Disclaimers

KeyShot Disclaimers

KeyShot Disclaimers

PANTONE® Colors displayed in the software application or in the user documentation may not match PANTONE-identified standards. Consultcurrent PANTONE Color Publications for accurate color. PANTONE® and other Pantone trademarks are the property of Pantone LLC. © Pantone LLC, 2012

Pantone is the copyright owner of color data and/or software which are licensed to (Luxion Aps) to distribute for use only in combination withKeyShot. PANTONE Color Data and/or Software shall not be copied onto another disk or into memory unless as part of the execution of KeyShotmaterial library.

KeyShot OverviewDirectory StructureLicensingUser interfaceImporting and working with dataWorking with materialsTexturingLabelingAdjusting lightingRealtime settingsUsing backplatesWorking with camerasRendering and outputMaterial types and their settingsAnimationKeyShot environment editorNetwork renderingKeyShotVR

Index

KeyShot overview

keyshot overview >

KeyShot is an entirely CPU based standalone render engine for 3D data. It has been designed to take the complexity out of rendering realisticimages. It is meant for designers, engineers and CG professionals worldwide to quickly and easily create realistic images of their 3D models.

Contents

CPU renderingHDRI lightingPhysically accurate materialsStereoscopic viewing(3D)

CPU based rendering

keyshot overview > CPU >

OverviewKeyShot is an entirely CPU based standalone render engine for 3D data. It is designed to use 100% of all CPUs available in your system todeliver maximum rendering performance. It is also near linear in scale, so as you double the amount of CPU cores in your system you will nearlydouble performance.

When KeyShot renders it will use 100% of your CPU power. This is normal behavior.

Why CPU?Since KeyShot is CPU based it is a rendering solution available to the masses. There is no need for a special graphics card or hardware to runthe software. This also makes it a mobile solution and can be run on simple laptops. Your 3D data is stored in RAM and is not dependent onVRAM in a graphics card. This will allow you to import very large data sets without the need for a powerful graphics card. KeyShot delivers fast,noise free results because of the complex algorithms behind the render engine. These algorithms cannot be calculated on the GPU and thusKeyShot uses the CPU for rendering.

HDRI (High dynamic range image) lighting

keyshot overview > hdri lighting >

HDRI LightingHDRI stands for "High dynamic range image". HDRI lighting is a method of easily and realistically lighting 3D models across the CG industry. Itworks by mapping a 32-bit image to the inside of a sphere. This 32-bit image has a significantly larger amount of color information than an imagetaken with a standard camera. The color intensity can far exceed the standard RGB range of 255, 255, 255 which equals pure white. Thisadditional color information is used to cast realistic lighting information into a scene. Using HDRI images, KeyShot can accurately simulatedifferences in brightness from a simple LED all the way up to the intensity of the sun and cast shadows accordingly.

When you import a model into KeyShot, it is already contained in an HDRI environment. No intitial lighting setup is necessary for you to achieveimmediate realistic lighting. For more information on tuning your lighting see the section on adjusting lighting.

The image on the left shows a realistically lit 3D model. The image on the right is the same scene but the camera has been pulled back to revealthe sphere that contains the HDRI which is creating the lighting. This automatic lighting setup is one of the main reasons KeyShot is so easy touse.

Physically accurate materials

keyshot overview > physically accurate materials >

The science behind the materials

All KeyShot materials are scientifically accurate and have physical properties based on real world materials. The material types contain only theproperties necessary for creating that specific type. For example, you won't find a property under the "Glass" material that will make it look like ametal. This makes setting up realistic materials extremely easy and foolproof.

Included:

700+ materialsDuPont® materialsMold-Tech® materials

Stereoscopic viewing(3D)

KeyShot overview >Stereoscopic viewing(3D)

OverviewStereoscopic viewing(3D) gives you the ability to view you models in 3D in realtime.(*hardware not included)

How to enable itEnabling steroscopic viewing can be found under "View" -> "Stereoscopic settings". You will need 3D enabling hardware:

3D monitor3D graphics card(support 3D vision, or OpenGL quad buffering)3D glasses

Directory structure

Directory structure >

Contents

OverviewPC locationMac location

Overview

Directory structure > Overview

KeyShot resourcesKeyShot has a default directory structure that the software depends on to run properly called KeyShot resources. Assets such as environmentimages, backplates, materials, colors, textures and scenes are stored here. By default, when you open a BIP file, KeyShot will automaticallycheck KeyShot resources for any assets that the scene uses.

The folders located in KeyShot resources are as follows:

RenderingsAnimationsScenesModelsTexturesColorsEnvironmentsBackplatesMaterialsMaterial Templates

You can specify the location of the KeyShot resources folder in the folder preferences.

RenderingsBy default, all renderings will be saved to this location. At render time, other locations can be specified in the render options.

Scenes:KeyShot will automatically browse to this location when saving and opening scenes.

Textures:KeyShot will automatically look in this location for any textures associated with a BIP file. Any textures stored here will be imported into the librarywhen KeyShot starts.

Colors:KeyShot will automatically look in this location for any colors associated with a BIP file. Any colors stored here will be imported into the librarywhen KeyShot starts.

Environments:KeyShot will automatically look in this location for any environment images associated with a BIP file. Any environments stored here will beimported into the texture library when KeyShot starts.

Backplates:KeyShot will automatically look in this location for any backplates associated with a BIP file. Any backplates stored here will be imported into thelibrary when KeyShot starts.

Materials:KeyShot will automatically look in this location to populate the library with materials when KeyShot starts.

Directory structure (PC location)

Directory structure > PC location >

LocationOn PC a shortcut will be placed on your desktop called "KeyShot resources". This folder points to the 'Documents - > KeyShot' folder unless theKeyShot resources location was changed during installation.

Setting permissionsTo set full permissions on your KeyShot resources folder for PC, right click on the 'KeyShot' folder and select 'properties'. Next, select the'security' tab and highlight your 'group' or 'username'. Then click the 'edit' button and set the permissions to 'Full control'.

Directory structure (Mac location)

Directory structure > Mac location >

LocationOn Mac your KeyShot resources folder is located in "Library -> Application support -> KeyShot 4"

Write permissionsYou must have 'read/write' permissions to be able to save renders, animations, materials and scenes to your resources folder. If you are not able to save, ensureyou have full 'read/write' permissions for the resources directory. You can do this by selecting the 'KeyShot' folder and selecting 'get info'. Then under 'Sharing &Permissions' set your account to 'Read & Write'. If you cannot set these yourself, you may need to contact your system adminsistrator.

License file locationOn Mac your license file is stored in the KeyShot application 'package contents'. To access this, locate 'KeyShot' in your applications. Right clickthe icon and select 'show package contents'. If you have trouble copying your license file to the correct location, follow the steps outlined above toensure you have proper write permissions.

Licensing

Licensing >

The standard node locked license is serial code based and can be active on one machine at a time. However, you can transfer your license anunlimited number of times on up to three machines.

Contents

Installing your licenseTransferring your license

Installing your license

Licensing > Installing >

Automatic installWhen you receive your 'keyshot4.lic' file save it to your machine. Next, start KeyShot and select 'install license' and browse to the 'keyshot4.lic'file. If your license fails to copy, check to ensure you have full permissions set on your Keyshot resources folder on PC and full permissions seton the KeyShot application 'package contents' on Mac. Click one of the following links for information on setting your permissions on PC or Mac.

Manual installWhen you receive your 'keyshot4.lic' file you can manually copy it to the Keyshot resources directory for PC or to the application packagecontents on Mac.

Transferring your license

Licensing > Transferring >

Transferring overviewDuring the license transfer process an internet connection is required, but once the license has been successfully transferred KeyShot can runwithout being connected to the internet.

Transferring your license on PCTo transfer your license on PC, ensure you are connected to the internet on the active machine. Start KeyShot and go to 'File -> Deactivatelicense on this machine'. Then, ensure the new machine is connected to the internet and that KeyShot is installed. Start the software, fill out yourinformation on the activation screen, and press 'Next'. On the following screen you will be asked for your KeyShot serial code(s). Type in yourinformation and press 'Next' to finalize the activation.

Transferring your license on MacTo transfer your license on Mac, ensure you are connected to the internet on the active machine. Start KeyShot and go to 'File -> Deactivatelicense on this machine'. Then, ensure the new machine is connected to the internet and that KeyShot is installed. Start the software, fill out yourinformation on the activation screen, and press 'Next'. On the following screen you will be asked for your KeyShot serial code(s). Type in yourinformation and press 'Next' to finalize the activation.

Floating license

Licensing > Floating license

Floating license overviewThe floating license will give you the ability to float a license of KeyShot amongst any machine that has KeyShot installed. A license of KeyShotPro floating is required, and a machine with the server software installed and a license configured.

Borrowing a license for external use

Borrowing a floating license for external use allows you to borrow a license file from the license server for up to 30 days. This will borrow alicense from the server, making 1 license not available. To borrow a license on Mac select "KeyShot Floating" in the top bar within OS X, andselect "Borrow floating license", Windows this will be under "Help". You will next be prompted with a calendar allowing you to specify a date untilthe borrow license is returned. *Note* 30 days is max, unless our licensing department has specified otherwise.

To return a borrow license you will need to be on the same network as the license server, and select "Return borrowed floating license". This willreturn the borrowed license and allow others to use.

Select Floating license type:If your floating license includes KeyShotVR, selecting "Select Floating License Type" will allow you to check out a KeyShotVR, or return.

User interface

User interface >

Contents

Hotkeys Preferences Realtime window LibraryProject window Animation Render options

Hotkeys

User interface > Hotkeys >

Accessing the Hotkey reference menu

Learning and using the hotkeys will speed up the process of working inside KeyShot. You can access the list of hotkeys and their functionality bypressing the 'K' key on PC or Mac.

Preferences

User interface > Preferences

Preferences window

GeneralInterfaceFoldersPluginsColor ManagementAdvanced

General

User interface > Preferences > General

Adjust aspect ratio to backplate:When checked this will automatically resize the realtime window to the same aspect ratio of any backplate image that is loaded into the realtimewindow.

Enable auto update:When checked this will prompt the user to download and run the update installer when a newer version becomes available.

Pause realtime render after:When working in KeyShot, the realtime rendering will use 100% of all CPUs available in your system. You can select an amount of time from thedrop down menu to automatically pause the rendering and stop the usage of your processors.

Number of cores to use:Set the number of cores KeyShot uses on your system. All core is the recommended value for best performance.

Ask where to save each screenshot:When checked, KeyShot will prompt the user to specify a location when saving a screenshot from the realtime window. You can also changewhat file format each screenshot is saved out as, along with the quality.

Save a camera with each screenshot:When checked, KeyShot will save a camera view for every screenshot that is saved out. These views can be accessed from the camera tab inthe project window.

Material Environment ImageThis is the path to the environment that renders the materials inside the library. Changing the path will render the materials with the environmentthat was chosen.

Backup versionsBackup versions allows you to save multiple version of your files, incase of corruption you can refer back to a previous file. Loading previousversions of your file can be loaded through the "Revision Manager"(File -> Revision Manager)

Interface

User interface > Preferences > Interface

Language:The KeyShot interface can be displayed in 10 different languages. To switch to an alternate language, select the desired language in the dropdown menu. You will be prompted to restart KeyShot to apply the changes.

Theme:Toggle between a light or dark KeyShot theme.

Background brightness:Changing this setting will change the background around the outside of the realtime view.

Object hightlightObject highlight is turned on by default. This setting allows you to easy locate your model in the realtime view by displaying an orange outlinearound your model.

KeyShot 2 style material paste/linkThis will reverse the style of copying and pasting linked materials

Include camera movements in undo stack:Having this settings enabled will allow you to under any unwanted camera movements made.

Reverse camera distance scrolling:Enabling this option will reverse the scrolling on the camera when dollying the camera.

Enable slider compressed modeWith the setting enabled all sliders within the interface will become skinnier.

3D mouse sensitivity:This will control the sensitivity of a 3Dconnexion mouse.

Restrict to dominant axis:This will limit the range of motion on the 3D mouse to one dominant axis. For example, if a user is moving the mouse both forward and sideways,the camera will move in the more dominant direction - not both at the same time.

Invert AxisInvert Axis will simulate moving the model as opposed to the camera moving around the model.

Folders

User interface > Preferences > Folders

The folders tab will allow you to specify your KeyShot Resources as well as set up shared folders.

Shared Folders

Shared folders will allow you to point KeyShot to folder that is shared on a server or local computer to access the files. To use shared folders youwill need to select "customize each folder" and click the folder icon on the right. The Configure Folders dialog will open as seen above. From theiryou can select the ( + ) button to add a new folder path. Selecting a folder and clicking 'Edit' will allow you to edit that folder and change the pathor changing to a default folder. You will need one default folder at all times.

All shared folders will show inside of the library.

Plugins

User interface > Preferences > Plugins

Luxion KeyShot GrabCAD IntegrationGrabCAD Integration will allow you to upload your renderings to the GrabCAD straight from KeyShot. Refer to the Upload to GrabCad section.

Luxion KeyShot HDR Editor(Pro only)The HDR editor allows you to edit your HDR to use inside of KeyShot. Refer to the KeyShot Environment Editor for more information.

Color Management

User interface > Preferences > Color Management

Color management overview:Color Management allows the matching and control of color representations across various devices. You have the ability to enable ColorManagement, selecting an ICC profile (.icc or .icm) available from various software and hardware manufacturers.

Advanced

User interface > Preferences > Advanced

Fast realtime updates:When checked this will enable smooth camera moves while navigating your scene.

Graphics effects:Enabling this feature will allow you to access the Bloom and Vignetting effects.

Use gloss instead of roughness for materialsThis will change all parameters for roughness to gloss. Restarting KeyShot is required to take affect.

Respect animation orderingThis will change the order that older animations will be played.

Live Linking:This will change the port number being used by the plugin when using live linking. For more information on using live linking refer to our livelinking section.

Network:If you are behind a proxy server, you can fill in the server information here to allow KeyShot to connect to the internet to activate the softwareand to automatically be informed of updates.

Log:This is an optional log that can be displayed to help with debugging. It will display different types of information that can help the KeyShotdevelopment and support teams troubleshoot issues that may arise.

Realtime window

User interface > Realtime window

Item 1:This is the realtime view. All realtime rendering of your 3D model will occur here. You can interactively move around your model by using thecamera controls. You can adjust realtime render settings and performance by going into the settings tab in the project window. Models can bemulti-select by hold SHIFT + LMB and dragging. This will enable an orange box for selecting your model/parts.

Item 2:

This is your main toolbar and will guide you through the process of creating images and/or animations. The icons are arranged in thechronological order, from importing your data, assigning materials, choosing lighting, setting up animations and finally rendering.

The toolbar icons can be displayed in different sizes and you can choose to hide the text by right clicking on the toolbar and setting your options.The toolbar can also be torn away from the bottom of the realtime view by hovering over the series of dots on the far left side, then left clickingand dragging to move the toolbar freely. It can be snapped to the left side of the interface by dragging and hovering the toolbar over the left edgeof the realtime view.

Docking Windows

Docking windows can be activated by simply dragging the library, project or animation timeline near the edge of the realtime view. You are ableto dock all windows at once by going to "View" - > "Dock Windows".(As shown in the image above)

Library

Library

Contents

OverviewColor Library

Library overview

Library > Overview

LibraryThis is where default assets such as materials, colors,environments, backplates and textures are stored. Any contentdisplayed here is sourced from the locations set for KeyShotresources in the folders preferences. The different assets can bedisplayed by clicking on any of the upper tabs.

The library is setup to work like a file browser in an operatingsystem. Folders can be added by manually placing them in theKeyShot resources folder through your OS, or they can be added

by clicking the add folder button . Content can be refreshed by

clicking the refresh button and content can be imported orexported by clicking either the import or export buttons .The library can also be searched by typing in the search field inthe upper right corner.

The library is split horizontally into two view panes. The top paneshows the folder structure and the bottom pane shows thecontent of the currently highlighted folder as thumbnails. Thethumbnail sizes can be scaled up or down by using the scaleslider on the bottom of the library window.

You can drag and drop content from the library by clicking anddragging any item from the lower pane into the realtime window.

Any shared folders will also be shown below Shared Folders.

Folders shown with a lock sign are set to read only. Permissionscan be edited inside of the shared folders

Color Libary

Library > Color Library

Color Library

KeyShot color library lets you drag and drop predefined colorsonto any part or object inside the realtime window.

PANTONE® and RAL colours library are included for use.

Searching for colors can be done by clicking in the searchbox in the top right, and typing the name of the color. This willsearch the entire selected folder, for the specific color.

