Fancy a Desktop 3D High Resolution Printer?

Printer With an Expanded Choice of Seven Different 3D Printing Materials
High Temperature Materials

Objet Ltd , the innovation leader in 3D printing for rapid prototyping and additive manufacturing, has today launched the new Objet30 Pro – the most versatile professional in-house desktop 3D printer available on the market. Unveiled at RAPID, the new desktop 3D printer offers 7 different materials, including, for the first time on a desktop system, clear transparent material and high temperature resistant material.

The Objet30 Pro is positioned as the ultimate rapid prototyping solution for designers and engineers, ranging from industries such as consumer goods and consumer electronics to medical devices and design consultancies.

The Objet30 Pro takes its place as the new top-of-the-line addition to Objet’s existing desktop 3D printer line which starts at $19,900*. With a small footprint, professional 28 micron print quality and wide ranging material versatility, the Objet30 Pro produces high quality prototypes with a choice of 7 different materials and functional properties, offering designers and engineers a world of possibilities:

  • Objet clear transparent material (Objet VeroClear) for simulating PMMA/glass;
  • Objet High temperature material for heat-resistant static functional testing;
  • Objet polypropylene-like material (Objet DurusWhite) for simulating snap-fit parts; and
  • Four rigid, opaque materials for standard plastic simulation (Objet Vero Family in black, white, gray, and blue).

“Having the correct tools and resources to advance our product development is critical for our organization,” saidGregory Janice, Engineering Manager at Princeton Tec. “The Objet30 Pro’s ability to print parts made with a clear transparent material on a desktop 3D printer combined with its ease of use and versatility made the Objet30 Pro a sound investment for our team.”

Collcap Packaging Ltd., an Objet customer creating innovative cosmetic, perfumery and personal care packaging, has also been testing the new Objet30 Pro desktop 3D printer. Adam Smith, Technical Manager at Collcap, comments, “We knew a desktop machine would meet our capacity requirements quite happily, but for the packaging work we do, we really wanted the range of materials that has previously only been available with bigger machines. The clear transparent material for instance is ideal for prototyping our bespoke fragrance bottles and other glass or clear plastic products, whilst the range of colored rigid materials work perfectly for simulating plastic bottles, caps and fittings. The excellent surface finish and detail provided by the Objet30 Pro are also crucial so that our eye-catching designs look and feel as they’re supposed to when we present them to our customers for approval.”

“The Objet30 Pro is the next evolution in desktop 3D printers developed specifically for professional users”, saidDavid Reis, CEO of Objet. “This desktop 3D printer provides outstanding print quality with a choice of seven materials that until now could only be found in much larger, high-end 3D printers. The Objet30 Pro is the perfect combination of professional, versatile in-house 3D printing at an attractive price point,” concluded Reis.

Objet30 Pro Desktop 3D Printer – Additional Information for Media

  • The ultimate prototyping solution for designers and engineers
  • Ideal for consumer goodsconsumer electronics, medical devices and design consultancies
  • Combines the accuracy and versatility of a high-end Rapid Prototyping machine with a small footprint
  • 7 different materials; the world’s only desktop 3D printer with clear transparent, high temperature, four rigid opaque and polypropylene-like materials.
  • Reliable, robust and easy to use
  • Based on Objet’s advanced inkjet 3D printing technology, the Objet30 Pro Desktop 3D Printer offers an office-friendly design, with quiet operation and REACH-compliant material cartridges for convenient replacement.
  • The Objet30 Pro desktop system features a spacious build tray size of 300 x 200 x 150mm – suitable for printing various-sized and shaped models or multiple models on the same build tray at the same time.
  • The expanded material capabilities of the Objet30 Pro are available as an upgrade for existing Objet30 or Objet Alaris30 desktop 3D printer customers.

*Price for US. International pricing may vary. Price excludes VAT, taxes, duties, options, shipping and installation.

Resources

About Objet

Objet Ltd., is a leading provider of high quality, cost effective inkjet-based 3D printing systems and materials. A global company, Objet has offices in North America, Europe, Japan, China, Hong Kong, and India.

Objet’s 3D printing systems and 3D printing materials are ideal for any company involved in the manufacture or design of physical products using 3D software or other 3D content. Companies using Objet’s solutions can be typically found in sectors such as consumer goods & electronics, aerospace & defense, automotive, education, dental, medical and medical devices, architecture, industrial machinery, footwear, sporting goods, toys and service bureaus.

Founded in 1998, the company has thousands of customers worldwide including a substantial share of the relevant Fortune 100 and Fortune 500. Its award-winning technology (13 awards in 8 years) is based upon over 110 patents and patent pending inventions.

Objet’s advanced 3D printing systems and range of about 70 materials enable professionals to build prototypes that accurately simulate the true look, feel and function of an end-product, even complex, assembled goods. The Objet Connex™ line of multi-material 3D printers features the world’s only technology to simultaneously jet 2 materials. With this, users can print many different materials into a single part and print various mixed parts on the same build tray. Users can also create advanced composite materials, or Digital Materials™ featuring unique mechanical and thermal properties. Objet’s range of about 70 3D printing materials simulate properties ranging from rigid to rubber-liketransparent to opaque and standard to ABS-grade engineering plastics, with a large number of in-between shore grades and shades.

Objet’s 3D printers are available in a range of form-factors, from cost-effective desktop 3D printers ideal for entry-level professionals all the way to industrial-scale multi-material machines for front-line designers and top manufacturers. Objet’s 3D printers feature the industry’s highest-resolution 3D printing quality, based on 16-micron (0.0006 in.) super-thin layering, wide material versatility, office friendliness and ease of operation.

For more information, visit us at http://www.objet.com, and for more about 3D printing industry-related news, business issues and trends, read the Objet blog.

