Lightscape User Guide

/LJKWVFDSH Œ
$SULO#4<<< 31#93<36034333308355
Copyright © 1993-1999 Autodesk, Inc.
All Rights Reserved
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LIMITED TO ANY IMPLIED WARRANTIES OF MERCHANTABILITY OR FITNESS FOR A PARTICULAR
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are registered trademarks, and Lightscape, LSnet, and Discreet are trademarks of Autodesk, Inc. in the USA and/
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GOVERNMENT USE
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Third Party Software Program Credits

The software program contains content files licensed by 3Name3D, Santa Monica, CA; Artbeats Software, Inc.,
Myrtle Creek, OR; Modern Medium, Inc. Eugene, OR; ImageCELs® (Texture Files) Copyright © 1987-1999
IMAGETECTS™ in addition to the manufacturers listed in the Acknowledgements at the end of this manual. Please
note that the manufacturers reserve the right to discontinue or change any lighting or other products represented
in the software, and the copyrights to these content files are the property of their respective owners.
Printed in the United States.
Title: Lightscape User’s Guide
Item No.: LIUG3.2-01
Publication ID: 1.0
Date: April, 1999
toc Table of Contents
1 Introduction 1
Summary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1
About Lightscape . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1
Computer Graphics Rendering . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
Photometry . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7
About Lightscape Documentation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8
2 Installation 11
Summary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11
System Requirements . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11
Installing Lightscape for the First Time . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12
Upgrading from a Previous Version of Lightscape. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12
3 Workflow 13
Summary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13
Preparing the Model . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14
Processing the Radiosity Solution . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15
4 The Interface 17
Summary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17
Starting Lightscape . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17
Overview of the Interface . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17
Interface Conventions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24
Using Toolbars . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25
Using File Controls. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27
Viewing the Model . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29
Controlling the Display . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35
Selecting Objects. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38
i
Transforming Objects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43
Setting Document Properties . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45
Setting System Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50
5 Importing Geometry 53
Summary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53
Common Import Tasks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53
Importing DXF Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 56
Importing DWG Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62
Importing .3DS files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 65
Importing a LightWave Scene . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68
Exporting from 3D Studio MAX or 3D Studio VIZ to Lightscape. . . . . . . . . . . . . . . . 72
6 Refining Geometry 81
Summary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 81
About Refining Geometry. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 81
Working with Layers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 82
Working with Blocks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85
Modifying Block Definitions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89
Working with Block Instances . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 91
Working with Surfaces . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 95
7 Using Materials 103

Summary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 103
About Material Properties . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 103
Using the Materials Table . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 105
Workflow . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 109
Adding Materials to a Scene . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 110
Editing Material Properties. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 111
Assigning Materials to Surfaces . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 121
Aligning Textures . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 122
8 Artificial Lighting 129

Summary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 129
About Luminaires. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 129
ii Lightscape
Table of Contents ❚❘❘
Using the Luminaires Table . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 129

Adding Luminaires . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 131
Setting Photometric Properties . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 132
Placing Luminaires in a Model. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 139
Editing Luminaires. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 139
Setting Luminaire Surface Properties . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 147
Luminaire Processing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 147
9 Photometrics 149
Summary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 149
Using Photometric Data . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 149
Creating and Editing Photometric Webs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 151
Customized Photometric Web Example . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 153
IES Standard File Format . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 155
Using LID Conversion Utilities . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 155
10 Daylight 159
Summary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 159
About Sunlight . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 159
About Skylight . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 159
Using Daylight in Exterior Models . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 160
Interior Model Considerations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 161
Illuminating Your Model with Daylight . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 162
Enabling Daylight in Radiosity Processing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 166
11 Radiosity Processing 169

Summary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 169
About Radiosity Processing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 169
Processing Workflow. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 171
Setting the Processing Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 172
Setting the Surface Processing Parameters. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 179
Initiating the Model . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 181
Processing the Radiosity Solution . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 182
Changing Materials and Luminaires . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 184
Meshing Examples . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 184
Reducing Meshing Artifacts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 187
Testing for Artifacts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 191
Modeling Guidelines . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 192
iii
12 Lighting Analysis 195

Summary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 195
About Lighting Analysis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 195
Displaying Light Distribution. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 195
Analyzing Lighting Statistics. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 198
Controlling Analysis Grids . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 199
Using Workplanes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 200
13 Mesh to Texture 203

Summary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 203
About Mesh to Texture . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 203
Using Mesh to Texture . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 204
Mesh to Texture Examples . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 210
14 Rendering 213
Summary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 213
About Rendering in Lightscape . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 213
Creating Images . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 214
Rendering Multiple Views . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 217
Ray Tracing an Area. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 219
Rendering Large Jobs. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 220
Rendering Across a Network . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 220
15 Animation 221
Summary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 221
About Animation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 221
Defining the Camera Path. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 222
Setting Camera Orientation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 227
Varying the Camera Speed . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 231
Saving Animation Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 236
Playing Back Animations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 237
Using Animation Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 238
iv Lightscape
Table of Contents ❚❘❘
16 Exporting 241
Summary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 241
Exporting Panoramic Images . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 241
Exporting VRML Files. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 245
Importing Solution Files into Modeling Packages . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 248
A Light and Color 249

Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 249
Light: The Physical World. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 249
Color: The Perceived World. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 251
Constraints of Output Devices . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 253
B Batch Processing Utilities 255

Summary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 255
Processing Radiosity Solutions Using LSRAD . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 255
Ray Tracing Solution Files Using LSRAY. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 258
Rendering Files Using LSRENDER . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 263
Converting Radiosity Meshes to Textures Using LSM2T . . . . . . . . . . . . . . . . . . . . . . . 267
Converting Solution Files to VRML Files Using LS2VRML . . . . . . . . . . . . . . . . . . . . . 271
Merging Lightscape Files Using LSMERGE. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 273
Converting DXF Files to Preparation Files Using DXF2LP. . . . . . . . . . . . . . . . . . . . . . 274
Converting 3DS Files to Preparation Files Using 3DS2LP. . . . . . . . . . . . . . . . . . . . . . . 276
Raytracing Solution Files Using LSRAYF. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 277
Deleting Unused Layers and Materials Using LSPURGE . . . . . . . . . . . . . . . . . . . . . . . 281
About Batch Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 282
Creating Batch Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 282
C LSnet 287
Summary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 287
About LSnet. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 287
Using LSnet . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 288
D Reflection Models 301

Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 301
Light and Materials. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 301
Reflection Model for Radiosity . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 305
v
Reflection Model for OpenGL Display . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 305

Ray Tracing Reflection Models . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 305
E IES Standard File Format 309
F File Types 311
G Common Lamp Values 313
H Viewing Utilities 317

Viewing Utilities . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 317
Using LSViewer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 317
Using LVu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 320
I References 325
Glossary 327
Index 335
vi Lightscape
Lightscape™ is an advanced visualization system for generating accurate
lighting simulations of three-dimensional models.

1
Introduction
An introduction to Lightscape
and lighting technology.
Summary • Lighting
In this chapter, you learn about: • Interactivity
• Lightscape™ • Progressive refinement.
• Computer graphics rendering
• Photometry Realism
Because Lightscape accurately calculates how light
• Lightscape documentation propagates within an environment, you can obtain
subtle but significant lighting effects and produce
images of natural realism not attainable with other
About Lightscape rendering techniques. These effects include indirect
Lightscape™ is an advanced lighting and visualiza- illumination, soft shadowing, and color bleeding
tion application used to create accurate images of between surfaces.
how a 3D model of a space, or object, would appear
if physically built. Lightscape uses both radiosity
and ray tracing technology as well as a physically
Physically Based Lighting
Because the technology in Lightscape works with
based interface for defining lights and materials.
actual photometric (light energy) values, you can
Lightscape has many unique advantages over other
intuitively set up lights as they would be in the real
rendering technologies, including:
world. You can create lighting fixtures with any
• Realism distribution and color characteristics or import
1
1 Introduction
specific photometric files directly from lighting A 3D model contains geometric data defined in rela-
manufacturers. You can also specify natural daylight tionship to a 3D Cartesian coordinate system. This
simply by indicating the location, date, and time of system is sometimes referred to as world space. The
day. model may also contain other information about the
material of each object and the lighting. The image
Interactivity on a computer monitor is made up of a large number
The result of a radiosity solution is not just a single of illuminated dots called pixels. The task in creating
image but a full 3D representation of the light distri- a computer graphics image of a geometric model is
bution in an environment. Because the lighting is to determine the color for each pixel on the screen
precalculated, Lightscape can display specific views (screen space) based on the model information and a
of a fully rendered model much faster than with specific viewpoint.
traditional computer graphics techniques. With The color of any specific point on a surface in a
faster hardware, it is often possible to move interac- model is a function of the physical material proper-
tively through rendered environments. High-quality ties of that surface and the light that illuminates it.
walkthrough animations for film or video can be Two general shading algorithms—local illumination
generated in a fraction of the time required with and global illumination—are used to describe how
other professional animation systems. surfaces reflect and transmit light.
Progressive Refinement Local Illumination

Unlike other techniques, a Lightscape solution Local illumination algorithms describe how indi-
provides instant visual feedback, which continues to vidual surfaces reflect or transmit light. Given a
improve in quality over time. At any stage in the description of light arriving at a surface, these math-
process, you can alter a surface material or lighting ematical algorithms predict the intensity, spectral
parameter and the system will compensate and character (color), and distribution of the light
display the results without starting the process over. leaving that surface. The next task is to determine
The progressive refinement radiosity algorithms where the light arriving at the surface originates. A
implemented in Lightscape give you precise control simple rendering algorithm considers only the light
over the quality of visualization required to perform coming directly from the light sources themselves in
any given design or production task. the shading.
Global Illumination
Computer Graphics Rendering In considering more accurate images, however, it is
This section provides an overview of computer
important to take into account not only the light
graphics rendering and a conceptual understanding
sources themselves, but also how all the surfaces and
of the techniques available with Lightscape. This
objects in the environment interact with the light.
information will help you decide which technique is
For example, some surfaces block light, casting
most suitable for the visualization task you want to
shadows on other surfaces; some surfaces are shiny,
perform.
in which case we see in them the reflections of other
surfaces; some surfaces are transparent, in which
2 Lightscape
Computer Graphics Rendering ❚❘❘
case we see other surfaces through them; and some known as diffuse reflection. A wall painted with flat
surfaces reflect light onto others. Global illumination paint is a good example of a diffuse surface.
algorithms are rendering algorithms that take into
account the ways in which light is transferred
between the surfaces in the model.
Lightscape uses two global illumination algorithms:

Diffuse reflection Specular reflection
ray tracing and radiosity. Before explaining how
these techniques work, it is useful to have a basic
Very smooth surfaces reflect the photons in one
understanding of how, in the physical world, light is
direction, at an angle equal to the angle at which they
distributed in an environment. Consider, for
arrive at the surface (angle of incidence). These
example, the simple room illustrated as follows.
surfaces are known as specular surfaces, and this
type of reflection is known as specular reflection. A
mirror is an example of a perfectly specular surface.
Of course, many materials display some degree of
both specular and diffuse reflection.
The final illumination of the room is determined by

the interaction between the surfaces and the billions
of photons that are emitted from the light source. At
any given point on a surface, it is possible that
photons have arrived directly from the light source
Global illumination in a room (direct illumination) or else indirectly through one or
more bounces off some other surfaces (indirect
This room has one light source. One theory of light illumination).
considers light in terms of discrete particles called
photons, which travel out from the light source until If you were standing in the room, a very small
they encounter some surface in the room. number of the total photons in the room would enter
Depending on the material of the surface, some of your eye and stimulate the rods and cones of your
these photons, traveling with particular wave- retina. This stimulation would, in effect, form an
lengths, are absorbed, while others are scattered image that is perceived by your brain. Computers
back out into the environment. The fact that photons replace the rods and cones of a retina with the pixels
traveling at a particular wavelength are absorbed of the computer screen. One goal of a global illumi-
while others are not is what determines the color nation algorithm is to recreate, as accurately as
(also referred to as the spectral reflectance) of the possible, what you would see if you were standing in
surface. a real environment. A second goal is to accomplish
this task as quickly as possible, ideally in real time
The way a surface reflects photons depends prima- (30 images per second). There is currently no single
rily on its smoothness. Surfaces that are rough tend global illumination algorithm that can accomplish
to reflect photons in all directions. These are known both of these goals.
as diffuse surfaces, and this type of reflection is
3
1 Introduction
Ray Tracing until a maximum number of iterations is reached or

One of the first global illumination algorithms to be until no more surfaces are intersected.
developed is known as ray tracing. In ray tracing, it is
recognized that while there may be billions of
photons traveling about the room, the photons you
primarily care about are the ones that enter the eye.
The algorithm works by tracing rays backward, from
each pixel on the screen into the 3D model. In this
way, it computes only the information needed to
construct the image. To create an image using ray
tracing, do the following procedure for each pixel on
Ray tracing
the computer screen:
1. Trace a ray back from the eye position, through Ray tracing is a very versatile algorithm because of
the pixel on the monitor, until it intersects with a
the large range of lighting effects it can model. It can
surface.
accurately account for the global illumination char-
2. The model provides the reflectivity of the sur- acteristics of direct illumination, shadows, specular
face, but not the amount of light reaching that sur- reflections (for example, mirrors), and refraction
face. To determine the total illumination, trace a ray
through transparent materials. The main disadvan-
from the point of intersection to each light source in
tage of ray tracing is that the process can be slow and
the environment (shadow ray). If the ray to a light
source is not blocked by another object, use the light computationally expensive for environments of even
contribution from that source to calculate the color moderate complexity.
of the surface.
Another significant disadvantage of ray tracing is
3. The intersected surface may be shiny or trans- that it does not account for one very important char-
parent. The algorithm must determine either what is acteristic of global illumination—diffuse
seen in or through the surface being processed. Re- interreflections.
peat steps 1 and 2 in the reflected (and, in the case of
transparency, transmitted) direction until another Traditional ray tracing techniques accurately
surface is encountered. The color at the subsequent account for only the light arriving directly from the
intersection point is calculated and factored into the light sources themselves. But, as shown in the room
original point. example, light does not only arrive at a surface from
4. If the second surface is yet again a reflective or the light sources (direct lighting), it also arrives from
transparent surface, repeat the ray tracing process other surfaces (indirect lighting). If you ray trace an
image of the table (as shown in the example), the
area under the table appears black because it receives
no direct light from the light source. You know from
experience, however, that this area would not really
be completely dark because of the light it would
receive from the surrounding walls and floor.
4 Lightscape
Computer Graphics Rendering ❚❘❘
Traditional ray tracing techniques often refer to this simple hardware-assisted scan-line techniques. This
indirect illumination as ambient light. With this property is often referred to as view independence,
technique, an arbitrary value that has no correlation because the light distribution is precalculated for the
to the physical phenomena of indirect illumination whole environment and does not have to be recalcu-
and that is constant throughout space is simply lated for each specific view. Ray tracing, on the other
added. This often causes ray traced images to appear hand, is known as a view-dependent algorithm,
very flat. This is particularly true for architectural because the lighting has to be recalculated for each
environments, which typically contain mostly view.
diffuse surfaces.
Radiosity
To address some of the shortcomings of the ray
tracing algorithm, researchers began investigating
alternative techniques for calculating global
illumination.
In the early 1960s, thermal engineers developed

methods for simulating the radiative heat transfer
between surfaces. Their goal was to determine how
their designs would perform in various applications
such as furnaces and engines. In the mid-1980s, Radiosity
computer graphics researchers began investigating

the application of these techniques for simulating
Early versions of the radiosity algorithm had to
light propagation.
completely calculate the distribution of the light
Radiosity, as this technique is called in the computer among all the mesh elements before displaying any
graphics world, differs fundamentally from ray useful results on the screen. Even though the end
tracing. Rather than determining the color for each result was view independent, the preprocessing took
pixel on a screen, radiosity calculates the intensity considerable time. In 1988, this preprocessing
for discrete points in the environment. portion of the radiosity algorithm was reformulated.
The new technique, referred to as progressive refine-
Radiosity accomplishes this by first dividing the
ment radiosity, allows users to obtain immediate
original surfaces into a mesh of smaller surfaces
visual results, which progressively improve in accu-
known as elements. The radiosity process calculates
racy and visual quality.
the amount of light distributed from each mesh
element to every other mesh element. It then stores The progressive refinement radiosity algorithm
the final radiosity values for each element of the used in Lightscape works in the following way:
mesh.
1. The surfaces are meshed into a set of relatively
When this light distribution has been calculated, large elements. The initial elements can be subdivid-
specific views of the environment can be rapidly ed automatically into smaller elements in areas
displayed on the screen (often in real time) using where a significant intensity difference is detected
5
1 Introduction
between adjacent mesh elements (for example, typically you can interrupt the process when an
across shadow boundaries). acceptable solution has been obtained.
2. Light is distributed from each luminaire to all
surfaces in the environment. (A luminaire is a light Radiosity and Ray Tracing Differences
fixture, with one or more lamps and housing.) In Although the ray tracing and radiosity algorithms
this calculation, surfaces can block other surfaces,
are very different, they are in many ways
casting shadows.
complementary.
3. Depending on the characteristics of the surface
material, some of the energy reaching a particular The ray tracing algorithm has the following advan-
mesh element is absorbed, while the remaining en- tages and disadvantages:
ergy is reflected into the environment. An important
assumption in radiosity is that all the surfaces are Advantages Accurately renders direct illumi-
ideal diffuse (Lambertian)—that is, they reflect light nation, shadows, specular reflec-
equally in all directions. tions, and transparency effects.
4. After distributing the energy from each direct Memory efficient.

light source (direct illumination), the progressive ra- Disadvantages Computationally expensive; the
diosity algorithm continues by checking all the sur- time required to produce an im-
faces and determining which surface has the most age is greatly affected by the
energy to be reflected. This surface is then treated as number of light sources.
an area light source emitting the reflected energy to
all the other surfaces in the environment (indirect il- View dependent; the process
lumination). must be repeated for each view.
Does not account for diffuse in-
5. The process continues until most of the energy
terreflections.
in the environment has been absorbed (energy equi-
librium) and the simulation reaches a state of conver-
The radiosity algorithm has the following advan-
gence.
tages and disadvantages:
Each distribution of light from a luminaire or
surface, as just described, is called an iteration. Advantages Calculates diffuse interreflections
between surfaces.
The number of iterations required for a simulation
to reach a state of convergence varies depending on View independent for fast display
of arbitrary views.
the complexity of the environment. Because the iter-
ations are sorted to calculate the surfaces with the Immediate visual results, which
greatest energy first, the rate of convergence for the progressively improve in accura-
cy and quality.
radiosity solution is much faster in the beginning.
Toward the end, the amount of energy remaining to
be distributed is so small that there is no perceptible
difference in the resulting images from one iteration
to the next. Therefore, while it may take many itera-
tions for a solution to reach full convergence,
6 Lightscape
Photometry ❚❘❘
You specify the brightness of a luminaire in Light-

Disadvantages 3D mesh requires more memory
than the original surfaces. scape using the physically based quantities. You can
obtain these values directly from the manufacturers
Surface-sampling algorithm is
of various lamps and luminaires. A table of some
more susceptible to imaging arti-
facts than ray tracing. common lamp types is provided in Appendix G,
“Common Lamp Values.”
Does not account for specular re-
flections or transparency effects. There are several theories that describe the nature of
light. For this discussion, light is radiant energy
Neither radiosity nor ray tracing offers a complete
capable of producing a visual sensation in a human
solution for simulating all global illumination
observer.
effects. Radiosity excels at rendering diffuse-to-
diffuse interreflections and ray tracing excels at When designing a lighting system, you want to eval-
rendering specular reflections. uate its performance in terms of the human visual
response. Thus photometry was developed to
By merging both techniques, Lightscape offers the
measure light, taking into account the psychophys-
best of both. In Lightscape, it is possible to combine
ical aspects of the human eye/brain system.
a ray-tracing postprocess with a specific view of a
radiosity solution to add specular reflections and The lighting simulation system uses four photo-
transparency effects. In this situation, the radiosity metric quantities:
solution replaces the inaccurate ambient constant
• Luminous flux
used in many programs with accurate indirect illu-
mination values. This leads to a much more realistic • Illuminance
image. In addition, because the direct lighting can • Luminance
be calculated in the radiosity solution, the ray tracer
does not have to cast any shadow rays, only reflected • Luminous intensity.
or transmitted rays. This greatly reduces the time Luminous flux is the quantity of light energy per unit
required to ray trace an image. By integrating both time arriving, leaving, or going through a surface.
techniques, Lightscape offers a full range of visual- The unit of luminous flux is the lumen (lm), used in
ization possibilities, from fast, interactive lighting both the International System (SI) of units and in the
studies to combination radiosity/ray traced images American System (AS) of units. If you think of light
of exceptional quality and realism. as particles (photons) moving through space, then
the luminous flux of a light beam arriving at a
surface is proportional to the number of particles
Photometry hitting the surface during a time interval of 1 second.
Lightscape is founded on a physically based simula-
tion of the propagation of light through an Illuminance is the luminous flux incident on a
environment. The results are not only highly real- surface of unit area. This quantity is useful for
istic renderings, but also accurate measurements of describing the level of illumination incident on a
the distribution of light within the scene. This surface without making the measurement depen-
section briefly describes the quantities used to char- dent on the size of the surface itself. The SI unit of
acterize these measurements. illuminance is the lux (lx), equal to 1 lumen per
7
1 Introduction
square meter. The corresponding AS unit is the foot- The Lightscape 3.2 User’s Guide provides explana-
candle (fc), equivalent to 1 lumen per square foot. tions of the techniques and concepts required to set
up, process, and render a Lightscape solution.
Part of the light incident on a surface is reflected
back into the environment. Luminance is the light Learning Lightscape provides step-by-step examples
reflected off a surface in a particular direction and is of the procedures discussed in this manual.
the quantity converted to display colors to generate a
The Lightscape Online Help system provides topic-
realistic rendering of the scene. Luminance is
based information as well as reference information
measured in candelas per square meter or per square
about the main interface elements.
inch. The candela was originally defined as the lumi-
nous intensity emitted by a single wax candle.
Using This Guide
Finally, luminous intensity is the light energy per unit This guide is designed to provide information both
time emitted by a point source in a particular direc- by topic and in the order of a typical workflow. More
tion. The unit of measure of luminous intensity is the experienced users can use the guide for reference,
candela. Luminous intensity is used to describe the turning directly to sections of specific interest.
directional distribution of a light source—that is, to
specify how the luminous intensity of a light source The following typographical conventions are used
varies as a function of the outgoing direction. in this manual:
Convention: Description:
About Lightscape Courier Used for program commands,

Bold such as lid2cibse or
Documentation lid2ies.
The Lightscape manuals are comprehensive docu-
ments that contain all the information you need to Italic Used for emphasis and when a
learn and use Lightscape efficiently and effectively. new term is introduced.
The documentation for your Lightscape software ▲ Used to indicate a warning.
includes: | Used to indicate that you are to
• Lightscape 3.2 User’s Guide printed manual and on- choose an item from a menu or
submenu. For example,
line file
File | Parameters | Load tells you
• Learning Lightscape 3.2 printed manual and online to choose Load from the Parame-
file ters submenu of the File menu.
• Online Help
• Installing LSnet online file

• README.TXT (an online text file in your Light-
scape home directory).
8 Lightscape
About Lightscape Documentation ❚❘❘
Getting More Help

If you need more information, contact Discreet™
Customer Support at one of the following telephone
numbers. You can also send queries by e-mail.
Discreet Customer Support
North
America: (877) DISCREET
Elsewhere: (514) 954-7550
Fax: (514) 954-7254
E-mail: discreet.techsupport@autodesk.com
WWW: http://www.discreet.com
Reader’s Comments
We would like to hear from you. Your comments can
help us improve the quality of our documentation.
Mail, fax, or e-mail your comments to:
Discreet Documentation Department

10 Duke Street
Montreal, Quebec, Canada
H3C 2L7
Fax: (514) 954-7495

E-mail: docs@discreet.com
9
NOTES
10
This chapter describes how to install your Lightscape system.
2
Installation
How to install Lightscape and its
components.
Summary Minimum Recommended

In this chapter, you learn about: Requirements: Requirements:
• System requirements Windows NT 4.0 Windows NT 4.0 with

(with Service Pack 4), Service Pack 4
• Installing Lightscape for the first time Windows 95
• Upgrading Lightscape from a previous version. (with Service Pack 1),
or Windows 98
64 MB RAM 128 MB of 100 MHz
System Requirements RAM (consider 256 MB
The following table describes the minimum and the or more for power users)
recommended system requirements for running PCI Graphic card A hardware accelerated
Lightscape. supporting 16-bit OpenGL video card with
colour depth at least 8 MB of RAM
Minimum Recommended
Requirements: Requirements: 1 GB hard disk 4 GB or higher free hard
drive space
Intel Pentium or Intel Pentium II
Pentium Pro at 200 (350MHz + processor) CD-ROM drive Motherboard with Intel
MHz BX chipset
Monitor 19 to 21 inch monitor
11
2 Installation
4. If the installer prompts you to restart your com-

Minimum Recommended
Requirements: Requirements: puter, do so before starting Lightscape.
Windows NT or All standard equipment

Windows 95-complaint (mouse, CD-ROM drive,
point device cabling for TCP/IP-com-
Upgrading from a Previous
pliant network) Version of Lightscape
To upgrade from a previous version of Lightscape,
simply install the new version as if you were
Installing Lightscape for the First installing the software for the first time. You will be
Time prompted to uninstall the existing version. If you
Version 3.2 of Lightscape is designed to work with choose not to uninstall, the existing version is
the following: Windows 95 (with Service Pack 1), overwritten.
Windows NT 4.0 (with Service Pack 4), and If you do not want to overwrite previous versions of
Windows 98. Lightscape, install the versions in different
directories.
Note: You must authorize Lightscape before you
install. See the authorization request form Lightscape 3.2 can read files from any previous
included with the software. version.
To install Lightscape: Note: Any files saved with Lightscape 3.2 that
1. Place the Lightscape CD-ROM in the CD-ROM include material information cannot be read by
drive. earlier versions of Lightscape. File formats that do
not include material properties information like
Note: If you are installing Lightscape on Windows animation files (.la), layer state files (.lay), and
NT, you should have administrator privileges. parameter files (.df) are portable from Lightscape
3.2 to Lightscape 3.1 or 3.1.1.
2. Choose Run from the Windows Start menu.
3. Type d:\setup and press Enter. If required,
replace “d” with the letter that represents your CD-
ROM drive.
The Lightscape Setup wizard guides you step-by-
step through the installation process. You are greeted
with a welcoming message followed by a series of
dialogs. These dialogs let you choose the compo-
nents of Lightscape to install and the directory in
which to install them.
In the dialogs that display the Back button, you can

go back to a previous step by clicking on this button.
You can also cancel the installation process by
clicking Cancel.
12 Lightscape
This chapter provides an overview of the process of creating a Lightscape
solution. Each step of this process is explained in detail in the chapters that
follow.
3 Workflow
How to use Lightscape.
Summary In the Solution stage, Lightscape alters the model

The Lightscape process consists of two major structure to optimize it for radiosity processing. The
stages—the Preparation stage and the Solution stage. model is saved in a Lightscape Solution file with a .ls
file extension. In this stage, you process the radiosity
In the Preparation stage, the model structure is solution of your model. You can modify materials and
similar to that of many CAD and modeling the photometric properties of lights, but you can no
programs. In this stage, you can edit geometry, longer manipulate the geometry or add lights to your
materials, and lights. The Preparation model is model. If you need to make changes to geometry, you
saved in a Lightscape Preparation file with a .lp file must return to the Lightscape Preparation file, make
extension. the changes, and then generate a new Solution file.
PREPARATION STAGE SOLUTION STAGE

Define
Materials Insert and Process Radiosity
Move Blocks Solution
Import Orient Output
Geometry Surfaces Refine the Refine the
Insert and Model Solution
Move Lights
13
3 Workflow
Preparing the Model procedural textures to enhance the appearance of

During the Preparation stage, you can import the surfaces.
model, adjust surface orientation, define materials Lightscape also comes complete with libraries of
and assign them to surfaces, define luminaires and hundreds of ready-to-use materials.
place them in the model, and add, delete, and re-
position objects as required. For more information, see Chapter 7, “Using
Materials.”
Importing Geometry
The first step in creating a lighting simulation is to Adding Light
import a geometric model into Lightscape. You can You can add artificial light and/or daylight to your
import models from a wide variety of CAD and model.
modeling applications as well as from block and All artificial lighting in your model comes from
luminaire libraries. luminaires (light fixtures). You can use luminaires
For more information, see Chapter 5, “Importing from a library or create your own. Adjust the photo-
Geometry,” and Chapter 6, “Refining Geometry.” metric properties of the luminaires, and then place
them in your model. You can also use IES files to
import real-world lighting parameters from lighting
Orienting Surfaces manufacturers.
After you import a model, you must ensure that all
surfaces are properly oriented. Lightscape also comes complete with libraries of
hundreds of ready-to-use luminaires.
Surface orientation determines which side of a
surface is considered when calculating the light Use daylight to add an extra element of realism to
reflections. For example, to simulate the lighting in a your model. Daylight is provided by two sources: the
room, the wall surfaces should be oriented toward sun and the sky.
the inside of the room. For more information, see Chapter 8, “Artificial
For more information, see Chapter 6, “Refining Lighting,” Chapter 9, “Photometrics,” and Chapter
Geometry.” 10, “Daylight.”
Defining Materials Refining the Model

Use materials to determine how each surface inter- Lightscape provides a limited suite of tools to
acts with light. Because Lightscape is based on modify the geometry of a model. You can add,
physically accurate simulation techniques, it is delete, move, or duplicate surfaces, blocks, and
important to provide accurate material specifica- luminaires. For example, you could add furniture,
tions to obtain realistic results. Templates make it move an interior wall, or rotate a spotlight before
easy to define properties for numerous materials processing the radiosity solution.
including metal, polished stone, flat paint, water, For more information, see Chapter 6, “Refining
and so on. You can also use textures maps and Geometry.”
14 Lightscape
Processing the Radiosity Solution ❚❘❘
Processing the Radiosity How radiosity works is described in detail in

Solution Chapter 1, “Introduction.”
During the Solution stage, Lightscape uses radiosity
to accurately calculate how light propagates in the Refining the Solution
model. In the Solution stage, you cannot change the model
geometry, but you can change the characteristics of
When you initiate the radiosity process, Lightscape
a material and the photometric properties of a lumi-
reduces the model to a set of surfaces that are opti-
naire. Once you make your changes, you can update
mized for this process. Once the model is initiated,
the results of the radiosity solution by either
you can no longer manipulate the geometry or add
continuing the processing from where you left off or
luminaires.
by restarting the processing from the beginning.
During the Solution stage, you run the radiosity
You save the results of the radiosity solution in a
process, refine the solution, and resume radiosity
Lightscape Solution (.ls) file.
processing to obtain the final results. You can then
output the results as an animation or as individual
images, analyze the lighting results, and export the Outputting your Work
solution to other programs. During the output stage, you can render a Light-
scape radiosity solution very quickly using
OpenGL® rendering or more accurately using the
Setting Processing Parameters
Lightscape ray tracer. Ray tracing adds specular
Use process parameters to control the quality of the
reflections and transparency effects to the final
radiosity solution. Setting the process parameters is
images. You can also use the ray tracer to create
a balancing act. Finer settings produce better quality
higher quality shadows in the entire model or for
images, but they also require more processing time
specific light sources. For more information, see
and memory.
Chapter 11, “Radiosity Processing,” and Chapter 14,
To improve the efficiency of the solution, you can “Rendering.”
adjust global processing parameters, which apply to
The options you choose determine the image quality
the entire model, and local processing parameters,
and the time it takes to generate an image. The
which apply to specific surfaces.
choice you make depends on your intended use. The
For more information, see Chapter 11, “Radiosity following uses are the most common:
Processing.”
• Single images
Radiosity Processing • Walk-through animations

To process the radiosity solution, Lightscape calcu- • Virtual reality
lates the diffuse light energy distribution in the
model, both direct and indirect. You can interrupt • Lighting analysis.
the processing of the radiosity solution at any time to
Single Images
alter or fine-tune the model’s appearance.
You can produce high-quality images of any resolu-
tion. You can quickly output the image from a
15
3 Workflow
Moving from Preparation Stage to Solution Stage

To compute a solution, you must first specify the light sources, materials, and texture maps associated
with the surfaces in the environment. You define this data for a model during the preparation stage.
Once you initiate the model for processing (convert it to a solution file) you can no longer create or
reposition any surfaces or light sources. All modifications of this nature must be performed during the
preparation stage.
During the solution stage, you can modify the characteristics of light sources and materials at any time;
the simulation compensates for the resulting changes in illumination. This feature promotes an inter-
active approach to design, so you can quickly evaluate and make refinements to obtain precisely the
look you want.
radiosity solution using OpenGL rendering. To display speed, use an OpenGL-compliant graphics
obtain a more accurate image, however, you can ray accelerator board.
trace the image. For more information, see
You can use the Mesh to Texture tool to reduce
Chapter 14, “Rendering.”
geometric complexity in the environment by
converting meshes and geometry into texture maps.
Walk-through Animations
This is important when using Lightscape to create
You can create camera paths for generating walk-
environments for interactive games or web sites. For
through animations of your radiosity solutions. You
more information, see Chapter 13, “Mesh to
can generate high-quality antialiased images very
Texture.”
quickly with OpenGL rendering. For more informa-
tion, see Chapter 15, “Animation.” A Lightscape radiosity solution can also be exported
into the VRML format. This data can then be used in
If you want to add specular reflections and accurate
specialized display and virtual reality applications.
transparency effects, you can ray trace each frame.
For more information, see Chapter 16, “Exporting.”
For greater efficiency, you can use a batch program
or LSnet when rendering animations. For more
Lighting Analysis
information, see Appendix B, “Batch Processing
If you are primarily interested in lighting analysis,
Utilities.”
Lightscape provides a variety of tools for visualizing
the lighting data contained in the radiosity solution.
Virtual Reality
Generally, radiosity solutions for lighting analysis
If your goal is to produce a virtual reality environ-
can be created coarser (and faster) than those
ment for interactive walk-throughs, you cannot use
required to produce realistic images. For more infor-
ray tracing. You must strive for the highest quality
mation, see Chapter 12, “Lighting Analysis.”
from the most compact and efficient model using
the radiosity process alone. Because the radiosity
solution results in a simple polygonal mesh with
specific radiosity values (converted to RGB colors)
stored at the vertices, results can be displayed very
rapidly using OpenGL rendering. To increase
16 Lightscape
4
The Interface
An introduction to the Lightscape
tools and interface conventions.
The Lightscape user interface provides access to a suite of interactive tools, which
you use to prepare models for radiosity processing.
Summary Starting Lightscape

In this chapter, you learn about: To start Lightscape, double-click the Lightscape
application icon. By default, this icon is located in
• Starting Lightscape
the Lightscape program folder.
• The interface conventions
• Using the toolbars
• Using file controls
You can also start Lightscape by choosing it from the
• Viewing the model Start menu.
• Controlling the display
• Selecting objects
Overview of the Interface
• Transforming objects The Lightscape interface consists of five major
Lightscape model components. The largest and
• Setting document properties
most important is the Graphic window. It is located
• Setting system options. on the left side and occupies the majority of the
screen, by default. The four other components, the
Layers, Materials, Blocks, and Luminaires tables, are
grouped together in a vertical bar of list windows on
17
4 The Interface
The Lightscape Interface Elements
Menu bar
Layers table
Toolbars
Materials
table
Graphic
window
Blocks table
Status bar
Luminaires
table
the right side of the screen. You can reposition and Graphic Window
resize all of these windows as required. You use the Graphic window to display and edit the
The Lightscape menu bar occupies the upper geometry of the current model. In the Graphic
portion of the Graphic window. Directly below the window, you select objects by clicking them with the
menu bar is the default location for the displayed left mouse button.
toolbars. A status bar at the bottom of the Graphic In the Graphic window, Lightscape supports several
window communicates information as required. orthogonal projection modes, as well as perspective
The title bar displays the name of the current file projection. You can also use the interactive view
loaded in the Graphic window. tools to navigate through the model in each projec-
You can perform editing operations in a variety of tion quickly.
ways: by using the pulldown menus on the Light- There are several display modes that control the way
scape menu bar, by clicking the appropriate button Lightscape displays the model. For example, the
on a toolbar, or by using the secondary mouse model can be displayed in solid or wireframe mode.
button to open a context menu. For more information, see “Viewing the Model” on
page 29.
18 Lightscape
Overview of the Interface ❚❘❘
The Graphic window normally holds only a single You can right-click the Layers table to display the
view of the model at any one time. However, during Layers context menu, which contains functions
animation editing, Lightscape breaks the Graphic appropriate to the layer selection set.
window into four concurrent views to aid in the
For information on using layers, see “Working with
creation and editing of the motion path.
Layers” on page 82.
Layers Table
Materials Table
The Layers table contains a list of all the layers
The Materials table contains a list of all the materials
defined in the current model and indicates their
currently available in the model. You assign mate-
state. A check mark to the left of the layer name
rials to surfaces in the model to define their
indicates that the layer is on (active) and that the
appearance and how light energy incident on the
objects on that layer are currently being displayed in
surfaces behaves.
the Graphic window. You can double-click a layer
name to toggle its state on and off.
Layers table
Material preview
Current
layer
Context
menu
Material with
an assigned
texture
A texture symbol next to the material name

A letter to the left of the layer name indicates it indicates that the material contains a texture map. If
is the current layer. Any new objects you add to the the symbol is colored, the texture is loaded and
model are added on the current layer. displayed in the Graphic window. A green indi-
cates that the texture file could not be found.
19
4 The Interface
The material preview displays the currently selected Changing the Sample Sphere Diameter
material. For more information, see “Customizing You can change the diameter of the sample sphere to
Material Previews” on page 20. make its size consistent with the objects in your
model to which you will apply the material. This
Right-click the Materials table to display a context
provides an accurate preview of materials that have
menu of functions for manipulating the materials in
procedural textures applied or a fixed tile size. The
the table. Double-click any material name to activate
sphere diameter is measured in the units of your
the Material Properties dialog, which contains tools
model. For more information about setting the
for editing the characteristics of the selected
model units, see “Setting Units Properties” on page
materials.
46.
For more information on working with materials,
see Chapter 7, “Using Materials.” To change the diameter of the sample sphere:
1. Right-click in the preview.
Customizing Material Previews 2. Choose Diameter and select the number of units
The material preview displays the material currently from the list.
selected in the Materials table. You can resize the
Material preview with Fixed Size set to 1m x 1m.
preview and toggle it on or off.
Diameter of sample
sphere set to 1m.
Diameter of sample
sphere set to 10m.
Move the horizontal bar

to resize the preview
Enabling Background and Reflection Images

You can enable the display of background and reflec-
tion images in the material preview.
Note: If more than one material is selected, the
preview is gray. To toggle these options on and off:
Right-click in the preview and select the appropriate
To toggle the preview on or off: option.
Right-click the Materials table and choose Preview
from the context menu.
20 Lightscape
The Backgroundoption helps you view the effects of Blocks Table

transparency and index of refraction by adding a The Blocks table contains a list of all the blocks avail-
multicolored image behind the preview sphere. able in the model. A block in Lightscape is a grouping
of objects (surfaces or other blocks) assigned a
Background common name and an insertion point. Once you
disabled.
have defined a block, you can make repeated
instances of it and place them into the model at a
variety of locations, sizes, and orientations.
Note: Blocks are available only during the Prepara-

tion stage.
Background
enabled. The image
makes it easier to
see the transparent
“glass” sphere.
Block preview
The Reflection option displays reflective highlights

by placing an image in front of the preview sphere
that is reflected in its surface.
Reflection disabled.
Reflection enabled.
Reflection
highlights are
visible in the center The block preview displays the currently selected
of the sphere. block. For more information, see “Customizing
Block and Luminaire Previews” on page 22.
You can double-click any block name to isolate the

block for display and editing in the Graphic window.
For information about setting the background and Right-click the Blocks table to display a context
reflection images, see “Setting Preview Control menu of functions for manipulating the blocks in the
Options” on page 50. table.
21
4 The Interface
For more information on blocks, see “Working with Right-click the Luminaires table to display a context
Blocks” on page 85. menu of functions for manipulating luminaires in
the table.
Luminaires Table For more information on using luminaires, see
The Luminaires table contains a list of all the lumi- Chapter 8, “Artificial Lighting.”
naires available in the model. A luminaire is a special
type of block used to represent light fixtures and
Customizing Block and Luminaire
includes a definition of photometric characteristics
Previews
that control how light energy is emitted from it. In
The block and luminaire previews display the
the Preparation stage, double-click a luminaire
objects currently selected in the table. You can resize
name to isolate it for display and editing in the
the preview and toggle it on or off.
Graphic window. Open the Luminaire Properties
dialog to edit photometric characteristics of the
luminaire.
Move the horizontal bar

to resize the preview
Luminaire preview
To toggle the preview on or off:

Right-click the Block or Luminaires table and
choose Preview from the context menu.
Changing the View

Use the interactive view controls to change the view
of the block or luminaire in the preview. You can
select view controls from the toolbar, from the
preview context menu, or by using hot keys.
Note: The following view controls are available in

the preview: Orbit, Rotate, Zoom, Pan, Dolly, and
The luminaire preview displays the currently Scroll.
selected luminaire. For more information, see
“Customizing Block and Luminaire Previews” on
page 22.
22 Lightscape
To change the view using the toolbar: To use the same shading as the model:
1. Right-click in the preview, select View Control, 1. Right-click in the preview, select Shading, and
and enable From Toolbars. enable From Toolbars.
2. Click the appropriate button on the View Con-
trol toolbar, then drag the cursor in the preview to
control the view.
To change the view using the context menu:

1. Right-click in the preview, select View Control,
and disable From Toolbars.
2. Right-click in the preview, select View Control,
and enable the required option.
3. Drag the cursor in the preview to control the
view.
2. In the Shading toolbar, select the required shad-
For more information, see “Using Interactive View ing button.
Controls” on page 30.
To customize the preview shading:
You can also press the following hot keys while
moving the mouse in the preview to enable the inter- 1. Right-click in the preview, select Shading, and
disable From Toolbars.
active view controls. For example, press P while
moving the mouse to pan the view of the block. 2. Right-click in the preview, select Shading, and
enable the required shading option.
To use: Press:
The block or luminaire fixture is displayed in the
Orbit O selected shading mode.
Rotate R
For more information on these options, see
Zoom Z “Controlling the Display” on page 35.
Pan P
Dolly D Changing Table Layouts
Scroll S You can reposition and resize all of the tables as
required. Use the Swap Layout option to revert to the
Note: Pressing a hot key will override the view previous position and size of the table.
control enabled on the toolbar or preview context
menu. To swap the table layout:
Right-click a table and choose Swap Layout, or
Changing the Display
double-click on the title bar.
You can use the shading options to control how a
block or luminaire fixture is displayed in the
preview. You can use the same shading as the model
or set it independently.
23
4 The Interface
Interface Conventions In Special Selection mode, you use special opera-

The following sections describe the interface tions to carry out specific tasks. For example, you
conventions for using the mouse, context menus, can use the Pick mode in the Transformation dialog
and dialogs in Lightscape. to change the orientation of a luminaire. A special
selection mode is usually started from a dialog that is
related to a specific function.
Using the Mouse
Lightscape is designed for use with a two-button
mouse. The left button is the action button. The Context Menus
right button displays a context menu based on the In the Graphic window or one of the tables, you click
current location or selection. (These settings assume the right (secondary) mouse button to display a
your mouse button configuration is right-handed.) context menu.
When you move the mouse while pressing the left For example, if you right-click in the Graphic
button in the Graphic window, one of several actions window when a surface is selected, a context menu of
occurs, depending on the currently selected mouse functions for the selected surface is displayed. Right-
mode: click one of the tables to display a context menu of
functions for the selected objects or in the table list
• Select mode itself.
• Query mode
• Dynamic View mode Dialogs

Certain operations display a dialog that you use to
• Special Selection mode. access various related options. Some dialogs close
In Select mode, use the mouse to select objects in the automatically after the operation is carried out.
model. For more information, see “Selecting Other dialogs are persistent and stay open until you
Objects” on page 38. explicitly close them, allowing you to make addi-
tional selections and repeat operations without
In Query mode, clicking an object in the Graphic
having to reopen the dialog.
window displays information about that object on
the status bar. Layers and materials associated with Persistent dialogs contain both an OK button and an
the object are also highlighted in the appropriate Apply button. Click Apply to apply the changes in
tables. For more information, see “Using Selection the dialog settings to the model without closing the
Tools” on page 39. dialog. Click OK to apply the changes and close the
dialog.
In Dynamic view mode, selecting a view control
such as Orbit or Rotate and dragging the mouse in You can close a dialog at any time by clicking the
the Graphic window allows you to change the close button in the upper-right corner.
display of the model dynamically. For more infor- Dialogs may contain several pages. You can access
mation, see “Using Interactive View Controls” on the different pages by clicking the page tabs along
page 30. the upper edge.
24 Lightscape
Using Toolbars ❚❘❘
Using Toolbars Moving Toolbars

In Lightscape, the toolbars provide quick access to By default, toolbars are docked at the top of the
many options that are located in the menus. Click Graphic window. A docked toolbar is attached to
the toolbar buttons to execute the related operations. any edge of the Graphic window. A floating toolbar
The default toolbars contain the most commonly is located anywhere on the screen.
used operations and are usually docked above the
Graphic window. To move a toolbar:
1. Place the cursor over the edge of the toolbar,
Each tool also has an associated tooltip, that displays
then click and drag it to another position.
its function when you place the cursor over the tool
button. Docked toolbars
Tooltip
Showing or Hiding Toolbars

You can display or hide toolbars as required to
customize your desktop.
To display a toolbar: Floating toolbar
1. Choose Tools | Toolbars.

2. To dock the toolbar, drag it to the edge of the
The Toolbars dialog appears. Graphic window.
The Standard Toolbar

Use the buttons on the Standard toolbar to access the
online help features and to use the standard
Windows® file functions.
Open Undelete Help Index
New Save Print Help
2. Double-click a toolbar to toggle its state. A red For more information, see “Using File Controls” on
check mark next to the toolbar indicates that it is page 27.
currently displayed.
25
4 The Interface
The View Control Toolbar The Shading Toolbar

Use the buttons on the View Control toolbar to Use the buttons on the Shading toolbar to specify
adjust the view of your model. All view controls are how the model is displayed.
interactive except View Setup and View Extents.
Colored Wireframe
To use the interactive view controls, click the appro- Solid
priate button then drag the cursor in the Graphic
window to control the view.
Zoom Window
Rotate Dolly Tilt View Setup Hidden Line
Wireframe Outlined
For more information, see “Controlling the Display”

on page 35.
Orbit Zoom Pan Scroll View Extents
Undo Zoom Window
The Selection Toolbar
For more information, see “Viewing the Model” on Use the buttons on the Selection toolbar to specify
page 29. how the mouse is used when selecting objects in the
Graphic window. For example, if you click the Lumi-
naire button , only luminaires are selected when
The Projection Toolbar
you click or drag the mouse in the Graphic window.
Use the buttons on the Projection toolbar to display
your model in perspective view or in one of six Selection
orthographic views. Area All Vertices Deselect All Filter Dialog
Query Deselect Accumulate
Top Left Front Select Area All Block Pick
Area Any Select All Luminaire Pick Top

Perspective Bottom Right Back Vertex Block
Select Deselect Surface Use Selection
For more information, see “Viewing the Model” on Area Any Filter
page 29.
For more information, see “Selecting Objects” on
page 38.
26 Lightscape
Using File Controls ❚❘❘
The Tables Toolbar The Transformation Toolbar

Use the buttons on the Tables toolbar to display or Use the buttons on the Transformation toolbar to
hide the corresponding tables. Clicking a button control the placement of geometry in the model.
toggles the table display on or off.
Rotate XY Constraint Edit Drag
Materials Luminaires Y Constraint YZ Constraint Increments
Layers Blocks Move Z Constraint Aim

X Constraint ZX Constraint Use Drag
Increments
For more information on working with tables, see
“Overview of the Interface” on page 17.
For more information, see “Transforming Objects”
on page 43.
The Display Toolbar
Use the buttons on the Display toolbar to control the
The Radiosity Processing Toolbar
quality and speed of the display. In most cases,
Use the buttons on the Radiosity Processing toolbar
turning off a display option increases the display
to control the processing of your model.
speed at the expense of image quality.
Reset Stop
Culling Antialiasing Textures
Ray
Trace
Area
Initiate Go
Blending Enhanced
Double Buffer Ambient
For more information on processing your model,
see Chapter 11, “Radiosity Processing.”
For more information, see “Controlling the Display”
on page 35.
Using File Controls

You can access the file controls and help functions, as
well as an Undelete function, through the Standard
toolbar. The file control and help functions are also
available through the File and Help menus. The
27
4 The Interface
Undelete function is also available from the Edit Additionally, use the Scale option (available when
menu. loading Preparation files) to specify a numeric factor
by which all objects in the file will be scaled.
Open Undelete Help Index
Save
Select Save to save the current Lightscape
model. If the model has not been saved previously,
New Save Print Help this function defaults to Save As and Lightscape
prompts you for a filename and location. If your
You can use any of the following methods to access model was previously saved, the Save function over-
the file controls. writes the previous file. To preserve the previous file,
select Save As from the File menu.
Menu: Button: Hot Key:
File | New Ctrl+N Undelete
The Undelete function offers one level of undo
File | Open Ctrl+O
for destructive actions only. You can use the Unde-
File | Save Ctrl+S lete function immediately after deleting items in the
Edit | Undelete Ctrl+Z Layers, Materials, Blocks, or Luminaires tables. You
File | Print Ctrl+P can also use Undelete after deleting surfaces or
block/luminaire instances in the Graphic window.
Help | Index
The Undelete function restores the most recently
New deleted object, or objects, even after you perform
Select New to create a new, empty Lightscape view modifications such as changing the projection
model. If any data is in memory, it will be erased mode or using the interactive view controls.
when the new model is created. In such cases, you However, if, after deleting an object you perform any
are prompted to save the data if you have made function that involves a change to the Lightscape
changes since the last time you saved the model. database (such as renaming a material, adding a
block instance, or saving the file), the buffer is
Open emptied and you can no longer reverse the previous
Select Open to load an existing Lightscape action. There is no Redo function.
model file. The file can be either a Preparation file
(.lp) or a Solution file (.ls). If any data is in memory, Note: The Undelete function is not related to the
it will be erased when the file is loaded. In such cases, Undo Zoom Window function in the View menu or
the Undelete button in the Create Surface dialog.
you are prompted to save the data.
Choose Merge from the File menu (or press Ctrl+M) Print
to combine two or more Preparation or Solution Select Print to print the current view of the
files. However, you cannot mix the file types. model.
28 Lightscape
Viewing the Model ❚❘❘
Help Index You can use any of the following methods to access
Select Help Index to display the index of the the view projection controls.
Help system. Clicking this button is equivalent to
choosing Index from the Help menu. Menu: Button: Hot Key:
View | Projection | Perspective Shift+3
Context Help
View | Projection | Top Shift+4
Select Context Help to enable quick help on any
on-screen interface element. When you click the View | Projection | Bottom Shift+5
Context Help button, the pointer changes to a replica View | Projection | Left Shift+6
of the tool. Click any toolbar item, table, or the View | Projection | Right Shift+7
Graphic window to display information on that
View | Projection | Front Shift+8
item. You must select the Context Help tool for each
item on which you want information. View | Projection | Back Shift+9
The Lightscape perspective camera model uses a

Viewing the Model viewer position, a focus point, and a picture plane to
Lightscape offers the following options for manipu- create the perspective views. Both the View Setup
lating the view of your model: tool and the interactive view controls are based on
these conventions, as illustrated in the following
• View Projection modes diagram.
• Interactive View controls
• View Setup
• View Extents
• Align Background
• Set Viewport Size
• Display Original View
• Saving and Loading Views. You can set up a view camera by specifying the loca-
tions for the viewer position, focus point, view
Changing the View Projection
angle, and picture plane with the View Setup
You can choose to view your model in Perspective
controls. There are also interactive controls for
view or in one of several orthographic views.
changing your view of the model.
Top Left Front
Perspective Bottom Right Back
29
4 The Interface
Using Interactive View Controls To use the interactive view controls:

Use the interactive view controls to change the view 1. Choose View | Interactive and the appropriate
of the model in the Graphic window. interactive view control, or choose an interactive
view control from the View Control toolbar.
Zoom Window
Rotate Dolly Tilt 2. To exit the view control mode and return to the
previous left button mode, reselect that mode.
Note: Press just the hot key (without pressing

Shift) to enable the view control for only as long as
the hot key is pressed. Any action with the mouse
Orbit Zoom Pan Scroll
in the display area changes the view. Once you
Undo Zoom Window
release the hot key, the left mouse button returns
its previous state.
You can use any of the following methods to access
the interactive view controls. You can only use view controls that apply to a
specific view projection, as described in the
Menu: Button: Hot Key: following sections.
View | Interactive | Orbit Shift+O
View | Interactive | Rotate Shift+R Orbit
Use Orbit to orbit around the model. The
View | Interactive | Zoom Shift+Z viewer position rotates around the focus point in all
View | Interactive | Zoom Shift+W three axes. The direction of the mouse movement
Window controls the angle of orbit.
View | Interactive | Undo Shift+U
Orbit is available in Perspective view only.
Zoom Window
View | Interactive | Pan Shift+P Rotate
View | Interactive | Dolly Shft+D Use Rotate to rotate the focus point around the
viewer position. The direction of the mouse move-
View | Interactive | Scroll Shift+S
ment controls the angle of rotation.
View | Interactive | Tilt Shift+T
Rotate is available in Perspective view only.
When you select a view control, the left mouse
button is used solely for changing the view interac- Zoom
tively. Any movement with the mouse in the Graphic Use Zoom to zoom in or out on the model.
window will change the view, based on the view When zooming, the focal angle of the camera
control selected. changes, while the viewer position and the focus
point remain the same. This is similar to a zoom lens
on a photographic camera. The size of the view
frame on the picture plane is adjusted automatically.
30 Lightscape
To use the Zoom view control: To use the Dolly view control:
1. To zoom in on the scene (decrease the field of 1. To move the viewer position forward, drag the
view), drag the mouse upward in the Graphic win- mouse upward in the Graphic window.
dow.
2. To move the viewer position backward, drag the
2. To zoom out on the scene (increase the field of mouse downward in the Graphic window.
view), drag the mouse downward in the Graphic
window. Note: You cannot dolly past the focus point. The
dolly speed depends on the distance to the focus
Note: In Perspective view, excessively zooming point.
out leads to distortions in the image (similar to a
wide-angle lens on a camera). Dolly is available in Perspective view only.
Zoom is available in all projections. Scroll

Use Scroll in orthographic projections to cause
Zoom Window the same effect as Pan in Perspective view.
Use Zoom Window to zoom in to an area. Drag
the cursor to draw a marquee in the Graphic window In Perspective view, Scroll behaves differently.
to zoom directly to that area. Unlike the other view options, Scroll does not alter
the Perspective projection. Any lines that appeared
Zoom Window is available in all projections. parallel before scrolling remain parallel after
scrolling. The result of a scroll is an off-center
Undo Zoom Window projection.
Use Undo Zoom Window to restore the view to
the one used before the last Zoom Window opera- It is generally difficult to predict the behavior of an
tion. This option supports a maximum of ten levels off-center projection. If your camera behaves
of undo. strangely when zooming about a point not at the
center of the window (for example), it has probably
Pan been scrolled.
Use Pan to pan the model in the direction of the
In architectural photography, you often use a
mouse movement. This has an effect similar to
perspective correction lens to maintain parallel
moving the point of view and focus point along a
vertical lines in the image. To obtain this effect in
horizontal or vertical axis. The viewer position and
Lightscape, first set a specific perspective view with
the focus point are moved together in the direction
the camera position and focus point at the same
opposite to the direction you are dragging, so that
height, and then scroll the resulting view to adjust
the model appears to move with the mouse.
the image plane, as needed.
Pan is available in Perspective view only.
Scroll is available in all projections.
Dolly
Use Dolly to move the viewer position forward
or backward along the view path.
31
4 The Interface
Tilt Viewer Position

Use Tilt to tilt the camera, rotating it around an Use this option to set the camera position. To set this
axis perpendicular to the screen. You change the tilt option, select it and click the point at which to set the
view by dragging the mouse in a circular motion in camera position in the Graphic window.
the Graphic window. The model rotates in the same
You can also enter the explicit location on the X, Y,
direction as the mouse movement.
and Z axes in the corresponding input boxes. These
Tilt is available in all projections. values are in the length units of the model. For more
information, see “Setting Units Properties” on page
Using View Setup 46.
Use View Setup to define a specific camera view Note: Setting the viewer position by selecting a
of your model. point in the Graphic window does not set the Z
(height) value. This value must be explicitly set in
To use View Setup: the Z input box.
1. Choose View | Setup, or click the View Setup
Focus Point
button on the View Control toolbar.
Use this option to set the point at which the viewer is
The display changes to Top view, the view frustum is focusing. To set this option, select it and click the
displayed (in red) over the model, and the View required focus point in the Graphic window. You can
Setup dialog appears. also enter the explicit location on the X, Y, and Z axes
in the corresponding input boxes.
Note: Setting the focus point by selecting a point

in the Graphic window does not set the Z (height)
value. This value must be explicitly set in the Z
input box.
Near Clipping Plane

Use this option to define the location of the near
clipping plane. Objects in the model that are
between the viewer position and the near clipping
plane are not displayed in the Graphic window.
Set the near clipping plane by entering the required
value in the input box or by adjusting the Near Clip
2. Set the required options in the View Setup dia- Plane slider.
log, and click OK. The options are explained in the
following sections. Far Clipping Plane
Note: When using View Setup, you can also use Use this option to define the location of the far clip-
the following view buttons to adjust your view: ping plane. Objects in the model that are beyond the
Zoom, Zoom Window, Scroll, and Tilt. far clipping plane are not displayed.
32 Lightscape
Set the far clipping plane by entering the required Using View Extents
value in the input box or by adjusting the Far Clip Use the View Extents option to display all the objects
Plane slider. in the model.
Field of View To use View Extents:

Use this option to adjust the view angle of the view
Choose View | Extents or click the View Extents
frustum. This changes the size of the view frame in
button on the View Control toolbar.
relation to the picture plane. The field of view is
computed from the Focal Length and the Film Size. If you use the Perspective view, the focus point is set
If you explicitly change the field of view, the focal to the center of all visible objects and the model is
length is adjusted automatically and the film size viewed from the front.
remains the same.
Change the field of view by entering the required Using Align Background
value in the input box or by adjusting the Field of You can use Align Background to load an image file
View slider. as the background of the Graphic window so that
you can align your model view with it.
View Tilt This is important if you intend to composite the
Use this option to rotate the model around an axis
rendering you do in Lightscape with a background
perpendicular to the screen. Set the View Tilt option
image file. For example, you may want to show a
by adjusting the slider from -180° through 180°.
proposed building model on an existing street, or set
an exterior background that you would see through
Film Size (mm)
a window. The background image can be offset on
Use this list to select the film size of the virtual
the screen to correspond to an appropriate location
camera. If you explicitly change the film size, the
in the model.
focal length is adjusted automatically, and the field
of view remains the same.
To align a background image:
Note: To define a custom frame size, select Other 1. Set the Viewport Size to be in the same propor-
from the Film Size list and specify the frame width tion as the final image resolution you want to render.
in the Frame Width box. For example, if your final image is to be 4000 x 3000
pixels, set the viewport to 800 x 600. For more infor-
Focal Length (mm) mation, see “Setting Viewport Size” on page 34.
Use this option to set the focal length of the virtual
2. Use an image editing application to create a copy
camera. If you explicitly change the focal length, the of the background image, scaled to fit within your
field of view is adjusted automatically, and the film viewport.
size remains the same.
3. Choose View | Align Background.
33
4 The Interface
The Align Background dialog appears. proportional to the required final rendering
resolution.
To set the viewport size:

1. Choose View | Set Viewport Size.
The Viewport Size dialog appears.
4. Click Browse, select the image from the Open di-

2. Choose an industry-standard image size from
alog that appears, then click OK.
the Resolution list, or enter custom width and height
5. If the background image is to cover only part of values in the corresponding input boxes.
the background, enter values in the Image Offset
boxes to position it in relation to the viewport.
Displaying the Original View
6. Use the view controls to position your model as In addition to stored view files, there is one built-in
required in relation to the background image. view, called the original view. Use this option to reset
7. Choose View | Save As to save the view file. For the view to the one that was in place when the file was
more information, see “Saving and Loading Views” loaded. When a file is saved, it is automatically saved
on page 34. with its current view.
8. Render the final image using the lsray utility
with the -alpha command. For more information, To display the original view:
see Chapter 14, “Rendering,” and Appendix B, Choose View | Display Original View.
“Batch Processing Utilities.”
9. Composite your final rendering with the back- Saving and Loading Views
ground image in an image editing application.
You can save a specific view to a view file for use later
in the project. For example, you may want to return
Setting Viewport Size quickly to a particular camera view or select a
The viewport is the area of the Graphic window that particular view when outputting an image.
contains an image of the model. The default value is
Full Window. Use the Set Viewport Size option to To save a view:
select a different image size. 1. Once you have set the view, save it by choosing
When you are establishing views for your final View | Save As.
renderings, you may want to set your viewport to be The Save As dialog appears.
34 Lightscape
Controlling the Display ❚❘❘
2. Navigate to the appropriate directory, enter the For more information on display options, see “Using
name of the file in the filename box, and click Save. the Display Options” on page 36.
The view file is saved with a .vw extension and it is Display Menu
added to the list of views.
View Menu
Shading
options
Display
options
List of views
To load a saved view file:

1. Choose View | Open.
2. Select the appropriate view file in the Open dia-
log.
3. Click Open.
Choosing Shading Options
Note: You can also select the appropriate view file You can use the Display menu or the Shading toolbar
from the list of views in the View menu. to display the model in various modes. A dot
appears next to the currently selected mode in the
Display menu, and the corresponding button on the
Controlling the Display Shading toolbar is enabled.
You can use the display options to change how the
model appears in the Graphic window. Use the Colored Wireframe Solid
shading modes to improve system performance

while working with the model or to obtain more
precise feedback in the appearance of the model.
Hidden Line
Wireframe Outlined
35
4 The Interface
You can use any of the following methods to access Hidden Line
the shading controls. Use this option to display the model similarly to
Wireframe mode, except surfaces block (hide) the
Menu: Button: display of other surfaces behind them. All surface
Display | Wireframe edges visible to the user are displayed in white.
Display | Colored Wireframe The color of the wireframe in Hidden Line mode is
Display | Hidden Line the same as that in Wireframe mode. To change the
Display | Solid wireframe color, see “Wireframe” on page 36.
Display | Outlined Note: In Hidden Line mode, the mesh structure

generated during radiosity processing (in the Solu-
Wireframe tion stage) is superimposed on the model.
Use this option to display only the edges of surfaces
Solid
as white lines. Though white is the default wireframe
Use this option to display the surfaces of the model
color, you can change this color at any time.
in their appropriate material colors.
To change the wireframe color: Note: The display speed is influenced by the
1. Choose File | Properties. number of surfaces in the model, as well as by the
computer hardware. For complex models, it may
The Document Properties dialog appears. be faster to change views in Wireframe mode and
display the surfaces in Solid mode once the desired
2. On the Colors panel, use the color picker to
view is established.
choose the required wireframe color and click the
left arrow to apply it to the Wireframe color box, or
Outlined
enter the HSV values directly in the corresponding
Use this option to display the surfaces of the model
boxes.
in their appropriate material colors, with the surface
geometry outlined. All polygon surfaces are
displayed in the material color and all polygon edges
are displayed in black.
Note: During the Solution stage, this option

displays the mesh structure. You can use Outlined
mode to check the impact of process parameter
3. Click OK. settings.
For more information on changing the document
properties, see “Setting Document Properties” on Using the Display Options
page 45. Use the Display options to control the quality and
speed of the display. You can select display options
Colored Wireframe from the Display toolbar or by choosing the appro-
Use this option to display all surface edges of the priate option from the Display menu. Often,
model in their associated material color.
36 Lightscape
Controlling the Display ❚❘❘
disabling a display option increases the display surfaces are displayed opaque, regardless of the
speed but decreases image quality. material transparency.
Culling Antialiasing Textures

Antialiasing
Use Antialiasing to display smoothed lines in
Ray
Wireframe mode. When this option is disabled, lines
Trace
Area may be jagged. Antialiasing for solid mode can only
Blending Enhanced be used when rendering. For more information, see
Double Buffer Ambient Chapter 14, “Rendering.”
You can use any of the following methods to access Ambient

the display options. Use Ambient to approximate the effect of
undistributed light energy in the environment
Menu: Button: Hot Key: during the Solution stage. This helps you visualize
Display | Double Buffer the model during the early stages of processing. For
more information, see Chapter 11, “Radiosity
Display | Culling
Processing.”
Display | Blending
Display | Antialiasing Textures
Use Textures to display textures in the model.
Display | Ambient
Display | Textures Enhanced
Display | Enhanced Use Enhanced to display simple shading in the
Display | Ray Trace Area Shift+Y Preparation stage. This is only used in Solid or
Outline mode.
Double Buffer
Ray Trace Area
Use Double Buffer to produce a smooth display
During the Solution stage, you can use the Ray Trace
during interactive playback.
Area button to ray trace a section of your
Graphic window, allowing you to preview a part of
Culling
Use Culling to make surfaces oriented away your scene. For more information, see “Ray Tracing
from the viewer transparent. You can use this option an Area” on page 219.
to look “through” a wall from the outside of the
model. Setting Ray Trace Area Options
You set the Ray Trace Area options before using the
Blending Ray Trace Area tool. Choose Ray Trace Area Options
Use Blending to blend surfaces with trans- from the Display menu to display the Ray Trace Area
parent materials with those behind them, giving a Options dialog. For more information, see “Ray
transparent effect. When this option is disabled, all Tracing an Area” on page 219.
37
4 The Interface
Displaying Axes from the Display menu. This option is only available
Use the Show Axis option to display a set of X, Y, and in Perspective view.
Z axes, which indicate the current orientation of
your model. The axes appear in the lower-left corner Using Reload Textures
of the model. The X axis is displayed in red, the Y Choose this option to reload all texture image files
axis in green, and the Z axis in blue. into the materials that use them. You should select
this function after you have modified image maps,
To display axes: changed their filenames, or changed the Fixed Tile
Choose Display | Show Axis to toggle the axes Size option and settings in the Material Properties
display on or off. A check mark next to the menu dialog. For more information, see Chapter 7, “Using
item indicates the axes are currently displayed. Materials.”
Selecting Objects
Before you can perform an action on an object, you
must select it. You can select single or multiple
blocks, surfaces, or luminaires. You can also select
objects inside a particular area or select objects
based on a set of selection filters.
Selection tools Selection filters Selection

options
Using Auto-Redraw You can use any of the following methods to access
Choose this option in the Display menu to redraw the selection options.
the model in the Graphic window after every
change. If you do not need to view changes immedi- Menu: Button: Hot Key:
ately, you can improve performance by disabling this Edit | Selection | Select Shift+1
option so that changes in material editing or texture
Edit | Selection | Query Select Shift+Q
alignment do not cause an automatic redraw.
Edit | Selection | Area Any Shift+2
You can choose Display | Refresh or press F5 to Vertex
explicitly cause a redraw when required.
Edit | Selection | Area All Ver- Shift+0
tices
Using Auto-Orbit Edit | Selection | Deselect Area Shift+V
Choose this option to cause the model to continu- Any
ously rotate around the focus point of the current
view. Toggle Auto-Orbit on and off by selecting it
38 Lightscape
Selecting Objects ❚❘❘
Select
Use Select to click objects to select them. When
Edit | Selection | Deselect Area Shift+C the Accumulate Pick mode is enabled, click a
All
selected object to deselect it.
Edit | Selection | Select All
Edit | Selection | Deselect All Query Select
Use Query Select to display information about
Edit | Selection | Surface Shift+F
an object when you select it. The layers and materials
Edit | Selection | Block Shift+B associated with the object are also highlighted in the
Edit | Selection | Luminaire Shift+L appropriate tables.
Edit | Selection | Filter
Area Any Vertex
Edit | Selection | Accumulate Shift+A Use Area Any Vertex to drag a marquee around
Pick
an area to select objects that have at least one vertex
Edit | Selection | Pick Top Shift+X within the selected area.
Block
Area All Vertices
Note: If the Selection toolbar is not visible, choose
Tools | Toolbars. In the Toolbars dialog that Use Area All Vertices to drag a marquee around
appears, double-click Selection, then click Close. an area to select objects that have all vertices within
the selected area.
Using Selection Tools
Deselect Area Any
Use the selection tools to select or deselect objects in
Use Deselect Area Any to drag a marquee
your model. Only objects that meet the current filter
around an area to deselect objects that have at least
criteria are selected or deselected. For example, if
one vertex within the selected area.
you choose the Block selection filter and then
choose the Select All tool, all the blocks in your Deselect Area All
model are selected. The behavior of the Marquee Use Deselect Area All to drag a marquee
Selection and Select All tools also depends upon the around and area to deselect objects that have all
specified selection criteria. For more information, vertices within the selected area.
see “Defining Selection Filters” on page 41.
Select All
Use Select All to select all objects in the model,
including those not in the current view.
Query Select Deselect Area All Deselect All

Area All Vertices Deselect All Use Deselect All to deselect all objects in the
model, including those not in the current view.
Area Any Vertex Select All

Select Deselect Area Any
39
4 The Interface
Using Selection Filters Accumulate Pick

Use the selection filters to select only certain types of Use Accumulate Pick to toggle between exclu-
objects when using the selection tools. You can use sive and additive selection. Enable this option to add
only one filter at a time. The default is Surface. each new selection to the current selection set.
Disable this option to replace the current selection
with the new selection.
Pick Top Block

Block Selection Filter Dialog In the case of nested blocks, you can use Pick Top
Block to select the top block in a block
hierarchy.
Surface Luminaire Use Selection Filter

Selecting an Object
Surface You can choose selection tools, filters, and options
Use Surface to select only surfaces. on the Selection toolbar or by choosing
Edit | Selection and then selecting the appropriate
Block option.
Use Block to select only blocks.
Note: If the Selection toolbar is not visible, choose
Luminaire Tools | Toolbars. In the Toolbars dialog that
Use Luminaire to select only luminaires. appears, double-click Selection, then click Close.
You can also define selection filters that take into To select objects:
account assigned materials, surface properties, and 1. Choose a selection filter to specify the type of
luminaire properties. For more information, see objects to select.
“Defining Selection Filters” on page 41.
2. Choose a selection tool to specify the method of
selecting objects.
Choosing Selection Options
3. Set the appropriate selection option.
Use the selection options to determine whether you
will make single (exclusive) selections or multiple 4. Click or drag your cursor in the Graphic window
(additive) selections. If your model contains nested to select an object or objects.
blocks, you can also use the top block mode to select The selected objects are highlighted.
only the top block in a hierarchy.
To query objects:
1. Choose a selection filter to specify the type of
objects to query.
Accumulate Pick 2. Choose the Query Select button from the Selec-
tion toolbar, or choose Edit | Selection | Query.
3. To query the top block in a block hierarchy, en-
Pick Top Block able Pick Top Block.
40 Lightscape
Selecting Objects ❚❘❘
4. Click your cursor in the Graphic window to se- The Selection Filter dialog appears and the selected
lect an object to query. materials are listed on the Surfaces panel.
Information about the queried object is displayed on
the status bar and the associated layers and materials
are highlighted in the Layers and Materials tables.
Defining Selection Filters

You can use selection filters to further refine the
selection process. Use surface selection filters to
select only the surfaces assigned a specific material
(or materials) and any specific processing parame-
ters assigned. Use the luminaire selection filters to
select luminaires that have specific processing
parameters assigned. For more information, see
“Luminaire Processing” on page 147 and “Setting
the Surface Processing Parameters” on page 179.
3. Click a processing parameter to toggle its state.
Use: To:
Select surfaces that have this parameter
enabled.
Selection Filter Dialog Select surfaces that have this parameter
disabled.
Disregard this parameter for surface se-
Use Selection Filter lection.
4. If you have enabled Meshing, enter a mesh sub-

To use surface selection filters: division value in the Meshing box and select an op-
1. Right-click the material in the Materials table tion from the list.
and choose Add to Selection Filter from the context
menu. Shift-click to select several materials at once. Select: To:
2. Choose Edit | Selection | Filter or click the Selec- == Select surfaces with mesh subdivision
tion Filter Dialog button on the toolbar. equal to the specified value.
<> Select surfaces with mesh subdivision
greater than or less than (but not equal
to) the specified value.
< Select surfaces with mesh subdivision
less than the specified value.
<= Select surfaces with mesh subdivision
less than or equal to the specified value.
41
4 The Interface
2. Click the Luminaires tab.

