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+ | ====== Brazil Features ====== | ||
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+ | =====Brazil Rendering System feature list===== | ||
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+ | > **Summary: | ||
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+ | =====Technical description===== | ||
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+ | This wiki page aims to highlight several Brazil features (This is not a complete list, indeed... far from it) and describe them in layman terms. I will not shy away from the official jargon, but I promise I won't use terminology to confuse or impress you. | ||
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+ | I might be able to describe what Brazil actually is and does and I might even pull it off in less than a hundred pages, but what you need to know about Brazil is: | ||
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+ | * It's a great rendering engine. | ||
+ | * It's not the only great rendering engine. | ||
+ | * It's tightly integrated with Rhino. | ||
+ | * It's not easy to master, but few things worth doing are. | ||
+ | * There are very few things you cannot do with Brazil if you set your mind to it. | ||
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+ | Everything else is hearsay. The only way to choose a rendering platform which will work best for you is to try it and see for yourself. Listen carefully to opinions and reviews, but make up your own mind in the end. Look at the [[http:// | ||
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+ | =====An example image===== | ||
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+ | This image was rendered in a (early 2007) beta version of Brazil for Rhino and it shows several advanced features that you will not find in simpler platforms such as the Rhino renderer or Flamingo: | ||
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+ | I have highlighted five details in this image each of which represents an advanced feature: | ||
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+ | - Ray tracing | ||
+ | - Advanced lighting | ||
+ | - Toon Rendering | ||
+ | - Depth-of-Field | ||
+ | - Procedural textures | ||
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+ | //Ray tracing// | ||
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+ | | Rhino viewport screenshot. As you can see the Brazil materials can be simulated and displayed in the real-time viewport. This even works for Procedural textures. (This scene has three different procedurals: | ||
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+ | | DOF with focal distance aimed at the first glass. For the sake of clarity I have used an extremely short F-Stop, meaning the DOF effect is very strong. Usually you will be using far less imposing camera settings.| This time the middle glass is in focus. Note that the DOF effect blurs both objects in front of and behind the field. | Here the field is centered around the third object. | | ||
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+ | Brazil is a [[http:// | ||
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+ | | This setup uses no high-dynamic-range colors. The material on the ball is partially reflective which means that the residual color after reflection is about ¼ of what it used to be. | In this scene, the white planes reflected in the ball are given a brighter-than-white color. In fact the planes are twice as bright as white, which means that the resulting color after reflection is ¼ × 200% = 50% white. | ||
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+ | Colors can also be diluted through indirect lighting, as the following table shows. This scene is lit both directly (through a pointlight to the left which casts the predominant shadow) and indirectly: | ||
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+ | | If the brightness of the tube is set to zero, then it will be completely black. Only the direct light emitted from the pointlight object plays a role in this scene. | Here, the brightness of the tube has been set at half the normal brightness, meaning that the purple-to-pink gradient on the tube appears half as dark. However, there is already some indirect pink discoloration on the ground surrounding the tube. | When the brightness is set to 1.0, we see the gradient for what it is. There is a large amount of indirect pink, especially on the ground inside the tube walls, which is exposed from all directions. At this point, this scene is not yet HDR. | | ||
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+ | | This all changes when we boost the brightness of the tube to twice its normal color. As you can see the far end of the tube (which is supposed to be pink) has been boosted so far that it becomes brighter than white. It's still pink, but too bright to be represented properly on the screen. | When we boost the brightness to a factor of five, the brighter-than-white boundary moves towards the dark end of the gradient. Also, the indirect lighting is now predominant on the ground near the tube, to the point that some of it has also breached the white barrier. | Finally, in this last image, the brightness is set to one again, but the strength and saturation of the indirect lighting has been boosted. This makes for a physically incorrect scene, which uses the HDR features of the Brazil core without there being any HDR colors specified. | | ||
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+ | | Image 1 shows the viewport screenshot of this scene. Three lights with three distinct colors (green, purple, and yellow) have been placed around the shapes. Image 2 is a rendering of this scene with direct illumination only. There are places between the shapes where the shadows of all lights overlap and where there is thus no direct light source visible. These areas have become completely black. Image #3 has indirect illumination enabled and the difference is quite striking. The light has been allowed to bounce one more time which means that those occluded areas in image 2 are now lit indirectly by the vertical surfaces in their vicinity. The image has lost some contrast but it more believable for it. Only very rarely will you encounter absolute black around you in reality... | | ||
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+ | One more example of diffuse light scattering shows the leaking of color as well as luminescence in indirect illumination: | ||
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+ | | This image shows the effect of all combined direct illumination. Instead of a number of light objects, this scene is lit by a mono-chromatic skydome (completely white), meaning the source of all direct light is unfocused and diffuse. Our visual cortex pretty much immediately dismisses this image as fake, since the groundplane and the sphere (though touching) have completely different hue and saturation components. | When we enable indirect illumination, |