MATTER

Render

 

The Render menu cell in the Matter module allows you to set the parameters and initialize the rendering of a frame or a sequence of frames.

For more information on rendering, see the Rendering User's Guide.

 

Parameters

Rendering Type

This menu shows the currently selected rendering type. When you select it, a menu displays the other available options.

Note:
When rendering with the Depthcue, SGI Hardware Renderer, Ghost, Rotoscope (Wire), or Rotoscope (Shade) rendering types, you can use any of the displayed window views. Rendering with the other rendering types must be done in window B with the Perspective view.

To select the window you want to render, simply click the letter identifier (A, B, C, or D) icon in the upper-left corner of the window's title bar before choosing the Render menu cell. The selected window is outlined in red. If no window is selected, rendering is done in window B.

Wire Frame

Renders in wireframe, which is an image made up of the edges of objects, and drawn as lines resembling a model made of wire (this is the default view shown in the windows when you open SOFTIMAGE 3D). This image displays tracing features, such as edges or contour lines without attempting to remove invisible or hidden parts, or fill surfaces.The resulting image is in .lin file format.

Hidden Line (Faceted and Smoothed)

Renders in hidden line mode. This removes the lines that are usually hidden from view in a wireframe object, resulting in a more realistic looking object than if you used the Wireframe renderer (which shows all object lines). The image is saved in .lin file format.

  • If you select the Faceted option, the renderer draws lines for all the object's surface polygon edges. This makes the object look like a typical wireframe object, except that the hidden lines are removed.
  • The Smoothed option also removes hidden lines, but draws lines only at the object's edges, which creates an outline of the object with no interior lines.

Depthcue

Renders in depthcue. Depthcueing provides fast colour wire rendering. The portion of the model closest to the camera appears "brighter" in colour, giving the sense of depth in the z-axis. It is usually used to derive more visual feedback from the models displayed on a screen because the hardware shading is often too slow for complex models and scenes.

Since the alpha channel is not calculated in the Depthcue window, compositing must be done using an external compositor, such as SOFTIMAGEŽ Eddie.

Tip:
When transforming a model for optimum viewing in a particular orthographic window, save a temporary keyframe (SaveKey->Object->Transformation command.

SOFTIMAGE Renderer

Renders using the SOFTIMAGE renderer, which is the default renderer. The resulting image is saved in .pic file format.

SGI Hardware Renderer

Renders using the SGI hardware renderer. The resulting image is saved in .pic file format. The image produced is of lower quality; objects show colour and lighting effects, but not texture, shadows, reflection, or transparency. The result is the same as when you choose the Shade view to view your scene.

Note:
Remember to disable your screen saver while rendering with the SGI. This process takes a snapshot of the screen when the image is rendered.

Ghost

Renders in Ghost view mode. The Ghost view mode allows you to display a series of frozen snapshots of your animated objects at the current frame, next frames, and previous frames. These frames remain in the view regardless of the position of the time line pointer and are used as reference point. For more information, see the Ghost section of the Rendering User's Guide.

Rotoscope (Wire) and Rotoscope (Shade)

Renders in the Rotoscope wireframe or Shade view. Rotoscoping is a technique in which individual frames of a video or film are imported into SOFTIMAGE 3D and "traced."

The 2D background can be a static picture or a sequence of images. The scene can be zoomed and panned while maintaining perfect registration with the background.

When zooming in window B, you must use the rectangle zoom option (Z Supra key) to define the zoom area; this takes a snapshot of the rectangular area and magnifies it to fill the screen. The camera position does not change. You can then use the zoom option (z Supra key) to pan, zoom in, and zoom out on the defined area. When you pan, it has the effect of moving the snapshot in front of a still camera.

When you select one of the Rotoscope options, the Rotoscopy dialogue box is displayed, as well as the window type in which you are displaying the scene.

  • Select opens the browser so that you can search for the file you want as background. The selected file name is displayed in the Name text box. If you know the name of the file, type it directly in this text box.
  • Static: Select this option if the background is a single image. Static is activated by default.
  • Sequence: Select this option if the background is a sequence of images.
  • Use Frame specifies the start and end frames of the background sequence.
  • Step specifies the frame step increments of the background sequence to be rendered. For example, if you select 4, every fourth frame is rendered.
  • Sync Frame sets the frame number of the actual scene where the background scene starts.

mental ray

Renders using the mental ray renderer, a high-quality, photorealistic renderer. mental ray provides an extensive set of built-in functions and can be dynamically linked with user-defined shaders during the rendering process. You don't have to use shaders with mental ray, but there are many different types of shaders which you can use to create procedural textures (including bump and displacement maps), materials, camera lenses, atmospheres, light sources, etc.

