space engineers adding textures to lcd panel brands

8) Now you need to finish text below (no brackets) : LCDTextureDefinition "Any name for your texture" Textures\Models\"Texture real name".dds

The LCD Panel is a thin panel that takes an entire block face and can display a variety of messages and textures that can be displayed constantly or triggered by the Programmable Block, Sensor, Timer Block, or any other block capable of triggering.

Choosing "Edit Text" allows inputting custom text such as the name of a room to use above doors. The text can then be scaled up to fit the screen dimensions or preferred size by using the "Font Size" slider.

The "Color" sliders allow setting the text colour using RGB slider and "Backgr." allows setting background fill colours (default black). If using a transparent LCD then the text will be against transparency unless fill colour is added.

"Loaded Textures" has a list of the available default and modded (where applicable) images available for display on the screen. Select the desired image and select "Add to selection". The selected image will then show in the second "Selected textures" panel.

When multiple images are applied they can be set to cycle between with the duration between images being set by the "Image change interval" slider. To remove an image from display select it in the second panel and select "Remove selected".

The "Preserve aspect ratio" checkbox can be used to prevent the image being stretched if it does not fit the screen properly such as when using a wide LCD.

To set the LCD to display a script, choose "Script" from the dropdown. Choosing Script allows the display of information such as weather, artificial horizon for vehicles, Energy and Hydrogen level etc.

The panel"s title and text can be made public, private, or a combination of both. Textures applied can be selected from a list or custom textures can be selected. Textures can be set to rotate on a timer, changing from one to the next. GPS coordinates shown in the GPS format in the text panel will appear in the GPS and can be activated (=shown on HUD).

Selected textures - Any textures that were added, will be displayed here. The order in which they are placed effects which image is displayed first (top of the list is displayed first).

The LCD Panel could be accessed with the programmable block as IMyTextPanel. It could work in ´Texture Mode´ in which the selected textures are shown or the ´Text Mode´ in which the text is shown. The following methods are available:

Adds an image/texture to the end of the list of selected textures. If no image/texture with the name id exists the texture ´Offline´ is added instead.

Adds the images/textures to the end of the list of selected textures. If no image/texture with the name id exists the texture ´Offline´ is added instead.

After many requests, we have decided to release our internal Replay Tool that we use to create our trailers. It allows you to record the movement and actions of multiple characters in the same world. You can use your video recording software of choice to capture these moments for cinematic purposes! It’s also super useful for epic screenshot creation. The tool allows you to be the director of your own Space Engineers film where you can carefully position and time different engineers with their own specific roles. We are extremely excited to see what the community will create with this!

Important: because it’s an internal tool, it has a very basic user interface and required advanced users to be used. We believe this is OK, because most video creators who would want to use it to create epic cinematic Space Engineers videos are advanced users.

There are now Steam trading cards to collect for Space Engineers! Collect a full set of cards to earn items that help you customize your Steam profile including backgrounds and badges.

There are fourteen new decorative blocks for people who want to buy them and support the development of Space Engineers, which are available on the Space Engineers Steam Store page. Within the package you will get following new blocks:

Beds can preserve characters’ inventory and toolbar while they"re offline and keeps them alive as long as there is oxygen available. Is considered to be the same as the Cryo Chamber Block, except oxygen is used from the environment. Space Engineers don’t work from nine to five, they work whenever they’re needed: day or night, during peace and war. But when it’s time to call it a day, every engineer looks forward to resting in these beds.

Standard and Corner Desks can be used as seats, which allow players to sit on the chair attached to it. Combine these blocks to produce various designs and sizes, creativity has no limitation. Whether designing new schematics or charting a fresh course to another world, desks are essential for any engineer looking to get some work done.

Kitchens are purely decorative. The kitchens in Space Engineers come well-equipped and include stunning visual details. Space Engineers overcome challenges everyday when they’re working on new planets or among the stars.

Planters are purely decorative, but they make outer space a bit warmer by housing life in a special glass container. Build your own garden on the space station. Planters not only help to liven up spaces, but the flora housed inside these capsules also remind many engineers of the homes they’ve left behind in order to explore the universe.

Couchescan be used as seats, so take your time to relax and take a break. You don’t need to always run, fly or work, you can enjoy your cozy room and enjoy the view. The last thing anyone would ever call a Space Engineer is ‘couch potato’, but who wouldn’t like to relax after a hard day’s work on this comfy furniture?

