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Wisbech: Made in Minecraft is now live!

As part of our in_collusion 2016-19 project, we commissioned international virtual builders Blockworks to recreate a section of the town of Wisbech - in Minecraft! This amazing hand-built virtual world is now available for you to explore. To access the map, you will need to use Minecraft Java Edition 1.12.2. Download from: https://github.com/collusion-org-uk/minecraft-wisbech
Wisbech: Made in Minecraft sets out to demonstrate some of the creative possibilities of working in a virtual town. Animation artist and filmmaker Bunny Schendler worked with us to devise and produce a film titled Wisbech 2019: Made in Minecraft , set entirely in Wisbech Minecraft. It includes interviews with local people, capturing in their own voices thoughts about the town and ideas for the future, offering a refreshingly different point of view.

We also had the invaluable input of leading Minecraft artist and innovator Adam Clarke - aka Minecraft YouTuber Wizard Keen. Adam captured all of the Minecraft action for the film and led a live-streamed build on a number of specially designated Wisbech plots - including the river, the Gap in the High Street, and the Castle - as part of our launch event.

To help us investigate further the creative potential of Minecraft Wisbech, we've engaged with local organisations Wisbech Projects CIC and VAR Club , as well as the Penelope Club (creative women in business), the Wisbech Heritage Forum, pupils from the Thomas Clarkson Academy, and Wisbech Library. Together we've explored Minecraft Wisbech as a game space for cooperative play and problem solving, a fun tool for exploration and discovery, a place for recording remarkable facts about Wisbech's heritage, and as a way of capturing people's proudest moments and achievements.

Artists

Bunny Schendler is a London-born animator and filmmaker whose work includes the BAFTA-nominated Channel Four commissioned short The World of Interiors, Candy Guard's first Channel Four series Pond Life, and Adam B, a documentary about avant-garde musician Adam Bohman.

Adam is a leading Minecraft artist and digital producer. He uses Minecraft, games, traditional art, and technology to inspire and entertain, working globally with institutions, museums, schools, and companies. His work includes collaborations with Tate Britain, The Space, Guardian Newspapers, United for Wildlife, Disney, and many more.

Associates

Partners

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David Russell - The Fusion Works (http://www.thefusionworks.com)

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Wisbech: Made in Minecraft // Collusion 2019

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As part of our in_collusion 2016-19 project, we commissioned international virtual builders Blockworks to recreate a section of the town of Wisbech - in Minecraft! This amazing hand-built virtual world is now available for you to explore. To access the map, you will need to use Minecraft Java Edition 1.12.2.

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A virtual reality and 360 experience by Marshmallow Laser Feast

A virtual reality and 360 experience
by Marshmallow Laser Feast

- Note: the web version of In the Eyes of the Animal is not supported in this browser/device.

You can view the video on YouTube.

Please note, on mobile and tablet devices, the Youtube app must be installed to view this video in 360.

Download the YouTube app for iOS or Android and search for "In the Eyes of the Animal".

- There are four different ways you can experience ITEOTA - the web player, YouTube 360°, Google Cardboard and the full VR immersive experience, which is on tour and will be available for download from VR stores in November. We recommend if you have a slower internet connection to try the YouTube version.

VIA WEB PLAYER

To get a glimpse of a ITEOTA VR video, you can watch it on the web. This is not as immersive as the virtual reality experience, but the player gives you an insight into the different perspectives of the animal. To explore the environment simply click and drag to navigate left, right, up and down.

VIA YOUTUBE

You can also use a simple VR viewer, download the YouTube app onto your mobile phone and view the 360° videos. To maximise your viewing experience: pop your headphones in and ensure the resolution is set to highest quality.

Check your device has a gyroscope, responsible for the 360° simulation, not all devices have the capability to play 360° videos.

VIA GOOGLE CARDBOARD

If you have a Google Cardboard download the YouTube app rather than view it through a web browser, select the highest resolution in settings. If you are experiencing difficulties viewing the video in 360° on mobile or tablet, please check your device has a gyroscope, responsible for the 360° simulation, not all devices have the capability to play 360° videos.

- Discover forests anew through In the Eyes of the Animal, a 360° cinematic experience immersing you in a vibrant landscape belonging to woodland creatures. Enter this sensory 3D world and be transported on an animated and sonic journey.

In the Eyes of the Animal, a journey through the food chain, is an artistic interpretation of the sensory perspectives of three British species. Created using Lidar scans, unmanned aerial vehicles (UAVs) or drones & bespoke 360° cameras, the piece is set to a binaural soundscape using audio recordings sourced from Grizedale Forest in the north of England.

Created by creative studio Marshmallow Laser Feast (MLF) - who delight in exploring the line between virtual and real-world experiences - this critically acclaimed work will launch online in September 2016.

In the Eyes of the Animal can also be experienced in a live natural environment on its current UK and international tour, where sculptural virtual reality headsets are suspended from overhanging woodland enabling forest explorers to traverse the animated, real-world, landscape.

In the Eyes of the Animal was commissioned by Abandon Normal Devices and Forestry Commission England's Forest Art Works. The online edition was created in partnership with The Space. Produced by Abandon Normal Devices and Marshmallow Laser Feast. Supported using public funding by Arts Council England and Forestry Commission England. Website support by The Neighbourhood.

- In the Eyes of the Animal continues to evolve and research and development is currently taking place on visualising the nocturnal senses of the bat. This is as much an exploration on the landscape of sound as it is a VR experience speculating on the science of seeing.

Most bats primarily view their environment via sonar or echolocation, detecting the reflections from objects within range, of their own rapid, subtly modulated, high-frequency shrieks. Though sonar is clearly a form of perception, it is difficult to comprehend visually how this works and how bats perceive the external world. This currently Untitled project is in pre-production and prototyping stage. Early testing has taken place with sound artist Antoine Bertin, who, using bespoke sonar devices equipped with an ultrasound generator allowed audiences to hear the unseeable by replicating bat song - this is ordinarily undetected by the human ear.

This event took place at the home of one of the world's largest listening devices, the Lovell radio telescope at Jodrell Bank (UK).

The next stage will include a visual component, distinctly different to the aesthetic of In the Eyes of the Animal, which will use powerful binaural audio and 360 degrees of sound to help humans understand what it feels like to be a bat navigating through echolocation. For more information and if you are interesting being involved in the process contact us info@marshmallowlaserfeast.com

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Uses Sketchup and Unity

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BYOB, Freight, Norwich, UK.

Blank Arcade, Hannah Maclure Centre, Dundee, UK.

GameCity Festival, NVA, Nottingham, UK.

MozEx, Mozilla Fest, Ravensbourne University, London, UK.

Adventures in Digital Art, Winns Gallery, London, UK.

Light Night Leeds, Roger Stevens Building, Leeds, UK.

Lumen Matrix, Today Art Museum, Beijing, China.

Game on! El arte en juego, Buenos Aires, Argentina.

Edinburgh International Science Festival, National Museum of Scotland, Edinburgh, UK.

Fusion : Adventures in Digital Art, Eureka Children's Centre, Halifax, UK.

Abstract Playground, LEVEL, Rowsley, UK.

Playgrounds, Site Gallery, Sheffield, UK.

Shanghai International Art Fair, Shanghai, China.

Spark Children's Festival, Phoenix, Leicester, UK.

Type, Broadway Studio Gallery, Nottingham, UK.

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Abstract Playground Series (AP1-AP4) - Will Hurt

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BYOB, Freight, Norwich, UK. Blank Arcade, Hannah Maclure Centre, Dundee, UK. GameCity Festival, NVA, Nottingham, UK. MozEx, Mozilla Fest, Ravensbourne University, London, UK. Adventures in Digital Art, Winns Gallery, London, UK. Light Night Leeds, Roger Stevens Building, Leeds, UK. Lumen Matrix, Today Art Museum, Beijing, China. Game on!

