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How to Cheat in 3ds Max
cheat 3ds Max 2009 HOW TO
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cheat 3ds Max 2009 HOW TO
Get spectacular results fast
Michele Bousquet
AMSTERDAM • BOSTON • HEIDELBERG • LONDON • NEW YORK • OXFORD PARIS • SAN DIEGO • SAN FRANCISCO • SINGAPORE • SYDNEY • TOKYO Focal Press is an imprint of Elsevier
Acquisitions Editor: Laura Lewin Publishing Services Manager: George Morrison Associate Acquisitions Editor: Georgia Kennedy Project Manager: Andre Cuello Assistant Editor: Chris Simpson Marketing Manager: Rebecca Pease Cover Designer: Alan Studholme Cover Image: Michele Bousquet Focal Press is an imprint of Elsevier 30 Corporate Drive, Suite 400, Burlington, MA 01803, USA Linacre House, Jordan Hill, Oxford OX2 8DP, UK Copyright © 2008, Elsevier Inc. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior written permission of the publisher. Permissions may be sought directly from Elsevier's Science & Technology Rights Department in Oxford, UK: phone: (+44) 1865 843830, fax: (+44) 1865 853333, E-mail: email@example.com. You may also complete your request on-line via the Elsevier homepage (http://elsevier.com), by selecting "Support & Contact" then "Copyright and Permission" and then "Obtaining Permissions." Library of Congress Cataloging-in-Publication Data Application submitted British Library Cataloguing-in-Publication Data A catalogue record for this book is available from the British Library. ISBN: 978-0-240-81032-4 For information on all Focal Press publications visit our website at www.books.elsevier.com 08 09 10 11 5 4 3 2 1 Printed in Canada
How to Cheat in 3ds Max
Contents How to cheat, and why . . . . . . . . . . . . vi Acknowledgments . . . . . . . . . . . . . . . . viii How to use this book. . . . . . . . . . . . . . 1
Introduction . . . . . . . . . . . . . . . . .
Material Editor basics . . . . . . . . . . . . . 42 Mapping coordinates . . . . . . . . . . . . . . 44
Preparing textures . . . . . . . . . . . . . . . . 46
Making a scene . . . . . . . . . . . . . . . . . . 4
Applying a decal . . . . . . . . . . . . . . . . . . 48
A selection of selections . . . . . . . . . . . 6
People, trees, and cars . . . . . . . . . . . . . 50
Zoom, pan, display . . . . . . . . . . . . . . . . 8
Multiple maps . . . . . . . . . . . . . . . . . . . 52
Organizing objects . . . . . . . . . . . . . . . . 10
Background maps . . . . . . . . . . . . . . . . . 54
Transforms and coordinates . . . . . . . . 12
Procedurally speaking . . . . . . . . . . . . . 56 Gradual mix . . . . . . . . . . . . . . . . . . . . . 58
Playtime: Roger's top ten reasons . . . 14
Materials and mapping . . . . .
Unwrapping the mapping . . . . . . . . . . 60
Interlude: Organizing objects: a matter of choice . . . . . . . . . . . . . . . . 16
Mapping a character . . . . . . . . . . . . . . 62
Modeling . . . . . . . . . . . . . . . . . . . . .
Custom Mental Ray materials . . . . . . 66
Modeling tools . . . . . . . . . . . . . . . . . . . 20
Interlude: Lumps, bumps, and dainty curly stuff . . . . . . . . . . . . . . . . . 68
Reference images . . . . . . . . . . . . . . . . . 22 Virtual studio . . . . . . . . . . . . . . . . . . . . 24 15-minute building . . . . . . . . . . . . . . . 26 Modeling around maps . . . . . . . . . . . . 28 Modeling from a plan . . . . . . . . . . . . . 30 Modeling a gorge . . . . . . . . . . . . . . . . . 32 Modeling a character. . . . . . . . . . . . . . 34 Interlude: How to make a mess with modeling. . . . . . . . . . . . . . . . . . . . 36 Playtime: Secrets of the Spline. . . . . . . 38
Basic Mental Ray materials . . . . . . . . 64
Lighting . . . . . . . . . . . . . . . . . . . . . .
1-2-3 lighting . . . . . . . . . . . . . . . . . . . 72 Exterior lighting . . . . . . . . . . . . . . . . . . 74 Interior lighting . . . . . . . . . . . . . . . . . . 76 Bright sunshiny day . . . . . . . . . . . . . . . 78 Space scenes. . . . . . . . . . . . . . . . . . . . . 80 Mental Ray lighting . . . . . . . . . . . . . . . 82 Good lighting made better . . . . . . . . . 84 Interlude: How to waste time with lighting . . . . . . . . . . . . . . . . . . . . . . . 86
Contents Contents
Shadows . . . . . . . . . . . . . . . . . . . . . .
