3D Surface texture

Hi all, I'm trying to create a square surface and apply an image as texture into it. In LV 8.2 I only have a mesh function and when I display it, I get a distorted texture (not flat). I also tried with a box with (X, Y, 0) to make a plane surface but it draws the picture in the upper and lower faces as consequence. What I need to put a picture into a square surface? thanks

londonew wrote:
Thank you friends, they are great examples. In the case of the cube, the size of the face depends on the size of the image or the image is expanded depending on the size of the cube? thanks again.
Hey again londonew!
I've tried experimenting with the different settings that come with the texture property node for a 3D object, and I've attached the VI so you can try out your own settings for the objects. As far as I can tell, the image is scaled to suit the face which it is placed on; you could see this in Darin.K's VI as the cube images he used were based on the relatively small user thumbnails.
In the attached example I made the leopard print image very small to see what effects placing it on a large cube would have, and it resulted in the following output:
I also tested what happened when I used the full resolution image of the print for the texture, and received this output:
By changing the different texture options on the texture property node, you can see what effect this has on the output of the 3D Picture Indicator.
Alex Thomas, University of Manchester School of EEE LabVIEW Ambassador (CLAD)
Attachments:
Vary Texture Folder 8_2.zip ‏17 KB

Similar Messages

Can I export solid objects into Illustrator / InDesign CS2 and maintain vector format

Can Adobe 3D export solid objects in vector format into Illustrator or InDesign CS2 suite?
I'm interested in taking solid 3D objects developed in Pro/E 2.0 and import from Adobe 3D into Adobe Illustrator & InDesign in vector format for page layout. I want to import solid objects in vector format and maintain color scheme and surface textures.
I'm running 3D trial version and can successfully import 3D objects (asm & prt files) solid views from Pro/E but can only export wireframe views from Adobe 3D Toolkit into Illustrator or InDesign (CS2). Solid objects first have to get rendered in a raster format before importing into Illustrator.
If this function is not supported does anyone have experience doing this using Quadraspace or Right Hemisphere 3D software?

Any help???? After 2 weeks I still can't learn from Adobe or Right Hemisphere people how to import solid objects in vector format into Illustrator with color and surface textures in place. All imported objects in vector format are converted to a wireframe or line format unless they are first rasterized.

Why does a 170 Kb file becomes a 3.5 Mb when I save it as theme?

I realized that when I save a file (170 Kb) as theme, its size increases dramatically (3.5Mb) (tried in keynote 09 ad 08 under OSX 10.6.7 or 10.5.8)
I realized that by doing "Save as" > Advanced Options > select "Save theme image into document", the saved file becomes a 3.5 Mb file as well.
Therefore, I suspect that the "save theme" does by default select this "Save theme image into document" option, hence the 3.5 Mb file size.
I tried this on several Macs and got the same result. However, all Macs are Macs I used at some points or where people installed my files / themes.
As a result, all files created from the theme I created are big fat babies of 3.5 Mb, which defeat the purpose of a theme to make it clean and lean.
Please advise if you have the same issue.
Saved custom themes can be found at [Home]/Library/Application Support/iWork/Keynote/Themes.
Suggestions welcome on what caused this oversized theme file size and how to reduce it?
Thanks in advance

OK, problem solved. I was having this same issue & every presentation that I made from the new template was over 3.5MB, even if it contained only text. I now have it down to 229kB.
I used a plain black theme as my basis for a custom theme. I modified the fonts, layouts, etc, just as I wanted them. Then I saved as a template. The file size balloned to 3.5MB. The reason turns out that the default charts fot the black theme have woodgrain surface textures & these are being saved into the custom theme file (in a folder called "theme-files" within the custom theme package). So the solution is to remove all references to textured charts in the custom theme.
So... Get your custom theme ready & save it as a regular presentation somewhere for safe keeping. Now create a new chart on a new slide. (NB. A new regular slide, not a Master Slide.) For simplicity, choose the top-left-most chart type (column chart). Open the Inspector; go to the chart tab; select Chart Colors. In the new Chart Colors window, select 2D Color Fills & pick any colour. Click Apply All. Go to the menubar item Format --> Advanced --> Define Column Chart for All Masters. Click OK with the default option of "6".
Now, use the Inspector to change the chart to the next chart type along. Repeat the process above of changing the chart colours to a 2D colour fill, then applying this to all masters. Repeat, repeat, repeat for all chart types. I couldn't select a colour fill for some chart types, such as the line graphs.
Once you've defined all charts as using a 2D colour fill, there are no references to textures any longer. So, now delete the chart & its slide. Go to File --> Save Theme. Give it a name.
Now, check your custom theme file size in the Finder. Hopefully, it's come down in size now!