Searching can also be achieved by selecting the crosshair inthe top right of the dialog. This will prompt a dialog with acolor picker where you are able to select the color you arelooking for.

Color libraries can also be imported from a *.csv file by usingthe import button, and browsing to the file.

You can create colors manually within KeyShot by right-clicking inside the color library and selecting "Add Color". Thiswill prompt a color dialog, where you are able to specify thecolor you would like to add to the library.

Project window

User interface > Project window

Contents

OverviewScene tabMaterials tabEnvironment tabCamera tabSettings tab

Overview

User interface > Project window > Overview

Project window

The project window can be thought of as the centrallocation for making any changes to KeyShot scenes.It is accessed by selecting the project button shownon the left from the main toolbar. It can also beaccessed by pressing spacebar.

If a user needs to duplicate models, delete parts, edit materials,adjust lighting, change cameras or anything involving editing. Itwill be done through this section of the UI.

Scene tab

User interface > Project window > Scene tab

Scene tab

This will show any models, cameras and animations that youhave in your scene. Animations can also be added through here.

ModelsModels imported from a CAD system will retain any hierarchythat has been setup and will be the top item displayed in thescene tree. The hierarchy of a model can be expanded byclicking the sign. Any model or part that is selected willhighlight in the realtime view if this option is set in your generalpreferences. Models or parts can be hidden and unhidden byselecting the . Models or parts can be renamed or deleted byright clicking on the part and selecting either option.

Models or parts can be positioned, scaled or rotated manually byselecting the item in the scene tree and typing values for X, Y, Zin the 'position' tab. Items can also be reset to their originalpostions, centered in the scene or snapped to ground using thecorresponding buttons in the interface shown below

CamerasThe currently active camera will be represented by a blue icon.Other cameras can be made active by right clicking on thecamera and selecting 'set as active camera' as shown on the left.Cameras can be renamed or deleted as well through the rightclick menu.

Model sets(Pro only)Model Sets will give the ability to quickly toggle through differentitirations of a model. You can add your modal to a model set by

clicking the , and selecting "Add New Model Set". This willapply the currently selected model onto a set. Only model levelscan be applied to a model set.

Use SHIFT - M to toggle through model sets. Model sets can alsobe viewed by going to "View" -> "Model Sets".

Models that are not assigned to a specific model set will alwaysshow in the realtime view.

(Pro only)Render Layers:

Allow placement of a model or part on a layer to be rendered.Select/multiselect the parts/models and select the render layerfrom the drop down. This will apply your selection to the renderlayer.

When rendering you will need to enable render layers on thepasses output tab.

Rounded Edges:

Rounded edges can be applied to any part within your model.This will apply a fillet to the part giving it a rounded look. For thebest results, keep a radius under .1.

Materials tab

User interface > Project window > Materials tab

Materials tabWhen a material is selected the properties are displayed underthe materials tab in the project window.

Selected materials can be renamed in the 'Name' field and canbe saved to the material library by click the save material buttonthe "Save to library" button.

Material types can be changed by selecting a type from the 'Type'drop down menu. All material types contain only the parametersneeded to create that specific type of material. This keepsmaterial creation simple.

PropertiesThe properties tab will display the properties for the currentlyselected material type. By default only basic properties areshown. If additional properties are available, they can beaccessed by clicking the button next to the basic property.

TexturesTextures such as color maps, specular maps and opacity mapsare added to the material in this tab. See the section in themanual that covers texturing for more specific information.

LabelsLabels can be added to the material in this tab. See the sectionon the manual that covers labeling for more specific information.

Environment tab

User interface > Project window > Environment tab

Environment fileThis will list the name of the currently loaded environment image.The supported formats are .hdr and .hdz (KeyShot proprietaryformat). Clicking edit will allow you to edit the environment file.For more information please refer to our section in the manual forHDR Editor.

ContrastThis will increase or decrease the contrast on the environmentwhich can sharpen and soften the shadows. It will also increasethe intensity of the light and dark areas which can negativelyaffect the realism of the lighting. For realistic lighting, it isrecommended to leave this at the default value.

BrightnessThis will control the amount of light emitted into the scene fromthe environment image. If the rendering is too dark or too brightthis can be adjusted.

SizeThis will increase or decrease the size of the environment domethat is lighting the model. This is a method of tuning thereflections and lighting in your scene

HeightThis will shift the height of the environment dome up and downwhich is a method of tuning the reflections and lighting in thescene

RotationThis is a value that will set the rotation of the environment and isanother method of controlling your lighting and reflections.

BackgroundHere you can set the background as the lighting environment, asolid color or use an image as a background.

Ground shadowsHere you can enable the ground shadows in the scene. Whenthis is on, there is an invisible ground plane that shadows frommodels are projected on.

Ground reflectionsWhen this is enabled reflections of any 3D geometry will be showon the same invisible ground plane that ground shadows areprojected on.

Shadow colorThis will allow the ground shadow color to be set to any color.

Flatten ground

This will flatten the ground of the environment dome. It is onlynoticeable when the 'lighting environment' is set in thebackground option listed above.

Ground sizeThis will increase or decrease the size of the ground plane thatshadows and reflections are cast on. The best approach is toreduce the ground size as much as possible without clippingshadows or reflections. For more information on the ground planesee the section that covers ground shadows and reflections.

Camera

User interface > Project window > Camera

Camera menuThis drop down menu will show all cameras available in thescene. If a camera is selected in the drop down, the realtimeview will switch to looking through that camera. Cameras can besaved or deleted from the menu by clicking the plus or minusbuttons.

Unlocked/locked buttonsThis will lock and unlock the currently selected camera. If thecamera is locked all parameters will be greyed out and cannot bechanged.

Edit modeThis mode is used for editing the current camera that is selectedfrom the dropdown.

View orientationThis has preset view for front, back, left, right, top and bottom.Selecting any of these will move the currently selected camera tothat position.

DistanceDistance will dolly the camera in and out. When the value is 0,the camera will be at the exact center of the world. The larger thenumber, the further away from the center the camera will be.

AzimuthThis will control the orbit of the camera. The slider range goesfrom -180 degrees to 180 degrees allowing cameras to orbit 360degrees around their look at point.

InclinationThis will control the vertical inclination of the camera or"elevation". The slider range goes from -89.990 degrees to89.990 degrees, allowing cameras to look directly down ordirectly underneath objects.

TwistThis will twist the camera which will tilt the horizon line and allowthe creation of "dutch angles".

Perspective and orthographicThis will switch the currently selected camera to haveperspective or to be viewed in orthographic mode. Orthographicmode will show the 3D model with no perspective.

PerspectiveThis will keep the model framing in the realtime view whileincreasing the perspective effect

Focal lengthThis will allow different focal lengths to be set the same way they

Settings

User interface > Project window > Settings

ResolutionSetting the resolution will change the size of the realtime view.When 'Lock aspect' is checked the height to width proportions willremain the same when the realtime view is resized freely or whena value for width or height is typed in manually. "Lock Resolution"to what is specified in the Width and Height value boxes.

BrightnessThis will control the brightness on the rendered image in therealtime view. It is applied as a post process (similar to adjustingbrightness on an image in Photoshop) so the image does nothave to be recalculated when adjusted as it does whenenvironment brightness is changed.

GammaThis is a setting that compensates the way colors are displayedfor optimal color range for human vision. It can be thought of asa form of contrast. Lower values will increase contrast and highervalues will decrease contrast. It is recommended for realisticrenders to leave this value at the default. It is a very sensitiveslider and can cause unrealistic results if adjusted too much ineither direction.

QualityThis will automatically increase or decrease quality settings toimprove performance for working in the realtime view.

Ray bouncesThis will increase or decrease the amount of times a ray of lightis bounced around a scene. It is very important for calculatingreflective and refractive materials. For more information on raybounces see the section that covers ray bounces in realtimesettings.

Shadow qualityThis will increase the number of sub divisions in the groundplane. That will give the ground shadow more resolution

Self shadowsThis will controls the casting of shadows from an object.

Global illuminationGlobal illumination allows indirect light bouncing between 3Dgeometry and allows other geometry to be illuminated whenunder transparent materials.

Ground illuminationGround illumination allows indirect light bouncing from 3Dgeometry onto the ground.

BloomBloom will add glow around emissive materials and add an overall softeningto the image. The bloom intensity controls the intensity of the bloom effectand the radius controls how far the bloom extends out from edges.

Vignetting

Focused CausticsThis will concentrate the light being shined through an object. Acommon example of a caustics is when light shines through adrinking glass, and produces the curved region of bright light.

Vignetting will add a vignette around the image to help bring the viewer'sfocus on the 3D model.

Render options

User interface > Render options

Contents

OutputModesQualityQueue

Output

User interface > Render options > Output

Rendering and outputThe render menu output tab is where you control the resolution and format settings for the image or animation output. For more information onimage and animation output see the rendering section.

Render modes

User interface > Render options > Render modes

Render modesChoose still image, animation, or KeyShotVR rendering mode in the output tab of the render menu. For more information on image and animationoutput see the rendering section For more information on KeyShotVR refer to the KeyShotVR section.

Quality

User interface > Render options > Quality

Render QualityYou can choose from three render quality methods in the quality tab. For more information on image and animation output see the renderingsection.

Queue (Pro only)

User interface > Render options > Queue

QueueThe queue is used to batch process your image and animation renderings. For more information on image and animation output see therendering section.

Importing and working with data

Importing and working with data >

Contents

Supported typesImportingModel unitsNavigating your sceneHiding/showing partsRegrouping partsScene treeMulti-selectionDuplicating modelsMoving modelsMoving partsLive Linking

Supported file types

Importing and working with data > Supported file types

ALIAS 2013 and prior(needs to be installed)AutoCAD(DWG/DXF)CATIA v5Creo 2 and priorInventor 2013 and priorMaya 2013 and prior(needs to be licensed)NX 8 and priorPro/ENGINEER Wildfire 2 -5Rhinoceros 5 and priorSketchUp 8 and priorSolid Edge ST5 and priorSolidWorks 2013 and priorIGESJTSTEP AP203/214OBJParasolidFBX3DSCollada

Importing models

Importing and working with data > Importing

ImportingSupported file types can be imported into the KeyShot interface by pressing the import button from the main toolbar.

Import

Files can also be imported by dragging and dropping them into the interface, or by selecting 'File -> Import' from the top menu. When a file isdesignated for import, the import dialogue will be displayed on the screen.

Import dialog

Center geometryWhen checked, 'Center Geometry' will import the model and place it in the very center of the environment. Any original 3d coordinates for themodel are removed when center geometry is selected. If this option is not selected, the model will be placed in the same position in 3D space thatit was originally created.

Snap to groundWhen checked, 'Snap to Ground' will import the model and position it directly on the ground plane. This will also remove any original 3dcoordinate information.

OrientationNot all modeling applications define the up axis in the same manner. Depending on your application, you may need to set a different orientationother than the default "Y Up" setting. If your model is coming in on its side, try setting a different orientation.

Keep individual partsWhen checked, KeyShot will attempt to separate all individually created pieces of geometry into different material groups. This can help break themodel into more separate material groups.

Adjust Camera to look at geometryWhen checked, upon import the camera will center fit to the imported geometry in the scene.

Adjust Environment to fit geometryWhen checked KeyShot will perform the calculation to fit the environment porportional to the geometry imported into the scene.

Second importThe import dialogue parameters change slightly when a model is already loaded in a scene.

Add to sceneWhen checked, this will add your model to the existing scene.

New GeometryWhen checked, this will replace the geometry with the new imported geometry

Update GeometryWith this checked the newly added geometry will update the existing geometry, if part names match. Replacing the old geometry.

Retain materialsThis feature is useful if you have already assigned materials to your model, but decide to make a change to your geometry. When you re-importyour updated model, any assigned materials will be automatically reassigned on parts that have kept their original name.

Size - AutomaticThis will automatically scale the imported model to the scene.

Size - From previous importThis feature is useful if you have already assigned materials to your model, but decide to make a change to your geometry. When you re-importyour updated model, any assigned materials will be automatically reassigned on parts that have kept their original name.

Model Units

Importing and working with data > Model units

Model Units

The scale of models, the distance between models, the intensity of local lights, and the mapping scale of textured materials are all relative to theunit of measure: millimeters, centimeters, meters, inches, feet, etc. In KeyShot, these units of measure are introduced as the model units of thescene. Model units are listed under the scene information window.

Set units upon import: With every new scene, the first import will define the model units for the scene. Selecting an "Automatic" size upon importwill apply the system default unit: None. When "Keep Original" size is enabled the magnitude and unit of the model, as established in themodeling software, is read and applied to the scene. Any subsequent imports will be scaled in relation to the set model units as long as "KeepOriginal" size is enabled.

Changing the Model Units: To change the model units, go to Edit > Set Model Units and make your selection. Note that changing the model unitswill NOT re-size the models in the scene. Instead, changing the model units via the Edit menu affect the scale of the environment, ground planeand in turn affect the physical lights and the mapping scale of certain textured materials.

Navigating your scene

Importing and working with data > Navigating your scene

Orbiting your cameraTo orbit your camera, press and hold the left mouse button while moving the mouse

Panning your cameraTo pan your camera press and hold the middle mouse button while moving your mouse

Dollying your camera in and outTo dolly your camera press the alt key (windows) or the option key (mac) plus the right mouse button while moving the mouse.

Hiding/showing parts

Importing and working with data > Hiding/showing parts

Hiding partsIn some cases materials may need to be assigned to parts that are enclosed in other pieces of geometry. To hide parts, right click on the partand select 'hide part'. A single part of a model can be shown by right clicking on a part and selecting 'show only this part'. Parts can also behidden using the scene tree.

Showing partsTo display a hidden part right click in the interface and select 'undo hide part'. To bring back all previously hidden parts select 'show all parts'.Parts can also be shown using the scene tree.

Regrouping parts

Importing and working with data > Regrouping parts

Regrouping gives you the ability to organize the scene tree. Adding a group is done by right-clicking on the top level and selecting "Add to group"or "Add sub-group". Parts and subassemblies can be drag and dropped to new groups in the scene tree.

*Note* Reordering parts and subassemblies will break live-linking and update geometery.

Scene tree

Importing and working with data > Scene tree

The scene tree displays models and their hierarchies along with any cameras that exist in a scene. Animations are also represented in the scenetree in versions of the software that include the animation add on. Models and parts can be hidden and shown using the check box next to thename. The check box displayed next to animations can be used to disable and re-enable animations that are applied.

Collapsing the scene tree heirarchy can be very useful if your model has a lot of parts. This can be achieved by right-clicking the section youwould like to collapse and select "collapse". The full heirarchy is able to be collapsed also, by selecting "collapse all".

Multi-Selection

Importing and working with data > Multi-Selection

Multi-select multiple objects in the realtime window using box-selection. Hold down SHIFT + left mouse button to activate box-selection. Objectswill only be highlighted when the scene tab is open, Object Highlight is enabled in Preferences by default.

Multi-selecting can also be achieve by holding SHIFT and selecting the models/parts in the scene tab.

Duplicating models

Importing and working with data > Duplicating models

Models and parts can be duplicated by right clicking on them in the scene tree and selecting 'duplicate'. This action duplicates the model alongwith any assigned materials and animations.

Moving models

Importing and working with data > Moving models

Models can be moved by right clicking on the model and selecting move object. This will pull up the move manipulator which can be switchedbetween three different modes:

TranslateRotateScale

This will allow you to quickly, move, rotate and scale models. You can also snap the model to the ground. Click done to save the movement orcancel to reset the movements.

Moving parts

Importing and working with data > Moving parts

Parts can be moved by right clicking on the model and selecting move part. This will pull up the move manipulator which can be switchedbetween three different modes:

TranslateRotateScale

This will allow you to quickly, move, rotate and scale parts. You can also snap the model to the ground. Click done to save the movement orcancel to reset the movements.

Live linking

Importing and working with data > Live Linking

Live linking for Creo, Solidworks & RhinoLive linking allows seamless model updates between the modeling software and KeyShot, without having to reassign materials or update settings.You will need to download the live linking plugin from our website

Live linking will need to be enabled under the File < "Live linking".

Transfer your design from Creo, SolidWorks, or Rhino to KeyShot. Assign materials and animations. Continue modeling, and using the plugin click"Update". This will push any newly modified parts to KeyShot replacing the old, maintaining all materials and animations.

