Spider wrote:
> 
> here is the image from .general discussion.
> 
> //Spider

  I take it by your example you are implying that by choosing to use the
filter component instead of the transmit component there comes a point in
the procedure where it will show it's limitations as clearly evidenced by
your example. It is particularly prevalent in a single color pigment like
the red color you choose and is readily identified. I will allow you this
victory and will not argue the point with you (too much anyway).

  On the other hand if you compare the color of the light shadows for each object
as it appears on the floor you will notice that the transmit components chosen
for your textures allow virtually all light to pass through the object unaffected.
This is indicated by observing the neutral color of the shadow zone around your
objects. From this we may argue that the light is not behaving in a rational and
predictable manner.
 Why is this you may ask. In reply I can only say that it is because the light
should have the color shaded regions of the object added to the lights color
as it is travelling thorough the object. In consequence we must conclude that
using the transmit only solution is not an altogether accurate model and more
work must be done to resolve this seeming insurmountable problem.

  Now we must examine our options. A moments thought about what we have
learned tells us that perhaps we need to add some of the properties of
each component to achieve our desired goal of realism. Of course this
is the answer we have been looking for all along.

In conclusion:

 Now we know that the ideal solution will be a combination of both transmit
and filter components, in a carefully selected balance, to obtain optimum
material performance levels. A few minor changes to the color map and it
will be done.

  It is then, and only then, that all who will see it, may know the light
for what it truly is, or truly shall come to be.  :)

-- 
Ken Tyler

mailto://tylereng@pacbell.net

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