3D view

The set in three dimensions. Place and move things here too.

Orbit

The default way round the set: drag to rotate, wheel to zoom, right-drag to pan.

Focus: Double-click an object or press Shift+F to frame it. Shift+F reaches this view from the plan too, so you can pick a thing there and frame it here. On a door it flips the swing instead.
O: Comes back here from walk, fly and top. It is the one key that leaves walk, since W moves you forward in it.
Escape: Goes back to Orbit and clears the selection. With the mouse locked, the first Escape frees it.

Walk

W · Z, or a middle click on the pane, cycles the modes#

Walk the set at eye height, with the mouse locked to look around.

Moving: Click to lock the mouse. W A S D move, Shift runs, and Space and C change eye height.
Escape: Frees the mouse, and you keep walking. Escape again returns to where you were.
W, O and F: W enters walk from orbit and top, then moves you forward. O is the way back, and F takes you into fly.

Fly

Walk with the floor taken away: the same mouse look and W A S D, moving where you look.

Height: Space and C go up and down, and Shift is fast.
Keys: F enters it from orbit, walk or top, and O returns to orbit.
Cutaway: Still ghosts the walls you have flown outside of and the ceilings you are above.

Top

A straight-down orthographic view: drag pans, wheel zooms.

With daylight on it exposes for the inside of your covered rooms, so the fixtures read as they do with the sun off. It brings the sun down to match, so the ground outside stays lit instead of a white sheet.

Hands off

Pilot's lock for watching a camera: no key, drag, wheel or stick moves it. Watch, on a camera in the dock, its window, the plan or the palette, opens Pilot with Hands off on.

Frame lines: Show the sensor, and inside them the Display tab's monitor guides: the delivery frame, thirds, a center mark and the safe areas.
Where: Hands off sits beside the Pilot select at the bottom right of the 3D pane, and in the row along the top on a phone. Off, the same camera is piloted from where it is.
Held on: For a locked camera or rig, and a camera on a mount Pilot cannot drive, which is watched rather than refused.
Viewers: Start with Hands off on, and may take it off to fly a view of their own. The project never follows.
Chase: A rig watched hands off keeps its chase view, which moves only your view.

Pilot

Shift+P cycles#

Drive a placed camera, a person or a light meter probe from inside.

Controls: W A S D move it, the mouse turns it, and the wheel changes the lens. Escape returns to where you were. A session is one undo step.
Rigs: A mounted camera is piloted through what it rides: dolly, rail carriage, jib, crane, head or fixed support. The mouse aims it and the keys drive the rig. On a fixed support a phone's stick walks it.
Seat: The rig's card picks where you sit.
Chase: A camera on a rig, or a probe, has a chase view from behind and above, with the lens in a corner window on a rig. Y, or Chase on the Pilot bar, flips to it and back.
Direct and Smooth: A middle click switches them. Smooth is heavy and even, and keeps slow moves gentle.

Meter view

Shift+X#

Stand in a light meter probe's dome and see what it sees.

Getting in and about

Ways in: Shift+X from the selected probe or the nearest, a double-click on a probe, the Pilot select's Meters group, or Meter view beside Facing in Selection.
Aiming: The mouse aims the dome. A probe facing a camera or a light keeps facing it while you walk, and turns Aimed only once you aim it yourself.
Walking: W A S D walk the probe at the height it is held, Space and C raise and lower it, and Shift runs. Each move is one undo step on the probe.
Chase: Y, or Chase on the Pilot bar, shows the probe from behind and above, and back.
Finder: The wheel sets it from 15 to 90 degrees.
Escape: Frees the mouse, then returns.

Keys

X: Steps the meter between Incident and Color, and the eye stays in the probe in both. A surface's luminance is the spot meter's, read from whatever you pilot.
M: Stores a memory of the reading on the probe, which keeps the last nine. Shift+M clears them, with Undo on the note it shows.

The card

Reading: At the foot of the view: the probe as a T-stop to the tenth, with its EV, lux and footcandles.
Against: How far the reading sits from the stop the picture is judged at: the camera the probe faces, else the held stop, else the auto meter.
Scale: A scale of stops with the reading, each stored memory and their average.
Sources: Every source by its share of the reading. A tag over each lamp that reaches the probe names its share.
Tabs: Incident, Color, Dome and Flat, along the card's top.
Blocked lamps: Once the probe settles, the card reads through the Lux analysis. A lamp whose path is not clear says why (a flag, a diffusion), and one blocked outright or off keeps a row at 0 lx.
Paths: In the Sources heading, draws each lamp's path to the probe over the picture, dashed past whatever stops it, with a tag naming it. It works in the chase view too.
Daylight and bounce: Ends with whether the Lux analysis and the meter agree on the lamps and the bounce, both flat at the probe, flagged past 5%. With the toolbar's Lux on, it names what that shows.
Gray ball: The sphere the meter's light paints, seen from where the dome points. Its center reads the probe's flat reading.
Light compass: Overhead at the center, the horizon on the inner ring, below the probe outside it. Each source is a dot as large as its share, and the open ring is where the dome points.
Color: Color rendering is computed where the spectra of 95% of the light are known. Bounce off the room is neither drawn nor in the figures.

Spot meter

Shift+L#

A spot meter at the center of the 3D view, whatever you look through.