After selecting mental ray from the Rendering Type list, you can set the parameters specific to it. These are accessed by selecting the Antialiasing and Motion Blur options, as well as the Options button.

Sequence

Allows you to set the Start and End frames for the rendering sequence and set the Step increment.

This increment allows you to skip frames. For example, if you select 4, every fourth frame is rendered.

Resolution

Sets the frame resolution in pixels. A higher resolution produces a more detailed image.

Note:
The higher the resolution, the longer it takes to render. There is no limit for image resolution, but if a resolution is greater than the monitor screen (x = 1280), it cannot be displayed on screen while rendering.

Y according to Format

Automatically sets the y-resolution of the image according to the
x-resolution entered and the format currently selected.

Specify Y

Allows you to set the y-resolution independently of x-resolution.

Pixel Ratio (X/Y)

Allows you to set the pixel ratio.

Some devices use rectangular rather than square pixels, so Pixel Ratio ensures compatibility of images with these devices.

Scripts

Pre-Frame

Allows the execution of the specified C-shell script before the rendering of an image.

Post-Frame

Allows the execution of the specified C-shell script after the rendering of an image. Note that arguments are passed to the program: $1 is the frame file name (.pic sequence name); $2 is the current frame number (.pic frame); $3 is the frame counter of the sequence; and $4 is the field.

Line Status

Displays the number of scan lines currently being processed.

Output Images

Picture File

Saves the rendered frame to a file. The file format is determined by the type of rendering selected (.lin or .pic). If this option is not selected, the rendered frame is output to a frame buffer and is displayed on screen during rendering.

Db List

Opens a browser listing available databases so that you can select the one in which you want to save the rendered images. The selected database name is then displayed next to Database.

File Format

The File Format menu allows you to render in a particular file format. See each rendering type for the file format supported.

Select Filename

Enter a file name for the rendered images in the text box. Click the Select button to open the browser to select a path.

Global Switches

Allows you to switch rendering on or off as follows:

Render Subregion

Renders the area you define using the subregion cropping rectangle. This option renders using the SOFTIMAGE or mental ray renderers.

If you want to render in a particular subregion, select the Subregion option to activate the Set button. The subregion only needs to be defined once, since the Preview and Render processes share the same subregion definition.

Click Set and the Define Subregion dialogue box is displayed. You can select the exact area to be rendered by entering either the pixel coordinates or by typing the coordinates as percentages.

For example, if you want to test some material parameters, but only want to preview the area affected by change and don't want to redefine the subregion for each test, you can set the pixel or percentage coordinates for this area.

Note:
The pixel values are dependent on the resolution. For example, if you set the subregion area with pixel coordinates and the resolution changes (becomes larger or smaller), the area that is rendered still uses those pixel coordinates. However, the percentage values are independent on the resolution. If you set the subregion area with percentage coordinates, the pixel values change as the resolution changes (if you set the percentage values to 10 percent, you always see 10 percent of the image being rendered).

Draw Always

If you want to draw the subregion to be rendered with the cropping rectangle, select the area that you want to render by selecting Draw Always; this option turns the red cropping rectangle on or off. The cropping rectangle is displayed in window B, the default Perspective window. If another view is selected in window B (such as Schematic, Right, Front, etc.) when you choose this renderer, SOFTIMAGE 3D switches it to the Perspective window. Click Render Sequence to render the sequence.

Resize the cropping rectangle by clicking on a corner or side, and then dragging the mouse.

  • Move the rectangle by clicking inside it and dragging.
  • Middle-click to render the image.

Settings

These buttons show whether specific settings are on or off, and allow you to access setting options from dialogue boxes.

Antialiasing

Smooths "jaggies" on oblique edges of objects. There are two antialiasing methods available: Bartlett window and Adaptive supersampling.

For a complete explanation on antialiasing, see the Antialiasing section of the Rendering User's Guide.

Bartlett Window

Processes all pixels by oversampling and then averaging the pixel value. The amount of oversampling is determined by the filter value that is set (range is 2 to 5). Each increment in the Filter value doubles the required rendering time. An image that renders in 5 minutes at a filter value of 1 requires roughly 10 minutes at filter 2, 20 minutes at filter 3, 40 minutes at filter 4, and 80 minutes at filter 5.