Armory and Armory Lockers can be used to decorate interiors and store weapons, ammunition, tools and bottles; both are small storages (400L), where you can keep your equipment. Space Engineers use lockers in order to ensure that keepsakes from home, toiletries and other items are kept safe.

Toiletscan be used as a seat. The latest and greatest interstellar lavatory technology has made many earth dwellers jealous of the facilities enjoyed by Space Engineers.

Toilet Seat that can be used as a seat and is fit for the creator of the legendary Red Ship; most engineers don’t want to get up after ‘taking care of business’.

Industrial Cockpits are used to control your ships. This industrial cockpit in both small and large grid versions will make your creations look much better. Offering unmatched visibility, the industrial cockpit enables engineers to experience stunning vistas while traversing landscapes and space.

Console blocks project blueprints for downscaled ships and stations, as well as display pictograms or customizable text. They are fantastic functional LCD panels where you can project your creations and show them to your friends. The sleek and crystal clear picture offered by this console allows Space Engineers to display designs and other important information.

*Note to modders: When modding the decorative blocks, copy the current settings and then do the change on top of that. The mod will also include the DLC tag:

Keen Software House needs to stay profitable in order to continue development and support of Space Engineers, and to take risks, to invest into experiments that may not pay off in the short term, and to develop innovative concepts.

Sometimes we have to invest in people, teams, or projects, without knowing if they will work out. You need to give them time. And if you want to have a high bar for innovation, expecting novel things, you need to take the risk.

Why are they high-risk? Because they are hard to do, and usually it takes many iterations until we figure out the right way to do it. It usually takes a few iterations to perfect it. This means that doing water can take a few weeks (if we get it right from the start) or a few years (if we need to experiment, iterate, throw away past experiments, look for specialists in this area, etc). Same for the engine rewrite and AI / living worlds for our games.

A:Actually, even this update isn’t paid. The major part of this update (LCD screens, Replay Tool, new music tracks, smaller improvements) is free for everyone. Only the smaller and not mandatory part is paid - Decorative Pack, which you can purchase here.

A: The way we designed this is that even people who don’t purchase the Decorative Pack can play on servers with people who own the Decorative Pack. Players who don’t own the Decorative Pack won’t be able to build with these new blocks, nor interact with them, but they will be able to view them in-game.

A: To support future development of Space Engineers and other leading-edge projects we plan to work on at Keen Software House. Players kept asking us for something they could buy to support the development of Space Engineers, and the Decorative Pack is a great option for them.

A: Right after Space Engineers left early access and all hot issues were resolved. Most of the work was done by the Art team, the rest of the developers is working on other long-term updates.

A: We want more people to play Space Engineers, which means we must lower the barrier of entry. When the Space Engineers community grows, everyone benefits from this - more content on Workshop, more mods, more new ideas, more people to play with. This means that all non-mandatory features should be optional, so only those who really want them can pay for them. That’s why we decreased the price of Space Engineers, and made the Decorative Pack an optional purchase.

A: Hehe, if you put it this way, it sounds kind of funny. But the reality is that decorative blocks are low-hanging fruit, not a bottleneck towards those other mentioned future features. Additionally, the decorative pack can bring added profit and make the mentioned things happen.

Looking at our upcoming plans, I can say that we are going to work on another package similar to this one. It’s not a secret that we want to bring you more things you asked for in the past, such as new skins, new weapons, new economy system etc.

If you want to let me know your feedback on our decision to release paid Decorative Pack, please get in touch via my personal email address marek.rosa@keenswh.com. I welcome every feedback and we will use it to learn and provide better service.

The first thing that we would recommend, if you are experiencing some technical or gameplay issues with the game, is to check our support portal. There is a good chance that the problem you are facing has been experienced before, so it is likely that players who have had similar issues have posted suggestions and solutions.

Note: Space Engineers currently does not support nVidia/AMD 3D vision and it should be disabled in the nVidia/AMD control panel, otherwise it can cause various issues.

