ARTMATIC VOYAGER 2.0

Transcription

1 ARTMATIC VOYAGER 2.0 New Features Guide

2 Many thanks to Peter Miller and Dick Scherzinger (Eonite) for their invaluable feedback and use of their images. Copyright 2011, U&I Software LLC. All images are the property of their creators and may not be reproduced without permission. Images by Eric Wenger unless otherwise noted.

3 Table of contents Requirements and Recommendations 4 What's New - Highlights 5 Note to Upgraders 6 New Feature Details 7 3D Objects, Volumetric Clouds, Texturing/Shading and Expanded Sky Model 7 General New Features & Improvements 8 New User Interface Elements 10 Cloud, Sky and Backdrop Features 12 ArtMatic Elements and Integration 21 ArtMatic Objects 24 ArtMatic Object Examples 27 Object Types 30

4 ARTMATIC VOYAGER 2.0 New Features Guide This guide covers features added in ArtMatic Voyager 2.0. These features are not yet covered in the main ArtMatic Voyager reference manual. The comprehensive manual will be available soon. Requirements and Recommendations S Y S T E M R E Q U I R E M E N T S OS X.5 or later. The software can run on any hardware that can run X.5 or later. R E C O M M E N D A T I O N S For basic landscapes that don't make use of volumetric clouds or objects, a 1.8GHz dual core or better processor should work well, but one will have to be patient with render times. 3D rendering is by its nature processor-intensive. The faster the the computer is, the faster the render times will be. For creating volumetric clouds and objects, a quad core or better computer is recommended but not required. Dual-core machines can be used, but it must be understood that some systems that make use of volumetric objects or clouds will require a considerable amount of time to render. Most of the examples in this manual were rendered on a dual-core 2.4GHz processor. When creating and rendering complex 3D objects (especially if they are being animated), you may want an 8 core machine to take full advantage of the features without spending long times waiting for previews to render. These features work on dual core machines, but users must be patient. Iterated trees and plants, for example, can be quite slow to render. ArtMatic 5 is required for designing fully-3d objects and for editing ArtMatic elements. ArtMatic Voyager New Features Guide 4

5 What's New - Highlights Credits - images by: top-left: Eonite, top-right: Peter Miller, others: Eric Wenger ArtMatic Voyager 2 has added a host of great new features. The most radical advance is our new DFRM (Distance Field Ray Marching) technology that enables ArtMatic Voyager to render ArtMatic-designed 3D objects, volumetric clouds and lights. ArtMatic Voyager is no longer just a tool for rendering landscapes but also for rendering non-landscape 3D art and objects. The ArtMatic 5/ArtMatic Voyager 2 engine features components for designing a huge variety of objects and landscape features--including arches, caves and vegetation. This opens up a world of new possibilities. ArtMatic Voyager New Features Guide 5

6 Here are the highlights: Fully-3D objects and landscape features (arches, caves, overhangs and more) via new DFRM technology Non-landscape 3D graphics including abstract and cosmic 3D graphics when used with ArtMatic 5 Improved and expanded sky and cloud model Fog and mist layers Volumetric clouds Volumetric lights Additive sky modes for lighting effects Camera effects and position tracking via ArtMatic The camera can rise above the cloud layer Multiple RGBa ArtMatic cloud layers Cloud size control Improved realism Use of up to 8 cores for rendering Control of the number of cores used when rendering in the background ArtMatic/ArtMatic Voyager hot-linking Expanded color and illumination options, including gamma control and brightness gain Expanded use of extra ArtMatic outputs for texturing, shading and lighting Binocular/stereoscopic rendering Much more! Note To Upgraders Voyager 2 documents are not backwards-compatible. Make sure to make backup copies of any old files. If you alter a document with Voyager 2, you will not be able to open the document with an older version of ArtMatic Voyager. Be sure to make backup copies of all your documents. It is also a good idea to keep an archived copy of your old version of ArtMatic Voyager in case you need to open your old documents as a reference. In some cases, an old document may render slightly different in ArtMatic Voyager 2 than it did in an older version of the software. Updating and improving the cloud models, for instance, inherently causes some variation (usually for the better) from the landscape as it rendered with an older version. ArtMatic Voyager New Features Guide 6

7 New Feature Details 3D O BJECTS, V O L U M E T R I C C L O U D S, T E X T U R I N G / S H A D I N G A N D E X P A N D E D S K Y M ODEL These are big features with a lot of implications. We cover them in detail later in this chapter but don't want you to have to read the whole chapter to get a sense of what is in store. The images below take advantage of new features that radically increase the range of images that you can create. ArtMatic Voyager 2, thanks to the ArtMatic 5 engine, now features fully-3d objects and terrain features (from ArtMatic ), volumetric clouds and lights, vastly expanded sky, cloud and light options, and new texture/ shading options for extra ArtMatic inputs. Credits (Images by): Top-left: Eonite, Top-right: Eonite, Bottom-Left: Peter Miller, Bottom- Middle: Eonite, Bottom-Right: Peter Miller ArtMatic Voyager New Features Guide 7