Adaptive Supersampling

Uses the same oversampling process as Bartlett window, except that before starting the process, it determines if the difference between the pixel values is great enough to require processing. The Div Threshold option allows you to define the difference in terms of RGB values. The threshold range is between 0 and 1. Set at 0, adaptive supersampling processes all the pixels to the Max Filter level. Set at 1, only pure colour adjacent pixels are processed.

Antialiasing for mental ray

When you select the mental ray renderer and select Antialiasing, the mental ray Antialiasing dialogue box is displayed.

Active

Activates or deactivates the settings. By default, it is selected.

Min Samples

Allows you to specify the minimum sample rate. This is the number of points within a pixel to be calculated and averaged to set that pixel's colour. If this value is 0, each pixel is sampled at least once. The default is -1. If this value is too small, tiny features may be lost if the sample misses them. The Min Samples option must be set to -1 or greater to use the filters.

Max Samples

Allows you to specify the maximum sample rate. This is the number of points within a pixel to be calculated and averaged to set that pixel's colour. The default sample number is 1. If neighbouring samples find a difference in contrast exceeding the limit, the area that contains the contrast is divided in half until the maximum recursion depth specified by this option's value is reached. The Max Samples option must be set to 1 or greater to use the filters.

Note:
This is similar to Bartlett antialiasing, except that Bartlett antialiasing calculates and averages all points in a pixel to set the pixel colour. For more information on antialiasing and the Bartlett Window, see the Antialiasing section of the Rendering User's Guide.

Filter Type

You can select a filter type for the post-rendering filter process which can be applied to the completed image. All filter types process the pixels surrounding the pixel that is being rendered. Based on this value, mental ray takes the average of each pixel and its surrounding pixels and removes aliasing artifacts. The Width and Height options define the size of the filter to use.

  • None is selected by default. This option specifies that no filtering type is used.
  • Gaussian weights the sample using a Gaussian curve, which is cut off at an ellipse centered on the pixel: its curve has a spherical shape.
  • Box sums up all samples in the filter area with an equal weight.
  • Triangle: Its curve has the shape of a pyramid centered on a pixel.
  • Width defines the width of the filtering type area in pixels. The default is 1. Larger values result in softer images. Typical values are 1 for Box filters, 2 for Triangle filters, and 3 for Gaussian filters. Filter sizes should not be smaller than 1.
  • Height defines the width of the filtering type area in pixels. The default is 1. Larger values result in softer images. Typical values are 1 for Box filters, 2 for Triangle filters, and 3 for Gaussian filters. Filter sizes should not be smaller than 1.

Tip:
Filter types other than Box, as well as large filter values, may reduce rendering speed.

  • Adaptive Supersampling activates the adaptive supersampling filtering method. This method determines if there is a large contrast between adjacent pixels before starting the sampling processing. If a large contrast does exist, a higher sample rate is used. A very high sampling rate affects rendering time.
  • The Red, Green, and Blue sliders allow you to set the contrast threshold for the adaptive oversampling method.

Field Rendering

Used to reduce the strobing effect that results from fast moving objects when rendering to video. It doubles the number of frames per second to create smoother video animation and correct strobing effects. SOFTIMAGE 3D renders using a wide-pixel rendering technique. Internally, the camera's field of view is perceived as being half as high, but each scan line is amplified to twice its thickness. The sampling of the pixel, therefore, is estimated over a larger area than normal. The camera first considers the even and then the odd lines. It is raised or lowered to ensure that the two different images have the correct visual orientation. The direction of compensation is dependent on whether your dominant field is set to even or odd.

The mental ray renderer generates full frames for each field. You have to use the interleave standalone to recombine the fields.

For more information on using field rendering and an example, see the Field Rendering section of the Rendering User's Guide.

When you select the Field Rendering option, the Field dialogue box is displayed.

Select the Active option to activate field rendering and then select the EVEN field or ODD field option to correspond to your dominant field environment:

Dithering

Simulates colours in the image to create a smooth gradation between areas of light and dark. Selecting this button displays the Dithering dialogue box.

Select the Active option to activate dithering, then set the Noise values. Noise allows you to add a random component to non-background pixels. Values are integers. At 0 there is no noise; values over 200 yield almost total noise.