Attach one or all save folders. You have to enable hidden files in order to see the Save folder. Save folders may contain MBs of data, be careful when sending them. Emails usually don’t like attachments larger than 10 MB):

What if you can’t find the AppData Folder? Run “Folder Options”, then go to the View tab and click the option that says “Show hidden files, folders, and drives” so you are able to see hidden folders, then you should be able to see it.

Many of the most common issues experienced while playing Space Engineers can be resolved without assistance. Choose any of the below categories according to the problem that you are experiencing. If you can’t find a solution in any of the suggested solutions, please report your problem at our dedicated support site by following the above guide.

Solution: Open %appdata%\SpaceEngineers\SpaceEngineers.cfg in a plain text editor like notepad. Find GraphicsRenderer – it is usually near the top. Change its value to DirectX 11.

You can try Windows 7 and Windows 8 modes to find which works better for you. This is usually a good workaround until there are updates for your drivers and for Windows 10 compatibility.

Cannot create log file: System.UnauthorizedAccessException: Access to the path ‘C:\Users\YourUserNameHere\AppData\Roaming\SpaceEngineers\SpaceEngineers.log’ is denied.

Solution: Some users are reporting this problem after switching to Windows 10. In some cases we have found that the users have copied files from their old operating system to the new one. In other cases it seems to be an issue created by the Windows 10 upgrade. This creates the problem where the old files have different ownership credentials from the new user account on Windows 10. This prevents Space Engineers from accessing them.

It has been reported that some 3rd party programs can cause in-game issues, game not starting or black screen. In this case, you will have to disable these programs in order to run the game. Below is the list of the 3rd party programs that have been reported so far.

A textureAn image used when rendering a GameObject, Sprite, or UI element. Textures are often applied to the surface of a mesh to give it visual detail. More info is a bitmap image. You can create textures in a digital content creation application, such as Photoshop, and import them into Unity.

In a 3D Project, Unity imports image and movie files in the Assets folder as Textures. In a 2D Project, Unity imports image and movie files in the Assets folder as SpritesA 2D graphic objects. If you are used to working in 3D, Sprites are essentially just standard textures but there are special techniques for combining and managing sprite textures for efficiency and convenience during development. More info.

As long as the image meets the specified size requirements, Unity imports and optimizes it for game use. This extends to multi-layer Photoshop PSD or TIFF files.

In the InspectorA Unity window that displays information about the currently selected GameObject, asset or project settings, allowing you to inspect and edit the values. More info, set the Texture Import Settings.

Normal mapsA type of Bump Map texture that allows you to add surface detail such as bumps, grooves, and scratches to a model which catch the light as if they are represented by real geometry.

When importing from an EXR or HDRhigh dynamic range file containing HDR information, the Texture Importer automatically chooses the right HDR format for the output Texture. This format changes automatically depending on which platform you are building for.

Ideally, Texture dimension sizes should be powers of two on each side (that is, 2, 4, 8, 16, 32, 64, 128, 256, 512, 1024, 2048 pixels (px), and so on). The Textures do not have to be square; the width can be different from height.

It is possible to use NPOT (non-power of two) Texture sizes with Unity. However, NPOT Texture sizes generally take slightly more memory and might be slower for the GPU to sample, so it’s better for performance to use power of two sizes whenever you can.

If the platform or GPU does not support NPOT Texture sizes, Unity scales and pads the Texture up to the next power of two size. This process uses more memory and makes loading slower (especially on older mobile devices). In general, you should only use NPOT sizes for GUI purposes.

Maximum 2D and CubemapA collection of six square textures that can represent the reflections in an environment or the skybox drawn behind your geometry. The six squares form the faces of an imaginary cube that surrounds an object; each face represents the view along the directions of the world axes (up, down, left, right, forward and back). More info texture dimension size (px)

Normal maps are used by normal map Shaders to make low-polygon models look as if they contain more detail. Unity uses normal maps encoded as RGB images. You also have the option to generate a normal map from a grayscale height map image.

You can create an alpha map by creating a Texture with information in the alpha channel, or by creating a grayscale Texture and converting the grayscale values to alpha in Unity.

If you want to make a TerrainThe landscape in your scene. A Terrain GameObject adds a large flat plane to your scene and you can use the Terrain’s Inspector window to create a detailed landscape. More info, you normally use your main Texture to show areas of terrain such as grass, rocks and sand. If your terrain is large, it may end up very blurry. Detail Textures hide this fact by fading in small details as your main Texture gets closer.