© 2012 Objet, Objet24, Objet30, Objet Studio, Quadra, QuadraTempo, FullCure, SHR, Eden, Eden250, Eden260, Eden260V, Eden330, Eden350, Eden350V, Eden500V, Job Manager, CADMatrix, Connex, Connex260, Connex350, Connex500, Alaris, Alaris30, PolyLog, TangoBlack, TangoGray, TangoPlus, TangoBlackPlus, VeroBlue, VeroBlack, VeroClear, VeroDent, VeroGray, VeroWhite, VeroWhitePlus, Durus, Digital Materials, PolyJet, PolyJet Matrix, ABS-like and ObjetGreen are trademarks or registered trademarks of Objet Ltd. and may be registered in certain jurisdictions. All other trademarks belong to their respective owners.

Adobe Photoshop Creative Suite 6 Extended Alioscopy-Ready For No-Glasses 3D

Alioscopy enables millions of Adobe Photoshop digital imaging artists to generate Alioscopy-ready “no-glasses” 3D content. With Alioscopy’s patented technology integrated into Adobe Photoshop CS6 Extended, millions of artists in the global Photoshop community will benefit from a streamlined, all-inclusive workflow to generate “no-glasses” 3D content—one of today’s fastest growing trends in digital signage, trade show and events, advertising and education
Alioscopy and Adobe CS6 Extended

San Diego, CA (PRWEB) May 07, 2012

Alioscopy® USA, a 3D technology provider today announced that Adobe® Systems Incorporated has integrated its Alioscopy auto-stereoscopic, 3D multi-view algorithm as a new feature in Adobe® Photoshop® CS6 Extended software. As more and more digital imaging artists create content in stereoscopic and auto-stereoscopic 3D, Alioscopy offers a unique patented process for generating 8-view images for viewing and play-back on auto-stereoscopic 3D HD LCD displays.

In Photoshop CS6 Extended, anyone with a stereoscopic camera (left and right lens equipped) will be able to upload two-view images to Photoshop and convert it to multi-view (8-view) for display on an Alioscopy 3D screen—currently available in 21’’, 24”, 42”, and 47” configurations. Additionally, artists will be able to generate 3D objects directly in Photoshop or in other 3D software packages and apply the Alioscopy multi-view algorithm to create Alioscopy-ready content.

By integrating Alioscopy’s patented technology into Adobe Photoshop CS6 Extended, millions of artists in the global Photoshop community will benefit from a streamlined, all-inclusive workflow to generate “no-glasses” 3D content—one of today’s fastest growing trends in digital signage, trade show and events, advertising, and education.

“Creating and integrating 3D in Photoshop over the past few years has opened many new doors and possibilities for Photoshop artists,” said Zorana Gee, Adobe Photoshop Senior Product Manager. “By incorporating the Alioscopy 3D multi-view algorithm and camera model into Photoshop CS6 Extended, we’re offering artists yet another way to generate compelling 3D images and content which adds a whole new immersive dimension to content creation and editing,” added Gee.

To learn more about how to create Alioscopy-ready auto-stereoscopic 3D content in Photoshop Creative Suite 6 Extended, and view a demonstrational tutorial, go to:
http://www.alioscopyusa.com/content/alioscopy-partnership-adobe

YouTube tutorial

Years in development, Alioscopy technology helps digital content creation artists, brand retailers, tradeshow exhibitors, service businesses and museums attract and captivate their audience with 3D content that has incredible depth and dimension on an LCD display fitted with a lenticular lens. Potential customers stop to view auto-stereoscopic 3D content at least twice as long as traditional 2D media, and Alioscopy-generated content in “no-glasses” 3D offers still, animated, and interactive imagery that simply can’t be ignored.

“Adobe Photoshop is a ubiquitous digital content creation tool with over a million users worldwide, and we’re thrilled to license the Alioscopy no-glasses 3D algorithm as an integrated feature in the new Photoshop CS6 Extended,” said Pia Maffei, chief operating officer for Alioscopy USA. “The majority of Alioscopy customers turn to Adobe daily to create, augment, and finish their digital images, animations, and photographs. The Alioscopy 3D toolset is a powerful way to import, convert, create, and edit ‘no-glasses’ 3D content that will be Alioscopy-ready,” added Maffei.

Social Media:
Follow Alioscopy USA on Facebook and Twitter and YouTube.

About Alioscopy
Alioscopy® USA, based in San Diego, CA, is a leading developer of a wide range of 3D technology solutions that represent one of the most significant leaps forward in auto-stereoscopic 3D display technology currently available. The company holds worldwide patents on a unique technology that delivers a one-of-a-kind immersive experience—without the aid of glasses or other devices. Markets and industries that can most benefit from Alioscopy technology include: point-of-sale kiosks (POS), digital signage, media and entertainment, mobile communications and games, automotive, architecture, engineering and construction (AEC) visualization, and medical, government and military.

© 2012. Alioscopy is a registered trademark of Alioscopy. Adobe, the Adobe logo, Creative Suite, and Photoshop are either registered trademarks or trademarks of Adobe Systems Incorporated in the United States and/or other countries. All other trademarks contained herein are the property of their respective owners.

MAXON UNLEASHES CINEMA 4D R10.5

New version delivers DWG Import, XRefs, new MOCCA tools and accelerated HAIR Rendering
Press Release

MAXON today released a dramatically enhanced version of its CINEMA 4D
software. Sporting a wealth of new features added to the core CINEMA 4D program, the update also takes in a number of enhancements that have been made to CINEMA 4D’s optional modules. Chief among these are new tools for MOCCA and MoGraph, plus major enhancements to HAIR.

