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propstuff

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  1. I have some vague memory it can be done but dont quote me. By default it is generally the bottom left corner of the image.
  2. Start in plan view For 1/4 of the whole diamond; Place 3D loci at each of the verticies where the planes intersect Select only the verticies from the top plane of the diamond Go to Front view Use the side elevation view to raise the top verticies to the correct Z height. Go back to top view and select the verticies from the next level down. Go back to front view and move those into the correct Z height. Repeat for all the verticies Go to a 3D view Use the 3D Poly tool and snap between the verticies to make each individual face of the 1/4 diamond. After you have all the faces, select them all and Duplicate Array circular to make the other 3/4 of the diamond. They all should meet up with no gaps. If they don't it's probably because the original verticies were not exactly in the correct location. You may need to use the general snapping/ moving/ array tools etc to make sure they are sitting exactly on 1/4 spacings After they are all in the right place select them all and Add Solids to make one thing out of it all. Apply the texture to the Solid Addition This one was done in VW10 I think
  3. I would start by making the image based texture the size of the 5 boxes across. Then apply the texture to the boxes. In the OIP set the first to 0 offset, the second offset to minus 1/5 of the total width, the third minus 2/5 of the total etc, etc IE the "origin" of the texture stays in the same place. Forgot to say, you will probably have to change the Mapping type to Plane. If your boxes are extrudes you can apply the texture to the top and bottom individually but all the the sides in one go. If you want to apply it to only one "side" face you will have to Extract the face, offset it from the Extrude by a miniscule amount and apply the texture to that. The sample is 5 extrudes of 100mm The texture is set to 500 across. The first off set is set to -50 (half the width of the object) the second -150 etc I have separated the extrudes by 2mm so you can see the joins. Otherwise the seam is not visible when rendered
  4. Bruce, Jonathan would be using an HDRI as environment lighting with some bounces turned on and one directional light (or the heliodon) as the sunlight casting the bright patches on the floor. Area lights in the openings still produce better lighting of the insides of for rooms with regular sized openings IMHO than just the above 2. If the Render Geometry tab of the area lights is unticked you will not see the glowing area, it will just emit light. Playing with Realistic or Smooth falloff with the area lights will change the amount of light that's pushed into the room and can be adjusted for the light from each opening. Set the environment lighting to 4 bounces and make all the light objects have Soft Shadows in the OIP HTH
  5. Mesh smoothing usually works for me, although ocaisionally if you import Mesh objects into VW they will come as a group of bazillion 3D polys and not a mesh. In that case smoothing will not work. The polys can sometime be composed into a mesh, or if that doesn't work Export as 3DS and import back in will usually work. Very occasionally I've seen meshes not smooth with the command, but rarely.
  6. Professional versions cant open edu versions; in Australia at least
  7. forgot to add, also turn off all the lights that do not effect your current view. thew following are some general tips. some are out of dat and some may not apply to V11 SETTING LIGHTING 1. Use the least number of lights you can to get the effect you want; more lights = slower renders. 2. Name the lights when you place them so that you can identify them in the Visualisation Plallette 3. Open GL, Final RW and Environmental lighting renders all represent lighting differently. You must set the lighting levels you want in the Rendering mode you want. If you set the lighting levels in Open GL, it won?t look the same in Final RW, or with Environmental lighting. 4. If you want Final RW, you can use Fast RW as a quicker (reasonable) approximation of the lighting levels for testing purposes. 5. You can set Custom RW to a low setting to get a quicker approximation of the lighting for testing purposes 6. If you are setting lighting levels, you don?t really need all the furniture etc in the scene; turn off their Classes, or send them to the Temp layer to make the test renders faster. 7. Place all the lights in the main layer/s with the Walls (EG ground floor, first floor) so you don?t have stray lights in other Layers 8. If you have a ?set? of lights, EG a bank of downlights, you can turn them into a Symbol and you will get a single brightness control in the OIP that will control them all. 9. Generally Environmental Lighting renders are best for Interior scenes, and HDRI lighting is best for Exterior scenes. If you try to use both together for interiors, the render times will increase, and the results might not be worth it. APPLYING TEXTURES 1. Textures look different depending on the Rendering mode you use. You have to tweak the textures in the render mode you want to use. The ?fast? options of the render modes are low detail settings (that?s one reason why they are fast) and will not look the same as the Final version. 2. When you are mapping textures to specific object, send the object to the Temp or Working layer so you don?t have to render the entire scene to see the result of the Texture tweaks on the object. 3. Place a ?similar? approximation of the final lighting rig in the Working layer so you see what the effect of the lighting will be on the texture of the object. It doesn?t have to be as detailed, but more than just one simple light. 4. Applying Bump Shaders to textures will improve their illusion of reality, but slow the render times. 5. Applying a lot of transparency and reflective Shaders will also increase render times a lot. 6. Image based textures will generally look better than Procedural Shaders. RENDERING 1. The screen render time is dependant partly on the size of the perspective ?window?. Make the window smaller (zoom out) for lighting test renders to make the screen draw times less. 2. If you?re testing something at the bottom of your scene, reduce the perspective window so the part you are interested in draws first rater than waiting for the whole scene to render. 3. In order to export an image in a particular rendering mode, the scene must first be rendered in that mode. Commence the rendering in the mode you want, then after it?s started, hit the Esc key to stop the render. You can then do the Export process and it will remember the Rendering Mode without having to wait for the whole screen to draw. 4. Use the lowest resolution you can for your purposes. For good print res for colour images you will usually need 240 -300 DPI., So for an A4 sized image you need an export size of about 3000 pixels across. This might take all night to export if your scene has lots of lights, transparencies and reflective surfaces. Export at a lower resolution for tests till you are satisfied, then do the final export. 5. When exporting a PDF out of a Sheet layer, remember to set the DPI for the sheet layer and the PDF export in their dialogue boxes. 300 DPI is conventional resolution for an image. For pure line-work, 150 DPI will probably be OK. 6. If you go to Custom RW Options, the setting you see will be the same as Final RW . You can change them to make the details finer or coarser, change the shadow settings etc etc to suit your needs.