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STL is a file format native to the stereolithography CAD software created by 3D Systems. STL has several backronyms such as "Standard Triangle Language" and "Standard Tessellation Language". This file format is supported by many other software packages; it is widely used for rapid prototyping, 3D printing and computer-aided manufacturing. STL files describe only the surface geometry of a three-dimensional object without any representation of color, texture or other common CAD model attributes. The STL format specifies both ASCII and binary representations. Binary files are more common, since they are more compact.

An STL file describes a raw, unstructured triangulated surface by the unit normal and vertices (ordered by the right-hand rule) of the triangles using a three-dimensional Cartesian coordinate system. In the original specification, all STL coordinates were required to be positive numbers, but this restriction is no longer enforced and negative coordinates are commonly encountered in STL files today. STL files contain no scale information, and the units are arbitrary.

An ASCII STL file begins with the line

solidname

where name is an optional string (though if name is omitted there must still be a space after solid). The file continues with any number of triangles, each represented as follows:

where each n or v is a floating-point number in sign- mantissa-"e"-sign- exponent format, e.g., "2.648000e-002". The file concludes with

endsolidname

The structure of the format suggests that other possibilities exist (e.g., facets with more than one "loop", or loops with more than three vertices). In practice, however, all facets are simple triangles.

White space (spaces, tabs, newlines) may be used anywhere in the file except within numbers or words. The spaces between "facet" and "normal" and between "outer" and "loop" are required.

Because ASCII STL files can become very large, a binary version of STL exists. A binary STL file has an 80-character header (which is generally ignored, but should never begin with "solid" because that may lead some software to assume that this is an ASCII STL file). Following the header is a 4-byte little-endian unsigned integer indicating the number of triangular facets in the file. Following that is data describing each triangle in turn. The file simply ends after the last triangle.

Each triangle is described by twelve 32-bit floating-point numbers: three for the normal and then three for the X/Y/Z coordinate of each vertex - just as with the ASCII version of STL. After these follows a 2-byte ("short") unsigned integer that is the "attribute byte count" - in the standard format, this should be zero because most software does not understand anything else.

Floating-point numbers are represented as IEEE floating-point numbers and are assumed to be little-endian, although this is not stated in documentation.

UINT8[80]    - Header                 -     80 bytes
UINT32       - Number of triangles    -      4 bytes

foreach triangle                      - 50 bytes:
    REAL32[3] - Normal vector             - 12 bytes
    REAL32[3] - Vertex 1                  - 12 bytes
    REAL32[3] - Vertex 2                  - 12 bytes
    REAL32[3] - Vertex 3                  - 12 bytes
    UINT16    - Attribute byte count      -  2 bytes
end

There are at least two non-standard variations on the binary STL format for adding color information:

The VisCAM and SolidView software packages use the two "attribute byte count" bytes at the end of every triangle to store a 15-bit RGB color:

bits 0 to 4 are the intensity level for blue (0 to 31),

bits 5 to 9 are the intensity level for green (0 to 31),

bits 10 to 14 are the intensity level for red (0 to 31),

bit 15 is 1 if the color is valid, or 0 if the color is not valid (as with normal STL files).

The Materialise Magics software uses the 80-byte header at the top of the file to represent the overall color of the entire part. If color is used, then somewhere in the header should be the ASCII string "COLOR=" followed by four bytes representing red, green, blue and alpha channel (transparency) in the range 0-255. This is the color of the entire object, unless overridden at each facet. Magics also recognizes a material description; a more detailed surface characteristic. Just after "COLOR=RGBA" specification should be another ASCII string ",MATERIAL=" followed by three colors (3×4 bytes): first is a color of diffuse reflection, second is a color of specular highlight, and third is an ambient light. Material settings are preferred over color. The per-facet color is represented in the two "attribute byte count" bytes as follows:

bits 0 to 4 are the intensity level for red (0 to 31),

bits 5 to 9 are the intensity level for green (0 to 31),

bits 10 to 14 are the intensity level for blue (0 to 31),

bit 15 is 0 if this facet has its own unique color, or 1 if the per-object color is to be used.

The red/green/blue ordering within those two bytes is reversed in these two approaches - so while these formats could easily have been compatible, the reversal of the order of the colors means that they are not - and worse still, a generic STL file reader cannot automatically distinguish between them. There is also no way to have facets be selectively transparent because there is no per-facet alpha value - although in the context of current rapid prototyping machinery, this is not important.

In both ASCII and binary versions of STL, the facet normal should be a unit vector pointing outwards from the solid object. In most software this may be set to (0,0,0), and the software will automatically calculate a normal based on the order of the triangle vertices using the " right-hand rule". Some STL loaders (e.g. the STL plugin for Art of Illusion) check that the normal in the file agrees with the normal they calculate using the right-hand rule and warn the user when it does not. Other software may ignore the facet normal entirely and use only the right-hand rule. Although it is rare to specify a normal that cannot be calculated using the right-hand rule, in order to be entirely portable, a file should both provide the facet normal and order the vertices appropriately. A notable exception is SolidWorks, which uses the normal for shading effects.

3D printers build objects by solidifying(SLA, SLS, SHS,DMLS, EBM, DLP) or printing(3DP, MJM, FDM, FFF, PJP, MJS) one layer at a time. This requires a series of closed 2D contours(horizontal layers) that are filled in with solidified material as the layers are fused together. A natural file format for such a machine would be a series of closed polygons (layers or slices) corresponding to different Z-values. However, since it is possible to vary the layer thicknesses for a faster though less precise build, it was easier to define the model to be built as a closed polyhedron that can be sliced at the necessary horizontal levels. An incorrect facet normal can affect the way a file is sliced and filled. A slice at a different Z-value can be chosen to miss a bad facet or the file must be returned to CAD program to make corrections and then regenerate the STL file.

The STL file format appears capable of defining a polyhedron with any polygonal facet, but in practice it is only ever used for triangles, which means that much of the syntax of the ASCII protocol is superfluous.

To properly form a 3D volume, the surface represented by any STL files must be closed(no holes or reversed vector normal) and connected, where every edge is part of exactly two triangles, and not self-intersecting. Since the STL syntax does not enforce this property, it can be ignored for applications where the void does not matter. The missing surface only matters insofar as the software that slices the triangles requires it to ensure that the resulting 2D polygons are closed. Sometimes such software can be written to clean up small discrepancies by moving vertices that are close together so that they coincide. The results are not predictable, may be sufficient of the surface must be repaired using another program. Vector 3D printers require a clean .STL file and printing a bad data file will either fail to fill or may stop printing.

STL file format is simple and easy to output. Consequently, many computer-aided design systems can output the STL file format. Although the output is simple to produce, mesh connectivity information is discarded because the identity of shared vertices is lost.

Many computer-aided manufacturing systems require triangulated models. STL format is not the most memory- and computationally efficient method for transferring this data, but STL is often used to import the triangulated geometry into the CAM system. The format is commonly available, so the CAM system will use it. In order to use the data, the CAM system may have to reconstruct the connectivity. As STL files do not save the physical dimension of a unit, a CAM system will ask for it. Typical units are mm and inch.

STL can also be used for interchanging data between CAD/CAM systems and computational environments such as Mathematica.

It is not possible to use triangles to perfectly represent curved surfaces. To compensate, users often save enormous STL files to reduce the inaccuracy. Native formats of 3D design software files[example needed ] use mathematical surfaces to preserve detail losslessly in small files.

STL was invented by the Albert Consulting Group for 3D Systems in 1987. The format was developed for 3D Systems' first commercial 3D printers. Since its initial release, the format remained relatively unchanged for 22 years.

In 2009, an update to the format, dubbed STL 2.0, was proposed. It evolved into the Additive manufacturing file format.