One highlight is the new DWG import filter. CINEMA 4D users now have access to one of the most widely used CAD exchange formats on the market. AutoCAD versions 13 to 2008 are supported, including layers, blocks and references. A further boost to file exchange for customers in the architectural field is the new connection to Allplan 2008, which guarantees loss-free transfer from CINEMA 4D R10.5.

Users working as a team are set to see a huge benefit with the eagerly anticipated arrival of XRefs. These external references allow a large scene to be broken down into parts, each of which can be worked on separately to the master project file, thus allowing multiple users to work on the same project file at the same time for super fast project turnaround. Further additions bolstering the update are new modeling tools (Connect, Dissolve and Spin Edge), a completely new way to light scenes (with the new Lighting Tool you control the lighting rather than the lights), plus a powerful new method to unwrap UVs of organic objects without undercuts.

Naturally, workflow is another area MAXON is always improving. Lots of tweaks here and there will help users to work more efficiently and include extended functionality in the Head Up Display (HUD), which now allows data to be dragged and dropped directly into the viewport. HUD elements can also be colored and grouped easily. Additionally, the timeline has been refined to enable users to work faster than before. A new summary track allows the entire animation to be edited as a whole, while the new reduced modification mode greatly simplifies the process of editing complex f-curves. For the user who likes to reach for the online help, a welcome addition is the provision of full text search capabilities, making it quicker to look up any subject from the huge comprehensive online help system.

In terms of the modules, key changes were made to MOCCA has never been easier thanks to over 25 improvements, such as Squash & Stretch features and new Deformers. MoGraph boasts new effectors and cloning options, allowing this must-have module for state of the art motion graphics to flex its muscles even further. And hair rendering is dramatically faster with full support for multicore and multi-CPU machines – a dual-core machine now renders hair at up to double the previous speed.

With a total of over 90 substantial improvements packed into the update, Release 10.5 makes its mark as arguably the most comprehensive .5 update in CINEMA 4D history.

The CINEMA 4D R10.5 upgrade is available for purchase immediately from MAXON or your MAXON products distributor.
________________________________________________________________________________
About MAXON Computer
MAXON Computer is the developer of professional 3D modeling, painting, animation and rendering solutions. Its award-winning products have been used extensively in the film, television, science, architecture, engineering and other industries. MAXON products have been used for and in Beowulf, all three Spider-Man films, Surf’s Up, Fantastic Four: Rise of the Silver Surfer, Ghost Rider, Open Season, all three Pirates of the Caribbean films, Monster House, Eragon, Superman Returns, The Chronicles of Narnia: The Lion, the Witch, and the Wardrobe, Serenity, War of the Worlds, Polar Express, The Flight of the Phoenix, Van Helsing, King Arthur, Star Wars: Episode II – The Attack of the Clones, the On-Air Packages for TMZ T.V., Comedy Central, Monday Night Football, Jeopardy, Wheel of Fortune, ESPN, NFL Network, TiVO, NBC, DirecTV, CBS NFL, Smart House, Fox and many more. MAXON has offices in Friedrichsdorf (Germany), Newbury Park (CA, USA), Bedford (UK) and Tokyo (JP).
________________________________________________________________________________
About Adimex
Adimex – a business unit of Digistor – is Australia’s leading digital media production tool distribution organisation. Headquartered in Sydney, Australia, Adimex imports and distributes a broad range of market-leading solutions for digital storage, broadcast video, animation, DVD, and streaming media. For many years, Adimex has provided world-class product marketing and support for the products it represents and has developed a strong reseller network throughout Australia and New Zealand.

Luxology Boosts Modern 3D Modeling Software to New Heights Adding Sculpting and Animation to modo

modo 301 Ships to Customers World-wide Today
Press Release
 
Luxology® LLC today announced the immediate availability of modo® 301, the newest version of its award-winning, artist-friendly 3D content creation software. Available for both Mac OSX and Windows, modo 301 is a milestone release that features new sculpting and item animation, as well as extensive improvements to its modeling, painting and rendering toolsets. To purchase or learn more about modo 301, please visit www.modo3d.com.
 
“This release of modo redefines the creative 3D experience,” said Brad Peebler, president and co-founder of Luxology. “Virtually any shape can now be created, textured and animated in a single environment; modo 301 invites experimentation and rewards the artist with new levels of efficiency.”
 
modo 301 combines a powerful, real-time subdivision surface modeling engine with an artist-focused set of tools that harness sculpting, painting and rendering technologies to speed the creation of world class 3D content. modo is now time-enabled, encouraging designers and artists to explore an unprecedented range of content creation alternatives as well as produce finished animation sequences from within modo or via motion and deformation data from other applications. This unique combination of modern workflow and fused toolsets deliver increased productivity and performance for 3D artists working in a variety of disciplines including product design, architectural visualization, packaging design and a variety of entertainment industries.
 
Praise for modo 301
“The appeal of modo has always been its workflow, it’s an environment that just feels right,” said Dan Ablan of AGA Digital Studios Inc. and 3D Garage.com. “What is impressive to me as a trainer is that Luxology is preserving and enhancing the user interface as they pour functionality into the product.”
 
“Luxology has produced a real ‘gem’ for visualization work,” said Neil Hayes, freelance design visualization artist. “Some features I love are the improved snapping, stencil mapping and photometric lights. Indeed, modo 301 delivers on so many fronts that I think it has the potential to become ‘the tool’ for design visualization.”
 
“modo has always been known as a great SubD modeler, and now Luxology is evolving the very nature of modeling as they add sculpting and continue the seamless integration of painting and rendering into the modeling process,” said Jason Clark of SubDivisionModeling.
 
modo 301 Highlights
modo 301 improves performance and strengthens capabilities across modo’s core toolsets -modeling, painting and rendering – while further improving workflow. Two new core capabilities have been added to modo: true 3D sculpting and the ability to animate items and their properties.
 