Pick your shadows . . . . . . . . . . . . . . . . 90
Spinning your gears . . . . . . . . . . . . . . . 126
Where's the shadow? . . . . . . . . . . . . . . 94
Following a path . . . . . . . . . . . . . . . . . 128
Troubleshooting shadows . . . . . . . . . . 96
Look-a-here . . . . . . . . . . . . . . . . . . . . . 130 Jumping beans . . . . . . . . . . . . . . . . . . . 132 Linking to multiple objects . . . . . . . . . 136
Reflecting on reflections . . . . . . . . . . . 102
Cracks in a surface. . . . . . . . . . . . . . . . 140
Mirror, mirror . . . . . . . . . . . . . . . . . . . . 106 Interlude: Dude, where's my reflection? . . . . . . . . . . . . . . . . . . . . . . . . 108
Linktopia . . . . . . . . . . . . . . . . . . . . . . . . 134
Reflections . . . . . . . . . . . . . . . . . . . 100 Bling . . . . . . . . . . . . . . . . . . . . . . . . . . . 104
Animation 101 . . . . . . . . . . . . . . . . . . . 124
Shadow timesavers . . . . . . . . . . . . . . . 92
Interlude: Shadow and wireframe presentation . . . . . . . . . . . . . . . . . . . . . . 98
Animation . . . . . . . . . . . . . . . . . . . . 122
Chains . . . . . . . . . . . . . . . . . . . . . . . . . . 138
Character animation . . . . . . . . 142 Biped workflow . . . . . . . . . . . . . . . . . . 144 Biped 101 . . . . . . . . . . . . . . . . . . . . . . . 146
Glass . . . . . . . . . . . . . . . . . . . . . . . . . . 110
Biped fitting . . . . . . . . . . . . . . . . . . . . . 148
Exterior daytime windows . . . . . . . . . . 112
Walking in your footsteps . . . . . . . . . . 152
Interior daytime windows . . . . . . . . . . 114
Catch a wave . . . . . . . . . . . . . . . . . . . . 154
Nighttime and dusk . . . . . . . . . . . . . . . 116
The alternative Biped . . . . . . . . . . . . . . 156
Glass bottle . . . . . . . . . . . . . . . . . . . . . . 118
Bouncing and flexing . . . . . . . . . . . . . . 158
Interlude: Fun with physics . . . . . . . . . . 120
Interlude: The life of Biped . . . . . . . . . . 160
Skinning . . . . . . . . . . . . . . . . . . . . . . . . 150
How to Cheat in 3ds Max
Rendering . . . . . . . . . . . . . . . . . . . .
Rendering basics . . . . . . . . . . . . . . . . . 164
Wiring 101 . . . . . . . . . . . . . . . . . . . . . . 196
Mental Ray rendering . . . . . . . . . . . . . 166
Follow me . . . . . . . . . . . . . . . . . . . . . . . 198
Depth of field . . . . . . . . . . . . . . . . . . . . 168
Telling time . . . . . . . . . . . . . . . . . . . . . . 200
A shift of perspective. . . . . . . . . . . . . . 170 ActiveShade . . . . . . . . . . . . . . . . . . . . . 172 Interlude: What is Mental Ray, anyway? . . . . . . . . . . . . . . . . . . . . . . . . . 174
Parameter wiring. . . . . . . . . . . .
Logo treatments
. . . . . . . . . . . . 176
The classics . . . . . . . . . . . . . . . . . . . . . . 178 Making it 3D. . . . . . . . . . . . . . . . . . . . . 180
Interlude: Spinning wheels . . . . . . . . . . 202
Appendix . . . . . . . . . . . . . . . . . . . . .
Challenges . . . . . . . . . . . . . . . . . . . . . . 206 CD files . . . . . . . . . . . . . . . . . . . . . . . . . 212 Index . . . . . . . . . . . . . . . . . . . . . . . . . . . 214
Perspective matching . . . . . . . . . . . . . . 182 Cardboard cutouts . . . . . . . . . . . . . . . . 184 Flying fragments . . . . . . . . . . . . . . . . . 186 Light through holes . . . . . . . . . . . . . . . 188 Text around a sphere . . . . . . . . . . . . . . 190 Interlude: Making it web-friendly . . . . 192
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How to Cheat in 3ds Max
How to cheat, and why The truth about cheating The word cheat has an interesting history. In its original meaning, it described the passing of an inheritance to someone other than one's heirs. This definition has come up through the ages to mean getting something dishonestly, or getting things by tricks or good luck. In this book, you'll learn shortcuts to make 3ds Max do amazing things without having to learn it all from scratch, and thus make your own good luck as an artist. There are some very thick books out there that cover every possible tool in 3ds Max—in fact, I've written a few of them myself—but this is not one of them. If you want to get the job done in the least possible time while making your clients (or your boss) happy, then this is the book for you. The "cheats" in this book were all gleaned from real-world jobs and projects, where the client wanted something done in three days, not three months or even three weeks. I learned most of this through trial and error, and eventually developed my own bag of tricks. With this book, I've opened the bag and spilled out the contents. Enjoy your inheritance.