8 G E N E R A L N E W F E A T U R E S & I M P R O V E M E N T S Improved multi-processor use. ArtMatic Voyager uses up to 8 cores when rendering. A new preference, Max Procs, allows you to set the maximum number of cores that Voyager uses when rendering: 2, 4, or 8 tasks. Use it on a machine with 4 or more cores if you want to limit the number of threads that Voyager uses during rendering. It applies to any render to disk (regardless of whether Voyager is a foreground or background app). It does not apply to user interface rendering when Voyager is in the foreground app as the app assumes that you need maximum speed for redrawing when you are actively working. ArtMatic/ArtMatic Voyager hot-linking. After using an Edit in ArtMatic button to open an ArtMatic element such as a sky or terrain or 3D object for editing, the Voyager scene will automatically be updated when the file is saved in ArtMatic without requiring you to reload the updated element. This makes editing systems using two monitors especially convenient and interactive. When using ArtMatic Voyager together with ArtMatic, it is generally a good idea to launch ArtMatic Voyager and then launch ArtMatic by hand. If you click on an Edit in ArtMatic button before ArtMatic has been launched, an old version of ArtMatic might be opened. So, it is best to explicitly launch ArtMatic before using the Edit in ArtMatic button. Binocular rendering (Stereoscopic images). Option-click on the Render Pict to File icon to render stereograms (stereoscopic images). A couple of anaglyphs created from ArtMatic Voyager binocular renders. To view these in 3D, use red/cyan 3D glasses: Surface: No Planet mode. The surface popup now has a No Planet option. Which will render the scene with no planet surface.this is useful for using Voyager to render standalone ArtMatic objects without a planet and for creat- ing cosmic scenes. In this mode, atmos- pheric haze and the sea are turned off al- though they influence the mist if it is turned on. The Fog (mist) and sky/backdrop features are enabled. ArtMatic Voyager New Features Guide 8

9 Surface - Combination mode Alternate Sea update. The Alternate Sea combination mode has been changed to make it even better. As a result of the change, Voyager systems created with version 1.8 and earlier will not render the exactly same as in the original version; although in most cases the result will be quite similar. The new algorithm blends the ArtMatic sea with the original sea using a maximum-based algorithm (choosing the maximum of the alternate sea and the normal Voyager sea) using the parameter slider as a blending control. Unlike Max Add, Alternate Sea sets the wetness to 1. You can mix an ArtMatic alternate sea with an extra output assigned to reflections to make the sea reflective. See 2.0 Examples/Atmosphere & Gamma/Alternate Ocean where the first extra output controls the amount of self-illumination while the second controls the reflections from the sky. Bad Sea rendered in Voyager 1.8 (left) and in Voyager 2.0 (right) Example: 2.0 Examples/Atmosphere & Gamma/Alternate Ocean and the ArtMatic structure that provides the sea. [Right] The scene with the extra outputs turned off. [Inset] The ArtMatic structure used for the seen. Note the two extra outputs. Texturing and shading options via ArtMatic. ArtMatic Voyager can now make use of up to four extra outputs from ArtMatic systems to provide a number of new texturing and shading capabilities. ArtMatic 5 must be used to create systems that are compatible with these options. ArtMatic Voyager New Features Guide 9

10 N E W U S E R I N T E R F A C E E L E M E N T S E X P A N D E D C O L O R A N D I L L U M I N A T I O N O P T I O N S Ground and Sky Illumination. The Ground and Sky illumination controls were moved out of preferences and into the main user interface. They are now keyframable and stored with both keyframes and places. Global Illumination Gain. The new Global Illumination Gain control controls overall illumination gain and is performed before the gamma adjustment stage. This provides fine control of the final image quality and brightness range. See the examples in 2.0 Examples/ Atmosphere & Gamma to see some of the effects that can be achieved. Gamma controls. Individual control of the RGB (red, green, blue) gamma provides powerful new keyframable color control. These controls can be used for special effects. Create very cool atmospheres that would be difficult to achieve any other way. The gamma sliders use an exponential range where 0 means 1, 1 means the 16th power and -1 means the 1/ 16th power. TIP: Shift-click the Red gamma slider to move all the sliders together. See the examples in 2.0 Examples/Atmosphere & Gamma to see some of the effects that can be achieved. TECH NOTE: ArtMatic Voyager uses 64-bit internal color which is quantized to 32-bit color at render time. For this reason, it is better to manipulate color and brightness within ArtMatic Voyager New Features Guide 10

11 ArtMatic Voyager than to perform such adjustments in a post-processing application or image editor. A RTM A T I C O B J E C T O P T I O N S A N D C O N T R O L S Next to the surface map is a column of icon buttons that relate to the new ArtMatic object features. Detailed information is found later in this chapter. N E W S K Y O P T I O N S New options and controls have been added to the Sky Tools area. Detailed information is found later in this chapter. ArtMatic Voyager New Features Guide 11

12 Cloud, Sky and Backdrop Features Highlights. The cloud and sky model has been re-designed with many new capabilities: Improved realism Volumetric clouds Volumetric lights Multiple RGBa cloud layers Cloud size control Cloud color control New mist layer Additive ArtMatic layers for lighting effects The camera can now go above the cloud layers N EW/UP D A T E D U SER I N T E R F A C E F E A T U R E S Cloud Layer Height (updated) - the slider can now go to zero Cloud Size - the new cloud size slider allows you to adjust the cloud size Cloud Color - the new cloud color pop up influences the cloud color and brightness in high density cloud regions. The final cloud color is influenced by additional factors such as sun color and position, haze color, sky illumination slider. Set Sky center. Option-click on the Surface map to reset the center of the Sky/Cloud system. This applies to any ArtMatic-based sky element (such as clouds or volumetric slights). S K Y & C LOUD M ODEL All aspects of the sky/cloud model have been improved. Some limitations have been removed. In older versions of ArtMatic Voyager, the clouds could not be below the camera or the mountain tops. Compatibility Note! A byproduct of the comprehensive improvements is that skies created in pre-2.0 versions of in will not render precisely the same as they did in earlier versions. The overall look should be similar but will not be precisely the same. Examples. Many examples of the new features are provided in ArtMatic Voyager's 2.0 Examples folder. Mist popup (new). The new Mist popup provides three options for ground-level mist: none, thin and thick. The mist layer is independent of the haze layer. The setting is global (i.e. it is shared by all keyframes and places). The fog layer's color is the haze color. The mist is influenced by the Haze and Atmosphere settings and applies in No Planet surface mode as well. ArtMatic Voyager New Features Guide 12