1. ^ StereoLithography Interface Specification, 3D Systems, Inc., October 1989

2. ^ Grimm, Todd (2004), User's Guide to Rapid Prototyping, Society of Manufacturing Engineers, p. 55, ISBN 0-87263-697-6 . Many names are used for the format: for example, "standard triangle language", "stereolithography language", and "stereolithography tesselation language". Page 55 states, "Chuck Hull, the inventor of stereolithography and 3D Systems' founder, reports that the file extension is for stereolithography."

3. ^ Chua, C. K; Leong, K. F.; Lim, C. S. (2003), Rapid Prototyping: Principles and Applications (2nd ed.), World Scientific Publishing Co, ISBN 981-238-117-1 Chapter 6, Rapid Prototyping Formats. Page 237, "The STL (STeroLithography) file, as the de facto standard, has been used in many, if not all, rapid prototyping systems." Section 6.2 STL File Problems. Section 6.4 STL File Repair.

4. fabbers.com Historical resource on 3D printing, The StL Format: Standard Data Format for Fabbers, reprinted from Marshall Burns, Automated Fabrication, ^ http://www.ennex.com/~fabbers/StL.asp stating, "The object represented must be located in the all-positive octant. In other words, all vertex coordinates must be positive-definite (nonnegative and nonzero) numbers. The StL file does not contain any scale information; the coordinates are in arbitrary units."

5. ^ Peddie, Jon. (2013). The history of visual magic in computers : how beautiful images are made in CAD, 3D, VR and AR. London: Springer. pp. 54-57. ISBN 978-1-4471-4932-3. OCLC 849634980.

6. ^ Barnatt, Christopher, 1967- (2013). 3D printing : the next industrial revolution. [Nottingham, England?]: ExplainingTheFuture.com. pp. 26-71. ISBN 978-1-4841-8176-8. OCLC 854672031.

7. ^ Hiller, Jonathan D.; Lipson, Hod (2009). STL 2.0: A Proposal for a Universal Multi-Material Additive Manufacturing File Format (PDF). Solid Freeform Fabrication Symposium (SFF'09). Austin, TX, USA: Cornell University. Archived from the original (PDF) on 2020-06-11.

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STL is a file format native to the stereolithography CAD software created by 3D Systems. STL has several backronyms such as "Standard Triangle Language" and "Standard Tessellation Language". This file format is supported by many other software packages; it is widely used for rapid prototyping, 3D printing and computer-aided manufacturing.

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OBJ (or .OBJ) is a geometry definition file format first developed by Wavefront Technologies for its Advanced Visualizer animation package. The file format is open and has been adopted by other 3D graphics application vendors.

The OBJ file format is a simple data-format that represents 3D geometry alone - namely, the position of each vertex, the UV position of each texture coordinate vertex, vertex normals, and the faces that make each polygon defined as a list of vertices, and texture vertices. Vertices are stored in a counter-clockwise order by default, making explicit declaration of face normals unnecessary. OBJ coordinates have no units, but OBJ files can contain scale information in a human readable comment line.

Anything following a hash character (#) is a comment.

# this is a comment

An OBJ file may contain vertex data, free-form curve/surface attributes, elements, free-form curve/surface body statements, connectivity between free-form surfaces, grouping and display/render attribute information. The most common elements are geometric vertices, texture coordinates, vertex normals and polygonal faces:

# List of geometric vertices, with (x, y, z [,w]) coordinates, w is optional and defaults to 1.0.
v 0.123 0.234 0.345 1.0
v ...
...
# List of texture coordinates, in (u, [,v ,w]) coordinates, these will vary between 0 and 1. v, w are optional and default to 0.
vt 0.500 1 [0]
vt ...
...
# List of vertex normals in (x,y,z) form; normals might not beunit vectors. vn 0.707 0.000 0.707 vn ... ... # Parameter space vertices in ( u [,v] [,w] ) form; free form geometry statement ( see below ) vp 0.310000 3.210000 2.100000 vp ... ... # Polygonal face element (see below) f 1 2 3 f 3/1 4/2 5/3 f 6/4/1 3/5/3 7/6/5 f 7//1 8//2 9//3 f ... ... # Line element (see below) l 5 8 1 2 4 9

A vertex can be specified in a line starting with the letter v. That is followed by (x,y,z[,w]) coordinates. W is optional and defaults to 1.0. A right-hand coordinate system is used to specify the coordinate locations. Some applications support vertex colors, by putting red, green and blue values after x y and z. The color values range from 0 to 1.

A free-form geometry statement can be specified in a line starting with the string vp. Define points in parameter space of a curve or surface. u only is required for curve points, u and v for surface points and control points of non-rational trimming curves, and u, v and w (weight) for control points of rational trimming curves.

Faces are defined using lists of vertex, texture and normal indices in the format vertex_index/texture_index/normal_index for which each index starts at 1 and increases corresponding to the order in which the referenced element was defined. Polygons such as quadrilaterals can be defined by using more than three indices.

OBJ files also support free-form geometry which use curves and surfaces to define objects, such as NURBS surfaces.

A valid vertex index matches the corresponding vertex elements of a previously defined vertex list. If an index is positive then it refers to the offset in that vertex list, starting at 1. If an index is negative then it relatively refers to the end of the vertex list, -1 referring to the last element.

Each face can contain three or more vertices.

f v1 v2 v3 ....

Optionally, texture coordinate indices can be used to specify texture coordinates when defining a face. To add a texture coordinate index to a vertex index when defining a face, one must put a slash immediately after the vertex index and then put the texture coordinate index. No spaces are permitted before or after the slash. A valid texture coordinate index starts from 1 and matches the corresponding element in the previously defined list of texture coordinates. Each face can contain three or more elements.

f v1/vt1 v2/vt2 v3/vt3 ...

Optionally, normal indices can be used to specify normal vectors for vertices when defining a face. To add a normal index to a vertex index when defining a face, one must put a second slash after the texture coordinate index and then put the normal index. A valid normal index starts from 1 and matches the corresponding element in the previously defined list of normals. Each face can contain three or more elements.

f v1/vt1/vn1 v2/vt2/vn2 v3/vt3/vn3 ...

As texture coordinates are optional, one can define geometry without them, but one must put two slashes after the vertex index before putting the normal index.

f v1//vn1 v2//vn2 v3//vn3 ...

Records starting with the letter "l" specify the order of the vertices which build a polyline.

l v1 v2 v3 v4 v5 v6 ...

Obj files support higher-order surfaces using several different kinds of interpolation, such as Taylor and B-splines, although support for those features in third party file readers is far from universal. Obj files also do not support mesh hierarchies or any kind of animation or deformation, such as vertex skinning or mesh morphing.

Materials that describe the visual aspects of the polygons are stored in external .mtl files. More than one external MTL material file may be referenced from within the OBJ file. The .mtl file may contain one or more named material definitions.

mtllib [external .mtl file name]
...

This tag specifies the material name for the element following it. The material name matches a named material definition in an external .mtl file.

usemtl [material name]
...

Named objects and polygon groups are specified via the following tags.

o [object name]
  ...
  g [group name]
  ...

Smooth shading across polygons is enabled by smoothing groups.

s 1
  ...
  # Smooth shading can be disabled as well.
  s off
  ...

OBJ files, due to their list structure, are able to reference vertices, normals, etc. either by their absolute position (1 represents the first defined vertex, N representing the Nth defined vertex), or by their relative position (-1 represents the latest defined vertex). However, not all software supports the latter approach, and conversely some software inherently writes only the latter form (due to the convenience of appending elements without needing to recalculate vertex offsets, etc.), leading to occasional incompatibilities.