Select: To:
> Select surfaces with mesh subdivision
greater than the specified value.
>= Select surfaces with mesh subdivision
greater than or equal to the specified val-
ue.
5. To reset the parameters to the default settings,

click Reset Parameters.
6. Enable Use Selection Filter or click the Use Selec-
tion Filter button on the toolbar.
7. Select the Surface filter .
8. To select all surfaces in the model that meet the
specified criteria, use the Select All tool .
9. To select all surfaces that have at least one vertex 3. Click a processing parameter to toggle its state.
in an area and that meet the specified criteria, use the
Select Any Vertex tool . Use: To:
10. To select all surfaces that have all of their vertices Select luminaires that have this parame-
within an area and that meet the specified criteria, ter enabled.
use the Select All Vertices tool . Select luminaires that have this parame-
ter disabled.
To remove a material from the criteria list:
Disregard this parameter for luminaire
1. Choose Edit | Selection | Filter. selection.
The Selection Filter dialog appears.
4. Enable Use Selection Filter or click the Use Selec-
2. On the Surfaces panel, double-click the material tion Filter button on the toolbar.
that you want to remove, or select it, right-click, and
5. Select the Luminaires filter .
choose Remove from the context menu.
6. To select all luminaires that meet the specified
The selected material is removed from the list.
criteria, use the Select All tool .
To use luminaire selection filters: 7. To select all luminaires that have at least one ver-
tex in an area and that meet the specified criteria, use
1. Choose Edit | Selection | Filter.
the Select Any Vertex tool .
The Selection Filter dialog appears.
8. To select all luminaires that have all of their ver-
tices within an area and that meet the specified crite-
ria, use the Select All Vertices tool .
42 Lightscape
Transforming Objects ❚❘❘
To disable selection filters:

Click the Use Selection Filter button on the
Edit | Constrain To Axis | Aim
toolbar, or choose Edit | Selection | Filter and
disable Use Selection Filter. Note: If the Transformation toolbar is not visible,
choose Tools | Toolbars. On the Toolbars dialog
The Select All, Select Any Vertex, and Select All that appears, double-click Transformation, then
Vertices tools are no longer limited by the surface or click Close.
luminaire selection filters.
You can use the “ ‘ ” key to cycle through the axes
constraints. The current axis constraint will be
Transforming Objects selected on the toolbar.
Use the Transformation tools to control the place-
ment of geometry in the model. You can use the Using the Transformation Toolbar
buttons on the Transformation toolbar to move (or Use the Transformation toolbar to interactively
rotate) objects by dragging them in the Graphic move and rotate objects, select axes constraints, and
window, or you can use the options on the Transfor- use the Aim tool. You can perform additional trans-
mations dialog. formations (scaling an object, for example) on the
Transformation dialog. For more information, see
Rotate Constrain to XY
Constrain to Y Constrain to YZ
“Using the Transformation Dialog” on page 45.
Move
Use Move to change the placement of selected
objects in your model. You can limit movement to
Move Constrain to Z Aim any axis (or any two axes) by clicking the appropriate
Constrain to X Constrain to ZX axis constraint button.
You can use any of the following methods to access Note: Using the hot key (Shift+M) has the same
effect as clicking the button on the toolbar.
the transformation tools.

Rotate
Use Rotate to rotate selected objects. You can
Edit | Move Shift+M
constrain rotation to any axis (or any two axes) by
Edit | Rotate Shift+E clicking the appropriate axis constraint button.
Edit | Constrain To Axis | X
Note: Using the hot key (Shift+N) has the same
Edit | Constrain To Axis | Y effect as clicking the button on the toolbar.
Edit | Constrain To Axis | Z
Constrain to X
Edit | Constrain To Axis | XY Use Constrain to X to limit the movement and
Edit | Constrain To Axis | ZX rotation of objects to the X axis.
Edit | Constrain To Axis | YZ
43
4 The Interface
Constrain to Y Using Drag Increments

Use Constrain to Y to limit the movement and You can use drag increments to move (or rotate) an
rotation of objects to the Y axis. object incrementally along one (or any two) axes in
the Graphic window.
Constrain to Z
Use Constrain to Z to limit the movement and Edit Drag Increments
rotation of objects to the Z axis.
Constrain to XY
Use Constrain to XY to limit the movement and
Use Drag Increments
rotation of objects to the XY plane.
You can customize the drag increment values for
Constrain to ZX
each axis and toggle them on or off. The drag incre-
Use Constrain to ZX to limit the movement and
ments are in the model units. For more information,
rotation of objects to the ZX plane.
see “Setting Units Properties” on page 46.
Constrain to YZ
To use drag increments:
Use Constrain to YZ to limit the movement and
rotation of objects to the YZ plane. 1. Click the Edit Drag Increments button or
choose Edit | Transformation and click the Drag In-
Aim crements tab.
Use Aim in conjunction with Rotate to The Drag Increments panel of the Transformation
constrain the rotation of the block (or luminaire) to dialog appears.
its local Z axis.
To interactively move an object:

1. Select an object. For more information, see “Se-
lecting Objects” on page 38.
2. Click Move .
Note: Once you have selected an object, you can

also right-click and choose Move.
3. Select the appropriate axis constraint. For exam-

ple, to move the object along the X axis only, click
2. To set the number of incremental units an object
Constrain to X . can move along an axis, enter the appropriate value
Note: Once you have selected an object, you can in the Move X, Y, or Z box.
also right-click and choose Constrain to Axis | X. 3. To set the number of incremental degrees an ob-
ject can rotate along an axis, enter the appropriate
4. In the Graphic window, click and drag the object
value in the Rotate (Deg) X, Y, or Z box.
to the required position.
44 Lightscape
Setting Document Properties ❚❘❘
4. Enable Use Drag Increments to use the Drag In- Setting Display Properties
crements settings during interactive transforma- Use the Display properties to control how the model
tions, or click the Use Drag Increments is displayed on your monitor.
button on the toolbar.
Brightness
Using the Transformation Dialog Use this option to control the brightness of the image
You can use the Transformation dialog to move, displayed on your monitor or rendered. This option
rotate, and scale objects, transform the insertion does not affect the actual lighting levels in the model.
points of blocks and luminaires, and set the drag
increments for interactive transformations. Contrast
Use this option to control the contrast of the image
For more information, see “Using Drag Increments” displayed on your monitor or rendered.
on page 44.
Ambient
To display the Transformation dialog: Use this option to choose the percentage of the
Choose Edit | Transformation. available ambient light used when you enable ambi-
ent approximation during the Solution stage. For
The Transformation dialog appears. more information on ambient approximation, see
“Ambient” on page 37 and “Ambient Approxima-
tion” on page 171.
Luminaire Icon Size

Use this option to control the size of the icon repre-
senting the energy distribution assigned to a lumi-
naire. For example, to confirm the placement of
small luminaires in large models, you may need to
increase the icon size. By default, these icons corre-
spond to the size of the luminaire.
To set the display properties:

For more information about transforming specific 1. Choose File | Properties.
objects, see “Working with Blocks” on page 85,
The Document Properties dialog appears.
“Working with Surfaces” on page 95, and “Editing
Luminaires” on page 139.
Setting Document Properties

Properties are the general parameters and defaults
stored with each model. You can modify Display,
Units, Colors, Fog, Paths, and Display Interactivity
properties. The following sections describe the
property options in detail.
2. Click the Display tab.
45
4 The Interface
3. Set the Brightness, Contrast, Ambient, and Lu- To set the units properties:
minaire Icon Size options as required by using the 1. Choose File | Properties.
sliders, or by entering values directly in the corre-
sponding boxes. The Document Properties dialog appears.
2. Click the Units tab.
4. Click OK.
3. Set the Length, Lighting, and Time options by
Setting Units Properties choosing settings from the corresponding lists.
Use the Units properties to determine the default 4. Click OK.
units to work with in the model. The current length
units are displayed on the status bar.
Setting Color Properties
Use the Colors properties to set the default colors for
Length
various elements of the display.
Use this option to specify the units of length used in
the model. You can choose either millimeters, centi-
Background
meters, meters, kilometers, inches, feet, or miles.
Use this option to set the color displayed in the back-
Note: Changing the units does not change the size ground of the Graphic window.
of the model. For example, a surface that is 1 meter
long will be 3.28 feet long if feet are the selected Wireframe
units. Use this option to set the color of the lines in Wire-
frame display mode. For more information on
Lighting display modes, see “Controlling the Display” on
Use this option to specify the unit system to use for
page 35.
lighting. You can choose either International or
American. Mesh
Use this option to set the color of the mesh in
Time Outlined display mode. For more information on
Use this option to specify the time units to use for an
display modes, see “Controlling the Display” on
animation setup. You can choose seconds, minutes,
page 35.
or hours.
46 Lightscape
To set the colors properties:

Select: To:
1. Choose File | Properties.
Fog Create a uniformly dense fog that be-
The Document Properties dialog appears. comes opaque at some distance, de-
pending on the density setting. This is
2. Click the Colors tab. what fog usually looks like in reality.
Haze Create a fog that is similar to the fog
type but seems to get much denser in
the distance, while leaving nearby ob-
jects virtually unobscured.
Density
Use this option to set the density of the fog. The
3. Use the color picker to set the required color. range is 0 to 1, with 1 representing the densest fog
4. Apply the color to the Background, Wireframe, effect.
and/or Mesh settings by clicking the corresponding
left-arrow buttons or by entering the color values in Fog Color
the corresponding boxes directly. Use this option to select the color of the fog. You can
5. To reload an assigned color into the color picker choose the color (using HSV or RGB values) in the
for editing, click the right arrow button correspond- color picker.
ing to the appropriate option.
To set the fog properties:
6. Click OK.
Setting Fog Properties The Document Properties dialog appears.

Use the Fog properties to provide better depth 2. Click the Fog tab.
cueing by making items that are at a distance appear
dimmer. Fog is only a display technique; it does not
affect, nor is it affected by, the lighting of the scene.
Function
Use the Function list to select the fog type. You can
choose Disabled, Linear, Fog, or Haze. The default
setting is Disabled.
Select: To:
3. Choose the type of fog from the Function list.
Disabled Disable the use of fog in the model.
4. Use the Density slider to set the fog density, or
Linear Create fog that is clear at the near enter a value directly in the Density box.
plane and opaque at the far plane. The
density increases linearly from the 5. Use the color picker to set the Fog Color.
near plane to the far plane. 6. Click OK.
47
4 The Interface
Setting Paths Properties 4. Select an option in the path list tree.

The path lists are the list of directories Lightscape
Select: To:
searches to find a file. Use the Paths properties to set
the path lists for a document, a user, the system, or Document Set the paths that are specific to the
the environment. particular document (project) with
which you are working.
You can specify Luminaire and Texture path lists, as
User Set the paths that are always
well as remove and reorder the paths. searched for all documents for a
particular user.
Directories For
System Set the paths that are always
Use the Directories For list to select the type of path
searched for all documents for all
list to edit. You can choose either Luminaire Distri-
users.
butions or Textures.
Environment Set the paths that are always
The paths are searched in the order that they appear, searched for all documents for all
beginning at the top of the list. You can select an users in the Windows NT environ-
entry in the path list and use the up and down arrow ment.
buttons to change the ordering.
5. Click New, navigate to the appropriate path in
the Browse Directory dialog that appears, then click
New
OK.
Use the New button to launch the Browse Directory
dialog, which you use to select a path to add to the
path lists.
Remove
Use the Remove button to delete a selected path from
the path list.
To set the paths properties:

The Document Properties dialog appears.
2. Click the Paths tab.

The path is added to the selected list.
3. Select a list type from the Directories For list.
48 Lightscape
6. To reorder an item in a path list, select it and use second surface, with a corresponding increase in
the up and down arrow buttons. display speed.
7. To remove a path from a path list, select it and The default setting is 1 (display every surface).
click Remove.
In the Solution stage, adjusting the Draw Every Nth
8. Click OK.
Face setting resets the value of Level of Detail to 100.
Setting Display Interactivity Enable Preview to preview your changes without

Properties exiting the dialog.
Use the Display Interactivity properties to control
Level of Detail
the amount of redrawing required while working in
Use this option to control the amount of detail
your model. Navigating interactively through
displayed, rather than simply controlling the
complex models with a large number of surfaces in
number of surfaces displayed. Use this option
real time requires more processing power than many
during the Solution stage to control display quality
desktop computers have. You can choose to decrease
more selectively than with the Draw Every Nth Face
the quality of the interactive display to increase
option.
performance.
When the Level of Detail is set below 100, the quality
Interactive Speed of the image begins to degrade, as the system avoids
Use this option to control when a redraw of the redrawing distant objects and smaller polygons. At
screen occurs. lower settings, more detail is dropped from the
display.
Enable: To:
The default setting is 100 (maximum level of detail).
Redraw on Mouse Cause a redraw at full quality
Release when you release the mouse Adjusting Level of Detail setting resets the value of
button after interactively the Draw Every Nth Face setting to 1.
changing the model view.
Enable Preview to preview your changes without
All Redraws at Redraw according to the Draw
Interactive Speed Every Nth Face or Level of De- exiting the dialog.
tail settings.
Max Display Texture Size
Note: You can also choose Display | Draw or press Use this option to scale the size of the textures used
F7 to redraw the Graphic window at full quality for interactive display. This option does not affect
display at any time. the size of textures used for radiosity or ray tracing.
Draw Every Nth Face Select: To:

Use this control to reduce the number of surfaces
Unlimited Display textures at full size.
displayed. This can help to retain interactive display
speeds when working with complex models (models 256 x 256 Display textures at 256 x 256 pixels
per inch.
with a large number of surfaces). For example,
setting Draw Every Nth Face to 2 displays every 128 x 128 Display textures at 128 x 128 pixels
per inch.
49
4 The Interface
Select: To: Setting System Options

The system options are the general parameters and
64 x 64 Display textures at 64 x 64 pixels
per inch. defaults stored with your Lightscape application.
You can modify preview, drag and drop, and envi-
32 x 32 Display textures at 32 x 32 pixels
ronment options. The following sections describe
per inch.
the system options in detail.
At lower settings, the texture is scaled down and is
displayed as an accurate representation of the
Setting Preview Control Options
texture, with less detail. Reducing the size of the
Use the Preview Control options to customize the
texture can significantly improve display speed.
material, block, and luminaire previews.
To set the display interactivity properties: Background Image

1. Choose File | Properties. Use this option to specify the background image in
The Document Properties dialog appears. the material preview.
2. Click the Display Interactivity tab. Reflected Image

The Display Interactivity panel appears. Use this option to specify the reflected image in the
material preview.
Defaults
Use this option to restore the background and reflec-
tion images to the default settings.
Display Loaded Textures

Use this option to view assigned textures in the block
and luminaire previews.
3. Enable an Interactive Speed mode.
4. Choose either the Draw Every Nth Face or Level
of Detail option, and specify a value by using the cor-
responding slider or by entering a value directly in
the appropriate box.
Note: You can set the Level of Detail option in the

Solution stage only.
5. To choose a scaling factor for displayed textures,

select an option from the Max. Display Texture Size
list.
6. Click OK.
50 Lightscape
Setting System Options ❚❘❘
To set the preview options: Setting Drag and Drop Options

1. Choose Tools | Options. Use these options to control how Lightscape imports
materials, blocks, and luminaires when using the
The Options dialog appears.
drag and drop method.
IES Drop Destination

Use this option to specify the directory to which
Lightscape saves IES files when you drag and drop
them into the Photometric Web Editor.
For more information, see Chapter 8, “Artificial

Lighting.”
Texture Drop Destination

Use this option to specify the directory to which
Lightscape saves texture image files when you drag
and drop them from LVu, for example.
For more information, see Chapter 7, “Using

2. Click the Preview Control tab.
Materials.”
3. To use a custom background or reflection image,
click the appropriate Browse button, select the re- To set the drag and drop options:
quired image file in the Open dialog that appears,
and then click Open. 1. Choose Tools | Options.
4. To restore the default background and reflection The Options dialog appears.
images, click the Defaults button. 2. Click the Drag and Drop tab.
5. To display textures in the block and luminaire
previews, enable Display Loaded Textures.
6. Click OK.
Note: If the background and reflection images are

not visible in the Materials table, right-click in the
preview and enable Background and Reflection.
For information about using the previews, see

“Customizing Material Previews” on page 20, and
“Customizing Block and Luminaire Previews” on
page 22.
51
4 The Interface
3. To cause a warning to appear when importing an To set the environment options:

object or material with the same name as an existing 1. Choose Tools | Options.
object or material, enable Prompt Before Overwrit-
ing Existing Materials, Blocks, and Luminaires. The Options dialog appears.
4. To choose an IES or texture drop destination, 2. Click the Environment tab.

click the appropriate Browse button, select the re-
quired directory in the Open dialog that appears,
and then click Open.
5. Click OK.
Setting Environment Options

Use the Environment options to customize your
Lightscape application environment.
Cross Hair Size

Use the Cross Hair Size slider to adjust the size of the
crosshairs that appear when orienting luminaires,
for example.
Recent File Lists 3. To set the size of the crosshairs, enter a value in
the Cross Hair Size box or adjust the slider.
Use the Recent File Lists options to set the maximum
number of files listed (for quick access) in the Light- 4. To automatically adjust dialogs that may have
scape menus. moved beyond your viewing area, enable Reposition
Dialogs Which Are Off-Screen.
Use: To:
5. Enter the required values in the Recent File Lists
LS and LP Files Set the maximum number of boxes, then click OK.
Preparation (.lp) and Solution
(.ls) files listed in the File menu.
Animation Files Set the maximum number of
Animation (.la) files listed in the
Animation menu.
Layer Files Set the maximum number of
layer state (.lay) files listed in the
Layers table context menu.
View Files Set the maximum number of
view (.vw) files listed in the View
menu.
52 Lightscape
Importing Geometry
5
How to import geometry from
The first step in creating a lighting simulation is to import a geometric model into
Lightscape. You can import models from a wide variety of CAD and modeling
applications.
modeling applications.
Summary • Group objects into blocks and layers

In this chapter, you learn about: • Overwrite or merge to the current project
• Common import tasks • Adjust the light intensity scale.
• Importing DXF™ files
Note: For the best results, you should build your
• Importing DWG files models with Lightscape in mind. Controlling
polygon count and how surfaces are formed and
• Importing 3D Studio® files intersect is important for achieving efficient
processing and artifact-free results. For more infor-
• Importing a LightWave 3D™ scene mation, see “Modeling Guidelines” on page 192.
• Exporting models from 3D Studio MAX® or 3D
Studio VIZ® Specifying Units of Measurement
The lighting in an area depends on the size of the
area. For example, the light from a 60-watt bulb
Common Import Tasks looks different in a room with a 6-foot high ceiling
When importing geometry from any modeling than in a room with a 6-meter high ceiling. There-
application, you must: fore, when you import or export a model, it is
• Specify the units of measurement important to indicate the units of measurement the
values in the incoming file represent.
• Verify the coordinate system
53
5 Importing Geometry
The procedures for this task vary slightly depending selected instead. Consider the following example:
on your modeling system. For information on you import a model using inches as the unit of
importing DXF files, see “Specifying Units of measurement; you then measure a wall, and find that
Measurement” on page 57. For information on it measures 10 inches instead of 10 feet. It is apparent
exporting from 3D Studio MAX or importing 3D that you should have used feet when importing the
Studio files, see “Specifying Units of Measurement” model. Import the model again using the correct
on page 73. units.
Measuring Distance Note: After you import the model into Lightscape
If you are not sure that you used the correct units you can change the units in which you want to
work. This operation has no effect on the physical
when importing the model, measure a known size of the model—it simply converts the existing
distance in the model to confirm the scale of the dimensions to the new units selected. For example,
model before you begin to work on it. a 10-foot wall becomes a 120-inch wall—not a 10-
inch wall. To convert the working units, choose
To measure the distance between two points: File | Properties, then select the units in the Docu-
ment Properties dialog.
1. Choose Tools | Measure Distance.
The Measure Distance dialog appears. Converting Coordinate Systems
Lightscape uses a right-handed X Y Z Cartesian
coordinate system. If your modeling application
uses a different coordinate system than Lightscape,
convert the coordinate system when importing the
model.
<
2. To pick a point at the corner of a surface, enable :

Snap to Nearest Vertex.
3. In the model, click two points to measure the When viewed from the front, positive X is toward the right,
distance between them. positive Y is toward the back, and positive Z is upward.
The distance between the two points appears in the

Distance dialog. To convert a coordinate system:
1. On a piece of paper, draw the axes of the import-
Confirm that the measured distance makes sense ed system next to the axes of the Lightscape coordi-
given the scale of your model. If it does not, then you
can usually determine which setting you should have
54 Lightscape
Common Import Tasks ❚❘❘
nate system, and note the correspondence between Grouping Objects into Blocks and
the two systems. Layers
\ Z When importing a model, you may want to group
[ objects into blocks and layers to organize them and
reduce file size.
Z [
The options available for creating blocks and layers
\
vary slightly depending on your modeling system:
The Lightscape Coordinate system of
coordinate system the imported model • For information about DXF files, see “Grouping
Objects into Blocks” on page 59.
In this example, X, Y, and, Z in the Lightscape coor-
• For information about 3DS files, see “Grouping En-
dinate system correspond to Y, Z, and, X in the
tities into Blocks” on page 67.
coordinate system of the imported model.
• For information about 3D Studio MAX or 3D Stu-
2. In the Coordinate Transformation list of the im-
port or export dialog, select the axes that correspond dio VIZ, see “Grouping Objects in Blocks” on page
to the X, Y, and Z axes in Lightscape. In this example, 74.
you select Y, Z, X.
Overwriting or Merging
In Lightscape, you can open only one file at a time. If
a project is open when you import or open a file, you
can either close the current project to make room for
the incoming file or merge the incoming project to
the current project.
To create a single Lightscape project file from
3. To change the direction of an axis, enable Mirror multiple files, import or open the first file, and then
Coordinates for that axis. In this example, mirror the merge the others.
Z axis.
Geometry that exists in specific layers in the
incoming model is appended to existing layers of the
same name. New layers are added to the existing
Layers table.
In the Coordinate Transformation box, a minus (-) Block definitions in the incoming model overwrite
sign appears in front of Z, indicating that the X, Y, blocks of the same name in the existing model. This
and Z axes in Lightscape correspond to the Y, -Z, changes all instances of that block.
and X axes in the imported model.
Note: If you have done preparation work on a
block in Lightscape (setting materials or orienta-
tion, for example), you will lose that work if you
merge a file with a block of the same name. To
avoid this situation, you should either rename the
55
block in Lightscape or save it first to a block library Using Third-Party Applications

that could then be loaded back into your model, if A number of third-party CAD software manufac-
necessary.
turers provide support for Lightscape export from
their applications. For information on these
To merge files:
programs, consult the respective suppliers.
1. Choose File | Merge.
The Open dialog appears.
2. Navigate to the Lightscape Preparation file that

Importing DXF Files
you want to merge, then click Open. The DXF file format was designed by Autodesk® and
is now considered an AEC industry standard for the
The selected file is merged with the current Light- exchange of geometric data. Most commercial CAD
scape Preparation file. and modeling applications can export to DXF files.
Note: You can also merge files imported from This method is useful for models created in
other formats. See “Overwriting or Merging” on modeling applications that output the DXF file
page 63, and “Overwriting or Merging” on page 69. format and do not support the DWG format.
Lightscape currently imports most of the DXF enti-
Adjusting Light Intensity ties that can be converted to polygons.
When you bring lights from your modeling program
into Lightscape, you should adjust the Maximum Note: ACIS® solids, lights, and cameras are not
Light Intensity Scale. This converts relative light supported by the DXF file format. To import these
entities, use the DWG or 3DS file format. For more
intensities in the modeling package to physical units
information, see “Importing DWG Files” on page 62
used by Lightscape. For more information, see and “Importing .3DS files” on page 65.
“Importing Lights” on page 67 and “Exporting
Lights” on page 75. To import a DXF file:
1. In Lightscape, choose File | Import | DXF.
Supported Formats The Import DXF dialog appears.
Lightscape directly imports the DXF and DWG file
formats, which are supported by most modeling 2. Do one of the following:
packages. • Enter the filename in the Name box
In addition, you can import and export files from 3D • Click Browse, navigate to the appropriate file in the
Studio MAX, 3D Studio VIZ, and Newtek Light- Open dialog that appears, and then click Open.
Wave 3D using the plug-ins included with
3. Modify the options (described in the following
Lightscape. These plug-ins are installed when you
sections) on the dialog as required, or use the default
first install Lightscape. settings.
56 Lightscape
Importing DXF Files ❚❘❘
4. Click OK. Note: If you modify your original model in

AutoCAD and merge the altered layers to the
model in Lightscape, the imported surfaces do not
Overwriting or Merging overwrite the existing ones. As a result, the modi-
When you import a DXF file, you can either over- fied layers will contain the old and new versions of
write an open Preparation file with the incoming file the geometry. To avoid this situation, either delete
or merge the incoming geometry to the open file. or rename the affected layers in Lightscape before
merging the modified DXF file.
Block definitions in the incoming model overwrite

blocks of the same name in the existing model. This
changes all instances of that block.
Overwrite Note: If you have done preparation work on a

block in Lightscape (setting materials or orienta-
Select Overwrite to create a new Lightscape model
tion, for example), you will lose that work if you
with the same name as the DXF file. Make sure you merge a DXF file with a block of the same name. To
save your work before importing a new file using the avoid this situation, you should either rename the
Overwrite option. block or save it first to a block library that could
then be merged with the DXF file.
Merge
Select Merge to add the objects in the selected DXF Specifying Units of Measurement
file to the current model. The default properties of DXF files do not explicitly indicate what units were
the current model are maintained. used (for example, inches, feet, or meters) or their
Geometry that exists in specific layers in the values. Because the effect of lighting in a model
incoming model is appended to existing layers of the depends on the dimensions of the model, it is impor-
same name. New layers are added to the existing tant to indicate what units were used when loading a
Layers table. DXF file.
The Import DXF Dialog
57
To specify units of measurement: Enable Capping to close the top and the base of
1. In the Import DXF dialog, select a unit from the objects that have thickness.
File Units list.
Polygon imported with Polygon imported with

2. If the units in the model do not represent whole capping disabled capping enabled
physical units, set a scaling factor. For example, if the
model has a scale of 1 unit to 500 meters, select If the entities have no thickness, enable Capping to
meters as the unit and 500 as the scale factor. convert them into surfaces—for example, enable
Capping to convert a circle into a disc. If Capping is
disabled, circles and closed polylines with no width
and no thickness are not imported.
When you import the model, the size of your model

appears and you are prompted to confirm that it
makes sense. If it seems wrong, click Cancel, and
Import it again using the correct units. Circle in a DXF file Circle imported with
capping enabled
If you are not sure of the size of the entire model, you
should check the size of a smaller area after you
import the model into Lightscape. For more infor- Translating Geometry: Smoothing
mation, see “Measuring Distance” on page 54. Groups
Curved surfaces in Lightscape are represented by
polygonal facets. If Smoothing Groups is enabled,
Translating Geometry: Capping Lightscape converts thick 2D polylines and 3D
Capping controls how the system converts circles polygon and polyface meshes to quadrilaterals in a
and closed polylines with no width. smoothing group. If facets are part of a smoothing
group, Lightscape can create a smooth curved
appearance between these facets when they are
displayed and rendered.
Lightscape automatically creates smoothing groups

for extruded arcs and circles, as well as for 3D poly-
gon meshes with a smooth surface type, regardless
of if the Smoothing Groups option is enabled or not.
58 Lightscape
Setting the Angle Between Normals system divides arcs, circles, and arc segments in 2D
Use the Angle Between Normals to establish a polylines.
threshold at which adjacent facets in a smoothing
group should be rendered with sharp or smoothed
edges. If the angle between the normals (vector
perpendicular to the facet) of the adjacent facets
incident on a vertex is larger than the value of the
Angle Between Normals, the sharp edge is preserved
Smoother profile: Circle Coarser profile: Circle
for that vertex.
imported with Number imported with Number of
of Arc Segments set to 12. Arc Segments set to 6.
Angle Between Normals of the polygons is 45°
Arcs are divided into a number of segments propor-

tional to their subtended angle. For example, an arc
spanning 180° is divided into half as many segments
as a circle.
Appearance if smoothing Appearance if smoothing

angle is set to less than 45° angle is set to greater than 45
Smoothing only affects the appearance between the Arc imported with Arc imported with
edges of adjacent polygons—it will not smooth the Number of Arc Number of Arc
Segments set to 12. Segments set to 6.
profile of objects. To control the smoothness of the
profile, adjust the number of arc or curve segments.
Grouping Objects into Blocks
Note: You can also create smoothing groups and When you import a DXF file, the layering and block
adjust smoothing after you import your model. For
structure of the DXF format is preserved.
more information, see “Smoothing Surfaces” on
page 98. In addition, you can organize top-level entities (enti-
ties not already included in a block) by grouping
Number of Arc Segments
them into blocks, as required.
Use the Number of Arc Segments option to control
the number of straight line segments into which the
59
As Is By default, when you import a DXF file, Lightscape

Select this option to create no additional blocks. assigns materials to surfaces based on the color
numbers in the DXF file. If an item does not have a
As One Block color number, Lightscape uses the color assigned to
Select this option to group all top-level entities in a the layer containing the item.
single block. When you select this option, a Name
box appears where you enter the block name. To automatically replace these simple color materials
with more robust materials, create a material map
By Color Index and then use it when importing the DXF file. For
Select this option to group top-level entities example, you can map a material called “oak” onto
according to their DXF color index. The block name every surface that is drawn with color 1.
is COLORddd, where ddd is the color index. By using the material map technique, you can avoid
redefining all the materials each time you reload a
By Layer
DXF file. The actual colors you use when building
Select this option to group top-level entities
the model in your CAD application are not impor-
according to their DXF layer. The block name is the
tant. What is important is to remember that each
name of the DXF layer.
color number you use represents a specific material
in Lightscape. All objects that are the same material
By Entity
should be constructed using the same color number.
Select this option to create a block for each DXF
entity. (Once it is imported into Lightscape, each
Creating Material Maps
entity may contain one or more polygons.)
The first time you work on a model, you should
The block name is PREFIXdd, where PREFIX is the define all the materials you initially want to use and
name of the entity in uppercase letters—for then create the material map. Any subsequent DXF
example, CIRCLE—and dd is a unique number files you load for the same model, or other models,
assigned to each entity. can use the material map to automatically assign the
materials defined in the earlier model.
Converting XYZ Coordinates
To create a material map:
Although Lightscape uses the same coordinate
system as standard AutoCAD DXF, you may need to 1. Create or load the Lightscape materials you want
transform the coordinates when importing data to use in your model.
from other modelers’ versions of the DXF file 2. Choose Tools | Material Map.
format. For more information, see “Converting The Material Map dialog appears.
Coordinate Systems” on page 54.
3. On the left side of the Material Map dialog, select
a material name.
Mapping Materials
Use material maps to associate a color number in the
DXF file to a material definition in Lightscape.
60 Lightscape
4. On the right side of the Material Map dialog, se- For information on working with luminaires, see
lect the color index that you want to assign to it. Chapter 8, “Artificial Lighting.” For information on
working with blocks, see Chapter 6, “Refining
Geometry.”
To use block libraries:

5. Click Assign. 1. In the Import DXF dialog, click the Add button
next to the Block and Luminaires Libraries box.
The material name appears next to the index
number on the right side of the dialog. The Open dialog appears.
2. Navigate to the location of the block library you

want to use, select the appropriate file, and then click
Open.
The selected block library is added to the list.
6. Click Save, and then enter a filename and loca-
tion to save the material map.
To use a material map when importing a DXF file:

1. In the Import DXF dialog, click the Browse but-
ton next to the Material Map box.
3. To add another block or luminaire library to the
2. Navigate to the location of the material library list, click Add again.
you want to use, select the appropriate file, and then When you import the DXF file, the system searches
click Open.
the selected block libraries and replaces any block in
Note: Material maps are saved in .mm files. the DXF file with a block or luminaire of the same
name stored in the libraries. If the block is in two
When you import the DXF file, Lightscape material libraries, the system uses the first occurence.
definitions replace all the color indices in the DXF
file.
Using Orientation Blocks
Use orientation blocks to automate the orientation
Using Block and Luminaire Libraries of surfaces during the importing process.
When you import a DXF file, you can map pre-
existing Lightscape block and luminaire definitions When you import the model, the insertion point of
to incoming DXF blocks of the same name. an orientation block is converted to a focus point,
and all associated surfaces in the model are oriented
Saving blocks to a block library ensures that each based on that focus point. This reduces the amount
time you load a DXF file, the geometry does not
need to be prepared again in the subsequent Prepa-
ration stage.
61
of orientation work required once the model is only the surfaces that are part of the specific block
imported into Lightscape. into which the focus point is inserted. Surfaces that
are part of other sub-blocks are not affected.
• A focus point in a block takes precedence over a fo-

cus point in a layer. For example, if a block with a fo-
cus point is added to a layer that has a focus point,
the system orients the surfaces in the block in rela-
tionship to the focus point in the block and not to
the focus point in the layer. However, it orients all
other surfaces in the layer in relationship to the focus
point of the layer.
FOC_OUT FOC_IN FOC_IN
For more information on surface orientation, see Importing DWG Files

Chapter 6, “Refining Geometry.” DWG is the native file format for AutoCAD drawing
files.
To use orientation blocks:
In AutoCAD, create a block and give it one of the To import a DWG file:
following names: 1. In Lightscape, choose File | Import | DWG.
Choose: To: The Import DWG dialog appears.

FOC_IN Set surface normals to point toward
the insertion point of the block.
FOC_OUT Set surface normals to point away
from the insertion point of the block.
When you import the model, the block’s insertion

point is converted to a focus point, but the block’s
geometry is not imported.
Lightscape associates surfaces with a focus point

using the following rules: 2. Do one of the following:
• Each layer can contain a single focus point. The sys- • Enter the filename in the Name box.
tem orients all independent surfaces in that layer in
• Click Browse, navigate to the appropriate file in the
relationship to the inserted focus point block, either
Open dialog that appears, then click Open.
toward it if the block is called FOC_IN or away from
it if the block is called FOC_OUT. Note: Use the Name list to select recently-
imported files.
• A block can contain a focus point. The system ori-
ents all surfaces in the block in relationship to that
focus point. In nested blocks, the focus point affects
62 Lightscape
Importing DWG Files ❚❘❘
3. Modify the options (described in the following To specify units of measurement:

sections) on the dialog as required, or use the default 1. In the Import DWG dialog, select a unit from the
settings. File Units list.
4. Click OK.
The DWG file is imported into Lightscape.
When you import a DWG file, you can either over-
write the current Preparation file with the incoming
file or merge the incoming geometry with the open 2. If the units in the model do not represent whole
file. physical units, set a scaling factor. For example, if the
model has a scale of 1 unit to 500 meters, select
meters as the unit and 500 as the scale factor.
Overwrite
with the same name as the DWG file. Make sure you
save your work before importing a new file using the When you import the model, the size of your model
Overwrite option. appears and you are prompted to confirm that it
Merge Import it again using the correct units.
Select Merge to add the objects in the selected DWG
file to the current model. The default properties of If you are not sure of the size of the entire model, you
the current model are maintained. should check the size of a smaller area after you
import the model into Lightscape. For more infor-
Geometry that exists in specific layers in the mation, see “Measuring Distance” on page 54.
incoming model is appended to existing layers of the
same name. New layers are added to the existing
Layers table. Grouping Objects into Blocks
When you import a DWG file, the layering and block
structure of the DWG format is preserved.
Specifying Units of Measurement
DWG files do not explicitly indicate what units were In addition, you can organize top-level entities (enti-
used (for example, inches, feet, or meters) or their ties not already included in a block) by grouping
values. Because the effect of lighting in a model them into blocks, if required.
depends on the dimensions of the model, it is impor-
tant to indicate what units were used when loading a As Is
Select this option to create no additional blocks.
DWG file.
63
By Entity group, Lightscape can create a smooth curved

Select this option to create a block for each DWG appearance between these facets when they are
entity. However, faces will be imported as surfaces displayed and rendered. For more information, see
(not grouped into blocks). “Translating Geometry: Smoothing Groups” on
page 58.
Setting Geometry Options
Angle Between Normals
Use these options to control how layers and geom-
If Smoothing Groups is enabled, use this option to
etry are imported into Lightscape.
establish a threshold at which adjacent facets in a
smoothing group should be rendered with sharp or
smoothed edges. If the angle between normals
(vector perpendicular to the facet) of the adjacent
facets incident on a vertex is larger than the value of
the Angle Between Normals, the sharp edge is
preserved for that vertex.
ACIS Surface Deviation

Use this option to set the amount of surface devia-
Skip Off and Frozen Layers
tion when importing ACIS geometry.
Enable this option if you do not want to import
layers that are turned off or frozen.
Using Block and Luminaire Libraries
Cap Closed Entities When you import a DWG file, you can map pre-
Enable this option to close the top and the base of existing Lightscape block and luminaire definitions
entities that have thickness. Entities that have no to incoming DWG blocks of the same name.
thickness will be converted to surfaces when
Saving blocks to a block library ensures that each
imported.
time you load a DWG file, the geometry does not
Number of Arc Segments need to be prepared again in the subsequent Prepa-
Use this option to set the number of straight line ration stage.
segments into which the system divides arcs, circles, For information on working with luminaires, see
and arc segments in 2D polylines. Chapter 8, “Artificial Lighting.” For information on
Arcs are divided into a number of segments propor- working with blocks, see Chapter 6, “Refining
tional to their subtended angle. For example, an arc Geometry.”
spanning 180° is divided into half as many segments
as a circle.
Smoothing Groups
Enable this option to convert thick 2D polylines and
3D polygon and polyface meshes to quadrilaterals in
a smoothing group. If facets are part of a smoothing
64 Lightscape
Importing 3DS files ❚❘❘
To use block and luminaire libraries: To use a material map:

1. Click the Blocks, Luminaires, and Materials tab 1. Click the Blocks, Luminaires, and Materials tab
in the Import DWG dialog. in the Import DWG dialog.
2. Click the Add button next to the Block and Lu-
minaires Libraries box.
2. Click the Material Map Browse button, navigate

to the appropriate file in the Open dialog that ap-
pears, and then click Open.
Note: Material maps are saved in .mm files.
When you import the DWG file, Lightscape material

The Open dialog appears. definitions replace all the color indices in the DWG
file.
3. Navigate to the location of the library you want
to use, select the appropriate file, and then click
Open. Converting Lights
The Light Intensity Scale controls the intensity of the
The selected library is added to the list.
converted light. The DWG intensity is multiplied by
4. To add another block or luminaire library to the the value displayed in the Light Intensity Scale box.
list, click Add again. The result is the intensity of the converted light in
When you import the DWG file, the system searches candelas.
the selected block libraries and replaces any block in
the DWG file with a block or luminaire of the same
name stored in the libraries. If the block is in two
libraries, the system uses the first occurence.
Using a Material Map

Use material maps to associate a color number in the
Importing 3DS files
3D Studio is a modeling and rendering package
DWG file with a material definition in Lightscape.
from Autodesk that has its own file format for saving
For more information about creating material maps,
scenes. Lightscape imports this format by creating a
see “Mapping Materials” on page 60.
polygonal mesh based on the objects stored in the
3D Studio file. You can output this file format from
Autocad by using the 3DSOUT command.
65
Use the 3DS file format to import: 2. Do one of the following:
• Elements that you cannot export in DXF format, • Type the filename in the Name box
such as ACIS solids and lights. • Click Browse, navigate to the appropriate file in the
• Models created in 3D Studio version 2.0 or earlier. Open dialog that appears, and then click Open.
Note: The .3ds file format differs from the .max file 3. Select one of the following from the list next to
format created by 3D Studio MAX and 3D Studio the Browse button:
VIZ. For models created in 3D Studio MAX or 3D
Studio VIZ, you should use the LS2MAX plug-in. For Select: To:
more information, see “Exporting from 3D Studio Overwrite Replace the current model.
MAX or 3D Studio VIZ to Lightscape” on page 72.
Merge Add the imported geometry to the
current model.
To import a .3DS file:
1. Choose File | Import | 3DS. For more information, see “Overwriting or
The Import 3D Studio dialog appears. Merging” on page 63.
4. Select the units of your model. For more infor-

mation, see “Specifying Units of Measurement” on
page 73.
settings.
6. Click OK.
The model is imported.
Import 3D Studio dialog
Block Creation list
Layer Creation list

Maximum Light
Intensity Scale
66 Lightscape
Importing 3DS files ❚❘❘
Grouping Entities into Blocks Use the Maximum Light Intensity Scale to convert
Select one of the following options from the Block relative light intensities in 3D Studio files to physical
Creation list to organize entities into blocks: units used by Lightscape.
Select: To: Note: Lighting results in 3D Studio and Lightscape

are almost certain to be different due to their
None Create no blocks. Each entity is a sur- lighting algorithms. For information on adjusting
face. This is the default method. lights, see Chapter 8, “Artificial Lighting.”
Single Group all entities in a single block.
Mesh Create a block for each mesh entity. Coordinate Translation
3D Studio uses the same coordinate system as Light-
scape (X, Y, Z). However, if you want to mirror
Grouping Entities into Layers geometry, you can change the coordinate system
Select one of the following options from the Layer
when importing the 3D Studio file into Lightscape.
Creation list to organize all entities into layers:
For more information, see “Converting Coordinate
Select: To: Systems” on page 54.
Single Group all entities in a single layer. You

can name the layer or use the default Importing Materials
name. Each 3D Studio material is converted into a Light-
Mesh Create a layer for each mesh item. The scape material definition using the following 3D
name of the layer is the same as the Studio material attributes: diffuse color, transpar-
name of the entity in 3D Studio. This ency, shininess, shininess strength, shading type,
is the default creation mode. and self-illumination.
Lightscape preserves the texture mapping coordi-

Importing Lights nates set in 3D Studio, but it only converts texture
When importing lights from a 3D Studio file, the map 1 associated to the diffuse color. You can only
following conversions occur: use texture maps in supported Lightscape formats.
For more information, see Chapter 7, “Using
• The existing color is converted to a corresponding
Materials.”
light filter in Lightscape.
Enable Don’t Read Texture Data to import materials
• Circular and rectangular spotlights are converted
without textures.
to standard circular spotlights.
• The “no shadow casting” flag is preserved (if it had Note: When importing 3DS files, texture align-
been set). ment is not preserved. If you have 3D Studio MAX
or 3D Studio VIZ, import the 3DS file into 3D Studio
• The light intensity multiplier is used to scale the lu- MAX or 3D Studio VIZ and use the plug-in to export
minous intensity. the file. This will preserve full texture alignment.
67
Importing Animation To change the line color in Lightscape, choose

You can only import camera animation from a 3D File | Properties, and adjust the Wireframe color on
Studio file. Lightscape uses Catmull-Rom cubic the Color panel. For more information, see Chapter
Bézier spline construction between provided posi- 4, “The Interface.”
tion points. It linearly interpolates other information If fog is set in 3D Studio, the fog settings are
(field of view and target point). Lightscape does not imported but turned off in Lightscape. For informa-
currently support 3D Studio spline modifiers, such tion on setting fog in Lightscape, see “Setting Fog
as bias and tension. Properties” on page 47.
A single 3D Studio file can have several animation Other background information, such as texture
tracks. In such cases, Lightscape creates separate .la mapping or environmental effects, is not
files, named filename1.la, filename2.la, and so on, imported.
where filename is the name of the 3D Studio file. You
can only generate animation files with the stand-
alone command line utility 3ds2lp. Animation infor- Stop on Translation Error
mation is ignored from within the Lightscape When importing files, some translation errors may
application. For more information, see Chapter 15, occur that could minimally affect the data in the file.
“Animation,” and Appendix B, “Batch Processing You can ignore these error messages when you
Utilities.” import a file or you can select the Stop on Transla-
tion Errors option to have the import process stop
when it encounters an error.
Import Keyframe Instances
This controls whether the Keyframe section of the
3DS file is used to import instances of geometry in File Was Produced for/by 3DS MAX
the 3D Editor section of the 3ds file. If it is enabled, There is a subtle difference in the way 3D Studio and
an instance is imported for each instance in the 3D Studio MAX handle lights linked to cameras.
Keyframe. If any geometry in the 3D Editor is not This option tells the importer which way to interpret
referenced in the Keyframe, it will also be instanced the data to produce the same result.
once. If it is not checked, the geometry is imported
as is without using the Keyframe. In most cases, you
should enable Import Keyframe Instances. Importing a LightWave Scene
You can import a LightWave scene into your Light-
scape Preparation file.
Importing Background and Fog
If the background in the 3D Studio file is a solid
color, that color is used for the background in Light-
scape. If the background is white, it is converted to
gray in Lightscape so that white lines are visible.
68 Lightscape
Importing a LightWave Scene ❚❘❘
To import a LightWave scene: the incoming file or merge the incoming geometry
1. Choose File | Import | LightWave. to the open file.
The Import LightWave Scene dialog appears.
Overwrite
with the same name as the LightWave file. You
should save your work before importing a new file
using the Overwrite option.
Merge
2. Do one of the following: Select Merge to load the LightWave scene into the
• Enter the filename in the Name box current Lightscape model. Selecting Merge may
modify existing Lightscape blocks or materials.
• Click Browse, navigate to the appropriate file in the
Open dialog that appears, and then click Open.
Specify Units of Measurement
The root directory of the file you typed is automati- Because the effect of lighting in a model depends on
cally entered in the Content Directory box. the size of the model, it is important to indicate what
3. If the information in the Content Directory box units were used when the LightWave scene was
is not correct, enter the correct information. created. The Mirror Coordinates and Coordinate
Transformation settings default to the settings used
sections) on the dialog as required, or use the default by LightWave.
settings.
To specify units of measurement:
5. Click OK.
1. In the Import LightWave Scene dialog, select a
The LightWave scene is imported. unit from the File Units list.
When you import a LightWave file, you can either
overwrite an open Lightscape Preparation file with
2. If the units in the model do not represent whole

physical units, set a scaling factor. For example, if the
69
model has a scale of 1 unit to 500 meters, select Grouping Objects into Blocks
meters as the unit and 500 as the scale factor. Select one of the following options to organize
objects into blocks.
Object
Select this option to create a block for each Light-
Wave object. An instance of each object is placed in
the Lightscape model for each instance in the Light-
Wave scene.
When you import the model, the size of your model
appears and you are prompted to confirm that it
Import it again using the correct units.
Converting Textures Single

Enable the required options for importing textures, Select this option to created a single block
as follows. containing all instances of all LightWave objects.
Each instance of each LightWave object is expanded
Don’t Read Texture Data
in the block. No other blocks are created.
Enable this option to import materials without
textures. You can enter a block name in the Block Creation
Name box. If you do not enter a name, the name of
the LightWave scene is used by default.
None
Select this option to create no blocks. Each instance
of each LightWave object is expanded in the Light-
Average Texture Color scape model.
Enable this option to set the material color to the
average color of the texture. To use the surface color
Grouping Objects into Layers
from LightWave, disable this option.
Select one of the following options to organize
objects into layers.
Relative Texture Paths
Enable this option to set the texture path and use
relative path names for textures. To leave the texture
path unchanged and use absolute paths for textures,
disable this option.
70 Lightscape
Importing a LightWave Scene ❚❘❘
Instance The default distance is 2.5 meters (approximately 8

Select this option to create a layer for each instance feet), which is an estimate for typical interior
of each LightWave object. models. If you use targeted spotlights, you can enter
the average distance between the lights and their
Object targets.
Select this option to create a layer for each LightWave
object. All instances of the same object are placed in Use Attenuation
the same layer. If you use range attenuation in your lights, enable
this option to estimate the brightness of the light
Single based on the range attenuation. This method
Select this option to create a single layer. All objects matches the light intensity at 40% of the distance to
are placed in this layer. You can enter a layer name in the range limit.
the Layer Creation Name box. If you do not enter a
name, the name of the LightWave scene is used by If you enable this option, all lights with range atten-
default. uation will be converted using this method and all
other lights will be converted using either the scaling
or matching intensity methods. This method also
Converting Lights properly inverts the brightness of lights imported
Choose the options for converting lights, as from Lightscape solutions.
described in the following sections. The scaling
intensity and matching intensity methods are mutu- Preserve Spotlight Angles
ally exclusive—you must choose one or the other. Enable this option to set the beam angle to the Light-
Wave cone angle. Disable this option to set the cone
angle for a converted spotlight to the angle where the
LightWave spotlight illuminates at one-half inten-
sity. This matches the illumination of a Lightscape
spotlight at the beam angle.
If you want Lightscape to illuminate a scene the same

way as LightWave, disable this option since the
Maximum Light Intensity Scale
converted LightWave spotlights will have signifi-
Enable this option to multiply the value you enter by
cantly different intensity distributions. Enable this
the LightWave intensity. The result becomes the
option when you want to specify the spotlight angles
intensity of the converted light in candelas.
that Lightscape uses in LightWave.
Light Intensity at a Distance
Enable this option to calculate the brightness of a
light by matching the apparent intensity of the Light-
Wave light to that in Lightscape at the specified
distance. This can provide a good estimate of the
general brightness of a LightWave scene.
71
Handling Error Messages correct the error, the importer will override the solar
Select a method for handling non-fatal errors in the position to place the sun at the desired location.
Error Handling list. Fatal errors will always abort the 4. Enable Daylight Savings to calculate the time of
import. day during daylight savings time.
5. It is usually possible to duplicate the sun’s posi-
Select: To:
tion during the morning or afternoon, and between
Prompt Choose between ignoring this error or the summer and winter solstice. Choose which date
aborting the import. You can also and time you want the importer to use if there is a
choose to ignore all errors. choice.
Abort Abort the import with an error mes- 6. Click the Recalculate button. A north direction
sage. and time will be calculated that matches the sun’s lo-
Ignore Ignore the error. No error message is cation with the direction of the selected lights.
displayed. 7. You can enter either a north direction or a date
that you want to use for daylight. If you enter a value
that is not valid for the selected light, the name of the
Importing Sunlight
value appears in red. If you do not correct the value,
You can use a LightWave Distant or Spot light to set the importer will override the solar position to place
up daylight for the imported model. You can import the sun at the desired location.
daylight in either of two ways.
Note: When you import the model into Light-
Lightscape calculates a date, time, and north direc- scape, you can also adjust these settings using the
tion that positions the sun to shine in the same Daylight Setup dialog. For more information on
direction as the LightWave light. If you do not have working with daylight, see Chapter 10, “Daylight.”
Lightscape calculate the date, time, and north direc-
tion, it sets the values you designate and overrides
the sun position and luminance to match the Light- Exporting from 3D Studio MAX
Wave light. or 3D Studio VIZ to Lightscape
Use the MAX2LP plug-in to export your models
1. Click the Daylight tab on the LightWave Scene from 3D Studio MAX or 3D Studio VIZ for use in
dialog.
Lightscape. You can also import final radiosity solu-
The Daylight panel appears. tions created in Lightscape back into 3D Studio
MAX or 3D Studio VIZ.
2. Select a LightWave light to represent the sun.
Notice that the remaining boxes in the dialog are en-
abled. To export from 3D Studio MAX or 3D Studio VIZ:
1. In 3D Studio MAX or 3D Studio VIZ, choose
3. Select the location on the Earth where the model
is to be set. You can choose one of the cities in the File | Export.
combo box, or you can directly input the latitude, The Select File to Export dialog appears.
longitude, and time zone in those input fields. If Lat-
itude appears in red, then the light is shining down 2. Select a name and location for the exported file.
too much to be the sun at that latitude. If you do not If you enter a new name for the exported file, you
must type the filename and file extension.
72 Lightscape
Exporting from 3D Studio MAX or 3D Studio VIZ to Lightscape ❚❘❘
3. Select one of the following from the Save As Type To export only selected objects:
list: 1. In 3D Studio MAX or 3D Studio VIZ, select the
objects to export.
Select: To:
2. Choose File | Export.
.lp Export a project file.
3. In the Export Lightscape Preparation File dia-
.blk Export blocks.
log, enable Selected Objects.
.lay Export layers.
.df Export a parameter file.
.vw Export a view file.
The corresponding Export dialog appears.

Specifying Units of Measurement
The effect of lighting in an area depends on the size
of the area.
For this reason, it is important to indicate the units
of measurement when you export a model.
To specify units of measurement:

1. In the Export Lightscape Preparation File dia-
log, select a unit from the Master Units list.
2. If the units in the model do not represent whole

Export Lightscape Preparation File dialog physical units, set a scaling factor. For example, if the
in 3D Studio MAX or 3D Studio VIZ model has a scale of 1 unit to 500 meters, select
meters as the unit and 500 as the scale factor.
settings.
5. Click OK.
Exporting Selected Objects The size of the model appears in red. If the measure-
You can export the entire scene or only selected ments are reasonable, you selected the correct units.
objects. If they are not, select another unit.
73
You can check the measurements again once in Grouping Objects in Layers
Lightscape using the Measure Distance tool. For Use layers to organize the objects you export. Select
more information, see “Measuring Distance” on a Layer Creation method from the list.
page 54.
Grouping Objects in Blocks

To specify how blocks are created, select a Block
Creation method from the list.
Instance
Select this option to create a layer for each object
instance, including lights. All surfaces in an object
instance are placed in the same layer. The name of
Object the layer is the same as the name of the node
Select this option to create a block for each object. containing the object instance. Use this setting if you
The name of each block is taken from the name of plan to import the Lightscape solution back into 3D
the first node that uses the object. Instances become Studio MAX or 3D Studio VIZ, so that the importer
block instances in Lightscape. This reduces the size can reconstruct the original objects.
of the exported file because an object’s geometry is
exported only once. If different instances of a single Object
object use different materials, a new block is created Select this option to create a layer for each object. All
so the proper material can be applied to the instance. surfaces in all instances of the object are placed in
the same layer. The name of the layer is the name of
Group the first node that uses the object.
Select this option to create a block for each group.
For objects that are not in a group, a block is created Group
for each object. Select this option to create a layer for each group. All
surfaces in all instances belonging to a group are
Note: Use this option to group lights with the
placed in the same layer. For objects that are not in a
geometry that represents their fixtures. This makes
moving and changing lights easier in Lightscape. group, a layer is created for each object. The name of
the layer is the same as the name of the first node that
Single uses the object.
Select this option to create a single block for the
entire model. Type the name of the block in the Single
Name box, or use the default name. Select this option to create a single layer and place all
surfaces on that layer. Enter a name for the single
None layer in the Name box, or use the default name.
No blocks are created. All the meshes of all the
objects are created directly in the model.
74 Lightscape
Material Light Intensity at Distance

Select this option to create a layer for each material. Enable this option to convert lights by matching the
Surfaces are assigned to layers based on their intensity at a specified distance. Enter the distance in
material. the corresponding box.
Average Target Distance

Exporting Lights
Enable this option to convert lights by matching the
When exporting lights from 3D Studio MAX or 3D
intensity at the average distance between targeted
Studio VIZ, the following conversions occur:
spotlights and their targets. The average distance is
• The light’s color in 3D Studio MAX or 3D Studio displayed in the box to the right. This option is not
VIZ is converted to a corresponding light filter in available if there are no targeted spotlights in the
Lightscape. model.
• Circular and rectangular spotlights are converted
Use Attenuation
to standard circular spotlights.
Enable this option to convert lights with range
• The “no shadow casting” flag is preserved. attenuation.
• The light intensity multiplier in 3D Studio MAX or

Preserve Spotlight Angles
3D Studio VIZ is used to scale the luminous intensi- Enable this option to select how spotlight beam and
ty. field angles are converted.
Use the light export options in the Export dialog to When this option is enabled, the beam angle in
determine how lights are converted. Lightscape is set to the hotspot angle. Enable this
option only if you want to specify the beam angle to
use in Lightscape when you create spotlights in 3D
Studio MAX or 3D Studio VIZ.
When this option is disabled, the beam angle in
Lightscape is set to the angle where the 3D Studio
MAX or 3D Studio VIZ intensity is one-half of the
Maximum Light Intensity Scale spotlight intensity.
Enable this option to convert relative light intensities
in 3D Studio MAX or 3D Studio VIZ files to physical Note: Imported light sources are not generally
units in Lightscape. By default, the scale ranges from based on physical principles. You may have to
adjust the lighting in Lightscape to obtain an
0 to 2500 cd (about the intensity of a 100-watt incan- acceptable result. For more information, see
descent fixture). For example, a light with 0.5 Chapter 8, “Artificial Lighting.”
maximum intensity in 3D Studio MAX or 3D Studio
VIZ converts to 1250 cd in Lightscape. To modify
Exporting Materials
the scale, enable the Maximum Light Intensity Scale
Each 3D Studio MAX or 3D Studio VIZ material is
option and type a value in the corresponding box.
converted into a Lightscape material definition
using the following 3D Studio MAX or 3D Studio
75
VIZ material attributes: diffuse color, transparency, Exporting Animation

shininess, shininess strength, shading type, and self- You can export multiple frames in a 3D Studio MAX
illumination. or 3D Studio VIZ model to generate multiple Light-
Lightscape does not support bump maps and retains scape Preparation files.
only diffuse settings of textures. The name of each file is created from the Preparation
Lightscape preserves the texture mapping coordi- filename followed by the frame number.
nates set in 3D Studio MAX or 3D Studio VIZ, but it
only converts texture map 1 associated to the diffuse
color. You can use only texture maps in supported
Lightscape formats.
Use the texture export options in the Export dialog

to determine how textures are exported.
Don’t Save Texture Data

Enable this option to prevent textures from being
exported with materials.
Average Texture Color

This option controls the color used for texture The Animation panel of the Export Lightscape
Preparation File dialog in 3D Studio MAX
mapped materials:
• Disable this option to use the diffuse color of the Current Frame
material. Enable this option to export only the current frame.
• Enable this option to use the average color of the Active Segment
diffuse map. Enable this option to export each selected frame in
the active animation segment.
Relative Texture Paths
Enable this option to save the texture path. Disable Range
the option to save only the texture filename. The Enable this option to export each selected frame in
texture path list contains the directories in the the given range. The format of values in the range
Bitmaps panel of the Configure Paths dialog in 3D depends on the current time configuration.
Studio MAX or 3D Studio VIZ. When you enable
this option, the directories containing textures are Frames
added to the texture path list. This information is Enable this option to export the selected frames.
important in Lightscape if you reference the same Single frames or frame ranges are separated by a
bitmaps. comma. To specify a range, type two frame numbers
76 Lightscape
separated by minus sign (-). These values are always Note: When you import the model into Light-
in frames and do not depend on the current time scape, you can also adjust these settings using the
configuration. All files are exported in ascending Daylight Setup dialog. For more information on
working with daylight, see Chapter 10, “Daylight.”
frame order, and each file is only written once, even
if it appears multiple times in the list. Light
Select one of the following options from the Light
Every Nth Frame
list:
In this box, specify the number of frames between
exported frames. This box is available only when • The light you want to use for the sun. This option
Active Segment or Range is enabled. only displays spotlights and directional lights. If you
select a light and enable the Recalculate option, the
Exporting Daylight Settings direction of the sun is based on the direction of the
You can set daylight parameters in Lightscape or you selected light. If the parameters cannot be calculat-
can set daylight parameters when exporting your ed, a label highlighted in red will indicate which val-
model for 3D Studio MAX or 3D Studio VIZ. Enter ue is out of range. The sun position and brightness in
the parameters directly, or choose a light to repre- Lightscape will match the chosen light, whether or
sent sunlight in your model. Choose from spotlights,
not it can really exist.
either free or targeted, and directional lights.
• No Daylight. Daylight processing is disabled in
Enable these settings if your model has exterior
elements or if the model is an interior space with Lightscape. If you enter daylight parameters, they
windows or openings. are exported and used if you enable the Daylight op-
tion in the Process Parameters dialog in Lightscape.
Use the Daylight panel in the Export dialog to export
daylight settings. • Use Daylight. When you import the model into
Lightscape, daylight processing is enabled, and day-
light is set up according to the parameters you type
in the Export Lightscape Preparation File dialog.
Location
Use the location list to select a city where the model
is located. You can also type the latitude and longi-
tude in the corresponding boxes.
Latitude and Longitude

Type the latitude and longitude where the model is
located in the appropriate boxes. When the daylight
parameters are calculated, latitude may be displayed
in red if the latitude is too close to the poles for the
chosen light to give the sun direction. These are set
automatically when you select a location.
The Daylight panel of the Export Lightscape
77
Time Zone the sun too high in the sky for a direction that you
Select the time zone where the model is located. This enter, the direction appears in red to warn you that
is set automatically when you choose a location. The the sun position in the Preparation file will be over-
time zone is used to convert between sun time and ridden. If you want to correct the direction, change it
local time. toward the light. You can also move the location to a
place where the sun rises higher in the sky at that
Daylight Savings direction.
Enable this option to use daylight savings for
converting between sun time and local time. This is Time
not automatically set when you change dates. Enter the time of day for the daylight calculation.
This will not cause other parameters to be calcu-
Exterior lated. Usually, when calculating time, two times can
Enable this option to indicate that the model has be chosen, either in the morning or afternoon.
exterior elements.
Recalculate
12/22 to 6/22 and 6/22 to 12/22 Enable this option for the system to compute
Usually, when calculating dates, two possible dates daylight parameters based on location, date, and
can be chosen between the two solstices. This option north change. Disable this option to adjust the
determines within which solstice the date falls. setting manually.
AM and PM Override Solar Luminance

These options determine which time is chosen. AM If this option is enabled, the brightness of the
chooses the time before the sun reaches its highest selected light can override the calculated brightness
point, and PM the time after it reaches the highest of the sun. If this option is disabled, the brightness of
point. Because of local variations between sun time the selected light is not exported, but it may be used
and local time, these times may not be in the to calculate cloud coverage.
morning or afternoon, respectively.
Sky
Month and Day You can set the Sky to Clear, Partly Cloudy, or
Enter the month and day for the date you want Cloudy. This affects the brightness of the sun. Enable
daylight. If your selected light places the sun too high Use Light to use the brightness of the selected light to
in the sky for a date that you enter, the date appears calculate the cloud coverage. This option chooses
in red to warn you that the sun position in the Prep- the coverage that makes the calculated sun’s bright-
aration file will be overridden. If you want to correct ness closest to the light.
the date, change it to a date where the sun rises
higher in the sky. You can also move the location to a
Exporting Windows and Openings
place where the sun rises higher in the sky.
Use the Windows panel to identify windows and
North openings in your model. Use the material on a
Enter the direction of north in degrees clockwise surface to indicate whether a surface is a window or
from the positive Y axis. If your selected light places
78 Lightscape
opening. In Lightscape, daylight enters the model Exporting Views

through these types of surfaces. The active view is always exported; however, you can
You can use several materials for windows but only use the Views panel to export additional views.
one material for openings. Additional views are saved in the same directory as
the Preparation file. Each view is saved in a Light-
scape view file (.vw) and is named after its camera.
The Windows panel of the Export Lightscape

The Views panel of the Export Lightscape
To identify windows and openings:
1. From the Windows list, select the materials you To export additional views:
assigned to windows. (Press Ctrl and click a material
1. In the Save To File box, verify the name and loca-
to select several materials.)
tion of the view file to export. By default, the filena-
When you open the model in Lightscape, surfaces me is the same as the camera name, and the files are
containing these materials are marked as windows. stored in the directory with the Preparation file. To
save the view files to a different location, click
Note: To deselect all window materials, click Select Browse, navigate to a location, and then type a new
None. name in the Save To File box.
2. Select the material you assigned to openings 2. Do one of the following to select the views to ex-
from the Openings list. port:
When you open the model in Lightscape, surfaces • Select a camera from the Views list. Press Ctrl while
containing these materials are marked as openings. clicking to select several views.
• Click Select All to select all cameras in the Views

list.
79
• Click Select None to export only the active view.
Note: If you are exporting Preparation files for

multiple frames, a view is exported for each camera
in each frame. The frame number is appended to
the end of the filename for each camera. If any of
the view files to be exported will overwrite another
file, a single message is displayed, and you can
choose to abort or continue the export.
80 Lightscape
Refining Geometry
Use layers and blocks to organize the geometry in your model. You can also add
and position new blocks and surfaces in your model.

