path: root/doc/src/10-best-practices/60-importing-3d-content.qdoc

/****************************************************************************
**
** Copyright (C) 1993-2009 NVIDIA Corporation.
** Copyright (C) 2017 The Qt Company Ltd.
** Contact: https://www.qt.io/licensing/
**
** This file is part of Qt 3D Studio.
**
** $QT_BEGIN_LICENSE:FDL$
** Commercial License Usage
** Licensees holding valid commercial Qt licenses may use this file in
** accordance with the commercial license agreement provided with the
** Software or, alternatively, in accordance with the terms contained in
** a written agreement between you and The Qt Company. For licensing terms
** and conditions see https://www.qt.io/terms-conditions. For further
** information use the contact form at https://www.qt.io/contact-us.
**
** GNU Free Documentation License Usage
** Alternatively, this file may be used under the terms of the GNU Free
** Documentation License version 1.3 as published by the Free Software
** Foundation and appearing in the file included in the packaging of
** this file. Please review the following information to ensure
** the GNU Free Documentation License version 1.3 requirements
** will be met: https://www.gnu.org/licenses/fdl-1.3.html.
** $QT_END_LICENSE$
**
****************************************************************************/

/*!

\title Working with 3D Content
\page best-practices-importing-3d-content.html
\ingroup qt3dstudio-best-practices

\section1 3D Content Overview

\list
\li
  \b{Use Triangles} - Qt 3D Studio only supports geometry
  exported as triangles. When exporting you must ensure that this option
  is selected. Many of the exporters provide an option for this at
  export time, and Studio will tell you what went wrong if you forget to
  export with this option.
\li
  \b{Time-based Animations} - By default in Max or Maya, when you
  are creating keyframes you are associating them with certain frame
  numbers. This is great in the film industry where frame rates are
  constant, but this technique necessarily has problems in applications
  where the frame rate may or may not be rock solid. Our solution to
  this problem is to express the locations of keyframes in time values
  instead of frame numbers. That way, if you say \"this logo animation
  will play for 3 seconds\" we can guarantee that it will play for 3
  seconds. If you express it in frames, \"this logo animation will play
  for 180 frames\" it may play for 3 seconds if you're getting 60 fps,
  but if you drop to 30 fps the animation is going to go much slower.

  Luckily, accounting for this is relatively simple. Max and Maya both
  default to a setting of 24 frames per second, so your keyframes will
  be translated at that ratio. If you want a keyframe at one second, put
  it on frame 24. Two seconds? Frame 48, etc. Both Max and Maya offer
  configurable frame rates, and the frame rate setting should be
  respected upon import, if changed. It's also worthwhile to note that
  Maya, by default, starts at frame 1. If you have a keyframe at frame
  one, the time for that keyframe will be 1/24 or 0.041 seconds. It may
  be a good idea to go into your Maya animation settings and start your
  animations at frame 0, or 0/24 = 0 seconds.
\li
  \b{Different Animation Systems} - DCC packages offer highly
  complex and specialized animation systems. We recommend using Studio's
  animation capabilities whenever practical. This helps keep mesh
  information on import clean and reduces conflicts between imported
  mesh animation and Studio's animation upon refreshing.

  The animation system in Studio is a full implementation of bezier
  keys, and the full complement of bezier animation that you can create
  with Max or Maya and export with COLLADA will be represented in
  Studio. The more extreme differences between the various animation
  systems are mitigated by the limitations imposed by the COLLADA and
  FBX formats, but there could be some animations that you would be able
  to create in Max or Maya that would not be represented correctly in
  Studio. If you believe you've found such an animation, and you'd like
  to use it in your UI, please bring it up with us. We love finding edge
  cases we haven't covered yet, and look forward to improving our
  animation support to meet your needs.
\li
  \b{Handling Pivot Points} - DCC packages all handle pivot points
  differently. In Qt 3D Studio there is only one pivot per object
  and it is used as the origin for position, scale, and rotation
  operations. In your DCC package, feel free to adjust the position of a
  3D model's pivot as needed. However, extreme edits to pivots in Modo,
  Max, or Maya can cause problems upon import into Studio, especially if
  animated. This difference is often manifested as a difference in the
  position or orientation of an object. As an artist you can prevent
  these kinds of problems by only making simple edits to your pivot
  points. Keep your pivot points to the default (world) alignment, don't
  scale them, and make sure that if you have multiple pivots (Maya) that
  they are all at the same location in space.
\endlist