Where: Orbit, walk or fly, or a camera, rig or person you pilot or watch, so you can pilot and spot at once. Not in Top or the meter view.
Circle: Shows what it reads at the spot's true size for the lens. Beside it, the reading in stops from 18 % gray at the stop the picture is drawn at, with the luminance under it.
Card: Adds cd/m² and foot-lamberts, the reflected EV, the stop it is read against and the false color zone.
Why it reads that: The surface under the center and its material's reflectance, the lux on it from the Lux analysis, and rho E / pi for that surface beside what the picture shows.
Off the model: A glossy surface, a texture lighter or darker under the center than on average, and the room's bounce all move the picture off rho E / pi.
Spot color: The light arriving on the surface, not the color the surface reflects, compared with the white balance.
Set stop: Puts the spot at 0 (18 % gray), +1 (skin), +2, -1 or -2 stops, by the T-stop of the manual camera you look through, else the view's held stop. One undo step.
Angle: [ and ] step it through 1, 2, 5 and 10 degrees.
Switch: A tile in Display, Monitoring, Metering, and a palette row.

Fit

Frames the whole set.

Sun row

The sun switch and a time-of-day slider under the toolbar, so a shadow can be traced from the top view without opening a panel.

Track: Sunrise, solar noon and sunset are marked under it.
Shared: The same time as Sun & daylight in the Lights list, saved with the project, so everyone sees the same hour. The readout names the site it writes to.
First drag: A project with no location gets Los Angeles on the first drag, and the whole drag is one undo step.
Chevron: At the right end, folds the track away to the sun button alone and back. The fold stays with this browser.
Sun button: Turns daylight off, leaving a dim sun and no track, since with no sun there is no time to scrub. Press it again, or Daylight in the Display tab, to bring both back.

Beams, Haze, Cutaway, Ceilings

The look of the 3D picture: beam cones, haze, walls cut away, ceilings, and the exposure it is drawn at.

Beams: Beam cones for lights.
Haze: Atmosphere and volumetric beams. Its density slider rides on the 3D bar once it is on, beside the picture you judge it against. The switch stays with this browser, since haze is heavy to draw.
Cutaway: Ghosts the walls between you and the set, and clicks pass through them.
Ceilings: Auto drops room ceilings in top view and keeps them elsewhere, or set them shown or hidden by hand. A hidden ceiling still shades the room below, so the light never changes.

Daylight, the sky preset, the haze density and the whole exposure setup are the scene's look. They are saved with the project, so everyone on it sees the same light, on any device.

Exposure chip

Stop: A T-stop in thirds (T5.6 +1/3), not an EV.
Auto: Shows the stop the meter is calling for. Pressing Auto hands the stop back to the meter.
Hold: Keeps that stop, so the picture changes with the light instead of the meter riding it. Pulling a stop holds it too.
Slider: The lens barrel, a third a notch. The wheel over it jogs the same, and the box takes a typed stop: 5.6, T5.6 or 5.6 +1/3.
Camera: Watching or piloting a camera on manual exposure, the chip reads Camera T8, the camera's own stop, set in the Selection tab.

Exposure setup

Where: The Display tab's Exposure page sets what the stop is read at: ISO, shutter (an angle at a frame rate, or a speed) and ND. They are the project's.
Shutter: 180 degrees at 24 fps is 1/48 s. Switching between angle and speed converts the value, so the exposure does not jump.
ND: The density as written on the filter.
Range: How many stops the picture holds before it clips to white and crushes to black, three fifths of them above 18 % gray. Unclipped is the tone map's own, which clips about seven stops over gray.
False color: Its stops scale draws the same two ends, magenta for clipped and dark magenta for crushed.
Per camera: A camera with a range of its own overrides the project's while you look through it.

Display tab

The dock's Display tab holds every setting the 3D bar hands over.

What it holds: Sky, the free view's white balance, beam cones, ceilings, the section plane and its height, the field of view (and, walking, eye height and speed), a PNG snapshot and pop out.
White balance: Auto is as lit. Manual takes a Kelvin, a tint and the same 3200, 4300, 5600 and Source presets a camera has, and is saved with the project. Through a camera, its own balance applies.
The bar: Keeps only what you press while working: the pane's name, the four view modes, Fit, Cutaway, the gizmo mode, the exposure chip and the haze density. Nothing hides in a popover, at any width.

Section plane

Cut everything above a height. Both the switch and the height are in the dock's Display tab.

Placing in 3D

With a placement tool, a blue ghost follows the pointer over floors, tables, stand pins and walls.

Place: Click to place. R rotates the ghost, and Escape returns to Select.
Slide: In Select, press and drag an item, light or camera to slide it across the floor.
Cable ends: Alt and a drag sets a cable end's height. On a point, a double-click removes it, and its arrow sets the height.

Gizmo

G / Shift+G#

Arrows and rings on the selection: drag the arrows to move it or the rings to turn it, with grid and angle snapping.

Buttons: Move, Rotate and Off sit on the 3D pane's bar beside Cutaway, always showing which one you are in. With nothing the gizmo can take, their hover text says what to select.
G and Shift+G: Arm the move and the rotate gizmo, and the same key again puts it away. Both are palette entries too.
Yours: The choice belongs to you, not the project, and holds while you are on the plan.
Several things: Move together about the center of the selection. Anything locked stays put, and its padlock says why.
Aim point: An aimed light that is the only thing selected gets a second handle on its aim point.
R: Turns the selection 15 degrees where it stands, 90 with Shift, as on the plan.
Tilt and roll: One placed thing on its own gets tilt and roll rings beside the pan, in its own frame. The dock's Rotation X, Y and Z boxes set the same angles.
Pan only: Talent, stands and truss, anything on a stand's arm, anything carrying a load, and a group keep the pan ring alone. The hover text on their X and Y boxes says why.
Walls: Walls and openings store no angle, so the rotate gizmo has nothing to turn.