6 How to work with layers,
blocks, and surfaces.
Summary modeling operations you may undertake differ from

In this chapter, you learn about: the Preparation to the Solution stage.
• Working with layers

Preparation Model Structure
• Working with blocks When you import your model into a Lightscape
• Modifying blocks Preparation file, your model consists of surfaces,
blocks, and layers. You can store blocks and lumi-
• Working with block instances naires in libraries and import them into your
• Working with surfaces. models. Lightscape includes an extensive set of
libraries of blocks, luminaires, and materials that
you can use.
About Refining Geometry • A surface is any regular planar triangle or convex
In general, Lightscape is not a modeling tool, but it quadrilateral. You assign materials and other at-
does provide you with a number of specific tributes to surfaces.
modeling features that are useful for refining geom-
etry in an imported model. It also provides you with • A block is a group of entities (surfaces and/or other
tools for adding and positioning objects and lumi- blocks) that has a specific name and an insertion
naires within a model. (origin) point. A block can be inserted, or instanced,
repeatedly in the model in various positions and ori-
Because the structure of the model changes when entations. All instances of a block, however, refer to
you start the radiosity processing, the types of
81
6 Refining Geometry
the same geometric description. If you make a Working with Layers

change to the geometry or any attribute of a block, Use layers to organize the surfaces and blocks in
every instance of that block in the model inherits the your model. Show or hide layers to work on a subset
change. Light fixtures are represented by a special of your model.
type of block called a luminaire, which is a block to
which you assigned photometric properties. Blocks Layers have two purposes:
and luminaires can be nested, meaning a block may • You can facilitate the process of preparing surfaces
contain other blocks within it. for processing by selectively turning layers on or off.
• Layers are used to manage the large number of • You can use layers as a way of storing various alter-
blocks and surfaces that can exist in a model. Use natives to a design solution. For example, if you want
layers to break models into logical groupings. For to test various luminaire layouts in a room, you can
example, you can associate all surfaces that make up set up alternatives on distinct layers. You can then
a particular room with a particular layer. Layers can initiate and run various solutions using the alternate
be turned on or off, allowing you to store multiple layer options.
versions of the same model. For example, you can
store two alternate furniture layouts for a room on
Using the Layers Table
separate layers.
The Layers table contains a list of all the layers
defined in the current model and indicates their
Solution Model Structure state.
During the Solution stage, Lightscape alters the
structure to optimize it for radiosity processing. To display the Layers table:
Blocks are exploded into individual surfaces and you Click the Layers table button on the Tables toolbar.
can no longer manipulate the geometry, though you
can delete surfaces.
To change the geometry, you must open the original

Preparation file (.lp), make the changes, and then
regenerate another Solution file (.ls). Layers table button
During the Solution stage, materials and layers

Note: If the Tables toolbar is not displayed, choose
behave in the same way as they do during the Prepa-
Edit | Tables | Layers, or choose Tools | Toolbars,
ration stage. and select Tables from the dialog that appears.
For more information on the recommended work-
flow, see Chapter 3, “Workflow.” For more
information on creating a Solution file, see Chapter
11, “Radiosity Processing.”
82 Lightscape
Working with Layers ❚❘❘
The Layers table appears. Turning Layers On or Off

Turn layers on or off to selectively display and
process different portions of your model.
To turn layers on or off:

1. In the Layers table, select the layer.
2. Right-click the Layers table and choose one of
the following:
Select: To:
Toggle Turn the layer on or off as required.
A check mark to the left of the layer name indi-
You can also double-click a layer in
cates that the layer is on (active) and that the objects the table to toggle it on or off.
on that layer are currently displayed in the Graphic
On Display the selected layer and include
window. You can double-click a layer name to toggle
it in processing.
its state on and off.
Off Hide the selected layer and exclude it
A letter to the left of the layer name indicates it from processing.
is the current layer. Any new objects you add to the
All On Display all layers and include them in
model are added on the current layer. processing.
All Off Hide all layers and exclude them from
Bringing Layers into Your Model processing. Use this option when you
Many modeling and CAD packages support layers. want to show only a few layers in a
When you import a model, you can maintain the large model. First turn off all the lay-
layer structure or create a new one. For information ers, then turn on the ones you want to
work on.
on grouping objects into layers when importing a
model, see Chapter 5, “Importing Geometry.”
Changing the Layer of an Object
To create a new layer: To assign an object to a different layer, make that
1. Right-click the Layers table and choose Create. layer current then assign the object to the current
layer.
A blinking cursor appears at the beginning of the
new layer.
To change the layer of an object:
2. Type a name and press Enter. 1. In the Layers table, select the layer to make cur-
The new layer appears in the list. You can now add rent.
objects to the layer. 2. Right-click the Layers table and choose Make
Current.
83
6 Refining Geometry
The letter C appears next to the current layer. To delete a layer:

1. In the Layers table, select the layer(s). To select
multiple layers, use Ctrl-click or Shift-click.
2. Right-click the Layers table and choose Delete.
The selected layer is deleted.
3. To restore the deleted layers, choose Edit | Undo

immediately after deleting the layers.
Saving and Loading Layer States

You can save the state—on, off, or current—of the
3. In the Graphic window, select the surface(s) or layers in your model in a Layer State file. Use layer
block(s) that you want to assign to the current layer.
states as a quick way to switch between different
4. Right-click and choose Change to design solutions.
Current Layer.
The selected blocks or surfaces are assigned to the To save a Layer State file:
current layer. 1. Right-click the Layers table and choose Save
State.
Renaming Layers The Save As dialog appears.
You may rename a layer to give it a name that is
Navigate to the directory where you want to save the
meaningful to you.
Layer State file, and enter a name in the File Name
box, or select an existing Layer State file. Layer states
To rename a layer:
are stored in .lay files.
1. In the Layers table, select a layer.
2. Click Save.
2. Right-click the Layers table and choose Rename.
The current state of the layers in your project is saved
The name of the selected layer is highlighted and a in the specified Layer State file.
blinking text cursor appears at the end of the high-
lighted text. To load a Layer State file:
3. Type a new name and press Enter. 1. Right-click the Layers table and choose Load
State.
The new name appears in the Layers table.
Deleting Layers 2. Navigate to the appropriate directory, select a
Delete the layers you no longer need. Any surfaces or Layer State file and click Open. Layer states are
block instances on the layer are also deleted. stored in .lay files.
84 Lightscape
Working with Blocks ❚❘❘
3. Click Open. Using the Blocks Table

The layers in your project are turned on and off The Blocks table lists all the block definitions in your
according to information in the selected Layer State model. You can insert multiple instances of each
file. Files that have been loaded and saved recently block definition in your scene.
also appear as shortcuts in the context menu list.
To display the Blocks table:
Click the Blocks table button on the Tables toolbar.
Working with Blocks
A block is a group of surfaces and/or other blocks. It
has a specific name and an insertion point. A block
can be inserted, or instanced, repeatedly in the
model in various positions and orientations. All Blocks table button
instances of a block refer to the same geometric
description. If you make a change to the geometry, Note: If the Tables toolbar is not displayed, choose
material, or any attribute of a block, every instance Tools | Toolbars, and select Tables from the dialog
that appears.
of that block inherits the change.
The Blocks table appears:.
Use blocks to reduce the amount of time required to
prepare a model. For example, if your model consists
of various repetitive elements and you model these
elements as blocks, then you need only prepare the
surfaces once. All instances of that block will inherit
the results. In addition, you can isolate blocks for
display and editing, making their preparation easier
and more interactive.
Light fixtures are represented by a special type of
block called luminaires. A luminaire is a block to
which you assigned photometric properties. With
few exceptions, the operations you can perform on
regular blocks also apply to luminaires. To learn
about the operations that are specific to luminaires, The block preview displays the currently selected
see Chapter 8, “Artificial Lighting.” block. Use the interactive view controls to change
the view of the block. For more information, see
▲ Blocks exist only in Lightscape Preparation “Customizing Block and Luminaire Previews” on
files. They are exploded into surfaces in Solution
page 22.
files0
You can double-click a block name to isolate the
block for display and editing in the Graphic window.
85
6 Refining Geometry
Blocks Table Context Menu

Use: To:
Right-click the Blocks table to display a context
menu. Delete Delete the selected block defini-
tion.
Duplicate Make a copy of the selected block
definition.
Load Load a block definition from a
block library.
Save Save a block definition to a block
library.
Save All Save all the block definitions in
the table to a block library.
Preview Toggle the block preview on or
off.
Swap Layout Revert to the previous position
and size of the Blocks table. (You
can also swap layouts by double-
clicking on the table’s title bar.)
Importing Block Definitions with Your

Use: To:
Model
Isolate Place the block in isolate mode. When you import your model from a modeling
Return to Full End Isolate mode and display the package, you can group surfaces into blocks. For
Model full model. example, when you import an AutoCAD model, by
Query Instanc- Highlight instances of the select- default, the original block structure is preserved.
es ed block in the Graphic window When you import from 3D Studio MAX, by default,
and display block information on each object becomes a block. Depending on your
the status bar. modeling package, you can choose from various
Rename Rename the selected block defini- options for creating blocks when you import geom-
tion. etry. For more information see Chapter 5,
Change to Cur- Assign the selected block defini- “Importing Geometry.”
rent Layer tion to the current layer.
Define as Lu- Define a block as a luminaire. See Creating New Blocks
minaire “Creating a Luminaire from a If your modeling application does not support or
Block” on page 132. export the block structure, you can either create
Create Single Create an instance of the selected blocks or you can import blocks and luminaires
Instance block definition positioned at the from a library.
origin.
86 Lightscape
Working with Blocks ❚❘❘
Create new block definitions by grouping surfaces To duplicate a block:

into blocks. 1. In the Blocks table, right-click the block that you
want to copy and select Duplicate from the menu
Note: You can also create a new block definition that appears.
from an existing block instance. See “Renaming a
Block Instance” on page 88. A copy of the block appears in the table.
2. Rename the new block, and modify its geometry

To create a new block from surfaces:
and surface properties, if needed.
1. In the Graphic window, select the surfaces to in-
clude in the block.
Removing Blocks
2. Right-click and choose Create Block from the There are three ways to remove blocks you no longer
menu that appears. need:
Note: If the selected surfaces are already part of a • Delete the block definition to remove it and all its
block, the Create Block command does not appear
instances from the model
in the menu. To include these surfaces in a new
block, you must first remove them from the • Delete individual instances in the model
existing block by exploding it. For more informa-
tion see “Removing Blocks” on page 87. • Explode blocks instances to convert them into in-
dependent surfaces.
3. Enter a name in the Create Block dialog, and
click OK.
To delete a block definition:
The selected surfaces are grouped into a block, and 1. In the Blocks table, select the block.
the new block appears in the Blocks table. A single
2. Right-click the Blocks table and choose Delete.
instance of the new block is inserted on the Current
layer in the current position. (The display remains The selected blocks are deleted from the Blocks table
the same but the surfaces selected are now grouped and all instances of the block are removed from the
as the new block.) model.
By default, the insertion point of the block is set to

To delete a block instance:
the origin point of the model (0,0,0). For informa-
tion on moving the insertion point, see “Moving a 1. In the Graphic window, select the block in-
stance.
Block Definition’s Insertion Point” on page 90.
2. Press the Delete key or right-click and choose
As in AutoCAD, the surfaces in the block retain their Delete.
layers except surfaces on layer 0. These surfaces
inherit the layer on which the block instance is The block instance is removed from your model.
inserted.
To explode a block instance:
1. In the Graphic window, select the block in-
Duplicating a Block Definition stance.
If you want to create a block that is similar to a block
in your scene, you can duplicate the existing block, 2. Right-click and choose Explode from the menu
that appears.
then rename and edit the copy.
87
6 Refining Geometry
The block instance is converted into independent 3. The New Block dialog appears.
surfaces.
Renaming a Block Definition

You can rename a block definition to give it a name
that is meaningful to you, or to prevent it from being
overwritten when you load another block with the
4. Enter a name for the new block definition.
same name.
Lightscape creates a new block definition based on
In some cases, it may be useful to overwrite the
the selected instance and makes the selected
block. For more information, see “Replacing All
instance an instance of the new block.
Instances of One Block with Instances of Another
Block” on page 89.
Querying Blocks
To rename a block definition: Use the Query Instances command to highlight
every instance of a block in the Graphic window and
1. In the Blocks table, select a block.
to display the block’s properties on the status bar.
2. Right-click the Blocks table and choose Rename. You can also query individual instances.
The name of the selected block is highlighted and a
blinking text cursor appears at the end of the high- To query a block definition:
lighted text. 1. In the Blocks table, click a block to select it. Or,
press Ctrl and click to select several blocks to query.
3. Type a new name and press Enter.
2. Right-click the Blocks table and choose Query
The new name appears in the Blocks table.
Instances.
Every instance of the block(s) is highlighted in green
Renaming a Block Instance in the Graphic window.
You can rename a block instance by creating a new
block from the instance that you want to rename. If you queried a single block definition, the status
This is useful if you have one block that you want to bar displays its name and the number of instances on
differentiate in some way from all the other the active layers. If you queried multiple blocks, no
instances. For example, you might want one chair to information appears on the status bar.
have a different color fabric than the others.
To query a block instance:
To rename a block instance: 1. On the toolbar, click the Block button , and
1. In the Graphic window, select the block instance then the Query Select button .
that you want to rename. 2. In the Graphic window, click the block that you
2. Right-click the Graphic window, and choose want to query.
New Block. The block’s definition, location and layer name are
displayed on the status bar.
88 Lightscape
Modifying Block Definitions ❚❘❘
Loading Blocks from Libraries Replacing All Instances of One Block

You can store blocks in libraries and use them with Instances of Another Block
repeatedly in different models. Lightscape provides When you load a block from a library, it overwrites
you with an extensive set of block libraries that you any existing block of the same name already in the
can use or modify. Blocks table. All instances of the overwritten block
become instances of the newly loaded block. This
To save blocks to a library: can be a very powerful technique for replacing all
1. In the Blocks table, select the blocks you want to instances of one block or luminaire with another for
save. testing alternatives or for quickly replacing an
2. Right-click the Blocks table and choose Save. “unprepared” block from your CAD system with a
“prepared” block stored in a Lightscape library. In
The Save As dialog appears. fact, the block used in your CAD system can be a
3. Select a block library from the list, or enter the simple placeholder block that you insert to represent
name of a new block library in the File Name box. the position of blocks or luminaires in Lightscape.
Blocks are saved as .blk files.
4. Click OK to save the block to the block library To replace every instance of one block with
another:
file.
1. In the Blocks table, rename the block that you
Note: You can also save all blocks in the Blocks want to replace using the name of the block that will
table by right-clicking the Blocks table and replace it.
choosing Save All.
2. Load the new block from a block library.
To load blocks from a library: 3. When prompted to overwrite existing blocks,
1. Right-click the Blocks table and choose Load. click Yes.
The Open dialog appears. In your model, every instance of the overwritten
block is replaced with an instance of the newly
2. Navigate to the location of the block library you loaded block.
want to load, select the appropriate file, and click
Open.
Note: Blocks libraries are saved as .blk files. Modifying Block Definitions
When you change a block definition, you are
The Available Blocks dialog appears.
changing all instances of that block that you have
3. Select a block or click Select All to select all the already added to your model. This is true of all
blocks in the library. surface attributes (materials, processing controls,
4. Click OK to load the selected blocks into the for example). You can also change the geometry,
Blocks table. insertion point, and scale of a block definition.
89
6 Refining Geometry
Changing the Geometry of a Block 3. Click the Insertion Point tab.

Definition
To change a block’s geometry, you can either modify
the block definition in Isolate mode or modify an
instance of the block in your model. In either case,
the block definition and all its instances are
modified.
To modify a block’s geometry, delete or transform
the surfaces that make up the block. For more infor-
mation, see “Working with Surfaces” on page 95.
4. Select one of the options in the Values list.
Moving a Block Definition’s Insertion
Select: To:
Point
The insertion point represents the origin of the Absolute Move the insertion point to those co-
ordinates specified by X, Y, Z. For ex-
block’s local coordinate system. When you insert a
ample, entering 2 in the X box moves
block instance in a model, it is placed with reference the insertion point to a spot 2 units to
to its insertion point. The insertion point is also the the right of the scene origin.
center of rotation of the block in the model.
You can also click Geometric Center
to move the block’s insertion point to
To move a block’s insertion point: the center of the block’s geometry.
1. Do one of the following to isolate the block: Relative Move the insertion point by a relative
• Double-click a block in the Blocks table amount specified by X, Y, Z. For ex-
ample, entering 2 in the X box moves
• Select a block in the Blocks table, right-click the the insertion point 2 units to the right
Blocks table, and choose Isolate. of its current position.
The block appears alone in the Graphic window. Drag Move the insertion point to a new
position in any orthographic view.
2. Select the isolated block in the Graphic window, You can constrain cursor movement
right-click, then choose Transformation. by entering values in the X, Y, and Z
The block’s insertion point and the Transformation boxes.
dialog appears. Pick Move the insertion point to the point
you select in the Graphic window.
Enable Snap to Nearest Vertex to
move the insertion point to the ver-
tex nearest the point you select.
90 Lightscape
Working with Block Instances ❚❘❘
5. Once the insertion point is properly positioned, 4. In the Relative Scale Factor X, Y, and Z boxes, en-
click OK. ter a multiplier value, and click Apply.
6. Right-click the Graphic window and choose Re- For example, enter a value of 2 in the X box to double
turn to Full Model. the size of the block in the X direction. Enter a value
of 0.5 to shrink the block to half its size.
Note: If you have already inserted instances of a
block into your model, you should be careful about 5. Once the block is properly scaled, click OK.
changing the insertion point of the block defini-
tion because it will cause the relocation of all 6. Right-click the Graphic window and choose Re-
instances of that block. Typically, you position the turn to Full Model.
insertion point when you first create the block. See
All instances of the block are scaled.
“Creating New Blocks” on page 86.
Scaling a Block Definition

To change the size or proportions of a block defini-
Working with Block Instances
You create block instances from the blocks in your
tion, scale it along the X, Y, and Z axes. Blocks are
Blocks table. You can select and duplicate block
scaled relative to their insertion point.
instances. You can also move, scale, or rotate a block
Note: You can also scale each instance separately. instance independently of the other instances of the
See “Scaling Block Instances” on page 95. same definition. However, if you change the geom-
etry or surface properties of a block instance, the
To scale a block: block definition and all instances of that block are
1. Do one of the following to isolate the block: also modified.
• Double-click a block in the Blocks table
Selecting Block Instances
• Select a block in the Blocks table, right-click the
Use the Selection tools to select block instances in
Blocks table, and choose Isolate.
your model. For more information, see “Selecting
The block appears alone in the Graphic window. Objects” on page 38.
2. Right-click the Graphic window and choose
Transformation. To select a block instance:
1. On the toolbar, click the Block button and
The Transformation dialog appears.
then the Select button .
3. Click the Scale tab. 2. Click the block instance in the Graphic window.
Adding Block Instances in Your Model

Once a block definition appears in the Blocks table,
you can add an instance of that block in your model.
You can also replace surfaces with block instances.
The new instance is added to the current layer.
91
6 Refining Geometry
To place a block instance in a model: 2. Right-click the Graphic window and choose Du-
1. Make sure the current layer is the layer on which plicate.
you want to place the block. (To make a layer cur- A copy of the selected block is created and placed on
rent, select it in the Layers table, right-click, and top of the original. Move the copy to see both the
choose Make Current.)
copy and the original.
2. In the Blocks table, select a block.
3. Do one of the following to place an instance of Creating Arrays of Blocks
the selected block in the model: Using one instance of a block as a starting point, you
• Drag and drop a block from the Blocks table to the can create an array of blocks along the X, Y, or Z axis.
Graphic window. An instance of the block appears at These blocks are all instances of the initial block
the coordinates where you drop it. definition.
• Right-click the Blocks table and choose Create Sin-

To create an array of blocks:
gle Instance. An instance of the block appears at the
1. Drag a block from the Blocks table to the re-
origin (0, 0, 0). From here you will probably want to
quired position in the Graphic window.
move it to another position.
To replace a surface with a block instance: Multiple Duplicate.
1. Select the surfaces that you want to replace with The Add Multiple Instances dialog appears.
a block instance.
2. Right-click the Graphic window, and choose Re-
place with Block/Luminaire.
The Replace with Block/Luminaire dialog appears.
3. Select a block from the list, then click OK.

The selected surfaces are replaced with an instance
of the selected block.
Duplicating a Block Instance 3. In the Number X, Y, and Z boxes, enter the num-
Use the Duplicate command to create a single dupli- ber of instances (including the original) to create
cate of a block instance in your model. along the each axis.
4. In the Spacing X, Y, and Z boxes, enter the dis-
To create a single copy of a block instance: tance between each instance along the correspond-
1. In the Graphic window, select the block you ing axis.
want to copy.
92 Lightscape
Working with Block Instances ❚❘❘
5. Click OK to add the array of block instances to • Absolute: enable Absolute, then enter coordinates
your model. in the X, Y, and Z boxes to specify the position of the
block in your model. For example, entering 2 in the
X box moves the block to a spot 2 units to the right
of the scene origin.
• Relative: enable Relative, then enter an amount in

the X, Y, and Z boxes to offset the block relative to its
current position. For example, entering 2 in the X
box moves the block 2 units to the right of its current
Top: One chair block and one picture block
position.
Bottom: Multiple duplicates of the chair and the picture
Moving Block Instances

Once you place an instance of a block in your model,
you can move it into any position along the X, Y and
Z axes.
To move a block instance:

1. Select the block you want to move.
2. Right-click the Graphic window, then choose
Transformation. • Pick: enable Pick then click in the Graphic window
The Transformation dialog appears. to choose the new position of the block. Enable Snap
to Nearest Vertex to move the block to the vertex
3. Click the Move tab.
nearest the point you picked. The Absolute Coordi-
4. Select one of the following positioning modes:
93
6 Refining Geometry
nates boxes update to display the position you box to rotate the block to an angle of 90 degrees
picked. along the X axis.
5. Click Apply to move the block without closing • Relative: use Relative to rotate the selected block
the dialog, or click OK to move the block and close relative to its current angle about the X, Y and/or Z.
the dialog. To rotate the block around its local Z axis, enable
Aim Axis and enter an amount in the Aim Axis box.
Note: You can also drag a block to a new position
using the interactive Transformation tools. For
more information see “Transforming Objects” on
page 43.
Rotating Block Instances

Once you place a block in your model, you can rotate
it along the X, Y, or Z axis.
To rotate a block instance:

1. Select the block you want to rotate.
2. Right-click the Graphic window, then choose 5. Click Apply to rotate the block without closing
Transformation. the dialog, or click OK to rotate the block and close
the Transformation dialog.
3. Click the Rotate tab. Note: You can also rotate a block using the interac-
tive Transformation tools. For more information
4. Select one of the following rotation modes: see “Transforming Objects” on page 43.
• Absolute: use Absolute to rotate the selected block
at an absolute angle about an axis of rotation speci-
fied by X, Y, and Z. For example, enter 90 in the X
94 Lightscape
Working with Surfaces ❚❘❘
Scaling Block Instances Although Lightscape is not designed as a compre-

Adjust the scaling of the block to change its size and/ hensive modeling system, you can make minor
or proportions. adjustments to your model using the surface
creation and transformation tools, which are avail-
Blocks are scaled relative to their insertion point.
able during the Lightscape Preparation stage. For
example, you can set surface orientation and
To scale a block instance:
smoothing.
1. Select the block you want to scale.
For information on applying materials to surfaces,
see Chapter 7, “Using Materials.”
Transformation.
Selecting and Querying Surfaces
3. Click the Scale tab. Use the Selection tools to select and query surfaces
in your model. For more information, see “Selecting
Objects” on page 38.
Setting Surface Orientation

Surface orientation determines which side of a
surface is considered for calculating its interaction
with light. For example, to simulate the lighting in a
room, the walls’ surfaces are oriented toward the
inside of the room.
The orientation of a surface is defined by the surface

4. In the Relative Scale Factor X, Y, and Z boxes, en- normal. In some modeling systems, you can set the
ter a multiplier value. surface normal during the modeling process and
For example, enter a value of 2 in the X box to double preserve that information when you export the
the size of the selected block in the X direction. Enter model to Lightscape.
a value of 0.5 to shrink the block to half its size.
However, if your modeling system does not consider
5. Click Apply to apply the transformation without surface orientation or does not preserve the orienta-
closing the dialog, or click OK to apply the transfor- tion when exporting files, you can set the orientation
mation and close the dialog. of surfaces in Lightscape.
▲ You must set surface orientation in the Prepara-

Working with Surfaces tion stage. You cannot alter surface orientation
Surfaces are the basic geometric object of a model. A during the Solution stage.
surface can be any convex polygon defined by three
or four points located on the same plane.
95
6 Refining Geometry
Identifying Reversed Surfaces Sections of the model are “cut away” so that you can
There are two ways to know if you are looking at the access surfaces as required.
front or the back of a surface: using backface culling
Backfacing surface Backfacing surface that
or using the Surface Orientation dialog. should be reversed
When backface culling is enabled, surfaces are invis-
ible when seen from behind. If a surface that you
expect to see does not appear in your model, it is
probably oriented incorrectly.
When you use the Surface Orientation dialog, the

backs of surfaces appear in bright green.
To enable backface culling:

Choose Display | Culling or click the Culling
button .
To display the backs of surfaces in green:

1. Choose Tools | Orient Surface, or select a sur-
face, right-click, and choose Orientation from the
menu that appears. Other ways of managing the complexity of a model,
such as isolating layers and blocks and using an
2. If Display |Enhancement is on, turn it off.
isolated view, also facilitate the orientation process.
The Surface Orientation dialog appears. Backfacing For more information, see “Turning Layers On or
surfaces are no longer culled; instead, they appear Off” on page 83.
bright green.
Changing Surface Orientation
Use one of the following methods to change a
surface’s orientation:
• Reverse surfaces
• Orient selected surfaces toward or away from a fo-

cus point.
• Make a surface double-sided

3. To help you see the surfaces that are hidden by
the backfacing surfaces, you can use the Near Clip
Plane slider in the Surface Orientation dialog.
96 Lightscape
Reversing Surfaces placement of the focus point in the following illus-

You can reverse selected surfaces so that they are tration produces very different results.
properly oriented, or you can automatically reverse
all surfaces displayed in the Graphic window that are
facing away from you.
To reverse the orientation of selected surfaces:

1. In the model, select the surfaces that you want to
reverse.
2. Choose Tools | Orient Surfaces.
The Surface Orientation dialog appears, and FOC_OUT FOC_IN FOC_IN
surfaces that are facing away from you in the current
view are highlighted in bright green. Adjust your You can also set focus points in your modeling
view and use the Near Clip Plane slider if required. program if your program supports block output in a
3. In the Surface Orientation dialog, click Reverse. DXF file. This can minimize the amount of reorien-
tation work required once the model is imported
The selected surfaces are reversed. into Lightscape. For more information, see “Using
To reverse additional surfaces, select them in the Orientation Blocks” on page 61.
Graphic window, and click Reverse in the Surface
Orientation dialog. To orient a surface using a focus point:
1. In the model, select a surface, right-click and
To automatically reverse all the surfaces that are choose Orientation. Or choose Tools | Orient Sur-
facing away from you: faces.
In the Surface Orientation dialog, click Auto Orient. Surfaces that are facing away from you in the current
All the surfaces that are facing away from you in the view are highlighted in bright green. Adjust your
current view are reversed. view and use the Near Clip Plane slider if required.
2. Select the surfaces that you want to orient.

Orienting Surfaces Using a Focus Point
You can orient selected surfaces to face away from or 3. Type the coordinates of the focus point in the X,
toward a focus point. Y and Z boxes, or enable Pick and then click a point
in the model to set the position of the focus point.
Lightscape determines the orientation of surfaces
In the Graphic window, yellow crosshairs indicate
oblique to the focus point by extending the plane of
the position of the focus point.
that surface. Notice how the slight difference in the
4. In the Surface Orientation dialog, do one of the
following to orient the selected surfaces:
97
6 Refining Geometry
• Click Towards to orient the selected surfaces to- Smoothing Surfaces

ward the focus point In Lightscape a curved surface is approximated by a
• Click Away From to orient the selected surfaces set of polygonal facets. To create smooth shading
away from the focus point. between the adjacent polygons, use the Smoothing
feature.
Making Double-Sided Surfaces
By default, all surfaces are single-sided. You may
occasionally want to use a single plane to represent
both sides of a very thin surface such as a plate of
glass or steel. In such situations, it may be appro-
priate to set the surface to double-sided. Keep in
mind, however, that for a material such as glass,
modeling both sides of the plate of glass with the
correct thickness between them is important in
rendering accurate refraction effects.
Smoothing on Smoothing off
When you specify a surface as double-sided, Light-
scape essentially creates two surfaces facing opposite ▲ You can make surfaces smooth only during the
directions. To avoid light being reflected from one Preparation stage. You cannot alter surface
smoothing during the Solution stage.
side to the other, double-sided surfaces are treated as
nonreflecting in the radiosity solution. In addition, Note: In many cases, if the representation of a
double-sided surfaces may show OpenGL display curve is explicit in the incoming data, Lightscape
artifacts in the final solution because the two automatically calculates the vertex normals for the
coplanar sides tend to bleed through each other (this surface and renders these curves smoothly. Other-
wise, surfaces in Lightscape are assumed to be
can be avoided using backface culling). independent planes and are rendered as such. If
In general, it is best to avoid using double-sided smoothing information is not explicit in the
incoming dat a, you must select the group of
surfaces on any surface that can be of consequence
surfaces that represent a curve and smooth them
to the lighting of the model. using the Make Smooth option. For more informa-
tion on setting smoothing parameters during
To make a surface double-sided: import, see Chapter 5, “Importing Geometry.”
1. Select the surface.
Smoothing Angle
2. Right-click and choose Orientation. The Make Smooth option sets the internal angle
3. In the Surface Orientation dialog, click threshold at which smoothing occurs. If the angle
Two-Sided. between the surface normals of two adjacent poly-
gons is less than the Smoothing Angle, smoothing
The selected surface becomes double-sided.
occurs. If the angle is greater than or equal to the
Smoothing Angle, no smoothing occurs and the
98 Lightscape
boundary between the two polygons appears as a between adjacent edges of the surfaces. The profile
sharp edge. or silhouette of the curved surface still shows the
faceted edge of the polygons. You can limit this effect
Angle between normals of the polygons is 45°
by creating finer polygonal representations of the
curve in your modeling package. For some
modeling programs, you can set the polygonal reso-
lution of the curved surface when you import the
model.
Grouping Surfaces into Blocks

You can group selected surfaces to create a new
block. For more information, see “Creating New
Appearance if smoothing Appearance if smoothing Blocks” on page 86.
angle is set to less than 45° angle is set to greater than 50°
To make surfaces smooth: Duplicating Surfaces

Duplicating a surface adds a copy of the selected
1. Select the surfaces.
surface to the model. All the attributes and layering
2. Right-click and choose Smoothing. information of the original surface are preserved.
3. The Smoothing dialog appears. Duplicated surfaces are coincident with the original
surfaces, so you must move them to see both the
original and the duplicate.
To duplicate surfaces:
2. Right-click and choose Duplicate.
Isolating the Display of Surfaces

4. Type a value or use the slider to set the smooth-
An excellent way to manage the complexity of your
ing angle.
model is to isolate selected surfaces to view and
5. To create smooth shading over adjacent surfaces, operate on only those surfaces. If you isolate surfaces
click Make Smooth. that belong to a block, the entire block is isolated.
6. To disable smoothing, click Make Flat.
To isolate surfaces:
Note: In the Preparation file, you can see the
results of the smoothing operation more clearly 1. Select the surfaces.
with the Enhanced display mode. 2. Right-click and choose Isolate View.
This smoothing operation does not affect the geom-
etry of the model; it only smooths the shading
99
6 Refining Geometry
Only the selected surfaces and the blocks to which 2. Do one of the following to specify the corners of
they belong appear in the Graphic window. The the surface:
current view does not change.
• Select the point in the Create Surface dialog, then
3. To change the camera focus point to the center of click in the Graphic window to set the location of
the isolated surfaces, choose View | Extents or click that point. Enable Snap to Nearest Vertex to pick a
the View Extents button . point on a vertex in your model.
Isolate View can have multiple levels. For example,
you can select several surfaces in a model, then use
Isolate View to make only those surfaces (and/or the
blocks to which they belong) visible. You can then
deselect all but one or two of those surfaces, and use
Isolate View again to see only the remaining selected
surfaces.
At any level of view isolation, you can use End Isolate
View to return to the full view of the model (before
you isolated any view). If you performed more than • Enter the X, Y, and Z coordinates of the point in the
one level of view isolation, you can use Previous appropriate box.
Isolate View to back out one level at a time.
To create a quadrilateral, select 4 Points from the
Corners list, then specify four points. If the four
Creating Surfaces points are not in the same plane, then the surface is
You can add individual surfaces to your model with broken into two triangles.
the Create Surface tool.
To create a rectangle, select 2 Points from the
New surfaces are added to the current layer of the Corners list, then specify two opposite corners of a
model and they are oriented to face the camera. rectangle.
▲ You can only create surfaces during the Prepa- To create a triangle, select 3 Points from the corners
ration stage.
list, then specify three points.
To create a surface:
1. Choose Tools | Create Surface. Moving Surfaces
You can move a surface in the X, Y, or Z direction.
The Create Surface dialog appears.
▲ You move surfaces during the Preparation
stage. You cannot alter surface position during the
Solution stage.
To move a surface:
1. Select the surface.
2. Right-click and choose Transformation.
3. In the Transformation dialog, click the Move tab.
100 Lightscape
4. Enable Relative, and enter the relative distance to

move in the X, Y, and Z boxes.
Note: You can also move surfaces using interactive

Transformation tools. For more information, see
“Transforming Objects” on page 43.
Measuring Distance
You can measure the distance between any two
selected points in your model.
To measure the distance between two points:

1. Choose Tools | Measure Distance.
The Measure Distance dialog appears.
2. To pick a point on the edge of a surface, enable

Snap to Nearest Vertex.
3. In the model, click two points to measure the
distance between them.
The coordinates of the selected points are displayed
in the corresponding boxes and the measured
distance is displayed in the Distance box.
101
NOTES
102
Materials determine the appearance of a surface, as well as the amount of light
7
Using Materials
How to define and apply
that it reflects into the model. Use materials to add color and texture to surfaces.
materials to surfaces.
Summary The properties that determine how a material inter-

In this chapter, you learn about: acts with light are:
• Material properties • Color
• Using the Materials table • Transparency
• The Materials workflow • Shininess
• Adding materials to your scene • Refractive index.
• Editing material properties Color and transparency determine the diffuse

lighting (direct and indirect) that is computed
• Assigning materials to surfaces during the radiosity process.
• Aligning textures. Refractive index and shininess determine the high-
lights and specular reflections of the surfaces in your
model. Highlights and reflections are rendered
About Material Properties during ray tracing.
Because Lightscape is based on physically accurate
simulation techniques, it is important to provide
accurate physically based material specifications to
obtain accurate results.
103
7 Using Materials
Color a physically valid range for the type of material being

To correctly set a material’s color, ask yourself these modeled.
questions: If you make the color value of your material too high,
the solution looks washed out and processing time
Hue: What color is the material?
increases significantly. If you want to display or
Hue controls the color of the material.
render a bright color while limiting the amount of
light reflected into the model, you can adjust the
Saturation: How much color is reflected?
Saturation controls the degree of coloration of a material’s Reflectance Scale. For more information,
material. Increase the saturation to deepen the color see “Editing Material Properties” on page 111.
of the material.
Using RGB Color Values
You should not make a material overly saturated. As It is usually easier and more meaningful to pick a
saturation increases, the light bouncing from the color using the HSV values, as these correspond to
material is highly colored and, if the color value is important aspects of the color. You have the option,
also high, the entire room takes on the color of that however, to use RGB values that correspond to the
material. If you want to use a material with highly red, green, and blue wavelengths of the color
saturated color, but obtain too much color bleeding spectrum.
in the radiosity process, you can reduce the effect of
Each component of the RGB values provides the
this color on surrounding surfaces by adjusting the
color value for that wavelength of the color spec-
material’s Color Bleed Scale. For more information,
trum. For this reason, you should keep each of the R,
see “Using Color Bleed Scale” on page 113.
G, and B values within the appropriate value range
(0.05 to 0.7 for nonmetals and 0.30 to 0.9 for metals).
Value: How much light is reflected from the
material?
Note: You can also use a bitmap texture file to set
Value controls brightness of a material. a material’s color. For more information on using
It also controls the reflectance. Reflectance is the textures, see “Using a Texture Map” on page 114.
amount of light energy that is reflected diffusely
from a surface. When you increase a material’s color Transparency
value, the material reflects more light. Transparency determines how much light passes
through the material. The light hitting a material is
Note: In general, the color value of metals tends to scattered and attenuated by the material based on its
be higher than that of nonmetals. The color value
transparency.
of metals ranges from about 0.30 (tarnished
copper) to 0.9 (highly polished silver), while the Transparency ranges from 0 to 1 where 0 is opaque
color value of nonmetals ranges from about 0.05 and 1 is completely transparent. All metals are
(coal soot) to 0.7 (white paper). For more informa-
opaque, so their transparency is 0.
tion, see Appendix A, “Light and Color.”
A material’s transparency and its color are related.
To obtain a proper radiosity solution, it is very
Consider a piece of stained glass. The light from a
important that the reflectance of a material represent
stained glass window depends both on how trans-
parent the glass is and on what color it is. The same
104 Lightscape
Using the Materials Table ❚❘❘
is true for apparently clear glass because glass always Refractive Index
has impurities in it. The impurities cause the glass to The refractive index determines the behavior of light
absorb some light as it passes through the glass. at the interface between two surfaces (usually a
For example, a particular type of glass may have a material and air).
transmissivity of 85%, meaning that 85% of the light This will affect how shiny a material appears or, in
passes through the glass. In this case, you should set the case of transparent materials such as water or
the reflectance (Value) of the glass to 85% (.85) and glass, the amount of distortion that occurs at the
its transparency to 100%. interface.
Note: When blending is enabled in the Display For non-transparent materials, the higher the refrac-
options, transparent materials are blended with tive index, the more light is reflected from the
those behind them, giving a transparent effect. As material and the material appears shinier. A refrac-
a result, transparent surfaces may be invisible. To
tive index of 1.0 means that all light is transmitted
display the surfaces as opaque, regardless of their
transparency, disable blending. The most accurate into the material. In this case, even if the material is
representation of transparency will be calculated defined to be perfectly shiny, the surface appears
when you use ray trace rendering. To toggle perfectly diffuse.
blending on or off, choose Display | Blending, or
click the Blending button on the Display
toolbar.
Using the Materials Table
All materials available in your scene are listed in the
Shininess Materials table, including materials that you have
Shininess affects the appearance of specular reflec- not applied to a surface.
tions seen in a material. If a surface is shiny,
reflections are well defined. If a surface is not shiny, To display the Materials table:
reflections are blurry.
Click the Materials table button on the Tables
If you ray trace a perfectly shiny material, you get a toolbar, or choose Edit | Tables | Materials.
clear image from a reflection seen through the mate-
rial. You also get sharper highlights. For more
Tools | Toolbars, and select Tables from the Tool-
information, see Chapter 14, “Rendering.” bars dialog that appears.
As a material becomes less shiny, reflections and
highlights seen in the material become less well
defined.
Shininess alone is not sufficient to produce specular Materials table button

reflections and highlights for a surface. The refrac-
tive index must also be considered.
105
7 Using Materials
The Materials table appears. Double-click any material name to activate the
Material Properties dialog, which contains tools for
editing the characteristics of the selected materials.
See “Editing Material Properties” on page 111.
Material preview
Customizing Material Previews

The material preview displays the material currently
Material with an selected in the Materials table. If more than one
assigned texture
material is selected, the preview is gray.
To toggle the material preview on or off:

Right-click the Materials table and choose Preview
from the context menu.
To customize the material preview:

Right-click the material preview and select an option
The colored square next to each material displays the from the Preview context menu.
material color. A texture symbol next to the
material name indicates that the material contains a
texture map. If the symbol is colored, the texture is
loaded and displayed in the Graphic window. A
black and white texture symbol indicates that a
texture has been loaded but is not currently
displayed. A green indicates that the texture file
associated to the material could not be found. See
“Modifying Texture Files” on page 118.
Changing the Sample Sphere Diameter
The material preview displays the material currently You can change the diameter of the sample sphere to
selected in the Materials table. See “Customizing make its size consistent with the objects in your
Material Previews” on page 106. model to which you will apply the material. This
provides an accurate preview of materials that have
Right-click the Materials table to display a context
procedural textures applied or a fixed tile size. The
menu of functions for manipulating the materials in
sphere diameter is measured in the units of your
the table. See “Materials Table Context Menu” on
model. To change these units, choose File | Proper-
page 108.
ties, and click Units.
106 Lightscape
Using the Materials Table ❚❘❘
To change the diameter of the sample sphere: The Reflection option shows specular reflection and
1. Right-click the material preview. highlights by placing an image in front of the
preview sphere that can be reflected in its surface.
2. Choose Diameter and select the number of units
from the list. Reflection disabled.
Material preview with Fixed Texture Tile Size set to 1m x 1m.
Diameter of sample
sphere set to 1m
Diameter of sample Reflection enabled.

sphere set to 10m Highlights are
visible in the center
of the sphere.
Enabling Background and Reflection Images

You can enable the display of background and reflec-
tion images in the material preview. To toggle these
options on and off, right-click the material preview Changing the Default Material
and select the appropriate option. The first material listed in the Materials table is the
default material. When you create a new surface, this
Enable Background to add a multicolored image
material is applied automatically. The default mate-
behind the preview sphere to help you view the
rial is also used on surfaces imported without a
effects of transparency and index of refraction.
material.
Background
disabled. To change the properties of the default material:
1. Right-click .Default Attr in the Materials table
and choose Edit | Properties.
The Materials Properties dialog appears.
Background
enabled. The image
makes it easier to
see the transparent
“glass” sphere.
107
7 Using Materials
2. Define the default material properties as de-

Use: To:
scribed in this chapter.
Duplicate Make a copy of the selected
material.
Materials Table Context Menu
Delete Delete the selected material.
Right-click the Materials table to display the context
menu. Select All Select all materials in the ta-
ble.
Deselect All Deselect all materials in the
table.
Select Pattern Select materials using wild
card characters.
Load Load a material from a mate-
rial library.
Save Save a material to a material
library.
Save All Save all the materials in the
table to a material library.
Preview Toggle the material preview
on or off.
Swap Layout Revert to the previous posi-
tion and size of the Materials
Use: To: table. (You can also swap lay-
outs by double-clicking on
Edit Properties Open the Materials Proper-
the table’s title bar.)
ties dialog and edit the select-
ed material’s properties.
Rename Rename a material.
Duplicating Materials
If you want to create a material that is similar to a
Add to Selection Add the selected material to material in your scene, you can duplicate the existing
Filter the selection filter. You can
material then edit and rename the copy.
then quickly select surfaces
that use this material.
Reload Textures Reload the texture image files
and update the surfaces in
your model. This is useful if
you replace or modify a tex-
ture image file outside of
Lightscape, while your Light-
scape project is open.
Create Create a new material.
108 Lightscape
Workflow ❚❘❘
To duplicate a material: To rename a material:

1. In the Materials table, right-click the material 1. In the Materials table, select a material.
that you want to copy and select Duplicate from the
2. Right-click the Materials table, then choose Re-
menu that appears.
name.
A copy of the material appears in the table.
The name of the selected material is highlighted and
a blinking cursor appears at the end of the high-
lighted text.
3. Type a new name and press Enter.

The new name appears in the Materials table.
Changing the name has no effect on the material
properties.
Duplicated material
Selecting Surfaces that Use a Material
Use a material as selection filter to quickly locate all
surfaces that contain that material. For more infor-
2. Rename the new material, and edit its proper-
ties, if needed. mation, see “Defining Selection Filters” on page 41.
Deleting Materials Identifying the Material on a Surface

Delete materials you no longer need in the model. If If you are not sure which material is applied to a
you delete a material that is assigned to a surface, it is surface, use the Query Select tool to display the
replaced by the default material. name of the material.
To delete a material: To identify the material on a surface:
1. In the Materials table, select the material you 1. Click the Query Select tool .
want to delete. To select several materials at once, 2. Select the Surface filter and then click the
hold down Ctrl and click each one. surface.
2. Right-click and choose Delete. The material used on that surface is selected in the
The selected materials are removed from the Mate- Materials table. The material name also appears on
rials table. the status bar at the bottom of the screen.
Renaming Materials
You can rename a material to give it a name that is
Workflow
The main steps to using materials in Lightscape are:
more meaningful to you, or to prevent it from being
overwritten when you load another material with 1. Determine which materials you want to use in
the same name. your scene.
2. Add the materials you need to your scene.
109
7 Using Materials
3. Assign the materials to surfaces in the scene. To import a material from a library:
You can add materials to the Materials table at any 1. Right-click the Materials table, then choose
time during the Preparation or Solution stage. You Load.
can also modify the properties of a particular mate- The Open dialog appears.
rial at any time.
2. Navigate to the material library you want to load,
The final appearance of a surface in your scene is select the appropriate file, then click Open.
determined by the materials and the lights, so you The Available Materials dialog appears.
will not see the final effect of a material until you
process the solution. During the Preparation stage,
surfaces appear as a preview of the final appearance.
Although reflections and lighting are not displayed,
you can see a preview of textures and color. In addi-
tion, when you select a material in the Materials
table, a preview appears at the top of the table. The
same preview is displayed in the Material Properties
dialog when you edit the material.
Adding Materials to a Scene

Do one of the following to add materials to the Mate- Note: Materials are saved in .atr files.
rials table in your scene:
3. Select the material you want to load from the li-
• Load materials from a material library brary or click Select All to select all materials.
• Create new materials. 4. Click OK to load the materials into the Materials
table.
Note: The first time you work on a scene, it
contains the materials that you imported with the
If a material in your project has the same name as a
original model. For information on importing material that you are loading, a warning message
materials from your modeling package, see appears asking if you want to overwrite the existing
Chapter 5, “Importing Geometry.” material. Click OK to overwrite it, or click No to
cancel the material import. You can then rename the
Loading and Saving Materials from a material in your project before loading materials
Library from the library.
Lightscape provides a library of basic materials that
To save a material to a library:
you can use or modify. When you have defined a
material, you can store it in a material library for 1. Right-click the material you want to save in the
later use. Materials table, then choose Save. To save all materi-
als in the Materials table, right-click the Materials ta-
ble and then choose Save All.
The Save As dialog appears.
110 Lightscape
Editing Material Properties ❚❘❘
2. Enter the name of a new material library in the To create a new material:
File Name box, or select an existing material library 1. Right-click the Materials table, then choose Cre-
from the name list. ate.
Note: Materials are saved in .atr files. A blinking cursor appears at the end of the new
material name.
3. Click OK to save the material to the material li-
brary file. 2. Type a name and press Enter.
If a material that you are saving has the same name The new material appears in the Materials table. It is
as a material in the library, you are prompted to given a default name and default properties.
confirm and then the material in the library is
3. You can now rename the material, and edit its
replaced. If you do not want to replace it, rename the properties.
material in your project before saving it to the
library.
Editing Material Properties
Note: It is useful to save all of a project’s materials Define materials to create a realistic interaction
in a material library that you store with the project between surfaces and light in your scene. For
files. You can then retrieve the materials used in the example, to simulate wood paneling, use a wood
project from this library without having to open panel texture map, and then adjust its diffuse and
Solution or Preparation files. specular properties so that the material absorbs and
reflects light in the same way as wood does in a real
environment.
Creating New Materials
You can create new materials to add to the Materials Follow these procedures to define a material:
table.
• Select a template that provides guidelines for set-
ting material properties.
Material Properties dialog
111
7 Using Materials
• Adjust the material’s transparency, shininess, and Transparency determines the amount of light that
refractive index to control specular reflections and passes through a material. Transparency ranges
highlights. from 0 to 1, where 0 is completely opaque and 1 is
completely transparent.
• Select a texture map that provides a “picture” of the
material. If you do not use a texture map, select a col- Refractive index and shininess determine how shiny
or. a material is. For more information, see “About
Material Properties” on page 103.
• If required, adjust the Reflectance and Color Bleed
to control the amount and color of the diffuse light
To set a material’s physical properties:
reflected from a surface.
1. In the Material Properties dialog, click the Phys-
• Use other features such as self-illumination and ics tab.
procedural textures to create specific effects.
2. In the Template list, select a template that most
closely resembles the material that you want to cre-
Using the Material Properties Dialog ate.
You define or modify material properties in the
Material Properties dialog.
To display the Material Properties dialog:

In the Materials table, double-click a material or
right-click a material, then choose Edit Properties.
The Material Properties dialog appears. The selected On each property slider, the valid range of values for
material appears in the material preview, which the selected template is highlighted in green.
updates as you edit the material’s properties. To
customize the material preview, right-click the
preview and adjust the size of the sample sphere, or
turn the background and reflection images on or off.
For more information, see “Customizing Material
Previews” on page 106.
Valid range indicator

Setting Physical Properties
Use the Physics panel to determine how a material
3. Adjust the material’s transparency, shininess,
interacts with the light in your scene. The properties
and refractive index within the given range. For
that control how specular light is absorbed, trans- more information on these properties, see “About
mitted, or reflected are: Material Properties” on page 103.
• Transparency 4. Define the material’s color or texture. See “Using
a Texture Map” on page 114, and “Setting a Materi-
• Shininess
al’s Color” on page 118.
• Refractive Index.
112 Lightscape
5. If needed, adjust the Reflectance and Color type of material being defined. Reflectance, by
Bleed Scales to control the amount and color of dif- default, is set either by the brightness of a texture
fuse light reflected from the material into your mod- map (if one is used) or by the Value of the color (if a
el. texture map is not used). A green line on these
Note: If you select any of the metals templates, parameters displays the recommended range of
Transparency and Refractive Index are deactivated. values. In addition, if you are outside the recom-
Metals are not transparent, so the Transparency mended range, the Average Reflectance of the
box is not relevant. The system also automatically material (displayed at the bottom of the menu) will
approximates a metal’s refractive index based on
be displayed in red.
its color. When ray traced, a metal has colored high-
lights and reflections and a nonmetal has white Sometimes, to obtain a desired effect in a rendering,
reflections. you may want a texture map or color to appear
brighter or darker in a rendering than the software
Selecting a Template
recommends. In this situation you should use the
Use templates to help you define materials with real-
Reflectance Scale to adjust the Average Reflectance
istic physical properties. When you select a template,
to be within the recommended range. The Reflec-
the program displays guidelines on relevant material
tance Scale allows you to keep the reflectance of a
properties. The valid range of values for the template
material correct for radiosity processing (i.e.
selected is highlighted in green. You can then adjust
lighting simulation and analysis) while adjusting the
these values within the given range to create a
appearance of a material, as necessary.
specific appearance.
If you want to create a material that is not in the Using Color Bleed Scale
Template list, select the template that most closely The amount of color that bleeds from a material is
resembles the material you want to create. For defined by default from the saturation of the color or
example, to define acrylic you can use the glass texture map. Sometimes, you may want a material to
template. Alternatively, you can use the User appear highly saturated in your final display or
Defined template. However, this template does not rendering but you may not want to have the strong
provide you with any specific guidelines so you color bleeding effect that results from such materials
should be confident that you can set values that are in the radiosity process. In this situation, you can use
physically valid. the Color Bleed Scale on the physics page to adjust
the amount of color bleeding that you will obtain
When selecting a template, make sure it represents
from a material. At 0% there will be no color
the surface finish of the material. For example, if
bleeding at all.
your material is a painted metal, use a paint
template. On the other hand, to simulate wood
Average and Maximum Reflectance
painted with metallic paint, use the metal template.
The Average and Maximum reflectance relate to how
much diffuse light is reflected back into the environ-
Using Reflectance Scale
ment from the material. To obtain a valid lighting
To obtain a valid radiosity solution, it is important
simulation, it is important that the reflectance is set
that the reflectance of the material be set to within
to be within the valid range for the type of material
the recommended range of values for the specific
being defined. Typically the reflectance is set by
113
7 Using Materials
either the brightness of a texture map or the value of • Enable the Pick Light option, and then click a lumi-
a color (if a texture is not being used). For a color, the naire in the model to apply its luminance to the ma-
average and maximum values are always the same. terial.
For a texture map, the average and maximum values
may differ. For more information, see “Brightness” Note: The luminance value has no effect on the
actual lighting of the model; it is only a rendering
on page 116. technique to make a surface appear bright.
It is also possible to adjust the reflectance using the
Reflectance Scale on the physics page. If the average Using a Texture Map
reflectance is out of the recommended range for the Use a texture map to give a material the appearance
material type selected in the template, it will be of real-world material such as tiles, wood paneling,
displayed in red. or bricks. A texture map is a picture of the material
that is stored in an image file in any of the following
Making a Material Self-Illuminating file formats:
Surfaces do not emit light. In Lightscape, all light in
a simulation must come from luminaires or daylight. File Extension: Format:
Certain components of real luminaires frequently .bmp Windows native file format.
appear very bright, such as the tubes of a fluorescent
.tga Targa®, TrueVision® format.
light.
.tif TIFF.
To make these components appear bright, give their
.rgb RGB—native Silicon Graphics®
materials a luminance value. Luminance values are
file format.
in cd/m2. For more information on luminance units,
see Chapter 8, “Artificial Lighting.” .jpg JPEG.
.gif CompuServe Graphics Inter-
To make a material self-illuminating: change format.
On the Physics panel of the Material Properties .png Portable Net Graphics.
dialog, do one of the following to set the luminance: .eps Encapsulated PostScript.
• Enter a value in the Luminance (glow) box
114 Lightscape
Note: You can use images of any size. However, The selected image appears in the material preview.
larger images require more memory during the
rendering process and do not necessarily give any
additional quality to the final image if the textured
surfaces are small.
The location of texture files you use has to be speci-

fied in a path list. Path lists are the lists of directories
Lightscape searches to find a file. For more informa-
tion on setting up path lists, see “Setting Paths
Material preview
Properties” on page 48.
3. Adjust the texture brightness if needed.
To use a texture map:
At the bottom of the Texture panel, the Average and
1. In the Material Properties dialog, click the Tex-
ture tab. Maximum Reflectance values are updated accord-
ingly. These should be within the valid range for the
2. On the Texture panel, do one of the following to material type that you are creating.
load a texture map:
• In the Name box, enter the name of the file to use as Note: If you want to display a brighter or darker
texture than what is recommended as physically
a texture map.
valid, then you can also adjust the reflectance
• Click the Browse button, and locate the image file using the Reflectance Scale on the Physics panel.
to use as a texture map.
4. Select a Filter Method from the Minimize list.
Note: If you select a texture file that is not in an
existing path, you are prompted to add the file’s
location to your system or document path. In most
cases, you should accept the default that adds the
selected file’s path to the system path list. For more
information, see “Setting Paths Properties” on
page 48.
• Drag and drop an image file from your desktop, 5. Select a Filter Method from the Magnify list.
Windows Explorer, or LVu to the Name box on the
Texture panel.
115
7 Using Materials
6. If the texture image has a specific size, for exam- Filtering Method
ple, a ceiling tile or a piece of a brick wall, enable Lightscape uses two different types of filtering with
Fixed Size, and then enter the width and height in textures to compensate for discrepancies between
the appropriate boxes. the actual image size and the image size as rendered
in the scene: Minimize Filter and Magnify Filter.
For each filter, several options are available. The

main effect of these filtering options is to blur the
texture. Blurring a texture is important when the
texture contains a lot of small, sharp features. A
7. To combine the texture image with the color small amount of blurring may be enough for a static
specified on the Color panel, enable Blend.
image, but animations usually require more. The
8. To use the texture’s alpha channel to modify the following tables list the options in order of
surface transparency, enable Cutout. increasing blurriness.
9. Click Apply to update the material definition. Minimize filter is used when several pixels in the
The texture appears on any surfaces that use the texture cover the same pixel in the image.
material.
Select: To:
Note: If textures are not displayed, click the Point Point sample the texture.
Textures button on the Display toolbar, or
choose Display | Textures. Linear Bilinearly interpolate the value
based on the four closest texture
Brightness pixels.
The texture brightness controls the brightness of the Point MM Point sample the closest level in
texture as it appears in the final display and the MIP map for the texture.
rendering. It also controls the amount and color of Linear MM Linearly interpolate between
the light that the material reflects into the environ- point samples from the two clos-
ment. Ideally, you should set the brightness of the est levels in the MIP map.
texture so that the Average Reflectance is within a
Bilinear MM Bilinearly interpolate between the
valid range for the type of material being defined. If four closest pixels at the closest
the texture brightness you want is outside the recom- level in the MIP map.
mended range, you should use the Reflectance Scale
Trilinear MM Trilinearly interpolate between
and Color Bleed Scale on the Physics page to bring the four closest pixels on each of
these values into the recommended range. the two closest MIP map levels.
Note: If the texture map you are using has large Magnify filter is used when one pixel in the texture
areas of contrasting colors (for example, wide
covers more than one pixel on the screen.
yellow and blue stripes), then you should also set
the maximum reflectance within the valid range. If
Select: To:
the texture is more homogeneous (for example
marble or granite), then the average reflectance is Point Point sample the texture.
more significant.
116 Lightscape
Note: When you use the Blend option, both the

Select: To:
brightness of the texture and the value of the color
Linear Bilinearly interpolate the value affect the diffuse reflectance. However, neither the
based on the four closest texture brightness nor value sliders show the range indica-
pixels. tors. If the Average Reflectance number shown on
the bottom of the menu is not red, then you are
Fixed Size within a valid range for the material template.
If you select a texture that has specific dimensions,
such as a ceiling tile, give it a fixed size so that it does Cutout
not stretch or deform when you apply it to a surface. Enable Cutout on the Texture panel to use image
The width and height are measured in the project maps to make portions of a surface transparent or
units. To set project units, choose File | Properties partly transparent. If an .rgb or .tga format image
containing alpha-channel information is used as a
Once the size is set, you can use the texture align- texture map,Lightscape uses the alpha channel to
ment tools to position, rotate, and tile the image show through the existing color, or to render under-
when you apply it to a surface. lying surface areas as partly or fully transparent.
If the texture does not represent specific dimensions, When Cutout is not enabled (the default setting),
disable the Fixed Size option, and then use the pixels in the texture image containing alpha-channel
Texture Alignment tools to set the texture’s position values other than 255 (white) allow the existing color
and size when you apply it to a surface. For more of the surface to show through. This allows an image
information, see “Aligning Textures” on page 122. to be used as a decal on a surface.
Blend
An image used as a texture map can affect a surface
color in two ways. It can either replace the color
completely or scale the existing color by the color of
the texture. The amount of the color that can show through is
determined by the value of the alpha channel. If the
On the Texture panel, when the Blend option is not
value is 0 (black), the background color is unob-
enabled (the default setting), the texture image
scured. With values between 1 and 254, the lower the
completely replaces the material’s existing color.
value, the more the background color shows
through.
Note: You can also decal a texture map on a

surface by aligning it on the surface. See “Aligning
When the Blend option is enabled, the material color Textures” on page 122.
is scaled by the color of the texture image. This is
When Cutout is enabled, pixels in the texture image
especially useful with black and white textures. In
containing alpha-channel values other than 255
this case, a modulating texture simply varies the
cause the underlying surface areas to be fully trans-
intensity of the surface. For example, you can modu-
parent (alpha channel of 0) or partially transparent
late a black and white texture of roof shingles with
(alpha channel between 1 and 254). For example, if
the desired color of the shingles.
117
7 Using Materials
you use the image of a tree in which all background The material’s color properties are set to the texture
pixels have an alpha-channel value of 0 as a texture average. If you turn off texture display in your scene,
on a flat surface, and then select the Cutout option, surfaces that use this material are displayed using the
the surface will appear to be a tree when viewed from average color of the material’s texture.
the front. Objects behind the tree will be visible.
Regardless of whether a texture is displayed or not,
If a texture image does not contain alpha-channel when you run the radiosity process, the software will
information, the Cutout option has no effect. always use the texture to calculate the light reflec-
tance if one is associated to the material.
Modifying Texture Files
When you modify a texture image file using an To show or hide textures:
image editing program such as paint* or other third- Click the Texture button or choose
party software, you must reload textures to update Display | Textures.
the model. To reload all the textures used in the
scene, choose Display | Reload Textures. To reload Note: You can also improve interactive display
textures only for selected materials, right-click the speed by varying the Max Display Texture Size in
Materials table and choose Reload Textures from the the document properties. For more information,
see “Setting Display Interactivity Properties” on
context menu that appears. page 49.
Using Texture Average

To improve interactive display speed, you can turn Setting a Material’s Color
off texture display in your scene. When textures are If you do not use a texture map, then a material’s
not displayed, the materials’ color properties are color properties control how diffuse light is reflected
used for display. You can use Texture Average to from a surface:
make a material’s color represent the color and • Hue sets the color of the reflected light.
brightness of the material’s texture, when that
texture is not displayed. • Saturation controls the amount of coloration of the
reflected light.
To use the texture average: • Value controls the amount of light that is diffusely
1. On the Texture panel, define the material’s tex- reflected.
ture.
For more information on HSV settings, see “Color”
2. On the Color panel, click Texture Average. on page 104.
To set a material’s color:

1. On the Physics panel of the Material Properties
dialog, select a template from the list.
2. Click the Color tab.
118 Lightscape
On the property sliders, the valid range for the sliders to select the Red, Green, and Blue color val-
selected template is highlighted in green. ues.
Color preview window Valid range indicator

Using Procedural Textures
Use procedural textures to increase realism by
Note: The range indicator appears only if no adding variation to the appearance of materials that
texture map is used. Otherwise, the texture map do not use a texture map.
establishes the reflectance properties, and color is
only used for default display when texture display
is disabled.
3. Select HSV from the color model list, above the

color preview window.
4. Use the HSV sliders to adjust the material color
within the highlighted range. You can also enter
HSV values in the corresponding boxes:
• Hue (H) sets the color of the reflected light.
• Saturation (S) controls the amount of coloration of Procedural texture used to simulate water
the reflected light.