13 Sky popup (updated). ArtMatic Clouds has been renamed ArtMatic Clouds/Lights to reflect the new options for ArtMatic skies. A new mode Backdrop+Clouds has been added which provides Voyager's native (non-volumetric) clouds in addition to the ArtMatic backdrop. C LOUDY S K Y - S O M E N E W B U I L T - I N C L O U D T Y P E S H A V E B E E N ADDED We have provided some great examples of skies that take advantage of the new features. You will find them in the ArtMatic Voyager's 2.0 Examples/Clouds & Volumetrics folder. When Cloudy Sky is selected from the Sky popup, these new options are found in the Cloud Type popup: Layered Cumulus. This sky type has several layers of clouds. One layer can be below the camera with the other layers above it. High layers are composed of both cirrus fibratus and alto cumulus textures. When viewed from below, clouds created with this mode can yield dramatic skies with a look that approaches that of volumetric clouds but at a much lower computation cost. Layered Cumulus Fog & Cirrus. A high layer of cirrus clouds and low layer of foggy clouds. Fog & Clouds.vy ArtMatic Voyager New Features Guide 13

14 Volumetric clouds. Small and Large. ArtMatic Voyager now features two volumetric cloud modes. Volumetric clouds provide enhanced realism but require vastly more computation than the non-volumetric cloud modes. So, they take longer to compute than nonvolumetric clouds. Realism is maintained even when the camera passes through a layer of volumetric clouds. Clouds are represented internally as full 3D density fields. Volumetric Small and Volumetric Large differ by the altitude ranges within which the clouds are rendered. Small computes clouds in a range of 4,000 meters above the elevation set by the Cloud Layer Height slider. A very high-layer of built-in (non-volumetric) cirrostratus clouds is also added. Large computes clouds in a range that extends 10,000 meters above the Cloud Layer Height setting. Volumetric Small clouds compute faster than Volumetric large since the cloud layer's is less than half as tall. Due to the nature of the volumetric rendering, draft mode gives a poor approximation of the clouds. You should use better mode at the very least for getting an idea of what the clouds will look like. If you set the Cloud Layer Height to 0, you may end up inside the clouds with an obstructed view. If this is the case (and you want the clouds to start at elevation 0), adjust the cloud size and density sliders until you are able to see. A RTM A T I C S K Y / B A C K D R O P E L E M E N T S When the sky mode is set to ArtMatic clouds/lights, there is a new Cloud Type popup with several different ArtMatic sky modes. These new modes are discussed later in this chapter. In addition to the new modes, there have been new features added for the previously existing ArtMatic sky modes. ArtMatic Voyager New Features Guide 14

15 Alpha channels in backdrops and ArtMatic 360 environments. When there is an alpha channel (i.e. the ArtMatic system has RGBA output), Voyager will blend in the Voyager sky color where the alpha value is 0. Extra outputs. Extra ArtMatic outputs are active for Skies, Environments and Backdrops if the ArtMatic system makes use of them. Camera Effects and Position. Voyager can now supply camera position (the camera projection center) to ArtMatic's global inputs A3 and A4 to ArtMatic elements which makes camera effects possible. When link to sun is turned on, the co-ordinates are sun-centered which allows you to have backdrops that follow the sun just as in ArtMatic 360 mode. If you add A3 and A4 to the X and Y co-ordinates at the top of the ArtMatic tree, the AM images will move along with the Voyager camera. Camera Effects - Extra outputs. If the mode is Artmatic Backdrop or ArtMatic 360, a second output component in the AM system will be shaded as an overlay (by compositing the output in additive mode) which makes possible effects like lens flares. Only one extra output is supported in this case. See the examples in the 2.0 Examples/Camera Space Effects folder. Camera Sun Flares.vy example. Mode: ArtMatic Backdrop. [Inset] The ArtMatic structure that provides the backdrop. In this example, the main output component (A) provides the light rays and accents the sun. The second output component (B) supplies the lens flares. Notice how A3 and A4 are ArtMatic Voyager New Features Guide 15

16 wired into the structure so that the elements follow the sun. Link Environment to Sun is turned on in ArtMatic Voyager. A RTM A T I C C L O U D S / L I G H T S P O P U P When the sky mode is set to ArtMatic clouds/lights, the Cloud Type popup appears in the user interface. The cloud/light types are: Cloud Layer, Multiple Cloud Layer, Volumetric Small, Volumetric Large, Alpha Layer, Additive Layer, Additive Multi Layer, Volumetric Light. Some of the new modes allow for multiple layers. When there are multiple layers, the Cloud Layer Height slider is the elevation of the lowest clouds/lights. Global Input Note. When Voyager is rendering clouds (but not Backdrops or ArtMatic 360), only global input A2 (the cloud's absolute height value) is defined. The other ArtMatic global inputs (A1, A3, and A4) are not defined during cloud rendering and so should not be used. Cloud Layer. This corresponds to the old ArtMatic Clouds mode. When the ArtMatic system has a single output, the clouds will be shaded as before. When there are two outputs, the leftmost output will provide a layer at the Cloud Layer Height and the other output will be rendered at a higher altitude. RGB outputs are treated as a color layer without specific cloud shading. If the output is RGBA the alpha output defines cloud density and the RGB output will modulate the cloud color selected in the Voyager user interface. Camera above cloud layer. The main cloud layer can appear below the camera to create a custom ground or sea layer as in the example below 2.0 Examples/Clouds & Volumetrics/AM RGB Layer Below. Multiple Cloud Layer. In this mode, two clouds layers are generated from the ArtMatic system even if the structure only provides one output component. If there is only one output component, ArtMatic Voyager will use it to create two identical cloud layers 5000 meters apart. If there are two parallel output components, the leftmost will be used for the lower cloud layer and the other for a layer 5000 meters higher. Additionally, there will be a built-in cirrus layer at high altitude. This mode is intended for use with ArtMatic systems that have 2 or 3 inputs and have either scalar (single-output) or RGBA output. The scalar ArtMatic Voyager New Features Guide 16