Workthroughs and examples Each workthrough in this book is designed as a double page spread. This allows you to prop the book up next to your monitor as you work with the files on the CD. Many of the examples pertain to real-world companies, and show techniques used for a recent job. At the end of nearly every chapter is an Interlude with a discussion of a relevant topic. Think of it as advice from the shopworn.
What's on the CD? On the CD are starter scenes and maps for many of the cheats in this book so you can try them out yourself. I've also included final scenes and animation so you can see the final result. The corresponding scene and animation file names appear under the CD icon on the right page of the spread. You'll find them in the folder for that chapter. When you load a scene file for the first time, you'll get a message telling you that 3ds Max can't find the maps. Just browse to the maps folder for that chapter and add the path, and all the maps for that chapter should load without further messages. There are a few images and scenes that couldn't be included on the CD due to copyright constraints. In most cases, you can visit the website of the company that provided the imagery and see plenty of their work there.
Beyond the book A website has been set up just for readers of this book:
www.howtocheatin3dsMax.com At this website, you'll find additional scene files, video tutorials, and a forum where you can post your work and swap techniques with other readers. In the Appendix is a set of challenges based on the topics in this book. You are invited to try your hand at the challenges, and to post the results in the forum. I'd also be happy to see any of your projects, and to hear about the techniques you've developed to get your work done.
How to Cheat in 3ds Max
Acknowledgments Although I'm no stranger to authoring, this book is a departure from my usual style. I am grateful to my Series Editor, Steve Caplin, for developing the Cheat Series and making it so easy to create such a lively book. While clients make me come up with fast ways to do things, students make me figure out how to explain them. In recent years, my students at the CGSociety.org workshops have asked me just about every question imaginable about modeling and animation, and the answers to many of their queries have found their way into this book. I am particularly beholden to my advanced students at the Golden Era Productions studio, who were never content with a surface understanding of 3ds Max, but demanded that I tell them exactly what was going on under the hood. This, of course, forced me to figure it out. Several of the cheats in this book are a direct result of their questions and needs. While I was working on this book I started a new job at TurboSquid.com, the best place on earth for someone who loves 3D as much as I do. Being in such a great environment every day was inspiring, even if many of my co-workers use that (ahem) other software. My new job requires me to spend a lot of time in New Orleans. Writing can be a lonely business, so it's important to find a place outside your home where you can socialize and work at the same time. For me, that was the Deja Vu Restaurant in the French Quarter. Stop in sometime and try the freshly-made onion soup, and tell them Michele sent you. I had a wonderful team of people to assist me in creating this book. 3ds Max artist (and fellow TurboSquidder) Audrey Meyn helped prepare some of the exterior scenes. My technical editor, Roger Cusson, made numerous suggestions that improved the book. My proofreader, Monique Gillotti, worked tirelessly around my crazy schedule. Many people and companies allowed me to include photos and samples of their work, and each of them are credited on the appropriate page. I am especially proud of the modeling students whose work is featured in the Challenges section in the Appendix. Of course, no book would exist without its editors. Georgia Kennedy encouraged, cajoled, badgered, sweet-talked, coaxed, and yanked the book from me bit by bit, and in the nicest way possible. And it's likely you wouldn't be holding this book in your hands right now without the intervention of Laura Lewin, who insisted that I could finish writing it in a reasonable time (when I most emphatically did not concur). Okay, Laura, you were right. And you were also right in saying that I'd be very proud of how it turned out. Michele Bousquet
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How to Cheat in 3ds Max
How to use this book I'd be surprised if anyone read this book by starting at the beginning and going through to the end. This is the kind of book you should be able to just dip into and extract the information you need. Still, I'd like to make a couple of recommendations. The first chapter deals with the basics of using 3ds Max, so if you're new to the program, you should start there. In general, you can't do anything else until you do a bit of modeling, so I recommend that you look through that chapter before tackling some of the more advanced topics like character animation and parameter wiring. Although the book is designed for users of 3ds Max 2009, all the cheats apply to 3ds Max 2008 and most apply to earlier versions as well. The MAX files on the CD are in 3ds Max 2008 format, but all the bitmaps will work with any version. The techniques in each chapter build up as you progress through the workthroughs. Frequently, we'll use a technique that's been discussed in more detail earlier in the same chapter, so it may be worth going through the pages in each chapter in order, even if you don't read every chapter in the book. The CD icon on each tutorial page indicates that the source file for that tutorial is on the CD, so you can open it up and try it out for yourself. If you get stuck anywhere in the book, or in 3ds Max generally, visit the Reader Forum, accessed through the main website. In case you didn't catch it on the previous page, here it is again:
www.howtocheatin3dsMax.com This is where you can post queries and suggestions. I will always respond directly to questions from readers. But expect other forum members to weigh in with their opinions as well!