When drawing Detail Textures, a neutral gray is invisible, white makes the main Texture twice as bright, and black makes the main Texture completely black.

To use a Texture for reflection maps (for example, in Reflection ProbesA rendering component that captures a spherical view of its surroundings in all directions, rather like a camera. The captured image is then stored as a Cubemap that can be used by objects with reflective materials. More info or a cubemapped SkyboxA special type of Material used to represent skies. Usually six-sided. More info, set the Texture Shape to Cube. See documentation on Cubemap Textures for more information.

Anisotropic filtering increases Texture quality when viewed from a grazing angle. This rendering is resource-intensive on the graphics card. Increasing the level of anisotropy is usually a good idea for ground and floor Textures. Use Quality settings to force anisotropic filtering for all Textures or disable it completely. Although, if a texture has its Aniso levelThe anisotropic filtering (AF) level of a texture. Allows you to increase texture quality when viewing a texture at a steep angle. Good for floor and ground textures. More info set to 0 in Texture Import Settings, forced anisotropic filtering does not appear on this texture.

Unity automatically flattens multi-layer Photoshop PSD or TIFF files on import so that there is no size penalty for your game. This flattening happens to the imported data in Unity, not to the file itself, so you can continue to save and import your PSD or TIFF files without losing any of your work when using these file types natively. This allows you to have one copy of each Texture which you can use in Photoshop, your 3D modelling application, and in Unity.

The Apple 32″ Pro Display XDR 16:9 Retina 6K HDR IPS Display is built with a 32″ IPS (In-Plane Switching) panel featuring a 6016 by 3384 6K resolution with Retina display technology that produces crisp, vivid images. As somewhat of a one-size-fits-all solution, the Pro Display XDR is well suited for multitasking and its 6K resolution with a 32″ viewing area is plenty to work with. For photo and design-focused users, it’s a large canvas that lets you fit all your content, tools, and anything else you’d like, on one screen. Likewise, video editors and audio engineers can stretch out their workflow to get a macro-view of their project. As a cherry on top, its 218 ppi (pixels per inch) rating helps to deliver sharp and detailed images. The Pro Display XDR’s main connectivity option is a single Thunderbolt 3 port, which supports up to 96W of host charging, and it has three USB 2.0 Type-C ports for charging and syncing other devices. With the power of Thunderbolt 3, users can daisy-chain up to six displays to their accompanying Mac Pro.

The Pro Display XDR has a sleek and refined all-aluminum chassis with 9mm borders. This reduction in bezel size offers a more immersive viewing experience whether you’re hard at work or taking a breather. Either or, users can kick back and relax thanks to its wide viewing angles, which preserve color and image quality. The honeycomb design on the back is meant to act as a heatsink, which keeps it cool while operating at high brightness levels.

XDR stands for Extreme Dynamic Range and is essentially HDR (High Dynamic Range) at Apple’s standards. The backlighting consists of an array of 576 LEDs that can sustain a brightness level of 1000 cd/m² and can even reach up to 1600 cd/m² for a 1,000,000:1 contrast ratio to truly emphasize the differences between light and dark.

Featuring a P3-wide color gamut and 10-bit color depth for 1.073 billion colors, the Pro Display is ideal for color-critical work. Additionally, its 576 LEDs are also individually calibrated and work with an algorithm that modulates their intensity to produce the best possible image.

To adapt to the variety of standards content creators work with in media such as digital cinema (P3-DCI), photography (P3-D65), HDTV video (BT.709-BT.1886), design and print (P3-D50), Internet and web (sRGB), etc., Reference Modes reconfigure the display to match. It optimizes values like color space, white point, gamma, and brightness. Alternatively, users can also set up their own custom profile as needed.

True Tone technology on the Pro Display XDR utilizes two ambient light sensors, one on the front and one on the back, to measure and then to adjust the color intensity of the display for accurate colors based on your environment.

This website is using a security service to protect itself from online attacks. The action you just performed triggered the security solution. There are several actions that could trigger this block including submitting a certain word or phrase, a SQL command or malformed data.