The Material Template Library format (MTL) or .MTL File Format is a companion file format to .OBJ, also defined by Wavefront Technologies, that describes surface shading (material) properties of objects within one or more .OBJ files. A .OBJ file references one or more .MTL files (called "material libraries"), and from there, references one or more material descriptions by name. .MTL files are ASCII text that define the light reflecting properties of a surface for the purposes of computer rendering, and according to the Phong reflection model. The standard has widespread support among different computer software packages, making it a useful format for interchange of materials.

The MTL format, although still widely used, is outdated and does not fully support later technologies such as specular maps and parallax maps. However, due to the open and intuitive nature of the format, these can easily be added with a custom MTL file generator.

A single .mtl file may define multiple materials. Materials are defined one after another in the file, each starting with the newmtl command:

# define a material named 'Colored'
newmtl Colored

The ambient color of the material is declared using Ka. Color definitions are in RGB where each channel's value is between 0 and 1.

# white
Ka 1.000 1.000 1.000

Similarly, the diffuse color is declared using Kd.

# white
Kd 1.000 1.000 1.000

The specular color is declared using Ks, and weighted using the specular exponent Ns.

# black (off)
Ks 0.000 0.000 0.000

# ranges between 0 and 1000
Ns 10.000

Materials can be transparent. This is referred to as being dissolved. Unlike real transparency, the result does not depend upon the thickness of the object. A value of 1.0 for "d" is the default and means fully opaque, as does a value of 0.0 for "Tr". Dissolve works on all illumination models.

# some implementations use 'd'
d 0.9
# others use 'Tr' (inverted: Tr = 1 - d)
Tr 0.1

Transparent materials can additionally have a Transmission Filter Color, specified with "Tf".

# Transmission Filter Color (using R G B)
Tf 1.0 0.5 0.5
# Transmission Filter Color (using CIEXYZ) - y and z values are optional and assumed to be equal to x if omitted
Tf xyz 1.0 0.5 0.5
# Transmission Filter Color from spectral curve file (not commonly used)
Tf spectral <filename>.rfl <optional factor>

A material can also have an optical density for its surface. This is also known as index of refraction.

# optical density
Ni 1.45000

Values can range from 0.001 to 10. A value of 1.0 means that light does not bend as it passes through an object. Increasing the optical density increases the amount of bending. Glass has an index of refraction of about 1.5. Values of less than 1.0 produce bizarre results and are not recommended.

Multiple illumination models are available, per material. Note that it is not required to set a transparent illumination model in order to achieve transparency with "d" or "Tr", and in modern usage illum models are often not specified, even with transparent materials. The illum models are enumerated as follows:

0. Color on and Ambient off
1. Color on and Ambient on
2. Highlight on
3. Reflection on and Ray trace on
4. Transparency: Glass on, Reflection: Ray trace on
5. Reflection: Fresnel on and Ray trace on
6. Transparency: Refraction on, Reflection: Fresnel off and Ray trace on
7. Transparency: Refraction on, Reflection: Fresnel on and Ray trace on
8. Reflection on and Ray trace off
9. Transparency: Glass on, Reflection: Ray trace off
10. Casts shadows onto invisible surfaces

illum 2

Textured materials use the same properties as above, and additionally define texture maps. Below is an example of a common material file. See the full wavefront file format reference for more details.

newmtl Textured
   Ka 1.000 1.000 1.000
   Kd 1.000 1.000 1.000
   Ks 0.000 0.000 0.000
   d 1.0
   illum 2
   # the ambient texture map
   map_Ka lemur.tga

   # the diffuse texture map (most of the time, it will be the same as the
   # ambient texture map)
   map_Kd lemur.tga

   # specular color texture map
   map_Ks lemur.tga

   # specular highlight component
   map_Ns lemur_spec.tga

   # the alpha texture map
   map_d lemur_alpha.tga

   # some implementations use 'map_bump' instead of 'bump' below
   map_bump lemur_bump.tga

   # bump map (which by default uses luminance channel of the image)
   bump lemur_bump.tga

   # displacement map
   disp lemur_disp.tga

   # stencil decal texture (defaults to 'matte' channel of the image)
   decal lemur_stencil.tga

Texture map statements may also have option parameters (see full spec).

   # texture origin (1,1,1)
   map_Ka -o 1 1 1 ambient.tga

   # spherical reflection map
   refl -type sphere clouds.tga

-blendu on | off                       # set horizontal texture blending (default on)
-blendv on | off                       # set vertical texture blending (default on)
-boost float_value                     # boost mip-map sharpness
-mm base_value gain_value              # modify texture map values (default 0 1)
                                       #     base_value = brightness, gain_value = contrast
-o u [v [w]]                           # Origin offset             (default 0 0 0)
-s u [v [w]]                           # Scale                     (default 1 1 1)
-t u [v [w]]                           # Turbulence                (default 0 0 0)
-texres resolution                     # texture resolution to create
-clamp on | off                        # only render texels in the clamped 0-1 range (default off)
                                       #   When unclamped, textures are repeated across a surface,
                                       #   when clamped, only texels which fall within the 0-1
                                       #   range are rendered.
-bm mult_value                         # bump multiplier (for bump maps only)

-imfchan r | g | b | m | l | z         # specifies which channel of the file is used to
                                       # create a scalar or bump texture. r:red, g:green,
                                       # b:blue, m:matte, l:luminance, z:z-depth..
                                       # (the default for bump is 'l' and for decal is 'm')

For example,

# says to use the red channel of bumpmap.tga as the bumpmap
bump -imfchan r bumpmap.tga

For reflection maps...

-type sphere                           # specifies a sphere for a "refl" reflection map
-type cube_top    | cube_bottom |      # when using a cube map, the texture file for each
      cube_front  | cube_back   |      # side of the cube is specified separately
      cube_left   | cube_right

Because of the ease in parsing the files, and the unofficial spreading of the file format, files may contain vendor specific alterations.

According to the spec, options are supposed to precede the texture filename. However, at least one vendor generates files with options at the end.

# bump multiplier of 0.2
bump texbump.tga -bm 0.2

The creators of the online 3D editing and modeling tool, Clara.io, proposed extending the MTL format to contain the following parameters to represent the physically-based rendering parameters:

Pr/map_Pr     # roughness
Pm/map_Pm     # metallic
Ps/map_Ps     # sheen
Pc            # clearcoat thickness
Pcr           # clearcoat roughness
Ke/map_Ke     # emissive
aniso         # anisotropy
anisor        # anisotropy rotation
norm          # normal map, same format as "bump" parameter

Further proposed extensions come from the DirectXMesh toolkit for Microsoft's DirectX engine, allowing the ability to define a model's pre-compiled RMA material.

map_RMA       # RMA material (roughness, metalness, ambient occlusion)
map_ORM       # alternate definition of map_RMA

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OBJ (or .OBJ) is a geometry definition file format first developed by Wavefront Technologies for its Advanced Visualizer animation package. The file format is open and has been adopted by other 3D graphics application vendors.

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FBX () is a proprietary file format (.fbx) developed by Kaydara and owned by Autodesk since 2006. It is used to provide interoperability between digital content creation applications. FBX is also part of Autodesk Gameware, a series of video game middleware.

FBX originated as a replacement file format for Canadian company Kaydara's Filmbox, a software for recording data from motion capture devices. Prior to 1996, Filmbox 1.0 used a file format called FLM. The format only supported motion data, user preferences and a list of devices used in the capturing of the motion data. This data was a serialized version of the libraries (binary dump), containing read/write memory data. This method of storing data did not work well with different versions of Filmbox. There was also demand from early adopters of Filmbox to implement a target character in a scene with the motion capture data, to enable the visualization of the data in a 3D view with display markers.

In 1996, Kaydara released a new native file format with Filmbox 1.5 called FBX, which used an object-based model, allowing for the storing of motion, along with 2D, 3D, audio, and video data. The format saw wider support from other 3D software packages such as Cinema 4D, SoftImage 3D, PowerAnimator, LightWave 3D, 3D Studio MAX and TurboCAD.