What is the output of Maya and how does Java use it in animation.

What type of software is used and what input and output files are created in the animation process?
From what I read:
Maya is used to create polygon structures, perform rigging, and it attaches surface textures which are made in Photoshop. Then Maya creates key images or positions of the animation. Next Maya exports an image and a data file to do the neccessary transformations. Finally, Java uses the image and the data file to paint the images and their position based on the game logic's use of the data file.
What have I missed or described wrong?
I also need more clarity on the input files to Java and how Java stores and uses these files. The use of Maya images and files seems different. Is Maya or Java doing the transformations or are they both doing them? How does this work?
Thanks for your help
Jon

Thanks for the explanations. What this means in my situation is that tags are an unnecessary way of spending a lot of time making my file system more complicated, without adding any value whatsoever. Without tags, I can find any of my 3,000 files with a few clicks. (On my computer, Spotlight has cobwebs. I very rarely need it, but it's wonderful when I do.) Now that I know how tags work, I can ignore it.
A human being can only perceive a quantity of seven without counting or grouping; hence we arrange things in structures to keep the number of entitites low on each level. You don't need to count three objects to know that they are all there, but you do need to count twelve objects. Which is why Home Alone was believable. We sort screws and nails in jars and toolboxes have compartments. Even the grocery store has a hierarchical arrangement. You don't find steaks in the bakery section, or breakfast cereal in the produce department.
Some people aren't organized, and that's not a bad thing, but no folder, no tag, and no group is going to change a fundamental personality characteristic.
Thanks everyone for showing me that in my case, there's no point to tags. That saves me a lot of time.

CS5 only defining a strip of an image as a pattern

When I define a pattern from an ordinary colour image there is no problem - the full image is available as a pattern. But when I try to define an image which is black and white only a strip of the BW image is available as a pattern. When I add a strip of colour to a BW image and define a pattern from it, only the area of the colour is available as a pattern. How can I create a full pattern from a low contrast BW image?
I must be doing something wrong. Grateful for advice, please.

Thanks. I am trying to define a pattern from an image of watercolour paper texture. It is already rgb. The source image was created in another program - a matter of applying a native (to that program) surface texture to an image filled with white. Below is the source image substantially reduced in size:
Here is what the strip of pattern looks like:
I want to use it (and others that I make) to supplement Photoshops available artists' textures. The problem may well be somthing to do with repeated patterns as Chris has speculated, but I have found that so far, 20" at 72ppi gives me a full image, whereas 23" at 72ppi doesn't.

3D studio max export type

which export type in 3Ds max 4 can be used in conjunction with java?
i know this is said in one tutorail, but currently adobe isnt compactible with my O/S so i need someone to help.
thanks in advance,
pop n fresh

i agree with OFH Starfire research loader is quite good. unfortunately it doesn't support some surface/texture features (reflection mapping for exemple) that can be implemented in Java3D and the source code is not given.
GnG

Creating vintage backgrounds in Illustrator

Hello,
I am completely new to Illustrator. I'm looking to create some vintage backgrounds which look like Cath Kidston style wallpaper, specifically, one with polka dots and one with 5 pointed stars. I don't want the patterns on a grid, but rather with the lines of stars/spots at an angle so that they create a diamond pattern. I would then like to make the backgrounds look slightly like vintage wallpaper, so that they are not clean looking vectors. Also, if possible, I would love to make the stars look like they have been done using paint (maybe a potato printing effect!).
Please could anyone help me with this (I have seen some lovely photos of this on stock photography sites, but they are very expensive and I think I can make my own).
Many thanks
Charlotte

