Mesostructure from Specularity

Total Page:16

File Type:pdf, Size:1020Kb

Mesostructure from Specularity Mesostructure from Specularity Tongbo Chen Michael Goesele Hans-Peter Seidel MPI Informatik University of Washington MPI Informatik Abstract We describe a simple and robust method for surface mesostructure acquisition. Our method builds on the ob- servation that specular reflection is a reliable visual cue for surface mesostructure perception. In contrast to most photometric stereo methods, which take specularities as outliers and discard them, we propose a progressive ac- (a) (b) (c) (d) quisition system that captures a dense specularity field as the only information for mesostructure reconstruction. Our method can efficiently recover surfaces with fine-scale geo- metric details from complex real-world objects with a wide variety of reflection properties, including translucent, low albedo, and highly specular objects. We show results for a variety of objects including human skin, dried apricot, or- ange, jelly candy, black leather and dark chocolate. (e) (f) (g) (h) 1 Introduction Figure 1. Mesostructure reconstruction of or- ange skin. (a-d) Four cropped input images. The visual appearance of a real-world object is governed (e) Recovered normal field (RGB-encoded). by reflectance properties, illumination condition, and a hi- (f) Filtered normal field [35]. (g) Rendering of erarchy of geometric components. In the geometric hier- the normal field using Ward's isotropic BRDF archy, there are basically three different levels of scales, model [14]. (h) Reconstructed 3D surface namely, the macrostructure level, the mesostructure level, rendered at a novel viewpoint. and the microstructure level. The macrostructure level rep- resents the gross surface geometry, typically expressed as are, however, rarely able to capture the fine-scale details of a polygonal mesh or parametric spline surface. The mi- real-world objects with translucency or highly specular re- crostructure level involves surface microfacets that are vi- flection, such as skin, rough fruit skin, etc. sually indistinguishable. The mesostructure level represents By drawing inspiration from photographs of real-world geometric details that are relatively small but still individ- translucent objects and from the literature on human vision ually visible such as bumps or dents on a surface. Effi- and perception [6, 24, 34, 7], we found that specular high- cient mesostructure reconstruction methods can contribute lights are an important visual cue for surface mesostructure greatly to high-quality graphics models in terms of fine- perception and a reliable visual information for surface de- scale surface geometric details. An accurate and explicit tail representation. In Figure 1, the first row shows four im- mesostructure model can also benefit related mesostructure ages of a piece of orange skin under changing illumination. modeling techniques such as BTFs (Bidirectional Texture The small bumps on the orange skin introduce rich visual ef- Functions) [4, 20]. fects and can be efficiently revealed by specular highlights State of the art high-resolution 3D scanning methods (see Figures 5, 6, 8, 7 for more examples). Based on this include [22, 5, 1, 15]. Photometric stereo methods can observation, we developed a simple and progressive sys- achieve high-resolution surface reconstruction with inex- tem that uses specular highlights in order to solve the dense pensive setup [40, 27, 10, 9, 26, 41]. Existing techniques mesostructure reconstruction problem for a variety of real- world complex objects, which possess a significant specular fine-scale details for very low albedo, translucent, or highly- reflection component. Our method is largely independent specular surfaces [22, 5]. To deal with highly-specular sur- of the underlying reflectance model, and can therefore suc- face, Wang and Dana [37]presented a method that can si- cessfully handle objects with complex reflectance that have multaneously capture fine-scale surface shape and spatially previously been challenging. varying BTFs by using a BTF measurement system. Sim- To summarize our contributions: (1) We simplify the ilar to that work, our method will also depend on specu- problem of mesostructure reconstruction from complex ob- lar reflection. But we extend the idea to include not only jects, e.g., objects with translucency, or high specularity, highly-specular surface, but also very low albedo glossy or which has up to now been expensive or even impossible to translucent glossy materials. Instead of using a complicated solve. (2) We use a dense specularity field as the only re- BTF measurement system, we developed a simple, flexi- liable visual information for mesostructure reconstruction. ble and progressive acquisition system. In [42], Yu and (3) We developed a simple incremental and very flexible ac- Chang introduced shadow graphs for 3D texture reconstruc- quisition system. (4) We acquired high-quality mesostruc- tion. They show that the shadow graph alone is sufficient to ture, for a variety of real-world objects including human solve the shape-from-shadow problem from a dense set of skin, dried apricot, orange skin, jelly candy, black leather, images. They also solved the problem of recovering height and dark chocolate. fields from a sparse set of images by integrating shadow and shading constraints. However, this method cannot work ef- 1.1 Overview fectively for objects where shadow is no longer an accurate information, such as skin or fruit. The remainder of this paper is organized as follows. Photometric stereo methods [40, 27] are known to be Related work on surface mesostructure