\section1 3D Content via FBX

\image 3D_Content/FBX-Maya.png

Studio can import 3D geometry and animations exported using FBX. Please
use the following settings when exporting:

\list
\li
  \b{Geometry}
  \list
    \li
      Uncheck all options, except \b{check the following}:
      \list
      \li
        Split per-vertex Normals
      \li
        Tangents and Binormals
      \li
        Referenced Assets Content
      \li
        Triangulate
      \endlist
    \endlist
\li
  \b{Animation} - enable or disable as desired; bake or unbake
  animations as desired
\li
  \b{Cameras} and \b{Lights} - these objects will only come
  into Studio as empty nodes (groups). This can be useful if you need to
  animate these objects and use those animations in Studio (by attaching
  Studio cameras and lights to the animated groups).
\li
  \b{Axis Conversion} - Qt 3D Studio uses a Y-up coordinate
  system, so ensure that \c{Up Axis} is set to \c{Y}.
\li
  \b{FBX File Format}
  \list
    \li
      \b{Type} - Studio supports either ASCII or Binary FBX files.
      ASCII files are preferred for any bug reports.
    \li
      \b{Version} - Studio supports FBX versions from 2013 up to
      2016.1.2. We recommend 2016.1.2.
  \endlist
\endlist

\section1 3D Content via COLLADA

\section2 Exporting COLLADA from Various 3D Modeling Applications

Each 3D modeling application uses a specific COLLADA exporter that
produces a format recognized by Studio. Autodesk's 3D Studio Max 2011
and Maya 2011 use OpenCOLLADA which can be found by visiting
www.opencollada.org/download.html

Download the correct version of OpenCOLLADA for 3D Studio Max and Maya.
Maya and 3D Studio Max need to be installed prior to installing the
correct OpenCOLLADA version. In addition, be sure that no 3D programs
are open during the installation of OpenCOLLADA.

\section2 Exporting OpenCOLLADA from Maya

In order for the OpenCOLLADA exporter to become active, some options
need to be checked and unchecked in the Plug-in Manager. To find the
Plug-in Manager, go to Window > Settings/Preferences
> Plug-in Manager.

The \"fbxmaya.mll\" plug-in has to be unchecked. The COLLADAMaya.mll
needs to be checked as both Loaded and Auto Load.

\image 3D_Content/colladaMaya01.png

Next, go to File > Export Selection and open the dialog
box.

\image 3D_Content/colladaMaya02.png

Under General Options, be sure that OpenCOLLADA exporter is selected and
set as the default file extension. Under general export options, check
that the following options are active.

\image 3D_Content/colladaMaya03.png

The triangulate option must be checked on prior to export.

Finally, choose the location for the COLLADA file to be saved. It is a
good practice to keep all source art, including COLLADA files, in a
folder outside of your Studio project folder.

\image 3D_Content/colladaMaya04.png

\section2 Exporting OpenCollada from 3D Studio Max

Select the object to be exported. Next, open the Export dialog box.

\image 3D_Content/colladaMax01.png

Be sure to select OpenCOLLADA and not Autodesk Collada.

Next, you will be prompted with another set of options for the
OpenCOLLADA exporter.

\image 3D_Content/colladaMax02.png

Again, be sure that triangulate is checked on.

\section2 Exporting COLLADA from Luxology's Modo 601

Modo comes installed with a COLLADA exporter that works with Studio as
of versions 501 and 601.

