to observe its

effects on a glass-type object.

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Click on the table in the 3D scene to open its parameters dialog box: Table:
Transparent.

Drag the Opacity cursor to the right to make the material transparent.

Also, drag the Refraction cursor to the left, slightly towards the bottom.

In the Options menu, activate first the Transparency item, then the Ray
Tracing item.

Tutorial Exercise 1 Rendering Still Images

The Opacity cursor indicates the material's level of transparency: when set to the left,
the material is opaque; when set to the right, the material is transparent.

The Refraction gauge gives a material its refraction index, which defines the angle at
which light rays deviate when they come into contact with a transparent material.
To better understand refraction, think of this simple, yet commonplace example: when
you submerge a pencil up to its half-way point into a glass of water, you will notice
that the submerged part of the pencil does not appear to be a prolongation of the part
out of the water, as though it were bent.
This phenomenon is known as refraction. The higher the refraction index, the greater
the angle of deviation.
Note: This option, which involves the calculation of the transparency and the
refraction, requires longer than usual calculation time.

Tutorial Exercise 1 Rendering Still Images

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Here is an example of a scene that is representative of the refraction factor's influence

on a sphere.

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Before moving on to the next exercise, deactivate the Transparency and Ray
Tracing options.

Tutorial Exercise 1 Rendering Still Images

Zooming and Texture Maps

Objective: To experiment with the Zoom tools to work on
precise details in a 3D scene.
Method: Applying a texture map to a vase.

Select the Zoom item in the Options menu.

A rectangle will be displayed in the Preview
window.
Reduce the rectangle's size by clicking on one
of its angles and dragging it to the desired
zone.
Move the rectangle to the center it on the vase
by clicking on one of its edges.

Validate the zoom by clicking inside the square; a recalculation will be

launched automatically.

Note: Artlantis keeps the first preview window in its memory, so that you can
eventually return to the Original size" and see the initial window be re-displayed.

Now, select the vase by clicking on it, then check Apply texture in the Edit
Shader dialog box.

Tutorial Exercise 1 Rendering Still Images

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The Texture Mapping dialog box then opens:

Click on the Create button to import the image

chosen for the texture.

A generic dialog box appears, allowing you to select

the image named: "Bubbles.tga".

Open this image file by clicking on Open.

Note: Any file in PICT, TGA, BMP or JPEG format can be used as a texture.
A dialog box prompts you to choose either automatic
adjustment of the texture or a modification of its size
(dimensions). In this particular case, taking into account the
reduced size of the vase in relation to the images original size,
it is clear that the size must be modified:
Click on the Size button, and key in the following values:
Width = 10 Height = 10.

Validate your choice by clicking on OK.

The image is displayed in the square Preview window of the dialog box.

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Tutorial Exercise 1 Rendering Still Images

When you open the image, the texture will be

positioned, by default, in the center of the object.
To change the textures position on the vase:
While holding down the Ctrl key, click on the part
of the vase where you wish to place the center of the
texture.
This new point becomes the center of the texture
map.

Tutorial Exercise 1 Rendering Still Images

29

Orienting and Masking a Texture

Objective: To learn to use the basic texture dialog box
tools.
Method: Orientation and masking of a texture on a 3D
object.

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Use the needle in the compass to twist the texture to a 45 angle.

Return the texture to its initial position of 0.

Tutorial Exercise 1 Rendering Still Images

To delete certain colors as a texture map is applied, you can create a mask on the
texture by:

Checking the box to the right of the first circle button.

The mask is defined by a single color, two colors, or by a range of colors between two
color extremes.

Activate the first circle button by clicking on it, then click on the texture's black
background.

Artlantis eliminates the pixels of the color black. The image itself isnt affected - only
the texture thats been applied to the surface is modified.

Tutorial Exercise 1 Rendering Still Images

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Repeating the Texture

Objective: To master the other tools in the texture dialog
box.
Method: Repeating a texture horizontally or vertically on an
objects surface.
In the dialog box, youll notice several other parameters for your mapped image.
Around the compass are a number of check boxes. These make it possible to repeat the
texture horizontally, vertically, or both at once.

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Check the H box to make the image repeat itself horizontally around the vase.

Next, check the V box to make the image repeat itself vertically.

Tutorial Exercise 1 Rendering Still Images

Spacing Textures
Objective: To modify the spacing between repetitive
patterns, working with the pattern from the previous
exercise.

Slide the Space cursor slightly to the right along the spacing gauge, and
observe as the spacing between patterns increases.

The spacing value is determined in proportion to the texture maps reference size, as
indicated during loading (Size).