reconstruction and able to capture fine-scale surface details and to provide an shape-from-specularity is discussed in Section 2. Section efficient alternative to BTF-based methods. In [10], Hertz- 3 describes our acquisition system and the mesostructure mann and Seitz presented an example-based photometric reconstruction method in detail. Extensive experimental stereo for shape reconstruction with general spatially vary- results on mesostructure reconstruction for complex real- ing BRDFs. They assumed that there are no cast shadows, world objects are shown in Section 4. We conclude and no interreflections, and no subsurface scattering. Goldman discuss possible extensions in Section 5. et al. [9] proposed a photometric stereo method for itera- tively recovering shape and BRDFs. They employed a lo- 2 Related Work cal reflectance model, which cannot properly account for shadows, interreflections and subsurface scattering. In [26], Surface mesostructure is one of the key components Paterson et al. developed a simple system for BRDF and ge- of 3D texture [12]. It contributes strongly to the com- ometry capturing. Their system can handle a variety of real- plex surface appearance of real-world objects. One method world objects except highly specular or translucent materi- for modeling and rendering mesostructure is through BTFs als. Wu and Tang [41] presented a simple dense photometric (Bidirectional Texture Functions) [4], which can be re- stereo method, using only a mirror sphere, a spotlight and a garded as a mapping from the 4D space of lighting and DV camera. They achieved surprisingly good results even viewing directions to the space of 2D images. Most previ- with the presence of moderate shadows and specular high- ous work on BTFs aims at capturing appearance data from lights. To our knowledge, photometric stereo methods can natural materials and at efficient representation. Muller¨ et rarely recover dense fine-scale surface details from translu- al. [20] gives a comprehensive report on the state of the cent, highly specular, or low albedo glossy materials. art of BTFs techniques. Liu et al. [16] used a shape-from- In [18], Magda and Zickler take advantage of Helmholtz shading method to recover approximate 3D geometry of reciprocity and light fields to reconstruct surfaces with ar- surface details from a BTF dataset. In [23], Neubeck et bitrary BRDFs. That method makes no assumption of the al. proposed a method for 3D texture reconstruction from surface BRDF and works effectively for a variety of non- extensive BTF data, with only a few and rather weak as- Lambertian surfaces (e.g. glossy surface), but not for highly sumptions about reflectance and geometry. The recon- translucent objects, where subsurface scattering dominates. structed mesostructure can be used for the simplification In our approach, there is no explicit reflectance model as- of the BTF-based texture description and efficient compres- sumed. We only exploit the specular reflection, which is di- sion of a BTF dataset. Even for the most advanced and ex- rectly related to surface geometry. Shape-from-specularity pensive laser scanning systems, mesostructure reconstruc- is a well-investigated field in computer vision. In contrast tion of highly specular or translucent objects is still a dif- to most of the photometric stereo methods, where specu- ficult problem. Most of the scanning technologies based lar highlights are detected and separated as outliers, shape- on structured lighting based will also fail in reconstructing from-specularity methods try to efficiently use the specular reflectance component [25, 28, 29, 30]. Zheng and Mu- rata [43] developed a special system to acquire gross shape from specular motion by using circular-shaped light source. Kutulakos and Steger [13] proposed an effective method for 3D shape reconstruction of refractive and specular ob- jects by light-path triangulation. In [32] Solem et al. intro- duced variational analysis into shape-from-specularity and demonstrated the robustness
Recommended publications
  • Photorealistic Texturing for Dummies
    PHOTOREALISTIC TEXTURING FOR DUMMIES Leigh Van Der Byl http://leigh.cgcommunity.com Compiled by Carlos Eduardo de Paula - Brazil PHOTOREALISTIC TEXTURING FOR DUMMIES Index Part 1 – An Introduction To Texturing ...............................................................................................3 Introduction ........................................................................................................................................................ 3 Why Procedural Textures just don't work ...................................................................................................... 3 Observing the Aspects of Surfaces In Real Life............................................................................................ 4 The Different Aspects Of Real World Surfaces ............................................................................................ 5 Colour................................................................................................................................................................... 5 Diffuse.................................................................................................................................................................. 5 Luminosity........................................................................................................................................................... 6 Specularity...........................................................................................................................................................