Working with materials

Working with materials >

Contents

Accessing the libraryAssigning materialsUsing the in project libraryCopy and paste materialsEditing materialsColor dialogSaving materialsMaterial Templates

Accessing the library

Working with materials > Accessing the library

Accessing the libraryThe library can be accessed by clicking the library button in the main toolbar or hot key 'M'. That will pull up the library window shownabove. From there, any materials, colors, environments, backplates and textures available in KeyShot resources will be loaded. Inaddition, any renderings that were saved to the folder designated for renderings in KeyShot resources will be displayed in therenderings tab.

Assigning materials

Working with materials > Assigning materials

Assigning materialsMaterials can be assigned to models by dragging and dropping from the library onto a part in the realtime window. This will show a preview ofwhat parts that material will be assigned to. The material will not be assigned until the user lets go of the left mouse button.

Once the material has been loaded from the library, a copy will be placed into the in project library. Any additional materials assigned to themodel will also be added to the in project library. If the same material already exists in the in project library, a copy will be created and a numberwill be appended to that material.

In some cases a user may want to have one material assigned to multiple parts, be able to make changes to that material, and have it affect allparts. To do this, the same material should be assigned from the in project library to those multiple parts. Since that is the same material from thein project library, any edits made to that material will affect all parts that it is assigned to. Another method of accomplishing this is by copying andpasting the material from one part to another.

In project library

Working with materials > In project library

In project libraryThe in project library is found in the lower half scene tab and material tab. When a material is pulled from the material library and assigned to amodel, a copy of that material is placed in the "in project library". All materials will be represented in the form of material ball thumbnails.

This window will show all materials that are active within a scene. If a material is no longer being used in the scene it will be automaticallyremoved from the in project library. For example, if a material is assigned to only 1 part, and a new material is assigned on that part, the previousmaterial will be removed from the in project library since it is no longer used in the scene. Materials in your scene can easily be updated bydragging and dropping a material from the KeyShot library onto a material in the in project library.

The in project library shown in the scene tab

Copying and pasting materials

Working with materials > Copying and pasting materials

Copying and pasting materialsThere are two methods of copying and pasting materials. The most important concept to understand when copying and pasting is that when amaterial is copied from one part to another, any future edits to that material will affect both parts.

The first method is by pressing "shift + left click" on a material assigned to a model. That will copy the material. Next, to paste the material, press"shift + right click" on another part. That will copy the same material from the in project library and paste it to another part. Now, any edits madeto that material will affect both parts.

The second method is by dragging and dropping a material from the in project library onto a part that does not already have that materialassigned.

Editing materials

Working with materials > Editing materials

Editing materialsThere are multiple methods of navigating to the materialproperties to make changes, but all editing is done throughthe materials tab found in the project window.

The first method of accessing the material properties is bydouble clicking a part on a model in the realtime view. Thatwill pull up the material properties for the material assigned tothat part.

The second method of accessing material properties is bydouble clicking a material thumbnail in the in project library.

The third method of accessing material properties is by rightclicking a part in the scene tree and selecting 'edit material'.

The forth method of accessing material properties is byselecting the part in the scene tree. In the second paneselecting "Edit material".

All material edits made will update interactively in the realtimeview. For more detailed information on material settings andtypes please see the section of the manual that coversmaterial types and their settings.

Color dialog

Library > Color dialog

Color dialogThe color dialog gives you the ability to test and view yourcolors, instead of just entering numerical values. Numericalvalues are supported, although. The dialog supports two differentviewing types. 2d rectangular which is shown in the screenshotto the left, and 2d triangular.

The dialog supports the following color formats:

RGBCMYKHSVGrayscaleCIE-L*abKelvin

Swatch colors can be drag and dropped from the top color bar tothe bottom squares. This will set the color in the square. Swatchscan be overwritten by simply dragging and droping new colors onexistings ones.

The eye dropper icon gives you the ability to select a color on thedisplay, and the color picker will update with the selected colorfrom the eye dropper.

Saving materials

Working with materials > Saving materials

Saving materialsThere are two methods of saving materials.

The first method of saving is by right clicking a material on the modeland selecting "add material to library".

The second method of saving is by clicking the "Save to library" shownin the material properties.

Once a user has gone through either step, a dialogue will prompt themto designate which folder in library hierarchy they would like to save toas shown in the graphic on the right.

Once the folder location has been selected, the new material will besaved to the library.

Material templates

Working with materials > Material templates

Material templatesMaterial templates automate the material application process. Materials from the KeyShot library are applied to parts based on the name of thepart's original materials.

The material template menu is found within the "View" title bar.

Create/delete templates

Create a template by clicking the button at the top of thematerial template menu and select "Add new template".

Two methods can be used in creating a material template:"Automatic" and "Manual".

Automatic-If a model is in KeyShot when creating a newtemplate, the source and material names are automaticallypopulated based on the material applications in the currentscene.

Manual-An empty template is created and the user can addtemplate items manually.

Each new template is added to the template drop down list.

Template itemsA template item consists of a source name and materialname.

Use the " + " button to create a new item.

Click an item to select the item from list and edit the sourceand destination name. You may also change the source type.

Use the right-click to delete a selected item.

Source TypeThe source type can be "Part" or "Material". The part typeconsiders the part names in the scene. The material typeconsiders the material names in the scene.

Source nameDepending on the source type, the source name is the nameof the part or the name given to the default material applied toparts of your models. The naming of your default materials iscontrolled in the modeling software.

Destination nameThe destination name is the name of the material from theKeyShot library that is to be applied to all parts that match thesource name.

When editing the destination name, you can type the name ordrag and drop a material from the library into the templatesmenu.

Applying templates

Applying templates can be done through the materialtemplates dialog or the import dialog.

Material template dialog:

Templates can be applied using the dropdown to select yourtemplate. This will give you two options: "To scene" or "Toselection".

To scene - will apply the current template to the entire model.

To selection - will apply the current template to the selectedmodel or part.

Import dialog:

Click the "Show Settings" button to reveal the "use materialtemplate" checkbox. Enable this setting and select the desiredtemplate from the list. Click "Import" to complete the import.

Wild-card assignment

The wild card refers to the source name assigning to a certaindestination. This can be activated by inserting an astrics (*) tothe source name (e.g. *Inner*) this will apply the material inthe destination to all the parts containing "inner", uponapplying the material template.

Texturing overview

Texturing

Contents

OverviewTexture mappingColor mapsSpecular mapsBump mapsOpacity mapsBlend with color

Texturing overview

Texturing > Overview

Texturing overviewTexturing allows images to be mapped to materials to create the detailed effects such as wood grain, meshes, tile and fine imperfections such asbrushed metals. Textures are applied in the material properties under the texture tab. The image below shows an example of the type of effectsthat can be created using textures. Textures can be easily drag and dropped from a mapping type to another.(e.g. bump -> specular) Simple holdCtrl(Windows) or Command(OS X) and drag the texture.

Texture mapping

Texturing > Texture mapping

Texturing mapping overviewTexture mapping is a way to take 2D images and place them onto 3D objects. This is a common problem that all 3D applications must address insome way. KeyShot must know how to take a 2D image and place it onto a 3D object. For example, does it place it from the top? On the bottom?From the side? The examples below cover the methods KeyShot has for addressing texture mapping.

Planar X Planar YThis will project a texture on the X axis only. Surfaces of 3D models thatare not oriented on the X axis will show stretching in the texture like inthe image below.

This will project a texture on the Y axis only. Surfaces of 3D models thatare not oriented on the Y axis will show stretching in the texture like inthe image below.

Planar Z Box mapThis will project a texture on the Z axis only. Surfaces of 3D models thatare not oriented on the Z axis will show stretching in the texture like inthe image below.

This will project a texture from six sides of a cube in towards a 3Dmodel. A texture will be projected from a side of the cube until stretchingoccurs, then the next best projection side will take over. Box mapping isa quick and easy solution that will work in most cases because there willbe minimal stretching of textures.

Spherical CylindricalThis will project a texture inwards from a sphere. The texture willresemble the original image the most at the equator. The texture will startto converge as it reaches the poles of the sphere. As with box mapping,stretching is less of an issue when working on multi sided objects than itis with any of the planar mapping modes.

The example below illustrates how a 2D texture is projected on a 3Dmodel when the mapping mode is set to "Cylindrical mapping". Thetexture will project the best on surfaces that are facing the inside of thecylinder. The texture on surfaces that do not face the innner walls of thesphere will stretch inwards.

UV CoordinatesThis is a completely different method of applying 2D textures to 3Dmodels, in that it is an entirely custom mode. It is more time consumingand is much more widely used in the entertainment field as opposed tothe design/engineering world.

Interactive mapping toolIn addition to the automatic mapping modes shown above, KeyShot has an interactive mapping tool that will allow, scaling, translating andorienting any of the automatic mapping types interactively.

Interactive mapping tool

Texturing > Interactive mapping tool

Interactive mapping toolThe interactive mapping tool is used to fine tune the position of textures as they are mapped to your model. The tool is accessed from the texturemapping tab within the material editing menu, and is available when in box, spherical and cylindrical mapping modes. The mapping tool is alsoavailable for mapping labels in box, spherical and cylindrical mode.

TranslateUse translate mode to move the texture mapping position on the XYZaxes. To translate the mapping click on any of the three axis arrows.You can also click on the center yellow circle to move the texturemapping freely in the X and Z directions at the same time. This gives theeffect of sliding the mapping around on a flat plane.

The red, green and blue arrows correspond to the X, Y, and Z axesrespectively.

RotateUse rotate mode to rotate and align the texture mapping to your model.Hold shift to constrain the rotation to 15 degree increments.

Scale

Use scale to change the size of the texture mapping. Click on red, green,or blue boxes to scale the texture on only one axis. Or, click on thecenter yellow box to scale the texture uniformly.

AngleThe Angle slider will control the textures mapping angle. The slidersupports both negative and positive values.

PositionUse position to establish exactly where you want the center of yourtexture image to project. Once in position mode you can simply click onthe surface of the model to change the where your texture is projecting.

In the header image on this page the position mode was used to placethe logo in the front facing position on the part. This was done after usingthe translate mode to move the mapping tool to the center of the partand the rotate mode to align the mapping cylinder with the angle of thepart.

Cancel or confirm changesAfter adjusting the texture mapping with the mapping tool, click the greencheck mark to confirm the changes and close the mapping tool.

Click the red X to cancel the changes and close the mapping tool.

Scale

Color maps

Texturing > Color maps

Color mapsColor maps use photographs to replace the basic solid diffuse color. This is used to recreate realistic digital materials based on photographs ofreal world materials Any common image format can be mapped to material types that have the color map available. The example below shows awood texture mapped to the color texture on the advanced material. This creates a digital version of the real world wood.

Texture

Specular maps

Texturing > Specular maps

Specular mapsSpecular maps can use black and white values to indicate areas that have varying levels of specular intensites. Black will indicate areas of 0%specular reflectivity, whereas white will indicate areas of 100% specular reflectivity. Notice on the material below that the metal portions arereflective and emitting specular reflections, whereas the rust area does not. The rust area has black mapped to it, whereas the metal area haswhite. See the texture below for reference.

Texture

Bump maps

Texturing > Bump maps

Bump mapsBump maps are used to create fine details in materials that would be unrealistic to include in the model, like the hammered chrome and brushednickel below. There are two different methods of creating bump maps. The first and easiest way is by applying a black and white image. Thesecond way is by applying a normal map. See below for more information.

Black and white values Normal mapsThe image below was used to create the brushed nickel shown above.The black values are interpreted is lower and the white values areinterpreted as raised.

The image below is an example of a normal map and was used tocreate the hammered chrome above.. Normal maps contain more colorsthan the standard black and white bump maps. These additional colorsrepresent different levels of distortion on X, Y and Z coordinates. Thiscan create more complex bump effects than a black and white bumpmap which has only 2 dimensions. However, most bump effects canand will look very realistic without the need for normal maps.

Opacity maps

Texturing > Opacity maps

Opacity mapsOpacity maps can use black and white values or alpha channels to make areas of a material transparent. This is useful for creating materials likethe mesh material shown below without actually modeling the holes.

Opacity modeThe opacity mode can be set to 3 different methods:

Alpha - this will use any alpha channel that is embedded inthe image to create the transparency. If no alpha channel ispresent, no transparency will be shown.

Color - this will interpret black areas as completely transparentand white areas as completely opaque. 50% grey will be 50%transparent. This method is available to avoid the need foralpha channels.

Inverse color - inverse color is the opposite of of color. Whitewill be completely transparent, black will be completelyopaque and 50% grey will be 50% transparent.

Procedural

User interface > Procedural

Contents

OverviewGraniteLeatherMarbleNoise(Texture)Noise(Fractal)Wood

Overview

Texturing > Procedural > Overview

Overview:

Procedural textures are customizable textures that allow you to control the grain and color of the texture in realtime. In comparison to traditionaltexture mapping, procedural textures wrap around your model without leaving seams or stretching, regardless of the model's shape.

KeyShot 4 comes with six commonly used procedural texture types: Granite, Leather, Marble, Noise (Texture), Noise (Fractal), and Wood. You canselect your texture type via the Texture Type pull down found inside the texture mapping tab within the material editing menu.

Granite

Texturing > Procedural > Granite

The granite procedural texture allows you to simulate the granite on acountertop, tile, or stone.

Color - This is the overall color of your granite texture

Scale - This controls the scale of the grain in the granite.

Leather

Texturing > Procedural > Leather

The leather procedural texture allows you to easily replicate a leather texturedmaterial. Using both the color procedural and bump you will have full control overthe scale and bump height of the material.

Color1 - This is the color of the high points (bumps) in leather.

Color2 - This is the color of the low points in leather

Scale -This controls the scale of the leather grain.

Marble

Texturing > Procedural > Marble

The marble procedural texture allows you to simulate the marble material ona countertop, tile, or stone.

Color 1: This is the overall color of your granite texture.

Color 2: This is the color of the veins in granite.

Vein Thickness: This allows you to adjust the thickness of theveins in granite.

Vein Noise: This adds random fluctuations in the granite veins.

Vein Noise Scale: This adds fluctuations to the overall directionof the granite veins.

Scale: This controls the scale of the veins in granite.

Noise(Texture)

Texturing > Procedural > Noise(Texture)

The noise (texture) procedural texture is very similar to the stock noisetexture in the textures library and it allows you to simulate ripples in glassand liquid materials when used as bump.

Color1 and 2: The noise procedural has light and dark colors thatyou can modify using these two settings.

Scale: This controls the scale of the noise.

Magnitude: This increases the intensity of color 2 and contrastbetween the two colors.

Noise(Fractal)

Texturing > Procedural > Noise(Fractal)

The noise (fractal) procedural texture also allows you to simulate ripples andbumps in your material.

Color1 and 2: The noise procedural has light and dark colors thatyou can modify using these two settings.

Levels: This adds more detail to the fractal noise.

Fall-off: This controls the color balance. Low values accentuateColor 2, and high values accentuate Color 1.

Scale: This controls the scale of the fractal noise.

Wood

Texturing > Procedural > Overview

The wood procedural texture allows to customize the look of your woodmaterials. Most often you will want to start out with the plastic material typeand change the specular color to white.

Ring Width: This adjusts the thickness of the wood ring.

Ring Noise: This adds random fluctuations in each ring.

Axial Noise: This adds fluctuations or waviness of the overalldirection of the grain.

Color Noise: This creates random thicks and thins to give a moreorganic look to the wood ring.

Scale: Increase size of the grain. For best results keep a smallscale.

.

Labeling

Labeling >

Contents

Overview

Overview

Labeling >Overview

LabelsLabels are designed for easy placement of logos, stickers or images that need to be placed freely onto a 3D model. Labels are added throughthe labels tab in a material's properties.

Any common image format will be supported such as .jpg, tiff, tga, .png, .exr and .hdr. An unlimited number of labels can be added to a materialand each label can have it's own mapping type. If an image has an alpha channel embedded, it will be retained and areas of transparency willnot show. The image below uses a PNG with transparency so that the square border of the image does not show.

Adding labelsLabels are added by either clicking the or the or by doubleclicking the "load texture" icon next to the labels list. Once added, thelabel name will be displayed in the list. If a label has been updated

outside of KeyShot, it can be refreshed by clicking the

Deleting labelsLabels can be deleted by selecting the label in the list and clicking the

Duplicating labelsLabels can be duplicated by selecting the label in the list and clicking the

LayeringLabels will be layered as they are added. The label at the top of the listwill be the top label in the layers. A label can be shifted up in the layers

by pressing . A label can be shifted down by pressing .

Mapping, positioning, scaling and rotatingLabels can be mapped using the same mapping types as other texturesbut labels have a mapping type that textures do not. This mapping typeis Normal Projection. This allows labels to be projected on surfacesinteractively - even across curved surfaces. Normal projection is thedefault method that will be set when a label is added.