17 output or the alpha value (from RGBA) is interpreted as cloud density. The best results are attained using a 3D system (i.e. one that uses the X, Y and Z global inputs) that generates RGBA output. The two cloud layers appear different because global input A2 (Voyager Elevation) is used to mix two different RGBA color layers. Multiple Cloud Layer. ArtMatic structure with a single output component. Multiple Cloud Layer. ArtMatic structure with two RGBA components that create two different cloud layers ArtMatic Voyager New Features Guide 17

18 Volumetric Small/Volumetric Large. Voyager features two ArtMatic-based volumetric cloud options: small and large. Volumetric Small restricts the volumetric clouds to a region 4000 meters tall in order to reduce the processor load. Volumetric Large creates a region 10,000 meters tall. Because the volumetric reason is so tall, it is much more processor intensive than Volumetric Small. While you can use 2D systems, it is recommended that you use 3D systems (systems that use the X, Y and Z global inputs at the top of the ArtMatic tree). It is recommended that you do not use overly complex functions in the cloud definitions or the rendering will be very slow. The ArtMatic system can be scalar (one output), RGB or RGBA. Only a single output component is used. In addition to the Volumetric clouds, ArtMatic Voyager provides a high layer of non-volumetric Cirrostratus clouds. Volumetric Small Clouds. Example File: Volumetric AM sky.vy Alpha Layer. This ArtMatic sky mode blends the ArtMatic output but does not use cloudtype shading. This enables you to create surrealistic skies with non-cloud elements. The Cloud Density slider controls the blending of the ArtMatic system and the normal sky. The Cloud Height slider determines the altitude at which the custom sky appears. Cloud Size determines the scaling of the ArtMatic sky. This layer can cast shadows when the Cast Shadow option is turned on. In this mode, Voyager also supplies a high altitude cloud layer. Alpha Layer Sky Mode. [Left] Voyager image. [Right] ArtMatic system used for the sky. ArtMatic Voyager New Features Guide 18

19 Additive Layer. The ArtMatic output is blended with the Voyager scene which makes it appear as a glow that does not cast shadows or provide illumination. Additive Layer. Example: Laser Tech City.vy Laser Tech City s ArtMatic system. Contrast how the scene appears in Alpha Layer Mode Additive Multi Layer. Similar to Additive Layer with the addition that if the ArtMatic system is 3D (makes use of 3 global inputs: X, Y, and Z) and has two RGB (or RGBA) output components, the second RGB output is shaded as a cloud layer. Additive MultiLayer. City.vy The example s ArtMatic system. Volumetric Light - This option treats the ArtMatic system as a density field which is interpreted as a light source. Generally (but not always), you will use the 3->1 Density Shapes component as the heart of a volumetric light system. This mode requires a true 3D ArtMatic system (i.e. one in which the X, Y and Z global inputs are all used). The system is interpreted as a 3D light source. Unlike volumetric clouds, there is no upper /lower limit to the ArtMatic Voyager New Features Guide 19

20 altitude range used to interpret the density function. So the ArtMatic system must fully define the behavior of the density field. This option is very powerful, but due to the unlimited range of the density field, volumetric light fields can be quite slow to compute. The density function should be clamped so that high densities don't produce a global wash out of the rendering. Density Fields are covered in detail in the DFRM (Distance Field Ray Marching) Guide. Volumetric Lights provide illumination from a point light source that emanates from the center. To set the center position of the light system (with respect to the latitude and longitude), option-click on the Surface map. The cloud layer height sets the light source's altitude. The size of the light source is a function of the Cloud Size slider. The Cloud Density slider sets the light intensity. This light source enhances realism and works nicely when the light is spherical and centered (as in the examples below). Example file: Tunnel with volumetric fireball.vy Example file: Fireball city.vy Example File: Vol ArcLight.vy ArtMatic Voyager New Features Guide 20

21 ArtMatic Elements and Integration In addition to the new ArtMatic object and ArtMatic sky/environment features, ArtMatic Voyager 2 has expanded the ways in which it makes use of ArtMatic inputs and how it interacts with the ArtMatic application when using ArtMatic Voyager and ArtMatic concurrently. It also can send new information (such as camera and sun position) to ArtMatic. Hot-linking. If you open an ArtMatic file for editing by clicking an Edit button in ArtMatic Voyager, the ArtMatic Voyager view will be instantly updated when you choose Save from ArtMatic. NOTE: You should make sure to launch the ArtMatic application before clicking on the Edit button to ensure that the correct version of ArtMatic is launched. This is especially important if you also have the ArtMatic demo or an old version of ArtMatic on your computer. ArtMatic RGB-A color textures. When the color texture is set to ArtMatic Texture or ArtMatic Animation and the color texture has RGBA output, the alpha channel will be used to blend the colors from the ArtMatic color texture with the underlying native Voyager colors. This allows you to selectively overlay elements onto the original planet colors. In the example below, ArtMatic supplies a grass-like color texture only where the ground is relatively flat since the slope influences the alpha channel in the ArtMatic color texture file. Example file: RGBA vegetation B.vy. The grass texture appears primarily where the slope is relatively flat because the ArtMatic structure (right) uses Voyager Slope (global input A1) to control the texture and the alpha channel. The ArtMatic color texture file. A RTM A T I C E X T R A O U T P U T S ArtMatic Voyager can now take advantage of up to for extra outputs received from ArtMatic, and additional capabilities have been added for extra inputs. For the most part, the extra inputs can can be either scalar (single-output components) or RGB-A values. When an RGBA value is used, the alpha channel determines the amount of influence and the RGB ArtMatic Voyager New Features Guide 21