In recent years, due to the spread of new coronavirus infections, there has been a rapid increase in the use of video communication [1,2]. Video communication systems have been introduced in many companies because they can be implemented with ease, using familiar devices without the need to prepare new dedicated devices or systems. Currently, online business negotiations are also used for purchasing cars, and in some cases, users confirm the condition of the car through images and videos without seeing the actual car and then purchase it. However, with current video communication systems, depending on the user’s environment, the actual color and texture may differ from those of the actual object, giving a different impression [3,4]. In particular, the color and texture of an object play a very important role in telemedicine, online business negotiations, and meetings conducted through video communication, and thus, accurate information about patients and products must be conveyed. If the color or texture of an object is different from that viewed by the other party, it may lead to serious problems such as cancellation of the transaction or misdiagnosis. In video communication, one of the possible causes for differences in color and texture is the effect of differences in displays. Since each display has different characteristics, such as maximum luminance, gamma, and color gamut, it is not always the same—even if the same image is displayed.

In this study, we propose a method for matching the color and texture of objects between different displays by using tone mapping. In addition, we focused on glossiness among the different textures. Since glossiness is mainly affected by changes in the maximum luminance of the display showing the object, a display method that does not depend on changes in the viewing environment is required for products for which visibility of color and gloss is important, and for human skin in telemedicine. We analyzed the perception of texture and implemented a method for correcting the glossiness of a real object with gloss.

For display-independent color reproduction, Takahashi et al. proposed a color reproduction method using a color chart to improve the color quality of telemedicine systems [5]. In their study, based on the color chart, the images sent from the patient side were color corrected and displayed on the doctor’s display to enable accurate diagnosis in telemedicine. The flow of such a system is shown in Figure 1.

With this method, it is first necessary to adjust the RGB values of all the color patches displayed on the display to match those of the actual color patches on the color chart. To adjust the color of the color chart, the XYZ values of each color patch on the color chart are measured using a colorimeter under the same lighting environment as that of the doctor, because humans recognize colors by the three stimulus values XYZ. The monitor side correction is performed with reference to [6]. In addition, from the colorimetric values, the reference RGB values of the color patches for each display are calculated. Color reproduction is achieved by converting the RGB values of each patch in the image captured by the patient to the calculated values.

To transform the captured image, the color chart in the image is first detected using AR markers, and the values of each patch in the color chart are averaged. The model is created by multiple regression analysis based on the difference between the average value and the reference RGB value, and the colors in the image are modified by transforming all pixel values based on this model.

·       Each SunCast licence allows you to use up to 4 cores.  Additional licences may be used to increase the number of cores used in the simulation.

·       Important: To use this feature you must have a multi-core machine and Microsoft’s MPI library installed.  If for some reason it was not installed as part of the VE installation, or has been subsequently removed, you can download it here (VE2013FP1 onwards, or side-by-side use with VE2015) or here (VE2015 onwards).

·       Note: Due to the way parallel simulations are run, specifying the use of 2 cores is equivalent to using just 1 core.  However the option is still quicker than turning faster calculations off completely.

This allows you to select which colours are active when using the software. The main use is to change the default canvas colour from white to black (and grid from black to white), but there are a number of other elements that are listed that you can change to what you prefer.

The Fusion page is where you can let your imagination go wild and create cinematic visual effects and motion graphics! It’s built into DaVinci Resolve and features a node based workflow with hundreds of 2D and 3D tools. Fusion is ideal for everything from quick fixes such as retouching and repairing shots to creating true Hollywood caliber effects. If you’ve seen the Hunger Games, Avengers, Terminator Genisys, or many major Hollywood blockbusters, then you’ve already seen Fusion in action! You can use it to clone out an unwanted mic, replace a sign, create dynamically animated titles or even place characters into 3D scenes. It"s your new secret weapon for visual effect and motion graphics!

Whether you’re working solo or are a professional editor, colorist or finishing artist, Fusion lets you complete shots faster. That"s because instead of sending out graphics, retouch jobs, or full blown visual effects shots to another system, all of the tools you need are built in. You can seamlessly move between the edit, Fusion and color pages with a single click. Fusion lets you quickly design lower thirds, animate 3D infographics or pull perfectly clean keys on a green screen shot. Multiple masks can be created, tracked and then passed to the color page, saving time and making intricate secondary color corrections such as realistic sky replacements, easier and better looking than ever.