Oh, balderdash.
Illustrator is not "the wrong program" for this kind of thing. Criminy, it's just a matter of drawing a repeating pattern and then imposing a few "random" variations to the whole thing to suggest aging and "distress" after the pattern is built.
There are several path distortion features that can be used to impose slight irregularity to a collection of geometrically pristine paths. Texture and "distress" can be achieved by judicious application of blur and another raster effect or two. Even graduated overall lighting can be "overlaid" with a simple transparency object.
But Charlotte, beyond that, your question is too general for specific how-to answers. The most problematic part of your question is "I am completely new to Illustrator." This is not the kind of program you just dive into without taking the time to learn your way around it. Have you read the online help and actually worked through the steps it describes, to familiarize yourself with the basic principles, the specific tools and what they do, the available commands?
For example, if you were to come back here with an example of a particular pattern you want to build, would you know what someone is talking about if they told you to?...
1. Draw the repeating element, store it as a Symbol.
2. Use two applications of Transform Effect to create the pattern array.
3. Expand Appearance. Leave it Grouped.
4. Use a few clicks with the Symbolism tools to vary the fade, tint, etc.
5. Give the whole thing just a little planar "tilt" perspective with 3D Rotate.
6. Apply a slight Gausian Blur to the Group.
7. Draw a path to surround the whole array. Give it a grad fill and apply a Raster Effect to give it a slight "distressed" pattern.
8. Apply that surrounding path as a Transparency Mask to the Group.
9. Draw another grad-filled path over the whole thing on a separate Layer.
10. Apply a raster effect at the Layer level to give the new shape a bit of "surface" texture.
Just build it once. Then you can just swap out the Symbol Instances for a different pattern:
Apply Transform Effect to randomly rotate the Instances a bit:
Add elements to underlying Layers:
Etc., etc., etc.
The above detail screenshots are from a 10 x 10 Symbol array (i.e.; 100 Symbol Instances), entirely editable native AI CS3 content, done in about 45 minutes or so (including experimentation with various textures) on a 3- or 4-year old $300, 2GB Toshiba laptop (which has become my usual "Saturday morning AI forum" machine).
JET

Can you stitch digital TIFFs taken from all sides of the object into a 3D image in CS-6

Can you stitch digital TIFFs taken from all sides of the object into a 3d image in CS-6

It depends on the object. The mesh must have surfaces (texture names) for each side of that object. Then an image can be applied to each side.
Photoshop currently lacks a way to select a side and give it a name.
You may want to try a program like blender to assign surfaces to a mesh. It is a very robust and daunting program, but its free and if you have the time maybe worth your while to learn it.

ACR v4.1: Canon files being overly smoothed?

Hello,
I prepared a long knee-jerk post about having the ability to completely disable luminance noise-reduction in ACR, as one was (presumably) able to in previous versions of ACR. After working with numerous files from my Canon 30D and Pro1, I noticed that even with all noise-reduction and sharpening sliders at zero, ACR v4.1 still seems to do some significant luminance smoothing, especially on higher ISO files from my 30D and even ISO 50 files from my Pro1 P&S.
I was quite upset by what I had seen and took this as a fundamental change in Adobe's philosophy to raw processing. However I now do believe this to be (mostly) a bug, oddly enough Canon specific, since I have now tested ACR v4.1 with higher ISO shots from numerous other cameras - Nikon D2X, Hasselblad H3D/39 (DNG export from FlexColor), Leica M8 and a Fuji S5 Pro - and found this problem to be nowhere near as dramatic and, indeed, at times not even noticeable at all. In fact, on many of these other tests, files from the H3D/39 in particular, I feel ACR v4.1 is actually doing fantastic job!
Granted, I don't have anywhere near the selection of shots from these other cameras as I don't own them personally (I just have many tests from ones I have access to at work), however I am reasonably sure ACR v4.1 does not have the same problem with those cameras as with shots from the Canons I do own. Again... hoping this is just a bug.
I will be following this post with my original (long) knee-jerk response as I think it is important that Adobe hears such feedback in any case, whether this issue with Canon files is a bug or is intentional.
So, you are warned... the post following this one is long!
Best Regards,
Mike Mander

