This is the "typical" case, and most (GRASS r.* modules) work in this mode. The GIS layer is defined by north,south,east,west and the raster map's cell values represent the elevation. Snippet from the Wikipedia definition for 2.5D: "The idea is that the program's canvas represents a normal 2D painting surface, but that the data structure that holds the pixel information is also able to store information regarding z-index (depth) as well as other information such as material settings, specularity, etc. With this data it is thus possible to simulate lighting, shadows, and so on." Horizontal (2D) region settings are handled by the module. The third dimension is unbound. 2.5D rasters may be visualized in 3D with GRASS's NVIZ program, or as a shaded relief in 2D space with the module. A voxel is jargon for volumetric pixel and means a small 3D cube of size containing one cell of data. Support for 3D rasters (voxels) is primarily handled by the . A 3D raster can be thought of as a stack of 2D raster maps forming a 3D cube of data cells.

GRASS GIS offers support for 3D raster voxel volumes. Basic features currently cover:What Is The Best Emulsifier Blender The third dimension need not be limited to "z" elevation! Best Run Flat Tires For Bmw Z4It can just as well represent the time dimension in a time series of 2.5D raster surfaces. Homes For Sale In Albury WodongaIt is possible to make a 4D visualization using the NVIZ software's animation panels and movie making facility. You can construct a 3D raster from a series of 2D slices (), interpolated from 3D vector points (), or from a text file ( and ). You can import from V5D format with and export to VTK format with (for visualization software like Paraview or VisIt). NVIZ supports visualizing 3D raster maps with cutting planes and isosurfaces.

Region settings are handled by the module. Special 3D raster controls for g.region include: extract a slice to a 2D raster map with: Historical note: known as "site data" in GRASS GIS 5 In the "typical" case, "z" data is stored as a non-spatial attribute in a vector point map. In GRASS 6 it is possible to create 3D vector files, i.e. points exist in 3D space. 3D points defining the hull of a ship, visualized using NVIZ TODO: import star guide and display using NVIZ, using magnitude column in database table for dynamic sizing. Requires a "Free" dataset, if you have any leads, please add links to this wiki page. The GRASS vector engine is fully 3D aware, so 3D lines such as highways which cross at a bridge, but do not touch, can be modelled.In GRASS 6 it is possible to create 3D vector files, i.e. lines and polygons exist in 3D space. The topological nature of GRASS 6's vector engine means that roads can cross via a bridge without topologically meeting.

There are many free 3D mesh files available for research purposes from INRIA.fr's GAMMA project. These can be converted from e.g. 3D Studio (.3ds) format into DXF files with a converter program like [1] (runs well in Linux under wine). Also Blender does a nice job for exporting to 3D DXF. wcvt2pov.exe supported file formats Suitable alternative is Open Asset Import Library (short name: Assimp), which is a portable Open Source library to import various well-known 3D model formats in a uniform manner. Assimp library supported file formats Common interchange formats: Collada ( .dae ), Blender 3D ( .blend ), 3ds Max 3DS ( .3ds ), 3ds Max ASE ( .ase ), Wavefront Object ( .obj ), Industry Foundation Classes (IFC/Step) ( .ifc ), XGL ( .xgl,.zgl ), Stanford Polygon Library ( .ply ), *AutoCAD DXF ( .dxf ), LightWave ( .lwo ), LightWave Scene ( .lws ), Modo ( .lxo ), Stereolithography ( .stl ), DirectX X ( .x ), AC3D ( .ac ), Milkshape 3D ( .ms3d ), * TrueSpace ( .cob,.scn )

Motion Capture Formats: Biovision BVH ( .bvh ),* CharacterStudio Motion ( .csm ) Graphics Engine Formats: Ogre XML ( .xml ), Irrlicht Mesh ( .irrmesh ), * Irrlicht Scene ( .irr ) Other file formats: BlitzBasic 3D ( .b3d ), Quick3D ( .q3d,.q3s ), Neutral File Format ( .nff ), Sense8 WorldToolKit ( .nff ), Object File Format ( .off ), PovRAY Raw ( .raw ), Terragen Terrain ( .ter ), 3D GameStudio (3DGS) ( .mdl ), 3D GameStudio (3DGS) Terrain ( .hmp ), Izware Nendo ( .ndo ) Collada ( .dae ), Wavefront Object ( .obj ), Stereolithography ( .stl ), Stanford Polygon Library ( .ply ) The following is an example of 3D vector surfaces in . Can be loaded with . You can download the Slovakia 3D precipitation data from the sample data page ("Slovakia 3D precipitation data set"). For instructions, read the related README file. See: GRASS and Paraview software (This is an outdated software, Paraview is recommended) You can also use Vis5D or Vis5d+ to visualize your 3D data set (use r3.out.v5d to export into Vis5D format).