22 determines the actual colors. For example, you can supply a color overlay for wetness. The extra outputs can be provided by ArtMatic systems used for sky environments and backdrops as well as for color textures. Examples: See the examples in the folder 2.0 Examples/Special Shaders Example: Wetness RGBA texture.vy. The right branch of the ArtMatic structure is the extra output. It supplies ambient light and wetness via an RGBA component. Extra outputs can be mapped to: Self-illumination (formerly called Ambient Level). Self-illumination adds its own light to the scene giving the impression of a light source object. If the Extra Output is a 4-output tile (RGBA) then the light's color is determined by the RGB output and the illumination amount is determined by the Alpha output. If the Extra Output is a 1-output tile, the light color is white. Extra output mapped to self-illumination Ex.: Self Illum RGBA.vy The image without self-illumination ArtMatic Voyager New Features Guide 22

23 Wetness Level controls the amount of specular light coming from the environment. The Extra Output can be either an RGBA tile or 1-output tile. If an RGBA-out tile is used, the RGB is used to filter the natural colors when the wetness is added. Ambiant & Wetness controls the amount of diffuse (ambiant) and specular light coming from the environment. This light will be filtered the Extra Output's RGB if an RGB-A output is used. Reflection Level. The level of sharp reflections (such as from mirrors/windows). The reflected light will be filtered by the Extra Output's RGB-A output if a 4-output tile is used. Bump Map. No change from previous versions. Brightness Gain. This is a new option in ArtMatic Voyager 2. It scales the diffuse and ambient light. The RGB colors are used to filter the light if an RGB-A output is used for the Extra Output. Brightness Gain can be used to to simulate shadow and light variations and/or alter the main light in a variety of ways. C A M E R A E F F E C T S A N D P O S I T I O N Voyager can supply camera position to ArtMatic systems. Voyager 2 provides camera position (the camera projection center) to ArtMatic's global inputs A3 and A4. When the Sky mode is ArtMatic Backdrop and Link Environment to Sun is on, the position coordinates are sun-centered which allows you to have backdrops that follow the sun just as in ArtMatic 360 mode. If you add A3 and A4 to the X and Y co-ordinates at the top of the ArtMatic tree, the AM backdrop will move along with the Voyager camera. Extra outputs. If the mode is Artmatic Backdrop or ArtMatic 360, a second output in the AM system will be shaded as an overlay additive layer allowing effects like lens flares. Only one extra output is supported in this case. See the examples in the 2.0 Examples/Camera Space Effects folder. See example in the sky modes section earlier in this example. ArtMatic Voyager New Features Guide 23

24 ArtMatic Objects One of the most exciting advances in ArtMatic Voyager 2.0 is the addition of ArtMatic objects. Objects can be 2D sprites or fully-3d volumetric objects (or lights). Objects open up a huge world of possibilities: plants, buildings, flying rocks, arches, caves, overhangs, slot canyons, creatures, 3D abstracts and much more. Objects can be free-standing, flying, floating objects or elements integrated into the landscape (such as arches, caves, rocks, and more). You can create entire volumetric planet surfaces (if you want the surface to have features like overhangs that aren't possible to create with elevation maps). The ArtMatic engine has quite a few new components for creating and manipulating Voyager 3D objects. If the ArtMatic objects have keyframes, the objects will be animated. A Voyager scene can contain up to 4 ArtMatic object files. A single object file can contain more than one object. 3D objects make use of a new technology called DFRM (Distance Field Ray Marching) that allows amazing artifact-free objects and planet surfaces to be created using ArtMatic s arsenal of tools. The technology allows objects to undergo remarkable morphs and transformations. Be sure to visit our website for examples and animations created with this new technology. The examples in this manual barely scratch the surface.. The spaceship and tunnel are both DFRM true 3D features ArtMatic Voyager New Features Guide 24

25 Examples on this page provided by Peter Miller and may not be reproduced without permission. ArtMatic objects can be used to create nonlandscape 3D images and objects. ArtMatic Voyager New Features Guide 25

26 Examples on this page provided by Eonite and may not be reproduced without permission. ArtMatic objects can be used to create nonlandscape 3D images -- even abstracts such as these. ArtMatic Voyager New Features Guide 26

27 A RTM A T I C O BJECT E X A M P L E S This scene makes use of 3 ArtMatic objects: Object 1: An ArtMatic system that supplies the light ray. Object 2: Trop fish B supplies some fish. Object 3: Trop fish A supplies different fish and air bubbles The water surface is an Artmatic cloud layer. The fish are supplied by an image file via Art- Matic. Type: 2D Sprite; File Underwater Effect.vy Type: 2D Sprite; File Sprite basic birds & logo The U&I Logo, the tree and the birds are all 2D sprites supplied by ArtMatic's movie/pict component. This is a useful way to composite in a images supplied by a picture or movie into a Voyager scene. The U&I Logo is a Sprite Light which allows its opacity to be controlled within Voyager. The tree and birds are Sprites brought in from a photograph via ArtMatic. The scene uses two ArtMatic objects. Object 1 supplies the cone spread bush that appears in the center. Object 2 provides all the other plants using the jitter tile component to create non-identical copies. Type: 3D Object; File: BellBush Morning.vy Type: 3D object; File: VY Jitter Tree.vy The jitter object mode creates randomized clones of the object which allows you to define a single object (such as this plant) and have it appear many times. This is a useful way to create forests from a single instance of a tree. Each copy is randomly rotated and offset and the ArtMatic system receives a randomized value that can be used to add randomized variations to the objects. ArtMatic Voyager New Features Guide 27

