User Guide

for Macintosh® and

Windows®
Trademarks Kotay. Original interface design by Phil
Program copyright 1991-2000 Curious Labs, Inc. Clevenger. New interface design by Kyle
and egi.sys AG. All rights reserved. Interface Maxwell.
copyright 1994-99 MetaCreations Corporation.
All rights reserved. Curious Labs Poser is a Quality Assurance testing by Dan Huver, Lorna
trademark of Curious Labs, Inc. and egi.sys AG. Brown, Brian Romero, Steve Yatson, and Jim
All other trademarks or registered trademarks Brown. Quality Assurance Management by
are the property of their respective owners. Michael Cinque.

"Macintosh" is a registered trademark of Apple Thanks to Technical Support lead Todd

Computer, Incorporated. "Windows" is a Burlingame.
registered trademark of Microsoft Corporation.
Product management by Steve Cooper.
"Pentium" is a registered trademark and "i486"
is a registered trademark of Intel Corporation. The User Guide was written by Carol Franger
ImageStream is a trademark and ImageStream and Linda Stevens; Tutorial by Ian Grey and
Graphics Filters is a registered trademark of Erick Vera; edited by Laura Turnidge and
INSO Corporation. All other product names Valarie Sanford; managed by Erick Vera;
mentioned in the manual and other production by Landis Gwynn. Art direction by
documentation are used for identification Brian Moose; cover illustration by Heather
purposes only and may be trademarks or Dunnigan; manual and comic book illustrated by
registered trademarks of their respective Nathan Harris; illustration design by Tish
companies. Registered and unregistered Loosley.
trademarks used herein are the exclusive
property of their respective owners. Curious Collateral materials designed by Tish Loosley
Labs, Inc. makes no claim to any such marks, and Heather Dunnigan; production
nor willingly or knowingly misused or management by Rich O’Rielly.
misapplied such marks.
Poser models by Zygote Media Group Inc. and
Copyright Keith Hunter, Hunyes Publishing. Poser walk
This manual, as well as the software described animations and gestures by Chris Derochie.
in it is furnished under license and may only be
used or copied in accordance with the terms of Special thanks to the Poser Web Community and
such license. Program ©1991-2000 Curious the Poser Forum members for their
Labs, Inc. and egi.sys AG, including the look and contributions and support.
feel of the product. Curious Labs Poser User
Guide ©2000 Curious Labs, Inc. and egi.sys AG.
No part of this guide may be reproduced in any
form or by any means without prior written
permission of Curious Labs, Inc.

Notice
Before using this software or reading this user
guide, make sure you have read, understood and
agreed to the license contained in the back of the
Poser User Guide.

Credits
Poser was originally created by Larry Weinberg.
Curious Labs Poser was created by Larry
Weinberg, Seath Ahrens, Jianhua Shen, Sree
 Contents
CH0 Welcome to Poser 4 Document Display Style Controls 22

What’s New in Poser 4? 12 Editing Tools 23

Conforming Figures and Clothing 12 The Libraries Palette 23

Bendable Props 12 Animation Controls 24

New Lighting Features 12 The Menu Bar 24

Deformers 12
CH2 Poser 4 Basics
Morph Targets 12
Setting Up Poser 25
Hierarchy Editor 12
Macintosh Setup 25
Sketch Designer 13
Setting Application Preferences 26
Grouping Tool 13
Setting Up Your Workspace 27
Copying and Pasting 13
UI Memory Dots 28
New Document Display Styles 13
Workspace Backgrounds 28
When You Have Questions 13
Setting Up the Document
About Your User Guide 14 Window 28
Technical Support 14 Placing Figures and
Web Support 14 Elements in the Studio 32
Phone Support 14 Using the Libraries Palette 32
Installing Poser 15 Deleting Objects from a Scene 35
System Requirements (Macintosh) 15 Working in the
Document Window 36
System Requirements (Windows) 15
Viewing Your Figure 36
Macintosh Installation 15
Previewing Your Figure 37
Windows Installation 16
Figure Properties 41
CH1 Poser 4 Overview Element Properties 42

How Poser Works 19 Using the Editing Tools 42

The Poser Workspace 20 Selecting Body Parts 43

The Document Window 20 Pasting Figures onto

the Background 43
Camera Controls 21
Hiding Figures 44
Light Controls 22
 Displaying Guides 44 Lesson 1: Creating a Clown
from Scratch 87
Undoing Operations 46
Lesson 2: Making the
Restoring Default Settings 46
Clown Walk 91
Changing Defaults 46
Lesson 3: The Walk Designer 96
Printing 47
Lesson 4: Keyframe Editing 100
Importing and Exporting 47
Lesson 5: Adding the Final Touch 105
Saving and Closing 48
Lesson 6: Setting Animated
Cameras and Test Rendering 106
CH3 Tutorial
Lesson 7: Final Render 108
Welcome 51
The Basics 52 CH4 Posing
Lesson 1: Setting Up a How Posing Works 109
Default Workspace 52
Posing and Camera Views 110
Lesson 2: Working with Cameras 55
Posing and the Library 110
Lesson 3: Tracking Modes 60
Translation 110
Lesson 4: Document Display Styles 60
Inverse Kinematics 111
Working with Lights 64
Understanding IK 111
Lesson 1: Using the Light Control 64
Turning IK On or Off 112
Using Poser’s Tools 67
Limiting Motion 113
Lesson 1: The Parameter Dials 67
Posing Body Parts 113
Lesson 2: The Rotate Tool 68
Selecting Parts 113
Lesson 3: The Twist Tool 70
Posing a Figure 113
Lesson 4: The Translate and
Using the Editing Tools 114
Chain Break Tools 72
Rotate Tool 115
Posing 76
Twist Tool 118
Lesson 1: Creating Poses 76
Translate/Pull Tool 119
Lesson 2: Adding Poses to the
Pose Library 81 Translate In/Out Tool 120
Lesson 3: Posing Faces 82 Chain Break Tool 120
Rendering 84 Using the Parameter Dials 121
Advanced Tutorials 87 Default Parameter Dial Settings 122
Character Creation Posing Parameters 122
and Animation 87
Posing Parameters for the Body 123

Contents
 Symmetry 124 Symmetry 141
Drop to Floor 125 Scaling the Body as a Whole 142
Copying and Pasting 125 Using Parameter Dials 142
Element Properties 126 Copying and Pasting 143
Posing Hands 127 Using the Deformer Tools 143
Using the Hand Model 128 The Magnet Deformer 144
Using Preset Hands 129 The Wave Deformer 149
Posing Faces 129 Using Morph Targets 152
Using the Parameter Dials 130 Using Morph Targets to
Add Ethnicity 153
Posing Eyes 131
Using the Superhero
Faces and Phonemes 132
Morph Target 154
Using Preset Faces 133
Creating Custom Morph Targets 154
Posing Animals 133
Using the Grouping Tool 157
Posing Animal Heads 133
Using the Group Edit Palette 158
Pointing Body Parts 134
Locking Figures and
Locking Objects 134 Body Parts 159
Auto Balance and Posing 134 Saving Figures to the
Saving Poses 135 Libraries Palette 160

Saving Poses in the

Libraries Palette 135
CH6 Props
Using the Pose Memory Dots 136 How Props Work 161

Using Poses from the Libraries Palette Using Hair 163

136 Working with Clothing 164
Using Clothing without a Figure 166
CH5 Body Shaping
Adding and Importing Props 166
General Characteristics 138
Using Props from the Library 166
Selecting Figures from the Library 138
Importing Props 166
Figure Height 139
Deleting Props 168
Using the Color Tool 139
Working with Props 168
Shaping Individual
Deforming Props 168
Body Parts 140
Creating Props 168
Using the Shaping Tools 140
Creating New Prop Parameters 169
Using the Parameter Dials 141

Poser 4
 The Prop Origin 169 DollyY 185
Prop Properties 170 DollyZ 185
Setting Prop Parents 171 Camera Options 185
Replacing a Body Part with a Prop 173 Pointing Cameras 186
Adding Props to the Library 175 Locking Camera Positions 186
Saving Camera Positions 186
CH7 Cameras
Saving Camera Sets to the Library 186
How Cameras Work 177 Using the Camera Memory Dots 187
The Main and Posing Cameras 179
The Auxiliary Camera 179 CH8 Lights
The Hand and Face Cameras 179 How Lights Work 189
The Dolly Camera 179 Infinite Lights 190
The Orthogonal Cameras 179 Spotlights 191
Flyaround View 180 Light Properties 191
Selecting a Camera 180 Adding Lights 193
The Camera Selection Control 180 Aiming Lights 193
Changing the Studio View 181 Using the Light Control 194
Positioning Cameras 181 Using Light Indicators 195
Using Camera Aiming with Parameter Dials 197
Parameter Dials 183
Pointing a Light at an Object 199
Focal Length 183
Lighting Color 199
xOrbit 184
Setting a Light’s Color 199
yOrbit 184
Setting Light Intensity 200
zOrbit 184
Setting Spotlight
Yaw 184 Characteristics 200
Pitch 184 Using Shadows 201
Roll 184 Shadow Parameter Dials 202
Scale 184 Setting a Parent 202
xScale 184 Saving Light Sets 203
yScale 185
zScale 185
DollyX 185

Contents
CH9 Animating Figures CH10 Animation Techniques
How Animation Works 206 Setting Keyframes 231
Animation Tools 206 Creating Realistic Motion 232
What You Can Animate 206 Making Your Figure Walk 233
Animating Figures 206 Creating a Walk Path 233
Animating Hands 207 Designing a Walk 234
Animating Faces 207 Editing a Walk 235
Animating Props 208 Saving a Walk 235
Animating Deformers 208 Loading a Walk 236
Creating Animations 209 Applying a Walk 236
Setting Up Your Animation 210 Animating Cameras 237
Working with the Timeline 211 Turning Camera Animation
On or Off 239
Recording Keyframes 212
Animating Lights 239
Adding and Deleting Keyframes 213
Adding Sound 240
Editing Animations 213
Editing Sound 240
Editing Animation Setup 214
Syncing Sound and Motion 240
Viewing the Elements List 215
Using Poser with Other
Editing Keyframes on the
Motion Graphics Programs 241
Timeline 217
Motion Capture and Animations 241
Retime Keyframes 223
Advanced Editing 224
CH11 Surface Materials
Keyframe Interpolation 224
How Surface Materials Work 243
Editing Keyframe Interpolation 225
Applying Surface Materials 244
Previewing Animations 228
Applying Materials to Body Parts 245
Setting the Play Range 229
Applying Bump Maps 247
Using the Libraries
Palette for Animations 229 Creating a Custom Bump Map 247

Adding an Animation to Applying Texture Maps 249

the Library 230 Creating a Custom Texture Map 250
Using a Multi-Frame Animation Applying Transparency Maps 252
from the Library 230
Creating a Custom
Transparency Map 252

Poser 4
 Applying Reflection Maps 253 Morph Target 275
Reflective Color 254 Lesson 3: Using the Target
in Poser 277
Creating a Custom
Reflection Map 254 Figure Joints and
Blend Zones 278
Setting Colors 255
Editing Joint Parameters 279
Object Color 255
Using the Joint
Highlight Color 256
Parameters Palette 280
Ambient Color 257
Interactively Editing
Joint Parameters 280
CH12 Rendering
Joint Attributes 282
How Rendering Works 259 Spherical Falloff Zones 287
Setting Up a Render 260
Setting Render Destination 261 CH14 Hierarchies
Setting Image Size 261 How Hierarchies Work 289
Choosing a Rendering Using the Hierarchy Editor 290
Background 262
Controlling what is Displayed 291
Setting Surface Detail 262
Collapsing the Hierarchy Editor 291
Rendering an Image 263
Selecting Objects 292
Using the Render Command 263
Deleting Objects 292
Antialias Rendering 263
Renaming Objects 293
Rendering an Animation 264
Reordering Objects 293
Using the Make Movie Dialog 264
Displaying Object Properties 294
Using the Sketch Designer 265
Changing Object Visibility 294
The Sketch Designer Window 266
Establishing Hierarchical
Rendering a Sketch 269 Relationships 295
Creating Multi-Figure
CH13 Advanced Body Shaping Hierarchies 298
Creating Custom Applying the Standard
Morph Targets 272 Hierarchy 299
Setting up Morph Targets 272 Applying Standard
Rotation Order 299
Morph Target Tutorial 273
Setting Inverse Kinematics 299
Lesson 1: Setting Up 273
Lesson 2: Creating the

Contents
CH15 Creating Custom Figures Adding Morph Targets 314

Modifying Existing Figures 302 Naming Body Parts 314

Combining Multiple Figures 303 Tutorial: Creating a Figure

in Ray Dream Studio 315
Combining Props 303
Creating Figures using CH16 Using Poser 4 with Other
other Software 304 Applications
Deciding how to Start 304
Using Poser with
Understanding the Process 305 Ray Dream Studio 5 323
Determining Model Format 305 Using Poser with Painter 3D 326
Grouping Body Parts 305 Using Poser with Bryce 3D 328
Naming Groups 306 Using Poser on the
Arranging Groups on a Model 307 World Wide Web 331

Looking inside the Poser Internet Connection 331

Hierarchy File 308 Using a Browser 331
Converting Hierarchy Files 312 Accessing the Web 332
Verifying Hierarchy Files 312 Using Poser with MetaStream 333
Adjusting Joint Parameters 312 Using Poser with Canoma 333
Setting Limits 313
Setting Favored IK Angles 313
AppA Troubleshooting
Memorizing Default Positions 314
AppB Glossary
Setting Surface Materials 314

Poser 4
Contents
Welcome to
Poser 4

Poser is an easy-to-use figure design and

animation tool. With Poser you’ll produce lifelike
3D illustrations and animations of human and
animal figures in action—dancing, scaling a cliff,
meditating, even walking.

Poser is great for anyone who wants to add

realistic human and animal figures to an art
project. It’s a welcome companion to your
favorite graphics, illustration, 3D, animation, and
multimedia applications.
What’s New in delete them, to fit your needs. The new light
control also includes an intensity control. All
Poser 4? the new lighting features are discussed in
“Lights” on page 189.
If you’re a Poser 3 user, the following
information will bring you up to date with Poser now supports spherical reflection maps
the new features in Poser 4. and transparency maps. For details, refer to
“Surface Materials” on page 243.
Conforming Figures and
Clothing Deformers
Poser now includes two deforming tools. The
One of the most requested features for Poser is Magnet deformer allows you to stretch and
the ability to change clothes on the Poser pull body parts and props. The Wave deformer
figures. Poser now includes wardrobes of lets you add ripples to objects such as clothing,
custom clothing in the Libraries palette. ground planes, and props. Deformers can be
Custom clothing behaves the same as Poser animated and used to create morph targets.
figures; each article includes parameters for These tools are discussed in detail in “Using
the corresponding body parts.You can the Deformer Tools” on page 143.
conform clothing to a figure so that it moves
as the figure moves. Refer to “Working with
Clothing” on page 164 for complete Morph Targets
information on clothing.
You can now access a library of figures and
props with built-in morph targets. Poser
Bendable Props includes targets for single body parts as well as
a full figure morph.You can also use the
When you attach a prop to a body part, you deformers and Parameter Dials to create your
can configure it to bend as the body part own morph targets. The possible applications
bends. This feature is helpful for naturally for morph targets are infinite. Learn all about
bendable objects, such as a rollerblader’s elbow morph targets in “Using Morph Targets” on
pads. For details, refer to “Setting Prop page 152.
Parents” on page 171.

New Lighting Features Hierarchy Editor

With Poser’s new Hierarchy Editor, you now
Poser’s lighting controls are completely have complete control over the figures, props,
redesigned. Now you have the choice of using cameras, and lights in your scene. The
traditional infinite lighting or spotlights that Hierarchy Editor provides an easy way to
you can move around the studio.You can add select, delete, and rename objects. It’s never
an unlimited number of lights, as well as been easier to turn visibility on or off for
figures, body parts, props, or lights. With the

We l c o m e t o P o s e r 4
Hierarchy Editor, you can adjust parent-child New Document Display
relationships and create IK chains. For the
truly ambitious, the Hierarchy Editor is an Styles
exciting route to creating brand new Poser
figures. Refer to “Hierarchies” on page 289 You can choose from 12 interactive display
for complete information. styles in the Document Display Style palette.
New styles include flat shaded with mesh,
Sketch Designer smooth shaded with mesh, and cartoon style
without lines. Refer to “Previewing Your
Figure” on page 37 for explanations of all 12
Rendering possibilities are greatly expanded
display styles.
with the new Sketch Designer, which lets you
create and refine hand-drawn quality portraits
of your scenes. Drawings are rendered with a
series of brush strokes that define the When You Have
background, edges, and actual elements. Questions
Many drawing options are available, so you
can tailor the strokes to your liking. For You can find answers to most of your
details, refer to “Using the Sketch Designer” questions in the following sources:
on page 265.
• Status line tips - As you move the cursor
Grouping Tool over most UI elements, descriptions
appear at the top of their palette or
window.
The new grouping tool is a powerful feature
for assigning materials and generating new • Poser 4 User Guide - Provides all the
props and objects. It also complements the information you need to get the most out
deformer tools and morph targets: you can of Poser. The Poser CD includes a PDF
specify sections of a body part or prop for version of the User Guide. Adobe
deforming and morphing. Refer to “Using Acrobat Reader is required to read the
the Grouping Tool” on page 157 for complete PDF file format. Adobe Acrobat Reader
information. software is available on the Poser CD or
downloadable for free from
www.adobe.com.
Copying and Pasting
• Web links - You can launch your web
Cut, Copy, and Paste commands are now browser and access Curious Labs and
included in the Edit menu, so you can easily Poser-related web sites directly from
copy poses, body shaping, and animations to Poser. To do this, choose Help menu>
other figures, body parts, and props. This new Web Links> choose a link.
functionality is explained in detail in
“Copying and Pasting” on page 143.

Poser 4
About Your User Web Support
Guide Many of the answers to your questions are
available 24 hours a day on our Web site:
The Poser 4 User Guide is for both Macintosh
and Windows. By convention, Macintosh http://www.curiouslabs.com
commands precede Windows commands in
the text. For example, Commmand/Ctrl+I, is In addition to frequently asked questions
equivalent to the Macintosh Command-I and (FAQs), the Web site provides troubleshooting
the Windows Crtl+I. For simplicity, the term techniques, late breaking product news, and
"folders" refers to directories as well as folders. other resources to help you get the most out
The Poser interface for Macintosh and of Poser.
Windows platforms is identical, unless
otherwise specified.
Phone Support
When a modifier key differs between the
Macintosh and Windows platform, the Free telephone tech support is available to
Macintosh modifier is listed first followed by a registered users. Please note that phone
slash and the Windows modifier key. Option/ support is not intended to provide project-
Alt means Macintosh users press the Option based solutions.You may be asked to leave a
key and Windows users press Alt. message with your tech support question. We
will reply to phone messages within 48 hours
There are several conventions used to identify during regular business hours. For phone
paths to certain tools and controls. The support, call (831) 462-8902. Please have your
convention to a menu follows the rule of the serial number handy and be at the computer
menu name> menu item. The convention where you need assistance.
to a palette follows the rule of the palette
name: palette menu> menu item. For international support, please contact your
local distributor.To locate a distributor nearest
to you, check our web site at:
Technical Support http://www.curiouslabs.com
Online technical support is free to registered
users of Poser. There are two easy ways to Email Support
contact technical support for questions about
installation, configuration, or functionality. To receive free email tech support, please send
These options are: Web support and phone your question via email to
support. [email protected] should include
your Poser serial number and as much system
You’ll find the answers to most of your information as possible, including type of
question in this User Guide. If you need computer and processor, operating system,
further assistance, you can contact Curious available RAM and video/graphics card as
Labs’ Technical Support in the following ways: well as any other external hardware attached
to your computer.

We l c o m e t o P o s e r 4
Installing Poser Macintosh Installation
This section provides installation instructions When you install Poser on a Macintosh, create
for both Macintosh and Windows. Follow the a custom extension set for the installation.You
instructions appropriate to your system. can save your current extension set, so that
you can go back to it after installation.
Poser is intended for local
Note installation only. Do not
To create a custom extension set:

attempt to install it onto a 1 Select Apple menu> Control Panels.

network server.
2 Double click the Extension manager.

System Requirements 3 Save your current extension set by

selecting duplicate set; give it a new
(Macintosh) name. After installation, you can go back
to this set.
• Power PC and compatible models
4 Deselect everything.
• System 8.0 or higher
5 Expand the Extensions folder by clicking
• 32 MB application RAM (64+ MB
the arrow to the left of it.
recommended)
• 240 MB available hard disk space 6 Check the Apple CD-ROM, Quicktime,
and Quicktime Powerplug extensions.
• 16-bit color (24-bit recommended)
7 Restart.
• CD-ROM drive
To enable extensions:
System Requirements
1 Double-click to open the hard drive.
(Windows)
2 Double-click to open the System Folder.
• IBM® PC compatible 3 Open Control Panels.
• Pentium processor
4 Double-click the Extension Manager.
• Microsoft® Windows® 95, Windows 98,
or Windows NT version 4.0 with Service 5 Check all to enable all extensions or
Pack 3 or later choose your own custom set.
• 32 MB available system RAM (64+ MB To install Poser 4 on a Macintosh:
recommended)
• 240 MB available hard disk space 1 Choose Apple menu> Control
• Color display (true color recommended) Panels> Extensions Manager.

• CD-ROM drive

Poser 4
2 To save your current extensions setting,
click Duplicate Set, and enter a name in Increase the RAM available to
the dialog that appears. This will be the Tip Poser by allocating any unused
set of extensions you use for the RAM to it. This allows Poser to
installation. run faster and handle larger
3 In the new set, expand the Extensions files and renderings. However,
folders and deselect all extensions except be sure to leave some RAM for
those for: the system software. System
• CD-ROM or DVD-ROM software must dynamically
• Quicktime allocate RAM to itself when

• Quicktime Powerplug required.

If you are not using standard

Windows Installation
Note Apple drives, your drives may
Before you install on Windows, you must end
require additional extensions any background tasks except for Systray and
to run properly. If so, turn Explorer.
those extensions on.
To end background tasks in Windows:
4 Insert the Poser 4 CD-ROM into your
computer’s CD-ROM drive. The Install 1 Type Ctrl-Alt-Delete.The Close Program
Poser dialog appears. dialog appears.
5 Double-click the Poser icon. 2 Click End Task for all items except
Systray and Explorer.
6 Follow the instructions provided by the
installer. This must be done one item at a time;
repeat these steps to end each task that is
The installation dialog displays an
open.
important ReadMe.
7 Click Accept after reading the complete To install Poser 4 on Windows:
ReadMe.
1 Insert the Poser 4 CD-ROM into your
computer’s CD-ROM drive. The Install
Poser dialog appears.
2 Double-click the Poser icon.
3 Follow the instructions provided by the
installer.
The installation dialog displays an
important ReadMe.

We l c o m e t o P o s e r 4
4 Click Yes after reading the complete
ReadMe.
Poser installs into C:/Programs/Curious
Labs/Poser. If you change the drive
where you want to install Poser, be sure
to include a folder. For example, if you
install on the D: drive, your path could be
D:/Poser.

Poser 4
We l c o m e t o P o s e r 4
1
Poser 4 Overview

How Poser Works

Poser is the easiest and most effective tool you can
use to pose and animate figures. It is the perfect
complement to any 3D illustration or character
animation tool.

With Poser you can:

• Choose a figure from a large number of pre-

built models included in the Poser Libraries
• Pose the figure using the posing tools
• Add colors and textures to your figures to
create realistic or fantastic looks
• Set up poses to use as keyframes for an
animation
• Render figures as still images or animations
The Poser Workspace The Document Window
This section leads you through the Poser The Document window is where you view
Workspace. Whether you are a previous Poser and pose your figure. It acts like a
user or new to Poser, this section familiarizes photographer’s studio; you can move lights
you with the new Workspace. and shift between cameras to get a different
perspective on your figure.
You’ll notice that Poser doesn’t use traditional
floating palettes and toolbars. Most of Poser’s The view of your figure in the Document
features are integrated into the Workspace, window is taken through a camera. Since
which fills your entire screen. This keeps the you’re in a three dimensional space, you can
space uncluttered and makes tools easy to use this camera to view your figure from any
locate. angle, including above and below.

The new Workspace is incredibly flexible.

Feature controls float over the top of the
Workspace.You can move controls to any
location and save their positions for later use.
You can also change the color of the
Workspace and add stylistic elements to its
background. For more information on setting
up the Workspace, refer to “Setting Up Poser”
on page 25.

The Document window displays the current view of

your figure.

You can resize the Document window to best

suit your needs. In addition, several controls
around the window let you change the
appearance of elements within the window,
The Poser Workspace fills the screen and provides
access to all of Poser’s controls.
such as the ground plane and the background.

Poser 4 Overview
The Ground Plane
The Ground plane represents the floor of the
posing studio. This plane helps you orient the
figure in 3D space. It also helps you orient
your view of the figure. As you move the
camera, the ground plane tilts or rotates to
indicate the new orientation.

Use the Camera Controls to set the view of your

scene.

The View controls let you move between a

number of preset views. By clicking or
dragging this control, you can access all the
available views in Poser.

Use the Ground Plane to orient your figure in 3D

space.

Camera Controls
The View controls let you quickly move the camera
The Camera Controls set the view of your to a preset position.
figure in the Document window. There are
two types of Camera Controls: the View The Positioning controls let you move the
controls and the Positioning controls. camera interactively. There are two sets of
positioning controls: the Camera Plane
controls and the Rotation Trackball. The

Poser 4
Camera Plane controls let you move the Light Controls
camera along specific planes. For example,
you can move the camera in only a vertical or The Light Controls let you define preset
horizontal direction. positions for the lights in your virtual studio.
With these controls you can change light
color or illuminate your figure from various
angles.

The Camera Plane controls let you move the

camera along a plane in 3D space.
Use the Light Controls to set up the lighting for your
Tool titles indicate which two axes the camera figure.
is moving in.

The Rotation Trackball control lets you tilt Document Display Style
and spin a camera around the studio. With this Controls
control you can move the camera to almost
any position while still keeping the figure in The Document Display Style controls let you
the center of your field of view. set the preview quality of the figure in the
Document window.

The Document Display Style controls let you set

how your figure is displayed in the Document
window.

There are several preview styles available.

The Rotation Trackball lets you move a camera Different styles work best for different
around the Document window. operations. For example, at times you may
want to view the entire mesh of a figure
The Rotation trackball does not
(Wireframe), at other times you may prefer a
Note affect the orthogonal cameras.
realistic look (Smooth Shaded).

Poser 4 Overview
Editing Tools If all the Parameter Dials do not fit in the
window, use the scroll bar to slide through the
list.
The Editing Tools let you adjust the position
of the figure’s body parts to create specific
poses. Each tool moves the figure in a The Libraries Palette
different way. Using a combination of
controls, you can create an infinite number of The Libraries palette contains all the figures
poses. and props available in Poser, as well as custom
poses and light and camera settings. From this
palette, you can access sub-categories and
preview each figure or prop.

The Editing Tools let you set the position of your

figure’s body parts.

The Parameter Dials

The Parameter Dials let you pose figures more
precisely than the Editing Tools by adjusting
the values of specific parameters.

The Libraries palette contains all the figures and

props available in Poser.

Use the Libraries palette to add or replace

figures or props in the Document window.

The Parameter Dials let you precisely pose your

figure using numerical values.

Poser 4
Animation Controls
The Animation controls let you quickly set up
animation keyframes.You can set up a pose as
a keyframe, change to a new keyframe, change
the pose, then set another keyframe. When
you play the animation, the figure appears to
move from one pose to the other.

The Animation controls let you quickly set up

keyframes for your animation.

With the Animation controls, you can move

quickly through keyframes, and add or delete
them as needed.

Animation Palette
The Animation palette displays the animation
timeline and lists all the keyframes that you
have created for the figure. Use the palette to
fine tune an animation.

The Animation palette lets you refine and edit your

animations.

The Menu Bar

Although the Poser Workspace fills the entire
screen, you can still access several features
through the Menu Bar.You can also switch
between Poser and other applications. On the
Macintosh, the Menu Bar appears when you
move the cursor over the top of the
Workspace.

Poser 4 Overview
2
Poser 4 Basics

This chapter describes how to set up Poser 4 and

describes some basic techniques for posing figures.

Setting Up Poser
Poser is a color application. For the best preview
display, set your display to the highest color depth
possible. To do this, use the Macintosh Monitors
control panel, the Windows Setup options, or
your video adapter control panel.

Macintosh Setup
By default, the Macintosh version of Poser is
allocated a specific amount RAM appropriate for
most systems. If you have more memory available,
increase Poser’s memory allocation to improve
application performance. To check the Setting Application
application’s memory allocation, choose the
Apple Menu> About this Macintosh in Preferences
the Finder.
Poser’s preferences dialog lets you control how
To increase Poser’s memory allocation: the application appears when it opens.

1 Make sure Poser is not running. To set application preferences:

2 From the Finder, click the Poser program
• Choose Edit menu> General
icon.
Preferences. The General Preferences
3 Choose File menu> Get Info. The dialog appears.
Poser Information dialog appears.
4 For System 8.5 or higher, choose
Memory from the Show popup

Use the General Preferences dialog to set the

interface’s appearance and the application’s launch
state.

Document Preference
Use the Get Info dialog to allocate memory to Poser
on the Macintosh The Document Preference controls how the
document appears when you start Poser or
5 In the Memory Requirements section,
create a new document.You can make the
increase the Preferred Size to a level document appear as it did when you last
appropriate for your system. closed it, or in its default state.
For Poser to operate well with fully
articulated Poser people figures, it must For example, if you want to always start Poser
have at least 32 MB of RAM. However, with the Casual Woman and the ground plane
do not use all the available memory on on, you can load the woman, turn on the
your computer; leave one megabyte or Ground Plane, and set this as the preferred
more for the system. state.
If you don’t have enough RAM, you can
To set the Preferred State:
turn on virtual memory, which uses some
disk space with a cost of slower 1 In the Poser workspace, move the palettes
performance.
and controls to the positions you prefer.

Poser 4 Basics
2 Choose Edit menu> General
Preferences. The General Preference
Setting Up Your
dialog appears. Workspace
3 Click the Set Preferred State button. Your Workspace reflects the layout of the
controls and Document window.You can
To set the Factory state: customize most controls within the Workspace
can be customized to suit the way you work;
1 Enable the Launch to Factory State place controls anywhere in the Workspace and
button. store those changes for later use.
2 Click OK
As you move the cursor over the
Interface Preference Note controls, text describing the
Workspace elements appear
The Interface Preference controls how the
interface appears when you open Poser To re-position an element in the
without using an existing document. Workspace:

To set interface preferences: • Click the element’s title and drag it to a

new position.
• If you want the application to appear as it
You can drag any of the controls, such as
did when you closed it, enable the Use to
the Camera, Light, Display Style, and
Previous State radio button.
Parameter Dial controls.
• If you want the application to launch in
its default state, enable the Use to Factory To re-position the Document window:
State radio button
• Click the text label above the Document
To close the General Preferences dialog, click window and drag it to a new location.
OK.
To “window shade” a control so only its
title appears:

• Double-click the title bar.

Poser 4
UI Memory Dots Workspace Backgrounds
The nine UI dots in the bottom-right corner The Poser Workspace background includes
of the Workspace store Workspace layouts, several stylistic elements.You can change,
Poses, and Camera positions. move, or hide the figure, and you can change
the Workspace background color.

To change the Workspace background

Full Memory Dot
figure:

Empty Memory Dot • Option/Alt-click the background figure.

Use the Memory dots to save Workspace layouts, Continue clicking until an image you like
Poses, and Camera positions. appears (one option is no figure).

You cannot use Poser 3 UI To reposition the background image:

Note preferences in Poser 4
• Drag the figure to a new position.
To save a Workspace layout:
To change the Workspace background
1 Click the arrow icon next to the memory color:
dot element title and choose UI Dots
from the menu that appears.
1 Click the Color tool.

2 Arrange the Workspace controls to their

2 Click on the background and choose a
color from the Color picker.
optimal positions.
3 Click an empty UI Dot. The Workspace To restore the default Workspace
layout is stored in that memory dot. background color:

To retrieve a Workspace layout: • Option/Alt-click the background.

1 Make sure the memory Dot element title

Setting Up the
is selected.
2 Click on a full memory dot.The interface
Document Window
elements are re-arranged to conform to
The Document window provides a view of
the stored layout.
the studio where you pose and view your
To delete a saved Workspace layout: figure. There are several parameters that allow
you to change the window appearance to suit
• Option/Alt-click a full memory dot. The the way you work.
layout information is deleted from the
memory dot.

Poser 4 Basics
To interactively set the Document Document Window Color
window size:
To improve your view of the figure, you can
• Drag the size control circle until the set the background, foreground, shadow, and
window is the desired size. ground colors of the document window.

The Color controls are located in the bottom-

right corner of the window.

Foreground Color

Background Color

Shadow Color

Ground Color

Use the Color controls to set the color of Document

Drag the size control to resize the Document
window elements.
window.

To numerically set the Document To set the Document window colors:

window size:
1 Click the appropriate color button on the
1 Double-click the window dimensions at bottom-right corner of the Document
the top-right corner of the Document window.
window, or choose Window menu> 2 Drag the dropper icon over the color
Document Window Size. The Set picker that appears. Release the mouse
Window Size dialog appears. button when you select the desired color.
2 Enter Width and Height values.
To access the standard Macintosh
3 Click OK.
Tip or Windows color picker,
To move the Document window: Command/Ctrl-click the color
button.
• Drag the Document window’s title to a
new position.

Poser 4
Depth Cueing Figure Tracking
Depth Cueing adds dimension to objects in Tracking is a performance enhancing feature
the Document window. Elements that are that changes the display of an object as you
farther away fade into the distance. reposition its parts. For example, if you use
Fast Tracking, a figure’s body parts display as
boxes when you’re moving them, then revert
to their display style when they stop moving,

An example of Depth Cueing with a figure in An example of Fast Tracking using a figure in Flat
Wireframe display style. Shaded display style.

To enable or disable Depth Cueing: You can use the following types of tracking in
the Document window:
• Click the Depth Cueing button on the
• Box Tracking displays figures and
bottom-left corner of the Document
objects as boxes at all times. Box Tracking
window.
is the fastest way to render objects.
• Fast Tracking displays figures and
objects as boxes only when they are being
dragged or animating.
Enabled Disabled • Full Tracking uses the display style at all
The Depth Cueing button. times. With Full Tracking, large or
complex objects render more slowly.

Poser 4 Basics
To enable a tracking mode: To choose a paper texture:

• Click one of the tracking option buttons • Choose Display menu> Paper
on the top-right corner of the Document Texture> desired texture.
window.
To clear a paper texture:

Box Tracking • Choose Display menu> Paper

Texture> None.
Fast Tracking
Drop Shadows
Full Tracking Figures in the studio cast drop shadows
directly on the ground plane. Shadows can
The Figure Tracking option buttons. help you orient a figure in 3D space.You can
turn shadows off to save on redraw time.
Paper Textures
To turn drop shadows on or off:
You can enhance the view of the Document
window by changing the Paper Texture.There • Click the Display Shadows button on the
are several texture options available—such as right side of the Document window.
Paper,Weave, and Grid—to help you precisely
position your figure.

On Off
The Display Shadows option button.

Drop shadows are not actually

Note shadows cast by a light; they
always appear directly beneath
an object on the ground floor.
Shadows cast by lights appear
only when a scene is rendered.
Refer to “Rendering” on
A figure with a grid line texture applied to the page 259 for details.
background.

Poser 4
Placing Figures and
Elements in the Sub-
Studio category
popup
The main working area of the Poser
Workspace is the studio in the Document
window. The figure that appears in the studio
is determined by the model you load from the Previews
Figures category of the Libraries palette, or
from a document or import. The Libraries
palette is the main tool you’ll use to load
figures and props.

Using the Libraries

Palette
The Libraries palette provides access to all the Categories
preset figures, props, light sets, and camera sets
available in Poser. The content of the libraries
palette is divided into eight categories.

Each category includes sub-categories. For The Libraries palette divides the available content
example, the Figures category includes the into categories. Each category palette provides
subcategories People, Animals, Poser2 figures, previews.
etc. Each sub-category contains figures to
Once you load a figure into your studio from
choose from.
the library, you can customize it and save it
back to the library for future use.
Some figures are more posable
Note than others. The People sub- To display the Libraries palette:
category of the Figures category
• Click the handle on the right side of the
give you more control over hands
screen.
and faces. Poser 2 figures have
or
less control.
Choose Windows menu> Libraries.

Poser 4 Basics
To resize the Libraries palette: To change or add an item to the studio:

• Drag the palette’s handles up or down. 1 Click the category of content (such as
Release the mouse when the palette is Figures or Props) you want to use.
the desired height.
2 Choose a sub-category from the popup.

Loading from the Libraries If you select a figure, pose, or body part,
it will replace the current figure content
Palette in the studio. If you select a prop, it will
be added to the scene.
Loading content is a matter of selecting a
category, a sub-category, and then a specific 3 Click a preview in the main body of the
item. The Libraries palette makes these palette. If the figure you want is not
selections easy. It displays categories using displayed, use the scroll bar to view
descriptive button icons and provides previews additional previews.
of each item. 4 Click the Change Figure icon at the
bottom of the palette.
To choose a category:

1 Click a category button.

If all the icons are not visible, move your
The Change Figure icon.
cursor over the small dots next to the
category icon, or click on the current The Create New Figure icon is only available
category. in the figures category, so that you can add
additional figures to the studio.

To add an additional figure to the

studio:

Move your cursor over the small dots next to a 1 Click the content category you want to
category icon to cycle through all the available use.
categories.
2 Choose a sub-category from the popup.
2 When the desired category icon appears, 3 Click the preview of the figure you want
click the mouse button. to add to the studio.
To choose a sub-category: 4 Click the Create New Figure icon at the
bottom of the palette.
• Click the arrow icon below the category
icon and choose an item from the popup.
The content within the selected category
appears in the main body of the palette. The Create New Figure icon.

Poser 4
Saving to the Libraries 4 For the Poses, Faces, Props, Lights, and
Cameras categories, you can specify parts
Palette of the scene to include or not include. To
do this, click the Select Subset button. In
In the Libraries palette, you can create your
the Hierarchy Selection list that appears,
own set of customized figures and poses,
deselect any items in the scene that you
which you can easily retrieved and use in
don’t want to include, then click OK.
other illustrations.You can save custom camera
and light configurations, poses, and figures to
the library.

When you save an item to the Libraries

palette, you create a new set within the
currently selected sub-category.

You can either save an item to an existing sub-

category, or create a new sub-category for
your item.

To create a new sub-category:

1 Click the category of content where you

want to add a new sub-category.
2 Click the sub-category popup and choose
Add category. The New Library dialog
appears.
3 Enter a name for your new sub-category
and click OK.
Your new sub-category appears at the end The Hierarchy Selection list.
of the menu.
5 Enter a name for your library item and
To save an item to a library: click OK.

1 Click the content category you want to

save to. For example, if you want to save a
pose, click the Poses category.
2 Choose a sub-category from the popup.
3 Click the Add to Library (+) icon at the
bottom of the palette. A dialog appears.

Poser 4 Basics
6 A dialog appears asking if you want to
save a Single frame or a multi-frame
animation. This command permanently
Note deletes items from the library;
make sure you really want to
delete the item before accepting
the message in the warning
dialog.

Deleting Objects from a

You can save a still or the entire animation. Scene
• If you select the Single frame option,
the current pose is saved, or if you At some point you may wish to delete one or
have an animation set up, only the more of the figures and props you have added
current frame is saved. to the studio.

• If you select the Multi-frame To delete a figure or prop from the

animation option, you can specify a studio:
range of frames to save.
Select either Single frame or Multi-frame 1 Select the figure or prop you want to
animation and click OK. delete from the Current Figure or
Current Element popup.
The item is added to the selected
category. 2 Press Delete.

To delete an item from the library: You cannot undo this delete
Note command.
1 Select the preview of the item you want
to delete. You can also delete items using the Hierarchy
2 Click the Delete from Library (-) icon at Editor. For details, refer to “Deleting
the bottom of the palette. Objects” on page 292.

Poser 4
Working in the To select a camera view:

Document Window • Drag the cursor over the Select Camera

control, until the desired Camera view
Viewing Your Figure appears.
or
The camera position determines your view in Click the Select Camera popup and
the Document window.The Camera Controls choose the desired view.
let you quickly move the camera to different
positions as you pose your figure. To switch to the face camera:

• Click the Face Cam icon at the top of the

Camera controls.

or
Click the Select Camera popup and
choose Face Camera.

Use the Camera Controls to change the view of To switch to a hand camera:
your figure.
• Click either the Left or Right Hand
You can move the camera in any direction
Camera icons.
within the studio. However, positioning it can
be an involved process. This section outlines
how to quickly move the camera to the most
commonly used positions. For more detailed
instruction on positioning the cameras, refer
to “Changing the Studio View” on page 181.
or
The available cameras are: Main, Auxiliary, Click the Select Camera popup and
Left, Right, Top, Bottom, Front, Back, Right choose either Right Hand or Left Hand
Hand, Left Hand, Face, Posing, Dolly, and Camera.
Flyaround View.
To view the entire figure:

• Click the Select Camera popup and

choose Main Camera or Posing Camera.

Poser 4 Basics
Flyaround View Previewing Your Figure
In Flyaround view, Poser places the camera on The Document Display Style determines how
a virtual track above and away from the center a figure is displayed in the Document window.
of the studio. Thus, the camera circles the Different display styles have different
entire studio, displaying all the objects within purposes. Some save on memory, while others
it from various views. This is an excellent way can be used to make positioning easier.
to see how a figure pose looks within 3D
space. To choose a display style:

To activate flyaround view: • Click one of the style icons in the Display
Style controls.
• Click the Flyaround View icon.

Click a Display Style icon to switch to a different

display style.

or or
Click the Select Camera popup and Choose Display menu> Document
choose Flyaround View. Style> desired display style.

Saving Camera Positions The following display styles are available:

You can quickly move between views of the Silhouette displays figures only as a cutout.
studio by saving your most commonly used
views into the Camera Memory dots. This
makes it easy to recall a view with a simple
mouse click.

To save a camera position:

1 Position the camera as desired.

2 Click the Memory dots popup and
choose Camera dots.
3 Click an empty memory dot.

An example of Silhouette style.

Poser 4
Outline displays only the outline of the Hidden Line displays figures and objects as a
figure. mesh, but portions of the mesh not is the
cameras field of view do not display.

An example of Outline style.

An example of Hidden Line style.
Wireframe displays figures and objects as a
mesh. Lit Wireframe displays figures and objects as
a colored mesh, where the color of a section
of mesh corresponds to the color of the
surface material.

An example of Wireframe style.

An example of Lit Wireframe style.

Poser 4 Basics
Flat Shaded displays figures and objects with Cartoon displays figures using a hand-drawn
a colored surface, where the mesh facets are style.
clearly visible.

An example of Cartoon style.

An example of Flat Shaded style.
Cartoon w/Line displays figures using a
Flat Lined displays figures and objects as a hand-drawn style with black outlines.
colored flat shaded surface, covered by a black
mesh.

An example of Cartoon w/Line style.

An example of Flat Lined style.

Poser 4
Smooth Shaded displays figures and objects Texture Shaded displays figures and objects
as a smooth continuous surface. using texture mapping.

An example of Smooth Shaded style. An example of Texture Shaded style.

Smooth Lined displays figures and objects as All styles except Silhouette, Outline,
a smooth shaded surface, covered by black Wireframe, and Hidden Line are affected by
mesh lines. lighting changes.

You can apply a Display Style to a figure, the

entire document, or a specific body part.
Different styles can save on redraw time and
help you isolate specific body parts while
you’re working. Cartoon w/Line, Flat Lined,
and Smooth Lined styles are slower than their
non-lined counterparts.

To apply a display style to the entire

document:

• Click the popup next to the Display Style

An example of Smooth Lined style.
icons and choose Document Styles.

To apply a display style to the entire

figure:

• Click the popup next to the Display Style

icons and choose Figure Styles.

Poser 4 Basics
To apply a display style to an element: Figure Properties
• Click the popup next to the Display Style
You can control several behavior options for
icons and choose Element Styles.
figures in the Figure Properties dialog.

To change options for a figure:

1 Click the Figure menu under the

Document window and choose the figure
you want to work with.
2 To select the entire figure, choose Body
from the Current Element popup.
3 Choose Object menu> Properties.
The Properties dialog appears.

The options in the Figure Properties dialog

The figure is shown in wireframe style, while the are:
hand (an element) is shown in smooth shaded style.
• Name: rename the figure. Giving your
When you assign a Figure or Element style, an figures descriptive names can make it
additional display style control, an upward easier to locate them in the Current
arrow, appears. With this control, you can Figure popup, Animation palette, and
quickly reset elements with different display Hierarchy Editor.
styles to the Figure’s display style, or figures • Visible: toggle the figure visible or
with different styles to the Document’s display invisible.Visibility is global to the file. In
style. In the above example, to reset the hand an animation, you cannot make a figure
to match the figure’s wireframe style, select visible in one frame, but hidden in
the hand, then click the arrow icon. another.

Click the arrow button to switch the element to the

figure display style, or the figure to the document
display style.

Poser 4
Element Properties Using the Editing Tools
You can control several behavior options for Poser includes several Editing tools for
body parts in the Element Properties dialog. manipulating figures, objects, lights, and
You can rename parts, make them invisible, cameras.
and control whether they cast shadows or not.
Rotate Translate Scale Chain Group
To change options for a body part: /Pull Break

1 Click the Figure menu under the

Document window and choose the figure
you want to work with. Twist Translate Taper Color
In/Out
2 Choose a specific body part from the
Current Element popup. The Editing Tools allow you to manipulate figures,
objects, lights, and cameras.
3 Choose Object menu> Properties.
The Properties dialog appears. To change the Editing toolbar’s
4 Set any of the following options in the orientation:
Element Properties dialog:
• Option/Alt-click the Editing toolbar.The
• Name: rename the part. orientation toggles between horizontal
• Visible: toggle the part visible or and vertical.
invisible. In an animation, you
cannot make an element visible in Editing Tools are discussed throughout this
one frame, but hidden in another. book:
• Casts Shadow: toggle shadow • For information on the Rotate, Twist,
casting for the part. Translate, and Chain Break tools, refer to
• Bend: toggle the part bendable or “Using the Editing Tools” on page 114.
not. For details, refer to “About • For information on the Scale, and Taper
Bending” on page 127. tools, refer to “Using the Shaping Tools”
• Add Morph Target: add a custom on page 140.
morph target to the part. For details, • For information on the Color Tool, refer
refer to “Adding Custom Morph to “Using the Color Tool” on page 139.
Targets” on page 156.
• For information on the Grouping Tool,
5 Click OK to close the dialog. refer to “Using the Grouping Tool” on
page 157.

Poser 4 Basics
Selecting Body Parts Head

Before you start posing a figure, you need to

know how to select the part of the figure you
want to move.You can select a body part with Right Eye Left Eye
an Editing Tool or from the Current Element
popup located beneath the Document
window.

Head Posable face elements. Pose face features using

Shoulder Parameter Dials.
Neck
Hand
Body parts are highlighted as you move the
cursor over them.
Chest
Forearm
Abdomen To select a body part using an Editing
Collar Tool:
Hip
Thigh
1 Click one of the Editing Tools.
2 Click a body part on the figure.
Shin The selected body part is highlighted in
the Document window and the name
Foot appears in the Current Element popup
Figure’s right Figure’s left menu.
The Figure’s body parts are posable elements.
To select a body part using the menus:
Index 1
Index 2 • Click the Current Element popup
Index 3 located beneath the Document window
Thumb 3
Mid 3 and choose the desired body part from
Thumb 2
Mid 2 the menu.
Mid 1 Thumb 1
Ring 3
Ring 2
Pasting Figures onto the
Ring 1
Background
Pinky 3 Hand
Pinky 2 At any point, you can paste an image of the
Pinky 1 figure onto the studio background. When you
Posable hand elements. The Right and Left hand choose this command, the current view of the
have the same elements.
figure becomes part of the background
bitmap.

Poser 4
At first glance, you might not notice the To hide a figure when you have two or
affects of applying this command. This is more figures:
because the figure itself blocks the
background-pasted image. However, any 1 Click the Figure popup and choose the
changes you make—such as moving the figure figure you want to hide.
or camera—reveal the background image.
2 Choose Figure menu> Hide Figure.
To paste the figure onto the studio This command is only available when you
background: have more than one figure in the studio.

1 Choose Display menu> Paste onto To display a hidden figure:

Background.
• Choose Figure menu> Show All
2 The figure is pasted over the background Figures.
image.

To clear the background: Displaying Guides

• Choose Display menu> Clear Poser provides several guides to assist you in
Background Picture. posing figures. Guides help you achieve a
particular perspective more easily. The guides
Poser offers are a ground plane, horizon line,
Hiding Figures vanishing lines, the hip-shoulder relationship,
and head lengths.
Hiding a figure makes it temporarily disappear
from the Poser studio. This feature is useful To display a guide:
when you have two figures close together, and
one gets in the way when you try to select the • Choose Display menu> Guides and
other. select the guide you want.
To hide a figure: To hide a guide:
1 Click the Current Element popup and • Choose Display menu> Guides again
choose Body. and de-select the guide.
2 Choose Object menu> Properties.
The Figure Properties dialog appears. Ground Plane
3 Disable the Visible option.
The ground plane is a basic reference of the
camera’s perspective on the studio. As you
rotate the camera, the ground plane can help
you infer the camera’s current position.

Poser 4 Basics
The display style of the ground place can be For example, if the horizon line crosses at the
the same as the document or figure, or it can center of the front figure’s chest, arrange the
have its own element display style. Using the distant figure so that the horizon crosses its
Wireframe style, the ground plane is a grid. chest at the same position. This arrangement
Using the Flat Shaded display style, the contributes to the sense that all figures have
ground plane is a solid color. When tracking their feet on the ground.
or moving, the ground plane is displayed in
Wireframe.

The ground plane, shown in wireframe display.

Head Lengths
The head lengths guide references the figure’s Figures arranged in relation to the horizon line.
height.You may want to use this guide when
body shaping. Hip-Shoulder Relationship
Horizon Line The hip to shoulder relationship shows the
alignment between the figure’s upper and
The horizon line provides a reference to the lower body. This guide helps you see the side-
studio’s horizon. When you use the x, y, and z to-side, bend, and twist in the hip, abdomen,
orbit controls to move the camera, you can and chest. To see a particular aspect, try a
see how far you’ve gone by checking the different camera view.
horizon line.

The horizon line is especially helpful in

creating perspective between two figures
when one figures is in the distance. Arrange
the figures in the same relationship to the
horizon line.

Poser 4
Vanishing Lines Restoring Default
Vanishing lines are an artistic technique for Settings
achieving realistic perspective. In Poser, the
vanishing lines guide provides a reference of You can restore the default settings for a body
the perspective.Vanishing lines are helpful part, figure, lights, or camera. Restoring the
when matching the view of the figure with lights resets their colors and positions.
the perspective in a background image. Restoring the current camera reset its scale,
position, and focal length. Restoring All resets
all figures, cameras, and lights.

To restore an object to its default

setting:

1 Select the item from the document

window or the Current Element popup.
2 Choose Edit menu> Restore> the item
you want restored.

The vanishing lines guide.

Changing Defaults
Undoing Operations Poser uses default settings to set up a new
document. As you work, however, you may
You can reverse the effects of your last action achieve a position that you’d prefer over the
using the Undo command. default.

To undo an operation: To change Poser defaults:

• Choose Edit menu> Undo or, press • Choose Edit menu> Memorize> the
Command/Ctrl+Z. element you want to memorize. The new
setting applies only to the current file.
Not all operations can be undone.
Note

Poser 4 Basics
Printing You can import prop geometry files in DXF,
BVH, 3DMF, Wavefront OBJ, 3D Studio
The Print command sends the contents of the (Windows), and Painter3D (Detailer) formats.
Document window to your selected printer. For details on importing props, refer to
“Importing Props” on page 166.
When printing, Poser always prints to the full
page size. If you import a prop with textures,
Note place the textures in the
When in Wireframe display style Poser:Runtime:Textures folder.
Note with a black background, Poser
automatically inverts the colors to
If you import a Poser document that contains
more than one figure or prop, Poser imports
prevent printing a large black
all of them.
background.
To import a file:

Importing and 1 Choose File menu> Import> file type.

Exporting 2 Select the file you want to import in the
resulting dialog.
Importing Content
Exporting Files
Use the Import commands to bring the
contents of other files into the current You can export the contents of the Document
document.You can import figures, props window to an image file at any time, from any
backgrounds, surface materials such as texture display style.You may do this to save the
and bump maps, sounds, and animations. wireframe image of a figure.

Importable file formats include PICT The exported image includes the highlighted
(Macintosh), TIF, JPEG, and BMP files for body part and any currently displayed guides.
backgrounds or surface materials.You can If you don’t want to export these, deselect the
import saved Poser documents for figures and figure and hide the guides before exporting.
props. And you can import QuickTime
(Macintosh), MetaStream,VRML, and AVI
(Windows) files for background footage in
animations.

Poser 4
You can export the geometry contents of a not want to be included in the export,
Poser file in other formats, which you can then click OK.
transfer to a 3D graphics program.Transferable
formats are: OBJ, 3D Studio, Detailer, DXF,
RIB, Wavefront, 3DMF, and VRML/H-Anim
formats.