VIS5D is a system for interactive visualization of large 5-D gridded data sets such as those produced by numerical weather models. One can make isosurfaces, contour line slices, colored slices, volume renderings, etc of data in a 3-D grid, then rotate and animate the images in real time. There's also a feature for wind trajectory tracing, a way to make text anotations for publications, support for interactive data analysis, etc. Model wavy window curtains in Autodesk 3ds Max How to Model wavy window curtains in Autodesk 3ds Max This video tutorial is meant to help you model your own curtains in Autodesk 3ds Max. If you need some window curtains, this is the best way to model them. You'll learn how to do it using several modifiers and layer techniques. You can download the finished curtain from VisualKnights, which you can fully edit to your needs. This tutorial can also work with older versions of 3ds Max (previously called 3d Studio Max). Homepage: Visit the page I go back to 3ds Max and use the body base mesh to guide the placement.

Starting with a circle shape that I turn into an Editable Poly, I extrude downward to the feet and scale it up to a large dress-like, conical form. I then add connecting edgeloops from the top to the bottom so that the new polys are generally square in nature so sculpting is clean later on in Mudbox. Then using an FFD modifier, I bulge out the form of the dress so it's not draping linearly and then manipulate the top opening to fit around the waist. The top blouse portion of the dress was created by copying the torso/arm mesh and putting a Push modifier on top to inflate the normals out so it felt like clothing on top of the body. Then the lower leg polys were deleted as they wouldn't be part of the blouse form. To cover the chest area, polys were detached as a clone from the head/chest base mesh. I then attached and welded the newly detached polys to the blouse mesh -- and repeated the same process for the upper back. To create the lower sleeve elements, I detached a clone of polys from the hands mesh.

The shape was then manipulated to have open flares at the end. Since some of it got stretched out, I was sure to add some edgeloops to keep the polys square in form. Finally, I added a symmetry modifier to flip the new geometry to the other side. Although it's not part of the dress, I went ahead and copied some polys from the head mesh and created a hair cap for temporary visual placement. Now that I have all my components in place, I use the Send to Mudbox feature once again, and this time selecting Add to Current Scene. Now that we have the dress in Mudbox, I subdivide and move the forms so there aren't any intersections with the other meshes. I lock the body mesh so it doesn't move when I move the dress polys around. Subdividing a few more times, I create a new sculpt layer in the Layers panel on the right. This way I can adjust the strength of the seams if I need to or just delete the work if I don't like where it's going. So I start to lay in the seams on the dress using a small sized Sculpt brush with Steady stroke of 4 and a Wrinkle vdm I downloaded off the Mudbox Community.

Keeping the strength at 100% is ok but I start a bit lower than that and cut in the seams using the Ctrl key while sculpting. Then the material surrounding the seam needs some buildup, so I use the Wax brush to puff things back up a little. To get the ruffles on the shoulders, I use the Sculpt brush and just buildup and cut in the forms, smoothing a little as I go. I use the dress images I have reference but I also incorporate cloth and tailoring knowledge to put in these kinds of details. It's all about realizing how cloth might build up in certain areas or how deliberately bunched up the fabric is when the dress was being stitched together. Some transition areas can be tricky like the armpit but I go at it in a methodical way and it usually works out. If all else fails, I can just smooth it all back down and start over or just erase it out of the sculpt layer using the Erase brush. To do the tightly bunched up folds on the underarm, I block in a zigzag form with a low strength Sculpt brush and then use a tighter, more strength stroke on top of that to build up, again, smoothing as I go.