There are two types of procedural textures:
• Value (V) controls the amount of light that is re-
• Bump maps, which make a surface appear bumpy
flected. As you adjust the value slider, the Reflec-
by perturbing the surface normal at each point.
tance values are updated. By default, the color value
is the same as the reflectance value. You can, howev- • Intensity maps, which modify the intensity of a sur-
er, modify the reflectance for a given color value us- face by scaling the color at each point.
ing the Reflectance Scale on the Physics panel. For
Procedural textures are very different from image
more information, see “Using Reflectance Scale” on
textures. When working with procedural textures,
page 113.
remember the following:
5. To select a color using the RGB color model, se-
lect RGB from the Color mode list and use the RGB • Texture alignment has no effect on procedural tex-
tures.
119
7 Using Materials
• Procedural textures have no effect on texture maps 5. To simulate a smooth surface with occasional
created from images. bumps, set Height to a positive value, and set Base-
line to a value less than 1.
• Procedural textures are not displayed in the radios-
ity solution. To view the results in your model, you
must ray trace the image.
Bump Mapping
Use Bump Mapping to create the appearance of
bumps or depressions on a surface. Use this effect to
simulate materials such as clay, mortar, or stucco.
6. To simulate gouges, set Height to a negative val-
Note: Unlike bump maps in 3D Studio MAX, bump
ue (the higher the negative value, the deeper the
maps in Lightscape are not based on an image
gouges), and set Baseline to a value less than 1.
map. You control the frequency and amplitude of
the bumps by adjusting the Bump Mapping
parameters.
To apply Bump Mapping:

1. In the Material Properties dialog, click the Pro-
cedural Texture tab.
2. On the Procedural Texture panel, enable the
Bump Mapping option. The material preview displays the results.
3. To control the frequency of the bumps or depres-
sions, adjust the width. Note: You can right-click the sample sphere to
change its diameter and make its size consistent
4. To simulate bumps, set Height to a positive val- with the surfaces to which you will apply the
ue. material.
7. To preview the results in your model, assign the

material to a surface, and ray trace a portion of the
surface. For more information, see “Assigning Mate-
rials to Surfaces” on page 121, and “Ray Tracing an
Area” on page 219.
Note: Procedural textures are visible only when

Show Textures is enabled. If textures are not
displayed after ray tracing, click the Show Textures
button on the Display toolbar, or choose
Display | Textures.
120 Lightscape
Assigning Materials to Surfaces ❚❘❘
Intensity Mapping To assign a material to one surface:

Use Intensity Mapping to create smooth variations 1. Select the material in the Materials table.
in intensity over a surface. These variations can
2. Click and drag the material onto the surface.
make a surface look dirty or slightly wavy.
To apply Intensity Mapping:

1. In the Material Properties dialog, click the Pro-
cedural Texture tab.
2. On the Procedural Texture panel, enable the In-
tensity Mapping option.
3. Adjust the following parameters:
• Width controls the frequency of variations.
• Contrast controls the contrast between light and
dark areas.
To assign a material to several surfaces:
• Complexity controls the number of layers added
together. Each layer has a different frequency. When
several layers are added together, the intensity has 2. Right-click, then choose Assign Material.
fractal-like properties, sometimes called turbulence.
The material preview displays the results.
Note: You can right-click the sample sphere to

change its diameter and make its size consistent
with the surfaces to which you will apply the
material.
4. To preview your results, assign the material to a

surface, and ray trace a portion of the surface. For
more information, see “Assigning Materials to Sur-
faces” on page 121.
Assigning Materials to Surfaces

The easiest way to assign a material to a single 3. In the Assign Material dialog, select a material
surface, is to drag and drop the material from the from the list, and then click OK.
Materials table to the surface. To assign a material to The material is assigned to the selected surfaces.
several surfaces at once, use the Surface menu.
121
7 Using Materials
Aligning Textures defined by a top pole, a bottom pole, and a seam

If a material is defined with a texture map, you may direction.
need to adjust how the texture is aligned and posi-
tioned on the surface. To set texture alignment, use Upper Center
both projection and mapping.
Projection Types
There are five different methods for projecting a
texture onto a surface: orthographic, cylindrical,
spherical, reflection, and object UV. Seam Direction
Lower Center
Orthographic
Use orthographic projection to project a texture Spherical
onto a plane defined by three points. The texture is projected onto a sphere, defined by a
top pole, a center, and a seam direction.
Upper Left
Top Pole
Lower Left
Lower Right
Seam Direction
Cylindrical
Reflection
Use cylindrical projection to wrap a texture around
Use reflection mapping to simulate the reflection of
a surface as if it were a cylinder. The cylinder is
objects. Reflection mapping is similar to spherical
projection. A reflection map is defined by an object
center (the point from which it is generated), a top
pole, and a seam direction to orient the reflections.
Object UV
Use Object UV projection if you set texture coordi-
nates at the vertices in the original modeling system.
122 Lightscape
Aligning Textures ❚❘❘
Object UV projection uses the texture coordinates at

Use: To:
the vertices.
Clip Clip the texture outside of the tile size.
Use this mode to place decals on
surfaces. Because OpenGL does not
support texture clipping, you must ray
trace the surface to see clipping.
Flip Reverse every other copy of the texture.
Because OpenGL does not support tex-
ture flipping, you must ray trace the
surface to see flipping.
Expand Cover the surface with one copy of the
texture. If a texture has a fixed tile size,
it is not expanded.
Note: You can apply mapping modes separately in

Mapping Modes the horizontal and vertical directions. For example,
There are four mapping modes: tile, clip, flip, and tile horizontally and clip vertically to create a single
expand. The mapping modes available depend on row of tiles along the base of a wall.
the selected projection type.
Setting Texture Alignment
Use the Texture Alignment dialog to define the
texture alignment on a surface. You can also query
the current alignment, or copy the alignment of one
surface to another.
Tile Clip To access the Texture Alignment dialog:

1. Select a surface.
2. Right-click, and then choose Texture Align-
ment.
The Texture Alignment dialog appears.
Flip Expand
Use: To:
Tile Repeat the texture across a surface.
123
7 Using Materials
▲ It is best to align textures on blocks in the Prep- 5. In the Mouse Selection mode box, enable Pick
aration stage. Otherwise you must align every Points. (To pick a point on a vertex, enable Snap to
instance of the block during the Solution stage. Nearest Vertex.)
Align textures on blocks in Isolate mode. This way
you will get the same relative placement on each
instance of the block. Furthermore, the surfaces
you select for the placement of textures must be
immediate children of the isolated block and not
part of a sub-block. For more information, see
“Modifying Block Definitions” on page 89.
6. In the Texture Alignment dialog, enable the cor-
ner that you want to pick, and then click a point in
Using Orthographic Projection
the model to position that corner. You can also posi-
Use orthographic projection to project a texture
tion a corner by typing its coordinates in the corre-
onto a plane. With orthographic projection, you can sponding box.
use any of the four mapping modes. The points used
7. Repeat step 6 to position the three corners of the
to define the projection plane also determine the
projection plane.
position of the texture image. If the texture is not of
a fixed size, the three points also determine its tile
size.
To apply orthographic projection:

1. Select a surface or surfaces.
2. Right-click and then choose Texture Alignment.
3. Select Orthographic from the Projection list. Upper-left Lower-left corner Lower-right corner
corner
These points also mark the corners of the texture

image.
8. You can move the points to scale or rotate the

texture.
4. Select a mapping mode from the mapping

modes list.
Horizontal mapping modes list

Vertical mapping modes list
124 Lightscape
9. If the texture size is not fixed, you can move the Using Cylindrical Projection
projection points to resize the texture. Use cylindrical projection to wrap a texture onto a
cylinder. For example, you can apply a marble
texture to a column.
Note: If you orbit, zoom or pan the model, make

sure you reselect the Pick Points option before
picking another corner point.
10. To make sure the three corners form a right an-

gle, click the Right Angle button.
The upper-left corner moves accordingly. This is
useful when there is no easy way to pick three points
at a 90-degree angle to each other. To apply cylindrical projection:
1. Select a surface or surfaces.
2. Right-click and then choose Texture Alignment.
3. Select Cylindrical from the Projection list.
4. Select Tile from the mapping modes list.
Mapping modes list
125
7 Using Materials
5. In the Mouse Selection mode box, enable Pick which you want to align the texture. In such cases,
Points. To pick a point on a vertex, enable Snap to you can use the Bounding Box option to help you
Nearest Vertex. select points. With this option selected, you can use
the corresponding buttons to pick the X, Y, and Z
coordinates for the points to use in mapping the
image. You can also display the bounding box
around the entire set of selected surfaces to make it
easier to see which points you are picking. (You can
use the Display | Show Axis option to help deter-
6. In the model, click three points to position the
mine the axis of the bounding box.)
top center, the bottom center, and the seam direc-
tion. You can also define a point by typing its coor-
dinates in the corresponding box, or use the Using Spherical Projection
bounding box (see “Using the Bounding Box” on Use spherical projection to project a texture onto a
page 126.)
sphere defined by a center, a top pole, and a seam
direction. The seam direction determines where the
right and left sides of the texture meet.
Top Center
Because there is no mapping mode for this projec-
tion, you should use a Mercator projection (an
image based on a spherical coordinate system) to
create a texture map.
As with cylindrical projection, you can use the

Bottom Center Bounding Box option to accurately map a texture
onto a set of surfaces.
Seam Direction
Using Reflection Projection
Use reflection mapping to simulate the reflection of
objects. Reflection projection is similar to spherical
The seam direction determines where the right and projection. A reflection map is defined by an object
left sides of the texture meet as they are wrapped center (the point from which it is generated), a top
around a cylinder. pole, and a seam direction to orient the reflections.
The reflection map should be created using a
The top and bottom centers determine the height of
Mercator projection.
the texture image (if it is not of fixed size). Move
these points to rotate the texture. Reflection maps add irradiance to the surface based
on the position of the camera and the orientation of
Using the Bounding Box the surface. This irradiance is modified by the color
If you are using the cylindrical projection mode to used for specular reflection for that surface—white
map an image, you may not be able to pick points to for nonmetals, the material color for metals. The
indicate the center axis of the set of surfaces on shininess of the surface determines how much of an
126 Lightscape
effect the reflection map has on the surface. Reflec- To copy the alignment of one surface to another:
tion maps do not appear while ray tracing, because 1. In the Texture Alignment dialog, disable Pick
the ray tracer computes its own reflections. Points, and then enable Query Alignment.
As with cylindrical and reflection projections, you 2. In the model, click the surface whose alignment
can use the Bounding Box option to accurately map you want to copy.
a texture onto a set of surfaces. The Texture Alignment dialog highlights the align-
ment of the surface in green.
Using Object UV Projection 3. Disable Query Alignment, select another surface
Some modelers can output texture coordinates for in the model, and then click Apply.
each vertex on a polygon.
The alignment of the surface you queried is applied
These texture coordinates can be interpolated across to the selected surface.
the polygon instead of projecting a point to deter-
mine the texture coordinates. The UV projection
simply notifies the system to use the texture coordi-
nates at the vertices. This projection can only be
used if the vertices have texture coordinates set by
the original modeling system. For information, see
Chapter 5, “Importing Geometry.”
Querying and Copying Texture

Alignments
Use the Texture Alignment dialog to display the
alignment on a surface or to copy the alignment
from one surface to another.
To display the alignment on a surface:

1. In the Texture Alignment dialog, disable Pick
Points, and then enable Query Alignment.
2. In the model, click the surface whose alignment
you want to display.
The Texture Alignment dialog highlights the align-
ment of the surface in green.
127
NOTES
128
A luminaire is the equivalent of a lamp and its fixture. All artificial lighting in
your model comes from luminaires.

8
Artificial Lighting
How to create and modify
luminaires.
Summary About Luminaires

In this chapter, you learn about: Luminaires represent both the physical appearance
and the photometric properties of a lighting fixture. A
• Using the Luminaires table
luminaire is simply a block that has been assigned
• Adding luminaires to your scene photometric properties. Luminaire blocks and
regular blocks are moved, scaled, and rotated in the
• Setting photometric properties
same ways.
• Placing luminaires in your model
Luminaires and blocks can be saved together in block
• Editing existing luminaires libraries (.blk files).
• Setting luminaire processing parameters.
Using the Luminaires Table

All luminaires available in your scene are listed in the
Luminaires table.
129
8 Artificial Lighting
To display the Luminaires table: Luminaires Table Context Menu

Click the Luminaires table button on the Tables Right-click the Luminaires table to display the context
toolbar, or choose Edit | Tables | Luminaires. menu.

Tools | Toolbars, and select Tables from the Toolbars
dialog that appears.
Luminaires table button
The Luminaires table appears.
Luminaire preview
The following options are available:
Use: To:
Isolate Place the Luminaire in Isolate
mode and display the Luminaires
Properties dialog.
Selected luminaire
Return to Full End Isolate mode and display the
Model full model.
The icon next to each luminaire represents the source Query Highlight instances of the selected
type and luminous intensity distribution (LID) of the Instances luminaire in the Graphic window,
luminaire selected. The luminaire preview displays and display luminaire information
on the status bar.
the luminaire currently selected in the Luminaires
table. Use the interactive view controls to change the Rename Rename the selected luminaire
view of the luminaire in the preview. For more infor- definition.
mation, see “Customizing Block and Luminaire Change to Move the selected luminaire defi-
Previews” on page 22. Current Layer nition to the current layer.
Double-click any luminaire name to activate the Luminaire Display the Luminaire Processing
Processing dialog for the selected luminaire
Luminaire Properties dialog, which contains tools for
definition.
editing the photometric characteristics of the selected
luminaire. See “Setting Photometric Properties” on Photometrics Display the Luminaire Properties
page 132. dialog for the selected luminaire
definition.
130 Lightscape
Adding Luminaires ❚❘❘
2. Navigate to the location of the luminaire library

Use: To:
you want to load, select the appropriate file, and then
Delete Delete the selected luminaire defi- click Open.
nition.
Note: When a luminaire definition is loaded, it over-
Duplicate Make a copy of the selected lumi-
writes any existing luminaire definitions of the same
naire definition. name.
Load Load a luminaire definition from a
block library. 3. The Available Luminaires dialog appears.
Save Save a luminaire definition to a

block library.
Save All Save all the luminaires definitions
in the table to a block library.
Preview Toggle the luminaire preview on or
off.
Swap Layout Revert to the previous position
and size of the Luminaires table.
(You can also swap layouts by dou-
ble-clicking on the table’s title bar.)
Adding Luminaires
All luminaires available for your scene are listed in the
Luminaires table. You can add luminaires to the
Luminaires table in either of the following ways:
• By importing luminaires from luminaire libraries
• By creating a new luminaire from a block.
4. Select the luminaires you want to load from the li-

Importing from Luminaire Libraries brary or click Select All to select all luminaires.
Lightscape includes an extensive library of luminaires
for use in your scenes. 5. Click OK to load luminaire definitions into the
Luminaires table.
▲ You can load luminaires from a library only in
Preparation files. Saving Luminaires
You can also store a luminaire in a luminaire library
To import luminaires from a library: for later use.
1. Right-click the Luminaires table, then choose
Load.
131
To save a luminaire (or luminaires to a library: To create a luminaire from a block:

1. In the Luminaires table, select the luminaire or lu- 1. Select a block in the Blocks table, right-click the
minaires you want to save. table, and then choose Define as Luminaire.
Note: When a luminaire definition is saved, it over- The block is placed in Isolate mode and the Luminaire
writes any existing luminaire definitions in the Properties dialog appears.
library that have the same name.
2. Define the photometric properties for the lumi-
2. Right-click the Luminaires table, then choose naire and click OK. See “Setting Photometric Proper-
Save. ties” on page 132.
The Save As dialog appears. 3. Set the surface processing parameters to nonre-
flecting and non-occluding, if required. See “Setting
3. Enter the name of a new luminaire library in the the Surface Processing Parameters” on page 179.
File Name box, or select an existing luminaire library
from the Name list. Lightscape removes the block name from the Blocks
table and adds it to the Luminaires table. If there are
Note: Luminaires are saved in block (.blk) files, instances of this block in the model, they inherit the
which are the same type of files used for saving
properties of the newly defined luminaire.
blocks.
4. Click OK to save the luminaire(s) to the block file.

Setting Photometric Properties
Note: You can also save all luminaires in the Lumi-
Photometric properties define how light energy is
naires table by right-clicking the Luminaires table,
and then choosing Save All. transmitted from a luminaire. They specify the inten-
sity, color, and distribution of the light. You can set
these properties when you create a luminaire, or edit
Creating a Luminaire from a Block
them later.
You create a luminaire by associating photometric
data with an existing block definition. When you
To set the photometric properties of a luminaire:
perform this operation, all existing block instances of
1. Do one of the following to display the Luminaire
the selected type are replaced with instances of the
Properties dialog:
newly defined luminaire.
• In the Luminaires table, double-click a luminaire, or
If your modeling application does not support or
right-click a luminaire and then choose Photometrics
export block structures, you can either create blocks
in Lightscape or you can import the blocks and lumi- • When defining a new luminaire from a block, right-
naires from the block or luminaire library that comes click a block in the Blocks table, then choose Define as
with Lightscape. Luminaire
• In the Graphic window, select and right-click a lumi-

▲ You can turn blocks into luminaires only in the
Preparation stage. naire instance, then choose Photometrics. You can
modify a luminaire instance in this way only in a
Lightscape Solution file.
132 Lightscape
Setting Photometric Properties ❚❘❘
In all cases, the Luminaire Properties dialog appears. Note: Source types are exclusive to luminaire defi-
If you are working in a Lightscape Preparation stage, nitions. They cannot be specified for single
the luminaire is placed in Isolate mode. instances of luminaires. You save source types only
in the Preparation stage.
2. Do any of the following:
Point Source
• Set the source type
A point light source distributes energy from a single
• Position the source in relationship to the luminaire point. An incandescent bulb and a halogen spotlight
geometry are good examples of point sources.
• Set the lamp color
Linear Source
• Set the intensity magnitude A linear light source distributes energy along a
• Set the intensity distribution. straight line segment. A single fluorescent tube is a
good example of a linear light source.
3. Click OK or Apply to update the luminaire prop-
erties for the selected luminaire.
Area Source
An area light source distributes energy from a triangle
Specifying Source Types or convex quadrilateral surface. A typical area light is
The source type defines the general lighting character- a 2’ x 4’ fluorescent fixture that emits light evenly over
istics of a luminaire. Three types of light sources are the entire surface of a diffuser panel.
supported: point, linear, and area. By default, all newly
created luminaires are assigned a point source type.
Luminaire Properties dialog

Source Type list
LID position Lamp Type and Color settings Intensity and Distribution parameters
133
Positioning LIDs 2. In the Luminaire Properties dialog, select a source

Each luminaire has a luminous intensity distribution type.
(LID) that describes how the strength of the emitted 3. If you select the Linear or Area source type, enable
light varies with the outgoing direction. Pick Panel, and click a surface in the Graphic window
to define the area or length of the LID.
You set the location and orientation of the LID with
respect to the geometry of the luminaire when you 4. In the Intensity group box, select a distribution
define the luminaire. from the list. For more information, see“Defining In-
tensity Distribution” on page 137.
Adjusting the position of a luminaire’s LID is like
positioning the light bulb in a fixture.
5. Adjust the LID position and rotation as described

in the following sections.
Left: LID is positioned at the bottom of the light fixture and 6. Click OK to update the luminaire definition.
is aimed downward. The light beam will not be shadowed
by the geometry. 7. When prompted to overwrite the existing lumi-
naire, click Yes.
Right: LID is positioned above fixture and is aimed downward
In this position, you should make sure surfaces are non-
occluding or they will create shadows in the light beam. Using Relative or Absolute Positioning
You can position LIDs in Absolute or Relative mode.
▲ You can position LIDs only in the Lightscape • Use Absolute mode to enter the model coordinates
Preparation stage.
in the X, Y, and Z boxes.
To specify the source type and position a LID: • Use Relative mode to enter an explicit offset amount.
1. In the Luminaires table, double-click a luminaire,
or right-click a luminaire then choose Photometrics.
The Luminaire Properties dialog appears and the
luminaire is placed in Isolate mode.
134 Lightscape
To position a LID in Absolute mode: You can also set the X, Y, and Z coordinates in Relative
1. In the Luminaire Properties dialog, select Abso- mode by clicking the Set XYZ button, which displays
lute from the Values list. the Set XYZ dialog.
Values
list
3. Click Apply to update the location of the bulb.
Rotating the LID

Rotation determines the direction of the light emitted
2. Enter values in the X, Y, and Z boxes of the Posi- by the LID, relative to the luminaire geometry. For
tion group box. example, if you position a light bulb on one side of a
3. Click Apply to update the location of the bulb. square fixture, you could turn the light so that it is
emitted down out of the fixture, to the other side of
To position a LID in Relative mode: the fixture, or in any direction.
1. In the Luminaire Properties dialog, select Relative You can rotate LIDs in Absolute or Relative mode:
from the Values list.
• Use Absolute mode to enter angles in the X, Y, and Z
boxes.
Values
list • Use Relative mode to enter an explicit offset amount.
Enable Drag to drag the rotation of the LID in the
Graphic window in the specified increments.
To rotate the LID in Absolute mode:

1. In the Luminaire Properties dialog, select Abso-
lute from the Values list.
2. Enter values in the X, Y, and Z boxes of the Rota-
2. Enable Drag in the Position group box, then drag
tion group box.
the LID point to its new position in the Graphic win-
dow. The LID angle of rotation updates as you enter
numbers in the X, Y, and Z boxes.
Note: You can drag the LID only in an orthographic
view. 3. Click Apply to update the rotation of the bulb.
135
To rotate the LID in Relative mode: To set lamp color:

1. In the Luminaire Properties dialog, select Relative 1. Select a lamp color specification from the list.
from the Values list.
2. Choose a color model, then use the sliders to set
2. Enable Drag in the Rotation group box. the color.
3. Select an axis of rotation from the Axis list.
Select: To:
X Rotate the LID around the X axis.
Y Rotate the LID around the Y axis.
Z Rotate the LID around the Z axis.
3. Click Apply to update the lamp color.
AIM Rotate the LID around the axis in which
the LID is directed. Note: As discussed in Appendix A, “Light and
Color,” Lightscape supports only RGB values when
You can also set the angle of rotation in Relative mode calculating the radiosity solution. As a result, subtle
by clicking the Set Angle button, which displays the differences between lamp types may not always be
Set Angle dialog. apparent in the final image.
Setting Intensity Magnitude

Use intensity magnitude to set the strength or bright-
ness of the light source. The method you select
depends on the specification you use to define the
light source.
For a selection of common lighting values, see
4. Drag the LID around the selected axis of rotation
Appendix G, “Common Lamp Values.”
in the Graphic window.
5. Click Apply to update the rotation of the bulb. You can select from one of the following methods.
Luminous Intensity
Setting Lamp Color Luminous intensity is the maximum luminous inten-
Pick a common lamp specification to approximate the sity of the luminaire, usually along the direction of
spectral character of your light, then use a filter, if aim. A 100-watt general purpose light bulb has a
desired, to set an HSV or RGB color that simulates the luminous intensity of about 139 cd.
effect of a color filter placed over the light source. For
Luminous intensity is measured in candelas (cd).
example, a red filter over a white light source casts red
light.
Luminous Flux
Luminous flux is the overall output power of the
luminaire. A 40-watt fluorescent tube (4H) has a
luminous flux of about 3000 lm.
136 Lightscape
Luminous flux is measured in lumens (lm). Defining Intensity Distribution

Intensity distribution defines how the light is
Illuminance at a Distance dispersed from the luminaire. The available intensity
Illuminance at a distance is the illuminance caused by distribution types depend on the selected source
the light shining on a surface at a certain distance and type.
facing in the direction of the source.
Note: You can define intensity distributions in both
This intensity setting is measured in either footcan- the Preparation stage and the Solution stage.
dles (fc) or lux (lx), depending on whether you are
working in American or International lighting units. The intensity distribution types are:
The distance is measured in the current units of the • Isotropic
model.
• Diffuse
Note: The unit settings can be adjusted in the Docu-
ment Properties dialog by choosing Edit | Properties • Spot
and then clicking the Units tab.
• Photometric Web.
Adjust Intensity
Isotropic
Adjust intensity allows you to scale the current lumi-
Select this type to distribute the light equally in all
nous intensity, based on the maximum luminous
directions. Isotropic distribution is valid only for
intensity. In the Solution stage, this slider can act as a
Point source types.
“dimming” control for a luminaire.
Orthographic view of a
To set the intensity magnitude for a luminaire Point source type set to
definition: Isotropic distribution.
1. In the Luminaire Properties dialog, select an item

from the Magnitude list.
Magnitude To define an isotropic distribution:

list
1. In the Luminaire Properties dialog, select Point
from the Source Type list.
2. Select Isotropic from the Distribution list.
3. If necessary, adjust the Intensity Magnitude.
4. Click Apply to update the luminaire definition.
2. Enter an intensity value (and a distance if you
Diffuse
have selected Illuminance at a Distance as the Magni-
tude setting). Select this distribution type to emit light from a
surface with the greatest intensity at right angles to
3. Click Apply to update the luminaire intensity.
that surface. The intensity falls off at increasingly
137
oblique angles. Diffuse distribution is valid for Linear To define a spotlight distribution:
and Area source types. 1. In the Luminaire Properties dialog, select Point
from the Source Type list.
Linear source type set to 2. Select Spot from the Distribution list.
Diffuse distribution.
3. If necessary, adjust the Intensity Magnitude,
Beam Angle, and Field Angle.
Note: Because the beam angle has to be smaller

than the field angle, you should enter the field angle
first followed by the beam angle.
To define a diffuse light distribution: 4. Click Apply to update the luminaire definition.
1. In the Luminaire Properties dialog, select Linear
Photometric Web
or Area from the Source Type list.
Select this distribution type to use a photometric web
2. Select Diffuse from the Distribution list. definition to distribute the light. A photometric web is
3. If necessary, adjust the Intensity Magnitude. a 3D representation of the LID of a custom light
source.
4. Click Apply to update the luminaire definition.
You can define your own photometric webs or import
Spot
manufacturer or customized IES files in your models
Select this distribution type to define a spotlight
and associate them with luminaires.
distribution with an accompanied beam and field
angle. The beam angle is the angle at which the inten- Photometric webs are valid for all source types.
sity of the light is 50 percent of the maximum intensity
at the center of the beam. Point source type with
a custom Photometric
Visually, the beam represents the visible diameter Web distribution.
(hot spot) of the spotlight on a surface. The field angle
represents the angle where the light is abruptly cut off.
A spotlight where the field is much greater than the
beam has a soft-edged effect (flood light).
Spot distribution is valid only for Point source types.
Orthographic view of a Point

source type set to Spot
For more information on photometric webs, see
distribution. The Beam Angle is
30 and the Field Angle is 45. Chapter 9, “Photometrics.”
138 Lightscape
Placing Luminaires in a Model ❚❘❘
To use photometric data files to define distribution: ▲ You add luminaires to a model only in the Prep-
1. In the Intensity group box of the Luminaire Prop- aration stage.
erties dialog , select Photometric Web from the Dis-
tribution list. To drag and drop a luminaire in the model:
Drag and drop a luminaire from the Luminaires table
to the Graphic window.
The luminaire is added to the current layer at the

coordinates where you drop it.
To place a single instance at the origin:

1. Select a luminaire in the Luminaires table.
2. Right-click the Luminaires table, then choose
Create Single Instance.
2. Enter the name of the IES file to use, or click
Browse and navigate to the IES file you want to open, A single instance of the luminaire is added at the
then click Open. origin (0, 0, 0) on the current layer.
Lightscape searches the Luminaire Distribution paths

To replace surfaces with a luminaire:
to find the specified IES file.
1. Select the surfaces that you want to convert into a
Note: If you navigated to an IES file that is not in an luminaire.
existing path, you are prompted to add the file’s
2. Right-click the Graphic window, and choose Re-
location to your system or document path. In most
place with Block/Luminaire.
cases, you should accept the default selection and
click OK to return to the Luminaire Properties dialog. The Replace with Block/Luminaire dialog appears.
This adds the selected file’s path to the system path
list. For more information, see “Setting Paths Proper- 3. Select a luminaire from the list, then click OK.
ties” on page 48. The selected surfaces are replaced with the luminaire.
3. If needed, position or rotate the photometric web
to align properly with the geometry of the luminaire.
4. If required, set the surface properties to be non-
Editing Luminaires
You can edit the geometry and photometric proper-
occluding and non-reflecting. See “Setting Luminaire
Surface Properties” on page 147. ties of either a luminaire definition or a single
luminaire. When you edit luminaires, you can do any
5. In the Luminaire Properties dialog, click OK to
of the following:
close the dialog and update the luminaire definition.
• Edit a luminaire definition
• Rename a luminaire
Placing Luminaires in a Model
New luminaires can be placed in the model in several • Copy a luminaire
different ways.
• Transform a luminaire
139
• Aim a luminaire instance the properties of the other luminaires of the same
definition.
• Modify the insertion point for a luminaire definition
• Create an array of luminaires ▲ You can edit luminaire instances only in the
Lightscape Solution stage.
• Set luminaire icon size
Note: If you modify the luminaire definition after
• Move to current layer changing the properties for a single instance, the
changes to the single instance are overwritten.
• Query luminaire instances
• Change luminaire geometry. To edit an instance of a luminaire:

1. Select a luminaire in the Graphic window.
Editing a Luminaire Definition 2. Right-click the Graphic window, then choose
When you change a luminaire definition, all instances Photometrics.
of that luminaire placed in the model inherit the The Luminaire Properties dialog appears.
change.
3. Edit the photometric properties for the specific
luminaire in the Luminaire Properties dialog, then
To edit a luminaire definition:
click OK. See “Setting Photometric Properties” on
1. Select a luminaire in the Luminaires table. page 132.
2. Right-click the Luminaires table, then choose Iso- 4. When prompted to overwrite the existing lumi-
late. naire, click Yes.
The luminaire is the only object displayed in the Only the selected instance is modified.
Graphic window.
Note: You can also double-click a luminaire in the Renaming a Luminaire Definition
Luminaires table to select and isolate it. You can rename a luminaire definition to give it a
name that is meaningful to you or to prevent it from
3. If required, edit the surface properties.
being overwritten when you load another luminaire
4. If required, edit the photometric properties in the with the same name.
Luminaire Properties dialog, then click OK. See “Set-
ting Photometric Properties” on page 132. Note: You can modify luminaire names only in the
Lightscape Preparation stage.
5. When prompted to overwrite the existing lumi-
naire, click Yes.
To rename a luminaire:
6. Right-click the Luminaires table, then choose Re- 1. In the Luminaires table, select a luminaire.
turn to Full Model.
2. Right-click the Luminaires table, then choose Re-
Every instance of that luminaire is modified. name.
The name of the selected luminaire is highlighted and
Editing a Luminaire Instance a blinking cursor appears at the end of the highlighted
In a Lightscape Solution file, you can make modifica- text.
tions to a single luminaire instance without affecting
140 Lightscape
Editing Luminaires ❚❘❘
3. Type a new name and press Enter. To copy a single instance of a luminaire:
The new name appears in the Luminaires table. 1. Select the luminaire you want to copy.
Changing the name has no effect on the luminaire 2. Right-click the Graphic window, then choose Du-
properties for that luminaire instance. plicate.
A copy of the selected luminaire is created and placed
Copying a Luminaire Definition on top of the original.
Use the Duplicate command in the Luminaires table
context menu to copy a luminaire definition.
Creating an Array of Luminaires
▲ You can copy luminaires only in the Preparation Once you have added luminaires to your model, using
stage. one instance of a luminaire, you can create a repeating
array of luminaire instances along the X, Y, or Z axis.
To copy a luminaire definition:
▲ You create luminaire arrays only in the Prepara-
1. In the Luminaires table, select the luminaire you
tion stage.
want to copy.
2. Right-click the Luminaires table, then choose Du- To create a luminaire array:
plicate. 1. Drag a luminaire from the Luminaires table to the
A copy of the selected luminaire appears in the table. required position in the Graphic window.
Multiple Duplicate.
The Add Multiple Instances dialog appears.
Instance
Duplicate of lt_dn1
number
on Z axis
You can now rename and edit the new luminaire

definition.
Array spacing on Z axis
Copying a Luminaire Instance 3. Enter the number of instances in the correspond-

Use the duplicate command to create another ing Number X, Y, or Z box.
instance of a luminaire.
4. Enter the distance between instances in the Spac-
ing X, Y, or Z box.
▲ You can copy luminaires only in the Preparation
stage.
141
5. Click OK to add the array of luminaire instances X box moves the luminaire to a spot 2 units to the
to your model. right of the scene origin.
Left: Single luminaire
Instance.
Bottom: 15 multiple instances
of a luminaire spaced at 2-foot
intervals.
• Relative: enable Relative, then enter an amount in the

X, Y, and Z boxes to offset the luminaire relative to its
current position. For example, entering 2 in the X box
moves the luminaire 2 units to the right of its current
Moving a Luminaire Instance position.
Once you place an instance of a luminaire in your
model, you can move it into any position along the X,
Y and Z axes. You can move luminaires only in the
Preparation stage.
To move a luminaire:
1. Select the luminaire you want to move.
Transformation.
3. Click the Move tab. • Pick: enable Pick then click in the Graphic window
to choose the new position of the luminaire. Enable
4. Select one of the following positioning modes:
Snap to Nearest Vertex to move the luminaire to the
• Absolute: enable Absolute, then enter coordinates in vertex nearest the point you picked. The Absolute Co-
the X, Y, and Z boxes to specify the position of the lu-
minaire in your model. For example, entering 2 in the
142 Lightscape
ordinates boxes update to display the position you X box to rotate the luminaire to an angle of 90 degrees
picked. along the X axis.
5. Click Apply to move the luminaire without clos- • Relative: use Relative to rotate the selected luminaire
ing the dialog, or click OK to move the luminaire and relative to its current angle about an axis. Enter an off-
close the dialog. set angle to rotate the luminaire around the X, Y
Note: You can also drag a luminaire to a new posi- and/or Z axis, or select Aim axis, and enter the
tion using the interactive Transformation tools. For amount you want the luminaire to rotate about its
more information see “Transforming Objects” on Aim axis.
page 43.
Rotating a Luminaire Instance

You can rotate a luminaire so that it shines on a
different object or so that its light is distributed in
another direction.
▲ You can only rotate luminaires in the Prepara-

tion stage.
To rotate a luminaire:
1. Select the luminaire you want to rotate. 5. Click Apply to rotate the luminaire without clos-
ing the dialog, or click OK to rotate the luminaire and
close the Transformation dialog.
Transformation.
The Transformation dialog appears. Note: You can also rotate a luminaire using the
interactive Transformation tools. For more informa-
3. Click the Rotate tab. tion see “Transforming Objects” on page 43.
4. Select one of the following rotation modes:
• Absolute: use Absolute to rotate the selected lumi-
Scaling a Luminaire
Adjust the scaling of the luminaire geometry to
naire at an absolute angle about an axis of rotation
change the size of a luminaire. Adjusting the lumi-
specified by X, Y, and Z. For example, enter 90 in the
143
naire scaling has no effect on its luminance To aim a luminaire toward a surface:
properties. 1. Select the luminaire instance(s) you want to aim.
You can scale luminaire instances and definitions. 2. Choose Edit | Transformation, or right-click in
Luminaires are scaled relative to their insertion point. the Graphic window, then choose Transformation.
▲ You can scale luminaires only in the Lightscape
Preparation stage.
To scale a luminaire:
1. Select the luminaire you want to scale.
Transformation.
3. Click the Scale tab.
3. Click the Aim tab.

4. Enable Pick.
5. Pick a point on any surface toward which you
want to aim the selected luminaire(s).
Note: You should set your display mode to

solid to ensure that you are picking a surface.
The selected luminaire(s) is aimed at the specified

point.
4. In the Relative Scale Factor X, Y, and Z boxes, en-
ter a multiplier value.
For example, enter a value of 2 in the X box to double
the size of the selected luminaire in the X direction.
Enter a value of 0.5 to shrink the luminaire to half its
size.
5. Click Apply to scale the luminaire without closing

the dialog, or click OK to scale the luminaire and close
the Transformation dialog.
Aiming a Luminaire Instance

Lightscape provides an intuitive control for aiming a
luminaire to a particular point in your scene. Selected luminaire oriented toward yellow crosshair
144 Lightscape
This aim feature aligns the negative Z axis of the lumi- 3. Click the Insertion Point tab.
naire insertion point to the point selected. This will
only function properly if the LID aim is also aligned
with the negative Z axis of the luminaire insertion
point. For more information on rotating the LID, see
“Positioning LIDs” on page 134.
Moving a Luminaire Insertion Point

The insertion point represents the origin of the lumi-
naire’s local coordinate system. When you insert a
luminaire instance in a model, it is placed with refer-
ence to its insertion point. The insertion point is also 4. Select one of the options in the Values list to adjust
the center of rotation of the luminaire in the model. the position of the insertion point.
Select: To:
Absolute Move the insertion point to an absolute
position represented by X, Y, and Z.
For example, enter 2 in the X box to
move the insertion point 2 units to the
right of the scene origin.
You can also click Geometric Center to
move the insertion point to the center
of the luminaire geometry.
Moving the insertion point as illustrated changes the
way the light rotates—as if the light bulb was placed in Relative Move the insertion point by a relative
a different fixture. amount represented by X, Y, and Z. For
example, entering 2 in the X box moves
Note: You cannot move the insertion point of a the insertion point 2 units to the right
luminaire instance. of its current position.
Drag Drag the insertion point to a new posi-
To move a luminaire’s insertion point:
tion in any orthographic view. You can
1. In the Luminaires table, right-click the luminaire constrain cursor movement by enter-
you want to modify, then choose Isolate. ing values in the X, Y, and Z boxes.
The luminaire is placed in Isolate mode. Pick Move the insertion point to the point
in the Graphic window upon which
you click.
Transformation.
Enable Snap to Nearest Vertex to move
The Transformation dialog appears. the insertion point to the vertex near-
est the point you select.
145
5. Click Apply to move the insertion point without Note: A luminaire icon is visible only when the lumi-
closing the dialog, or click OK to move the insertion naire is selected.
point and close the Transformation dialog.
6. Right-click in the Graphic window, then choose Querying Luminaire Instances
Return to Full Model. Use the Query Instance command to highlight every
instance of a luminaire in the Graphic window and
Note: If you have already inserted instances of a
luminaire into your model, you should be careful
display the luminaire’s properties on the status bar.
about changing the insertion point of the luminaire You can query instances of multiple luminaires.
definition because it will cause the relocation of all
instances of that luminaire. Typically the positioning ▲ You can query instances of a luminaire in both
of the insertion point is done when you first create the Preparation stage and the Solution stage.
the luminaire.
To query instances of one luminaire:
Setting Luminaire Icon Size 1. In the Luminaires table, right-click a luminaire,

then choose Query Instances.
In large models, you may need to enlarge the icon size
to see it properly. The default icon size is 1. Every instance of the luminaire is highlighted in the
Graphic window.
Changing the size of the icon does not affect the
brightness of the luminaire. In addition, the following information regarding the
queried luminaire appears on the status bar:
• Source type
• Distribution type
• State of the ray trace, shadows, and store direct illu-

mination options
• Number of instances in the model

Icon size = 1 Icon size = 3
• Name.
To set the luminaire icon size for all luminaires in
your model: In the Solution stage, if one of these settings is
different for one or more instances of the selected
luminaire, that information does not appear on the
The Document Properties dialog appears. status bar.
2. On the Display panel, drag the Luminaire Icon
Note: If the status message is too long to fit in the
Size slider to the appropriate value. Graphic window, the message is cut off. To see the
full message, simply resize the Graphic window.
Note: You can set the luminaire icon size to any
value between 0.05 and 100.00.
3. Click OK.
The luminaire icons are resized.
146 Lightscape
Setting Luminaire Surface Properties ❚❘❘
To query instances of multiple luminaires: luminaire do not shadow the emitted light. For more
1. In the Luminaires table, hold down the Ctrl key, information on adjusting the LID, see “Positioning
then click the luminaires. LIDs” on page 134.
2. Right-click the Luminaires table, then choose If this is not possible, you can also define surfaces of
Query Instances. the luminaire geometry as non-occluding. When you
All instances of the luminaires are highlighted in the set a surface to be non-occluding, you should also
Graphic window. No information about the queried always set it to be non-reflecting or you will not get
luminaires is displayed on the status bar. accurate results. For more information, see “Setting
the Surface Processing Parameters” on page 179.
To query a selected instance in your model:
1. Click the Query Select button , or choose
Edit|Selection|Query. Luminaire Processing
Use the Luminaire Processing dialog to specify lumi-
2. In the Graphic window, click a luminaire in-
naire behavior during the radiosity processing and
stance.
ray tracing.
Information about that luminaire appears on the
status bar. If you access the Luminaire Processing dialog from
the Luminaires table, your settings affect all inserted
instances of the selected luminaires. If you access this
Setting Luminaire Surface dialog from the Graphic window, only the selected
instances are modified.
Properties
You can modify the geometry of a luminaire in the Note: You can set luminaire processing parameters
same way you modify block geometry. This operation in both Lightscape Preparation and Solution stages.
could be useful if you want to change the shape of a
light fixture.
Luminaire Processing Options
Changing luminaire geometry can affect its photo- The following section describes the options available
metric properties and can be used to modify the in the Luminaire Processing dialog.
shadows cast by a light. However, you can obtain a
truer lighting effect by associating a luminaire with a Cast Shadows
photometric web. You can specify whether or not selected luminaires
cast shadows. If you set luminaires to not cast
Typically, photometric web definitions such as IES shadows, the energy from the light is distributed to
files provided by manufacturers already take into each surface in its path as if there were no other
account the geometry of the luminaire when the IES surface blocking it. This considerably reduces the
files are created. number of calculations required for a solution and is,
When using manufacturer-provided IES files, you therefore, a quick way to get a general feel for the
usually do not want the luminaire geometry to affect lighting characteristics of a model.
the photometry further. To avoid this problem, posi- However, this procedure does not produce accurate
tion the LID to ensure that the surfaces of the results and is generally not suitable for final solutions.
147
Store Direct Illumination To set processing parameters of a luminaire

Direct illumination is the light that arrives at a surface definition:
directly from a luminaire or the sun. 1. In the Luminaires table, right-click a luminaire
then choose Luminaire Processing.
When the Store Direct Illumination option is
The Luminaire Processing dialog appears.
disabled, the direct illumination from the selected
luminaires does not appear in the solution. The
system calculates the light from luminaires, but uses it
only to generate indirect lighting. Essentially, you are
eliminating the effect of direct lighting, leaving only
reflected light to illuminate the model.
There are two primary reasons you would choose not

to store direct illumination: 2. Enable the options that you want to apply to the
• If you know in advance that you intend to ray trace selected luminaire definition.
the direct illumination, you can save time by not 3. Click OK.
storing the direct illumination in the radiosity solu-
The luminaire processing parameters for all inserted
tion.
instances of the selected luminaire definition are
• If you are going to export the radiosity solution to changed.
another product (for example, 3D Studio MAX or
3D Studio VIZ) and render the direct illumination To set processing parameters for a luminaire
instance:
there.
1. Select a luminaire instance in the Graphic win-
Ray Trace Direct Illumination dow.
The Ray Trace Direct Illumination option lets you Note: To select multiple instances, hold down the
specify whether to recalculate direct illumination Ctrl key while you click luminaires.
from a selected luminaire during a ray tracing oper-
ation. When the Ray Trace Direct Illumination 2. Right-click the Graphic window, then choose Lu-
minaire Processing.
option is enabled, the direct light contribution that
was calculated during the radiosity processing is The Luminaire Processing dialog appears.
removed (unless the Store Direct Illumination
option for the luminaire is disabled) and is recalcu-
lated by the ray tracer. Although this adds time to
the ray tracing procedure, it also improves the
quality of shadows and lighting effects in the final
image.
3. Enable the options that you want to apply to the

selected luminaire instance.
4. Click OK.
148 Lightscape
You can use photometric webs to create custom luminous intensity distributions
(LIDs) . Use IES files to import manufacturer’s lighting specifications into your
model.
9
Photometrics
How to create and modify IES files
and photometric webs.
Summary About Photometric Webs

In this chapter, you learn about: Photometric webs are used to represent general
LIDs. You can use LIDs in the definition of all three
• Using photometric data
types of light sources: point, linear, and area sources.
• Creating and editing photometric webs
To describe the directional distribution of the light
• The IES standard file format emitted by a source, Lightscape approximates the
source by a point light placed at its photometric
• Using LID conversion utilities.
center. With this approximation, the distribution is
characterized as a function of the outgoing direction
only. The luminous intensity of the source for a
Using Photometric Data
predetermined set of horizontal and vertical angles
You can interactively model any luminous intensity
is provided, and the system can compute the lumi-
distribution (LID) for a luminaire using the Photo-
nous intensity along an arbitrary direction by
metric Web editor. You can load and view
interpolation.
photometric data files provided by various manu-
facturers into the photometric definition. You can
also create your own using the Photometric Web
editor.
149
9 Photometrics
This graphical representation of 3D lighting distri- the photometric center, measured along a line
bution is widely used in the lighting industry to leaving the center in the specified direction.
describe the photometric characteristics of both
lamps and luminaires. Lighting manufacturers often
make this data available to design professionals for
use in lighting analysis programs.
Goniometric Diagrams
Photometric data is often depicted using a gonio-
metric diagram.
This type of diagram visually represents how the

luminous intensity of a source varies with the
Goniometric diagram converted to a photometric web
vertical angle. However, the horizontal angle is fixed
and, unless the distribution is axially symmetric,
more than one goniometric diagram may be needed Example 1: Isotropic Distribution
to describe the complete distribution. A sphere centered around the origin is a representa-
tion of an isotropic distribution. All the points in the
diagram are equidistant from the center and there-
fore light is emitted equally in all directions.
Goniometric diagram
Lightscape extends the goniometric diagram to

three dimensions, so that the dependencies of the Isotropic distribution
luminous intensity on both the vertical and hori-
zontal angles can be examined simultaneously. The
center of the photometric web represents the center Example 2: Ellipsoidal Distribution
of the luminaire. In this example, the points in the negative Z direc-
tion are the same distance from the origin as the
The luminous intensity in any given direction is corresponding points in the positive Z direction, so
proportional to the distance between this web and the same amount of light shines upward and down-
ward. No point has a very large X or Y component,
150 Lightscape
Creating and Editing Photometric Webs ❚❘❘
either positive or negative, so less light is cast later- Creating and Editing
ally from the light source. Photometric Webs
Use the Photometric Web editor to customize
photometric webs that you can associate with the
luminaires in your model. You can create photo-
metric webs or modify existing ones.
Using the Photometric Web Editor

You can use the Photometric Web editor to create a
photometric web by adding and then editing control
points and their associated distribution curves. Use
the Zoom and Orbit buttons to change
your view of the photometric web.
Ellipsoidal distribution To display the Photometric Web editor:

Choose Light | Photometric Web.
Example 3: Complex Distribution The Photometric Web editor appears.
You can use the photometric web to create very
complex light distributions, including ones that are
unlikely to be used in reality, as shown in the
following illustration.
The Photometric Web editor contains the following

components:
Mode
Use the Mode list to set the current control point
mode.
Select: To:
Unusual and unlikely distribution Edit Change the shape of the diagram by
dragging existing points in the web.
151
9 Photometrics
Vertical Angle
Select: To:
Enter a value in the Vertical Angle box to move the
Insert Add new control points by dragging current control point and distribution curve to the
the cursor along an existing distri-
specified vertical angle.
bution curve and clicking a loca-
tion.
Intensity (abs)
Delete Delete control points from the web. Enter a value in the Intensity (abs) box to set the
Distribution curves associated with
absolute intensity of the selected control points. The
the point are also deleted.
intensity value can be any positive real number.
Symmetry
Use the Symmetry list to enforce the specified Intensity (rel)
Enter a value in the Intensity (rel) box to display the
symmetry on the photometric web.
intensity relative to the photometric web diagram.
Select: To: The intensity value can be any positive real number.
Axial Set the distribution to the same val-
ue around all 360 degrees of the light Multiplier
source’s vertical axis. The value you enter in the Multiplier box defines the
ratio between the absolute and relative intensities.
Quadrant Mirror the distribution about the
The multiplier value can be any positive real
YZ and XZ planes.
number.
Mirror Mirror the distribution about the
0-180 XZ plane.
Saving Photometric Webs
None Specify no symmetry.
You can save customized photometric webs as IES
files, which can then be assigned to a luminaire.
Hemisphere
Use the Hemisphere list to control in which hemi-
To save a photometric web as an IES file:
spheres the light is distributed. The default
1. Create a photometric web. For more informa-
hemisphere setting is Both.
tion, see “Customized Photometric Web Example”
Select: To: on page 153.
Bottom Shine light down only. 2. Click Save As on the Photometric Web editor.
Top Shine light up only. The Save As dialog appears.

Both Shine light in both hemispheres. 3. Enter the path and filename of the IES file, then
click OK.
Horizontal Angle The Photometric Web is saved to the specified file in
Enter a value in the Horizontal Angle box to move the IES format.
the current control point and distribution curve to
the specified horizontal angle. Note: You can also use the LID conversion utilities
to convert your LID to other file formats. For infor-
mation, see “Using LID Conversion Utilities” on
page 155.
152 Lightscape
Customized Photometric Web Example ❚❘❘
Resetting Photometric Webs 2. In the Hemisphere list, select Bottom (0-90). In

You can reset a photometric web to the default LID this example, we will create a light that only shines
in the Photometric Web editor. downwards.
3. Click the Orbit button and rotate the view
To reset a photometric web: until you can see the appropriate area of the Photo-
metric Web editor.
1. Click Load in the Photometric Web editor.
2. In the Open dialog, locate the following IES file:

lightscape\lib\lights\lvs\
default.ies
3. Click Open.
The photometric web is reset to the default settings.
Note: The sample libraries must be installed on

your system in order to reset the Photometric Web
editor. For information on installing sample
libraries, see Chapter 2, “Installation.”
Customized Photometric Web Note: The Orbit button appears only if you entered
the Photometric Web editor in Perspective view. If
Example you entered the editor in an orthographic view,
You can use photometric webs to create customized exit to the main application, click the Perspective
lights that you can use in your model. The following View button and then return to the Photo-
example illustrates how to create a photometric web. metric Web editor.
4. Click the Select button .

To create a customized photometric web:
1. Choose Light | Photometric Web. 5. In the Mode list, select Insert to add points to the
photometric web.
The Photometric Web editor appears.
6. Click on the arc roughly halfway between the
equator and the south pole.
Click the arc

at about this
point.
153
9 Photometrics
7. In the Symmetry list, select Quadrant. 12. Return to the previous view. The photometric
web should resemble the following:
Arcs that mirror the one you created are added to the
remaining three quadrants, completing the bottom
half of the sphere.
13. Select Insert in the Mode list, and then click the
photometric web to add more lines of latitude. This
provides greater control of the web’s shape.
14. When you have finished editing your photomet-
8. In the Mode list, select Edit. ric web, click Save As to save the web as an IES file, or
9. Drag one of the points on the equator to the cen- click OK to close the Photometric Web editor.
ter of the photometric web. When added to a model, this customized photo-
The point opposite the one you drag also moves. metric web should resemble the following:
Note: Instead of dragging, you can enter absolute

values for the selected point in the appropriate
boxes.
10. Move the other pair of points on the equator to

the center.
Your photometric web should resemble the
following:
For information about assigning a photometric web

to a luminaire, see “Defining Intensity Distribution”
on page 137.
11. Adjust the viewpoint to a top view, and then drag

the outermost points about halfway toward the axis
while maintaining the web’s circular shape.
154 Lightscape
IES Standard File Format ❚❘❘
IES Standard File Format LID2CIBSE accepts the following file formats as
You can create a photometric data file in the IES input.
format using the guidelines found in Appendix E,
File Type: Description:
“IES Standard File Format.” This appendix
describes the IES LM-63-1991 standard file format CIBSE Adopted by the Chartered Institution
for photometric data. However, only the informa- of Building Services Engineers, as
specified in technical memoranda
tion relevant to Lightscape is described.
TM14. Used in Great Britain.
For a complete description of the IES standard file IES Designed by the Illuminating Engi-
format, see IES Standard File Format for Electronic neering Society, as described in re-
Transfer of Photometric Data and Related Informa- port LM-63-1991. Used in North
tion, prepared by the IES Computer Committee America.
(http://www.iesna.org). LTLI Created by the Danish Illuminating
Laboratory, Lysteknisk Laboratori-
um. Used in Scandinavian countries.
Using LID Conversion Utilities
You can use the following command line utilities, Only the LID data (photometric web) is converted.
described in this section, to convert a LID from a All other fields and comments, such as the number
photometric file to a CIBSE, IES, or LTLI format: of lamps and the luminaire manufacturer, are
ignored.
• LID2CIBSE
Note: The orientation of the photometric web
• LID2IES with respect to the luminaire is not converted
• LID2LTLI. either. Therefore, when the output file is associated
to a luminaire, manual orientation of the photo-
For information on creating and using batch files, metric web may be required.
see Appendix B, “Batch Processing Utilities.”
To convert a LID to the CIBSE file format:
1. Choose Start | Programs | MS-DOS Prompt.
Converting LID to CIBSE
The LID2CIBSE utility reads in a LID from a photo- A DOS window appears.
metric file and writes it out in the CIBSE file format.
2. At the command line, type the following (or
The LID2CIBSE utility syntax is shown in the your path to the Lightscape application files), and
following example: then press Enter:
lid2cibse [options] input_file CD\PROGRAM FILES\LIGHTSCAPE\BIN
output_file
3. Using the following syntax, type a command at
the command line, then press Enter:
lid2cibse [options] input_file
output_file
155
9 Photometrics
The conversion utility reads in a LID from the spec- Only the LID data (photometric web) is converted.
ified photometric file and writes it out in the CIBSE All other fields and comments, such as the number
file format. of lamps and the luminaire manufacturer, are
ignored.
LID2CIBSE Options
The following table describes the options available Note: The orientation of the photometric web
for this utility. with respect to the luminaire is also not converted.
Therefore, when the output file is associated to a
luminaire, manual orientation of the photometric
Option: Description:
web may be required.
-h Prints a help message.
-v Turns on verbose mode. Prints sta- To convert a LID to the IES file format:
tus information during the conver- 1. Choose Start | Programs | MS-DOS Prompt.
sion process.
A DOS window appears.
input_file Input photometric file.
2. At the command line, type the following (or
output_file Output CIBSE file.
your path to the Lightscape application files), and
then press Enter:
Converting LID to IES CD\PROGRAM FILES\LIGHTSCAPE\BIN
The LID2IES utility reads in a LID from a photo-
3. Using the following syntax, type a command at
metric file and writes it out in the IES file format. the command line, then press Enter:
The LID2IES utility syntax is shown in the following
example: lid2ies [options] input_file
output_file
lid2ies [options] input_file
The conversion utility reads in a LID from a photo-
output_file
metric file and writes it out in the IES file format.
LID2IES currently accepts the following file formats
as input. LID2IES Options
The following table describes the options available
File Type: Description: for this utility.
CIBSE Adopted by the Chartered Institu-
tion of Building Services Engineers,
as specified in technical memoranda -h Prints a help message.
TM14. Used in Great Britain.
-v Turns on verbose mode. Prints sta-
IES Designed by the Illuminating Engi- tus information during the conver-
neering Society, as described in re- sion process.
port LM-63-1991. Used in North
input_file Input photometric file.
America.
output_file Output IES file.
LTLI Created by the Danish Illuminating
Laboratory, Lysteknisk Laboratori-
um. Used in Scandinavian coun-
tries.
156 Lightscape
Using LID Conversion Utilities ❚❘❘
Converting LID to LTLI 2. At the command line, type the following (or
The LID2LTLI utility reads in a LID from a photo- your path to the Lightscape application files), and
metric file and writes it out in the LTLI file format. then press Enter:
The LID2LTLI utility syntax is shown in the CD\PROGRAM FILES\LIGHTSCAPE\BIN
following example. 3. Using the following syntax, type a command at
lid2ltli [options] input_file the command line, then press Enter:
output_file lid2ltli [options] input_file
output_file
LID2LTLI currently accepts the following file
formats as input. The conversion utility reads in a LID from a photo-
metric file and writes it out in the LTLI file format.
File Type: Description:
CIBSE Adopted by the Chartered Institu- LID2LTLI Options
tion of Building Services Engineers, The following table describes the options available
as specified in technical memoran- for this utility.
da TM14. Used in Great Britain.
IES Designed by the Illuminating Engi-
neering Society, as described in re- -h Prints a help message.
port LM-63-1991. Used in North -v Turns on verbose mode. Prints sta-
America. tus information during the conver-
LTLI Created by the Danish Illuminating sion process.
Laboratory, Lysteknisk Laboratori- input_file Input photometric file.
um. Used in Scandinavian coun-
tries. out_file Output LTLI file.
Only the LID data (photometric web) is converted. For information on other batch processing utilities,
All other fields and comments, such as the number see Appendix B, “Batch Processing Utilities.”
of lamps and the luminaire manufacturer, are
ignored.
Note: The orientation of the photometric web

with respect to the luminaire is also not converted.
Therefore, when the output file is associated to a
luminaire, manual orientation of the photometric
web may be required.
To convert a LID to the LTLI file format:

157
NOTES
158
10
Lightscape provides various techniques for specifying the characteristics of
natural daylighting. Daylight is provided by two sources: the sun and the sky.
Daylight
How to add sun and
skylight to your model.
Summary calculated based on geographical location, time, and

In this chapter, you learn about: sky condition settings.
• Differentiating between sunlight and skylight

• Using daylight for interior and exterior models
• Defining surfaces as windows or openings
• Illuminating your model with daylight
• Enabling daylight for radiosity processing.
About Sunlight Room illuminated by sunlight only

The sun is modeled as a parallel light source, which
makes the incident direction of sunlight constant
over all surfaces in the scene. You can specify the About Skylight
direction and intensity of the sun directly. Alterna- In the real world, daylight in an environment does
tively, the direction and intensity of the sun can be not just come from direct sunlight; it also comes
from light that is scattered through the atmosphere.
Lightscape offers greater realism and accuracy by
159
10 Daylight
not only calculating sunlight, but by calculating this Refining Shadows

“skylight” as well. You can set shadow casting for sunlight and skylight.
The sky is modeled as a dome of infinite radii placed If you set these sources to not cast shadows, the
around the scene. Skylight computes the illumina- energy is distributed from the source to each surface
tion of a point in the scene with reference to all in its path as if there were no other surface blocking
directions around that point where the sky is visible. it. However, when you disable shadow calculations,
The sky brightness is not constant over the sky sky illumination levels at a surface are determined by
dome, but rather it changes depending upon the the surface orientation. For example, all flat roofs in
position of the sun. a model of a city receive the same amount of illumi-
nation, regardless of the building height and the
surrounding buildings.
Typically, the shadows from direct sunlight are

important to your images. The subtle shadows
produced by the sky dome may not be as important,
depending on the level of quality required.
A great deal of processing is dedicated to the calcu-

lation of the shadows cast by the sky dome. If
shadows are not important in your model, you can
Room illuminated by sunlight and disable them and save substantial amounts of
skylight. Illumination around the windows processing time. However, the results will not be as
is greater than when only sunlight is used.
realistic.
Skylight distribution is determined by the geograph- Adjusting Shadow Accuracy

ical location, time, and sky condition settings. The illumination contribution from the sky is
computed by separating the sky dome into several
small sectors, which are treated as individual light
Using Daylight in Exterior sources, and adding these sources together to get the
Models overall result. A higher accuracy setting results in a
The natural lighting of exterior scenes is handled greater number of sky sectors and slows down the
differently than interior scenes. With interior scenes, computation time.
very specific information about where natural light
is coming from (such as windows and openings) To enable shadows cast by the sun and sky:
may be taken into consideration to provide greater
1. Choose Light | Daylight.
accuracy and efficiency.
The Daylight Setup dialog appears.
To simulate the effect of daylight on an exterior
scene, the entire sky dome is used when calculating
the illumination contribution from the sky.
160 Lightscape
Interior Model Considerations ❚❘❘
2. Click the Processing tab. A higher value results in longer processing time and
more accurate shadows.
For more information, see Chapter 11, “Radiosity

Processing.”
Interior Model Considerations

Computing the sky illumination onto the center of
an interior model requires looking for sky contribu-
tions from all directions around this center. Most of
3. To instruct the sun to cast shadows, enable Cast the time, the sky is occluded by the walls and ceiling
Shadows in the Sunlight group box. of the model. Typically, only a few of the sky dome
sectors considered during this computation are
4. To instruct the light from the sky to cast shad-
ows, enable Cast Shadows in the Sky light group box. visible through a window.
5. Click OK or Apply to accept the processing op- Those sectors that are visible through a window
tions. often only partially overlap with the window. Light-
scape, however, considers their contributions as if
For more information on enabling shadows, see
they were fully visible. This can result in inaccurate
“Setting Daylight Processing Parameters” on page
estimates of sky illumination.
165.
To obtain more accurate and efficient results for
To enable shadows and adjust their accuracy in the natural daylight in the interior of a model, you
radiosity solution:
should specify the windows and openings through
1. Choose Process | Parameters. which light enters the space.
The Process Parameters dialog appears. There are two points of entry through which
2. In the Process group box, enable daylight can enter an interior model:
Daylight (sunlight + sky light).
• Windows
• Openings.
When you start the radiosity process, illumination
from the sky through a window or opening is calcu-
lated in advance. The window or opening is then
treated as a diffuse light source that illuminates the
3. Enable Shadows. interior of the room.
4. Adjust the Sky Light Accuracy slider to control Although the amount of light energy emitted into
the definition of shadows attributed to skylight. the room’s interior is correct using this method, the
directional distribution of the skylight is replaced by
a diffuse distribution. As a consequence, the ceiling
161
10 Daylight
receives somewhat more light than it should while The Surface Processing dialog appears.
the floor receives somewhat less. The result,
however, is still natural-looking.
Defining Surfaces as Windows

When you create a window through which natural
lighting passes, Lightscape automatically calculates
the illumination from the sky, and applies the results
to the window. The window is then treated as a
diffuse light source that illuminates the room. The
material of the window will affect the amount and
color of the light that passes through it.
4. Do one of the following:
Defining Surfaces as Openings • To define the surface as a window, enable Window.

When a surface is marked as an opening, it is not • To define the surface as an opening, enable Open-
considered as part of the scene and does not receive ing.
or reflect light. Instead, it is used as a placeholder to
indicate that natural lighting can go through it to 5. Click OK to define the selected surface as indi-
cated.
reach the surfaces of the interior environment.
Surfaces marked as openings are not rendered and
are not displayed in the model. Illuminating Your Model with
Daylight
To define a surface as a window or opening: You can control the quality of natural light in your
1. Select the surface in your model. model by adjusting the following daylight settings:
2. If you are defining it as a window, make sure you • Sun and Sky Color
have applied a transparent material to the selected
surface. • Sun Position (using Direct Control or Place and
Time).
Note: If you have modeled a window with two
surfaces, only the surface facing into the space
must be defined as a window. However, both Setting the Sun and Sky Color
surfaces should be assigned the same transparent Use the Sun and Sky tab of the Daylight Setup dialog
material. to define information about the sun and sky. With
these parameters, you can simulate the color of the
3. Right-click the surface, then choose Process
sun and sky during a sunrise or sunset, or light your
Control.
model with a bright, white, noonday sun. You can
experiment with sun and sky colors to create
unusual lighting effects.
162 Lightscape
Illuminating Your Model with Daylight ❚❘❘
To set sun and sky color: Setting Sky Conditions

1. Choose Light | Daylight. Use the Sky Condition settings to approximate the
amount of the sky covered by clouds. You can choose
either Clear, Partly Cloudy, or Cloudy.
2. Click the Sun and Sky tab.
To set the sky conditions:
2. Click the Sun and Sky tab.
Left and right arrows Color preview window
3. Click the upper-right arrow to place the Sun col-

or in the color preview window.
4. Adjust the H, S, and V (Hue, Saturation, and
Value) sliders to adjust the current color.
3. Select the required setting with the Sky Condi-
The color in the color preview window changes as tion slider.
you adjust the sliders.
4. Click OK.
5. Click the upper-left arrow to place the current
color in the Sun color box.
Setting Sunlight Direction Using
6. Click the lower-right arrow to place the Sky col- Direct Control
or in the current color box. Sometimes, you may want to control exactly where
7. Adjust the H, S, and V sliders to adjust the cur- you would like the sun to shine in your images. To do
rent color. this, you can directly specify the sun position.
The color in the current color box changes as you
To set the sunlight direction using direct control:
adjust the sliders.
8. Click the lower-left arrow to place the current
color in the Sky color box. The Daylight Setup dialog appears.
9. Set other options as needed. 2. Enable Direct Control.
10. Click OK or Apply to accept the daylight set- The Place and Time tabs are replaced with the Direct
tings. Control tab.
163
10 Daylight
3. Click the Direct Control tab. can then choose where the model is located on the
Earth.
To set the location and orientation of the model:

1. Choose View | Projection | Top or click the Top
button to view your model from above.
3. Disable Direct Control.

Rotation control Elevation control
4. Click the Place tab.
4. Set the Rotation and Elevation of the sun by
dragging the orange handles in their respective con-
trols.
Rotation values can be from 0° to 360°. The Rotation
control is viewed from the top.
Elevation values can be from 0° to 90°. The Eleva-
tion control is viewed from the side.
Note: You can also enter rotation and elevation

North dial
values in the corresponding boxes.
5. Adjust the Sun Illuminance slider. The valid 5. Adjust the arrow in the North dial (or type a val-
range is between 0 to 131,835 lx (or between 0 and ue in the North box) so that it points in the direction
12,247 fc). you want to specify as North in relation to a top view.
6. Click OK or Apply to save the settings. Note: The North dial indicates the northerly direc-
tion relative to a top view of the model.
Setting Sunlight Direction Using Place
and Time
Designers often want to know the effect of daylight
at a specific time of day on a specific date. To accu-
rately calculate this, you first must indicate the
location and orientation of your model on the Earth,
and then set the time and date.
Setting the Location and Orientation

You can specify the orientation of your model in Top view of model illustrating
space by indicating which direction is North. This the northerly direction based on
the position of the North dial
setting affects how daylight enters your model. You (shown at right).
164 Lightscape
Illuminating Your Model with Daylight ❚❘❘
6. Select a city that approximates the location of 6. Enter a Month, Day, and Time in the corre-
your model from the Location list. sponding fields.
After you select a city, Latitude and Longitude values You can specify a Time value based on a 24-hour
are automatically added in the appropriate boxes. clock, or you can use A.M. or P.M.
7. If the desired location is not available, select 7. If applicable, enable Daylight Savings.
None from the Location list, then enter Latitude and
When Daylight Savings is enabled, Time values are
Longitude values in the appropriate boxes.
calculated using daylight savings time and are
8. Click OK or Apply to accept the settings. adjusted forward or backward one hour, as
appropriate.
Setting the Time
Once you have set the location of your model, set 8. Click OK.
these parameters to calculate the effect of daylight at
a specific time of day during a specific time of the
year.
To set the time of day:

2. Disable Direct Control.

3. Click the Place tab and set the location and ori-
entation of the model. For more information, see Model placed in Oslo, Norway at 10 a.m. on June 21
“Setting the Location and Orientation” on page 164.
4. Click the Time tab. Setting Daylight Processing
Parameters
The default processing settings in the Daylight Setup
dialog provide high-quality final images, but not the
fastest computation times. By modifying these
settings you can specify how you want light from the
sun and sky to behave during the radiosity
processing.
Cast Shadows
Use this option to make sunlight or skylight cast
5. If you specified Latitude and Longitude values shadows. When this option is disabled, radiosity
on the Place page explicitly, enter a Time Zone value. processing is much faster.
This value must accurately reflect the position of the
model on the Earth. Casting shadows considerably reduces the number
of calculations required for a solution, so it is a quick
way to get a general feel for the lighting characteris-
165
10 Daylight
tics of a model. However, this procedure does not To set up daylight processing options:
produce accurate results, and is generally not suit- 1. Choose Light | Daylight.
able for final solutions.
For information on shadow accuracy, see “Adjusting
2. Click the Processing tab.
Shadow Accuracy” on page 160.
Store Direct Illumination

Disable this option to prevent Lightscape from
displaying the direct illumination from the sun and
sky. Light is calculated from the daylight sources but
uses it only to generate indirect lighting. This elimi-
nates the effect of direct lighting from the sun and
sky, leaving only reflected light to illuminate the
model.
If you intend to ray trace the sun and sky, you can 3. You can enable the following parameters for
save time by turning off the Store Direct Illumina- both sunlight and skylights:
tion option. If this option is disabled, Lightscape will • Cast Shadows
not have to run iterations to subtract the direct
• Store Direct Illumination
contribution before ray tracing the sun and/or sky.
• Ray Trace Direct Illumination.
Ray Trace Direct Illumination
When you ray trace with this option enabled, Light- 4. Click OK or Apply to accept the processing set-
tings.
scape removes the direct light contribution it
calculated during the radiosity processing (unless
the Store Direct Illumination option is disabled) and
Enabling Daylight in Radiosity
recalculates it with the ray tracer. Although this adds
time to the ray tracing procedure, it also improves
Processing
Before you begin the radiosity processing of your
the quality of shadows and lighting effects in the
model, you have to make sure certain parameters are
final image. Typically, this is more important for the
enabled.
sharp shadows cast by sunlight than for the subtle
shadows of the skylight.
To enable daylight in your model during radiosity
For this option to take effect, you also have to enable processing:
the Ray Trace Direct Illumination option in the 1. Choose Process | Parameters.
Rendering dialog. For more information, see The Process Parameters dialog appears.
166 Lightscape
Enabling Daylight in Radiosity Processing ❚❘❘
2. In the Process group box, enable

Daylight (sunlight + sky light).
3. Adjust the Sky Light Accuracy slider to control

the definition of shadows attributed to skylight.The
Sky Light Accuracy slider controls the amount of
sampling used for the sky dome.
4. If you are modeling an interior scene where day-
light only enters through windows or openings, then
you should enable Daylight Through Windows and
Openings Only to further increase efficiency and to
avoid possible artifacts that may result from light
leaks.
For more information, see “Setting the Processing
Parameters” on page 172.
167
NOTES
168
11 Radiosity Processing
Once you add light sources and materials, the model is ready for radiosity
processing. You can modify light sources and materials at any time during the
processing stage to quickly explore design alternatives.