For file format plugin updates,

Note check the Poser section of the
Curious Labs ’web site:
www.curiouslabs.com.

To export a file:

1 Choose File menu> Export> file type.

2 A dialog appears asking if you want to
save a Single frame or a multi-frame
animation.

The Hierarcy Selection list.

4 In the Export dialog that appears, specify

a filename and location and click Save.

You can save a still or the entire animation.

• If you select the Single frame option,

Saving and Closing
the current frame is exported. To save a Poser file:
• If you select the Multi-frame
animation option, you can specify a 1 Choose File menu> Save. The Save
range of frames to export. dialog appears.
Select either Single frame or Multi-frame 2 Choose a name and location for your file
animation and click OK. and click Save.
3 In the Hierarchy Selection list that
appears, uncheck any items that you do

Poser 4 Basics
To save a Poser file under a different
name:

1 Choose File menu> Save As. The Save

As dialog appears.
2 Choose a new name and location for
your file and click Save.

To close the application:

• Choose File menu> Quit/Exit.

Poser 4
Poser 4 Basics
3
Tutorial

Welcome
Welcome to the Poser 4 tutorial. This tutorial is
designed to introduce all the major features and
functions in Poser. Its main goal is to teach you
the techniques you need to know to create
realistic poses and animations.

This Tutorial chapter is divided into two sections:

• The Basics, which contains a basic tutorial to

help you get started using Poser.
• Advanced Tutorials, which lead you through
figure modification and animation.
The Basics To delete the default figure:

The following set of lessons is designed to 1 Select either the Rotation Tool or
help you learn the basic operations in Poser 4. Translate Pull Tool.
They cover topics such as setting up your
workspace and working with posing tools.

Lesson 1: Setting Up a
The Rotation and Pull tool are the most commonly
Default Workspace used posing tools.

When you first open Poser 4, you see the 2 Click any part of the figure in the
palettes and toolbars in their default Document Window.
position.You can change these positions, hide The selected part appears outlined in red.
elements, and save the new positions as a
Preferred State. The new arrangement appears
the next time you open the application.

The default Poser 4 workspace.

The default figure in the Document window

A figure with a selected part.
is a Poser 3 figure.You can delete this figure
and set up a new default figure as part of the 3 Press the Delete key.
Preferred State.
A dialogue box appears asking you to
confirm the figure deletion.
4 Click OK.
You should now have a blank document.

Tu t o r i a l
To set up an new default figure: 3 Click the sub-category menu and choose
People.
1 Choose Windows menu> Libraries.
4 Drag the scroll bar on the right side of
The Libraries palette appears. From top the Library palette until the Casual
to bottom the Library categories are: Woman appears. All Library Entries are
Figures, Poses, Faces, Hair, Hands, Props, listed in alphabetical order.
Lights and Cameras.

The Casual Female in the Libraries palette.

5 Click the Casual Female, then click the

Add Figure icon at the bottom of the
palette.

The Libraries palette.

2 Click the Figures button.

The Add Figure icon.

The Figure button.

Poser 4
 You should now see a bald woman 3 Click the fourth dot from the top to
wearing casual clothing in your display the Hair Library.
document window.

The Hair category dot.

4 Scroll down until you see Female Hair 1.

Here, as in the Figure Library, all files are
listed in alphabetical order

The Casual Female in the Document window.

To add hair to a figure:

1 Move your cursor to the top of the

Libraries palette.You’ll notice that there
are several dots running down the left side The Female Hair 1 in the Libraries palette.
of the palette.
5 Click on Female Hair 1, then click the
Change Figure icon at the bottom of the
Library palette.
Your figure now has hair.

The category dots at the top of the Libraries

palette.

2 Move the cursor over each dot. The titles

change to show you the various libraries
available.
The Library dots enable you to change
libraries by clicking the correct dot.
Clicking a large category button takes
you back to the main category buttons.

The Casual Female with hair.

Tu t o r i a l
 Once the figure is loaded into Poser, you perspective. Isometric cameras (such as From
should set it as your Default Figure so Top, From Left, etc.) have no perspective.
that it loads every time you open Poser or When you view figures using Isometric
create a new document.You can also save cameras you won’t be able to rotate around
any changes you made to tools positions the studio.
or the Document window.
Each camera has its own center; it centers on
To make your new figure the default: and rotates around an object. For example, the
Right Hand camera rotates around the Right
1 Choose Edit> General Preferences. Hand, and the Face camera rotates around the
face. Both cameras face the center directly
The Preferences dialog appears.
unless you intentionally redirect them.
2 Enable the Launch to Preferred State
option in the Document Preferences Refer to “Cameras” on page 177 for more on
section of the dialog. cameras.
3 Enable the Use Previous State option In this lesson you’ll explore the posing studio
under the Interface Preferences section. using the various cameras.
4 Click the Set Preferred State button.
To view your figure using the Main
This saves the current document to the camera:
Preferences.
5 Click OK. 1 Hold down the Command/Ctrl-M. The
view switches to the Main Camera.
Poser loads even faster if you save an empty
document as the Preferred State.

Lesson 2: Working with

Cameras
You can access the cameras in Poser in several
different ways. An often overlooked method
of selecting a camera is by using keyboard
keys. Learning a few key commands can make
viewing a figure much easier.
The view from the Main camera.
There are two types of cameras in Poser:
Conical and Isometric. Conical cameras (such
as the Main, Hand and Face cameras) act like
real-world cameras in that they display

Poser 4
2 Move your cursor over the Trackball in To link a camera to an object:
the Camera Controls palette.
1 Make sure that the Main camera is the
currently selected object.
Check Current Element menus beneath
the Document Window. It should list
Figure 1 and Main Camera. If not, click
the menu and select the Main Camera.
2 Choose Object menu> Point At.

The Trackball in the Camera Controls palette.

The Choose Actor dialog appears.
The dialog shows a visual list of all the
3 Drag from left to right over the Trackball. objects in your scene.
Then drag from right to left.
Scroll down until you see the Head
element.
3 Click Head in the list and click OK.
The Main camera now points at the
Head. Note the new Parameter dial called
Point At appears at the top of the list of
dials.

The new view of the studio.

You’ll notice that the Main camera points at

the center of the studio.You can change this
default behavior by linking the camera to an
object in the studio.

The view of the studio with the Point At behavior

applied.

4 Move your cursor over the Move X and Y

tool on the Cameras palette and drag

Tu t o r i a l
 down until the camera moves behind the 3 Click OK.
figure.

The new view from the Main camera using Body as

The new view of the studio. its parent.

No matter where you move the camera, 4 Press Command/Ctrl-T to switch to the
the Head remains in the view. Top camera.

With the Point At behavior the camera always

points at the target object, without changing
its position.

By changing the camera’s parent, you can

automatically move the camera whenever you
move the figure.

To change a camera’s parent:

1 Choose Object menu> Change

Parent.
The Choose Parent dialog appears.
2 Choose Body from the list. The view of the studio from the Top camera.

5 Click the Translate tool.

6 Select the figure ring around the Body
and move it anywhere in the Document

Poser 4
 window. Do not click directly on the Main camera. The Main camera returns
body or you will alter the pose. to the same position.

To view the figure using the Face

camera:

1 Press Command/Ctrl-(=) to switch to

the Face Camera.

The repositioned Body.

7 Press Command/Ctrl-M to switch back

to the Main camera

The view from the Face camera.

2 Drag left over the Trackball.

Notice that Face camera always stays with
the selected figure, no matter where you
move the figure.
The Face Camera is ideal for making
animations that center on a single figure.

The view of the studio from the Main camera.

Notice that the view from the Main

camera remains the same. That’s because
the camera moved with the Body when
you repositioned it.
Try moving the figures body again using
another camera and switch back to the

Tu t o r i a l
To view the figure using the Top 2 Set the Top camera Scale Parameter Dial
camera: to 400% or more to get a wide view of
the Poser 4 studio.
1 Press Command/Ctrl-T to switch to the
Top camera.

The expanded view of the studio.

The view of the studio from the Top Camera.

A Note on Focal Lengths
The Top camera, like the Left, Right and
Front cameras, is an Isometric camera, Poser’s default Cameras are set to 25mm and
meaning that doesn’t show perspective. have all the attributes of a real-world 25mm
Wide Angle Lens.You can experiment with
It is designed specifically for viewing a other focal lengths such as 50mm, which
pose rather than rendering poses. This resembles the human eye’s view, and 100mm,
camera is very useful for placing figures, a lens favored by Portrait Photographers.
creating animations, and locating Figures
and Spotlights you may have lost in the Each time you set the focal length, the Scale
studio. will also reset. Scaling Down from 100% to
25% zooms in, while scaling up from 100% to
1000% zooms out.

Poser 4
Lesson 3: Tracking Lesson 4: Document
Modes Display Styles
A tracking mode determines how the figure Document Display Styles in Poser have special
looks as you move it. Fast Tracking mode purposes for artists, animators, and hobbyists.
displays the figure as boxes during movement.
Full Tracking displays a fully rendered figure In this lesson you’ll explore different styles by
during movement. applying them to your figure.

Tracking modes help you overcome the To apply the Silhouette style:
limitations of your computer’s processing
speed when posing. Faster computers can 1 Choose File menu> New.
display better tracking, while slower machines 2 Press Shift-Command/Ctrl-X to switch
benefit from less complex modes. to Fast Tracking.
In this lesson you’ll learn how to choose a 3 Press Command/Ctrl-1 to switch to
tracking mode. Silhouette style.

To set a tracking mode: 4 Press Command/Ctrl-Option/Alt-R to

Anti-Alias the document.
1 Click one of the Tracking modes icons
located on the upper right hand side of
the Document window.

The Tracking mode icons.

From the top to bottom they are: Box A figure using the Silhouette style.
Tracking, Fast Tracking, and Full
Tracking. The Silhouette style is useful for creating
masks of rendered figures, which can be
2 Click each of the mode icons and adjust
used in programss like Corel Painter.
the figure’s pose. Observe how different
modes affect response time.
3 Use the mode that doesn’t slow down
your computer’s response time.

Tu t o r i a l
To switch to Outline style: Wireframe Mode lets you see the
movement in a figure’s mesh.
• Press Command/Ctrl-2 to switch to For power users, it’s an excellent style for
Outline style. watching how Morph Targets and Joint
Parameters interact, especially on custom
figures.

To switch to Hidden Line style:

• Press Command/Ctrl-4 to switch to

Hidden Line style.

A figure using the Outline style.

Outline is the fastest display style.You can

pose the figure while maintaining your
view of the exact position of its parts in
the Document window. It is the least
taxing style on hardware resources.

To switch to the Wireframe style: A figure using the Hidden Line style.

• Press Command/Ctrl-3 to switch to Hidden Line shows only the camera side
Wireframe style. of the mesh. Use this mode to see a
simplified view of mesh movement.

A figure using the Wireframe style.

Poser 4
To switch to Lit Wireframe style: Flat Sided shows all facets of the mesh in
a rendered style.This style is slightly faster
• Press Command/Ctrl-5 to switch to Lit than Smooth Shaded.
Wirefame.
To apply the Smooth Shaded style:

• Press Command/Ctrl-8 to switch to

Smooth Shaded.

A figure using the Lit Wireframe style.

The Lit Wireframe style colors the mesh

based on the color of the surface material.

To switch to Flat Shaded style: A figure using the Smooth Shaded style.

The default style in Poser lets you see the

• Press Command/Ctrl-6 to switch to Flat
colored and smoothed mesh form. It is an
Shaded.
efficient style for all around utility.

A figure using the Flat Shaded style.

Tu t o r i a l
To apply the Texture Shaded style: These styles produce color shaded
representations of a model with a mesh
• Press Command/Ctrl-9 to switch to wireframe overlaid on the surface.
Texture Shaded. In addition to being able to see the mesh,
these styles can be are useful to those
adept at creating custom texture maps for
their models.

To apply a Cartoon style:

• Choose Display menu> Document

Style> Cartoon W/Line or Cartoon.

A figure using the Texture Shaded style.

This style lets you preview the texture

mapped figure.

To apply a Lined styles:

• Choose Display menu> Document

Style> Flat Lined or Smooth Lined.
A figure using the Cartoon style.

These styles are designed with the artist

in mind. Also, the new Cartoon style
makes it easier to create complex masks
in programs like Corel Painter or
Photoshop.

A figure using the Smooth Lined style.

Poser 4
Working with Lights
Lights are one of the most necessary and least
understood part of any 3D Program. Often
they’re difficult to use. Poser’s remedy is a
unique Light Controls palette that lets you
intuitively manipulate lights.

There are two types of lights in Poser: Infinite

and Spotlights. To use them effectively, you
first need to understand the differences
between the two. Infinite light illuminates one
side of everything in the scene in the same
Each light in the studio is represented by a circle on
way sunlight does. Spotlights point in a single the Light Control. This example shows a selected
direction and illuminate everything that falls light.
with in the cone of light they produce. Poser
uses Infinite lights by default. 2 Click the Delete Light icon.

Lesson 1: Using the Light

Control
You’ll begin this lesson by deleting two of the
three default lights in the Poser scene and
learning the controls.

To use the Light controls: The Delete Light icon.

1 On the Light Controls palette, select the The selected light is deleted.
circle for the light you want to delete. 3 Select another light and repeat step 2.
4 Select the remaining light.

Tu t o r i a l
5 Drag over the control from left to right. To add a spotlight:

1 Click the Create Light icon.

The Create Light icon.

2 A new light appears on the Light

Control.
The Light Ring in the Document window.

Note how the Light Indicator

(representing the global light) revolves
around the figure. The arrows off the
indicator show the direction from which
the light comes.

You can use the Rotate Tool to

Tip manipulate the Light Indicator
The new light indicator on the Light control.

directly in the Document 3 Drag the new light’s circle to locate it

window. approximately front and center. This
places the light in front of the figure.
The Light Intensity slider on the Light
Control has a range from 0% to 100%. It acts
as the brightness control, or dimmer. The
midway point of the slider is 75%.

The Parameter Dials also let you control some

of the light’s properties. Refer to “Light
Properties” on page 191 for more on lights.

Next you’ll add a spotlight to the studio.

The position of new light on the Light Control.

Poser 4
4 Set the Light Intensity slider to You now have a new spotlight, you can
approximately 75%, or the middle of the control how it behaves by applying the Point
slider. At function to it.

To apply the Point At behavior to a

light:

1 Make sure your new spotlight is the

selected element.
2 Choose Object menu> Point At.
The Choose Actor dialog appears.
The Light Intensity slider set to 75%. 3 Choose Head from the Select a Scene
Element list.
5 Click the Light Properties icon.
4 Set the yTrans Parameter dial to between
0.900 and 1.000.
5 Set the zTrans dial -1.0.
The Spotlight’s Indicator moves out from
behind the camera to behind the figure.
Notice how it always remains pointed at
the Head.

The Light Properties icon.

The Light Properties dialog appears.

6 Enable the Spotlight option.

The Spotlight’s indicator in the Document window.

6 Adjust the values of the x, y or zRotate

Parameter dials.
You’ll notice that the Spotlight doesn’t
The Spotlight option on the Light Properties dialog.
rotate like an Infinite light. Infinite lights

Tu t o r i a l
 rotate around the center of the studio. 2 Select the Right Shoulder in the
Spotlights rotate around the center of the Document window.
light object.

Using Poser’s Tools

The lessons in this section teach you how to
work with the most commonly used Posing
tools and the Parameter Dials.

Lesson 1: The Parameter

Dials
The simplest way of posing a figure is by The Right Shoulder selected on the figure.
selecting each individual part, and using the
Parameter Dials to move it into the desired A series of parameter dials appear.
position.
3 Click the value on the Bend dial.
A much faster way of posing is to use the four
main posing tools directly on the figure in the
Document window. However, this method
requires considerable practice.

This lesson leads you through the process of

The Bend dial.
posing a figure using the Parameter Dials.

To pose by typing in numerical values:

4 Type 80 in the field that appears.

1 Click the Translate/Pull tool.

The Translate/Pull tool. The Bend dial.

Poser 4
 The whole right arm should now be at The left arm should be at the figure’s side.
the figure’s side.

The new position of the left arm.

The new position of the right arm.

Notice that for the left shoulder, the

To pose using the dials:
downward bend value is negative, for the right
shoulder, the value is positive. This is generally
1 Select the Left Shoulder
true when working with a figure; left is
negative and right is positive. Try this with the
Front-Back dial on both shoulders.

Lesson 2: The Rotate

Tool
The Rotate tool is probably the most useful
tool for directly manipulating your figures.
Unlike the Translate tools, it only affects the
individually selected part,.

In this lesson you’ll use the Rotate tool on the

The left shoulder selected.
Forearms.
2 Select the Bend Dial
3 Drag the dial right to left until the value
shown is at or near -80.

Tu t o r i a l
To pose using the Rotate tool: 4 Place the cursor directly over the selected
forearm and drag to the right until it is
1 First, switch to the From Left camera by extended in front of the figure.
pressing Command/Ctrl-( ; ). This makes
rotating easier.

Becoming used to quickly

Note changing cameras makes posing
a much simpler task

You are now looking at the figure’s right

side.
2 Click the Rotate Tool.

Drag to the right until the arm is in the position

shown.
The Rotate tool.
5 Press Command/Ctrl-( ’ ) to switch to
3 In the Document Window, select the the From Right Camera.
Right Forearm. You’re now looking at the left side of the
figure.

The selected Right Forearm.

The figure shown through the From Right Camera.

Poser 4
6 Select the Left Forearm with the Rotate 8 Place the cursor to the left of the figure
tool. and drag up. The Forearm follows.

The selected Left Forearm. Drag up until the forearm is in the position shown.

7 Place your cursor behind the figure and Now you have used two methods of working
drag to the left. with the Rotate Tool.You can use the tool
directly on the selected part, or you can drag
The Forearm bends up.
the tool across the workspace and the part will
follow. This is true of all four main Posing
tools: Rotate, Twist, Translate/Pull and
Translate In/Out.

Lesson 3: The Twist Tool

The Twist Tool does exactly what its name
implies, it twists body parts. This is
accomplished by selecting the part and
drawing the tool across the screen. It is an
extremely useful tool for creating realistic
poses quickly.
Drag left until the forearm is in the position shown.

Tu t o r i a l
To use the Twist tool: 4 Click and hold the highlighted circle; it
turns red.
1 First, press Command/Ctrl-M to switch
back to the Main Camera.

A figure with the Figure ring highlighted.

The figure shown through the Main Camera. 5 Move your cursor to the left side of the
Document window and to the right until
2 Select the Twist tool. you see the figure at a three quarter face.
Check the yRotate dial value. It should
be at about 45 degrees.

The Twist tool.

3 Move your cursor over the faint circle

that surrounds the figure. When you’re
directly over it, the circle turns white.

The rotated figure.

Poser 4
6 Select the Hips with the Twist tool. The Twist dial should be near -16
degrees.

The Hips selected with the Twist tool.

The final position of the Head.
7 Drag to the left until the figure is once
again directly facing the camera. Lesson 4: The Translate
8 Select the Neck and drag to the left. and Chain Break Tools
The Twist dial should be near -16
degrees. The Translate/Pull, In/Out and Chain Break
tools are some of the most powerful direct
posing tools available to you. Used together,
they can quickly generate any pose. Once you
have a pose, you can then fine-tune the pose
using the Parameter Dials. In this lesson, you’ll
explore posing using just these three tools.

To pose using the Translate/Pull tool:

1 First, save anything you wish to keep

from the last tutorial, and create a new
document (File menu> New).
2 Select the Translate/Pull tool
The selected Neck.

9 Select the Head and drag to the left.

The Translate/Pull tool.

Tu t o r i a l
3 In the Document window, select the another to determine movement. for
Hips. example, when the Thigh moves, the shin
follows.You can turn IK on and off
depending on your needs. Refer to
“Inverse Kinematics” on page 111 for a
complete discussion of IK.
5 With the Hips selected, lower the figure
so that its toes touch the Ground plane.

The selected Hips.

4 Drag up to lift the figure.

Drag down until the figure is in the position shown.

6 Select the Right Forearm.

Drag up until the figure is in the position shown.

Notice that the feet begin pointing down

until it looks like the figure is completely
in the air. This is because IK (Inverse
Kinematics) is applied to the legs.
Basically, IK sets up dependencies
The selected forearm.
between parts of a figure to simulate
more realistic movement. In this case,
each part of the leg is dependent on

Poser 4
7 Pull the Forearm to the right, then up A chain break icon appears over every
and down. chain break in the figure.

Notice that this movement affects more than

just the Forearm.You’re pulling the figure all
the way down to the Abdomen.You’ll see
what’s causing this behavior when you select
the Chain Break tool.

The Chain Break tool lets you assign chain

breaks to your figure. Chain breaks tell the
Translate tools how far to affect the position of
the figure.You’ll see one chain break on the
Hips, and one on the Head. Since the Hips
are the figure’s root part, you cannot turn the
chain break off there. However, you can turn
off the head’s Chain Break. The default chain breaks on a figure.

Next you’ll explore assigning chain breaks. 2 Click on each Collar to assign a chain
break.
To assign chain breaks:

1 Select the Chain Break Tool.

The Chain Break tool.

A chain break assigned to the Collar.

3 Click each Thigh to assign two more

breaks.
You’ll notice that you can assign chain
breaks to both collars but not to the
Thighs. This is because IK is turned on.

Tu t o r i a l
4 Choose Figure menu> Use Inverse The Right Foot and leg move away from
Kinematics> Left Leg then choose you.
Right Leg. IK is turned off when there
is no checkmark next to a menu item.
5 Now, try assigning chain breaks to the
legs.
Next, you’ll explore using the Translate
In/Out tool.

To use the Translate In/Out tool:

1 Click the Translate In/Out tool.

The position of the Right Foot after the move.

The Translate In/Out tool.
4 Select the Chest.
2 Select the Right Foot. 5 Drag down.
The figure appears to bow.

The Right Foot selected.

The new position of the Chest.
3 Drag up.
6 Press Command/Ctrl-Z to undo the last
command.
7 Choose Figure menu> Use Inverse
Kinematics> Left Arm then choose
Right Arm to turn IK on in the arms.

Poser 4
 IK is enabled when a checkmark appears You’ll use the tools as well as the Symmetrical
next to a menu item. command to quickly set-up the pose. Keep in
When you enable IK, any chain breaks mind that although the human body looks
you assign to the arms are deleted. IK on symmetrical, it’s rarely positioned in a
the Arms doesn’t affect the Collar chain symmetrical manner. Even a very symmetrical
breaks you assigned earlier. pose like placing both hands on your hips may
not look entirely natural if you just reverse the
8 Select the Chest again and drag down. values from left and right. That’s why you’ll
With IK turned on, the Hands resist also use the tools to set up a more natural
movement when you translate a body position for the figure’s limbs.
part that affects them. It appears as if they
are holding onto something. Posing using the Posing Tools can be
somewhat imprecise for the new user; you
may want to use the Parameter Dials to
reposition body parts. The Parameter Dial
values used in the pose are listed so you can
duplicate it using only the dials.

Once you achieve the pose described here, use

what you’ve learned to make additional
adjustments so that the final pose looks right
to you.

To assign Chain Breaks to a figure:

The position of the figure with IK turned off.

1 Open a new document.
The default Casual Female appears.
2
Posing Choose Figure menu> Use Limits.
This command prevents movement of
In this section you’ll learn several ways of body parts into an unnatural position.
posing that expand on what you have learned 3 Press Command/Ctrl-M to select the
in the previous sections.
Main Camera.

Lesson 1: Creating Poses 4 Select the Chain Break tool.

In this lesson, you’re going to use everything

you’ve learned so far about Poser’s tools to
create a simple, yet realistic pose: Hands on
The Chain Break tool.
Hips.

Tu t o r i a l
5 Assign a Chain Break to the Chest. The Right Shoulder’s Twist parameter
should be set at approximately 45°.

The Right Shoulder should be in the position

shown.

The new Chain Break on the figure. 5 Select the Right Forearm and drag right.
To position the right arm: The Twist dial should be at 14°.

1 Select the Twist tool.

The Twist tool.

2 Select the figure’s Right Shoulder.

3 Place the Twist tool over the background
in the Document window. The Right Forearm should be in the position shown.

4 Drag right so that the arm twists to 45°. 6 Select the Right Collar and drag right.

Poser 4
 The Twist dial should be at 25°. 12 Set the Side-Side dial to 5°.

The Right Collar should be in the position shown.

7 Select the Rotate tool.

8 Select the Right Hand.
The new position of the Right Forearm.
9 Move the Rotate tool to a blank area of
the Document window and drag right to 13 Using the Rotate tool, select the Right
bend the Right Hand. Shoulder.
The Bend dial should read about -75°. 14 Set Bend to 26°.

The Right Hand after positioning.

10 Select the Right Forearm.

11 Set the Bend dial to 95°.
The new position of the Right Shoulder.

15 Select the Right Collar.

Tu t o r i a l
16 Set Bend to 25°. To apply the right arm pose to the left
arm:

1 Choose Figure menu> Symmetrical>

Right Arm to Left Arm.

The repositioned Right Collar.

Once you’re done, your parameter dials

The symmetrical pose.
should read as follows:
2 A dialog appear asking if you want to
Right Collar:
copy the joint zone’s setup also. Click
• Twist = 25° No.
• Bend = 25° 3 Save the file.
Right Shoulder:
Your pose is almost finished, but it still looks a
• Twist = 45°
little unnatural. Next you’ll shift the figure’s
• Bend = 26° weight.
Right Forearm:
To achieve a natural standing position:
• Twist = 14°
• Side-Side= 5° 1 Click the Translate/Pull tool.
• Bend = 95° 2 Select the Right Foot.
Right Hand:
• Bend = -75°

Poser 4
3 Drag left so that the figure appears to be 8 Drag left so that the Twist dial reads -10°.
placing its weight on the left leg.

The repositioned Abdomen.

The repositioned foot. 9 Select the Chest.

4 Choose Figure menu> Use Inverse 10 Drag left so that the Twist dial reads -10°.
Kinematics> Right Arm.
5 Choose Figure menu> Use Inverse
Kinematics> Left Arm.
6 Click the Twist tool.
7 Select the Abdomen.

The finished pose.

Tu t o r i a l
Lesson 2: Adding Poses 3 Click the Sub-Category menu and
choose Add New Category.
to the Pose Library
Once you create a Pose, you can add it to the
library for future use. For easy access, you’ll
also create a new category for your custom
poses.

To add a pose to the library:

1 Press Command/Ctrl-Shift-B to open The Sub-Category menu.

the Libraries palette.
A Save dialog appears.
4 Enter a name for your personal library
and press Enter.
5 A dialog appears asking if you want to
save a Single frame or a multi-frame
animation. Select Single frame and click
OK.
A new category appear in the palette.
6 Click the Add to Library (+) icon at the
bottom of the palette to add a custom
pose.

The Add to Library icon.

The Libraries palette.
7 Enter a name for the pose, such as Hands
2 Click the Poses button.
on Hips or Posed Arms 01.

The Poses button.

The default Action Sets library appears.

Poser 4
8 Press the Enter. Lesson 3: Posing Faces
Facial Expressions are created using Morph
Targets. These targets alter the shape of the
polygon mesh that makes up the figure.

Many of the Parameter dial on the Face have

morph targets associated with them.When you
work with facial dials, you’re moving the
figure’s geometry towards one or more morph
geometries. Refer to “Using Morph Targets”
on page 152 for more on morph targets.

The Scale, Translation, Rotation and Taper

dials for the Face are not morph targets.
The pose saved into a personal category.
To apply preset expressions:
Poser creates a library entry which you
can use as the base for other poses on 1 Press Command/Ctrl-N to start a new
other figures. However, if you use a figure document.
other than the Casual Female, you may
need to make subtle adjustments to make 2 Press Command/Ctrl-(+) to switch to
the pose work correctly. the Face camera.
3 Press Command/Ctrl-Shift-B to display
Poses not only save joint bends and rotations, the Libraries palette.
but also facial expressions and other Morph 4 Click the Faces button to open the Faces
Targets. For example, if you have two women library.
interacting, each time you apply a saved pose
for the Female figure, all the scaling and
morph targets are replicated from the
originally saved file.

If you only want to save the body part

position, and not the facial or morph targets,
apply your saved pose to a Stick Figure. Then
delete the original library entry and save the
Stick Figure pose. This way only the body part
positions are saved.

Tu t o r i a l
 6 Apply each expression preset by double-
clicking on the library thumbnail.

An expression preset applied to the figure.

As you apply each face, pay attention to

the Head’s Parameter Dials. Notice how
they change, interacting with each other
The Faces library.
to achieve a desired expression.
5 Select the figure’s head in the Document
When you examine the dials you’ll see
window.
that the mouth has more targets than any
other part of the face. That’s because the
mouth can be precisely posed to create
subtle expressions.

The selected head.

Parameter dials for the mouth.

Poser 4
 Keep in mind that dials such as Smile
affect primarily the upper lip, as opposed
to the Frown dial which affects the lower
lip. Slightly fewer dials apply to the
brows—three for each.

You’ll notice that here is no target for a Furled

Brow. To accomplish this, select the Worry Left
and Worry Right dials and enter Negative 0.5
in each.

After exploring the facial controls, you’re

ready to create your own expression. Next, The completed expression.
you’ll create the face of an angry woman using 7 Click the Add to Library (+) button at
the target dials.
the bottom of the Libraries palette to save
the file to the Faces library.
To create an expression:

1 Select the head.

Rendering
2 Enter Open Lips= 0.431 to tighten the
lips. Rendering is the process of converting your
3 Set Smile= -0.128. 3D figure into a 2D image or animation.
There are several options you can set for a
4 Set Mouth F= 0.152. This pulls in the rendering session. All available options are
lower lip. displayed in the Rendering Options dialog.
5 Set Mouth M= 0.234 to tighten the lips
To set up a rendering session:
laterally.
6 Set Blink Right and Blink Left = 0.2 to 1 Choose File menu> Open.
narrow the eyes slightly. 2 Locate the file Tutorial: paper-
airplane.pz3.
Be sure to use the decimal point
Note in each of these numbers. If, for
instance, you enter -431 instead
of -0.431 for the Open Lips, you
will severely distort your figure—
she’ll be very angry.

Tu t o r i a l
 In true WYSIWYG fashion, what you
see in the document window is exactly
what is produced.

The paper-airplane file in the Document window. The rendered file.

3 Press Command/Ctrl-Y. Depending on where the main camera is

The Render Options dialog appears. positioned when you saved the
document, this may serve as your final
4 Make sure the Anti-Alias box is enabled. render. However let’s assume you’re not
This gives you a clean render, but may satisfied with the results.
bog down slower machines.
To reposition the camera:
5 Disable the Cast Shadows option.
This will speed things up. 1 Select the Main Camera.
6 Click Render Now.

The main camera icon.

2 Choose Object menu> Point At.

Poser 4
3 The Choose Actor dialog appears. 7 Use the Move X and Y tool to adjust the
elevation of the camera.
4 Select the Teacher figure’s Head element
from the list, then click OK.
5 Use the Scale Parameter dial to rescale the
camera so that both figures fill the screen.

The view through the elevated camera.

8 Render the file again.

Both figures in the scene.

6 Move the Camera using the X and Z tool

on the Camera Controls.
The camera will always point at the
Teacher.

The test render

9 When the test render produces good

results, enable Cast Shadows in the

The view through the repositioned camera.

Tu t o r i a l
 Render Options dialog (Command/Ctrl- At any time while working with these
Y) and render the file once more. tutorial, feel free to experiment. Each section
overlaps and explores different features, as well
as different aspects of the same features. This
allows you to develop a well rounded
understanding of how to accomplish desired
effects.

Character Creation
and Animation
Lesson 1: Creating a
Clown from Scratch
The final render.
Use of props and texture maps are essential to
There is no set rule of what makes a good
creating a good character. This lesson walks
render. Success is subjective. Poser can
you through the processes of scaling body
produce varied results using its custom
parts, applying props, and texture mapping to
rendering engine. Try exploring other
create a basic clown figure from scratch.
rendering options using this file and other
personal files. You’ll also animate your clown and place him
in a scene to interact with props and other
figures.
Advanced Tutorials
To select a base figure:
The following tutorials are designed to be
both challenging and rewarding. Do not plan 1 Click the Figures icon on the Libraries
on completing these tutorials quickly; work palette
methodically so that you become comfortable
exercising Poser’s most powerful features. The default People sub-category appears.

The scenes you create in these tutorials can be

dropped into most contemporary films, or can
be the centerpiece of a major production.The
goal is to provide you with experience using
Poser’s animation tools that will enable you to
produce increasingly complex and extravagant
scenes.

Poser 4
2 Double-click the Business Man 3 Click a body part and choose white from
thumbnail to load the figure. the palette that appears.
4 Make all the parts of the figure, including
the clothing, white.
Some of the smaller parts of the figure
(such as Brows, Lashes, Shoes, Lips) may
be difficult to color quickly. Try using the
Face, or Hand cameras to get better views
of these areas.

The Business Man thumbnail.

To set figure color:

1 Click the Smooth Shaded document style

icon.

The colored figure.

If there are still colored areas, click and

hold the tool over the colored element
and choose white from the palette that
appears.

The Business Man displayed using the Smooth To apply a texture map:
Shaded Document style.

2 Click the Color tool.

1 Choose Render menu> Materials.
The Surface Material dialog appears.
2 Click the menu in the top-left corner of
the dialog and choose Figure 1.

The Color tool.

3 Enable the Texture Changes Apply to
Entire Figure option.

Tu t o r i a l
4 Click the Load button in the Texture 2 Select the Prop Types category.
Map section of the dialog.
3 Double-click the Ball thumbnail to load
An Open dialog appears. the Ball object.
5 Locate the file
Tutorial: CLOWN01, and click Open.
6 Click OK in the Surface Materials dialog.
7 Click the Texture Shaded icon to see the
new texture.

The Ball thumbnail.

The Texture Shaded icon. 4 Click Color tool.

The Color tool.

5 Click the ball and make it red.

To position the prop:

1 Drag to the right over the Camera

controls until the From Left camera icon
appears.
The new texture map applied to the figure.

To add a prop:

1 Click the Props icon at the top of the

Libraries palette.

The From Left camera icon.

The Prop icon on the Libraries palette.

Poser 4
2 Click the Translate/Pull tool. 5 Use the Translate/Pull tool to move the
ball over the clown’s nose.

The Translate/Pull tool.

3 Position the ball in front of the clown’s

face.

Position the ball over the nose as shown.

6 Press Command/Ctrl-F to switch to the

Front camera.
7 Check the lateral position of the ball on
the nose.

Position the ball as shown.

4 With the ball selected, set the Scale dial to

22%.

The clown displayed using the Front camera.

To set the prop parent:

1 Choose Object menu> Change

Parent to display the Choose Parent
The scaled ball. dialog.

Tu t o r i a l
 The dialog shows a visual list of all the 3 Make sure the frame counter is set to 1 of
objects in your scene. 30.
2 Click Head in the list and click OK. 4 Press Command/Ctrl-M to switch to the
3 Press Command/Ctrl-M to switch to the Main camera.
Main camera.
4 Review your work from several angles.
5 Save the clown to the Figure library in
the Libraries palette. Refer to “Lesson 2:
Adding Poses to the Pose Library” on
page 81 for instructions.

Lesson 2: Making the

Clown Walk
This lesson leads you through the process of
The clown displayed using the Main camera.
creating and editing keyframes to create a
walking motion. 5 Select the Right Shoulder.
You can use this animation later with the Walk 6 Set the Bend value to 78°.
Designer.

Setting the First Walking

Frame
To begin you need to set up a starting pose.

To set up a starting pose:

1 Make sure your clown document is still

open.
2 Double-click the handle at the bottom of
the screen to open the Animation The bent Right Shoulder.
controls.
7 Select the Left Shoulder.

The Animation controls.

Poser 4
8 Set the Bend value to -78°. 12 Click the Translate/Pull tool.

The Translate/Pull tool.

13 Select the Left Foot and move it forward.

The adjusted Left Shoulder.

9 Select the Abdomen and set Side-Side to

3.
10 Select the Chest and set Side-Side to 3.

The re-positioned Left Foot.

14 Select the Right Foot and move it back.

The adjusted Abdomen and Chest.

11 Press Command/Ctrl-(’ ) to switch to the

From Right camera.
The final pose.

Tu t o r i a l
Adding Keyframes 3 Choose Figure menu> Symmetry>
Swap Right and Left.
Once you have a starting point, you’ll create The figure’s left foot moves back and the
an action by changing the pose over time and right foot moves forward.
saving the changes as keyframes. A keyframe
stores a point in time where action occurs.
Here you’ll store changes in foot positions as
keyframes to create a walking motion. Refer
to “Adding and Deleting Keyframes” on
page 213 for more on setting up keyframes.

To add frames:

1 Press Command/Ctrl-M to switch to the

Main camera.

The left foot position sapped for the right foot

position.

4 Click the Add Keyframe (+) button to

keyframe the new position.

The Add Keyframe button.

The clown viewed from the Main camera. 5 Move the Scrubber to Frame 15.
2 In the Animation controls, drag the small 6 Click the Add Keyframe (+) button to
triangle (called the Scrubber) to Frame insert a keyframe.
16.
Editing Keyframes
Now that you have a number of keyframes,
you’ll learn how to edit them in the
Animation palette to create more realistic
The Scrubber at Frame 16. motion.

Poser 4
To edit frames:

1 Click the Edit Keyframes button.

The Animation palette appears. The
palette displays all the animatable
attributes in the studio and all the
keyframes you’ve created. Refer to
“Editing Animations” on page 213 for
more on this palette.

Scroll bar

All the Frame 15 keyframes selected.

Be sure only the green keyframes of

Frame 15 are selected. Be very careful not
to select anything but Frame 15.
4 Drag all of selected keyframes to Frame
30.

The Animation palette.

2 Drag the scroll bar all the way to the top.

3 Click the green keyframes for Frame 15
and drag all the way to the bottom to
select the keyframes for all the attributes.
The selection is bordered with a white
line.

Frame 15 keyframes moved to Frame 30.

Tu t o r i a l
5 Click the close box in the upper-left 3 Click the sub-category menu and choose
corner of the dialog. Walk Designer.
6 In the Animation controls, move the 4 Click the Add to Library (+) icon.
Scrubber to Frame 30.

The Add to Library icon.

The Scrubber at Frame 30.
The Add New Set dialog appears.
7 Choose Figure menu> Symmetry> 5 Enter a name for your animation and
Swap Right and Left. click OK.
8 Click the Play button to check your A Save Frames dialog appears.
work.
6 Enable the Multi Frame option and click
OK.

The Play button.

The figure should appear to walk in

place.

Saving the Walk

The Save Frames dialog.
You can save animations as poses to the
Libraries palette. Next, you’ll save your
completed walk to the Poses library.

To save an animation to the library:

1 Open the Libraries palette.

2 Click the Poses icon.

The Poses icon in the Libraries palette.

Poser 4
7 Your animation is saved as a 30 frame The default figure is replaced with the
preset in the Walk Designer category. clown.

The clown figure in the Document window.

4 Choose Figure menu> Create Walk

Path.
The clown in the Libraries palette. A new path appears in the Document
window.
Lesson 3: The Walk
Designer
The Walk Designer lets you set up various
parameters to automatically create a realistic
walking motion. In this lesson you’ll use the
file you created in the previous lesson in
conjunction with the Walk Designer to make
your clown move.

To set up the walk animation:

1 Choose File menu> New to start with A new Walk Path in the Document window.
an empty file.
5 Make sure the Scrubber in the Animation
2 Open the Libraries palette and click the Controls is at Frame 1.
Figures icon.
6 Open the Libraries palette and click the
3 Double-click the clown figure you saved Pose icon.
earlier.

Tu t o r i a l
7 Click the sub-category menu and choose
Tutorial.
8 Double-click the Clown-Start pose to
apply it to the clown.

The Clown Start pose in the Library. The clown viewed from the top.

9 Display the Animation palette. 13 Set Scale to 400%.You should able to see
the entire scene.
10 Move the Scrubber to Frame 30.
11 In the Libraries palette, double-click the
Clown Finish pose to apply it.

The Clown Finish pose in the Library.

12 Click the Current Element popup at the

The scaled view of the clown.
bottom of the Document window and
choose Cameras> Top Camera. 14 Move the camera up or down to see the
whole path.
15 Select the Walk Path using the Translate/
Pull tool.
The Element menu.
It looks like a slight backward “S”
extending out in front of the figure.

Poser 4
 The path has several small white squares Make sure the red figure ring appears
along the gray walk path called nodes. before you start dragging. The ring
indicates that the whole figure is selected.
Do not click directly inside the Figure
ring or you will move the figure’s parts
instead of the entire figure.
Place the clown over the end of the gray
path.

Nodes on the Walk Path.

16 Select each of the middle two nodes and

move them so that the path becomes
straight. Notice how the pointer changes
when you position it over the path.

The repositioned clown on the path.

Your path should look like the one shown.

17 Make sure the Scrubber is at Frame 30.

18 Click the Element menu at the bottom of
the Document window and choose Body.
19 Drag the clown to the end of the Walk
Path.

Tu t o r i a l
To set up a walk in the Walk Designer: The Apply Walk dialog appears.

1 Press Command/Ctrl-Shift-S to open the

Walk Designer.

The Apply Walk dialog.

You are about to apply the walk to the figure.

Once you’re done with the Walk Designer, the
The Walk Designer. only real way to fix errors is to start from
scratch (beginning from Lesson 3).
2 Click the walk button to see the current
walk style in action. 6 Make sure the following defaults are set
Click the stop button to stop the action. in the dialog:
3 Scroll the Blend Styles section of the • Start Frame = 1
dialog until the Clown walk is visible. • End Frame = 120
4 Set Clown to 100%. • Figure = Figure 1
5 Click Apply. • Walk In Place = Disabled
• Cycle Repeat = Empty
• Path = Path_1
• Always Complete last step = Enabled
• Transition from pose at path start in
15 Frames = Enabled
• Transition to pose at path start in 15
Frames = Enabled
• Align head to = Disabled

Poser 4
7 Once all parameters in the Walk Designer Next, you’ll set up an animated expression for
are set, click OK. the clown.
8 Click Done to close the Walk Designer. To set up an animated expression:
The new walk is applied to the clown.
1 Click the Edit Keyframe button on the
9 Save the file with the name:
Animation controls.
CLOWN-ANI.

Lesson 4: Keyframe
Editing
The Edit Keyframes button.
So far, you’ve created a waddling clown that
appears to fall over something invisible at the The Animation palette appears.
end of the Walk Path. There are two missing
elements: the object the clown fell over, and
2 Click the Head label on the left side of
the cause of his fall. By editing the animation the dialog.
and adding props, you can create the story
behind the clown’s actions.

First. you’ll create a back up file to preserve

your work so far.

To create a back up file:

1 Open the file you saved at the end of

Lesson 3.
2 Choose File menu> Save As.
3 Rename to the file to CLOWN-ANI01.
The Head element selected.
Now you have a back-up of your original
animation. 3 Select all the keyframes from 2 to 105.

Consider using a compression utility to

archive the original clown-walk.pz4 file. This
will save hard drive space and future
headache’s. You can continue to add
completed lesson file to the archive as you
work through the rest of the tutorial.
Head keyframes selected.

Tu t o r i a l
4 While still pressing the mouse button, 9 Open Libraries palette.
drag up one line to include the Neck
10 Click the Faces icon at the top of the
frames in your selection.
palette.

The Face icon on the Libraries palette.

11 Click the sub-category menu and choose

Both Head and Neck keyframes selected.
Add New Category.
5 Press Delete. The New Category dialog appears.
6 With the frames still selected, click the 12 Enter Clown Faces and click OK.
Linear Section button. 13 Click the Add to Library button to add
the clown’s face into the library.

Linear Section button.

This is important for any expression

changes applied face during the
animation. Your clown face in the library.
7 Select Head keyframe 1.
14 Move the Scrubber to Frame 105.
15 Apply the face preset you just saved to the
clown.

Next, you’ll add another actor to your scene.

To import a Poser document:

1 Choose File menu> Import> Poser

Document.
Head keyframe 1 selected.
An Open dialog appears.
8 Close the Animation palette. 2 Locate the file Tutorial: TRAPESE
ARTIST WALK.

Poser 4
 A new figure appears in the document 5 Click the Box Tracking icon.
window.

The Box Tracking icon.

6 Click the Play button on the Animation

controls

The imported document in the Document window.

The Play button.
3 Click the Element menu beneath the
While the animation plays, watch the relative
Document window and choose Top
positions of the figures as they pass each other.
Camera.
At the beginning, they’re walking past each
4 Set Scale to 400%. other on the right. Then, the clown turns his
head to face the new figure as he walks.

To align the figure’s face:

1 Make sure the Scrubber in the Animation

controls is at Frame 1.
2 Press Command/Ctrl-T to switch to the
Top camera.

The figures viewed from the Top Camera.

Tu t o r i a l
 4 Divide the Twist value in half and reset
the Twist dial.
This creates the starting pose for the
clown’s head.
5 Select the clown figure’s Neck.
6 Use Twist to align the Neck so that the
clown’s face is looking at the Trapeze
Artist figure

The scene from the Top camera.

3 Use the Twist dial to align the head to

face of the Trapeze Artist figure.
The head and neck rotated.

7 Move the Scrubber to Frame 50.

8 Repeat steps 2-6 for Frame 50.
9 Move the Scrubber to Frame 55.
In Frame 55, the Trapeze Artist and the
Clown are in the process of passing each
other.The Clown’s chin should be in-line
up with his shoulder, and his silly grin
should be intact.
The clown’s head rotated to face the Trapeze figure. 10 Repeat step 2 to 6 for Frame 55.
Next, you’ll twist other body parts to keep the
Clown facing the Trapeze Artist.You’ll use the
If you’re having a hard time
same twisting method you used on the Head
Tip seeing the position of the to re-align the Chest and Abdomen.
clown’s head, try expanding the
size of the Document window
using the resize control in the
bottom-right corner of the
window.

Poser 4
To align the figure’s body: 8 Use the Twist dial to align the clown’s
chest so that its Head faces the Trapeze
1 Click the Edit Keyframe button to open Artist.
the Animation palette.

The Edit Keyframe button.

2 Select keyframes 56 through 105 of both

the Clown’s Abdomen and Chest.
3 Press Delete.
4 Close the Animation palette.
5 Move the Scrubber to Frame 60. The re-aligned chest and head.

6 Press Command/Ctrl-T to switch to the Twist should be set to approximately -46.

Top camera.
9 Divide the value of the Chest’s Twist dial
in half and reset Twist to the resulting
number.
10 Click the Element menu and choose the
Abdomen.
11 Use the Twist dial to align the abdomen
so that the clown faces the Trapeze Artist.

The scene view through the Top camera.

7 Click the Element menu and choose the

Chest.

Tu t o r i a l
 To add a prop:

1 Display the Libraries palette.

2 Click the Props category dot.

The Props category dot.

3 Choose the Tutorial category from the

menu.

The re-aligned abdomen shown through the Main

4 Click the Circus Ring.
camera.

These are more refinement s you can add to

this file to make the action more realistic:

• Have the clown’s eyes follow the Trapeze

Artist as his body finishes twisting.

• Add hand gestures to both figures.

Use the skills you’ve learned in the earlier

parts of the tutorial to create these effects.

The Circus Ring prop in the scene.

Lesson 5: Adding the
Final Touch The prop is added to the scene.

Now that you have a prop, you can adjust the

At the end of the Clown animation, the character’s movements to interact with it.
Clown seems to trip and fall over an invisible
object. To complete the scene you’ll need to
add a prop.

Poser 4
To add an animation to your scene: 7 Click the Clown Flop pose.

1 Click the handle at the bottom of the

screen to display the Animation controls.
The center of the Animation controls,
displays the current frame and the total
number of frames.
2 Click the total number of frames field.
3 Enter 130 to add ten frames.

The Clown Flop pose in the library.

The total number of frames field.
This ten frame animation will be added to
4 Click the current frame display and enter
your the animation.
121.

When you’re setting up an

Note animated pose like Clown Flop
to append to a work in progress,
be sure not to move the entire
The current frame field.
Body. Adjust the Hips instead to
5 Click the Poses category dot in the get the proper motion in
Libraries palette. relation to the last pose created.

Lesson 6: Setting
Animated Cameras and
Test Rendering
The Poses category dot.
In this lesson you’ll use the Dolly camera (the
6 Click the sub-category menu and choose only free floating camera in Poser) to render
Tutorial. the scene.You could use any camera to render,
the Main, Auxiliary, Posing, and Head cameras

Tu t o r i a l
are all good choices for rendering. However,
the advantage of the Dolly camera is that it
stays true to its own center, making it useful
for animations.

When you’ve completed the lesson, try

experimenting with the other cameras,
especially the Head and Posing cameras.

To position the Dolly camera:

1 Select the Dolly Camera from the

Camera Controls palette.

The readjusted view.

4 Choose Animation menu> Make

Movie.
The Make Movie dialog appears.
5 Click the Resolution menu and choose
Quarter.
The Dolly camera icon. 6 Click the Quality menu and choose
Current Display Settings.
2 In the Animation controls, move the
Scrubber to frame 120. These settings should give you a good test
render.
3 Using the Move X and Y control, move
the camera back until the Clown is in full
view. Reduce the resolution for the
Note test render, as Full resolution
renders are time consuming.
Even at this resolution, the
animation will not render quickly.

7 Click OK. The Save dialog appears.

8 Choose a save location for the MPEG
(MAC) or AVI (PC) file and click OK.
The Video Compression dialog appears.
9 Use the default settings and click OK.
Poser starts rendering.

Poser 4
Lesson 7: Final Render
After one or more test renders, you’re ready to
start the final rendering.

To render your final animation:

1 Choose Render menu> Current

Render Settings.
2 Adjust the Current Render Settings as
needed.
Enable Shadows and Anti Aliasing to
produce the best results.
3 Click Render Now.
Depending on the Image Size and
Computer System, the final render takes
between 45 minutes to two hours.

Poser’s animation tools are its single most

powerful features. Creating animation is
challenging, even for the most experienced
user. Patience is key to using all 3D
applications, and Poser is no exception.

Tu t o r i a l
4
Posing

How Posing Works

Posing is the process of bending, twisting, and
pulling a figure into new and fantastic positions.

There are two aspects of a pose: how the body

parts twist and bend and the position of the body
in the studio.The Editing Tools let you move both
body parts and entire bodies simply by clicking
and dragging.

Since you’re working in three-dimensional space,

you can pose your figure in almost any position.
The only limits are specific range of motion limits
placed on individual body parts, to keep poses
realistic. For example, in the human figure, you
can’t twist the head 360°.
Posing and Camera Translation
Views Translation moves multiple body parts, pulling
them along in a chain. To visualize this, think
With the newer Poser figures, you can pose of a person lying relaxed. If you were to take
the hands and faces of your figures. Poser hold of the hand and pull up, you’d lift the
includes special cameras that automatically arm off the floor. Pull higher, and you’d lift
zoom into figure’s hands and faces. the shoulder, then the chest.

Posing works differently This is how the Editing Tools work in Poser.
Note depending on the models you
Drag any part, and connected parts follow.
Not only do the parts move, but they bend
use. You have more control over
and twist as you would expect.
the hands and face of the newer
Poser People category models.
Poser 2 models have fewer
controls.

When you’re posing, you can switch camera

views to see and adjust the pose from different Starting here...
directions. Use the Posing Camera to view a
figure close-up, while preserving the position
of the Main Camera. Refer to “Cameras” on
page 177 for more information.

Posing and the Library

Dragging the hand up...
As you create poses, you can add them to the
Libraries palette.You can then retrieve a pose
from the library and use it as a starting point
for a new pose. Refer to “Loading from the
Libraries Palette” on page 33 for details.

Continuing to drag, lifting the arm, the shoulder,

and eventually the body.

Posing
Inverse Kinematics IK uses the same kind of dependency, but in
reverse. The extremity moves, and IK
Poser’s Inverse Kinematics (IK) features help determines how the objects joined to it (closer
you achieve realistic poses and natural motion to the root) must respond to support the new
in animations. The term may sound placement. For example, if someone was to
intimidating, but IK is easy to use and grab your hand and push, your arm would
understand. automatically bend at the elbow, while your
shoulder would stay fixed in position.
The effects of IK are most apparent when
using the Editing Tools.Translate the hip—the Poser supports IK for the legs and arms.When
legs bend to accommodate the new hip IK is turned on, you can translate the hands
position without changing the foot position. and feet and achieve appropriate arm and leg
Translate a foot—the hips and other leg stay positions automatically.
fixed in position.
When IK is turned on for the arms or legs,
The behavior of the arms under IK is similar. the hands and feet have targets to indicate the
If you place a figure’s hands against an end of the chain. When the hands or feet are
imaginary wall, moving the hip toward the moved, the target moves—it is reset to a new
wall causes the arms to bend. The arms bend position. When you move any other body
while the hands remain fixed in position. part, the targets remain fixed and the arms and
legs reach for their targets. Once the target is
If you enable IK on a pose created with IK reached, the end of the chain is fixed, and the
turned off, the rules of IK can force the pose other parts must bend to accommodate the
to change. hand or foot position. For example, a foot
reaches its target and the knee bends.
Understanding IK
Kinematics is the study of motion, velocity,
rotation, and position. In terms of jointed
structures, like an arm or leg, forward
kinematics can be used to calculate how
actions at the root of the structure determine
the position and rotation of those at the end.
For example, by raising your arm, the hand at
the end of it is automatically translated to a
new position and rotation. If you know the
angle the arm raises, you can calculate the
new position of the hand.