With the mesh object selected, triangulate the mesh by pressing Shift+T.

\image 3D_Content/colladaModo01.png

\image 3D_Content/colladaModo02.png

Next, go to System > Preferences to configure the COLLADA
exporter.

\image 3D_Content/colladaModo03.png

In the Preferences dialog box, locate the Collada I/O section under File
I/O. Be sure that Save Triangles as Triangles is checked on.

\image 3D_Content/colladaModo04.png

\section1 Description of supported features

The following section describes the features supported by COLLADA import
into Studio. Where appropriate, caveats, limitations, and differences
between different DCC applications are discussed.

\section2 Geometry

Generally speaking, the geometry import capabilities are very solid.
We've stress tested different high poly count scenarios. The one caveat
here is mentioned above, Studio only supports triangulated geometry, so
be sure to check that option when exporting COLLADA data for use in
Studio.

\section2 Transformation

As you would expect with COLLADA you can import full 3D transform
information including position, rotation, scale, and pivot. Studio can
import left and right handed coordinate systems, Y-up or Z-up and
rotations applied in any order. The principal limitation in this area is
pivot points. As discussed above, only simple edits to pivot points are
supported.

Most DCC tools allow artists to freeze transformations and we highly
recommend performing this operation before importing mesh data into
Studio. This operation ensures that the mesh coming into Studio has
clean transformation data and no arbitrary transformation values which
can be confusing or an impediment to your work.

Please note: After freezing transforms, you may have to reposition the
pivot point in some DCC tools.

\section2 Hierarchy

The plug-in supports translating hierarchical information from COLLADA
into Scene Graph information inside of Studio. Hierarchies of arbitrary
depth are supported, including grouped nodes. Hierarchical transforms
are applied as expected.

\section2 Materials

The plug-in supports translating material settings from the DCC
application into material settings inside of Studio. Specific mappings
have been made to ensure consistent control of the look inside of NVIDIA
from within the DCC application. Material settings for diffuse,
specular, ambient, and opacity are all imported correctly.

\section2 Textures

Images applied to different material IDs will be imported with the
COLLADA file and applied inside of Studio. Note that the COLLADA files
reference the images on disk. (Rather than include them in the COLLADA
file.) This means that a path to the image is stored in the COLLADA
file, Studio uses this path to import the image. Studio can import
transformed UV sets (e.g.~Tiling, Rotation) as well as multi-textured
setups.

We recommend using .png and .dds image formats. These formats support
alpha channels and allow for lossless editing. With .dds, you can set
the compression to DXT5 with alpha blending if your image has
transparency.

\section2 Using Powers of Two Texture Map Pixel Dimensions

As is the case with most real-time graphics, texture maps run optimally
when their pixel dimensions are set to powers of two. An example of
powers of two texture maps include 32X32, 64X64, 128X128, 512X512,
1024X1024, 2048X2048 and tall or wide images that could be 512X64 or
128X1024. Dimensions do not have to be square but they should be powers
of two.

\section2 Materials Inspector palette properties

Materials are found parented to a mesh object in the timeline. The image
below describes the hierarchy of meshes, materials and texture maps:

\image 3D_Content/timeline_material.png

\list
\li
  \b{A}: Mesh object
\li
  \b{B}: Material
\li
  \b{C}: Texture map
\endlist

When a material is selected, the Inspector palette lists properties
relevant to editing the material.

The animation toggle is associated with animatable properties.