To undo the spacing, simply slide the cursor along the gauge to the left.

Note: If you wish to change the texture's initial size, simply double click on its
name in the list and key in the new size in centimeters.

Tutorial Exercise 1 Rendering Still Images

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Texture and Bump

Objective: To master the other tools in the texture

modification dialog box: i.e. the "bump" (relief) applied to a
surface.
Method: Using a texture map that has been rendered
completely transparent.
The Bump (relief) function allows you to simulate 3D effects such as craters and
mounds on the surface of a material, based on the brightness of the material's texture.
Before using the Bump function:

Increase the luminosity of the mapped image by using the Shininess and
Roughness sliding gauges.

The luminosity of the mapped image is influenced by changes made in the shininess
and roughness levels and the position of light sources in the scene.
To give the image Bump (relief):

Slide the cursor to the left of the Bump gauge, and study the ensuing effect: the Bump
acts on the darkest parts of the motif, giving it a sunken or shadowy appearance.

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Tutorial Exercise 1 Rendering Still Images


The red indicator (below the sliding gauge) lights up to tell you that the Bump
function is active, and that as a result the calculation time will be slightly longer.

Slide the Bump cursor to the right

to obtain the opposite effect.

The Bump function also allows you to create a 3D effect by deleting the colors that
make up the mapped image.

Tutorial Exercise 1 Rendering Still Images

35

This effect is obtained by making the texture totally transparent.

Drag the Opacity cursor to the right of the sliding gauge.

The texture becomes invisible, but the relief takes on the color of the vase.
If, for example, you were to superimpose several mapped images on an object, the 3D
effect would take on the color of the image situated just below it.
Note: To undo the Bump effect, simply click on the red indicator light beneath the
sliding gauge. It will light up in green, indicating that the 3D effect is no longer
active.

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Tutorial Exercise 1 Rendering Still Images

Texture and "Dressing" of a Scene

Objective: Examples of the use of applied textures.
Methode: Preparing, or "dressing" a 3D scene with people
and plants.
To give more realism to a 3D scene, it is often useful to enrich it with elements like
people, plants, vehicles, etc.
You could, of course, try to use your favorite retouching program to modify the image
you have rendered in Artlantis - add a tree, a person, a panel
However, don't forget that you will have to rework the masking, background,
foreground, luminosity, and definition: a lot of parameters that are not always an easy
task to manage (not to mention time-consuming!).
But with Artlantis, you can very easily place any number of 2D elements (images),
and they will be integrated into the calculation of the 3D scene.
In this exercise, you will be placing a person and a plant on the balcony, in the
background of the 3D scene.
Using a 3D modeler, we have already placed for you two faces, which will be the
supports for the images to be texture-mapped.
For this exercise, you need to activate Transparency to be able to apply the textures
behind the window.

Activate the Transparency item in the Options menu.

Activate Return to original size in the Options menu, then click inside of the
Preview window.

The original view reappears. Note the two faces that have been placed in the scene:
the first (1), outside on the balcony, i.e. totally in the background of the scene, and the
second, orange-colored face (2), just behind the window.

Tutorial Exercise 1 Rendering Still Images

37

Click on the green face; the Edit shader dialog box will appear.

Open the Shaders library and click on the

Invisible shader in the Decoration family.

Drag-and-drop the shader on the green face in the Preview window.

The material is still present in the scene as a support for the application of your
texture, but becomes invisible.

Check the Apply texture box at the bottom of the Invisible shader dialog box.

The texture mapping dialog box appears.

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Click on the Create button, then select "Leaves.tga" in the dialog box.

Tutorial Exercise 1 Rendering Still Images

Keep the default options Keep proportion and Automatic adjustment.

Validate by clicking on the OK button.

The texture mapping dialog box reappears, and the "Leaves.tga" image appears in the
3D scene.

Make the following adjustments:

Repetition H & V

To repeat the "Leaves.tga" image over the entirety of the material:

Mask

To delete the color white in the "Leaves.tga" image.

Scale
To reduce the size of the image so it fits in with the rest of the scene.

Tutorial Exercise 1 Rendering Still Images

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The texture mapping dialog box contains the following adjustment tools:

Voila! You have just simulated vegetation, quickly and

easily, in the background of the scene.
Now, you are going to place a person on the balcony:

Click on the orange face. The Edit shader dialog

box is displayed.

Proceed in the same way to apply the image of the

person onto the orange face (2):

Drag in the Invisible shader from the Decoration family.

Check the Apply texture box at the bottom of the edit Invisible shader dialog
box.

The texture mapping dialog box appears.