To position the label, click the mapping tool button and then click on themodel to move the label. When the label is in the desired position,confirm the placement by clicking the 'done' button in the bottom of therealtime window. That will deactivate the interactive postioning.

To scale the label, move the scale slider. This will adjust the size of thelabel and maintain height to width proportions. To scale the labelvertically or horizontally, expand the scale parameter to scaleindependently on the X or Y axis.

To rotate the label, use the angle slider which will rotate the label indegrees.

Labels can also be flipped vertically, horizontally and repeated bychecking any of those options.

IntensityIntensity can be thought of as a brightness adjustment. If the overalllighting of a scene is good, but a label appears too bright or dark thenthe intensity slider can be used to adjust this.

DepthThis will control how far a label is projected through a material. Click theimage below to see an example.

Two sidedThe two sided parameter will control whether or not a label is visiblefrom the back. Click the thumbnail below to see an example.

SpecularThe specular parameter will allow specular reflections to be calculated on the label. Click below for an example and more information.

Refraction Indexindex of refraction. Although this property is most commonly associated with transparency, it can be used on labels to increase the level of reflectivity. It will only affect the label if the label specular color has a value other than black.

DepthThis will control how far a label is projected through a material. Click the image below to see an example.

Adjusting lighting

Adjusting lighting >

Contents

OverviewChanging environment lightingAdjusting brightnessControlling lighting direction and reflectionsBackground colorGround shadows and reflectionsPhysical lights

Adjusting lighting overview

Adjusting lighting > Overview

OverviewThe main source of lighting in KeyShot is through environment images. These are 32 bit images designed to map to the inside of a sphere.When the KeyShot camera is inside this sphere, it can be pointed in any direction to see a fully enclosed environment. This method makes thecreation of photo realistic lighting as simple as dragging and dropping a thumbnail into the realtime view.

KeyShot ships with several different environment types broken into categories. Some are real world photo environments and others are studioenvironments. The photo environments are usually best suited for automotive or entertainment, wherease the studios are usually best suited forproduct and engineering. However, either one will produce unique and realistic results regardless of what is being rendered.

The above image is a view where the camera has been pulled back to show a 3D model enclosed in an environment. The environment ismapped to the inside of the envrionment sphere

Changing environments

Adjusting lighting > Changing environments

Changing environmentsAll lighting is determined by the currently loaded environment. To change an environment, simply drag and drop one from the environment libraryinto the realtime view as shown below. When the left mouse button is released the new environment lighting will be loaded and the lighting of themodel will be updated.

Adjusting brightness

Adjusting lighting > Adjusting brightness and contrast

Adjusting brightnessThere are multiple methods of adjusting the brightness of thelighting within a scene. Regardless of the method, all changeswill be shown instantly in the realtime view.

The first method is by using the arrow keys on the keyboard.Up and Down arrows will increase or decrease theenvironment brightness in large increments. The Left andRight arrows will increase or decrease the brightness insmaller increments.

The second method adjusting brightness is by using thebrightness slider shown to the right in the environment tab ofthe project window.

Adjusting contrastThe contrast of the environment lighting can be adjusted byusing the contrast slider shown in the left. This will change thecontrast between light and dark areas in the environmentlighting. Less contrast will soften shadows and more contrastwill sharpen them.

Adjusting this value too much can have a negative effect onthe realism of the rendered image. It is recommended to leavethis at the default value for that reason.

Controlling lighting direction and reflections

Adjusting lighting > Controlling lighting direction and reflections

Controlling lighting directions and reflectionsAlthough the environment lighting that ships with KeyShot is preset, there are quite a few adjustments that can be made to change the look.

The first and easiest method is by pressing "control + left click + drag left or right" in the realtime view. This will rotate the environment andchange the value of the rotation property found in the environment tab in the project window. The two images below show the same camera viewwith the same materials and environment. The only difference is the environment rotation. KeyShot can determine the brightest light sources inan environment and will calculate shadows accordingly.

The next method of controlling lighting and reflections is by adjusting the height slider found in environment tab in the project window. This willshift the environment sphere up and down and will also change how lighting and reflections affect the model.

Another method of controlling the lighting is by adjusting the size of the environment sphere by adjusting the size slider found in environment tabin the project window.

Background color

Adjusting lighting > Background color

Setting the background colorAny background color can be set by choosing the color option from the environment tab in the project window. When 'color' is selected, theenvironment will no longer be shown behind the model. This will have no effect on the lighting of the model and will only serve as a backdrop.However if there are any transparent materials in the scene, the background color will show through them.

To change the background color, click on the box directly below the word 'color' as shown below. The box will only be visible when the coloroption is selected.

Ground shadows and reflections

Adjusting lighting > Ground shadows and reflections

Ground shadows and reflectionsGround shadows and reflections can be enabled under the environment tab in the project window as shown below.

Ground plane

Ground shadows and ground reflections are projected onto an invisible ground plane. The size of the ground plane can affect the quality ofshadows and whether or not shadows and/or reflections become clipped. The ground size can be adjusted by using the ground size slider in theenvironment tab in the project window. This setting should be set as small as possible without clipping the ground shadows or reflecions.

A good way to understand the ground shadow is to compare it to digital images composed of individual pixels. When an image is scaled up andindividual pixels can be distinguished, the image loses clarity. When the image is scaled down, the pixels condense together and a clear image isproduced.

The ground plane works in a similar manner. It is composed of grid squares that are shaded at different intensities to produce the groundshadow. If the ground plane is 128 by 128 squares and a model sits on top of only 8 squares, there is not very much resolution to work with anda shadow can appear blocky. By reducing the ground size, more squares are packed into a smaller area which will improve the ground resolutionand the look of the ground shadow. This is why lower ground size values are better.

In this example the ground size is large andthe cube sits on top of a small amount ofgrid squares. This makes the shadow appearblocky.

In this example the ground size has beenreduced which condenses the grid squaresinto a smaller area. The shadow has moreresolution and is rendered higher quality.

In this example the ground size has beenreduced too much and the shadow becomesclipped.

Physical Lights

Adjusting lighting > Physical Lights

Physical LightsLights are essentially working as materials that are being applied to parts and objects. Any geometry can be turned into a light source. You caneither import new geometry, or use existing geometry to turn into a light source. This gives you greater flexibility in your workflow by allowing youto easily control multiple identical light sources simultaneously, as well as doesn’t require to duplicate efforts by being forced to import and placeadditional objects in the scene.

When applying a type of area light, this will give you a wide range of lightdispersion. This will function simliarly to a flood light. Power can becontrolled in both Watts and Lumens.

Moving lights

Right-click the object/part that is assigned as a light and select "MoveModel". This will activate the move tool widget.

You can also select the light source in the scene tab, in the second panselect the position tab. You can activate the move tool widget from their,or use the input boxes for a more precise positioning.

Applying a lightApplying a light material is similiar to applying materials. Light materialswill be displayed in the material type drop down. Select the light sourcetype, and KeyShot will update the object to a light. Light sources can beeasily found in the scene tree represented by a light bulb.

Point Light DiffuseWill change the geometery into a light source. The power can becontrolled by both Watts and Lumens.

Point Light IES ProfileWhen switching the material to IES light you will need to load an IESprofile by clicking on the folder icon in the editor. As soon as you loadthe profile you will see the shape of the IES profile in the materialpreview. You will also see the shape in form of a mesh in the realtimewindow.

Area Light Diffuse

Realtime settings

Realtime settings >

Contents

OverviewSetting resolutionBrightness and gammaQuality modesRay bouncesShadow qualityDetailed shadowsGlobal illuminationGround illuminationGround gridEffects

Realtime settings overview

Realtime settings > Overview

OverviewThe realtime settings are found in the project window under the settings tab. The settings here will have the greatest effect on the performance ofrealtime rendering as well as the look of the rendering in the realtime view.

Setting resolution

Realtime settings > Setting resolution

ResolutionThe resolution for the realtime view is set in the project window under thesettings tab.

Lock aspectWhen this option is checked the width to height ratio of the realtime view willbe maintained when values are typed in the resolution box, or when therealtime view is scaled by grabbing the edges of the window with the mouseand scaling up or down.

Brightness and gamma

Realtime settings > Brightness and gamma

BrightnessAdjusting the brightness in the realtime tab is a post process applied to theimage rendered in the realtime view. Since it is a post process the imagedoes not need to be recalculated when this value is adjusted, unless abackplate is loaded.

GammaAdjusting this value applies a gamma correction to the rendered image as apost process. Again, since this is a post process the image does not needto be recalculated.

Gamma correction is a method for displaying colors in the most efficientway for human vision. Without gamma correction colors can be displayed inranges that the human eye could not differentiate between.

It can also be thought of as a form of contrast. Lower values will addaddtional contrast and higher values will decrease contrast.

This is a sensitve setting and can cause unrealistic results very easily ifadjusted too much in either direction. For the most realistic renders, it isrecommended to leave this at the default value.

Quality modes

Realtime settings > Quality modes

Quality modesThese are present modes that can easily be toggled to show low settingswith high performance, to high quality with less performance but betterimage quality.

Performance modePerformance mode can be entered by pressing "alt + p". This willautomatically lower the realtime render settings to achieve the fastestperformance. The upper right corner of the realtime view will show this icon

to indicate performance mode is active. Once "alt + p" is pressedagain, performance mode will no longer be active and the realtime settingswill go back to the same values they were set to before performance modewas enabled.

Ray bounces

Realtime settings > Ray bounces

Ray bouncesRay bounces are a setting that allow a certain number of rays to be bounced around a scene. In the real world, light rays bounce infinitely, but inthe rendering world limits need to be set since everything needs to be calculated. Bounces occur when something is reflected or refracted. Forexample, when two mirrors are facing each other, light is bounced back and forth generating reflections. When light enters a diamond, the light isslowed down and refracted and reflected back and forth on the facets which creates the look of a diamond. Light will refract any time it passesthrough a transparent material.

Because of the light bouncing that occurs with reflection and refraction, it is important to have enough bounces to render those types of materialscorrectly. Sound complicated? Fortunately KeyShot makes it easy. The bounces can be set in realtime and for every bounce that is added ortaken away, the realtime view will update and show you the result. If no visual improvement is noticed in the scene when adding a bounce, thatmeans no further bounces are necessary.

The types of objects that will be important for ray bounces are headlight enclosures, diamonds and anything that is reflective or transparent.Those are the areas that should be focused on when determining how many bounces to use.

ReflectionsThe scene shown below is 'ray_bounces.bip' and is available in the 'Scenes' folder for your reference. The examples show reflections rendered atdifferent bounces to help show the effect that different ray bounce numbers have. When more bounces are needed it will be apparent becauseareas will be black where light has stopped calculating.

Here are two mirrors facing eachother Here is a view in between the mirrors with 1 bounce set.

2 bounces 8 bounces

32 bounces

RefractionsThe examples show refractions rendered at different bounces to help show the effect that different ray bounce numbers have. When morebounces are needed it will be apparent because areas will be black where light has stopped calculating.

Here is a diamond rendered at 1 bounce 3 bounces

6 bounces 11 bounces

32 bounces

Shadow quality

Realtime settings > Shadow quality

Shadow qualityTo fully understand the shadow quality setting please see the section that talks about the ground plane. This setting will increase or decrease theamount of subdivisions in the ground plane and will produce a higher quality ground shadow, but it will take more processing power. If a groundshadow appears blocky, increasing this value can improve this but it is recommended to reduce the ground size as much as possible beforeresorting to shadow quality.

Notice the blocky ground shadow in this example. Notice the sharper ground shadow in this example after increasing theshadow quality.

Detailed shadows

Realtime settings > Detailed shadows

Detailed shadowsDetailed shadows include any shadowing that is rendered in the realtime view. The option to turn this off is included to improve performancewhile setting up a scene.

With detailed shadows turned off the self shadowing on the model andground shadows are not rendered.

With detailed shadows turned on the self shadowing on the model andground shadows are rendered.

Global Illumination

Realtime settings > Global illumination

Global illuminationWhen this setting is off, there will not be any indirect light bouncing between 3D geometry. In addition, geometry that is under transparentmaterials will render dark since light is not allowed to bounce through the transparent material and illuminate the object underneath.

This example shows a cube sitting on top of a plane with globalillumination off. There is no colored light bouncing between the

two objects.

This example shows a cube sitting on top of a plane with globalillumination on. The cube appears brighter because light bouncesof the white plane and illuminates the cube indirectly. Also, light

from the red and green sides bleed down onto the plane.

This example shows a cube sitting on top of a plane and under aglass dome with global illumination off. Notice the plane and cube

render too dark.

This example shows a cube sitting on top of a plane and under aglass dome with global illumination on. Notice the plane and cube

are now properly illuminated.

Ground illumination

Realtime settings > Ground illumination

Ground illuminationThis is the same setting and function as detailed indirect illumination but it is specific to the ground plane.

This example shows a cube sitting on top the ground plane withground illumination off. Notice there is no light bouncing onto the

ground plane

This example shows a cube sitting on top the ground plane withground illumination on. Notice there is now light bouncing onto

the ground plane.

This example shows a cube sitting on top the ground plane andunder a glass dome with ground indirect illumination off. Notice

the ground plane renders too dark. The cube is illuminatedbecause detailed indirect illumination is on. This illustrates how

ground illumination applies only to the ground plane.

This example shows a cube sitting on top of the ground planeand under a glass dome with ground illumination on. Notice the

ground plane is properly illuminated.

Ground grid

Realtime settings > Ground grid

Ground gridThe ground grid is an overlay in the realtime view that is meant to be used as a guide to help line up the perspective when placing models on topof backplates. When focal length is adjusted the perspective on the grid will change.

Effects

Realtime settings > Effects

BloomThe bloom feature will soften the entire image and help add glow to emissive materials. The intensity will increase the power of this effect. Theradius will control how far out the bloom will extend from the edges of objects. For a subtle effect, try setting a low intensity with a high radius. Ifthe slider range does not allow the desired value, a higher value can be manually typed in.

VignettingThe vignetting effect will darken the edges of the rendered image to help bring the focus towards the center of the image.

An emissive material rendered with bloom The KeyShot material ball rendered against a white background withvignetting.

Backplates

Backplates

Contents

OverviewAdjust brightnessLock aspect ratio

Backplates

Backplates >Overview

BackplatesBackplates are images that can be placed behind a 3D model and used as a background image. This allows a model to be interactivelypositioned into a photo. The lighting is not affected when a backplate is used. If there are transparent materials on the model, the backplate will bevisible through them. KeyShot comes with matching HDRI and backplate sets. However, you can use any common image file format as abackplate.

Adjust brightness

Backplates >Adjust brightness

Adjust brightnessWhen adjust brightness is enabled in backplate settings in the environment tab, the backplate will be affected by the brightness and gammasetting in the realtime settings.

Adjust aspect ratio to backplate

Backplates >Adjust aspect ratio to backplate

Adjust aspect ratio to backplateEnabling adjust aspect ratio to backplate in preferences will cause the realtime view to snap to the same width to height ratio of any backplatethat is loaded.

Working with cameras

Working with cameras

Contents

OverviewViewsets

Working with cameras

Working with cameras > Overview

Working with camerasCameras in KeyShot have some of the same settings that real world cameras have. These can be used to create similar effects that are used inphotography. In addition, views can be saved and easily viewed to help explain features of a design. This section covers all aspects of camerasin KeyShot

Camera listThis will show all cameras available in the scene. A camera can beselected by clicking the drop down menu and selecting it in the list. Thatcamera will then be active in the realtime view. Cameras can berenamed when they are selected by typing a new name in the "name"field.

Locking/unlocking camerasCameras can be locked and unlocked by pressing the locked/unlockedbutton next to the camera list. When a camera is locked all parameters inthis interface will be greyed out and the camera will not be able to movein the realtime view.

Saving/deletingCameras can be saved by clicking the camera icon next to the cameralist, and selecting "Add camera". This will save all settings in thisinterface and the position. Cameras can be deleted by selecting thecamera and select the camera icon and select "Remove camera".

AbsoluteThe absolute camera tab will allow you to adjust the camera in anabsolute path.

View orientationThis has preset camera orientations that the active camera will move toif any of them are selected. The preset view orientations are: Front,Back, Left, Right, Top and Bottom.

Distance (Dolly)This slider will control the camera dolly. The value is based on thedistance from the center of the world. The center is 0, so as this value isincreased the camera moves further from the center. When "alt + rightmouse + drag left/right" is used to move the camera, this is theparameter that is adjusted.

Azimuth (Orbit)This will be the camera's orbit around it's current "look at" point indegrees. The value range goes from -180 to 180 degrees. When "leftmouse + drag left/right" is used in the realtime view, this parameter isadjusted.