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 To work effectively with IK, note the
following:

• IK is enabled when you use the Editing

Tools.
• The Rotate, Translate, and Twist tools
may not behave as expected on some
body parts. For example, you cannot
easily rotate or translate a thigh or shin
when IK is enabled—the foot’s position
takes precedence.
This corresponds to the natural behavior
of your limbs. When you stand, your feet
and legs support your body weight, so
you cannot arbitrarily move or rotate
them. This consideration applies to using
Editing Tools and Parameter Dials.
• You cannot use both the Chain Break
tool and IK on the same limb.

Lift the foot and the leg bends naturally.

Turning IK On or Off
Inverse Kinematics can be set for the legs and
arms of any figure. For a new figure, IK is
enabled for the legs, but not the arms. For
most artists, this setting offers the most useful
way to work.You can enable IK for the arms
or disable it for either or both legs.

To change the IK setting for the current

figure:

• Choose Figure menu> Use Inverse

Kinematics> the limb you want to change.
IK is turned on when the menu item for
that limb has a check beside it.

Translate the hips down and the knees bend.

Posing
Limiting Motion each is considered an object or element. This
is also true for the animal models. No matter
how many legs an animal has, each leg is
The Use Limits option keeps body parts
connected by joints which bend and extend.
within a natural range of motion. This feature
does not apply to parts affected by IK.
Selecting Parts
What is considered natural differs among
individuals. Poser’s default limits are a rough You can select a part to pose in one of the
guideline, and may not look right to you.You following ways:
can customize the range of motion by setting
the Use Limits maximum and minimum. • Click on the part in the studio.
• Use the Current Element pop-up
In some cases, Use Limits may prevent you
beneath the Document window.
from posing a part where you want it. Keep
this in mind when you modify Use Limits. • Select the part from the Hierarchy Editor.
For details on, refer to “Selecting
To turn Use Limits on or off: Objects” on page 292.

• Choose Figure menu> Use Limits.

Use Limits is on when the menu item has
a check beside it.

To change the range of motion allowed

by Use Limits:

1 Select the body part whose range you

want to adjust.
2 Double-click the Parameter Dial for the
motion you want to adjust.
3 In the dialog, change the Max and Min An example of a selected body part.
values.When you are done, click OK.

Posing a Figure
Posing Body Parts
The easiest way to pose your figure is to
Like the human body, Poser figures are made choose one of the Editing Tools, select a body
of body parts connected by joints.You part, and drag the mouse to move the part.
manipulate the separate body parts to pose a How the part moves depends on which part it
figure. Because body parts are independent, is, the tool you use, and the direction you
drag. It also depends on whether Inverse
Kinematics (IK) is enabled. IK is a special

Poser4
posing feature that assists you in achieving • Select the Figure Ring surrounding your
realistic poses and natural animated actions figure and drag. The ring is highlighted
more easily. Refer to “Inverse Kinematics” on when selected, so you can tell you are
page 111 for more information. editing the whole figure.

Only one body part can be selected at a time. While you use a tool in the Document
The selected part is highlighted on the figure window, the cursor changes to a
and listed at the bottom of the Document representation of the selected tool. This allows
window. Always confirm which part is you to keep track of how you’re moving a
selected before using a tool on it. figure (such as rotating or twisting).

If you are not satisfied with a change you

make, choose Edit menu> Undo.

You can also use the Pose Memory dots to

store changes in a pose as you create it. This
way you can revert to a previous position if
you are not satisfied with the change.

Using the Editing

Tools
The Editing tools let you move body parts a
number of different ways. The effect of each
Editing tool depends on whether IK is
enabled. Each tool can be used to pose a body Click a body part to move it, or click the Figure Ring
to move the entire figure.
part or to pose the entire figure.
When using a tool, you don’t have to start
To pose a body part:
dragging over a body part—you can drag from
anywhere inside the document window.
• Select the part on the figure and drag.

To pose the entire figure, do one of the

following:

• Click and drag on the tool icon you want

to use. This automatically selects the
figure.
Or

Posing
Rotate Tool

The Rotate tool bends a body part at its joint.

Click the Figure Ring to rotate the entire
figure. Rotate works in three dimensions, so
you can make a lot of progress with only a few
moves.

Rotating a Body Part

After moving the arm down toward the side.
The direction you drag determines how the
part moves in each of the three dimensions. • Drag parallel to the part to move it
toward or away from you.
• Drag perpendicular to the part to move it
side-to-side or up and down.

Drag parallel along the arm to move the arm

around to the front.
Drag perpendicular to the arm to move the arm
down to the side.

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 Rotating the Entire Figure
When you drag the Rotate tool, the figure
turns in three dimensions.

It takes a little imagination to understand how

a two-dimensional mouse rotates a figure in
three dimensions. Imagine a figure enclosed in
a glass trackball. Now use the mouse to drag
the front of the trackball to rotate it in the
direction you want to turn the figure. The
location on the trackball where you begin
dragging makes a big difference in the
After the arm is moved around to the front. direction the figure turns.
Rotating is easier when you view the bending
part from the side. For example, in the discus
thrower shown below, the left hand is better
viewed from the side than from the front.

Original position.

Using different camera views helps you to pose a

figure more easily.

For this reason, you’ll probably switch cameras

several times as you pose different parts of a
figure. Refer to “Cameras” on page 177 for
details on using cameras.

Posing
Rotation on the X Axis Rotation on the Z Axis
Drag down from the center of the window to Drag in a circle from a corner of the window
rotate the figure face down. to turn a figure on its side.

Drag down to rotate on the x axis. Drag in an arc to rotate on the z axis.

Rotation on the Y Axis Rotation on Several Axes

Drag left or right from the center of the Drag at an angle to compound rotation.
window to turn a figure side-to-side.

Drag left or right to rotate on the y axis. Drag at an angle to rotate on several axes.

Poser4
Twist Tool The axis of the head, neck, and trunk is in line
with the spine. The axis of a part in an arm or
leg is in line with its length.

Twist rotates a body part along its own axis.

You can twist the entire figure by selecting the
Twist tool and dragging. The entire figure
twists around its own axis.

Twisting a Body Part

Drag laterally when twisting a specific body
part, regardless of the part’s angle.

Many of the human body’s joints don't allow

for much twist. The forearm can twist nearly
180°, but the hand can hardly twist at all.
Keep this in mind as you pose the figure.

Twist the head to turn it to the side.

Twist the forearm to turn the palm up.

Posing
Twisting the Entire Figure Translate/Pull Tool
When you drag the Twist tool, the figure
rotates around its own axis. Drag laterally,
regardless of which way the figure is leaning.
Translate/Pull moves the selected part or
figure vertically or laterally (in the x and y
dimensions), depending on how you drag.

Using Translate/Pull on the

Entire Figure
When you drag the Translate/Pull tool, the
figure moves laterally or vertically (in the x
and y dimensions) in relation to the camera.

Drag in the direction you want to move the

figure.

Translating moves a figure around the studio.

When a figure is standing, the Twist tool spins it

If you’ve rotated a figure to the edge of the
around. window, you may want to move it back to the
center.You may also move a figure if you are
If the figure is lying down, the Twist tool rolls working with more than one, and want to
it over, from its stomach to its back. place the figures relative to each other.

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Translate In/Out Tool Chain Break Tool

Translate In/Out tool moves the selected part A chain break placed on a body part ends the
or figure in the z dimension—toward or away chain of parts affected by the Translate tools.
from the camera.

Using Translate In/Out on a

Body Part
When you translate a body part, drag down to
pull the part toward you. Drag up to push the
part away.

Hold down the Command/Ctrl key to toggle

between the Translate/Pull and Translate In/
Out tools.

Using Translate In/Out on

the Entire Figure
Chain Breaks are shown on a figure.

When you drag the Translate In/Out tool, the

Use chain breaks on different body parts to
figure moves toward or away from the camera
modify translation effects. For example, to
(in the z dimension). Drag down to move the
prevent the chest from moving, use the chain
figure toward you. Drag up to move it away.
break on it. Now, if you translate the hand,
Moving a figure toward you makes it appear only the forearm, shoulder, and clavicle are
larger in the window and vice-versa. affected.

This feature is only available for

Note limbs not using Inverse
Kinematics.

To add a chain break:

• Choose the Chain Break tool and click

Translate In/Out moves a figure toward or away
from the camera.
on the part where you want the chain

Posing
 broken. A Chain Break icon appears on When you select the Figure Ring, the
any affected parts. Parameter Dials affect the entire figure.

To remove a chain break: To use the Parameter Dials:

• Choose the Chain Break tool and click 1 Select the part you want to adjust.
on the chain break you want removed.
2 Select the dial for the parameter you want
to adjust, and drag it to the right or left.
You cannot remove the chain
Note break at the hip. If not all Parameter Dials appear
Note in your window, drag the handle

Using the Parameter down to expose more dials, or

use the scroll bar.
Dials
To set a numeric value for a Parameter
The Parameter Dials let you pose a figure Dial:
using precise numerical increments. By
dragging on a dial you can move a body part • Click on the dial’s value, and enter a new
in small increments, allowing you to create value in the text field that appears.
precise poses. Every property of a body part
has its own Parameter Dial. The Parameter Dial dialog lets you control a
property’s numeric value, maximum and
minimum limits, and name.

Scrollbar

Dial

Current Value

The Parameter Dial properties dialog.

Parameter Dials.

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To set a Parameter Dial’s properties:

1 Double-click a Parameter Dial. A dialog 1 To change a Parameter Dial’s memorized

appears. value:
2 Set any of the following options: 2 Set the dial to the value you want to be
• Value: to change the property’s memorized.
numeric value 3 Choose Edit menu> Memorize>
• Min/Max Limit: modify the choose a menu item.
property’s Use Limits.
• Name: create a new name for the Posing Parameters
property.
• Sensitivity: modify the sensitivity of The following Parameter Dials are available
a parameter’s dialing habits. The for posing. Since some properties don’t apply
lower the sensitivity value, the less to certain body parts, the number of dials
movement is allowed in its element. change as you select different parts.

• Graph: click this button to modify Twist

the standard animation graph palette.
For details on this palette, refer to Twist rotates a body part along its own axis.
“Editing Keyframe Interpolation” on For example, you can use twist on the head
page 225. and neck to turn the head. When you use it
3 Click OK to close the dialog. on the chest and abdomen, Twist manipulates
the figure’s supple spine. Twist is also useful in
Default Parameter Dial the shoulder and forearm, where it turns the
hand palm up.
Settings
Bend
Each body part’s Parameter Dial has a default
value that defines its original state. As you Bend rotates a part on its major axis. All
work with Parameter Dials, you may wish to parts—except the shoulder and hand—bend
go back to the default, or memorized, setting. forward and back. The shoulder and hand
bend up and down.
To reset a Parameter Dial’s default
values: Side-to-Side
• Option/Alt-click the dial. Side-to-Side rotates the part perpendicular to
its major axis. All the parts on the spine allow
some side-to-side motion. The thigh has a lot
of side-to-side motion, but the knee has very
little.

Posing
Turn
The Turn dial appears for the feet only,
rotating them outward or inward. Turning
both feet in makes a figure pigeon-toed.

Front-to-Back
Front-to-Back is used with the shoulders and
collars. It rotates them forward or back,
perpendicular to their major axis.

Posing Parameters for xRotate, side view.

the Body
yRotate
The following Parameter Dials are available
for entire figures. yRotate rotates a figure around the y (vertical)
axis. This works like the Twist tool, except
If you are working with more than one figure, that you twist the entire figure. Drag the dial
remember to select the one you want to move to the right to rotate a figure counter-
before dragging a dial. clockwise.

xRotate
xRotate rotates a figure around the x axis at
the figure’s hip. Drag the dial to the right to
rotate the figure face down.

yRotate, top view.

Poser4
zRotate Symmetry
zRotate rotates a figure around the z axis. The Symmetry command allows you to copy
Drag the dial to the right to lean a figure to pose characteristics from one side of the body
the right. to the other. This is a great time saver. Pose
one arm or leg, then use symmetry to
immediately put the other arm or leg in a
matching pose.

zRotate, front view.

Before and After Symmetry: Right to Left.
xTran Another form of symmetry swaps the pose
characteristics of the right and left.You can
xTran moves a figure horizontally (in the x
swap the arms, legs or both.
dimension). Drag the dial to the right to move
a figure in that direction.

yTran
yTran moves a figure vertically (in the y
dimension). Drag the dial to the right to move
a figure up in the window.

zTran
zTran moves a figure toward or away from you
(in the z dimension). Drag the dial to the right
to move a figure toward you. Use Symmetry: Swap Right and Left to mirror the
pose.

Posing
You can apply symmetry to both the arm and Copying and Pasting
the leg (Left to Right or Right to Left), or just
the arm or just the leg.You can also use Poser’s Copy and Paste feature lets you copy a
Symmetry to straighten the torso. pose from one body part and paste it onto
another, or from one figure to another.
To apply symmetry:

1 Choose Figure menu> Symmetry>

select a symmetry option.
2 A dialog appear asking if you want to
copy the joint zone’s setup also. Unless
you are working with a custom figure,
click No (the default). For complete
details on using joint zones, refer to
“Figure Joints and Blend Zones” on
page 278.

Drop to Floor
In this example, the Shoulder’s pose was copied to
the Abdomen.
You can place a figure in any position, such as
a mid-air leap. There’s nothing wrong with
having your figure in the air, but if a floating
figure doesn’t match your plans for the image,
you can bring a figure to the studio floor with
the Drop to Floor command.

To drop a selected figure to the floor:

• Choose Figure menu> Drop to Floor.

This brings the lowest part of the body to
contact the floor.

To display the floor: Here, the man’s pose was copied to the female
figure.
• Choose Display menu> Guides>
Ground Plane. You can even copy a pose from one type of
body part to a different type of part. For
example, you could copy a twisted arm and
paste it onto a shin, to achieve the same

Poser4
amount of twist. However, note that all To change a body part’s properties:
parameters from the copied body part are
pasted to the new body part, so the results 1 Select the part you want to work with.
may not be ideal.
2 Double-click the part or choose Object
menu> Properties. The Properties
To copy and paste a pose to another
dialog appears.
body part:

1 Pose a body part.

2 With the body part selected, choose Edit
menu> Copy, or Command/Ctrl-C.
3 Click to select the body part you want to
copy the pose to. This can be a body part
on the same figure, or a body part on
another figure in the studio.
4 Choose Edit menu> Paste, or The Element Properties dialog.
Command/Ctrl-V.
3 Set any of the following options in the
The pose is copied to the new body part. Element Properties dialog:
When you copy a pose from one limb to its • Name: rename the part.
opposite, you do not achieve the mirrored • Visible: toggle the part visible or
position; the translated position of the copied invisible. In an animation, you
limb equals the translated position of the cannot make an element visible in
pasted limb. one frame, but hidden in another.
• Casts Shadow: toggle shadow
Element Properties casting for the part.
• Bend: toggle the part bendable or
Poser offers various options for manipulating
not. For details, refer to “About
and displaying body parts.You can change
Bending” on page 127.
their name, make them invisible, and stop
them from bending. • Add Morph Target: add a custom
morph target to the part. For details,
refer to “Adding Custom Morph
Targets” on page 156.
4 Click OK to close the dialog.

Posing
About Bending The Left and Right Hand Cameras use the
hand as their center of rotation, making it
All body parts are separate elements, or easier to create precise hand poses.
objects. As you change their positions, Poser
tries to maintain the continuity of the body as
a whole. The arm should connect to the body
smoothly, and so on for every transition
between parts.

Poser achieves smooth transitions in any pose

by bending body parts where they join.
However, the bending information for the
human body may not work well for a body
part replaced with a prop.You can disable
bending for the body part replaced by the
prop. For more information on bend, refer to
“Replacing a Body Part with a Prop” on
page 173. Use the Hand Cam to easily view a figure’s hand.

When rendering an image created with the Use the same Editing Tools to pose a hand as
Bend option disabled, parts may appear you use on the rest of the body. The hand’s
disjointed. This may be useful for special fingers are body parts just like an arm or leg;
effects, such as creating a robotic form. once you select them, you can rotate, twist, or
position fingers just like any other body part.

Posing Hands Locking Hand Poses

In the Figures palette, models in the People After you finish posing, you can use the Lock
sub-category have fully articulated hands; Hand Parts option to protect the hand’s pose
when you move a finger, its knuckle joints while you work on the rest of the figure.
bend naturally.
To lock an articulated hand pose:
Hands for all other models can be posed using
the preset Hand positions in the Libraries 1 Click the hand you want to lock.
palette. 2 Choose Figure menu> Lock Hand
Parts. The hand is locked in place. No
finger parts can be selected or
repositioned.
This command is only available with
figures from the People sub-category.

Poser4
Using Parameter Dials on Using the Hand Model
Hands
The Left and Right Hand models are designed
When you select the main potion of a hand— specifically for posing hands. These models
labeled Left/Right Hand in the Current appears as disembodied hands floating in 3D
Elements menu—a special set of hand space.
Parameter Dials appear. These dials let you
quickly refine hand poses.

Grasp
This dial lets you control the severity of the
clench of the hand. The higher the value, the
more closed the hand appears. Higher values
create a fist.

Thumb
The Hand model.
This dial lets you control the position of the
upper thumb. Higher values move the thumb Hand models are ideal for creating a library of
in, toward the rest of the hand; lower values hand poses you can reuse on other figures.
move it away from the hand.You can position When you save a posed Hand model to the
the rest of the thumb (the tip and middle of library, only the hand appears in the preview.
the thumb) separately by selecting them.
To access a Hand model:
Spread
1 Display the Libraries palette by clicking
The Spread dial controls the amount of space its handle on the right side of the screen.
between the fingers. Higher values spread the 2 Select the Figures category.
hand out, while lower values push the fingers
together. 3 Click the pop-up and choose the
Additional Figures sub-category.
4 Double-click either the Left or Right
Hand model.

Posing
Using Preset Hands Posing Faces
When you’re done posing a hand, you can Poser’s People figures have fully articulated
save it as a preset hand pose in the Libraries faces, meaning you can position facial muscles
palette. Hand poses are saved the same way a such as mouth, eyebrows, cheeks and eyes to
figure pose is saved. create different facial expressions.You’ll use
the Parameter Dials to pose faces.
Preset hands include Basic Hands
Note and Poser 2 Fig Hands. You can Only the People sub-category of

only apply Basic Hands to the

Note figures have posable faces.

People and Poser 3 Low Res sub-

When you select the head, a series of face-
categories of figures. Poser 2 Fig specific Parameter Dials appears; each dial
Hands can only be applied to controls a different aspect of the face. When
Poser 2 figures. using these Parameter Dials, keep in mind that
you are controlling the muscles in the face.
To use a hand pose: Because an expression is made up of different
muscle movements, you need to adjust several
1 Click a figure to select it. parameters to create an expression.
2 Display the Libraries palette by clicking The Face Camera uses a figure’s face as its
its handle on the right side of the screen. center of rotation, letting you view it from
3 Click the Hands category button. If the any angle.
button is not visible, move the cursor
over the category dots at the top of the
palette until the Hands icon appears.
4 Double-click the preview of the pose you
want to use. A dialog appears asking if
you want to apply the hand to the left or
right hand.
5 Click either Left Hand or Right Hand
button, then click OK.

Use the Face Camera for posing a figure’s face.

Poser4
Using the Parameter Mouth O
Dials When the Mouth O dial is set to 1, the lips
are in position to produce the O sound.
The normal range of the facial Parameter Positive values pucker the lips. Negative values
Dials is 0 to 1. This range represents the stretch out the lips.
normal range of motion of the face and
produces realistic expressions.Values above 1
produce an exaggerated pose, like a wide
gaping mouth.Values below 0 (that is, negative
values) produce the opposite effect of the
parameter. For example. a negative Frown
value produces a slight smile.

Mouth Parameters
The Mouth O dial in use.
These dials controls a figure’s mouth and
tongue. Together the dials control most of the Mouth F
muscles in the lower face.
When the Mouth F dial is set to 1, the lips are
OpenLips in position to produce the F sound. Using
positive values, the lower lip tucks up under
Controls the distance between lips. Positive the upper teeth. With negative values, the
values spread the lips. Negative values move lower lip juts out.
them closer together.
Mouth M
Smile
When the Mouth M dial is set to 1, the lips
Positive smile values raise the corners of the are in position to produce the M sound. A
mouth and close the eyes slightly. Negative positive value presses the lips together. A
value produce the opposite effect. negative value spreads out the lips.

Frown
Positive values drop the corners of the mouth.
Negative values produce a slight smile.

Posing
Tongue T Left/Right Brow Up
When the Tongue T dial is set to 1, the tongue Positive values lift the inner brow (that is, the
and mouth are in position to produce the T part of the brow closest to the nose) up.
sound. Positive values press the teeth together Negative values lower the inner brow,
and moves the lower lip down, opening the producing an angry look.
mouth. Negative values close the mouth and
pull the lips together. Worry Left/Right
Positive values move the inner brow up and
the outer brow down. Negative values have
the opposite effect.

The Tongue T dial in use.

Tongue L
When the Tongue L dial is set to 1, the tongue The Worry dials in use.
and mouth are in position to produce the L
sound. Using positive values, the mouth opens Blink
and the tip of the tongue tucks in behind the
front teeth. A negative value closes the lips. When the Blink dial is set to 1, the eye is
completely closed. At 0 the eye is completely
Eyebrow Parameters open. Negative values produce extremely
open eyes, producing a horrified look.
This set of Parameter Dials control the
position of the eyebrows and eyelids. The Posing Eyes
Eyebrow parameters control most of the
muscles in the upper half of the face. You can pose the eyes within a face just like
any other body part; select them using the
Left/Right Brow Down Editing Tools and position them using the
Parameter Dials. Eyes also appear on the
Positive values lower the brow down in a Current Elements pop-up menu.
straight line. Negative values curves the brow
up.

Poser4
Character Morphs RoundNose: a higher value makes a rounder
nose.
The following morph target Parameter Dials
are available with the Character models: SquareFace: a higher value makes a more
square-shaped face.
Brow: a higher value pushes the eyebrows
out. Faces and Phonemes
BumpNose: a higher value creates a bump A phoneme is a linguistic term for the position
on the bridge of the nose of the lips, teeth, and tongue as they make
sounds. To produce certain letter sounds, the
Cheeks: a higher value makes the cheekbones
mouth and tongue must be in specific
more pronounced.
positions. For example, to produce the letter A
Chin: a higher value makes a more sound, the mouth is open, and the tongue is
pronounced chin. behind the lower teeth. A series of phonemes
strung together produce speech.
EyeRoundness: a higher value makes the
eyes more round. B

FlatFace: a higher value makes the face

flatter.

FlatNose: a higher value makes a flatter nose.

HeartFace: a higher value makes a more

heart-shaped face.
I
LashLengh: a higher value makes longer
eyelashes.

LipSize: a higher value increases the volume

of the lips.

LongFace: a higher value makes a longer

face. R

PointedNose: a higher value makes a more

pointed nose.

RoundFace: a higher value makes a rounder

face.

A series of examples of Phonemes.

Posing
In Poser, you can create the appearance of All the same Editing Tools and Parameter
phonemes to create realistic facial animations, Dials you use on figures also work on animal
simulating speech. This is useful when you models. The Current Figure menu, at the
attach sound to figure. By setting up different bottom-left of the Document window, lists all
animation frames with different phonemes the parts that make up the animal.
you synchronize the face to the sound.

There are several preset phonemes included in

the Faces: Phonemes sub-category on the
Libraries palette.You can use these presets to
help you get started. Refer to “Loading from
the Libraries Palette” on page 33 for more on
retrieving phonemes from the Libraries
palette.

Using Preset Faces

Like hands, you can save face poses into the
Libraries palette. Once saved, you can easily
An example of posing a dog figure.
apply a face to any number of figures. Refer
to “Saving to the Libraries Palette” on
page 34 for more information. Posing Animal Heads
Several animal models have fully articulated
Posing Animals heads. For example, the dog model has a
mouth and ears that can be posed. Like
You can pose animal models using the same human figures, use the Parameter Dials to
techniques you use to pose a human figure. pose the features on an animal model’s head.
Animal models have their own set of IK
settings, Bend zones, and Use Limits, so not
all the parts act as you may expect. On the
Horse model, for example, moving the hip
joint toward the ground does not make the
horse sit, as it does in the human figure.

Posing a dog’s eyes and mouth.

Poser4
When you click an animal model’s head, a set
of special Parameter Dials appear that control
Locking Objects
all the posable parts of the head. Each model You can lock body parts or an entire figure, so
has different morph target parameters. To find that the editing tools and parameter dials don’t
out which parameters are posable, click on the affect it. This feature is helpful when you want
head. to protect a pose while you work on the rest
of the figure

Pointing Body Parts To lock a figure or body part:

You can aim body parts directly at other 1 Click the Current Element pop-up and
figures, body part, or props using the Point At choose the figure or element you want to
command.You may find this feature handy, for lock.
example, to illustrate a figure following her
hand with her eyes. 2 Choose Object menu> Lock Actor.
The actor is locked when this menu item
To point a body part directly at an is checked.
object:
When a body part is locked, you can still
1 In the Current Element popup, select the manipulate other parts and the figure. If you
element you want to point. lock an entire figure, you can still manipulate
its parts, but the figure itself cannot be moved.
2 Choose Obejct menu> Point At. A
scene selection dialog appears.
3 In the list of objects, click to select the Auto Balance and
figure, body part, or prop you want to
point the element at, then click OK.
Posing
The element points at the object, and a The Auto Balance feature is a valuable tool for
Point At Parameter Dial appears for the creating realistic poses. When Auto Balance is
element.You can adjust this parameter as enabled, Poser calculates the mathematical
needed. At 1, the element is pointed “weight” for a figure and then maintains it. In
completely at the object. At 0, the the following example, there is more weight
element is not pointed at the object. in the figure’s hip or center portion than in
the upper torso.
To disable the pointing of a body part:
3 As you pose a figure, Auto Balance adjusts
1 In the Current Element popup, select the body parts to maintain the original
body part that is pointing. weight distribution. This results in more
2 Choose Obejct menu> Point At.
3 In the dialog that appears, click None.

Posing
 natural looking poses, without requiring Saving Poses in the
several position adjustments.
Libraries Palette
When a pose is saved in the Libraries palette,
all the parameters are saved.

To save a pose to the Libraries palette:

1 To display the Libraries palette, click its

handle on the right side of the screen.
2 Click the Poses category button. If the
button is not visible, move the cursor
over the category dots at the top of the
palette until the Poses icon appears.
3 Click the Add to Library (+) icon. A
Posing using Auto Balance.
dialog appears.
When using Auto Balance, small subtle 4 If you want to specify parts of the pose to
motions result in better poses than do large include or not include, click the Select
motions. Large motions may create drastic Subset button. In the Hierarchy Selection
results. If this happens, use Edit menu> list that appears, deselect any items that
Restore to reset body parts’ positions. you don’t want to include, then click
OK.
To enable the Auto Balance feature:
5 Enter a name for your library item and
• Choose Figure menu> Auto Balance. click OK.
6 A dialog appears asking if you want to
save a Single frame or a multi-frame
Saving Poses animation.

The Libraries palette lets you save poses and

animations. Saved poses are readily accessible,
so you can apply them to the current figure at
any time.

You can save poses either temporarily—just

during the session—or indefinitely—to use
them in other projects.You can also save a set
of poses as a morph target. You can save a still or the entire animation.

Poser4
 • If you select the Single frame option, To recall a stored position:
the current pose is saved.
• If you select the Multi-frame • Click on a memory dot. The figure
animation option, you can specify a moves to the stored pose.
range of frames to save.
Choose either Single frame or Multi- Using Poses from the
frame animation from the dialog and click Libraries Palette
OK.
When you use a single frame pose from the
A rendering of the pose appears in the
Libraries palette, Poser applies it to the current
Libraries palette. If you saved a multi-frame
frame.
animation, the number of frames appears in
the Library preview. When you use an animation from the library,
Poser applies it to a series of frames, beginning
Using the Pose Memory with the current frame, and extends the full
length of the applied multi-frame pose. Make
Dots sure you have enough frames ahead to
accommodate the multi-frame pose.
Use the Pose Memory Dots to store a figure’s Otherwise, Poser automatically extends the
position during a session.You can store up to length of the animation to accommodate the
nine different poses. Memory dots are saved poses.
with the file, so your figure positions are
available the next time you open the file. To load poses from the Libraries
palette:
To save a figure position to a memory
dot: 1 To display the Libraries palette, click its
handle on the right side of the screen.
1 Set up a figure pose.
2 Click the Poses category button. If the
2 Click the pop-up menu above the button is not visible, move the cursor over
memory dots and choose Pose Dots. the category dots at the top of the palette
3 Click an empty memory dot. The figure until the Poses icon appears.
position is stored into the dot you clicked. 3 Click the sub-category pop-up and
choose the type of pose set you want to
apply.
Full Memory If you want to apply an animated pose to
Empty Memory Dot
your figure, use the Animation Sets sub-
category.
Use the Pose Dots to save poses. 4 Double-click the preview of the pose you
want to use.

Posing
5
Body Shaping

Human bodies come in all shapes and sizes.

Starting with any Poser model, you can adjust its
proportions to create a body of any type, from
lifelike to absurd.

Poser lets you shape the body any way you like.
Poser 4 includes several features for body
shaping.You can select from a library of
General
morph targets to reshape any body part.You Characteristics
can create your own morph targets using the
deformer tools. The Grouping tool lets you Selecting Figures from
target specific sections of elements and props.
the Library
With the Scale tool, you can scale the body or
its parts in one, two, or all three dimensions. The Figures category of the Libraries palette
Scaling all three dimensions maintains the provides many figures to work with, including
body or object’s proportions. Scaling in one or various types of males, females, children,
two dimensions changes the actual shape. For skeletons, stick figures, and animals.
example, increasing the height scale makes a
figure taller. Increasing only the width and Poser figures are divided into different
depth can make a figure stout—even rotund. categories of older and newer Poser models.

You can create exaggerated body types. Examples of the skeleton, stick figure and Poser 2
models.
With the Taper tool, you can taper parts of the
body so they make smooth transitions. Models in the Poser 2 figure category are
available in high resolution and low resolution
You can customize figures by replacing body versions. Low resolution models use less
parts with props you’ve imported into your memory and display more quickly, while high
scene.You can also attach a prop to a figure, resolution models offer better detail. High
such as a sword or a pair of wings. resolution models have the word “Hi” in their
titles and low resolution models have “Lo”.
As you create new bodies, you can save them
to the Figures category in the Libraries palette.
The library is the easiest way to store and
retrieve body shapes.

Body Shaping
Newer Poser models are more detailed and the Figures icon appears, then click the
have fully articulated hands and faces. The mouse button.
Animals category also contains fully
3 Click the sub-category popup menu and
articulated animal models.
choose the sub-category of figures you
want to use.
4 Double-click the preview of the figure
you want to use.

Genitalia
The male nude model is anatomically correct.
To turn display of his genitals on or off,
choose Figure menu> Genitalia.
Some of the People and Animal figures.

You can find the most recently Poser figures

Figure Height
in the “People” sub-category of the Figures
Poser provides several figure heights as starting
library. In addition to fully articulated hands
points.You can modify any of these toward
and faces, they include extra morph targets,
the body shape you want.
and are optimized to work with Poser’s library
of clothing. The Poser People models that can To set figure height:
change clothing begin as nudes. The People
sub-category also includes Robots. • Choose Figure menu> Figure
Height> select a height.
You can use older and newer Poser models
together to optimize your workflow. For
example, while posing, you can use a lower Using the Color Tool
resolution model from a Poser 2 category to
maximize the response time of your You can use the Color tool to change a figure
computer. Then when you’re ready to render, or its clothing’s color. The Color tool changes
make a movie, or export a model, switch to a the color of the entire figure; you cannot use
high resolution model from the People sub- it on individual body parts.
category.

To change the figure type:

1 Display the Libraries palette.

The Color tool.
2 Click the Figures category button. If the
button is not available, move the cursor
over the dots at the top the palette until

Poser 4
To change a figure’s color: Using the Shaping Tools
1 Click to select the Color tool, then click
The easiest way to shape a part is to choose
the figure whose color you want to the Scale or Taper tool, click on the element
change. you wish to adjust, and simply drag it. For
2 Drag the dropper icon over the color more precise control in each dimension, use
picker that appears. Release the mouse the Parameter Dials.
button when you select the desired color.
Scale
Shaping Individual
Body Parts
Shaping individual parts can significantly
change the appearance of the body. Enlarge Drag in (toward the selected element) to
the abdomen to give the model a big belly. reduce the scale. Drag out (away from the
Stretch the head wider to give the model a element) to increase the scale.
broad face.
• You scale the three dimensions to varying
degrees, depending on how you drag.
Drag laterally to scale width and depth (x
and z dimensions). Drag vertically to scale
height (y dimension).
• To scale proportionally in all three
dimensions, hold down the Shift key as
you drag.

If the result is not what you expected, choose

Edit menu> Undo.

For more precise control of the scale in each

dimension, use the Parameter Dials.
Shaping an individual body part.
You can animate the scaling of a body or body
Shaping is easiest when a figure is in the
part. For details on animating, refer to
default pose—with arms out, facing the
“Creating Animations” on page 209.
camera. In this pose, you can clearly see the
proportions of the separate elements and the
effects of your changes.

Body Shaping
Taper xScale
xScale adjusts the width scale (x dimension).
Drag the dial to the right to increase the scale
in this dimension.

Taper adjusts the scale of one end of an yScale

element only—the other end does not
change. Taper affects the end of the element yScale adjusts the height scale (y dimension).
that is distant from the center of the body. Drag the dial to the right to increase the scale
in this dimension.
Drag to the right to increase the taper.
Increasing the taper shrinks the end of the zScale
element farther from the center of the body.
Drag to the left to decrease the taper. This zScale adjusts the depth scale (z dimension).
“flares” the end of the element. Drag the dial to the right to increase the scale
in this dimension.
Using the Parameter
Dials Breast Size
The female model’s chest includes the
When you click a body part, the Parameter BRLarge and BRSmall Parameter Dials for
Dials change to display the appropriate scaling changing the breast size. Drag the BRLarge
controls. dial to the right to increase breast size. Drag
the BRSmall dial to the right to decrease
Taper breast size.

Taper adjusts the scale of one end of an

element only—the other end does not
Symmetry
change. Drag to the right to increase taper.
The end of the element farther from the You can save a lot of time and effort with the
center of the body shrinks. Drag to the left to Symmetry command. When you shape an
decrease the taper. arm or leg, you can use Symmetry to give the
other side the exact same proportions.
Scale You can apply symmetry to both an arm and
leg (Left to Right or Right to Left), or just an
Scale adjusts all three dimensions arm or leg.You can also use Symmetry to
proportionally. Drag the dial to the right to straighten the torso.
increase the scale.

Poser 4
To apply symmetry: Body Size and Uniform
1 Choose Figure menu> Symmetry> Scaling
select an option.
A figure’s size is significant only in relation to
2 A dialog appear asking if you want to other figures or objects in the scene. If you are
copy the joint zone’s setup also. Unless posing a single figure, uniform scaling of the
you are working with a custom figure, body is not necessary. Instead, to make a single
click No (the default). For complete figure larger or smaller in the window, scale
details on using joint zones, refer to the camera.
“Figure Joints and Blend Zones” on
page 278. If you are working with two or more figures
and you want to make a figure appear to be in
the distance, use the Translate In/Out tool to
Scaling the Body as a move it back in the studio space.
Whole To make a figure a certain size for a final
rendering, you can set the Rendering Options
Scaling the body simply changes its size. To to render at a specific resolution. For details
scale the figure, select the Scale tool, select the on rendering, refer to “Setting Up a Render”
Figure Ring for the appropriate figure, and on page 260.
drag in the Document window.
Using Parameter Dials
The Parameter Dials are particularly useful for
body shaping. The values show the scale in
that dimension as a percentage. The normal
scale of a Poser model is 100%.

Scale
Scale adjusts all three dimensions
proportionally. Drag the dial to the right to
increase the scale.

xScale
Scaling the entire body using the Figure Ring. xScale adjusts a figure’s width (x dimension).

For details on the Scale tool, refer to “Scale”

on page 140.

Body Shaping
yScale Using the Deformer
yScale adjusts a figure’s height (y dimension). Tools
Poser’s deformer tools are used to shape body
zScale parts and figures into new and interesting
forms.You can stretch a figure’s nose, make a
zScale adjusts a figure’s depth (z dimension). figure’s belly bounce as it walks, add ripples to
clothing, or create a splash.You can animate
the deformers both in their settings and
Copying and Pasting positions.You can also use the deformers to
create custom morph targets.
Poser’s new Copy and Paste feature lets you
copy a shaped body part and paste the shaping
Parameters onto another, or from one figure
to another.

For example, you could resize a hand, and

then copy the new size to the opposite hand
on the figure, to another figure’s hand.You
can even copy a new shape to a different type
of body part, such as a foot or the head.

To copy and paste a shaped body part:

1 Manipulate a body part with any of the

shaping tools or parameters. Examples of deformed objects.
2 With the body part selected, choose Edit
menu> Copy, or Command/Ctrl-C. When working with the deformers, it’s best to
use the full tracking display style so you can
3 Click to select the body part you want to see the effects of the deformer as you
copy to. This can be a body part on the manipulate it.
same figure, or a body part on another
figure in the studio. To turn full tracking on:
4 Choose Edit menu> Paste, or
• Choose Display menu> Tracking>
Command/Ctrl-V.
Full Tracking or click the Full Tracking
The parameters are copied to the new button on the upper-right corner of the
body part. document window.

Deformer tools do not appear when a scene is

rendered in Poser.

Poser 4
The Magnet Deformer • The Magnet Base defines the zero point of
the area to be deformed.When you move
the Magnet Base, the Magnet object
The Magnet deformer distorts an object by
moves with it.
creating a virtual magnet which stretches it.
The Rotate, Twist, Translate, and Scale tools • The Magnet Zone defines the area to be
can be used on the Magnet deformer, as well deformed.You can move and shape the
as several specialized Parameter Dials. Magnet Zone to fit your needs.

Using Editing Tools with

Magnets
You can use the same tools you use for posing
to position the magnet objects.

To edit a magnet object:

1 Select the magnet object from the

A sphere deformed by the Magnet.
Current Element popup.
To create a Magnet deformer: 2 Select the editing tool you want to use.

1 Select the object you want to deform. For all of these tools, when you move the
Magnet Base, the Magnet object moves along
2 Choose Object menu> Create
with it.
Magnet.
The editing tools that can be used on Magnet
When you create a magnet, three Magnet object are:
objects, which together create the deformer,
are added to your scene. • Rotate rotates a Magnet object around its
axis in three dimensions.

Magnet object • Twist rotates a Magnet object along its

own axis.
Magnet Zone • Translate/Pull moves the Magnet object
horizontally or vertically (in the x and y
dimensions), depending on how you
drag.
Magnet Base • Translate In/Out moves the Magnet
The three parts of the Magnet deformer. object in or out from the center of the
studio.
• The Magnet object defines the behavior of
the actual magnet.

Body Shaping
• Scale increases or decreases the size of • zTran moves the Magnet object in the z
the Magnet object. dimension.

Using Parameter Dials with Magnet Properties

Magnets
Just like body parts, you can control the
When a Magnet object is selected, you can properties of the Magnet objects.
use the Parameter Dials to precisely control a
To edit a Magnet object’s properties:
it’s position and orientation:

• Scale adjusts all three dimensions 1 Choose the Magnet object from the
proportionally. Drag the dial to the right Current Element popup.
to increase the scale. 2 Choose Object menu> Properties.
• xScale adjusts the width scale (x The Properties dialog appears.
dimension). Drag the dial to the right to
increase the scale in this dimension. The Properties dialogs differ depending on
• yScale adjusts the height scale (y which Magnet object is selected.
dimension). Drag the dial to the right to
increase the scale in this dimension. Magnet Object Properties
• zScale adjusts the depth scale (z
dimension). Drag the dial to the right to
increase the scale in this dimension.

xScale, yScale, and zScale are not

Note used with the Magnet Base
object.

• xRotate rotates the Magnet object

around the x axis.
• yRotate rotates the Magnet object
Magnet object properties.
around the y axis.
• zRotate rotates the Magnet object The options in the Magnet Properties dialog
around the z axis. are:
• xTran moves the Magnet object in the x
dimension. • Name: rename the Magnet object. This
option is helpful when you are working
• yTran moves the Magnet object in the y with several magnets.
dimension.
• Visible: toggle the Magnet visible or
invisible.

Poser 4
• Add Element to deform: add another Magnet Zone Properties
element to be affected by the magnet. If
you click this button, select an element in
the Hierarchy list that appears, then click
OK.

In order for this feature to work,

Note the added element must be in the
Magnet Zone, or it won’t be
deformed. You can move or scale
the Magnet Zone object to bring
the element into the zone.

Magnet Base Properties Magnet Zone properties dialog

The options in the Magnet Zone Properties

dialog are:

• Name: rename the Magnet Zone object.

• Visible: toggle the Magnet Zone visible
or invisible.
• Edit Falloff Graph: edit the Magnet
Zone’s falloff (the area where the
Magnet Base properties dialog
deforming ends or “falls off ”). Click this
button, then edit the graph that appears.
The options in the Magnet Base Properties • Set Parent: set a parent object for the
dialog are: Magnet Zone. Click this button, select an
element in the Hierarchy list that appears,
• Name: rename the Magnet Base object. and click OK.
• Visible: toggle the Magnet Base visible • Group: deform a grouped part of the
or invisible. selected element. Enable the checkbox,
• Display Origin: display the Magnet then select one or more groups from the
Base’s axis. This feature is useful because
the Magnet object translates on the
Magnet Base’s axes, not the ground floor
axes. So for example, if you use a
Parameter Dial to move the Magnet along
the y axis, it moves along the base’s y axis,
not the studio’s y axis.

Body Shaping
 popup. A group is selected when a check 3 If the Display Shadows control is on, turn
appears next to it. it off by choosing Display menu>
Ground Shadows.
To get an optimal 3D view of the 4 Choose Object menu> Create
Tip magnet zone, change its display Magnet. The Magnet, Magnet Base, and
style to Wireframe. Select the Magnet Zone objects appear.
Magnet Zone, select Element The Magnet object scales to a size bigger
Styles from the Document Display than the object it has been created for, so
Style popup, then click the in this case it is quite large. For a smaller
Wireframe icon.
body part or prop, the magnet would not
appear so large.
Locking Magnets 5 Now you’ll probably want to zoom out a
little. Drag the X and Z camera control
The Lock feature can be especially helpful for up until the entire ground plane is
the Magnet Zone objects. Once you have a showing in your Document window.
zone carefully positioned to get the effect you
want, you can lock it so that it isn’t
accidentally moved. For details, refer to
“Locking Figures and Body Parts” on
page 159.

Tutorial: Using the Magnet

Deformer The X and Z camera control.

This short tutorial demonstrates how easy it is 6 Click the Translate/Pull tool, then click
to use the Magnet deformer. For a simple the Magnet object.
demonstration, we’ll use a magnet on an
empty ground plane.

To use the magnet deformer:

1 To remove any figures from the scene,

select the figure in the Current Figure
popup, then choose Figure menu>
Delete Figure.
2 Choose Display menu> Guides>
Ground Plane, then click the ground
plane to select it.

Poser 4
7 Drag the magnet up, down, and side-to- For example, translate the zone to the
side. The ground plane follows the right to move the area being deformed.
magnet around.

Translating the Magnet Zone object.

Translating the Magnet object.
11 With the Magnet Zone still selected,
8 Click the Rotate tool, and rotate the
choose Edit menu> Restore>
Magnet object around. The ground plane Element.The zone returns to its original
rotates around the center of the Magnet size and shape.
Base object.
12 Choose Mag Base 1 from the Current
Element popup.
13 Using the Editing tools or Parameter
Dials, experiment with scaling, rotating,
and translating the Magnet Base object.

Rotating the Magnet object.

9 In the Current Element popup, choose

Mag Zone 1 to select the Magnet Zone
object.
10 Drag the Scale Parameter Dial for the
Magnet Zone and scale the zone to about Rotating the Magnet Base object.
50%. Now only the portion of the
ground plane within the magnet zone is
deformed. Experiment with the editing
tools and Parameter Dials on the zone.

Body Shaping
The Wave Deformer • The Wave Zone defines the area to be
deformed.
The Wave deformer distorts an object by
creating a wave path for it. The Rotate, Twist,
Translate, and Scale tools can be used on the
Wave deformer, as well as several specialized ave Zone
Parameter Dials.
ave object

The two parts of the Wave deformer.

Using Editing Tools with

Waves
You can use the same tools you use for posing
A cube distorted by the Wave deformer.
to position the wave objects.
To create a Wave deformer:
To edit a wave object:
1 Select the object you want to deform.
1 Select the wave object from the Current
2 Choose Object menu> Create Wave. Element popup.

When you create a Wave deformer, two wave 2 Select the editing tool you want to use.
objects, which together create the deformer,
are added to your scene: The editing tools that can be used on Wave
objects are:
• The Wave object defines the behavior of
the actual wave. • Rotate rotates a wave object around its
axis in three dimensions.
• Twist rotates a wave object along its own
axis. Twist has no effect on the radial
wave.
• Translate/Pull moves a wave object
horizontally or vertically (in the x and y
dimensions), depending on how you
drag.

Poser 4
• Translate In/Out moves a wave object The Parameter Dials available only for the
in or out from the center of the studio. Wave object are:
• Scale increases or decreases the size of a
• Phase defines the position of the wave in
wave object.
the infinite time. Use this dial when you
are animating waves.
Using Parameter Dials with
• Amplitude defines the wave’s height.
Waves
• Wavelength defines the distance from
one wave crest to another.
When a wave object is selected, you can use
the Parameter Dials to precisely control a • Stretch defines the amount of stretch for
wave’s position and behavior. each wave.
• Amp Noise defines the randomness or
The Parameter Dials available for both the “noise” of the wave pattern’s amplitude.
Wave and Wave Zone objects are:
• Freq Noise defines the randomness or
• Scale adjusts all three dimensions “noise” of the wave pattern’s frequency.
proportionally. Drag the dial to the right • Sinusoidal defines the size of the sine
to increase the size of the wave object. wave pattern.
• xRotate rotates the wave object around • Square defines the shape of the wave
the x axis. For this parameter to affect the pattern. Drag the dial to the right to
Wave Zone, the zone must be create square-shaped waves.
disproportionately scaled (not perfectly
• Triangular defines the shape of the wave
round).
pattern. Drag the dial to the right to
• yRotate rotates the wave object around create triangle-shaped waves.
the y axis. For this parameter to affect the
• Turbulence defines the roughness of a
Wave Zone, the zone must be
wave pattern. Drag the dial to the right to
disproportionately scaled (not perfectly
create jagged, or turbulent waves. Drag
round).
the dial to the left to create a smooth
• zRotate rotates the wave object around wave patter.
the z axis. For this parameter to affect the
• Offset controls whether the wave pattern
Wave Zone, the zone must be
is above, below, or across the wave’s
disproportionately scaled (not perfectly
origin. Drag the dial to the right to bring
round).
the wave pattern above the origin. This
• xTran moves the wave object in the x control is handy, for example, when you
dimension. want to keep clothing from deforming
• yTran moves the wave object in the y into a figure.
dimension.
• zTran moves the wave object in the z
dimension.

Body Shaping
The Parameter Dials available only for the Wave Object Properties
Wave Zone object are:

• xScale adjusts the width scale (x

dimension). Drag the dial to the right to
increase the scale in this dimension.
• yScale adjusts the height scale (y
dimension). Drag the dial to the right to
increase the scale in this dimension.
• zScale adjusts the depth scale (z
dimension). Drag the dial to the right to
increase the scale in this dimension.
Wave object properties dialog.
Wave Properties
The options in the Wave Properties dialog are:
Just like body parts, you can control the
properties of the wave objects. • Name: rename the Wave object. This
option is helpful when you are working
To edit a wave object’s properties: with several waves.
• Visible: toggle the Wave object visible or
1 Choose the wave object from the
invisible.
Current Element popup.
• Add Element to deform: add another
2 Choose Object menu> Properties. element to be affected by the wave. If you
The Properties dialog appears. click this button, select an element in the
The Properties dialogs differ depending Hierarchy list that appears, then click
on which wave object you select. OK.

In order for this feature to work,

Note the added element must be in
the Wave Zone, or it won’t be
deformed. You can move or scale
the Wave Zone object to bring
the element into the zone.

Poser 4
Wave Zone Properties Using Morph Targets
A morph target is a custom Parameter that is
added to a body part so you can gradually
reshape it. Poser includes several built-in
morph targets in its library, and you can build
your own.

Wave Zone properties dialog.

The options in the Wave Zone Properties

dialog are:

• Name: rename the Wave Zone.

• Visible: toggle the Wave Zone visible or
invisible. Use a morph target to make transitional changes in
a figure’s geometry.
• Edit Falloff Graph: edit the Wave
Zone’s falloff (the area where the With morph targets, you can easily resize and
deforming ends or “falls off ”), Click this reshape body parts. Just like any other motion,
button, then edit the graph that appears. you can animate your morphs.
• Set Parent: set a parent object for the
Wave Zone. Click this button, select an For an example of how morph targets you can
element in the Hierarchy list that appears, use, take a look at the Head parameters of a
and click OK. Poser People figure. All the facial parameters,
such as Mouth and Tongue settings, were
• Group: deform a grouped part of the
created using morph targets.
selected element. Enable the checkbox,
then select one or more groups from the
popup. A group is selected when a check
appears next to it.

Body Shaping
Using Morph Targets to Brow: a higher value pushes the eyebrows
out.
Add Ethnicity
BumpNose: a higher value creates a bump
Poser now includes morph targets which on the bridge of the nose
allow you to easily add ethnic traits to your
figures. Cheeks: a higher value makes the cheekbones
more pronounced.

Chin: a higher value makes a more

pronounced chin.

EyeRoundness: a higher value makes the

eyes more round.

FlatFace: a higher value makes the face

flatter.

FlatNose: a higher value makes a flatter nose.

Using morph targets to change a figure’s ethnicity. HeartFace: a higher value makes a more
heart-shaped face.
To use an ethnic morph target:
LashLengh: a higher value makes longer
1 Display the Libraries palette. eyelashes.
2 Click the Figures category button. If the LipSize: a higher value increases the volume
button is not available, move the cursor of the lips.
over the dots at the top the palette until
the Figures icon appears, then click the LongFace: a higher value makes a longer
mouse button. face.
3 Click the sub-category popup menu and PointedNose: a higher value makes a more
choose the Characters sub-category. pointed nose.
4 Double-click the preview of the figure
you want to use. RoundFace: a higher value makes a rounder
face.
The new figure contains an ethnicity
morph target Parameter Dial. RoundNose: a higher value makes a rounder
nose.
If you want to customize your own figure, the
following morph target Parameter Dials are SquareFace: a higher value makes a more
available with the Character models: square-shaped face.

Poser 4
Using the Superhero 2 With the body part selected in the
Current Element popup, choose Object
Morph Target menu> Spawn Morph Target.

Poser includes a full figure morph target in 3 In the dialog that appears, enter a name
which the entire figure is morphed in various for the morph target. The target appears
body parts simultaneously to form a superhero in the list of Parameter Dials.
character.
If you used deformers on the
The full figure morph target is the Superhero Tip element and don’t plan to use
Parameter Dial on the body. Drag to the right
them anymore, you may delete
to move the figure into the morph.
them now.

Creating Custom Morph 4 Drag the dial to the right to reshape the
Targets element toward the morph. Drag the dial
to the left to reshape it away from the
You can create your own morph targets in morph.
Poser as well as other applications. In this 5 A value of 0.0 for this dial is the original
section, you’ll learn how to create morph object, while a value of 1.0 changes the
targets in Poser. For details on creating morph body part to the morph target. A value of
targets in other applications, refer to “Creating 0.5 is halfway between the original object
Custom Morph Targets” on page 272. and the morph target. A negative value
inverts the vertices.
You can use one or a combination of the
deformers and morph channels (such as the
If you left the deformers and
Worry dials on the articulated faces) to create
custom morph targets. When you create a
Note morph channels on the element,
morph target on an element, a new Parameter the morph target will add on top
Dial is added. of them, so the effects will seem
doubled. To restore the body
To create a morph target in Poser:
part, choose Edit menu>

1 Shape an element using any available Restore> Element.

morph channels or deformers.
When you shape multiple elements on a
body part and then create a morph target,
all the changes in shape are included.

Body Shaping
 Only morph target channels
Note combine into a full body morph.
Deformers are not automatically
turned into individual morph
targets to be included in the full
body morph. Likewise, scales,
rotates, and translates are not
included in a full body morph.

To create a full figure morph target:

1 Create morph targets for as many body

parts as you wish. Refer to “Creating
Custom Morph Targets” on page 154 for
instructions.
A custom morph target. 2 Using the newly created morph target
You can use the Hierarchy Editor to delete Parameter Dials, morph each body part.
morph targets from the list of Parameter Dials. If you create morph targets but they are
For details, refer to “Deleting Objects” on set at zero, they won’t appear in the full
page 292. figure morph.
3 With the figure selected, choose Figure
Creating Full Figure Morph menu> Create Full Body Morph.
Targets 4 In the dialog that appears, enter a name
for the morph target.
You can shape multiple body parts and then Now when the Body is selected in the
save the entire pose as a full figure morph Current Element popup, the morph
target. The new morph target encompasses all target appears in the list of Parameter
the parameters for that pose, so everything Dials.
morphs at the same time.
5 Drag the dial to the right to reshape the
entire body toward the morph. Drag the
dial to the left to reshape it away from the
morph.