How to Cheat in
ď Ž Using 3ds Max is an adventure that begins with a few important steps.
3ds Max Introduction THE TECHNIQUES DESCRIBED in this book assume a basic grasp of 3ds Max. But with so many options to choose from, it's easy to get lost in all the tools, buttons, and menus. Not all features are created equal. This chapter goes over the fundamentals of 3ds Max with an eye toward the most important tools, and how you can use them to create beautiful scenes as quickly as possible.
Introduction Introduction
Making a scene
Before you load 3ds Max, gather up a few pictures with lighting, materials, and composition that approximate your vision of the final rendering. You won't be copying these images, but having them handy for reference will be invaluable as you create the scene.
HERE IS A MYTH that you should spend most of your time modeling, then cram all the lighting, texturing, and animation into whatever time remains in the schedule. This so-called wisdom stems from the early 1990's when computer graphics were new, modeling was a rare skill, and any rendering at all was impressive. Nowadays, clients expect decent materials, lighting, and animation, if not outright realism. To achieve this goal, the best approach is to take time at the front end to gather reference materials such as photos, drawings, videos, and textures. Each hour spent on preparation can reduce scene creation time by five or even ten times, in addition to providing a strong direction for modeling, materials, and lighting.
Gather up or create your textures and reference images. See the Modeling chapter to find out how to create reference images and textures from photographs, and the Materials and Mapping chapter for creating tileable textures.
If animation is part of your scene, get a rough animation in place before working with lights and rendering. Test renderings and previews will give you a quick approximation of the final result. See the Animation chapter.
How to Cheat in 3ds Max
Sketch out the scene with all major elements. This step can be as elaborate as a color storyboard or as simple as a quick line drawing on a slip of paper. Even if you're using a detailed architectural plan, consider items that aren't noted such as trees, cars, and people.
In 3ds Max, block out the scene with primitives as placeholders for the final objects. This will enable you to place a camera and see which objects need to be the most detailed. You can also place a few representative lights to get an idea of how they'll work with the scene.
HOT TIP Photographs coupled with a bit of work in Photoshop can provide you with all the reference material you need.
Now you can start modeling. Use the reference images and textures liberally to guide the process. The best tool for modeling is the Editable Poly. See the Modeling chapter for tips on speedy modeling using your maps.
Place lights in the scene to simulate "real" lighting, such as near an indoor lamp or in the sky to simulate the sun. Shadows are a key element in adding dimension. See the Lighting and Shadow chapters for more details.
Materials and mapping are next. Avoid spending a lot of time tweaking colors and reflections as materials will change appearance when lighting is added or changed. See the Materials and Mapping chapter for tips on quick mapping.
Test renderings show you how the scene is shaping up. This is the time to compare your rendering with sample photos and pick out details that will improve realism. See the Reflections and Rendering chapters.
Introduction Introduction
A selection of selections
HE ABILITY TO SELECT objects at will is an important skill for working quickly with 3ds Max. Just about every operation you perform will start with the selection of one or more objects or sub-objects. Conversely, there's nothing more frustrating than knowing exactly what you need to select, but not knowing how to get it. Every possible type of selection can be done with the tools at hand. It's just a matter of knowing them so you can mix 'n' match when needed.
When you rest the cursor over an object's wireframe for a moment, the object's name appears as a tooltip. This is one reason why it's important to name your objects intelligently.
To select multiple objects, hold down L while clicking. Clicking an already selected object while pressing L will unselect it. To specifically unselect an object, hold down A while clicking. These tools also work with bounding regions.
To select multiple objects or select by name, click the Select by Name button on the toolbar. You can also press the h key as a shortcut. This tool is useful only if your objects have been named intelligently.
How to Cheat in 3ds Max
Click an object's wireframe to select it. In a wireframe view, you will need to click an actual line. The axis tripod appears, the object wireframe changes color, and the object name appears on the panel at the right of the screen.
You can also select multiple objects by drawing a bounding region around them. Start by clicking in a blank area of the viewport, then drag in any direction. The shape of the region is determined by the Selection Region currently chosen on the toolbar.
When the object is at a sub-object level, you can only select sub-objects that correspond to that level for that object. To select other objects, you will need to return to the base level of the object by exiting the sub-object level.
If objects are on top of one another in the view you're working with, you can hold the cursor still and click multiple times to cycle through the objects. Watch for the object name to appear on the panel.
The Window/Crossing toggle on the toolbar determines how the bounding region works. When Window is turned on, only objects that are completely within the bounding region are selected. When Crossing is on, all objects touched by the bounding area are selected.