How to create a radiosity
solution of your model.
Summary About Radiosity Processing

In this chapter, you learn about: This chapter discusses the radiosity solution
process; essentially, the simulation of light propaga-
• The radiosity processing workflow
tion through the environment and its interaction
• Setting the processing parameters with the surfaces in the model.
• Setting the surface processing parameters Lightscape stores the illumination values computed
during the simulation with the surfaces in the three-
• Initiating models
dimensional environment. You can generate images
• Processing radiosity solutions of the scene from any viewing location quickly—
• Changing materials and luminaires unlike traditional rendering systems.
• Meshing examples Once your simulation is complete, you can generate

quality images and walk-through animations of the
• Reducing meshing artifacts model. For more information, see Chapter 15,
• Testing for artifacts “Animation,” and Chapter 14, “Rendering.”
• Modeling guidelines.
169
You can also photometrically analyze the results of interpolating the illumination values stored at the
simulations. For more information, see Chapter 12, vertices of the element.
“Lighting Analysis.”
Components of a Radiosity Mesh
The lighting simulation software used in Lightscape
is based on a technology called radiosity. Radiosity
computes the illumination of a surface from both the
light shining from a source directly toward the
surface and the indirect light reaching the surface
after being reflected (one or more times) from other
surfaces in the environment.
The radiosity processing steps include:
• Meshing
• Refinement.
Meshing
To represent variations of illumination across a
surface, Lightscape automatically breaks down the Patch Elements Vertex
surface into smaller pieces, called elements. The
simulation then computes the illumination from a The number of mesh elements needed to capture the
light source to each corner, or vertex, of each illumination across a surface depends on the
element. The set of all the elements and vertices of a complexity of the illumination. Small patches of
surface is a mesh. light, shadow boundaries, penumbrae, and any
Rather than trying to store the illumination at every other area across which the illumination changes
possible location on a surface, Lightscape computes quickly all add to the complexity of the illumination.
and stores the illumination only at selected sample The greater the amount of detail, the greater the
points—the mesh vertices. It then computes the illu- number of mesh vertices and elements needed to
mination across any given mesh element by capture it accurately.
Adaptive Meshing
To maintain as efficient a solution as possible, the
system begins processing with a coarse mesh (that is,
few elements) and automatically refines the mesh
locally where high illumination gradients are
detected. This process, called adaptive meshing, is
controlled by a number of parameters you can vary
to provide the optimal balance between computa-
tion time, storage use, and simulation accuracy.
170 Lightscape
Processing Workflow ❚❘❘
Progressive Refinement Instead of displaying only the completed light after

Lightscape computes the simulation in successive each iteration, the system can add a rough approxi-
iterations. At each iteration, the system selects the mation of the yet uncomputed lighting, so that the
brightest light source and computes its contribution average brightness of the scene is approximately the
to all the surfaces in the scene. Once the primary same after every iteration. When you use such an
light sources are accounted for, the system computes ambient approximation during display, the lighting
the inter-reflections of light between surfaces, of the scene initially appears very flat and uniform;
selecting the brightest reflecting surface at each but at each iteration the system replaces this coarse
iteration. approximation with a more accurate solution and all
the subtle variations in lighting typical of radiosity
This process is called progressive refinement because
solutions.
the system refines the radiosity solution at each iter-
ation—that is, each iteration is a better
approximation of the final result.
Processing Workflow
In principle, the refinement process continues until The accuracy, speed, and memory usage of a radi-
it accounts for all the multiple inter-reflections of osity simulation are controlled by a number of
light. In practice, however, the simulation converges parameters, organized into two main groups: global
rapidly toward the final result, so that visual differ- controls and local controls.
ences between successive iterations become
First, you must set the processing parameters, or
unnoticeable after only a fraction of the surfaces (but
global controls, which affect the simulation over the
the most important of them) have reflected their
entire scene. If required, you next set the surface
light contribution back into the environment.
processing parameters, or local controls, which only
affect the processing of a particular surface or group
Ambient Approximation
of surfaces.
Because each progressive refinement iteration adds
light to the environment, displaying the radiosity Once you have set the processing parameters,
solution during processing initially shows a dark initiate the model to move from the Preparation
scene, which becomes brighter with every iteration. stage to the Solution stage. During this step, Light-
Moving from Preparation Stage to Solution Stage

To compute a solution, you must first specify the light sources, materials, and texture maps associated
with the surfaces in the environment. You define this data for a model during the Preparation stage.
Once you initiate the model for processing (convert it to a Solution file), you can no longer create or
reposition any surfaces or light sources. All modifications of this nature must be performed during the
Preparation stage.
During the Solution stage, you can modify the characteristics of light sources and materials at any time;
the simulation compensates for the resulting changes in illumination. This feature promotes an inter-
active approach to design, so you can quickly evaluate and make refinements to obtain precisely the
look you want.
171
scape breaks down every surface in the model into 3. Initiate the model. For information, see “Initiat-
an initial coarse mesh. ing the Model” on page 181.
After you have initiated the model, you begin the 4. Process the solution. For information, see “Pro-
radiosity processing. The progressive refinement cessing the Radiosity Solution” on page 182.
iterations propagate light to the surfaces in the scene. 5. If required, refine the solution. You can adjust
As each iteration completes, the intermediate results the processing parameters or modify material and
of the simulation are displayed using the current light properties. For information, see “Changing
display mode. You can also run radiosity solutions as Materials and Luminaires” on page 184.
batch processes. For more information, see
Appendix B, “Batch Processing Utilities.”
Setting the Processing
Though Lightscape freezes the geometry of the Parameters
scene at initiation, you can modify materials and The processing parameters affect the accuracy,
light source properties at any point during the simu- speed, and memory usage of a radiosity simulation
lation. The system automatically compensates for over the entire scene.
changes in light contributions without having to
reset the solution and restart the simulation from To set processing parameters:
scratch. 1. Choose Process | Parameters.
To process a radiosity solution:

The Process Parameters dialog appears.
1. Set the processing parameters. For information, 2. Set the meshing parameters in the Receiver
see “Setting the Processing Parameters” on page 172. group box. For information, see “Setting Receiver
Parameters” on page 173.
2. Set the surface processing parameters, if re-
quired. For information, see “Setting the Surface
Processing Parameters” on page 179.
The Process Parameters dialog
172 Lightscape
Setting the Processing Parameters ❚❘❘
3. Set the light source parameters in the Source surface. Use the Minimum Mesh Spacing parameter
group box. For information, see “Setting Source Pa- to limit the number of mesh elements that can be
rameters” on page 174. created.
4. Set the processing parameters in the Process The subdivision process cannot create new mesh
group box. For information, see “Setting Process Pa-
elements smaller than the specified value of the
rameters” on page 176.
Minimum Mesh Spacing, no matter how high the
5. Set the processing tolerance parameters in the illumination contrast.
Tolerances group box. For information, see “Setting
Tolerance Parameters” on page 178. Note: The size of a mesh element is defined as the
length of its longest side and is displayed in the
6. Click OK.
current units of the model.
Setting Receiver Parameters Maximum Mesh Spacing

Use the parameters in the Receiver group box to Lightscape estimates the illumination contrast on a
control the meshing of light-receiving surfaces. mesh element by the illumination values at its
corners. If your initial mesh elements are too large, it
The number of mesh elements affects the time and
is possible that certain illumination features (for
memory required to compute and display the radi-
example, a light beam) may be missed.
osity solution. If the mesh is too coarse, the results
look crude and may contain visual artifacts. If the Use the Maximum Mesh Spacing parameter to set
mesh is too fine, the visual effect may be the initial mesh elements to a size where at least one
outstanding, but the memory requirements and corner will capture a light.
calculation time may grow beyond acceptable levels.
Subdivision Contrast Threshold
It is recommended that you first run a test using a Rather than meshing a surface using a uniform grid
coarse mesh, then work up to stricter settings over of mesh elements, the simulation process uses a
more tests. This is often the fastest way to achieve the more sophisticated adaptive subdivision scheme to
desired balance between solution quality and create smaller elements in areas that contain smaller
computational resources. illumination details (such as shadow boundaries)
and larger elements in areas where the illumination
is fairly constant. This technique allocates
processing resources to the areas of the model that
require them.
The simulation starts by computing the contribution
of the current light source to the vertices of the initial
surface mesh. Then, for each mesh element, the
system compares the values between the darkest and
Minimum Mesh Spacing
brightest of its vertices to compute an estimate of the
Subdividing mesh elements based exclusively on
illumination contrast over the element.
illumination contrast can lead to excessive subdivi-
sion when a sharp shadow boundary crosses a
173
The illumination contrast is a measure of the varia- scheme that may increase the number of mesh
tion in illumination across the given mesh element. elements slightly. If you know you will not make any
A small contrast (close to 0) between two vertices of changes to a solution, you can use the Disable Solu-
a mesh element indicates an approximately uniform tion Changes parameter to obtain a more efficient
illumination across the element. A larger contrast result.
(close to 1) suggests that fine illumination details
Running a simulation with Disable Solution
may cross the mesh element.
Changes enabled does not prevent you from later
If the illumination contrast of an element is larger changing surface materials and light sources.
than the value of the Subdivision Contrast However, if you do, the system warns you that it may
Threshold parameter, the system subdivides the be unable to compensate for such changes in the
element into four similar smaller elements and radiosity solution correctly. The system also warns
computes new illumination values for the new mesh you when it is unable to refine shadows with the ray
vertices. It then computes the illumination contrast tracer.
for the new elements and compares them against the
threshold, possibly causing more subdivisions. Lock Mesh
Enable the Lock Mesh parameter to prevent succes-
Therefore, decreasing the Subdivision Contrast
sive iterations of the lighting simulation from
Threshold is likely to increase subdivision towards
subdividing any surface mesh further than the
the minimum mesh spacing limit.
current configuration.
This process continues until the mesh elements are
If this parameter is enabled when you reset a solu-
small enough to accurately reproduce the illumina-
tion, the system restores all illumination values to 0
tion of the surface of interest or until the Minimum
while preserving the current mesh subdivision.
Mesh Spacing is reached.
This feature is useful only for applications where you
Disable Solution Changes need to preserve the arrangement of the mesh
So that you can change surface materials and light elements. Generally, you should leave this parameter
sources and compensate for the change in illumina- off.
tion without restarting the solution process from
scratch, the system must undo the effect of one or Setting Source Parameters
more light sources (primary and secondary). The Use the source parameters to control how accurately
system undoes the lighting effects by propagating Lightscape computes the contribution from a light
negative light from the source to the receiving source to each of the receiving mesh vertices.
surfaces, thus removing light from the illumination
of the scene. Use the source parameters to independently control
the contribution from direct light sources (lumi-
During this step it is important that the mesh subdi-
vision be exactly the same as that resulting from the
original positive light contribution from that source.
The system can guarantee this requirement. There is,

however, a cost—it uses a variation of the meshing
174 Lightscape
naires, windows, and openings) and indirect light target with the Direct Source Subdivision Accuracy
sources (surfaces). parameter. The value of this parameter determines
the likelihood that Lightscape will subdivide the
source. When you set the parameter to 0, the system
never subdivides these sources. As you increase its
value towards 1, the subdivision is triggered more
easily and for more distant targets.
This parameter does not affect point sources or
natural lighting, except for window/opening sources
in interior models.
If the value of the Direct Source Subdivision Accu-

racy parameter is too low, illumination from an area
Direct Source Subdivision Accuracy
light may look like that caused by a point light, or
The energy contribution of a point light source to a
even by a grid of point lights. If its value is too high,
receiving target (a receiver mesh vertex) is directly
the accuracy of the calculation may be remarkable,
proportional to the luminous intensity (brightness)
but the computation speed will be slower.
of the source in the direction of the target and
inversely proportional to the square of its distance Direct Source Minimum Size
from the target. In certain geometrical configurations, such as when
For linear and area light sources, the direction and an area source shines light onto an adjacent surface,
distance from the receiving target change across the the subdivision criteria may break down the source
source. If the target is far from the source, the source into too many regions.
can be treated as a point source without introducing The Direct Source Minimum Size parameter sets the
any significant errors in the computations. However, minimum value for generating the source subdivi-
if the target is close to the source with respect to the sion region.
size of the source, then treating linear and area
sources as point lights would lead to inaccurate For most cases, setting this parameter to the same
results. value as the Receiver Minimum Mesh Spacing
produces good results. However, there may be times
To prevent this problem, Lightscape subdivides the when reducing the minimum size of the source is
source so that each resulting piece is small when necessary to prevent visual artifacts. For more infor-
viewed from the mesh vertex. This subdivision mation, see “Reducing Meshing Artifacts” on page
process is similar to that of the receiver mesh but is 187.
less intuitive because the system cannot let you visu-
alize it. Furthermore, the source subdivision can Indirect Source Minimum Size
change for every receiving target since it depends on Use Indirect Source Minimum Size to specify the
the distance between the two. minimum possible size for secondary sources. It
You control the accuracy of the computed light works in the same way as the Direct Source
transfer from a linear or area source to the receiving Minimum Size.
175
Indirect Source Subdivision Accuracy You should increase this parameter in conjunction
Use Indirect Source Subdivision Accuracy to control with the Subdivision Accuracy parameters. Finding
the accuracy of how the secondary source is the best values for these parameters requires some
computed against the rest of the surfaces in the experience and experimentation. For example, if
scene. It works in the same way as the Direct Source you set the Shadow Grid Size parameter to 1, the
Subdivision Accuracy parameter. shadow of a table cast by an area source onto a floor
always appears too sharp, no matter how much you
The recommendations made for the Direct Source
subdivide the mesh of the receiving surface.
Subdivision Accuracy parameter apply to this
parameter as well. In general, you can set the indirect Furthermore, setting the Shadow Grid Size param-
sources to match the direct sources. For certain eter to a small value may not always result in faster
models, or to reduce the processing time, you may processing. In fact, the overly sharp shadows may
decide that indirect sources do not need to be calcu- trigger unnecessary subdivisions of the receiving
lated to the same level of quality as direct sources. surface, thus consuming more processing time and
memory.
Shadow Grid Size
The amount of light transferred from a source to a
Setting Process Parameters
receiving target depends on the strength of the
Use parameters in the Process group box to control
source and its position and orientation with respect
how shadows and daylight participate in the lighting
to the target. It also depends on the presence of other
simulation.
objects in the scene acting as obstacles between the
source and receiver.
Lightscape tries to estimate the attenuation (fall-off)

of light due to possible occlusions by casting rays
from the target toward the source. It computes the
attenuation factor as the fraction of rays cast that
actually reach the source without being blocked by
any obstacle. To control the number of rays cast Shadows
between a receiving point and a source, use the Computing shadows is the most time-consuming
Shadow Grid Size parameter. part of the simulation. When you run the initial tests
on a new model, you can significantly accelerate
For linear sources, the value of this parameter is the
processing by disabling the Shadows parameter.
number of rays cast. For area sources, indirect
sources, and windows, the system casts rays toward Allowing light to go through obstacles unaffected
a regular grid of points that are spread over the means the results of the computation will be incor-
source. This grid size is equal to the control param- rect. However, this feature can prove useful for
eter in each direction. In other words, the number of rapidly testing the position, orientation, and
rays cast is equal to the square of the value of the strength of light sources in relation to the receiving
control parameter. surfaces and for testing the meshing configurations
of receiving surfaces. Once you have adjusted all
these parameters, you can reset the solution, enable
176 Lightscape
shadow computations, and start a physically accu- windows or openings, and luminaires are
rate simulation. unaffected.
The smaller the value of the skylight accuracy, the

Direct Only
faster the computation, but the lower the accuracy.
When you enable Shadows, you can use the Direct
Low accuracy can lead to uneven illumination arti-
Only parameter to determine whether the system
facts. As the value of the skylight accuracy increases,
computes shadows only for light cast by direct
these artifacts become smaller. As the value
sources or for light cast by indirect sources as well.
increases, however, the time required to compute the
Daylight (Sunlight + Sky light) illumination from the sky increases.
Use Daylight to control whether natural lighting
should be included in the computation. When Daylight Through Windows and Openings
Only
Daylight is enabled, Lightscape includes sunlight
When Daylight is enabled, you can enable Daylight
and skylight as light sources for the model. If the
Through Windows and Openings Only. If this
model is an interior environment, enable the option
option is enabled, sunlight illuminates only those
Daylight Through Windows and Openings Only.
areas (mesh vertices) that can be seen through
If the model is an interior environment, natural surfaces in the scene that are marked as windows or
lighting only affects receiving surfaces that can be openings. The skylight is computed as the sum of the
reached through at least one window or opening. contribution of the light emitted by these windows
For more information, see “Setting the Surface and openings. This method improves visual quality
Processing Parameters” on page 179. and computation speed.
Sunlight takes one iteration during the lighting If you are modeling an exterior scene, make sure this
simulation, but for interior environments the system option is disabled.
breaks down skylight so that its contribution is
If your scene is both an interior and exterior scene,
distributed among the windows and openings in the
you can calculate the daylight contribution in one of
scene. In this case, each window and opening
two ways. If most of the sky is occluded by objects in
requires its own iteration to distribute its light
your model and can only be seen through cracks or
contribution to the environment.
relatively small openings, cover those cracks with
Because sunlight is orders of magnitude stronger actual surfaces, mark those surfaces as openings,
than artificial lighting, Lightscape always processes and select Through Windows and Openings Only.
it during the first iteration of the simulation. These surfaces will be used as placeholders during
the daylight computations and will not be rendered
Sky Light Accuracy in the final images. Your model does not need to be
Use the Sky Light Accuracy parameter to control the airtight. Simply add surfaces that approximately
accuracy of the skylight computations. This param- cover the cracks through which daylight can be seen.
eter only affects the radiosity iteration that accounts
for the illumination from the sky dome for exterior If most of the sky dome is visible, however, do not
solutions. The iterations corresponding to sunlight, select Through Windows and Openings Only. You
should still mark the windows and openings for
177
interior accuracy. In this situation, it is important Use the Initialization Minimum Area parameter to
that the walls and roof between the inside and the limit the number of initial mesh elements. This
outside are modeled with thickness to avoid light prevents the initiation process from subdividing
leaks from the sun. For more information, see mesh elements with an area smaller than the speci-
Chapter 10, “Daylight.” fied value. For more information, see “Elongated
Elements Are Split” on page 182.
Note: Since the dynamic range of an exterior
scene is much greater than that of an interior
Ray Offset
scene, you may need to adjust the brightness and
contrast setting of an interior/exterior solution,
Use the Ray Offset parameter to prevent numerical
depending on your view of the scene. approximations from affecting the accuracy of the
shadowing computations.
Setting Tolerance Parameters Because of these approximations, the ray cast from a
Use the parameters in this group box to control the surface to a source sometimes intersects an adjacent
tolerances used in various computations. These surface very close to the origin of the ray. The Ray
computations allow a certain level of imprecision in Offset parameter specifies the minimum distance
the input data and the numerical approximations from the origin of the ray before the system
required to implement arithmetic operations on real considers an intersection valid.
quantities.
The value of this parameter is usually slightly greater
than that of the Length parameter. Setting the value
to 0 may result in shadow artifacts. For more infor-
mation, see “Shadow Grid Size” on page 176.
Using the Process Parameters Wizard

You can use the Process Parameters wizard as an
alternative to setting the process parameters manu-
ally. The wizard considers specific aspects of your
model when setting the parameters, such as the size
of the model. For this reason, the parameters for one
Length and Initialization Minimum Area
model may differ from those set for another model.
The Length and Initialization Minimum Area
parameters are used when initiating the Preparation Note: You can click the Back button in the Process
model for the lighting simulation. Use the Length Parameters wizard to move to previous pages and
parameter to specify the allowable inaccuracies readjust the settings, if necessary.
(noise) in the input data.
To set processing parameters using the wizard:
Note: The Length parameter is also used during 1. Choose Process | Parameters.
the computation of light transfer between sources
and receivers. The value appropriate for initiating The Process Parameters dialog appears.
the model usually works for this task as well.
2. Click the Wizard button.
178 Lightscape
Setting the Surface Processing Parameters ❚❘❘
The wizard dialog appears. complete radiosity solution, you must reset the
solution and start again.
3. Choose a level of quality on the Quality page,
then click Next. Enable: To:
Occluding Block light and cast a shadow with
the surface.
Receiving Receive light on the surface.
Reflecting Reflect light back into the environ-
ment from the surface.
Window Define a window with the surface.
Opening Define an opening with the sur-
face.
Display Raw Prevent the calculation of lighting
Textures effects on the surface’s texture.
4. On the Daylight page, choose whether to consid-
er daylight in your solution. No Mesh Prevent mesh subdivision on the
surface.
5. If you chose No, click Next.
6. If you chose Yes, select the statement that de- To set the surface processing parameters:
scribes your model, then click Next.
1. On your model, select the surface (or surfaces)
7. On the Finish Wizard page, click Finish. whose processing parameters you want to set.
The meshing parameters for the model are set 2. Right-click and choose Surface Processing.
automatically.
The Surface Processing dialog appears.
8. Click OK.
Setting the Surface Processing

Parameters
The surface processing parameters affect the
processing of a surface or group of surfaces. Use
these parameters to fine-tune the radiosity process,
maximizing quality while minimizing computation
time and storage requirements.
▲ If you change any of these parameters after 3. Enable the surface processing options, as re-
processing has begun, they are considered only for quired.
the iterations run after the change. To affect the
4. To adjust the Mesh Resolution parameter, enter a
value in the box, adjust the slider, or click the Mesh
Resolution increments buttons.
179
5. To reset the radiosity mesh (once processing has Window

begun), click the Reset Mesh button. Use Window to control whether a surface is consid-
6. Click OK. ered a window and treated as a source during natural
lighting computations. You must give the window a
Occluding transparent material so that natural lighting can pass
Use Occluding to control whether or not a surface through it.
blocks light. Enable this option to cause a surface to
cast a shadow; disable this option to cause light to Opening
pass straight through it unaffected. Use Opening in a similar way as Window. When a
surface is defined as an opening, it is not considered
Surfaces are occluding by default.
as part of the scene and does not receive or reflect
light. Instead, it is used as a placeholder to indicate
Receiving that natural lighting can pass through it to reach the
Use Receiving to control whether light reaching the surfaces of an interior environment. Surfaces
surface is recorded in its radiosity mesh. Surfaces are defined as openings are not rendered and are not
receiving by default. displayed in the model.
When disabled, this option saves computation time
on a self-emitting surface. The initial luminance of Display Raw Textures
such a surface may be much larger than the illumina- Use Display Raw Textures to control whether a
tion incident. For more information, see “Making a texture is displayed with lighting from the radiosity
Material Self-Illuminating” on page 114. solution. Use this parameter for surfaces with
textures on which you performed the mesh-to-
Reflecting texture conversion and now have lighting informa-
Use Reflecting to control whether a surface should tion embedded in the texture itself. Enabling the
reflect incident light back into the environment. Display Raw Textures parameter tells Lightscape not
Surfaces are reflecting by default. to relight the texture. You can also use this parameter
for any surfaces on which you do not want Light-
One useful application of this feature is in lighting scape to calculate lighting effects.
analysis. You can disable the Occluding and
Reflecting properties of a surface and place the
surface anywhere in a scene to measure the illumina-
Mesh Resolution
Use Mesh Resolution to improve the quality of a
tion incident without otherwise affecting the
radiosity solution without significantly affecting its
illumination of the scene.For more information, see
cost. Meshing artifacts in a radiosity solution often
“Using Workplanes” on page 200.
appear on only a few surfaces in the scene. Rather
Note: When using IES photometric distributions in than trying to eliminate the problem by changing
luminaires, you should set the surfaces of the lumi- the global meshing parameters, it may be more effi-
naire to be nonreflecting so that energy is not cient to adjust the meshing controls on the
emitted twice.
individual problem surfaces.
180 Lightscape
Initiating the Model ❚❘❘
This parameter scales the minimum and maximum Note: For large models, the initiation process may
mesh spacing for the selected surfaces. If the global be completed more quickly by making sure that no
minimum value is 12 inches, setting this parameter one layer contains a large number of input
surfaces.
to 2 decreases the mesh resolution by dividing the
global minimum in half (to 6 inches) and applying it To initiate the model:
locally to the selected surfaces. The maximum mesh
Choose Process | Initiate, or click the Initiate
value is also halved. In addition, the global Subdivi-
button .
sion Contrast Threshold is decreased, making it
more likely that the system will subdivide the mesh The Solution model replaces the Preparation model
elements to capture illumination details cast over the in the Graphic window.
surface.
After initiation, every surface in the model has a
Setting this parameter to a value less than 1 radiosity mesh with an illumination value of 0 at
decreases the likelihood of triggering the mesh each of the mesh vertices. The model appears
subdivision process. dark—light is propagated through the scene once
you begin processing. You can enable
No Mesh Ambient to approximate the effect of undistrib-
Use No Mesh to control whether mesh subdivision uted light energy in the environment before
on a surface is allowed. Enable this parameter to processing.
disallow any mesh subdivision on the surface. Note: From this point on, you save the data as a
Solution file with a .ls extension rather than as a
Reset Mesh Preparation file with a .lp extension.
Use Reset Mesh to reset the radiosity mesh of a
surface to its coarsest state, with all the illumination Results of Initiating the Model
values at its vertices set to 0. Although the initiation process does not change the
form or surface characteristics of the objects in the
scene, it substantially transforms the underlying
Initiating the Model data representation. The main changes that occur
Before you can begin the radiosity processing, you during this process are described in the following
must initiate the model. Initiation converts the data sections.
describing the surfaces and light sources in the
model to a more efficient form for radiosity Model Hierarchy Is Flattened
processing. The initiation process flattens the model hierarchy
and explodes all instances in the model into indi-
▲ Once the system completes this conversion, vidual surfaces.
you can no longer create or reposition any surfaces
or light sources. You must make any such changes The system stores the illumination values on the
to the original Preparation model and reinitiate the surfaces themselves. Since instances of the same
model. Consequently, you should always save your block may have different illumination values, their
Preparation model before initiating it. surfaces need to be explicitly defined.
181
Double-Sided Surfaces Are Converted Radiosity Mesh Is Created

Double-sided surfaces are converted to two separate The system creates an initial radiosity mesh that has
surfaces, oriented in opposite directions—each an illumination value of 0 for each resulting surface.
corresponding to one side of the original surface. It connects the vertices of the input surfaces to form
triangular and convex quadrilateral mesh elements.
The system stores the illumination in a radiosity
mesh attached to the surface itself. Because double-
Elongated Elements Are Split
sided surfaces are overlapping, they are automati-
Long, thin elements may be split into smaller
cally set to be nonreflecting. Therefore, you should
elements. Meshes made of well-shaped elements,
use double-sided surfaces only where strictly
such as an equilateral triangle or a square, are more
necessary.
efficient and less likely to produce visual artifacts.
Surfaces Are Grouped To limit the number of mesh elements, you can use
The resulting surfaces are grouped into larger the Initialization Minimum Area parameter on the
surfaces. To be part of the same larger surface, input Process Parameters dialog. This prevents the initia-
surfaces must be on the same layer, share the same tion process from splitting mesh elements with an
material and surface properties, be coplanar, and area smaller than the specified value. For more
form a connected surface. information, see “Length and Initialization
Minimum Area” on page 178.
A surface is considered to lie in a given plane if all of
its corners are within Length Tolerance distance
from the plane. For more information, see “Length
and Initialization Minimum Area” on page 178.
Processing the Radiosity
Solution
Lightscape eliminates T-vertices in the surfaces Once the model is initiated, process the solution to
being grouped. A T-vertex occurs when the vertex compute the direct and indirect lighting in the
from one surface meets an edge from an adjacent model.
surface. This situation can lead to a discontinuity in
the radiosity solution, so Lightscape adds a vertex to To process a radiosity solution:
the edge at the point of intersection. 1. Set the processing parameters. For information,
see “Setting the Processing Parameters” on page 172.
2. Set the surface processing parameters. For infor-
mation, see “Setting the Surface Processing Parame-
ters” on page 179.
3. Initiate the model. For information, see “Initiat-
ing the Model” on page 181.
4. Choose Process | Go or click the Go button .
T-vertex
Note: To calculate a solution with only direct
Surfaces before initiation Surfaces after initiation lighting contributions (and no reflected light),
choose Process | Direct Only instead.
182 Lightscape
Processing the Radiosity Solution ❚❘❘
5. To stop processing, choose Process | Stop or Viewing the Current Source

click Stop . During radiosity processing, you can view the
6. To reset the radiosity solution, choose source whose lighting contribution is currently
Process | Reset or click Reset . being calculated. A source can be either a luminaire
or a surface that is reflecting light back into the
Saving Temporary Files environment.
Use checkpoints to save a Solution file at specified
intervals during processing so that the results of the To view the current light source:
radiosity calculation are not lost in the case of Enable Highlight Source on the Process menu.
system problems. You can specify the exact number
The current source will be outlined in green during
of iterations to occur between each save.
radiosity processing.
To save temporary files:

1. Choose Process | Checkpoints.
Interrupting Processing
You can interrupt and resume processing at any
The Checkpoints dialog appears. time. Normally, the system completes calculation of
the current iteration, maintaining a consistent state
where the current light source contribution is
distributed either to all of the surfaces in the scene or
to none.
You can also force the processing to stop abruptly,
and the system will not finish the current iteration. If
you continue to make changes to the model, the
solution will not be in a consistent state. In that case,
you should reset the solution and restart after (or
before) you make any changes.
2. Enable Checkpointing On. To stop processing:

3. Enter a filename in the Checkpoint File Name 1. To stop processing gracefully, choose
box. Or, click Browse, select a file in the Open dialog Process | Stop or press Esc.
that appears, then click OK.
2. To stop processing abruptly, press Shift+Esc.
4. Enter the number of iterations to occur between
saves in the Shots Between Checkpoints box, or use
the slider to select a value. Resetting the Radiosity Solution
You can reset the radiosity solution to eliminate the
5. Click OK.
mesh and the lighting contributions calculated
The checkpoint settings are saved. during processing. You may want to reset the solu-
tion to change the mesh spacing, to eliminate
meshing artifacts, or to account for significant
changes in materials or luminaire properties.
183
Changing Materials and You must return to the Preparation model to make
Luminaires any geometric changes.
Once you have computed a radiosity solution, you
Note: Changes to the lighting characteristics work
can still modify light sources and materials to fine- properly only if the Disable Solution Changes
tune the appearance of the final rendering or to parameter is disabled when the solution is
explore different design alternatives. processed. For more information, see “Disable
Solution Changes” on page 174.
Rather than restarting the simulation every time you
make a change, the system compensates for the When you change a light source, the system
changes incrementally, starting from the current responds by first canceling the original energy
solution. This way, you can quickly evaluate the distributed from the light. This is done in the first
solution and make refinements to obtain precisely iteration. In the second iteration, it adds the direct
the look you want. illumination for the new light source. Computing
changes in the indirect illumination may require
further iterations.
Changing Surface Materials
In the Solution stage, you assign materials or change
the material properties in the same way as during the
Preparation stage. You can either redefine the prop-
Meshing Examples
Lightscape represents variations of illumination
erties of a material or create a new material and
across a surface by first breaking the surface into a
assign it to specific surfaces. For more information,
mesh, and then using adaptive subdivision to
see Chapter 7, “Using Materials.”
capture smaller illumination details. To understand
When you change a material, it is immediately this process and its relation to the processing param-
displayed on all surfaces to which it is applied. eters, consider the example of a single spotlight
However, if the original surface had reflected light pointed directly at a surface.
into the environment and caused color bleeding, the
First, the Maximum Mesh Spacing value is used to
changes in its reflected light contribution are not
create the initial mesh.
calculated or displayed until you run additional iter-
ations of the radiosity process.
Note: You should reset the solution and restart the

processing if there is considerable color bleeding
or if you have made significant changes to
materials.
Changing Light Values

In addition to changing surface materials, you can Maximum Mesh Spacing
also redefine the characteristics of photometric
luminaires. However, you cannot change the posi- The system begins by computing the contribution of
tion of the luminaire during the Solution process. the light source to the vertices of the initial surface
mesh. For each element, the system then compares
184 Lightscape
Meshing Examples ❚❘❘
the values between the darkest and brightest of its This process should produce mesh elements that are
vertices to compute an estimate of the illumination small enough to accurately reproduce the illumina-
contrast (variation in illumination) over the tion on the surface of interest.
element.
A small contrast (close to 0) indicates an approxi-

mately uniform illumination across the element. A
larger contrast (close to 1) suggests that fine illumi-
nation details may cross the element. If the contrast
of an element is larger than the Subdivision Contrast
Threshold value, the system subdivides the element
into four smaller elements. It then computes the illu- The final surface mesh has smaller elements
mination contrast for each new element and again where needed (on the edge of the spotlight)
and larger elements elsewhere.
compares it to the threshold, which may cause
further subdivisions.
Mesh Spacing Examples
This section provides four examples generated in
Lightscape showing the effects of the various
meshing parameters on the quality and efficiency of
the mesh.
The wall in these examples is 5 meters wide by 3
meters high and a single spot source is pointed
toward its center.
Mesh Spacing Example 1: No direct light

visible
Receiver Mesh Sample Spacing
Min: 300 mm; Max: 5000 mm
Subdivision Contrast Threshold: 0.4
Minimum Mesh Spacing
The gray element is initially divided into four
smaller elements. Of these resulting elements,
the gray one is subdivided again.
The subdivision ends when either the illumination

contrast is smaller than the Subdivision Contrast
Threshold or the Minimum Mesh Spacing value is Example 1: Display Example 1: Mesh (none)
reached.
185
In this example, no light beam is visible because the Mesh Spacing Example 3: Refined illumination
maximum sample spacing is set too high (larger Receiver Mesh Sample Spacing
than the surface itself) and none of the original Min: 100 mm; Max: 1000 mm
sample points fall within the beam of the light. There Subdivision Contrast Threshold: 0.4
are no original sample points in the light beam, so no
adaptive subdivision is triggered—in a sense, the
light beam “falls between the cracks.”
This demonstrates the significance of the maximum

setting. It is important to select a value that ensures
that at least one initial sample point falls within each Example 3: Display Example 3: Mesh
light beam. The default is a good starting point, but
The result in this example looks much better,
if you find that certain light sources do not seem to
although the number of mesh elements generated is
be illuminating the intended surfaces, it may be that
greater. The mesh is well shaped, the adaptive subdi-
the initial mesh parameter is too large.
vision is triggered only where desired—near the
light beam.
Mesh Spacing Example 2: Coarse illumination
Mesh Spacing Example 4
Example 2: Display Example 2: Mesh
Example 4: Display Example 4: Mesh

In this example, the maximum setting is decreased
but the result looks crude because the minimum The only difference between this example and
sample spacing is not small enough to sufficiently Example 3 is that the Subdivision Contrast
capture the shape of the light beam. Notice the adap- Threshold is changed to make it more sensitive to
tive subdivision around the light. adaptive subdivision.
The final image looks the same as the one in

Example 3, but the mesh display shows that the
whole surface is unnecessarily subdivided to the
Minimum Sample Spacing. Although the display
results are the same, this example generated a
considerably larger number of mesh elements, most
of which were unnecessary—wasting processing
time and memory.
186 Lightscape
Reducing Meshing Artifacts ❚❘❘
Reducing Meshing Artifacts that the smallest mesh elements are still rather large
Because of how the system generates a radiosity compared to the illumination details they are trying
mesh, there are a number of visual artifacts that can to capture.
appear in a radiosity solution. This section describes
ways of minimizing their effect.
Lightscape has tools to reduce some artifacts. You

can avoid others by taking additional steps during
the modeling process. Some artifacts may be
unavoidable or may simply not be significant Solution produces jagged shadow
enough to warrant the additional effort or memory boundaries on the wall
required to eliminate them.

The easiest way to alleviate this problem is to
It is possible to encounter the following types of decrease the minimum mesh spacing, either for the
meshing artifacts: entire environment or preferably just for the
• Jagged shadow boundaries problem surfaces.
• Shadow leaks The following illustration shows the same scene

computed with a minimum mesh spacing four times
• Light leaks smaller than that in the previous example. Although
• Floating objects it looks better, it requires about five times the
number of mesh elements.
• Mach bands
• Streaky shadows.
For each pair of illustrations in this section, the
image on the left shows the display result and the
image on the right shows the generated mesh.
Increased number of mesh elements reduces
jagged shadow boundaries
Jagged Shadow Boundaries
During adaptive subdivision, Lightscape divides If you have a scene that has many sharp shadow
existing mesh elements into four parts by inserting a boundaries, such as sunlight or spotlights, gener-
new vertex at the midpoint of each element edge. ating such a fine mesh can use a large amount of
Typically, this procedure results in a shadow or light memory.
beam that does not align with the mesh. This can
lead to shadow boundaries that look jagged or Correct with Ray Tracing
stepped. Another way you can correct jagged shadow bound-
aries is to ray trace the light sources that generate the
The following illustration shows the radiosity solu-
sharp shadow by using the Ray Trace Direct Illumi-
tion of a sharp spotlight on a wall. Notice that the
nation option of the ray tracer. You enable the Ray
edges of the spotlight are jagged. The image on the
Tracing option (in the properties of the luminaire)
right shows the mesh of this solution, demonstrating
187
for the light sources you want to ray trace. This the top example has a beam angle of 30° and a field
process produces the best visual result. For more angle of 30° (a sharp spotlight).
information, see Chapter 14, “Rendering.”
The light in the bottom example has a beam angle of
The benefit of ray tracing these light sources is that 30° and a field angle of 90°.
the underlying mesh during the radiosity solution
can be relatively coarse, as long as there is enough
light to ensure some inter-reflections. That is, you
have to see some light on the wall from the radiosity
calculations. The illustration on the left shows the
original radiosity solution from which the ray-
traced image on the right was generated.
Top: Sharp spotlight produces jagged shadow boundaries

Bottom: A softer spotlight prevents the occurrence of
Left: Solution produces jagged shadow boundaries jagged shadow boundaries
on the wall
Right: Ray tracing image corrects jagged shadow If you use a photometric web distribution, or if you
boundaries want a sharp spotlight, you must resort to a finer
mesh or to the ray tracing process described previ-
Ray tracing light sources, however, can add a signif- ously to correct jagged shadow boundaries.
icant amount of time to the rendering process, so
you only want to ray trace those lights that appear in
Shadow Leaks
a final image. Fortunately, you can set the ray tracing
As the name implies, a shadow leak appears as a dark
option even after the radiosity solution is complete.
region that seems to start from under an object or
In this way, you can first evaluate the solution from a
wall and “leaks” out to the surrounding surface.
particular view before deciding which shadows or
light sources you need to refine in the final image. For example, consider the panel against the wall in
For more information, see Chapter 8, “Artificial the following image. The mesh generated for this
Lighting.” radiosity solution (on the right) shows that one of
the initial mesh vertices on the wall surface occurred
Prevent with Softened Edges behind the panel. Although there was some adaptive
For spotlights, it is easier to get a good radiosity
result with a sparse mesh if the edges are soft—a
floodlight, for example. The following examples
were generated from the same mesh parameters and
have the same intensity values. However, the light in
188 Lightscape
Reducing Meshing Artifacts ❚❘❘
subdivision, the minimum mesh spacing was again Being as explicit as possible about edges during the
too large. modeling process leads to a better solution in Light-
scape. This does not mean you need to worry about
every point of intersection. For example, you do not
have to model a floor to cut around the legs of a table
nor do you have to cut walls around light switches.
Increase Mesh Elements

Shadow leak caused by an overly large mesh One way you can alleviate the shadow leak behind
the panel is to decrease the minimum mesh spacing.
The system renders radiosity solutions by interpo-
This triggers an adaptive subdivision so that the
lating the color between mesh element vertices. The
edge is properly defined. This approach is illustrated
color interpolation between the mesh vertex behind
below. The problem with this approach is that the
the black panel and the bright mesh vertices outside
system generates a large number of elements to
the panel caused the shadow leak.
render a rather insignificant part of the model.
You can alleviate this artifact in several ways, as
described in the following sections.
Model Surface Intersections Explicitly

You can eliminate shadow leaks by modeling the wall
so the intersection between the wall and panel is
Increased number of mesh elements
explicit. This is worthwhile for explicitly defining the
reduces shadow leak
edges between two surfaces.
Consider the following example showing two ways Correct with Ray Tracing
to model two intersecting beams. Another approach is to ray trace the light, as shown
in the following example. With this approach you
can keep the sparser mesh. However, this approach
is only valid for single images. Ray tracing light
sources also adds time to the ray tracing process.
Left: Sub-optimal Right: Improved modeling

modeling technique for technique for radiosity
radiosity processing processing
The sub-optimal technique, shown in the left image,

can result in sample points occurring on the surfaces
of the beams inside the region of their intersection,
possibly leading to shadow leaks. By being explicit
about the surfaces and their intersections, as shown
Ray tracing image eliminates shadow leak
on the right, you can avoid the shadow leak.
189
Make Surface Non-Occluding shadow of the table leg on the floor. This produces
The easiest way to alleviate shadow leaks is to ignore the visual effect of the table floating over the floor.
the surface causing the shadow leak. If one surface is
placed directly on another surface, such as a light
switch panel on a wall, you can set the surface on top
to be non-occluding. The light will simply pass
through the surface and will not cast any shadows. In
this kind of situation, the non-occluding approach is
the easiest and most efficient. For more information,
see “Occluding” on page 180.
Light Leaks
Light leaks are the opposite of the shadow leaks Top: Table leg appears to float above the floor
discussed previously. They appear as light extending
Bottom: Enlarged view of table
into a darker region of a surface.
A typical example of a light leak is one where a single The problem is caused by the fact that there is no
surface models the floor of two adjacent rooms. If original sample point in the floor area shadowed by
one room is lit and the other is not, light incident on the leg of the table that would have triggered an
the floor of the first room can crawl under the sepa- adaptive subdivision. Setting finer mesh parameters
rating wall and onto the floor of the second room. can correct the situation, as shown in the following
illustration.
You can prevent light leaks by modeling the floor in
two separate pieces, or you can reduce the leaks by
increasing the mesh subdivision of the floor during
radiosity processing.
Floating Objects
In the following example, the initial sampling mesh Top: Increased number of
does not fall under the leg of the table because the mesh elements corrects
floating effect
surface area is small in relation to the overall area of
Left: Enlarged view of table
the floor. Consequently, the system cannot trigger
adaptive subdivision and completely misses the
In general, it is difficult to avoid this artifact because

it is impractical to make the initial mesh small
enough to guarantee obtaining a sample point inside
every shadow region.
190 Lightscape
Testing for Artifacts ❚❘❘
The best solution in this situation would be either to Note: You can also do this during the Preparation
force a mesh element to occur under the table leg by stage in Lightscape using the Create Surface
being explicit during the modeling stage (as option on the Tools menu. For more information,
see “Creating Surfaces” on page 100.
explained with the shadow leak artifact) or to ray
trace the light in a post-processing step, as shown in Optimal shapes are regular, such as squares or equi-
the following example. lateral triangles. The following illustrations show
two examples of surfaces defined from two different
configurations of triangles and rectangles. The
surfaces on the right would produce better radiosity
results than the surfaces on the left.
Ray tracing image produces shadow of table leg
Mach Bands
The mach bands artifact usually appears as a bright
line along the edge of two adjacent mesh elements. It
usually occurs in areas where the mesh is too sparse
and can be eliminated by increasing the density of
the mesh.
Images on left: Sub-optimal Images on right: Improved
configuration for radiosity configuration for radiosity
Streaky Shadows processing processing
If a surface is made up of many oddly proportioned
surfaces such as long skinny triangles, the mesh
generated by the initiation process may also be made Testing for Artifacts
up of many oddly proportioned elements. This Typically, you run two radiosity solutions to locate
tends to increase the jagged shadow boundary and and deal with visual artifacts.
shadow leak problems (described earlier) by making
the shadow edges appear streaky. The first solution usually does not have to go beyond
the number of iterations required to process the
You can use ray tracing to produce better shadows. If contribution from the direct light sources, since
you want a good radiosity solution for interactive almost all artifacts are the result of the direct lights.
manipulation, you can create the original surfaces As a starting point, you can use the wizard to set the
from more regularly shaped components during the meshing parameters.
modeling stage.
191
After the radiosity solution has progressed past the Model Only Surfaces that Receive
processing of the direct light sources, you should Light
interrupt the process and examine the solution for To simulate the lighting in a model, Lightscape
artifacts. If any are visible, you can decide on the best computes the light reflected from each surface in the
way to handle them and then take the appropriate model. Extraneous surfaces (such as those inside
action. walls) increase processing time.
If you see a shadow leak, for example, one approach
would be to set the surfaces casting the shadow to be Create Large Adjacent Surfaces
non-occluding. Alternatively, you can select the Whenever possible, create large contiguous surfaces
surface with the artifact and increase the mesh rather than many small discrete surfaces. Where
subdivision for that surface by changing its Mesh more than one surface is used to represent a plane,
Resolution parameter. each of the surfaces must be considered separately
when reflecting energy into the environment. This
You may also decide to set the Ray Trace Direct Illu-
increases processing time.
mination processing parameter for the light source
causing the artifact. This way you can simply ignore
the artifact during the radiosity solution.
How you deal with artifacts also depends on what

final output you want. If you are creating a real-time
environment or an animation, you want to obtain
the best possible result with the radiosity solution. If
you are generating a limited number of still images,
you can ray trace the direct illumination from some Avoid Using Occluded Surfaces
or all of the lights to eliminate the artifacts To model surfaces that are occluded by other
completely. surfaces, use two or more separate surfaces. For
example, where a wall intersects a floor, build the
After you make the necessary adjustments, you can
floor using two surfaces.
reset the solution and run it again. Resetting the
solution does not alter any surface operations that
may have been done earlier.
Note: Changes to the Solution file are not reflected

in the Preparation file. You may want to update the
Preparation model.
Modeling Guidelines
Occluded surface Separate surfaces
To ensure good results and fast processing, you
should create your models using the following
guidelines.
192 Lightscape
Modeling Guidelines ❚❘❘
Model Efficiently
Model surfaces in the most efficient way possible.
For example, when creating a revolved surface, set
the tessellation complexity of the object to a coarse
value, and use smoothing within Lightscape to get
the curved effect.
Complex geometry processes faster when

modeled efficiently, as shown on the right
Model Surfaces as Regular Polygons

Many shadow artifacts are the product of meshing
strangely shaped surfaces (such as adjacent, long,
thin, triangular surfaces). Rectangular polygons and
equilateral triangles produce the best effects.
Surfaces with openings are best modeled as

shown on the right
Avoid Overlapping Coplanar Surfaces

Overlapping coplanar surfaces may display artifacts
or noise when processed. In the Preparation file,
coplanar surfaces appear to blink or sparkle when
you orbit around the model. Delete one of the
surfaces, and verify the orientation of the remaining
surface. For more information, see “Working with
Surfaces” on page 95.
193
NOTES
194
12 Lighting Analysis
Lighting analysis provides valuable design information if you use real-world
lighting and materials in your scene. Use lighting analysis to evaluate the
photometric performance of your scene.

How to use the lighting analysis
tools to evaluate your design.
Summary Displaying Light Distribution

In this chapter, you learn about: Pseudo-coloring techniques are used to illustrate the
distribution of light directly onto the surfaces of a 3D
• Displaying light distribution
scene. You modify how this information appears
• Analyzing lighting statistics using the Display panel of the Lighting Analysis
dialog.
• Controlling analysis grids
• Using workplanes.
About Lighting Analysis

After you run the radiosity process, use lighting
analysis to visualize the distribution of light over the
surfaces of your model. You can query either lumi-
nance or illuminance and visualize the distribution
of these quantities for any surface.
You view the distribution of light using pseudo- Model after radiosity processing and ray tracing
coloring techniques or by superimposing a grid of

illumination values over a selected surface.
195
Pseudo-Color Visualization Display Modes

You use a pseudo-color representation to visualize Use the Display list to enable energy visualization
the luminance or illuminance of your model. modes.
Select: To:
Normal Turn off pseudo-color (or gray-
scale) visualization.
Color Display the lighting distribution
using colors ranging from blue to
green, yellow, and red. Low values
are closer to blue and high values
are closer to red.
Gray Scale Display the lighting distribution
using gray levels from black to
white. The higher the value of the
target quantity, the brighter the
color displayed.
Scale Options
Use the Scale list to select options related to visual-
ization graphing scale.
Select: To:
Top: Pseudo-color display of luminance values

Linear Map the target quantity to display
using a Linear scale colors using a linear scale. This is
the default setting.
Bottom: Pseudo-color display of luminance values
using a Logarithmic scale Logarithmic Map the target quantity to display
colors using a logarithmic scale.
Lighting Quantities This is useful when the illumina-
tion of the surfaces of interest is
Use the Quantity list to select an energy visualization
low compared to the maximum il-
quantity. lumination in the scene.
Select: To:
Luminance Visualize the distribution of light
reflected off of the surfaces.
Illuminance Visualize the distribution of light
incident on the surfaces.
196 Lightscape
Displaying Light Distribution ❚❘❘
Cutoff Values Note: When most values are contained in a small

Use the cutoff values to set graphing thresholds. Use subset of the target quantity range, the display
the following thresholds to bracket a region of shows most of the environment in a single color.
Use minimum and maximum thresholds to narrow
interest for bringing out more differentiation in a
the region of interest and show more
surface. differentiation.
Use: To: 6. Click Apply.

Minimum Set the threshold to a value below The model is displayed in pseudo-color. In this
which the system maps values of the mode, you can adjust the view or zoom to check
target quantity to the left-most lighting values in different areas of your scene. You
display color or grayscale level of the can also print pseudo-color displays with their
color chart. accompanying scale.
By default, Minimum is 0. 7. If necessary, adjust the range of light energy val-
Maximum Set the threshold to a value above ues by entering minimum and maximum range val-
which the system maps values of the ues in the appropriate boxes. This adjusts the
amount of lighting differentiation. For instance,
target quantity to the right-most
there are probably very bright areas in your scene
display color or grayscale level of the near the lights that are skewing the range of dis-
color chart. played lighting values. Try clamping off some of
By default, Maximum is the these higher light energy values.
maximum value of the target quan-
To turn off pseudo-color display:
tity in the current radiosity solution.
1. Choose Light | Analysis.
To set illuminance or luminance values: The Lighting Analysis dialog appears.

1. Choose Light | Analysis. 2. Click the Display tab.
The Lighting Analysis dialog appears. 3. From the Display list, select Normal.
2. Click the Display tab.

4. Click Apply.
3. From the Quantity list, select Luminance or Illu-
minance. Pseudo-color is turned off.
4. From the Display list, select Color or Grayscale. Note: You can also disable pseudo-color display by
clicking Cancel in the Lighting Analysis dialog.
5. From the Scale list, select Linear or Logarithmic.
197
Analyzing Lighting Statistics Information related to that point and the surface is
You can obtain statistical data such as averages, displayed on the Statistics panel.
minimum and maximum values, and criteria ratings
to evaluate luminance or illuminance for a specific
surface or a point on a surface.
Displaying Light Energy Statistics

6. To view information for a different point on a
Display light energy statistics based on either lumi-
surface, click that point on the surface of the model.
nance or illuminance values.
To show light energy values for a surface: Analyzing Light Energy Statistics
Each time you select a point on a surface of your
model, statistical information about the point and
The Lighting Analysis dialog appears. the surface is displayed on the Statistics panel. The
2. Click the Display tab. following information is available:
3. Select an item from the Quantity list. • Point

• Average
• Max and Min
• Avg Min, Max and Min, and Max Avg.
Point
4. Click the Statistics tab. Displays the luminance or illuminance value at a
selected point on a surface. The X, Y, and Z coordi-
5. Click a point on a surface in the model.
nates of the point also appear in parenthesis.
The selected point appears on the surface and the
surface is highlighted.
Average
Displays the average value of the target quantity over
the selected surface.
The average value is a simple way of characterizing

the performance of a lighting system when the shape
of the distribution of light over the surface is fairly
simple.
Selected point on the surface in your model
198 Lightscape
Controlling Analysis Grids ❚❘❘
Maximum and Minimum 6. Enable the Percentage option in the Illuminance

Displays the maximum and minimum values of the Rating section, and then type a value between 0 and
target quantity over the selected surface. 100 in the Percentage box.
Use these values in conjunction with the average Percentage option

value to describe the uniformity of the distribution
of light over the target surface. Percentage box
Threshold box
Avg/Min, Max/Min, and Max/Avg
Displays different ratios of the average, minimum,
Threshold option
and maximum values. These three ratios are used in
conjunction with the average value to roughly
7. Enable the Threshold option.
measure the uniformity of the distribution of light
over a selected surface. The threshold energy level appears in the Threshold
box.
Using Illuminance Rating For instance, in the previous example, 46.4% of the
The illuminance rating is the fraction of the area of a light energy exceeds 300 lx.
surface that satisfies (or exceeds) a specified crite-
Note: Alternatively, you can enter a threshold
rion. You can use this option to obtain more
value and then enable the Percentage option to
information about the distribution of light over a see the percentage of surface area where energy
selected surface. exceeds the specified threshold.
To select illuminance rating criterion:

1. Choose Light | Analysis. Controlling Analysis Grids
You can display a grid of uniformly spaced sample
The Lighting Analysis dialog appears.
points and their corresponding luminance or illumi-
2. Click the Display tab. nance values for a selected surface.
3. Select an item from the Quantity list. The Precision, Origin, and Spacing parameters
control the grid’s position and lighting.
To display a lighting grid for a surface:

The Lighting Analysis dialog appears.
4. Click the Statistics tab. 2. Click the Display tab.
5. Click a point on a surface in your model.

Yellow crosshairs mark the selected point, and the
selected surface is highlighted in green.
199
3. Select an item in the Quantity list. 8. Type the distance between grid nodes in the
Spacing X, Y, and Z boxes.
9. Enter the number of significant figures in the
Grid Labels Precision box.
For example, a luminance value of 1500.0109 sets the
analysis grid to 1500 if you set the precision to 4. The
grid displays 1500.01 if you set the precision to 6.
4. Click a point on a surface in your model.
10. Click Apply to update the grid position, spacing,
The selected point is marked by a yellow crosshair and precision.
and the surface is highlighted in green.
5. Click the Grid tab, then enable the Grid option.

Using Workplanes
6. Click Apply to display a grid of energy values on Use workplanes to compute light energy values on
the selected surface.
an arbitrary plane located anywhere in your model.
Workplanes are surfaces that typically do not appear
in the final rendering of your scene. For example,
you could place a workplane parallel to the ground
and at the height of a typical table to verify that the
illuminance levels produced by a proposed lighting
system on that plane are within the recommended
guidelines for comfortable reading and writing.
Because workplanes act as light sensors and do not
reflect incident light, Lightscape displays no lumi-
nance values for these surfaces during lighting
analysis.
Adding Workplanes to a Layer

Typically, you place workplanes on layers that are
reserved for workplanes only. You do this to hide
Top: Selected surface and corresponding grid of
energy values them from view during normal display or rendering.
Bottom: Grid settings related to the selected surface To hide a workplane, turn off the layer upon which
the workplane has been placed.
You may need to adjust the way the grid displays
information. Note: Remember to enable workplane layers
during radiosity processing so that Lightscape can
7. Type the location of the grid origin in the Origin record the illumination on these surfaces.
X, Y, and Z boxes.
By default, the grid origin is 0.
200 Lightscape
Using Workplanes ❚❘❘
For more information on enabling, disabling, and 4. Disable the Reflecting and Occluding options.
adding surfaces to layers, see “Working with Layers”
Note: This ensures that the surface does not affect
on page 82. For information on creating surfaces, see
the propagation of light through the environment.
“Creating Surfaces” on page 100.
5. Click OK.
Defining Surfaces as Workplanes The properties are applied to the selected surface.
The properties of a workplane that are not part of the
scene should be set so that they do not affect the
lighting in your model.
The workplane is typically an additional surface

positioned and oriented anywhere in 3D space
where you are interested in measuring the photo-
metric performance.
To define a surface as a workplane:

1. Choose Edit | Selection | Surface, then select the
surface.
2. Right-click your model, then choose Process
Control.
The Surface Processing dialog appears.
3. Enable Receiving.
Note: A workplane must receive light so that it can

register the incoming illuminance and store it in a
radiosity mesh, like any other surface in the scene.
201
NOTES
202
13 Mesh to Texture
By converting your radiosity meshes to texture maps, the Mesh to Texture tool
reduces the memory requirements of your model. This feature is useful for
creating interactive 3D applications requiring the realism of Lightscape’s
rendering.
How to create texture maps
from your solution.
Summary surface. This process significantly reduces the

In this chapter, you learn about: number of polygons in a scene, reducing the amount
of memory required for the model. In addition, the
• Using Mesh to Texture new texture maps can be of a higher quality than the
• Mesh to Texture examples. original mesh because additional rendering features,
such as ray traced shadows from the sun, can be
performed during the conversion.
About Mesh to Texture Lightscape provides several different methods for
The Mesh to Texture tool reduces the geometry of a
creating textures, automating the process without
model by converting radiosity meshes into textures.
sacrificing flexibility.
Some display systems, such as game engines, may
have trouble interactively displaying models Converting the radiosity mesh to texture maps can
containing a large number of polygons. Yet, these provide several benefits:
same systems are capable of interactively displaying • Reduced complexity—By transforming polygon
a smaller model created using the Mesh to Texture meshes into textures, you can reduce the polygon
conversion tool. count in your model. This capability is important for
You can use Mesh to Texture to select surfaces with a improving display speed both in Lightscape and in
complex mesh and create a texture that represents real-time 3D applications, including interactive
the lighting on that surface. Then you can eliminate games, VRML, and virtual sets.
the mesh and apply the texture to the original
203
13 Mesh to Texture
• Integration—If the source model is heavily tex- 2. Select a conversion method, then click Next.
tured, you can add or incorporate radiosity lighting 3. If required, select the projected geometry from
into the existing texture maps. When the source the model, then click Next.
model is re-opened, the texture maps will contain
4. Select the target geometry from the model, then
additional lighting information from the radiosity
click Next.
solution.
5. If you selected the “Project all selected geometry
• Multi-texturing—You can also create illumination into one texture” conversion method, select a pro-
maps that are separate from textures. These maps are jection method, then click Next.
useful for applications that support blended multiple
6. If you selected the “Convert each surface to a tex-
textures for a surface. ture per surface” or “Relight existing textures” con-
Lightscape also provides a batch processing utility, version method, decide whether to use existing
lsm2t, that you can use to perform the Mesh to texture filenames, then click Next.
Texture conversion. For more information, see 7. Set the texture output options, then click Next.
Appendix B, “Batch Processing Utilities.”
Note: You can also click Finish to accept the
default settings for the remaining pages of the
wizard (the Rendering Options and Replace/Delete
Using Mesh to Texture pages) and launch the Mesh to Texture process.
Use the Mesh to Texture wizard to choose appro-
priate settings and launch the Mesh to Texture 8. Set the rendering options, then click Next.
process. Mesh to Texture settings are preserved from Note: You can also click Finish to accept the
one session to the next as long as you do not exit default settings for the remaining page of the
Lightscape. Once you exit Lightscape, the wizard wizard (the Replace/Delete page) and launch the
settings return to the default settings. Mesh to Texture process.
Note: You can click the Back button in the Mesh to 9. Set the Replace/Delete options, then click Finish
Texture wizard to move to previous pages, and to launch the Mesh to Texture process.
adjust the settings, if necessary.
Select Method for Conversion
Note: Before performing a Mesh to Texture
conversion, you should create a backup of the orig- There are three methods for converting selected
inal model. Once the radiosity mesh is converted geometry to textures:
into a texture map, you cannot update or change
the lighting and material properties of the model.
• Texture per Surface
• Relight Textures
To convert radiosity meshes to textures:
1. Choose Tools | Mesh To Texture.
The Mesh to Texture wizard appears.
204 Lightscape
Using Mesh to Texture ❚❘❘
• Single Texture. Note: If the same texture image is applied to more

than one surface, Lightscape creates a series of files
using the texture map’s original filename for each
successive file, combined with an incremental
three-digit number.
Single Texture
Select “Project all selected geometry into one
texture” to create a single texture from all the
selected geometry. If you select the eight surfaces of
a cylinder, this creates a single texture map that has
the lighting added to it. With this method, you must
select a projection method—Orthographic, Cylin-
Texture per Surface drical, Spherical, or Object UV’s—and projection
Select “Convert each surface to a texture per surface” coordinates.
to generate a new texture for each selected surface. You can also use this method to project 3D surfaces
For example, if you select the eight surfaces of a onto other surfaces as decals. Examples of geometry
cylinder, eight texture maps (one per surface) are you may select in this step are pictures hanging on a
created. Lightscape automatically determines the wall, wall moldings, windows, and any geometry
projection for each surface and its new corre- near the wall that does not need to be stored three-
sponding texture. This is the easiest and most dimensionally in the final model.
automatic method to create textures, but because it
creates a texture for each surface, you run the risk of This method is the least automatic, but it offers the
creating too many textures. most control. You can significantly optimize your
model because you are able to group many surfaces
Note: This method produces an optimal projec- together to create a single texture map.
tion that uses as much of the texture area as
possible.
Select Projected Geometry
Relight Textures Use this selection set, the first of two, to select the
Select “Relight existing textures” to use existing surfaces to be projected (as decals) onto the surfaces
textures and projections and generate new textures in the second selection set. This selection set is only
with the same projections. If you select an eight- useful when you use the Single Texture method of
sided cylinder with a single texture already wrapped conversion.
around it, this method will create a new version of
that texture that has the lighting added to it. This
method will not work when the existing textures are
tiled. You can use this option when a single texture
covers several surfaces.
205
13 Mesh to Texture
Typically, you delete these surfaces from the model Select Projection Method
after the Mesh to Texture conversion process to If you selected the Single Texture conversion
reduce the polygon count. method, this page of the wizard appears. You use this
page to choose the projection method, coordinates,
and related options for the generated texture.
Select Target Geometry

This selection set, the second of two, contains the
target geometry (the surfaces on which textures will Use the Projection list to specify the type of projec-
be placed). The lighting information stored in the tion you want to use. The following projection types
radiosity mesh of these surfaces and on any surfaces are available: Orthographic, Cylindrical, Spherical,
in the first selection set (projected geometry) appear and Object UV’s.
in the resulting textures. These projection methods are similar to those used
to align texture maps. For more information, see
Chapter 7, “Using Materials.”
Orthographic Projection
In Orthographic mode, you must pick lower-left,
lower-right, and upper-left points, or enter values in
the corresponding boxes. These three points deter-
mine an orientation and a size for the mapping.
Cylindrical Projection
In Cylindrical mode, you must pick lower-center
and upper-center points and a seam direction, or
If you did not select surfaces in the previous step,
enter values in the corresponding boxes. These three
you must select at least one surface in this step to
points determine an orientation and a size for the
continue.
cylindrical mapping.
206 Lightscape
Spherical Projection existing texture filenames” option is deselected and

In Spherical mode, you must pick a center point, top proceed to the next step in the wizard.
pole, and seam direction, or enter values in the
corresponding boxes. These three points determine
an orientation and position for the spherical
projection.
Object UV’s Projection

No points need to be picked for Object UV’s mode.
You do, however, need a surface selected in target
Geometry page that has UV coordinates. This will
only be relevant for models that were imported from
a software that supports UV mapping mode.
To avoid overwriting existing textures, you should
Snap to Nearest Vertex
save modified texture maps under different file-
When this option is enabled, selecting a point in the
names. Optionally, you can save textures using
model will select the closest vertex to that point on
original filenames in a different directory.
the same surface.
Use Existing Texture Filenames

Project Inward
Select this option to use the existing texture
This option affects the direction from which the
filenames.
texture is projected in the cylindrical and spherical
modes. When this option is enabled, the texture is
Overwrite any Existing Texture Files
projected from the outside to the center. When the
Select this option to save textures over the original
option is disabled, the texture is projected outward
image files used to create the materials in Lightscape.
from the center.
Because this option will overwrite your existing
When mapping a texture to an inside surface (such texture files, it is recommended that you save copies
as when the viewer is standing in the center of a of the original images in another location before
room), disable this option. When looking down at a performing the operation.
spherical object (like a ball), enable this option.
New Directory Name
Enable this option to save the generated files under
Use Existing Texture Filenames
the same name, or names, as the original files, but in
The settings on this page are of particular impor-
a different directory. Enter the new directory name
tance if you selected the “Relight existing textures”
in the box, or use the Browse button to select a
conversion option, or if some of the surfaces in the
directory.
target selection set already have texture maps
applied to them. Otherwise, ensure that the “Use
207
13 Mesh to Texture
If the same texture image is applied to more than one Format Type
surface, Lightscape creates a series of files using the Use the Format Type list to select the file format of
texture map’s original filename for each successive the image. The default is the native Windows image
file, combined with an incremental three-digit format (.bmp).
number.
The following file format options are available:
Texture Output Information File Extension: Format:

Use this page of the wizard to specify how to save .bmp Windows native file format.
new texture files (their size, image format, and .eps Encapsulated PostScript.
name) that the Mesh to Texture process generates.
.jpg JPEG.
.png Portable Net Graphics.
.rgb RGB—24-bit and 48-bit, native
Silicon Graphics file format.
.tga Targa, TrueVision format.
.tif TIFF—24-bit and 48-bit.
Note: With .rgb and .tif formats you can specify 24-
bit or 48-bit image output.
Sizing Options
New Textures Base Name The sizing options control the output image size. If
Enter the base name for the files generated in the you are using the “Relight existing textures” conver-
New Textures Base Name box. Lightscape appends sion method, the files are automatically generated in
three-digit numbers to this name, starting with 000 the same size as the originals, and sizing options are
and incrementing by 1 for each file. not available.
To place the files in a specific directory, enter the

Manually Size
path as part of the base name (for example, Select the Manually Size option to specify horizontal
c:\textures\test.bmp). If you do not specify a path,
and vertical dimensions, in pixels, to be used for all
Lightscape uses the directory where the current generated images.
model is located.
You should include the appropriate file extension Use Surface Size
(.bmp for example) or the names will be created The Use Surface Size option is available only with the
without an extension. Textures per Surface conversion method.
Select this option to generate images at a specified

number of pixels per unit of measurement. For
example, if a selected surface measures 5 x 9 inches,
208 Lightscape
and you specify 8 pixels per inch, the resulting OpenGL Compatible
texture image is 40 x 72 pixels. Enable this option to make the final ray traced image
more closely resemble the OpenGL rendered image
If you select Use Surface Size, you can select the
displayed in the Graphic window. Because the ray
Power of 2 option to constrain each output image
traced images differ in image quality from OpenGL
dimension to the smallest power of 2 greater than or
display, this option is important if you intend to
equal to its calculated size. With Power of 2 selected
combine mesh-to-texture surfaces with non mesh-
in the preceding example, the output image
to-texture surfaces in a real-time display application.
measures 64 x 128 pixels.
Generate Illumination Map
Rendering Options Enable this option to create a texture map consisting
All texture maps are rendered with ray tracing. Use of only the light striking the surface, instead of the
this page to set the ray tracing options. reflected light emitted from the surface (which is
what you normally see).
Soft Shadows from Sun

Enable this option to soften the edges of the shadows
from the sun, blurring the crisp shadow edge to give
a more natural effect. This can add a considerable
amount of time to the process.
Create Alpha Channel

Enable this option to create an alpha channel based
on the cumulative transparency of all surfaces
through which light rays pass. Also, the alpha
Ray Trace Direct Illumination channel is transparent wherever the background
Enable this option to recompute the direct energy color appears.
contribution of the sun and of luminaires set to use
ray tracing. Pad Texture Edge
The Pad Texture Edge option eliminates potential
Shadows from Inactive Layers artifacts around the edges of textures by filling in all
Enable this option to consider the shadows from the pixels in the texture that do not lie on the target
objects on layers that are turned off when creating an geometry with pixels of a similar color. Where there
image. This option is used principally when it is is projected geometry that does not land on the
necessary to turn off layers to enable a certain view target geometry, the padding will overwrite these
(for example, the ceiling for a bird’s-eye view), but areas of the projected geometry.
when the lighting effects of those missing surfaces
are important. Ray Bounces
Enable this option to set the number of ray bounces
in an image. The default is 0 because, typically, you
want to avoid view-dependent reflections in the
209
13 Mesh to Texture
texture maps of interactive applications (reflections Delete the Projected Geometry from the
do not move with the viewer). Model
Enable this option to further reduce the model’s
Antialiasing Samples complexity by deleting any surfaces you specified as
Use this list to set the level of antialiasing. Anti- projected geometry. These surfaces, and all of their
aliasing is used to eliminate image artifacts such as lighting and geometric data, will be removed from
jagged edges of polygons. the model after the new textures are generated.
▲ Once deleted, these surfaces cannot be

Replace/Delete brought back into the model. Therefore, you
Once the textures have been created, you use them in should first save a copy of your model before
the Lightscape model to replace the radiosity mesh starting the Mesh to Texture process.
of the Lightscape solution.
Mesh to Texture Examples

The following examples consider how to use the
wizard with a simple model—a single wall (made up
of multiple surfaces) lit by several lights with picture
frames hung upon it.
The options on this page tell Lightscape how to apply

the new textures and what to do with the geometry
in the two selection sets previously created.
Replace Textures on Target Geometry