Inclination (Elevation)This will control the camera's elevation around it's current "look at" point.This parameter allows a camera to be oriented facing directly down fromthe top or looking direcly up at a model from the bottom. When "leftmouse + drag up/down" is used in the realtime view, this parameter isadjusted. The value range is -89.9 to 89.9 degress.

Look at pointThis is a very useful parameter for easily navigating around a scene."Look at" can be selected, then an area on the model can be clicked.The camera will then be oriented around that point. Now when cameradolly is used, it will dolly in to that point. "CTRL + ALT + right click" on amodel is the shortcut for this. "Look at" can also be selected, by rightclicking a part on the model and selecting "look at"

Perspective/orthographic

Perspective

Perspective will display the scene with the accurate perspective

This value will preserve the model framing but increase the perspectivebased on the slider settings below this parameter. Orthographic willremove all perspective from the real time view.

Focal lengthThis will allow the camera to simulate different lenses the same asreal world cameras. Wide angle lenses can be simulated by using alow focal length. Zoom lenses can be simulated by using higher focallength. When using a higher focal length it may appear as if thecamera is dollying in, but it actually remains in the same location. Thelens increases which creates a zoom effect and perspective becomesreduced. When dollying a camera the perspective remains the same.

Depth of fieldThis is a technique that is used in photography to help focus a viewer's eye where the photographer would like it to go. This is accomplished by blurring areas of the image while other areas remain in focus. The image at the top of this page shows an example of depth of field. To enable depth of field, click the box. Next, select the focus point by clicking an area on the model. This will be what remains in focus. The amount of blur can be controlled by "F-stop." Lower values will have more blur, whereas higher values will have less

Field of viewThis will be the cameras angle of view directly in front of it. A wideangle lens may have a 180 degree field of view, whereas a zoom lensmay have a 20 degree field of view.

MiscGrid - allows you to apply a grid to the camera to properly position yourmodel. Stay Above Ground - enabling this will keep the camera above theground plane.

Viewsets(Pro only)

Cameras >Viewsets

ViewsetsViewsets allow you to save all environment settings including different environments along with back plates with a camera angle.

Adding a view setView sets can be added by selecting the and selecting "Addviewset". Once a viewset has been added the current camera andenvironment settings will be added.

Deleting view sets is similiar to adding new ones. Simply select the and select "Remove viewset".

Editing view setsViewsets can be edited by selecting "Edit Mode". This will put the viewsetin "Edit mode", which will display a message on the realtime window -"Editing viewset # camera". When in editing state, you are able to add anew environment, backplate, adjust camera and environment settings.When finished editing the view set click "Done", this will save all settingsto the viewset.

Toggling view setsView sets can be toggled using the drop down list. Or hot key SHIFT + N

Rendering and output

Rendering and output

Contents

OverviewSaving screenshotsAdvanced controlMaximum timeMaximum samplesRender queueRegion renderAnimation outputRender passesExport OBJPublish to GrabCad

Overview

Rendering and output > Overview

Rendering and outputAfter a scene in KeyShot has been setup, the next step is to output either an image or an animation. There are multiple methods ofaccomplishing this. In addition, there are different render settings that come into play depending on what is being rendered. If these values areset too high, they can increase render time without any added gain. Understanding what the settings are and how to tune them will save timewhen rendering scenes. This section will cover these topics.

Saving screenshots

Rendering and output > Screenshots >

Saving screenshotsA screenshot of the realtime view can be saved out at anytime using two different methods. The first method is by pressing the "p" key. The nextmethod is by pressing the screenshot button found in the main toolbar shown in the image below. The screenshots will be saved to the renderingsfolder that is designated in KeyShot resources. Camera views can be saved with every screenshot if this option is enabled in preferences.

Advanced control

Rendering and output > Advanced control >

Advanced controlThe interface below shows all the render settings that will be presented when rendering with the offline render. All settings are explained below.

Samples Ray bouncesThis will control the amount of rays per pixel that will be sent into theenvironment to gather information to determine that pixel's final shade. Itis best to control this setting per material and set a value between 8 and16 in the render settings. For information on samples and setting samplesper material please see the section on roughness and glossy samples.

Ray bounces are the number of times rays of light are calculated asthey bounce around a scene. For a detailed explanation and examplesplease see the section that covers ray bounces in the realtime settings.

Anti aliasing Shadow qualityAnti aliasing is a method for smoothing out jagged edges that arecreated by pixels. Since pixels are made up of squares, they canproduce a jagged look where edges meet. Anti aliasing smooths outthese edges. In most cases the default value of 1 is sufficient.

Shadow quality will control the shadow quality for ground shadows. Thiscan be tuned in realtime to determine what value is necessary. Pleasesee the section on shadow quality found in the realtime settings.

Global illumination quality Pixel filter sizeThis will control the quality of all indirect light bouncing. Increasingthis value can dramatically increase render time. It is rarelynecessary to set a value above the default value of 1. For moreinformation and examples please see the section on detailed indirectillumination in realtime settings.

This will apply a slight blur to the image to reduce the overly sharp lookthat computer generated images can have. Higher values will havemore blur. This does not increase render time.

DOF quality (depth of field quality) CausticsThis will control the quality of depth of field if it is enabled in thecamera tab. Increasing this value will have an effect on render time.For production quality work a value between 3 - 5 is recommended.Please see the section on cameras for more information on depth offield.

Increasing the value will improve the samples and quality of thecaustics.

Sharper texture filtering Sharp shadowsThis will attempt to preserve detail in textures when viewed at grazingangles. For example, imagine being eye level with a wood table andseeing the wood grain compress together. Detail can get lost in thecompressed areas. This setting reduces that.

This will allow sharp shadows to be cast across 3D geometry when thelighting scenario would create a sharp shadow. It is more accurate tohave this checked and it is enabled by default. It is generallyrecommended to leave this on.

Maximum time

Rendering and output > Maximum time>

Maximum timeThe maximum time method of image/animation output will progressively refine the render for the amount of time set.

This mode uses the same rendering technique as what you see in the realtime view. This technique is also used in maximum samples mode, butdiffers from the method used in advanced control mode.

When rendering an animation, you may set the maximum time for each frame to render, or set a total duration for the entire animation.

Maximum samples

Rendering and output > Maximum samples>

Maximum samplesMaximum samples mode controls how many times the image or animation frame will be calculated and refined. Each additional sample willfurther smooth out noise/grain in the image.

This mode uses the same rendering technique as what you see in the realtime view. This technique is also used in maximum time mode, butdiffers from the method used in advanced control mode.

Samples Tip: Samples and resolutionThis controls how many times each of the pixels in the image being renderedwill be calculated for further accuracy.

Too low of a value here will result in an image that has excessive noise.However, be careful with cranking this setting up as there will be a pointwhere you will not perceive further benefit from a higher setting, but theimage will take far longer to render.

For further imformation refer to the samples section.

Animation outputThe maximum samples mode is ideal for animation output as it guaranteesthat each frame will have been rendered to the same quality. As theanimation plays through the frames you will not see changes/flickering inshadows or noise patterns on materials.

A sample calculates the color of a pixel. You already know that moresamples does mean higher accuracy of the color of each pixel in theimage, but more samples also take longer to render.

Something important to be aware of is that as you increase theresolution of your image or animation, each pixel covers relatively lessarea of the image. This means that you can use a lower samplessetting when rendering at higher resolutions.

The sample below shows the two models rendered with the samesamples setting, but on the right the resolution was twice that of the left.Notice the reduced noise on the right model.

This method is typically preferred over the time based output, for animations,as some frames may require substantially more time to reach the samequality level as levels of detail and complexity change through the course ofyour animation. Using the time based output will lead to more noise in themore complicated frames.

Render queue

Rendering and output > Render queue >

Render queueThe render queue is used to batch process your still image and animation renderings.

Add/delete job Move up/downUse these options to add and remove jobs from the queue list.

When a job is added you are recording the exact state of your scene.This includes all render settings. Each job, therefor, can havecompletely unique settings.

You can select a job in the list, then click move up or down to changethe order of the list. Jobs at the top render first.

You can also multiselect jobs and move them together.

Other options

You can use the check boxes next to the job to turn off that job. Thejob will then be skipped during processing of the queue.

You can also hover your cursor over a job to see an enlargedthumbnail of the image to be rendered.

When you are ready to kick off the queue, click the process queuebutton.

Region render

Rendering and output > Region render >

Region renderThe region render option allows you to render a smaller portion of your overall image. This is useful when only a small change to one part of ascene is needed. Rendering the smaller region saves time.

Enable region renderIn the render settings menu you will see an enable region renderbutton on each page of this menu. Click the icon to enable, then dragto size the region box in the realtime view window.

Animation output

Rendering and output > Animation output >

Animation outputWhen the time comes to output your animation, do so by enabling animation mode in the render settings menu.

You have the option to output a video or the frames of the animation, or both (the most common choice).

Render Passes(Pro only)

Rendering and output > Render Passes >

Render Passes

KeyShot supports different render passes. To enable the pass click the checkbox next to the pass you would like to enable. Doing so will renderthe selected pass, along with the orginal image format specified on the output tab.

*NOTE* enabling render layers will render all render layers created.

Export to OBJ(Pro only)

Rendering and output > Export OBJ

Export to OBJKeyShot supports exporting your 3D data from KeyShot into an *.obj file type. All individual parts and material groups will be maintained onexport. Animations will not be exported, only supports geometry export.

Publish to GrabCad

Rendering and output >Publish to GrabCad

Publish to GrabCad

Publish to GrabCad will allow you to easily upload your rendering straight from KeyShot 4.1 to GrabCad. To do so, right-click your rendering fromwithin the library and select "Publish to GrabCad". You will first need to authenticate your GrabCad account before you can upload.

Material types and their settings

Material types and their settings >

Contents

OverviewDiffuse parameterSpecular parameterRefraction index parameterRoughness parameter (glossy)AdvancedAnisotropicDielectricDiffuseEmissiveFlatGemGlassGroundLeatherLiquidMetallic paintMetalPaintPlasticSolid glassThin filmToonTranslucentVelvetXray

Overview

Material types and their settings > Overview

OverviewKeyShot material types have been designed to be easy to use with as few parameters as possible for a given material type. For example, metalswill have only the parameters needed to create a metal and plastic will have only the parameters necessary to creates plastic. The followingsections will cover all of the material types and their parameters.

The first four sections cover some common parameters that are found throughout several material types. Since KeyShot is designed to be able tocreate realistic materials with little to no experience, an understanding of these concepts is not necessary, but can help gain a deeperunderstanding of how rendering and material creation works. These properties are: diffuse, specular, refraction index and roughness (glossy).

Diffuse parameter

Material types and their settings > Diffuse parameter

Diffuse parameterThe diffuse parameter will be found throughout many of the material types. The most basic way to think of diffuse when working in KeyShot is amaterial's overall color. However, there is a more technical explanation of what this is that can help when creating materials:

The word diffuse means "to-scatter" or "spread out". Diffuse in the rendering world refers to how light reflects off of materials. Depending on thesurface of a material, light rays will behave differently when they hit the surface. If a surface has little or no imperfections like a polished surface,light rays will bounce straight off. This will produce a shiny or reflective surface. If the surface has many imperfections like concrete light rays willbe scattered across the surface creating a matte look. This is why concrete is not reflective or shiny.

The diffuse parameter will control the color of the diffuse rays (left diagram) on a material.

Specular parameter

Material types and their settings > Specular parameter

Specular parameterThe specular parameter is another parameter that will be found on many material types. Specular reflections are reflections that are bounced offa material surface without scattering. Materials appear reflective or shiny when a surface is polished and has little to no imperfections. When thespecular color is set to black, a material will have no specular reflections and will not appear reflective or shiny. Specular color set to white willgive 100% reflectivity for that material. Metals do not have diffuse color so any color will be derived entirely from the specular color. Plastics canonly have white as the specular color.

The specular parameter will control the color and intensity of the specular light reflections on a material.

Refraction index

Material types and their settings > Refraction index

Refraction indexRefraction index is another material parameter that will be found on multiple KeyShot material types. The term might not be familiar, but refractionis something that is commonly seen every day. A good example is when a person sticks their hand in a pool. The light is bent, or "refracted" andthe arm looks broken.

Refraction occurs because light travels through different mediums at different speeds. This reduction in speed is referred to as a material'srefraction index and is represented by a number. For example, water has an index of refraction of 1.33, glass has an index of refraction of 1.5and diamonds have an index of refraction of 2.4. This means that light travels through water 1.33 times slower than it does through a vacuum.Light travels through glass 1.5 times slower, through diamonds 2.4 times slower and so on. The slower light travels, the more it is bent anddistorted.

Refraction indices for different materials can be easily found online. Once the value is found, it can be entered into the refraction index property ofa material, and it will be accurately represented in KeyShot.

Roughness parameter (glossy)

Material types and their settings > Refraction index

Roughness parameter (glossy)The roughness parameter is another setting that will be found on multiple material types in KeyShot. This is a slider that will add microscopiclevels of imperfections to the surface to create rough materials. The diagram that explains diffuse can also help explain why materials appearrough. When roughness is added, light rays are scattered across the surface which causes specular reflections to break up. Due to the additionallight scattering, rough materials are more challenging and take more processing power to render than perfectly reflective surfaces.

Glossy samplesSince rough (glossy) materials are more complex to render, KeyShot has a setting built into materials that can improve the accuracy of theserough materials. This setting is called glossy samples. The samples refer to the number of rays that are shot out from a pixel in a rendered image.Each ray collects information from it's surrounding environment and returns this information back to the pixel to determine it's final shade. Thediagram below illustrates this process.

Advanced

Material types and their settings > Advanced

AdvancedThe advanced material is the most versatile of all KeyShot material types. There are more parameters in this material than any other. With thevariety of parameters, materials such as metals, plastic, transparent or cloudy plastics, glass, diffuse and leathers can all be created from thissingle material type. Material types that cannot be created are translucent materials and metallic paints.

Texture maps availableColor Specular Bump OpacityYes Yes Yes Yes

DiffuseThis can be thought of as the overall color of the material. Transparentmaterials will have little or no diffuse. Metals will have no diffuse with allthe color derived from the specular.

To fully understand this parameter see the section on diffuse.

SpecularThis is the color and intensity of the reflection of light sources within thescene. Black will be 0 intensity and the material will not be reflective.White will be 100% intensity and will be completely reflective.

If a metal material is being created, this is where the color is set. If aplastic material is being created, the specular color should be white orgrey to reduce reflectivity. Plastics will not have color in the specular.

To fully understand this parameter see the section on specular.

Specular transmissionThis can be thought of as the transparency of the material. Black will be100% opaque and white will be 100% transparent.

If a transparent glass or plastic is being created, the diffuse should beblack with all the color derived from this parameter. Transparent glassesor plastics should also have the specular set to white. If a cloudy plasticis desired, the diffuse can be set to a very dark version of the color sethere.

Diffuse transmissionThis will cause additional light scattering across the surface of thematerial which can simulate a translucent effect. It will increase rendertime, so if it is not needed the recommendation is to leave it at black.

Ambient RoughnessThis will control the color of self shadowing on the material in areas thatare not receiving direct light. It can produce unrealistic looks, so it isrecommended to keep this set to black unless it is needed.

This will add microscopic levels of imperfections to the surface of thematerial when the values are increased. When set to 0, a material willappear perfectly smooth and polished. When the value is increased thematerial will appear more rough as light is diffused across the surface.

Roughness transmission Refraction indexThis will control the roughness of the refractions. The main differencebetween this parameter and roughness is that the roughness is onthe internal portion of the material. This can be used to create afrosted look while still maintaining a shiny surface. The materialneeds to have some transparency through the specular transmissionto see any affect.

This will control the level of refraction on the material.

Fresnel (pronounced frah-nel) Glossy samplesThis will control the intensity of the reflections that are perpendicularto the camera. In the real world, materials are more reflective aroundthe edges of objects than they are on areas of objects that aredirectly facing the viewer or camera. It is enabled by default becausein it is the accurate setting. Different materials have different fresnelfalloff.

This will control the accuracy of glossy (rough) reflections.

Anisotropic

Material types and their settings > Anisotropic

AnisotropicThe anisotropic material type gives you advanced control over the highlights on the material surface. On other material types that have a single"roughness" slider, as you increase this value the highlights on the surface spread out evenly in all directions. Anisotropic gives you control overthe highlight shape by controlling the roughness in two directions with two independent sliders. This material type is often used to simulate a finelybrushed metal surface.

Texture maps availableColor Specular Bump OpacityYes Yes Yes Yes

DiffuseTo fully understand this parameter see the section on diffuse.