Motion Blur

Allows you to define the relative blur of a moving object, usually for special effects and for fast moving objects with lateral motion. It simulates the effect of a slow shutter speed motion blur.

For more information on working with motion blur, see the Blurring a Moving Object section of the Rendering User's Guide.

Select the Active option to activate motion blur, then set these two values:

Motion Blur for mental ray

mental ray motion blur uses raytracing to correctly blur attributes applied to moving objects such as highlights, shadows, and reflections as well as refractions and intersecting objects.

When you select mental ray from the Rendering Type list and select the Motion Blur option, the mental ray Motion Blur dialogue box is displayed.

Select the Active option to activate motion blur, then set the shutter speed value. Shutter Speed allows you to set the length of time the shutter is open. A value of zero automatically turns all motion blur calculations off. The default value is 0.7, with the range of acceptable values between 0 and 1. The value is in time, emulating the shutter on a camera being open for a percentage of time between frame x and x + 1. A large number means a slower shutter speed.

Time/Date Stamp

Stamps the hour, month, day, and year of the position of the Sun light type in the scene as it is rendered. The Time/Date dialogue box is displayed.

Active

Toggles the Time and Date stamp on or off. It is off by default.

Corners

Allows you to specify in which of the four corners you want the stamp displayed. By default, the lower-right corner is selected.

TEXT

Allows you to select one of the following text formats:

  • White on transparent background (the default)
  • Black on transparent background
  • White on black background
  • Black on white background

Information

The Sun time&date option is activated by default and cannot be modified.

As a scene is being rendered, the sun's time and date is displayed in this format hour: month/day/year. If there is no sun in the scene, the message "NO SUN!" is displayed.

Options

Displays the Options dialogue box.

Ray Tracing

Raytracing involves calculating light rays that are reflected, refracted, and obstructed by surfaces. Although it gives very realistic results, it can be a time-consuming process. For more information on raytracing calculations, see the Raytracing section of the Rendering User's Guide.

  • Raytraced depth: The default setting is 1, which allows for one bounce of the light rays. For a transparent refractive object such as glass, this value should be set to 3 or 4.

    Note:
    If the raytraced depth value is set to less than the number of bounces made by the rays, a black default may occur resulting in an incorrect dark interior.
  • Triangles per leaf allows you to optimize the raytracing process by limiting the number of triangles per leaf that are rendered. Object surfaces are divided into triangles to simplify rendering.
  • Max Tree Depth allows you to optimize the raytracing process by limiting the level of rendering that occurs. The Max Tree Depth option defines the limit on the number of subdivisions. For example, if you have a sphere where 40 triangles touched at the top and the Triangles per Leaf is set to 10, SOFTIMAGE 3D continues subdividing space around this point, trying to find a box that contains only 10 triangles and failing. Max Tree Depth stops subdividing even though there are more than 10 triangles in the box.

Statistics

  • Time allows you to print the preprocessing time and rendering time (in seconds) for each frame to the "stats" file.
  • Memory allows you to print the amount of memory used for the various data structures to the "stats" file (for the first frame only).
  • BSP tree: Binary Space Partition tree is a technique for subdividing 3D space to reduce the number of computations required for intersection computation. The number of leaves containing a given number of triangles and the number of leaves at a given tree depth is printed to the stats file.

Render Z Channel

Renders the Z channel. The Z channel provides depth information so you can position an object in front of and behind the background image in a composite. The Z Channel information allows for more advanced compositing operations. One useful application is to use the Z Channel information to allow an object in a scene to interact with a background image. Without the Z Channel information, the compositor can only decide which layer should be placed on top, confining selected objects to the front of the background image. For more information, see the Rendering Tag and Z Channels section of the Rendering User's Guide.

Render Tag Channels

Renders tagged channels. With Tag Channel information, post-processing utilities can isolate pixels associated with a given object and process only those pixels. For example, a post-processing effect such as glow can be used to affect a specific part of an image or the entire image. Without the Tag information, the post-processing utility would have to either locate the edges of a specific object or apply the effect to the entire image.

Back Culling

Renders the front faces of objects only. The back faces are "culled" (ignored) by the renderer. This option is active by default. If you deselect this option, all faces are rendered.

Complete Unfinished Frames

Allows you to resume rendering an incomplete rendering sequence. Renders unfinished frames and frames not yet started. This is useful in case of a power interruption. (Only available with the SOFTIMAGE renderer).