Hello,
[ Before reading this post, please make sure you have read the one immediately preceding this! ]
First off, apologies, as this is quite a long post. System info: MacBook Pro C2D (3Gb RAM), OS X v10.4.9, Photoshop CS3 with ACR v4.1, Lightroom v1.0. Tests done with Canon EOS-30D & Powershot Pro1.
While there are a lot of things I really like about the image processing in the new version 4.1 of ACR, like the new optional edge-defringing, the more flexible sharpening controls (with no black halos around specular highlights!), less white-speckling in dark areas of higher ISO shots etc., I have come across a very disturbing fact which I believe has already been noted by a few others as well.
The fact being that v4.1 of ACR is now seemingly applying a certain degree of luminance noise-smoothing to raw files that is camera and ISO specific and, as far as I can tell, cannot be turned off. In my humble opinion, this is a bad bad thing! ACR has been known in the past as having one of the most "hands-off" approaches to raw image processing and this new smoothing effect is going against the grain! Pardon the pun... :-)
I first noticed this when I was processing ISO 50 files from my PowerShot Pro1. Being a P&S, even at ISO 50, there was a certain amount of noise texture which I found rather pleasing but with ACR v4.1, even with all noise reduction and sharpening set to zero, images that I post-sharpened in Photoshop had a certain watercolor-like look, somewhat similar to what, for example, Genuine Fractals might give one upon upsizing an image. When I went back to the Lightroom processed versions, which is using the older raw rendering engine, I did not see this effect and indeed, there was a dramatic difference between the two.
I had extensively tested ACR v4.1 with ISO 100 files from my EOS-30D and 20D, and did find that with certain settings, the new sharpening controls would render a similar watercolor type look when one is viewing files at 100%, but when sharpening was dialed right down and the image was post-sharpened in Photoshop, the differences between the old and new ACR, while visible, were not too dramatic and I did actually prefer the slightly cleaner rendering of skies and shadow areas in v4.1.
However after seeing what v4.1 ACR did with my Pro1 files, I decided to look at some ISO 1600 shots from my 30D and compare them to the previous version of ACR. Whoa! What a dramatic difference! There seems to be a considerable amount of luminance smoothing going on, even with all sharpening and noise reduction controls at zero, which wipes out subtle surface textures and can make edges of fine detail sort of "blend" together. Please do note that I realize that on anything other than the biggest prints or enlargements (or viewing at 100% zoom), one probably would not notice the effect of this new image processing, however...
I primarily do landscape photography and for me, preserving every last bit of texture detail is very important in making an image look natural. I much prefer a more "film-like" rendering of a raw file, even if that means a bit of graininess, rather than a smoothed image that looks artificial and more processed. In addition, this new image processing in ACR v4.1 limits the amount of post-sharpening that can be done to an image since too much sharpening starts to bring out edge-artifacts where ACR has made "decisions" on what was legitimate detail and what was sensor noise.
What I will say, is that this new processing in ACR v4.1 actually seems very sophisticated, and reasonably benign in many cases, low ISO digital SLR shots for example, so for certain types of images and applications, it may well be a very good thing, however certainly not for everything. So this brings me to my request...
I humbly request that the developers of ACR put in the option to turn any and all noise smoothing off in the next version of Camera Raw. Just a checkbox in the Detail Pane labeled "Preserve All Texture" maybe, or have luminance smoothing truly at zero when the slider is at zero. As I mentioned, I think the new processing might be preferable for certain types of images and workflow, so I don't want to completely go back to the old system, but I really do want the option to preserve as much image detail as possible when needed. I expect that there are many pros out there that will agree with me.
As a bit of background, I have been working in the professional imaging industry now for well over 10 years, having started off back in the days of the Kodak DCS-420 and Nikon E2. I manage the digital imaging department in a high-end professional camera shop and have extensive experience with all manner of digital SLRs, medium format digital backs, film scanners and so on.
I always have been a strong proponent of shooting raw and, in the past, have always felt that Adobe Camera Raw gave, by far, the best looking rendering of raw files when it came to detail and a general lack of demosaic artifacts. I have experience using a large number of other raw conversion programs available (Capture One, Raw Developer, Canon DPP, Nikon Capture, Hasselblad FlexColor, SilkyPix, LightZone, Aperture etc.), and while I haven't always found the color rendering to be best in ACR, as far as image detail and creating a clean, natural looking file that doesn't look "digital", I have always found ACR to be absolutely top-notch. Color rendering one can fix in post... however when a raw converter does detail destroying smoothing, creates nasty demosaic artifacts that pop out when sharpening etc., well that is something than cannot be fixed or recovered in Photoshop afterwards! Well, at least not without an inordinate amount of work or trying to mask the effects by adding noise etc.
In fact, a number of revisions ago (maybe v3.4?), Adobe subtly changed the raw rendering of ACR and noted at the time that the demosaic algorithm had changed in order to create slightly sharper looking images. At that point, I already felt that a slight step backward had been taken (with respect to generating the most "natural" looking digital images), however with judicious adjustment of my post-sharpening technique, I was able to accommodate that change in my workflow and I think many others did not even notice it. This new version of ACR, however, has gone too far IMO...
Since I have recently dedicated myself to using Adobe Lightroom, I am also quite concerned that the next version will have this same new raw rendering engine. After recommending LR to many other professional photographers, I am now worried at this development since with a new version of LR, there will probably not be any way to downgrade the raw engine as one can with the plugin architecture of Photoshop.
I may not have time to check this forum on a regular basis, so if anyone from Adobe would like further clarification regarding my opinion on this matter, please feel free to email me directly. An email link can be found on my personal website:
http://www.sublimephoto.com
or just email "mander" at the above domain.
Thanks for letting me rant on about this!
Best Regards,
Mike Mander

