There are a number of programs available that will take a series of still image files (such as POV-Ray outputs) and assemble them into animations. Such programs can produce AVI, MPEG, FLI/FLC, QuickTime, or even animated GIF files (for use on the World Wide Web). The trick, therefore, is how to produce the frames. That, of course, is where POV-Ray comes in. In earlier versions producing an animation series was no joy, as everything had to be done manually. We had to set the clock variable, and handle producing unique file names for each individual frame by hand. We could achieve some degree of automation by using batch files or similar scripting devices, but still, We had to set it all up by hand, and that was a lot of work (not to mention frustration... imagine forgetting to set the individual file names and coming back 24 hours later to find each frame had overwritten the last).
Now, at last, with POV-Ray 3, there is a better way. We no longer need a separate batch script or external sequencing programs, because a few simple settings in our INI file (or on the command line) will activate an internal animation sequence which will cause POV-Ray to automatically handle the animation loop details for us.
Actually, there are two halves to animation support: those settings we put in the INI file (or on the command line), and those code modifications we work into our scene description file. If we've already worked with animation in previous versions of POV-Ray, we can probably skip ahead to the section "INI File Settings" below. Otherwise, let's start with basics. Before we get to how to activate the internal animation loop, let's look at a couple examples of how a couple of keywords can set up our code to describe the motions of objects over time.
POV-Ray supports an automatically declared floating point variable identified as clock (all lower case). This is the key to making image files that can be automated. In command line operations, the clock variable is set using the +k switch. For example, +k3.4 from the command line would set the value of clock to 3.4. The same could be accomplished from the INI file using Clock=3.4 in an INI file.
If we don't set clock for anything, and the animation loop is not used (as will be described a little later) the clock variable is still there - it's just set for the default value of 0.0, so it is possible to set up some POV code for the purpose of animation, and still render it as a still picture during the object/world creation stage of our project.
The simplest example of using this to our advantage would be having an object which is travelling at a constant rate, say, along the x-axis. We would have the statement
translate <clock, 0, 0>
in our object's declaration, and then have the animation loop assign progressively higher values to clock. And that's fine, as long as only one element or aspect of our scene is changing, but what happens when we want to control multiple changes in the same scene simultaneously?
The secret here is to use normalized clock values, and then make other variables in your scene proportional to clock. That is, when we set up our clock, (we're getting to that, patience!) have it run from 0.0 to 1.0, and then use that as a multiplier to some other values. That way, the other values can be whatever we need them to be, and clock can be the same 0 to 1 value for every application. Let's look at a (relatively) simple example
#include "colors.inc"
camera {
location <0, 3, -6>
look_at <0, 0, 0>
}
light_source { <20, 20, -20> color White }
plane { y, 0
pigment { checker color White color Black }
}
sphere { <0, 0, 0> , 1
pigment {
gradient x
color_map {
[0.0 Blue ]
[0.5 Blue ]
[0.5 White ]
[1.0 White ]
}
scale .25
}
rotate <0, 0, -clock*360>
translate <-pi, 1, 0>
translate <2*pi*clock, 0, 0>
}
Assuming that a series of frames is run with the clock progressively going from 0.0 to 1.0, the above code will produce a striped ball which rolls from left to right across the screen. We have two goals here:
1. Translate the ball from point A to point B, and,
2. Rotate the ball in exactly the right proportion to its linear movement to imply that it is rolling -- not gliding -- to its final position.
Taking the second goal first, we start with the sphere at the origin, because anywhere else and rotation will cause it to orbit the origin instead of rotating. Throughout the course of the animation, the ball will turn one complete 360 degree turn. Therefore, we used the formula, 360*clock to determine the rotation in each frame. Since clock runs 0 to 1, the rotation of the sphere runs from 0 degrees through 360.
Then we used the first translation to put the sphere at its initial starting point. Remember, we couldn't have just declared it there, or it would have orbited the origin, so before we can meet our other goal (translation), we have to compensate by putting the sphere back where it would have been at the start. After that, we re-translate the sphere by a clock relative distance, causing it to move relative to the starting point. We've chosen the formula of 2*pi* r*clock (the widest circumference of the sphere times current clock value) so that it will appear to move a distance equal to the circumference of the sphere in the same time that it rotates a complete 360 degrees. In this way, we've synchronized the rotation of the sphere to its translation, making it appear to be smoothly rolling along the plane.