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Click on Create, then select the "Girl.tga" image in the dialog box.

Tutorial Exercise 1 Rendering Still Images

Keep the default options Keep proportion and Automatic adjustment.

Validate by clicking on OK.
The texture mapping dialog box reappears and
the "Girl.tga" image is displayed in the 3D scene.
Proceed with the following adjustment:
To delete the color white in the "Girl.tga"
image.

The texture mapping dialog box offers the following adjustment options:
The "dressing" of the scene is
now complete. Compared with
the same integration work using
a standard photo-enhancement
program, the Artlantis solution
clearly presents many
advantages:
Fast, simple work
conditions.
Coherent luminosity in
the elements applied to the rest
of the 3D scene.
Automatic calculation of cast shadows, reflections and transparency for each
texture.

Tutorial Exercise 1 Rendering Still Images

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Modifying the Materials of an Element in the

3D Scene
Objective: To directly change the application of a material
on certain elements in the 3D scene.
In Artlantis, the elements of a 3D scene are distinguished by the materials to which
they are applied.
When you apply the Leather shader to one of the armchairs, for example, you will
notice that this shader is also applied to the three other chairs. Any shader changes
made on a single armchair will be repeated on the rest of the chairs.
We are now going to show you how to change the composition of the elements in the
scene, by defining additional materials to which you can subsequently apply different
shaders. You do not have to edit the file in the original modeling program to define
new materials.
Now, lets change the materials on the armrests of the four armchairs.

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Select Reapply materials in the Windows menu to access the reapply materials
dialog box.

Choose the objects option in the Select by options window.

Tutorial Exercise 1 Rendering Still Images

With a simple click, select all eight of the eight armrests in the Preview
window. You will notice that they appear as selected (grayed-out) in the
Preview window, as shown below.
Once the eight armrests are selected:
Click on the Create button to add a new material.

A new material item is created, named Property #25 by

default.

Double click on this name to modify it.

Select the name "armrests" and validate.

Tutorial Exercise 1 Rendering Still Images

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Click on the Reapply button.

The material of the armrests is now different from the one in the folder, as well as the
seat covers.
You can now apply different shaders to the armrests:

Close the Reapply Materials window.

Open the shaders library by selecting the Library option of the Windows
menu.

Choose a Wood shader from the Wood family.

Click on the shaders thumbnail, while holding down the mouse button.

Drag it onto the armrests in the 3D scene.

In this way, you can modify the other materials of your 3D scene as suits you best.
Working in this way allows you extra flexibility in the preparation of your 3D scene. In
addition, it is not necessary to reopen files in the original modeler to modify an
element's material.

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Tutorial Exercise 1 Rendering Still Images

Modifying a Scene's Lighting

Objective: To modify a scene's lighting, and experiment with
clean-contoured cast shadows.
Having completed adjustments of the materials and textures maps, you can now
practice modifying a scenes ambient light using different light sources: parallel
lighting (sun light), directional lighting (spot light), or omnidirectional lighting (lamp
light).

Select the Edit Lights command in the Windows menu.

Click on the Create button.

A new light source appears in the list. To change its name, double click on its name in
the list and rename it, for example, "Sun."

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To modify the parameters associated with this light source:

Click on the Sun icon to light the scene from a given direction.

To avoid overexposing a scene during the creation of a new light source, you will
notice that the light is a grayish color (R=G=B=49).

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Modify the color: R=G=B=100

Increase the power of the light source by sliding the cursor to a value of 45.

Check the Shadows box to specify that this light source will cast shadows.

Drag the contrast cursor to a value of 80 to obtain dark shadows.

Tutorial Exercise 1 Rendering Still Images

Click on the
button to change the position and direction of the Sunlight in
the Projected view window:

Move the active light source Sun by positioning it outside of the room. To do
this, click on the vertical right side of the
icon to work in side-view mode.
To indicate the new position of the Sun light
source with precision:
Click on the Expert button:

Use the keyboard to

enter the following values:

Select the Edit shaders command in the Windows menu.

To add more contrast to the floor, between the illuminated and shadowy zones:

Select the floor by clicking on it in the Preview window.

Drag the Roughness gauge to the left.

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To view how the cast shadows are calculated from the "Sun" position and direction:

Activate the options Shadows and Ray Tracing, then select the Recalculate
command in the Options menu.
Doing this will launch a complete recalculation of
cast shadows in the Projected view window.
To obtain optimum transparency on the window,
and reduce the impact of the new light source on
the window as a result:

Select the window by clicking on it in the

Preview window.

Drag the Roughness cursor to the right, and the Shininess cursor to the left.