The key here is to be sure to add some irregularity so it doesn't look too perfect. For the ends of the sleeves, there will be lace created with opacity maps later on in the process, but for now I'll buildup and cut in the ups and downs of the forms so it's got a nice ruffle effect going. Back up the arm seam, I add some small subtractive pinches to simulate the fabric being pinched while sewing it up. I then add some buildup around the pinches to make little folds/wrinkles. The same process repeats to the top fabric on the sleeve but a lot looser and relaxed with the folds as there was less fabric used to create the top span compared to the bottom half. This is because of the complex bunching of a larger strip of fabric on the bottom. Then once that's done, I go over a lot of the bigger and smoother areas and subtract small scoops to give the cloth some texture. For the lower, secondary sleeves, I use the same process. First, create the seam, freeze everything but the lacy area, add the ups and downs, unfreeze, and then subtract the small scoops along the edge of the seam to give some cloth texture.

Then it's just a matter of adjusting the shape and hang of the cloth overall using the Grab brush. Hopping over to the waist area, I see that I need to indicate some stretching of the cloth as it comes around the waist and off the ribs area. I use a series of smooth strokes with the Sculpt brush once again and cut in when necessary using a tight curve falloff, blending and lightly smoothing as I go. Along the lower and upper back, I do the same approach but with zig zag strokes instead. For the lower dress area, I start off with long strokes with Steady Stroke on and create the major seams. Then I drag along the seam with a Seam vdm that adds a nice effect to make a tighter seam quicker. Using a Tube vdm, I create the long folds and draping effect all the way around the dress. Focusing around the waist, I create some smaller bunches of folds to simulate the seam being stitched up. Then it's just a matter of getting the lower dress opening to line up with the blouse opening.

At this point, I go ahead and decide to adjust the design of the waist and make it more like the reference dress of Sienna Miller's character in Casanova. So I throw the base mesh back to 3ds Max using the Send to 3ds Max feature. I then extrude some edges from the front of the blouse and pull them down to create a flap that will be part of the new design. I also extrude the open edge a little to make a little more room for a seam blend. Using Send to Mudbox, Update Current Scene, I'm prompted to enter a Search Distance to use for projecting the detail of the previous version of the mesh onto this new one. I try a value of 2.0 and it projects the details cleanly onto my new mesh, complete with new levels of subdivision to match. It leaves the areas that didn't have projections in a selected state (yellow) so I know which parts I'll need to clean up. Luckily, the only part left really is the flap I added which of course didn't have any source to project from. So now I can move forward with sculpting the new design details into this new mesh.

Using a serious of long strokes with the Wrinkle and Tubes vdm, I create the folds, wrinkles, and seams. To create the small ruffle effect that occurs on the center strip, I use a alternating pattern of cuts with puffs along the spaces that are created in between, adding randomness and asymmetry along the way. Then the long vertical parts of the design that start from the shoulders down to the bottom of the flap are detailed a little further with some extra flaps of fabric all the way down the length of the strip by means of the Sculpt brush and the Fold vdm. A key part of cloth sculpting is to be sure it all connects and flows in a sensible, logical, but somewhat visually random way. That's why it's so challenging! To wrap up the dress sculpting, I need to add a bow on the front of the blouse and a fake flower on the secondary sleeves. To begin the bow, I start off with a line that's formed into a long U shape. Then I extrude that up with an Extrude modifier, -- add some edgeloops to create square faces, --

throw on a Symmetry modifier, and then tweak the shape with an FFD. Then I create the center loop by extracting polys from the bow mesh and adjust the shape to fit. The bow tails are made by rotating a copy off the bow mesh as well. I mirror that piece, move everything into the right spot in relation to the dress, and then Send to Mudbox. Within Mudbox, I sculpt the shape more organically and add a crease in the middle with the Wrinkle vdm and Pinch brush. After a bit of tweaking overall, I then throw it back to 3ds Max to add a Shell modifier for thickness and add some proper edgelooping to hold the shape better. That new geometry then gets sent back to Mudbox again and now I have a bow with proper thickness. After the bow, I realize that I need to add some seam details on the secondary sleeve. So to do this I use a combination of Sculpt brushes with the Tubes and Wrinkle vdms and follow the flow of the topology to keep the seams clean. Then it's just a matter of adding some small folds and wrinkle bunches to give it a more fabric-like feel.