    [Show full text]
  • Ray Tracing Notes CS445 Computer Graphics, Fall 2012 (Last Modified
    Ray Tracing Notes CS445 Computer Graphics, Fall 2012 (last modified 10/7/12) Jenny Orr, Willamette University 1 The Ray Trace Algorithm refracted ray re!ected ray camera pixel Light3 light ray computed ray screen in shadow Light1 Light2 Figure 1 1 For each pixel in image { 2 compute ray 3 pixel_color = Trace(ray) 4 } 5 color Trace(ray) { 6 For each object 7 find intersection (if any) 8 check if intersection is closest 9 If no intersection exists 10 color = background color 11 else for the closest intersection 12 for each light // local color 13 color += ambient 14 if (! inShadow(shadowRay)) color += diffuse + specular 15 if reflective 16 color += k_r Trace(reflected ray) 17 if refractive 18 color += k_t Trace(transmitted ray) 19 return color 20 } 21 boolean inShadow(shadowRay) { 22 for each object 23 if object intersects shadowRay return true 24 return false 25 } 1 1.1 Complexity w = width of image h = height of image n = number of objects l = number of lights d = levels of recursion for reflection/refraction Assuming no recursion or shadows O(w ∗ h ∗ (n + l ∗ n)). How does this change if shadows and recursion are added? What about anti-aliasing? 2 Computing the Ray In general, points P on a ray can be expressed parametrically as P = P0 + t dir where P0 is the starting point, dir is a unit vector pointing in the ray's direction, and t ≥ 0 is the parameter. When t = 0, P corresponds to P0 and as t increases, P moves along the ray. In line 2 of the code, we calculate a ray which starts at the camera P0 and points from P0 to the given pixel located at P1 on a virtual screen (view plane), as shown in Figure 2.
    [Show full text]
  • Shadow and Specularity Priors for Intrinsic Light Field Decomposition
    Shadow and Specularity Priors for Intrinsic Light Field Decomposition Anna Alperovich, Ole Johannsen, Michael Strecke, and Bastian Goldluecke University of Konstanz [email protected] Abstract. In this work, we focus on the problem of intrinsic scene decompo- sition in light fields. Our main contribution is a novel prior to cope with cast shadows and inter-reflections. In contrast to other approaches which model inter- reflection based only on geometry, we model indirect shading by combining ge- ometric and color information. We compute a shadow confidence measure for the light field and use it in the regularization constraints. Another contribution is an improved specularity estimation by using color information from sub-aperture views. The new priors are embedded in a recent framework to decompose the input light field into albedo, shading, and specularity. We arrive at a variational model where we regularize albedo and the two shading components on epipolar plane images, encouraging them to be consistent across all sub-aperture views. Our method is evaluated on ground truth synthetic datasets and real world light fields. We outperform both state-of-the art approaches for RGB+D images and recent methods proposed for light fields. 1 Introduction Intrinsic image decomposition is one of the fundamental problems in computer vision, and has been studied extensively [23,3]. For Lambertian objects, where an input image is decomposed into albedo and shading components, numerous solutions have been pre- sented in the literature. Depending on the input data, the approaches can be divided into those dealing with a single image [36,18,14], multiple images [39,24], and image + depth methods [9,20].
