621 - Creating Photo-Realistic Images: A Hands-on Experience

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1 4 th Generation VLC courtesy of Edison Creating Photo-Realistic Images: A Hands-on Experience Doug Stainbrook, Solid Edge Field Support Team Leader, Siemens PLM Software #SEU13

2 Agenda: Creating Photo-Realistic Images: A Hands-on Experience Who am I? What you will learn Solid Edge capabilities Demonstrations Benefits of this topic How to learn more 4 th Generation VLC courtesy of Edison2 Page 2

3 About: Doug Stainbrook Doug Stainbrook Solid Edge Field Support Team Leader Doug Stainbrook is the team leader for the Solid Edge Field Support team. Before joining the Solid Edge team, Doug spent 10 years as a product designer in the jig and fixture, automated machinery, plastic product, and injection mold design industries. In 1999, he became a Solid Edge Application Engineer in Pennsylvania, traveling the U.S. East coast, supporting resellers with Solid Edge demonstrations and pre-sales support. In 2000, Doug moved to Huntsville, Alabama, home of Solid Edge development to work in the Field Support group. Page 3

4 What you will learn In this session we will use the built-in rendering engine in ERA to create photorealistic renderings in Solid Edge. We will look at many of the lighting, shadow and environment options that can be used to give your virtual products a real-tolife look. We will even take a look at how you can add your own photo as a background image to put your assembly in its natural environment. Don't worry, you won t need a PHD in photo rendering to follow along and understand the concepts and settings covered in this class. Page 4

5 About rendering Rendering is an artistic process Not all Engineers are artists ERA rendering fills the gap Enough pre-defined settings for Engineers Settings are flexible enough to suit Artists Why render? It s always about selling! Page 5

6 How rendering works ERA rendering is based on Lightwork technology Based on shaders Archives are the predefined settings library Lightworks is a ray tracing render application In ray tracing, a ray of light is traced in a backwards direction This means that we start from the eye or camera and trace the ray through a pixel in the image plane into the scene and determine what it hits The pixel is then set to the color values returned by the ray Page 6

7 ERA: high quality rendering Enter ERA Render the scene "Materials" applied to the Solid Edge models are used to render the scene Drag and drop predefined materials onto the Solid Edge parts to apply a new material Drag and drop backgrounds, lights etc. into the graphics are to apply to the assembly Page 7

8 ERA: high quality rendering If you open an assembly and render it, and there is no materials in the session entities, this is because there was no materials applied to any parts in the assembly Page 8

9 ERA: high quality rendering ERA will use the material settings applied in the Solid Edge part by default if a material is set When IPA'd into the part you can go to the Material Table and set the part's material Page 9

10 ERA: high quality rendering By default Solid Edge sets the Rendering color and part material style override color to best match each other Yellow for "Polypropylene, high impact" in this example Page 10

11 ERA: high quality rendering A user can override the Rendering color by changing the settings option to Rendering Select a new material from the ERA rendering material table Page 11

12 ERA: high quality rendering This setting can then be saved back to the Library and applied to the model Keep in mind that this is a RENDERING material only and does not change the Solid Edge color override for the part material setting Page 12

13 ERA: high quality rendering It is a good idea to set the Solid Edge color to best match your rendering setting to avoid confusion later This setting can be set in the same dialog box by changing the settings option to "Face and Fill Styles" Page 13

14 ERA: high quality rendering You can tweak the Face Style if you like by selecting modify, then when finished, update the Face Style setting in the library From now on any part with this material applied will have the new color setting in Solid Edge and in Rendering Page 14

15 ERA: high quality rendering Solid Edge ERA Rendering Page 15

16 ERA : high quality rendering The ERA (advanced) Glossary Page 16

17 Definitions Specular: light reflected from light vectors that are ~0 degrees to light source vectors Diffuse: light reflected from light vectors ~45 degrees to a light source vectors Ambient: light reflected from light vectors ~90 degrees to a light source vectors Emmission: an intensity value added to the sum of these three (clamped to white) Ambient Diffuse Specular Page 17

18 ERA glossary High quality render engine like ERA rendering is a world in itself Some people are working on Doctorate Thesis about rendering engine This kind of render involves real-life physics and optics, which are virtualized through complex mathematical algorithm, here being shaders We will see here some terms that need some lighting Page 18

19 ERA glossary : SHADER A shader is a rendering algorithm designed to mimic a real-world look for a material, rendering mode, light, etc. Every component in ERA is based on a shader Every shader has multiple options to control the look and feel of the material, light, render mode, etc. Page 19