The Selection Filter can limit your selections to specific object types. This tool is particularly useful for selecting lights and cameras in a complex scene. Be sure to reset the selection to All or Geometry to select objects again.
HOT TIP Pressing the space bar locks and unlocks the selection.
Introduction Introduction
Zoom, pan, display O
VER THE COURSE of your work with 3ds Max, you will need to zoom, pan, and rotate the scene many times to get the job done. Learning how to use the tools available will save you a great deal of time in the long run. A mouse with a middle wheel can speed up your work in 3ds Max by many times, allowing you to zoom, pan, and rotate the scene quickly and easily. You will also need to change the display to wireframe or shaded to be able to see what's going on in the scene.
To change a view to a different angle, use a hotkey (f for Front, t for Top, l for Left) or right-click the viewport label to choose from a menu. To change to a perspective view, press the p key.
If your mouse has a middle wheel, you can zoom in and out by rolling the wheel and pan by pressing the wheel and dragging. This method of viewport navigation means you don't have to keep clicking different viewport navigation buttons to move around your scene. If your mouse doesn't have a middle wheel, please get a new mouse as soon as possible. This inexpensive investment will speed up your viewport navigation by many times.
How to Cheat in 3ds Max
Use f3 to toggle wireframe and shaded displays in any viewport, and f4 to toggle edge display.
All the zoom controls are at the lower right of the screen. The Zoom Extents and Zoom Extents All buttons are particularly useful for getting objects back into view. The Maximize Viewport Toggle switches between several smaller views and one large view of the active viewport.
HOT TIP Pressing L + Zoom Extents All zooms all viewports except the Perspective view. This is useful for keeping a Perspective view exactly as it is for rendering while zooming the remaining viewports.
You can use the Arc Rotate tool to rotate a view. If you have a middle mouse wheel, hold down A and the wheel at the same time and drag left or right to rotate the view. Did I mention that a middle mouse wheel is essential?
If you prefer a different viewport arrangement, use Customize > Viewport Configuration > Layout tab to set them up differently. You can also drag viewport dividers to change a viewport's dimensions.
To quickly isolate one or more objects in viewports, select the objects and choose Tools > Isolate Selection (or Aq). This hides other objects until you click Exit Isolation Mode.
Introduction Introduction
Organizing objects Ruby03
Diamond02 Ruby02
VEN A TRUE ARTISTE needs to get organized once in a while. Object names, layers, and selection sets are all part of keeping your scene neat and tidy so your work will be as fast as possible. Keeping the scene organized is especially important when you need to pass it on to someone else. On the receiving end, there's nothing worse than getting a scene full of Box01 and Box02 with no layers or selection sets in sight. Be kind to your fellow artists (and to yourself!) and take a few moments to get your scene in order. You'll be glad you did.
The Object Properties dialog is "command central" for your objects. Choose Edit > Object Properties, or right-click and choose Object Properties from the quad menu.
Naming your objects intelligently is the first step toward good scene management. The quickest way to do this is to type in the name on the Modify panel.
Organizing your objects into layers can also help keep things under control. In 3ds Max, layers refer to sets of objects, not physical layers. In other words, layer order has no effect on the appearance of a rendering. In the Layer dialog, you can also hide, freeze, and select objects. To open the Layer Manager, click the Layer Manager button on the toolbar or choose Tools > Layer Manager.
How to Cheat in 3ds Max
If you have numerous similar objects that need to be renamed, you can use Tools > Rename Objects to automate the process. Enter the number of digits (letters) to remove, and enter a new prefix to replace the letters removed. Here, a selection of toruses (Torus01, Torus02, etc.) are renamed while keeping the numbering.
A Selection Set is a name given to a selection of objects, providing quick selection of object sets from a dropdown menu on the toolbar.
Be sure to name your materials, too. If you have a lot of complex materials, consider naming your maps as well.
You can temporarily hide objects to unclutter your viewports, or freeze them to make them impossible to select by accident. Right-click the screen and choose a Hide or Freeze tool from the quad menu.
Use Group > Group to group objects into one single object. While this is a common practice for architectural scenes, grouping is not recommended for animated objects as it makes the animation difficult to control.
Introduction Introduction
Transforms and coordinates T Front
HE MOVE, ROTATE, AND SCALE buttons on the toolbar are called transforms. The Select and Move transform is your primary tool for lining up objects in a scene. Coordinate systems work hand-in-hand with transforms. A coordinate system determines what 3ds Max considers to be the X, Y, and Z directions at any given moment. While you can choose a variety of coordinate systems from the dropdown menu on the toolbar, the ones you'll use most often are View, World, and Local. Front
The default coordinate system for orthographic viewports (straight-on views) is the View coordinate system. In the Top, Front, and Left views, X always points to the right and Y always points up in whichever viewport is active at the moment. Front
A different coordinate system can be assigned to each transform. When you want to change the coordinate system, be sure to choose the transform first. If you choose the coordinate system first, when you click the transform you might get a different coordinate system.
