User manual LUXOLOGY MODO 202

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Manual abstract: user guide LUXOLOGY MODO 202

Detailed instructions for use are in the User's Guide.

[. . . ] modo 202 1 User Guide modo 202 manual model. render. 2 modo 202 User Guide modo 202 3 User Guide Learning modo This manual is written as a companion guide to the modo inline training system. The inline training system contains much of what you will find in these pages and has the added advantages of being contextual and augmented with dynamic media such as GIF and Quicktime movies. At Luxology we believe the integrated modo training system is the most effective method for learning the application. [. . . ] Pinning Axis: The Pinning Axis determines the UV axis to favor when shuffling the UV boundaries during the unwrap. U is the horizontal axis and V is vertical. Offset Angle: This value allows you to add some rotation to the resulting unwrapped UVs. This can be very useful if your original mesh is not world axis aligned. By adjusting this value you can see in real time the effect on the map. Seal Holes: If your mesh is not "water tight" (such as a head with open eye sockets) the Unwrap algorithm can sometimes have difficulty resolving these areas. The Seal Holes option will create a virtual polygon to close the holes and improve the unwrapping effect. Update Layout: This option forces the UV layout to remain within the 0 to 1 UV coordinate space. 206 modo 202 User Guide Fit UVs The Fit UVs command will scale the currently selected UV data to fill the 0 to 1 UV space. This is a very useful command for optimizing UVs. There are two options for this command; Separate and Keep Proportion. Keep Proportion: When this option is active the UV data will scale proportionally so that the resulting UV data has the same ratio of height to width. The data will scale until one of the maximum UV sizes is fit on one or both axes but the data will not deform to accomplish this. The following images show the UV fit tool with and without the Keep Proportion toggle active. Separate: The Separate option will force each polygon to become discontinuous in UV space and fill the UV 0 to 1 coordinates. This is similar to the Barycentric UV projection type and is very useful for forcing a texture to completely repeat from polygon to polygon. modo 202 207 User Guide Relax Tool The Relax Tool is very useful for smoothing overlapping UV data, particularly in combination with the Unwrap tool. The tool has two modes, Unwrap and Spring. The Unwrap option uses the same method for untangling UVs as the Unwrap tool but in this context you can use the method to untangle existing UVs as opposed to only creating new ones. The Unwrap option is the default and for most cases will be the best option. The Spring setting is a global optimization solver that treats the UV data like a spring system and iterates through UV positions to try and find an optimal global solution. Spring solvers can be somewhat finicky about the scale of the data and the number of iterations which can result in an unstable solution in certain circumstances. 208 modo 202 User Guide Perhaps the more interesting use of the Relax tool is with the Pinning option. Pinning allows you to define specific vertices on the UV map that will act as control points or "pins". When the relax iterations are set above 0 the free vertices will smooth themselves out between the pinned vertices. You can drag the pinned vertices in UV space to adjust the map leveraging a sort of UV IK. To set new control points simply click directly on the vertex and a light blue handle will appear. [. . . ] Film Offset The Film Offset is only useful when the aspect ratio of the Film Width and Height does not match the Frame aspect ratio. The Frame aspect ratio is determined by the Render Items Frame Width/Height and Pixel Aspect Ratio controls. The Film Width and Height is set on the Camera properties. Frame Width and Height Is set in Pixels and represents the actual output that will be generated by the render engine. The Film Width and Height is the virtual film plate size inside the camera. [. . . ]

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