Filmbox was renamed MotionBuilder in 2002 with the release of version 4.0. In 2003, Kaydara launched FBX for Apple's QuickTime Viewer. Alias announced its intention to acquire Kaydara on August 8, 2004, reaching an agreement in September. A Software Development Kit was developed in 2005 to standardize the object model and allow other software developers to provide plug-ins of their own. Alias was acquired by Autodesk on January 10, 2006. Later in 2006, support for properties was added to FBX.

Autodesk provides a C++ FBX SDK that can read, write, and convert to/from FBX files.

The FBX file format is proprietary; however, the format description is exposed in the FBX Extensions SDK which provides header files for the FBX readers and writers.

There are two FBX SDK bindings for C++ and Python supplied by Autodesk. Blender includes a Python import and export script for FBX, written without using the FBX SDK and The OpenEnded Group's Field includes a Java-based library for loading and extracting parts from a FBX file. The Godot game engine has a FBX importer without using the FBX SDK.

The FBX can be represented on-disk as either binary or ASCII data; its SDK supports reading and writing both.

While neither of the formats is documented, the ASCII format is a tree structured document with clearly named identifiers. For the FBX binary file format, the Blender Foundation published an unofficial specification, as well as a higher level unofficial spec (work in progress) for how actual data is laid out in FBX (independent of ASCII or binary format).

# data[].attributes.attachment_link.description
FBX () is a proprietary file format (.fbx) developed by Kaydara and owned by Autodesk since 2006. It is used to provide interoperability between digital content creation applications. FBX is also part of Autodesk Gameware, a series of video game middleware.

# data[].attributes.attachment_link.readable_text
Pipelines capable of producing computer graphics films and games typically generate, store, and transmit great quantities of 3D data, which we call "scene description". Each of many cooperating applications in the pipeline (modeling, shading, animation, lighting, fx, rendering) typically has its own special form of scene description tailored to the specific needs and workflows of the application, and neither readable nor editable by any other application. USD provides for interchange of elemental assets (e.g. models) or animations. But unlike other interchange packages, USD also enables assembly and organization of any number of assets into virtual sets, scenes, and shots, transmit them from application to application, and non-destructively edit them (as Universal Scene Description (USD) is the first publicly available software that addresses the need to robustly and scalably interchange and augment arbitrary 3D scenes that may be composed from many elemental assets.

overrides), with a single, consistent API, in a single scenegraph. USD provides a rich toolset for reading, writing, editing, and rapidly previewing 3D geometry and shading. In addition, because USD's core scenegraph and " composition engine" are agnostic of 3D, USD can be extended in a maintainable way to encode and compose data in other domains.

Concretely, USD is an OpenSource project released under a modified Apache license.

USD is the core of Pixar's 3D graphics pipeline, used in every 3D authoring and rendering application, including Pixar's proprietary Presto animation system. Pixar is deeply committed to evolving and improving USD to address the following ongoing production concerns:

Provide a rich, common language for defining, packaging, assembling, and editing 3D data, facilitating the use of multiple digital content creation applications. Like many other interchange packages, USD provides a low-level data model that stipulates, at a "file format level", how data is encoded and organized, plus a (extensible) set of high-level schemas that provide meaningful API's and organization for concepts like a mesh or a transform. With such a foundation one can create geometry and shading caches. But USD goes further to provide a recombinant set of "composition arcs" that can be used to package, aggregate, vary, and override primitive elements and assets, with a high-performance runtime evaluation engine, embodied in a compact scenegraph known as a Stage, for resolving the resulting "composed scene description" and extracting (and authoring) data from it.

Allow multiple artists to collaborate on the same assets and scenes. USD's most basic composition arc, the subLayers operator, facilitates multiple artists in different departments, or within the same department, to simultaneously work on the same asset or scene, by allowing each artist to work in their own file (called a ), all of which will be combined and resolved in a "strength ordering" clearly specified in the USD files themselves. This ability is not a magic bullet that can automatically adjust shading data in a stronger layer when the modeling artist changes the topology of geometry defined in a weaker layer, but it allows each artist to work independently without erasing or editing any other artist's work, and helps to provide a clear audit trail of changes that aids in addressing problems like the changing-topology problem.

Maximize artistic iteration by minimizing latency. As in many media,one of the most important ingredients to achieving high-quality digital art is the ability to iterate quickly and often on a design, an asset, an animation. One of the most prominent impediments to iteration in 3D art is the speed with which an artist can get "good enough" visual feedback on the results of their edits, and the speed with which they can migrate new data between multiple applications, or restore a session that has crashed. Speed is a primary, ongoing goal of the USD project at Pixar; we continue to explore algorithmic improvements, better ways to leverage modern multi-core systems and GPU's, and compression techniques to minimize latency in networked file-access.

If your needs are similar to or are a subset of the above, then USD may be an attractive choice.

USD can represent:

USD organizes data into hierarchical namespaces of Prims (short for "primitive"). In addition to child prims, each prim can contain Attributes and Relationships, collectively known as Properties. Attributes have typed values that can vary over time; Relationships are multi-target "pointers" to other objects in a hierarchy, and USD takes care of remapping the targets automatically when referencing causes namespaces to change. Both prims and properties can also have (non-time-varying) metadata. Prims and their contents are organized into a file abstraction known as a Layer.

Built on top of this low-level, generic scene description, USD provides a set of schemas that establish a standard encoding and client API for common 3D CG concepts like:

Geometry. The UsdGeom schemas define (OpenSubdiv-compliant) meshes, transforms, curves, points, nurbs patches, and several intrinsic solids. It also defines: the concept of arbitrary primvars as attributes that can interpolate across a geometric surface; geometric extents and aggregate, computed bounding boxes; pruning visibility; and an attribute called that expresses a (non-animatable) conditional visibility useful for deploying level-of-detail proxies and guides.

Shading. The UsdShade schemas define primitive shader nodes that can be connected into networks and packaged into materials, on which one can create a public interface of attributes that will drive parameters in the contained shader networks. Although the UsdShade schemas are used in the USD plugins for transmitting renderman shading from Maya to Katana, please be aware that these schemas are in flux until the 1.0 USD release.

. USD's composition operators allow you to construct arbitrarily large, complex scenes. As an aid to processing, analyzing, and decomposing such scenes, USD formalizes the concepts of and The "model" prim classification allows scenegraphs to be partitioned into logical, manageable chunks for traversal, working-set management, and data coalescing/caching. The concept of "asset" shows up in USD at two levels: as a core datatype for referring unambiguously to an external file, which identifies which data needs to participate in asset/path resolution; and in the AssetInfo schema for depositing a record of what assets have been referenced into a scene, which survives even if the scene is flattened.

USD can compose and override:

The following is a very compact description of USD's composition semantics, with pinpoint links to more detailed descriptions. You can also read a longer, more graphic and leisurely description.

You can "stack" USD layers together using the subLayers composition arc, and the composition engine will resolve the data contained in such ordered (nestable) " LayerStacks" similarly to how layers in Photoshop are composed. Any prim in a layer can also contain one or more references composition arcs that target a prim in another (or the same!) layer, and composes the tree rooted at the target prim into the referencing prim - this is the primary way to assemble elemental assets into aggregates and complete scenes. The payload arc provides a "deferred reference" that can be selectively "loaded" (or unloaded) from a Stage after the stage was initially opened; judicious use of payloads allows you to structure scenes so that clients can easily manage "working sets", keeping in memory just the parts of the scene they need for the task at hand. VariantSets allow an asset creator to bundle different variations of an asset all into the a single package with a "variant selector" that downstream asset consumers can switch, non-destructively, in stronger layers to change the variation they desire; any prim can define multiple VariantSets, which can vary along dependent or independent axes. Finally, inherits and specializes composition arcs both establish a persistent (across further, upstream composition arcs) relationship between a "base" prim and a "derived" prim, such that the derived prim receives all of the overrides applied to the base prim anywhere in the composition; the technical difference between inherits and specializes lies in the particulars of when derived's opinions "win out" over base's opinions, but practically the difference is: you can use inherits to easily "mass edit" all instances of a particular class of prim or asset, and you can use specializes to create a "derived" that is always a "specialized" refinement of "base" in all views of your scene.