28 3D object with reflection color set to its maximum which provides a perfect reflection of the entire scene. Type: 3D object; File: Object CityRefelection ArtMatic 5 provides primitives useful for creating trees, plants and grass. Type: 3D object; File: Builtin grass.vy The boulders and arch are supplied by ArtMatic objects. Type: 3D object; File: Arch & Rocks.vy This example demonstrates ArtMatic 5 s new plant and tree components. Type: 3D object; File: Palmoid lake & grass.vy ArtMatic Voyager New Features Guide 28

29 The cave from which the scene is being viewed and the spaceship are 3D objects. The stone city is part of a Combination-mode terrain. Type: 3D object A simple object deformed by a 3D noise function. Type: 3D object Overhanging cliffs, arches and other features not possible with elevation maps alone are now possible thanks to volumetric objects Type: 3D object The tunnel is a DFRM object (a tube deformed by a noise component) and the fireball effect is achieved by setting the sky mode to ArtMatic clouds/lights using the Volumetric light option. Type: 3D object File: Tunnel with volumetric fireball.vy ArtMatic Voyager New Features Guide 29

30 A 3D version of the U&I Logo created from a 2D image of the U&I Logo blended with a rectangular solid (for depth). Type: 3D object Objects User Interface. Objects themselves are created in ArtMatic. (ArtMatic 5 or later is required to create them.) You include objects in a scene by loading the ArtMatic file (just as you would load any ArtMatic element). The buttons for accessing the object-related commands are found next to the Surface map. The commands are: ArtMatic Object Position & Options. Open up a dialog box for editing the object's settings. Edit ArtMatic Object. Open the ArtMatic file for editing in ArtMatic. Reload ArtMatic Object. Reload the ArtMatic file. This forces a redraw. Generally, this is not necessary since ArtMatic Voyager will redraw automatically whenever the ArtMatic file is saved. Open ArtMatic Object. Invoke the choose file dialog so that you can pick an ArtMatic file to use as an object. O BJECT T Y P E S ArtMatic Voyager supports two basic types of ArtMatic objects: 2D Sprites and 3D volumetric objects/lights. In both cases, the ArtMatic system's output must be either scalar (a single-output component) or RGBA. 2D objects, called sprites, are simply 2D images that are composited into the Voyager scene. Fully-3D objects generally are built-around a special kind of ArtMatic system called a density field or density shape. Each type of object has ArtMatic Voyager New Features Guide 30

31 one or more variants. The object type and settings are set in the Object Settings dialog which is covered later in this chapter. Color. For both types of objects, if the output is scalar, the object's basic underlying color is white. Voyager's object settings allow this color to be modified considerably. If the Art- Matic output is RGBA, Voyager makes use of the colors sent by ArtMatic (unless you override them in the object settings dialog). Sprites. Sprites are 2D systems. They use only the XY inputs. The fish are provided from a photograph via ArtMatic. [Example file: Underwater Effect.vy] Volumetric 3D (DFRM) Objects. These are 3D systems (making use of the XYZ global inputs) and are generally based on the Density Shapes component or one of its relatives. [Example: Fractured Sphere.vy] ArtMatic Voyager New Features Guide 31

32 Volumetric Light. Volumetric objects can be opaque objects or light objects 2D O B J E C T S : S P R I T E / S P R I T E L I G H T Sprites are useful for blending 2D shapes and images into a scene. They are much less processor-intensive than 3D objects. There are two types of Sprites: Sprite Light and Sprite. The sprite is brought in as a flat object that can be rotated, scaled and positioned using the object dialog. You can use pretty much any 2D ArtMatic system as a sprite. Unlike volumetric 3D ArtMatic systems, there are no special requirements for a sprite system. The sprite modes are available when the chosen ArtMatic system uses only the XY global inputs. Example: Sprite basic birds & logo.vy. Both ArtMatic objects in the example use the same structure tree. ArtMatic Voyager New Features Guide 32

33 The example above uses two sprite objects. The U&I Software Logo is a Sprite Light with the occlusion factor set to make the image transparent. The tree and birds object is a Sprite. The tree and birds are provided via a photograph (via ArtMatic). Sprite Light objects are useful for creating overlays. They have an adjustable occlusion factor that allows the object's opacity to be adjusted. For scalar systems, the output value is treated as an alpha channel that sets the object's basic opacity. The alpha output of an RGBA system provides the basic opacity. Sprite light objects are blended with the Voyager scene using an additive transfer mode. Sprite objects have adjustable reflectivity and self-illumination. When self-illumination is set to the maximum, the object's color is purely derived from ArtMatic and is unaffected by the Voyager light. When self-illumination is at its minimum, the object's color is almost entirely derived from the Voyager environment (including the specular color and reflections). 3D O B J E C T S : V O L U M E T R I C O B J E C T S /LI G H T S (DFRM) ArtMatic Voyager can use certain ArtMatic systems to create fully-3d objects via a technology called Distance Field Ray Marching or DFRM, for short. Only ArtMatic systems that make use of the X, Y and Z global inputs can be used for 3D objects. The output should be scalar (from a one-output component) or RGBA. DFRM. There are some special requirements for ArtMatic systems to be rendered correctly as 3D objects. These are covered in greater detail in the DFRM Guide. In short, DFRM generally requires that the ArtMatic system be based on its special 3D-object components (which technically-speaking are density fields). ArtMatic 5 features new 3D-object primitives that can be turned into complex objects using ArtMatic's arsenal of tricks. DFRM can even be used to create 3D from 2D images (as discussed in the DFRM chapter). DFRM objects can be designed to be influenced by the Voyager elevation. The objects can be free-standing, floating objects or integral to the landscape. You can create entire DFRM-based landscapes for terrains that are more complex than an elevation map will allow. And, by using the No Planet, surface mode, you can user DFRM to create nonlandscape 3D images. 3D objects can make full use of the ArtMatic Extra Outputs settings (found in the Preferences dialog box). Types of objects. There are three 3D-object modes: Volumetric Opaque - a solid 3D object, Volumetric Light - a volumetric object rendered as light, Jitter Opaque - an object which is replicated (non-identically) by ArtMatic Voyager to create many clones. Create a forest from a tree. ArtMatic Voyager New Features Guide 33