20 ERA glossary : LIGHTS : Intensity Default light intensity units is "empirical" No "scientific" units attached to the value Only a "reference" value for usability All lights can be driven by empirical intensity units Other values are "physical" units Depends on the light type Candela, Lumen, Nit, Lux and foot-candle Empirical units are acceptable 99% of the time Page 20

21 ERA glossary : LIGHTS : Sky type A Sky light has a "Type" option CIE : Commission Internationale de l Éclairage (International Lighting Committee) IESNA : Illuminating Engineering Society of North-America Clear sky is more complex than overcast, so it will demand more resource to render Page 21

22 ERA Glossary : LIGHTS : Sun Alpha & AOD A "sun" light has a "sky type" setting This changes the look of the sunlight depending on : Cloudiness, Atmospheric pressure Alpha (aerosol type) : Maritime, Rural & Urban AOD (Aerosol Optical Depth) These are scientific settings. Gases in the air transform the sunlight. You can tweak these settings here. Page 22

23 ERA Glossary : MATERIALS : Anisotropic A Material reflectance shader can be "anisotropic" Wrapped, Wrapped Circular, Wrapped Woven Approximation of surface with parallel scratches or ridges The reflection is perpendicular to the material s grain Hair, brushed metals, satin Page 23

24 ERA Glossary : MATERIALS : Bump Map A Material displacement shader can be a wrapped "bump map" A bump map is a gray scale image that is read by the render engine and translated into a 3D texture. Light portion will be "raised" Dark portion will be "depressed" The bump map will react to the lights applied Page 24

25 ERA Glossary : MATERIALS : Bump Map You can create your own bump maps Page 25

26 ERA Glossary : MATERIALS : Bump Map Add "blur" with an image treatment software to your bitmap in order to have a gradient affect in the transition Page 26

27 ERA Glossary : MATERIALS : Bump Map You can also add special effect on your bitmap Here, we added a "frosted glass" effect Page 27

28 ERA Glossary : MATERIALS : Wrapped mask A material transparency can be a "wrapped mask" We used the same bitmap as the bump map (displacement), combined with transparency, to achieve this cool material + Shadow transparency (light) must be turned ON to obtain this effect with a wrapped mask Page 28

29 Lab 1 ERA Exploration Try to stick to the plan, but you can explore on your own some too. Page 29

30 Lab 1 Open StopWatch.asm Open As Last Saved Increase the sharpness setting Enter ERA environment Tools Tab > Environs group > ERA Let the system do the first render by selecting render Scene Note : You can cancel the render by pressing the Escape key Page 30

31 Lab 1 Click on Render setup Explore the Automatic Render Options Check Use Progressive Rendering Click OK to accept the changes and exit the dialog box Select Scene icon to do a complete render and notice how the system works when doing a progressive render System will do 3 render passes The goal of progressive rendering is to have a fast and rough render (first and second pass) when render time is long. This will help you see roughly if lights, shadows and other settings are satisfactory before doing the final render pass (3rd pass). Press Esc to cancel if it doesn't look right Page 31

32 Lab 1 Go back in Render Options and check OFF progressive rendering. We will not need this setting for this session Notice the 2 tabs that were added to the Edgebar First tab: Pre-defined Archive: access pre-defined settings libraries. Access custom libraries management tools. Second tab: Session Entities : contains all of the settings for the current session Page 32

33 Lab 1 Explore some folders like Materials and Light Studios Notice the preview of the materials at the bottom of the Edgebar. You can select a folder and you will see all the entities contained in that folder Notice the tools available at the top. Those tools are used to create, save, open and close custom archives. You can only open LightWork Archive, (*.LWA files). Page 33

34 Lab 1 Click Session Entities tab in the Edgebar Expand Lighting Studio Notice the check box on the left of each light. These are the light switch to turn ON and OFF a light, without having to delete it. Check OFF the Distant (2) light Do a complete render Notice that the scene is almost all black. The light we turned OFF was the main light. Page 34

35 Lab 1 Go in the Predefined Archive tab Expand the Predefined Library Light Studios -> High-Contrast Drag and Drop Key Spot Highlight with Fill light studio into the graphics window. Do a complete render just to have a comparison point. Page 35

36 Lab 1 Go in Session Entities tab Explore the new light system that you just applied RMB on Key Spot light and click Edit Definition Or double click on Key Spot Notice the options on this Light Editor Placement tab Show advanced setting Check box (bottom right) Show active light only Check box (bottom right) Page 36

37 Lab 1 Notice the scene in the preview becomes darker when Show active light only is checked This is because when this option is checked ON, the system turns OFF all lights but the one you are editing. This makes light edition easier because you will see exactly the impact of your modifications. Uncheck Show active light only Scroll though the available options for this spot light Page 37