Fusion uses a flow chart called a node tree that visually maps out how effects are connected and work together. Nodes are like building blocks that represent effect tools, generators, transforms, masks and more. There are no confusing stacks of nested layers and hidden menus! You build effects by stringing nodes together one after the other. The MediaIn node represents the clip from the edit timeline. To add a blur, drag the blur node from the toolbar to your flow chart and connect it in sequence after the media in. Simply drag the output from the MediaIn node and connect it to the input of the blur node. Tools can be combined in any order, letting you create an unlimited number of effects!

There are five simple operations in the Fusion workflow that are the basis for all of your work. You merge images together, insert effects, use masks to isolate effects, adjust settings and fine tune your animations. You start by merging images together in either 2D or a true 3D workspace. Next, insert effects in between nodes. After that, you can create masks to limit effects to specific areas of the image, then adjust tool settings in the inspector. Lastly, you can fine-tune your animation by using the spline and keyframe editors. Once you’ve mastered these basics, you’ll be able to combine techniques to create virtually any type of visual effect or motion graphic animation that you want!

The merge node lets you layer, or composite images together. To do this, drag a merge node from the toolbar into the node tree. Use the yellow control to connect a background image and the green control to add a foreground. Media can be dragged in from your bins.

Fusion includes over 200 filters and effects called "tools" in the effects library. To add a tool, drag it into the node tree at the bottom of the screen. You can insert an unlimited number of tools at different points in the node tree to create the desired effect.

Masks let you define the visible area of an effect on an image. For example, to blur out an unwanted logo, add one of the mask tools, draw a shape around the logo and connect it to the blue mask input of the blur node. You can even track the mask to follow the logo!

The inspector on the right displays all of the controls or properties for the currently selected tool. You can adjust settings and animate them over time using the keyframe buttons. The cut, edit, Fusion and Fairlight inspectors are similar and all work the same way.

You can access the spline (or curve) and keyframe editors by clicking on their buttons at the top of the Fusion page. These panels give you advanced controls for creating and manipulating custom animation curves, as well as for positioning keyframes across time.

Text can be designed in either 2D or 3D. For 2D text, drag a Text+ node into the node tree and type your text to get started. You’ll find advanced yet familiar text controls in the inspector for font, size, alignment, spacing, kerning, leading and more. Click on the shading tab to stylize text with gradient or video fills, outlines, drop shadows and glows. Adding a Text 3D node gives you similar formatting controls along with 3D extrusion, custom beveled edges and more. To add textures, surface properties and reflections, just connect a replace material node to the text 3D node. You’ll find controls in the inspector to animate entire blocks of text, lines, words or even individual characters!

The Fusion page allows you to quickly and precisely add and track infographics. First, connect a tracker to your clip, use the on screen controls to place the tracker over the part of the image to which you want to attach the graphic, then click track forward. After the track is complete, click on the operation tab and change the operation to “match move”. This turns the tracker into a merge node! Import your multi layered Photoshop files using the import menu or by dragging them in from the media pool. Connect the graphic to the green foreground input on the tracker node to complete the composite. Now, as you animate your graphics, they’ll move in sync with the tracked object in your scene.

The vector paint tool includes multiple brush types and stroke styles that can be edited and animated at any time. Paint can be used for creative and corrective purposes. For example, you can paint leaves swirling in the wind or clone out an unwanted boom mic hanging in a shot! To clone out an object, add the paint tool from the toolbar and connect it to a clip. The tools at the top of the viewer let you set the paint stroke to operate on a single frame or a range of frames. Select clone mode in the inspector, then option click in the viewer an area to sample. Then paint over another part of the image to clone it out! Paint strokes can also be set to follow tracked moving objects in the shot.

Fusion’s powerful planar tracker lets you add new screens to a smartphone, replace a sign on the side of a moving truck, add a new billboard to a shot and more. All you have to do is connect a clip to the planar tracker, draw a shape around the area you want to track and click the track forward button in the inspector. A tracking cloud will be created with a precise motion path that contains position, rotation, scaling, and perspective changes. The planar tracker node includes built in corner pinning, making it easy to connect the new screen or sign into the node and position the four corners. You can even use the tracker data to animate mask shapes, making rotoscoping tasks incredibly fast!