The most powerful and unifying aspect of USD's composition semantics is that all of the above operators can be applied to any prim, in any combination, and the composition engine will resolve the resulting graph in a predictable way. The other desirable property that falls out of this uniform treatment of composition arcs is that stronger layers in a composition can override the scene description in weaker layers uniformly, regardless of whether the weaker layers were subLayered, referenced, inherited, etc. A stronger layer can override the following with respect to weaker layers:

Add new prims including entire subtrees rooted at the added prim

Deactivate prims, which is USD's method for non-destructive (and reversible) prim/subtree deletion

Reorder prims, since in some contexts, the namespace-ordering can be meaningful

Add or remove Variants to an existing VariantSet

Add or remove entire VariantSets, or targets to inherit or specialize

Override the value of schema and user-level metadata on a prim or property

Add new properties to a prim

Reorder properties on a prim. If not explicitly ordered, properties are enumerated in Dictionary order

Override the value of any attribute (an override value blocks all weaker timeSamples)

Block the value of an attribute, so that it will appear to have no authored value

Add, remove, and reorder targets on a relationship

Finally, USD provides a handful of scenegraph-level features that can greatly expand the types and scale of datasets encodable in USD. The two most prominent are native prim Instancing for very compactly encoding (and processing) large numbers of instances/copies of a referenced asset or prim, applicable when the copies do not need to be deeply edited; and Value Clips, which allow timeSamples for a set of prims to be scattered across many files, and (re-)sequenced and retimed non-destructively.

USD/Hydra can image:

Hydra is the imaging framework that ships as part of the USD distribution. It connects multiple front-ends (that consume scene data) and multiple backends (that send the scene data to renderers). Its first and primary "back end" is a modern OpenGL renderer, which is highly scalable, multi-pass and uses OpenSubdiv for mesh rendering. The distribution also ships with a simple Embree-based path tracer to serve as an example for creating more backends.

The USD front-end to Hydra is used in usdview and the third-party plugins included with the USD distribution, and is meant to provide a "ground truth" geometry rendering of any scene composed of prims conforming to the UsdGeom schemas. It also provides fast preview and animation streaming for USD scenes.

USD can be extended/customized:

Even though USD will primarily be used as an embedded sub-system, the breadth of the problem-space it covers demands that it be extensible along a number of axes. USD comes with its own plugin discovery mechanism, and the following plugin-points:

Asset Resolution. In a highly-referenced scene, it can be advantageous to have a degree of separation between the asset paths recorded in the USD files and the "resolved file path" from which the asset will ultimately be loaded. The ArResolver interface can be customized per USD installation, allowing, for example, site-specific naming conventions to be resolved, and for dynamic versioning control to be applied. USD ships with a default resolver implementation that allows for simple "searchpath" style asset resolution.

File Formats. A USD Layer can be taught to be populated with translated data from any kind of compatible file format, by implementing an SdfFileFormat plugin for the format. USD's own native ascii and binary formats are implemented this way, as is the included support for reading Alembic files via the Alembic USD Plugin.

Schemas. USD includes a tool for generating new schemas (C++ classes, python bindings, and all required boilerplate) from a simple usd ascii description of the schema. This can be used to add new USD prim schema types and API's to your pipeline or package, with which you will be able to interact in your application-level plugins just as if they were native USD schemas. For typed schemas that are conceptually imageable, you can also teach Hydra how to image them.

No GUIDS

USD uses a textual, hierarchical namespace to identify its data, which means it is "namespace paths" by which overrides bind to their defining prims/properties. In consequence, when the internal namespace of a referenced asset changes, higher-level overrides previously recorded in referencing assets will fall off. One solution to this problem is to identify data by a "globally unique identifer" (GUID), and then associate overrides with the same GUID as the defining prim. While solving the namespace-editing problem, GUIDs introduce other problems into a pipeline, and potentially limitations on flexibility of composition. In past iterations of USD, Pixar used a form of GUID at the model/asset granularity, and after carefully weighing the pros and cons, we have decided that for us, the cost of occasional "namespace fix-up" operations run over a collection of assets is worth paying for the ease of asset construction and aggregation, and readable ascii asset representations that we get from namespace-paths as identifiers.

Not an execution or rigging system

USD provides a lightweight, optimized scenegraph to facilitate authoring and efficient extraction of composed scene description. However, it provides no other behaviors than composition of a namespace hierarchy and property value resolution, and in the tradeoff space between low-memory footprint, higher-latency data access and high-memory footprint, low-latency access to data, USD's scenegraph leans more towards the former, whereas a high-performance execution engine requires the latter.

Further, the more rigging behaviors and execution semantics we would add to USD, the more difficult it would become to interchange the data successfully between DCC's, since there is not, currently, broad agreement between vendors of what these behaviors should be.

USD and its schema generation tools should be suitable for encoding rigging for round-tripping rigging data in a particular application or custom pipeline, and USD does provide facilities that a client could use to build more extensive in-memory caches on top of a UsdStage to provide lower-latency access to data encoded in USD. But for now, these do not play a significant role in what we feel is the primary directive of USD: scalable interchange of geometric and shading data between DCC's in a 3D content creation pipeline.

USD is roughly the fourth generation of "composed scene description" developed at Pixar. After muscling through Toy Story, in which each shot was described by a single, linear program file, the Pixar R&D team began adding and evolving concepts for referencing, layering, editing, and variation in the context of its proprietary animation system, M arionette (known internally as Menv), beginning with A Bug's Life, and continuing over the course of the next ten feature films.

By 2004 it was clear that, although Marionette had grown quite powerful, its organically evolved provenance was becoming a hindrance to continued stable development and our ability to leverage important tools like multi-core systems. The studio committed to the design and development of a ground-up, second-generation animation system now known as Presto, which was first used on Brave and all features since. One of the problems with Marionette that Presto set out to address was that its various features for composing and overriding 3D scene description could not always be used together effectively, because they were spread across three different formats and "composition engines". Presto delivered a second generation of scene description that was unified, enabling referencing, overriding, variation, and other operations at all granularities from a single mesh, to an entire model, to an environment or shot, encoded in a single ascii format and evaluated with a single composition engine.

However, at the same time, Pixar, along with much of the film and effects industry, found it advantageous to transition from a pipeline in which animation and rigging were kept live up until rendering, to one in which animation and rigs were baked out into efficient "pose caches" containing animated posed points and transforms, so that lighting, effects, and rendering could reduce the latency (and memory footprint) with which they can access the data. Consequently, in 2008-2009, the pipeline development team began building TidScene, a geometry schema backed by a binary database (Berkeley DB), with a lightweight scenegraph as the mechanism for authoring and reading time-sampled data. Key elements of TidScene included a (for the time) high performance OpenGL rendering plugin that enabled direct-from-TidScene preview rendering in all pipeline applications, and the development of a native referencing feature that was used (possibly abused) to achieve layering, scenegraph "isolation" (i.e. loading only a portion of the scene), asset referencing, and some support for variation.