Key features in modo 301’s comprehensive release include:

  • Precision Modeling and Sculpting: modo’s world class subdivision modeler is further equipped with new snapping functionality and the addition of true 3D sculpting tools that speed base mesh creation and the creation of organic surface detail.
  • Fluid 3D Painting: Painting is now threaded for superior performance; paint strokes can be seamlessly applied across multiple images and even onto multiple UV maps.
  • Item Animation: Properties can be varied over time allowing modelers to, for example, perfect facial morphs by modeling on a moving face or enabling designers to walk-through or animate their designs.
  • “Unleashed” Rendering: The modo renderer now operates on up to 50 workstations (cross platform) and offers rock solid global illumination and blurry reflections in animated sequences.
  • Superior Workflow: Artists and designers will enjoy even smoother workflow in modo due to further refinement of the physical user interface, which is based on more than a dozen iterations that Luxology conducted with beta testers from a variety of disciplines.

 
Pricing and Availability
modo 301 ships with dual licenses that support both Mac OSX and Windows and sells for a suggested retail price of USD $895. modo is sold and supported by a network of authorized Luxology resellers across the globe. To purchase modo 301 or learn more about the modo community, including an extensive gallery of user images, please visit Luxology’s new and improved website at www.modo3d.com or contact Luxology at (650) 378-8506.
 
Luxology also offers a wide array of modo training videos and other educational materials designed to enhance the modo learning process for novice and experienced 3D users. For more information please visit www.Luxology.tv.
 
About Luxology
Based in San Mateo, Calif., Luxology® LLC is an independent technology company developing next-generation 3D content creation software that enhances productivity via artist-friendly tools powered by a modern underlying architecture. Founded in 2002 by Allen Hastings, Stuart Ferguson and Brad Peebler, Luxology is home to some of the top 3D engineering expertise in the industry. More information on Luxology, its flagship product modo®, a gallery of artists’ images and the active modo community is available online at www.modo3d.com.

 
© Copyright 2007 Luxology LLC. modo and Nexus are registered trademarks of Luxology LLC., in the USA and/or other countries. All products or brand names mentioned are trademarks or registered trademarks of their respective holders.
 
Reader contact:
Luxology LLC
1670 South Amphlett Blvd, Suite 214
San Mateo, CA 94402
(650) 378-8506
[email protected]
 

Allegorithmic Announces Free Professional Texturing Software, MaPZone 2.6

Enhanced Toolset Fosters Ease of Use and Expands Creative Opportunities for Users
Press Release
 
Allegorithmic, an emerging 3D technology company developing advanced texturing tools for next-generation 3D content, today announced MaPZone 2.6, the newest version of its professional texturing software. Boasting several new and improved workflow and usability features, MaPZone 2.6 is the industry’s most advanced texturing tool dedicated specifically to creating professional, high-quality bitmap textures. Based on a revolutionary procedural approach, MaPZone gives artists unprecedented control when creating textures for animation, game, visual effects, online media, design and architectural visualization projects. MaPZone 2.6 is free and is scheduled to ship in fall 2007.
 
“The freeware version of MaPZone allows all artists to benefit from a powerful production-proven tool that is designed to help simplify the day-to-day task of creating and editing textures,” said Dr. Sebastien Deguy, president and founder of Allegorithmic. “Offering the software for free has also fostered the growth of our MaPZone user community which has grown to more that 25,000 people since the release of MaPZone 2.5. With MaPZone 2.6 we hope to see that number increase as the user community continues to expand and share resources.”
 
MaPZone is an authoring tool designed specifically for editing and managing textures. Based on Allegorithmic’s patented FXMaps technology, MaPZone is the only tool that allows users to locally edit procedural textures to create diffuse, specular and normal maps that are resolution independent, match up perfectly and seamlessly tile automatically.
 
Some of MaPZone 2.6’s new and improved features include:
·         New bitmap image input node (similar to existing SVG input node) allows users to mix   bitmaps and procedural noises making it easier to add details and matter to texture creations
·         New feature automatically flags normal maps for usage in DirectX or OpenGL
·         New functionality allows nodes of the graph to be realigned horizontally or vertically; existing connections between nodes in the graph can be modified by simple drag and drop
·         Reposition camera and object in 3DEdit panel to their default positions
·         Quicker access to Filter Menu by hitting [SPACE] key
 
Industry Praise for MaPZone
“No other procedural texture editor gives artists the flexibility of MaPZone,” said Vincent Brisebois, animation and visual effects product specialist at Autodesk.
 
“After downloading MaPZone for free and doing two tutorials, I am creating textures faster than ever before,” said Stephan Aelmore, 3D artist. “I love the feel of the software – it’s extremely easy to use and produces very realistic results. I feel like I’ve been using it for years.”
 
“I really enjoy working with MaPZone – it has all the key features necessary to make any high-quality textures,” said Patrick Nieborg, technical artist at www.Kerkythea.net.
 
Pricing and Availability
MaPZone 2.6 is free and is scheduled to be released in fall 2007. To download the current version of MaPZone, please visit www.mapzoneeditor.com.
 
About Allegorithmic
Founded in 2003 and based in Aubiere, France, Allegorithmic is an emerging leader in the 3D effects industry. The company specializes in creating advanced authoring software and middleware that is designed to simplify the process of creating high-quality textures for next-generation content developers. The company’s two flagship products are ProFX and MaPZone. Based on Allegorithmic’s patented technology, ProFX is the first middleware for authoring professional procedural textures in real time. MaPZone is the most advanced texturing tool on the market and is optimized for creating high-quality textures that can be used for a variety of design applications. Allegoritmic has partnered with some of the industry’s leading games and technology companies including: Dassault Systems, Epic Games, Luxology, Microsoft and Naked Sky Entertainment. For more information on Allegorithmic and its products please visit www.allegorithmic.com.
 