Options for mental ray

When you select mental ray from the Rendering Type list and click the Options button, the mental ray Options dialogue box is displayed:

Optimization

Face allows you to specify the types of polygons to be rendered.

  • Front renders only front-facing polygons.
  • Back renders only back-facing polygons.
  • Both renders both front and back-facing polygons.
  • Trace activates the raytracer for primary rays. The raytracer is automatically turned on if a lens shader is active.
  • Shadow activates shadow computation. If deselected, no shadow computation occurs, even if the model's shadow is activated in the Render Setup dialogue box which is accessed by choosing the Info->Selection command.

Each refraction or reflection of a ray creates a new branch of that ray when it bounces off a solid object and is immediately cast in another direction.

Think of each new branch as a layer: if you add the total number of a ray's layers, it represents the depth of that ray. The Ray Depth option allows you to define the depth of a ray, which means you are actually defining the maximum number of times a ray can be reflected or refracted in the scene. The various branches of rays in a scene constitute a ray tree.

  • Reflected ray depth allows you to specify the maximum number of a ray's reflective branches in a scene. For example, in a totally reflective scene, the ray continuously bounces around in the scene creating an infinite number of branches. This option lets you set an upper limit on these calculations.
  • Refracted ray depth allows you to set the maximum number of times a ray can be refracted in a scene.
  • Sum adds the total number of a ray's reflections and refractions in the scene. If the total exceeds the number you have specified, the ray is not cast.

For mental ray rendering, a scene is treated as if it was placed within a bounding box. The bounding box is then divided into smaller areas according to the number of divisions you specify. There are two currently supported acceleration methods for mental ray: Ray classification and BSP tree.

  • Ray Classification: The ray classification method relies on ray coherency in the scene to subdivide the space of rays. In doing so, this algorithm is using a fixed amount of memory allocated to the acceleration data structures and defaults to approximately 6 megabytes per CPU. Even very large scenes with over one million triangles work at maximum speed with no more than 12 megabytes per CPU for acceleration data structures. For more information, see the Raytracing Using Mental Ray section of the Rendering User's Guide. The optimal subdivision is estimated by mental ray, but may be adjusted using the Ray Classification Setup dialogue box.

    When you click Set beside this option, the Ray Classification Setup dialogue box is displayed:
  • Visible allows you to specify the number of divisions for all rays. The rendered image is not affected.
  • Shadow allows you to specify the number of shadow ray space divisions. Positive numbers increase the number of divisions, and negative numbers reduce the number of divisions, reducing rendering time. The rendered image is not affected.
  • Memory Limit is a safety device that allows you to specify the maximum amount of memory to be used for the data structures. The default value is 10 megabytes.
  • BSP tree: Binary Space Partition tree. This acceleration method operates by building a hierarchical spatial data structure by recursively subdividing the bounding volume of the scene. The resulting binary tree consists of branch nodes that correspond to a subdivision of a bounding volume (voxel) in 2 subvoxels and leaf nodes that contain the geometric primitive (triangles).

    When you click Set beside this option, the BSP Tree Setup dialogue box is displayed:
  • Maximum depth allows you to optimize the raytracing process by limiting the level of rendering that occurs. The default is 24.
  • Maximum size allows you to optimize the raytracing process by limiting the number of triangles per leaf that are rendered. The default is 4.

Tip:
The BSP tree method is generally faster than Ray Classification, but consumes more memory for large scenes.

Output Shaders

These shaders operate on rendered images before they are written to a file. They can perform operations such as filtering, compositing with other files, and writing to different file formats.

This method of rendering defines surfaces by contrast rather than by geometry and produces antialiased contour lines between surfaces, as well as in areas where surface normals show discontinuity. Contour line rendering is particularly useful for cartoon animation because the contour lines produced look similar to the line drawings of traditional animation, and the output can be painted cel by cel.

When you click the OFF/ON button beside this option, the Contour Rendering Parameters dialogue box is displayed:

  • Activate makes the Contour Rendering option active. Deselect it to deactivate the option.
  • Line Width defines the width of the contour lines in pixels. The default is 0.5.
  • Contour Depth is used to give a tolerance to distinguish between objects that are in almost the same position in space. The default is 0, which means it distinguishes between all objects.

Display is disabled during contour rendering, with the result written to a .pic file. This is the only output file generated.