The Pick coordinate system uses a specific object's pivot point as the center for transforms on all objects in the scene. After you pick the object to use as the center, choose the Use Transform Coordinate Center button from the flyout. This type of coordinate system is most useful for rotating one object around another.
How to Cheat in 3ds Max
The default coordinate system for the Perspective view is called World. Here, Z always points in the up direction. The coordinate system is still listed as View on the toolbar because having the World system in the Perspective view is part of the View coordinate system's definition. Perspective
The Local coordinate system is aligned with the selected object's pivot point. Each object you create is automatically assigned its own XYZ pivot point. If the object has been rotated, the Local coordinate system allows you to easily move the object in the direction in which it's rotated. Perspective
The pivot center button next to the coordinate system dropdown menu determines whether the object will be transformed around itself (Use Pivot Point Center), the center of the selection (Use Selection Center), or some other object (Use Transform Coordinate Center).
To transform an object by a specific amount, you can enter a value on the status bar, or right-click the transform button to bring up a type-in entry dialog.
HOT TIP Avoid using the scale transform on an object whenever possible. Instead, adjust the object's parameters if it's a primitive. For an Editable Poly or Editable Mesh, scale the object at the Vertex or Polygon subobject level. Changing an object's dimensions with parameters or sub-object scaling has no negative effects on the scene.
If you want all the benefits of a modifier for a transform, apply an XForm modifier to the object. At the Gizmo sub-object level, transform the object as you like.
Introduction Introduction I
Organizing objects: a matter of choice WITH A CHOICE OF SO MANY TOOLS in 3ds Max for organizing objects, you have many options for managing your scene. Layers, for example, are not necessarily better or worse than selection sets. It's a matter of what works best for your purposes. A selection set is simply a selection of objects that you give a name to. It's the easiest one to use, and I still have a soft spot for it. Select, enter a name on the toolbar, done. In the early days of 3ds Max, before layers were introduced, this was the primary tool artists used to organize objects. It wasn't uncommon for me to send a scene back to an artist with a note to rename the objects (please!) and then put them into selection sets so I could work with the scene. Grouping has been available for just as long. This type of tool is common in 2D graphics and layout programs such as Illustrator and InDesign. While it works very well in 2D for just about anything, grouping has specific, limited uses in 3D. For objects that won't be animated, grouping is fine. Architectural artists, for example, find it useful to group together all the furniture so they can move it around easily. This works because the furniture isn't going to be animated to fly around the scene (or so one would presume). The camera might be animated, but that won't have any effect on grouped objects just sitting there. If the object is going to be animated, grouping becomes something that we in the 3D industry call A Bad Idea. If you animate the group to make it fly around, the animation keys are on the group itself as an object. If you later ungroup the objects, you will lose the animation keys. And if you open the group and animate individual objects within the group, then ungroup the object, you get what we in the industry call A Big Mess. So for static objects, group away. For animated objects, use Dummy objects to keep it all together (covered in the Animation chapter). Layers are a new thing in more recent versions of 3ds Max. Architectural artists love them because layers are a mainstay of AutoCAD, a technical design
How to Cheat in 3ds Max
Chair and mailbox: not likely to fly, so they're good candidates for grouping. Bracelet: each link will move and rotate separately, so selection sets or layers are more appropriate.
program used by most of the known universe, and many architectural artists got their start with AutoCAD. I've made do with selection sets for so long that I don't use layers very often, but they do come in handy for large scenes. And yes, I sometimes get a scene sent back to me with a note to please put everything in layers because that's what the folks at the other end are accustomed to using. If you model something made up of several separate objects, for example a chair made up of numerous bits of metal and wood, you can use the Attach tool (available with Editable Poly and Editable Mesh objects) to put them all together into one object. Each object will become an Element sub-object, which makes it easy to select the piece and move it around or assign it a different material. In short, no one method for scene organization does it all. Try them out and use what works best for a particular set of objects, a specific scene, or for you personally.
Introduction Introduction P
Roger's top 10 reasons why you can't select your object MY GOOD FRIEND Roger Cusson is, like me, a longtime instructor on 3ds Max. One day we got to talking about the challenges of teaching such a large and complex program, and we agreed that the biggest barrier new students have is confusion about selecting objects. Roger proposed that since we go over these pitfalls in every class, he should publish a list of Roger's Top 10 Reasons Why You Can't Select Your Object. The list never actually got published until now. As a bonus, I have included a cutout reminder list that you can tape to your laptop or computer case for easy reference. So here is the list, for the first time ever in print:
The current selection is locked, preventing you from making a new selection. You can tell if this is the problem by checking the Selection Lock Toggle on the status bar to see if the button is turned on. Click the button to turn it off, or press the space bar.
