![]() ![]() So for major surfacing projects, use the Surface Editor in Layout and take advantage of VIPER and the nodes.VIPER requires rendered data to work, and you can only render in Layout.VIPER uses information stored in LightWave’s internal buffers for instant feedback. Using the Surface Editor in Modeler does not give you access to LightWave’s VIPER, discussed in detail later in this topic, nor does it provide access to v9′s powerful Node Editor. The Surface Editor button is sixth from the top in Modeler (Figure 3.2) and fifth from the top in Layout.The F5 key also opens the Surface Editor in both Modeler and Layout.įigure 3.2 LightWave’s Surface Editor can always be accessed at the top left in Modeler. This topic applies to both Modeler and Layout, except for the section on the Node Editor, which is available only within Layout. In LightWave v9, the Surface Editor is accessible in both Modeler and Layout, so you can set up surfaces in either part of the program. Defining and applying surface attributes such as color and shininess, or adding more complex textures, required moving over to Layout. However, you could make only basic surface changes in Modeler-essentially, you could only select a group of polygons and name them as a surface. In early versions of LightWave, the process of setting up a model’s surfaces began during construction, in Modeler. It’s important to understand how basic texturing works, and the Surface Editor is the place to start. You’ll get a brief introduction to the Node Editor in this topic. Figure 3.1 shows the Surface Editor interface at startup, with the Node Editor open.įigure 3.1 LightWave’s Surface Editor at startup. Most notably, LightWave v9 brings a completely new way of texturing to the table with the Node Editor. If you are familiar with the Surface Editor in previous versions of LightWave, you’ll find the updated Surface Editor works in much the same way but is definitely improved. ![]() The Surface Editor gives you control over everything you need to create a blue ball, an old man, or a modern city. Perhaps one of the best things about LightWave’s Surface Editor is that it puts everything you need to set up simple-to-complex surfaces in one location. ![]() The word surface is used three different but related ways in this topic-to denote a specific group of polygons on the skin of a 3D object to describe a collection of attributes (color, reflectivity, bumpiness, and so on) applied to a region to determine its appearance and behavior in a 3D scene and as a verb ("to surface"), meaning the process of applying those attributes to polygon regions. ![]() This topic helps you take the next step with LightWave by introducing you to the powerful Texture Editor and teaching you how to navigate and use its interface. Once you create a fantastic piece of 3D art, it’s time to make a better one! Without forgetting that lighting setups play a big role in determining the realism of your scenes,this topic will introduce you to LightWave’s texturing capabilities. You see, your mission, should you choose to accept it, is to continually better your work. Note, however, that this struggle is a blessing in disguise. In your 3D career, professional or otherwise, you’ll find that achieving this realism is a never-ending battle. The realism of 3D animation can be very eye-catching, and a good part of this realism comes from two key factors: lighting and surfacing. ![]()
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