\image 3D_Content/Materials_InspectorPalette.png

\list
\li
  \b{Lighting}: Vertex, Pixel. Per pixel lighting mode is used
  primarily for materials that utilize Specular Amount and Specular
  Roughness. Vertex lighting is the default.
\li
  \b{Blending Mode}: Normal, Screen, Multiply, Overlay. Setting the
  Blend Mode to Screen will result in an additive type effect. Multiply
  and Overlay are similar to what is found in most photo editing
  programs. The default is Normal blending which yields no special
  effect.
\li
  \b{Diffuse Color}: Change the diffuse color of your material.
  There are predefined swatches and a custom color palette where
  specific RGB values can be input.
\li
  \b{Diffuse Map}: This channel UV maps a bitmap image onto a
  material's surface.
\endlist

Add texture maps to any channel by clicking on the channel
slot and choosing an image from the pop-up menu. This menu displays all
supported images in your project directory.

\image 3D_Content/texture_selection.png

\list
\li
  \b{Emissive Power}: The default value is zero. Increasing
  the emissive power causes the material to become luminous. At 100\%
  emissive, lights will not have an effect on your material.
\li
  \b{Emissive Map}: Control the amount and location of the emissive
  value with a texture map.
\li
  \b{Specular Reflection}: When a map is assigned to this channel,
  it is environmentally mapped to the surface and treated as a
  reflection.
\li
  \b{Specular Amount}: With per pixel lighting turned on, this
  setting adjusts the specular amount of a material surface.
\li
  \b{Specular Roughness}: Controls the spread and falloff of the
  specular appearance.
\li
  \b{Opacity}: Controls the general opacity of the material.
\li
  \b{Opacity Map}: Adding a texture map to this channel controls
  the amount and location of opacity on a material.
\endlist

\section2 Texture map Inspector palette properties

With a texture map selected in the timeline, the inspector palette will
display the following properties:

\image 3D_Content/texture_inspectorPalette.png

The animation toggle is associated with animatable properties.

\list
\li
  \b{A}: U and V repeat. These properties adjust the texture map's
  repeat values in U and V space. Default is set to 1.
\li
  \b{B}: Sets the texture mapping mode to either UV Mapping or
  Environmental Mapping.
\li
  \b{C}: U and V tiling. Sets the texture map to either tile or not
  tile (repeat) in either U or V direction. Default is set to No Tiling.
\li
  \b{D}: UV Rotation, U and V position, U and V pivot. These
  properties allow for transforming a texture map in U and V space. To
  rotate a texture map about its center, set the U and V positions to
  -.500 and the U and V pivot to .500.
\endlist

\section2 Adding Fonts and Using Text in Studio

In order to use text in Studio, fonts need to be added to the fonts
folder within the user's project directory. Before adding fonts to your
project, be sure that you have the rights to distribute the fonts or use
open source fonts from www.google.com/webfonts

Studio comes packaged with a default library of open source webfonts.
These fonts can be found in the project palette font library directory.

\image 3D_Content/text01.png

Select the font in file explorer and click \e{Open}. A copy of the font will be generated and
added to the project.

\image 3D_Content/text02.png

Next, drag the font from the fonts folder in the project palette to the
scene.

\image 3D_Content/text03.png

If there are multiple fonts in the font folder, the user can change the
font in the scene by first selecting the text, then choosing a different
font in the font property found in the inspector palette.

Replacing missing fonts is as easy as locating the missing font and
adding it to the fonts folder.

\note To replace a specific font in your presentation without having
to tediously locate each font in the presentation, open your
\c{.uip} file in a text editor and perform a find/replace
operation. For example, if you wish to replace all 100 instances of
\"TitilliumWeb\" with \"Michroma\", you simply need to find all
instances of \"TitilliumWeb\" in a text editor and replace with
\"Michroma\". Be sure to correctly identify the font names or this
operation will not work. Save the \c{.uip} file after find/replace
is complete and reopen the .uip in Studio. Voila! All specified fonts
will be replaced with the desired font.

\section2 Animation

Animations can be brought into Studio using COLLADA. Animation is
supported on any imported attribute. Position, rotation, scale, pivot,
and material attributes can all be animated. An example of our advanced
support for animations would be a hierarchy of items, rotated
simultaneously on arbitrary axes in arbitrary axis order. Studio also
supports importing bezier tangent value tweaked into animations.