When trying to create a metal the diffuse should be set to black. Whenset to anything other than pure black, this material type will take on morea plastic look.

SpecularTo fully understand this parameter see the section on specular.

This is the color and intensity of the reflection of light sources within the

scene. Black will be 0 intensity and the material will not be reflective.White will be 100% intensity and will be completely reflective.

If a metal material is being created, this is where the color is set. If aplastic material is being created, the specular color should be white orgrey to reduce reflectivity. Plastics will not have color in the specular.

Roughness X and YThese sliders control the spread of the highlights on the surface. The Xand Y roughness sliders control the highlight spread in independentdirections.

As you offset the values the highlights on the surface will stretch out andgive a finely brushed effect.

Setting both sliders to the same value will yield reflections that arespread evenly in all directions.

In the image below, the ball on the left has offset values and the righthas equal values.

Angle

Mode

This rotates the stretched highlights that are produced when theroughness x and y values are offset. The value is in degrees andgoes from 0 to 360.

This advanced setting controls how the highlights are stretched. Thereare three unique modes.

The default mode is 1 which will stretch highlights in a linear way, and isindependent of any UV coordinate mapping you may have on the model.

Mode 0 is dependent on your UV coordinates. You can use this tomanipulate the anisotropic highlights based on the mapping from yourmodeling software.

Mode 2 is a radial anisotropic method which simulates the effect youmight observe on the play side of a CD.

SamplesTo fully understand this parameter see the section on samples.

A low samples setting (8 or lower) will tend to make the surface look more noisy which will give a more imperfect and rough look. As you increase the value the noise will even out more and provide a more evenly distributed roughness. .

Dielectric

Material types and their settings > Dielectric

DielectricThe dielectric material type is a more advanced way to create glass materials. Compared to the solid glass material type, you will find additionalsettings for dispersion (abbe number) and it can also be used to create an accurate interface between glass and liquid.

Texture maps availableColor Specular Bump Opacity

No No Yes Yes

TransmissionThis option controls the overall color of this material type. When lightenters the surface it will take on the color set here.

The amount of color that you see in this material is highly dependent onthe "color density" setting as well. If you have set a color in thetransmission, but it looks too faint, skip down to the color density section.

Refractive IndexThis slider controls how much light will bend or "refract" as it passesthrough parts on your model that have this type of material.

The default of 1.5 is accurate for simulating most types of glass, but you

can increase the value to create a more dramatic refraction within thesurface.

For further information on refraction, click the image below.

Transmission OutThis option controls the color of the light on the outside of the material. Itis an advanced and complex setting, but is needed when renderingcontainers with liquid.

In the example of a water glass, you will need to have a dedicatedsurface for where the liquid and glass meet. On this surface, you set thecolor of the glass with the transmission outsetting then you can controlthe color of the liquid with the transmission.

If the glass and liquid are both clear, set both transmission andtransmission out to white.

Take a look at the Wine_Glass.bip example scene in the scenes folderto see these settings in action.

Refractive Index Outside Color DensityThis slider is an advanced, but powerful, setting that allows you toaccurately simulate the interface between two different refractingmaterials.

The most common use for this is when you are working on acontainer with liquid inside, like a water glass. In such a scene youwill need a single surface to represent where the glass and watermeet. On this surface you have the liquid on the "inside" andtherefore set the refractive index to 1.33. On the "outside" you havethe glass and should set the refractive index outside to 1.5.

Take a look at the Wine_Glass.bip example scene in the scenesfolder to see these settings in action.

This slider controls how much of the color you have set in thetransmission property you will see depending on how thick the part is thatthe material is applied to.

This physically accurate parameter simulates the effect you can observeby looking at the color of the shallow water at a beach versus the deepblue of a deep ocean. Without color density you would see through to thebottom of the deepest ocean as easily as the bottom of a swimming pool.

After setting a color in the transmission setting, use the color densitysetting to make that color more or less saturated and prominent. A lowersetting will show the color more in thin areas of the model, and a highsetting will make the color faint in the thin areas.

Roughness Abbe Number (Dispersion)Roughness on this type of material will spread out highlights on thesurface similar to what you see on other, non-transparent, materials.However, it also spreads out the light that is transmitted through thematerial.

This is used to create a frosted glass look.

Expand this parameter and you will see a samples setting. This canbe used with a low setting to produce a more imperfect/noisy resultor a higher value to smooth out the noise/grain for a smoother frostedlook.

The abbe number slider controls dispersion of light as it is transmittedthrough the surface and produces a prismatic effect.

This prismatic color effect can be used to create the "fire" effect oftendesired when rendering gem stones.

A value of zero will disable the dispersion effect entirely. A low value willshow heavy dispersion, and as you increase the value, the effect will getmore subtle. A setting around 35-55 is a good starting point if a subtledispersion effect is desired.

Expand this parameter and you will see a samples setting. This can beused with a low setting to produce a more imperfect/noisy result or ahigher value to smooth out the noise/grain for a smoother look.

Diffuse

Material types and their settings > Diffuse

DiffuseThe diffuse material has only one parameter and that is the diffuse color. It will be useful for easily creating any kind of matte, or non-reflectivematerial. Since it is an entirely diffuse material, specular maps are not available on the diffuse material.

Texture maps availableColor Specular Bump OpacityYes No Yes Yes

DiffuseThis parameter will control the color of the diffuse material.

To fully understand this parameter see the section on diffuse.

Emissive

Material types and their settings > Emissive

EmissiveThe emissive material is the only light emitting material in KeyShot. It can be used for small light sources such as LEDs, lamps or evenilluminated screen displays. It is not meant to illuminate scenes as a main light source. The emissive material will need detailed indirectillumination enabled in realtime settings to illuminate other geometry in the realtime view. It will also need ground indirect illumination to illuminatethe ground plane as shown below. Color textures can be mapped to the material and any colors included in the texture will be emitted as light.When using emissives, it is a good idea to enable bloom under effects in realtime settings. This will create the glowing effect shown in the image.

Texture maps availableColor Specular Bump OpacityYes No No Yes

ColorThis will control the color of the light emitted from the material

IntensityThis will control the intensity of the light that is emitted. This slider workswhen color textures are applied as well.

Visible to camera

This will hide the emissive material from the camera but it will still emitlight.

Visible in reflections

This will hide the emissive material from any specular reflections. Thismeans the effect of the emissive will only be apparent on the diffusecomponent of materials

Two-sided

This will display on both side of the model

Use color map alpha

This will allow you to use the alpha channel on the color map

Flat

Material types and their settings > flat

FlatThe flat material is a very simple material type that produces an unshaded, perfectly even, color over the entire part that it is applied.

This material is often used as a "black out" material behind car grills or other meshes. It is also useful for creating a "clown pass" image which hasuniquely colored flat materials applied to each part of the model so that these solid colors can be used to easily create selections in an imageediting software.

Texture maps availableColor Specular Bump OpacityYes No No Yes

ColorClick the color thumbnail to launch the color picker to select the color ofthe material.

The flat material has no shading or other surface properties. It will showthe solid color you have selected over the entire part that the material isapplied to.

Gem

Material types and their settings > Gem

GemThe gem material is related to the solid glass, dielectric, and liquid material types. The settings have been optimized to be relevant to renderinggem stones.

The abbe number (dispersion) control is especially important for gem stone rendering as it produces the "fire" effect that is often desired.

The internal culling setting is another specialty of this material type.

Texture maps availableColor Specular Bump Opacity

No No Yes Yes

ColorThis controls the overall color of this material type. When light enters thesurface it will take on the color set here.

The amount of color that you see in this material is highly dependent onthe transparency setting as well. If you have set a color, but it looks toofaint, skip down to the transparency section.

Refractive Index

This controls how much light will bend or "refract" as it passes throughparts on your model that have this type of material.

The default of 1.5 is accurate for simulating most types of glass, but youcan increase the value to create a more dramatic refraction within thesurface. Most gem stones have a higher refractive index than 1.5.

For further information on refraction, click the image below.

click for larger image

TransparencyThis setting controls how much of the color you have set in thetransmission property you will see depending on how thick the part isthat the material is applied to.

After setting a color in the transmission setting, use the transparencysetting to make that color more or less saturated and prominent. A lowersetting will show the color more in thin areas of the model, and a highsetting will make the color faint in the thin areas.

Roughness Abbe Number (Dispersion)Roughness on this type of material will spread out highlights on thesurface similar to what you see on other, non-transparent, materials.However, it also spreads out the light that is transmitted through thematerial.

This is used to create a frosted glass look.

The abbe number controls dispersion of light as it is transmitted throughthe surface and produces a prismatic effect.

This prismatic color effect can be used to create the "fire" effect oftendesired when rendering gem stones.

Expand this parameter and you will see a samples setting. This canbe used with a low setting to produce a more imperfect/noisy resultor a higher value to smooth out the noise/grain for a smoother frostedlook.

A value of zero will disable the dispersion effect entirely. A low value willshow heavy dispersion, and as you increase the value, the effect will getmore subtle. A setting around 35-55 is a good starting point if a subtledispersion effect is desired.

Expand this parameter and you will see a samples setting. This can beused with a low setting to produce a more imperfect/noisy result or ahigher value to smooth out the noise/grain for a smoother look.

Glass

Material types and their settings > Glass

GlassThis is a simplified material type for creating glass materials.

Compared to the solid glass material, you will notice this material type lacks the roughness and color density settings. However, it adds the twosided option which is very useful when you have a part that is just a single surface (no thickness) and you want to make it reflective andtransparent, but not refractive. This is a commonly used for car windshields.

Texture maps availableColor Specular Bump Opacity

No No Yes Yes

ColorSets the overall color of the glass material. Click the color thumbnail toopen the color picker then select your desired color.

Refractive IndexThis controls how much light will bend or "refract" as it passes throughparts on your model that have this type of material.

The default of 1.5 is accurate for simulating most types of glass, but you

can increase the value to create a more dramatic refraction within thesurface.

For further information on refraction, click the image below.

Two-sidedThis enables or disable the refractive property of the material.

When enabled, the material will appear refractive.

When disabled, the materail will not be refractive. You will see reflectionson the surface and the surface will be transparent, but light will not bendas it passes through the surface.

Disabling this option is very useful when you want to see things that laybehind a surface without the distorted effect that results from refraction.

Ground

Material types and their settings > Ground

GroundThis is a simplified material type for creating ground material.

Simply click "Edit" and select "Add ground plane". This will add a ground plane into your KeyShot scene. The ground material can also be appliedto imported geometry.

Texture maps availableColor Specular Bump Opacity

No Yes Yes Yes

Shadow colorThe shadow that is being casted from the object will be displayed in thiscolor. Clicking the color block will allow you to edit the color.

Specular

The ground material supports specular parameter. Please refer tospecular for more information.

Clip geometry below groundIf any geometry is being displayed below the ground plane material. The

option will clip the geometry below the ground plane, hidding it from thecamera.

Refraction Index

This controls how much light will bend or "refract" as it passes through theground material surface.

The default of 1.5 is accurate for simulating most types of glass, but youcan increase the value to create a more dramatic refraction within thesurface.

Leather

Material types and their settings > Leather

LeatherThe leather material utilizes an automatically generated bump texture to create leather-like bumps on surfaces without any need for mappingtexture images.

It is a powerful material type that can be used for effects other than strictly leather materials. Using a very fine scale on the texture and a highreflectivity you can create rough plastic and even metal looking materials.

Texture maps availableColor Specular Bump Opacity

No No Yes Yes

Color 1 and 2The automatically generated leather bump texture has hills and valleysand you can use the separate color 1 and 2 settings for offsetting thecolor of these hill and valleys.

Using highly contrasting values will result in an unnatural result, sogenerally you will want to set the two colors to the same or very similarvalues.

Color 1 sets the color of the high points of the leather bumps and color 2

sets the color of the low points.

ReflectivityThis controls the intesity of the reflection on the surface.

A high value will make the leather shine and a value of zero will makethe material purely diffuse.

RoughnessRoughness on a leather material makes a more or less polished lookingmaterial. However, it is possible that with a very small scale setting andtoo high of a height setting your material can look rough when theroughness setting is at zero. This is because the roughness does notaffect the prominence of the automatic leather bump texture.

A low value will look more like a polished leather and a high value willlook more matte and also helps a leather surface look soft.

A samples setting is available within the roughness parameter. Thiscontrols overall perfection of the spread out highlights on the surface. Alow setting will look imperfect/noisy and a high value will smooth out thisnoise/grain.

HeightThis controls the intensity of the bumps in the automatically generatedleather bump texture. A high value will make the the surface lookrough/rugged leather while a low value will look more fine and smooth.

ScaleThis controls the size of the leather bumps in the automaticallygenerated leather texture. A smaller value actually results in larger scaleleather bumps which produces a more rugged looking leather, which ahigher value will makes the bumps in the leather smaller and more finelooking.

Liquid

Material types and their settings > Liquid

LiquidThe liquid material type is a variant of the solid glass material that has the added ability to set the outside refractive index. This allows you toaccurately create surfaces that represent the interface between, for example, a glass container and water.

However, for more advanced liquid in container scenes (if colored liquid is required) you will want to use the dielectric material type.

Texture maps availableColor Specular Bump Opacity

No No Yes Yes

ColorThis controls the overall color of this material type. When light enters thesurface it will take on the color set here.

The amount of color that you see in this material is highly dependent onthe transparency setting as well. If you have set a color, but it looks toofaint, skip down to the transparency section.

Refractive IndexThis controls how much light will bend or "refract" as it passes throughparts on your model that have this type of material.

The default of 1.5 is accurate for simulating most types of glass, but youcan increase the value to create a more dramatic refraction within thesurface. Most gem stones have a higher refractive index than 1.5.

For further information on refraction, click the image below.

Refractive Index OutsideThis is an advanced, but powerful, setting that allows you to accuratelysimulate the interface between two different refracting materials.

The most common use for this is when you are working on a containerwith liquid inside, like a water glass. In such a scene you will need asingle surface to represent where the glass and water meet. On thissurface you have the liquid on the "inside" and therefor set the refractiveindex to 1.33. On the "outside" you have the glass and should set therefractive index outside to 1.5.

Take a look at the Wine_Glass.bip example scene in the scenes folderto see these settings in action.

TransparencyThis setting controls how much of the color you have set in thetransmission property you will see depending on how thick the part is

that the material is applied to.

After setting a color in the transmission setting, use the transparencysetting to make that color more or less saturated and prominent. A lowersetting will show the color more in thin areas of the model, and a highsetting will make the color faint in the thin areas.

Metallic paint

Material types and their settings > Metallic paint

Metallic paintThe metallic paint material type simulates a three layer paint job. You start with a base layer, then can control how much metal "flake" you want,then on top of it all is a clearcoat that provides a clean reflection over the entire paint.

Texture maps availableColor Specular Bump OpacityYes Yes Yes Yes

Base colorThis is the overall color of the material and can be consider the basecoat of paint.

Metal ColorThis can be thought of as a coat of metal "flakes" sprayed over the basecoat. You can choose a color that is similar to base color to get a subtlemetal flake effect, or you can choose a contrasting color to get someinteresting results. A white or gray metal color is also commonly used forrealistic paints.

The metal color in the material will show more in the directly lit or brightlyhighlighted areas of the surface while the base color will show more in

the less illuminated areas.

Metal CoverageThis controls ratio of base color to metal color. When set to 0 you willsee only the base color. When set to 1 the surface will be almost entirelycovered in the metal color.

For most metallic paint materials you will want this set closer to 0. Asetting of 0.2 is a good starting point.

Metal RoughnessThis controls the spread of the metal color over the surface. When set toa low value you will see the metal color in only small areas aroundhighlight. When set higher the metal will spread more evenly across theentire surface.

0.1 is a good starting point. Within the metal roughness parameter youwill find a samples setting. This will control how imperfect or refined themetal effect in the paint will look. A low setting will result in a morenoticable "flake" effect. A higher setting will smooth out the distribution ofthe metal effect and will have less noise/grain. When seeking a pearleffect, a higher setting is preferred.

Clear-coat Roughness Clear-coat Refraction IndexThe top "layer" of the metallic paint material is a clearcoat that, bydefault, provides perfectly clean reflections. However, if a satin ormatte paint effect is desired the clearcoat roughness value can beincreased. This will spread out the reflections on the surface for amatte look.

This slider controls the intesity of the clearcoat. 1.5 is a good generalstarting point. If a more shiny paint is desired, increase the value.Bringing the value down to 1 will almost "turn off" the clearcoat. This canbe useful for making a matte finish or simulating plastics that have ametallic flake effect.