Enable this option to apply the new textures to the
Example 1: Create multiple texture maps for
surfaces you specified as target geometry. This
the wall surfaces
option replaces the original materials with texture-
Because the wall has several lights shining on it as
mapped materials containing the radiosity solution.
well as shadows from the picture frames, it has been
adaptively subdivided into a complex radiosity
Reset Mesh on Target Geometry
mesh. You can simplify the model by creating
Enable this option to remove the mesh subdivision
textures to represent the lighting on each surface of
created during the radiosity solution, returning the
the wall and then removing the radiosity mesh from
selected surfaces to their original geometry.
these surfaces.
210 Lightscape
Mesh to Texture Examples ❚❘❘
To create multiple texture maps for the wall To relight an existing texture map:
surfaces:
2. Select the Relight existing textures option on the
2. Select the Create single texture per surface op- Method for Conversion page.
tion on the Method for Conversion page.
3. Leave the first selection set blank.
3. Leave the first selection set blank.
4. Select the surface of the picture in the second se-
4. Select the surfaces of the wall, including those at lection set.
the top, in the second selection set.
5. Move to the Texture Output Information page,
choose a name for the textures, and choose Use Sur-
face Size to set the texture size.
6. Set the rendering options on the Rendering Op-
tions page.
7. On the Replace/Delete page, select the Replace
textures on target geometry option and the Reset the
mesh on the target geometry option and click Finish.
A texture is created for each original surface of the 5. On the Use Existing Texture Filenames page, en-
wall selected. The textures are used in the model, able Use existing texture filenames
instead of the radiosity mesh, to represent the 6. Set the rendering options on the Rendering Op-
lighting on the wall. tions page.
7. On the Replace/Delete page, select the Replace
texture on target geometry option and the Reset the
mesh on the target geometry option and click Finish.
The texture you created, instead of the radiosity
mesh, is used to represent the lighting on the picture.
Example 3: Create a single texture map of the

wall surfaces and pictures
The wall and paintings represent quite a bit of geom-
etry and radiosity data. To simplify the model, you
can create a texture to represent the pictures and the
Example 2: Relight the existing texture map in lighting on each surface of the wall. Then you can
the picture frame remove the radiosity mesh from these surfaces, and
The picture in the frame hanging on the wall is an
the pictures and their frames from the model.
image that has been applied as a texture map. You
may wish to add the lighting effects from the model
to this existing texture image.
211
13 Mesh to Texture
To create a texture map of the wall and pictures:

2. Select the Project all selected geometry into one
texture option on the Method for Conversion page.
3. Select the surfaces of the pictures and picture
frames as the first selection set (since you want to
project this geometry as a decal on the texture).
4. Select the surfaces of the wall, including those at
the top, in the second selection set.
5. Select Orthographic from the Projection list and
align the texture to the wall on the Select Projection
Method page.
6. Choose a name and set a size for the texture on
the Texture Output Information page.
7. Set the rendering options on the Rendering Op-
tions page.
8. On the Replace/Delete page, choose the Replace
texture on target geometry option and the Reset the
mesh on the target geometry option.
9. On the Replace/Delete page, choose the Delete
the projected geometry from the model option and
click Finish.
A single texture is created to represent the pictures
and the lighting on the wall. The radiosity mesh and
picture geometry are deleted from the model.
212 Lightscape
14
Rendering is the process of taking the three-dimensional radiosity solution and
converting it to an image.
Rendering
How to create image files from
your radiosity solution.
Summary The second way to create an image in Lightscape is to

In this chapter, you learn about: use ray tracing. This technique produces a better
quality image of a radiosity solution that includes
• Rendering images with OpenGL specular highlights and reflections as well as proce-
• Rendering images with ray tracing dural textures and bump maps.
• Rendering multiple views In general, OpenGL images are considerably faster

to generate because they can be hardware acceler-
• Ray tracing an area
ated. However, they are limited to rendering the
• Batch rendering direct and diffuse lighting effects of the radiosity
solution. A ray traced image takes longer to generate
• Rendering across a network.
but produces the best possible quality.
Although ray tracing in Lightscape takes longer than

About Rendering in Lightscape OpenGL rendering, it does not take as long as tradi-
In Lightscape, you can create images in two ways. tional ray tracing because it uses the direct and
The first is to use OpenGL to render a view of a radi- indirect illumination values already calculated in the
osity solution. The quality of this image will be radiosity solution.
essentially the same as what you see in the Graphic
window since OpenGL is used as the interactive
display engine of Lightscape.
213
14 Rendering
Creating Images Note: When you resize the window, the aspect
ratio (proportion) may change and the view may
Lightscape produces images that can be output in a
be altered. Resize the Graphic window before
variety of standard file formats. The following file setting your views so that you can see exactly what
formats are currently supported: will be rendered.
File Extension: Format: To take advantage of accelerated OpenGL display

.bmp Windows native file format. capabilities, the image must fit within the bounds of
the Graphic window. Images that have a higher reso-
lution than the window’s dimensions are broken into
.tif TIFF—24-bit and 48-bit. tiles. Each tile is the maximum size that fits within
.rgb RGB—24-bit and 48-bit, native the window while maintaining the original aspect
Silicon Graphics file format. ratio of the image.
.jpg JPEG. For example, if you create an 1800 x 1200 image
.png Portable Net Graphics. (larger than the maximum Graphic window size),
.eps Encapsulated PostScript. Lightscape breaks up the image and renders it as
four tiles of 900 x 600 pixels each. Once it has gener-
ated the image for every tile, Lightscape creates the
Rendering with OpenGL final high-resolution image by combining these tiles.
You can produce an image of your radiosity solution
very quickly using OpenGL rendering. However, Antialiasing
keep in mind that rendering occurs at—and can be Use antialiasing to smooth out jagged edges. This
limited by—the color depth of your display device. improves image quality and provides better results
This color depth may be less than 24 bits per pixel, when the model contains features smaller than a
reducing the quality of your output. single pixel.
Note: You can avoid hardware limitations by ray Although a single still image requires antialiasing to
tracing with the lsray utility. This batch processing achieve high quality, the antialiasing level can be
utility runs in software only and, therefore, does lower than that required for animation frames. It is
not depend on your display hardware. It can always much easier to see aliasing in animations, particu-
output images with 24-bit color per pixel (or 48-bit
color per pixel in the TIFF and RGB file formats). For
larly if the model contains many thin (less than a
more information on the batch processing utilities, pixel) features, such as cables or railings. You can
see “Rendering Large Jobs” on page 220. obtain satisfactory single images with an antialiasing
level set to 3 or 4; however, animation frames may
Image Resolution require a level of 6 or 7.
You can choose from a variety of commonly used
image resolutions provided by Lightscape, or you To render a radiosity solution:
can specify a custom resolution. When you set the
1. Choose File | Render.
resolution, the Graphic window resizes itself
accordingly. The Rendering dialog appears.
214 Lightscape
Creating Images ❚❘❘
Antialiasing Algorithms in Lightscape

Lightscape uses different antialiasing algorithms depending on whether or not ray tracing is used. If
ray tracing is not used, OpenGL image generation uses either a software or (if available) a hardware
accumulation buffer. It jitters the original images a number of times by a slight subpixel amount and
then averages these images to produce a single high-quality image.
This process requires the image to be displayed n times, where n is the square of the antialiasing level
selected. For example, an antialiasing level of 2 displays the image four times to create the final image.
A level of 10 displays the image 100 times (taking 100 times longer to create than the non-antialiased
image).The ray tracer uses a different adaptive scheme that is more efficient for this process. So, with
the ray tracer there is no direct correlation (as with the OpenGL method) between the antialiasing level
and the time required.
2. To enter a path and filename, do one of the fol- Note: Increasing the antialiasing level will increase
lowing: your rendering time.
• Enter a path and filename for the rendered image in 6. Click OK.
the Output File Name box
• Click Browse and navigate to the location in the Rendering with Ray Tracing
Open dialog, enter a filename, and click Open. With Lightscape, you can create high-quality ray
traced images that render effects such as specular
• Select the output format and pixel depth required.
reflections and refraction through transparent
3. Select an image resolution from the Resolution materials.
list.
In addition to the Image Resolution and Antialiasing
4. To define a custom resolution, select User De- options described in “Rendering with OpenGL” on
fined from the Resolution list and enter the dimen- page 214, the following options are available when
sions for the image in the Width and Height boxes.
you use ray tracing.
5. To increase the number of antialiasing samples,
select the appropriate level from the Antialiasing Ray Trace Direct Illumination
Samples list. This option ray traces direct light contributions
from lighting sources (the sun and luminaires
marked for ray tracing). Use this option to correct
shadow aliasing problems and provide additional
enhanced lighting effects, such as highlights on
nondiffuse surfaces. For more information, see
Chapter 11, “Radiosity Processing,” and Appendix
D, “Reflection Models.”
Antialiasing Samples list
Remember that the time required to generate images
can increase significantly with the number of light
sources that are ray traced.
215
14 Rendering
Soft Shadows From Sun Note: If the number of bounces is set to 0, you will
By default, Lightscape renders shadow boundaries see no specular or transparency effects. The default
caused by the sun as sharp edges. Enable this option value for this parameter is 10.
to blur the edges to provide a more realistic and
natural shadow boundary.
Note: This option can significantly increase the

rendering time of an image.
Shadows From Inactive Layers

Use this option to cause objects on layers that are not
on (not visible) to cast shadows. The objects will not
appear in the image, but their shadows will appear.
OpenGL Compatible
Because OpenGL and the Lightscape ray tracer use
different reflection models, images created from the
same Solution model do not look the same rendered
with OpenGL as when rendered with the ray tracer.
The OpenGL Compatible option forces the ray Top: Two facing mirrors with Ray Bounces set to 1
tracer to generate images that closely match the
Bottom: Two facing mirrors with Ray Bounces set to 10
OpenGL display rendering. It also adds specular
reflections, but does not render them to as high a
To ray trace an image:
quality as is possible when this option is not enabled.
1. Choose File | Render.
For more information, see Appendix D, “Reflection
Models.” The Rendering dialog appears.
2. To enter a path and filename, do one of the fol-

Ray Bounces
lowing:
To control how many levels of reflection or transmis-
sion are calculated during ray tracing, specify the • Enter a path and filename for the rendered image in
number of ray bounces tracked in this box. the Output File Name box
For example, if you want to see through two • Click Browse and navigate to the location in the
windows, set this option to at least 2. Keep in mind Open dialog, enter a filename, and click Open.
that if you actually model the panes of glass with two • Select the output format and pixel depth required.
surfaces each, you must set the number to 4.
3. Select an image resolution from the Resolution
If regions of the image that contain transparent list.
objects look incorrect, increase the number of ray
4. To define a custom resolution, select User De-
bounces. fined from the Resolution list and enter the dimen-
sions for the image in the Width and Height boxes.
216 Lightscape
Rendering Multiple Views ❚❘❘
5. To increase the number of antialiasing samples, Rendering Multiple Views

select the appropriate level from the Antialiasing Lightscape has three options for controlling the view
Samples list.
and the number of images it creates: Current View,
Note: Increasing the antialiasing level can signifi- List of Views, and Animation File.
cantly increase your processing time. For more
information, see “Antialiasing” on page 214.
These options are available when rendering with
either OpenGL or ray tracing.
6. Enable Ray Tracing.
Select: To:
The following options become available:
Current View Create a single image using the
• Ray Trace Direct Illumination current view.
• Shadows from Inactive Layers List of Views Create an image for each view in
the View list.
• OpenGL Compatible.
Animation File Create an image for each frame
in an animation file.
Rendering a List of Views

You can create image files of multiple views by
selecting the List of Views option. To create each
image filename, Lightscape combines the output
Ray Tracing options
filename, specified in the Output File Name box,
with the prefix of the view name and the extension of
7. To ray trace the direct lighting contribution from the specified image output type.
the sun and luminaires marked for ray tracing, en- For example, if you select .bmp output, enter set1
able Ray Trace Direct Illumination.
in the Output File Name box, and load three view
If you enable this option, the Soft Shadows From Sun files (v1.vw, v2.vw, and v3.vw). Lightscape
option becomes available. names the resulting images set1v1.bmp,
set1v2.bmp, and set1v3.bmp. The .vw file
Note: Lightscape ray traces only the luminaires
extension is dropped in the resulting filenames.
that have their Ray Trace Direct Illumination prop-
erty enabled.
Note: If you need to maintain the DOS 8.3 naming
conventions, make sure that the image name,
8. To blur the edges of shadow boundaries caused
combined with the longest view file prefix, does
by the sun, enable Soft Shadows From Sun.
not exceed eight characters.
9. To generate images that closely match the
OpenGL display, enable OpenGL Compatible. To render a list of views:
10. Enter the number of ray bounces in the Ray 1. In the Rendering dialog, set the required render-
Bounces box. ing options. For more information, see “Rendering
217
14 Rendering
with OpenGL” on page 214 and “Rendering with Note: If you need to maintain the DOS 8.3 naming
Ray Tracing” on page 215. conventions, you must specify an output filename
no more than four characters long.
2. Select List of Views from the Source list.
3. Click Add to add a view file to the list.
You can also render a subset of animation frames
byspecifying the first and the last frames to render, as
4. Navigate to the view file location in the Open di- well as the step value between consecutive frames.
alog and select the file.
For example, to render every second frame of an
5. Click Open. animation, enter a step value of 2.
The selected view file is added to the list of views.
Rendering Interlaced Animations
You can also choose to render an interlaced anima-
tion. When you create animations for video, they are
interlaced. Interlacing is used so that only half the
screen, every other scan line, is updated each sixtieth
of a second (NTSC frame rate). Each of the two sets
of alternate scan lines is called a field; two fields make
up a frame.
List of views Source list
To render animation frames:
6. To remove a view file from the list, select the file 1. Load the animation file by choosing
and click Remove. Animation | Open.
7. To preview a view, select the file and click Pre- 2. In the Rendering dialog, set the required op-
view. tions. For more information, see “Rendering with
OpenGL” on page 214 and “Rendering with Ray
Rendering Animations Tracing” on page 215.
An animation file represents a sequence of views that 3. Select Animation File from the Source list.
you create with the Lightscape Animation tool.
Select the Animation File option to generate a single
image for each animation frame.
To create the image filename, Lightscape combines

the output filename, specified in the Output File
Name box, with an increasing four-digit number
that starts at 0000.
For example, if you enter anim as the filename and Interlacing options Animation options
select the Targa format, Lightscape names the
resulting images anim0000.tga,
anim0001.tga, anim0002.tga, and so on.
218 Lightscape
Ray Tracing an Area ❚❘❘
4. Enter the number of the first frame to render in To set the Ray Trace Area options:
the From box. 1. Choose Display | Ray Trace Area Options.
5. Enter the number of the last frame to render in The Ray Trace Area Options dialog appears.
the To box.
6. To render an interlaced animation, Enable Use
Interlace.
The Even First Scanline option becomes available.
7. To cause the first field of the interlaced anima-

tion to contain the frame’s even-numbered scan
lines, enable Even First Scanline. If this option is dis-
abled, the first field will contain the frame’s odd-
numbered scan lines.
Note: Antialiasing takes interlacing into account in 2. To ray trace the direct lighting contribution from
order to generate higher-quality animations. the sun and selected luminaires, enable Ray Trace
Direct Illumination.
8. To adjust the steps between consecutive frames,
enter a number in the Step box. If you enable this option, the Soft Shadows from Sun
option becomes available
Note: You can adjust the number of steps between
consecutive frames to test the animation path and Note: Lightscape ray traces only the luminaires
rendering options. that have their Ray Trace Direct Illumination prop-
erty enabled.
3. To blur the edges of shadow boundaries caused

Ray Tracing an Area by the sun, enable Soft Shadows From Sun.
During the Solution stage, use the Ray Trace Area
tool to preview a part of your scene. This tool 4. To generate images that closely match the
ray traces only a selected section of the Graphic OpenGL display, enable OpenGL Compatible.
window. 5. To increase the number of antialiasing samples,
select the appropriate antialiasing level from the An-
You can use this tool to test the results of ray trace
tialiasing Samples list.
settings on a selected area before ray tracing your
entire model, or to test the effects of material prop- Note: Increasing the antialiasing level can signifi-
erty changes in the current model. For more cantly increase your processing time.
information, see Chapter 11, “Radiosity 6. Enter the number of ray bounces in the Ray
Processing.” Bounces box.
You must adjust the Ray Trace Area options (if For more information on these options, see
required) before ray tracing an area. “Rendering with Ray Tracing” on page 215.
219
14 Rendering
To ray trace an area: simultaneous ray tracing and OpenGL rendering of

1. Click the Ray Trace Area tool or choose multiple views or animation frames. You can also
Display | Ray Trace Area. increase the ray tracing speed of single views by
using each node on your network to render a
2. Click and drag to select the portion of the
Graphic window you want to ray trace. portion of the view.
The results of the ray trace operation are displayed Note: The functionality of the Lightscape
on the screen but cannot be saved to a file. command line utilities lsrad (for radiosity
processing), lsray (for ray traced image rendering),
and lsrender (for OpenGL image rendering) is fully
supported in LSNet.
Rendering Large Jobs
Lightscape also provides two batch rendering utili- For more information about LSnet, see Appendix C,
ties. lsrender renders the radiosity solution using “LSnet.”
OpenGL and lsray renders images using the ray
tracer. You typically use batch shell scripts and batch
utilities for large rendering jobs, but it is possible to
run initial tests at a lower resolution in Lightscape
before beginning a batch rendering process. For
more information, see Appendix B, “Batch
Processing Utilities.”
All Lightscape renderers can create resulting images
in any resolution. They can also be antialiased to
produce higher-quality output. For information
about creating views, see “Viewing the Model” on
page 29. For information about animations, see
Chapter 15, “Animation.”
Rendering Across a Network

LSnet™ is a batch processing utility you can use to
split the processing of images across multiple CPUs
or across multiple computers on a network.
LSnet distributes the functionality of the Lightscape

command line utilities (batch rendering and radi-
osity processing), thereby decreasing the time it
takes to accomplish image rendering proportionally
to the number of CPUs available.
You can perform radiosity processing of different

Lightscape files simultaneously, or you can perform
220 Lightscape
15
With animation controls, you can move a camera along a specified path as if
you were walking or flying through your model.

Animation
How to create walk-through
animations of your models.
Summary window or you can render and save the individual

In this chapter, you learn about: frames of the animation.
• Defining camera paths Depending on the complexity of the model and the
display hardware used, you may be able to run a real-
• Setting camera orientation time animation. In most situations, it will be more
• Varying camera speed appropriate to save individual frames and display
them using a movie-playing utility.
• Saving animation files
You generate a walk-through animation in Lightscape
• Playing back animations
by:
• Using animation files.
• Defining a 3D camera path by setting a sequence of
keyframes and, optionally, defining a camera look-at
path.
About Animation
You define a camera path by creating a series of • Defining the speed of the camera as it travels along
keyframes and a path connecting those keyframes. this path.
You can also control the speed at which the camera
• Previewing the animation.
moves along its path, and where the camera looks as it
moves. Once you create the camera path, you can • Adjusting the path and speed, if necessary.
display animations on the screen in the Graphic
221
15 Animation
• Rendering the individual frames and storing them Animation Views

on disk. For more information, see Chapter 14, “Ren- During camera path editing, the Graphic window is
dering.” split into four windows: three orthographic views
• Transferring the stored frames to video tape or cre- (top, side, and front) and a perspective view.
ating a movie file from the frames.
Defining the Camera Path

The first step in creating an animation is to define the
path along which the camera moves.
Four views and their corresponding camera paths

Top left: Straight across the
room in two keyframes
The perspective view initially shows the current view
Top right: Across the room in
three keyframes of the model and the camera path. This view can be:
Left: Around the room in • The Director point of view (as if the director were
four keyframes
watching the camera movement from behind the
scenes).
When creating or editing camera paths, it is usually
easier and quicker to use Wireframe display mode • The camera view at a specific keyframe.
rather than Solid display mode. Also, because the The default setting is Director view.
Preparation file is more compact than a Solution file,
it is faster to create the path using the Preparation The room as seen from
model. You can save the camera path to a file and the director’s point of
view
reload it with the Solution model when you are ready
to render the final animation frames.
This section describes animation views and various

steps you can use for defining the camera path:
The room as seen from
• Creating and editing a camera path the point of view of the
final keyframe
• Selecting, moving, and deleting keyframes
• Changing the slope of a camera path.
222 Lightscape
Defining the Camera Path ❚❘❘
When you place the cursor in the perspective window After you set the initial keyframe, you can edit the
and Director view is active, all of the view control path to move keyframes (in height or position) and
options (such as Orbit and Rotate) are available. In change the straight lines to a curved path.
the orthographic windows, only the Scroll and Zoom
controls are available. Note: You can define and edit the path only in the
orthographic views, not in the Director view.
Creating a Camera Path To create the camera path:

You create a camera path by clicking on the specific 1. Choose Animation | Edit.
positions to which the camera should move. These
The Animation dialog appears and the screen is split
position points are called keyframes. The keyframes
into four different views.
are initially connected by lines that represent the
camera path. With each click, a keyframe is added 2. Click the Path tab.
and the path is lengthened. 3. Select an option from the Mode list.
Selected keyframe
Select: To:
Add Before Add all new keyframes before the
Camera path selected keyframe in the path.
Add After Add all new keyframes after the se-
lected keyframe in the path.
Keyframe This is the default mode.
4. From any orthographic view, click in your model

to add a keyframe at that point. This becomes the se-
lected keyframe and appears as a large red dot.
As you add keyframes to define the path, they are
Top view of model depicting a camera displayed in all four views.
path with four keyframes
Animation dialog
View settings
Mode list
223
15 Animation
5. Click elsewhere in the model to add another key- To select a single keyframe:
frame. A camera path automatically joins the two key- 1. Choose Animation | Edit to open the Animation
frames. dialog.
Only the selected keyframe appears in red. Unse- 2. Click the Path tab.
lected keyframes appear as white dots.
3. From the Mode list, select Edit.
6. To connect the first and last keyframes, enable
4. Make sure you are in Select mode by clicking the
Form Loop in the Animation dialog.
Select button , then click the keyframe in any of
Disable Form Loop to return the path to its original the perspective views.
form.
The keyframe is selected.
Editing a Camera Path Selected

After creating a camera path, you may want to edit keyframe
and refine it. When editing, you can change the
selected keyframes and the camera path in the
following ways:
• Change the curve of the camera path
• Move or delete keyframes
• Join or break keyframe handles to create discontinu-

ous paths
Note: The green arrow indicates the direction in
• Create a closed loop. which the camera is looking for the selected
keyframe.
Selecting Keyframes To select keyframes using the select buttons:

You can select and edit any number of keyframes at 1. Select a keyframe.
one time.
2. Choose Animation | Edit to open the Animation
The color of a keyframe indicates its state of selection. dialog.
3. Click the Path tab.
Left: Mouse pointer over unselected keyframe

Middle: Selected keyframe
Right: Mouse pointer over selected keyframe
Red keyframes are selected and white keyframes are

unselected.
224 Lightscape
Defining the Camera Path ❚❘❘
4. Click the appropriate keyframe selection button. The keyframes are selected.
Click: To:
Previous Select the keyframe before the cur-
rently selected keyframe.
Next Select the keyframe after the cur-
rently selected keyframe.
All Select all keyframes in the path.
The following example shows all keyframes selected

in the camera path. Keyframes within the rectangle are selected
To add more keyframes to the current set of selected

keyframes:
Select button .
2. Hold the Shift key or the Ctrl key, then click or
drag to add keyframes to the currently selected set of
keyframes.
To add or remove keyframes from the current set of

selected keyframes:
To select a group of keyframes: Select button .
1. Choose Animation | Edit to open the Animation 2. Hold the Ctrl key, then click a keyframe to toggle
dialog. its state.
2. Click the Path tab. If the keyframe is selected, clicking deselects it. If it is
unselected, clicking adds it to the selection.
3. Select Edit from the Mode list.
Select button .
Changing the Slope of the Camera Path
You can change the slope of the camera path by
5. Drag a rectangle around all keyframes you want adjusting the handles of a keyframe. You can perform
to select.
this operation on only one keyframe at a time.
To change the slope of the camera path:

1. Choose Animation | Edit.
The Animation dialog appears.
2. Click the Path tab.
225
15 Animation
3. Select Edit from the Mode list. When a keyframe’s handle is broken, it appears as a
cross instead of a dot.
Select button . Broken handle
5. Select a keyframe by clicking on it.
6. Release and click again on the keyframe to grab a
handle. Drag the handle out from the center of the
keyframe. As you drag the handle, you see the camera
path change shape.
Handles
Camera path
Once the handle is broken, you can adjust the arm on

each side independently. Do this to introduce a
sudden change of direction in the camera path.
Note: If you do not release and click the mouse after

selecting the keyframe, you will only drag the
keyframe and move it around.
7. Continue adjusting the camera slope at other key-

frames until you are satisfied with the result. Independently adjusted handles result
in discontinuous camera slope
Handle Direction
The handle direction defines the tangent of the curve You cannot introduce a discontinuity of position (the
at a keyframe. camera cannot “jump” to another location).
By default, all new keyframes have joined handles.

Handle Length
The length of the handle’s arms defines the shape of
To break a handle:
the camera path. Lengthening and shortening the
1. Select a keyframe in any view.
arms changes the path’s curvature. Moving a handle
away from its keyframe makes the curve stretch 2. On the Path panel of the Animation dialog, dis-
toward the handle. able Join Handles.
3. Drag the handles independently to introduce di-
Creating a Discontinous Camera Path rection discontinuities in the camera path.
You can create a discontinuous camera path by
breaking a keyframe’s handle. Note: If the selected keyframe handles are already
broken, enable Join Handles to rejoin the handles.
226 Lightscape
Setting Camera Orientation ❚❘❘
Moving Keyframes You can also explicitly position the selected

You can move selected keyframes in any orthographic keyframes by entering X, Y, and Z coordinates for
view. If more than one keyframe is selected, dragging each in the appropriate Keyframe Position boxes.
any one of them drags the entire group.
The first time you edit a keyframe (by either moving

it or adjusting its slope handles), the slope handles
and the keyframe are in the same position. If you click
and drag an unselected keyframe, the keyframe
moves. If you select a keyframe first, then click and
drag, you adjust the camera slope handles. Keyframe Position boxes
To move a keyframe: Deleting Keyframes

1. Click the Path tab in the Animation dialog. Select the keyframe(s) you want to delete, then click
Delete Selected on the Path panel of the Animation
Select button . dialog.
3. Make sure you click and drag the actual keyframe The selected keyframes are deleted and the path is
as you move it and not the handles. This is especially adjusted accordingly.
important when the keyframe and the handles are
very close together.
Setting Camera Orientation
In addition to setting the camera path, you can also
set the direction in which the camera looks as it
travels along this path. For instance, you can create a
Click and drag here to
move the keyframe.
camera with a path that proceeds straight across a
room and a camera view that sweeps left and right as
if a person were looking around a room while walking
from point A to point B. By default, all keyframes are
Click and drag here to set to look in the direction of the path.
adjust the path curve.
Note: To visualize the camera target, set the
perspective view to Camera View while setting the
camera orientation.
It is possible to assign different Look At modes to

different keyframes on a path. This creates a Look At
path (displayed in green) that indicates the change in
the target as the camera moves.
227
15 Animation
To specify a camera’s orientation: In Direction

1. In the Animation dialog, select Edit from the The camera looks in a specific direction and tilt angle
Mode list, then select a keyframe in any of the four for all the selected keyframes. A green arrow shows
views. the view direction.
2. On the Path panel, select an item from the Look
list.
The green arrow denoting the camera’s orientation
changes direction to point in the new orientation.
The camera can look in any of the following

directions:
• Along Path
• In Direction
• At Path In Direction camera orientation
• At Point.
To set the direction for a specific keyframe:
Along Path 1. Select the keyframe(s).

The camera looks in the direction of motion. A green 2. On the Path panel of the Animation dialog, select
arrow shows the view direction. In Direction from the Look list.
Along Path is the default view setting. 3. Select Keyframe from the View option.
Keyframe option
4. Using the Rotate or Tilt button , adjust

Along Path camera orientation
the view as required.
As you rotate the perspective view, the green arrow
moves to reflect the new direction.
228 Lightscape
Setting Camera Orientation ❚❘❘
At Path At Point
The camera looks at a point on the camera path where The camera looks at a specified point for the selected
it will be in a specified amount of time. Looking ahead keyframes.
a short distance along a path usually produces a more
natural walk-through than does using Along Path.
This is because in the real world, people usually look
somewhat ahead of where they are actually walking.
For example, if you enter a value of 1 in the DT box, Focus

the camera looks one distance unit ahead of its point
current position.
Note: Use the Units properties to specify the time

and distance units for the model. For more informa-
tion, see “Setting Document Properties” on page 45.
At Point camera orientation
To specify a distance or time offset:
When you select the At Point option, Lightscape
1. Select the keyframe(s).
places one focus point per selected keyframe at your
2. On the Path panel of the Animation dialog, select model’s origin (0, 0, 0) and draws a bright green line
At Path from the Look list. between all selected keyframes and the point. You can
The DT box appears. move this focus point.
3. Enter an offset in the DT box. You edit the focus point as you would edit a keyframe.
In fact, the focus point acts as a keyframe for the
camera’s Look At path.
As with the camera path, Lightscape, by default, uses
straight-line segments between the Look At path’s
keyframes. You can edit the path in the same way as a
DT box
camera path, moving keyframes and changing slope
Note: If you select a negative offset, the camera
looks backward along the path.
229
15 Animation
handles interactively. The Look At path represents the The focus point moves to the point you clicked on the
direction in which the camera is oriented as it moves. surface.
Look At direction for You can also enter specific coordinates for the focus
selected keyframe point in the X, Y, and Z boxes.
Camera path
4. If necessary, modify the Look At path. For infor-
keyframe mation about editing the path, see “Editing a Camera
Path” on page 224.
Focus point
Look At path Smoothing Out Camera Motion

Lightscape tries to smoothly interpolate the camera
orientation based on the camera orientation you
provide at each keyframe. If the camera orientation is
Selected keyframes (in red) and their corresponding focus
points (as represented by the straight green lines) very different between sequential keyframes, the view
may not change smoothly.
For information about editing the path, see “Editing a
To improve the smoothness of camera motion:
Camera Path” on page 224.
Try one of the following:
You can also edit the speed at which the camera’s aim
moves along the Look At path with the Motion Editor. • Space the existing keyframes farther apart.
For information, see “Varying the Camera Speed” on • Add additional keyframes between existing ones.
page 231.
To set camera orientation using focus points:

Changing the Camera’s Field of View
The direction the camera is facing at any particular
1. Select the keyframe(s).
keyframe is established by the Look At position. You
2. On the Path panel of the Animation dialog, select can also modify the field of view or zoom factor for a
At Point from the Look list. keyframe by:
• Adjusting the view parameters in the View Setup di-

Look list alog
• Zooming in or out using the zoom controls.

The field of view for all new keyframes is set, by
default, to the field of view specified by View Setup.
Pick option
To change the camera’s field of view using the zoom
A green focus point is placed at the origin for each controls:
selected keyframe. 1. Click the Path tab in the Animation dialog.
3. To move the focus point, enable Pick, then click 2. Set the View option to Keyframe.
on a surface in any orthographic view. 3. Click the Zoom button .
230 Lightscape
Varying the Camera Speed ❚❘❘
4. Zoom in or out as necessary. The Motion Editor is made up of three views:

To more accurately set the field of view or to adjust the • The graph at the bottom of the Graphic window dis-
position of the near and far clipping planes, use the plays the camera motion speed or focus point motion
View Setup tool while a keyframe is selected. For speed.
more information, see “Using View Setup” on page
• The Camera view at the upper left of the Graphic
32.
window shows the camera’s view at a particular time
The change in view orientation between keyframes is during the animation.
automatically interpolated to produce smooth
• TheDirector view at the upper right of the Graphic
zooming during the animation sequence.
window shows the director’s view of the model.
Varying the Camera Speed Speed Graph

After you set the path and aim of the camera, the Use the speed graph to control the speed at which the
motion of the camera is set, by default, to a speed of 1 camera moves along its path. You can zoom and scroll
meter per second. this graph using standard view controls.
You can change the speed at which your camera The vertical axis represents the distance along the
moves through the camera path by adjusting the camera path (or the focus point path for a stationary
shape of the speed curve in the Motion Editor. camera). The horizontal axis represents time.
Cam era View Director View
Speed Graph
231
15 Animation
The legends indicate the units of the graph. These are To enable a grid:
the same units as those chosen for the model as a 1. In the Animation dialog, click the Motion tab.
whole. You can alter these units on the Units page of
2. Select an option from the Grid list.
the Document Properties dialog.
Before you edit camera speed, perform the following Select: To:
operations: On Turn on the grid.
• Enable a grid Off Turn off the grid.

Snap Snap the control points of the speed
• Set an animation frame rate
curve to the nearest grid lines, even if
• Set speed graph axes. the lines are not displayed.
Enabling a Grid Setting the Animation Frame Rate

Turn on the grid to display colored horizontal and You can use the Frame Rate control to set the number
vertical grid lines over the graph. of frames of animation to be rendered by the anima-
The horizontal grid lines represent the location of tion system.
keyframes. If you have multiple keyframes and you do
not see any horizontal lines, you may need to zoom To set a frame rate:
out on the display until they are visible. There should 1. In the Animation dialog, click the Motion tab.
be a horizontal line for each keyframe. The first hori- 2. Select an option from the Frame Rate list.
zontal line is located where the distance equals 0, so it
overlaps the axis. Select: To:
The vertical grid lines represent the location of each NTSC Render your animation at 30 frames
per second. This is the default setting.
frame.
PAL Render your animation at 25 frames
Camera path
Individual frames keyframes per second.
Film Render your animation at 24 frames
per second.
Other Specify a custom frame rate.
Note: Because of the large number of frames, the

vertical lines of the graph only appear when you
zoom in close enough so that grid lines do not
overlap on the display.
232 Lightscape
3. If you select Other, type a frame rate value in the Setting Up the Camera Speed Curve
number box. Use this procedure to create a customized speed curve
for your camera. You can also use this procedure to
edit the focus point motion of a stationary camera.
To edit the camera speed curve:

1. Choose Animation | Edit.
The Animation dialog appears.
2. After setting up the path keyframes, click the Mo-

tion tab.
Frame Rate list Number box
Setting Speed Graph Axes

You can change the time axis on the graph to display
either time units (for example, seconds) or frame rate
time codes based on the selected playback frame rate.
To display time code on the speed graph time axis: Speed graph Editing controls Animation
setting information
1. From the Animation dialog, click the Motion tab.
2. Enable the Time Codes option. The Motion Editor appears. For information on
creating a camera motion path, see “Creating a
Camera Path” on page 223.
3. Select Snap in the Grid list.

Horizontal lines appear in the speed graph repre-
senting the camera motion keyframes.
4. In the speed graph, click the Zoom tool , then

zoom out so you can see all keyframes (shown as hor-
izontal grid lines) on the vertical axis and the entire
Time Codes option duration of the animation on the time axis.
5. Click the Select button .
6. Drag the last control point in the speed graph to
the last horizontal keyframe line and to the end time.
233
15 Animation
You can also select a speed curve control point, then • Joining or breaking control point handles to intro-
enter an exact distance and/or time value in the duce abrupt changes
Distance and Time boxes.
• Deleting control points.
9. Click the Playback tab, then use the playback con-

trols to preview your animation.
control point
distance
For information on playing back animations, see
“Animation Playback Controls” on page 238.
tim e
Moving Speed Curve Control Points
You can move the control points on a speed curve by
clicking and dragging them to new locations.
Position the control point along the time axis (horizontally)
to set the animation duration. You can also move control points by specifying values
Position the control point along the distance axis (vertically)
for the time and distance in the Time and Distance
to set the length of the camera path that is played during boxes, and then clicking Apply.
the animation.
Time box
The speed curve in the speed graph should be posi-
Distance box
tioned as follows:
The first keyframe of the graph is always fixed at time

zero, but you can control its distance along the path.
The neighboring control points constrain a selected

control point’s position. You cannot move a control
Distance of animation Time of animation
point before the previous keyframe or after the next
one.
7. To add control points to the speed curve, select For more information about moving control points,
Insert from the Mode list on the Motion panel, then see “Changing the Slope of the Camera Path” on page
click the speed graph.
225.
A control point is added at the location of the mouse
click. Making a Camera Speed Up or Slow Down
When you first create an animation, the camera
moves from one keyframe to the next at a constant
In Edit mode, you can change the speed curve by: speed.
• Moving control points
• Changing the slope
234 Lightscape
You can change the speed at which your camera To change the slope of the speed curve for a selected
control point:
moves through the camera path by adjusting the slope
of the speed curve. 1. Select a control point.
Camera speed is determined as follows: 2. Do one of the following:

• Click and drag the selected control point so you can
• Where the slope of the curve is steep and straight, the
see the handles, then, using the handles, adjust the
camera moves quickly at a uniform speed.
curve slope.
• Where the slope is gradual and straight, the camera
• Enter a value in one of the Velocity boxes. The value
moves slowly at a uniform speed.
you enter represents the slope of the speed curve to
• Where the slope is horizontal, the camera remains the left or the right of the keyframe.
stationary.
• Where the slope is negative, the camera moves back-

ward along its path.
• Where the slope curves, the camera speed is acceler-

ating or decelerating.
The following illustration shows an example of

Velocity boxes
camera motion that slows to a stop and immediately
starts moving again, then slows to a stop at a new If Join Handles in enabled, the value in the Velocity
location, waits for a few seconds, speeds up, and then (Left) box is always the same as the value in the
continues along a path at constant velocity. Four addi- Velocity (Right) box.
tional keyframes were added to the graph to create
this curve. Notice how the shapes of the graph repre- 3. Disable Join Handles to enter separate values for
sent various types of motion. the speed curve slope to the left and the right of the se-
lected keyframe.
The control point marker turns into a cross indicating
that the handles can be manipulated separately.
Note: Enable Join Handles for a selected keyframe

to rejoin broken handles.
4. Click Apply.
To delete a control point:

Deceleration Zero velocity Acceleration Constant 1. In the Animation dialog, click the Motion tab.
velocity
2. Select the control point you want to delete in the
speed graph.
235
15 Animation
4. Click the Delete Selected button. 3. Select Focus Point Motion Spline.
The selected control point is deleted from the speed

spline.
Separate Splines option Focus Point Motion Spline option
Note: To select and delete multiple control points,
hold down the Shift key, click the control point, then
click the Delete Selected button. A green curve appears in the speed graph. This is the
focus point motion spline.
Adjusting the Speed of Focus Points 4. Select Insert from the Mode list to add control
There is a second animation curve called the Focus points to the focus point motion spline.
Point motion spline. You use this to change the speed 5. Edit the spline in the same way you edit the speed
of the focus point motion for a control point in the curve.
same way that you change camera speed for a moving
camera. Note: The vertical green line in the speed graph
indicates the current time as specified on the Play-
By default, movement from one focus point to back panel. It is also used to set camera view. You
another is at the speed of the camera. can change the current time by clicking in the time
axis at the bottom of the speed graph.
Before editing the focus point motion, you have to
create a control point.
Saving Animation Files
To edit camera speed between focus points: Once you have created a camera path and defined the
1. In the Animation dialog, click the Motion tab. camera speed, you should save the animation to a
camera path file (a file with the extension .la).
2. Enable Separate Splines.
To save an animation file:

1. Choose Animation | Save.
2. Enter the path and filename for the animation file,

then click OK.
236 Lightscape
Playing Back Animations ❚❘❘
To save an existing animation file with a new name: 3. Enter a start time in the Playback Start Time box
1. Choose Animation | Save As. and an end time in the Playback End Time box.
2. Enter the path and filename for the animation file,

then click OK.
Playing Back Animations If you type -1 in the Playback End Time box, Light-
Once you have set the path and motion, you can scape sets the end time to the length of the animation.
preview the animation.
4. Click the Play button to play through your
animation sequence.
To play the animation:
1. Choose Animation | Edit. Note: The playback runs in real time. If the
computer cannot draw frames fast enough, some
The Animation dialog appears. will be skipped. This can cause the playback to
2. Click the Playback tab. appear disjointed or jumpy.
5. To show more frames per second during play-

back, preview the animation in Wireframe mode. You
can also adjust the display speed. Keep in mind the
human eye requires a minimum of 12 frames per sec-
ond to be ‘convinced’ of motion. If your model con-
tains layers and objects that are not displayed in the
animation, turn them off.
6. Enable Repeat Preview to play the animation in a
continuous loop.
Animation Example
237
15 Animation
Animation Playback Controls Creating a New Animation

Use the following buttons to control animation After working on a camera path, you can reset the
playback. animation parameters and begin a new path.
Click: To: To begin a new camera path:

Return to the first frame. 1. Choose Animation | New.
Go back a single frame. Click and hold to You are prompted to save the animation file.
auto repeat.
After saving or canceling, the animation parameters
Play the animation in real time from the
end of the frame sequence to the begin- are reset.
ning. 2. If the Animation Editor is not open, choose
Stop playback. Animation | Edit to create a new path.
Play the animation in real time from the Note: If you choose not to save, the previous anima-
start of the frame sequence to its end. tion settings are lost.
Advance a single frame. Click and hold to
auto repeat. Outputting Individual Frames
Advance to the final frame. Once you have defined an animation file, you need to
output the individual frames to disk so that you can
transfer them to video or film. You can do this process
Using Animation Files either interactively in Lightscape or by using one of
You can load a camera path and reuse it in a Light- the batch rendering programs: lsrender or lsray. For
scape Solution file or in another model. more information, see Appendix B, “Batch
Processing Utilities.”
To open an existing animation file:
1. Choose Animation | Open. Animating Between Multiple Solution
Files
Note: If, during the current session, you have been
working on a camera path, Lightscape prompts you
To speed up radiosity processing for walk-through
to save the animation file. animations of large models, you can divide large
models into smaller models (for instance, turn a
The Open dialog appears. model of an apartment into several room models),
2. Navigate to the directory and file corresponding then merge the animations. This involves preparation
to the animation file you want to open, then click OK. and testing to set up a single continuous path, then
determining at which keyframes to merge or unload
The animation file is loaded.
the various solutions.
3. To reuse or edit the animation file, choose
Animation | Edit. First, create the animation file. To do this, you load the
first model in the group and define the path and speed
for the camera as it moves through this model. Then
you save the animation.
238 Lightscape
Using Animation Files ❚❘❘
Load each subsequent model and the same animation

file, then continue to define the path and speed for the
camera. Be sure to save the camera path before
loading each model.
Next, determine at which frames you need to load or

unload a particular model during the rendering
process. You can only determine this by using Play-
back mode to locate the frame at which that model
comes into view. For greater efficiency, you can also
determine the frame where the current model goes
out of view.
Finally, during the frame-creation process, you load

the required files in the Rendering dialog, then enter
the predetermined range of frames in the appropriate
boxes.
In the current version of Lightscape, there is no inter-

face for loading or unloading files at specific frames.
You can do this, however, using a batch file and the
batch rendering programs: lsrender or lsray. For more
information, see Appendix B, “Batch Processing
Utilities.”
239
NOTES
240
16
Once you have created your Solution file, you can export it to a panoramic image
file or a VRML file. You can also use plug-ins to import Solution files into other
modeling packages.
Exporting
How to export your results to
standard file formats.
Summary Note: From this position, you can use Rotate to

preview how the panoramic image will appear.
In this chapter, you learn about:
• Exporting panoramic images 3. Choose File | Export | Panoramic.

The Export Panoramic Image dialog appears.
• Exporting VRML files
• Importing Solution files into 3D Studio MAX/VIZ
and LightWave 3D.
Exporting Panoramic Images

Panoramic images offer a fast technique for interac-
tive exploration of 3D worlds. In Lightscape you can
easily generate panoramic images in a variety of
formats from your Solution file.
4. Enter a filename in the Filename box, or click

To export a panoramic image:
Browse and use the Save As dialog that appears.
1. Open the Lightscape Solution file that you want
to export. 5. Choose a panoramic image format from the
Panoramic Format list.
2. Set your viewer position to where you want to be
standing in your panoramic view.
241
16 Exporting
Note: Depending on the type of format that you VRML 2.0 (Background)
select, Lightscape displays the appropriate exten- Use this option to export a VRML (.wrl) panoramic
sion in the Filename box. file. This file format supports cubic projections only.
6. If you selected Generic Image in the Panoramic
Format list, choose a format from the Image Format IBM PanoramIX
list. Use this option to export an IBM PanoramIX (.pan)
file. This file format supports cylindrical and cubic
7. Select the type of projection from the Projection
projections.
Type list.
Selecting a Projection Type

The projection type (and your panoramic viewer)
determines the way you look around in the image.
For example, some projections provide a full view of
8. Choose the image size from the Image Size list, the image and other projection types only provide
or enter the width and height values (in pixels) in the left and right viewing in the image.
corresponding boxes.
9. Click OK. Spherical
Choose a spherical projection to look anywhere in
A panoramic image file is created from the Solution
the image (including left, right, up, and down).
file.
Cylindrical
To stop exporting the image: Choose a cylindrical projection to look left and right
Press Esc while Lightscape is creating the panoramic in the image but not up or down. This option creates
image. an image that is half the size of a spherical
projection.
Choosing a Panoramic Image Format
Cubic
You can choose the panoramic image format to
Choose a cubic projection to look up and down in
which you want to export your Solution file. You can
addition to left and right. This option creates an
generate panoramic images for use in a supported
image that has a slower viewing speed than spherical
panoramic viewer or create a generic image.
or cylindrical projections, but better image quality
Generic Image for the size of the image.
Use this option to export an image for use in an If you choose this option, the system ignores your
authoring kit that you can use to create panoramics current focus point and generates an axis-aligned
in unsupported formats. This is the default format. projection. This means that the direction of the
initial view may not be the same as the direction of
RealSpace (IVR) the view in Lightscape.
Use this option to export a RealVR™ Traveler (.ivr)
panoramic file. This file format supports spherical,
cylindrical, and cubic projections.
242 Lightscape
Exporting Panoramic Images ❚❘❘
Choosing an Image Format Changing the Current View

If you choose to create a generic panoramic image, You can set the Perspective view of the model to be
you can choose an image format. The default image used when creating the panoramic image.
format is 24-bit JPEG.
To change the current view:
If you choose to create a viewer-supported
panoramic image (RealSpace, VRML 2.0, or IBM 1. Click Position in the Export Panoramic Image
dialog.
PanoramIX), the corresponding image format is set
automatically. The Viewer Position dialog appears.
To choose an image format:

1. Select an option from the Image Format list.
Select: To:
Windows Bitmap (BMP) Create a .bmp file.
Targa (TGA) Create a .tga file.
TIFF (TIF) Create a .tif file.
SGI RGB (RGB) Create a .rgb file. The viewer position and focus point coordinates of
JPEG (JPG) Create a .jpg file. the current Perspective view of the model are
displayed.
Portable Net Graphics (PNG) Create a .png file.
Postscript (EPS) Create a .eps file. 2. To change the viewer position, enter the required
values in the Viewer Position X, Y, and Z boxes.
2. If you selected TIFF (TIF) or SGI RGB (RGB), 3. To change the focus point, enter the required
choose either 24-bit or 48-bit. values in the Focus Point X, Y, and Z boxes.
4. Click OK.
Setting the Image Size
You can choose to quickly create a draft quality The view of the model is changed for the creation of
image to test the panoramic image settings or your panoramic image. The view of the model in the
choose from the following quality levels: Low, Graphic window is not changed.
Medium, Good, High, and User Defined.
The actual width and height settings for each level
Exporting a Rendered Panoramic
vary depending on the selected projection type. If
Image
Youcan create ray-traced panoramic images that
you choose User Defined, enter the required width
render effects such as specular reflections and
and height values (in pixels) in the corresponding
refraction through transparent materials.
boxes.
243
16 Exporting
Ray Trace Direct Illumination Ray Bounces

This option ray traces direct light contributions To control how many levels of reflection or transmis-
from lighting sources (the sun and all selected lumi- sion are calculated during ray tracing, specify the
naires). Use this option to correct shadow aliasing number of ray bounces tracked in this box.
problems and provide additional enhanced lighting
effects, such as highlights on nondiffuse surfaces. To export a rendered panoramic image:
For more information, see Appendix D, “Reflection 1. Choose File | Export | Panoramic.
Models.”
2. Click Rendering.
Remember that the time required to generate images
3. The Panoramic Rendering Options dialog ap-
can increase significantly with the number of light pears.
sources that are ray traced.
Soft Shadows From Sun

By default, Lightscape renders shadow boundaries
caused by the sun as sharp edges. Enable this option
Note: This option can significantly increase the 4. To ray trace the direct lighting contribution from
rendering time of an image. the sun and selected luminaires, enable Ray Trace
Direct Illumination.
OpenGL Compatible
Because OpenGL and the Lightscape ray tracer use Note: Lightscape ray traces only the luminaires
different reflection models, images created from the that have their Ray Trace Direct Illumination prop-
erty enabled.
same Solution model do not look the same rendered
with OpenGL as when rendered with the ray tracer. 5. To blur the edges of shadow boundaries caused
by the sun, enable Soft Shadows From Sun.
The OpenGL Compatible option forces the ray
tracer to generate images that closely match the 6. To generate images that closely match the
OpenGL display rendering. It also adds specular OpenGL display, enable OpenGL Compatible.
reflections, but does not render them to as high a 7. To increase the number of antialiasing samples,
quality as is possible when this option is not enabled. select the appropriate level from the Antialiasing
For more information, see Appendix D, “Reflection Samples list.
Models.”
Note: Increasing the antialiasing level will increase
your processing time.
Antialiasing Samples
Use antialiasing to smooth out jagged edges. This 8. Enter the number of ray bounces in the Ray
improves image quality and provides better results Bounces box.
when the model contains features smaller than a 9. Click OK.
single pixel.
244 Lightscape
Exporting VRML Files ❚❘❘
10. Set the remaining options as required on the Ex- Entering a URL
port Panoramic Images dialog and click OK. You specify a Uniform Resource Locator (URL) to
Click Cancel to exit the dialog. set the pathname or location of references to other
VRML files (also called inline nodes) from within
the created file. An inline node can be a 2D or 3D
Exporting VRML Files graphic, texture, audio, or video file.
You can export your Lightscape Solution file to a
For example, if you use external textures in your
VRML version 1.0c file.
VRML file, enter the location of these textures so
that the browser can locate and load the textures
To export a VRML file:
appropriately.
1. Open the Lightscape Solution file that you want
to export.
Choosing Basic Export Options
2. Choose File | Export | VRML.
You can choose any of the following basic export
The Export VRML dialog appears. options.
Compact File
Use this option to compact the VRML file, resulting
in smaller file sizes at the expense of some precision
and readability.
This option is enabled by default.
Convert Textures
Use this option to include references to textures in
3. Enter a filename in the Name box, or click the VRML file. You can also use the Embed Textures
Browse and use the Save As dialog that appears. option to determine how the textures are referenced.
4. Enter the address of the required web site in the This option is enabled by default.
Url box.
5. Set the options in the Basic group box. Active Layer Only
Use this option to export only the active layers in the
6. If required, set the Level of Detail in the Ad-
vanced group box. Lightscape file. Disable this option to export all
layers (active and inactive).
7. If required, set the Scale and Transformation in
the Advanced group box. This option is disabled by default.
8. Click OK.
The Solution file is exported to a VRML file.
245
16 Exporting
Inline Nodes To set the level of detail:

Use this option when using LODs and Branching 1. Click the Level of Detail button in the Export
Factors to divide the main file into one (or more) VRML dialog.
subfiles. This can improve performance as these
The Level of Detail dialog appears.
subfiles are downloaded by the browser only as
needed.
Disable this option to include all data in a single
VRML file.
This option is enabled by default. If this option is

enabled and there are no LODs or Branching
Factors, it has no effect.
Embed Textures
2. Enter the cutoffs in the LOD Cutoffs box. Sepa-
Use this option to embed texture map information
rate multiple entries with commas.
in the file. If this option is disabled, a reference to the
texture file (filename or URL) is embedded in the 3. In the Minimum LOD box, enter the coarsest
file. LOD to generate.
4. To specify a subdivision factor for your model,
This option is disabled by default.
enter the required value in the Branching Factors
box.
Setting Level of Detail
Note: This value must be an integer greater than
Set the level of detail (LOD) to more efficiently use or equal to 2.
polygons in a scene. For example, in a model of a
forest, you can create an LOD made of large poly- 5. Click OK.
gons to represent the forest when viewed from a
distance. You can replace the LOD with one LOD Cutoffs
containing more polygons as you move closer to the Set this option to specify the distance from the
forest, so that you can see the trunks and leaves. viewer position at which the LOD displays. When
specifying LOD cutoffs, the values must be
Lightscape creates the coarsest LOD from the orig- increasing real numbers, with multiple entries sepa-
inal surface, and each subsequent LOD takes the rated by commas.
next finer level of mesh subdivision into account.
You can set the number of LODs that the system Order the distance entries from the closest (finest)
generates as well as the distance at which they are LOD to the furthest (coarsest) LOD. Distances are in
displayed. You can also specify the number of 3D the current model units.
regions into which the system divides your model.
246 Lightscape
Exporting VRML Files ❚❘❘
For example, a setting of .5,1,3 will generate four If you specify a branching factor of 2, the X, Y, and Z
LODs for your model. The finest LOD is displayed planes are each divided into two sections. This
when the viewing distance is less than .5. The next results in eight equally sized 3D regions.
begins at .5 and remains until 1. The next begins at 1
and remains until 3. And the final LOD begins at 3
and remains for any distance beyond 3.
Minimum LOD
Set this option to specify the coarsest LOD to create.
The valid range is from 0 to 10 (the finest level). The Left: Cube representing a model
default value is 0. Right: Resulting subdivision with a
branching factor of 2
All subsequent LODs are generated based on this
value.
The surfaces of the model are sorted into 3D regions
and stored together in that region. This way, a
Branching Factors
browser can cull all the surfaces in a region by
Use this option to subdivide your model into 3D
considering only the region as a whole.
sections to enhance browser performance. The
branching factor determines the number of 3D If you specify a branching factor of 2 and a recursive
sections into which the model is divided. Sections subdivision factor of 2, the X, Y, and Z planes are
containing geometry in the current field of view are each divided into two sections. Then each of the
displayed, while geometry in sections beyond the resultant eight regions is divided into eight equal
field of view is not displayed. This process is called regions. This results in 64 equally sized 3D regions.
culling.
The branching factor can be any integer greater than

or equal to 2 (the smallest amount of division). You
can also specify divisions within divisions (recursive
subdivisions) by adding a second value, separated by
a comma.
Left: Branching factor = 2.
Note: Using branching factors can cause your file Right: Branching factor = 2,2. Recursive subdivision
to become larger (and slower). To be effective, you
must cull out enough polygons to make the extra
Note: This type of recursive subdivision should
overhead and sorting worthwhile. As a rule,
only be used for extremely dense, high polygon
branching factors should be used to generate 3D
count models.
regions that result in a minimum of 500 polygons.
247
16 Exporting
Setting Scale and Transformation Mirror Coordinates

You can specify a scaling factor and the coordinate Enable an axis to mirror the geometry in the file
order for axis transformation in the exported file. about that axis. A minus sign appears before the
selected axes in the Coordinate Transformation list.
1. Click Scale/Transform in the Export VRML dia-
The Z axis is enabled by default.
log.
The Scale and Transformation dialog appears. Coordinate Transformation
The values displayed in the Coordinate Transforma-
tion list depend on which Mirror Coordinates
options are enabled.
To convert a coordinate system, consider the model

as viewed from the front. The first axis listed indi-
cates location from left to right, the second axis
represents location from front to back, and the third
axis represents the location down and up.
2. Choose the required units from the File Units For more information on coordinate transforma-
list. tion, see “Converting Coordinate Systems” on page
54.
3. Enter a scaling factor in the Scale Factor box.
4. Select an axis in the Mirror Coordinates boxes.
5. Select the order for axis transformation from the Importing Solution Files into
Coordinate Transformation list. Modeling Packages
Once you have created your Solution file, you can
6. Click OK.
import it into 3D Studio MAX/VIZ using the ls2max
File Units plug-in. You can also use the lstess plug-in to refine
Use this option to indicate the units in the VRML the Lightscape mesh and vertices. This can produce
file. For example, if one unit in the VRML file repre- meshes suitable for game engines.
sents one foot in the real world, choose Feet from the You can use the ls2lw plug-in to import Lightscape
File Units list. The default value is meters. Solution files into LightWave 3D.
Scale Factor For more information about how to use these plug-
Use this option to scale all objects by the factor indi- ins, refer to the ls2max, lstess, and ls2lw Help files.
cated. For example, a scale factor of 2 doubles the
size of the model in each dimension.
By default, scaling is disabled. The scale factor can be

any positive real number.
248 Lightscape
This appendix describes light and color and provides information to help you
A
Light and Color
produce higher-quality pictures. It also explains some of the current limitations
of Lightscape.
Overview materials makes it easier to create realistic looking

Light is part of the physical world; color is our images. The Lightscape radiosity and ray tracing
perception of the light that reaches the eye. Radiosity methods give the best results if the inputs to the
simulates the propagation of light throughout an simulation are physically accurate. This section
environment. The image created after the solution describes what light is, how it is represented, how
should create the same visual response as the real materials affect it, and how it is used in computer
scene. This can be difficult to achieve because graphics.
certain phenomena are not well understood and
because current solutions require processing power Spectra
beyond today’s availability. The rendering process is Light, or the visible spectrum, is electromagnetic
primarily concerned with the simulation of light and radiation with wavelengths between 380 and 780
the display of color. nanometers (nm). Intensity spectra are descriptions
of light. At each wavelength they give the intensity of
the light at that wavelength. Spectra are often repre-
Light: The Physical World sented as spectral curves or graphs showing the
The radiosity and ray tracing methods used by intensity at each wavelength.
Lightscape attempt to model the physical properties
of light, its propagation through the environment,
and its interactions with materials. An under-
standing of what light is and how it interacts with
249
A Light and Color
Luminaires can vary greatly with different surface finishes and

Luminaires emit energy in the visible spectrum. The with the age of the material.
spectra of luminaires can vary greatly, depending on
the type of luminaire. The following illustration
shows the spectral curves for two different lumi-
naires. You can get the spectral curves for various
lights from lighting manufacturers, but they have
not yet adopted an industry standard format such as
the IES Data File Format.
Reflectance of Materials
The following table provides the average reflectance
for a variety of materials.
Material Type: Reflectance:

Nonmetals Soot, coal .05
Felt, black .18
Field, plowed .25
Materials
Materials reflect some of the light that strikes their Marble, white .54
surface. You can determine the reflected light from Oil paint, white .70
the incident light by multiplying the reflectance at
Paper, white .72
each wavelength by the spectrum of the incident
light. The result is an intensity spectrum that repre- Metals Copper, tarnished .36
sents the reflected light. The reflectance of the Stainless steel, polished .63
surface at each wavelength is based on the type of Iron, ground with fine .64
material and is described by a reflectance spectrum. grit
Materials reflect and absorb some of the light that Aluminum, polished .80
strikes them at each wavelength. That means that at Copper, highly pol- .82
each wavelength, the reflectance of the surface is ished
greater than 0 and less than 1. In practice, reflectance Aluminum, highly .90
is significantly greater than 0 and significantly less polished
than 1. The following illustration shows the reflec-
Silver, highly polished .93
tance curves of two different materials. The spectral
curves for materials are often difficult to obtain and
250 Lightscape
Color: The Perceived World ❚❘❘
As this table suggests, most nonmetals have rela- green, and blue values displayed on the screen. In
tively low reflectance, but even soot has a reflectance many cases this is not a serious limitation, although
greater than 0. Metals have higher reflectance, but it makes it impossible to accurately compute solu-
even they are well below 1. Most environments tions for environments where the exact spectral
contain very little highly polished silver. information is known.
Setting Reflectance in Lightscape

Proper choice of reflectance is very important for Color: The Perceived World
creating realistic images. When light with a particular spectrum enters the
If the reflectance is too high, the environment eye, it is perceived as a color. This process is very
appears flat because shadows and shading get complex and much of it is not well understood. The
washed out by the large quantities of indirect illumi- physiology of the eye determines how the light is
nation. In addition, it takes a long time for the transformed into a signal to the brain. Inside the
radiosity solution to distribute most of the unshot brain, more complicated and less understood
energy. perceptual transformations take place that help us to
understand the images we see. This section
If the reflectance is too low, there is insufficient indi- describes how color is perceived by the human eye,
rect illumination and the environment becomes too how it is reproduced, and how it is computed.
dark in regions that are not directly illuminated. You
can use the previous table to help define the reflec-
The Eye
tance of material, as discussed in Chapter 7, “Using
Within the retina (back of the eye) there are two
Materials.”
types of light-sensitive cells, rods and cones. Every
retina has approximately three million cones and
Light in Computer Graphics one hundred million rods. Rods discern light and
Because computer graphics models the interactions dark, shape, and movement, and contain only one
of light with surfaces, it needs to represent these light-sensitive pigment. Cones, which need more
spectra. This can be difficult, for several reasons: light than rods to work, come in three varieties, each
• A good representation increases the time and of which respond to a different light wavelength—
memory needed to create an image. green, red, or blue. The combination of these three
wavelengths permits color discrimination.
• Very little information is available on the spectral
reflectance of surfaces and lights; no industry stan- Because of how cones work, the eye can describe a
dard formats exist. color response without describing the entire spec-
trum of the light striking the retina. Thus, color can
• Specifying materials and lights by specifying the be represented with three values—red, green, and
spectral curves is not an intuitive process. blue.
For these reasons, computer graphics applications
usually approximate spectra using three wave-
lengths of light—one each of red, green, and blue.
These three wavelengths are often based on the red,
251
A Light and Color
Color Matching tive lights —ranges of color it cannot physically

Color matching is the process of matching a spot of reproduce.
colored light with some combination of other lights.
Researchers have found that by mixing various Phosphors
amounts of three different lights, they can match The color from a monitor is the result of three
most test spots. The only requirement is that no two colored phosphors at each pixel mixing at different
lights can be mixed to produce the third. intensities. The three phosphors act like the three
You can match the color of a test spot by its intensity. lights in the color-matching experiments. These
Some test spots cannot be matched directly. phosphors are usually described as red, green, and
However, all test spots can be matched if one of the blue, but each manufacturer uses different sets of
lights is mixed into the test spot. This is often phosphors for its monitors, based on its needs. A
described as a negative light. Negative lights do not color defined in one color space is used as if it were
exist, but by representing the light shining on the test defined in another. This means that the same image
spot as negative, all test spots can be described as a shown on two different monitors can look very
mixture of the three lights. different.
Although spectra can have different test spots at If the phosphors for the monitor on which an image
each wavelength, color has only three parameters. is to be displayed are known, the color space of the
This means that there are many more spectra than image can be converted to the color space of the
colors. Many different spectra can give the same monitor, allowing the image to look the same on
perceived color. This means that you do not have to different monitors.
store or transmit all the information in a spectrum There is an additional problem with monitors that
for each color. It also means that a color does not currently cannot be solved. Because every color
contain enough information to reproduce the spec- space based on physical lights has colors it cannot
trum it came from. represent (those requiring negative coefficients),
some colors will never show up correctly on a
Color Spaces monitor. These colors are called out-of-gamut
Choosing the three lights to mix defines a color colors, which are generally not a serious problem.
space. A color space is a convenient way of repre- Out-of-gamut colors are very saturated and most
senting a color. Given two different sets of three real scenes contain few highly saturated colors.
lights, it is possible to convert from one color space
to another. Computing with Color
Because the relationship between spectra and colors When you work with color or spectra, their values
is linear and the conversion between color spaces is are equivalent for most operations. However, they
linear, most operations on color can be done in any are not equivalent when multiplying two colors or
color space and yield identical results. spectra.
The problem with all color spaces defined by combi- This is problematic because Lightscape spends
nations of three lights is that each color space has much of its processing time multiplying colors. In
ranges of color that can only be described by nega- theory, you can obtain arbitrarily large differences
252 Lightscape
Constraints of Output Devices ❚❘❘
between the value of multiplying two spectra and the orangish white, and 9300°K, a bluish white. Most
value of the spectra-color equivalent. In practice, televisions are set to 6500°K, a white that is near the
most materials and most lights, with the notable color of daylight. This variation in white is another
exception of fluorescent lights, have values that are reason why images on one monitor look different
easy to obtain. from images on another monitor.
Color shifts occur if computations are done with

color rather than spectra (as they are in Lightscape), Monitor Gamma
but in general they are not all bad. The color shift is The light from the monitor comes from electron
minimal with white lights and few interreflections, guns exciting the phosphors on the screen. This
and it is more severe with colored lights and many process is not linear. To get light that is halfway
interreflections. With lights, accurate colors cause between zero intensity and full intensity, it is neces-
large color shifts and give less than pleasing results. sary to have the guns fire at above half strength. This
nonlinearity is called the gamma of the monitor.
In Lightscape, the colors of the lights are desaturated
Gamma is also used for similar nonlinearities of
to make the results appear better.
other display and recording devices.
This is a problem for Lightscape because when you

Constraints of Output Devices compute a particular intensity, you want to display
This section describes some of the constraints that intensity, not the intensity produced by distor-
current display devices place on the accurate display tions of the system displaying it.
of a simulated model:
Many display programs allow an image to be
• White point displayed at a particular gamma. You are strongly
encouraged to display images at the correct gamma.
• Monitor gamma
• Dynamic range mapping Dynamic Range Mapping

• Whiteness constancy, adaptation, and surround- Perhaps the greatest constraint of the monitor is its
ings. limited dynamic range. Dynamic range is the ratio of
the highest intensity the monitor can produce to the
lowest intensity.
White Point
All monitors have a maximum intensity color they In a dark room this ratio is around 100 to 1. In a
can produce with the maximum intensities for the bright room the ratio drops to around 30 to 1. Real
red, green, and blue electron guns. This is called the environments have dynamic ranges around 10,000
white point of the monitor. This white point varies to 1 or larger. There is currently no good way to
for different monitors. compress the dynamic range of a real environment
to that of a monitor.
Usually the white points are defined in terms of color
temperature. Color temperature represents the color
of a glowing object heated to the specified tempera-
ture. Most white points lie between 5000°K, an
253
A Light and Color
Whiteness Constancy, Adaptation,

and Surroundings
The brain wants to perceive white surfaces (those
with a white reflectance spectrum) as white. A sheet
of white paper under fluorescent or incandescent
lights looks white, even though neither of these
lights is white. White on a monitor in a dark room
looks white, even though the white on two different
monitors may look very different if you see them
side by side.
When viewing a monitor in a lit room, you have
adapted to the illumination of the room, not to the
illumination of the model. Even if a model is
computed and displayed correctly, it may still be
seen as if you are looking into the room from the
outside—or, more likely, as if the color of the model
is wrong.
254 Lightscape
Batch Processing Utilities
This appendix describes the utilities that you can use to increase your
productivity in Lightscape.
B
How to use the batch processing
utilities included with Lightscape.
Summary • Deleting files using lspurge

In this appendix, you learn about: • Creating batch files.
• Processing radiosity solutions using lsrad For information on using the luminous intensity
• Ray tracing Solution files using lsray distribution (LID) conversion utilities (LID2CIBSE,
LID2IES, and LID2LTLI), see Chapter 9,
• Rendering files using lsrender “Photometrics.”
• Converting radiosity meshes to textures using
lsm2t
Processing Radiosity Solutions
• Performing batch processing
Using LSRAD
• Converting Solution files into VRML files using Use the lsrad utility to process a radiosity solution.
ls2vrml Although it is possible to process a radiosity solution
in Lightscape, lsrad is more efficient because the
• Merging Lightscape files using lsmerge
model is not displayed after each iteration. The lsrad
• Converting DXF files into Preparation files using utility syntax is shown in the following example:
dxf2lp
lsrad [options] filename
• Converting 3DS files into Preparation files using
The input to the lsrad program can be either a Prep-
3ds2lp
aration file (.lp) or a Solution (.ls) file. In the case of
• Ray tracing Solution files using lsrayf the Preparation file, the data is initiated first and the
255
B Batch Processing Utilities
processing uses the meshing parameters specified in it. In the case of the Solution file, the processing continues
from the last iteration completed.
Unless you provide an alternate filename using the -o option, the original Solution file is overwritten with the
computed solution. If the Preparation file was provided, a new Solution file is created with the same filename as
the Preparation file, but with an .ls file extension.
By default, the process runs until it is stopped.
To stop the process, type Ctrl+C in the window where the process is running. The process completes the iteration
it is working on and outputs a Solution file before stopping.
If you type Ctrl+C again, the process terminates immediately without saving any files.
Another way to stop the process is to bring up a Windows NT Task List and end the lsrad process. However,
again, no files are saved.
It is possible to stop the process by specifying in advance the number of iterations, processing time, or percentage
of energy absorbed, using the -term, -termp, or -termt option.
To use the lsrad utility:

A DOS shell appears.
2. At the command line, type the following then press Enter:

CD “\Program_Files\Lightscape\bin”
Note: If the path to the Lightscape application files differs from above, enter it instead.
3. Using the following syntax, type a command at the command line, then press Enter:
lsrad [options] filename
The radiosity solution is processed.
LSRAD Options
The following table describes the options available for this utility:
Option: Extension: Description:

-ac Allow attribute and light source changes. Default: use Solution file informa-
tion. For more information, see Chapter 11, “Radiosity Processing.”
-nac Do not allow attribute/light changes for more efficiency. Default: use Solu-
tion file information.
256 Lightscape
Processing Radiosity Solutions Using LSRAD ❚❘❘

-cp n Iteration-based checkpoint. Output a Solution file every n iterations. This is
useful when running extended processes—overnight, for example—to
ensure that the results are saved periodically to disk in case of power failure
or other problems. The output file specified is continuously overwritten
with the latest results. Default: no checkpointing.
-cpt n Time-based checkpoint. Output a Solution file every n minutes. Default: no
checkpointing.
-df filename Load specified Parameters file, overriding those specified in the Solution
file.
-do Process direct light sources only.
-h Print a help message.
-i Interactively confirm overwrite of existing files. Default: overwrite existing
files without confirmation.
-lf filename Load specified Layer State file.
-o filename Output the solution to the filename specified instead of overwriting the
original Solution file that was loaded.
-pm Preserve mesh of existing solution.
-q Query. Print extra information about the process.
-r Reset the solution before processing.
-sh Shadow testing.
all Calculate all shadows (default).
direct Calculate direct shadows only.
none Do not calculate any shadows.
-term n Terminate the program and output the Solution file after n iterations. De-
fault: no limit.
-termp p Terminate the program and output the Solution file after p% of energy is
shot. Default: 100.0.
-termt n Terminate the program and output the Solution file after n minutes. Default:
no limit.
-v Verbose. Print extra information after every iteration.
filename Input Preparation or Solution file.
257
LSRAD Syntax Example 1

lsrad -cp 20 -v room.lp
Where: Indicates:
-cp 20 During radiosity processing, a checkpoint is created every 20 iterations.
-v Extra information is printed after each iteration.
room.lp Radiosity processing is performed on the file called room.lp.
This command reads a Preparation file (room.lp), initializes it, and runs a radiosity process with a checkpoint
every 20 iterations. The process can be stopped by typing Ctrl+C as described earlier. The output Solution file
is called room.ls.
LSRAD Syntax Example 2

lsrad -cpt 3 -termt 15 -o room1.ls -sh none room.ls
Where: Indicates:
-cpt 3 During radiosity processing, a checkpoint is created every 3 minutes.
-termt 15 Radiosity processing will stop after 15 minutes.
-o room1.ls An alternate output file called room1.ls will be created.
-sh none The effect of shadows is not calculated.
room.ls Radiosity processing is performed on the file room.ls.
This command reads a Solution file (room.ls) and continues processing it for another 15 minutes with no shadow
computation and with checkpoints every 3 minutes. The output Solution file is called room1.ls.
Ray Tracing Solution Files Using LSRAY

Use the lsray utility to ray trace Solution files. Lightscape uses a ray tracing postprocess to add global illumination
effects such as specular reflections and transparency, as discussed in Chapter 14, “Rendering.” Ray tracing can
also be used to improve the shadows and lighting effects cast by specific light sources. Although it is possible to
ray trace images directly in Lightscape, it is faster and sometimes more convenient to produce the images using
this batch ray tracer. In addition, more advanced ray tracing options are available with the lsray utility. The lsray
utility syntax is shown in the following example:
lsray [options] solution_file image_file

The lsray program takes as input any Solution file and generates an appropriate image file. It is also possible to
produce a series of image files, corresponding to a list of view files, or an animation file. Textures, if present, are
loaded using the current texture path list.
258 Lightscape
Ray Tracing Solution Files Using LSRAY ❚❘❘
The extension of the image file determines the format into which the image will be saved. The following exten-
sions are supported:
File Extension: Format:

.bmp Windows native file format.
.jpg JPEG.
.eps Encapsulated PostScript.
The program stops when image computation is completed and saved.
To use the lsray utility:

2. At the command line, type the following, then press Enter:

CD “\PROGRAM FILES\LIGHTSCAPE\BIN”
lsray [options] solution_file image_file
The ray tracing utility creates an image file from the specified Lightscape Solution file.
Note: You can also use a batch file to create a sequence of commands. For instance, you could create ray-
traced image files from multiple Lightscape Solution files. For more information, see “Creating Batch Files” on
page 282.
LSRAY Options

-aa 1-10 Antialiasing factor. Higher factors result in higher image quality, but take more
computation time. Default is 1. For more information, see Chapter 14, “Render-
ing.”
259

-aaa tnr Antialiasing threshold, sampling level, and radius. This is an advanced feature
that provides fine control over the antialiasing process. For more information,
see “Antialiasing in LSRAY” on page 262.
-af filename Animation file. Ray trace all frames specified in the animation file. The image
filename is used as the base name and a decimal four-digit number, correspond-
ing to the frame number, is appended for each image file—for example,
anim0000.rgb, anim0001.rgb, and so on.
-alls Compute shadows from all layers. Default: as specified in the Solution file.
-alpha Output alpha channel information in the image file. Use only with .tga, .tiff, and
.rgb image formats.
-amb n Ambient level (range from 0 to 200). Default: as specified in the Solution file.
-bd 24 or 48 Available for .rgb and .tif files only. Choose 24-bit or 48-bit color for the output
image.
-bg rgb Background color (range from 0 to 255). Default: as specified in the Solution file.
-bri n Brightness (range from 0 to 200). Default: as specified in the Solution file.
-contr n Contrast level (range from 0 to 100). Default: as specified in the Solution file.
-df filename Load specified Parameters file.
-ef n Last frame of the animation desired. -af option must be used. Default: last frame
specified in the animation file.
-fogc rgb Fog color (range from 0 to 255).
-fogd n Fog density (range from 0 to 1).
-fogf Fog function. Default is none. For more information about fog functions, see
Chapter 4, “The Interface.”
none No fog.
linear Linear fog.
fog Models natural fog.
haze Models natural haze.
-fps n For animations, number of frames per second. -af option must be used. Default:
as specified in the animation file.
-gl Use OpenGL reflection model. For more information, see Appendix D, “Reflec-
tion Models.”
-il Output interlaced images for animation. -af option must be used. For more in-
formation about interlacing, see Chapter 14, “Rendering.”
260 Lightscape
Ray Tracing Solution Files Using LSRAY ❚❘❘

-nc Do not perform backface culling.
-nt Do not load textures.
-odd For interlacing, output first frame with odd scanlines. Sets -il option; -af option
must be used. Default: output first frame with even scanlines.
-rb n Number of reflection bounces to trace. Default is 10.
-recover filename Recover scan lines from unfinished image file. Useful for continuing work in case
the processing was interrupted by power failure or other problems. This option
is only supported for SGI rgb image files.
-rf filename Custom ray file. Instead of ray tracing the specified view, trace the rays specified
in the ray file. The format of the ray file is that the first line has width and height
dimensions. The following width x height lines have beginning and end coordi-
nates of each ray (six numbers per line). If this option is specified, the -x, -y, -af,
-vf, and -svf options are ignored.
-roi x1 y1 x2 y2 Ray trace only the rectangular region of interest defined by the lower-left and up-
per-right corners.
-sf n First frame of animation desired. -af option must be used. Default: as specified in
the animation file.
-sh Recompute shadows from sun and other light sources.
-soft Compute soft shadows. Valid for sunlight source only.
-step n For animations, interval for frame output. -af option must be used. Default is 1.
-svf filename... List of view files. -evf must be used to terminate the list. Output image files cor-
-evf responding to the name of each view file in the list. The image filename is com-
bined with the prefix of each view filename. For example, using an image
filename of data.rgb and view files pnt1.vw, pnt2.vw, and pnt3.vw results in im-
ages named datapnt1.rgb, datapnt2.rgb, and datapnt3.rgb.
-v Verbose. Print information about the status of the image.
-vf filename Load specified view file.
-x n Image width.
-y n Image height. If only width or height is provided, the other dimension is derived
from the aspect ratio of the view. Default is 256.
-w Display the results interactively in the Graphic window. This option can only be
used when the resolution of the image fits within the resolution of the monitor.
The default is to not make use of a window.
261

-wp xpos ypos Same as above, but place the Graphic window in the specified location on the
monitor. Default: window is placed in the center of the screen.
solution_file Solution file to run ray tracing on.
image_file Image file to save the results of ray tracing.
Antialiasing in LSRAY
The lsray utility uses a multisampling scheme to antialias images that contain high-frequency details. The anti-
aliasing algorithm functions as follows:
1. One ray is cast at each corner of a pixel, resulting in a (possibly) different color at each corner.
2. The corner colors are compared to compute their contrast (relative difference) between the brightest and
darkest corners.
3. If the contrast is below a user-specified threshold, the corner colors are averaged to yield the pixel color.
4. Otherwise, the pixel color is computed by averaging the result of the user-specified number of rays stochas-
tically cast within a region of user-specified radius and centered about the pixel center.
This antialiasing scheme can be accessed by the user by:
• lsray option -aaa <t> <n> <r>, where: <t> is the contrast threshold in the range [0..1], <n> is the level of sam-
pling resulting in <n>*<n> rays used in step #4 above, and <r> is the radius of the sampling region used in step
#4 above.
Note: Specifying <t> = 0 forces all pixels to be computed as specified in step #4. Steps 1-3 are ignored.
Specifying <n> = 1 forces all pixels to be computed using a single ray at the exact center of each pixel.
Specifying <t> > 1 and <n> = 0 forces all pixels to be computed using the corner average, as described in step
#3 above.
• lsray option -aa <l>, where <l> is the antialiasing factor as an integer in the range [1..10].
This second option provides access to the antialiasing scheme without requiring you to specify all the individual
parameters. The following table describes how the factor <l> is mapped to <t>, <n>, and <r>.
Antialiasing Factor <l> Contrast Threshold <t> Sampling <n> Radius <r>
1 0.0 1 N/A
2 1.1 0 N/A
3 0.0 2 .0.94
4 0.15 3 1.15
5 0.1 3 1.15
6 0.1 4 1.33
262 Lightscape
Rendering Files Using LSRENDER ❚❘❘
Antialiasing Factor <l> Contrast Threshold <t> Sampling <n> Radius <r>
7 0.05 5 1.49
8 0.05 6 1.63
9 0.0 6 1.63
10 0.0 7 1.76
LSRAY Syntax Example

lsray -aa 3 -vf view.vw -sh -rb 2 -x 640 -y 512 room.ls image.rgb
Where: Indicates:
-aa 3 Level 3 antialiasing.
-vf view.vw The file called view.vw is used for viewing the model.
-sh Shadows from direct lighting are recomputed.
-rb 2 2 reflection bounces are used in the computations.
-x 640 The output image is 640 pixels wide.
-y 512 The output image is 512 pixels high.
room.ls The input Solution file is room.ls.
image.rgb The output image file is image.rgb.
This command loads the Solution file room.ls and generates a 640 x 512 resolution image called image.rgb using
the view specified in view.vw. The image is antialiased (level 3), and two levels of reflections are rendered. Any
sunlight or direct light from specified luminaires is also ray traced to produce better shadows.
Rendering Files Using LSRENDER

Use the lsrender utility to render images from either Preparation files or Solution files. The lsrender utility creates
images that are displayed using OpenGL rendering. The images are not ray traced, and therefore can be gener-
ated much faster as compared to the lsray utility. Use lsrender to rapidly create images that do not require
specular reflections and accurate transparency effects. The lsrender utility syntax is shown in the following
example:
lsrender [options] lvs_file image_file
Although it is possible to generate images in Lightscape, it is more convenient to use this batch utility. In addition,
more advanced options are available in lsrender.
The lsrender program takes as input any Preparation file or Solution file and generates an appropriate image file.
It is also possible to produce a series of image files, corresponding to a list of view files, or an animation file. The
263
resulting images are always displayed in a Graphic window. Textures, if present, are loaded using the current
texture path list.
If the -w option is not used, Lightscape will use the software version of OpenGL to render the images off screen.
If the -w option is used, then a window will be drawn while lsrender is processing and a hardware OpenGL accel-
erator (if installed) will be used to increase processing speed. In this case, the window must not be covered by
any other window during processing.

.rgb RGB—24-bit and 48-bit, native Sil-
icon Graphics file format.
.jpg JPEG.
The 48-bit color output is available only if your graphics card supports that display mode.
To render Lightscape Solution files using the lsrender utility:


lsrender [options] lvs_file image_file
The Preparation or Solution file is rendered and output as an image file using OpenGL rendering.
traced image files from multiple Lightscape Solution files.
264 Lightscape
Rendering Files Using LSRENDER ❚❘❘
LSRENDER Options

-aa 1–10 Antialiasing factor. Higher factors result in higher image quality, but take
more computation time. Default is 1. See Chapter 14, “Rendering,” for more
information.
-af filename Animation file. Ray trace all frames specified in the animation file. The im-
age filename is used as the base name and a decimal four-digit number, cor-
responding to the frame number, is appended for each image file—for
example, anim0000.rgb, anim0001.rgb, and so on.
-amb n Ambient level (range from 0 to 200). Default: as specified in the Solution file.
-bd n Available for .rgb and .tif files only. Choose 24-bit or 48-bit color for the out-
put image.
-bg rgb Background color (range from 0 to 255). Default: as specified in the Solution
file.
-blend Set blending on.
-bri n Brightness (range from 0 to 200). Default: as specified in the Solution file.
-contr n Contrast level (range from 0 to 100). Default: as specified in the Solution file.
-dm Display mode.
hiddenline Display image as hidden lines.
hiddenmesh Display image as a mesh with hidden lines removed.
mesh Display image as a mesh with all lines shown.
shaded Display a shaded image (default).
wireframe Display a wireframe image.
-ef n Last frame of the animation desired. -af option must be used. Default: the
last frame specified in the animation file.
-enh Enhanced display mode (available for Preparation files only).
-fogc rgb Fog color (range from 0 to 255).
-fogd n Fog density (range from 0 to 1).
265

-fogf Fog function. Default is none. For more information about fog function, see
Chapter 4, “The Interface.”
none No fog.
linear Linear fog.
fog Models natural fog.
haze Models natural haze.
-fps n For animations, number of frames per second. -af option must be used. De-
fault: as specified in the animation file.
-il Output interlaced images for animation. -af option must be used. See Chap-
ter 14, “Rendering,” for more information about interlacing.
-la Perform line antialiasing.
-odd For interlacing, output first frame with odd scanlines. Set -il option; -af op-
tion must be used. Default: output first frame with even scanlines.
-sf n First frame of animation desired. -af option must be used. Default: as speci-
fied in the animation file.
-step n For animations, interval for frame output. -af option must be used. Default
is 1.
-svf filename... -evf List of view files. -evf must be used to terminate the list. Output image files
corresponding to the name of each view file in the list. The image filename is
combined with the prefix of each view filename. For example, using an im-
age filename of data .rgb and view files pnt1.vw, pnt2.vw, and pnt3.vw results
in images named datapnt1.rgb, datapnt2.rgb, and datapnt3.rgb.
-v Verbose. Print information about status of the image.
-x n Image width.
-y n Image height. If only width or height are provided, the other dimension is
derived from the aspect ratio of the view. Default is 256.
-w Display the results interactively in the Graphic window. This option can only
be used when the resolution of the image fits within the resolution of the
monitor.
266 Lightscape
Converting Radiosity Meshes to Textures Using LSM2T ❚❘❘

-wp xpos ypos Same as above, but place the Graphic window in the specified location on the
monitor. Default: window is placed in the center of the screen.
lvs_file Solution or Preparation file for image generation.
image_file Image file to save the results.
LSRENDER Syntax Example

lsrender -bg 0 0 255 -dm wireframe -svf v1.vw v2.vw v3.vw -evf -v room.lp
image.rgb
Where: Indicates:
-bg 0 0 255 Background color is set to blue.
-dm wireframe Display mode is set to wireframe.
-svf v1.vw v2.vw Renderings should be produced for all specified view files.
v3.vw
-evf An end to the view list. This command is necessary when you specify a list of views with
the -svf option.
-v Information about status of the image is printed.
room.lp The name of the input file.
image.rgb The name of the output image file. Because a sequence of views is specified for this exam-
ple, the image filename is combined with the prefix of each view filename. As a result, im-
age files called imagev1.rgb, imagev2.rgb, and imagev3.rgb are created.
This command loads a Preparation file (room.lp), sets the background color to blue, and generates wireframe
images corresponding to the view files v1.vw, v2.vw, and v3.vw in the current directory.
Note: This will be done using off-screen rendering as the -w option was not used.
Converting Radiosity Meshes to Textures Using LSM2T

Use the lsm2t utility to transfer the lighting in a solution to one or more texture maps. You can create a single
texture per surface or create a single texture that covers multiple coplanar surfaces. You can also add the lighting
information to an existing texture in the scene. For more information, see Chapter 13, “Mesh to Texture.” The
lsm2t utility syntax is shown in the following example:
lsm2t [options] solution_file texture_base_name
267

.jpg JPEG.
The 48-bit color output is available only if your graphics card supports that display mode.
To convert radiosity meshes to textures using the lsm2t utility:


lsm2t [options] solution_file texture_base_name
Texture files are created to represent the lighting.
LSM2T Options

-aa 1–10 Antialiasing factor. Higher factors result in higher image quality, but take
more computation time. Default is 1. See Chapter 14, “Rendering,” for more
information.
-alls All layers cast shadows.
-alpha Create textures with an alpha channel.
-amb n Ambient level. Valid range is from 0 to 200.
268 Lightscape
Converting Radiosity Meshes to Textures Using LSM2T ❚❘❘

-autosize Automatically size new textures.
-bd n New texture bit depth. Choose 24-bit or 48-bit color. Default is 24.
-bg rgb Background color (range from 0 to 1).
-bri n Brightness level (range from 0 to 200).
-contr n Contrast level (range from 0 to 100).
-delete Delete projected geometry from the model.
-df filename Alternate default file.
-dir path New directory name for new textures.
-fill rgb Texture fill color (range from 0 to 1).
-frame p0x p0y p0z Reference frame for project method.
p1x p1y p1z
p2x p2y p2z
-gl Use OpenGL shading model.
-i Interactively confirm overwrite of existing files.
-illum Generate an illumination map.
-lf filename Specify an alternate Layer State file.
-method Default = relight.
convert
relight
project
-newnames Generate new texture filenames.
-o file Alternate output filename.
-pad Pad texture edge.
-pix n Specify the number of pixels per meter. Use only with the -autosize option.
Default is 0.
-pow Round size of new textures to a power of 2. Use only with the -autosize op-
tion.
269

-proj Projection method. Default = orthographic.
cylindrical
orthographic
spherical
uvs
-replace Replace textures on target geometry.
-reset Reset mesh on target geometry.
-sh Recompute shadows from lights and sun.
-soft Compute soft shadows (for sun only).
-v Verbose. Show status messages.
-x n Width of new texture images. Default is 128.
-y n Height of new texture images. Default is 128.
LSM2T Syntax Example

This command loads the Solution file room.ls and applies the “Convert each surface to a texture per surface”
conversion method. The existing textures on the model’s geometry are replaced, the mesh is reset, and the
resulting Solution file is saved as output.ls. A series of 128 x 128 texture files are generated using the filename
txtr.jpg combined with an incremental three-digit number for each successive file. The generated images are
antialiased (level 3).
lsm2t -aa 3 -replace -reset -method convert -x 128 -y 128 -o output.ls

room.ls txtr.jpg
Where: Indicates:
-replace The textures that exist on the target geometry are replaced with the new textures.
-reset The mesh on the target geometry is reset.
-method convert The “Convert each surface to a texture per surface” conversion method is used.
-x 128 The output images are 128 pixels wide.
-y 128 The output images are 128 pixels high.
-o output.ls The output Solution file is output.ls.
Room.ls The input Solution file is room.ls.
270 Lightscape
Converting Solution Files to VRML Files Using LS2VRML ❚❘❘
Where: Indicates:
txtr.jpg The name for the generated texture files, combined with an incremental three-digit
number for each successive file.
Converting Solution Files to VRML Files Using LS2VRML

You can use the ls2vrml utility to convert a Lightscape Solution file (.ls) to a VRML version 1.0c file. The ls2vrml
utility syntax is shown in the following example:
ls2vrml [options] solution_file
To use the ls2vrml utility:


Note: (f the path to the Lightscape application files differs from the above, enter it instead then press Enter.
ls2vrml [options] solution_file
The Lightscape Solution file is converted to a VRML version 1.0c file.
LS2VRML Options

-a Include active layers only.
-bf n1,n2,n3 ... Hierarchy subdivision branching factors. Must be integers which are greater
than or equal to 2. Lightscape uses the subdivision when creating inline nodes.
It initially subdivides the model into a 3D grid n1xn1xn1. The system associates
surfaces that fall completely within a grid node with that node. Grid nodes
themselves can be further subdivided into n2xn2xn2 subnodes and so on. The
default is one level. For more information, see “Exporting VRML Files” on page
245.
-c Do not compact file. The default is to compact the VRML file, resulting in
smaller file sizes at the expense of some precision and readability.
271

-h Print help message.
-iw Do not use WWW Inline nodes. By default, the program writes out many sub-
files that are inlined by the main file. Inlining can improve the perceived perfor-
mance when downloading your model. Subfiles are downloaded only as
required by the browser.
-ldc n,n, ... Level of detail range cutoffs. The values must be increasing real numbers. Mul-
tiple distances are separated by commas and are ordered from the closest (fin-
est) LOD to the farthest (coarsest) LOD. Distances are in scaled model units, i.e.
the units of the input model times the scale factor provided with the -s option.
-ml n Minimum LOD to convert. n is a non-negative integer. Level 0 (the default) is
the coarsest LOD.
-nt Do not output textures.
-o filename Output filename. Files without a .vrl extension are given one. Default: to use the
same base name as the input file.
-s n Scaling factor for dimensions in file.
-t coord Target coordinate system (any permutation of XYZ with optional minus signs).
Default is X-ZY.
-tem Embed textures in outfile. Default: reference textures by filename only.
-u unit Length units of model in mm, cm, m, km, in, ft, or mi. Default is m.
-url name Prepends name to inline node URLs.
-v Show status messages. May appear multiple times for increased verbosity.
infile Input Solution file.
Textures are not embedded in the VRML file by default. Only a reference to the texture file is written. This refer-
ence is a filename, not a URL. You may need to edit the VRML file by hand to find textures across a network, or
use the -tem option.
The -bf option is used to subdivide the model into spatially related submodels. Each of these submodels is placed
into its own file and included by the main file using WWW Inline nodes. The idea is to group objects of similar
size that are near each other into units that a browser can download on an as-needed basis. If the model is a room,
the main file would include the floor, ceiling, and walls. Subfiles might include a table or chairs. The table subfiles
might reference subfiles with books or a telephone. A browser would then be able to quickly download and
display the coarse features of the room (for example, the walls), while continuing to download the details (for
example, the table and books). For more information, see “Exporting VRML Files” on page 245.
272 Lightscape
Merging Lightscape Files Using LSMERGE ❚❘❘
Merging Lightscape Files Using LSMERGE

The lsmerge utility merges different Lightscape files into a single Preparation file or Solution file. The input to
lsmerge, in addition to options, consists of a list of Lightscape files. Different Lightscape files can be present in
the list (see the list of supported file types), but the first file in the list must be either a Preparation or a Solution
file. Preparation files and Solution files cannot be mixed in the same list. The lsmerge utility syntax is shown in
the following example:
lsmerge [options] file1 file2 ...
Unless the -o option is specified, the first file in the list is overwritten with the result of merging all subsequent
files. This operation is basically equivalent to loading the first Preparation or Solution file into Lightscape and
then sequentially adding all the other files in the list. Thus the original view, defaults, materials, and so on may
be changed as a result of this operation. If other Preparation or Solution files are present, they are merged with
the first file. Keep in mind that block and material definitions overwrite existing definitions, and that data on
layers with the same names is merged.
The following file types are supported:
• Block Library files (.blk) (only if the first file is a Preparation file). For information on Block files, see “Working
with Blocks” on page 85.
• Parameters files (.df). For information on Parameters files, see Chapter 11, “Radiosity Processing.”
• Layer State files (.lay). For information on Layer State files, see “Working with Layers” on page 82.
• Material Library files (.atr). For information on Material Library files, see Chapter 7, “Using Materials.”
• Preparation files (.lp) (only if the first file is a Preparation file).
• Solution files (.ls) (only if the first file is a Solution file).

• View files (.vw). For information on creating a view file, see Chapter 4, “The Interface.”
To use the lsmerge utility:


lsmerge [options] file1 file2 ...
The specified files are merged together.
273
LSMERGE Options
Option Extension Description

-a Add active layers only.
-i Interactively confirm overwriting of existing files.
-o filename Alternate output filename. Save the result into this file instead of overwriting ex-
isting file.
-v Show status message.
file1, file2 Lightscape files. The first file must be either a Preparation file or a Solution file.
LSMERGE Syntax Example 1

This command merges a Preparation file (room.lp), material definitions (mymater.atr), a view (myview.vw), and
properties (mydef.df) into a new Preparation file called room1.lp.
lsmerge -o room1.lp room.lp mymater.atr myview.vw mydef.df
Where: Indicates:
-o room1.lp An alternate output file called room1.lp will be created.
room.lp, mymater.atr, myview.vw, mydef.df These four files are merged into one file.
LSMERGE Syntax Example 2

This command merges the Solution file inside.ls to outside.ls and writes the result to outside.ls.
lsmerge outside.ls inside.ls
Converting DXF Files to Preparation Files Using DXF2LP

Use this utility to convert a DXF file created in AutoCAD, and other modeling packages that output the DXF file
format, to a Lightscape Preparation file. For more information, see “Importing DXF Files” on page 56. The
dxf2lp utility syntax is shown in the following example:
dxf2lp [options] input_file
274 Lightscape
Converting DXF Files to Preparation Files Using DXF2LP ❚❘❘
To convert a DXF file to a Lightscape Preparation file using dxf2lp:


dxf2lp [options] input_file
The conversion utility reads in a DXF file and converts it to a Lightscape Preparation file.
DXF2LP Options

-arc n Number of segments to use in subdividing each circle. Default is 30.
-ang n Angle for smoothing groups. The -smooth option must be used for this to take
effect. Default is 60°.
-bc Block creation.
asis As in DXF file. This is the default.
single Single block for the whole file.
color One block per color index.
layer One block per layer.
entity One block per entity.
-bl filename Block library file to be used for block or luminaire substitution. Can be used
multiple times (up to 100) if more than one library files is to be used.
-cap Set capping on.
-db name Alternate name for single block. Default: the input filename without its suffix
and directory path.
-mm filename Material map file to be used for material substitution. If this option is not spec-
ified, the default material map file is used.
-o filename Output filename. Files without an .lp extension are given one. If this option is
not used, an .lp extension is substituted for the extension of the input filename.
275

-s scale Scaling factor for dimensions in file.
-smooth Turn smoothing on.
-t conversion Coordinate system conversion (any permutation of XYZ with optional minus
signs). Default is XYZ.
-u units Length units of model—mm, cm, m, km, in, ft, or mi. Default is m.
-v Show status messages.
infile Input DXF file.
Converting 3DS Files to Preparation Files Using 3DS2LP

3D Studio is a modeling and rendering package from Autodesk. Use this utility to convert a 3DS file to a Light-
scape Preparation file. For more information, see “Importing .3DS files” on page 65. The 3ds2lp utility syntax is
shown in the following example:
3ds2lp [options] input_file
To convert a 3DS file to a Lightscape Preparation file using 3ds2lp:


3ds2lp [options] input_file
The conversion utility reads in a 3DS file and converts it to a Lightscape Preparation file.
Description of 3DS2LP Options


-bc [none single Block creation mode.
mesh]
none No blocks. This is the default.
single One block for the whole file.
276 Lightscape
Raytracing Solution Files Using LSRAYF ❚❘❘

mesh One block per mesh.
-db name Alternate name for single block. Default: the input filename without its suffix
and directory path.
-dl name Alternate name for single layer. Default: the input filename without its suffix
and directory path.
-ie Ignore internal errors when reading the 3D Studio file.
-k Do not import instances from the keyframe.
-lc [single Layer creation mode.
mesh]
single One layer for entire object.
mesh One layer per mesh. This is the default.
-li n Maximum light intensity scale. Default is 25000.0.
-m File was produced with 3D Studio MAX and should be interpreted as such.
-nt Do not read texture data in the 3D Studio file.
-o filename Output filename. Files without a .lp extension are given one. If this option is not
used, a .lp extension is substituted for the extension of the input filename.
-s n Scaling factor for dimensions in file.
-se Stop on translation errors. Default: to attempt to continue importing.
-t conversion Coordinate system conversion (any permutation of XYZ without optional mi-
nus signs). Default is XYZ.
-u units Length units of model—mm, cm, m, km, in, ft, or mi. Default is m.
infile Input 3D Studio file.
Raytracing Solution Files Using LSRAYF

Use the following utility to ray trace Solution files, compute the luminance at each pixel, and store the results in
a special floating point image format. The lsrayf utility is provided primarily for specialized research applica-
tions. The lsrayf utility syntax is shown in the following example:
lsrayf [options] solution_file image_file
The lsrayf utility is a slight variation of the lsray utility that uses two new file formats, instead of creating images
with standard file formats. The lsrayf utility also outputs energy data without using radiance mapping to convert
277
the energy values to color information. In other words, the value of a pixel computed by lsrayf is the luminance
at the surface point visible through the pixel and in the direction of the viewer.
The lsrayf program takes as input any Solution file and generates an appropriate image file. It is also possible to
produce a series of image files, corresponding to a list of view files, or an animation file. Textures, if present, are
loaded using the current texture path list.
Unlike lsray, the -b and -rgb options control the format of the output so any file extension can be used for
image_file.
To ray trace images using the lsrayf utility:


CD “PROGRAM FILES\LIGHTSCAPE\BIN”
lsrayf [options] solution_file image_file
The ray tracing utility creates an image file from the specified Lightscape Solution file.
Description of LSRAYF Options


-aa 1-10 Antialiasing factor. Higher factors result in higher image quality, but take more
computation time. Default is 1. See Chapter 14, “Rendering,” for more infor-
mation.
-aaa tnr Antialiasing threshold, sampling level, and radius. See Chapter 14, “Render-
ing,” for more information.
-af filename Animation file. Ray trace all frames specified in the animation file. The image
filename is used as the base name and a decimal four-digit number, corre-
sponding to the frame number, is appended for each image file, for example,
anim0000.rgb, anim0001.rgb, and so on.
-alls Compute shadows from all layers. Default: as specified in the Solution file.
278 Lightscape
Raytracing Solution Files Using LSRAYF ❚❘❘

-b Outputs the image file in the binary format. The default data format is output
in the text format described above.
-ef n Last frame of the animation desired. -af option must be used. Default: last
frame specified in the animation file.
-fps n For animations, number of frames per second. -af option must be used. De-
fault: as specified in the animation file.
-rf filename Custom ray file. Instead of ray tracing the specified view, trace the rays speci-
fied in the ray file. This is useful for making panoramic images. The format of
the ray file is that the first line has width and height dimensions. The following
width x height lines have beginning and end coordinates of each ray (six num-
bers per line). If this option is specified, the -x, -y, -af, -vf, and -svf options are
ignored.
-rgb Output per channel.
-roi x1 y1 x2 y2 Ray trace only the rectangular region of interest defined by the lower-left and
upper-right corners.
-sf n First frame of animation desired. -af option must be used. Default: as specified
in the animation file.
-sh Recompute shadows from sun and other light sources.
-soft Compute soft shadows. Valid for sunlight source only.
-step n For animations, interval for frame output. -af option must be used. Default is 1.
-svf filename... List of view files. -evf must be used to terminate the list. Output image files cor-
-evf responding to the name of each view file in the list. The image filename is com-
bined with the prefix of each view filename. For example, using an image
filename of data.rgb and view files pnt1.vw, pnt2.vw, and pnt3.vw results in im-
ages named datapnt1.rgb, datapnt2.rgb, and datapnt3.rgb.
-v Verbose. Print information about the status of the image.
-x n Image width.
279

-y n Image height. If only width or height is provided, the other dimension is de-
rived from the aspect ratio of the view. Default is 256.
solution_file Solution file to run ray tracing on.
image_file Image file to save the results of ray tracing.
Text Output
When -b is not specified, lsrayf will write to the image file, as text, using the following formats:
• Y X LUMINANCE (The default format. The -rgb option must not be used.), or:
• Y X R G B (Used if the -rgb option is specified.)
X and Y represent the coordinates of the pixel and LUMINANCE is a floating point value representing the pixel’s
luminance. R,G, and B represent the red, blue, and green value for each pixel.
Binary Output
If the -b option is specified, lsrayf will write to the image file using the following binary formats:
• | Width | Height | LUMINANCE | (The default format. The -rgb option must not be used.), or:
• | Width | Height | PIXELS | (Used if the -rgb option is specified.)
Both Width and Height are written using a 16-bit integer format (a short) and are followed by a series of PIXELS
or LUMINANCE values. Each PIXEL is written using three floats (32-bit floating point numbers) representing
the red, green, and blue values. The LUMINANCE is a float (32-bit floating point numbers) representing the
brightness of each pixel. The PIXELS are written as an array of Width times Height times three floating point
numbers in a row major order. The LUMINANCE is written as an array of Width times Height times 1 floating
point number in a row major order.
LSRAYF Syntax Example

This command loads the Solution file room.ls and generates a 640 x 512 resolution image called “image” using
the view specified in view.vw. The image is antialiased (level 3), and two levels of reflections are rendered. Any
sunlight or direct light from specified luminaires is also ray traced to produce better shadows.
lsrayf -aa 3 -vf view.vw -sh -rb 2 -x 640 -y 512 room.ls image
Where: Indicates:
-vf view.vw The file called view.vw is used for viewing the model.
-sh Shadows and illumination from direct lighting are recomputed.
280 Lightscape
Deleting Unused Layers and Materials Using LSPURGE ❚❘❘
Where: Indicates:
-rb 2 2 reflection bounces are used in the computations.
-x 640 The output image is 640 pixels wide.
-y 512 The output image is 512 pixels high.
Room.ls The input Solution file is room.ls.
Image The output image file is image.
Deleting Unused Layers and Materials Using LSPURGE

Use this utility to reduce the size of your Preparation or Solution files by deleting unused layers or materials. The
lspurge utility syntax is shown in the following example:
lspurge [options] file
To delete unused layers and materials using lspurge:


lspurge [options] file
The utility reads in a Preparation or Solution file and deletes unused layers or materials.
LSPURGE Options

-i Interactively confirm overwriting of existing files.
-lo Purge layers only.
-mo Purge materials only.
-o file Alternate output file.
281

file Accepts either .ls or .lp files.
About Batch Files

As you become more familiar with Lightscape, you may find it efficient to use batch processing utilities to
improve your productivity.
There are a number of such utilities that are included with Lightscape. Using these utilities in batch files, you can
set up a series of procedures that automatically run over an extended period of time. You do not need to be
present while batch files run, so you can do other things while the system processes your files.
You can also use Lightscape to distribute batch processing over a network of computers, further improving your
productivity. The following pages provide some common examples of batch files that are used with Lightscape.
Note: Throughout this appendix, some command line examples extend past the width of the page. These
commands are presented in two or more consecutive lines but should be treated as single-line commands.
Creating Batch Files

A batch file is an ASCII text file that you create in a text editor, such as Notepad and save with a .bat file extension.
These files contain a series of executable commands and, if necessary, command options. When running a batch
file, each command is executed sequentially until all commands have been executed.
The purpose of a batch file is to streamline your workflow by helping you avoid typing in a command, such as a
ray tracing operation from one view, waiting for the command to execute, typing another ray tracing operation
from another view, then waiting, and so on.
Using a batch file, you can enter all the different commands, then run them at a convenient time (overnight, for
example).
To create a batch file for use in Lightscape:

1. Open a text editor, such as Notepad.
2. Type a command as a line of text, then press Enter.
3. Repeat step #2 for each required command to be created in sequence.
4. When you have finished typing commands, save the file with a .bat file extension. To do this, enter the file-
name followed by: .bat
5. To execute the commands in your batch file, double-click the file in Windows Explorer, or run the batch file
from a DOS command line.
282 Lightscape
Creating Batch Files ❚❘❘
Running Batch Utilities
To run a batch utility in DOS:

2. At the command prompt (C:\WINDOWS>), type the following, then press Enter:
Note: You must run the batch file within the directory in which the utilities are located. If your utilities are
installed in a different directory than the one indicated above, type the path to the appropriate directory, then
press Enter.
3. At the command prompt, type the name of the batch utility, then press Enter. For instance:
<batch_file>.bat
The commands in the batch utility begin executing sequentially.
Batch Raytracing
One of the most common uses of batch files is to ray trace images from multiple Solution files, or from the same
file using different views or resolutions.
If you want to make multiple images from a single Solution file, and the parameters of the image will not change,
you can use the -svf option to specify a list of views, as demonstrated in the last line of the following batch file.
lsray -aa 4 -vf view1.vw -x 1280 -y 1024 solution1.ls image1.tif
lsray -aa 4 -vf view2.vw -x 640 -y 512 solution1.ls image2.tif
lsray -aa 4 -x 1280 -y 1024 solution2.ls image3.tif

lsray -aa 4 -x 1280 -y 1024 -svf view1.vw view2.vw view3.vw -evf
solution1.ls image.tif
Batch Radiosity Processing

You may want to run a series of tests overnight using different processing parameters to see which parameters
result in the best radiosity solution.
In the following example four tests are run, each for three hours. Notice that the Preparation file remains the
same but the parameters file, which contains the meshing parameters, is changed and each file is saved to a
different Solution file.
lsrad -v -termt 180 -df test1.df -cpt 15 -o test1.ls test.lp
283
Omitting Layers in Batch Radiosity Solutions

You may want to run radiosity solutions exploring various design alternatives that exist on different layers in a
Preparation or Solution file. In this case, you can save layer state files and use them to control the geometry and/
or lights that you want to include in the solution.
lsrad -v -termt 180 -lf alt1.lay -cpt 15 -o alt1.ls model.lp

Batch Rendering Animations

You may want to use a batch file to render animation frames of a complex model that has been split into smaller
models, so they can be processed more efficiently. For more information on rendering animation frames, see
In this example, the project is split into three models and an animation file (path.la) is created that spans all three
models. The Preview tool is used to establish at which frame various models come in and out of view and to set
up the following table. The images are created in JPEG format.
Segment: Frame: Models in View:

1 0 1
2 156 1 and 2
3 387 1 and 2 and 3
4 456 2 and 3
5 694 3
lsrender -aa 6 -af path.la -blend -ef 155 -x 640 -y 486 model1.ls
frames.jpg
lsmerge -o segment2.ls model1.ls model2.ls
lsrender -aa 6 -af path.la -blend -sf 156 -ef 386 -x 640 -y 486 segment2.ls
frames.jpg
lsmerge -o segment3.ls segment2.ls model3.ls
frames.jpg
284 Lightscape
Creating Batch Files ❚❘❘
lsmerge -o segment4.ls model2.ls model3.ls
frames.jpg
lsrender -aa 6 -af path.la -blend -sf 694 -x 640 -y 486 model3.ls
frames.jpg
285
NOTES
286
This appendix describes the LSnet utility that you can use to distribute
processing across a network and increase your productivity in Lightscape.

C LSnet
How to use the batch processing
utility included with Lightscape.
Summary You can perform radiosity processing of different

In this chapter, you learn about: Lightscape files simultaneously, or you can perform
simultaneous ray tracing and OpenGL rendering of
• The LSnet utility multiple views or animation frames. You can also in-
• Using LSnet. crease the ray tracing speed of single views by using
each node on your network to render a portion of the
view. LSnet supports a maximum of 1000 nodes on
About LSnet your network.
LSnet is a utility you can use to split the processing of
Note: The functionality of the Lightscape command
images across multiple CPUs or across multiple line utilities lsrad (for radiosity processing), lsray (for
computers on a network. ray-traced image rendering), and lsrender (for
OpenGL image rendering) is fully supported in
LSnet distributes the functionality of the Lightscape LSNet. For more information, see Appendix B, “Batch
command line utilities (batch rendering and radiosity Processing Utilities.”
processing), thereby decreasing the time it takes to
accomplish image rendering proportionally to the With LSnet, you can create a list of rendering jobs to
number of CPUs available. process a series of Lightscape files unattended, and
create project files to perform a commonly used series
of rendering jobs.
287
C LSnet
You can also use the scheduling feature to automati-

cally run jobs during off-peak periods on your
Job | Clone Ctrl+Ins
network.
Job | Edit Ctrl+E
Installing LSnet Job | Delete Del
You install LSnet from the Lightscape CD. For Job | Reset Alt+Bksp
detailed installation instructions, refer to the LSnet
Tools | Node Specs F2
folder on your CD.
Tools | Scheduler Ctrl+Z
Tools | Security Lock Ctrl+M
Using LSnet
The following sections describe the available options Tools | Render Log Ctrl+G
for the LSnet, Jump Starter, and JobQ applications. Network | Initialize Ctrl+I
For information on working with LSnet, refer to the Network | Shut Down Ctrl+D
LSnet Online Help. Network | Render Ctrl+R
Help | Online Help Ctrl+H
Project | Quit Ctrl+Q
Note: You can also access the following commands

by right-clicking in the LSnet window and choosing
an option from the context menu: Edit Job, Load File,
Clone Job, Reset, Delete Job, Clear All, Reset All, and
Abort Job.
LSnet Toolbar
You can use the LSnet toolbar, or any of the following New Job
methods, to access LSnet options. Use this option to create a new LSnet job.

Load File
Project | New Job Ctrl+N Use this option to open Lightscape Preparation (.lp)
Project | Load File Ctrl+L or Solution (.ls) files for processing.
Project | Save Ctrl+S
Project | Options Ctrl+O
288 Lightscape
Using LSnet ❚❘❘
Save Initialize
Use this option to save an LSnet project (.prj) file. Use this option to initialize the rendering network.
Options Shut Down

Use this option to display the LSnet Options panel. Use this option to shut down the rendering network
before exiting LSnet.
Clone Job
Use this option to duplicate the job currently selected Render
in the Job List. Use this option to start and stop rendering.
Edit Job Online Help

Use this option to display the Job Setup panel, which Use this option to display the LSnet online help
you use to edit the job currently selected in the Job system.
List.
Quit
Delete Job Use this option to exit LSnet.
Use this option to delete the currently selected job.
LSnet Options Panel
Reset Job
Use this panel to set the LSnet options. You can access
Use this option to clear all the jobs loaded in LSnet.
this panel by choosing Project | Options or by
clicking the Options button .
Node Specs
Use this option to display the Node Specs panel,
which you use to set the options for each node on your
network.
Scheduler
Use this option to display the LSnet Scheduler, which
you can use to schedule the day and time that
rendering will take place.
Security Lock
Use this option to display the Security Lock panel,
which you can use to control access to LSnet.
Render Log Network Path

Use this option to display the Render Log panel, Use this option to specify the directory that LSnet
which displays the status information for LSnet jobs. uses to communicate with Jump Starter. This direc-
tory must be accessible over the network to LSnet and
all render nodes.
289
C LSnet
Job Queue Path Loading Timeout

Use this option to specify the directory to which you Use this option to specify how much time (in
send jobs (for addition to the LSnet job list) using the seconds) LSnet will attempt to load jobs.
JobQ Sender.
Hard Drive Low
PVR Save Path Use this option to set the minimum number of free
Use this option to specify the location of your DPS megabytes required for your hard drive. If this value is
Perception drive, if applicable. Animation frames are reached or exceeded (there is less space remaining
copied to this device after the job finishes rendering than the value specified), LSnet will abort rending
only if the Save to PVR option on the Job Setup panel and save a “panic.prj” file.
is enabled. For more information, see “LSRAY and
For more information, see the Online Help files.
LSRENDER Options” on page 292.
Output Render Log To File Enable PVR Save

Use this option to save log information to a text file in Use this option to copy animation frames to a DPS
addition to displaying the information in the Render Perception drive.
Log panel. If this option is disabled, LSnet will not
update the log file.
Job Setup Panel
Use the Job Setup Panel to set the options for your
Use Job Queue
Use this option to enable the JobQ application. If this LSnet jobs. You can access this panel by choosing
option is enabled, you can use the JobQ Sender appli- Job | Edit or by clicking the Options button .
cation to submit jobs to LSnet for rendering. The options available on the Job Setup panel vary
depending on the Job Type option you have selected.
Make Jump Starter Spy If you choose to render an lsrad job, see “LSRAD
Use this option to display the Spy panel in the Jump Options” on page 291 for more information. If you
Starter application. The Spy panel displays LSnet choose to render an lsray or lsrender job, see “LSRAY
status information from any computer on the and LSRENDER Options” on page 292 for more
network (not just the LSnet server). information.
High Network Priority

Job Type
Use this option to increase the priority of LSnet
Use this list to choose the type of rendering job to
rendering on a node. This option does not affect
perform. You can choose either lsrad, lsray, or
rendering performance.
lsrender.
CPU Timeout
Use this option to specify how much time (in
seconds) LSnet will search for nodes on your
network. The default is 30, but you can set any value
between 10 and 2048.
290 Lightscape
Input File LSRAD Options

Use this option to specify the file to render (either .lp Lsrad is used to process radiosity solutions. You can
or .ls). You can enter the path and filename in the set the following options if you are rendering an lsrad
box, or click Browse, navigate to the appropriate file job.
in the Open dialog that appears, and then click
Open.
You must specify an input file, regardless of which
job type you have chosen. If you are processing an
lsray job, you can only specify Solution files for this
option.
Save Preset
Use this option to save options that have been set on
the Job Setup panel for use at a later time. You can
save presets for any job type (lsrad, lsray, or
lsrender). Once you have set the required options on
the Job Setup panel, enter a name for the preset in the
box, and click Save Preset. The preset values are
saved, and you can apply them at any time.
Reset Solution Before Processing

Use this option to reset the radiosity mesh before
processing.
Load Preset
Use this option to load preset options into the Job
Process Direct Light Sources Only
Setup panel. Select the name of the preset you want to
Use this option to process light from direct sources
load from the list and click Load Preset.
only. Indirect illumination is not calculated.
Delete Preset
Use this option to delete a preset from the list. Select
the preset name you want to delete from the list and
click Delete Preset.
Lock Mesh
Choose an option from this list to control the creation
of mesh elements during processing.
291
C LSnet
Shadow Testing
Choose: To:
Choose an option from this list to determine how
Use Input File Use the input file settings. shadows are calculated in the job.
Locked Prevent successive iterations of
the lighting simulation from Choose: To:
subdividing any surface mesh Use Input File Use the input file settings.
further than the current config-
uration. All Calculate all shadows.
Unlocked Create mesh elements as usual Direct Calculate direct shadows only.
during processing. None Calculate no shadows.
Output File Name

Terminate In
Use this option to specify the name and location of the
Use this option to determine at what point LSnet
output file for the job.
should terminate processing. Choose an option from
the list and enter a value in the box. You can choose to
Alt. Parameters File
terminate processing after a certain number of itera-
Use this option to specify an alternate parameters
tions or minutes, or after the solution transfers the
(.df) file. This file will override the meshing parame-
specified percentage of energy.
ters set in the input file.
Alt. Layer State File

Use this option to specify an alternate layer state (.lay)
file. This file will override the layer state set in the
input file, and layers that are turned off will not be Checkpoint
included in the radiosity calculation. Use this option to save a Solution file at specified
intervals during processing so that the results of the
Override Settings radiosity calculation are not lost in the case of system
Choose an option from this list to control whether or problems. Choose an option from the list and enter a
not attribute and light source changes are allowed. value in the box. You can choose to save a checkpoint
after a specified number of iterations or minutes.
LSRAY and LSRENDER Options

Use lsray to ray trace Solution files. Use lsrender to use
OpenGL to process Preparation or Solution files. You
292 Lightscape
can set the following options if you are rendering an Antialiasing Level
lsray or lsrender job. Use antialiasing to smooth out jagged edges. You can
select an option from the Antialiasing List, or select
Advanced to set specific options.
Advanced
Enable this option to set the antialiasing Contrast
Threshold, Sampling Level, and Radius options. For
more information, see “Antialiasing in LSRAY” on
page 262.
Contrast Threshold
Use this option to set the antialiasing contrast
threshold. The valid range is from 0.0 to 1.0.
These options are available whether you are using Sampling Level
lsray or lsrender, unless otherwise indicated. Use this option to set the antialiasing sampling level.
The valid range is from 1 to 10.
Alt. Parameters File
Use this option to specify an alternate parameters Radius
(.df) file. This file will override the meshing parame- Use this option to set the antialiasing radius. The valid
ters set in the input file. range is from 0.0 to 1.0.
Alt. Layer State File Display Mode

Use this option to specify an alternate layer state (.lay) Use this option to select a display mode for rendering.
file. This file will override the layer state set in the You can choose either Wireframe, Hidden Line, Solid,
input file, and layers that are turned off will not be or Outline. The default is Solid.
included in the radiosity calculation.
View File List

Use this option to add or remove view files (.vw) from
your job. Select Clear All to remove all view files from
the list.
293
C LSnet
This option is available only when you are using Override Input File
lsrender. Use this option to enable the Ambient/Brightness/
Contrast options.
Fog Type
Use this option to choose the fog settings for the job. Ambient/Brightness/Contrast
Use these options to set the ambient, brightness, and
Choose: To:
contrast values for the rendered images, overriding
User Input File Use the input file settings. the input file settings.
Disabled Disable the use of fog in the model.
Animation File
Linear Create fog that is clear at the near
plane and opaque at the far plane. Use this option to use an animation file when
The density increases linearly from rendering your job.
the near plane to the far plane.
Fog Create a uniformly dense fog that
becomes opaque at some distance,
depending on the density setting.
This is what fog usually looks like
in reality.
Haze Create a fog that is similar to the Frames per Second
fog type but seems to get much Use this option set the number of frames per second
denser in the distance, while leav- in the animation. The valid range is from 12 to 30.
ing nearby objects virtually unob-
scured. First Frame
Use this option to set the first animation frame to
Fog Density render.
Use this option to set the density of the fog. The range
is 0 to 1, with 1 representing the densest fog effect. Last Frame
Use this option to set the last animation frame to
Fog Color render.
Use this option to set the color of the fog. You can
choose the color (using HSV or RGB values) in the Frame Step
color picker. Use this option to set a frame step for the rendered
animation. The valid range is from 1 to the last frame
Background Color
in the animation (maximum of 9999).
Use this option to set the background color of your
model. You can choose the color (using HSV or RGB
values) in the color picker.
294 Lightscape
Ray Bounces Line Antialiasing

Use this option to control how many levels of reflec- Use this option to display smoothed lines.
tion or transmission are calculated during ray tracing.
This option is available only when you are using
lsrender.
Output Alpha Channel

Use this option to save an alpha channel version of
rendered frames. You must output images to either
the .tga or .rgb format to preserve alpha channels.
Blending
Use this option to blend surfaces with transparent
materials with those behind them, giving a trans-
parent effect. When this option is disabled, all
surfaces are displayed opaque, regardless of the mate-
rial transparency.

lsrender.
This option is available only when you are using lsray.
Ray Trace Direct Illumination
Use this option to ray trace direct light contributions
Don’t Load Textures
from light sources (the sun and luminaires marked for
Use this option to disable the use of textures in the
ray tracing).
rendering process.
Use OpenGL Reflection Model
Use this option to force the ray tracer to generate Soft Shadows From Sun
images that closely match the OpenGL display By default, Lightscape renders shadow boundaries
rendering. caused by the sun as sharp edges. Enable this option
Use OpenGL Window This option is available only when you are using lsray.
Use this option to create a window for OpenGL
rendering. You can use this option to take advantage Shadows From Inactive Layers
of any OpenGL hardware on the render nodes. Use this option to cause objects on layers that are not
on (not visible) to cast shadows. The objects will not
appear in the image, but their shadows will appear.
lsrender.
295
C LSnet
Interlacing Max Nodes

Use this option to create interlaced animations. For Use this option to set the maximum number of nodes
more information, see “Rendering Interlaced Anima- that LSnet can use to render the job.
tions” on page 218.
Save to PVR
Odd Scanlines Use this option to save a copy of animation frames to
When rendering an interlaced animation, enable this a DPS Perception drive.
option to cause the first field to contain the frame’s
odd-numbered scan lines. If this option is disabled, Require Max Nodes For Job
the first field of the interlaced animation will contain Use this option to force LSnet to hold off on
the frame’s even-numbered scan lines. processing until the specified number of nodes (set in
the Max Nodes box) become available.
No Culling
Use this option to disable culling. Surfaces oriented Node Specs Panel
away from the viewer will not be transparent. Use the Node Specs Panel to view information about
any node on your network. You can also turn nodes
Region of Interest
on or off and assign them unique names. You can
Use this option to specify the area of a frame (in
access this panel by choosing Tools | Node Specs or by
pixels) that is to be ray traced.
clicking the Node Specs button .
Name
Use this option to set the name and location of the
output file.
Format
Use this option to choose an image format for the
output file. You can also choose 24- or 48-bit resolu- Mode of Operation
tion for the applicable image formats. Use this to view the operation the node is currently
processing. This can be either Unassigned, Rad, Ray,
Resolution or Render.
Use this option to specify the output frame resolution.
296 Lightscape
Node Number Day to Day

Enter a node number in this box to view information Use this option to schedule job processing on a daily
about that node, or use the slider to scroll through the basis.
available nodes.
Current Time
Node Name If the time displayed is incorrect, you can use this
Use this option to assign a unique name to a node. option to set the current time.
Current Job Current Date

Use this option to view the job currently being If the date displayed is incorrect, you can use this
processed by a selected node. option to set the current date.
Status Start Time

Use this option to view what node is currently Use this option to set the time LSnet begins rendering
rendering, if applicable. your job on either a daily basis (by choosing specific
days of the week) or on a weekly basis (by choosing
LSnet Scheduler Week Days and/or Week Ends).
Use the Scheduler to start and stop rendering on a
Stop Time
specified day and time. For example, you can
Use this option to set the time LSnet stops rendering
schedule jobs to run during off-peak periods on your
your job on either a daily basis (by choosing specific
network. You can access this panel by choosing
days of the week) or on a weekly basis (by choosing
Tools | Scheduler or by clicking the Scheduler
Week Days and/or Week Ends).
button .
Security Lock
Use the Security Lock to set a password to restrict
access to LSnet. You can access this panel by choosing
Tools | Security Lock or by clicking the Security Lock
button .
Disable Scheduler
Use this option to disable use of the Scheduler settings
in your job.
Weekly
Use this option to schedule job processing on a
weekly basis. Type in and verify your password, then click Lock to
enable it.
297
C LSnet
Render Log You set the following options for each node on your
Use the Render Log to view the status information for network.
current jobs. You can access this panel by choosing
Tools | Render Log or by clicking the Render Log Node Name
button . This option displays the name assigned to a node.
CPU Status
This option displays the current status for each CPU
(up to 4).
Prefs
Use this option to display the Jump Starter Prefer-
ences panel.
Clear Log Spy

Use this option to clear the Render Log window and Use this option to display the current status of all
delete the log file. rendering nodes on the network.
Save Log As
Use this option to save the log information to a text Jump Starter Preferences
file. You can set the following preferences for the Jump
Starter application.
Jump Starter Options

Jump Starter performs the rendering jobs as specified
in job tickets. It communicates with LSnet through a
shared network path to accept new job tickets from
LSnet, report the job status as it is processed, and
communicate any errors that may occur during
processing.
Network Path
Use this option to specify the LSnet Network Path.
Priority
Use this option to determine the priority given to
your jobs. You can choose either Low, Medium, or
High.
JobQ Options
You can use the JobQ feature to submit jobs to LSnet
from any machine on your network. Use the JobQ
Sender program to load a Preparation or Solution file
298 Lightscape
(.lp or .ls), set up the job ticket, and then send it to a

shared directory monitored by LSnet. Any user with
access to the network can add jobs by using the JobQ
Sender.
You can set the following options when using the

JobQ.
JobQ Path
Use this option to specify the directory to which you
send jobs for addition to the LSnet job list. This path
should be identical to the one specified in the LSnet
Options panel.
Load Job
Use this option to load a Lightscape Preparation or
Solution file to create a job for processing.
Edit Job
Use this option to display the Job Setup panel, which
you use to set the options for each job. This is the
same as the LSnet Job Setup panel. For more informa-
tion, see “Job Setup Panel” on page 290.
Send Job
Use this option to send the selected job to the direc-
tory specified in the JobQ Path. The job will then be
picked up by LSnet for processing and deleted from
this directory.
Quit
Use this option to exit the JobQ application.
299
NOTES
300
This appendix describes the reflection models you can use to create images
with Lightscape. To help you understand these models, it also explains how
light interacts with surfaces.

D
Reflection Models
Introduction Light and Materials

The physical behavior of light interacting with In Lightscape, you use a material’s color and reflec-
surfaces is approximated by a variety of reflection tance characteristics, as well as whether or not it is a
models, which make different approximations and metal, to describe its scattering appearance. Setting
are useful in different situations. Lightscape uses these properties is as important as placing the lights to
reflection models during three processes: radiosity appropriately model light.
computation, OpenGL rendering, and ray tracing.
The reflection model for radiosity processing is never Reflection, Transmission, and
seen directly. It is simply used by the radiosity algo- Absorption of Light
rithm to determine how much light is reflected from Light interacting with a material can behave in
the surfaces in the environment. various ways. As shown in the following illustration,
Radiosity and OpenGL use similar lighting models

and have similar restrictions.
With the ray tracer, you use two different lighting

models. One has the same set of restrictions as the
OpenGL display to allow compatibility between these
two renderers. The other has fewer restrictions and
can be used to produce highly realistic images.
301
D Reflection Models
the light can be reflected, transmitted, or absorbed by At any given point on a surface, photons arrive
the material: directly from a light source (direct illumination) or
indirectly through one or more bounces off other
Reflection of light surfaces (indirect illumination). The combination of
direct and indirect illumination is the incident light at
that point.
The final illumination of a space is determined byhe

interaction between the surfaces in the space and inci-
dent light in the space. When you turn on a light in a
Transmission of light
room, some of the emitted photons are absorbed by
the first surface they reach. Others reflect off many
surfaces before being absorbed. Some of the reflec-
tion happens at the interface between the surface and
the air and some happens below this interface.
Absorption of light
When you specify the properties of the materials used
on the surfaces of a room, you are in effect specifying
where and how photons are reflected, transmitted,
and absorbed. These properties affect how the system
models interactions between the material and light at
• In reflected light, all the photons bounce back from
the material-to-air interface, within the material, and
the material and continue to move through the envi-
coming out the far side of the material. The following
ronment. Light can be reflected both from where the
sections describe what happens during these
material meets the air (their interface) and from with-
interactions.
in the material. Some of this light is reflected specu-
larly and some diffusely. For more information, see
“Interactions at the Interface” on page 302. Interactions at the Interface
Where light hits a material is the interface between
• In transmitted light, all the photons pass completely
that material and the air. At the interface, some light
through to the other side of the material. Lightscape
continues into the interior of the material and some
only models the specular component of transmitted
reflects off the interface. This section describes the
light. For more information, see “Transmitted Light”
way Lightscape determines how much light gets into
on page 304.
the interior.
• In absorbed light, light passes into the body of the
Light reflected at the interface has components of
material and stays there. This light neither passes
both diffuse reflection and specular reflection. These
through nor is reflected back. The fact that photons of
a particular wavelength are absorbed while others are
not determines the color of the material.
302 Lightscape
Light and Materials ❚❘❘
components are responsible for different lighting and diffuse reflection. (The angle of the light, of
effects. course, is not a property of the material itself, but of
the geometry of the object using the material.) The
Diffuse reflection shinier the material or the closer the angle comes to
grazing the material, the larger the component of
specular reflection.
The specular component is responsible for the clear

reflections off shiny materials, as well as the images
seen through transparent materials. A shiny material
Specular reflection has more of a specular reflection when ray traced and
has a sharper highlight when shadows are refined. For
more information, see Chapter 14, “Rendering.”
As a material becomes less shiny, more of the energy

There are two types of diffuse reflection—uniform is reflected and transmitted in the non-specular
diffuse and directional diffuse. Uniform diffuse reflec- directions, until the material becomes very rough and
tion accounts for light that is scattered uniformly in all most of the energy is reflected and transmitted
directions. In directional diffuse reflection, sometimes diffusely (uniformly in all directions). The following
called specular highlight, the light leaves the surface at illustration shows the proportion of diffuse reflection
various angles. Directional diffuse reflections do not as a bubble of light.
provide clear reflections. Instead, they provide high-
Reflection and transmission from
lights, such as the bar of shininess on a door knob materials of different roughness
where the light hits it at the right angle.
For most rendering techniques, you do not need to Shiny (glossy paint)
understand the consequences of directional diffuse
reflection. It can only be calculated when ray tracing
and refining shadows using the high-quality reflec-
tion model. For more information, see “High-Quality
Reflection Model” on page 306.
Medium-rough
In specular reflection, the light being reflected leaves (semigloss paint)
the interface at the same angle at which it arrived.

