Material 材质Basic 基础 Color 颜色 Diffusion 扩散 Luminance 亮度 Transparency 透明度 Reflectance 反射率 Environment 环境 Fog 雾 Bump 碰一下 Normal 正常 Alpha 阿尔法 Glow 发光 Displacement 排水量 Illumination 照明 Viewport Assign 分配

Bump

碰一下

General information about bump maps

关于凹凸贴图的一般信息

The settings on this page enable you to simulate bumps.

此页面上的设置使您能够模拟颠簸。

Figure 2 shows an even surface viewed from the side.

图2显示了从侧面观察到的一个均匀的表面。

Figure 2. 图2

The surface has a uniform brightness. However, if you use a bump map for the same surface, Cinema 4D interprets the brightness values of the picture as height values for the surface (Figure 3).

表面亮度均匀。然而，如果你对同一个表面使用凹凸贴图，Cinema 4D 将图片的亮度值解释为表面的高度值(图3)。

Figure 3. 图3

These height values are converted into a profile, whose height affects the inclination of the normal vectors. Although the surface is actually smooth, through the change in the normal vectors an apparently three-dimensional surface with a bump-like structure is created at render time.

这些高度值被转换成一个轮廓，其高度影响法向量的倾斜度。虽然曲面实际上是光滑的，但是通过法向量的变化，在渲染时会产生一个明显的三维曲面，其结构是凹凸不平的。

Various ways of creating structure

创建结构的各种方法

There are basically three ways in which structure can be added to a surface for rendering.

基本上有三种方法可以将结构添加到表面进行渲染。

Slight differences between bump maps and Normals but a dramatic difference in quality for subpolygon displacement. Increasing render times/quality from left to right. 凹凸贴图和法线之间的细微差别，但是亚多边形位移的质量有巨大差别。从左到右增加渲染时间/质量

The following methods are available, listed in ascending order with regard to render time/quality (whereby the first two use render tricks and the subpolygon displacement actually raises/sinks the surface, thus offering the most realistic-looking results):

以下方法是可用的，按照渲染时间/质量的递增顺序列出(前两种方法使用渲染技巧，亚多边形位移实际上提升/下沉表面，从而提供最真实的渲染效果) :

Bump 碰一下
Normals 正常值
Subpolygon displacement (with restrictions, normal displacement) 亚多边形位移(有限制，正常位移)

What they all have in common is that they all evaluate a texture’s grayscale valuse to define height and depth. So when should which method be used?

它们的共同点是，它们都评估纹理的灰度值来定义高度和深度。那么什么时候应该使用哪种方法呢？

Generally speaking, the following rule of thumb can be used:

一般来说，可以采用以下经验法则:

High-frequency details such as carpet or fine scratches: Bump or Normal mapping 高频细节，如地毯或细小的划痕: 凹凸或正常映射
Low-frequency details or close-ups such as hilly landscapes, silhouettes, etc.: Subpolygon displacement 低频细节或特写，如丘陵景观，剪影等: 亚多边形位移

However, you should always experiment to achieve the best result for your scene. As always, you have to find the right compromise between render quality and render time.

然而，你应该总是试验，以达到最佳的效果为您的场景。一如既往，你必须在渲染质量和渲染时间之间找到正确的折中方案。

Parameters

参数

Strength[-1000000..1000000%]

实力[-1000000. . 1000000% ]

The strength of the bumps. The higher the value, the rougher the surface. If you move the slider to the left, you can choose negative values to reverse the effect of the bump map — bright pixels then cause the material surface to indent while darker pixels elevate the height of the surface.

颠簸的力量。值越高，表面越粗糙。如果将滑块向左移动，可以选择负值来逆转凹凸贴图的效果ーー明亮的像素，然后使材质表面缩进，而较暗的像素则抬高表面的高度。

You can enter values much higher than 您可以输入远高于100%. High values are especially useful when using 。高值特别有用时，使用MIP 按揭保险计划 or 或SAT 学术能力评估 mapping, because these interpolation types tend to flatten the surface slightly. 因为这些插值类型会使曲面稍微平坦一些

MIP Falloff

按揭保险计划

You can strengthen the MIP/SAT mapping effect when using bump mapping by enabling MIP Falloff. The bump mapping is then reduced the further the surface is from the camera.

通过启用 MIP Falloff，可以在使用凹凸贴图时加强 MIP/SAT 贴图效果。凹凸贴图随着表面离摄像机越来越远而缩小。

MIP Falloff disabled (left) and enabled (right). Mipfalloff 禁用(左)和启用(右)

Texture

纹理

Here an image texture or a 2D shader can be defined. Refer to the Textures chapter for details.

这里可以定义一个图像纹理或二维着色器。详细信息请参阅纹理章节。

You must use a texture with this channel. It is only from the grayscales in this image that the bump map (a height or relief map) is calculated.

你必须使用这个通道的纹理。这只是从这个图像的灰度，凹凸贴图(高度或地形图)是计算。

Example

例子

It is very important to have a fitting Shader in the Bump channel (in this example, logically, a Water Shader) in order to make an effect look better. In the example above, the large waves are created with the help of Cloth (Edges are fixed and Wind was both applied to the Cloth tag itself and as a separate Wind Object). Since such smooth waves can only be reproduced in a laboratory setting, the Water Shader (insert center) in the Bump channel is used to create the typical "mini waves", which alleviates you from modeling them.

这是非常重要的是有一个适当的着色器在 Bump 通道(在这个例子中，逻辑上，一个水着色器) ，以便使效果看起来更好。在上面的例子中，巨大的波浪是在布料的帮助下产生的(边缘是固定的，风既适用于布料标签本身，也作为一个单独的风对象)。由于这种光滑的波只能在实验室环境中重现，水着色器(插入中心)在 Bump 通道中被用来创建典型的“微波” ，这减轻了你对它们的建模。