Fusion"s Delta Keyer quickly removes green and blue screen backgrounds so you can place actors into settings that are impossible to shoot. Setting up your key is simple. Start by dragging the Delta Keyer from the effects library onto the line between your green screen clip and the foreground input on the merge node. From the inspector, drag the eye dropper into the viewer to sample the color you want to remove. The pre-matte, matte, fringe and tuning tabs give you a complete set of controls to refine the key until it’s perfect! You can also add a clean plate node which makes it easier to remove the background from shots and is especially useful for clips with reflections, hair and smoke!

Particles can be used to create realistic atmospheric effects like fire, rain or smoke, or fantastic swirling glowing bits for use in motion graphics and broadcast design. You can create particle systems from any type of image. To create particles, you need to add both a particle emitter and a particle renderer to your node tree. Click the particle emitter and open the inspector to customize and start animating your particles. There are more than a dozen particle specific nodes that can be inserted between the emitter and renderer to simulate gravity, friction, turbulence, bounce and more. Best of all, particles work in 3D so you can make them flow around and bounce off other elements in the scene!

Tracking plays a key role in creating sophisticated visual effects and motion graphics. Fusion makes tracking easy with advanced 3D camera tracking, powerful planar tracking and rock solid 2D tracking. The 2D tracker is great for following most objects that move throughout a scene. Planar tracking lets you track image planes, or flat objects, in a scene. It’s ideal for replacing signs or screens. The 3D camera tracker is extremely powerful because it analyzes the motion of the camera that shot the original scene and recreates it in 3D space. This lets you add objects such as text, 3D model set pieces, or even atmospheric particles such as fog or smoke that seamlessly blend into the scene.

Fusion is packed with time saving tricks to help you click less and move faster. Keyboard shortcuts like Shift+Spacebar enables a tool search window, type in the tool name and press enter to add the tool. Node versioning is perfect for trying out new animations without duplicating a node. Quickly switch between versions by clicking on the numbers located at the top of the inspector. The clip timeline gives you quick access to every clip in the timeline on the edit page, so you can work on new shots without having to leave the Fusion page. Lastly, quickly view any selected node in the right and left viewers by pressing the number 1 or 2 key, and clear all viewers by pressing the tilde key.

The Fusion page features hundreds of advanced feature rich tools for creating photorealistic visual effects, powerful broadcast graphics and sophisticated title animations. Unleash your imagination with an infinite 3D workspace, transport characters to new worlds with 3D set extensions, or build custom templates that can be used right from the edit and cut pages for efficient broadcast workflows. Best of all, Fusion’s powerful spline based keyframe editor and expressions let you create incredibly smooth and sophisticated animations. There"s even built in scripting and automation. There really is no limit to what you can achieve with Fusion, and it’s right inside of DaVinci Resolve!

Fusion features a true 3D workspace for compositing and creating cinematic visual effects and advanced broadcast motion graphics. It’s ideal for adding 3D models, objects, text or particles to your footage. To start, use the basic 3D nodes such as shape or text nodes, along with the 3D merge and camera nodes. There are a vast number of 3D tools to help you generate and manipulate surfaces, bend meshes and more. The 3D merge tool lets you add an unlimited number of objects, lights and cameras into your scene. 2D images can be used in 3D by placing them on 3D shapes such as image planes, spheres, or other objects and combining them with 3D text, lights and cameras to create dramatic designs.

You can import 3D models or even entire 3D scenes from apps such as Maya and 3D Studio Max directly into your shots on the Fusion page. Using the FBX import menu, Fusion gives you the option to import FBX (Filmbox) scenes or Alembic animated geometry files, dramatically increasing your creative options for visual effects and motion graphics. For example, you can import a 3D model of a mobile phone and replace its screen, add a new car into a commercial spot, create a swarm of attacking spaceships, or add a dragon fighting live action knights in front of a castle! Then add textures, shading and lights, composite your actors into the shot and create photorealistic Hollywood style effects!

Fusion’s sophisticated lighting tools let you add truly realistic lighting effects to your 3D scenes. You can add an unlimited number of customizable light sources such as ambient lights, directional spot lights and point lights. Directional spot lights can cast shadows. Color, angle, intensity, falloff and other lighting parameters can be adjusted and animated over time. You can even control how elements within a 3D scene react to lighting as well as define which objects cast shadows and reflections. To see the effects of your lights in the 3D viewers, click on the lighting button at the top of your viewer and don’t forget to enable lighting when you’re ready to render the final shot!