34 Getting Started. Read the short document that we have supplied about DFRM as there are a few rules that you should follow for the best results. In order to help you get started, we have supplied a large number of DFRM examples in ArtMatic Voyager's 2.0 Examples folder. In particular, see the examples found in 2.0 Examples/DFRM Objects and 2.0 Examples/DFRM Life & Plants. Study the examples, and use them as starting points for your own objects. Processing Needs. Volumetric objects (Volumetric Opaque, Volumetric Lights, and Jitter Opaque) can be quite processor intensive. Single or dual processor machines will require patience and rendering can seem slow (which is simply the nature of high-quality 3D). Accurate previewing, generally will require at least good render quality (as selected in the render quality popup in the main user interface). 3D O B J E C T M ODES The 3D object mode is selected in the Object Properties dialog box. They are only available if the ArtMatic system makes use of the X, Y and Z global inputs. Volumetric Opaque. This mode creates a solid 3D object. If the ArtMatic system has only a single output value, the output defines the object's shape, and the color is white (but the apparent color can be changed using the object's specular/reflection properties). If the ArtMatic system provides RGBA output, the alpha channel defines the object's shape and the RGB outputs provide the object's colors. ArtMatic extra outputs (X Outs) are used if there are any specified in the Voyager settings. Volumetric opaque can be used for a mindboggling variety of objects and features. Be sure to explore the provided examples and also the images in our online galleries to get an idea of the possibilities. Example: Fractured Sphere.vy modified to have a single output. When the tree has one output, the object is treated as white but can be modified via the specular and reflection properties. ArtMatic Voyager New Features Guide 34

35 Example: Fractured Sphere.vy. The same system as above but with RGBA output. The colors are provided by the ArtMatic system and further influenced by the object settings. This example file is provided with ArtMatic Voyager. Volumetric Light. In this mode, Voyager scans the object repeatedly and accumulates color/opacity. The occlusion slider determines how much light from the background is occluded by the object. This mode can create a host of effects: fire, smoke, light rays, and many special effects. This mode is slower than volumetric opaque as the object (its density field) needs to be scanned inside and out (whereas evaluation of an opaque object stops where the light rays meet the object's exterior). The result is somewhat different from using the Volumetric Lights Sky Mode. Unlike the Sky Mode, volumetric light objects do not act as a light source. See the images below for a point of comparison. [Left] Volumetric Light Object. [Right] Scene using the same ArtMatic file for Volumetric Lights Sky. Note that the Volumetric Lights sky mode produces illumination while the object does not.. ArtMatic Voyager New Features Guide 35

36 Fractured Sphere with mode set to Volumetric Light Jitter Opaque. This mode replicates an object throughout an environment with small variations so that the repetitions are not identical. Voyager essentially breaks up the environment into randomized cells and instantiates one copy of the object into each cell with a 'jittered' (randomized) center and rotation. ArtMatic global A3 is sent a unique randomized value for each cell that can be used to randomize the object properties. You can use this technique to create an entire forest from a single tree. A variant of the Fractured Sphere ArtMatic object with the structure altered to make use of global input A3 (the jitter value). This provides the color and rotational variation seen in the image. When using this mode, it is best not to use ArtMatic systems that already contain a jittering component. If you do use an ArtMatic system that uses a jittering component, make sure that the ArtMatic system's jittering clip radius is smaller than Voyager's jitter cell size. This may require some experimentation to find the correct parameter values. ArtMatic Voyager New Features Guide 36

37 TECH NOTE: When the Send Terrain Elevation option is turned on, the elevation is quantized for each jitter cell in order to maintain verticals. Object Shadows. Normally, ArtMatic uses some tricks to create a shadow-effect in the vicinity of 3D objects. These faux-shadows are much quicker to calculate than true shadows and are sufficient in most cases. True shadows require cast shadows to be turned on. Turning cast shadows on can increase rendering time by a factor of 10 (the actual impact depends a lot on the contents of the scene and settings such as the sun angle). [Left] Normal faux-shadows [Right] True shadows require that cast shadows be turned on. O B J E C T P R O P E R T I E S D I A L O G The object properties dialog provides access to the ArtMatic object settings of up to four ArtMatic object files. A scene may make use of up to 4 ArtMatic object files. A red dot appears in the tab of all active objects. Object's can be made inactive temporarily (which prevents them from being drawn) by unclicking the Active checkbox. To open the dialog, click on the ArtMatic Object Position & Options icon button found next to the Surface map. The icon buttons at the top of the dialog allow you to send the current object to ArtMatic for editing, to reload the current object, or to choose another ArtMatic object file. The map view functions much like the surface overview in the main user interface. The orange lines indicate the current field of view. The blue line indicates the direction in which the camera is pointing. A blue circle indicates an ArtMatic object. The current object is marked with an x. Clicking in the overview, places the current object where you click. Click and drag on the Map Scale button (+-) to zoom the overview in or out. Click on Center to World Origin to place the object at the world's 0,0. Click on Center to Current View to place the object slightly in front of the camera's current position. ArtMatic Voyager New Features Guide 37