    [Show full text]
  • 3D Computer Graphics Compiled By: H
    animation Charge-coupled device Charts on SO(3) chemistry chirality chromatic aberration chrominance Cinema 4D cinematography CinePaint Circle circumference ClanLib Class of the Titans clean room design Clifford algebra Clip Mapping Clipping (computer graphics) Clipping_(computer_graphics) Cocoa (API) CODE V collinear collision detection color color buffer comic book Comm. ACM Command & Conquer: Tiberian series Commutative operation Compact disc Comparison of Direct3D and OpenGL compiler Compiz complement (set theory) complex analysis complex number complex polygon Component Object Model composite pattern compositing Compression artifacts computationReverse computational Catmull-Clark fluid dynamics computational geometry subdivision Computational_geometry computed surface axial tomography Cel-shaded Computed tomography computer animation Computer Aided Design computerCg andprogramming video games Computer animation computer cluster computer display computer file computer game computer games computer generated image computer graphics Computer hardware Computer History Museum Computer keyboard Computer mouse computer program Computer programming computer science computer software computer storage Computer-aided design Computer-aided design#Capabilities computer-aided manufacturing computer-generated imagery concave cone (solid)language Cone tracing Conjugacy_class#Conjugacy_as_group_action Clipmap COLLADA consortium constraints Comparison Constructive solid geometry of continuous Direct3D function contrast ratioand conversion OpenGL between
    [Show full text]
  • LEAN Mapping
    LEAN Mapping Marc Olano∗ Dan Bakery Firaxis Games Firaxis Games (a) (b) (c) Figure 1: In-game views of a two-layer LEAN map ocean with sun just off screen to the right, and artist-selected shininess equivalent to a Blinn-Phong specular exponent of 13,777: (a) near, (b) mid, and (c) far. Note the lack of aliasing, even with an extremely high power. Abstract 1 Introduction For over thirty years, bump mapping has been an effective method We introduce Linear Efficient Antialiased Normal (LEAN) Map- for adding apparent detail to a surface [Blinn 1978]. We use the ping, a method for real-time filtering of specular highlights in bump term bump mapping to refer to both the original height texture that and normal maps. The method evaluates bumps as part of a shading defines surface normal perturbation for shading, and the more com- computation in the tangent space of the polygonal surface rather mon and general normal mapping, where the texture holds the ac- than in the tangent space of the individual bumps. By operat- tual surface normal. These methods are extremely common in video ing in a common tangent space, we are able to store information games, where the additional surface detail allows a rich visual ex- on the distribution of bump normals in a linearly-filterable form perience without complex high-polygon models. compatible with standard MIP and anisotropic filtering hardware. The necessary textures can be computed in a preprocess or gener- Unfortunately, bump mapping has serious drawbacks with filtering ated in real-time on the GPU for time-varying normal maps.
    [Show full text]
  • The Syntax of MDL 145
    NVIDIA Material Definition Language 1.7 Language Specification Document version 1.7.1 May 12, 2021 DRAFT — Work in Progress Copyright Information © 2021 NVIDIA Corporation. All rights reserved. Document build number 345213 NVIDIA Material Definition Language 1.7.1 DRAFT WiP LICENSE AGREEMENT License Agreement for NVIDIA MDL Specification IMPORTANT NOTICE – READ CAREFULLY: This License Agreement (“License”) for the NVIDIA MDL Specification (“the Specification”), is the LICENSE which governs use of the Specification of NVIDIA Corporation and its subsidiaries (“NVIDIA”) as set out below. By copying, or otherwise using the Specification, You (as defined below) agree to be bound by the terms of this LICENSE. If You do not agree to the terms of this LICENSE, do not copy or use the Specification. RECITALS This license permits you to use the Specification, without modification for the purposes of reading, writing and processing of content written in the language as described in the Specification, such content may include, without limitation, applications that author MDL content, edit MDL content including material parameter editors and applications using MDL content for rendering. 1. DEFINITIONS. Licensee. “Licensee,” “You,” or “Your” shall mean the entity or individual that uses the Specification. 2. LICENSE GRANT. 2.1. NVIDIA hereby grants you the right, without charge, on a perpetual, non- exclusive and worldwide basis, to utilize the Specification for the purpose of developing, making, having made, using, marketing, importing, offering to sell or license, and selling or licensing, and to otherwise distribute, products complying with the Specification, in all cases subject to the conditions set forth in this Agreement and any relevant patent (save as set out below) and other intellectual property rights of third parties (which may include NVIDIA).
    [Show full text]
  • Object Shape and Reflectance Modeling from Observation
    Object Shape and Reflectance Modeling from Observation Yoichi Sato1, Mark D. Wheeler2, and Katsushi Ikeuchi1 1Institute of Industrial Science 2Apple Computer Inc. University of Tokyo ABSTRACT increase in the demand for 3D computer graphics. For instance, a new format for 3D computer graphics on the internet, called VRML, is becoming an industrial standard format, and the number of appli- An object model for computer graphics applications should contain cations using the format is increasing quickly. two aspects of information: shape and reflectance properties of the object. A number of techniques have been developed for modeling However, it is often the case that 3D object models are created object shapes by observing real objects. In contrast, attempts to manually by users. That input process is normally time-consuming model reflectance properties of real objects have been rather limited. and can be a bottleneck for realistic image synthesis. Therefore, In most cases, modeled reflectance properties are too simple or too techniques to obtain object model data automatically by observing complicated to be used for synthesizing realistic images of the real objects could have great significance in practical applications. object. An object model for computer graphics applications should In this paper, we propose a new method for modeling object reflec- contain two aspects of information: shape and reflectance properties tance properties, as well as object shapes, by observing real objects. of the object. A number of techniques have been developed for mod- First, an object surface shape is reconstructed by merging multiple eling object shapes by observing real objects. Those techniques use range images of the object.