  8. Firstly, you don't have to wait for the render to finish to export. Start it off in the rendering mode you want, then after a minute hit esc. The render will stop and you can go straight to the export. Are you doing interiors or exteriors? If interiors, make a duplicate of the file for each view. Delete everything out of the file that is not visible in the view that will have a major effect on the lighting in the scene, EG keep walls and windows, but definitely get rid of furniture and other small details which have no impact on the lighting of the parts you are seeing. If exteriors, in daylight, turn off all the interior lights. one directional light for the sun and an HDRI will give a good exterior light. (I can't remember now if VW11 had HDRIs ?) that should make it a lot faster
  9. If you use the Extract Tool (edges mode) you can get the edge then Create Surface from Curves will give you a plug. It won't have any surface curvature of course, but if you Rebuild NURBS after composing you might get something workable.
  10. To make a horizontal section you have to make a viewport of a front (say) elevation and then use the Section Viewport command on that viewport. It's a nuisance but it works HTH, N.
  11. Not listed on their site
  12. See also TouchCad for a (vectorworks friendly)program for developing solids. (Not sure if it makes material thickness allowances etc)
  13. Wow! Maybe anyone here wouldn't know how to buy something which hasn't been for sale for 2 years
  14. How would you set up the file if you had a plan where the building floor levels and walls will step up about 3 steps in 2 or 3 places? Everything on one layer with separate walls at each level? One layer with the external walls edited to provide the step levels? Multiple layers for each level with wall heights on each layer? etc etc TIA, N.
  15. The chairs in the interior views are renderings. You can click on the link in the original image posting to see the full size export of the 'close-up' render. If you look at that you'll see that the C4D engine does a pretty good job of the chairs. (and the rest of the lighting) The chair on it's own is the actual prototype photographed. sorry to confuse.
  16. it does work peter, but the multiple objects get turned into one single mesh. The export treats the viewport as 1 object. You have to make a separate viewport for each component if they are to stay separate
  17. What they said..... Same as above also applies to 3D polys click to start. keep hitting tab to get to X,Y orZ field, enter size click to place point hit tab, etc etc
  18. A 3D poly with legs in each of the 3 directions should be fairly straight forward. What version are you using?
  19. Say your chord length is 600 and the offset from the centre of the chord to the circumference is 50. Arc by 2 points and point on arc: Click first point. hit Tab L and A fields should appear Enter 600 in L and whatever angle you want. Hit enter. Rulers should lock the position Click to place second point. Bring the cursor to around the mid point. If you have Object Snap on it should snap to the midpoint. (It might say "endpoint" instead of mid point for some reason) Hit the Tab key again. repeat until the X and Y fields come up. Put in the 50 in the appropriate field, Enter, Click to finish. Arc by 3 points "Why the heck would you want that" because it's a very usefull mode that's different from 2 points and point on arc. I use it all the time. Click to start hitTab until the X field comes up put in 50, hit Tab. Put 600/2 in Y, hit enter Click to place the second point Tab again, 50 in X 300 in Y, Enter, Click to finish.
  20. You can measure the chord of the arc and the 'offset' from the centre of the chord to the circumference. Use the endpoints of the chord and the centre point you measured to make the arcs use either the NURBS arc by three points or the Polyline arc by three points or arc by 2 points and point on arc. Sorry I don't understand the second part of the question. N.
  21. I'm one of those people. for a start why don't you post the file here for the scene you showed and let anyone here interested have a go?
  22. I think it might be the mouth thing. ;-) settings for sketching a hidden line render are just the same as before
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