Note: Position and direction indicate only parallel-type light sources' directions.
This type of lighting illuminates to infinity, well beyond the coordinates displayed,
and it is therefore necessary to adjust its strength to obtain the desired results.

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Select the Edit Lights command in the Windows menu.

Tutorial Exercise 1 Rendering Still Images

Deactivate the Sun light by clicking on the thumbnail or in the list of lights.

Select light "L1," which is an omnidirectional light source.

Drag the A cursor which indicates the constant luminosity of the lighting
zone to a value of 280 (you can also enter this value via the keyboard).

Drag the A cursor - which indicates the limits of the lighting zone to a value
of 280 (you can also enter this value via the keyboard).

In the Preview window, you will notice that the

lighting zone corresponds to the (spherical) lighting
zone of the omnidirectional light source. The contours
of this zone are very clear-cut.
Drag the B cursor to the value shown below:

You can now see that the area around the lighting zone has been "softened."

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In the Projected view window and in the plan, drag the handle of the limit
zone, as shown in the illustration below:

Tutorial Exercise 1 Rendering Still Images

Modifying Lighting Strength

Objective: To understand and master the parameters of a
light source's strength in order to increase the realism of a
3D scenes lighting.

Select the Edit Shaders command from the Windows menu.

Select the Circles 2 Colors shader from the Floor family.

Drag and drop this shader on the ceiling in the Preview window.

Select the first Parquet shader from the Parquet family (see illustration below).

Drag and drop this shader onto the floor in the Preview window.

Once again, select the Edit Shaders

command from the Windows menu.

Deactivate the light "L1."

Create a new light by clicking on the

Create button.

Double click on the name of the new

light, and rename it "Spot."

Transform this light into spotlight by

clicking on the spotlight button.

Click on the Expert button, and enter the following values:

Click on the Projected view window activation button

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Use the Zoom

Enlarge the view, as shown below:

tool.

You will notice that the lighting intensity is not high enough.

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Tutorial Exercise 1 Rendering Still Images

Use the cursor to increase the strength of the spotlight to a value of 2.59.

The zone illuminated by the spotlight is now much more realistic.

In the Projected view window, in right-view mode, click on the angle cursor to
change the orientation of the spotlight to about 120. Observe the results, in real
time, in the Preview window.

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Select the text-edit field for the spotlight's opening angle and enter 60
(degrees).

In reality, this type of lighting would appear artificial, as the objects which are directly
illuminated by the spotlight re-emit a portion of this light onto the other objects in the
scene, which receive (consequently) an indirect illumination. The sum total of direct
and indirect lighting give off what is known as global illumination. Artlantis allows
you to simulate this type of lighting effect.

Click on the Global Illumination button.

Observe the result of indirect lighting on the ceiling and the walls in the Preview
window.

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Tutorial Exercise 1 Rendering Still Images

Drag the Quality cursor to an intermediate position.

The general colorometry of indirectly illuminated objects is now more in harmony

with those in the direct lighting zone.

Drag the Quality cursor to its maximum position.

The general colorometry of indirectly illuminated objects is reproduced in maximum

quality.

Activate the Edit shaders command in the Windows menu.

Activate the family of shaders by clicking on the Families button

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Select the Paving family and drag the Gray Marble shader onto the floor.

Once again, select the Edit Lights command in the Window menu, and observe
as the scene is updated in the Preview window.

Increase the spotlight's strength to 3.68

Note: When the quality cursor is in its maximum position, the calculation of the
Preview window will require more time. It is therefore recommended that you
make a compromise by making changes in the values of both quality and quantity.

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Tutorial Exercise 1 Rendering Still Images

Adding Soft Shadows

Objective: To understand and master a light source's "soft
shadows" parameters.

Adjust the Quality and Quantity cursors as shown below. You will notice that
the Preview window is refreshed much more rapidly than before.

Activate the spotlight's cast shadows:

Move the shadows cursor from RT to 3.

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Enlarge the zone around the table, as shown below:

The will notice that the contours of the shadows have been softened.
Note: Only spotlights are able to project soft shadows.

Select the Edit shaders command in the Windows menu.

Click on the table and change its color (blue) using the values below:
Select the Edit lights command in the Windows menu.
Drag the shadow intensity cursor to a value of 90, and the soft
shadows cursor to a value of 5.

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Tutorial Exercise 1 Rendering Still Images

Select the Return to original size command in the Options menu.

You are now ready to simulate depth of field

Note: The "Soft shadows" cursor in the "Expert" menu allows you to manage autoshadowing on the surface of a material. The illustrations below demonstrate the
results that can be obtained, on a sphere. For further informations, please see page
Erreur! Signet non dfini..