Mighty Mouse isn't flying straight!

I just got an iMac and the mouse skips around the screen in unexpected directions. I will be doing something and the pointer will suddenly move very quickly to the corner of the screen, or just a few inches in random directions. I'm using a small print of a painting for a mouse pad, I was thinking that might be the problem, as I don't have much experience with "laser" mice. If the mousepad is the problem, what do you suggest as an makeshift mousepad until aI get my hands on a real one?
Thank you
Paul

To back Niel (emphasis mine);
Learn what the optimal conditions are for optical mice.
Apple Pro Mouse, Apple Wireless Mouse, and Apple Pro Mouse (2003) are all optical mice. These mice detect movement using an optical sensor on the bottom instead of a ball. An optical sensor needs a surface that has some texture to work effectively. This is because changes in surface texture provide reference points that the optical sensor uses to detect movement, which is translated to pointer movement on the screen.
• Check the Mouse Tracking setting in the Mouse control panel. For more information see article 58651 "Apple Pro Mouse: Optimal Setting in Mouse Control Panel".
• Make sure the mouse is on a textured surface such as a table top, or a mouse pad that is a solid color.
The Apple Pro mouse does not work on these surfaces:
• glass, mirrored surfaces, or other glossy materials
• half-tone images, such as mouse pads with pictures

Converting a movieclip to bitmap data (AS3)

Hi,
Just been gradually switching over to AS3, and I've hit a
problem and its doing my nut in because I can't find a way to get
it to work.
Basically I want to take a portion of a movieclip and convert
it into bitmap data into another movieclip.
I know the basis would be something like:
var b:BitmapData=new BitmapData(100,100,false);
var bm:Bitmap=new Bitmap(b);
mymc.addChild(bm);
But I can't work out how to get that to pick up the movieclip
that I'm trying to extract from.
Hayyyulp.
The link below is the kind of method I want, but because this
is drawn at real time it would cause the area to expand with the
movie clip, when all i want is to extract a portion and place it as
a surface texture. (draw on the box on the right hand side)
http://www.visitmyworld.co.uk/body.swf
Also, I don't really think it necessary to update in
realtime, that and id assume generating the bitmap area in real
time would cause major slowdown issues. If anybody has any
different solutions to what I propose then advice welcome.
The reason id want a bitmap is that data id want to project
could be complex layers, ie- items can be dragged on rather than
just being drawn on.
Cheers,
Adam

And also, whilst we're at it, I seem to have hit a bit of
trouble with understanding to call a parent function
ie - in AS2 you would put:
_parent.myfunction()
Any ideas?.

Canon Rebel T5i

Does anyone know when tethering support will be available in Lightroom for the Rebel T5i?