38 Object Position & Scale Sliders (Latitude/Longitude/Elevation/Object Scale). The object's position ban be adjusted using either the sliders or the numerical controls. The sliders are generally preferred. Slider movements are relative to the current position (just as they are in the main user interface). They are scaled to allow fine adjustments which can be difficult when using the numerical controls (which are absolute). Option-click on the sliders to make very fine adjustments. Send Terrain Elevation. For the true 3D objects, Send Terrain Elevation is an available option that allows the ArtMatic system to receive terrain elevation information via global input A2. This option is useful for allowing elevation to influence objects. For example, you can add this value to the global Y input to have jittered objects or grass follow the planet's terrain. Or you can use it to allow the terrain elevation to influence the object's color or position. The elevation information is filtered to avoid having small terrain details unduly influence the objects. Send Terrain Elevation Example. The scene below demonstrates one use of Send Terrain Elevation. Jitter Opaque is used to replicate a single boulder. The boulder's ArtMatic system is written to shift the rock's vertical position in relation to the Voyager elevation (global input A2). When Send Terrain Elevation is off, the boulders are only visible where the terrain's elevation is at or below the object's elevation (as set in the dialog box). When Send Terrain Elevation is on, the boulder elevations follow the terrain's. [Left] ArtMatic tree for the boulder objects. [Top-Left] Send Terrain Elevation allows the jittered boulders to be drawn at all elevations. [Bottom-Left] With Send Terrain Elevation off, the boulders only appear where the object elevation is at or above the terrain's elevation. ArtMatic Voyager New Features Guide 38

39 Shading popup. This popup determines the type of object that is created. The option are: Sprite, Sprite Light. Volumetric Opaque, Volumetric Light, Jitter Opaque. Sprite and Sprite Light are only available for 2D ArtMatic systems (systems that use only the X and Y global inputs). The other options are only available for 3D ArtMatic Systems (systems that make use of the X, Y and Z global inputs). The object types are described in detail earlier in this chapter. Max Height for shadows (meters). This setting allows ArtMatic Voyager to optimize shadow calculations by setting the vertical limit (in meters) at which the Voyager raymarcher stops scanning when calculating shadows. If the value is too low, some shadows may be cut-off. If it is too high, processing time will be wasted scanning in regions from which no shadow will be cast. The correct height is influenced by the object height and the light direction. The optimal value needs to be found empirically. In general, it should be the approximate maximum height of the object. O B J E C T I L L U M I N A T I O N A N D R E F L E C T I O N S E T T I N G S The different object types have somewhat different illumination and reflections settings. Volumetric Opaque / Jitter Opaque Volumetric Opaque & Jitter Opaque objects have the same color and reflection properties Ambient Level. Ambient Level (range: 0 to 1) determines how much influence the Voyager environment has on the object's color. The examples below use a scalar (1-output) object. So, its color is white. When Ambient Level is 0, the object's color is not influenced by the colors in the Voyager scene. When Ambient Level is 1, the one can see the influence of the Sky color on the object. Specular and Reflection Colors are off in the example. Ambient Level 0 Ambient Level 1 Specular Color and Reflection Color. Specular Color and Reflection Color determine the object's sheen and reflectivity. Specular Color provides diffuse reflected light and controls what you might call sheen or gloss. Reflection Color provides accurate directional reflections. Specular Color and Reflection Color have a color picker to choose the color of the reflections and an amount adjustment. Drag up/down on the amount adjustment to adjust the amount. The amount is displayed as a grayscale shade where black is 0 and ArtMatic Voyager New Features Guide 39

40 white is maximum. Direct reflections (which are controlled by Reflection Color) are processor-intensive since they are exact reflections of the entire scene. The following examples demonstrate the controls. Volumetric Lights Occlusion Factor determines the degree to which light from the background is occluded by the object. Light Density influences the light object's opacity. Occlusion 0, Light Density 0.1 Occlusion 0, Light Density 0.51 ArtMatic Voyager New Features Guide 40

41 Occlusion 1, Light Density 0.1 Occlusion 1, Light Density 0.51 Occlusion 0, Light Density 1 Occlusion 1, Light Density 1 Sprite Self illum Level (Self-illumination level). This slider controls the sprite's reliance on Voyager lighting for illumination. With Self-Illum Level at the maximum (1), the object provides all of its own illumination. When the level is 0, the object relies entirely on the Voyager environment. Its colors will only be seen if the sun is illuminating the object. Specular Color & Level, Reflection Color & Level. See the section Specular Color and Reflection Color earlier in this chapter. The images below demonstrate the influence of the Self Illum Level on the appearance of the sprite. Notice that when there is no sunlight, the object requires Self-Illum to be visible. The sprite used in this example as it appears in ArtMatic. ArtMatic Voyager New Features Guide 41

42 [Left] The image as it appears with no sun and the Self-Illum Level at 1. [Right] The same scene with Self-Illum Level = 0. [Left] Self-illum = 0 with a bright sun shining into the sprite's face. [Right] Self-illum = 0 with an equally bright sun almost overhead. Since the sun is shining down it provides little light to the sprite. Sprite Light Occlusion Factor. This setting determines the degree to which light from the background is occluded by the object. For sprites, this behaves more or less like an opacity control. [Left] Occlusion=0 and [Right] Occlusion=1 for the Sprite Light (the U&I Logo). Example: Sprite basic birds & Logo.vy ArtMatic Voyager New Features Guide 42