    [Show full text]
  • IMAGE-BASED MODELING TECHNIQUES for ARTISTIC RENDERING Bynum Murray Iii Clemson University, [email protected]
    Clemson University TigerPrints All Theses Theses 5-2010 IMAGE-BASED MODELING TECHNIQUES FOR ARTISTIC RENDERING Bynum Murray iii Clemson University, [email protected] Follow this and additional works at: https://tigerprints.clemson.edu/all_theses Part of the Fine Arts Commons Recommended Citation Murray iii, Bynum, "IMAGE-BASED MODELING TECHNIQUES FOR ARTISTIC RENDERING" (2010). All Theses. 777. https://tigerprints.clemson.edu/all_theses/777 This Thesis is brought to you for free and open access by the Theses at TigerPrints. It has been accepted for inclusion in All Theses by an authorized administrator of TigerPrints. For more information, please contact [email protected]. IMAGE-BASED MODELING TECHNIQUES FOR ARTISTIC RENDERING A Thesis Presented to the Graduate School of Clemson University In Partial Fulfillment of the Requirements for the Degree Master of Arts Digital Production Arts by Bynum Edward Murray III May 2010 Accepted by: Timothy Davis, Ph.D. Committee Chair David Donar, M.F.A. Tony Penna, M.F.A. ABSTRACT This thesis presents various techniques for recreating and enhancing two- dimensional paintings and images in three-dimensional ways. The techniques include camera projection modeling, digital relief sculpture, and digital impasto. We also explore current problems of replicating and enhancing natural media and describe various solutions, along with their relative strengths and weaknesses. The importance of artistic skill in the implementation of these techniques is covered, along with implementation within the current industry applications Autodesk Maya, Adobe Photoshop, Corel Painter, and Pixologic Zbrush. The result is a set of methods for the digital artist to create effects that would not otherwise be possible.
    [Show full text]
  • Light, Reflectance, and Global Illumination
    Light, Reflectance, and Global Illumination TOPICS: • Survey of Representations for Light and Visibility • Color, Perception, and Light • Reflectance • Cost of Ray Tracing • Global Illumination Overview • Radiosity •Yu’s Inverse Global Illumination paper 15-869, Image-Based Modeling and Rendering Paul Heckbert, 18 Oct. 1999 Representations for Light and Visibility fixed viewpoint or 2-D image (r,g,b) planar scene diffuse surface 2.5-D/ textured range data (z,r,g,b) 3-D or pre-lit polygons specular surface in 4-D light field clear air, unoccluded specular surface in fog, 5-D 5-D light field or occluded. or surface/volume model with plenoptic function I(x,y,z,θ,φ) general reflectance properties italics: not image-based technique Physics of Light and Color Light comes from electromagnetic radiation. The amplitude of radiation is a function of wavelength λ. Any quantity related to wavelength is called “spectral”. Frequency ν = 2 π / λ EM spectrum: radio, infrared, visible, ultraviolet, x-ray, gamma-ray long wavelength short wavelength low frequency high frequency • Don’t confuse EM ``spectrum’’ with ``spectrum’’ of signal in signal/image processing; they’re usually conceptually distinct. • Likewise, don’t confuse spectral wavelength & frequency of EM spectrum with spatial wavelength & frequency in image processing. Perception of Light and Color Light is electromagnetic radiation visible to the human eye. Humans have evolved to sense the dominant wavelengths emitted by the sun; space aliens have presumably evolved differently. In low light, we perceive primarily with rods in the retina, which have broad spectral sensitivity (“at night, you can’t see color”).