Poser 4
Adding Custom Morph The Add Target dialog appears.
Targets
You can create morph target in other
applications, such as Ray Dream Studio, and
add them to your figures. For details on
creating custom morph targets, refer to
“Creating Custom Morph Targets” on
page 272.You may also acquire custom morph
target files from other sources, such as the
Poser forum on the Internet. This section Add Shape Interpolation Target dialog.
describes how to add custom morph targets to
a figure.
4 Click Locate to find the geometry file
you want to use as a morph target. The
To add a custom Morph Target: file must:
• Be in OBJ format.
1 Select the body part to which you want • Contain the same number of vertices
to add a morph target. as the original body part.
2 Choose Object menu> Properties. • Contain only the body part you are
The Properties dialog appears. morphing. Do not use a file of the
entire figure.
5 Enter a name. The name appears on the
morph target Parameter Dial for the
selected body part.
6 Click OK to return to the Element
Properties dialog. Click OK again to
return to the main window.
A new Parameter Dial is added for the
selected body part. Use this dial to morph
Element Properties dialog.
the body part from its original shape to
3 Click Add Morph Target. the morph target. A value of 0.0 for this
dial is the original object. A value of 1.0
changes the body part to the morph
target.

Body Shaping
Saving Morph Targets You can also create new props, deform and
morph selected sections of an element, and
You can save a morphed figure in the create custom figures. For complete
Libraries palette. It retains all morph instructions on creating figures, refer to
Parameter Dials, so the next time you retrieve “Creating Custom Figures” on page 301.
the figure you can use any morph targets on
it. To use the grouping tool:

To save a morphed figure: 1 Click the Grouping tool in the Editing

menu.
1 Choose the Figures category in the
Libraries palette.
2 Choose a sub-category from the popup.
3 Click the Add to Library (+) icon at the The Grouping tool.
bottom of the palette.
All figures and objects in the studio
4 In the dialog that appears, enter a name become gray, and the Group Edit palette
for your figure and click OK. appears. Refer to “Using the Group Edit
5 A dialog appears asking if you want to Palette” on page 158 for complete details.
save a Single frame or a multi-frame 2 Click to select the body part you want to
animation. group.
• If you select the Single frame option, 3 Click individual polygons, or drag the
the current pose is saved. cursor over a group of polygons to select
• If you select the Multi-frame them.
animation option, you can specify a • To deselect individual polygons, hold
range of frames to save. down the Control key while clicking
Select either Single frame or Multi-frame or dragging.
animation and click OK. • To select polygons that are currently
out of view, either use Wireframe
display style or use the camera
Using the Grouping trackball to change the view of your
Tool figure.

The Grouping tool lets you select and group While working with the grouping
specific polygons within a body part. With Tip tool, hold down the Option/Alt
this feature, you can assign surface materials to
key to quickly access the camera
specified sections of a body part. For details
on assigning materials, refer to “Applying rotation trackball.
Materials to Specific Regions” on page 246.

Poser 4
Using the Group Edit • Delete Group deletes the currently
selected group.
Palette • Add All selects all the polygons in the
body part.
When the Grouping tool is selected, the
Group Edit palette appears. This palette • Delete All deselects all the polygons in
provides several options for working with the body part.
polygon groups. Use it to create, edit, and • Invert Group inverts the selection (select
delete multiple groups, as well as to create and all the currently deselected polygons, and
customize props. deselect any currently selected polygons).
• Include Group includes another named
group with your selection.
• Remove Group removes another named
group from your selection.
• Include Material includes another
material—such as a joint—from the body
part.
• Assign Material creates a new material
class for the selected polygons.
• Create New Prop makes a new prop
from the selected group. Enter a name for
your prop in the dialog that appears.
• Spawn Props makes props for all groups
that have been created.
• Create Perspective UVs maps the UV
texture coordinates for a group. This
command can be used, for example, to
map an imported background image of a
face to a group made from a Poser figure
The Group Edit palette. face. The texture coordinates of the face
would be mapped onto the image.
The options in the Group Edit palette are:
• Reverse Group Normals reverses the
• Prev and Next view any groups that have normals of the selected group. This way
been created. you can turn environment type objects or
• New Group creates a new group. Enter other imports inside out to render them
a name for your group in the dialog that interactively as desired.
appears. • Hide Other Objects makes other
elements and props in the scene invisible,

Body Shaping
 so you can have an unobstructed view of
the element you are grouping.
Locking Figures and
• Show Multigroups Faces displays any Body Parts
polygons that appear in more than one
Once you’ve shaped body parts or an entire
group. When you group a model out for
figure to your liking, you can lock them so
splitting apart, this is a handy way to see if
that they cannot be moved or reshaped
any polygons have been put into more
further.
than one group.
• Show Non-grouped Faces displays any The Lock feature is especially useful with
polygons that are not grouped.When you deformers. Once you have shaped a Magnet
group a model out for splitting apart, this or Wave Zone object to your satisfaction, you
is a handy way to see if any ungrouped can lock it to prevent it from being moved.
polygons have been left out.
To lock a figure or body part:
Using Deformers on
1 Click the Current Element popup and
Grouped Objects choose the figure or element you want to
lock.
Once you’ve created one or more groups, you
can use the deformer tools to shape and 2 Choose Object menu> Lock Actor.
morph them. Groups can be selected by name The figure or body part is locked when
in the Properties dialog for the Magnet or this menu item is checked.
Wave Zone objects.
When a body part is locked, you can still
To deform a group of a body part: shape other parts as well as the entire figure. If
you lock an entire figure, you can shape its
1 Click to select the body part. parts, but not the figure itself.

2 Choose Object menu> Create

Magnet or Create Wave.
3 Choose the Magnet Zone or Wave Zone
from the Current Element popup.
4 Choose Object menu> Properties. The
Sphere Zone Properties dialog appears.
5 Enable the Group checkbox, then select
one or more groups from the popup. A
group is selected when a check appears
next to it.

Now when you use the deformer on a body

part, only its grouped part is deformed.

Poser 4
Saving Figures to the
Libraries Palette
After you’ve shaped a body to your liking, you
can save the body to the Figures category in
the Libraries palette.Your figure is easy to
retrieve the next time you want to use it.

If you’ve modified the figure by replacing a

part with a prop or by attaching one or more
props, the Figures category maintains these
customized geometries. Refer to “Saving to
the Libraries Palette” on page 34 for details on
saving figures to the library.

Body Shaping
6
Props

How Props Work

Poser lets you add props to your scenes. Props are
three-dimensional objects that your figures can
wear or interact with.

Props can be accessories that give the figure more

realism or character—perhaps a wig, moustache,
sunglasses, cigar, or briefcase. In some cases, the
pose itself depends on the prop—a figure leaning
on a cane, tossing a ball, or climbing a ladder.

You can manipulate props as you do other

elements.You can change their color, reshape,
deform, morph, and apply texture and bump
maps to them (if they have UV mapping). Props
even cast shadows.
Poser’s replaceable geometry feature allows
you to replace a body part with a prop. The
prop actually becomes part of the body and
takes on the posing behavior of the part it
replaces. This is a great way to create
customized characters. For example, you
could replace the figure’s hand with a metal
hook to create a pirate.

Props can be attached to body parts.

You can select props from the Props library or

import props in several popular 3D file
formats. A catalog of props is displayed in the
Libraries palette.You can also create your own
props in a 3D modeling program, such as Ray
Dream Studio.
Use props to customize a character.

You can also attach a prop to a specific body

part by setting a prop’s “parent.” This allows
you to pose and animate the figure holding a
prop, such as wielding a sword or carrying a
briefcase.

Props can help add meaning to some poses.

Props
Using Hair You can edit the hair’s scale and position using
the Parameter Dials. Some hair models
Hair is a special kind of prop that include morph target Parameter Dials which
automatically attaches to a figure’s head.You you can use to shape and move the hair. For
can choose from several styles. Once assigned, example, you can make a ponytail swing back
the hair on a figure moves as you move the and forth for a walking animation.
head. Poser includes some types of hair which
you can morph and shape into new styles.
Older Poser hair models are static, so you can’t
edit them.

Male and female figures with different hair styles.

Morphable hair.
To add hair to a figure:
The library also includes a poseable hair
1 Display the Libraries palette. model. This model contains several elements
2 Click the Hair category icon. If the icon for the hair piece.You can the pose the hair
is not visible, move your cursor over the element using the same tools you’d use to pose
category dots at the top of the palette a figure.
until the Hair category appears and click
the mouse button.
3 Choose a Hair sub-category from the
popup.
4 Double-click the preview of the hair you
want to use.

Poseable hair.

Poser 4
To use the poseable hair model:

1 Select the Poser female nude from the

Figures:People subcategory of the
Libraries Palette.
2 Select the Clothing-Female sub-category
in the Figures category.
3 Click Long Curls.
4 Click the Create New Figure icon at the
bottom of the palette.

The Create New Figure icon.

5 To conform the hair to the figure, choose Poser clothing.

Figure menu> Conform To.
Each article of clothing behaves like a regular
Poser figure—it includes all the elements and
parameters for that portion of the body, and
Working with can be posed and shaped just like a figure. For
Clothing example, shirts have chest, neck, abdomen,
and arm elements.
Poser includes a whole library of clothing you
can use on the nude People figures. The
Clothing sub-categories in the Figures library
palette includes shirts, pants, shoes, dresses,
skirts, etc.

Clothing includes all the elements and parameters

for that portion of the body.

Props
When a piece of clothing is added to a scene
and defined as a conforming figure, it attaches
itself to the base figure, snapping to the
similarly named body parts. As the base figure
moves, so does its clothing.

To add clothing to a figure:

1 In the Figures category of the Libraries

palette, select one of the People figures.If
you want, you can pose it at this point, or
you can wait until the clothing is added.
Custom clothing is optimized to work
Clothing is added to a scene.
with the nude People figures, and not the
older Poser nudes. 5 Make sure the clothing is selected in the
2 Depending on your figure’s gender, select Current Figure popup.
either the Clothing-Male or Clothing- 6 To conform the clothing to the figure,
Female sub-category in the Figures choose Figure menu> Conform To.
category.
7 If you’ve already posed your figure, the
3 Click the preview of the clothing you clothing is now posed in the same
want to use. position, and will move with the figure if
4 Click the Create New Figure icon at the you continue to pose it.
bottom of the palette.

The Create New Figure icon.

The clothing is added to the scene.

The clothing is conformed to the figure.

Some tight-fitting clothes may not completely

cover the figure—there may be spots where
the skin shows through. This is easy to fix.

Poser 4
To hide skin under conformed clothing: Using Props from the
1 Choose the Poser figure from the Current Library
Figure popup.
The Libraries palette displays all the props
2 Choose the body part that you want to
available in Poser.You can choose from a
hide from the Current Element popup.
number of different types of props, including:
3 Choose Object menu> Properties. a ball, box, cane, cone, cylinder, square, stairs,
The Element Properties dialog appears. or torus.You can add any number of basic
props to the studio. The only limit is your
4 Disable the Visible checkbox, then click
system’s memory.
OK.
The body part is hidden under the To apply a basic prop:
clothing.
1 Display the Libraries palette.
You can also make body parts invisible using
the Hierarchy Editor. For details, refer to 2 Click the Props category icon. If the icon
“Changing Object Visibility” on page 294. is not visible, move your cursor over the
category dots at the top of the palette
until the Props category appears, then
Using Clothing without a click the mouse button.
Figure 3 Double-click the preview of the prop you
want to use.
You may wish to use clothing by itself, not
conformed to any figures. For example, you
could pose articles of clothing for a catalog.To Importing Props
do this, don’t conform the clothing to a
figure.You can still pose and shape the Any object saved in a 3D format supported by
clothing as you would a normal figure. Poser can be imported as a prop. This means
that you can use a 3D modeling application,
such as Ray Dream Studio, to create an object
Adding and Importing and then import it into Poser as a prop.

Props Poser uses a plug-in architecture for file

import and export. Using plug-ins, you can
You can add a prop by either selecting a prop extend the types of file formats Poser supports.
from the Libraries palette, or importing a 3D Refer to the Read Me file and consult the
object created in another application. Curious Labs Web site for the latest
information.

Poser imports model files in DXF, BVH,

3DMF, Wavefront OBJ, 3D Studio
(Windows), and Painter3D (Detailer) formats.

Props
To import a prop: When importing DXF format files, Poser
considers one DXF unit equal to the
1 Choose File menu> Import> select the male figure’s height—about six feet.
appropriate file format. The Import dialog Offset sets the prop’s exact position in
appears. the studio.
2 Locate and open the file you want to use Weld identical vertices unifies vertices
as a prop. The Prop Import Options that are identical on the prop.
dialog appears.
Make polygon normals consistent if
the vertex normals are supplied on a
prop, this option makes polygon normals
consistent with vertex normals.
Flip normals reverses all the prop’s
normals.
Flip U Texture Coordinates reverses
the prop’s U texture coordinates.
Flip V Texture Coordinates reverses
the prop’s Vtexture coordinates
4 When you’ve set the prop import
options, click OK.

Poser places the prop in the studio, with the

origin located as specified. However,
depending on where and how the prop was
When you import a prop, you can set its scale and
location.
created and exported, the origin may not be
placed where you want it. Refer to “The Prop
3 Enable the desired options: Origin” on page 169 for more on prop
origins.
Centered centers the prop in the middle
of the studio. If you don’t see your imported prop in the
Place on Floor positions the prop on studio, the prop is probably too large and the
the ground plane. camera you’re looking through is inside or in
Percent of standard figure size scales front of it. Use the X and Z control to zoom
the prop. Since each 3D program has its out your view of the studio.
own scaling protocol, props are imported
in reference to the figure’s height. If you
scale a prop to 50%, it imports at half the
size of the figure’s height. Of course,
once you add the prop, you can resize it
with the Scale tool or Parameter Dials.

Poser 4
Deleting Props • Use the Parameter Dials for more
control over any adjustment. For
example, you can use the dials to
To delete a prop from the document
scale the prop only in the Y
window:
dimension.
• Select the prop from the Current • Choose Figure menu> Drop to
Element popup, then choose Object Floor to place a prop on the floor.
menu> Delete Prop.
Deforming Props
Working with Props Poser now includes deformer tools, which you
can use to stretch, reshape, and deform props.
Props, including hair, function as elements in For details, refer to “Using the Deformer
the studio, so you can control a prop just as Tools” on page 143.
you would any body part.

Before you can edit a prop you must select it. Creating Props
To select a prop: You can use the Grouping tool to select
specific polygons on a figure or prop. With
• Click the prop’s center, or select it from this feature, you can create new props. For
the Current Element popup at the example, you could create a mask prop from a
bottom-left of the Document window. face.

To move, rotate, or resize a prop: 2. Polygons

selected on a
figure
1 Click to select a prop, or choose it from
the Current Element popup.
2 Use any of the following tools to move or
modify a prop:
• Use the Rotate or Twist tool to
change the prop’s orientation. Rotate
turns a prop on its origin point.You 3. A mask
can change how a prop rotates by prop
adjusting its origin. created
from the
• Use the Translate/Pull or Translate group
In/Out tool to move the prop in the 1. A figure
studio.
Use the Grouping palette to create props from
• Use the Scale tool to resize a prop. body parts.

Props
To create your own prop: Creating New Prop
1 Select the body part or prop you want to Parameters
create the prop from.
You can use morph targets to create new
2 Click the Grouping tool
parameters for your props. Refer to “Using
Morph Targets” on page 152 for complete
information.

The Grouping tool. The Prop Origin

All figures and objects in the studio The prop origin appears in the Document
become gray, and the Group Edit palette window as 3D cross-hairs. The Origin is the
appears. prop’s center of rotation and scale. When you
3 Click individual polygons, or drag the rotate a prop, it moves around the origin
cursor over a group of polygons to select point. When you scale a prop, it grows or
them. For complete details on using the shrinks from the origin point.
Grouping tool, refer to “Using the
Grouping Tool” on page 157.
4 Once you have all the polygons selected
for your new prop, click the Create New
Prop button on the Group Edit palette.
5 Enter a name for your prop in the dialog
that appears, then click OK.
The new prop is listed in the Current
Element popup.You can now edit, move, The prop origin appears as an X. Y, and Z cross-hair.
and shape it just like any prop.
You can display the prop origin by choosing
6 To save your prop in the Libraries Palette,
Object menu> Properties and enabling the
refer to “Adding Props to the Library” on Display Origin checkbox.
page 175.
Changing the Prop Origin
When a prop is selected, three Parameter Dials
for moving the origin are available—originX,
Y, and Z.

Poser 4
The main reason for moving the origin is so
the prop rotates on a different point. When
you adjust the originX, originY, or originZ
dial, the origin moves with respect to its
original location.

The Prop Properties dialog.

3 Set any of the following options in the

Prop Properties dialog:
• Name: rename the prop. Giving
your props descriptive names makes
Adjusting the prop origin. them easier to locate in the Current
Element popup and in the Animation
As you move the origin in the respective palette.
dimensions, you may want to switch camera
• Visible: toggle the prop visible or
views to see the relative positions of the origin
invisible. In an animation, you
cross-hairs and prop geometry.
cannot make a prop visible in one
frame, but hidden in another.
Prop Properties • Casts Shadow: toggle shadow
casting for a prop. Disable this
Poser offers several options for props.You can checkbox if you import a room
change the name, make it invisible, and display object. Otherwise, if the object casts
the origin or set the prop’s parent. a shadow, you won’t get any infinite
lighting on anything inside of it.
To change options for a prop:
• Display Origin: display the prop’s
1 Select the prop you want to work with. axis.This feature is useful because the
prop translates on its axis, not the
2 Double-click the prop in the Document ground floor axes.
window or choose Object menu>
Properties. • Set Parent: make the prop move
with another element in the scene.
Refer to “Setting Prop Parents” on
page 171 for details.
• Add Morph Target: add a custom
morph target to the part. For details,
refer to “Adding Custom Morph
Targets” on page 156.

Props
Prop Color and Surface Setting Prop Parents
Material
You can attach props to body parts.When you
You can set surface material characteristics for pose a body, the attached prop maintains its
your props. For example, you can apply an contact and orientation with the parent
image of marble as the texture map on a tall element.
cylinder to create a pillar.You may also use a
bump map to roughen the surface of a wig.

A prop you import may already have Texture

and bump maps assigned. If possible, Poser
keeps these maps attached to the prop.

Poser uses implicit (UV) mapping to apply

texture and bump maps to the prop. This
method requires the model to have UV
coordinate data. Most 3D file formats carry
this data. DXF, however, does not. If a prop
does not have UV information, you can’t
apply texture or bump maps to it.

You can set the color of prop objects, apply

texture and bump maps to them, and control
highlights using the Surface Material dialog.
The dialog is discussed in detail in “Applying
Surface Materials” on page 244. As the figure moves, so does the prop.

In the Surface Material dialog, you can also

select the prop just like you would a body part
and assign surface property parameters to it.
Refer to “Surface Materials” on page 243 for
more on applying surface materials.

Poser 4
You can control whether attached props bend you want them, you may want to do any
with their parent body part.You may not want of the following:
to bend some props—like sunglasses, a • Use a detailed preview style like Lit
wristwatch, or sword. Others you will want to Wireframe or Flat Shaded.
conform to and bend with the figure—such as
the elbow pads on a rollerblader. • Zoom in for a closer look. Zoom in
with the Posing Camera to avoid
changing or animating the Main
Camera.
• Do a test rendering to check the
alignment.

Making a prop bend with its parent body part.

Move the prop to the figure before setting the
It is best to set prop parents before posing. parent.
Once you start posing the figure, it becomes
4 With the prop selected, select Object
much harder to get props correctly positioned
menu> Properties, then click Set
and keep them where you intended them.
Parent in the dialog that appears.
To attach a prop to a body element: 5 In the Hierarchy list that appears, click to
select the element you want to attach the
1 Add or import the prop you want to use. prop to. For example, to attach a sword to
Rename it if you like. the left hand, click Left Hand. If you
2 If necessary, use the editing tools, want to release a prop from its parent,
deformers, or Parameter Dials to shape choose None.
the prop. 6 To make the prop bend like its parent
3 Move the prop into position using the body part, enable the Inherits bend of
Translate tools or the Parameter Dials. parent checkbox.

To make sure the position and orientation 7 Click OK to close the Hierarchy list.
of the prop and body part are exactly as 8 Click OK to close the Prop Properties
dialog.

Props
Replacing a Body Part To replace a body part with a prop:

with a Prop 1 Add or import the prop you want to use.

2 If necessary, use the editing tools,
Poser lets you replace a body part with a prop.
deformers, or Parameter Dials to shape
For example, you could import a model of a
the prop.
bull’s head, then replace the figure’s head with
the bull head to create a Minotaur. Then you 3 Move the prop into position on the body
can move the Minotaur’s head as you would using the Translate and Rotate tools, or
move any figure’s head. the Parameter Dials.
Make sure the prop and body’s positions
and orientation are exactly as you want
them. In most cases, you’ll want to
“overlap” the prop with the part it will
replace.You also may want to try some of
these tips:
• To more easily position a prop, hide
the part you are replacing. To do this,
double-click the part, then disable
the Visible checkbox in the Element
Properties dialog.
• Use a detailed display style like Lit
Wireframe or Flat Shaded.
• Zoom in for a closer look.
Replace a body part with a prop to create custom
characters, such as a Minotaur. • Do a test rendering to check the
alignment.
It’s best to replace a body part before you start
posing the figure, since it’s harder to position a
4 Select the body part you’re replacing.
prop after you’ve moved the figure’s body 5 Choose Object menu> Replace Body
parts. Part with Prop. Poser displays a dialog
with a popup of all props in the scene.
6 Choose the prop you are swapping in,
then click OK. The prop takes the name
of the part it replaces.

Poser 4
If a replaced a body part doesn’t look right
when you bend it, you can turn off bending
for that replaced part. Double-click the part,
then disable the Bend checkbox in the
Element Properties dialog.

Bend zones on a figure are

Note very specific and editing them
is a very technical process. If you change the type of a customized figure with
props, Poser alerts you.
Once a Bend zone is altered,
the model is irreversibly To keep props that replace parts on the figure,
changed. Use Bend zones with
enable the Keep modified geometries
checkbox.
caution.
To keep props “with their parents,” enable the
In terms of surface material, the prop remains
Keep props attached to figure checkbox.
independent of the body.You can use the
Surface Material dialog to apply texture and To keep props with their deformers, enable
bump maps to a prop. Refer to “Surface the Keep deformers attached to figure
Materials” on page 243 for more on surface checkbox.
materials.
Restoring a Figure’s
Changing a Figure Type with
Geometry
a Prop Attached or
Replaced If you replace a body part with a prop, then
later decide you want the original body part
If you try to change the model type of a figure back, simply reload the figure from the
that has an attached prop or replaced part, Libraries palette. When you load the original
Poser alerts you.You can either keep the model, Poser displays a dialog asking if you
modifications on the new figure or start with a want to Keep modified geometries. To restore
standard figure. the original body part, leave the checkbox
disabled and click OK.

Props
Adding Props to the
Library
After you’ve modified a prop, you can save it
in the Libraries palette.

To save a prop to the library:

1 Select the Props category in the libraries

palette.
2 Choose a sub-category from the popup.
3 Click the Add to Library (+) icon at the
bottom of the palette. A dialog appears.
4 To specify parts of the scene to include or
not include, click the Select Subset
button. In the Hierarchy Selection list
that appears, deselect any items in the
scene that you don’t want to include,
then click OK.
5 In the dialog that appears, enter a name
for your library item and click OK.
6 If the prop has a parent element—such as
a hat attached to a head—a dialog appears
asking if you want to make the prop a
smart prop. A smart prop “remembers” its
parent element, so the next time you
select it from the Prop library, it is
positioned with its parent element.
7 Click OK to save your new prop.

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Props
7
Cameras

How Cameras Work

The view of the Poser studio is taken through the
lens of a virtual camera. 3D cameras include
Main, Auxiliary, Face, Posing, Left Hand, Right
Hand, and Dolly cameras. These can be
repositioned anywhere in 3D space, allowing you
to view the studio from almost any angle.
Orthogonal cameras, which provide perspective-
free views of the studio, include Left, Right, Top,
Bottom, Front and Back cameras. When you
render an image or movie, it is rendered from the
viewpoint of the currently selected camera.
The cameras aim at the studio from different
directions. By switching cameras, you can see
figures and objects in the studio from entirely
different viewpoints.

View through the Right Hand camera.

View through the Main camera.

View through the Face camera.

Viewing the studio from different angles is a

great help as you work. An arm that reaches
View through the Posing camera.
straight toward you in a front view reaches
horizontally in a side view. Posing this arm
may be difficult in the front view, but is much
easier in the side view.

Cameras
The Main and Posing When you’re working with an animal figure,
the Hand cameras rotate around the animal’s
Cameras paws, hooves, or claws, and the Face camera
rotates around the animal’s face.
The Main and Posing cameras rotate around
the center of the studio. When the figure is in The Dolly Camera
its default position, it is always in the center of
the view as you rotate or re-position these The Dolly camera rotates around its own
cameras. center. This means it can move around and
between figures and objects in the studio. If
The Posing camera uses the currently selected
you want to emulate a motion picture camera,
figure as its center of rotation. Wherever the
use the Dolly camera.
figure moves, the Posing camera follows, so
the figure is always in view. If you select
another figure, the Posing camera moves to The Orthogonal
the selected figure.
Cameras
In contrast, the Main camera doesn’t use the
figure as its center of rotation. When you The Left, Right, Top, Bottom, Front, and
move the figure, the Main camera doesn’t Back cameras are orthogonal cameras—they
follow. produce orthographic projections. In an
orthographic projection, all objects appear
flat. These cameras are different from the
The Auxiliary Camera perspective views provided by the other
cameras. In a perspective view, the scale of
The Auxiliary camera provides an additional objects diminishes as their distance from the
camera view. Like the Main camera, it rotates camera increases.
around the center of the studio.You’ll find the
Auxiliary camera useful when you want
another view but you want to hold the Main
camera’s current position, or when the Main
camera is locked.

The Hand and Face

Cameras Left (orthogonal) camera
view
Main camera (perspective)
view
The orthogonal cameras display flat perspective-
The two Hand cameras and the Face camera free scenes; the studio cameras display scenes in
provide close-up views to help you with hand 3D.
and face posing. Like the posing camera, these
cameras rotate around the selected figure’s
components.

Poser 4
The orthogonal cameras cannot be rotated; The Camera Selection
they are permanently aligned to their
orientations in the studio.You can use these Control
cameras for reference when you’re posing
figures. The Camera Selection control lets you
graphically cycle through all the available
Flyaround View cameras.You can also use it to switch between
cameras and activate the Flyaround view.
The Flyaround view lets you see all the Select
contents of the studio all at once. In this view camera
the camera is placed on an imaginary track popup
above and away from the center of the studio. Camera
Camera shortcuts
When the view is active, the camera
continuously moves along this track so you shortcut
Flyaround
can get a 360° view of the figures in the Animating
View
studio. On/Off
Select
To activate flyaround view: camera
icon
• Click the Flyaround ring at the top of the The Camera Selection control.
Camera controls.
The Select Camera popup lets you select a
camera by name. The Select Camera icon lets
you graphically select a camera.
To deactivate flyaround view, click
anywhere in the window. To switch between cameras:

• Drag over the Select Camera icon until

Selecting a Camera the icon for the desired camera appears.
There are several ways to select a camera:

• Use the Camera Selection control.

• Select a camera from the Current
Elements popup under the Document
window.
• Choose Display menu> Camera
The Camera Selection icon.
View> choose a camera.
• Use the camera’s key shortcut. The camera shortcut icons let you quickly
access cameras. The default shortcuts are Face
camera, and Left and Right Hand cameras.

Cameras
You can customize the shortcuts to the Positioning Cameras
cameras of your preference.
The Camera Controls palette lets you quickly
To use the camera shortcuts:
position a camera in the Poser studio. There
are two sets of controls for positioning: the
• Click the shortcut icon for the camera
Camera Plane controls and the Rotation
you want to use.
Trackball.
To replace the camera shortcut icons:
Camera Plane Controls
1 Select the camera you want to make into
a shortcut. The Camera Plane Controls constrain the
movement of the camera to specific 3D
2 Option/Alt-click on a camera shortcut planes. This helps you move the camera more
icon. The icon is replaced with the precisely.
currently selected camera.
3D space is made up of X,Y, and Z planes.
The Animating On/Off icon enables or
disables keyframing for a specific camera.
Y
When the control is disabled, the camera
position is not included as a keyframe, which
means you can’t animate the view of your
figures. When the control is enabled, any
movement of the camera can be recorded as a X
Z
keyframe. Refer to “Animating Cameras” on
page 237 for more on animating the camera.

Changing the Studio The X, Y, and Z planes that make up 3D space.

View
The Camera Plane controls constrain the
The Main, Posing, and Dolly cameras can movement of the camera along one or two of
rotate and move anywhere, even below the these planes.
floor. The orthogonal views move laterally
and vertically, so you can bring a figure to the
center of the field of view.You cannot Rotate
or Translate In/Out (move in or out) the
orthogonal cameras (left, right, top, bottom,
front, and back).You can scale them, however.

Poser 4
Y and Z X and Z

The X and Z control.

The Y and Z control.
The X and Z control constrains the
The Y and Z control constrains the movement movement of the camera to the X and Z
of the camera to the Y and Z planes. With this planes. With this control the camera moves
control selected, the camera can move forward, backward, left, or right.
backward, forward, up, or down.
Rotation Trackball
X and Y

The X and Y control.

The Rotation Trackball.
The X and Y control constrains the movement
of the camera to the X and Y planes. When The Rotation Trackball tilts and spins the
you use this control, the camera only moves camera around the entire studio. In the case of
vertically or horizontally. the Main camera, it rotates around the center
of the studio. The Posing, Face, and Hand
cameras rotate around the figure, head, and
hands.

You can roll your view around a virtual

trackball by holding down Option/Alt and
dragging directly in the Document window.

The Rotation Trackball has no effect on the

orthogonal cameras (left, right, top, bottom,
front, and back).

Cameras
Scale Display the vanishing lines guide to see how
changing the focal length changes the
perspective on the studio.

Roll

The Scale control.

The Scale control works like a zoom lens

control. Drag right over the control to zoom
into the center of the studio or left to zoom The Roll control.
out.
The Roll control banks the camera, tilting
your view of the studio. Drag right to roll the
Focal Length camera to the right or left to tilt the view to
the left.

Using Camera
Parameter Dials
When a camera is selected, you can use the
The Focal Length control. Parameter Dials to precisely control the
camera’s position and orientation.
The Focal Length control increases or
decreases the selected camera’s focal length. The Dolly, Posing, Face, and Hand cameras
have the standard 3D Pitch,Yaw, and Roll
Drag left to decrease the focal length of the capabilities. In contrast, the Main camera has
camera. Decreasing the focal length increases xOrbit, yOrbit, and zOrbit parameters.
the sense of perspective.The effect is similar to
a photographer using a fish-eye lens: vanishing
lines converge more sharply and elements near
Focal Length
the camera appear to “reach” toward you. The
Focal Length changes the perspective of the
result can be dramatic.
view by adjusting the camera’s lens. Drag the
Drag right to increase the focal length. This dial left to decrease the focal length, or
“flattens” the sense of perspective. The increase the sense of perspective. Drag the dial
distance between objects appears to be right to increase the focal length, or flatten the
shorter. image.

Poser 4
xOrbit Roll
xOrbit tilts the camera forward or back. At a Roll tips the Dolly camera to the left or right.
low xOrbit (-30°), the camera is near or If you continue to drag, the camera rolls all
beneath the floor, looking up at the studio the way around and returns to the starting
center. At a high xOrbit (45°), the camera is point.
up near the rafters, looking down at the studio
center.
Yaw

yOrbit
yOrbit tips the camera to the left or right. If
you continue to drag, the camera orbits all the Roll
Pitch
way around and returns to the starting point.

zOrbit
Yaw, Pitch, and Roll.
zOrbit orbits the camera around the studio.
The camera continues to point at the center of
the studio as it orbits. Scale
Yaw Scale adjusts the dimensions of the studio in
the window. Scaling the camera is like
zooming in and out with a telephoto lens.
Yaw rotates the Dolly camera on its own y
Drag the dial to the right to zoom in. Drag
axis. The Dolly camera has 180° of yaw
the dial to the left to zoom out.
pointing away from the studio center.
Changing the scale in only one dimension
Pitch distorts the figure’s appearance.

Pitch tilts the Dolly camera on its own axis. xScale

The camera stays in place, but changes the
pointing angle. xScale changes the camera’s horizontal scale to
distort the appearance of the figure in the
window. Drag the dial to the right to increase
the xScale. Drag the dial to the left to decrease
the xScale.

Cameras
yScale Camera Options
yScale changes the camera’s vertical scale to Poser offers two options for cameras.You can
distort the appearance of the figure in the change a camera name and set whether it can
window. Drag the dial to the right to increase be animated.
the yScale. Drag the dial to the left to decrease
the xScale. To set camera options:

1 Select the camera you want to change.

zScale
2 Choose Object menu> Properties.
zScale changes the camera’s depth scale to The Camera Properties dialog appears.
distort the appearance of the figure in the
window. Drag the dial to the right to increase
the zScale. Drag the dial to the left to decrease
the zScale.

DollyX
DollyX moves the camera laterally. Drag the
dial to the right to move the camera to the Set camera options in the Camera Properties
right. dialog.

DollyY 3 Enter a new name for the camera.

4 Enable the Animating checkbox to have
DollyY moves the camera vertically. Drag the the camera’s movements recorded as
dial to the left to move the camera up. keyframes. When this option is disabled,
the camera’s movements cannot be
DollyZ animated.

DollyZ moves the camera in and out. Drag A camera that can be
the dial to the right to move the camera Note animated can have different
toward the studio. Drag the dial to the left to
settings in several frames. If
move away.
you want the camera to
animate—to leave keyframes
when changes are made—
enable the Animating
checkbox.

Poser 4
Pointing Cameras Locking Camera
You can aim cameras directly at figures, body Positions
part, or props using the Point At command.
Once you have positioned a camera to your
This feature makes it easy to quickly focus on
liking, you can prevent it from being moved
an object, without having to use all the
again.
positioning controls.
To lock a camera:
To point a camera directly at an object:
• With the camera selected in the Current
1 In the Current Element popup, select the
Element popup, choose Object menu>
camera you want to point.
Lock Actor.
2 Choose Object menu> Point At. A
scene selection dialog appears. The camera is locked when the Lock Actor
menu item is checked.
3 In the list of objects, click to select the
figure, body part, or prop you want to
point the camera at, then click OK.
Saving Camera
The camera points at the object, and a
Point At Parameter Dial appears for the Positions
camera.You can adjust this parameter as
You can store a camera position in either the
needed. At 1, the camera is pointed
library for use in any Poser file or a memory
completely at the object. At 0, the camera
dot for use with just that file.
is not pointed at the object.

To disable the pointing of a camera: Saving Camera Sets to

1 In the Current Element popup, select the
the Library
pointing camera.
The Camera category in the Libraries palette
2 Choose Object menu> Point At. lets you save camera positions, then jump to
3 In the dialog that appears, click None. them with just a few mouse clicks.

The default Camera category provides several

positions. Add your own custom positions to
expand the library. Remember: camera
positions are in reference to the studio, not the
figure.

The Camera category in the Poser library

saves the settings of all of the cameras at once.
You cannot save only one camera.

Cameras
To save a camera set to the Libraries Using the Camera
palette:
Memory Dots
1 Set up camera positions.
Memory Dots are the quickest way to store
2 To display the Libraries palette, click the
the camera’s position during a session.You can
handle on the far right side of the screen.
save up to nine different positions. Memory
3 Click the Cameras category icon. If the dots are saved with the file, so your camera
icon is not available, move the cursor over positions are available the next time you open
the category dots at the top of the the file.
Libraries palette until the Cameras
category appears, then click the mouse To save a camera position to a memory
button. dot:
4 Click the Add to Library (+) button at
1 Set up a camera position.
the bottom of the palette. The Set Name
dialog appears. 2 Click the popup menu above the
memory dots and choose Camera Dots.
5 To specify parts of the scene to include or
not include, click the Select Subset 3 Click an empty memory dot.The camera
button. In the Hierarchy Selection list position is stored into the dot you
that appears, deselect any items in the clicked.
scene that you don’t want to include,
then click OK. To recall a stored position:
6 Enter a new name for the camera setting • Click on a memory dot. The camera
and click OK. moves to the stored position.
7 A dialog appears asking if you want to
save a Single frame or a multi-frame
animation.
• If you select the Single frame option,
the current camera position is saved.
• If you select the Multi-frame
animation option, you can specify a
range of frames to save.
Choose either Single frame or Multi-
frame animation and click OK.

Your camera settings are saved to the Cameras

category.

Poser 4
Cameras
8
Lights

How Lights Work

Lights add color to a figure, reveal curvatures of
the form, and enhance muscle contours. Lights
cast shadows, adding realism to your scenes. Good
lighting is essential to getting the right look when
you render. Lights can illuminate your figure in
renderings, in Lit Wireframe, and in Flat Shaded
previews.You can use as many lights in the Poser 4
studio as you need. The only limit is your system’s
memory.

Lights also aid in the creation of effects. For

example, when a reflection map is applied to
figures, body parts, or props to cause them to
direct light back at a light source, the Multiply
through lights option in the Surface Materials
dialog multiplies light colors in the rendering.
Refer to “Applying Reflection Maps” on
page 253 for details on using reflection maps.
Each light has characteristics you can set, such equally on each figure. No figure can be
as rotation, color, and intensity. In most cases, outside of an infinite light’s range. When you
the direction of the light will help you decide use infinite lights, no figure can be lit
its color.You can turn a light On or Off, differently from another.
adjust how brightness diminishes toward the
edge of a light’s range, and decide whether or
not to cast a shadow.

You can animate lighting for dramatic effect,

such as a flash from a bolt of lightning or the
flickering lights of a street sign.You can also
link lights to specific body parts or objects, so
that a light source moves as the part or object
moves.

Lighting effects are not visible in basic

Wireframe or the low detail figure preview
styles. When aiming a light, use Lit Wireframe
or Flat Shaded preview styles. These styles
demonstrate how the lights you use illuminate
the figure.

Infinite Lights
The quality of infinite lights (sometimes called The effect of infinite lights in Flat Shaded preview.
distant or global lights) in the studio is
comparable to the sun or moon shining on the
Earth. The light rays from an infinite source
are parallel as they enter your Poser studio. If
you have multiple figures, infinite lights shine

Lights
Spotlights • cause a light to cast or not cast shadows
• select the light type (infinite or spotlight)
A Spotlight casts light in a specific direction. • choose a lighting color
They throw light along a cone-shaped path,
• set a parent for a light
creating the classic “stage spot” effect. Use a
Spotlight when you want to point a light at
To set light properties:
something.You can add one or several
Spotlights to create effects with directional
1 Click a circle in the Light Control to
light sources.
select that light. The Light Control is
located by default in the top left corner of
the Poser Workspace.

Click a circle in the Light Control to select that light.

You can also select a light from the

Using a Spotlight.
Element popup at the bottom of the
Document window.
Adding spotlights can increase
Note the amount of time required
2 Click the Light Properties bulb, just
outside the outer ring of the Light
during rendering.
Control in the top left corner of the
Poser Workspace.

Light Properties
Light properties help you fine-tune your
lighting effects.You can:

• name a light for easy referencing

• turn a light On or Off, or set the visual
representation of the light’s source to
visible or non-visible The Light Properties bulb brings up Light
• control whether a light is animated Properties for a selected light.

Poser 4
 Once a light is selected, you can also The light indicator does not show when
choose Object menu> Properties to rendering. Making the light indicator not
edit light properties. visible can reduce clutter in your Poser
The Light Properties dialog is displayed. studio.When this option is On, the light
indicator is visible.

The Light Properties dialog is where you set options

to fine-tune lighting effects.
When Visible is set to On, the light
indicator—a
Light Property options are: representation of a light’s source is displayed.

• Name - Enter a name for the light to be • Infinite/Spot - Determines the type of
used in the Current Element list.You can light source.
enter a descriptive name, such as Infinite lights shine into the studio in the
Morning Sun or Overhead Spotlight. same way the sun shines onto the Earth.
• On - Toggles a light On or Off.You can The light rays from an infinite light
also turn a light On or Off by Option/ source are parallel as they enter your
Alt-clicking a Light Control. Poser studio.
• Animating - Controls whether the light Spotlights cast light in a specific direction.
adds keyframes to the Animation palette. They throw light along a cone-shaped
An animated light can have different path, creating a classic “stage spot” effect.
settings in several frames. When this A Spotlight is like a theater Spotlight
option is Off, the light does not create which can be moved or rotated to
keyframes. highlight different elements in the studio.
• Casts Shadow - Toggles between casting • Light Color - Determines the light’s
and not casting a shadow. When this color. To set the color, click in the Color
option is On, the light casts a shadow. box, then select a color in the color
picker dialog.You can switch between
• Visible - Makes the light indicator visible
various color pickers, by selecting them
or not visible. The light indicator is a
from the picker list at the left of the
visual representation of the light’s source.

Lights
 dialog. Refer to “Setting a Light’s Color” 2 Click the Light Trash Can, just outside
on page 199 for more about setting light the outer ring of the Light Control in the
color. top left corner of the Poser Workspace.
• Set Parent - Lets you set an element as a
light’s parent. For example, if you set a
figure’s head as the parent, the light
follows the movements of the head.

Adding Lights
You can add or delete lights in your Poser
studio. By default, there are three Infinite
lights available when you start a Poser project. Use the Light Control trash can to delete a light.

To add a spotlight: To add an Infinite light:

1 Click the Add Light star, just outside the 1 Click the Add Light star, just outside the
outer ring of the Light Control in the top outer ring of the Light Control in the top
left corner of the Poser Workspace. left corner of the Poser Workspace.
Poser adds a spotlight to your scene.
2 Click the Light Properties bulb to open
the Light Properties dialog.
3 Select Infinite, then click OK.

To delete an Infinite light:

1 Select the light to be deleted.

The Add Light star adds a light to your scene. 2 Click the Light Trash Can, just outside
Poser adds a spotlight to your scene. the outer ring of the Light Control in the
top left corner of the Poser Workspace.
To delete a Spotlight:

1 Select the spotlight to be deleted. Aiming Lights

Finish posing your figure before aiming lights.
Otherwise, if you set the lights, then re-pose
the figure, its appearance under the lights
changes. For example, by rotating the figure

Poser 4
180°, the illumination that was shining on the Using the Light Control
figure’s front now shines on the figure’s back.
What had been well lit may now be shaded, The Light Control, located by default at the
and you must set the lights again to top-left of the Workspace, represents the
compensate for moving the figure. current position and color of the lights in the
studio.
Traditional artists often place a bright light
above the figure and to the left (from the
artist’s point of view). Strong single-source
lighting allows shading to develop on oblique
and distant surfaces. This shading contributes
significantly to the figure’s depth and
curvature.

If you create a figure to match a

Note background image, remember to
position and color the lights to
The Light Control. Drag the circles to reposition
match the lighting in the studio lights.
background.
The globe in the center of the Light Control
There are several methods for aiming lights: represents your Poser figure in three
dimensional space.The circles surrounding the
• Aim lights in Poser by hand, using the large graphic in the center represent light
Light Control sources. By dragging these light sources to
• Move a light’s light indicator in the different positions around the center globe,
Document window to position it you can adjust the lighting angle on your
object.
• Fine-tune light positioning with the
parameter dials The Light Control automatically updates as
• Use the Figure menu> Point At you drag to show a preview of the new
command position. The Document window also updates
as you drag to show the effect of the newly
Infinite lights in Poser’s studio always shine positioned light.
into the studio. When you aim an infinite
light, you’re actually setting the angle from To reposition a light using the Light
which the light shines. Control:

Spotlights provide a direct lighting source. 1 Click a circle in the Light Control to
When you aim a spotlight, you’re setting not select that light. The Light Control is
only the angle from which the light shines,
but also the point from which the light
originates.

Lights
 located by default in the top left corner of Using an Infinite Light’s
the Poser Workspace.
Light Indicator
The infinite light indicator appears as a ring
around the figure. To understand the infinite
light indicator, visualize it as the equatorial
stripe of a transparent globe. The light aims
toward the center of the globe from a point
on the equator, shown by the arrows.

Click a circle in the Light Control to select that light.

You can also select a light from the

Element popup at the bottom of the
Document window, or click on a
Spotlight to select it.

When you click anywhere inside

Note the Light Control, the nearest
light circle is automatically
selected.
The light indicator describes the currently selected
light.
2 Drag the light circle in the direction you
want the light to move. When viewed from an oblique angle, the
stripe appears as an ellipse, with the near side
Using Light Indicators lit and the far side darkened. This helps show
whether the light is in front of the figure or
When you select a light, Poser displays a light behind it.
indicator that describes the light’s position in
The light is not actually on the edge of the
the Document window. In some cases, it helps
indicator line. If it were, you could move the
to view the indicator from a different
figure to one side and out of the circle of
perspective. Switch the camera view or zoom
light.The indicator merely represents a larger globe
out to get a different view of the indicator.
that encompasses the entire studio.

Poser 4
To move an infinite light with the light Adjusting Light Indicators
indicator:
with Tools
• Drag anywhere in the Document
window and continue dragging beyond The Editing Tools can be used to adjust the
it, all the way to the edge of the screen. position of the indicator in the Document
window. Only the Rotate and Twist tools have
any effect on infinite lights. These tools rotate
Using a Spotlight’s Light and twist the indicator around the center of
Indicator the studio.

The Spotlight indicator appears as the outline

of a Spotlight. It is depicted as a free-standing
Spotlight, aimed in a specific direction inside
the studio. The Rotate and Twist tools can be used to adjust
the position of an infinite light’s light indicator.

The Rotate, Twist, Translate/Pull, and

Translate In/Out tools can be used to adjust
Spotlights.

The Rotate, Twist, Translate/Pull, and Translate In/

Out tools can be used to adjust the position of a
Spotlight’s light indicator.

A Spotlight’s light indicator appears as the outline

of a Spotlight. Scaling a Light Indicator
To move a Spotlight with the light You can change the size of a light indicator
indicator: with the Scale Parameter Dial. Scaling the
light indicators does not change lighting in the
• Drag anywhere in the Document scene—it only changes the size of the
window. indicator.

Lights
Aiming with Parameter xRotate
Dials 90°

The Parameter Dials allow you to rotate or

move a light in a specific plane or to a
numerically defined position.

Before using the Parameter Dials, select the 180° 0°

light you wish to adjust.You can either click
one of the Light Control, select the light from
the Current Element popup, click its listing in
the Animation palette, or click directly on a
Spotlight’s light indicator.
-90°
Rotating a Light xRotate, side view.

The xRotate, yRotate, and zRotate dials orbit

the light around the X,Y, and Z axes, yRotate
respectively.
90°

180° 0°

The xRotate, yRotate, and zRotate Parameter Dials

let you rotate lights with numeric precision.

When xRotate and yRotate are set to 0°, the

light aims directly at the front of the figure.
-90°
zRotate is significant only when xRotate,
yRotate, top view.
yRotate is not 0°, 0° or 180°, 180°.

The following diagrams of an infinite light’s

light indicator should help you visualize the
effect of each dial. In each case, the figure is in
the default position.

Poser 4
zRotate Repositioning a Spotlight
90° The xTran, yTran, and zTran dials move a
Spotlight along the X,Y, and Z axes,
respectively.

180° 0°

The xTran, yTran, and zTran Parameter Dials let you

move Spotlights with numeric precision.
-90°
zRotate, front view. To move a spotlight numerically:

To rotate a light numerically: 1 Click beside the numeric value on the

right side of the parameter dial to select
1 Click beside the numeric value on the the axis upon which you want to move
right side of the parameter dial for the the Spotlight.
axis you want to rotate the light around.
2 Enter a value between zero and ±180.
2 Enter a value between zero and ±180.
3 Click outside the entry area.
3 Click outside the entry area. You can also double-click on a parameter
You can also double-click on a parameter dial to open a dialog, where you can enter
dial to open a dialog, where you can enter a numeric value for that dial. In addition
a numeric value for the dial. In addition to a numeric value, this dialog shows the
to a numeric value, this dialog shows the dial name, as well as minimum and
dial name, as well as minimum and maximum limits for the selected dial.
maximum limits for the selected dial.

Lights
Pointing a Light at an Lighting Color
Object The color of the lights contributes to the
color of the figure in renderings. The colors
You can use the Point At feature to aim a light don’t mix and add to one another, they
directly at a figure, body part, or prop. For multiply. For example, a blue figure with red
example, you can use this feature to point a lighting would not appear purple, it would be
spotlight at a figure’s head or hand. To easily black.
aim a spotlight, use the Point At feature on a
prop, then make the prop invisible in the Prop If you don’t want lighting to influence figure
Properties dialog. color, simply set the lights to white or gray.

To point a light directly at an object: Because the lighting and the surface color
determine the appearance of the rendered
1 In the Current Element popup, select the figure, you may want to set the figure’s color
light you want to point. before working with the color of lights. For
2 Choose Object menu> Point At. A more information on setting the color of the
scene selection dialog appears. figure, refer to “Using the Color Tool” on
page 139.
3 In the list of objects, click to select the
figure, body part, or prop you want to
point the light at, then click OK.
Setting a Light’s Color
The light points at the object, and a Point To set a light’s color:
At Parameter Dial appears for the light.
You can adjust this parameter as needed. 1 Select a light.
At 1, the light is pointed completely at
the object. At 0, the light is not pointed 2 Click the Color dot that appears at the
at the object. bottom of the Light Control and choose
a color from the palette that appears.
To disable the pointing of a light:

1 In the Current Element popup, select the

pointing light.
2 Choose Object menu> Point At.
3 Click the None button, then click OK.

When a pointed light is disabled, its Point At

Parameter Dial still exists.You can remove this Click the Color dot at the bottom of the Light
dial in the Hierarchy Editor. For details, refer Control to change the color of a selected light.
to “Deleting Objects” on page 292.

Poser 4
 intensity. Drag counter-clockwise to
Click an icon in the color picker increases it.
Note list on the left side of the color
dialog to select a color picker that
suits your needs.

Light Color Parameters

The Red, Green, and Blue Parameter Dials
adjust the levels of these color components.

Drag the Intensity dial to adjust the

brightness. Drag the dial to the right to Drag the Intensity dot to quickly adjust light
increase the level, or left to decrease it. intensity.

You can also set light intensity by

adjusting the Intensity Parameter Dial.

Use the Intensity dial to set color brightness.

Setting Light Intensity Use the light Intensity Parameter Dial to fine-tune
the intensity setting.

To set a light’s intensity:

1 Select a light circle in the Light Control.

Setting Spotlight
2 Click and drag the Intensity dot located
Characteristics
outside the bottom left of the Light Use the Angle Start/End and Distance Start/
Control. Drag clockwise to reduce End Parameter Dials to set Spotlight falloff
characteristics. Light falloff lets you control
the relationship between the intensity of a
Spotlight and the distance from the light
source. In the real world, the farther you are
from a light source, the less influence it has on
the illumination of your surroundings. In
other words, the greater the distance, the
weaker the light.

In Poser, there are two types of falloffs you can

apply to a Spotlight:

Lights
• Angle Falloff sets how the brightness of To set the distance falloff for a
the light diminishes toward the edge of spotlight:
the light cone. For example, a falloff of
10% means that the light has full intensity 1 Set the Dist Start Parameter Dial to the
from the center to 90% of the radius of distance where light starts to falloff.
the light cone, then decreases linearly to
2 Set the Dist End Parameter Dial to the
the edge of the cone.You can set a
distance past which no light extends.
starting falloff angle and an ending falloff
angle for every Spotlight.
Using Shadows
Poser lights cast shadows. Figures and props
produce shadows on each other and on the
ground plane when it is displayed. Shadows
can add appeal and enhance realism. In
animations, moving shadows can be highly
100% Falloff 50% Falloff 0% Falloff
cinematic.
As you increase the falloff percentage, you To change the cast of a light’s shadow, change
decrease the area that is 100% bright.
the angle of the light.You can also control
• Distance Falloff determines the distance whether an individual light casts shadows in
from the light itself to the point where the Light’s Properties dialog (Object menu>
the light has no effect.You can set the Properties).
distance at which a Spotlight starts to fall
off and an ending distance—after which
no light extends.

To set the angle falloff for a spotlight:

1 Set the Angle Start Parameter Dial to the

percentage of intensity present at the start
of the cone of light projected by the
Spotlight.
2 Set the Angle End Parameter Dial to the
percentage of intensity present at the end
of the cone of light projected by the
Spotlight.
Shadows are visible in renderings.