\omit // TODO: Replace with our own example work flow
\section1 3D Workflow Case Study

The examples presented below use Luxology's Modo 601 for digital content
creation, however, these concepts also apply to other DCC tools such as
Autodesk's 3D Studio Max and Maya.

\section2 Building a simple gauge and importing to Studio.

The following section describes the process of building a simple gauge
in Modo, Luxology's 3D modeling and animation program. The concepts of
this example can also be applied to other DCC tools.

Traditionally, artists build their 3D models first and then build
texture maps based on the mesh's UV coordinate layout. This is
especially true with complex 3D models such as cars.

Another technique bases the 3D geometry on existing artwork. In many
cases, source imagery and artwork can be used to build texture maps.
These resulting texture maps can then be used as a guide to build
geometry. In the example below, we are going to use a texture map as a
basis for constructing the 3D gauge model. This technique ensures that
proper scale and proportions of the 3D models match the original concept
artwork.

\section2 Elements of a texture map

The texture map shown on the left features alpha transparency and will
be the final map used in Studio on our mesh material. An alternate copy,
shown here on the right, replaces the transparent background with black
for easy reference modeling.

\image 3D_Content/00_transparentmap.png

This texture map has a height and width of 512px and features a circular
meter, needle, and needle glow graphics. The needle graphic displays all
four sides of the needle. Remember that once the modeling is finished,
the UV layout process will assign the appropriate geometry face to the
correct area of the texture map. Also included on this map is a center
registration point that makes it easy for alignment.

\image 3D_Content/02_texture_elements.png

\section2 Modeling geometry based on backdrop image

With Modo open, click on the Images tab on the upper right panel and
choose Add Clip. Then locate and load the reference map or texture map.

With the texture map loaded in Modo, we can now use it as a reference
image to begin the modeling process. Now click on the Items tab on the
upper right panel and choose Add Item > Backdrop Item to
create a new Backdrop Item object in the scene.

With the Backdrop Item selected, now choose the Properties tab and
assign the texture map to the Image channel.

\image 3D_Content/03_backdropItem.png

Now we can begin modeling the gauge geometry. With the Mesh object
selected in the Items panel, let's build the circular meter component.
To do this, choose the front view then under the Basic objects tab
(upper left panel) click on the cylinder button. Now, while holding the
Ctrl key, line up the cursor over the center registration mark on the
Backdrop Item and Cntrl click and drag out to just beyond the circular
meter graphic. In the cylinder creation parameters on the left, choose
22 segments. Now press the spacebar to drop the tool and complete the
modeling operation. Next let's remove excess geometry. Go to the
perspective view so you can view the 3D cylinder mesh. Press \"3\" on
the keyboard (not the numeric keypad) and now we are in polygon mode.
Choose the front-facing polygon and next press the left bracket key to
inverse select the cylinder's other faces. Now press delete. You will be
left with a single circular face with 22 sides.

Tip: Use the numerical keypad's numbers to change views or shading
modes. Pressing \"7\" will switch to wireframe mode while \"4\" switches
to shaded view mode. Pressing \"2\" and \"3\" will send you into front
and side views respectively while pressing the . key will bring you back
to perspective view. Using the numbers along the top of the main
keyboard will also make you an efficient modeler. Numbers 1,2,3 and 4
will activate different sub object modes such as vertex, edges, polygon
and item modes.

For accuracy, we can center the selected circular face to the world's
origin. To do this, click on the Basic tab on the upper left and with
the circular polygon still selected choose Center Selected
> All. This will place the selected poly exactly in the
middle of your scene.