38 Lab 1 Uncheck Show advanced settings The Settings tab will update This will filter all advanced settings for this light type Advanced settings will still be honored when in basic mode. Basic options will be different from one light type to another. Also, remember that basic and advanced settings are available for materials, render modes, etc. BASIC SETTINGS Page 38

39 Lab 1 Check Show advanced settings Take a look at the position value Location : 2.75 ; -1 ; 9 To : 0 ; ; 0 Click on the Placement tab On the left, you have the standard view manipulation tools (zoom and pan) The last icon on the right (Move Light button) needs to be selected in order to move the light dynamically The remaining 3 buttons are pre-set views. You can t 3D-rotate the model in the placement window. You can only use a front, top and right view as reference to the dynamic move Page 39

40 Lab 1 Notice that for this spot light, you can : Reposition the Location value (the origin of the light) Move the Location blue handle Reposition the To value (the target of the light) Move the To red handle Move the whole light in one shot Move the red handle between the origin and the target Resize the cone angle of the spot light Move one of the red handles at the silhouette point of the ellipse Different options will be available, depending on the light type (distant, point, etc ). Move the light and notice the preview updating after you release the red handle Page 40

41 Lab 1 Click on the Settings tab Notice that the Location and To values have changed. You can position the light dynamically with the Placement options, and fine-tune it with location and to values Another way to change the position is in the Settings tab Scroll down in the Settings tab, all the way to the bottom Notice the 2 options Latitude (North-South) Longitude (East-West) These settings are a fast way to fine tune the light s position, in the same direction as its lighting vector. Page 41

42 Lab 1 Click OK to accept your modifications and exit the dialog box. Right mouse button click on Lighting Studio -> Add Double click on New Spot Light to edit the definition Change the light type for Point Page 42

43 Lab 1 Select the Placement tab Notice the there are no cones in the placement window. Each light type will have its different options, and different way to position it A point light doesn t have a vector direction, neither a cone angle value, only a location (origin). This is why you only see a blue handle to position the light. Notice that you see white arrows in the light placement window. This shows the location and vector s direction for each light in the scene. Play with the position of the light Page 43

44 Lab 1 Change the light type and see the different options available for each light type Change Show advanced settings value and notice the different filtered options for each light type. This concludes the ERA Exploration Lab. Page 44

45 ERA: high quality rendering Using real-life photo as background Page 45

46 Using real-life photos as background Showing your model in its natural habitat is often the best way to sell it It will be easier for your customers to imagine the product in their mind The closer you are to reality, the more chance you have to sell your product That s why you should consider using real-life photos as backgrounds Page 46

47 Using real-life photos as background Things to think about before going out with your camera : Outdoor scene Is it a cloudy or sunny day? Sunny day will be easier to re-create virtually because shadows are better defined by the Sun Do I see any ads or signs? Any people walking by? Maybe you will have to blurr them Do I want to show Chevys in the background when I present an image to Ford? What time of day? Dawn and dusk usually give the best lighting Page 47

48 Using real-life photos as background Things to think about before going out with your camera : Indoor scene : Do I want to see people in my photo? Is there any obstacle that would destroy my realistic scene? Electric cables, shelves Are the shadows well defined? Do I see outside in a window? You may have to rework your image to balance lighting and contrast Any trademarks? Any «dangerous» situation? Page 48

49 Using real-life photos as background Examine the shadows in the photo You can flip your image if it doesn t correspond to the principal view of your model Which type of light shoud I use? If the model is "far" from the camera 1 ambient light and 1 sun light should do the trick If it is a close-up view 1 ambient, 1 sun light, 1 sky light and some distant lights (with shadows turned off for distant lights) Page 49

50 Using real-life photos as background Use a scene "shadow only" This will cast transparent shadows on top of the background Tweak the lights intensity Always refer to the photo s shadows and lighting Normally, only 1 light should cast shadows in your scene (Sun for outdoor scene) Avoid using predefined Light Studio "Blue Sky" and "Blue Sky with Sun" They contain over 40 lights each, which will take too long to render for not much gain Page 50

51 Using real-life photos as background Lab 2 Create this image Page 51

52 Lab 2 Open Parking_StreetLight_Render.asm Enter ERA and Render the Scene Materials are already applied for your convenience. Undock the graphics window Click on the icon to the left of the X (close), or go to the Views tab -> Windows group -> Arrange -> Tiled Resize the window so it makes a square (doesn t need to be perfect) Page 52

53 Lab 2 In the Session Entities tab, explore the Lighting Studio Some lights are already applied 1 ambient light 1 sun light Double click on Background to edit definition Change the shader from plain to Scaled Image Page 53