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You are attempting to select an object in a wireframe view by clicking in its volume area rather than on the wireframe. Click the wireframe, or change to a shaded viewport and click the volume. The object is frozen. Right-click anywhere in the viewport and choose Unfreeze All, or use the unfreeze options on the Display panel.
A creation button, such as Box or Sphere on the Create panel, is still clicked, and a selection tool (such as Select Object) is not currently selected. Right-click a couple of times to turn off the creation tool, or click a selection tool.
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You are still at the sub-object level for one object. At a sub-object level, you can select only subobjects of that object. Return to the base level of the object by turning off the sub-object level. The Window/Crossing toggle on the toolbar is set to Window, and you are making a Crossing selection. Click the button to toggle to Crossing.
How to Cheat in 3ds Max
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You are clicking the back side of a one-sided object such as a Plane. Rotate the view and click the other side.
You are currently using a tool that 's expecting a selection for that specific tool. For example, if you click Select and Link then click Select by Name, you will pick an object to link to rather than simply selecting an object. Click Select Object to turn off the other tool and enable selection.
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The Selection Filter is limiting your selection. Set the Selection Filter to All. You are trying to use S or A instead of L to add to the selection. Use L to add to the selection, and A to remove from the selection.
HOW TO CHEAT IN 3DS MAX Roger's Top 10 Reasons Why You Can't Select Your Object
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Unlock the selection (space bar, or turn off Selection Lock Toggle). Click the wireframe, not the volume. Unfreeze the object (right-click for quad menu, choose Unfreeze All). Turn off the creation tool you're currently using, or click Select Object. Get out of sub-object mode. Make sure Window/Crossing is set to the mode you want. One-sided object? Click the other side. Turn off the tool that's expecting a selection, or click Select Object. Reset the Selection Filter to All or Geometry. Use L to add to the selection, not A.
How to Cheat in
ď Ž Modeling quickly and intelligently requires good reference images and a little ingenuity.
3ds Max Modeling MODELS ARE the main building blocks of scenes. When creating a model, it's important to model just enough detail to make a good rendering. It's easy to get bogged down in small details that take a long time to model and won't even be noticeable in the final rendering. Mapping, the process of putting textures on a model, is a kin to modeling. In this chapter you'll learn simple mapping techniques that can reduce modeling time to minutes instead of hours.
1 Modeling tools Modeling Modeling
NOWING the main modeling tools in 3ds Max will make your work go much faster. Make sure you can find all these tools in the user interface, and take it from there.
Primitive objects are the starting point for most of your objects. Between Standard and Extended Primitives, there are more than 20 primitives to choose from.
In some cases, a spline (curved or straight line) is the most straightforward way to create an object. The Sweep and Lathe modifiers, among others, will turn a spline into a 3D object.
How to Cheat in 3ds Max
A primitive can be turned into an Editable Mesh or Editable Poly for direct access to vertices and polygons.
To clone an object, hold down S as you move the object. A Copy is independent of the original. An Instance maintains a connection between the two so any changes to one clone changes the other.
1 Reference images Modeling Modeling
he importance of using reference images for modeling cannot be overstated. An hour spent creating or cleaning up useful reference images can easily save you a dozen hours of modeling and tweaking. The best tool for cleaning up reference images is Photoshop. By learning the transform tools, you'll open up a whole new world of useful images that can even double as textures. I 've found the following tools most useful for image cleanup: Quick Selection Transform Distort Warp Guides
Take photographs or make drawings of the object you want to model. With a symmetrical object such as this fire alarm, a front and side view are sufficient. Take photos at as much of a straight-on view as you can get. You can also take a back and top picture if you like.
Use horizontal guides on the front view to line up the side view parts. You'll need to use the Distort and Warp tools liberally to remove the perspective from the side view. Utilize any obvious rectangular elements, such as the FIRE decal, to determine the correct vertical alignment.
How to Cheat in 3ds Max
FireAlarm.tga FireAlarm.max
Use guides to help you rotate the items straight. Using a contrasting background color, erase the photo background with the Quick Selection and Eraser tools. Resist the temptation to waste a lot of time delicately erasing pixels at the edges. The edges don't have to be perfectly clean to use the images for reference in 3ds Max.
In this case, the base of the fire alarm in the front view is straight, but the top is crooked. Straighten out the image using the Rotate, Distort, and Warp tools as necessary. Remove any perspective artifacts from the image. Here, I erased the bit of the underside of the "roof" that was visible at the upper right corner of the object.
With a few modeled details and the reference image as a texture map, you have an instantly believable asset for your scene.
HOT TIP Outdoor photographs taken on an overcast day have fewer shadows and more even lighting than those taken in bright sunlight.
Save the image and use it as a guide for your model's proportions in 3ds Max. The details on how to do this are covered in this chapter.