Currently, your geometry should cover the entire circular meter graphic
as seen here:

\image 3D_Content/01b_modelingStart.png

It is important to optimize your geometry and only place geometry over
places on the texture map where a graphical element is present. As an
example, if we were to leave this polygon as-is and import it into
Studio with the chosen texture map, there will be an entire region of
the geometry that will have to be needlessly drawn at runtime. Even
though this area of the map is transparent, it is still calculated by
the hardware and as one would imagine could cause performance issues. So
we need to punch a hole in the geometry so that the mesh is only
covering the circular meter graphic and nothing else.

In the front view, select the polygon and press the \"b\" key to
activate the beveling tool. Now bevel the polygon so that the orange
selected portion of the bevel resides just inside the circular meter
graphic. Press the spacebar and complete the operation. Now delete the
center polygon. Next, delete the lower right faces of the circular
geometry that do not make up the meter. Rename the Mesh item to
\"indication.\"

The resulting mesh should look similar to this:

\image 3D_Content/01_texture_map.png

\section2 Modeling the needle and needle glow

Create a new Mesh item in the Items tab and draw a cube over top of the
Backdrop Item, matching the overall dimensions of the needle graphic.
Remember, the texture is displaying all four sides of the needle so in
this case we are modeling the center portion of the needle only.

Adjust the cube's shape to taper off at the top and side views. Delete
the backfacing and bottom polygons of the needle, since we will not see
them in the final product. Subdivide the geometry across the middle by
selecting the ring of edges and connecting them (Alt+C).

\image 3D_Content/modeling_needle.png

Model the glow geometry using the same techniques as described earlier.
Start out with a new Mesh item and draw a cube directly overtop of the
left side glow gradient. Remove excess polygon faces. With one remaining
polygon face, taper the points to closely surround the gradient but
leaving a slight gap between the gradient edges and the geometry.

Now mirror the geometry (select the polygons and select Duplicate
> Mirror) to the right side to cover the right gradient.
The mirroring command can be found in the Duplicate tab on the left
panel.

Now select the four vertical edges of the glow geometry and bisect them
(Alt+C). Now rename this Mesh item to \"glow.\"

We bisect long strips of polygons to avoid visual artifacts later on.

\image 3D_Content/modeling_glow.png

\section2 Adjusting needle location and pivot

Next, we need to position the needle in such a way that will allow it to
rotate about its Z axis at the base of the needle. Select all of the
polygons that make up the needle item and choose Center Selected under
the Basic tab. Do the same for the glow item. Make sure that both left
and right glow polygons reside to the left and right of the needle
respectively. Now select both the needle and glow items and move them up
in the Y axis so that the bottom of the needle and glow line up just
around the world origin.

Next, we need to parent the glow item to the needle by selecting the
glow item in the Items panel and dragging it onto the needle item. It
will now appear as a child object of the parent needle. This will ensure
that the glow object travels with the rotation of the needle.

\image 3D_Content/Item_panel_parenting.png

Select the needle item and click and hold on the Items button at the top
menu. Choose Center. The Center pivot will appear in the modeling space.

\image 3D_Content/center.png

Now position the pivot to the world origin using the move tool.

\image 3D_Content/08_adjustPivots.png

\section2 Creating a material and adding a texture map

The following steps are a simple way to add a material to your polygon
selections and adding texture maps to them easily.

Continuing with our case study, select all three Items and turn on the
polygon selection mode. Next, press the \"m\" key to open the material
assignment pop-up window and type in \"gauge\" for the description. Be
sure the Diffuse amount is set to 100\%. Press Enter. A new material
called \"gauge\" has now been created.

\image 3D_Content/selectPolys_MakeMaterial.png

You can view this material by clicking on Texture at the top menu and
choosing Open Material Editor.

Now with the material editor open, we can drag our image to the gauge
material to assign a texture map to it.

\image 3D_Content/image_toMaterial.png

\section2 UV layout

This section assumes prior knowledge of UV coordinates and layout. For
further explanation on advanced techniques, please visit
www.luxology.com.