Metal flake size Metal flake visibilityThis controls the size of the physical metal flakes within the paintsurface. Increasing flake size makes the metal flake effect moreapparent. By contrast, decreasing flake size makes the effect lessapparent.

This controls the opacity of the metal flake effect in the metallic paintmaterial. A value of 0 causes the flakes to be completely transparent. Athigher values the flakes blend in with the base color of the metallic paintmaterial.

Metal

Material types and their settings > Metal

MetalThe metal material type is a simple way to create polished or rough looking metal materials. It has very simple settings, just set the color androughness and you are done.

Texture maps availableColor Specular Bump OpacityYes No Yes Yes

ColorThis controls the color of reflected light on the metal surface.

RoughnessThis will add microscopic levels of imperfections to the surface of thematerial when the values are increased. When set to 0, a material willappear perfectly smooth and polished. When the value is increased thematerial will appear more rough as light is diffused across the surface.

SamplesTo fully understand this parameter see the section on samples.

A low samples setting (8 or lower) will tend to make the surface lookmore noisy which will give a more imperfect and rough look. As youincrease the value the noise will even out more and provide a moreevenly distributed roughness.

Paint

Material types and their settings > Paint

PaintThe paint material is used when a metallic effect is not desired, but rather when a simple "gloss" paint is called for. It provides a quick way to seta color "base layer" then control the clearcoat on top.

Texture maps availableColor Specular Bump OpacityYes Yes Yes Yes

ColorColor is your base layer of paint and the overall color of the material.

Click the color thumbnail to open the color picker then select yourdesired color.

RoughnessThis will add microscopic levels of imperfections to the surface of thematerial when the values are increased. When set to 0, a material willappear perfectly smooth and polished. When the value is increased thematerial will appear more rough as light is diffused across the surface.

A higher roughness setting will make a satin or matte paint, while a

setting of 0 will provide a perfect clearcoat effect.

Within the roughness parameter you will find a samples setting.

To fully understand this parameter see the section on samples.

A low samples setting (8 or lower) will tend to make the surface lookmore noisy which will give a more imperfect and rough look. As youincrease the value the noise will smooth out and provide a more evenlydistributed roughness.

Refraction IndexThis controls the intesity of the clearcoat. 1.5 is a good general startingpoint. If a more shiny paint is desired, increase the value. Bringing thevalue down to 1 will almost "turn off" the clearcoat. This can be useful formaking a matte finish or simulating plastics that have a metallic flakeeffect.

Plastic

Material types and their settings > Plastic

PlasticThe plastic material provide the basic settings needed to create simple plastic materials. Set the diffuse (overall color) and add some specular(reflections) then just dial in the roughness.

You can also create transparent plastics by controlling the transmission colors. This is a very versatile material type that is used for anything fromconcrete to woods.

Texture maps availableColor Specular Bump OpacityYes Yes Yes Yes

DiffuseThis can be thought of as the overall color of the material. Transparentmaterials will have little or no diffuse.

To fully understand this parameter see the section on diffuse.

SpecularThis is the color and intensity of the reflection of light sources within thescene. Black will completely turn off reflections, while white will provide avery shiny plastic look.

Realistic plastic does not have color in the specular value, so generalyyou should use some level of gray or white. However, adding color cangive the plastic material a metallic effect.

To fully understand this parameter see the section on specular.

RoughnessThis will add microscopic levels of imperfections to the surface of thematerial when the values are increased. When set to 0, a material willappear perfectly smooth and polished. When the value is increased thematerial will appear more rough as light is diffused across the surface.

Within the roughness parameter you will find a samples setting. To fullyunderstand this parameter see the section on samples.

A low samples setting (8 or lower) will tend to make the surface lookmore noisy which will give a more imperfect and rough look. As youincrease the value the noise will smooth out and provide a more evenlydistributed roughness.

Diffuse transmission Specular transmissionThis will cause additional light scattering across the surface of thematerial which can simulate a translucent effect. It will increaserender time, so if it is not needed the recommendation is to leave it atblack.

This can be thought of as the transparency of the material. Black will be100% opaque and white will be 100% transparent.

If a transparent glass or plastic is being created, the diffuse should beblack with all the color derived from this parameter. Transparent glassesor plastics should also have the specular set to white. If a cloudy plasticis desired, the diffuse can be set to a very dark version of the color sethere.

Solid glass

Material types and their settings > Solid glass

Solid glassThe solid glass material type provides a physically accurate glass material. When compared to the simpler glass material type you will find thesolid glass simulates the effect color in the glass accurately as it takes into account the thickness of your model.

Texture maps availableColor Specular Bump Opacity

No No Yes Yes

ColorThis controls the overall color of this material type. When light enters thesurface it will take on the color set here.

The amount of color that you see in this material is highly dependent onthe transparency setting as well. If you have set a color, but it looks toofaint, skip down to the transparency section.

Color DensityThis setting controls how much of the color you have set in thetransmission property you will see depending on how thick the part isthat the material is applied to.

This physically accurate parameter simulates the effect you can observeby looking at the color of the shallow water at a beach versus the deepblue of a deep ocean. Without color density you would see through tothe bottom of the deepest ocean as easily as the bottom of a swimmingpool.

After setting a color in the transmission setting, use the color densitysetting to make that color more or less saturated and prominent. A lowersetting will show the color more in thin areas of the model, and a highsetting will make the color faint in the thin areas.

Refraction Index RoughnessThis controls how much light will bend or "refract" as it passesthrough parts on your model that have this type of material.

The default of 1.5 is accurate for simulating most types of glass, butyou can increase the value to create a more dramatic refractionwithin the surface.

For further information on refraction, click the image below.

Roughness on this type of material will spread out highlights on thesurface similar to what you see on other, non-transparent, materials.However, it also spreads out the light that is transmitted through thematerial.

This is used to create a frosted glass look.

Expand this parameter and you will see a samples setting. This can beused with a low setting to produce a more imperfect/noisy result or ahigher value to smooth out the noise/grain for a smoother frosted look.

Thin film

Material types and their settings > Thin film

Thin filmThe thin film material produces an iridescent effect such that you would see with a soap bubble.

Texture maps availableColor Specular Bump Opacity

No No Yes Yes

Refraction IndexThe refraction index setting for this material provide more or lessreflection on the surface. Increase the value to get more reflectionintensity.

The actual colors you see in the thin film will also be affected by therefraction index. However, you can shift the colors with the next setting,so typically you will focus only on finding the desired amount of reflectionwith the refraction index setting

ThicknessChanging the thickness setting will shift the colors that you see on thesurface using the thin film material.

Increasing the setting to a very high value will result in the effect oflayers of colored rings on the surface.

100-1000 is a generally good range to stay within.

Toon

Material types and their settings > Toon

ToonThe toon material type allows you to create concept art from your 3D model. You are able to control the contour width, number of contour lines, and whether or not shadows are cast onto geometry.

Texture maps availableColor Specular Bump OpacityYes No Yes Yes

Properties

Color - this will control the fill color of the toon material.

Contour Color - this will control the outline of the model.

Contour Angle - This will control the number of interior contour lines inthe toon sketch. A lower value will increase the number of interiorcontour lines and a higher value will decrease the number of interiorcontour lines.

Contour Width - This will control how thin or how thick your contour lineswill be.

Controur Quality - This will control the quality of the contour lines. Use alower value to obtain a rough sketch look, or a higher value for a moreclean and precise stroke.

Advanced

Contour width is in pixels - When this setting is enabled the ContourWidth slider is calibrated to allow for finer contour lines. When thissetting is disabled the Contour Width slider is calibrated to allow forthicker contour lines

Outline Contour - This will allow you to show or hide the outline in yoursketch.

Interior Edge Contour - This will show or hide the interior contour lines inyour sketch..

Material Contour - This will allow you to show or hide the contour linethat separates each unlinked toon material. If the toon material are linkedthis setting will not have an effect.

Environment Shadows - This will reveal the shadows cast by the modelonto itself due to the lighting environment.

Shadow Multiplier - When Environment Shadows is disabled, thiscontrols the value of the fill color. When Environment Shadows areenabled, this controls the lightness of shadows cast on the toon material.

.

Translucent

Material types and their settings > Translucent

TranslucentThe translucent material type provides control over subsurface scattering properties that are found in many plastics and other materials.

Texture maps availableColor Specular Bump OpacityYes Yes Yes Yes

Surface ColorThis controls the diffused color of the outer surface of the material.Consider this the overall color of the material.

Something to be aware of with this unique material type is that you willnot see the translucent effect of the subsurface color if the surface coloris completely black.

Refer to the diffuse section for further information.

Subsurface ColorThis setting controls the color that light will take on as it passes throughthe material and comes back out to your eye.

Your own skin is a great example of the subsurface effect. When a brightlight shines through the thin parts of an ear or the thin skin betweenfingers, the light is colored by what lies beneath the surface and comesback more red.

While the light is passing through the surface is bounced around in manyrandom directions. This creates the soft translucent effect rather than thedirection refraction effect of a glass type of material.

For plastic materials you will often set this color to something very similarto the surface color. Perhaps just a bit brighter.

TranslucencyThis controls how deep light will penetrate into and through the surface.The higher your translucency value, the more of the subsurface coloryou will see coming through the surface.

Higher translucency values will also create a softer looking material.

RoughnessIncreasing roughness will spread and distribute reflections over thesurface and create a more matte surface.

SpecularityThis controls the intensity of the reflections on the surface.

Under the advanced category in this material type you will also find arefraction index setting. This can be used to further increase or decreasethe strength of the reflections on the surface.

Velvet

Material types and their settings > Velvet

VelvetThe velvet material is very useful for creating soft fabrics that have the distinct light catching effects that result from the soft fibers in finely wovenfabrics.

This is a complicated material by KeyShot standards, and you will generally be able to do fabric materials well enough with the plastic oradvanced material types. However, this material type does provide control over parameter not found in other material types.

Texture maps availableColor Specular Bump OpacityYes Yes Yes Yes

DiffuseTo fully understand this parameter see the section on diffuse.

This can be thought of as the overall color of the material. A dark color isgenerally preferred for both the diffuse and sheen settings as thismaterial cab become unnaturally bright when light colors are used.

SheenThe sheen color is observed as light that appears to be reflected backacross the surface from behind. Almost as though the surface is back light.

This setting is combined with the edginess control to add a soft sheenacross the entire material. The backscatter parameter also gets its colorfrom the sheen setting.

Generally this should be set to a color very similar to the diffuse color butjust a bit brighter.

RoughnessThe roughness setting determines how evenly the backscatter effect isdistributed across the surface. When set to a low value thebackscattered light will stay contained within smaller areas. A high valuewill spread the light across the entire object evenly.

BackscatterThis is light that scatters across the entire object and is especiallyapparent in the shadowed areas of the object. It can be used to give anoverall soft look to the surface. The color of the backscatter light is setwith the sheen control.

EdginessThis controls how far the sheen effect spreads over the surface. A lowvalue will have the sheen fade out gradually, while a high value willproduce a bright border of sheen around the edges of the surface.

A setting of zero disabled the sheen effect.

SamplesThe samples controls how imperfect or refined the backscatter effectappears. A higher values will smooth out this scattered light and willappear more even. A low value will show a coarser grain/noisiness in thebackscattered light.

A higher setting, around 32, is often preferred for this setting as itprovides a smoother result.

X-ray

Material types and their settings > Xray

X-rayThe X-ray material provides a useful tool for illustrative renderings. It is often used to create a faded view through an outer shell of a product forviewing the internal components.

When applied to a surface the xray effect works by showing more of the material color on areas of the surface that are being viewed a more ofan angle. The surface is nearly completely see through where it is viewed at a direct angle.

Texture maps availableColor Specular Bump Opacity

No No Yes Yes

Animation

Animation >

Contents

OverviewUsing the timelineModels and partsCamera animation

Animation

Animation > Overview

Animation

The KeyShot animation system has been designed to make simple animations of moving components simple and easy to use. The animationtools are focused towards designers and engineers rather than entertainment professionals.

Animations are not created using a traditional keyframing system. Rather, they are applied as individual transforms to a model or part. Multipletransforms can be added to single parts and all transforms will be represented in the timeline as shown below. These transforms can beinteractively moved and scaled in the timeline to adjust timing and change duration of animations.

Using the timeline

Animation > Using the timeline

Using the timelineAnimations will be represented in the timeline and labeled according to the name set in the animation properties for translations, rotations andcamera animations. When an animation is double clicked in the timeline, the properties will be displayed. Animations, can be shifted in time andscaled interactively to control timing and duration. Groups of animations can be consolidated in a single folder for organization. These folders canalso be scaled and shifted to control timing and duration.

Increasing/decreasing duration, changing timing Grouping animations into foldersAnimation durations can be increased or decrease by hovering themouse cursor over the beginning or end of the colored animationbars. This will allow animations to be scaled up or down which willincrease or decrease duration. Clicking directly on one of theanimation bars and dragging will allow the animation to be shiftedforwards or backwards in time. The scale of the timeline itself can beadjusted by using the scale slider on the far right of the timeline.

Deleting animationsAnimations can be deleted by right clicking on the animation andselecting delete.

Groups of animations can be consolidated into single folders fororganization and easy management. This is done by multi selectinganimations in the far left window of the timeline, right clicking andselecting "add to folder". This will compile the animations into a singlefolder that can be scaled and shifted the same as individual animations.Animations contained in folders can be edited individually by expandingthe folder to view the contents as shown below. Animations can beremoved from folders by clicking and dragging them into empty space inthe left window of the timeline or into other folders.

Timeline settings Rendering preview animationsThe timeline settings can be accessed by pressing the . From herethe frame rate can be set along with the quality of the renderedpreview animation.

Animation previews can be rendered by pressing the . This willgenerate and compile a quick, draft quality, low resolution video of thescene. The quality of this preview can be set in the timeline settings.

Models and parts

Animation > Models and parts

Contents

TranslationRotationPivot pointsLocal and global

Translation

Animation > Models and parts > Translation

TranslationTranslations can be applied to parts or models by right clicking them in the scene tree and selecting "add translation". A part can be highlighted inthe scene tree by clicking it in the realtime view. Also, hierarchies from CAD systems will be maintained, allowing translations to be applied toentire assemblies and their individual components. When a translation is added, a translation by 1 unit on the Y axis will be created for a 1second duration in the timeline. The translation will be displayed as an icon in the scene tree under the component it has been applied to. Theproperties of the translation will be displayed as shown below. This is where changes can be made.

Editing translations

Translations can be edited by selecting the animation from the scenetree and changing the properties in the animation tab shown on the right.To keep scenes organized, animations can be renamed by typing a newname in the "name" field. This will also update in the timeline.

Translation values can be changed for the X, Y and Z axes by typing avalue in the corresponding field, or by adjusting the slider. Translationsare not limited to a single axis. Values can be input in all three axes in asingle translation

Translations can be copy and pasted to other parts within the scenetree. To simply copy the translations press "ALT" and drag and drop thetranslation to the new part. Copy and linking animations can be done bypressing "ALT" + "Ctrl"(Windows) or "Command" Mac OS X anddragging the animation to the new part.

Axis orientationThis will control whether or not the pivot point will use local or globalspace. For information on these two types, please see the section onpivot points.

Motion easeMotion ease will control the acceleration/deceleration of a translation.When an option is hovered over in the drop down list, a preview of theacceleration/deceleration will be shown in the list. For more informationon motion easing please see the section on motion ease.

DurationDuration can be adjusted by typing a start and end time or by typing aduration in the field. Start time and duration can be adjusted interactivelythrough the timeline.

Rotation

Animation > Models and parts > Rotation

RotationRotations can be applied to parts or models by right clicking them in the scene tree and selecting "add rotation". A part can be highlighted in thescene tree by clicking it in the realtime view. Also, hiearchies from CAD systems will be maintained, allowing rotations to be applied to entireassemblies and their individual components. When a rotation is added, a rotation by 90 degrees on the X axis will be created for a 1 secondduration in the timeline. The rotation will be displayed as an icon in the scene tree under the component it has been applied to and the propertiesshown below will be displayed. This is where changes can be made.

Editing rotations

A rotation can be edited by selecting the rotation frnom the scene treeand changing the properties in the animation tab shown on the right. Tokeep scenes organized, rotations can be renamed by typing a newname in the "name" field. This will also update in the timeline. Rotationscan be set in a range from -360 to 360 degrees. Rotations can occur ononly one axis at a time, however multiple rotation animations can beapplied to a single component in the scene tree.