© Copyright 2007 Allegorithmic. All products or brand names mentioned are trademarks or registered trademarks of their respective holders.
 

DAZ|Studio 3D Software Brings to Life Inspiring Christmas Book Featuring Dick Van Dyke

DAZ|Studio and DAZ 3D Models Used to Create all the Spectacular 3D Illustrations Featured in the Enchanting Children’s Book “Mr. Finnegan’s Giving Chest”
Press Release

 

DAZ Productions Inc., a leading developer of professional-quality 3D
software and models, today announced the brilliant illustrations
featured in the charming Christmas picture book, “Mr. Finnegan’s Giving
Chest,” were created with DAZ|Studio, the company’s free 3D figure
posing and animation software package, and existing DAZ models and
accessories from its online store.

 

Produced by DAZ Productions and written by the company’s president, Dan
Farr, “Mr. Finnegan’s Giving Chest” is a beautifully illustrated and
inspirational Christmas story about the joy of giving. Dick Van Dyke
portrays Mr. Finnegan, a kind-hearted toymaker who helps a young girl
understand the true meaning of Christmas. “Mr. Finnegan’s Giving Chest”
is available now through DAZ Productions’ website (www.givingchest.com) and will be available in stores Nov. 15, 2005.

 

“One of my favorite hobbies is creating computer generated art and
imagery, which is why I was thrilled to be characterized as Mr.
Finnegan,” said Dick Van Dyke. “I’m a big fan of DAZ Productions and
was absolutely amazed with the illustrations they were able to create
with DAZ|Studio.”

 

Throughout the process, DAZ Productions used DAZ|Studio to create all
the illustrations for the book. Based on early pencil sketches, initial
scenes were laid out in DAZ|Studio with content gathered from DAZ
Productions’ online store – a virtual shopping mall of 3D models and
accessories. These initial composites were then improved in
DAZ|Studio’s real-time environment, where lighting, cameras, poses and
other elements were continuously refined. With assistance from NVIDIA,
DAZ Productions used OpenGL to interact with the large scenes in real
time and produce many of its test renders in a matter of only seconds,
saving them a substantial amount of production time. Final renders were
produced using 3Delight, DAZ|Studio’s software renderer option.

 

“With a powerful feature set and virtually no learning curve,
DAZ|Studio proved to be the perfect application for creating the
illustrations in ‘Mr. Finnegan’s Giving Chest’,” said Dan Farr,
president of DAZ Productions. “We simply could not have created artwork
of this quality, under such a tight deadline, using any other 3D
graphics design package.”

 

DAZ|Studio

DAZ|Studio is a free, feature-rich 3D animation software package that
puts a complete virtual photo and motion picture studio at your
fingertips. With pre-configured 3D scenes, poseable characters,
animals, environments, clothing and accessories, DAZ|Studio is the
easiest way to quickly create high-quality digital imagery for games,
multimedia, illustration and photography applications. To see a
complete detailed list of DAZ|Studio’s features, please visit http://studio.daz3d.com/1_0features.php.

 

Pricing and Availability

DAZ|Studio is free of charge and is available on Windows 98® SE or
higher and Mac® OSX 10.3 or higher. DAZ|Studio comes with three
pre-configured 3D scenes, including the popular Victoria model created
by DAZ, an extensive user manual, and easy-to-follow tutorials for
getting started. To obtain a free copy of DAZ|Studio, users register
for a free account on the DAZ website and agree to participate in the
company’s unique Tell-Ware program, which requires each DAZ|Studio user
to tell at least two friends about DAZ|Studio and/or the DAZ website.

 

DAZ Productions offers a large library of 3D scenes and models that can
be purchased for use with DAZ|Studio. The company also distributes the
DAZ Dispatch, an informative weekly newsletter announcing new products,
discounts and special offers for free products. Online tutorials, art
galleries, interactive forums and special membership-based savings
plans for customers are also available. For more information, please
visit www.daz3d.com.

 

About DAZ Productions

Founded in 2000, DAZ Productions Inc., located in Draper, Utah, is a
market leader in 3D software and digital content creation. The
company’s model library is renowned for high-quality 3D content at the
industry’s most competitive prices. DAZ also develops powerful software
applications that support its content, including Mimic(TM), a lip-synching
application, and Bryce®, a 3D environment package. DAZ|Studio, the
company’s first free 3D figure posing and animation software package,
demonstrates the company’s commitment to expand and grow the 3D
marketplace by offering free software and 3D content at affordable
prices. DAZ’s products have been used in many professional productions,
television shows and print publications such as “X-Men 2,” “Spiderman,”
“Average Joe,” “48 Hours,” The Wall Street Journal, Popular Science,
and the History Channel. For more information, please visit the
company’s website at www.daz3d.com.

 

Copyright 2005 DAZ Productions, Inc. DAZ|Studio is a copyright of DAZ
Productions Inc. DAZ and Bryce are Registered Trademarks of DAZ
Productions Inc. Mimic is a trademark of DAZ Productions Inc. All other
brand names, product names, service marks or trademarks belong to their
respective holders.

 

NaturalMotion Releases Free endorphin Learning Edition

Unrestricted Access to Award-winning 3D Character Animation Software Normally Priced at $12,795 USMSRP
Press Release

 

NaturalMotion Ltd., the developers of breakthrough 3D animation
technology based on Dynamic Motion Synthesis (DMS), today announced the
immediate availability of the company’s free endorphin Learning Edition
(eLE). Based on the award-winning 3D character animation software
endorphin 2.0, the eLE has no time restrictions, includes all relevant
product documentation, and offers a comprehensive support network via
the company’s endorphin forum. The software is fully functional;
however, it is motion file export disabled and is not to be used for
commercial production. The eLE is available now through NaturalMotion’s
Web site at www.naturalmotion.com.