With the three items selected (indication, needle, and glow) choose the
Lists tab. Now expand UV Maps and click on (new map). If there is an
existing UV map such as Texture or other preexisting UV map, just delete
it. You should now only have one UV map listed under the UV Maps
rollout. Rename this map channel to \"gauge.\"

\image 3D_Content/Lists.png

Now click on the UV tab at the top menu.

\image 3D_Content/UVTab.png

Begin unwrapping the UV coordinates by planar mapping the indication
geometry and glow geometry. Unwrap the needle using the Atlas method so
that all sides of the needle are broken up into four pieces, one for
each side.

Position the UVs over the texture map so that it resembles the image
below.

\image 3D_Content/04_UVSpace.png

The result should look something like this:

\image 3D_Content/05_TexturedModel.png

\section2 Exporting 3D models to Studio via COLLADA.

This section describes the process of preparing a model for export to
Studio.

As mentioned earlier, it is important to freeze transforms on your mesh
objects to ensure a clean import to Studio.

Select all three mesh items (indication, needle, glow) and then choose
Item > Transforms > Freeze All in the top
menu.

\image 3D_Content/07_freezeTransforms.png

Next, we need to be sure the correct texture map is applied to our
material prior to export. If you recall, there is a version of the
texture map that has transparency information. This is the map we will
use for our exported geometry. Go to the Images tab in the upper right
panel. Right-click on the image and choose \"Replace as Still\" then
choose the \"gauge\_elements.png\" map. You will notice the texture map
updating in the viewport.

Next, with all three models still selected press Shift+T which is the
shortcut command to triple the polygons. This is a quick method to
convert quads to triangulated mesh.

\section3 Pro Tips: Save a copy of your project prior to preparing it
for export. This way, you have non-triangulated version of your project
for future editing.

\image 3D_Content/export_triangulateMesh.png

Before we export our 3D models, we must first check our export
preferences. In Modo, this is located under System >
Preferences.

Next, click on Scene I/O under the File I/O rollout list. Now, be sure
that \"Save Triangles as Triangles\" is checked on. Here is a common
configuration for successful export from Modo via COLLADA.

\image 3D_Content/export_exportSettings.png

Export the 3D models by choosing File > Export As.

Choose COLLADA as the Save as type. Save the COLLADA file as
\"Gauge.dae\"

\section2 Import 3D gauge into Studio

The following steps will guide you through the process of importing a
COLLADA 3D model into Studio.

Launch Studio.

Create a new project and save the project as Gauge.uip.

You now have created a new UIP project called Gauge. Now, locate your
exported Gauge.dae file in Windows Explorer.

Drag and drop the Gauge.dae file onto the models folder in Studio's
Project palette. A series of mesh files are created in addition to a
.import file.

\image 3D_Content/export_DragDAE.png

\section3 Converted DAE to .mesh objects:

\image 3D_Content/export_project.png

If you want this gauge to appear in additional slides, turn on the Edit
Master slide view button at the upper left of Studio's user interface.

Now drag the Gauge.import to either the timeline or the scene project
window.

\image 3D_Content/export_dragToScene.png

The gauge will appear very small in the project window. Select the
camera under the Layer and adjust its Z position under the Inspector
palette.

Expand the Gauge, needle, and glow mesh objects in the timeline. Notice
the gauge materials under each mesh object. These are the materials we
assigned in Modo.

Select the gauge material for the needle and change its color to red
using the Diffuse color property under the Inspector palette.

Repeat the previous steps to change the glow's material to red as well.
With the glow material still selected, increase its emmisive value to
100\%.

\image 3D_Content/export_diffuseColor.png

You may notice that the indication texture is visible in front of the
needle. If this is the case, try moving the indication mesh object back
and away from the needle and also scale it up until it looks correct.
Some values to consider:

\list
\li
  Position Z = 2.4
\li
  Scale XYZ = 1.120
\endlist

Now with the needle selected in the timeline, rotate it about its Z axis
and notice how it rotates correctly.

\endomit
*/