54 Lab 2 Select ( ) next to file name. Browse to the same folder where you opened the assembly. Select parking_lot.jpg May need to uncheck Advanced Settings and recheck to get settings to appear Notice the preview and the available settings We will not change any settings for now Page 54

55 Lab 2 Click OK to accept the modifications and exit Do a complete render Using the middle mouse button, rotate your model a little bit Notice that you lose your background; therefore, you cannot position your model with precision relative to the image. Let s fix that. In the Solid Edge Command ribbon -> View Tab -> View Overrides Page 55

56 Lab 2 Select the Background tab In the Type box, change the Solid Edge default to Image Select Browse and select the same image file (parking_lot.jpg) as for the ERA background Page 56

57 Lab 2 Click OK to accept the modifications and exit Do a complete render You will notice that the standard and the ERA background are slightly different. This is because ERA and the normal view display do not handle images in the same fashion. It can be possible that the image stretches or is being cropped when doing render. Page 57

58 Lab 2 In order to have the same image in the normal view and the rendered view, you need to do this: Drag left or right the vertical edge of the graphic window. You will see the background image being uncropped until it starts to stretch. Find to correct position of the window s edge so the image doesn t stretch. Repeat the same procedure for the horizontal (bottom) edge of the window. Once your image doesn t stretch, the normal display background and the rendered background will match closely. Page 58

59 Lab 2 In the normal display mode, position the street light relative to the background so it looks realistic. Page 59

60 Lab 2 In order to have a more realistic look, add a perspective angle corresponding to the image Go in menu -> View Tab -> View Overrides In the Rendering tab, select the perspective angle and set it to Wide 35mm Click OK to accept the modifications and exit Page 60

61 Lab 2 Fine tune the street light position You can save a named view with this view setting to be able to re-use the view later. Do a complete render Notice that the background seems to be brighter than the rest of the scene. We will do 2 things to fix that. Double click on Background to edit its definition Change the Image Brightness to 0.8 Notice the preview Click OK to dismiss Page 61

62 Lab 2 Do a complete render If the results are not satisfying, you can double click on the Ambient light and edit its definition Set the ambient light intensity to a higher value (0.5) Do a complete render Page 62

63 Lab 2 There is something missing a shadow on the ground In the Predefined Archive tab go to Scenery -> Circular Bases Drag & Drop Shadows Only in the graphics window Do a complete render Now you see a shadow on the ground, but it may not look realistic. Take a good look at the background image and try to determine the shadow length and orientation relative to the model. Page 63

64 Lab 2 In the Session Entities tab, double click on Sun light to edit its definition Change the light s Altitude and Azimuth (the first 2 settings) with slight variations. Notice the preview updating Modify the shadow settings as shown When you are satisfied with the orientation, click OK to accept the modifications and exit Do a complete render This concludes the Using real photo as background lab. Page 64

65 ERA: high quality rendering Atmospheric Effects : Scattering Medium Page 65

66 Atmospheric Effect : Scattering Medium Foregrounds are an easy way to give a realistic feeling to your render Most foregrounds simulates atmospheric effects, that can interact with your model Scattering Medium is a great way to simulate dust or smoke in your scene Page 66

67 Atmospheric Effect : Scattering Medium Scattering medium can cast (receive) shadows Scattering effect is controlled by each individual light The best lights to use are spots and projector Page 67

68 ERA Glossary : Projector Light A projector light is identical to a movie projector Identical settings to a spot light, plus user must define an image file that will be projected Combined with scattering, the image will be "diffused" into the dust Page 68

69 Atmospheric Effect : Scattering Medium Main settings are : Page 69

70 Atmospheric Effect : Scattering Medium Different scattering models (algorithm) can be used to calculate the image Isotropic Default one, will work for the majority of the applications Rayleigh Mie Hazy Mie Hurky When you look at the light directly Henyey-Greenstein Only model that use "Eccentricity" value 0 = isotropic, positive value will cast light forward of its origin Page 70

71 Atmospheric Effect : Scattering Medium Some examples with the light pointing toward the camera Page 71

72 Atmospheric Effect : Scattering Medium If the "dust" looks pitted, increase Min LOD in small steps Use the lowest value acceptable since this has a great impact on rendering time Page 72

73 Atmospheric Effect : Scattering Medium Labs 3 and 4 You will recreate this scene, using a scattering medium Page 73

74 Lab 3 Open Park_Bench.asm You can inactivate all parts when opening. This will free up some RAM. Enter ERA and Render the Scene In the Session Entities tab, expand the Lighting Studio Delete all lights except Ambient Page 74