 

Used by leading production and animation companies such as The Mill,
Sony Computer Entertainment, Namco and Moving Picture Company,
endorphin is the only character animation software to utilize DMS, a
technology based on artificial intelligence controllers that imitate
the human nervous system. Unlike conventional animation techniques such
as keyframing or motion capture, endorphin’s DMS technology uses the
CPU to simulate the brain and body of 3D characters, which allows
animators to synthesize human movements in real time. This approach
produces directed and fully-interactive 3D characters that essentially
animate themselves with real-life movements that are unique every time;
thus dramatically reducing animation asset production time.

 

“endorphin provides an entirely new approach to 3D character animation
that will significantly impact how 3D characters are animated in the
future,” said Torsten Reil, CEO of NaturalMotion. “With the
availability of a free eLE, animators will have the opportunity to
educate themselves on endorphin’s unique DMS technology and develop a
valuable skill set for the high-end industry. Equally, smaller
animation studios can evaluate the software at their own pace, and have
the option to rent endorphin 2.0 on a monthly basis, for maximum
flexibility.”

 

The eLE contains all of the same features found in endorphin 2.0,
including: multi-layer behaviors; enhanced adaptive behaviors; an
intuitive GUI (including layered behavior support on the timeline); and
support for the Avid® Alienbrain® Studio asset management and Perforce
software configuration management systems.

 

Pricing and Availability

NaturalMotion’s eLE is available free of charge directly from the company’s Web site at www.naturalmotion.com,
and includes relevant product documentation and a comprehensive user
support network via the endorphin forum. The eLE has no time
limitations; the software is motion file export disabled and is not to
be used for commercial production. The eLE is also available on 3D
World magazine’s issue 68 cover disc.

 

The full version of endorphin 2.0 retails at USD $12,795. eLE users
also have the option to rent the software on a monthly basis for USD
$1,595.

 

About NaturalMotion

NaturalMotion Ltd. is the first company to create 3D character
animation software (endorphin) based on Dynamic Motion Synthesis (DMS),
a technology that utilizes Adaptive Behaviors and artificial
intelligence to simulate the human-nervous system. Based on Oxford
University research on the control of body movements, endorphin
synthesizes 3D characters in real time. A breakthrough in 3D character
animation, this process allows animation to be created much faster than
conventional methods; thus significantly reducing asset production time
and costs. With customers such as Sony Europe, Sony America, Moving
Picture Company, The Mill, Namco, Konami, Rainbow Studios and Tigar
Hare, endorphin is rapidly becoming the tool of choice for today’s
leading visual effects artists creating high-end animation. For further
information please visit NaturalMotion’s Web site www.naturalmotion.com.

 

© endorphin and Dynamic Motion Synthesis are trademarks of NaturalMotion Ltd.

All other brand names, product names, service marks or trademarks belong to their respective holders.

Introduction to 3D Modelling and Rendering, Part 2 â

An introduction to 3D for those new to it.
3D software offers many options in how we represent, and thus create,
the objects that go into our scenes.  In this part of the course
we examine basic object representations.

What Sorts of Objects

In most real scenes, the objects that we might want to
incorporate will be complex.  Unfortunately most 3D modellers and
renderers don’t support basic object types like ‘tree’, ‘car’, ‘person’
or ‘house’.  Such complex objects have to be created out of the
actual object types that the renderer supports.  The usual basic
objects types are flat objects, like planes and polygons, and 3D
objects like spheres, cylinders, cones, etc. Of course, you can also
obtain libraries of already created objects. Some 3D programs come with
lots of these, others few. There are web sites where people place free
‘models’ that you can download. There are also companies that
specialise in creating ‘models’ that you can buy.

Polygons, for reasons that will become clearer later in this series,
are the mainstay of most 3D modellers and renderers.  A polygon is
simply a shape made up of a number of straight lines, joined together
to define a closed shape.  The points that define the end of each
line are called a vertex.  Different programs allow variations on
the basic polygon.  Some programs require that polygons be totally
flat, that all the vertices lie in a flat plane.  Others allow
curved polygons.  Some require all polygons to have either three
or four sides.  Others allow you to construct polygons with
greater numbers of sides.  Many of these latter ones will actually
subdivide the polygon into three or four sided ones before rendering,
though this is usually hidden from the user.  One major advantage
of three sided polygons, triangles, is that they have to be flat. 
Only four sided or higher polygons can have some vertices not in the
same plane as the others.  A variation on the polygon that you
find in most 3D software is the infinite plane.  As its name
implies this plane is a flat surface that stretches off into
infinity.  Infinite planes are useful for things like water
levels, cloud layers, etc.

Polygons are defined by the x,y,z coordinates of their vertices. 
It is not unusual to be required to define the vertices of a polygon in
a particular order, such as clockwise or anticlockwise when looking at
the front face of the polygon.  Some software requires this to be
able to calculate the surface normal.  Surface normals are
incredibly important in 3D work as they are used to work out how much
light is hitting a surface, and thus it’s colour.  The surface
normal points up from the surface of the polygon.  Some software
treats polygons as single sided, other software as double sided. 
3D software that has single sided polygons will not display them if you
are looking at their back surface.  With such software if you want
a bowl, for example, you have to define polygons forming both the
inside and outside surfaces.  Software that uses double sided
polygons does not have this requirement, one layer of polygons can
represent both the inside, and outside surfaces, though this is not
natural, since the bowl walls would have no thickness.