Poser 4
 Shadows are only visible after
Map Size
Note rendering.
Map Size sets the resolution of the shadow
Spotlights always render based on the angular map for a light. Shadow maps are square, and
range of the spotlight. That means tighter the value sets the number of pixels in a
Spotlights produce cleaner shadows. Infinite dimension. Poser uses a map image to apply
lights in comparison, adjust the view to fill the shadows to objects in the scene. It develops
screen with all the objects that cast shadows. imagery (the shadows) in these maps during
Because of this, if you render a close-up of a rendering.
face in a scene which has 30 people, the
Larger map size values increase the detail of
resulting shadow map does not contain a lot of
shadow shapes, but that extra detail takes
information.
longer to render. Each map requires memory.
For example, a 1024x1024 map needs around
Advanced users can open the 4 MG, a 2048x2048 map requires 16 MG.
Note animation palette and select a Each map also adds to the amount of memory
shadow camera attached to a needed during rendering.
light to adjustment that camera
Depth cannot be animated.The setting applies
so that it zooms in on a subject.
to the light throughout the file.

Shadow Parameter Dials

Setting a Parent
The light Parameter Dials provide two
controls for shadows. Poser lets you attach lights to body parts or
props. When you pose the body, the attached
Shadow light maintains its contact and orientation
with the parent part.
Shadow controls the darkness of the shadow
cast by this light.You can adjust between a To attach a light to a body element:
faint shadow and a dark, 100% shadow.
1 Add or select a light.
You can animate the shadow strength. Set 2 Choose Object menu> Set Parent and
keyframes of different shadow strength to fade
select from the list the body part to which
shadow darkness in or out.
you want the light attached.

Lights
Saving Light Sets 7 Choose either Single frame or Multi-
frame animation and click OK.
If you set the lights in a way that you want to The new light set appears in the Light
use again, save the lighting environment as a category.
light set to the Lights category in the Poser
Library, where you can easily retrieve it.

The Lights category saves the current settings

for the lights, including the map size.

To save a light setup:

1 Set up your lights.

2 Display the Libraries palette by clicking
the handle at the far right side of the
screen.
3 Click the Lights category. If the category
is not visible, move the cursor over the
category dots until the Lights category
appears and then click the mouse button.
4 Click the Add to Library (+) icon. The
New Set Name dialog appears.
5 To specify parts of the scene to include or
not include, click the Select Subset
button. In the Hierarchy Selection list
that appears, deselect any items in the
scene that you don’t want to include,
then click OK.
6 Enter a name for the new light set and
click OK.
A dialog appears asking if you want to
save a Single frame or a multi-frame
animation.
• If you select the Single frame option,
the current lighting setup is saved.
• If you select the Multi-frame
animation option, you can specify a
range of frames to save.

Poser 4
Lights
9
Animating
Figures

Poser 4 lets you animate your figures, adding

motion to your scenes.You can use your work in
multi-media projects, on Web pages, and in video
projects.

When you’ve developed an animation in Poser,

you can save it as a movie in QuickTime, in AVI,
or as sequential image files.You can open
animation files in a motion-graphics application,
where you can add effects and perform other
post-production tasks.

You can create Poser animations of any length;

however, it’s easier to create relatively short
animations.You can use a movie-editing program
to splice animation clips together.
How Animation Animation Tools
Works There are two animation tools in Poser: the
Animation Controls and the Animation
Poser uses a technique called keyframe
palette. The Animation Controls let you
animation to simulate motion based on static
quickly set up and preview animations using a
figure poses. In keyframe animation, you set
simple click and drag interface. Refer to
up poses at different points in time, called
“Creating Animations” on page 209 for more
keyframes, and Poser fills in the gaps, creating
on the Animation Controls.
an illusion of motion.This way you don’t have
to keep posing your figure each time you want The Animation palette lets you edit keyframe
to create a motion. All you have to do is set up positions and create more complex
the starting position of the action and the animations. It also lets you animate individual
ending position. Poser takes care of the rest. body parts and edit the keyframes within your
animation. Refer to “Editing Animations” on
Poser fills in the gaps between keyframes using
a process called interpolation. Interpolation page 213 for more on the Animation palette.
determines how intermediate poses (that is,
the poses in between the start and end poses),
are created. There are four types of What You Can
interpolation: Animate
• Spline, which places intermediate poses You can make any series of changing images
(and settings) on a curve. into an animation. The “change” can be of
• Linear, which places intermediate poses at any description.Virtually any type of change
equal increments so the motion is smooth you can make in Poser can be animated.
and straight.
Regardless of what you animate, you go about
• Break Spline, which has no intermediate
it in the same way—by setting keyframes at
poses. Position changes abruptly only at
the start and end of each action (change).
the keyframes.
• Constant interpolation, which maintains
a keyframe position, then instantly
Animating Figures
changes to the next pose.
Figures can change positions and move about
Refer to “Keyframe Interpolation” on the studio. They walk, dance, climb, fight,
page 224 for more on interpolation. tumble, fly, and fall to earth.

Often, you create the illusion of movement by

changing the pose of a figure. However, you
can also create animation using the Scale tool.

Animating Figures
When animating figures, keep these points in Animating Hands
mind:
You can create animated hands just as you
• You can set Inverse Kinematics (IK) for
would animate any other body part. By
the legs and arms of any figure. IK is a
creating a starting and ending position for the
global setting; there can only be one IK
fingers on a hand you can create almost any
setting per animation.You cannot set IK
type of hand motion.
on in one keyframe and off in the next.
• Turning IK on or off can affect
interpolated motion. For this reason,
whenever you change the status of IK for
any limb, Poser 4 creates keyframes that
secure the motion approximately “as is.”
Example of animating a hand.
• Inverse Kinematics determines the pose
of some body parts based on the pose of
another part. For example, the knee may Animating Faces
be bent but the shin won’t have a
keyframe. The foot or hip, one of which Like hands, the faces on Poser’s People figures
is keyframed, determines how and when are fully articulated, meaning that you can
the shin bends. animate facial expressions. Facial animations
can be extremely powerful. With a moving
For more information on IK refer to face, you can simulate a wide range of
“Inverse Kinematics” on page 111. emotions and even speech.

The Poser libraries provide a series of

phoneme presets to help you simulate speech
motions.The phoneme presets do not provide
all the facial positions you need to create fully
realistic speech, but you can use them as a
starting point. For more information on
simulating speech, refer to “Faces and
Phonemes” on page 132

Example of an animated figure.

Example of animating a face.

Poser 4
Animating Props For more information on using Magnet
Deformers, refer to “The Magnet Deformer”
on page 144.
Props can move, rotate, and change size. A ball
can bounce. An axe can swing. A chair can be
overturned. Use the Set Parent feature to
attach props to the figure. This keeps props
moving with the figure through any pose.

For more information on setting prop parents

refer to “Setting Prop Parents” on page 171.

Example of animating the effect of a Magnet

Deformer on an object.

Wave Deformers
A Wave deformer distorts an object by
creating a wave path for it. Waves can rotate,
move, and change size.You can switch
between wave types. The Wave zone can be
Example of animating a prop. changed.You can change Wave amplitude,
Wavelength, and Stretch settings. Noise
Animating Deformers parameters can be adjusted, Turbulence added,
or an Offset can be set. Easy examples of
animating a Wave Deformer are causing a flag
Magnet Deformers to wave or creating the effect of moving
water.
The Magnet deformer distorts an object by
creating a virtual magnet which stretches it.
Magnet behavior, the Magnet Base, and the
Magnet Zone can all be changed.You can also
rotate, twist, translate, and scale a Magnet
deformer and capture the effects in an
animation.

Animating Figures
For more information on creating Waves, refer
to “The Wave Deformer” on page 149.
Creating Animations
The Animation Controls, located at the
bottom of the screen, are the tools you use
most to create animations. They contain
controls for adding keyframes, editing
keyframes, and previewing animations.

The main area of the Animation Controls

Example of animating a the effects of a Wave. displays the Timeline. The Timeline represents
time in Poser. The Scrubber on the Timeline
Morph Targets represents the current time. By positioning
the Scrubber at different points in time you
A morph target is a custom Parameter for a can move through time setting up keyframes.
body part that enables you to gradually The counter in the center of the controls
reshape it.You can create morph targets for shows you which frame you’re currently
figure elements, full body morphs, or morphs viewing in the Document window.
that work on grouped parts. Reshaping an
Preview Frame Keyframe
object using a morph target can be animated.
controls indicator controls
For more information on creating Morph
Targets, refer to “Creating Custom Morph
Targets” on page 154. Timeline
Scrubber
The Animation Control’s Time Display Area controls
the creation and playing of animations.

The controls on the left side of the Animation

Controls let you preview all the frames on the
Timeline.You can play all the frames or step
through all the frames one at a time.

The controls on the right side of the

Animation Controls let you edit the keyframes
on the Timeline.You can add, delete, and
preview keyframes.

Example of animating the effect of using a Morph

Target.

Poser 4
Setting Up Your 2 Choose Animation menu>
Animation Setup. Poser displays the
Animation Animation Setup dialog.

When you begin an animation, you set the

dimensions and duration of your project.

To set up an animation:

1 Choose Window menu> Document

Window Size. Set the dimensions of the
Document window according to the
aspect ratio of the frame size you want.
The Animation Output Settings dialog.

3 In the Frame Size field, enter either the

width or height value for the animation
output you want. The aspect ratio of the
Document window determines the other
value.
4 Set a Frame Rate. Frame Rate
determines how many frames are
displayed each second.
NTSC video plays at 30 frames per
The Document window Aspect Ratio dialog. second (fps). Film plays at 24 fps. Many
computer animations work quite well at
The Document window need not equal
12 to 15 fps. Animations for display on
the frame size for your intended
the World Wide Web can be successful
animation output, but it must be
with as few as 8 frames per second.
consistent with the aspect ratio.
Any aspect ratio is acceptable. For an 5 Set either the Frame Count or the
extremely wide animation, you could use Duration. These values are
an aspect ratio of 3:1 and create a window interdependent. Set one, and Poser fills in
that’s 600 x 200. the other.
If you are working with an imported • Frame Count is the total number of
background—either still or moving—you frames in the animation.
can import that file now. Poser asks if you • Duration describes how long the
want to set the dimensions of the animation lasts. The display uses the
Document window to match the SMPTE standard—hours: minutes:
imported background. seconds: frames.

Animating Figures
Working with the Animation Background Footage to control
background display.
Background
By default, your animation moves over the Working with the
background set for the Document window. Timeline
You may want to animate over a changing
background. For example, in some The Timeline that appears at the bottom of
animations, walking characters stay in the the screen is a graphic representation of time.
center of the screen. The background scrolls, The Scrubber on the Timeline represents the
which gives the impression that they are current time as displayed in the Document
actually moving. window.
You can import a QuickTime or AVI file as
the background. Each frame of the imported
movie appears sequentially as the background The Timeline.
in frames of the animation.

When you make a movie, Poser composites Setting the Current Time for
the figures with the background imagery by an Animation
default. This is an easy way to get your
animated Poser figure in a moving scene. The Scrubber is the tool you use most when
creating animations. The Indicator controls
You can use background footage when a keyframe occurs in time. When
Tip as a guide for animating. For
creating keyframes, you move the indicator to
define when the event occurs.
example, import a video clip of a
gymnast and pose a figure to As you move the Indicator, the Frame number
match the actions of the gymnast. changes to show the number of the current
frame. To move to a specific frame, either
To import background footage: move the Frame Indicator or enter a number
in the Frame number field.
1 Prepare a QuickTime or AVI movie as
the background.
2 Open your Poser animation file.
3 Choose File menu> Import>
QuickTime Footage or AVI The Scrubber controls when keyframes occur in
Footage. animations.

4 Use the Display menu> Show/Hide

Background Footage and Clear

Poser 4
The Scrubber also controls which portion of moved to a new point in time. For example, if
your animation is displayed in the Document you move an arm up and then down while the
window. When the Indicator is at the scrubber remains at the same location in the
beginning of the Timeline, the first frame of timeline, the down motion is recorded for that
your animation shows. As you move the keyframe. To make an arm move up and then
indicator, you see how your pose changes over down, record the up motion in one keyframe,
the course of your animation. then move to a different keyframe to record
the down motion.
To move the current time manually:
To record keyframes:
• Drag the Scrubber along the Timeline. As
you drag, note that the Time Display area 1 If necessary, click the Animating On/Off
shows the current frame number in your Key icon in the Camera controls to turn
animation. the Poser animation system On for the
Release the mouse button when you current camera.
reach the desired frame.

To move the current time numerically:

1 Click the frame number in the Time

Display area. A text field appears.
2 Enter the number of the frame you want
Click the Animation System Key by the Camera
to move to and press Return/Enter. The
control to toggle the system between On and Off.
Scrubber jumps to the specified frame.
Camera Animating is On by default.
Recording Keyframes When Off, the Animating On/Off Key is
red.
When camera animating is On, Poser records 2 Move the Scrubber to a position in time.
changes you make to your Poser figures as
animation keyframes.You create keyframes by 3 Use the Editing Tools to adjust the pose
moving the scrubber to a new point on the of your figure or make an adjustment to a
timeline, then making a change to a Poser camera or light. A new keyframe is
figure, object, prop, light, or camera. created.
4 Move the Scrubber to a different point on
A recorded keyframe stores changes in the the timeline and change something else.
position of each body part in the figure. It also
stores changes in scale, color, lighting, or 5 Continue creating keyframes until your
camera position. Since you can store one set motion sequence is complete.
of positions and parameter settings at any
given point on the timeline, Poser saves the
last changes you make, until the scrubber is

Animating Figures
Adding and Deleting The Animation Controls let you quickly add
and delete keyframes. When you delete a
Keyframes keyframe, all the stored properties for the
figures are deleted. When you add a keyframe,
In most cases, the Animation System is used to the figure’s current position in the Document
automatically record keyframes for your window is saved as a keyframe.
animation. Sometimes, you’ll want to instruct
Previous Disp ay Animation De ete
the Animation system to explicitly create a
Keyframe palette Keyframes
keyframe, like when Animating for the
current camera is set to Off and no keyframes
are being recorded.

For example, you set the Scrubber to a point

Next Keyframe Add Keyframes
in the timeline, then make a number of
changes—not realizing that Animating for the The Keyframe controls allow you to add and delete
keyframes.
current camera is set to Off. Because the
system is turned Off, you must manually
To add a keyframe:
create a keyframe to store the results of your
changes. If you don’t create a keyframe, when
1 Move the Scrubber to the desired point
you move the scrubber to a new point on the
in time.
timeline the changes you’ve just made are
discarded. 2 Click the Add Keyframes (+) button.

You might also want to add a keyframe to To delete keyframes:

fine-tune movements recorded by the
Animation System. For example, at frame 1 Click either the Previous Keyframe or
number 10, the figure’s left foot is flat on the Next Keyframe button until the keyframe
ground.You move the scrubber to frame 20, you want to delete is displayed in the
then make a change to the position of the left Document window.
foot. The Animation System records that
change, then calculates positions for the left
2 Click the Delete Keyframes (-) button.
foot for all those "in-between" frames. To
further refine the "in-between" frames, you
could move the Scrubber to frame 15, Editing Animations
reposition the left foot in an intermediate
pose, then explicitly add a keyframe to store The Animation palette is where you edit the
that change. keyframes in your animation. The palette
shows the layout of the keyframes and
provides for setting and navigating between
them. The palette also provides controls for
playing animations.

Poser 4
To display the Animation palette: frames are shown in different colors to
identify the interpolation type. An
• Choose Window menu> Animation interpolated frame is an animation frame
Controls. created by Poser to fill in the gaps
or between keyframes.

Click the Display Animation Palette

button on the right side of the Animation Editing Animation Setup
Controls.
You can use the Animation palette’s Setup
Setup Preview Keyframe nterpo ation controls to edit your animation setup
Controls Controls Controls Controls parameters. Many of the controls in this
palette can also be accessed from the
Animation Setup dialog (Animation menu>
Animation Setup).

Elements Preview Timeline Radio buttons indicate

List Range Area what is affected
The Animation palette allows you to edit keyframes.

When you first display the palette, it shows all

the keyframes you’ve previously created using
the Animation Controls.
The Animation Palette’s setup controls.
The Animation palette is divided into the
following sections: Changing the Frame Rate
• The Setup controls are used to set Frame
Rate, Duration, Frames, and display Frame Rate determines how many frames are
options for the Timeline Area. These used during each second of action. Thus,
controls also let you preview your frame rate is measured in Frames Per Second
animation and navigate through the (fps). Higher frame rates have more frames in a
keyframes. second, producing smoother motion, but
require more time to render.
• The Elements List displays all the objects
in the studio. Figure-type elements To edit the frame rate:
contain a listing for each of the parts that
make up that figure. 1 Click the FrameRate indicator at the top
• The Timeline Area, displays all the of the Animation palette. A text field
keyframes stored for each of the body appears.
parts. Keyframes are displayed as red 2 Enter a frame rate.
squares in the grid and interpolated

Animating Figures
 You can also click the arrow icon next to To change the total number of frames in your
the Frame Rate indicator and pick a animation, click in the Total Frames field and
frame rate from the menu enter a new value. When you change the total
number of frames you set the maximum
Moving the Current Time number of frames in your animation. If you
have more frames in the animation than the
The Current Time display lets you keep track Total Frames value, frames are deleted.
of the current time shown in the Timeline
area, and lets you change the current time. Viewing the Elements
As you edit keyframes in the Timeline Area, List
the display changes to show you the current
time in SMPTE format (Hours: Minutes: The Elements List displays all the figures,
Seconds: Frame).You can also enter a time to lights, cameras, and props currently in the
display a specific point in time. studio. The listing for a figure can be
expanded to display all the objects that make
To move to a specific time: up that figure. Each object within a figure can
be further expanded to display all the
1 Click one of the Current Time display properties of that object. For example, you
fields. A text field appears. can view the Scale or Translation keyframes.
2 Enter the hour, minute, second, or frame
Using this listing, you can select an object or
you want to see.
studio element you want to animate.

Changing the Number of

Expanded listing
Frames
Elements listing
The two Frame indicators show you the
Collapsed listing
number of the currently selected frame and
the total number of frames in the animation. Currently selected object
You can move to a specific frame by selecting or element
the Frame field and entering a frame number.
Property listing

The Frame indicators. Elements List in the Animation palette.

Poser 4
Selecting Elements Collapsing the Elements List
You can select an element by clicking on it in Each figure has many parts, and each part has
the Elements List. Selecting an object here is many properties. This can make for a very
equivalent to clicking on it in the Document long Elements List.You can collapse any of the
window or choosing it from the Current figure listings to save space, or expand them to
Element popup at the bottom of the show more detail. When you are not working
Document window. Poser highlights the name with a particular figure, you can collapse its
and grid row of the selected object. listing. This shortens the Elements List and
makes other objects easier to locate.

When you collapse a Figure in the

Note Elements List, the keyframe line
displayed controls the figure’s
position in the studio. Posing
changes only show when the
listing is expanded.
The hip is the selected element.
To collapse/expand a listing:
To scroll down the list of elements:
1 Click the triangle next to the figure
• Drag the vertical scroll bar. name.
A down-facing arrow indicates that a
listing is expanded. A right-facing arrow
indicates a collapsed listing.
Vertical
scroll bar 2 Click the triangle again to collapse the
list.

Scrolling through the Animation palette to display

additional elements.

You can collapse or expand the elements listing in

the Animation palette.

Animating Figures
Editing Keyframes on To change the Timeline Ruler display:

the Timeline • Click the Options label at the top of the

palette, and choose Display Frames or
You can use the Timeline area to select Display Time Code from the menu.
keyframes, edit their position, or delete them
from the animation.You can also add new Selecting Keyframes
frames for specific properties or objects.
Poser starts with the first frame selected (frame
Timeline Ruler Current Time tab #1).You can select any frame by clicking in,
or above, its column.You can also enter a
number in the Frame field at the top of the
palette. Poser displays the number of the frame
and highlights the column.

When you select a keyframe, the item’s row

and the time column is highlighted, creating
an intersection. Selecting another keyframe
moves the intersection to a different point.
Scroll bars Play Selected Range bar
Timeline Area on the Animation palette.

The Timeline area displays time as a grid. The

grid displays the keyframes for each of the
items in the Elements List.

Time is displayed as columns. Each column

can represent either a specific point in time or
a frame in the animation.The Ruler at the top
of the area indicates whether the columns The hip is the selected object. Frame #6 is the
represent points in time or frames. current frame.

Each object or property in the Elements List is

represented on a row in the Timeline area. The Frame scroll bar appears when there are more
frames than the window can display.
Keyframes appear as red squares. Interpolated
frames between frames appear in different To select a keyframe:
colors depending on the type of interpolation
used to create them. Green denotes Spline • Click one of the dark red squares on the
interpolation, and red denotes Linear grid.
interpolation.

Poser 4
To scroll across frames:

• Drag the horizontal scroll bar. The scroll

bar only appears when the number of
frames exceeds what the window can
display.

Adding Keyframes
You can add keyframes to store a specific pose
or save an interpolation frame created by
Poser.

Keyframes can be added for a specific object

or property using the This Element option.
When enabled, any keyframe you create is
Add a keyframe for this element.
only applied to the selected element.
To add a key for all elements:
You can also use the All Elements option to
add frames to store all changes for all the 1 Select the frame where you want to add
elements in the animation at a specific point the key.
in time. This creates a kind of checkpoint.
Once all element properties are saved into 2 Click the radio button for All Elements.
keyframes, you can experiment with poses in 3 Click the Add Keyframes (+) button.
the remaining part of the animation while
leaving the first half of your animation
unchanged.

To add a key for one element: To add a keyframe for the entire figure, click the
Add Keyframes button for All Elements.
1 Select the frame where you want to add
the new keyframe.
2 Click the This Element radio button.
3 Select the object you want to set.
4 Click the Add Keyframes (+) button.

To add a keyframe for a selected element, click the

Add Keyframes button for This Element.

Animating Figures
 3 Enable the This Element radio button.
4 Click the Delete Keyframes (-) button.
You can also press the Delete/Backspace
key.

To clear a keyframe for one element/object, click

the Delete Keyframes button for This Element.

Add a keyframe for all elements. Notice the color

changes in keyframe #8.

Clearing Keyframes
At some point, you may decide to remove a
keyframe. Once a keyframe is removed, the
animation changes.

You can clear a keyframe for a single object/

element or for all objects/figures in the scene.
After clicking Delete Keyframe, the keyframe is
Clearing does not delete the frame. It removes removed and Poser interpolates between the
the settings that make this frame a keyframe. previous and next keyframe.
The frame is still in the animation, but it does
not have a key assigned to it. Once the To clear a keyframe for all elements at a
keyframe is removed, the values at that frame given point in time:
are recomputed to properly blend with
neighboring keyframes. 1 Move the Current Time tab to the point
in time where you want to delete the
To clear a keyframe for one element: keyframe.

1 Move the Current Time tab to the point

2 Enable the All Elements radio button.
in time where you want to clear the
keyframe.
2 In the Elements List, select the figure part
whose keyframe you want to clear.

Poser 4
3 Click the Delete Keyframes (-) button. Navigating the Timeline
You can also press the Delete/Backspace
key. You can move to a keyframe in the Timeline
using the Navigation controls at the top of the
palette. The This Element and All Elements
radio buttons let you move to the keyframes
for a selected element or to keyframes for any
To clear a keyframe for all elements, click the Delete
Keyframes button for All Elements. element.

To advance to the next keyframe for a

specific element:

1 Click the row for the desired element.

2 Enable the This Element radio button.
3 Click the Next Keyframe button.

To advance to the next keyframe for a given

element, click the Next Keyframe button for This
Element.

To move back to the previous keyframe

for a specific element:
The selected keyframes are cleared for all elements
at this time.
1 Click the row for the desired element.
To clear a range of keyframes: 2 Enable the This Element radio button.

1 Shift-drag over the range of frames you 3 Click the Previous Keyframe button.
want to clear.
2 Press the Delete key.

To clear specific keyframes: To move back to the previous keyframe for a given
element, click the Previous Keyframe button for This
1 Press Shift and click each of the frames Element.
you want to delete.
2 Press the Delete key.

Animating Figures
To advance to the next keyframe (for Moving Keyframes
any element):
As you work, you may decide you want
• Click the Next Keyframe button for All certain keyframes to occur sooner, or later, or
Elements. that you want to use the settings in one
keyframe somewhere else in the animation.
Poser makes this easy by allowing you to move
keyframes or groups of keyframes.
To advance to the next keyframe for any element,
click the Next Keyframe button for All Elements. To move a keyframe:

To move back to the previous keyframe 1 Click the keyframe to select it.
(for any element):

• Click the Previous Keyframe button for

All Elements.

To move back to the previous keyframe for any

element, click the Previous Keyframe button for Select an element and a frame.
All Elements.
2 Drag the colored grid cell horizontally to
To go to a specific frame:
the frame where you want it.
1 Click to highlight the current frame
display.
2 Enter the value you want. Press Return/
Enter.

The current frame display lets you jump to a specific

frame. When you click on the grid cell, the cursor turns into
a four-way arrow. Drag the keyframe to where you
want it.

Poser 4
To move a block of frames: keyframes and the parameter settings they
represent for those parts, then paste them to
1 Drag a marquee around all the frames you other figures. In this way you could bring a set
want to move, or Shift-click the desired of marching Poser figures into perfect step.
frames.
Poser outlines the selected block of
frames.

Select a block of frames by Shift-clicking.

2 Drag the block of frames to a different

By copying elements between figures, you can
position on the Timeline.
bring a set of marching figures into perfect step.

Although you can copy and paste keyframes

across elements and objects, copying data to
inappropriate parameters, like scaling data into
rotation parameters should be avoided. Pasting
body part parameters from left to right or

Drag a block of frames to a new location.

Copying Keyframes
You can copy keyframes, figure parts, and
parameters in the Elements Listing. There are
no limits to how little or much you can copy.
For example, say you’ve fine-tuned
movements over the course of an animation
for parts in a Poser figures, like the Left Thigh,
Left Shin, and Left Foot.You can copy

Animating Figures
right to left can also give unexpected results. 4 Choose Edit menu > Paste, or press
Because they are on opposite axis, you must Ctrl/Cmd+V.
make the copied parameter negative to get a
Poser pastes the copied information into
symmetrical position.
the selected area of the palette.

Retime Keyframes
The Animation menu> Retime
Animation command lets you take a motion
or a set of keyframes and change the amount
of time it takes for that motion to occur.

The Retime Animation command doesn’t

destroy any keyframes inside the source range
and outside the destination range, so you can
use it to repeat motions by copying them from
Pasting body part parameters from left to right or one time to another. By selecting a motion in
right to left gives unexpected results.
one area and selecting a non-overlapping
To copy a keyframe to a new position destination, you remap the motion to another
on the timeline: time without deleting the original motion.

1 Click the keyframe to select it. To set retime keys:

2 Option/Alt-drag the keyframe to the 1 Choose Animation menu> Retime

point in time where you want it to Animation. A dialog appears asking you
appear. When it’s positioned, release the to fill in your Source and Destination
mouse button, then release the Option/ frames.
Ctrl.
2 For the Source frames, enter the start and
To copy a block of frames to a new end frames for the section of animation
position on the timeline: you want to retime.
3 For the Destination frames, enter the
1 Drag a marquee around all the keyframes, range of frames to retime the animation
elements, or parameters you want to to.
copy, or Shift-click the desired elements.
• If the destination range is longer than
2 Choose Edit menu > Copy, or press the source range, the animation is
Ctrl/Cmd+C to copy. expanded, or slowed down.
3 Drag a marquee around the area where • If the destination range is shorter
you want to paste the copied than the source range, the animation
information. is compressed, or sped up. Old

Poser 4
 keyframes that were previously in the You can apply the following types of
destination range are deleted. The interpolation to your keyframes:
keyframes that were in the source
range are retimed and placed in the • Spline places intermediate poses (and
proper time in the destination range. settings) on a curve. The element/object
accelerates and decelerates in and out of
4 Click OK. the motion.

Advanced Editing
The following section deals with editing an
element’s animatable properties and applying
different interpolation methods. Both
techniques are advanced features of Poser, so
become comfortable with the animation
process before trying these techniques.
An example of Spline interpolation.
Keyframe Interpolation • Linear places intermediate poses at equal
increments so the motion is smooth and
Poser interpolates the intermediate figure
straight. The speed of motion does not
poses and element settings between keyframes.
change in between keyframes, but can
Interpolation refers to the way Poser calculates
change speed suddenly at keyframes
the “in between” position of objects/
elements.

You have several options for the rules used to

interpolate the poses or settings. In this way,
you can make subtle changes in the animated
motion.

Interpolation settings apply to a range of

frames. This means you can use one
interpolation type prior to a keyframe and
another after it.
An examples of Linear interpolation.
If the beginning and end of a selected range • Constant has no intermediate poses;
does not already have keyframes, changing changes occur abruptly only at the
interpolation type will automatically insert keyframes. Whereas previous versions of
keyframes at the beginning and ending frames. Poser limited the use of Constant
interpolation to the end of an animation,
Poser 4 allows you to use it at any point

Animating Figures
 where abrupt change at a keyframe is To choose an interpolation method:
required.
1 Select a range of keyframes in the
Timeline Area.
2 Click one of the four Interpolation
Controls.

Spline Linear Constant Break

Spline
Select one of the Interpolation Controls.

An examples of Constant interpolation.

Editing Keyframe
• Break Spline stops the interpolation at
the break point, so that another type of Interpolation
interpolation can begin. This type of
interpolation is useful for ending a series The Graph palette let you perform precise
of interpolated frames to begin a fresh edits on keyframes and adjust the
series. interpolation methods used in the your
animation.
For example, a bouncing ball has a
smooth arc until it hits the floor and then To display the Graph palette:
starts off in another arc. With Break
Spline you can create this type of abrupt • Click the Show Graph Display button on
change in the arc. the Animation palette.
You can use different interpolation options
depending on the motion you want. Using a
walk as an example, you would use Spline The Show Graph Display button.
interpolation for the keyframes of a foot while
it’s moving through the air. However, you You can also double-click on an element
would use Linear interpolation while it’s on or keyframe to display the graph for that
the ground to make it easier to keep it element.
planted.

Interpolation types are shown in different

colors on the Animation palette. Green is used
for Spline, and red for Linear. A cross in the
keyframe indicates that Break Spline has been
applied. Keyframes that use Constant
interpolation are grayed out.

Poser 4
 Frame Numbers Animatable Properties

Interpolation pline Interpolation

Interpolation Select Frames Add/Delete Linear Interpolation

Methods Frames
The Graph palette lets you perform precise edits on
keyframes.

The palette is made up of two axes and a

graph. The horizontal axis represents time in Break Spline Interpolation
your animation, displayed as frame numbers.

The values in the vertical axis change

depending on the attribute you select. If you
choose a position attribute (xTrans, yTrans, Constant Interpolation
etc.) the values on the axis represent positions
Different shapes of the Interpolation graph.
in 3D space. If you choose a figure editing
property (Taper, Bend, Side-to-Side, etc.) the The Graph palette also provides controls for
values on the axis indicate degrees of change. synching sound to motion in your animation.
Refer to “Syncing Sound and Motion” on
The graph itself shows the actual change in page 240 for more information.
the selected element over the course of the
animation. Depending on the selected
attribute, the graph shows changes in position,
Editing the Graph
rotation, scale, or tapering. The graph’s shape
You can edit the graph to achieve varying
indicates the type of interpolation used to
degrees of interpolation. For example, to
move from one keyframe to another.
decrease the amount of Spline interpolation,
A smooth curve indicates that Spline straighten the curve.
interpolation is being used, a straight line
You can set the shape of the curve using the
means that Linear interpolation is being used.
preset interpolation methods or by just
dragging the curve’s points until it’s the shape
you want. In addition, you can apply different
interpolation methods to different parts of the
graph.

Animating Figures
 Linear Interpolation
The graph is re-shaped using the selected
method.
If you have a range of frames selected in
the Animation palette, changing the
interpolation method can add new
keyframes.
3 Use the Scrollbar to view points that fall
outside of the current graph window.
Spline Interpolation
A graph showing different interpolation methods. Editing Keyframes on the
Graph
Remember, you’re affecting
Note how the figure moves as you The vertical lines on the graph represent
change the shape of the keyframes.You can move these points, to
graph, so make sure that the change when keyframes occur, or you can add
graph reflects the type of new keyframes.
motion you want to create.

To edit the shape of the graph:

Keyframe line
1 Click the popup at the top of the palette
and choose the attribute you want edit.
Current Frame
2 Drag any point on the graph in the indicator
direction you want to move the curve. Keyframes on the graph.
Depending on the type of interpolation
you’ve applied to the curve, it reshapes The Current Frame indicator lets you know
either smoothly or linearly. which frame you’re currently working on.
3 Use the Scrollbar to view points that fall To select a keyframe:
outside of the current graph window.
• Click the Next Keyframe or Previous
To change the type of interpolation Keyframe button.
applied to the graph:

1 Drag over a portion of the graph to select

it.
Use the Next Keyframe or Previous Keyframe to
The selected portion is highlighted. select keyframes.
2 Click one of the interpolation method
You can also click on a black keyframe
buttons at the bottom of the dialog.
line on the graph, or drag the Current

Poser 4
 Frame indicator to the frame you want to 2 Click the Delete Keyframes button.
edit.

To select a range of keyframes: Previewing

• Drag an area around the desired frames. A Animations
selected area is highlighted in dark grey.
You can preview animations using the VCR
To reposition a keyframe: style controls in the Animation Controls or
the Animation palette.
• Select a keyframe and drag it to a different
position on the graph. When you use the Preview controls to
preview your animation, the animation plays
To add a keyframe: in the Document window. The quality of the
preview depends on the current display style
1 Move the Current Frame indicator to the and Tracking mode that’s currently enabled.
position where you want to add a frame. Refer to “Previewing Your Figure” on
page 37 for information about display styles
2 Click the Add Keyframes button. and refer to “Figure Tracking” on page 30 for
information about tracking modes.
To duplicate a portion of the graph:
First Frame Stop Step Back
1 Drag across an area of the graph to select
it.
2 Choose Edit menu > Copy (or press
End Frame Play Step Forward
Ctrl/Cmd+C).
Use the Preview Controls to preview your
3 Position the cursor where you want to animations.
insert the copy.
Play starts the animation. While the
4 Choose Edit menu > Paste (or press animation plays, the readouts display the
Ctrl/Cmd+V). current frame and time. The Play button
becomes the Pause button during a preview.
To move a keyframe:
Stop halts play and jumps the animation to
• Command/Ctrl-drag a key or range of the first frame.
keys to a new point in time.
Pause halts play at the currently displayed
To delete a keyframe: frame.

1 Move the Current Frame indicator to the Fast Forward advances to the last frame of
position where you want to delete a the animation.
frame.

Animating Figures
Rewind returns to the first frame of the Setting the Play Range
animation.
By default, you preview the entire animation
Step Reverse moves back one frame.
when you click the Play button; however, you
Step Forward advances to the next frame. can choose to play only a section of your
animation.You can adjust the length of the
The Loop radio button plays the animation Loop Range bar in the Animation palette to
over and over again until you stop the set in and out points for the preview. Only
playback. frames between the in and out points play.

When disabled, the Skip Frames radio To change the range:

button displays all frames in the animation.
When enabled, frames drop from the preview 1 Drag the end of the Play Range bar to set
to speed up play. the in or out point of the preview.

To preview an animation in the

Document window:

1 Click the Play button in the Preview

controls.
The Play button becomes the Pause The Play Range bar sets which frames will play. In
button. this case, Poser plays all frames of the animation.

2 Click the Stop button to stop the

preview.

To view a specific keyframe:

• Click either the Previous Keyframe or

Next Keyframe button in the Keyframe Drag the ends of the Play Range bar to set the
range of frames. In this case, Poser plays frames 5
controls.
through 19.

Previous Next
Keyframe Keyframe Using the Libraries
Palette for
The Previous and Next Keyframe controls.
Animations
The Document window changes to
display the poses in the selected keyframe. The Libraries palette lets you save single
frames or multi-frame poses. A multi-frame
pose is an animated figure.

Poser 4
Adding an Animation to To add a multi-frame animation from
the Libraries palette:
the Library
1 If the scene has more than one figure,
When you add to the Poses category Libraries select the figure you want to apply the
palette, Poser asks whether you want to save animation to.
one or multiple frames. For a multi-frame
2 Select the frame where you want the
animation, you can specify the range of
animated sequence to begin. Frame #1 of
frames.
the library animation applies to the
When you name the animation for the library, current frame.
consider including the number of frames in its 3 Make sure you have enough frames to
name. For example, name a listing Strut_48 to accommodate the multi-frame pose.You
indicate that this animation has 48 frames. may need to add frames to the file or
This information is helpful later when you use move a set of keyframes farther to the
the animation. right.
4 In the Libraries palette, click the Poses
Using a Multi-Frame category button.
Animation from the 5 Click the Poses popup and choose
Library Animation Sets.
6 Double-click the preview of the set you
When you use an animation from the library, want to use.
Poser applies it to a series of frames, beginning
with the current frame. The series extends the
number of frames in the saved animation.
However, it does not exceed the number of
frames in the current document.You may have
to increase the number of frames in the
animation to make room for all the keyframes
in the saved pose.

Scale changes are not stored in pose sets. This

allows you to use stored poses for
reproportioned figures without modifying
their scale. Animated scale changes are not
stored in pose sets.

Animating Figures
10
Animation
Techniques

The animation process begins with the creation of

keyframes and poses, but it certainly doesn’t stop
there. A simple jerky motion can become a
smooth flowing one, if you just know a few
techniques for using Poser’s tools to their full
potential.

The techniques described in this chapter will help

you create more realistic motion and enhance
your basic animations.

Setting Keyframes
How do you know how to space keyframes? You
have to consider time and frame rate.You should
space keyframes so that at the chosen frame rate,
the animated action takes the right amount of
time.
• Frame Rate x Duration = Number of
Frames
Creating Realistic
Motion
The duration refers to how long it should take
the figure to move from Point A to Point B. The key to human motion is to examine the
parts of the move. If you look at a baseball
For an example, we’ll look at a simple player’s swing, it looks like the arm is simply
animated action—getting up from a chair. In moving in an arcing motion. However, on
this action, the extremes are (1) sitting in the closer inspection you can see that the motion
chair (2) standing in front of the chair. These is a combination of the hips, shoulder, hand,
are the keyframes we’ll set. neck, head, back and arm. To create this kind
of motion in Poser, you work from the large
motions to the smaller ones.

The first thing you do to create a motion is

“rough out” the larger movements. In the case
of the baseball swing, determine where the
arm starts at the top of the swing and where it
ends up a the end of the swing. In Poser, these
two points are determined by two keyframes:
one for the start, the other for the end.

Two examples of keyframes.

Decide on the duration of the action.You may

want to time yourself getting up from a chair
to get a better idea. Let’s say the action should
take three-quarters of a second (0.75 sec).

At a 30 frame per second rate, you can

calculate the number of frames for the action:
0.75 • 30 = 22.5 A motion starts with large actions.

Dropping the decimal, you see it should take Once the larger motions are set up, you can
22 frames to complete the action. start adding in the smaller, more subtle,
motions. Continuing the baseball swing
With the first keyframe (sitting in the chair) at
example, start by adding in the hip swings, the
frame #1 of the Poser animation, you should
shoulder tilt and so on. It is these smaller
place the second keyframe (standing in front
motions that make the entire action look
of the chair) at frame #21.

Set these keyframes, then work in, adding

more keyframes to improve the motion.

A n i m a t i o n Te c h n i q u e s
realistic. Poser’s Animation palette is ideal for walking motion would normally take a great
adding these little motions. In the palette, you deal of precision posing. However, with the
can add keyframes in between the frames for Walk Designer, it is just a matter of setting up
the start and end of the swing. a few parameters and letting Poser do the rest.

Creating a walking figure is a two step process:

first determine the walking path through the
studio, then determine how the figure walks.

Creating a Walk Path

Before you design how the figure walks, you
must determine where it walks. This is what
the Walk Path is used for. The path is a line or
curve you draw in the Document window to
set the figure’s course as it moves about the
studio. When you apply the walk, the figure
starts walking a the start of the path and stops
at the end of the path.
The more you examine a motion, the more you see
the smaller, or secondary motions, that make up the
action.

Working this way, you an create almost any

kind of action. When you start, first examine
the big movements, then fill in the smaller, or
secondary motions, in between the big
movements.

Making Your Figure

Walk
One of the most complicated human motions
A Walk Path in the studio.
to simulate is the simple act of walking. What
appears on the surface to be a rather To draw a walk path:
straightforward matter—just put one foot in
front of the other—is actually an incredibly 1 Choose Figure menu> Create Walk
complex interaction between a variety of Path. A path appears in the studio.
muscles in the legs and torso. Realistic

Poser 4
2 Click one of the Editing Tools and adjust The designer provides a real-time preview of
the position or shape of the path. the walk. As you change the parameters, the
walking figure in the preview also changes.
Click on a point to reshape the path, or
Load in a prototype style that matches the
click on the ring that surrounds the entire
figure-type you’re animating and see an even
path to reposition it.
more realistic preview.

Designing a Walk Changes you make to the

Walks are designed in the Walk Designer. As its

Tip foreground, background, and

name suggests, the designer lets you create shadow colors in your Poser
realistic walking motions which you can apply Workspace are reflected in the
any human figure. The designer has two real-time preview in the Walk
sections: the upper set of controls let you Designer.
create the larger motions of a walk, the lower
set of controls let you set up the secondary To design a walk:
motions of a walk.
1 Choose Window menu> Walk
Designer. The Walk Designer dialog
appears.
2 Click Figure Type to select a preview style
that matches the figure-type for which
you are designing a walk.
In the Poser: Runtime: Libraries:
Characters: People folder, select the
prototype style you want to preview.

Using a Figure Type is not

Use the Walk Designer to define the characteristics Note required, but be sure to select a
of the walk. Figure Type if you need to collect
walk data for articulated body
parts present in your Poser figure,
like articulated feet or hands.
Poser 3 Low Res Figure Types
work well for this purpose.

A n i m a t i o n Te c h n i q u e s
 8 Set walk options and click OK. Refer to
“Applying a Walk” on page 236 for more
on walk options.
Click Done to exit the dialog without
applying the walk.

Editing a Walk
A Walk Path is a spline curve that always lies
on the ground (the z-component is always
zero).You can edit the shape of the curve by
Using a Figure Type that matches your Poser figure- adding, deleting, and moving its control
type assures collection of walk data for articulated points.
body parts present in your Poser figure.

3 Click Walk to start the real-time preview The default walk path is a
of the walk. Note spline curve with four control
points. You can create a
Using a preview Figure Type straight line by deleting the
Note slows the real-time preview. middle two control points.

4 Drag the Blend Styles sliders to set the To add a control point:
large motions of your walk.
5 Drag right to increase the intensity of an • Click a point on the curve (not on a
action, or left to decrease the action. control point).
Try several settings in conjunction.You To move a control point:
may have to combine more than one
attribute to get the desired walk type. • Click a control point, then drag.
6 Adjust the positions of the Tweaks sliders
to set the smaller, or secondary, motions To delete a control point:
of the walk.
• Alt/Option click a control point.
You can click Defaults to reset the sliders
to their default positions.
7 Click Apply to apply the walk to a Walk
Saving a Walk
Path. A walk path is a special kind of prop.You can
The Walk Apply Dialog appears. save the path in the prop library to reuse later.
You can use editing tools, like scale or rotate
to transform the walk path, as you would
other types of props.

Poser 4
To save a walk: 2 Set your walk characteristics as described
in the previous section and click Apply.
1 Set up your walk by adjusting the sliders. The Walk Apply Dialog appears.
2 Click Save.
3 Choose a location and filename for your
walk and click Save.
4 Click Done to exit the dialog, or click
Apply to apply the walk to a Walk Path.

Loading a Walk
To load a walk:

1 Click Load. The Open dialog appears.

2 Locate the walk you want to load and
click OK.
The WalkApplyDialog.
Applying a Walk
Start Frame and End Frame
There are several options you can set when
applying the walk to a Walk Path.The When you apply a walk, you can set the frame
WalkApplyDialog provides options for setting where it begins and the frame where it ends.
where the walk begins, how the walk effects The more frames you assign for the walk, the
the animation, and the behavior of the figure more natural the motion is.
as it walks.
Figure and Path
To display the WalkApplyDialog:
If you have more than one figure or path in
1 Choose Window menu> Walk the studio, you can use these popup menus to
Designer. The Walk Designer dialog choose a specific Figure to use for the walk
appears. and a specific Path to follow.

Walk In Place
This option makes the figure walk in a single
spot. When this option is enabled, the figure
does not walk along the path.

A n i m a t i o n Te c h n i q u e s
Cycle Repeat
This field indicates how many times you want
a walk to repeat along the path.

Always Complete Last Step

An example of the Transition options used to create
This option forces the walk animation to smooth motion.
complete within the allotted time. If you find
that the walk stops in mid-stride at the end of Align Head
your animation, enable the option. This forces
the walk animation to end at the same time as The Align Head options let you control how
your animation. the figure’s head acts as it moves along the
Walk Path.
Transition from/to Path Start One Step Ahead keeps the head aligned
In/End In with the body. As the figure changes direction,
so does the head. This options produces the
These two options can be used to create most changes in head position.
smooth motion from your pose into and out
of the walk. When these options are enabled, End of Path keeps the head aligned to the
Poser interpolates between the pose of the end point of the path. The head remains
figure before the walk, and between the last pointed at the end of the path regardless of the
position of the walk and the final pose direction of the body.
creating smooth transitions.
Next Sharp Turn aligns the head to the
The frames fields let you determine how turns in the path. The head only changes
many frames Poser uses to accomplish the positions when there’s a curve in the path.
transition.

For example, you can use this option to Animating Cameras

quickly set up a runner animation.You can
create the crouched starting position of the When the camera is animated, the view of
runner, and a finish line pose, then enable the your scene changes over the course of the
Transition options. When you apply the run animation. The moving viewpoint adds
you designed, the figure moves smoothly from interest to the animation. Watch a movie and
the crouch, into the run, and then into the pay attention to how much the camera moves.
finish line pose. You may be surprised.

Poser 4
The camera can be animated just like any
other object in the studio, and since it is in 3D
space, the camera can slowly rotate around the
figures, zoom in for a close-up or sweep high
for a birds-eye-view. The cameras are
animated by storing their properties (such as
position) as part of a keyframe.This means you
can create camera keyframes exactly the same
way you create posing keyframes.

The camera’s motion depends on which

camera you use to render your animation.The
Main Camera rotates around the center of the
studio. The Dolly Camera rotates on its own
center as if it were on a tripod. This difference
allows the Dolly Camera to move through the
scene in ways that are not possible with the
Main Camera. If you want to emulate a
motion picture camera, use the Dolly Camera.
Animating the Main Camera—it orbits the studio.

The Face and Hand Cameras rotate around

the face and hand of the figure, so animating
these cameras gives you moving views of the
figure’s body parts.

You can only make a movie from one camera.

You can’t switch cameras in an animation or
animate between different cameras. If this is
what you want, you should make separate
clips, then edit them together in a movie
editing application.

Animating the Dolly Camera allows you to move the

camera to the center of the studio.

A n i m a t i o n Te c h n i q u e s
Turning Camera Animated lighting can produce exciting
effects.You can show a figure caught in the
Animation On or Off headlights of a passing car or a figure
illuminated by lights in a storm.
By default, every camera movement can be
recorded as a keyframe. But there may be Lights are animated by storing the position
times when you only want the figure to be and color and of the Light Controls in a
animated, not the camera. In this case you can keyframe. This way you can animate a light
turn camera animation off.When the camera’s exactly as you would a camera or body part.
animation if disabled, you can move it freely
during your animation without changing the For lights, the default animation interpolation
view of the studio. is Spline. When animating changing light
colors, use Linear or Break Spline
Animation can be turned on or off for each interpolation.The Spline type of interpolation
individual camera.The key-shaped icon in the can be more difficult to control. Keep in mind
Camera controls indicates whether camera interpolation applies to both light color and
animation is on or off. When the icon is position, they cannot be interpolated
white, animation is on. When it is red, independently.
animation is off.

The Animation indicator.

If you want to record changes in camera

position while camera animation is off, you’ll
have to manually add a new frame. Refer to
“Adding and Deleting Keyframes” on
page 213 for more on adding frames.

Animating Lights Animating lights. As light position change, shadows

follow.
Like cameras, light properties can also be
recorded into a keyframe. During the course
of an animation, a light can change color and
position. As the lights move, the shadows they
cast move with them.

Poser 4
Adding Sound For information on accessing the Animation
palette, refer to “Editing Animations” on
Poser lets you import sound clips that can play page 213.
as a soundtrack for your animation. When you
import a sound, it is added to the beginning of
the animation and plays every time you play
the movie.

You can control the sound’s start and end

point in the Animation palette.
Sound in the Animation palette.
To import a sound:
To clip a sound file:
1 Choose File menu> Import> Sound.
An Open dialog appears.
• Drag the end of the Sound Range bar to
the left.
2 Locate the sound file you want to add and
click Open.
Syncing Sound and
The sound file is attached to the
animation at the first frame. The sound Motion
plays whenever the animation is played.
The Graph palette displays a graphic
representation of the sound file, called a
Editing Sound waveform. This lets you see where the changes
in sound occur. Using this information you
When you import a sound, its duration can then position keyframes to happen at the
appears in the Sound Range bar at the bottom same time spikes in the sound file occur.
of the Animation palette.You can clip the
sound file by shortening the length of this For information on accessing the Graph
range bar.You can use the bar to control when palette, refer to “Editing Keyframe
the sound begins. However, if the Sound Interpolation” on page 225.
Range starts at any frame other than Frame 1,
the beginning of the sound is clipped.

Sound in the Graph palette.

A n i m a t i o n Te c h n i q u e s
You can simulate speech using by matching Typically, you’ll want to create relatively short
the peaks in the sound file with the changes in animation clips in Poser.You can then open
mouth position. these clips in another program for post-
production work, like retouching or adding
other animated foreground elements.
Motion
Keyframes
After you’ve prepared a series of clips, you can
assemble them in a movie-editing program. At
this point, you can also incorporate the
soundtrack.

In addition, you can render your animation

Syncing sound and motion. with an alpha channel. This lets you overlay
your Poser animation in a video composition
To display a waveform in the Graph application. Refer to “Rendering an
palette: Animation” on page 264 for more on
rendering.
1 Display the Graph palette, by click the
Show Graph Display button in the
Animation palette.
Motion Capture and
2 Click the Toggle Sound Display button.
Animations
The waveform appears in the palette.
Poser can read stored motion capture files,
known BVH files. These files let you apply
stored human motion to your 3D models.
The Toggle Sound Display button. BVH files enable you to create incredibly
realistic motion without setting up a large
number of keyframes.
Using Poser with BVH files are created using motion-capture
Other Motion hardware. Reflectors are attached to a figure’s
Graphics Programs joints. As the figure moves, the position and
rotation is captured in 3D space at different
Poser does a great job of animating the human points in time. Each point of time is then
figure. However, there are animation keyframed together to create a smooth
techniques and movie-making tasks that you animation. Since this process creates literally
can accomplish in other programs. thousands of keyframes, no interpolation is
needed to create smooth motion.

Poser 4
Importing and Exporting Editing Keyframes
Motion Capture Files
The BVH keyframes are applied to the current
figure when imported.You can edit BVH
BVH files can be imported and exported like
keyframes as you would any other animation.
any other file type. Sample BVH files are
stored in the Coolstuffinhere!:motion
capture folder on the Poser 4 CD-ROM.

To import a BVH file:

1 Choose File menu> Import> BVH

motion.
The Import dialog appears. BVH file in the Animation palette.
2 Locate the desired file and choose Open.

To export a BVH file:

1 Choose File menu> Export> BVH

motion
This may take several minutes, depending
upon the complexity of the file.

Setting the Align Axis

You can set whether a figure’s arms are aligned
on the X or Z axis during the import process.
The align axis is determined at the time of
recording. It is important to choose the right
axis or your figures will look incorrect.

To determine the correct axis for the BVH

files on the Poser 4 CD-ROM, read the
Biovision README or the House of Moves
README. If you’re using other BVH files,
you need to contact the developer of the
motion capture data with which you are
working.

A n i m a t i o n Te c h n i q u e s
11
Surface Materials

How Surface Materials

Work
A surface material defines the surface properties of
an object in the studio. A material can turn a
human figure into a statue or a glass sculpture.
Surface materials provide fur for animal models or
scales for the reptile models.

Poser provides several features for customizing the

surface of the figure, props, and ground plane.
These features include Bump maps, Texture maps,
Transparency maps, Reflection maps, and surface
material color.

The Bump map determines the shape of bumps or

dents on the object’s surface. It can create the
effect of cracks in rock or raised patterns. The
Texture map determines the patterns of colors on
the surface. The Transparency map determines an
object’s translucence. The Reflection map lets you
make a texture appear to be mirrored in an
object. The surface color determines the base Surface Material maps do not
color of the object and the color of its
highlights.
Note appear until a scene is
rendered. For details on
rendering, refer to
Poser also provides several map templates that
let you create your own custom surface “Rendering” on page 259.
material maps.

Surface maps can be used in conjunction to Applying Surface

create a surface. For example, you can use the
Texture map to create the pattern of rock
Materials
veins for marble, and a Bump map to create Surface material maps are applied with the
the cracks in the rock. By combining different Surface Material dialog.You can load surface
surface material maps you can recreate almost materials for any object in the studio, as well as
any type of surface. set object, highlight, ambient and reflective
colors.

The Surface Material dialog.

You can select and set surface materials for

objects—figures and props—in the scene, or
Transparency map Reflection map individual body parts on a figure.

To display the Surface Material dialog:

• Choose Render menu> Materials.

or
Texture map Bump map Click the Surface Material button in the
A Bump and Texture map combined. Render Options dialog.