Besides allowing us to coordinate multiple aspects of change over time more cleanly, mathematically speaking, the other good reason for using normalized clock values is that it will not matter whether we are doing a ten frame animated GIF, or a three hundred frame AVI. Values of the clock are proportioned to the number of frames, so that same POV code will work without regard to how long the frame sequence is. Our rolling ball will still travel the exact same amount no matter how many frames our animation ends up with.
Okay, what if we wanted the ball to roll left to right for the first half of the animation, then change direction 135 degrees and roll right to left, and toward the back of the scene. We would need to make use of POV's new conditional rendering directives, and test the clock value to determine when we reach the halfway point, then start rendering a different clock dependant sequence. But our goal, as above, it to be working in each stage with a variable in the range of 0 to 1 (normalized) because this makes the math so much cleaner to work with when we have to control multiple aspects during animation. So let's assume we keep the same camera, light, and plane, and let the clock run from 0 to 2! Now, replace the single sphere declaration with the following...
#if ( clock <= 1 )
sphere { <0, 0, 0> , 1
pigment {
gradient x
color_map {
[0.0 Blue ]
[0.5 Blue ]
[0.5 White ]
[1.0 White ]
}
scale .25
}
rotate <0, 0, -clock*360>
translate <-pi, 1, 0>
translate <2*pi*clock, 0, 0>
}
#else
// (if clock is > 1, we're on the second phase)
// we still want to work with a value from 0 - 1
#declare ElseClock = clock - 1;
sphere { <0, 0, 0> , 1
pigment {
gradient x
color_map {
[0.0 Blue ]
[0.5 Blue ]
[0.5 White ]
[1.0 White ]
}
scale .25
}
rotate <0, 0, ElseClock*360>
translate <-2*pi*ElseClock, 0, 0>
rotate <0, 45, 0>
translate <pi, 1, 0>
}
#end
If we spotted the fact that this will cause the ball to do an unrealistic snap turn when changing direction, bonus points for us - we're a born animator. However, for the simplicity of the example, let's ignore that for now. It will be easy enough to fix in the real world, once we examine how the existing code works.
All we did differently was assume that the clock would run 0 to 2, and that we wanted to be working with a normalized value instead. So when the clock goes over 1.0, POV assumes the second phase of the journey has begun, and we declare a new variable Elseclock which we make relative to the original built in clock, in such a way that while clock is going 1 to 2, Elseclock is going 0 to 1. So, even though there is only one clock, there can be as many additional variables as we care to declare (and have memory for), so even in fairly complex scenes, the single clock variable can be made the common coordinating factor which orchestrates all other motions.
There is another keyword we should know for purposes of animations: the phase keyword. The phase keyword can be used on many texture elements, especially those that can take a color, pigment, normal or texture map. Remember the form that these maps take. For example:
color_map {
[0.00 White ]
[0.25 Blue ]
[0.76 Green ]
[1.00 Red ]
}
The floating point value to the left inside each set of brackets helps POV-Ray to map the color values to various areas of the object being textured. Notice that the map runs cleanly from 0.0 to 1.0?
Phase causes the color values to become shifted along the map by a floating point value which follows the keyword phase. Now, if we are using a normalized clock value already anyhow, we can make the variable clock the floating point value associated with phase, and the pattern will smoothly shift over the course of the animation. Let's look at a common example using a gradient normal pattern
#include "colors.inc"
#include "textures.inc"
#background { rgb<0.8, 0.8, 0.8> }
camera {
location <1.5, 1, -30>
look_at <0, 1, 0>
angle 10
}
light_source { <-100, 20, -100> color White }
// flag
polygon { 5, <0, 0>, <0, 1>, <1, 1>, <1, 0>, <0, 0>
pigment { Blue }
normal {
gradient x
phase clock
scale <0.2, 1, 1>
sine_wave
}
scale <3, 2, 1>
translate <-1.5, 0, 0>
}
// flagpole
cylinder { <-1.5, -4, 0>, <-1.5, 2.25, 0>, 0.05
texture { Silver_Metal }
}
// polecap
sphere { <-1.5, 2.25, 0>, 0.1
texture { Silver_Metal }
}
Now, here we've created a simple blue flag with a gradient normal pattern on it. We've forced the gradient to use a sine-wave type wave so that it looks like the flag is rolling back and forth as though flapping in a breeze. But the real magic here is that phase keyword. It's been set to take the clock variable as a floating point value which, as the clock increments slowly toward 1.0, will cause the crests and troughs of the flag's wave to shift along the x-axis. Effectively, when we animate the frames created by this code, it will look like the flag is actually rippling in the wind.