Basic 3D objects, like spheres, cylinders, boxes and cones are also
incredibly useful.  We can construct planets from spheres and tree
trunks from cylinders, for instance.  Since these are the basic
forms used in the construction of most man-made, and many natural,
objects, they are indispensable.  Many programs, when you use one
of these, create the basic object at a standard size.  You can
then usually modify the object by stretching it into the form you
want.  Other programs allow you to stretch out the shape when you
insert it into the scene.  This stretching process allows you to
create oval footballs from a sphere, a rectangular building from a
square cube and a long spear from a squat cylinder.  Most software
gives you the choice of doing this either by typing in numbers or by
clicking and dragging.  This stage of modifying the shape of your
objects is usually much easy if you can easily switch between different
views of the object, like front, side and top, either through having
multiple views open at once or by switching views in the one window.

Boxes, spheres, cylinders, cones, polygons and text objects are the
basic construction components available in most 3D software, as shown
in this render done with Newtek’s Inspire 3D.  In some programs all
these objects are constructed out of polygons, in others they are
primitive objects that are rendered directly.  If you examine the edges
of the sphere and cone you can see that they are constructed out of
polygons. 

Creating Composite Objects

If all objects are treated as individual ones, you end up with a
heap of them to try to manage.  Since most basic objects will
actually be used to construct more complex objects it is useful to be
able to group objects together that form parts of a whole.  Thus
we might create an object ‘person’ with parts ‘head’, ‘body’, ‘arm1’,
‘arm2’, ‘leg1’ and ‘leg2’.  Then ‘leg1’ consists of ‘upper’,
‘lower’ and ‘foot’.  And so on.  Building up complex objects
out of hierarchies of other parts makes life a lot easier.  If you
want to move a whole object you can simply select the top level and
move it, knowing that all the component parts will move too. 
Otherwise you would have to separately select every component and move
them, and hope you didn’t forget some small parts.

Object hierarchies are most flexible when you can give names to each
component part.  Such hierarchies are also essential to making
character animation easier, as we will see later in the series. 
Some programs allow you to readily display object hierarchies in a
diagram form that shows the relationships between parts, similar to the
folder hierarchy views that most operating systems allow you to see for
navigation purposes.  Software that doesn’t do this is certainly
harder to use for some things.

This screen grab, from Ray Dream Studio, shows a cartoon bird and it’s
hierarchical construction.  Unfortunately too few programs provide this
sort of display.

Another type of object related to the above is a polygon mesh.  A
mesh is a set of polygons which are joined together to represent a
surface of some complexity.  A good example of this is the polygon
mesh that Bryce 3D uses to represent the shape of the landscape. 
The process of creating a polygon mesh usually does not require that
the user manually position each vertex of each polygon in t
he
mesh.  Various other convenient methods are available.  We’ll
examine these in later parts of the course.

This close-up of part of a bird model in Ray Dream Studio shows how this program tessellates spheres into polygonal meshes.



Why Are There Differences of Approach?

There are two choices the software developers have to make: what
primitive objects are to be supported; and what rendering method is to
be used?  These two questions are interrelated, as we shall see in
Part3 of the course.  The rendering method determines what actual
primitive objects the software works with to create images.  How
we want the user interface to be will determine what primitive objects
are available to the user.  For a number of reasons that we will
examine in the next part of the course, certain rendering techniques
can only actually support polygons, whilst others can actually handle
spheres, cylinders, etc.  So a program that has to use polygons
for rendering will convert a sphere into a polygonal approximation, in
a process called tessellation, before actually rendering an
image.  This creates more primitive objects to render but allows
the renderer to be highly optimised for the handling of polygons. 
A program which can directly support spheres, say, does not have to do
this conversion and thus renders fewer objects in your scene but
requires specialised program code for each object type it supports.

These internal differences in approach are what make some 3D packages
good for some types of work and others more suitable for others. 
Some will handle transparent objects superbly, other handle interior
lighting well, for example.  Some will make dealing with certain
types of objects easy, whereas others make those objects hard but
others easy.  It is for these reasons that many people working
with 3D software will use a number of packages for different parts of
the process.  Whilst this is certainly not necessary, it can be a
useful approach.  It’s the same as people using Painter for some
things and Photoshop for others, sometimes switching backwards and
forwards between the two.

The designers of 3D software have to make a complex set of choices
based on their priorities.  These choices lead to the differences
in single or double sided polygons, whether tessellation is done and
what types of rendering options are available, to pick just
three.  Some choices will speed up the execution of the program
whilst others will slow it down.  These tradeoffs account for the
huge variety that we encounter in 3D programs.

Another use for polygon meshes is to represent irregular objects, like this landscape in Bryce 3D.

The result of rendering after texture
and colour is applied looks so much more detailed and more natural than
the polygon mesh it is based on.  We’ll look at why this is so in
later parts of this course.

Introduction to 3D Modelling and Rendering, Part 1 â

An introduction to 3D for those new to it.

What is 3D?

For those of us used to working in Photoshop and Illustrator it is
important to realise that all that work is 2D, or two-dimensional.
Photographs of real objects or painting them from scratch in Painter,
they are still 2D. This is because we are either working with a pixel
representation or flat objects, like lines, text, paths, etc. This is
true even if we are attempting to simulate a 3D look.

In 3D work, or three dimensions, we are producing a description of real
objects with depth, scenes comprising many objects and the spatial
relationships between them, along with the required lighting
arrangements and viewing characteristics. The end result of 3D work is
still usually 2D. This is either a still image or an animation, but
it’s still made up of pixels. In an ideal world our output would be
three-dimensional too, as in a holographic projection or even a
sculpture. This is a limitation of the output technologies that we have
to work with at present, rather than an inherent characteristic of 3D
work. Since 3D printers exist (they are actually more like a
numerically controlled milling machine in some ways), as do using LCD
shutter glasses for direct 3D display, working completely in 3D is
possible, just not the normal use.