Surface Mater ials

To choose an object to edit: To apply a map:

• Choose the desired object from the 1 Choose Render menu> Materials.The
Object popup. The changes you make in Surface Materials dialog appears.
the surface properties are applied to the
2 Choose the figure or object you want to
selected object.
edit from the Object popup. The changes
you make in surface properties are applied
To turn off a surface material:
only to the selected figure or object.
• Choose No Bump and No Texture from 3 Do one of the following:
the surface material Map popups.
• To apply a map only to a selected
body part, choose the part from the
Applying Materials to Material popup.
Body Parts • To apply the map to an entire figure,
enable the Texture Changes apply to
Surface material maps can affect either a entire figure checkbox.
whole figure or to just a part of it. Some 4 Select a texture, bump, transparency, or
figures, like animals and Poser’s People reflection map from popup.
models, have maps for each individual figure
If the map you want to apply isn’t listed
part. Other figures, like the Poser 2 models,
in the popup, click Load. Poser default
have one map for the entire figure. The
maps are located in the
Surface Material dialog lets you pick the exact
Poser:Runtime:Textures folder.
figure and part to use for a specific map, so
you can use one map for the head and a Locate the desired map and click OK.
different map for the arm. The surface material map is applied, and
appears when the scene is rendered or
previewed in Texture Shaded style.

An object with different materials on the head and

shirt.

The parts listed in the Material popup depend

on the currently selected figure.

Poser 4
Applying Materials to • To deselect individual polygons, hold
down the Control key while clicking
Specific Regions or dragging.
You can apply surface materials to specified • To select polygons that are currently
regions of a body part or prop. For example, out of view, either use Wireframe
you could apply a scar to a face, or hair on a display style or use the camera
chest. trackball to change the view of your
figure.
4 In the Group Edit palette, click the
Assign Material button.
For complete details on the Group Edit
palette, refer to “Using the Group Edit
Palette” on page 158.
5 In the dialog that appears, enter a name
for your material group, then click OK.
6 Select Render menu> Materials.
7 In the Surface Material dialog that
appears, choose the figure or object for
A surface material applied to a group. which you set the material from the
Object popup.
To do this, use the grouping tool to select the
polygons of the element or prop.You can 8 Choose your material group from the
specify a created group, and that group appears Material popup.
in the Material popup of the Surface Material
9 Select a texture, bump, transparency, or
dialog.
reflection map from the appropriate
popup.
To use the grouping tool:
If the map you want to apply isn’t listed in
1 Click the Grouping tool in the Editing the popup, click Load. Poser default maps
menu. are located in the
Poser:Runtime:Textures folder.
All figures and objects in the studio
become gray, and the Group Edit palette Locate the desired map and click OK.
appears. The surface material map is applied, and
2 Click to select the body part you want to appears when the scene is rendered.
group.
3 Click individual polygons, or drag the
cursor over a group of polygons to select
them.

Surface Mater ials

Applying Maps to Props Bump maps appear when a scene is rendered
or previewed in Texture Shaded style.
Poser uses Implicit (UV) mapping to apply a
map image to the 3D model. The props you To load the default Bump map:
import must have UV coordinate information
for Poser to apply maps to them. 1 Choose Render menu> Materials.The
Surface Materials dialog appears.
If models don’t have UV information, 2 Choose the default map for this figure
mapping is not possible. DXF models and type from the Bump Map popup. For
models created in certain programs do not example, if you’re using the Nude Man,
carry UV data. Try using another format, such choose the Nude Man texture.You may
as Wavefront OBJ, Detailer text, or 3DMF. need to load a map. Do do this, click
Load, then select a directory and file in
the dialog that appears. Poser default
Applying Bump Maps maps are located in the
Poser:Runtime:Textures folder.
A Bump map is a special image, wrapped
around the object, that works with the studio 3 Adjust the position of the Bump Strength
lighting to give the appearance of 3D texture slider, to set the level of surface relief.The
on an otherwise smooth object. For example, range is from -100% to 100%. Negative
you can import a crackly surface to give the values invert the bump—what was raised
figure the look of a cracked statue. Or, by becomes depressed.
importing different Bump maps onto different
figure parts, you can create effects like a rough To clear the Bump map:
shirt on smooth skin.
1 Choose Render menu> Materials.The
Surface Materials dialog appears.
2 Choose No Bump from the Bump Map
popup.
Not all figures and props have Bump
maps, but you can create them for any
figure or prop.

Creating a Custom
A figure with different Bump maps applied to the Bump Map
hand and shirt.
A Bump map is a grayscale image that Poser
Bump maps can also enhance the appearance uses to determine which areas of a surface are
of props. For example, making smooth bars indents and which are bumps.You can create a
into stone columns or a torus into a tire tube. Bump map from any grayscale image.

Poser 4
Using a grayscale image, you can create a object. Hard edges create blocky forms
surface “terrain.” The darker you paint, the on a rendered object.
more depression you create on the surface of
the object. Use 50% gray for medium To load a custom Bump map:
depressions and solid black for deep
indentations. Save your bump map document 1 Choose Render menu> Materials.The
as a PICT (Macintosh), TIF, or BMP Surface Materials dialog appears.
(Windows) file. Poser automatically converts 2 Click the Load button in the Bump Map
the image into a Bump map, where you can section. An Open dialog appears.
save it under a new name.

By customizing the Bump map, you can add

wrinkles, buckles, or blemishes.You can use
any type of image. For example, you could
create a Bump map with scales to mutate a
figure into a reptile.

When creating a custom Bump map, consider

these suggestions: Loading a custom Bump map.

• Use an 8-bit, gray scale image. The

brightness of a map’s pixels is the only If you select an image file,
factor used, and an 8-bit image requires Note Poser asks if you want to
less memory. convert it to a Bump map.
• Bump maps do not require a 1:1 ratio to Conversion takes a little while;
the final resolution. Increasing the the status bar on the
dimensions does not necessarily improve Document window displays
definition in the final rendering. It does,
the progress.
however, require more memory to load,
making Bump maps difficult to load on 3 Select a Bump map (.bum) or image file.
some systems.
• If you do increase the image dimensions, Using Templates
be sure to maintain the proportions.
Keeping this aspect ratio is crucial for If you did a complete install, templates are
Poser to wrap the image onto an object. provided in Poser:Runtime:Textures. If
• As you paint a Bump map, use an airbrush you didn’t, look for the templates on the
tool or another brush that creates smooth Poser 4 Application CD-ROM in the Textures
edges. The smoother the transitions in a folder.
custom map, the smoother the
appearance of your rendered figure or

Surface Mater ials

By editing the maps in this template you can 2 Choose the figure or object you want to
edit the different parts of the figure. For edit from the Object popup.
example, you can use an image-editing
application like Painter to paint a grayscale 3 Do one of the following:
pattern of the map of the face. When you • To apply a map to a specific part,
apply the template, the edited template choose a part from the Material
produces bumps on the face. popup.

Sweater Front/ Left /Right • To apply the map to the entire figure
Back Hands or object, enable the Texture
Changes apply to entire figure
Face checkbox.
Belt Front/
Back
4 Click the Load button in the Bump Map
and
Buckle section. An Open File dialog appears.
Lips
Pants and
5 Locate the edited template file and click
Front/ Teeth Open. The bump map is applied to the
Back figure, object or part you selected, and
will appear when the scene is rendered.

Shoes Feet Arms Eyes and

Eyebrows Applying Texture
A sample Texture template.
Maps
Texture mapping is a 3D technique that wraps
an image around an object to paint its surface.
A real-world parallel to using a Texture map
would be to rip a picture out of a magazine
and physically wrap it around an object, like a
baseball or drinking glass.

Poser’s default Texture maps provide shading

to enhance the appearance of the figures.You
can create a custom Texture map to change
the fabric of the clothes or to color any other
The Bump map template applied to a figure. feature on your figure.
To apply an edited Bump map
template:

1 Choose Render menu> Materials.The

Surface Materials dialog appears.

Poser 4
Like Bump maps, different Texture maps can To create a custom Texture map, you need to
be applied to different body parts. Using this create an image file. When you design your
technique, you can have a unique pattern on custom Texture map, you are “painting” the
the shirt of a figure and a different texture for surface of your Poser figure. Make a texture or
the skin tones. pattern, or paint a skintight super-suit for a
comic book hero.

When creating Texture maps, keep the

following tips in mind:

• Usually, 8-bit color is all you need for a

Texture map. Images with a color depth
of 16 or 24 bits require more memory,
which can make them difficult to load on
some systems.
The Texture map image for the Poser 2 male casual • You probably don’t need to increase the
figure. dimensions of the template image. The
template size is good for most uses. If you
To load the default Texture map:
do increase the dimensions, be sure to
maintain the proportions. Keeping this
1 Choose Render menu> Materials.The
aspect ratio helps Poser wrap the image
Surface Materials dialog appears.
onto the figure.
2 Choose a Texture map for this figure type
from the Texture Map popup. To load a custom Texture map:

To clear the Texture map: 1 Choose Render menu> Materials.The

Surface Materials dialog appears.
1 Choose Render menu> Materials.The
2 In the Texture Map section, click the
Surface Materials dialog appears.
Load button. An Open dialog appears.
2 Choose No Texture from the Texture
3 Select your custom Texture map and click
Map popup.
Open.

Creating a Custom 4 Use the Strength slider in the Texture

map section to adjust the intensity of the
Texture Map Texture map.You can lighten the Texture
map by setting the slider lower.
You have a few options for creating custom 5 Use the Apply Texture to Highlight
Texture maps.You can use an image or you
checkbox to control whether highlights
can paint your own.
are pure (disabled) or combined with the
texture (enabled).When disabled, you can

Surface Mater ials

 get shiny spots on a black area of the To load an edited Texture map
texture. template:

Using Templates 1 Choose Render menu> Materials.The

Surface Materials dialog appears.
If you did a complete install, templates are 2 Choose the figure you want to edit from
provided in Poser:Runtime:Textures. If the Object popup.
you didn’t, the templates can be found on the
Poser 4 Application CD-ROM. 3 Do one of the following:
• To apply a map to a specific part,
Bump, Texture, Reflection, and Transparency choose a part from the Material
maps are found in the Textures folder. The popup.
templates let you precisely align the image you
paint with the figure. • To apply the map to the entire figure,
enable the Texture Changes apply to
The template provides Texture maps for every entire figure checkbox.
available part of a figure. They contain maps 4 Click the Load button in the Texture
for everything from teeth to the shoe laces. By Map section. An Open dialog appears.
painting on the template, you can edit the
color or pattern of a body part. 5 Locate the edited template file and click
Open. The texture is applied to the
figure.
6 If you edited other body parts, choose the
body part you want to change from the
Materials popup.
7 Click the Texture Map Load button again
and load the edited template file.
8 Continue selecting body parts and
loading the template file, until all the
body parts on your figure have the
desired Texture map. The textures will
The Texture map template applied to a figure. appear when you render the scene.

When you have modified the Texture map,

save it as a PICT (Macintosh), TIF (Windows)
or BMP (Windows) file. Put it in the Poser
Textures folder for easy loading.

Poser 4
Applying 2 Choose a Transparency map for this figure
type from the Transparency Map popup.
Transparency Maps
To clear the Transparency map:
Transparency allows light pass through a figure
or object, so you can see through it. The 1 Choose Render menu> Materials.The
higher a transparency value, the more of the Surface Materials dialog appears.
surrounding environment is visible through
the object’s surface. If no light is reflected on 2 Choose No Transparency from the
an object, a 100% Transparency Min and Max Transparency Map popup.
makes it invisible.
Creating a Custom
Use transparency maps for interesting effects
in your creations. For example, you can create Transparency Map
ghost-like characters in a scene, with
transparent bodies mapped with patterns or You have a few options for creating custom
textures. Transparency maps.You can use an image or
you can paint your own. When creating
When a transparency map is applied to an Transparency maps, use an 8-bit, gray scale
object, its texture interferes with the image; do not use color. The brightness of a
transparency of the object. For example, a map’s pixels is the only factor that matters, and
checkerboard map results in an object that is an 8-bit image requires less memory.
alternately transparent and solid.You can thus
use textures as transparency maps. To load a custom Transparency map:

1 Choose Render menu> Materials.The

Surface Materials dialog appears.
2 Choose the figure you want to edit from
the Object popup.
3 Do one of the following:
• To apply a map to a specific part,
choose a part from the Material
popup.
The Transparency map applied to a sphere. • To apply the map to the entire figure,
enable the Texture Changes apply to
To load a Transparency map: entire figure checkbox.

1 Choose Render menu> Materials.The 4 In the Transparency Map section, click

Surface Materials dialog appears. the Load button. An Open dialog appears.
5 Select your custom Transparency map and
click Open.

Surface Mater ials

Using the Transparency where transparency of the glass “falls off ”. In
Poser, you can vary this falloff behavior. A
Sliders smaller value renders a smaller falloff band,
while a larger value renders a wider band
The Transparency Min, Transparency Max,
and Transparency Falloff sliders work together
to determine how an object’s transparency
behaves.

Transparency Min refers to the edges of the

object facing away from the eye. A high
Three different falloff rates.
Transparency Min value makes the object very
transparent on its edges. If the Transparency Min and Max values are
the same, there is no falloff in the rendering.

Applying Reflection
Maps
Reflection makes a figure or object direct
Transparency Min at Transparency Min at light back at its source, giving it a mirrorlike
a lower value a higher value appearance. A Reflection map is a 2D texture
Lower and higher Transparency Min values. applied to a virtual sphere that surrounds your
studio. The texture is then reflected from the
Transparency Max refers to the part of the studio and onto your object.
object which points at the eye. A high
Transparency Max value makes the object Reflection maps can be applied to different
very transparent in the center facing the eye. objects and body parts. For example, you
could create a space alien and apply a mirror-
For most renderings, you’ll want to use a like reflection map to the head, or the entire
Transparency Max value that is higher than body.
the Transparency Min value.

Transparency Falloff determines the rate at

which the transparency becomes opaque on
the edges of an object. For a real world
example, look at a transparent object such as a
drinking glass. The edges of the glass are less
transparent than the rest of the surface. This is

A Reflection map applied to a figure.

Poser 4
 7 To add a Reflective Color, click its
button. Choose a color from the color
To load a Reflection map: picker dialog, then click OK. The
reflective color appears when you render
1 Choose Render menu> Materials.The the scene.
Surface Materials dialog appears.
2 Choose the figure you want to edit from To clear the Reflection map:
the Object popup.
1 Choose Render menu> Materials.The
3 Do one of the following: Surface Materials dialog appears.
• To apply a map to a specific part, 2 Choose No Reflection from the
choose a part from the Material Reflection Map popup.
popup.
• To apply the map to the entire figure,
enable the Texture Changes apply to
Reflective Color
entire figure checkbox. Reflective Color is a tint that is added only
4 Click the Reflection Map popup to when a reflection map is applied. Use the
choose a Reflection map. Reflective Color control to create dramatic
effects in your renderings.
5 Use the Strength slider in the Reflection
map section to adjust the intensity of the To make a highly reflective object appear
map. The higher the value, the more more vivid, use a variation of the object’s
reflective the surface. At 50%, half the color. If the object’s color is particularly
light that hits the object is reflected. At bright, you may want to use a darker tint of
100%, all light is reflected. the same color. For an unusual tint, use a color
6 Control the intensity of the reflection that is distinctly different from the object’s
with these checkboxes: color.
• The Multiply through lights
checkbox reduces the reflection’s Creating a Custom
intensity based on how the figure is Reflection Map
lit by the lights.This is an easy way to
add subtlety to the lighting. You have a few options for creating custom
• The Multiply through Object Color Reflection maps.You can use an image or you
checkbox reduces the reflection’s can paint your own.
intensity by multiplying its result
through the object’s color. So, for When creating Reflection maps, keep these
example, a red object would get a points in mind:
reddish reflection instead of the raw
color from the reflections map.

Surface Mater ials

• The image in a reflection map is applied • To apply the map to the entire figure,
to a virtual sphere and reversed when it is enable the Texture Changes apply to
reflected on your object. entire figure checkbox.
• For color reflection maps, the hue affects 4 In the Reflection Map section, click the
the tint of the reflection and the Load button. An Open dialog appears.
brightness determines the amount of
reflection. Darker colors result in less 5 Select your custom Reflection map and
reflection; brighter colors result in more click Open.
reflection.

Setting Colors
The color of a figure’s “skin” in a rendering is
determined by the lighting environment and
these surface material factors:

• Object color
• Highlight color
• Ambient color
• Reflective color
• The surface material map

These features apply to both figures and props.

Object Color
A custom Reflection map applied to a prop.
The object color is the surface color of the
To load a custom Reflection map: current figure or prop. If there is no Texture
map, the object color is the only color of the
1 Choose Render menu> Materials.The figure—not considering the effect of colored
Surface Materials dialog appears. lights. In a high quality rendering, when a
2 Choose the figure you want to edit from Texture map is loaded, the object color
the Object popup. influences the appearance of the Texture map
by coloring it. If you don’t want the Texture
3 Do one of the following: map affected by the object color, set the
• To apply a map to a specific part, object color to white (the default color is tan).
choose a part from the Material
popup.

Poser 4
To set the object color: Highlight Color
1 Choose Render menu> Materials.The
Highlights are bright areas appearing where
Surface Materials dialog appears. the light is reflected directly toward the eye—
2 Click the Object Color button.The color or camera. As Poser renders the figure, it
picker appears. determines where highlights should occur and
adds the highlight color to the base color at
3 Choose a surface color for the object and
these points.
click OK.
In daylight and under most room lights,
You can also set the object color using the highlights are white. To complement the
Color tool. Refer to “Using the Color Tool” lighting environment you’ve set, select a color
on page 139 for more information on the similar to your main light.
Color tool.
To select the highlight color:
Texture Maps vs. Object
Color 1 Choose Render menu> Materials.The
Surface Materials dialog appears.
When a Texture map is loaded, the object 2 Click the Highlight Color button. The
color is used as a multiplier on the Texture color picker appears.
map. What does this mean? The complete
answer is rather technical. The result, however, 3 When you’ve chosen a color, click OK.
is quite simple.The object color influences the 4 To control the size of the highlights,
Texture map in a rendering as though some of move the Highlight Size slider. The
its pigment was washed over the Texture map default value is 70%. Higher settings
image. How much of the pigment depends on increase the size of the highlight, creating
the brightness of the object color—the lighter a dull effect. At 100%, the highlights
the object color, the less pigment is used. overwhelm the figure. At 20%, the
Therefore, when the object color is white, it highlights are small, creating a shiny
has no effect on the Texture map whatsoever. effect. At zero, with the highlight color
When the object color is near black, it set to black, no highlights appear
obliterates the Texture map; this effect is only
apparent in renderings.

Setting highlight size.

Surface Mater ials

Ambient Color
In Poser, you can set the Ambient color for
each figure or object individually. An object’s
Ambient color is the color it emits equally in
all directions. It simulates an ambient (overall
room) lighting contribution. Unlike the other
color properties, it acts without taking into
account any light positions or colors.

The Ambient color mixes with the other

lighting properties. Too much ambience
flattens the detail of an object, since it looks
the same no matter how the surface faces
lights. If you want to turn ambient light down
or off, set the Ambient color to gray or black.
If you want more intense ambient light, set
the Ambient color to white or a bright color.

To select the ambient color:

1 Choose Render menu> Materials.The

Surface Materials dialog appears.
2 Click the Ambient Color button. The
color picker dialog appears.
3 When you’ve chosen a color, click OK.

Poser 4
Surface Mater ials
12
Rendering

How Rendering Works

Rendering is the process of converting the 3D
view of your figure into a 2D image. Once you
render an image, you can use it in other image-
editing applications.
During the course of a Poser project, you’ll Finally, when you’ve made all the changes you
want to render a number of times to check the want, you’ll generate a high-quality rendering
progress of your pose, body shape, camera, that you will save—either by exporting the
surface material, or lighting changes. Document window as an image file or by
rendering to a new window. Rendering an
animation takes longer, depending on the
number of frames it has.

Rendering an animation is similar to

rendering an image; however, instead of
creating one image, you create several—a
separate image for each frame. Render an
animation with Animation menu> Make
Movie. This procedure is covered in
“Rendering an Animation” on page 264.

Renderings do not include guides, with the

exception of the Ground Plane. If you don’t
want to show the Ground Plane, hide it before
A rendering in progress. rendering.
Renderings show more detail, so you see
things in a rendering that aren’t otherwise
apparent. Based on these results, you’ll go
Setting Up a Render
back to posing, body shaping, etc., to adjust The Render Options dialog lets you control
anything that needs improvement.You’ll the size and attributes of the final output
probably go back and forth—making changes, rendering. Render Options include rendered
then rendering to check your changes— image size, background color, antialiasing,
several times. shadows, and whether to apply surface
materials, if any have been loaded.
A render mode called Antialias Preview Render
lets you quickly generate an antialiased image
that you can use to check lighting or surface
materials. Refer to “Antialias Rendering” on
page 263 for more on generating previews.

These “check” renderings are typically

displayed in the Document window.You
probably won’t save them. They’re just a by-
product of the work process.

Rendering
To display the Render Options dialog: replaces the image in the Document
window.
• Choose Render menu> Render
Options. The Render Options dialog Setting Image Size
appears.
When you render to a new window, you can
set the window to any size.

If you’ve imported a background image, Poser

automatically sets the new window to the
dimensions of the background. This is handy
when you’re planning to composite the figure
with the background.
The Render Options dialog.
To render at a particular size:
Setting Render
1 Choose Render menu> Render
Destination Options. The Render Options dialog
appears.
By default, renderings appear in the
Document window. Poser clears the image
2 Enable the New Window radio button
and enter the size you want.
from the window as soon as you make an
adjustment. This saves on memory and keeps You can specify the render size in either
your Desktop from getting cluttered with pixels or in inches. Use the popup to
windows. select the units you want.

If you want renderings to go to a separate

3 Enter either the height or the width for
the rendering; Poser automatically adjusts
window, enable the New Window option.
the other value to maintain the aspect
Future renderings of your scene appear in
ratio of the window.
separate windows.

To set the render destination: Renderings always use the

Note aspect ratio of the Document
1 Choose Render menu> Render
window. If you want a different
Options. The Render Options dialog
aspect ratio, resize the
appears.
Document window.
2 Enable the New Window radio button if
you want to open a new window for a
rendering. Otherwise, enable the Main
Window button and the rendering

Poser 4
Choosing a Rendering the Background” on page 43 or
“Importing and Exporting” on page 47.
Background
By default, Poser renders to the Document
window over the background color or
imported background picture. When you
render to a new window, you can specify
which background is rendered with the
window.

To choose a rendering background:

1 Choose Render menu> Render

Options. The Render Options dialog You can render over a background image to add
interest.
appears.
2 In the Render Over section, enable one
Setting Surface Detail
of the three radio buttons. The available
options are:
The Surface detail section of the Render
Background color: The figure is Options dialog provides options for rendering
rendered over the current background features. Disabling these features allows the
color.You can change the background rendering engine to work more quickly. In
using the color icons on the right side of the final rendering, however, you’ll want all
the Document window or using the these features turned on.
Color tool.
Black: The pixels on the edge of the To set surface detail:
figure are antialiased darker with a black
background. This is the best option when 1 Choose Render menu> Render
you are planning to composite the figure Options. The Render Options dialog
with an image in another application. appears.
Background Picture: Poser composites 2 In the Surface detail section, click one or
the rendering of the scene with the more of the options provided.The
imported background image. This option available options are:
is available only when you’ve imported a Antialias blends the pixels along the edge
background image. of one area with the pixels along the edge
For more information on background
pictures, refer to “Pasting Figures onto

Rendering
 of the adjacent area. This creates a softer, Using the Render
smoother edge.
Command
The Render command uses all the current
settings in the Render Options and Surface
Material dialogs.

Aliased Antialiased To render a scene:

Choose Antialiased to create a smooth, high quality
rendering.
• Choose Render menu> Render. A
Use Bump Maps and Use Texture status dialog appears letting you know the
Maps control whether these surface status of your render. When completed, a
material features—if currently loaded— new rendered image appears in either the
are used in the rendering. Transparency Document window or a separate
and Reflection maps are considered window.
texture maps.
Cast Shadows controls whether Poser Antialias Rendering
renders the light shadows. Shadows
increase render time, so you may want to The Antialias Document Render command
render without them if you’re in a hurry. temporarily overrides the features set in the
Render Options and Surface Materials
dialogs, and creates an antialiased image from
Rendering an Image the Document window. The image is created
using the current display style and lighting.
You can render an image using either the When you click the Document window, the
Render command or one of the preset antialiased image is replaced by the current
rendering options. The Render command display style.
uses the options you set in the Render
Options dialog to render your image, and To make an antialiased rendering:
should be used to render a final image. The
preset rendering options temporarily override • Choose Render Menu> Antialias
the Render Options parameters. They Document.
produce lower quality renders you can use to
periodically check your work.

Poser 4
Rendering an
Animation
You can make a movie by rendering a Poser
animation as a QuickTime or AVI movie file.
Poser renders each frame of the animation to a
frame in the output movie.
Set movie options in the Make Movie dialog.
Typically, you’ll make a movie several times to
check its smoothness and continuity. Each 3 Enter a name in the Movie field.
time, you can go back to your animation file If you are saving to numbered files, Poser
and improve the keyframe settings.You can automatically appends 4-digit numbering
trash your test movies after viewing them. to the file name.

Finally, when you’re satisfied with the entire 4 Choose a format for the output movie
animation, you’ll make the movie at its full from the Sequence Type popup.
resolution and render settings. This is the final • For viewing, use QuickTime or AVI.
product that you’ll save and open in a post- These formats are also suitable for
production program. saving a movie for other applications.

The figures in the final movie are masked in • For exporting to a motion graphics
each frame. This makes it easy to composite program, you may want to use
the movie with other images. numbered PICT (Macintosh), BMP
or TIF files (Windows). This type of
output allows you to save animations
Using the Make Movie without any loss of data.
Dialog 5 Choose Full, Half, or Quarter from the
Resolution popup. The smaller the
The Make Movie dialog contains all the resolution, the faster the rendering, so
controls you’ll need to set and render an you may want to use smaller resolutions
animation.To make a movie: for test movies.
Set the dimensions of the full sized frame
1 Make sure the current camera is the one
in the Animation Setup dialog.
for which the animation was created.
6 Choose the current display or render
2 Choose Animation menu> Make
settings from the Quality popup.
Movie. The Make Movie dialog appears.
If you choose Current Render Settings,
verify that they are set as you want them
before making the movie. Some options,
like antialiasing, increase the rendering
time.

Rendering
7 To turn antialiasing on, enable the Compression options dialog. Choose
Antialias checkbox compression options and click OK. This
may take a little while.
8 In the Frame Rate section, select one of
the following options: Poser renders a frame and displays it in
the QuickTime dialog so you can visually
• To use the frame rate set in the check compression quality.
Animation Setup dialog, enable Use
Movie’s frame rate. For more information about QuickTime
and AVI movie compression options,
• To use a new frame rate, enable Use consult your operating system’s User
this frame rate, then enter a number. Guide.
You can use a lower frame rate,
which renders faster, for test movies.
Frame Rate does not apply to numbered Using the Sketch
files.
Designer
9 In the Time Span section, enter the
Start and End time of your rendered Poser’s Sketch Designer renders scenes in a
animation. This sets the range of frames sketch style drawing. A scene is rendered using
that are rendered as the final movie. a series of black and white or colored brush
Poser calculates and displays the number strokes.You can tailor the strokes to your
of frames and duration of your selection. liking.

Usually, you’ll use the entire set of frames.

However, you can select a subset of
frames to check a particular motion.
The Time Span display uses the standard
SMTPE time code format (Hours:
Minutes: Seconds: Frames).
10 Click OK to start the rendering. A Save
dialog appears.
11 Choose a save location. If you’re saving to
numbered files, you may want to create a
special folder for them.
The Sketch Designer.
12 Click Save to proceed.
If you are saving to numbered files, the
rendering begins.
If QuickTime or AVI is the selected
sequence type, Poser displays the
QuickTime Compression or MS Video

Poser 4
Renderings in the Sketch Designer can be The Sketch Designer
saved and reloaded later.You can also export a
sketch as a Painter script to create rendered Window
images using the Painter brush libraries.
Finally, you can create amazing animations To use the Sketch Designer:
which emulate traditional sketching
techniques. • Choose Window menu> Sketch
Designer. The Sketch Designer window
appears.

You can animate sketching techniques with the

Sketch Designer. The Sketch Designer window

You’ll get the best results from the Sketch While a sketch is drawing in the window, you
Designer when you render a scene with can click anywhere on the screen to stop the
considerable detail (such as hair on a figure) rendering.
and dramatic lighting.
You can customize the controls of the Sketch
Designer window to create your own sketch
styles, or you can choose from several styles in
the Preset Styles popup.

The following sections describe the options

that are available for creating a unique Sketch
Designer.

Rendering
Parts of the Scene Hi Brightness determines the band of tone.
A lower setting means lines are drawn only in
You can control the sketch style behavior of the darkest parts of the scene. If the Over
three parts of the scene: Black option is enabled, this control should be
at 1, for best results.
• Click Stroke to edit the sketch style of
any figures and objects in the scene. Stroke Head determines the amount each
stroke tapers at its head.
• Click Background to edit the sketch style
of the background. Stroke Tail determines the amount each
• Click Edge to edit the sketch style of any stroke tapers at its tail.
figures and objects’ edges.
Line Random a higher value randomizes the
Sliders shape of the lines

Color Random a higher value randomizes

You can customize your sketch with the slider the color of the lines
controls. The sliders determine many
characteristics of stroke lines. As you adjust Opacity determines the clarity of lines.
each slider the sketch is redrawn, so you can Lower values create more transparent strokes.
see your results in real time.
Cross Hatch controls the frequency of cross
Density controls the density of lines in the hatching in the strokes.
sketch.
Total Angle determines the amount of angle
Line Length defines the length of strokes. change that the whole stroke can go around
before it stops drawing the stroke. A higher
Min Width defines the width of the edge of value makes an image darker. When you set
each stroke. This control affects the brightness Density at a small value, set Total Angle at a
of the original image. smaller value.
Max Width defines the width of the center Color Cutoff determines the threshold of
of each stroke. This control affects the color change allowed for a stroke. Use this
brightness of the original image. slider in conjunction with Total Angle.
Lo Brightness determines the band of tone. Light 1, 2, 3 determine how much each of
A lower setting means lines are drawn only in the first three studio lights contributes to the
the darkest parts of the scene. If the Over direction of the strokes. A high value results in
Black option is disabled, set this control to zero strokes going in the direction of the light.
for the best results.
BG Direction defines the direction of the
background strokes.

Poser 4
Auto Spacing If Auto Density is enabled, Working with Completed
this slider controls the amount of space
between strokes Sketches
Color Blend controls the amount of color in Once you create a sketch, you can save it to
the document window to be blended into the and delete it from the Preset Styles popup. In
sketch. addition, you can export your sketches to
Painter scripts.
Textured Brushes
To save a sketch:
You can choose between several texture
brushes in the Sketch Designer window. The
1 Choose Create Preset from the Preset
Styles popup.
choices are Sharp, Bristles,Very Soft, Soft, Less
Soft, and Slanted.You’ll find the effects of 2 Enter a name for your sketch. Poser
these brushes is most visible when you set the automatically attaches a .pzs suffix to the
Min Width and Max Width sliders to higher filename.
values.
To delete a sketch:
Sketch Designer Options
• Choose Delete Preset from the Preset
The checkbox options available in the Sketch Styles popup.
Designer window are:
To export a sketch to a Painter script:
Over Black When enabled, the background
is black and strokes are white. When disabled, 1 In the Sketch Designer, render the scene
the background is white, and strokes are black to your liking.
or colored. 2 Choose File menu> Export> Painter
Script.
Auto Density When enabled, the render
reaches an automatic density based on the 3 Choose a save location and name the file.
original image, and the Density slider setting
is ignored. When this is disabled, use the
Density slider.

Colored Strokes When enabled, figures and

objects are rendered in color. When disabled,
no colors appear.

Rendering
Rendering a Sketch
After setting up a sketch, you can render it so
that the sketch appears in your document
window.You’ll find this feature useful if you
want to export a movie in sketch style.

To render a sketch in the Document

window:

• Choose Render menu> Sketch Style

Render.

Poser 4
Rendering
13
Advanced Body
Shaping

Besides the basic shaping tools discussed in

Chapter 5 , “Body Shaping,” you can also
customize the shape of figures using custom
morph targets and the Joint Parameters palettes.
Creating Custom To add a morph target, you create a morph
target geometry that represents the end-point
Morph Targets of the morphing. The morph target geometry
must contain the same number of vertices as
As discussed in “Using Morph Targets” on the original body part, so it’s best to use the
page 152, morph targets are transitional original body part as a starting point.
changes in the geometry of a figure that can
be animated over time. Poser now includes a A Morph Target geometry can be created in
library of morph targets, and you can build any 3D modeling application that saves files in
your own morph targets in Poser as well. Wavefront (OBJ) format. The tutorial later in
this chapter uses Ray Dream Studio 5 to
In this section, you’ll learn how to build create a Morph Target geometry. However,
custom morph targets in other 3D modeling you don’t have to use Ray Dream Studio; any
applications. application where you can edit geometries and
save files in OBJ format will work
A morph target is a custom Parameter that is
added to a body part so you can gradually To add a custom Morph Target:
reshape it. A figure’s geometry can move from
the original shape of the model to the 1 Select the body part to which you want
geometry of the morph target. During the to add a morph target.
course of an animation, the model begins to
change shape until it reaches the morph target Choose Object menu> Properties. The
geometry. Properties dialog appears.

A Morph Target used to alter figure geometry.

Setting up Morph Element Properties dialog.

Targets 2 Click Add Morph Target.

Morph targets are assigned to individual body

parts. When you set up a Morph Target, a new
Parameters Dial is added to the body part.The
Parameter Dial lets you control the amount of
morphing applied to the body part.

A dva n c e d B o dy S h a p i n g
 The Add Target dialog appears.
Morph Target Tutorial
This tutorial uses Ray Dream Studio 5 to
create a Morph Target for the head of a figure.
You’ll make the nose grow like Pinocchio’s.

Important: For this tutorial to

Note work correctly, you must have
installed the new OBJ import/
Add Shape Interpolation Target dialog. export plug-in and mesh form
modeler for Ray Dream Studio
3 Click Locate to find the geometry file
5.0.2, which is included with
you want to use as a morph target. The
Poser 4.
file must meet all the following
requirements:
• File must be in OBJ format.
Lesson 1: Setting Up
• File must contain the same number To load a figure geometry into Ray
of vertices as the original body part. Dream Studio 5:
• File must contain only the body part
you are morphing. Do not use a file 1 Launch Ray Dream Studio 5.
of the entire figure.
2 Choose File menu> Open.
The filename appears in the Geometry
field. 3 In the Open dialog that appears, click the
Format popup and choose Wavefront.
4 Enter a name. The name appears on the
morph target Parameter Dial for the 4 Select the folder Poser 4: Runtime:
selected body part. Geometries: newMaleCasHi.

5 Click OK to return to the Element 5 Select the file newMaleCasHi.obj and

Properties dialog. Click OK again to click Open.
return to the main window. 6 Use the default settings for the OBJ
A new Parameter Dial is added for the import dialog and click OK.
selected body part. Use this dial to morph
the body part from its original shape to
the morph target. A value of 0.0 for this
dial is the original object. A value of 1.0
changes the body part to the morph
target.

Poser 4
 The figure loads into the perspective view 3 Click the Selection tool.
and into the timeline with the name
lFoot.

4 Click away from the object to make sure

there are no vertices selected.
5 Double-click in the figure’s head.
The entire head is selected. This may take
a while.

The newMaleCasHi geometry, as shown in the

Perspective window.

To edit the figure’s geometry:

1 Select the figure newMaleCasHi in the

Timeline.
2 Click to select the figure in the
perspective window, then choose Edit The newMaleCasHi figure with head selected.
menu> Jump In.
6 With the head selected, choose
Selection menu> Invert to select
everything but the head.

The newMaleCasHi geometry, shown in the mesh

form modeler.

A dva n c e d B o dy S h a p i n g
7 Press the delete key. 10 To switch to the left view, choose View
menu> Preset Position> Left. This
makes the model easier to deform.

The body is deleted.

8 Click the Zoom tool.

Left view of head.

Lesson 2: Creating the

9 Drag a marquee around the head.
Morph Target
To deform the geometry:

1 Click the Sphere of Attraction tool.

The default size, 4 inches, is too large for

Poser figures. Compared to standard Ray
Dream Studio units, Poser figures are
very small. However, do not change the
geometry size other than in the manner
you want to morph it.
Enlarged view of the head.
If, for example, you increase the size of
the entire head, the size increase is
included in the morph target. This is also
true of the position relative to the center.
In some cases, that may be the effect you

Poser 4
 are seeking. In this case, however, you just 5 Click on the tip of the nose and drag to
want to increase the size of the nose. the right.You have now created a morph
2 If the Properties palette is not already target.
open, choose Windows menu>
Properties.

The deformed newMaleCasHi head.

6 Click the Done button in the lower-left

corner of the window.

To save the new morph target file:

The Properties palette.

3 Change Radius of Sphere unit setting 1 Choose File menu> Save As.
from inches to millimeters. The Save As dialog appears.
4 Change the Radius of Sphere value to 1 2 In the Format popup, choose Wavefront.
millimeter. 3 Change the name to nosemorph.obj and
save the file in the same folder as the
original, newMaleCasHi.
4 Click OK.
A dialog appears warning you that saving
out of Ray Dream Studio format may
result in loss of information.
5 Click OK to continue.
6 Choose File menu> Close to exit Ray
Dream Studio.

A dva n c e d B o dy S h a p i n g
Lesson 3: Using the
Target in Poser
To add a morph target in Poser:

1 Launch Poser.
2 From the Figures category of the
Libraries palette, choose the People sub-
category, if it’s not already selected.

The Casual Man in the Document window.

4 Click the Face Camera icon in the

Camera Controls.

The People sub-category.

3 Double-click the Casual Man preview. The Face Camera icon.

The figure appears in the Document 5 Select the Head, and choose Object
window. menu> Load Morph Target.
6 In the Add Target dialog that appears,
locate and open the file Poser:
Runtime: Geometries:
newMaleCasHi: nosemorph.obj.
7 Enter “Nose” in the label field. This
assigns the name “Nose” to the new
Parameter Dial.
8 Click OK.

Poser 4
9 Use the rotation trackball to rotate the
view slightly to the left or right.
Figure Joints and
Blend Zones
The joints on a figure control how parts bend,
blend, twist, and bulge. Realistic movement in
a figure is controlled by joint settings. For
example, a human knee joint can’t bend
forward.

A rotated view of the figure.

10 Click to select the Head.

11 Drag the Nose Parameter Dial to the
right toward 1.0.

An example of figure joints.

A figure’s bending and twisting motion is

created using transformers. Transformers
stretch, skew, or scale polygons in the
transformation zones to produce desired joint
motion.

The transformation zone is defined by the

inclusion and exclusion angles assigned to
each transformation. Polygons in the
exclusion angle are not affected by a
transformation, while polygons in the
The morphed Nose.

Your morph target is complete.

A dva n c e d B o dy S h a p i n g
inclusion angle are affected. In the area • Fine tune the bending of existing figures
between the angles, or blend zone, polygons to suit your needs
are adjusted to create a smooth transition • Create new types of effects, such as
between the surrounding polygons. imitating ‘Mr. Fantastic’ from the
Fantastic Four comics
• Customize joints and transformers for
creating your own new figures

Refer to “Creating Custom Figures” on

page 301 for more information on creating
Poser figures.

Each joint on a figure has a set of attributes,

like Bend, Twist, or Side-to-side. The
attributes available for editing depend upon
which joint is selected. Editable attributes are
displayed in the popup at the top of the
palette.

To edit a joint’s parameters, you first select a

joint attribute and then set each of its
parameters. Each attribute has a specific set of
parameters that control how the attribute
affects the joint. For example, the parameters
for the Center attribute let you control the
An example of blend zones. exact position of the center point.

Joints are controlled using the Joint Before making any changes to
Parameters palette. Blend zones are edited
each time you adjust the transformation
Note a Joint Parameter, turn all IK

inclusion and exclusion angles. Blend zones Chains off. It is also easier to
can be further refined using Spherical Falloff see some attributes, such as
zones. the center, if you view them in
outline or wireframe display
Editing Joint Parameters mode. If your computer is fast
enough, use Full Tracking to
The Joint Parameters palette lets you control see the results of your changes
both joints and blend zones.You can directly
in real-time.
manipulate joints and blend transformers to
set how a joint works.These advanced settings
can be used to:

Poser 4
To display the Joint Parameters palette: Using the Joint
• Choose Window menu> Joint Editor. Parameters Palette
The controls available on the Joint
Parameters palette depend on the The Joint Parameters palette contains several
currently selected body part or prop. controls to set attributes for a joint. Although
the controls change for different body parts,
the controls common to all body parts are:
Attribute popup
Display Deformer: Toggles the graphical
display of the joint on a figure.

Zero Figure: Resets to 0 the rotation (Bend,

Twist, Side-Side, Front-Back) for all body
parts.

Use Spherical Falloff Zones: Toggles on or

off the Spherical Falloff Zones on a figure.
Refer to “Spherical Falloff Zones” on
page 287 for more on falloff zones. The Use
Spherical Falloff Zones control appears on all
attributes except the Center attribute.

The Joint Parameters palette.

Interactively Editing
Joint Parameters
To edit a joint parameter:
When you select a joint attribute from the
1 Select a body part. popup in the Joint Parameters palette, a
2 Display the Joint Parameters palette. graphical representation of the parameter
appears on a figure. For example, when you
3 Select an attribute from the popup at the select the Twist attribute for the leg, a red and
top of the palette. green line appears on the leg.
4 Set the attribute’s parameters.
Center
A body part’s center becomes the outline of
the selected target when you can edit it.

A dva n c e d B o dy S h a p i n g
Twist To edit inclusion and exclusion angles:

When you select the Twist attribute, a line 1 Move the cursor to an end point of the
with two handles appears on the figure. The exclusion or inclusion angles until the
red handle represents the starting point of the cursor changes to a target symbol.
twist transformation area, and the green 2 Drag the angle. If you’re using full
handle represents the end. Dragging these tracking, the effects of your change are
handles increases or decreases the Twist area. shown as you drag.

Inclusion and exclusion angles exist in three

dimensions, so you can rotate a figure to see
all the areas affected by the transformation.
You can also edit angles in all three
dimensions.

To make sure you’re moving an angle in only

one dimension, use the orthogonal cameras.
For example, using the From Front camera,
moving left and right moves in x. Moving up
and down moves in y. With the From Left
view, left and right move in z, and up and
down move in y.

A Twist attribute displayed graphically on the figure.

Bend
Editing Inclusion and To adjust the Bend transformation area, drag
Exclusion Angles the end-points of the red or green angle. To
change the center of the body part, drag the
When using Bend or Side-Side/Front-Back, center point target.
the red lines represent the exclusion angle,
while the green lines represent the inclusion Side-Side/Front-Back
angle.
Like the Bend attribute, both the Side-Side
Polygons in the exclusion angle are not and Front-Back attributes are edited by
affected by a transformation. Polygons in the dragging the inclusion and exclusion angle
inclusion angle are affected by the lines.
transformation. The area between the
inclusion and exclusion angles is the Blend
zone.

Poser 4
Joint Attributes Twist
Each joint on a body part has a number of The Twist attribute alters the location of the
parameters that together control how the joint twist transformer for each body part. The
moves. intensity of the transformation is controlled
using the Twist Parameter Dial or Twist tool.
Center
The Center Attribute sets the center of
rotation for a selected body part.This attribute
is available for all body parts and props.

The Twist Attribute.

There is not a Twist attribute for the hip, since

it is the parent of the entire figure. Twisting
the parent is the same as rotating the entire
figure. When IK is enabled, twisting the hip
The Center attribute.
transforms body parts included in the IK
The parameters of the Center attribute are: chains.

Center Point: Sets the XYZ position of the

center of the body part. 0,0,0 is located in the
center of the body on the floor.

Orientation: Sets the XYZ rotation of the

axis. Click and drag a dial to rotate the axis.
Option/Alt-click a dial to reset it to 0.

Align: Aligns the axis to the rotation of the

body part.

A dva n c e d B o dy S h a p i n g
By default, the Twist axis runs lengthwise Bend
down the center of each body part. For
example, for arms, the twist axis is the x-axis, The parameters for the Bend attribute alter
while for legs the twist axis is the y-axis. the angles of the bend transformers and define
Moving and rotating the center of a body part how bulges are created.
can alter the position of this axis.

The Twist axes on the body.

The parameters of the Twist attribute are:

Twist Start, Twist End: Sets the start and

end of a twist area on a body part. Only the
body parts in the twist area are affected by the
twist transformation. The Bend attribute.

Twist areas can be made larger than the body The parameters of the Bend attribute are:
part to make a twisting motion appear more
natural. In most cases, you want to include the Center Point: Sets the XYZ position of the
body part’s parent. center of the body part. Bending occurs at the
center point. Changing that point changes the
center of the body part.

Joint Angles: Set inclusion and exclusion

angles for the Bending transformation. The
values in Static A and D together set the
exclusion angle. Polygons in the exclusion

Poser 4
angle are not affected by the bending. The
values in Dynamic B and C together set the
area of inclusion. Polygons in the inclusion
angle are affected by the bending.

Differences in bulges and wrinkles when the body

part center is changed.

Side-Side/Front-Back
The parameters for the Side-Side/Front-Back
The angles of inclusion and exclusion on a body
attributes control angles of the Side-Side/
part.
Front-Back transformers and define how
Apply Bulges: When enabled, these bulges are created.
parameters control how polygons in the bend
zone are stretched or pinched to create bulges
or wrinkles. Right and Left dials refer to the
sides of the figure. Neg and Pos dials refer to
negative or positive values for the rotation of
the attribute (for example, a positive value for
the Bend attribute creates bulges as set by the
Right and Left positive bulge dials). Option/
Alt-click these dials to reset them to 0.

The Side-Side attribute.

A dva n c e d B o dy S h a p i n g
 For example, the Right Collar of the Business
Man has scaling controls for the chest (the
parent body part) along the y-axis, and scaling
controls for the Right Shoulder (the child
body part) along the x-axis.

The Front-Back attribute.

The Side-Side/Front-Back attributes have the

following parameters:

Center Point: Sets the XYZ position of the

center of the body part. Side-Side The Scaling attribute.
transformations occurs at the center point.
High End/Start, Low Start/End: The
Joint Angles: Set inclusion and exclusion High and Low parameters define a blending
angles for the Side-Side transformation. area. For example, when scaling the head you
may also want the top of the neck to scale.
Apply Bulge: When enabled, these
parameters control how polygons in the Side- When setting this parameter, only one pair of
Side transformation zone are stretched or settings—the high or the low setting—is
pinched to create bulges or wrinkles. relevant. The unused parameter pair is
automatically set to an out-of-limit number
Scaling
Each body part has parameters that let you
scale the parent and child body parts. The
settings are similar to the Twist parameters,
and follow the Twist axis of the child or parent
body part.

Poser 4
(such as 100.000 or 99.000). This indicates Copying Joint Parameters
that the pair is not relevant to the area you
have selected for blending. The out-of-limit You can copy joint parameters from one half
settings should not be edited. of a figure to the other using the Symmetry
command.

To copy joint parameters:

1 Choose Figure menu> Symmetry>

choose an option. A dialog appears asking if
you want to copy the joint zone’s setup
also.
2 Click Yes to include joint parameters.

Saving Joint Parameters

Changes to joint parameters affect only the
current scene.To save joint parameter changes,
you must either save your scene, or save the
figure in the Libraries palette. Refer to
“Saving to the Libraries Palette” on page 34
for details on saving figures to the Libraries
palette.

The effects of High/Low scaling.

The end of each blending zone is represented

in red, while the start is represented in green.
The effects can be uniform, or can be
controlled by spherical falloff zones. Refer to
“Spherical Falloff Zones” on page 287 for
more information.

A dva n c e d B o dy S h a p i n g
Spherical Falloff Zones Displaying Spherical Falloff
Zones
Spherical Falloff Zones are an advanced
method for controlling blending between Spherical Falloff Zones can be selected and
body parts. Two spheres, a green “inner” displayed using any display mode. To change
sphere and a red “outer” sphere represent the the display mode for a sphere, select Element
falloff zones. Styles from the Display menu, then select a
mode. The default display mode for these
spheres is outline.

Wireframe mode lets you view the spheres in

3D and still see the body parts they surround.

Spherical Falloff Zones.

The green sphere defines the area that is 100%

affected by the transformation. The red sphere
represents the boundary of the transformer’s
effect. The area between the inner and outer A Spherical Falloff Zone viewed in Wireframe
sphere is the “blending” zone. The effects of mode.
the transformation gradually decrease from
100% at the boundary of the inner sphere to Editing Spherical Falloff
0% at the boundary of the outer sphere.
Zones
When adding Spherical Falloff Zones, the
default position of the sphere is 0,0,0. Spherical Falloff zones can be edited using any
of the Edit tools.You can reposition, scale,
rotate, or twist Spherical Falloff zones.

Poser 4
A dva n c e d B o dy S h a p i n g
14
Hierarchies

How Hierarchies Work

In order to display a figure in the Workspace,
Poser must interpret information about the
figure’s geometry and body part parameters. This
information allows Poser to create bendable joints
between parent and child objects.

A scene’s hierarchy describes the parent-child

relationships of all objects in the scene. Body parts
or props that are physically located at a seam are
generally contained either in a parent object or a
child object. Data like rotation order and IK
relationships are also defined in the scene’s
hierarchy.

A Poser document hierarchy contains:

• A list of everything in the scene’s universe,

including figures, body parts, props, lights,
and cameras
• Hierarchical connections (parent-child
relationships) for scene objects
Using the Hierarchy
• Parameters, including rotation, Editor
translation, Morph Targets, and Point At
The Hierarchy Editor displays a hierarchical
parameters.
listing of everything in your Poser document’s
• Any Inverse Kinematics (IK) chains of a universe.You can contract this list to show
figure only the parent elements in your scene,
expanded elements to show their children,
In Poser 4, you can work directly with a and expand objects to display their parameters.
scene’s Hierarchy. The Hierarchy Editor Depending upon what you want to select or
displays everything in your Poser scene—all modify, you can display it in the Hierarchy
the figures, lights, cameras, and props Editor.
currently in the studio.
To display the Hierarchy Editor:
With the Hierarchy Editor, you can:

• Select elements in your scene. When you

• Choose Window menu> Hierarchy
Editor. The Hierarchy Editor appears.
select an item in the Hierarchy Editor, it
is selected in the Document Window,
Objects List, and Graph Palette.
• Double-click on an object to bring up its
Object Properties.
• Set element visibility. Quickly hide body
parts, props, or deformers.
• Rename or delete elements and
parameters such as morph targets or Point
At parameters.
• Set up or change parent-child
relationships for props.
• Set up Inverse Kinematics (IK) chains.
• Change rotation order for props or body
parts.
• Create new figures. Refer to “Creating
Custom Figures” on page 301 for more
information.
Using the Hierarchy Editor, you can easily expand/
collapse scene elements.

Hierarchies
Controlling what is • Show Lights: show all lights in the
scene
Displayed
You can control what displays in the
Hierarchy Editor by selecting display options
at the top of the Editor. Options indicate
what type of scene objects are in the hierarchy Use the display options at the top of the Hierarchy
view.When the Hierarchy Editor first opens, a Editor to control what is displayed.
default set of options are checked.
Collapsing the Hierarchy
To set the Hierarchy Editor display:
Editor
1 Choose Window menu> Hierarchy
Editor to display the Hierarchy Editor. Scenes contain scene elements, including
body parts, props, deformers, cameras, and
2 Click a display option to display or not lights. This can make for a very long
display certain scene elements. Hierarchy Editor listing.You can collapse
An X appears in the box beside a selected elements in the list to save space or expand
display option. them to show more detail.When not working
Display options are: with a particular figure, you can collapse its
listing. This shortens the Hierarchy Editor list
• Show Figures: display all figures in and makes other objects easier to locate.
the document
• Show Cameras: display all cameras To collapse/expand a listing:
• Show Parameters: display object
1 Choose Window menu> Hierarchy
parameters
Editor to display the Hierarchy Editor.
• Show All Parameters: display all
parameters, as well as a few special 2 Click the minus icon next to an object to
scene level elements, like inner and collapse it. The icon changes to a plus
outer scene boundaries when the element is collapsed.
• Show Props: display all props in the 3 Click the plus icon next to an object to
scene, including the ground plane expand it. The icon changes to a minus
when the element is expanded.
• Show Deformers: display Magnets,
waves, and Morph Targets

Poser 4
Selecting Objects Deleting Objects
You can select an object in the Hierarchy You can delete figures, props, and lights in the
Editor. Selecting an object here is equivalent Hierarchy Editor.You cannot delete Poser
to selecting it in the Document Window, figure body parts, cameras, or the ground.
choosing it in the Current Element pop-up at
the bottom of the Document window, or You can delete Morph Targets and Point At
selecting it in the Graph or Animation palette. parameters in the Hierarchy Editor.You
cannot delete other object parameters.
To select an object in the Hierarchy
Editor: To delete objects in the Hierarchy
Editor:
1 Choose Window menu> Hierarchy
Editor to display the Hierarchy Editor. 1 Choose Window menu> Hierarchy
Editor to display the Hierarchy Editor.
2 Click the object you wish to select.
2 Select the object you want to delete.
As you select an object, notice that it is
now also selected in the Document
Window. You cannot delete just a body
Note part. If you select and delete a
body part, it deletes the entire
figure, just as it would in the
Document Window.