    [Show full text]
  • Transparent and Specular Object Reconstruction
    DOI: 10.1111/j.1467-8659.2010.01753.x COMPUTER GRAPHICS forum Volume 29 (2010), number 8 pp. 2400–2426 Transparent and Specular Object Reconstruction Ivo Ihrke1,2, Kiriakos N. Kutulakos3, Hendrik P. A. Lensch4, Marcus Magnor5 and Wolfgang Heidrich1 1University of British Columbia, Canada [email protected], [email protected] 2Saarland University, MPI Informatik, Germany 3University of Toronto, Canada [email protected] 4Ulm University, Germany [email protected] 5TU Braunschweig, Germany [email protected] Abstract This state of the art report covers reconstruction methods for transparent and specular objects or phenomena. While the 3D acquisition of opaque surfaces with Lambertian reflectance is a well-studied problem, transparent, refractive, specular and potentially dynamic scenes pose challenging problems for acquisition systems. This report reviews and categorizes the literature in this field. Despite tremendous interest in object digitization, the acquisition of digital models of transparent or specular objects is far from being a solved problem. On the other hand, real-world data is in high demand for applications such as object modelling, preservation of historic artefacts and as input to data-driven modelling techniques. With this report we aim at providing a reference for and an introduction to the field of transparent and specular object reconstruction. We describe acquisition approaches for different classes of objects. Transparent objects/phenomena that do not change the straight ray geometry can be found foremost in natural phenomena. Refraction effects are usually small and can be considered negligible for these objects. Phenomena as diverse as fire, smoke, and interstellar nebulae can be modelled using a straight ray model of image formation.
    [Show full text]
  • Acquisition and Rendering of Transparent and Refractive Objects
    Thirteenth Eurographics Workshop on Rendering (2002) P. Debevec and S. Gibson (Editors) Acquisition and Rendering of Transparent and Refractive Objects † ‡ ‡ † † Wojciech Matusik Hanspeter Pfister Remo Ziegler Addy Ngan Leonard McMillan Abstract This paper introduces a new image-based approach to capturing and modeling highly specular, transparent, or translucent objects. We have built a system for automatically acquiring high quality graphical models of objects that are extremely difficult to scan with traditional 3D scanners. The system consists of turntables, a set of cameras and lights, and monitors to project colored backdrops. We use multi-background matting techniques to acquire alpha and environment mattes of the object from multiple viewpoints. Using the alpha mattes we reconstruct an approximate 3D shape of the object. We use the environment mattes to compute a high-resolution surface reflectance field. We also acquire a low-resolution surface reflectance field using the overhead array of lights. Both surface reflectance fields are used to relight the objects and to place them into arbitrary environments. Our system is the first to acquire and render transparent and translucent 3D objects, such as a glass of beer, from arbitrary viewpoints under novel illumination. Categories and Subject Descriptors (according to ACM CCS): I.3.2 [Computer Graphics]: Picture/Image Genera- tion – Digitizing and Scanning, Viewing Algorithms I.3.6 [Computer Graphics]: Methodology and Techniques – Graphics Data Structures and Data Types 1. Introduction of handling transparency. A notable exception are the tech- niques of environment matting 41, 6 that accurately acquire Reproducing real objects as believable 3D models that can light reflection and refraction from a fixed viewpoint.
    [Show full text]
  • Agi32 Knowledgebase
    AGi32 Knowledgebase FAQ's Category Generated by KnowledgeBuilder - http://www.activecampaign.com/kb Contents FAQ's 1 Q. Can I rotate drawing text? 1 Q. Can I display the photometric file's keyword and description information in Model Mode? 1 Q. Can I change the color of my text for printouts? 2 Q. What is a block? 3 Q. Can AGI32 consider Daylighting in its calculations? 3 Q. What is daylighting? 3 Q. What environmental components are considered when daylighting calcs are run? 3 Q. Can a Page Builder report contain multiple pages? 3 Q. My Schedule is not showing what I expected, why? 4 Q. Can I change the font of my schedule after I place it? 4 Q. My schedule is too small or too large how can I adjust it? 4 Q. The schedule I want is the correct height but the length is way too long, how can I change this? 4 Q. I have chosen the right schedule but I want to display more fields, how can I do this? 4 Q. Can I change the field size of elements in a schedule? 4 Q. Should I use adaptive subdivision with a daylight environment? 4 Q. How do I print a drawing with two different scaling factors? 5 Q. How relevant are the daylight sky condition models? 5 Q. How do I model windows in AGI32? 5 Q. Can AGI32 compute Daylight Factor? 5 Q. Why is the horizon line in my daylight environment higher in the ray traced image than in the rendering environment? 6 Q.
    [Show full text]