The Spline Editor, which can be opened by clicking on its icon at the top right, gives you incredible control over curves that control the speed, or rate of change, in an animation. You can change the speed between keyframes using linear or fully customizable bezier and b-spline curves. The spline editor features a strip at the bottom with tools to reverse, loop or ping pong animations, making it faster and easier to create keyframe animations. You can even squish and stretch keyframes to shorten or lengthen animations without changing the relative motion! Curve shapes can be copied and pasted between parameters, independent of values, so you can create consistent, perfectly timed animations.

Quickly create dynamic animations by linking parameters together with modifiers and expressions. When one parameter changes, the others will automatically follow based on how you’ve customized their relationship to each other. For example, when working with text, you can add a special "follower" modifier that lets you create sequential text animations line by line, word by word, or even character by character. You can then add an expression that adjusts the blur parameter as character positions change over time. This allows you to quickly create sophisticated and dynamic animations in which multiple parameters change at the same time, all without having to manually animate each setting!

Rotoscoping is a technique used in visual effects compositing to cut characters or elements out of a scene so you can seamlessly place them in another. Fusion’s masking tools let you perform advanced rotoscoping with bezier and B‑spline shapes. You can track masks with the planar or 2D trackers, set custom feathering per point for precise blending, and use keyboard shortcuts to quickly manipulate shapes in the viewer to help you work faster. Masks and roto shapes can all be animated to morph as characters and objects change in a scene. This level of control lets you create feature film quality VFX composites. You can even send masks back to the color page to perform isolated corrections.

Lower third titles, animated background generators and custom transition templates can all be created in Fusion and added to the effects library on the edit page so they can be used in any project. When you build a template, you decide which controls will appear on the edit page. Templates are created by selecting nodes in a composition, right clicking and choosing "create macro" from the pop up menu. Simply check the parameters you want to expose, enter a custom name and save it. Templates are great for brand consistency. With pre‑built custom templates, editors don’t have to wait for designers to render titles, and motion graphic artists don’t have to worry about editors changing their designs!

Adding environmental atmospheric effects such as fog, mist, rain and smoke can dramatically increase realism in a scene. Fusion uses GPU acceleration so you can instantly see how these types of effects interact with the rest of the scene, all without having to wait for renders! Volumetric effects work in 3D space so they can flow and swirl around other objects. They can also use 3D world position data found in deep pixel render files, allowing the effects to realistically move both in front of and behind 2D deep pixel elements! There are tools to define attraction, repulsion, collision detection and more, along with special masking tools that make working with volumetric effects faster and easier.

Deep pixel compositing uses 3D metadata stored in a 2D file to speed up the process of compositing elements such as actors, other 3D objects, volumetric effects or anything else in a scene. Instead of being a simple flat image, every single pixel has a 3D x, y and z coordinate. When you render a 2D EXR image out of a 3D application you get RGBA (red, green, blue and transparency) data for every single pixel, along with XYZ position information. That means you don’t have to load massive 3D scene models that take a long time to render. It allows you to add fog, custom lights or actors and render it in seconds, not hours, as it would in 3D software that uses full models with complex geometry!

Regardless of your budget, it has become increasingly impractical to build massive sets. That’s why live action scenes are often shot on smaller sets and then composited into computer generated set extensions that make them look massive! Fusion can import and render 3D models and scenes from popular software like Maya and 3D Studio Max, so you can composite, light and render in one step. In addition, projection tools can be used to quickly render scenes, without having to use complex 3D geometry! With proper lighting and compositing techniques, virtual set extensions can blend seamlessly with live action shots to give you an epic cinematic look, all on an indie filmmaker’s budget!

Once you’ve designed titles and graphics, creating and updating them with current data can be tedious. With support for Python and Lua built in, you can write scripts to automate repetitive tasks and to feed live data sources into your animations in realtime. For example, you can use a Python or Lua script, along with a simple text document, to automatically create and render updated broadcast graphics, titles and animations with things such as up to the minute weather forecasts, sport scores and player statistics, news headlines and more. It’s not just for motion graphics, either. It goes beyond motion graphics as scripting can speed up your workflow by automating virtually any repetitive task!