Rotations can be copy and pasted to other parts within the scene tree.To simply copy the roation press "ALT" and drag and drop the rotation tothe new part. Copy and linking animations can be done by pressing"ALT" + "Ctrl"(Windows) or "Command" Mac OS X and dragging theanimation to the new part.

Axis orientationThis will control whether or not the pivot point will use local or globalspace. For information on these two types, please see the section onpivot points.

Helper objectThis will allow another piece of geometry to be used as an object's pivotpoint. By default objects will rotate around their own center. This will notwork in all scenarios. For example, in the image above the suspensionneeds to rotate around it's hinge. This is accomplished by selecting thehinge as the pivot point. To select another object as a pivot, click on the'pick' button. Next, the scene tree will be displayed and another part canbe selected.

DurationDuration can be adjusted by typing a start and end time or by typing aduration in the field. Also, start time and duration can be adjustedinteractively through the timeline.

move the model and the animations will update their rotation based onthe new position of the helper object.

Pivot points

Animation > Models and parts > Pivot points

Pivot points

A pivot point is the point that a part/model will rotate around when a rotation animation is applied.

Center and originBy default your pivot point is the center point of the part/model that theanimation is applied to. Try changing to origin mode if your model has anorigin point that coincides with the proper hinge point for the movementyou desire.

Helper objectA helper object gives the rotation a new point to rotate around. You canclick "pick" and select any part of your model or bring in another modeland use that as a helper object. Reset sets the helper object back toself.

Tip: Want to freely control the pivot point? Just bring in a simple model(you can find some primitive shapes in the models folder in the resourcesdirectory), then use right click>move object to position this new modeland use it as a helper object for your rotation animations. Continue to

move the model and the animations will update their rotation based onthe new position of the helper object.

Dynamic Pivot pointsThis will allow the rotating part or model to follow a moving helper object.Dynamic pivot points should also be enabled when there are two or morerotations (each with different helper objects) applied to the same part ormodel. Not all moving helper objects will need the dynamic pivot pointscheckbox to be enabled. If a part orbits a helper object while the secondis translated, the dynamic pivot point check box should remainunchecked unless the translation's axis orientation is "Original Local" andthe rotation animation is applied at a higher hierarchy level. In that casethe check box should be checked.

Local and global

Animation > Models and parts >Local and global

Local and globalLocal and global axis orientation controls how a part translates or rotates.

were likely modeled on their own and lets say originally the Y axispointed straight up from the head of the screw. Then the screw wascopied several times and used in various places on a model. You caneasily unscrew all of these screws with a translation set to move on thelocal Y axis and each screw will actually move up based on its own Yaxis.

Setting these screws to use a global Y translation would mean theywould move up in the same exact direct (straight up from the ground).

The diamonds in the above image all use exactly the same setting, butnotice how they have moved out from the ring each on their own localaxis.

Axis orientationWhen an animation is applied to a model or part you choose the X, Y, orZ axis for the movement to happen on. However, there are two statesthat these axes can be in.

In global mode the Y axis always points up. Even if you had rotated apart back in your modeling software, or even in KeyShot, when youanimate this part and set the axis orientation to global the movement willbe in this static, Y pointing up, state.

Local is not a static state though. If you move a part, say you haverotated it 45 degrees either in the modeling software or in KeyShot, thenthe local axes actually rotate and move with the part. If Y pointed uporiginally, tilting the part over 45 degrees means that Y axis is now alsotilted 45 degrees. When you add an animation, translation or rotation,and use local axis mode, the movement will be on this dynamic axis.

Think about an assembly held together by several screws. These screws

Cameras

Animation > Cameras

Contents

OrbitInclinationZoomTranslation

Orbit

Animation > Cameras > Orbit

OrbitCamera orbit rotates the camera around it's current "look at" point. Camera orbits can be added by right clicking on the camera in the scene treeand selecting "add orbit". This will apply an orbit that can be set in degrees. For information on setting the camera "look at" point see the sectionthat covers cameras.

Inclination

Animation > Cameras > Inclination

InclinationThe inclination parameter will increase or decrease the camera's vertical height based around it's current "look at" point. Inclination can be addedto a camera by right clicking the camera in the scene tree and selecting add inclination. The amount of inclination can then be set in degrees. Formore information on inclination, refer to inclination in the camera settings.

Zoom

Animation > Cameras > Zoom

ZoomCamera zooms dolly a camera in and out towards its current "look at" point. Camera zooms can be added by right clicking on the camera in thescene tree and selecting "add zoom". For information on setting the camera "look at" point see the section that covers cameras.

Translation

Animation > Cameras > Translation

TranslationCamera translation allows the camera to move on the X, Y and Z axes. Camera translations can be added by right clicking on the camera in thescene tree and selecting "add translation".

Motion ease

Ease-in motion

Ease-out motion

Ease-in/out motion

Linear(no motion ease) motion

Motion ease

Animation > Motion ease

Motion easeMotion easing will create a more natural look when applied to rotations, translations and camera animations. This will add acceleration anddeceleration to motion. For example, if a car goes from one stop sign to another and reaches a maximum speed of the 35 miles per hour, it is nottraveling that speed for the entire time. The car has to start moving, accelerate to it's top speed and then slow down as it reaches the next stopsign. Without motion easing, the car would start, travel and stop 35 miles per hour the entire time.

KeyShot environment editor

KeyShot environment editor

Contents

Working with the editorAdjustmentsPins

Working with the editor

KeyShot environment editor > Working with the editor

KeyShot environment editorThe KeyShot environment editor is a simple way to make adjustments to lighting environments. The editor adjustments and pins menu can bedocked to the left or right side of the editor dialog.

Open the editor AdjustmentsThe KeyShot environment editor is opened with the "edit" button found in the project menu's environment tab.

The adjustments tab contains simple sliders to enhance theenvironment.

can increase/decrease light and add color with pins. pin and adjustment information.

Click to add pins to the environment

Generate high res for KeyShot Add/Set HighlightWhile editing an evironment the image is downsized to increaseperformance. To see the environment in full quality, use the "generatehigh resolution for KeyShot" option.

Adding and setting highlights can be achieved by clicking andselecting "Add highlight". This will bring forward the KeyShot realtimewindow where you can position your pin by selecting a region on themodel you want to highlight. To put the editor in "Highlight mode", click

Pins Saving/loading environmentsUse pins to edit circular or rectangular regions of the environment. You The KeyShot environment editor saves as .hdz which contains all of the

Adjustments

KeyShot environment editor> Adjustments

AdjustmentsThe adjustment settings are used to edit the entire background environment image.

SaturationUse the saturation slider to increase or decrease the insensityof color in the environment.

Take the value down to 0 to completely desaturate theenvironment.

HueUse the hue slider to shift the colors of the environment.

The slider is in degrees, from 0 to 360, to represent the colorwheel.

When shifting the hue of the environment, the resulting coloris dependent on the starting point color. For example, if yourenvironment is mostly red and the hue slider is set to 120, theresulting environment will be mostly green. If the starting pointis green though, and the hue is again set to 120, the resultingenvironment will be blue.

ColorizeUse colorize to overlay one color on the entire environmentimage. The colorize color blends with the original environmentcolors, so the final colors will be a mixture based on theoriginal colors, the saturation slider value, the hue slidervalue, and the colorize color.

In order to obtain a single color tone set the saturation sliderto 0 then adjust colorize to your desired color.

BrightnessUse brightness to lighten or darken the environment.

ContrastUse contrast to create a sharper lighting result (high contrast)or a softer lighting (low contrast).

The contrast value also controls how sharp the groundshadows in KeyShot will appear. A low contrast environmentwill show softer shadows.

BlurUsing the blur slider will blur the environment.

TiltUse the tilt dial to tilt the environment.

RotationUse the rotation dial to rotate the environment. This will workindependently, from the rotation dial that is found in theenvironment tab.

Pins

KeyShot environment editor> Pins

PinsThe pins allow for targeted adjustments of the environment image.

Add/Delete/DuplicateUse the add button to create a new pin.

Select a pin (click on the pin's center in the environmentpalette), then click the delete button to remove it.

Select a pin, then click the duplicate button to make a copy ofthe pin.

Copy PinCopy pins allow you to copy a certain area of theenvironment, to use as a light source.

ShapeAllows you to toggle between a Circular pin or Rectangular.

Pin sizeThe size of circular pins is controlled with the radius slider.

Rectangular pins expose width, height and angle settings forfurther controlling the pin size and shape.

ColorClick the color swatch to pick a new color for the pin.

Blend

Enable blend to mix the pin's color into the environment'soriginal colors. This option is preferable when you want tolighten or darken the existing colors of the environment.

Disable blend to overlay the pin onto the environment. Thisoption is preferable when you wish to create a new source oflight and color.

FalloffUse the falloff slider to make a sharper or softer pin. When thefalloff is set to 1.0 the pin will blend softly into theenvironment. When at 0 the pin will have a sharp edge.

You can also right click on a pin the environment and select "toggle" to disable/enable the pin.

Enable/disableUncheck the enabled box to hide the pin's effect on the environment.

BrightnessUse brightness to control the intensity of the pin's color. Highvalues will emit light from the pin.

KeyShotVR

KeyShotVR

Contents

OverviewUsing KeyShotVRGenerate KeyShotVR from animationCreating a custom KeyShotVRKeyShotVR Advanced SettingsFinal OutputEmbedding KeyShotVR in PowerPoint

KeyShotVR

KeyShotVR> Overview

OverviewKeyShotVR gives you the ability to bring your 3D renderings to interactivate webpages. With KeyShotVR you can create high-quality, touch-enabled, 3D rendered content capable of being displayed in any web browser supporting HTML5. The content can be viewed using mouse orfinger on touch-enabled devices and does not require a browser plugin to work.

Using KeyShotVR

KeyShotVR> Using KeyShotVR

Setting up a VRThe VR option will be located on the bottom toolbar within the KeyShot interface. Clicking the "VR" button will bring a wizard dialog with fourtypes of VR modes you can choose from. Selecting one of the four VR modes will show you a preview of the model's rotation.

Select the type of VR and click "Next"

Next, you will be able to select the center of rotation for your VR. With three options "Environment, "Object", and "Custom". This will dictictate thecenter of rotation of the VR.

Environment- will set the center of rotation around the center of the worlds environment.Object- gives you the ability to select an object in the scene as a center of rotation.Custom- allows you to select the center of rotation.

Select a center of rotation and click "Next"

Configure your camera settings and click "Next"

In this step you will be able to control the smoothness of the VR. Higher the number of horizontal and vertical frames will increase thesmoothness of the rotation on the model inside a web browser, but will also increase the total number of frames to be rendered.

In this last step you will be able to configure the output of the VR, as well as the image resolution for each frame.

Generate KeyShotVR from animation

KeyShotVR> Generate KeyShotVR from animation

Generating KeyShotVR from AnimationIf an animation is applied to the model, it can be set as the KeyShotVR mode. Any animation type(camera, part) can be included as aKeyShotVR.

Select Animation and click "Next"

Next, you will be able to select the time range of the animation.

Resulting FPS- this will give the overall smoothness of the KeyShotVR when using in the browser. Higher value will give a more smoothtransition.Object- gives you the ability to select an object in the scene as a center of rotation.Loop animation- will give an infinite looping in the browser.

Click "Next"

Addionational options can be made to the by selecting "Render options."

KeyShotVR Custom Settings

KeyShotVR> KeyShotVR Custom Settings

KeyShotVR Custom SettingsThe custom settings for VR will be located in the Output tab of the Render options. These custom settings will allow for you to adjust the VR morefreely.

Smoothness Control

Horizontal Frames- controls the number of frames in the 'X'direction, the higher the number of frames the smoother yourmodel will rotate.

Vertical Frames- controls the number of frames in the 'Y'direction, the higher the number of frames the smoother yourmodel will rotate.

Animation Frames- if any animation is applied to the modelyou will be able to create a KeyShotVR from this animation.Additional parameters will be shown if enabled.

Horizontal/Vertical angle increments- sets the degreesbetween each frame, this value will change depending on thenumber of vertical and horizontal frames, and starting andending angles.

Angle Control

Use these sliders to control the beginning and ending of theVR.

Horizontal- controls the beginning and end of rotation on the'X' plane.

Vertical- controls the beginning and end of rotation on the 'Y'plane.

VR Output

This section allows you to set up the resolution as well as thedestination of the VR

Image Quality- selecting the "Preview" button will render oneframe from the VR as well as a compression slider that allowsadjustments to the quality of the image, and updates inrealtime.

iBook Widget - if checked an HTML5 widget will be output inthe same folder as your KeyShotVR that can be used insideof iAuthor to embed KeyShotVR. The type of iPad theKeyShotVR should be selected from the dropdown.

AdvancedThe advanced dropdown will allow control over settings insidethe web browser

KeyShotVR Advanced Settings

KeyShotVR> KeyShotVR Advanced Settings

KeyShotVR Advanced SettingsAdvanced settings for KeyShotVR will be located on the same window as the custom settings, as a drop down menu. This menu will control howyour VR interacts in the web browser.

Resizable GUI Button- if this field is checked, it will placea button on the VR in the webpage that allows you to resizeto fullscreen or fixed window size.

Play GUI Button- if this field is checked, a play buttonwill be placed inside your web browser, allowing interactionwith the VR once pressed.

Allow fullscreen mode by double-click- whenchecked(default). Double-clicking left mouse button will putthe browser in fullscreen mode.

Loading Screen- The loading icon will be shown if theKeyShotVR is loading in the browser. This can be changed byselecting "Browse" and browsing to the image file.

Name of Div- this defines the VR section in the HTML code.

Rotation Damping- increasing the value will increase thesmoothness of the camera rotation when panning inside theweb browser.

Mouse Sensitivity- controls the overall mouse sensitivity tothe VR. Increasing this value will increase the modelmovement with less mouse movement.

Zoom-In- enabling zoom-in will allow you to zone in to the VRwhen inside the browser.

FTP deployment- enabing this, will allow your VR to beuploaded to a FTP site automatically.

Confirm before deployment- when the VR is finishedrendering, you will be prompted to accept the deployment tothe FTP site.

Generate embeddable HTML code- this will give you the codenecessary for implementing your VR in a website using theiframe tag.

Embed FTP settings in BIP file- this will save all the FTPcredentials inside your BIP for easy deployment by anotheruser.

Render Mode- KeyShotVR can be rendered using Default,Background, Network Rendering, and Queue for laterprocessing of the VR.

KeyShotVR Final Output

KeyShotVR > Final Output

KeyShotVR Final OutputOnce the VR has finished rendering, the web browser with the finished VR will be displayed. Additional settings can be set in the HTML code thatwas produced with the VR. You can find the HTML code along with all the render frames in a folder at your saved location.

Embedding KeyShotVR in PowerPoint

KeyShotVR> Embedding KeyShotVR in PowerPoint

Embedding KeyShotVR in a PowerPoint presentation

To embed KeyShotVR inside a PowerPoint presention, you will need to download the LiveWeb add-in which can be found here: LiveWeb

Once it has downloaded, extract the files. In PowerPoint , open the Options window. In PowerPoint 2010, you can do this by clickingthe File button and selecting Options; in PowerPoint 2007, click the Office orb and select Options. Select Add-Ins on the left side, thenselect PowerPoint Add-ins from the Manage menu, and click Go.

This will open the PowerPoint Add-ins window. Click Add New to add the LiveWeb addin you downloaded previously. Browse to the folder youextracted the LiveWeb.ppam addin and add it. PowerPoint may warn you that the addon contains a macro. Click Enable Macros to continue.

You should now see the LiveWeb add-in in the Add-Ins window and you ready to add a KeyShotVR to your PowerPoint.

To add a KeyShotVR to your PowerPoint. From the Insert tab, select Web Page from the LiveWeb section.

This will open a quick wizard, that will quide you through inserting a webpage into your PowerPoint. If your KeyShotVR is stored on awebserver(e.g. website) you can use the URL, make sure to include http:// in front of the web adress.

You can also add a KeyShotVR stored on your own machine. You will need to use the absolute filepath to the KeyShotVR html file(e.g.C:\Users\Luxion\Documents\KeyShot 3\Animations\KeyShotVR\KeyShotVR.html)

Click Add, Next.

The remaining settings on the wizard can be configured any way. LiveWeb will let you know at the end of the wizard if the webpage wassuccessfully added to the PowerPoint presentation.

You should now see a Windows 98 style logo inside your presention of where the KeyShotVR will be located. You are able to resize and movethe KeyShotVR inside the presentation, if you want.

To start viewing the KeyShotVR you will need to start the PowerPoint presentation(F5). You will now be able to interact with the KeyShotVR asthough you are viewing inside a web browser. Additionally you can mark up the slide as you would with any other PowerPoint tools.