3 Press the Delete/del key to delete that

object.

To delete a group of objects in the

Hierarchy Editor:

1 Choose Window menu> Hierarchy

Editor to display the Hierarchy Editor.
2 Select the objects you want to delete.

Click on an object to select it.

Hierarchies
Renaming Objects Props, Deformers, Lights,
and Cameras
You can rename objects, making it easier to
identify specific body parts and props. You can move Deformers and Morph Targets
in the Hierarchy Editor.
To rename an object:
You can reorder prop rotation parameters.
1 Choose Window menu> Hierarchy Rotation order affects how a prop twists or
Editor to display the Hierarchy Editor. bends.You can also do translations for props.
2 Double-click on the name of the object Because the order in which rotation
that you want to rename. parameters are interpreted is important, be
careful should you decide to reorder them.
3 Type in a new name for the object.

Reordering Objects
Figures
You can reorder props and Deformers in the
Hierarchy Editor. Reordering Deformers can
be useful, especially when they appear at the
bottom of the Hierarchy listing.You cannot
establish new parent-child relationships for
Poser figure body parts.
Rotation parameter order affects how figure body
You can reorder morph targets and rotation parts twist and bend.
parameters (yrotate, zrotate, xrotate) for figure
body parts. Rotation order affects how a body You can reorder prop, light, or camera Point
part twists or bends. By default, Twist is the At parameters.These parameters also appear at
top rotate parameter. the bottom of the Hierarchy Editor list.

Be extra careful should you

Note decide to change rotation order,
because you can get unexpected
results.

Poser 4
Displaying Object Changing Object
Properties Visibility
You bring up the properties dialog for an You can change object visibility in the
object right from the Hierarchy Editor. Hierarchy Editor. When you change object
Accessing object properties from the visibility in the Hierarchy Editor, it’s the same
Hierarchy Editor can be a real time saver. as changing it in the Object Properties dialog
for that object.
To bring up the properties dialog from
the Hierarchy Editor: Changing object visibility right in the
Hierarchy Editor can also be a great time
1 Choose Window menu> Hierarchy saver. It’s a great way to hide Magnet
Editor to display the Hierarchy Editor. Deformers from view while you inspect the
results of the Deformer. Changing object
2 Double-click an object in the Hierarchy
visibility is also a fast way to hide body parts.
Editor listing to display its Object For example, when you load Poser 4 clothing
Properties. into a scene, it may be necessary to hide some
body parts so that they don’t show through the
clothing.This is especially true for tight-fitting
clothing. With the Hierarchy Editor, you can
quickly make body parts invisible.

To change object visibility:

1 Choose Window menu> Hierarchy

Editor to display the Hierarchy Editor.
2 Click the Eye icon next to the object to
toggle visibility on and off.When the Eye
is grey, the object is invisible.

To change visibility for a group of

objects:

1 Choose Window menu> Hierarchy

Editor to display the Hierarchy Editor.
2 Press Opt/Alt while you click the
Double-click on an object to display Object Visibility Eye for an object. This turns
Properties for that object.

Hierarchies
 visibility on/off for that item and all its Poser mirrors real body movement by adding
children objects. joint parameters to each body part.This allows
you to manipulate the figure based on those
parameters.You can then create realistic
motion, using Parameters Dials or the Walk
Designer.

You see changes in child/parent

Note relationships when IK is On verses
when IK is Off.

You can change parent-child relationships

between the figures you’ve created and set up
parent-child relationships for props.You
cannot, however, reorder or change parent-
child relationships for Poser figures. Refer to
“Creating Custom Figures” on page 301 for
more about creating new figures. Refer to
“Establishing Hierarchical Relationships” on
page 295 for more about setting up parent-
child relationships.

Opt/Alt click the Visibility Eye for an object to reset When you bring a geometry into Poser, the
visibility for that object and all objects indented Hierarchy Editor displays a Universe, followed
under it in the Hierarchy Editor list.
by a list of props. Scene hierarchy relates what
should move with what, i.e., children move
when their parent moves.
Establishing
Hierarchical When you create a figure from the geometry,
Poser uses hierarchy information, to create
Relationships joints necessary for figure posing. Unless the
figure was created using standard body group
A figure in Poser 4 is essentially a 3D model names, you’ll have to manually establish
that has separate parts for each moving body parent-child relationships and establish a
part. What makes a Poser model unique is hierarchy order. Refer to “Applying the
how it interacts with the controls in Poser. A Standard Hierarchy” on page 299 for more
3D model in Poser has joints that move about applying the Standard Hierarchy to
realistically, as in a real person. figures created with standard group names.

Poser 4
To create a parent-child relationship: 3 Release the child object when the box
highlights the intended parent object.
1 Choose Window menu> Hierarchy
Editor to display the Hierarchy Editor.
2 Drag the intended child prop onto the
root object, that is, the intended parent.
A white box highlight surrounds a valid
parent object when the child object is
correctly positioned on top of it. In
addition, the mouse cursor indicates
when it is OK to drop an object.

The Hierarchy Editor after dropping the child object

onto the intended parent object.

To reorder objects at the same

hierarchical level:

1 Choose Window menu> Hierarchy

Editor to display the Hierarchy Editor.
2 Select the prop object you want to
A box highlight surrounds the intended parent reorder.
object when the child object is correctly positioned. 3 Drag the object to the desired level.

Hierarchies
 A line is displays immediately before/after
the target object, indicating where the
object will be inserted.

After moving an object to the same hierarchical

level as the target object.

A line is displayed immediately before/after the

target object, indicating where the object will be
inserted when dropped.

4 Release the object to insert it in its new

position.

Poser 4
Creating Multi-Figure Once a parent-child relationship is set up, any
rotation, translation, or twisting performed on
Hierarchies the parent figure also applies to the child
figure or prop.
When posing more than one figure, you may
want to tie the movement of one figure to To set up a multi-figure relationship in
another figure.You accomplish this by setting the Hierarchy Editor
up a parent-child relationship.
1 Choose Window menu> Hierarchy
For example, if you pose a female figure on a Editor to display the Hierarchy Editor.
horse, you can make the female figure a child
of the horse. This way, when the horse (the 2 Select the figure you want to use as the
parent) moves, so does the female figure (the child.
child). 3 Drag the body of the child figure onto
the intended parent. A box highlight
indicates a valid drop location.

To set up a multi-figure relationship

outside the Hierarchy Editor:

1 Click the Current Figure pop-up beneath

the Document window and choose the
figure you want to use as the child.
2 Click the Current Element pop-up and
choose Body to select the entire figure.
3 Choose Figure menu> Set Figure
Parent. The Set Parent dialog appears.
4 Select the body part from the hierarchy
selection in the Set Figure Parent dialog.
5 Click OK to close the dialog.

Set up a parent-child relationship so figures can be

posed together.

You can attach the child to the entire parent

figure or to just a portion of it. Continuing
with the example, you can make the female
figure a child of the whole horse or just the
horse’s abdomen.

Hierarchies
Applying the 3 Click the Apply Standard Hierarchy
button.
Standard Hierarchy
It doesn’t matter how you create the geometry
for a new figure.You can create it in Poser by
grouping and saving groups as new Poser
props.You can create individual figure parts in Using the Apply Standard Hierarchy button in the
another software application and join them Hierarchy Editor automatically maps the parent-
together in the Hierarchy Editor. child relationships for your figure.

Regardless of how the geometry was created,

when you introduce it into Poser, the Applying Standard
Hierarchy Editor displays a Universe, followed
by a list of props or a single prop with groups. Rotation Order
If, however, you created your figure geometry If the props for human/bi-ped figures use
using standard body group names for human/ standard body part names, Poser can
bi-ped figures, you can use the Hierarchy automatically apply the standard rotation
Editor to automatically apply the Poser settings for each prop.
Standard Hierarchy to your figure. Applying
the Standard Hierarchy establishes parent- To apply standard rotation to a figure:
child hierarchy in one pass. Poser can apply
the Standard Hierarchy to full or partial 1 Choose Window menu> Hierarchy
figures. Refer to “Naming Groups” on Editor to display the Hierarchy Editor.
page 306 for more about creating figures with 2 Select Universe.
standard body group names.
3 Click the Apply Standard Rotation Order
To apply the Poser Standard Hierarchy button to apply the standard Poser
to a figure: rotation settings to body parts.

1 Choose Window menu> Hierarchy

Editor to display the Hierarchy Editor. Setting Inverse
2 Select the Universe. Kinematics
Kinematics is the study of motion, velocity,
The Apply Standard Hierarchy
rotation, and position. In terms of jointed
Note button is not available unless the structures, like an arm or leg, forward
universe is selected. kinematics calculates how actions at the root
of the structure affect the position and

Poser 4
rotation of those at the end. For example, To create an IK chain:
when you raise your arm, your hand
automatically moves to a new position and 1 Choose Window menu> Hierarchy
rotation. Editor to display the Hierarchy Editor.

Inverse Kinematics (IK) uses the same kind of 2 Select IK chains, to enable the Create
dependency, but in reverse. The extremity New IK Chain button.
moves, and IK determines how the objects 3 Click the Create New IK Chain button.
joined to it (closer to the root) responds to
support the new placement. For example, if 4 Enter a name for the new IK Chain.
someone was to grab your hand and push, A blank IK chain is added to the figure’s
your arm would automatically bend at the IK chains.
elbow, while your shoulder would stay fixed in
5 Drag individual body parts from the
position.
figure you’re creating onto the new blank
Poser supports IK for any limb. When IK is IK chain.
on, you can translate the hands and feet and 6 Add nodes to the IK chain in the order of
achieve appropriate arm and leg positions root to goal, the goal being the
automatically. In Poser 4, you can create and terminating node. For example, in the
delete new IK chains, using the Hierarchy arm IK chain, the hand is the chain’s goal.
Editor.

It might be helpful to turn Inverse

Note Kinematics Off for all existing
chains before setting up IK chains
in the Hierarchy Editor.

To turn IK off for a chain:

1 Choose Window menu> Hierarchy

Editor to display the Hierarchy Editor.
2 Uncheck the IK On/Off checkbox to
turn IK off for that chain.
You can also turn IK Off with the Figure
menu> Use Inverse Kinematics
command.

Hierarchies
15
Creating Custom
Figures

Almost any geometry made up of polygons can be

used as a figure in Poser. When you create a
figure, its appearance has no effect on how it
functions in Poser. It doesn’t even have to look
human.

You can create your own Poser figures, using a

variety of techniques.You can:

• Modify existing figures, then save them to the

Figure Library
• Combine multiple existing figures into a new
one.
• Combine props created with the Grouping
tool that you’ve stored in the Props Library
• Create figure geometry in a 3D software
application, like MetaCreations Ray Dream
Studio, then use the Hierarchy Editor to set
up figure Hierarchy information.
• Create figure geometry in a 3D software You can also attach a prop to a figure,
application, like MetaCreations Ray such as a sword or a pair of wings.
Dream Studio, then manually create a • Modify figure height.
Hierarchy file.
• Change a figure or clothing color.
• Use Poser’s deformer tools to shape body
Modifying Existing parts and figures into new and interesting
forms. Stretch a figure’s nose. Make a
Figures figure’s belly bounce as it walks. Add
ripples to clothing.
Starting with an existing Poser figure, you can
make changes to it, then save it to the Library.
Refer to “Body Shaping” on page 137 for
more about modifying figures.

You can:

• Adjust proportions to create any type of

body, from lifelike to the absurd.
• Shape individual parts to significantly
change body appearance. Give the model
a big belly. Give the model a broad face.
Makes a figure taller. Make a figure
stout—even rotund.
You can create exaggerated body types.

• Use morph targets to add ethnic traits to

your figures. (Poser even includes a full
figure morph target for morphing figures
into superhero form.)

Once you modify an existing Poser figure, you

can create a customized figure in the Library
palette. Because body parts and their
relationships are cloned from standard Poser
figures, Poser automatically creates the joints
necessary for the new figure to operate
correctly in the Poser workspace. Refer to
You can create exaggerated body types. “Saving Poses” on page 135 for how to save to
and use figures from the Library palette.
• Customize figures by replacing body parts
with props you import into your scene.

Creating Custom Figures

Combining Multiple 3 Set up parent-child relationships to
establish the new figure’s Hierarchy.
Figures Refer to “Using the Hierarchy Editor”
on page 290 for more about using the
Starting with an existing Poser figure, you can Hierarchy Editor to create figure
make changes, then save parts of that modified hierarchies.
figure in the Library. For example, you can
save several types of heads, arms, legs, and 4 Click the Create Figure button on the
torsos, just for use in creating future figures. Hierarchy Editor.
Refer to “Saving Poses” on page 135 for more If the figures you’ve combined use
about using the Select Subset option when standard Poser body parts, Poser follows
you’re saving figures. the Hierarchy you’ve established to
automatically create the joints necessary
To combine multiple figures into a new for the new figure to operate correctly in
figure: the Poser workspace.

1 Load the figures you wish to combine

into your Poser document. Combining Props
2 Choose Window menu> Hierarchy
Editor to display the Hierarchy Editor. You can use the Grouping tool to select
specific polygons on a figure or prop. With
this feature, you can create new props. For
example, you could start with the ball or cube
props, modify them, then save a series of props
that, when combined, create a robot body.
Refer to “Using the Grouping Tool” on
page 157 and “Adding Props to the Library”
on page 175 for more details.

Using the expanding/contracting Hierarchy Editor,

you can create new figures.

Poser 4
 Poser follows the Hierarchy you’ve
established to create a new figure. Once
created, you can use the Hierarchy Editor
to fine-tune rotation order, so that body
parts twist and bend as desired.

In addition to parent-child
Tip relationships, the Figure menu>
Point At command can be useful
for controlling the movement of
individual body parts in a robot
figure.

Creating Figures
Use the Grouping palette to create your own props.
using other Software
To combine props into a new figure: You can create your own Poser figure, using
another 3D software program, like
1 Load the props you wish to combine into MetaCreations Ray Dream Studio. When you
your Poser document. create figures outside of Poser, creation is a
multi-step process.
2 Position the props to form the new
figure.
Deciding how to Start
3 Choose Window menu> Hierarchy
Editor to display the Hierarchy Editor. Before you begin to create articulated,
4 Set up parent-child relationships to bending figures in Poser, you need to make
the following decision.
establish the new figure’s Hierarchy. Refer
to “Using the Hierarchy Editor” on You can:
page 290 for more about using the
Hierarchy Editor. • Follow specific naming rules for body
5 Click the Create Figure button on the groups, then use the Hierarchy Editor in
Hierarchy Editor. Poser to automatically apply standard
Hierarchy and rotation order to your
figure.
• Use non-standard (or a combination of
standard and non-standard) naming for
body groups and use the Poser Hierarchy
The Hierarchy Editor Create Figure button.

Creating Custom Figures

 Editor to manually establish a figure • Add any desired morph targets for
Hierarchy adjusting the size and shape of body parts.
• Use non-standard (or a combination of • Save the new figure to the Libraries
standard and non-standard) naming for palette.
body groups, then create a figure
Hierarchy as a text file and convert it for
use as a Poser figure Hierarchy
Determining Model
Format
Regardless of what you decide, the figure you
create must be set up properly and stored in In order to use figure geometry in Poser, you
the correct format. That done, you can move must store it in a Wavefront (OBJ) compatible
or pose the model, just as you would any of format. With Poser 4, you can import model
the models included with Poser. With the files in DXF, BVH, 3DMF, Wavefront OBJ,
right setup, you can make anything from an 3D Studio (Windows), and Painter3D
accordion to a zebra into a poseable figure. (Detailer text) formats.

Understanding the When creating your model, use only

polygons. Nurbs or spline surfaces will not
Process translate correctly.

To create a poseable figure, follow these steps. Grouping Body Parts

• Create a 3D model of the new figure.
Poser uses group names to identify body parts.
• Use the Poser File menu> Import Some Poser features, like the Walk Designer,
commands to bring the contents of your require specifically named body parts. The
3D figure file into the current document. group name is also the default name for
• Use the Hierarchy Editor to create a working with this body part (you can change
Hierarchy file for the figure (or create a that at a later time).
Hierarchy file as a text file and convert it
to a Poser Hierarchy file). It is important to denote the individual
moving sections.You can store body parts as
• Adjust any joint parameters of body parts individual OBJ files or save the entire figure as
that twist or bend incorrectly. a single file. With either method, plan
• Set any necessary body part limits. carefully how you separate polygons into
• Use the Hierarchy Editor to set up individual moving parts.
Inverse Kinematics (IK) chains.
• Set surface materials for the figure.

Poser 4
You don’t need to move these parts to the • rShin
origin individually.You should leave them • lShin
where they naturally relate to one another. Set
up local origins later, inside Poser. • rFoot
• lFoot
When you store each body in a • rShldr
Note separate file, specify only one • lShldr
group in each file. That group • rForeArm
contains all the polygons in that
• lForeArm
file.
In order to use a figure in the Walk Designer,
When you store the entire body in one file, or have Poser 4 automatically apply Standard
you must use “groups” to separate different Figure Hierarchy and Rotation Orders, you
parts of the body that represent the moving must use the above groups in the figure.
Hierarchy. Saving the entire body in one file is
usually the preferred method.
If you plan to create a figure
It is very important not to overlap groups. Note Hierarchy file outside of the
Wavefront grouping allows polygons to be in Poser 4 Hierarchy Editor,
more than one group. If this happens, the import your figure file as a
overlapping polygons are duplicated when you
prop first, to check that the
bring the file into Poser and each group is
turned into a separate Poser body part. For geometry imports correctly.
example, if you build a human-like object,
you need to separate model polygons into the Naming Groups
following groups:
In a Poser figure file, each body part actually
• rHand has two names: and internal name and a user
• lHand name. It is important that certain body parts
use standard internal names in order to be
• head
available for specific Poser features.You can set
• neck the user name (specified by the “name” line of
• lCollar actors) as you wish.
• rCollar Use the following body part names/Wavefront
• chest group names when available:
• abdomen
• rHand for the body part that represents
• hip the base palm of the right hand
• rThigh • lHand for the body part that represents
• lThigh the base palm of the left hand.

Creating Custom Figures

In order for the hand library features to work Arranging Groups on a
completely, the fingers of the hand should be
broken up using the following names Model
(working from root to tip):
When Poser processes a new model’s
• rHand, rPalm, rKnuckles geometry and generates a Poser Figure Library
• rThumb1, rThumb2, rThumb3 entry, it automatically adds bending joints
between parent and child objects as specified
• rIndex1, rIndex2, rIndex3
in the Hierarchy file.
• rMid1, rMid2, rMid3
• rRing1, rRing2, rRing3 Joints only bend polygons of the objects that
are contained in the parent or child body part
• rPinky1, rPinky2, rPinky3 at any given joint. So, all polygons that are
• lHand, lPalm, lKnuckles physically located at a seam must be contained
• lThumb1, lThumb2, lThumb3 in either the parent object group or the child
object group. In other words, you cannot have
• lIndex1, lIndex2, lIndex3 three groups joining at the same place.
• lMid1, lMid2, lMid3
A good rule of thumb to use when creating
• lRing1, lRing2, lRing3
groups is: if two objects don’t have a parent-
• lPinky1, lPinky2, lPinky3 child relationship, they shouldn’t be touching
each other. It’s important to keep this in mind
Index 1
Index 2 when you set up groups, otherwise gaps
Index 3 appear when you start bending the model in
Thumb 3
Poser.
Mid 3 Thumb 2
Mid 2
Mid 1 Thumb 1
The following example shows the connection
of the abdomen, hip, and upper leg of a horse.
Ring 3
Ring 2 Since the abdomen is a child of the hip and
Ring 1 the upper leg is also a child of the hip, there is
Pinky 3 Hand
Pinky 2
Pinky 1
The Hierarchy of the hand.

Poser 4
no parental attachment between the abdomen
and the upper leg. Therefore there can be no
physical attachment between the abdomen
and the upper leg.

The correct way to place groups on the horse.

Looking inside the Poser

Hierarchy File
The wrong way to connect groups on the horse.
You generally create scene hierarchies in the
Poser 4 Hierarchy Editor, but you can create
them outside of Poser in any text editor that
can save documents in a text-only format.

The Hierarchy file describes how the groups

in a figure are arranged. It outlines the parent-
child relationships between groups. Once
created it can be imported into Poser where it
is converted to create a new figure file in the
New Figures library.

The Hierarchy file specifies:

Another example of the wrong way to place groups.
• the geometry (OBJ) file to use
• the hierarchical connections (parent-child
relationships) of the body parts
• the desired rotation order of each body
part
• each Inverse Kinematics (IK) chain to be
included in the figure

Creating Custom Figures

Following is an example Hierarchy file; it
represents the full Hierarchy for a horse, ikChain RightHand rShldr rUpArm
including curve channels for the tails. rForeArm
rWrist rHand
objFile:Runtime:Geometries:horseHi:
horseHiP3.obj The File Header
1 hip zxy The first line of the Hierarchy file contains
2 abdomen zyx the “OBJ File” command which specifies the
3 chest zyx
location of the OBJ file associated with the
4 lShldr yzx
new figure.
5 lUpArm yzx
6 lForeArm yzx objFile: Runtime:Geometries:horseHi:horseTex.obj
7 lWrist yzx
8 lHand yxz The file location should be defined using a
4 rShldr yzx
Macintosh format file specification (that is,
5 rUpArm yzx
using colons). The file location is specified
6 rForeArm yzx
7 rWrist yzx relative to the Poser application folder.
8 rHand yxz
4 lowNeck zyx When the Hierarchy file is converted, the text
5 upNeck zyx of the OBJ file is read into Poser where a
6 head yzx geometry resource is created and linked to the
2 lThigh yzx OBJ file. This process results in a new figure
3 lLeg yzx file.
4 lShin yzx
5 lAnkle yzx From then on, when Poser uses this figure file,
6 lFoot yxz the geometry resource is used to define the
2 rThigh yzx figure Hierarchy relationships rather than the
3 rLeg yzx text stored in the OBJ file. Reading from the
4 rShin yzx geometry resource is dramatically faster.
5 rAnkle yzx
6 rFoot yxz
2 tail1 zyx curve
3 tail2 zyx curve
4 tail3 zyx curve
5 tail4 zyx curve
ikChain LeftLeg lThigh lLeg lShin lAnkle

ikChain RightLeg rThigh rLeg rShin

rAnkle

ikChain LeftHand lShldr lUpArm

lForeArm lWrist lHand
(continued)

Poser 4
The File Body The second part of the line specifies the name
of the body part. In the example the part is
The bulk of the Hierarchy file contains lines called abdomen. This name must match the
similar to the one shown below: group name in the OBJ file.

2 abdomen zyx 2 abdomen zyx

Body Part Name

Rotation Order
Body Part Name The body part name in a Hierarchy file line.
Hierarchy Level
The 3-character string at the end of the line
A typical Hierarchy file line. represents the rotation (or gimbal) order of the
body part. A rotation order defined as “zxy”
The first part of the line indicates Hierarchy means that a Z axis rotation occurs first,
level—or the parent-child relationship—of the followed by the X, then Y axis rotations.
body part. In this case, the abdomen body part
is a child of the body part of the part on the 2 abdomen zyx
next level up. Hierarchy levels are numbered
in descending order, so the next level up from Rotation Order
this part is 1.
The rotation order in a Hierarchy file line.
In the following example, the lShin object is
Poser uses the following X,Y, and Z axis
located on the 3rd level of the Hierarchy. The
orientations:
closest level 2 line above would be the lThigh,
so the lShin is a child of the lThigh. Y
2 lThigh yzx Parent Object
3 lShin yzx Child Object
4 lAnkle yzx
Z X
Parent-Child relationships indicated in the
Hierarchy file.

The indenting of the lines is not processed but

is helpful visually to denote the Hierarchy The X, Y, and Z planes that make up 3D space.
levels.

Creating Custom Figures

Assigning a rotation order is a three-step :Runtime:Geometries:examples:l2.obj
process: 3 link3 yzx
:Runtime:Geometries:examples:l3.obj
• Always place the “twist” axis first. This
axis should be placed lengthwise through Using Curved
the object. If the object, like a leg, is built
down the Y-axis, specify the Y first, since Transformations
that is the axis along which the leg twists.
The Curved flag tells Poser that this link
• Of the two remaining rotations, place the should use curve transformations. This is a
one most likely to become 90 degrees method of bending designed for the tails of
last. This helps reduce rotation lock the animal figures in Poser. Here is an
problems that occur when the middle example used in the Horse figure:
rotation approaches 90 degrees.
• Place the remaining rotation channel 2 tail1 zyx curve
second. 3 tail2 zyx curve
4 tail3 zyx curve
Some objects do not align to the major axes. 5 tail4 zyx curve
In this case, you can align the coordinate
system of the body part later, while adjusting Inverse Kinematic Chains
the joint parameters. For the Hierarchy file,
pick the closest rotation order. When you The last commands in the Hierarchy file
align the part later, the twist axis you choose specify the links that compose the individual
becomes aligned down the length of the body IK chains. IK can also be defined by using the
part. Poser 4 Hierarchy Editor. Here’s how chains
look after they’ve been defined. If you’re
When Body Parts are Stored creating a Hierarchy file manually, be sure to
in Separate Files store IK information in the following format:

ikChain chainName firstLink nextLink

If each body part were stored in a separate file,
nextLink... endGoal
rather than all body parts being groups in a
single file, you would specify the full path In the example above, the ikChain is defined
name for the file at the end of each line. This as follows:
path is relative to the Poser 4 folder.
ikChain LeftLeg lThigh lShin lAnkle lFoot
Here is an example of three links using this
method: Chain Name
1 link1 yzx An ikChain line in a Hierarchy file.
:Runtime:Geometries:examples:l1.obj
2 link2 yzx The name of an ikChain cannot contain
spaces.

Poser 4
Converting Hierarchy If there are no errors, a Poser Body
Library file is created.
Files The Hierarchy conversion may take
several minutes if there is a large
When you create a Hierarchy file manually, geometry file.
you’ll need to convert it to an actual Poser
Hierarchy file. Once the Hierarchy file is The figure file references the geometry
completed in the text editor, you can import file. If the location is of the geometry file
it into Poser by converting it into a geometry changes, you must edit the figure file to
resource (called a CR2 file). designate the new location (specified
relative to the Poser application in Mac
This geometry resource is then used in format).
conjunction with OBJ 3D data to create a
new figure file with rotation order and IK Verifying Hierarchy Files
relationships as defined by the Hierarchy text
file. Once you begin adjusting the joints, you are
not able to regenerate the figure file a second
On Windows, the resource is a separate file time and have all your joint changes in place.
with the suffix RSR. On a Macintosh, the Make sure that all parent-child relationships
resource is stored with the OBJ file. If you are correct before editing Joint Parameters.
need to edit the resource on a Mac, use a You can make geometry corrections later, but
resource editor to remove the text from the you cannot change the Hierarchy without
OBJ file, or create a new text file by copying creating different joints from scratch again.
and pasting from the old one.

If you make changes to the Hierarchy file and Adjusting Joint

then convert it again, the conversion won’t re-
create the geometry resource if it already exists
Parameters
in the OBJ file. So if you are trying to make
When the Hierarchy file was converted into a
geometry changes, you must either delete the
new figure file, Poser automatically added
resource, or start with a new blank text file
joints between all the parent and child objects
that contains only the text portion of the OBJ
in the figure. These joints may not work as
file.
you expect them to because they use the
To convert a Hierarchy file: default joint settings.

Before you can pose your figure, you must

1 Choose File menu> Convert Hier
adjust each body part’s joint parameters. The
File. The Open dialog appears.
Joint Parameters palette lets you select each
2 Locate the Hierarchy file you created in joint, twist, smooth scale, and center
the text editor and click Open. parameter and adjust them for optimal
bending. Refer to “Adjusting Joint
Parameters” on page 312 for details.

Creating Custom Figures

It’s highly recommended that you work from Limits are set using the Parameter Dial dialog.
the outside of the figure in, making a first pass Refer to “Using the Parameter Dials” on
through to make sure all origins are located as page 121 for how to access the Parameter Dial
desired. If you move the origin point (center dialog. Enter the minimum value of the
of rotations) of a body part later, it carries parameter in the Min. Limit field and click
along the other joint changes so the bending OK.
characteristics change.You’ll save yourself
from doing extra work if you specify the Remember to save your figure
origins (centers) first. Note as a new figure in the Figures
library periodically as you
It’s a good idea to periodically
Note save your figure to a new
work, so you can back up if you
make mistakes.
Figure preset as you work so
you can back up if you make
Setting Favored IK
mistakes.
Angles
Keep the IK chains turned off until all
adjustments are completed.You can use the The IK in Poser works from the current
Zero Figure button to quickly set all rotations rotations of a body part, so proper IK angles
to zero while working. must be preset in the figure for it to work
predictably. Therefore, the original rotation
Setting Limits values loaded on the joint are important to
help the IK system know which way to bend
Limits establish a range of rotation, position, some joints.
and scale for a given body part. Limits can be
set for each body part on the figure. However
the most commonly used and logical limits are
Bend, Twist, Side-Side, and Front-Back. For
these parameters, limits are expressed as the
maximum and minimum degrees of rotation.

Favored IK positions.

Before you memorize the default position of

all the body parts, you should bend the ones
that are used in IK chains so that they favor
their natural bending directions. For example,
a human thigh is bends slightly forward and
out. The shin is bends slightly back and in.

Poser 4
Do this while keeping all the IK chains turned The following is a sample of the surface
off. Only turn them on after you have set the material section of the CR2 file:
favored angles.
material shirt

Memorizing Default KdColor 0.972549 0.988205 0.972549 1

Positions KaColor 0 0 0 1
KsColor 0.00784314 0.00784314
Memorizing the settings on a figure sets the 0.00784314 1
default values and positions for all the figure’s TextureColor 1 1 1 1
joints and body parts. The next time you use NsExponent 30
this figure, the memorized setting are used. bumpStrength 0
ksIgnoreTexture 0
To memorize the figure’s settings: textureMap "Biz Man Texture.pict”
00
• Choose Edit menu> Memorize>
Figure. Adding Morph Targets
Setting Surface If you have created Wavefront format OBJ files
that have the identical vertex ordering as any
Materials individual body part, you can load them as
morph targets.
In order to set the preset material for your
figure, you must edit its CR2 file that you Refer to “Setting up Morph Targets” on
created when you converted the Hierarchy page 272 for more information.
file.

The preset material cannot be set from the Naming Body Parts
Poser interface.You’ll need to edit the final
Figure library file with a text editor that is The names of the groups you set up in the
capable of opening any kind of file. At the end OBJ file and Hierarchy file may not be the
of the figure file is a block of text that specifies most descriptive names you can use. Once the
the preset material colors and texture map. If main parameters are set for the figure, you can
you’ve edited the regular material to be what change the name of each body part.
you’d like, you can copy the information to
the preset material. To change the name of a body part:

1 Double-click a body part. The Element

Properties dialog appears.
2 Enter a new name in the Name field.

Creating Custom Figures

Tutorial: Creating a mesh modeler, but retain individual body
parts. Use the OBJ exporter to
Figure in Ray Dream accomplish this.
Studio Choose File menu> Save As.
8 In the dialog that appears, set the file
In this tutorial, a Ray Dream Studio object is format to Wavefront OBJ and click
converted into a Poser figure. A pre-made Options.
mesh object included on your Ray Dream
Studio 5 CD is used, but the concepts can be 9 Enable the Export Full Path for Grouping
applied to any of your own models. checkbox and click OK.
10 Select a folder, then click Save.
Lesson 1: Creating the Initial 11 Close the Ray Dream Studio version of
Figure the scene.

To create the initial figure: Lesson 2: Naming Body

1 Place your Ray Dream Studio 5 CD in Parts
the drive and Launch Ray Dream Studio
5. To name the upper body parts:

2 Create a new, empty scene. 1 Reopen the OBJ file, using the default
3 Choose Windows menu> Browser to settings for Import options.
open the Browser, then select the Objects 2 Double-click the object to jump into the
tab. mesh form modeler.
4 Choose File menu> Add Folder/ If the set name dialog appears, leave the
Directory. default name and click OK.
5 On your CD-ROM drive, select the 3 Choose View menu> Preset
Dream Models: Mesh Models folder. Position> Front.
The folder is added at the end on the 4 Choose View menu> Preview (Fast).
right, so you may need to scroll the
window using the scroll bars at the 5 Using the Zoom tool, zoom in on the
bottom of the window. figure to about a 4:1 magnification.

6 Drag and drop the Woman2 object into All the individual objects from the
the Time Line Hierarchy. The Woman2 original Ray Dream Studio groups are
object is located towards the bottom of now separate polymeshes inside the mesh
the list. modeler.

7 The Woman2 object is a group of objects. 6 Double-click on the chest with the
You must move all the groups into the selection tool.

Poser 4
7 With the chest selected, choose 4 The eyes and mouth are currently a single
Polymesh menu> Name Polymesh. object. Use the marquee tool to select the
figure’s left eye.
8 Change the name to “chest”, then click
OK. 5 Choose Selection menu> Detach
Polygons to make the eye a separate
9 Repeat the above for the neck portion of
polymesh.
the figure, naming it “neck.”
6 Choose Selection menu> Weld to link
10 Call the left and right shoulder “lShldr”
the eye to the eyelashes.
and “rShldr.”
To match Poser conventions, left and 7 Choose Name Polymesh to name the
right should be from the reference of the object “lEye.”
figure, opposite to your own left and 8 Make the figure’s right eye a separate
right. Also, make sure the selection tool polymesh, link the eye to the eyelashes,
has selected the entire polymesh before and name it “rEye.”
trying to use name polymesh. If double-
clicking doesn’t select the entire 9 Double-click on the mouth.
polymesh, double-click in an deselected 10 Use Name Polymesh to name the object
area of the object. If the name polymesh mouth.
feature is grayed out, then the entire
polymesh is not selected. To name the midsection body parts:
11 Using the same procedure, name:
1 Zoom out, and then zoom in around the
• the left and right upper arms: midsection of the figure.
“lUpperarm” and “rUpperarm”
2 Double-click just above the belt and
• the left and right forearm:
name this section “abdomen.”
“lForearm” and “rForearm”
• the left and right hand “lHand” and
3 Choose View menu> Hide Selection.
“rHand” 4 Use the marquee selection tool to drag a
selection around the belt and into the hip.
To name parts of the head:
5 Hold down the shift key and double-click
1 Double-click the forehead of the figure to with the selection tool on a deselected
select the head. area of the hip.

2 Use Name polymesh to name the object 6 Choose Selection menu> Weld to
“head.” create a single hip object.

3 Select View menu> Hide Selection. 7 Make sure you have a polymesh selected,
and then name it “hip.”
You may need to zoom in to see the eyes
and mouth now left behind. 8 Zoom out, then zoom back in on the
legs.

Creating Custom Figures

9 Double-click on a vertex in the shorts To name body parts from the thighs
below the hip. downward:
You can see that both the left and right
1 Zoom out, and then zoom in from the
side of the shorts are a single object.
thighs down.
10 Use the marquee selection tool while 2 Select the left and right thigh and name
holding down the Alt-Option/Alt key to
them “lThigh” and “rThigh” respectively.
deselect the figure’s left side of the shorts.
You’ll probably want to start from the 3 Select the left and right calf and name
outside and slowly deselect inwards until them “lCalf ” and “rCalf ” respectively.
you reach the space between the two legs. 4 The feet are actually broken up into areas
11 Choose Selection menu> Detach of “foot” and areas of “sandal.” For this
Polygons. tutorial, combine the areas into a single
left and right foot. Double-click the
12 The bottom hem of the shorts is also a figure’s right ankle.
separate object. Select the hem, then
deselect the figure’s left side with the 5 Use the marquee tool with the Shift key
Ctrl/Alt-marquee selection. to select the rest of the right foot.

13 Choose Selection Menu> Detach 6 Choose Selection menu> Detach

Polygons. Polygons.

14 Select just the figure’s right hem. 7 Choose Selection menu> Weld.

15 Choose View menu> Hide Selection. 8 Name the object “rFoot.”

16 Select the polygons that are behind the 9 Repeat for the left foot, naming the
hem, which connect the shorts to the resulting object “lFoot.”
right thigh.
To name parts in the shoulder area:
17 Choose View menu> Reveal Hidden
Vertices. 1 Zoom out, and then zoom back in
18 Use the selection tool with the shift key around the right shoulder.
to also select the right hem and right leg 2 Select the right shoulder.
of the shorts.
3 Hold down the Shift key and double-
19 Choose Selection menu> Weld. click on the very edge of the hem of the
20 Repeat the previous two steps for the left shirt with the selection tool. This selects
pant objects. the polygons moving inward towards the
upper arm.
21 Name each side “lPant” and “rPant”
respectively.
4 Choose Selection menu> Weld.
5 Rename the resulting object rShldr.

Poser 4
6 Repeat for the left shoulder. 7 Select File menu> Import: Wavefront
OBJ.
7 Select View menu> Reveal hidden
vertices if any are still hidden. 8 Open the woman.obj file. Use the default
import options.
8 Click Done.
9 Use the Translate tool to drag the figure
9 Save a copy in Ray Dream Studio format.
up.
Lesson 3: Checking Lesson 4: Fixing Surface
Geometry Imports Normals
There are still a couple of steps to complete
You may notice that some areas seem to have
the object in Ray Dream Studio. Importing
holes or appear inverted. This is because the
this object as a prop into Poser allows you to
surface normals are flipped.You should see
check the import of the geometry for errors.
holes in the eyes, neck, abdomen, thighs, and
This part of the tutorial illustrates potential calves.You can fix this in Ray Dream Studio.
problems you may have in your models, and
To fix the surface normals:
how you might fix them.

To check for geometry errors in Poser: 1 Close Poser, then restart Ray Dream
Studio (if necessary).
1 Select Save As and set the file type to 2 Reopen the woman.obj file.
Wavefront.
3 Double-click the object to enter the
2 Locate your Poser folder on your hard modeler.
drive, then open the Runtime:
Geometries folder. 4 Use the selection tool with the Shift key
to select the eyes, neck, abdomen, thighs,
3 Make a new folder called rdswoman. and calves.
4 Open the rdswoman folder and save the You’ll probably need to select and hide
file as woman.obj. the head to get to the eyes.
5 Open Poser. 5 Choose Polymesh menu> Reverse
You may need to close Ray Dream Polymesh Normals.
Studio first in order to have enough 6 Choose View menu> Reveal Hidden
memory. Vertices.
6 Click and drag on the Translate In/Out 7 Click Done.
tool to move the figure away from the
camera. 8 Select File menu> Save As.
9 Set the file type to Wavefront.

Creating Custom Figures

10 Click Options. 4 lShldr xzy
5 lUpperarm xyz
11 Turn on the Export Texture Maps option. 6 lForearm xyz
Although there are no maps assigned in 7 lHand xyz
Ray Dream Studio, the Export Texture 4 rShldr xzy
Maps option allows you to set a material 5 rUpperarm xyz
color for each body part in Poser. With 6 rForearm xyz
this option turned off, the entire figure is 7 rHand xyz
considered one surface. 2 lPant yxz
3 lThigh yxz
12 Save the file as womanfinal.obj into the 4 lCalf yxz
rdswoman folder.
5 lFoot zxy
13 Close Ray Dream Studio.You do not 2 rPant yxz
need it for the remainder of this tutorial. 3 rThigh yxz
4 rCalf yxz
Lesson 5: Creating the 5 rFoot yzx

Hierarchy File Manually ikChain lArm lShldr lUpperarm lForearm

lHand
In Poser 4, you can create parent-child
relationships in the Hierarchy Editor. If you’d ikChain rArm rShldr rUpperarm rForearm
rather create them manually, here’s how to do rHand
that. Refer to “Using the Hierarchy Editor”
ikChain lLeg lPant lThigh lCalf lFoot
on page 290 for how to use the new
Hierarchy Editor. ikChain rLeg rPant rThigh rCalf rFoot

To create the Hierarchy file manually: 2 Save the Hierarchy file into the
rdswoman folder and name it
1 Using a text editor, create your Hierarchy
womanfinal.phi.
file to appear as follows:
To scale the new figure:
objFile:Runtime:Geometries:RDSWoman:w
omanfinal.obj
1 Open Poser
1 hip zxy 2 Select File menu> Convert Hierarchy
2 abdomen yxz File.
3 chest zyx
A new figure is created in a group called
4 neck yxz
New Figures.
5 head yxz
6 lEye yxz 3 Open the library window and click on
6 rEye yxz the figure tab.
6 mouth
yxz
4 Select the New Figures category.

Poser 4
5 Double-click the new figure (with the Lesson 6: Setting Joint
shrugging Poser figure icon).
Parameters
6 The figure is initially very large. Select
“body” from the Current Elements pop- If you use the Poser 4 Hierarchy Editor, you
up menu. can have Poser set joint parameters based on
the Hierarchy you define. Even so, you will
7 Double-click the scale parameter dial and
may want to make adjustments to joint
change the value to 4.2%.
parameters.
To adjust body part color:
Before adjusting joint
1 Choose Figure menu> Drop to Floor. Note parameters, always check that
2 Each body part is a different color. Use IK Chains for the figure are
the color tool on the body parts to better turned off.
organize the figure.
Your first task is to set the center of rotation
3 Use a similar color for the chest, for all body parts. If you change this later, it
abdomen, left shoulder and right shoulder affects all other bending parameters for parent
to form the shirt. and child body parts.
4 Use a similar color for the hip, left pant,
and right pant to form the shorts. To set the hip center of rotation:

5 Use a similar color for each foot. 1 Switch to outline display mode.
6 Color the mouth red and each eye white. 2 Open the Joint Parameters window.
7 Use a skin tone for the remaining body 3 Click on Zero Figure.
parts.
4 Start by selecting the hip.
8 Select Edit menu> Memorize:
Figure. 5 Change the Center point x and z values
to 0.0.
9 Add the figure to the library, naming it
Womanfinal. 6 Set the y value to 0.9.
7 Set the End Point y value to 0.8. The x
and z value should be 0.0.

Creating Custom Figures

To set the centers of rotation for pant To set the center of rotation for the
body parts: head:

1 Select the right pant body part.Look at 1 Select the head.

the center of rotation.
2 Switch to the face camera.
2 Select the right thigh body part.
To set rotation values:
3 Drag the center of rotation up towards
the edge between the right pant and the 1 In the Joint Parameters Window, switch
hip. This gives the effect of the thigh and from center to yrot.
the pant leg moving together.
2 Swap the twist start and twist end
4 Repeat this for the left thigh.
positions.You can test your settings by
adjusting the yrot Parameter Dial in the
To set the center of rotation for the
Parameter Dial Window. The twist end
abdomen:
(in green) should be above the chin. The
twist start (in red) should be below the
1 Select the abdomen.
chin and into the neck. This blends the
2 Drag the center of rotation down, slightly rotation of the head into the neck.
into the hip.
3 Switch to the camera from the right, and
zoom in on the head and neck.
To set the center of rotation for the
chest: 4 Switch from yrot to xrot in the Joint
Parameters Window.
1 Select the chest.
5 Drag the static handle on the left (in red)
2 Drag the center of rotation up slightly, down below the chin.
within the bottom of the chest.
6 Drag the dynamic handle on the right (in
To set the center of rotation for the green) counter-clockwise till it is also
arms: below the chin, but still higher than the
static handle you dragged in the previous
1 Select the right upper arm. step.
Notice that as the dynamic handle hits
2 Move the center of rotation towards the
the static handle, the static handle is also
joint of the shoulder.
moved.
3 Repeat this for the left upper arm.
7 Drag the static handle counter-clockwise
until it is at the top of the back of the
neck.
8 Test your settings by adjusting the xrot
parameter dial.

Poser 4
To adjust scale values:

1 Switch from xrot to neck_scaleY. This

controls the blending zone for the y-axis
scaling of the neck when scaling the head.
2 Set Low start to 5.97 and Low end to
6.14.
This sets the blending to within the neck,
below the chin.
3 Select the mouth_scaleY.
4 Set Low start to 6.4 and Low end to 6.27.
5 Select lEye_scaleY.
6 Drag the High end up towards 9.
7 Repeat this for the right eye.
8 You can now scale the head to see the
effects.
You can now set limits for each body
part.

To set remaining limits.

1 Repeat the above procedures for the

remaining body parts, so that your figure
moves and bends realistically.
2 Set the default IK angles. Memorize the
default position.
3 Save the figure to the library.

Creating Custom Figures

16
Using Poser 4
with Other
Applications

Using Poser with

Ray Dream Studio 5
Poser adds features to Ray Dream Studio’s Mesh
Form Modeler. The Mesh Form Modeler lets you
edit an object’s surface directly, by editing the
points that define its surface. For a full description
of the Mesh Form Modeler, refer to the Mesh
Form Modeling chapter in your Ray Dream
Studio manual.

The following Mesh Form Modeling features

have been added to the Selection and Polymesh
menus.
Selection Menu Polymesh Menu

The Selection menu.

Name Polymesh: Similar to name polygons,

this option works on an entire Polymesh. It
creates a group name for the polymesh; Poser
The Selection menu. uses this name when importing Hierarchy files
to name body parts. Refer to “Creating
Name Polygons Custom Figures” on page 301 for more
Name Edges information.
Name Vertices:
Reverse/Standard Polymesh Normals:
Apply group names to selected polygons or When you export geometry in an OBJ file,
edges. Poser uses these group names to name Ray Dream assigns each polygon a direction,
body parts when importing Hierarchy files to called a surface normal.
create new figures. Refer to “Creating
Custom Figures” on page 301 for more For some objects, Ray Dream Studio may
information. assign normals in the wrong direction. In this
case, it appears that you are seeing the interior
Detach Polygons: Separate the current of the object from the front instead of the
selection into a new polymesh. The edges and front faces. Select these parts of the model in
vertices in common with the original and the the Mesh Modeler, and then select Polymesh
new polymesh are duplicated, so that no menu> Reverse Polymesh Normals. The
polygons are lost. This is useful for breaking OBJ exporter flips the normals when
up a solid object into individual sections for exporting.
use as body parts in Poser.

Using Poser 4 with Other Applications

Importing and Exporting you did not use Make Only One Group from
Group Information. If One for Each Group is
OBJ Files selected, an individual object is created for
each group.
The OBJ file format can be used between
Ray Dream Studio and Poser to: Transpose Coordinates: Compensate for
the difference in world coordinates between
• Create new figures from scratch using other programs and Ray Dream Studio. Ray
Hierarchy files Dream Studio has the y and z coordinate axes
• Edit Poser geometry to create new transposed from other programs, including
morph targets Poser.
• Create objects in Ray Dream Studio to
use as props in Poser Use the default settings when
Note importing Poser figures.
Importing OBJ Files
To import an OBJ file:
When importing OBJ files, the available
options are: 1 Select File menu> Import or File
menu> Open to open an OBJ file.
Group Information: Although Wavefront
objects can have a First or Last name
2 Set the file type to Wavefront (*.obj).
associated with each group, Ray Dream 3 Select the OBJ file and click Open.
Studio requires a single name per group. The
Group Information option lets you choose the Exporting OBJ Files
name to use within Ray Dream Studio. To
import an object as a single polymesh, you When exporting OBJ files, you are presented
must select the Make Only One Group radio with the following options.
button.
Export Normals: Toggles exporting of
Scaling Factor: Define the unit conversion surface normals on and off.You almost always
between Ray Dream Studio units and OBJ want this setting turned on.
units. If you are importing Poser geometry to
create morph targets, always use the default of Export UV values:Toggles exporting of UV
4.00 inches. texture data on and off. Turn this on to enable
texturing in Poser. Poser only supports UV
Create Meshform Objects: If None is mapping of figures and props.
selected, the object imports as an external
object, with the minimum modeler as its Export Full Path For Grouping: If you are
default modeler. If One is selected, the object saving a number of Ray Dream Studio objects
imports as one meshform object.The object is that have been grouped, the groups are saved
still broken up by its group names as as Wavefront groups.
individual polymeshes within the modeler if

Poser 4
Export Texture Maps: Creates a Wavefront
Material file to be used with the OBJ
Using Poser with
geometry file. This file describes how objects Painter 3D
are textured. It creates one material for each
group. You can export a figure as an OBJ file from
Poser and then paint on it as you would any
Transpose Coordinates: Compensates for other model.
the difference in world coordinates between
other programs and Ray Dream Studio. Ray To use a Poser model in Painter 3D:
Dream Studio has the y and z coordinate axes
transposed from other programs, including 1 Create and pose a figure in Poser.
Poser.

Degree of Tessellation: Controls the

smoothness of the exported object.

Textures Format: If the Export Texture

Maps option is turned on and the objects have
attributes which must be converted to texture
maps, this controls the format of the texture
files and their resolution.

To export an OBJ file:

1 Select File menu> Export or File

menu> Save As.
2 Set the file type to Wavefront (*.obj). Poser figure.

3 Click on the Options button to alter the 2 Choose File menu> Export>
export options. Wavefront OBJ.
3 In the dialog that appears, select the
Single frame option.

Select Single Frame.

Using Poser 4 with Other Applications

4 In the Hierarchy Options dialog that
appears, click OK to use the default
settings.
5 Launch Painter 3D.
6 Choose File menu> Acquire >
wavefront obj.
The figure appears in the model
window.
Painter 3D hair texture map.

8 Save the texture maps as pict files for use

with your Poser model in other
applications.

Poser figure in the Painter 3D model window.

7 Create a texture map for the body and

hair.
Painter 3D texture map applied to figure.

Painter 3D texture map.

Poser 4
Using Poser with 4 In the Hierarchy Options dialog that
appears, click OK to use the default
Bryce 3D settings.

You can import Poser Figures as OBJ into any 5 Launch Bryce.
Bryce scene. 6 Open or create a scene where the Poser
figure is to be placed.
To use a Poser model in Bryce:

1 Create and pose a figure in Poser.

The unrendered scene.

Poser figure.

2 Choose File menu> Export>

Wavefront OBJ.
3 Select the Single frame option.

The rendered scene.

7 Choose File menu> Import Object to

add the figure to the scene.

Select Single Frame.

Using Poser 4 with Other Applications

8 Scale and position the figure • Select the body to map it first.
appropriately.
To apply a texture map to the figure:

1 Click to select the figure.

• Click the Edit Materials icon in the
Edit Palette.

The Materials Lab appears.

Scale and position the figure.

The figure is placed in the scene with a

default gray texture attached.

The Materials Lab.

2 Click column A for Diffuse and Ambient

channels.
The default gray texture.

9 If the figure has hair, the hair and body

import into Bryce as a group. To map
each part:
• Ungroup the hair and body by
Select Diffuse and Ambient channels.
clicking the ungroup button, which
appears beside the object when
selected.

Poser 4
3 Click the Image Texture button in 5 Click Load (above the first large pict
material A. box).

6 Apply texture map(s) with one of the

following methods.
• Select and open the pict file texture
you created in Painter 3D. Refer to
“Using Poser with Painter 3D” on
The Image Texture button.
page 326 for details on creating a
4 Set the mapping mode to parametric and Painter 3D texture file for a Poser
click the Texture Source Editor button in model.
material A. • To use the default texture from Poser,
open Poser:Runtime:Textures and
select the appropriate texture. Poser
renders as a multiplication of the
texture and body part color.
• Open the Poser pict file in an image
editing application (such as Painter or
Photoshop), edit the colors, add
patterns, then save the file as a new
The Texture Source Editor button.
pict file for use with your figure.
The Texture Source Editor appears. • Use Bryce’s textures to create surreal
figures (such as rock or glass).

The Texture Source Editor. Open the Painter 3D texture file.

Using Poser 4 with Other Applications

7 Click on the black dot above the second
large pict box to delete the mask.
Using Poser on the
World Wide Web
If your computer is connected to the Internet,
you can access the World Wide Web directly
8 Click on the check mark to accept the from Poser.You can exchange information
deletion. with other Poser users, visit the Curious Labs
site, or view the latest technical support
9 Adjust other material channels information.
appropriately.
For this scene, the specularity and Internet Connection
reflection were increased to make the
swimmer look wet. You must have an Internet connection and a
10 Click on the check mark to accept browser package to use the Web-based features
material. of Poser. If you have an account with an ISP
(Internet service provider), such as EarthLink,
AOL, or other provider, you are ready to go.
Otherwise, acquire an Internet account and
install a modem on your computer. Once you
have a connection, you can start using Poser’s
Internet-based features.

If you have an e-mail only account with a

provider such as Juno, you will not be able to
use all of the Web-based features of Poser.

Using a Browser
The final result.
The two most common browsers are Internet
11 With the hair selected, repeat these steps Explorer and Netscape Navigator.Use version
to apply the hair texture. 4.0 or greater of either browser to take
advantage of interactive HTML features.

Poser 4
Windows Users 2 Poser launches your browser and opens
the desired link.
If your computer is running Windows 95,
Windows 98, or Windows NT 4.0 or greater, Modifying Poser Web Links
you should already have Internet Explorer
installed. If not, you’ll need to install it. Once You can create, delete, or edit Poser Web Link
you have an account with an ISP, you can start files. Each link is a simple ASCII file that
using the Web-based features of Poser. contains a line with the link’s URL.