The speed, scalability, and universal pipeline access of TidScene pose-caches were a success, but also put Pixar back into a place where we had multiple, competing systems for creating composed scene description, with different semantics, API's, and places in the pipeline where they could be used. The mandate for the USD project, initiated in 2012, was to marry the (recently redesigned and improved) composition engine and low-level data model from Presto with the lazy-access, time-sampled data model and lightweight scenegraph from TidScene. USD delivers an all-new scenegraph that sits on top of the very same composition engine that Presto uses, and has introduced parallel computation into all levels of the scene description and composition core.

A key component of the USD project was the development of an ultra-modern, scalable OpenGL rendering architecture, dubbed Hydra. Hydra ships as part of the USD project because it adds tremendous value to USD adoption in a pipeline and is used in all our plugins, and it also provides a benchmark and reference for how to leverage USD's multithreading for fast scene loading and imaging, as well as updating efficiently in response to dynamic edits to a live UsdStage. However, Hydra is a product in its own right, and already has other direct front-end couplings other than USD (including Presto and our Maya and Katana plugins), and is growing beyond its original OpenGL-inspired architecture to service other back-end clients, such as path-tracers.

# data[].attributes.attachment_link.description
Pipelines capable of producing computer graphics films and games typically generate, store, and transmit great quantities of 3D data, which we call "scene description". Each of many cooperating applications in the pipeline (modeling, shading, animation, lighting, fx, rendering) typically has its own special form of scene description tailored to the specific needs and workflows of the application, and neither readable nor editable by any other application.

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https://www.khronos.org/gltf/

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Rhinoceros 3D: Design, Model, Present, Analyze, Realize...

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Anarkik3DDesign programme is for creative people like us

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Anarkik3DDesign for PC & MAC: experience 3D virtual touch 3D modelling

# data[].attributes.attachment_link.description
Anarkik3DDesign programme is for creative people like us Wednesday Zooms: discuss 3D digital making, watch 3D modelling with virtual 3D touch. More information here and here. Be inspired: see what designer makers create with Anarkik3DDesign. New. Distance learn Anarkik3DDesign: special loan offer for designer makers wanting to investigate potential for your practice.

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Autocad

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AutoCAD includes industry-specific features and intelligent objects for architecture, mechanical engineering, electrical design and more.

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Blender is a public project hosted on blender.org, licensed as GNU GPL, owned by its contributors.

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Keyboard ALT + g to toggle grid overlay Maya overview (video 3.05 min.) Create expansive worlds, complex characters and dazzling effects Bring believable characters to life with engaging animation tools. Shape 3D objects and scenes with intuitive modelling tools in Maya® software. Create realistic effects - from explosions to cloth simulation.

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Recommended Memory: 16 GB

Operating System: Microsoft Windows 10

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Top 3D sculpting tools for virtual reality authoring | Medium by Adobe

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VR Headset: Oculus Rift, Rift S and Quest + Link Controller: Oculus Touch Recommended Processor: Intel Core i5 7400 Recommended Graphics Card: Nvidia GTX 1060 or AMD Radeon RX 480 Recommended Memory: 16 GB Operating System: Microsoft Windows 10

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Blocks - Create 3D models in VR - Google VR

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We’re on a mission to bring amazing virtual reality experiences to the world.

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Why use Hubs?

Welcome to Mozilla Hubs, the go-to virtual platform for educators, teams, and organizations. Powered by Mozilla, we've designed our platform to make virtual collaboration and learning effortless.

With no software to download, you can engage in real-time with any device at the click of a button, all while prioritizing your privacy. Hubs is more than just a platform - it's your gateway to controlling your virtual worlds as we step into the next chapter of the internet.

Try our Demo

Universal Accessibility

Connect from your phone, computer, or headset. No software download needed.

Full Customization

Choose from pre-made environments and avatars, or create your own."

Privacy-First Promise

Your personal data is never collected and you control access to your worlds.

Elevated Engagement

From virtual meetings to workshops, propel your team into custom digital spaces designed for sparking meaningful collaboration.

Your World, Your Rules

Shape expansive, custom digital spaces that foster meaningful connections within or outside of your global organization.

Teaching Transformed

Deliver engaging educational experiences, breaking down the barriers of traditional classrooms and fostering deeper understanding.

Get immersed with the Hubs newsletter!

Sign up here to get updates on what is new with Hubs and we will keep you up to date with the latest news, updates, and product offerings. We can't wait to show you what we have been working on!

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Hubs - Private, virtual 3D worlds in your browser

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Welcome to Mozilla Hubs, the go-to virtual platform for educators, teams, and organizations. Powered by Mozilla, we've designed our platform to make virtual collaboration and learning effortless. With no software to download, you can engage in real-time with any device at the click of a button, all while prioritizing your privacy.

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Introducing the Tinkercad iPad App | Tinkercad

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Tinkercad is officially available for the Apple iPad as a free download from the App Store and includes an exciting new augmented reality capability.

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Here's a quick selection of voxel artists and friends from the voxel community on Twitter. This is by no way a hall of fame, since I don't know half of this ever-growing community and more artists are coming everyday. Go check their work and say hi, those are talented people and they don't bite (except one, be careful).

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Here's a quick selection of voxel artists and friends from the voxel community on Twitter. This is by no way a hall of fame, since I don't know half of this ever-growing community and more artists are coming everyday. Go check their work and say hi, those are talented people and they don't bite (except one, be careful).

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Voxel Art a Beginners Guide - the Graphic Assembly

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How do you get started in voxel art? What skills need to be learnt? Carry on reading my little voxel apprentice and all will be revealed.

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Intuitively sculpt 3D models on Windows desktop and in VR.

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Sculptures made in VR using Gravity Sketch and sold on CryptoArt platforms

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Don’t miss what’s happening

People on Twitter are the first to know.

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Metashape (formally photoscan) is widely used in museums, is easy to use, has free demo and trial and standard version is competitively priced (£165)

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About Metashape

Agisoft Metashape is a stand-alone software product that performs photogrammetric processing of digital images and generates 3D spatial data to be used in GIS applications, cultural heritage documentation, and visual effects production as well as for indirect measurements of objects of various scales.

Wisely implemented digital photogrammetry technique enforced with computer vision methods results in smart automated processing system that, on the one hand, can be managed by a new-comer in the field of photogrammetry, yet, on the other hand, has a lot to offer to a specialist who can adjust the workflow to numerous specific tasks and different types of data. Throughout various case studies Metashape proves to produce quality and accurate results.

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Agisoft PhotoScan is a stand-alone software product that performs photogrammetric processing of digital images and generates 3D spatial data to be used in GIS applications, cultural heritage documentation, and visual effects production as well as for indirect measurements of objects of various scales.

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system requirements

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RAM

In most cases the maximum project size that can be processed on a machine is limited by the amount of RAM available. Therefore, it is important to select a platform allowing to install the amount of RAM required for the projects to be processed. See Memory Requirements article for information on typical RAM consumption at common processing steps.

CPU

Complex geometry reconstruction algorithms of the photogrammetric software require a significant amount of computational resources for optimal data processing. Hence, a high speed multi core CPU (6+ cores, 3 GHz+) is recommended.

GPU

Agisoft Metashape supports GPU acceleration for most resource-intensive processing steps, thanks to this it is possible to speed up the processing using high-end OpenCL or CUDA compatible graphics cards.

Basic Configuration

up to 32 GB RAM

CPU: 4 - 8 core Intel or AMD processor, 2.0+ GHz

RAM: 16 - 32 GB

GPU: NVIDIA or AMD GPU with 700+ CUDA cores / shader processor units
(For example: GeForce GTX 1080 or Radeon RX 5700)

Advanced Configuration

up to 128 GB RAM

CPU: 6 - 24 core Intel or AMD processor, 3.0+ GHz

RAM: 32 - 128 GB

GPU: 1 - 2 NVIDIA or AMD GPUs with 1920+ CUDA cores / shader processor units
(For example: GeForce RTX 2080 Ti or Radeon VII)

Extreme Configuration

more than 128 GB RAM

For processing of extremely large data sets a dual socket Intel Xeon Workstation with Quadro/Tesla GPUs can be used.