75 Lab 3 The Background is already set with a plain black color Scattering is more visible when you have a dark background Right click on the Lighting Studio and click Add Double click on the New Spot Light to edit is definition Set the following settings : Page 75

76 Lab 3 Do a complete render to have a good comparison point Double click on Foreground Change the shader from none to Scattering Medium Explore the available settings, but don t change anything Click OK to accept the modifications and exit. Do a complete render Nothing changed, right? This is normal. You can control the scattering effect on a per light basis. Let s fix that Page 76

77 Lab 3 Double click on New Spot Light Scroll down in the options, locate Scattering and check the box to turn it ON Click OK to accept the modifications and exit. Do a complete render The scattering is there, but it is not really evident. Page 77

78 Lab 3 Double click Foreground Adjust the medium density to 0.15 Notice the preview Adjust the Min LOD to 0.05 Notice that the dust seems to have porosity. This is a quality setting that you can control Page 78

79 Lab 3 Adjust the Min LOD to 0.2 The Scattering Medium should look smooth You should always use the lowest value for LOD because it has a major effect on rendering time. Adjust the Medium Attenuation to 0.2 This should simulate a depth cue type of effect. The dust will blur some portion of the model Try different Scattering Model Page 79

80 Lab 3 Results will vary depending on the location of the light, and the location of the point of view. Change the scattering model to Henyey-Greenstein Change the eccentricity value to positive and negative and notice the results Eccentricity changes are only applicable when using the Henyey- Greenstein scattering model. Click OK to accept the modifications and exit. Try different light position to see the effect on the scattering medium Try also different Fall Off settings in the Spot Light option and see how it reacts to the scattering medium This concludes the Atmospheric Effects: Scattering Medium lab. Page 80

81 Lab 3 Results will vary depending on the location of the light, and the location of the point of view. Change the scattering model to Henyey-Greenstein Change the eccentricity value to positive and negative and notice the results Eccentricity changes are only applicable when using the Henyey- Greenstein scattering model. Click OK to accept the modifications and exit. Try different light position to see the effect on the scattering medium Try also different Fall Off settings in the Spot Light option and see how it reacts to the scattering medium This concludes the Atmospheric Effects: Scattering Medium lab. Page 81

82 Lab 4 Lab 4 Close the Park_Bench.asm and open Park_Bench-depthcue.asm Enter ERA and Render the scene In the Session Entities tab, expand the Scene entry Double click on Base to edit Click on the second tab Configuration Change the X scale to a value of 3 Notice that the Y and Z values change according to the X value. Click OK to accept and exit the editor Page 82

83 Lab 4 Select the Named View button at the bottom of your screen Select View3 This will orient the model so you will see your depth cue results better Do a complete render and notice the result Page 83

84 Lab 4 In the Session Entities tab, Double click Foreground Change the shader to Depth Cue Take a look at the available options Near: The distance at which the color of objects begins to be affected. Far: The distance at which objects will no longer be visible. Page 84

85 Lab 4 Make sure the Background Color is set to Black Try these combinations of values for Depth Cue and notice the preview. Don t forget to press Enter to accept the new value. Combination #1 Near : 0 Far : 10 Combination #2 Near : 3 Far : 10 Combination #3 Near : 7 Far : 8 The less difference there is between those values, the smaller the gradient transition will be. Page 85

86 Lab 4 Now, change the values as Near : 3 Far : 9 Click OK to accept and exit the editor Do a complete render and notice the result You can try the same thing but change the color of the Depth Cue to White. You will see that the feeling of the image is totally different. This concludes the Atmospheric Effect: Depth Cue lab Page 86

87 ERA: high-quality rendering Rendering workflow Page 87

88 Rendering Workflow Give yourself a goal (and a timeline ) What is the purpose? Marketing / Web site / Prints / Internal / Customer approval Where is my focus? Specific part / global assembly / environment Create a copy of your assembly Setup your scene Show / Hide parts + Position them Environment Save pre-defined views + Perspective Page 88

89 Rendering Workflow Enter ERA Render the Scene Scroll through mapped materials, lights and background Analyze the default rendered image Any errors in the geometry? Page 89

90 Rendering Workflow Lower quality settings Sharpness Setup Background Setup Materials (basic) To scene or not to scene? Setup lights Page 90

91 Rendering Workflow Tweak materials SAVE!!! Add perspective and fine tune the view Multiple views? Foreground? Crank up rendering quality Photorealistic or artistic image? Sharpness Page 91

92 Rendering Workflow Save your results Print screen or "save as image"? Save your custom archives Save your assembly Page 92

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