Specular reflections provide clear reflections off shiny
surfaces, such as seeing an object reflected off a tiled
wall. A mirror is a perfectly specular surface; that is,
all of the light reflected at the interface is reflected in Very rough (matte
the specular direction. paint)
Lightscape uses the shininess of the material, the

angle of the incident light hitting it, and the index of
refraction to determine the proportions of specular
303
D Reflection Models
For nonmetals, the color of the reflection at the inter- Some of the scattered light leaves through the mate-
face is the same as the color of the original light. For rial-to-air interface, some passes through the
metals, the reflection takes on the color of the metal. material, and some is absorbed in the material.
However, as the angle of the light gets closer to
grazing, the reflection takes on less of this color and
more of the color of the light. In general, a surface
looks plastic if it has white highlights and metallic if it
has colored highlights.
Subsurface scattering
Scattering in Materials
For metals, all light is reflected off the material-to-air Lightscape approximates the light that leaves the
interface. Lightscape does not need to model light material-to-air interface as ideal diffuse—that is,
entering a metal. uniform in all directions.
For nonmetals, how much of the light reaches the
interior of the material depends on the index of Transmitted Light
refraction of the material and the angle at which the For metals, all light is reflected off the surface. Conse-
light hits the material. quently, Lightscape does not need to model light
going through a metal. For nonmetals, Lightscape
The higher the refractive index, the less light goes into
uses the transparency of the material to determine
the interior of the material. If the index of refraction is
how much light comes out the far side.
1, the material and the air appear the same to the light
and all of the light is transmitted into the material. In reality, how much light and how it is transmitted
Most materials have an index of refraction between 1 out the far side is quite complicated. Transmitted light
and 1.5, the index for glass. By contrast, diamonds has the same components as reflected light. However,
have an index of refraction of 2.5. in transmitted light, Lightscape does not account for
the diffuse components, only for the specular compo-
When the incident light hits the interface at a perpen-
nents. Specular transmission, like specular reflection,
dicular angle, more light is transmitted into the
looks like what it is transmitting and goes all in one
material. When it just grazes the surface of the mate-
direction. Any diffuse aspects are lost.
rial, most of the light is reflected off the interface.
As a result, in Lightscape you can accurately model
As light passes through the material, some wave-
the transmission of light through a stained glass
lengths are absorbed more than others. As it hits small
window, which is primarily specular transmission.
particles inside the material, the light is scattered in
However, you cannot accurately model transmission
different directions. This is subsurface scattering.
through tissue paper, since much of that transmission
is diffuse.
304 Lightscape
Reflection Model for Radiosity ❚❘❘
Reflection Model for Radiosity All surfaces are displayed as diffuse and anything seen
Lightscape uses this reflection model only for radi- through a transparent surface is attenuated by the
osity processing, not for displaying an image. This color of the surface.
model has the following capabilities: This reflection model has the following limitations:
• Diffuse reflection • No refraction of transmitted light
• Specular transmission • No specular reflection from shiny objects
• Correct texture handling. • No diffuse transmission
For radiosity computations, Lightscape assumes the • Incorrect display of intensity of textured surfaces.
surface is an ideal diffuse (lambertian) surface. If the
surface is transparent, light makes it through the Transparent surfaces do not refract light. For
surface and is attenuated by the color of the surface. example, there is no distortion when looking through
This results in colored shadows being cast by trans- a curved piece of glass.
parent surfaces. OpenGL was designed to take advantage of hardware
This reflection model has the following limitations: acceleration, causing two further limitations. The
mapping from physical units to the limited range of
• No refraction of transmitted light values used by the hardware can only be done before
• No specular reflection from shiny objects applying the texture. Consequently, textures are not
displayed at the correct intensity during interactive
• No diffuse transmission. display. In general, this causes texture-mapped
Transparent surfaces do not refract the transmitted surfaces to appear too dark during OpenGL display.
light. It is not possible with the radiosity process to The other limitation is that the OpenGL libraries use
create a lens and have it focus the transmitted light blending to handle transparency. For this reason,
into a bright spot. It is also not possible to have a there can be significant loss of precision if several
mirror reflect a bright spot of light onto another transparent surfaces overlap. These limitations are
surface— sometimes referred to as caustics. not significant if interactivity is desired.
Reflection Model for OpenGL Ray Tracing Reflection Models

Display Ray tracing works by tracing rays from the eye into
The reflection model used during OpenGL display is the environment. Ray tracing in this way handles
very similar to the one used during radiosity reflections and refraction through transparent
processing. It has the following capabilities: surfaces. For more information about ray tracing,
• Diffuse reflection refer to Chapter 14, “Rendering.”
• Specular transmission. There are two reflection models you can use with the
ray tracer:
• OpenGL-compatible reflection model
305
D Reflection Models
• High-quality reflection model. Objects should not have holes that allow light inside.
Transparent objects should have both a front and a
OpenGL-Compatible Reflection Model back. This is not the same as making a transparent
The ray tracer uses the OpenGL-compatible reflec- surface a two-sided surface—the two sides must be
tion model to create images that are very similar to the separated from each other. For more information, see
OpenGL images. It has the following capabilities: “Working with Surfaces” on page 95.
• Diffuse reflection This reflection model has the following capabilities:
• Specular transmission • Diffuse reflection
• Simple specular reflection. • Specular reflection
One difference between this model and the OpenGL • Highlights on nondiffuse surfaces
model for an environment containing only rough • Specular transmission with refraction
(diffuse) surfaces is that transparency is not limited
• Correct display of intensity on textured surfaces.
by the precision problems caused by the blending in
the OpenGL libraries. This reflection model accounts for reflections and
highlights from the interface between the surface and
In addition, if there are surfaces that are somewhat
the air, as well as specular transmission and diffuse
shiny, they are treated as reflective. Reflections are
reflection. Refraction effects such as the distortion
seen on these surfaces, but not highlights. The reflec-
that comes from looking through wavy or angled
tion model has the following limitations:
glass are also present.
• No refraction of transmitted light
Highlights on surfaces are a function of both the
• Less accurate specular reflection from shiny objects viewing direction and the direction toward the lumi-
• No diffuse transmission naire. To render highlights, the Ray Trace Direct
Illumination option must be turned on when ray
• Incorrect display of intensity of textured surfaces. tracing, and the luminaires from which you want the
Transmitted rays are not refracted because this reflec- highlights must have their Ray Trace Direct Illumina-
tion model ignores the index of refraction. Use this tion processing option turned on. For more
reflection model if you need to match a ray traced information, see Chapter 14, “Rendering,” and
image with an image generated using the interactive Chapter 8, “Artificial Lighting.”
OpenGL renderer. Textures are displayed correctly using this reflection
model. This model does not handle diffuse
High-Quality Reflection Model transmission.
This reflection model is based on some of the most The following table summarizes the capabilities of all
physically accurate reflection models in the field of reflection models as they are used in Lightscape.
computer graphics. A physically valid model is
crucial to achieving good results with a physically
based reflection model.
306 Lightscape
Ray Tracing Reflection Models ❚❘❘
OpenGL Radiosity Radiosity and Ray Radiosity and Ray Radiosity and Ray
and tracing—OpenGL tracing without ray tracing with
OpenGL compatible tracing direct direct
illumination illumination
Direct Illumination No Yes Yes Yes Yes
most accurate
Indirect Diffuse No Yes Yes Yes Yes
Illumination
Specular Transmission Yes Yes Yes Yes Yes
(Transparency) most accurate most accurate most accurate
Refraction of No No No Yes Yes
Transmitted Light
Diffuse Transmission No No No No No
(Translucency)
Specular Reflections No No Yes Yes Yes
most accurate most accurate
Specular Highlights No No No No Yes
Accurate Texture Illu- No No No Yes Yes
mination
Specular to Diffuse No No No No No
Illumination (Caustics)
307
NOTES
308
IES Standard File Format
This appendix describes the IES LM-63-1991 standard file format used for
creating photometric data files. Only the information relevant to Lightscape is
described.
E
The luminous intensity distribution (LID) of a lumi- inserting a carriage return/line-feed character
naire is measured at the nodes of a photometric web sequence. Each field in the file must begin on a new
for a fixed set of horizontal and vertical angles. The line and must appear exactly in the following
poles of the web lie along the vertical axis, with the sequence:
nadir corresponding to a vertical angle of zero
1. IESNA91
degrees. The horizontal axis corresponds to a hori-
zontal angle of zero degrees and is oriented parallel to 2. [TEST] the test report number of your data
the length of the luminaire. This type of photometric 3. [MANUFAC] the manufacturer of the luminaire
web is generated by a Type C goniometer and is the
4. TILT=NONE
most popular in North America; other types of goni-
ometry are supported by the IES standard file format 5. 1
but are not discussed here. 6. The initial rated lumens for the lamp used in the
test or -1 if absolute photometry is used and the inten-
For a complete description of the IES format, see IES
sity values do not depend on different lamp ratings.
Standard File Format for Electronic Transfer of
Photometric Data and Related Information, prepared 7. A multiplying factor for all the candela values in
by the IES Computer Committee. the file. This makes it possible to easily scale all the
candela values in the file when the measuring device
The photometric data is stored in an ASCII file. Each operates in unusual units—for example, when you
line in the file must be less than 132 characters long obtain the photometric values from a catalog using a
and must be terminated by a carriage return/line-feed ruler on a goniometric diagram. Normally the multi-
character sequence. Longer lines can be continued by plying factor is 1.
309
E IES Standard File Format
8. The number of vertical angles in the photometric line. Long lines may be broken between values as
web. needed by following the instructions given earlier.
9. The number of horizontal angles in the photo- The following is an example of a photometric data file
metric web. accepted by Lightscape:
10. 1 IESNA91
11. The type of unit used to measure the dimensions [TEST] Simple demo intensity
of the luminous opening. Use 1 for feet or 2 for distribution
meters.
[MANUFAC] Lightscape Technologies,
12. The width, length, and height of the luminous Inc.
opening. Currently, Lightscape ignores these dimen-
TILT=NONE
sions because you can associate a given luminous in-
tensity distribution with any of the luminaire 1
geometric entities supported by Lightscape. It is nor- -1
mally given as 0 0 0.
1
13. 1.0 1.0 0.0
8
14. The set of vertical angles, listed in increasing or-
der. If the distribution lies completely in the bottom 1
hemisphere, the first and last angles must be 0° and 1
90°, respectively. If the distribution lies completely in
2
the top hemisphere, the first and last angles must be
90° and 180°, respectively. Otherwise, they must be 0° 0.0 0.0 0.0
and 180°, respectively. 1.0 1.0 0.0
15. The set of horizontal angles, listed in increasing 0.0 5.0 10.0 20.0 30.0 45.0 65.0
order. The first angle must be 0°. The last angle deter- 90.0
mines the degree of lateral symmetry displayed by the
intensity distribution. If it is 0°, the distribution is ax- 0.0
ially symmetric. If it is 90°, the distribution is sym- 1000.0 1100.0 1300.0 1150.0 930.0
metric in each quadrant. If it is 180°, the distribution 650.0 350.0 0.0
is symmetric about a vertical plane. If it is greater than
180° and less than or equal to 360°, the distribution
exhibits no lateral symmetries. All other values are in-
valid.
16. The set of candela values. First all the candela val-
ues corresponding to the first horizontal angle are
listed, starting with the value corresponding to the
smallest vertical angle and moving up the associated
vertical plane. Then the candela values corresponding
to the vertical plane through the second horizontal
angle are listed, and so on until the last horizontal an-
gle. Each vertical slice of values must start on a new
310 Lightscape
This appendix describes the file types and filename extensions used in
Lightscape.
F
File Types
Animation File (.la) Material Map File (.mm)

Stores the animation keyframes and motion data Stores a mapping (correspondence) between the 256
defined in the animation menus. colors supported by DXF and Lightscape materials.
You can specify a material map file when loading a
Block Library File (.blk) DXF file. If you do, Lightscape automatically assigns
Stores a collection of Lightscape blocks. The blocks to surfaces the Lightscape material associated with
may represent geometric objects or luminaires. You their color index.
can import these blocks and luminaires into any
Lightscape model (Preparation file only). Parameters File (.df)
Stores the parameters that control the processing of a
Layer State File (.lay) radiosity solution and the display of the results. You
Stores the state (on, off, or current) of each layer in a can load this file to reset the saved parameter values.
model. You can load this file to reset the layers to the Preparation and Solution files also save these param-
saved states. eter values.
Material Library File (.atr) Preparation File (.lp)

Stores a collection of Lightscape materials. You can Stores all the basic geometric, material, and lighting
import these materials into any Lightscape model data required to run a radiosity solution in ASCII
(Preparation and Solution files). format. The file structure is very similar to the DXF
format, but is Lightscape proprietary.
311
F File Types
Solution File (.ls)

Stores the radiosity solution of the model in binary
format. This Solution file contains the geometric
information together with the photometric sample
points (mesh) for each surface.
View File (.vw)

Stores the camera parameters for a specific view. You
can load this file to reset the Graphic window to the
saved view.
312 Lightscape
Common Lamp Values
This appendix describes some common lamp values you can use as a guide for
defining luminaires in Lightscape.

G
The following table lists some commonly used lamps. number of lamps by the intensity of each lamp. For
The information in the table is approximate, however example, a 2′ x 4′ luminaire may contain (4) 4′ tubes.
you can refer to manufacturer’s documentation for This is equal to an intensity of 8,000 to 12,000 lumens.
more precise photometric data for these lamps.
Again, you can obtain more precise measurements
Note: The table information is only available in an using photometric data provided by the manufac-
IES file. turer, which will describe the luminous intensity
distribution of the luminaire.
You can approximate the intensity for a fluorescent
luminaire with a diffusing panel by multiplying the
Lamps: Classification: Watts: Type: Intensity: Beam: Field:

General Purpose Candelas
A-19/Med 60 Point 70
313
G Common Lamp Values

M—16 Low Voltage Candelas
Narrow Beam 20 Spot 3300 6 12
Medium Beam 50 Spot 3000 25 50
Wide Beam 20 Spot 460 38 75
Par—36 Low Voltage Candelas
Par—56 Line Voltage Candelas
Par—38 Line Voltage Candelas
R—40 Line Voltage Candelas
314 Lightscape
Common Lamp Values ❚❘❘

Fluorescent Tube—4H Lumens
32–40 Area 2000–3000
315
NOTES
316
H
Viewing Utilities
This appendix describes the utilities that you can use to view image files and
rendered files in Lightscape.
Viewing Utilities To start LSViewer, double-click the LSViewer icon. By

There are two viewing utilities packaged with your default, this icon is located in the Lightscape program
Lightscape application—LSViewer and LVu. Both folder.
utilities are distributed freely and do not require the
Lightscape application to run.
LSViewer displays Lightscape Solution files and
provides navigation options, display modes, and
statistical information about the model. For more You can also start LSViewer by choosing it from the
information on LSViewer, see “Using LSViewer” on Start menu.
page 317.
LVu displays image and texture files, and provides a Customizing the Display
drag and drop interface for moving files from the LVu You can toggle the toolbar and status bar on or off to
display into your Lightscape model. For more infor- customize your display.
mation about LVu, see “Using LVu” on page 320.
To customize the display:
1. To display the toolbar, choose Toolbar in the Win-
Using LSViewer dows menu.
Use the LSViewer to view your Lightscape Solution 2. To display the status bar, choose Status Bar in the
files. Windows menu.
317
H Viewing Utilities
Modifying Loading Options To load a Solution file:

Use the configuration settings to control how the 1. Choose File | Open or click the Open
layers, radiosity mesh, and textures are loaded into button on the toolbar.
LSViewer. You must modify these settings (if needed) The Open dialog appears.
prior to loading your file.
2. Navigate to the appropriate directory, select a So-
lution file, and then click Open.
To modify loading options:
1. Choose Settings | Config Load and select an op- The selected file is displayed in the LSViewer window.
tion from the menu to toggle it on or off.
2. To modify the size of textures, choose Menu bar
Settings | Config Load | Texture Size and select an op- Toolbar
tion from the menu.
A check mark appears next to the selected options.
LSViewer
Only Active Layers window
Use this option to load only the layers that are active
in the Lightscape Solution file.
Meshing
Use this option to load the meshing details associated
with the model.
Status bar
Texture Size
Use these options to specify the size of the texture Performance Statistics
images when loading textures with the model. You As a model is loading, the load time is displayed in the
can limit texture size to improve display speed. status bar. Once the load is complete, performance
statistics on the frames per second (FPS) rate,
Select: To:
number of polygons, and the number of polygons
Unlimited Load textures at their natural size. loaded per second are displayed in the status bar.
32 x 32 Scale the textures to 32 x 32 pixels.
64 x 64 Scale the textures to 64 x 64 pixels. Controlling the Model Display
128 x 128 Scale the textures to 128 x 128 pixels. You can use the shading options in the Display menu
to alter how the model appears in the window. A
256 x 256 Scale the textures to 256 x 256 pixels.
check mark appears next to the selected option.
Loading Files Wireframe

You can load any Lightscape Solution (.ls) file into the Use this option to display only the edges of surfaces as
LSViewer application for viewing. white lines.
318 Lightscape
Using LSViewer ❚❘❘
Colored Wire Auto Orbit

Use this option to display the only the surface edges of Use this option to cause the model to continuously
the model in their appropriate material color. rotate around the focus point of the current view.
Solid Auto Flip

Use this option to display surfaces of the model in Use this option to cause the model to continuously
their rendered color. flip around the center point.
Textured Walk
Use this option to display textures in the model. Use this navigation mode to use the mouse to interac-
tively “walk through” the model. The view follows the
Navigating through the Model direction of the mouse movement in the LSViewer
By default, a Solution file is loaded with the camera window.
position that was set when it was last saved. You
To use Walk:
cannot specify an explicit camera position in
LSViewer, but you can use the navigation controls to 1. To move through the model, drag the mouse in
interactively change the view of the model in the the window.
LSViewer window. 2. To increase the walkthrough speed, move the
mouse farther away from the center of the LSViewer
Auto Orbit Walk Dolly window. To decrease the speed, move the mouse clos-
er to the center of the window.
Orbit
None Auto Flip Orbit Zoom Use this navigation mode to orbit around the model.
The viewer position rotates around the focus point in
When you select one of the interactive navigation
all three axes. The direction of the mouse movement
modes (Walk, Orbit, Dolly, or Zoom), the left mouse
controls the angle of orbit.
button is used to interactively change the view. Any
movement with the mouse in the window changes the Dolly
view, based on the view control selected. Use this navigation mode to move the viewer position
forward or backward along the view path.
To navigate through the model:
1. Choose an option from the Navigation menu, or To use Dolly:
click the corresponding button on the toolbar.
1. To move the viewer position forward, drag the
2. To exit the current navigation mode, choose mouse upward in the window.
Navigation | None, or click the None button on
2. To move the viewer position backward, drag the
the toolbar.
mouse downward in the window.
None
Zoom
Use this option to disable navigation through the
Use this navigation mode to zoom in or out on the
model.
model.
319
H Viewing Utilities
To use Zoom: Using LVu

1. To zoom in on the scene (decrease the field of Use LVu to view image files, such as texture bitmap
view), drag the mouse upward in the window. files and Lightscape renderings. You can view all of
2. To zoom out on the scene (increase the field of the selected images simultaneously in thumbnail view
view), drag the mouse downward in the window. or enlarge an individual image to fit the window.
Original View
Starting LVu
Use this option to reset the view to the one that was in
To start LVu, double-click the LVu icon. By default,
place when the file was loaded.
this icon is located in the Lightscape program folder.
Level Out
Use this option to move the viewer position to the
height of the focus point.
Model Extents From within Lightscape, start LVu by choosing

Use this option to view all the entities in the model. Tools | LVu.
The focus point is set to the center of all visible entities
and the model is viewed from the front. You can also start LVu by choosing it from the Start
menu.
Viewing Geometry Statistics

In addition to displaying a model, LSViewer provides Menu bar
statistical information on the geometry of the model. Toolbar
To view geometry statistics:

Choose Settings | Geometry Stats.
The Geometry Statistics dialog appears, displaying LVu
window
information about the model.
Context
menu
Status bar
Thumbnail
320 Lightscape
Using LVu ❚❘❘
The LVu utility supports the following image file 2. Navigate to the appropriate directory, select an
formats: image (or multiple images), and then click Open.
A thumbnail of the selected image is displayed in the
LVu window.
.jpg JPEG.
.gif CompuServe Graphics Inter-
change format.
Viewing Images
You can load specific images into LVu, or you can load
3. To stop image loading, choose File | Stop Load,
all the images within a selected directory. The images
click the Stop Load button on the toolbar, or
are displayed as they are loading, so you can select press Esc.
and enlarge images during the loading process. You
can also interrupt loading at any time. To load all images in a selected directory:
LVu displays each image as a small version (thumb- 1. Choose File | Open Dir or click the Open Direc-
nail) of the image file. There is no filtering during the tory button on the toolbar.
resize—providing a crude, but faster display. The file- The Browse directory dialog appears.
name is located at the bottom of the thumbnail.
Filename
To load specific images:

1. Choose File | Open Files or click the Open Files
The Open dialog appears. 2. Navigate to the appropriate directory, select it,
and then click OK.
321
H Viewing Utilities
Thumbnails of all the images contained in the selected Maximizing Images

directory are displayed in the LVu window. You can maximize a thumbnail to fit to the size of the
window by double-clicking it. Double-click the
enlarged image to return it to thumbnail size.
3. To stop image loading, choose File | Stop Load,

click the Stop Load button on the toolbar, or
Maximized image
press Esc.
Selecting an Image Customizing the Display

You can click one of the thumbnail buttons to make it You can toggle the toolbar and status bar on or off to
the current image. When you select a thumbnail, the customize your display. Choose Toolbar in the View
image name is displayed in blue text (instead of the menu to display the toolbar. Choose Status Bar in the
normal text color). View menu to display the status bar.
You can also modify the way in which images are

displayed, including the size of the image and its
aspect ratio. Use the following options to change the
image display in the LVu window.
To change image display:

Select an option from the Images menu to toggle it on
or off.
A check mark appears next to options that are
enabled.
322 Lightscape
Using LVu ❚❘❘
Keep Aspect Ratio The filename (including path) of the selected image is
Use this option to stretch the images (thumbnail and copied to the clipboard.
maximized) to the size of the button ignoring the
aspect ratio of the image. Typically, the image will be Note: You can also right-click and choose Copy
Image or Copy Filename from the context menu that
distorted if this option is disabled.
appears.
Note: You can disable this option only if the Retain
Size option is disabled. Using the Context Menu
You can right-click an image (thumbnail or maxi-
Retain Size mized) to display the context menu. Use the context
Use this option to prevent the system from enlarging
menu to access the options in the Edit menu, as well
the image to its natural size when maximizing.
as save the image file.
Zooming is not allowed with this option.
Select: To:
Tile
Copy Image Copy the image to the clipboard.
Use this option to tile the image when it is maximized.
Copy Filename Copy the filename (including
Size (50 or 100) path) to the clipboard.
Choose a Size option to control the image size of the Save As Save the full image in any support-
thumbnails. ed image format.
Next Image Display the image following the
Select: To:
current one in the thumbnails list.
50 Display images that are 50 pixels in size. This option is only available when
100 Display images that are 100 pixels in size. viewing a maximized image.
Previous Image Display the image preceding the
current one in the thumbnails list.
Copying Images
You can copy images or image filenames to the clip- This option is only available when
board so that you can paste them into the Lightscape viewing a maximized image.
application.
Importing Images into Lightscape
To copy an image to the clipboard: You can run both the LVu and Lightscape applications
1. Click the required image to select it. at the same time to view images in LVu and apply
2. To copy the image, choose Edit | Copy Image, them to your Lightscape model.
click the Copy Image button on the toolbar, or
press Ctrl+C. To import to the Material Properties dialog:
The selected image is copied to the clipboard. 1. Right-click a material in the Materials table and
choose Edit Properties from the context menu. Alter-
3. To copy the filename, choose natively, you can double-click the material in the Ma-
Edit | Copy Filename, or click the Copy Filename terials table.
The Material Properties dialog appears.
323
H Viewing Utilities
Note: If the Materials table is not displayed, click the ▲ This procedure changes only the texture bitmap
Material table button in the Tables toolbar. If of the material. Other properties for the material
the Tables toolbar is not displayed, choose remain unchanged.
Tools | Toolbars, and select Tables from the Toolbars
dialog that appears. For more information on defining materials, see
2. Click the Texture tab in the Material Properties
dialog.
Accessing Online Help
3. Drag the selected image from the LVu window to You can access the online help feature for LVu by
the Name box on the Texture panel of the Material
choosing Index from the Help menu or by clicking the
Properties dialog.
Help Index button on the toolbar.
The image appears in the Texture preview window.
Preview window Name box
4. Click Apply to update the material definition.
Note: You can also choose Edit | Copy Filename,

and then paste the filename in the Name box.
For more information about defining materials, see

To import using drag and drop:

1. Select an image in LVu.
2. Drag the selected image from the LVu window to
a surface in the Lightscape Graphic window.
The border of the surface to which you are applying
the image is highlighted.
3. When the appropriate surface is highlighted, re-

lease the mouse button.
The image is assigned as a texture to the material defi-
nition associated with the surface.
324 Lightscape
This appendix provides you with a list of resources that provide more
information about the technology used in Lightscape.

References
I
Ashdown, Ian. Radiosity—A Programmer’s Perspec- IESNA (Illuminating Engineering Society of North
tive. New York: John Wiley & Sons, Inc., 1994. America). An Introduction to Light and Lighting. IES
ED-50. New York: IESNA, 1991.
CIBSE (The Chartered Institution of Building
Services Engineers). CIBSE Standard File Format for Calculation of Daylight Availability. IES
the Electronic Transfer of Luminaire Photometric Data. RP-21. New York: IESNA, 1984.
TM14. London: CIBSE Publications, 1988.
Color and Illumination. IES DG-1. New
Cohen, Michael F. and John R. Wallace. Radiosity and York: IESNA, 1990.
Realistic Image Synthesis. Cambridge: Academic Press
IES Standard File Format for Electronic
Professional, 1993.
Transfer of Photometric Data and Related information.
Foley, John D., Andries van Dam, Steven K. Feiner, IES LM-63. New York: IESNA, 1991.
and John F. Hughes. Computer Graphics, Principles
Nomenclature and Definitions for Illumi-
and Practice. 2nd ed. Reading, Mass.: Addison-
nating Engineering. ANSI/IES RP-16. New York:
Wesley Publishing, 1990.
ANSI and IESNA, 1986.
Glassner, Andrew S., ed. An Introduction to Ray
Recommended Practice of Daylighting.
Tracing. San Diego: Academic Press, Inc., 1989.
IES RP-5. New York: IESNA, 1979.
Hall, Roy. Illumination and Color in Computer Gener-
Recommended Practice for the Lumen
ated Imagery. New York: Springer-Verlag, 1989.
Method of Daylight Calculations. IES RP-23. New
York: IESNA, 1989.
325
I References
Rea, Mark S., ed. Lighting Handbook, Reference and

Application, 8th ed. New York: IESNA, 1993.
Sillion, François X. and Claude Puech. Radiosity &

Global Illumination. San Francisco: Morgan Kauf-
mann Publishers, Inc., 1994.
326 Lightscape
glossary Glossary
3DS file format AS units

The file format standard used by Autodesk’s 3D Stu- American System of Photometric Units.
dio application.
beam angle
accumulation buffer The angle of the spotlight aim axis at which the lumi-
An offscreen buffer where several images are nous intensity drops to 50% of its maximum. See
summed (accumulated). The resulting image is spotlight distribution.
scaled and displayed. Lightscape uses the accumula-
blending
tion buffer for antialiasing.
A rendering technique in which two colors are com-
adaptation bined into one, usually by linear interpolation. Light-
The process by which the eye adjusts to the intensity scape uses OpenGL blending to render partially
levels and colors in a scene. transparent objects.
adaptive subdivision bump mapping
The process of subdividing a radiosity mesh into Randomly displacing the surface normal on a surface
smaller mesh elements during the computation of the to make the surface appear bumpy.
illumination from a source to a receiving surface.
candela (cd)
ambient lighting The SI unit for luminous intensity.
A constant amount of light added to every surface in
checkpoint
an environment as an approximation of the effects of
A Solution file containing a snapshot of the lighting
undistributed energy.
simulation at a given instant in time. Checkpoints
antialiasing can be saved at regular intervals during the lighting
The process of reducing artifacts caused by under- simulation to ensure that the results of the computa-
sampling small, sharp details in an image. The elimi- tion are not lost in case of abnormal termination.
nation of “jaggies.”
chromatic adaptation
area light The process by which the eye becomes accustomed to
A polygonal light source of finite area. strong color shifts in an image, causing them to
appear less severe.
327
Glossary
CIBSE file format directly from a direct light source.

The standard file format adopted by the Chartered
direct source
Institution of Building Services Engineers for the
A light source.
electronic transfer of luminaire photometric data—
used in Great Britain. dolly
A camera motion toward or away from the focus
color
point.
The sensation produced by light entering the eye and
being perceived by the brain. double-buffer
A rendering technique to provide smooth interactive
color matching
display. Lightscape renders into the hidden “back”
The process of mixing a set of colored lights to create
buffer while displaying the “front” buffer. When fin-
a color that appears exactly like a test color.
ished, the buffers are instantly swapped so that the
color space back buffer becomes the (visible) front buffer. If only
A representation for color. All colors are defined with Single Buffer is used, Lightscape renders each poly-
respect to some particular color space—typically gon directly to the screen, resulting in a “flicker”
HSV and RGB. effect.
contrast DXF file format
The relative difference in illumination between two The file format standard used by Autodesk’s
adjacent regions. AutoCAD package for exchange of drawing data
criterion rating
among CAD applications. Currently the de facto
The fraction of the area of a surface that satisfies or industry standard.
exceeds a specific criterion. dynamic range
culling
The ratio of the highest intensity in an image or envi-
Lightscape provides control over backface culling, ronment to the lowest intensity. The dynamic range
which discards from the display all surfaces that face of real scenes is very large. The dynamic range that
away from the viewer. View frustum culling, which is most display devices are capable of reproducing is
always performed when rendering the model, low.
quickly discards all surfaces totally outside the field field angle
of view (view frustum). The angle of the spotlight aim axis at which the lumi-
daylight
nous intensity drops to 0. See spotlight distribution.
Availability of the luminous flux from the sun and filter
sky for a given time, location, and sky conditions. A device that changes the spectral composition of
diffuse distribution
light transmitted through it.
An axially symmetric luminous intensity distribu- footcandle (fc)
tion such that the emitted light varies as the cosine of The AS unit of illuminance, equal to 1 lumen per
the emission angle, measured from the axis of the square foot.
distribution.
form factor
diffuse reflection The fraction of the energy leaving a light source that
Incident light reflected by a surface so that the actually arrives at a receiving surface.
reflected luminance is the same in all directions.
gamma
direct illumination The nonlinear change in light intensity caused by a
Illumination resulting from light reaching a surface particular display device. Gamma is often used as the
328 Lightscape
Glossary ❚❘❘
process of compensation for this nonlinearity. intensity mapping

A type of procedural texture mapping used to vary
global illumination
the intensity over a surface to make it appear less per-
The effect of all possible types of light transport
fect and more like a real surface.
(direct illumination, indirect illumination) through-
out an environment. interlacing
A technique of displaying every other scan line when
GON file format
updating a video image. First the even scan lines are
See TBT file format.
displayed, then the odd ones. This allows the entire
hue screen to be updated only every thirtieth of a second
One of three parameters in the HSV (Hue Saturation rather than every sixtieth.
Value) color space. It describes the dominant wave-
interreflection
length of the color such as red, yellow, or green.
The reflection of light between two surfaces in the
identity transformation environment.
A function that transforms a point to itself. A geo-
Inventor file format
metric transformation that has no effect.
The file format used by Silicon Graphics Open Inven-
IES file format tor to describe the 3D scene.
The standard file format adopted by the Illuminating
inverse square law
Engineering Society for the electronic transfer of
The law stating that the illuminance measured at a
photometric data and related information—used in
point on a surface is directly proportional to the
North America.
luminous intensity of a point light source in the
illuminance direction of the receiving point and inversely propor-
The luminous flux incident on a surface of unit area. tional to the square of the distance between the
source and the point.
Illuminating Engineering Society (IES)
The technical authority for the illumination field in isotropic distribution
North America. A constant luminous intensity distribution.
indirect illumination jittering
Illumination that results from light reaching a surface A small, random change in a position or direction
after being reflected by one or more other surfaces in used to prevent aliasing artifacts.
the environment.
lambertian surface
indirect source A surface that reflects the same luminance in all
A surface that reflects light into the environment and directions. See diffuse reflection.
thus acts as a light source.
lamp
initiation An artificial source of light. Normally used to denote
The Lightscape operation that converts the initial a light bulb.
description of a model into data structures suitable
level of detail
for the radiosity processing.
A technique to improve rendering performance by
intensity magnitude eliminating detail from complex objects that only
The intensity of a light in photometric units. This cover a small area on the screen. Because the object
plus a color can be used to determine the radiometric appears small, any detail is unlikely to be visible any-
quantities needed for the simulation. way.
329
Glossary
light material
Radiant energy capable of producing a visual sensa- The set of parameters assigned to a surface that are
tion in a human observer. used by the reflection model to determine how light
interacts with it.
linear light
A light source that can be approximated as a straight material properties
line segment. See material.
LTLI file format matte surface
The luminaire photometric file format implemented A surface that scatters light uniformly in all direc-
by the Danish Illuminating Laboratory, Lysteknisk tions. It appears equally bright at any angle.
Laboratorium, in the early 1970s—used in Scandina-
mesh
vian countries.
The data structure that describes the light distribu-
lumen tion over a receiving surface. It breaks down the orig-
The SI unit of luminous flux. inal surface into a set of smaller polygonal pieces
called mesh elements. The corners of these elements,
luminaire
called mesh vertices, are shared among adjacent ele-
A light fixture complete with one or more lamps and
ments and are used to store the illumination data col-
housing.
lected during the lighting simulation.
luminance
minimize
The photometric quantity that describes light leaving
A filtering operation used by texture mapping tech-
a surface in a particular direction.
niques to determine the color of an area that covers
luminance contrast more than one pixel in image texture space.
The relative difference between luminance values of
nanometer (nm)
adjacent regions.
One billionth of a meter. A common unit for describ-
luminous exitance ing the wavelength of light.
The luminous flux leaving a surface of unit area.
normal
luminous flux See surface normal.
The quantity of light energy per unit time arriving,
OpenIRIS GL
leaving, or going through a surface.
An industry-standard application programming
luminous intensity interface for drawing 3D graphics.
The light energy per unit time emitted by a point
orbit
source in a particular direction.
A camera motion around the focus point, keeping
luminous intensity distribution the same distance.
The function that describes the directional distribu-
orientation
tion of luminous intensity of a point source.
See surface orientation.
lux
pan
The SI unit of illuminance, equal to 1 lumen per
A camera motion parallel to the screen. The focus
square meter.
point moves the same amount in the same direction
magnify as the camera.
A filtering operation used by texture mapping tech-
penumbra
niques to determine the color of an area that covers
The transition region at the boundary of a shadow
less than one pixel in image texture space.
330 Lightscape
Glossary ❚❘❘
where light shining from a source partly reaches the the same side.
receiving surface and is partly occluded by some
reflection model
other obstacle in the environment.
A description of how light interacts with a surface.
photometric web
refractive index
A regular grid of luminous intensity samples that
Ratio of the speed of light in a vacuum to the speed of
describes the luminous intensity distribution of a
light in a material. Determines the amount of light
light source.
reflected and transmitted at the interface between
photometry them.
The measurement of light taking into account the
refraction
psychophysical aspects of the human eye/brain per-
The bending of light rays as they pass from one mate-
ceptual system.
rial, such as air, into another material, such as glass.
point light
rotate
A light source so small compared to its distance from
The rotation of the camera about its center.
the observer or receiving surface that its radiation
can be assumed to come from a dimensionless lumi- saturation (of a color)
nous point. One of three parameters in the HSV (Hue, Satura-
tion, Value) color space. It describes how pure the
procedural texture mapping
color is. A color with a low saturation is very close to
A more general form of texture mapping that is usu-
gray.
ally not based on images and that can affect more
than just the material color. scroll
A camera motion parallel to the screen. In an ortho-
progressive refinement
graphic view, the focus point moves with the camera.
A technique for computing radiosity solutions that
In perspective view, the focus point remains the same
starts with the direct illumination and then computes
but the screen is tilted with respect to the view direc-
more and more of the indirect illumination until the
tion.
solution converges.
self-emitted luminance
radiosity
Luminance emitted from a surface that is not due to
A technique for solving the global illumination prob-
reflection of incoming light off that surface.
lem for diffuse environments.
shadow ray
ray offset
A line cast between a point on a light source and a
The displacement measured from the origin of a
point on a receiving surface to determine the possible
shadow ray. Intersections between a surface and a
presence of occluders that would prevent light from
shadow ray closer to the origin than the ray offset
the source from reaching the receiving surface.
amount are discarded.
SI units
ray tracing
International System of Photometric Units.
A way of computing an image based on tracing paths
of light from the eye back to the luminaires. sky conditions
The conditions of the sky at a given time and loca-
reflectance
tion; described as the fraction of the sky covered by
The ratio of the luminous flux reflected off a surface
clouds or as clear, partly cloudy, or cloudy sky.
to the luminous flux incident on it.
skylight
reflection
Light energy from the sun that reaches the scene after
Light incident on one side of a surface leaving it from
331
Glossary
scattering through the atmosphere. its axis, and whose intensity drops smoothly away
from this axis. The angle off the axis at which the
smoothing angle
luminous intensity drops to 50 percent of its maxi-
The angular threshold used during automatic com-
mum is called the beam angle. The angle off the axis
putation of vertex normals. Polygons incident on a
at which the luminous intensity is cut off to zero is
vertex share a vertex normal only if their respective
called the field angle.
surface normals form an angle that is less than the
given threshold. sunlight
Direct illumination from the sun.
soft shadow
A shadow with an area of penumbra along its bound- surface normal
ary. The direction that is perpendicular to a surface at a
point on the surface. Sometimes surface normal is
solar altitude
simply referred to as “normal.”
The angular distance from the plane of the horizon to
the sun. surface orientation
The direction of the front of the surface as deter-
solar azimuth
mined by the surface normal. The front of the surface
The angular distance from true south to the vertical
is illuminated by the lights, the back is not.
plane that contains the sun.
TBT file format
source accuracy
The file format used by Integra’s Turbo Beam Tracing
The accuracy of the calculation that computes the
to describe its light sources and associated photomet-
light contribution from a source to a receiving sur-
ric data—used in Japan. Also referred to as GON file
face.
format.
spectral curve
tessellation
A representation of a spectrum that gives the inten-
The process of subdividing a surface into smaller
sity of light at each wavelength in the visible spec-
pieces. It is often used to approximate a curved sur-
trum.
face with a set of planar polygons.
spectral quantity
texture filter method
Any quantity that varies with the wavelength of light.
Way of blurring a texture as it is applied to a surface
spectrum so that aliasing artifacts do not appear on the texture-
See visible spectrum. mapped objects.
specular reflection texture mapping
A perfect reflection off a surface in the mirror direc- The changing of material properties such as color
tion. A mirror has a very large amount of specular based on an image or procedure.
reflection.
transmission
specular transmission Light incident on one side of a surface leaving it from
An ideal transmission of light through the surface in the opposite side.
the direction determined by the angle at which the
transmittance
light strikes the surface and the index of refraction of
The ratio of the luminous flux transmitted by a sur-
the surface.
face to the luminous flux incident on it.
spotlight distribution
transparency
A luminous intensity distribution that is axially sym-
The property of a material that determines how
metric, that has maximum luminous intensity along
much light is transmitted through the surface.
332 Lightscape
Glossary ❚❘❘
value
One of three parameters in the HSV (Hue, Satura-
tion, Value) color space. It describes how dark or
light the color is.
view dependence
In a view-dependent global illumination algorithm,
moving the camera requires recomputing most of the
image rendering.
view frustum
The region of 3D space visible from a given camera
or observer. This region is a rectangular pyramid
with the apex at the observer’s eye. The near and far
clipping planes cap the top and bottom of the pyra-
mid respectively.
view independence
In a view-independent global illumination algo-
rithm, the camera can be moved and an image ren-
dered with minimal computation.
visibility
The process of determining if there are any objects
between two points in an environment. Used by the
radiosity system to determine how much light gets
from one surface to another and by the ray tracer to
determine whether a point on a surface is in the
shadow of a luminaire.
visible spectrum
The range of electromagnetic radiation (380 nm to
780 nm) to which the eye is sensitive. Often referred
to as light.
white point
The brightest white that can appear on a monitor.
The color of white points varies among monitors.
whiteness constancy
The tendency of the eye to perceive white surfaces as
white even under lights of different colors.
workplane
A surface in the scene used to collect illumination
samples for lighting analysis.
zoom
A change in the camera’s field of view (or focal
length). The camera does not move.
333
Glossary
334 Lightscape
index Index
Numerics Ambient option 45

3D Studio MAX Angle Between Normals option 59
exporting files to Lightscape 72 animation
3D Studio VIZ camera orientation, setting 227
exporting files to Lightscape 72 camera path, creating 223
3DS files, importing 65 creating 221
3DS2LP 276 creating new paths 238
displaying 222
A exporting from 3D Studio MAX or 3D Studio
VIZ 76
absorption of light 301
Accumulate Pick button 40 outputting individual frames 238
playing back 239
accumulation buffer 215
previewing 237
Active Layer Only option
for VRML files 245 rendering 218
rendering frames using batch files 284
adaptive meshing 170
saving 236
Add Multiple Instances dialog 92, 141
Add to Selection Filter option 41, 109 setting number of frames to generate 232
speed graph 231
adding
using multiple solution files 238
blocks to a model 91
keyframes to an animation 223 see also camera speed
Animation dialog 223
luminaires 131
Animation File option 217
materials to a scene 110
openings to your model 162 Animation files (.la) 218, 311
antialiasing
windows to your model 162
images 214
workplanes to layers 200
Aim button 44 using LSRAY 262
with the ray tracer 215
aiming luminaires 144
Antialiasing button 37
Align Background dialog 33
aligning textures 122 Antialiasing option for panoramic images 244
Antialiasing Samples option 210
Along Path option 228
Area All Vertices button 39
alpha channels 209
ambient approximation 171 area light 133
Ambient button 37 arrays
luminaire 141
ambient light, defined 5
335
ix Index
artifacts selecting 91
floating objects 190 using 91
jagged shadow boundaries 187 Block Library files (.blk) 311
light leaks 190 block preview 22
mach bands 191 Block selection button 40
minimizing 187 blocks
shadow leaks 188, 190 changing geometry 90
streaky shadows 191 defined 85
testing for 191 definition 81
At Path option 229 exploding 87
At Point option 229 loading from libraries 89
ATR files 311 querying instances 88
Auto Orient button 97 removing 87
Auto-Orbit option 38 replacing 89
Auto-Redraw option 38 saving to libraries 89
Avg. Reflectance option 113 Blocks table 18, 21, 85
Away From button 98 context menu 86
axes blurring textures 116
displaying 38 BMP files 114, 208, 214, 243
in speed graph 233 Branching Factors option
for VRML files 247
B Brightness (display properties) 45
backface culling 96 Brightness (texture) 116
Background (Materials Preview) 106 bulb specifications 14
Background color option 46 bump mapping 120
background image in material preview 21, 50
Baseline (bump mapping) 120 C
batch files 282 camera field of view 230
Blend option 117 camera orientation, setting 227
Blending button 37 camera paths
BLK files 311 creating 222
block definitions creating new 238
creating new 86 discontinuous 226
deleting 87 editing 224
duplicating 87 standard views 222
modifying 89 camera speed
moving insertion points 90 adjusting slope 235
renaming 88 controlling the frame rate 232
scaling 91 varying 231
block instances see also control points
adding to model 91 capping (importing DXF files) 58
copying 92 Cartesian coordinates 54
creating arrays 92 Cast Shadows option 165
deleting 87 Cast Shadows option (Luminaire Processing) 147
moving 93 check marks 83
rotating 94 Checkpoints dialog 183
scaling 95 coarse mesh 170, 173
336 Lightscape
Index ❚❘❘
color DXF2LP 274

and transparency 104 LID to CIBSE 155
combining with texture 117 LID to IES 156
components of 104 LID to LTLI 157
spectra 252 radiosity meshes to textures using LSM2T 267
sun and sky 163 Solution files to VRML using LS2VRML 271
wireframe, changing 36 coordinate systems
Color Bleed Scale option 113 Cartesian 54
color bleeding 104 converting during import 54
Color Filter option 136 Coordinate Tranformation options 55
color theory Coordinate Transformation options
adaptation 253 for VRML files 248
color matching 251 coplanar surfaces 193
color spaces 252 copying
computing with color 252 block definitions 87
display constraints 253 block instances 92
perceiving color 251 luminaire definitions 141
Colored Wireframe button 36 luminaire instances 141
Colors panel 46 materials 108
Compact File option surfaces 99
for VRML files 245 texture alignment 127
complex distribution Create Alpha Channel option 209
example 151 Create Surface dialog 100
Complexity option (procedural textures) 121 creating
computer graphics rendering 2 animations, overview 221
Constrain to X Axis button 43 batch files 282
Constrain to XY Plane button 44 blocks 86
Constrain to Y Axis button 44 camera paths 223
Constrain to YZ Plane button 44 camera paths, new 238
Constrain to Z Axis button 44 layers 83
Constrain to ZX Plane button 44 luminaire arrays 141
Context Help button 29 materials 111
context menus, displaying 24 new files/models 28
contrast openings 180
display properties 45 photometric webs 151
intensity mapping 121 surfaces 100
control points windows 180
adding to the speed curve 234 workplanes 201
changing slope of speed curve 235 Cubic projection option
deleting from speed curve 235 for panoramic images 242
moving on the speed curve 234 Culling button 37
Convert each surface to a texture per surface 205 Current Layer 19, 83
Convert Textures option Current View option 217
for VRML files 245 Cutoff values
converting for lighting analysis 197
3DS files to Preparation files using 3DS2LP 276 Cutout option 117
DXF files to Preparation files using cylindrical projection (Mesh to Texture) 206
337
ix Index
cylindrical projection (texture alignment) 122, 125 Direct Source Subdivision Accuracy option 175
Cylindrical projection option direction
for panoramic images 242 setting North 164
Director’s view 231
D Disable Solution Changes option 174, 184
daylight 159 disabling selection filters 43
and exterior models 160 display hot keys 37
and radiosity processing 166 Display Interactivity panel 49
direct illumination 166 Display menu 35, 36
enabling skylight 162 Display modes
enabling sunlight 162 for lighting analysis 196
interior models 161 Display Original View option 34
lighting models with 162 Display panel 45
place and time 164 Display Raw Textures option 180
processing parameters 165, 177 display speed, improving 118
shadows, casting 165 Display toolbar 27, 36
sky conditions 163 displaying
sky light 177 color, constraints 253
sun direction and intensity 163 light distribution 195
through windows 177 distances
Daylight option 177 measuring 101
Daylight Setup dialog 163 distribution
Daylight Through Windows and Openings Only complex example 151
option 177 diffuse 137
default material ellipsoidal example 150
changing 107 isotropic 137
deleting isotropic example 150
block definitions 87 photometric web 138
block instances 87 spot 138
keyframes from camera path 227 Document Properties dialog 36
layers 84 Dolly view button 31
layers/materials using LSPurge 281 double-sided surfaces 98
materials 109 Drag and Drop panel 51
Density option 47 Draw Every Nth Face option 49
Deselect All button 39 Duplicate option 99
Deselect Area All button 39 duplicating
Deselect Area Any button 39 block definitions 87
designs alternatives 82 materials 108
DF files 311 DWG files
dialogs, using 24 importing 62
diameter of sample sphere, changing 20, 106 DXF files
diffuse distribution (luminaires) 137 importing 56
diffuse reflection 3, 302 setting a focus point 97
Direct Control panel 163 DXF2LP 274
direct illumination 302 dynamic range mapping 253
Direct Only option 177, 182 Dynamic View mode 24
Direct Source Minimum Size option 175
338 Lightscape
Index ❚❘❘
E File menu 27
Edit menu, Selection options 40 File Units option
Edit Properties option 111 for VRML files 248
editing files
luminaire properties 139 Animation (.la) 311
material properties 111 Block Library (.blk) 311
elements, mesh 5, 170 Layer State (.lay) 311
sizing 173 Material Library (.atr) 311
ellipsoidal distribution Material Map (.mm) 311
example 150 Parameters (.df) 311
Enabled Textures option Preparation (.lp) 311
for VRML files 246 Solution (.ls) 181, 312
energy value grid 199 View (.vw) 312
Enhanced button 37 view (.vw) 34
entities Film Size option 33
see objects filter methods, texture
Environment panel 52 magnify 115
EPS files 114, 208, 214, 243 minimize 115
exploding, blocks 87 filters, selection 40
Export dialog 73, 77 finding a material in your model 109
export image formats fine-tuning radiosity solution 184
for panoramic images 243 Fixed Size option 117
export options floating objects, fixing 190
for panoramic images 242 Focal Length (View Setup) 33
for VRML files 245 Focus Point (View Setup) 32
Export Panoramic Image dialog 241 Focus Point motion spline (animation) 236
Export VRML dialog 245 fog 47
exporting frame rate control 232
3D Studio MAX files to Lightscape 72 Frame Width option 33
3D Studio VIZ files to Lightscape 72 frames
animations from 3D Studio MAX or 3D Studio definition 218
VIZ 76 on speed graph 232
panoramic images 241 outputting single 238
VRML files 245 From Toolbars option 23
exterior models 160, 177 Function option (fog) 47
F G
Far Clip Plane option 32 Generate Illumination Map option 209
Field of View option 33 Generic export option
file formats for panoramic images 242
for exporting panoramic images 243 geographical location 165
for importing 56 geometry
for texture maps 114 converting to texture maps 211
image output 214 refining 14
LSM2T 268 GIF files 114
LSRAY 259 global illumination algorithms
LSRENDER 264 defined 3
339
ix Index
glow luminaires 137

see illuminance illumination maps 209
Go button 182 image formats
goniometric diagram 150 for exporting panoramic images 243
Graphic window 18 image output formats 214
grids images
displaying 199 antialiasing 214
energy values 199 controlling the view 217
grouping ray tracing 215
objects for importing 55 rendering 249
surfaces into blocks 99 viewing 320
guidelines for modeling 192 Import 3D Studio dialog 67
Import DWG dialog 62
H Import DXF dialog 57
handles, keyframe Import Lightwave Scene dialog 69
breaking 226 importing
manipulating 225 3DS files 65
haze 47 capping 58
height DWG files 62
bump mapping 120 DXF files 56
texture size 117 layers into a model 83
Help Index button 29 Lightwave scenes 68
Help menu 29 luminaires from a library 131
help, contextual 29 overwriting/merging 55
Hemisphere option 152 smoothing 58
Hidden Line button 36 Solution files into modeling packages 248
highlights, specular 303 steps, general 53
high-quality reflection model 306 supported file formats 56
Horizontal Angle option 152 using plug-ins 56
hot keys In Direction option 228
display 37 incident light 302
file control 28 Index option 29
in preview window 23 indirect illumination 302
interactive view 30 Indirect Source Minimum Size option 175
projection view 29 Indirect Source Subdivision Accuracy option 176
transformation 43 Initialization Minimum Area option 178, 182
HSV, defined 104 initiating the model 181
hue, defined 104 Inline Nodes option
for VRML files 246
insertion point, moving
I
blocks 90
IBM PanoramIX export option
luminaires 145
for panoramic images 242
installation procedure 12
IES files 152, 155, 309
Intensity (abs) option 152
IES photometric distribution 180
Intensity (rel) option 152
illuminance
intensity distribution 137
defined 7
diffuse 137
lighting analysis 197
340 Lightscape
Index ❚❘❘
isotropic 137 saving states 84

photometric web 138 turning on/off 83
spot 138 uses for 82
Intensity Magnitude option 136 using for design alternatives 82
intensity mapping 121 Layers table 19, 82
Interactive Speed option 49 layouts
interactive view hot keys 30 testing multiple designs with layers 82
interior models 161 leaks
interlacing animation frames 218 light 190
Isolate View option 99 shadow 188, 190
isotropic distribution 137 Length tolerance option 178, 182
example 150 Length units option 46
Level of Detail dialog 246
J Level of Detail option 49
JPG files 114, 208, 214, 243 level of detail options
for VRML files 246
libraries
K
blocks 89
keyframes
luminaires 131
adding to camera path 223
materials 111
adjusting motion speed 236
LID conversion utilities 155
changing field of view 230
LID2CIBSE options 156
deleting from the camera path 227
LID2IES options 156
handles 225
LID2LTLI options 157
moving in the camera path 227
LIDs
on speed graph 232
definition 134
selecting 224
editing 149
see also animation, camera orientation, camera
positioning 134
paths
rotating 135
theory 309
L light
LA files 311 ambient 5
lamp and materials 250
color 136 and surfaces 301
values 313 defined 7
LAY files 311 in computer graphics 251
Layer State files (.lay) 311 interactions with materials 302
layers modeling 249
adding workplanes to 200 spectra 249
creating new 83 light distribution
Current Layer 83 controlling 195
definition 82 light energy statistics 198
deleting 84 light intensity
importing into a model 83 adjusting for importing 56
loading states 84 light sources
moving objects to 83 computing contribution from 174
renaming 84 computing light transfer to target 175
341
ix Index
ray tracing 189, 191 LSMERGE 273

shadow grid 176 LSnet
light installing 288
see daylight & luminaires Job Setup Panel 290
lighting JobQ Sender 298
changing during solution stage 174 Jump Starter 298
changing in a solution 184 JumpStarter Preferences 298
exterior models 160 LSRAD options 291
models with daylight 161, 162 Node Specs Panel 296
sky conditions 163 Options Panel 289
skylight 159 overview 287
sun and sky color 163 Render Log 298
sunlight 159 Scheduler 297
see daylight & luminaires Security Lock 297
lighting analysis 16, 195 toolbar buttons/hot keys 288
cutoff values 197 using 288
display modes 196 LSPURGE 281
grid controls 199 LSRAD 255
lighting quantities 196 LSRAY 220, 258
luminance rating 199 LSRAYF 277
pseudo-color display on/off 197 LSRENDER 220, 263
scale options 196 LSViewer 317
statistical tools 198 Luminaire Icon Size option 45
using reflecting and occluding surfaces in 180 luminaire preview 22
workplanes 200 Luminaire Processing dialog 147
Lighting Analysis dialog 197 Luminaire Properties dialog 132
lighting simulation Luminaire selection button 40
see radiosity luminaires 22
lighting statistics 198 adding 131
Lighting units option 46 aiming 144
Lightwave scenes, importing 68 and ray tracing 217
linear fog 47 area light 133
linear light 133 changing during solution stage 184
List of Views option 217 color filter 136
loading common lamp values 313
blocks from libraries 89 copying definitions 141
layer states 84 copying instances 141
materials 111 creating arrays 141
view files 34 defined 6, 129
local illumination algorithms, defined 2 editing properties 139
Lock Mesh option 174 illuminance 137
LOD insertion point, moving 145
for VRML files 246 intensity distribution 137
LP files 181, 311 intensity magnitude 136
LS files 181, 312 linear light 133
LS2VRML 271 luminous intensity, adjusting 137
LSM2T 267 making materials self-illuminating 114
342 Lightscape
Index ❚❘❘
modifying definitions 140 creating 111

modifying instances 140 deleting 109
moving 142 duplicating 108
photometric characteristics 22 interactions with light 302
placing 139 previewing 110
point light 133 reflectance 104, 250
renaming definitions 140 renaming 109
rotating 143 rough 105, 303
scaling 143 selection filters 41
selection filters 42 self-illuminating 114
source types 133 workflow 109
Luminaires table 18, 22, 130, 141 Materials table 18, 19
context menu 130 customizing 106
luminance displaying 105
defined 8 using 105
rating criteria 199 Max Reflectance option 113
setting 197 Max. Display Texture Size option 49
Luminance (glow) option 114 Maximum Mesh Spacing option 173
luminous flux 136 Measure Distance dialog 54, 101
defined 7 mercator projection 126
luminous intensity 136 merging
adjusting 137 files for importing 55
defined 8 Lightscape files using LSMERGE 273
luminous intensity distribution 134, 149 mesh
theory 309 adaptive 170
LVu 320 artifacts 187
coarse 170, 173
M converting to textures 204
mach bands, fixing 191 elements 182
magnify filters, texture 116 progressive refinement 171
Make Smooth option 98 replacing on a wall 210
Manually Size option 208 resetting 181
mapping modes 123 setting subdivision contrast threshold 173
material libraries 111 vertices 170, 181
Material Library files (.atr) 311 Mesh color option 46
Material Map files (.mm) 311 mesh elements 5, 170
material preview 20 preserving arrangement of 174
material properties 111 sizing 173
materials 19 Mesh Resolution option 180
adding to your scene 110 Mesh to Texture
and light 250 examples 210
assigning to surfaces 121 wizard 203
brightness 104 metal, color value range 104
changing 184 minimize filters, texture 116
color hue 104 Minimum LOD option
color saturation 104 for VRML files 247
color value 104 Minimum Mesh Spacing option 173, 175
343
ix Index
minimum system requirements 11 North

Mirror Coordinates option setting direction 164
for VRML files 248 NTSC 218
MM files 311
Mode option 151 O
modeling object UV projection 122, 207
coplanar surfaces 193 objects
guidelines 192 importing 55
occluding surfaces 192 querying 40
realistic lighting 249 selecting 38
shadow artifacts, reducing 193 transforming 43
tessellation 193 occluded surfaces 192
with regular polygons 193 Occluding option 180
modeling exterior scenes 177 Open button 28
models OpenGL
initiating 181 reflection model 305
viewing 29 rendering 214
modifying OpenGL Compatible option 209
blocks 89 OpenGL option 216, 244
luminaire definitions 140 opening
luminaire instances 140 files 28
monitor gamma 253 Opening option 180
Motion panel 233 openings
mouse modes 24 defining 162
Move object button 43 Options dialog 51
Move panel 142 Orbit view button 30
moving orientation
blocks 93 focus point 97
luminaires 142 setting surface 95
objects interactively 44 original view 34
surfaces 100 orthographic projection 122, 206
Multiple Duplicate command 92 setting 124
Multiplier option 152 Outlined button 36
output devices 253
N Overwrite any Existing Texture Files option 207
naming overwriting
materials 109 files 55
photometric webs 152
Near Clip Plane option 32, 96 P
New Block command 88 Pad Texture Edges option 209
New button 28 Pan view button 31
New Directory Name option 207 panoramic images
New Textures Base Name option 208 exporting 241
No Mesh option 181 rendering 243
non-occluding surfaces 180 Panoramic Rendering Options dialog 244
normals Parameter files (.df) 311
surface 95 Path panel 223, 227
344 Lightscape
Index ❚❘❘
Paths panel 48 Procedural Texture panel 119

phosphors 252 procedural textures, using 119
photometric Process group box 176
quantities 7 Process Parameters dialog 166, 178
photometric data Process Parameters wizard 178
representing 150 processing
photometric web distribution 138 daylight 166
Photometric Web editor 151 radiosity 172
photometric webs 149 Processing panel 165
creating 151 processing parameters
saving 152 daylight, setting 165
standard IES file format 309 radiosity 172
photometry receiver 173
defined 7 source 174
Physics panel 112 surface 179
Pick Light option 114 processing speed
Pick Panel option 134 improving 118
Pick Top Block button 40 progressive refinement 2, 5
Place panel 164 meshing 171
placing luminaires in a model 139 Project all selected geometry into one texture 205
Playback panel 237 Project Inward option 207
plug-ins projection
for importing 56 cylindrical 125, 206
PNG files 114, 208, 214, 243 inward 207
point light 133 Mercator 126
positioning object UV 127, 207
LIDs 134 orthographic 124, 206
Power of 2 option 209 reflection 126
Preparation file format (.lp) 311 spherical 126, 207
Preparation stage 14, 171 Projection toolbar 26, 29
moving surfaces 100 projection types
orienting surfaces 95 for panoramic images 242
smoothing surfaces 98 projection view hot keys 29
Preparation stage to Solution stage 16 properties
preview colors 46
blocks 22 display 45
display shading 23 display interactivity 49
luminaires 22 fog 47
materials 20 units 46
using hot keys in 23 pseudo-color visualization 196
Preview Control panel 50
Preview material option 20 Q
Preview option 22, 86, 108, 131 Query Instances command (blocks) 88
previewing Query mode 24
animations 237 Query Select button 39
Print button 28 querying
printing files 28 material on surface 109
345
ix Index
objects 40 and luminaires 217

surfaces 95 and radiosity 6
texture alignment 127 and reflection maps 127
and shadows 191
R antialiasing 215
radiosity defined 4
and color 249 light sources 189, 191
converting mesh to texture 204 options 215, 219
converting meshes using LSM2T 267 refining shadows 187
daylight 166 reflection models 305
definition 170 using batch files 283
overview 6 using LSRAY 258
processing 172 using LSRAYF 277
progressive refinement 5 view dependence in 5
reflection models 305 Ray Tracing option 187
radiosity processing RealSpace export option
and lamp types 136 for panoramic images 242
direct light only 182 real-time animations
fine-tuning 179, 184 see animation
increasing speed 238 receiver parameters 173
initiating 181 Receiving option 180
interrupting 183 recommended system requirements 11
shadows and daylight 176 redrawing the model 38
sunlight and skylight 177 refining geometry 14
theory 249 reflectance
using batch files 283 average and maximum 113
using LSRAD 255 diffuse 3
Radiosity Processing toolbar 27 of materials 250
radiosity solution spectral 3
changing light values 184 specular 3
changing lighting effects 174 Reflectance Scale option 113
changing materials 184 Reflecting option 180
improving 180 reflection
maximum value of target quantity 197 diffuse and specular 302
minimizing artifacts 187 see refractive index & smoothness
testing for artifacts 191 reflection image
Ray Bounces option 209, 216 displaying 21
for panoramic images 244 reflection maps 126
Ray Offset option 178 reflection models
Ray Trace Area options 37 OpenGL 305
Ray Trace Direct Illumination (Luminaire OpenGL compatible 306
Processing) 148 radiosity 305
Ray Trace Direct Illumination option 166, 209 ray tracing 305
for panoramic images 244 reflection of light 301
ray tracing Reflection option 21, 106
an area 219 reflection projection
and lighting models 301 defined 122
346 Lightscape
Index ❚❘❘
using 126 S
refractive index sample sphere diameter, changing 20
setting 105, 112 saturation
refreshing the display 38 definition 104
Relight existing textures 205 Save All option 110
Reload Textures option 38, 118 Save button 28
removing saving
blocks 87 animation files 236
renaming files 28
blocks 88 layer states 84
layers 84 materials in libraries 110
luminaire definitions 140 photometric webs 152
materials 109 temporary Solution files 183
rendering textures 208
animations 218 view files 34
overview 2 Scale and Transformation dialog 248
using LSRENDER 263 Scale Factor option
using ray tracing 215 for VRML files 248
views 217 Scale options
with OpenGL 214 for lighting analysis 196
Rendering dialog 239 Scale panel 144
rendering options 209 scaling
Replace textures on target geometry option 210 blocks 91, 95
Replace/Delete option 210 luminaires 143
Reset mesh on target geometry option 210 VRML files 248
Reset Mesh option 181 screen layout 17
resetting Scroll view button 31
mesh 181 Select All button 39
photometric webs 153 Select mode 24
to original view 34 selecting
Reverse button 97 block instances 91
RGB blocks 40
using color values 104 luminaires 40
RGB files 114, 208, 214, 243 objects 38
right-handed coordinate system projection method 206
see coordinate systems surfaces 40, 109
Rotate object button 43 selection filter
Rotate panel 143 adding materials to 109
Rotate view button 30 Selection Filter dialog 41
rotating selection filters
blocks 94 disabling 43
LIDs 135 luminaires 42
luminaires 143 materials 41
running using 40
batch files 283 selection options
Accumulate Pick 40
Pick Top Block 40
347
ix Index
Selection toolbar 26 Snap to Nearest Vertex option 207

self-illuminating materials 114 Soft Shadows from Sun option 209, 216
Set Viewport Size option 34 for panoramic images 244
setting Solid button 36
focus point for surfaces 97 Solution file format (.ls) 312
units of measurement for importing 54 Solution files
shading algorithms animating using multiple 238
global illumination 3 converting to VRML using LS2VRML 271
local illumination 2 exporting 241
Shading options 23 importing into modeling packages 248
Shading toolbar 26, 35 ray tracing using LSRAYF 277
Shadow Grid Size option 176 saving temporary 183
shadows viewing 317
adjusting accuracy 160 Solution files (.ls) 181
and ray tracing 191 Solution stage 15, 171
blurring 216 Solutions
casting 165 initiating 181
computing 176 progressive refinement of 171
enabling 160 resetting 192
fixing artifacts 187 Source group box 175
refining 160 Source parameters 174
refining with ray tracing 187 source types, luminaire 133
setting 180 Special Selection mode 24
soft 209 spectra 249, 252
testing appearance of 177 spectral curves
Shadows from Inactive Layers option 209, 216 and luminaires 250
Shadows option 176 spectral reflectance 3
shininess specular
definition 105 highlight 303
setting 112 material properties 112
Show Axis option 38 reflectance 3
size, viewport 34 reflection 302
sizing (texture) options 208 surfaces 3
sky speed curve
setting sun and sky color 162 adding control points 234
sky conditions 163 changing slope 235
Sky Light Accuracy option 177 deleting control points 235
Sky Light Accuracy slider 167 speed graph 231
skylight 159 changing the current time 236
processing 177 grid lines 232
slope setting axes 233
changing on speed curve 235 spherical projection 207
smoothing definition 122
images 214 setting 126
surfaces 58, 98 Spherical projection option
smoothing angle, setting 98 for panoramic images 242
Smoothing dialog 99 spot distribution 138
348 Lightscape
Index ❚❘❘
Standard toolbar 25, 28 processing parameters 179

starting projecting 205
Lightscape 17 reversing orientation 97
statistics selecting 38
analyzing lighting 198 setting a focus point 97
Stop option 183 smoothing 98, 99
Store Direct Illumination (Luminaire varying intensity 119
Processing) 148 viewing selected 99
Store Direct Illumination option 166 workplanes 200
Subdivision Contrast Threshold option 173, 181 Swap Layout option 23, 86, 108, 131
sun Symmetry option 152
color 163 system options 50
direction 163 system requirements 11
place and time 164, 165
setting up 162 T
Sun and Sky panel 163 tables
sunlight 159 changing layout 23
processing 177 Tables toolbar 27
surface target geometry (Mesh to Texture) 206
orientation 97 target quantity 198, 199
Surface Orientation dialog 96 templates
surface processing material 113
see processing parameters Texture Average option 118
Surface Processing dialog 162, 179, 201 texture filters
Surface selection button 40 magnify 116
surfaces minimize 116
adding bumps 120 texture maps
aligning textures on 122 combining with color 117
and light 301 Cutout option 117
changing materials during processing 184 loading image files 115
controlling meshing of 172, 181 supported file formats 114
creating 100 using 114
defined 81 Texture panel 114
defining as window/opening 162 texture path 118
defining as workplanes 201 textures
double-sided 98 aligning 122
duplicating 99 blurring 116
grouping into blocks 99 brightness 116
identifing reversed 96 clipping 123
identifying materials on 109 converting geometry to 204
mesh elements 5 copying or querying alignment 127
modeling guidelines 192 expanding 123
moving 100 flipping 123
normal 95 projection methods (Mesh to Texture) 206
orientation 14 reloading 38
orienting 95 rendering options 209
preparing for processing 82 setting alignment 123
349
ix Index
sizing options 208 uniformity

tiling 123 measuring 199
viewing 320 units of measurement
Textures button 37 setting for importing 54
TGA files 114, 208, 214, 243 Units panel 46
TIFF files 114, 208, 214, 243 URLs
Tilt view button 32 for VRML files 245
Time panel 165 Use Existing Texture Filenames option 207
Time units option 46 Use Surface Size option 208
Tolerances group box 178 user interface
toolbars Blocks table 21
Display 27, 36 elements 17
moving 25 Layers table 19, 82
Projection 26, 29 Luminaires table 22
Radiosity Processing 27 Materials table 19
Selection 26 using
Shading 26, 35 View Extents 33
Standard 25, 28 workplanes 200
Tables 27 utilities
Transformation 27, 43 3DS2LP 276
using 25 DXF2LP 274
View Control 26, 30 for viewing Lightscape files 317
Tools menu 51, 52 LID conversion 155
tooltips 25 LID2CIBSE 156
Towards button 98 LID2IES 156
Transformation LID2LTLI 157
toolbar 27, 43 LS2VRML 271
transformation LSM2T 267
for VRML files 248 LSMERGE 273
Transformation dialog 93, 142 LSPURGE 281
transformation hot keys 43 LSRAD 255
translation errors 68 LSRAY 220, 258
transmission of light 301 LSRAYF 277
transparency LSRENDER 220, 263
defined 104 UV projection 127
setting 112
troubleshooting V
in radiosity solution 187 value
turbulence definition 104
in intensity mapping 121 Vertical Angle option 152
Two-Sided button 98 vertices, mesh 170
typographical conventions 8 View Control toolbar 26, 30
View Extents button 33
U View files (.vw) 312
Undelete button 28 rendering 217
Undo Zoom Window button 31 View menu 29, 30
uniform fog 47 View Setup button 32
350 Lightscape
Index ❚❘❘
View Setup dialog 32 changing color 36

View Tilt option 33 Wireframe color option 46
view-dependent algorithm Wizard button 178
see ray tracing wizards
Viewer Position dialog 243 Mesh to Texture 203
Viewer Position option 32 Process Parameters 178
view-independant algorithm workflow
see radiosity Preparation stage 14
viewing radiosity processing 171
changing projection 29 Solution stage 15
images/textures 320 using materials 109
in pseudo-color 197 workplanes
models 29 using 200
Solution files 317
utilities 317 Z
viewport size 34 Zoom view button 30
views Zoom Window button 31
changing 22
changing in export files 243
controlling in rendering 217
rendering options 217
saving/loading 34
visualization
pseudo-color 196
VRML export option
for panoramic images 242
VRML files
export options 245
exporting 245
level of detail 246
setting scale and transformation 248
specifying URLs for 245
VW files 312
W
walk-through animations
see animation
white point 253
width
bump mapping 120
intensity mapping 121
texture size 117
Window option 180
windows
daylight through 177
defining surfaces as 162
wireframe
351
ix Index
352 Lightscape
Acknowledge.fm Page 303 Friday, May 21, 1999 11:44 AM
Acknowledgements
We are pleased to acknowledge the following manufacturers which have licensed digital representations of
their products for the Lightscape libraries:
Luminaires
Bega, 1005 Mark Ave., Carpenteria, CA 93013 (www.bega-us.com)
Erco Leuchten GmbH, brockhauser Weg 80-82, D-58507 Ludenscheid, Germany (www.erco.com)
Kurt Versen Company, 10 Charles St., P.O. Box 677, Westwood, New Jersey 07675
Lithonia Lighting, 1400 Lester Rd., Conyers, GA 30207 (www.lithonia.com),
including the Peerless Lighting line (www.peerless-lighting.com)
Additional luminaires are available at www.professional.erco.com
Materials
Appalachian Millwork & Lumber Co., 8230 Expansion Way, Huber Heights, OH 45424
Mannington Carpets, Inc., P.O. Box 12281, Calhoun, GA 30703 (www.mannington.com)
Marble and Granite, Inc., 29 Tower Road, Newton MA 02464 (www.marbleandgranite.com)
National Terrazzo and Mosaic Association, 110 East Market St., Leesburg VA 20176(www.ntma.com)
Cover Image Credit

Louis I. Kahn’s unbuilt Palazzo dei Congressi, Venice, Italy
Lightscape image by Kent Larson
From the book Louis I. Kahn: Unbuilt Masterworks, by Kent Larson
Monacelli Press
http://www.monacellipress.com
Acknowledge.fm Page 304 Friday, May 21, 1999 11:44 AM

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7 Using Materials 103

8 Artificial Lighting 129

Using the Luminaires Table . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 129

11 Radiosity Processing 169

12 Lighting Analysis 195

13 Mesh to Texture 203

A Light and Color 249

B Batch Processing Utilities 255

D Reflection Models 301

Reflection Model for OpenGL Display . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 305

E IES Standard File Format 309

F File Types 311

G Common Lamp Values 313

H Viewing Utilities 317

lighting simulations of three-dimensional models.

Progressive Refinement Local Illumination

Lightscape uses two global illumination algorithms:

The final illumination of the room is determined by

Ray Tracing until a maximum number of iterations is reached or

In the early 1960s, thermal engineers developed

computer graphics researchers began investigating

4. After distributing the energy from each direct Memory efficient.

You specify the brightness of a luminaire in Light-

About Lightscape Courier Used for program commands,

• Installing LSnet online file

Getting More Help

Discreet Customer Support

Discreet Documentation Department

Fax: (514) 954-7495

Summary Minimum Recommended

• System requirements Windows NT 4.0 Windows NT 4.0 with

4. If the installer prompts you to restart your com-

Windows NT or All standard equipment

In the dialogs that display the Back button, you can

Summary In the Solution stage, Lightscape alters the model

PREPARATION STAGE SOLUTION STAGE

Preparing the Model procedural textures to enhance the appearance of

Defining Materials Refining the Model

Processing the Radiosity How radiosity works is described in detail in

Radiosity Processing • Walk-through animations

Moving from Preparation Stage to Solution Stage

you use to prepare models for radiosity processing.

Summary Starting Lightscape

The Lightscape Interface Elements

A texture symbol next to the material name

Move the horizontal bar

Enabling Background and Reflection Images

The Backgroundoption helps you view the effects of Blocks Table

Note: Blocks are available only during the Prepara-

The Reflection option displays reflective highlights

You can double-click any block name to isolate the

Move the horizontal bar

To toggle the preview on or off:

Changing the View

Note: The following view controls are available in

To change the view using the context menu:

Interface Conventions In Special Selection mode, you use special opera-

• Dynamic View mode Dialogs