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Simulating Depth of Field

Objective: To understand the different parameters for
adjusting the depth of field.

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Select the Edit Fixed Cameras command in the Windows menu.

Check the Depth of field box, and observe as elements in the Preview window
appear out of focus.

Tutorial Exercise 1 Rendering Still Images

While holding down the Hold Shift key on the keyboard, click on one of the
flower's petals, then drag the focus cursor to the position shown below:

The sharpness zone has a lower blur factor, and is symbolized by two horizontal lines
on the table.

Drag the sharpness cursor to the position below to better define the limits of
the sharpness zone.

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62

Select the Render Fixed Cameras command in the Render menu, and set the
parameters as indicated below.

Click on the Render now button, and you will obtain your first rendering
which takes into account the depth of field factor.

Close the rendered image window.

Click on the on target button

Tutorial Exercise 1 Rendering Still Images

Activated the Projected view window by clicking on the

icon, then move
the target towards the vase. Here as well, the sharpness zone is symbolized by
two horizontal lines on the table.

Click on the on background button and drag the cursor to the right. You will
notice that as you define an increasingly small sharpness zone by moving the
cursor to the left, the objects in the foreground become more in focus.

Another method consists of setting a certain distance with relation to the camera. All
the objects at this distance will be within the sharpness zone.

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Note: To better understand how this adjustment tool works, study the illustrations
below:

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Tutorial Exercise 1 Rendering Still Images

Click on at the distance of: and enter the value 140 as the distance from the
camera.

Those objects located 140 centimeters away from the camera are in the sharpness zone.

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65

Click once again on the on an object option before moving on to the next step.

Note: Depth of field requires a great deal of calculation resources, and is therefore
only visible when the fixed cameras are edited.
You can now move on to the last step in this exercise before the final calculation of
your image.

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Tutorial Exercise 1 Rendering Still Images

Launching the Final Rendering

Objective: Based on the contents of the 3D scene and the
size of the image to be rendered, to choose and adjust the
main rendering parameters, and to launch the final rendering
either immediately or with the "Batch Rendering" command.
The final rendering is the ultimate consecration of all your work the adjustments
you've made to your scene in preview mode. If you wish to continue using your
computer during work hours, we suggest that you launch you final calculation(s)
during the nighttime, when your computer is not needed.

Select Render Fixed Cameras in the Render menu.

A dialog box is displayed, allowing you to choose the
rendering parameters:

Click on the
button, select the "Tutorial 1" folder, then
click on Choose (Mac OS) or OK (Windows).

Name the image that is going to be calculated:

"Room.jpg".

In the Doc. format menu, select JPEG.

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Select 1024 x 768 in the Image Size menu.

In this dialog box, nine different formats are available: eight
standard formats and a format named Special, which allows
you to personalize the definition desired.
Activate Antialiasing, Ray Tracing, Transparency and
Shadows by checking the four boxes.

If you don't wish to launch the final rendering of the image right away, click on the
OK button to save the entirety of these parameters.

To launch the final calculation of the image:

Click on the Render now button.

Artlantis launches the calculation based on all the parameters you have selected.
Artlantis will display a status window that shows you how the calculation is
progressing; note that the calculation starts at the top of the window and works its
way down.
Note: For other image formats (TGA-PICT-BMP-EPix-TIFF), le calculation begins
in the bottom of the window.
The size of the window will vary depending on the resolution of the image being
calculated and that of your monitor. For resolution higher than your monitor allows,
Artlantis resizes the rendered image in the status window, while respecting the
Height/Width ratio.
The calculation window contains various information about the calculation in
progress:

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Tutorial Exercise 1 Rendering Still Images

- Time elapsed from the beginning of the calculation.

- Estimated remaining calculation time.
- Size of available memory.

When calculation is complete, the rendered file appears in the folder previously
selected:
- "Room.jpg" in the "Tutorial 1" folder.
To defer the final rendering of your image:
Click on the Render later button; the dialog box shown below will appear:

Use the keyboard to type in the name Room Start.

Click on OK to validate the deferred rendering.

This rendering is now saved in script form in a folder named "Scripts," located inside
the main Artlantis folder.

We will see, at the end of exercise 6, how to launch the calculation of the entirety of
your deferred renderings.
This option, known as batch rendering, allows you to group together a large number
of images, animations, panoramas and fixed cameras, and to launch a single
calculation for them all, at a time most convenient for you (overnight, for example),
thereby freeing up your computer so you can move on to the next exercise.

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