Macintosh Users To add, delete, or edit Web links:

Once you have an account with an Internet 1 From your desktop, open:
provider and a browser software package Poser:Runtime:Weblinks:
installed, you can start using the Internet- Curious Labs/Other Web Links. Link
based features of Poser. files appear in these folders.
2 Do any of the following:
Accessing the Web • To change the name of a link,
highlight the filename and enter a
Poser now has a “Links” menu that will launch new name.
your default browser and take you to the one
• To delete a link, drag its file to the
of the Poser-related Web links in your links
Trash/Recycle Bin.
list.You can update this links list to add your
own links and delete any default links you do • To create a new link, open a text
not use. editor such as Note Pad or
SimpleText. Enter the URL on the
In addition, you can also export both still files first line of the file, and save the file
to the Web using the Export Image or Render in the Poser:Runtime:Weblinks:
to Disk options on the File menu.You can Curious Labs/Other Web Links
export animations through the Render directory.
Animation feature. • To change a link, open the link file in
your text editor, enter the new URL,
To select a Web link:
then save and close the file.
1 Choose Help menu> Curious Labs 3 Restart Poser.
Web Links> choose a link for links to Your menu reflects the new links.
Curious Labs Web pages
or
Help menu> Other Web Links> choose
a link for links to Poser Web sites.

Using Poser 4 with Other Applications

Using Poser with Textures generated by Poser are already lit (by
real light) and do not need additionally
MetaStream shading by synthetic lights, so set texture
shading to off.
You can export Poser scenes to MetaStream
format files for use on web sites.
If Infini-D is installed on your

To export a Poser scene to MetaStream

Note computer, MTS files appear with
format: an Infini-D icon. Double-clicking
this icon launches Infini-D. If an
1 Create and pose figures and objects in error message appears, make
Poser.
sure the Infini-D path information
2 Choose File menu> Export> in the HTML file is correct and
MetaStream. that all required libraries are
Two file formats are generated: available.
• HTML: embeds MetaStream output
generated by Poser using the
EMBED tag. Using Poser with
• MTS: contains compressed geometry Canoma
and textures.
Canoma models can be exported in the OBJ
Double-click the HTML file to open the format for import into Poser.
output.
Exports to Poser Prop command within
Use MetaStream objects as embedded objects Canoma exports a .pp2 file and several .bmp
in an HTML page. This gives the page author (Win)/.pict (Mac) textures.
full control over a wide range of rendering
and interaction options described at the To use a Canoma model in Poser:
MetaStream Web site:
1 Manually copy or move the .pp2 file to
http://www.metastream.com any immediate subfolder of Runtime:
Libraries:Props.
If you open a raw MTS file, the plug-in runs
with all attributes set to default values. 2 Move or copy all the .bmp or .pict files
to:
PoserAppDirectory:Runtime:Textures

Poser 4
The Canoma-generated object or scene
appears in the list of props (without a special
icon) and with the name you give the prop.
You can place and work with the prop like any
other.

Keep shortcuts and aliases for the

Tip Poser texture and prop type
folders handy to where you
generate the prop file, then drag
the files onto the shortcuts. This is
faster than hunting down the
directory.

A word of caution: do not give two Poser

generated props the same name or you will
overwrite part of one prop’s textures.

Using Poser 4 with Other Applications

A
Troubleshooting

Installing Poser
If you have trouble with your installation, be sure
to read “Installing Poser” on page 15.

Poser (Windows) locks up the

first time you launch it
Many video cards cannot use hardware
acceleration at the high setting in any screen depth
other than High Color or 16-bit. There are two
ways to correct this problem:

To set your display to High Color or 16-bit:

1 Right-click on your desktop.

2 Select Properties.
3 Choose the Settings tab.
4 Change the color palette to High Color If this procedure does not work, enter the
(16-bit.). serial number in all fields (name, serial
number, etc.).
To lower the graphics hardware
acceleration setting in Windows: Poser (Macintosh) does not
1 Select the Window Start button.
accept your serial number
2 Choose Settings. Create a custom extension set according to the
instructions in “Macintosh Installation” on
3 Open the Control Panel.
page 15.
4 Double-click the System Icon.
5 Select the Performance tab. Macintosh Extension
6 Click Graphics. conflicts
7 Adjust the Hardware Acceleration slider Create a custom extension set as described in
to a lower position. “Macintosh Installation” on page 15, add
8 Test your system using this method until extensions, and test Poser to see if the conflict
is resolved. Some culprits of extension
you find the level of hardware
conflicts are scheduling applications, task bars,
acceleration compatible with Poser.
and RAM doubling type applications.
Poser (Windows) does not Interface corruptions are caused by bad fonts
accept your serial number (such as system 8-8.1’s charcoal). Update older
versions of Adobe Type Manager (ATM), as
This problem may be related to your video they can have conflicts.
drivers.You can set your display to VGA (256
color). Or on NT, reboot and choose NT
VGA mode.

To allow for CD-ROM support and

16-color video:

1 Right-click on your desktop.

2 Select Properties.
3 Choose the Settings tab.
4 Change the color palette to VGA (256
color).

Tr o u b l e s h o o t i n g
B
Glossary

Aliasing A visual artifact caused by low-

resolution sampling that can cause hard edges or
areas of high frequency in an image to look
jagged. Refer also to Anti-aliasing.

Angle Falloff The amount of diminution in the

brightness of a spotlight toward the edge of a light
cone.

Animation Controls A control panel located at

the bottom of the Poser Workspace that lets you
quickly set up and preview animations using a
simple click and drag interface.

Animation Duration The amount of time that

an animation lasts.

Animation Elements List A list that displays all

figures, lights, cameras, and props currently in the
studio. The Animation Elements List is accessed
on the Animation palette and is used during the
editing of animation keyframes.
Animation Frame Count Refer to Frame Break Spline Interpolation A type of
Count. animation interpolation which has no
intermediate poses. Position changes abruptly
Animation Frame Rate Refer to Frame only at the keyframes. Refer also to Constant
Rate. Interpolation, Linear Interpolation, and Spline
Interpolation.
Animation Frame Size Refer to Frame
Size. Bump Map A type of surface material that
determines the shape of bumps or dents on an
Animation Graph Palette Refer to Graph object’s surface.
Palette.
Camera Plane The plane that a camera
Animation Palette A comprehensive dialog moves along.
which lets you edit keyframe positions, create
complex animations, animate individual body Child An object that is linked to another
parts, and edit keyframes within an animation. object (its parent) in a hierarchy. When the
Refer also to Animation Elements List. parent is moved, the child moves with it.
Refer also to Parent.
Anti-aliasing The process of eliminating
aliasing by higher resolution sampling, so that Chain Break A tool that breaks the chain of
hard but jagged edges appear smooth and parts affected in a translation.
clean.
Constant Interpolation A type of
Auxiliary Camera An additional camera animation interpolation that maintains a
view. Like the Main camera, the auxiliary keyframe position, then instantly changes to
camera rotates around the center of the studio. the next pose. Refer also to Break Spline
Interpolation, Spline Interpolation, and Linear
AVI A PC file type used for saving movies. Interpolation.
Axis A hypothetical linear path. The X,Y, Deformers Properties that can be applied to
and Z axes (width, height, and depth, an object (or group of objects) to deform its
respectively) define the directions of the 3D geometry. In Poser, deformers include
universe. The axis along which an object is magnets and waves.
rotated is the axis of rotation. An object’s axes
are parallel to its bounding box. Depth Cueing An effect which creates the
appearance that elements far away are dimmer
Box Tracking A tracking style that displays than elements closer to the camera.
figures and objects as boxes at all times. Refer
also to Figure Tracking, Fast Tracking, and Full Display Style A style that determines how
Tracking. figures, elements, or the document are
displayed in the Document window.
BMP A Windows file format for bitmapped
or pixel-based images.

Glossary
Distance Falloff The distance from a Focal Length A camera control that changes
spotlight itself to the point where the light has the camera perspective in the studio.
no effect. Decreasing the Focal Length increases the
sense of perspective. Increasing the Focal
Distant Light Refer to Infinite Light. Length “flattens” the sense of perspective.

Document Display Style Refer to Display Frame Count The total number of frames
Style. in an animation.

Dolly A camera view where the camera Frame Rate The number of frames used
moves around in 3D space as if gliding on the during one second of animation.
surface of a sphere surrounding the Poser
studio. Frame Size A width or height value for the
animation output set during Animation Setup.
DXF Originally developed for use with The aspect ratio of the Document window
AutoCad, this is the most common 3D file determines the other value.
exchange format.
Full Tracking A tracking style that uses a
Fast Tracking A tracking style that displays display style at all times, resulting in a slower
figures and objects as boxes only when they motion as you manipulate poses and shapes.
are moving. Refer also to Box Tracking, Full Refer also to Box Tracking, Fast Tracking and
Tracking, and Figure Tracking. Figure Tracking.
Figure Ring The ring that surrounds a Graph Palette A palette that lets you
figure and allows you to select the entire perform precise edits on keyframes and adjust
figure (as opposed to its elements). the interpolation methods used in an
animation. The palette is made up of two axes
Figure Tracking A feature used during the and a graph.The horizontal axis displays frame
posing and shaping phases that changes the numbers which represent time in your
display of an object as you reposition its parts. animation.
Refer also to Box Tracking, Fast Tracking, and
Full Tracking. Grouping Tool An editing tool that allows
you to select specific polygons on an object
Flyaround View A camera view that lets you and group them.
see all the contents of the studio at once. In
this view the camera moves around an Group Edit Palette A dialog that
imaginary track above and away from the accompanies the Grouping tool. The Group
center of the studio. Edit palette includes various options for
grouping and creating props.

Hierarchy A tree structure that lists the

objects in the scene and shows their logical
relationships to other objects.

Poser 4
Horizon Line A reference line in a studio Libraries Palette A Poser library dialog by
that shows perspective. which figures, poses, props, lights, cameras,
and animations are saved and retrieved.
Implicit (UV) Mapping Refer to UV
Mapping. Light Control A control used to create and
position lights in the Poser Workspace. The
Infinite Lighting A lighting control that Light control is located by default in the top
shines light into the studio the same way the left corner of the Poser Workspace.
sun or moon shines on the Earth. The light
rays from a distant source are parallel as they Light Indicator A visible representation of a
enter the Poser studio. light source. The infinite light indicator
appears as a ring around the figure. The
Interpolation An animation process by Spotlight indicator appears as the outline of a
which Poser fills in the gaps between Spotlight.
keyframes to create the illusion of motion.
Refer also to Break Spline Interpolation, Linear Interpolation A type of animation
Spline Interpolation, Linear Interpolation, and interpolation that places intermediate poses at
Constant Interpolation. equal increments so the motion is smooth and
straight. Refer also to Break Spline
Inverse Kinematics (IK) A feature which Interpolation, Spline Interpolation, and
determines the dependency of jointed Constant Interpolation.
structures in movement. When an extremity
on a figure moves, IK determines how objects Magnet A deformer that distorts an object as
joined to it respond. if it were being affected by a magnet.

Keyframe A representation of one point in Memorize A feature that sets a default value
time in an animation. Keyframes store changes for a Parameter Dial.
in position for each body part in the figure, as
well as changes in scale, color, lighting, or Memory Dots A graphical control that
camera position. allows you to save multiple poses, cameras,
and UI configurations within a file.
Keyframe Animation The process of
assigning different poses to different keyframes Morph A change made to the form or
during an animation. character of an object.

Keyframe Interpolation The method Poser Morph Targets A parameter added to an

uses to calculate the “in between” position of object that allows you to gradually reshape it.
objects or elements. Refer to Spline
Interpolation, Linear Interpolation, Break Natural Light Refer to Infinite light
Spline Interpolation, and Constant
OBJ A file format used in many 3D graphics
Interpolation.
programs.

Glossary
Orthogonal A camera projection of a scene PICT A standard Macintosh file format for
which has no perspective distortion. pixel-based images.

Object Any 3D volume or other item that Pitch The aspect of an object’s attitude that
appears in the universe, including cameras and describes its angular deviation along its
lights. When objects are grouped, their group vertical (top-to-bottom) axis.
is also described as an object.
Point of View (also viewpoint) The
Orbit Refer to X,Y, Z Orbit. position and angle from which a scene is
viewed. The point of view (POV) is always
Orientation The direction an object faces as through a camera.You may add several
defined by the compound effect of the cameras, positioned and angled differently, and
object’s pitch, yaw, and roll. Usually, the most switch the Universe window POV between
important aspect of an object’s orientation is them. When you render an image, you choose
its relation to other objects. An object’s the POV from which the image should be
relation to the viewpoint can be changed by taken.
moving the current camera.
Properties A collection of characteristics
Origin Refer to Prop Origin. applied to (or available for) an object.
Properties for an object appear in its
Parameter Dimensions or encompassing Properties dialog.
characteristics applied to a figure or object to
define its relationship to itself or other objects. Prop Origin 3D cross-hairs that represent a
prop’s center of rotation and scale. When you
Parameter Dial Movement controls that rotate a prop, it moves around the origin
allow figure posing using precise numerical point.
increments. By dragging a dial you can move
a body part in small increments, allowing for QuickTime A standard Apple file format for
precise poses. movies.
Parent An object that is linked to another Reflection Map A type of surface material
object (its child) in a hierarchy. When the that determines what is reflected on an
parent is moved, the child moves with it. object’s surface.
Refer also to Child.
Render The process of building a 2-
Phoneme A linguistic term for the position dimensional bitmapped image from the
of the lips, teeth, and tongue as they make information contained in a 3-dimensional
sounds that produce specific letter sounds. In scene.
Poser, you can create the appearance of
phonemes to create realistic facial animations, Roll A camera command that tips the Dolly
simulating speech. camera to the left or right.

Poser 4
Scale A value that describes the space an Taper Adjusts the scale of one end of an
object occupies; synonymous with Size, element only—the other end does not change.
though Size implies an absolute space.
Texture Map A type of surface material that
Scrubber A control which represents the determines the texture of an object’s surface.
current period of time on the Animation
Timeline. By positioning the Scrubber at TIFF A graphics file format used for still-
different points in time, you can move image bitmaps.
through time to set up keyframes.
Timeline A graphical representation of time
Smart Prop A prop setting that describes a located in the Animation Controls.
specific location for a prop in relation to
another object. The location is found when a Tracking Refer to Figure Tracking.
smart prop is retrieved from the library.
Translate In/Out Tool An editing tool that
Spline Interpolation A type of animation moves a selected part or figure in the z
interpolation which places intermediate poses dimension.
(and settings) on a curve. The element or
Translate/Pull Tool An editing tool that
object accelerates and decelerates in and out of
moves a selected part or figure vertically or
the motion. Refer also to Break Spline
laterally (in the x and y dimensions).
Interpolation, Constant Interpolation, and
Linear Interpolation. Translation A manipulation of the position
or attitude of an object. Also, an extrusion in
Spotlight A light that is cast in a specific
which the cross section remains at one angle,
direction along a cone-shaped path, creating a
regardless of the curvature of the sweep path.
“stage spot” effect.
Transparency Map A type of surface
Spread The amount of space between the
material that determines what is reflected in a
fingers, controlled by the Spread Parameter
transparent object’s surface.
Dial. Higher values spread the fingers out,
while lower values push the fingers together. Turbulence A Parameter Dial that defines
the roughness of a wave pattern. Go from a
SMPTE ISO standard acronym to describe
smooth pattern, to a jagged, turbulent one.
time by hours:minutes:seconds:frames.
UI The User Interface (UI) is what appears
Surface Materials Rendering controls that
when you launch Poser. The screen is the
let you apply texture characteristics to an
interface between the user and all of the
object.
features of the application. It contains buttons,
Symmetry A menu control that allows pose pull-down menus, and paths to the features
characteristics to be copied from one side of themselves.
the body to another.

Glossary
URL Uniform Resource Locator (URL) is VRML Virtual Reality Modeling Language
the string of locations in a Web address. The —a file format that can be imported and
URL for Curious Labs, for example, is: exported in Poser.

http://www.curiouslabs.com Walk Designer A dialog that allows you to

experiment and control motion creating a
Use Limits A feature that keeps body parts realistic walking gait. The designer also
within a natural range of motion. Use Limits provides a real-time preview of the walk.
does not apply to parts involved in IK (Inverse
Kinematics). Wave A deformer that distorts an object as if
it were being affected by a wave.
UV Mapping A 3D coordinate mapping
system. UV coordinates are used in parametric Waveform The graphic representation of a
mapping to align points on the shader with sound file.
points on the object.
Wavefront A file format designating
Vanishing Lines A guide used to achieve a Wavefront OBJ.
realistic perspective when matching the view
of a figure with the perspective in a xOrbit A camera control that tilts the camera
background image. forward or backward.

Vector A line of movement defined by its Yaw The area the Dolly camera points at as it
end points or by the current position and one rotates 180 degrees on its y-axis.
other point.
yOrbit A camera control that tilts the camera
Vertex A control point on a path. Paths to the left or right.
begin, change angles, and end at vertices.
zOrbit A camera control that orbits the
Viewpoint Refer to Point of View camera around the studio. The camera
continues to point at the center of the studio
as it orbits.

Poser 4
Glossary
 Index
Numerics Aiming break spline
infinite lights 194 interpolation 206, 225
lights 193, 197 BVH files 242
2D rendering 259 spotlights 194 cameras 181, 237, 239
3D programs Alias changing Timeline
props and 167 Ruler 217
defined 337
3D Studio file format clearing keyframes 219
rendering 262
clip sound file 240
exporting 48 Align constant interpolation
importing 47, 166 head 237 206, 224
3DMF file format joint parameters 282 controls 206
exporting 48 All Elements option 218 copying keyframes 222, 223
importing 47, 166 Deleting keyframes 219 creating 209
Next Keyframe 221 Current Frame
Previous Keyframe 221 Indicator 227
A Allocating memory 25
cycle repeat 237
deformers and 208
Always Complete Last Step 237 deleting keyframes 213,
Accessing the web 332
Ambient color 257 219, 220
Add Element to deform button
Amp Noise dial, waves 150 designing walks 234
magnet object Dolly camera 238
Amplitude dial, waves 150
properties 146 duration 210, 337
wave object properties 151 Angle Falloff
editing 206, 213
Add Keyframes button 213, 218 defined 337
editing graph 227
spotlights 201
Add Morph Target editing interpolation 225
Animals editing keyframes 217
body parts 42, 126
Prop properties 170 heads and 133 editing sound files 240
posing 133 editing walks 235
Adding
Animating checkbox Elements list 215, 216, 337
animations to library 230 Face camera 238
chain breaks 120 Light properties 192
faces 207
figures to studio 33 Animating On/Off icon 181
figures and 205, 206
hair 163 Animation frame count 215, 339
infinite lights 193 adding keyframes 213, 218 frame rate 214
keyframes 213, 218, 228 adjusting current time 212 frame size 210
lights 193 adjusting scrubber 212 go to keyframe 221
poses to the library 135 align head 237 green keyframes 225
props 166 All Elements button 219 Hand cameras 238
spotlights 193 Always Complete Last Step hands 207
Adjusting light indicators 196 237 how it works 206
Advancing keyframes 220, 221 background and 211 indicator 239
interpolation 206, 224 turn camera off 239 techniques 231
interpolation graph 226 walk in place 236 Answering questions 13
Inverse Kinematics and 207 walk paths 233 Anti-alias
key-shaped indicator 239 walking 233
defined 338
lights 239 wave deformers and 208
Document render 263
linear interpolation waveforms 241
rendering 262
206, 224 window size ratio 210
loading walks 236 Apply Bulges parameter 284
Animation Controls 209
magnet deformers and 208 Apply Bulges parameters 285
command 214
Main camera 238 defined 337 Apply standard rotation order
morph targets and 209 scrubber 211 299
motion 232 understanding 24 Applying
moving keyframes 221, 222
Animation Palette 24 preview modes 40
navigation controls 220
Animation palette 213 standard hierarchy 299
Next Keyframe button
symmetry 125, 142
220, 221 add keyframes 218
walks 236
palette 206, 213 adding keyframes 218
previewing 206 clearing keyframes 219 Arms, selecting 43
Previous Keyframe current time and 215 Articulated Hand model 128
220, 221 defined 338 Aspect ratio, rendering 261
props and 208 delete keyframes 219 Auto Balance, posing with 134
red keyframes 225 Elements List 215
Auxiliary Camera 179, 338
rendering 264 frame numbers 215
show graph display button AVI
saving walks 236
selecting elements 216 225 background 211
selecting keyframe This Element button 219 defined 338
range 228 Timeline 217 Footage command 211
selecting keyframes Animation Setup command importing 47, 211
217, 227 210, 214 rendering and 264
setting dimensions 210 Animations Axis, defined 338
setting duration 210
adding to library 230
setting up 210, 214
simulating speech 207
advanced features 224
cameras and and 187
B
Sound Display 241
creating 205, 209
sound files 240 Background
current time 215
sound range 240
current time and 211 animation 211
spacing keyframes 231
lights and 203 image 211
spline interpolation
looping 229 movie 211
206, 224
multi-frame 230 Background color
syncing sound 240
playing 228
techniques 231 Rendering and 262
poses and 35, 48, 135, 157
This Element button 218, setting 29
previewing 228, 229
219, 220 Background Picture 262
saving 265
timeline 211, 217 Backgrounds
speed 210
timing keyframes 223
stopping 228 clearing 44
Transition options 237

Index
 color 194, 262 tapering 141 zOrbit 184
pasting figures onto 44 turning 123 Camera Plane
rendering and 262 twisting 118, 122 controls 181
Workspace 28 Body shaping 138 defined 338
Bend dial 122 Box Tracking 30, 338 Camera Selection control 180
Bend option, Element Break Spline interpolation 206, Cameras
Properties 42, 126 225, 338 animating 181, 237
Bending Breasts, changing size 141 animation indicator 239
body parts 122 BRLarge 141 auxiliary 179
figures 127 Brow parameter 132, 153 category 32
joint parameters 281, 283 controls 21
Browser 331
props 12 Dolly 179
BRSmall 141
Black, rendering and 262 face 179
Bryce 3D, using with Poser 328 flyaround view 180
Blend zones 278
Bump maps focal length and 183
Blink, posing for 131
converting PICT 248 hand 179
Blocks, selecting keyframes 222
custom 247 Hand Cameras 127
BMP file format 251 defined 338 how they work 177
defined 338 loading custom 248 locking 186
importing and 47 painting 248 main 179
rendering and 264 props and 171 memory dots 37, 187
Bodies rendering with 263 options 185
scaling 142 Strength slider 247 Orthogonal 179
sizing 142 templates 248 parameters 183
BumpNose parameter 132, 153 pointing 186
Body parts
Posing 179
attaching to prop 172 BVH file format 47
posing and 110
bending 42, 122, 126 Importing BVH files 242 properties 185
casting shadows 42, 126 roll 183
front-to-back rotation trackball 182
movement 123 C saving positions 37, 186
grouping 305 saving to library 186
hiding 42, 126 scaling 183
Camera Controls
locking 134 See also Libraries
morph targets and 42, 126 understanding 21
using 181 selecting 36, 180
naming 42, 126 shortcut icons 180
options 126 viewing figures and 36
switching 180
Parameter Dials and 141 Camera parameters
turning animation
pointing 134 Focal Length 183 on/off 239
properties 42 Pitch 184
Canoma, using with Poser 333
replacing with props 173 Roll 184
scaling 140, 141 Scale 184 Cartoon style 39
selecting 43, 114 xOrbit 184 Cartoon w/Line style 39
side-to-side movement 122 Yaw 184 Casting shadows 201
surface materials and 245 yOrbit 184

Poser 4
Casts Shadow button, Color dot 199 walk paths 233
properties 42, 126, 170 Color tool 28, 139 Curious Labs
Center Point Colors license agreement 363
joint parameters 282, adding 139 Current Element menu
283, 285 ambient 257 props and 168
Center, joint parameters backgrounds 194 selecting and 113
280, 282 Document window 29 Current Figure menu
Chain break figures and 139, 199
animals and 133
adding 120 highlight 256
Light properties 192 Current Frame Indicator 227
posing and 120
lighting and 199 Current time
removing 121
tool 120, 338 object 255 adjusting 212
props 171 for animations 211
Changing
reflective 254 moving 215
defaults 46 setting 255 scrubber 211
play range 229
Combining props 304 Custom figures 301
prop origin 169
Timeline Ruler 217 Conforming Custom morph targets 154
views 180 clothing to figures 165 Customer service 14
Characters, figures 153 figures and clothing 12 Customizing
hair to figures 164
Cheeks parameter 132, 153 bump maps 247
Constant interpolation 206, 224, reflection maps 254
Child
338 texture maps 250
defined 338
Contacting transparency maps 252
parent and 296
See also Parent, Hierarchy Technical support 14 Cycle repeat 237
Chin parameter 132, 153 Controls for animation 206
Copying 13
Clear Background Picture
blocks of keyframes 223
D
44, 211
Clearing joint parameters 286
keyframes 222, 228 Darkness of shadows 202
background 44
poses 125 Defaults
keyframes 219
Copying and Pasting 143 changing 46
Clipping sound files 240
Count, changing 215 restoring 46
Clothing
Create Meshform Objects 325 Deformer Tools 143
conforming to
figure 12, 165 Create Walk Path command 233 Deformers 12
figures and 164 Creating animating 208
hiding skin under 166 animations 209 defined 338
without a figure 166 figures 301 grouped objects, using
Collapsing figures from props 304 with 159
library sub-categories 34 magnets 144
elements list 216
motion 232 wavess 149
Hierarchy Editor 291
prop parameters 169 Deforming props 168
Color controls
props 168 Degree of Tessellation 326
Document window and 29

Index
Delete Keyframes silhouette 37 DXF file format
button 213, 219 defined 339
Delete Prop command 168 smooth lined 40 exporting 48
Deleting smooth shaded 40 importing 47, 166
texture shaded 40
infinite lights 193
wireframe 38
keyframes 213, 219, 228
libraries 35 Displaying E
props 168 guides 44
range of keyframes 220 Hierarchy Editor 290 Edit Falloff Graph
spotlights 193 Libraries palette 32
magnet zone
Workspace layouts 28 object properties 294
properties 146, 152
Deleting object groups 292 Distance Falloff
Editing
Deleting objects 292 defined 339
animation 206, 213
Depth Cueing 30 spotlights 201
animation setup 214
defined 338 Document Display Style 37 frame rates 214
Designing understanding controls 22 interpolation graph 226
Document Preference 26 keyframes on graph 227
walk paths 234
Document Style command 37 libraries 35
Destination, rendering and 261 sound files 240
Detach Polygons Document window
walks 235
Poser modeler 324 color 29
Editing tools 42
moving 29
Detail, surface 262 selecting parts with 43
repositioning 27
Detailer text file format resizing 29 understanding 23
exporting 48 setting up 28 using 114
Dimensions of animation 210 texture 31 Element pop-up
Display Deformer understanding 20 selecting body parts and 43
joint parameters 280 Document Window Size Elements
command 29, 210 animating 216
Display Origin
Dolly Camera 179 display style 41
magnet base 146
props 170 animating 238 properties 42
defined 339 restoring 46
Display Styles 22, 37
DollyX dial, cameras and 185 scrolling 216
about 13
DollyY dial, cameras and 185 Elements List 215, 216
applying 40
cartoon 39 DollyZ dial, cameras and 185 collapsing 216
cartoon w/line 39 Dots Establishing hierarchical
defined 338 relationships 295
color 199
elements and 41 Ethnicity 153
Drop to Floor command
flat lined 39 Exit command 49
125, 168
flat shaded 39 Expanding
hidden line 38 Duplicating
keyframes 228 Elements List 216
lit wireframe 38
Hierarchy Editor 291
outline 38 Duration of animation 210
resetting 41

Poser 4
Export Full Path For MouthM 130 combining to create
Grouping 325 MouthO 130 new 303
Export Normals 325 OpenLips 130 conforming 12
Export Texture Maps 326 parameter dials 130 conforming clothes to 165
phonemes and 132 conforming hair to 164
Export UV values 325
posing 129 creating 301
Exporting posing eyes 131 creating outside Poser 304
3D Studio file format 48 See also Libraries deforming 143
3DMF file format 48 Smile 130 genitals 139
BVH files 242 TongueL 131 heads 45
DXF file format 48 TongueT 131 height 139
files 47 using 133 hiding 44
including/excluding Worry Left/Right 131 hiding/showing 44
items 48 zooming into 36 locking 134
OBJ file format 48 Facial positions 207 modifying to create
OBJ files 325 new 302
Factory state 26, 27
props 48, 166 moving 124
Wavefront file format 48 Falloff graph
options 126
Eyebrow parameters 131 magnet zone 146, 152 pasting onto background 44
Blink 131 Falloff zones perspective of multiple
Left/Right Brow spherical 287 figures 45
Down 131 Fast forward button 228 placing in studio 32
Left/Right Brow Up 131 posing 113, 114
Fast Tracking 30
Left/Right Worry 131 previewing 37
defined 339 properties 41
EyeRoundness parameter Feet, selecting 43 props, and 161
132, 153
Figure Height command 139 range of motion 113
Eyes, posing 131 renaming 41
Figure joints 278
Figure Ring restoring 174
rotating 115, 123, 124
F defined 339
saving 160
posing and 114
scaling 138, 142
scaling and 142
Face Camera 179 See also Libraries, Body
Figure tracking 30, 339 parts, Bodies
animating 238
Figures selecting parts 43
Faces
adding clothing 164 shaping 138, 140
animating 207 showing all 44
adding to studio 33
Blink 131
animating 205, 206 sizing 142
category 32 translating 118, 119
applying surface
eyebrow parameters 131 twisting 118
materials 245
Frown 130 viewing 36
bending 127
Left/Right Brow visibility, changing 41
category 32
Down 131 width 140
changing types 138
Left/Right Brow Up 131
color 199 Figures category 138, 160
mouth parameters 130
combined props 304
MouthF 130

Index
Files Front-Back creating props with 303
exporting 47 joint parameters 281 defined 339
importing 47, 167 Front-Back joint parameters 281 using 157
printing 47 Front-to-Back dial 123 Groups
saving 48 arranging on model 307
Frown, posing for 130
Files, large 16 hierarchy file and 306
Full Tracking 30, 143
Flat Lined style 39 Guides
defined 339
Flat Shaded style 39 command 44, 125
FlatFace parameter 132, 153 displaying 44
FlatNose parameter 132, 153 G ground plane 44
head lengths 45
Floor. See Ground plane
hiding 44
Flyaround View 37 General Preferences 26 hip-shoulder relationship 45
defined 339 Genitalia command 139 horizon line 45
Flyaround view 180 Genitals 139 understanding 44
Focal Length Geometry, importing 304 vanishing lines 183
cameras and 183 Go to, specific keyframe 221
defined 339
dial 183
Graph palette 226 H
defined 339
Foreground color 29 interpolation and 226
FPS 210, 214 Hair
sound 240
Frame Count 210, 339 sound and 241 adding 163
waveforms 241 category 32
Frame number 211
conforming to figure 164
Frame Rate 210, 214 Graph Parameter Dials 122
posable 163
animation and 265 Grasp dial, hands 128 poseable 164
defined 339 Green keyframes 225 See also Libraries
editing 214 Ground Hand Cameras 179
Frame Size 210, 339 color 29 animating 238
Frames plane 44 posing 127
count, changing 215 plane,understanding 21 Hands 128
moving 228 Group checkbox animating 207
navigating 220 magnet zone properties 146 category 32
number of 210 wave zone properties 152 Grasping 128
rate 210 Group Edit palette 339 locking 128
selecting 217 Parameter Dials and 128
Group Information, OBJ
sizing 210 posing 127
files 325
spacing 231 presets 129
Grouped objects, deformers
Frames per second 210, 214 See also Libraries
and 159
Frames per second (fps) 232 selecting 43
Grouping
Freq Noise dial Thumb dial 128
body parts 305 zooming into 36
waves 150 surface materials and 246
H-Anim file format 48
Fresco license 363 Grouping tool 13

Poser 4
Head using 290 QuickTime files 211
animals 133 Hierarchy File sound 240
selecting 43 Body 310 Wavefront file format 47
Head lengths 45 converting 312 Importing geometries 304
HeartFace parameter 132, 153 Header 309 Importing motion capture 242
Height, figures 139 verifying 312 Inclusion and Exclusion Angles,
Hidden Line style 38 Hierarchy file editing 281
Hide Figure command 44 curved transformations 311 Infinite light
Inverse Kinematic indicator 195
Hiding
Chains 311 moving 196
body parts 42, 126
Hierarchy File, inside 308 Infinite Lighting
figures 41, 44
guides 44 Hierarchy Selection list 34, 48, defined 340
prop origin 169 135 Infinite lights 190
props 170 High End/Start joint parameters adding 193
skin under clothing 166 285 aiming 194
Hierarchical Relationships 295 Highlight Color 256 deleting 193
Hierarchies, multi-figure 298 Highlight Size slider 256 Infinite/Spot radio buttons
Hierarchy Highlights 171 Light properties 192
defined 339 Hip-shoulder relationship 45 Inherits bend of parent
how it works 289 Horizon Line 45, 340 props 172
See also Parent, Child Inside the Hierarchy File 308
Hierarchy Editor 12, 289, 299
apply standard
I Installation 14
Macintosh 15
hierarchy 299 tips 16
apply standard IK. See Inverse Kinematics Windows 16
rotation order 299 Image size, rendering and 261 Installing Poser 15
changing object
Images, rendering 263 Intensity, lighting 12, 200
visibility 294
collapsing 291 Implicit (UV) mapping 171, Interface Preference 27
controling display 291 247, 340
Internet connection 331
creating relationships 295 Import command 47, 240
Internet Explorer 331
deleting object groups 292 Importing
Internet, Poser and 331
deleting objects 292 3D Studio file format 47
displaying 290 Interpolation 224
3DMF file format 47
displaying object properties AVI files 211 break spline type 206
294 background footage 211 choosing 225
expanding 291 BVH file format 47 constant type 206
Inverse Kinematics 299 DXF file format 47 defined 340
parent-child files 47 editing 225
relationships 296 OBJ file format 47 graphs and 226
renaming objects 293 OBJ files 325 linear type 206
reordering objects 293 Painter 3D file format 47 spline 206
selecting objects 292 props 166, 167

Index
Interpolation graph copying blocks of 223 Props category 166
editing 226 deleting 213, 228 saving items to 34, 175
Interpolation types 206 editing 227 Libraries palette 23
go to 221 adding poses 135
Inverse Kinematics 299
green 225 animations and 35, 48, 135,
animation 207 interpolation and 225
chain break tool and 120 157, 187, 203
moving 221, 228 defined 340
defined 340 moving multiple 222
setting 112 displaying 32
preferences 224 faces 133
turning on/off 112 previous 221
understanding 110 hands 129
red 225 loading from 33
repositioning 228 resizing 33
rewinding 221
J selecting 217, 227
saving 34
sub-categories 33
selecting a range 228 using 136
Joint Angles selecting multiple 222 using figures from 32
joint parameters 283, 285 spacing 231 using poses for
timing 223, 241 animating 229
Joint parameters 278
viewing 229
copying 286 License agreement 363
walking and 236
editing 279, 280 Light Controls 191, 194
Key-shaped indicator 239
saving 286 animaing 239
Joints defined 340
attributes 282 L understanding 22
setting attributes 280 Light indicator 192, 195
JPEG file format LashLengh parameter 132, 153 defined 340
importing and 47 infinite 195
Launching Poser 25
scaling 196
Layouts, saving 28 spotlight 196
K Left/Right Brow Down dial 131 Lighting
Left/Right Brow Up dial 131 adding 193
Keyframe Legs, selecting 43 adding infinite lights 193
Length, heads 45 adding spotlights 193
advance to next 220
Libraries adjusting indicators 196
animation 206, 340
aiming 193
controls 214 Cameras category 186
ambient 257
count 215 command 32
animating 239
counter 209 deleting 35
animating option 192
defined 340 editing 35
color 192, 199
interpolation 224, 340 Face category 133
color parameters 200
Keyframes Figures category 138, 160
controls 191, 194
adding 213, 218, 228 Hands category 129
deleting infinite lights 193
advancing 221 Lights category 203
deleting spotlights 193
clearing 219 Poses category 135
features 12
copying 222, 228 posing and 110
how it works 189

Poser 4
 indicators 195 setting parent 193, 202 properties 146
infinite lights 190 turning on or off 192 Magnet deformer 12
multiple figures 190 turning on shadows 192 animating 208
naming lights 192 using Point At 199
Magnet object 144
pointing 199 Limits
properties 191 properties 145
Parameter Dials and 113
rendering and 189 Magnet tool 144
using 113
rotating 196 Magnet zone 144
Linear interpolation 206,
sets, saving 203 properties 146
224, 340
setting color 199
Links menu 332 Magnets
setting intensity 200
setting options 191 LipSize parameter 132, 153 locking 147
setting parent 193 moving 145
Lit Wireframe style 38
setting parents 202 parameter dials 145
Loading properties 145
shadows 192
Figures from a Libraries repositioning 144
shadows and 201
palette 33 rotating 144
spotlights 191
walks 236 scaling 145
turning on or off 192
twisting 196 Lock Hand Parts command 127 twisting 144
type of 192 Locking Main Camera 179
visible or not visible 192 body parts 134 animating 238
visual indicators of 192 figures 134 Make Movie command 260, 264
Lights hand parts 128 Map Size dial 202
adding 193 magnets 147
Mapping, UV 171
adding infinite 193 Locking, cameras 186
Materials command 245
adding spotlight 193 LongFace parameter 132, 153
Max Limit 122
adjusting indicators 196 Loop button 229
aiming 193 Memorize command 46, 340
Low Start/End joint
animating 192 Memorizing Parameter Dials 122
parameters 285
casting shadows 201 Memory dots
category 32, 203 cameras 37, 187
deleting infinite light 193 M defined 340
deleting spotlight 193 pose 136
determining type 192 posing 114
intensity 12 Macintosh
UI 28
making indicator visible 192 custom extensions 15
Memory, allocating 25
moving 197 extension conflicts 336
naming 192 installation 15 MetaStream file format
pointing 199 memory usage 16 importing 47, 166
rotating 197 Poser and 336 Min Limit 122
saving sets of 203 setup 25 Model Format 305
See also Libraries system requirements 15 Morph 340
selecting color 192 Magnet Morph targets 12
setting color 199 defined 340
setting intensity 200 adding 156
Magnet base 144

Index
 adding to body 187, 203 exporting 48
parts 42, 126 Multi-frame animations 230 importing 47, 166
animating 209 Multiple figures See also Wavefront
custom, creating 154 file format
in perspective 45
defined 340 OBJ files
lighting 190
ethnic 153 Create Meshform
relative sizes 142
props and 170 Objects 325
superhero 154 Multiple keyframes
Degree of Tessellation 326
Motion moving 222
Export Full Path For
selecting 222
creating 232 Grouping 325
syncing with sound 240 Export Normals 325
Export Texture Maps 326
Motion Capture Files 242 N Export UV values 325
Motion graphics programs 241
exporting 325
Mouth parameters 130
Name format 325
Frown 130 Group Information 325
Edges 324
MouthF 130 importing 325
Light properties 192
MouthM 130 Scaling Factor 325
Polygons 324
MouthO 130 Textures Format 326
Polymesh 324
OpenLips 130 Transpose Coordinates
Vertices 324
Smile 130 325, 326
TongueL 131 Name field
figure properties 41 Object color, setting 255
TongueT 131
magnet base properties 146 Object properties 169, 170,
MouthF, posing for 130
magnet object 174, 294
MouthM, posing for 130
properties 145 Object visibility, changing 294
MouthO, posing for 130 magnet zone properties 146 Object, defined 341
Moving wave object properties 151 Objects
current time 215 wave zone properties 152
renaming 293
Document window 27, 29 Naming reordering 293
figures 124 body parts 42, 126
keyframes 221, 228 Offset dial, waves 150
props 170
magnets 145 On checkbox
Natural Light. See Infinite Light
multiple keyframes 222 Light properties 192
props 168 Navigating frames 220
OpenLips, posing for 130
tools 27 Netscape Navigator 331
Options
waves 150 Next Keyframe button 213, 220,
cameras 185
workspace background 28 221, 227
rendering 260
Moving infinite light 196
Orbit, defined 341
Moving lights 197
Moving spotlight 196
O Orientation
defined 341
Multi-Figure Hierarchies 298 joint parameters 282
OBJ file format
Multi-frame animation
defined 340
saving 35, 48, 135, 157,

Poser 4
Origin shadows 202 cameras 186
changing 169 Parent Point of View, defined 341
for props 169 childr and 296 PointedNose parameter 132, 153
Origin. See Prop Origin defined 341 Pointing
prop 171 body parts 134
Orthogonal Cameras 179 See also Child, Hierarchy lights 199
setting for light 202
defined 341 Pose memory dots 136
using 179 Parent-child relationships 296
Poseable hair 164
Outline style 38 Parts
Poser, installing 15
posing 113
Poses
rotating 115
P selecting 113 adding to Libraries
palette 135
Paste onto Background
applying 136
command 44
Painter 3D file format category 32
Pasting 13
importing 47, 166 Libraries palette 229
poses 125 saving 135
Palettes
Pause button 228 See also Libraries
Animation palette 213
Graph palette 225 Perspective Posing
Libraries palette 32 focal length and 183 animals 133
Paper texture 31 multiple figures and 45 Auto Balance and 134
vanishing lines, and 46 cameras and 110
Paper Texture command 31
Phase dial, waves 150 copying and pasting 125
Parameter Dials eyes 131
Phonemes
body shaping and 141 faces 129
cameras 183 defined 341
figures 113
defined 341 posing for 132
hands 127
hands and 128 presets 207
libraries and 110
magnets 145 PICT file format 251 memory dots 114
naming 122 defined 341 Parameter Dials and 121
numeric values, setting 121 importing and 47 parts 113
posing and 121 rendering and 264 phonemes and 132
properties dialog 122 Pitch symmetry 124
range of motion and 113 undoing 114
defined 341
Scaling and 142 Posing camera 179
dial 184
shadows and 202
Planes Positioning
understanding 23
waves 150 ground 44 magnets 144
Play button 228 spotlight 198
Parameters
waves 149
aiming lights 197 Play range, setting 229
Positions, saving camera 186
defined 341 Playing animations 228
for scaling the body 142 Preferences 26
Plug-in architecture 166
light color 200 keyframes 224
Point At
light intensity 200 rendering 260
aiming lights 199
shadow 202 Preferred state 26
body parts 134

Index
Preview Controls 228 deforming 168 Rates, frames 210
Preview modes deleting 168 Ray Dream Studio 323
applying 40 exporting 48, 166, 167 Red keyframes 225
figures and 40 hiding 170
Reflection map
how they work 161
Previewing clearing 254
importing 166, 167
animations 206, 228, 229 morph targets and 170 color 254
figures 37 moving 168 custom 254
Previous keyframe 221 naming 170 defined 341
Previous Keyframe button 213, origin 169, 170 loading 254
220, 227 parents 171 Reflective color 254
Previous State 27 parents and 175 Relative size 142
properties 170 Removing
Printing files 47
replacing body parts 173
Prop origin chain breaks 121
resizing 168
defined 341 keyframes 219
rotating 168
hiding 169 saving 175 Renaming objects 293
Prop parent 171 See also Libraries Render commands 263
Properties setting parent 171 Render Options command
Bend 42, 126 setting parents 170 142, 261
body parts 42 smart props 175 Render over 262
Camera mode 185 surface material 171 Render to
defined 341 Props category 166 image size 261
figures 41 New Window 261
lighting 191
props 170 Q Rendering 259
animation 264
props and 174
anti-alias 263
shadows 201 Quality, animation and 264 aspect ratio and 261
Properties command 41, 42, Questions 13 defined 341
126, 169, 170, 185 how it works 259
QuickTime background 211
lighting and 192 images 263
QuickTime file format
shadows and 201 lights and 189
defined 341
Props 171 options 260
importing 47, 211
3D programs and 167 saving animations 265
rendering and 264
adding 166 setting up 260
QuickTime Footage shadows 263
animating 208
command 211 surface material 262
applying surface
materials 247 Quit command 49 Reordering
attaching to figures 172 objects 293
bending 12, 172
category 32
R Replace Body Part with Prop
command 173
color 171
Repositioning
creating 168 RAM usage 16
creating parameters 169 Document window 27
Range of keyframes, deleting 220
defined 161 keyframes 228
Range of motion 113 tools 27

Poser 4
 workspace background 28 figures 142
Resizing RoundFace parameter 132, 153 joint parameters 285
breasts 141 RoundNose parameter 132, 153 light indicator 196
Document window 29 magnets 145
Libraries palette 33 parameters 142
props 168 S Pose mode 140
See also Scaling proportionally 140
waves 150
Resolution of shadows 202 Save As command 49 Scaling Factor, OBJ files 325
Resolution, animation and 264 Save command 48 Scene hierarchy 289
Restore command 135 Saving Scrolling elements list 216
Restoring camera positions 37, 186 Scrubber 209, 212, 342
defaults 46 figures 160
elements 46 Select Camera pop-up 180
files 48
figures 174 items to library 34 Selecting
Retime Animation joint parameters 286 body parts 43, 114
command 223 Libraries palette 34 cameras 180
Retiming keyframes 223 multi-frame animations 35, elements 216
48, 135, 157, 187, 203 frames 220
Reverse Polymesh Normals 324
Parameter Dial settings 122 keyframes 217, 227
Rewind button 229 parts of a scene 34 multiple keyframes 222
Rewinding keyframes 221, 229 poses 135 objects 292
Roll props 175 parts 113
cameras and 183 rendered animations 265 parts of a scene 34
defined 341 walks 236 range of keyframes 228
dial 184 Saving positions of cameras 186 Sensitivity Parameter Dials 122
Rotate tool Scale Dial Sequence Type 264
lights and 196, 197 light indicator and 196 Set parent
magnets 144 Scale dial 184 lights 193
posing and 115 Body mode 142 magnet zone 146
waves 149 magnets 145 props 170
Rotating Pose mode 141 wave zone 152
lights 197 waves 150 Sets, lights and 203
magnets 144 Scale tool Setting
on several axis 117 Body mode 142 keyframes 212
on X axis 117 magnets 145 light color 199
on Y axis 117 Pose mode 140 Setting up
on Z axis 117 waves 150
posing and 115 Document window 28
Scaling Macintosh computers 25
props 168
waves 149 bodies 138 Poser Workspace 27
body parts 140, 141 surface materials 171
Rotation Trackball 22
breasts 141 textures 171
cameras and 182 cameras 183 walk paths 234
understanding 21 defined 342

Index
Setup Controls 214 SMPTE 342 Strength slider
editing 214 Software license 363 Texture maps 254
Shadows 31 Sound display 241 texture maps 250
adjusting darkness 202 Sound files Stretch dial, waves 150
casting 42, 126, 170 clipping 240 Sub-categories
creating 201 editing 240 creating new 34
Light properties 192 importing 240 Libraries palette and 33
parameter dial 202 syncing with motion 240 Support 14
parameters 202 Sound Range bar 240 Support URL 14
rendering with 263
Sound syncing 240 Surface materials
resolution 202
tools 29 Spacing keyframes 231 applying 245
Shaping Speech defined 342
phonemes and 132 dialog 171, 244
bodies 138
simulating 207 grouping and 246
body parts 140
Speed of animation 210 props and 171, 247
copying 143
reflective color 254
deformer tools 143 Spherical falloff zones 287
rendering 262
figures 140 Spline interpolation 206, 224, setting 171
magnet tool and 144 342 texture maps 249
tapering 141
Spotlight transparency maps 252
wave tool and 149
positioning 198 transparency sliders 253
Show All Figures command 44 turning off 245
Spotlights 12, 191
Show Graph Display button 225 Symmetry
adding 193
Show/Hide Background applying 125, 142
aiming 194
Picture 211 body shape 141
angle falloff 201
Showing figures 44 defined 342 command 125, 141, 142
Side-Side joint parameters 281 deleting 193 defined 342
Side-to-Side dial 122 distance falloff 201 pose 124
Silhouette style 37 indicator 196 Syncing sound 240
moving 196 System requirements
Simulating speech 207
Spread Macintosh 15
Sinusoidal dial, waves 150
defined 342 Windows 15
Sizing
dial 128
bodies 142
Spread dial 128
Document window 210
frames 210 Square dial, waves 150 T
See also Scaling SquareFace parameter 132, 153
Sketch designer 13 Standard hierarchy 299 Taper
Skip Frames button 229 Standard Polymesh Normals 324 defined 342
dial 141
Smart props 175, 342 Standard rotation order 299
tool 141
Smile, posing for 130 Step Forward button 229
Tapering body parts 141
Smooth Lined style 40 Step Reverse button 229
Technical support 14
Smooth Shaded style 40 Stop button 228

Poser 4
 Phone support hours 14 editing 114 waves and 150
Telephone support 14 repositioning 27 Turn dial 123
Templates Tracking Turning body parts 123
for bump maps 248 defined 342 Twist End parameters 283
for texture maps 251 figure 30 Twist joint parameters 281, 282
Texture maps Transferring. See Importing, Twist Start parameters 283
applying 249 Exporting
Twist tool
custom 250 Transition options 237
lights and 196
defined 342 Translate In/Out tool magnets 144
loading 250 body shaping and 142 posing and 118
props and 171 defined 342 waves 149
rendering with 263 magnets 144 Twisting
templates 251 posing and 120
body parts 118
Texture Shaded style 40 waves 150
magnets 144
Textures Format 326 Translate tools using parameter dial 122
Textures, paper 31 props and 172 waves 149
This Element button Translate/Pull tool
adding keyframes 218 defined 342
deleting keyframes 219 magnets 144 U
next keyframe 220 posing and 119
This Element option waves 149 UI Memory Dots 28
next keyframe 220 Translation UI, defined 342
Thumb dial 128 chain break tool and 120 Undo command 46, 114
defined 342
TIF file format 251 URL 14, 343
Inverse Kinematics and 110
importing and 47 Use Inverse Kinematics
poses and 118
rendering and 264 command 112
Transparency Falloff 253
TIFF file format Use Limits
Transparency map
defined 342 command 113
applying 252
Time Span, animation and 265 defined 343
clearing 252
Timeline 209, 217 Parameter Dials 122
custom 252
area 214 defined 342 Use Spherical Falloff Zones
defined 342 loading 252 control 280
ruler display 217 Transparency Max 253 User Guide conventions 14
working with 211 Using
Transparency Min 253
Timing keyframes 223, 241 Hierarchy Editor 290
Transparency sliders 253
Toggle Sound Display images from Libraries
Transpose Coordinates 325, 326
button 241 palette 33
Triangular dial, waves 150 other software 304
TongueL, posing for 131
Troubleshooting 14 Workspace layouts 28
TongueT, posing for 131
Turbulence UV mapping 171, 247, 343
Tools
defined 342

Index
V exporting 48 Wavelength dial, waves 150
importing 166 Waves
moving 150
Value, Parameter Dials 122
parameter dials 150
Vanishing lines W properties 151
cameras and 183 repositioning 149
defined 343 Walk rotating 149
understanding 46 scaling 150
align head 237
Vector, defined 343 Always Complete Last twisting 149
Vertex, defined 343 Step 237 Web Links 332
View controls 21 cycle repeat 237 Web support 14, 332
Viewing paths, creating 233 What’s new 12
transition options 237
face 36 Width, figures and 140
figures 36 Walk Apply Dialog 235, 236
Window size 210
hands 36 Walk Designer
Windows
keyframes 229 command 234, 236
installation 16
Viewpoint. See Point of View defined 343
Poser and 335
Views Walk in place 236 system requirements 15
changing 180 Walking 233 Wireframe style 38
flyaround 180 Walks Workspace
switching 180 applying 236 backgrounds 28
Visibility of objects, designing 234 color, changing 28
changing 294 editing 235 figure, changing 28
Visible button, properties loading 236 saving layouts 28
126, 170 saving 236 setting up 27
Visible checkbox Wave deformer understanding 20
element properties 42 about 12 World Wide Web, Poser and 331
figure properties 41 animating 208 Worry dials, posing with 131
Light properties 192 Wave object 149
magnet base properties 146 properties 151
magnet object
Wave tool 149 X
properties 145
wave object properties 151 Wave zone 149
wave zone properties 152 properties 152 X and Y camera controls 182
Visiblecheckbox Wave, defined 343 X and Z camera controls 182
magnet base properties 146 Waveforms 241, 343 X axis, rotating on 117
VRML Wavefront file format xOrbit
file format importing 47 defined 343 defined 343
exporting 48 dial 184
VRML file format
importing 47, 166 xRotate
defined 343
See also OBJ file format waves 150

Poser 4
xRotate dial defined 343 face 36
figures and 123 dial 184 hands 36
lights and 197 yRotate dial zOrbit
magnets and 145 lights and 197 defined 343
posing and 123 magnets 145 dial 184
xScale dial posing and 123 zRotate dial
cameras and 184 waves 150 figures and 124
figures and 141, 142 yScale dial lights and 198
magnets 145 Body mode 143 magnets and 145
waves 151 Camera mode 185 posing and 150
xTran dial magnets 145 zScale dial
magnets and 145 Pose mode 141 Body mode 143
posing and 124 waves 151 Camera mode 185
waves and 150 yTran dial magnets 145
magnets 145 Pose mode 141
posing and 124 waves 151
Y waves 150 zTran dial
magnets and 145
Y and Z camera controls 182 waves and 150
Y axis, rotating on 117
Z
Yaw
defined 343 Z axis, rotating on 117
dial 184 Zero Figure joint parameters 280
yOrbit Zooming

Index
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Poser 4
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