^^ agree!
The screen is delicate. The screen is not in the image path for the camera -- meaning if you have dust on the screen it will not appear in the images you capture (you only see through the screen when composing and focusing through the optical viewfinder.)
If it does get dust on it, nothing more than a hand-squeeze air blower (e.g. such as a Giottos Rocket Air blower) should be used to dislodge the dust. Don't physically "touch" the screen.
Some Canon cameras have optional focusing screens (e.g. screens with gridlines for compositional aid; screens with extra-fine surface texture to allow for more accuate manual focus, etc.) and these screens come with a tool which resembles a pair of tweezers designed to clamp on to a tiny tab at the edge of the screen because it is so important that you not get your fingers anywhere near it. (Canon does not make optional focus screens for Rebel series bodies ... but the focus screens on all cameras are basically designed to work the same -- so the same precautions that apply to cameras that DO have user-replaceable focus screens also apply to your camera.)
Tim Campbell
5D II, 5D III, 60Da

Canon Rebel T5i question - smudge/scratch in viewfinder

Hey everyone, I recently purchased a t5i and it was the store's display model (they display their models OFF and the shutter count was only at 54 after taking some photos). It looks like there is a smudge/scratch on one of the mirrors or the sensor inside the camera and was wondering what I could do to fix this. It was visible through the viewfinder but I cleaned it a little bit to where it's rarely noticeable through the viewfinder when the 18-55 lens is connected, however you can still see it just by looking at where the sensor is. I have pictures to describe what it is. I believe it is the mirror/glass part on the roof of the inside but I would like a second opinion. Thank you! (Might I add this doesn't affect my images or video, they still come out fine)

^^ agree!
The screen is delicate. The screen is not in the image path for the camera -- meaning if you have dust on the screen it will not appear in the images you capture (you only see through the screen when composing and focusing through the optical viewfinder.)
If it does get dust on it, nothing more than a hand-squeeze air blower (e.g. such as a Giottos Rocket Air blower) should be used to dislodge the dust. Don't physically "touch" the screen.
Some Canon cameras have optional focusing screens (e.g. screens with gridlines for compositional aid; screens with extra-fine surface texture to allow for more accuate manual focus, etc.) and these screens come with a tool which resembles a pair of tweezers designed to clamp on to a tiny tab at the edge of the screen because it is so important that you not get your fingers anywhere near it. (Canon does not make optional focus screens for Rebel series bodies ... but the focus screens on all cameras are basically designed to work the same -- so the same precautions that apply to cameras that DO have user-replaceable focus screens also apply to your camera.)
Tim Campbell
5D II, 5D III, 60Da

Warp Tool Arch not consistent

I'm distorting some bottle labels to fit bottle shots that were taken at a different camera angle. I'm running into a problem that I think has existed since the warp tool was introduced, and I've never found a solution.
When I apply the warp tool and choose arch, the top of the distortion is perfect and my label has a beautiful curve on it that matches the angle of my bottles. However as I look down the label, the distortion becomes more of a 'moustache' shape where only the centre arches, and the edges are not following the distortion properly.
Why does this happen and what can I do make the bottom of the label follow the same curve and distortion as the top?
Thanks for any help!

You also stated that the arch at the top was different from the one on the bottom. My solid red rectangle show other wise. You could dupe it and see top fits bottom. You stated toe were doing it for different camera angles so you may hat done ther transforms for perspective. Your not working on a 3d object surface texture to distorting a 2D image. If your label was a squared up rectangle vertical and horizontal the distortion should be uniform. This Gif might show you it too. If you have extended try adding a 3D bottle and adding it your label as a surface texture,

Export Wireframe?

It would be nice to have an Export Wireframe option. This option would export the Plan hierarchy in a nice structural presentation. Adobe Muse is an excellent website builder for designers but its ease of use also makes it great for mock-ups for web developers. Not only would you have a structured view of the website but an interactive demo so the client can get the full picture. And maybe take some of the market share from Microsoft's Sketchflow. :^/

Any help???? After 2 weeks I still can't learn from Adobe or Right Hemisphere people how to import solid objects in vector format into Illustrator with color and surface textures in place. All imported objects in vector format are converted to a wireframe or line format unless they are first rasterized.

3D Surface texture

Similar Messages

Maybe you are looking for