This is only one, simple example of how a clock dependant phase shift can create interesting animation effects. Trying phase will all sorts of texture patterns, and it is amazing the range of animation effects we can create simply by phase alone, without ever actually moving the object.
One last piece of basic information to save frustration. Because jitter is an element of anti-aliasing, we could just as easily have mentioned this under the INI file settings section, but there are also forms of anti-aliasing used in area lights, and the new atmospheric effects of POV-Ray, so now is as good a time as any.
Jitter is a very small amount of random ray perturbation designed to diffuse tiny aliasing errors that might not otherwise totally disappear, even with intense anti-aliasing. By randomizing the placement of erroneous pixels, the error becomes less noticeable to the human eye, because the eye and mind are naturally inclined to look for regular patterns rather than random distortions.
This concept, which works fantastically for still pictures, can become a ni.htmlare in animations. Because it is random in nature, it will be different for each frame we render, and this becomes even more severe if we dither the final results down to, say 256 color animations (such as FLC's). The result is jumping pixels all over the scene, but especially concentrated any place where aliasing would normally be a problem (e.g., where an infinite plane disappears into the distance).
For this reason, we should always set jitter to off in area lights and anti-aliasing options when preparing a scene for an animation. The (relatively) small extra measure quality due to the use of jitter will be offset by the ocean of jumpies that results. This general rule also applies to any truly random texture elements, such as crand.
Okay, so we have a grasp of how to code our file for animation. We know about the clock variable, user declared clock-relative variables, and the phase keyword. We know not to jitter or crand when we render a scene, and we're all set build some animations. Alright, let's have at it.
The first concept we'll need to know is the INI file settings, Initial_Frame and Final_Frame. These are very handy settings that will allow us to render a particular number of frames and each with its own unique frame number, in a completely hands free way. It is of course, so blindingly simple that it barely needs explanation, but here's an example anyway. We just add the following lines to our favorite INI file settings
Initial_Frame = 1 Final_Frame = 20
and we'll initiate an automated loop that will generate 20 unique frames. The settings themselves will automatically append a frame number onto the end of whatever we have set the output file name for, thus giving each frame an unique file number without having to think about it. Secondly, by default, it will cycle the clock variable up from 0 to 1 in increments proportional to the number of frames. This is very convenient, since, no matter whether we are making a five frame animated GIF or a 300 frame MPEG sequence, we will have a clock value which smoothly cycles from exactly the same start to exactly the same finish.
Next, about that clock. In our example with the rolling ball code, we saw that sometimes we want the clock to cycle through values other than the default of 0.0 to 1.0. Well, when that's the case, there are setting for that too. The format is also quite simple. To make the clock run, as in our example, from 0.0 to 2.0, we would just add to your INI file the lines
Initial_Clock = 0.0 Final_Clock = 2.0
Now, suppose we were developing a sequence of 100 frames, and we detected a visual glitch somewhere in frames, say 51 to 75. We go back over our code and we think we've fixed it. We'd like to render just those 25 frames instead of redoing the whole sequence from the beginning. What do we change?
If we said make Initial_Frame = 51, and Final_Frame = 75, we're wrong. Even though this would re-render files named with numbers 51 through 75, they will not properly fit into our sequence, because the clock will begin at its initial value starting with frame 51, and cycle to final value ending with frame 75. The only time Initial_Frame and Final_Frame should change is if we are doing an essentially new sequence that will be appended onto existing material.
If we wanted to look at just 51 through 75 of the original animation, we need two new INI settings
Subset_Start_Frame = 51 Subset_End_Frame = 75
Added to settings from before, the clock will still cycle through its values proportioned from frames 1 to 100, but we will only be rendering that part of the sequence from the 51st to the 75th frames.
This should give us a basic idea of how to use animation. Although, this introductory tutorial doesn't cover all the angles. For example, the last two settings we just saw, subset animation, can take fractional values, like 0.5 to 0.75, so that the number of actual frames will not change what portion of the animation is being rendered. There is also support for efficient odd-even field rendering as would be useful for animations prepared for display in interlaced playback such as television (see the reference section for full details).
With POV-Ray 3 now fully supporting a complete host of animation options, a whole fourth dimension is added to the raytracing experience. Whether we are making a FLIC, AVI, MPEG, or simply an animated GIF for our web site, animation support takes a lot of the tedium out of the process. And don't forget that phase and clock can be used to explore the range of numerous texture elements, as well as some of the more difficult to master objects (hint: the julia fractal for example). So even if we are completely content with making still scenes, adding animation to our repertoire can greatly enhance our understanding of what POV-Ray is capable of. Adventure awaits!