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In most cases the maximum project size that can be processed on a machine is limited by the amount of RAM available. Therefore, it is important to select a platform allowing to install the amount of RAM required for the projects to be processed.

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Metashape reseller (£165) and training provider

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Welcome to the home page of Accupixel Ltd - the home of forensic photogrammetry.

We support police & law enforcement bodies, private crash investigators and anyone requiring photogrammetry to a scientific or forensic level.

Services we offer are:

Metashape Software Sales - Agisoft license sales & UK authorised dealer

Online training courses - Endorsed by Agisoft for self paced learning

Support & Consulting - For those difficult-to-scan use cases

Onsite training - bespoke classroom based for larger groups

3D reconstruction - expert services for subjects on land or underwater

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Accupixel Ltd - Forensic Photogrammetry - AccuPixel Ltd

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Welcome to the home page of Accupixel Ltd - the home of forensic photogrammetry. We support police & law enforcement bodies, private crash investigators and anyone requiring photogrammetry to a scientific or forensic level.

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Keyboard ALT + g to toggle grid overlay

Overview

What is ReCap Pro?

ReCap Pro overview (video: 1.58 min.)

Use ReCap™ Pro 3D scanning software to create 3D models from imported photographs and laser scans. Deliver a point cloud or mesh in support of BIM processes. Collaborate across teams with design based on reality.

Reality capture software for accurate, survey-gradient 3D models

Photo processing capabilities in ReCap Pro (video: 1.59 min.)

ReCap Photo, a service included with ReCap Pro, processes drone photography to create 3D representations of current site conditions, objects and more. It also supports the creation of point clouds, meshes and ortho photos.

Customise 3D scanning software workflows

Use solutions created with the ReCap Pro Software Development Kit (SDK) to quickly get reality data into Autodesk design and construction tools.

Workflows

ReCap Pro + InfraWorks + Civil 3D

Infrastructure design supporting BIM workflows with ReCap Pro (video: 2.26 min.)

ReCap Pro + Revit

Export ReCap Pro reality capture data into Revit to create 3D building models (video: 51 sec.)

See how people are using ReCap Pro

WINDOVER CONSTRUCTION

Tech-first reality capture

Learn how a modular construction project with site constraints in a busy city was executed with ReCap Pro, Revit and mixed reality.

Image courtesy of Windover Construction

STRATHCONA COUNTY

Responding to urbanisation with BIM

Strathcona County evolved from analogue processes to VR-ready with ReCap Pro, Civil 3D, InfraWorks and more.

Image courtesy of Strathcona County

NORCONSULT

Innovations for tunnel design

Architecture, engineering and design consultancy uses VR to illuminate real design problems before construction.

Image courtesy of Norconsult AS/Bane NOR/Baezeni

${RESELLERNAME} | AUTODESK EXPERT ELITE

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ReCap Pro | Reality Capture & 3D Scanning Software | Autodesk

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Keyboard ALT + g to toggle grid overlay Overview What is ReCap Pro? ReCap Pro overview (video: 1.58 min.) Use ReCap™ Pro 3D scanning software to create 3D models from imported photographs and laser scans. Deliver a point cloud or mesh in support of BIM processes. Collaborate across teams with design based on reality.

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AliceVision | Photogrammetric Computer Vision Framework

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AliceVision is a Photogrammetric Computer Vision framework for 3D Reconstruction and Camera Tracking.

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expensive specialist software for dealing with massive point cloud datasets

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Since more than 10 years, more and more engineers, technicians, students, scientists or artists, had been adopting 3DReshaper throughout the world to process and deliver their 3D data for a wide array of applications. Over the years, we strive to raise continuously the capability of your point cloud processing software to go with you all along your journey to the 3D reality capture. On this basis, we are proud to announce the release of Cyclone 3DR, the next generation of 3DReshaper.

What is Leica Cyclone 3DR?

Leica Cyclone 3DR is a seamless extension of the Cyclone product family, that combines the Leica Jetstream and 3DReshaper technology to offer you the best of both software in processing, analysis and communication of your 3D digital data.

Cyclone 3DR fuses Leica JetStream technology's centralized, full-scale point cloud management capabilities with automated point cloud analysis and modeling features into one simple, workflow-based software. The workflows contain tailored tools for the surveying, construction, and tank inspection fields.

Key benefits:

Sensor agnostic projects powered by JetStream or industry-standard exchange formats

Smart point cloud filtering and extracting tools

Fast, light and flexible meshing tools

DSM/DTM creation

Inspection and measurement for design-in-context

Reporting that conforms to industry standards (e.g., Tank Inspection to API 650/653)

Domain-centric workflows for AEC, Survey, Tunnel, Stockpiles, Tank Inspection

Full interoperability with common design formats, including IFC and Revit model files

Advanced customization through a rich scripting engine

Automatic feature extraction (break lines, contour...)

Photorealistic rendering and much more...

What's new?

Brand new CAD engine

Supporting large dataset

Compatible with BIM formats (IFC and Revit)

Improved User Experience

Unified 3D scene interactions

Simplified ribbon organisation

All hidden functionnalities better exposed

New image management workflow

Supporting large dataset

Compatible with UAV and Mobile Mapping Workflows

Technodigit
the 3DR Technology
part of Hexagon

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Since more than 10 years, more and more engineers, technicians, students, scientists or artists, had been adopting 3DReshaper throughout the world to process and deliver their 3D data for a wide array of applications. Over the years, we strive to raise continuously the capability of your point cloud processing software to go with you all along your journey to the 3D reality capture.

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expensive specialist software for dealing with massive point cloud datasets

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Welcome to Veesus Ltd, home to cutting edge Point Cloud software.

At the heart of all our applications is our XStreamEngine point cloud software for viewing and editing massive point cloud data sets in full detail. We have standalone desktop software, server and plug-ins for popular CAD software such as SolidWorks and Rhino.

Whether you are an engineer, surveyor, site manager or end user, we have a solution to help you deal with the complexities of point cloud data.

Our standalone desktop software, Arena4D, also supports the latest VR developments and provides stunning immersive 3D reality on Oculus Rift and HTC Vive platforms.

As an active member of the laser scanning community we are also able to provide hardware and services to suit your requirements. Please contact us for more information.

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Welcome to Veesus Ltd, home to cutting edge Point Cloud software. At the heart of all our applications is our XStreamEngine point cloud software for viewing and editing massive point cloud data sets in full detail. We have standalone desktop software, server and plug-ins for popular CAD software such as SolidWorks and Rhino.

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3D Models for Professionals :: TurboSquid

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Buy 3D models for your project from our vast online catalog of cars, people, textures, architectural models and more.

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What you see is what you get

Preview model topology, UVs, and textures with our 3D viewer and model inspector before you purchase.
See an example

Everything you're looking for

From low-poly video game 3D assets to real-world photogrammetry scans, 3D models from every conceivable category.
Browse all 3D model categories

Today's technical standards

PBR materials, animated rigs, and more in a universal format.
Learn more

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Sketchfab - The best 3D viewer on the web

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With a community of over one million creators, we are the world's largest platform to publish, share, and discover 3D content on web, mobile, AR, and VR.

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How to reset the origin (pivot point) of a model in different software

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How to reset the origin (pivot point) of a model in different software

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https://support.turbosquid.com/hc/en-us/articles/115000292712-How-to-reset-your-point-of-origin

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Autodesk Viewer | Free Online File Viewer

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Autodesk Viewer is a free online viewer for 2D and 3D designs including AutoCAD DWG, DXF, Revit RVT and Inventor IPT, as well as STEP, SolidWorks, CATIA and others.