Deep down, usually buried deep inside the software, our 3D work
consists of rather mathematical descriptions of our scenes, such as
place a sphere of radius k, with it’s centre at x,y,z point in space
with a surface texture like stone. Thankfully, we rarely have to deal
with the numerical level unless we choose to. There are good reasons to
dive down to the numerical level at times, such as exact placement. 3D
software is largely click and drag operation these days for most common
operations. It is important to remember that we are trying to represent
things in the three-dimensional world that we are used to living in.
Just as navigating around the real world can get you lost, so is it
easy to become disoriented in 3D software.



Keeping oriented in 3D

In 3D software the convention is to use a set of three coordinates, x,
y and z. Co-ordinates can be absolute or relative. Absolute coordinates
apply to the entire world that we are creating in the computer.
Everything is specified relative to a universal origin, the centre of
your digital universe, with coordinates of 0,0,0. Positive x values may
lie to the right, negative ones to the left. Positive y values may be
up and negative ones down from the origin. Positive z may be in front
of and negative ones behind the origin. Absolute coordinates are used
to position objects in our scene, to place cameras and lights, etc.
Relative coordinates have their origin somewhere other than the world
origin. For instance, in creating an object made up of many parts it
may be more convenient to think in terms of positions relative to what
you wish to consider the centre of the object.

How the software works can have an impact on how easy it is to keep
oriented. Some programs, like Bryce, display only one window, so you
only have one view of your objects/scene at a time. Other programs,
like Vue d’Esprit or Lightwave, by default give you four views: a
front, left and top view plus the view through the main camera. This
last solution is generally preferred but does tend to work best when
you are using a large, high-resolution screen. This is why most of the
consumer level programs use the one view approach, assuming home users
have small screens, whilst professional software takes the four-view
approach.


The stages of 3D work

The following are the main stages of creating a 3D work:

1.    Create objects;

2.    Place objects in relation to each other in scene;

3.    Place light sources;

4.    Place the camera or observer;

5.    Add textures to objects;

6.    Add atmospheric effects;

7.    Render to produce a final image or animation movie.

The exact order of this sequence is partly up to you and partly a
function of the software that you are using. For instance, some
software separates the creation of objects and their placing in the
scene (as in Lightwave), others combine this into one step (as in
Bryce). Likewise, sometimes the textures are placed on objects when you
create them. But they can also be added at the scene creation stage.
Each person gradually finds their own order of working that suits their
needs and the needs of the specific project. For projects involving
many people there may be different order, or indeed some stages my be
performed in parallel, than for projects where you are doing the whole
thing. The order of steps can affect the performance of your software.
The sequence given tends to produce the least delays with most
software, for reasons that will become clear as we progress through
this series.

Creating objects and placing them in the scene is often called
‘modelling’. This is because in creating an object and then a scene we
are building a ‘model’ of it in the computer. Some software even
separates the modelling function from the rest of the software by
splitting the process into two programs. It is quite possible to do the
modelling in on manufacturer’s program and the rest of the process in
another. I quite frequently use three different programs for this
process, making use of the strengths of each, these being Poser and
Byrce and Lightwave.

Light sources and a camera are necessary if you are to see anything of
the wonderful model you have created. Light sources and cameras can be
treated in much the same way as any other object. Light sources will
have their own, special characteristics though, like the type of light
source, whether it casts shadows, its colour, etc. The camera also has
special characteristics, like its field of view, resolution of the
resulting image(s), etc.

Rendering is the process of determining what the scene looks like from
the camera position taking into account all the characteristics of the
objects, light sources and their interaction. Rendering is usually a
time consuming process for any scene of reasonable complexity. This can
vary from a ‘go get a cup of coffee’ to ‘lunch’ up to a whole week, or
more. This is one reason why high complexity rendering of still images
or animations tends to require fast computers and lots of memory. One
reason that the order with which you create your image(s) is important
is that you will usually do lots of little test renders along the way.
Thus you want to leave the details which really slow the rendering down
to as late in the sequence as possible.



Why would we want to use 3D?

We need to represent solid objects, whether in a still image for an ad
or an animation to go in a movie. Since real world objects are 3D,
there will be times when a 3D representation is needed. Sure, we can
paint or airbrush a 3D approximation but it will have a particular
look, assuming that we have the skill level to create it.
Working with
3D software creates a different look. This can vary from one with a
very computer feel to a photorealistic one, depending on the software
and what we do with it. The major advantage of working with 3D software
is that it is easy to produce changes. To change the viewpoint only
requires that we move the
camera and render. To change the lighting or
reposition objects is equally easy. So having created a scene once, we
can produce many different images from it. This is like photographing a
real scene in everything from wide-angle to close-up, and from
different positions. 3D software gives you flexibility. This very
flexibility allows you to re-purpose images. You may do an illustration
for a magazine ad and then the client comes back and wants an animation
for a TV ad, or the web. Once you have built the models, you can re-use
them repeatedly.


This screen grab of the old Metacreation’s Infiniti-D 4.5
shows a four window, working environment. Three windows give front, top
and side views whilst the fourth shows the camera view. This type of
display, common to most of the higher-end 3D packages, works best on a
high resolution, large screen.


The single view at a time display, like this one from Bryce,
works well on smaller displays. Usually keyboard shortcuts or buttons
allow you to switch between views. Whilst not as convenient as the
four-window display it is quite workable. It seems natural once you get
used to it.


This simple cartoon bird was created out of basic
object types and rendered in Infiniti-D 4.5. A background image was
used.