Note:
You cannot use contour rendering with the BSP tree acceleration method selected. If you do so, SOFTIMAGE 3D switches the Ray Classification method to render the contour images.

Activates surface normal output and creates an output file with the .n extension. It will have the same resolution as the actual picture, but instead of storing the RGB value for each pixel, it stores the surface normal used for rendering the triangle nearest the camera. Normal encoding is used mainly for post-processing applications.

Activates depth picture output and creates an output file with the extension .Zpic. This method is similar to Normal encoding, except that it is the distance between the camera and the nearest triangle that is stored instead of the RGB value.

Displays current output shaders with their status (active or inactive). This allows you to apply one or more output shaders to the scene after it is finished rendering. Since you can have more than one shader active at the same time, it makes a difference how you order them in the scroll box. The shaders are processed starting from the top of the scroll box. You can even use the same shader more than once, perhaps slightly modifying it each time it is used.

  • Select allows you to select a new output shaders to add to the current list of shaders. When you click this button, the output shader database browser is displayed in which you can select a shader.

    Select the shader name from the database and click Load. This shader appears in your list of shaders.

    If you need to search for a shader, double-click the .. (two dots) at the top of the browser and select the appropriate chapter.
  • Edit displays the dialogue box containing the parameters that define the shader you have selected. You can then edit the parameters of that shader. For example, if you are using the same shader two or more times in the list, you can modify the parameters slightly for each time it is used.
  • Active makes the shader active or inactive, depending on the current state of the shader. If a shader is active, it is highlighted.
  • Move Up lets you rearrange the order of the shaders when you have more than one active shader in the scroll box. Since you can have more than one lens shader active at the same time, it makes a difference how you order them in the scroll box. The shaders are processed starting from the top of the list.
  • Delete deletes the currently selected shader from the shader list.
  • Set Name lets you change the name of a lens shader. To change names, select a shader from the scroll box, modify the name in the Name text box, and click Set Name. This creates a new shader with the new name, but with the current parameters. You can edit these parameters in the dialogue box that is displayed when you click Edit (see the previous description of Edit). The new shader can then be saved and recalled by name in other scenes.
  • Name lets you save a shader by another name (see Set Name above).

Image Options

Prints status messages on the status message line and into the status message file about the objects in the scene during the rendering process.

Activates the desaturation colour clipping method that looks at each RGB colour component to identify any pixels which may have a value greater than 1. If any exist, the values of all other pixels are reduced proportionally. If this option is not selected, the component clipping method is used instead, which modifies only pixels with a value greater than 1 by first identifying them and then reducing their values.

Allows you to specify the gamma correction value to be applied to the output colour. Gamma correction is necessary for providing the proper contrast to a rendered image according to the recording device used. The default value of 1 is adequate for most purposes.

Allows you to write the commands received by the raytracer to a file instead of actually rendering the scene.

To do this, enter the complete path file name or a relative path name in the text box; the file is written to the current working directory. This output can then be edited and manually sent to the mental ray renderer using the irix command. For example, if you're using IRIX version 5.3 and the rendered image file name is mental_lee.mi, type:

ray.irix5 mental_lee

  • Output to File per frame works like the Output to File option, except that you can specify which frames to render. Each output file name corresponds to the frame number (such as output.1.mi, output.2.mi, etc.) and can be modified/rendered separately. This allows post-scripts to modify the .mi file and use the tracer, and then remove it to save disk space.

Default Link/Code

Allows you to enter commands for the custom shader linking into the mental ray script file so you don't need to modify script files manually to include link, code, and $include commands for non-standard shaders. The syntax of the commands must be exact.

Click Edit to display the Custom Script Lines dialogue box.

  • Edit allows you to edit a command line. When selected, the Custom Script Lines dialogue box is displayed again. Make your modifications and click Ok to close the dialogue box.
  • Add allows you to add a new command to the script. When selected, the Append New Line dialogue box is displayed.

    Enter the new command line and click Ok to accept it and return to the Custom Script Lines dialogue box.

    Note:
    If no existing command line is selected before you click Add, the new line is added to the end of the command line list. If you select an existing command line before clicking Add, the new line is added before it.

    You can add a maximum of 50 command lines.
  • Delete allows you to delete a command line from the script.

Render Sequence

Starts the rendering sequence with all parameters you have specified.

Accept

Saves all parameter settings you have created in this dialogue box, but does not render.

 

Last updated 02-apr-1998