1 Virtual studio Modeling Modeling
VIRTUAL STUDIO is a scene setup that provides the threedimensional reference required to model a specific object. It's one of the prime tools used by expert modelers to get the job done quickly.
Get two views of the object you want to model. In Photoshop, paint out the backgrounds and remove any obvious perspective from the images as described in the Reference Images cheat.
Make a box and position it in the Front viewport to align with the image. Press Ax to make the box see-through, and match its size roughly to the outer bounds of the front reference image.
Press f4 to turn on the Edged Faces display, and increase the number of box segments to allow enough detail for the object. Convert the object to an Editable Poly by right-clicking the modifier stack and choosing Convert to Editable Poly.
Create a perfectly square image that contains both maps. This will save you being concerned with the image aspect ratio when you use it in 3ds Max.
Now you can directly access the box's vertices (points) and edges (lines between points) to shape the object. At the object's Vertex sub-object level, move and scale vertices to shape the object to fit the image. Be sure to select vertices using a bounding area so you get the ones in the back as well.
How to Cheat in 3ds Max
MeterRef.jpg MeterMap.jpg MeterPole.jpg Meter.max
In 3ds Max, create a material with the reference image as a Diffuse map. Set the Self-Illumination value to 100 to make the image show clearly in viewports regardless of the lighting.
Create a plane in the Front viewport with square dimensions and one segment along each side. Apply the material to the plane, and turn on Show Map in Viewport. Press f3 to toggle the viewport to a shaded view. Because the map is square, you don't have to be concerned about its aspect ratio.
Clone and rotate the plane by holding down S while rotating it by 90 degrees. The resulting arrangement, called a virtual studio, provides a framework for creating a 3D model.
HOT TIP To speed up the modeling process, model one side of the object and use the Symmetry modifier to mirror it to the other side.
With the use of a TurboSmooth modifier, the result is a correctly proportioned object that looks great when rendered, especially if you use the reference images as a basis for its textures.
In Left viewport, move vertices to match the side image.
With the help of the virtual studio, finish shaping the object as necessary. If necessary, add more edges with the Cut tool, or with the Connect tool as described in the 15-Minute Building cheat.
1 15-minute building Modeling Modeling
Get a photograph of a building with a nearly-straighton perspective. In Photoshop, correct the perspective distortion and clean it up. In this image, I've removed the flag, signage, and balcony from the facade. Note the background color, which is similar to the building color.
HEN YOU NEED TO POPULATE a scene with buildings, you can do it with a long, arduous process. Or, if you like, you can do it the quick and easy way. Which would you prefer? The Preserve UVs feature of the Editable Poly object makes it possible to visually shape the building right to the map without leaving the Front viewport.
Access the Vertex sub-object level. In the Edit Geometry rollout, turn on Preserve UVs. This will keep the map in place while you move vertices. Move each row of vertices to line up with its corresponding horizontal.
Count the number of horizontal segments you'll need to extrude windows and other details. Here, I counted one for the top and bottom of each window with an extra segment for each arched window. There's one segment near the top that will be used to shape the roof, for a total of 16.
Using the windows as a guide, count how many vertical segments will be needed. Select the horizontal edges and use Connect again to add the segments.
How to Cheat in 3ds Max
WhtBldgMap.jpg WhtBldg.max
In 3ds Max, create a box and map the building image onto it. Assign a UVW Map modifier and use Align to View, Fit, and Bitmap Fit to map the image with the correct aspect ratio. The box won't have the right aspect ratio, but you need to get the image right before you can fix this.
Adjust the box size with parameters only, with the Show End Result On/Off Toggle turned on. If you use scaling rather than parameters, the map won't stay still while you change the box size. Collapse the modifier stack and convert the box to an Editable Poly.
HOT TIP To force vertices to move along existing edges, turn on the Edge option in the Constraints section of the Edit Geometry rollout.
Access the Edge sub-object level and select the vertical edges at the sides of the building. You'll need to make sure Window/Crossing is set to Crossing, then draw a bounding area across the box horizontally.
With Preserve UVs on, move the new columns of vertices to line up with windows. Note the adjustment of vertices around arched windows and the sides of the building.
Click Connect Settings and choose the appropriate number of segments. The horizontal segments appear on the box.
If the texture wobbles as you move vertices, fix it by reapplying the UVW Map modifier. At the Polygon sub-object level, select the window polygons and extrude them inward. Voila! A 15-Minute Building.
1 Modeling around maps Modeling Modeling
In Photoshop, cut out the balcony and paste it to its own layer. On the facade, carefully paint out the balcony by taking a guess as to what the building looks like in that area. This step was already done in the 15-Minute Building cheat.
HADOW-CASTING DETAILS make an important addition to your 15-minute building. A sign hanging off the facade, a balcony, flags, and other doodads multiply the three-dimensional illusion. The most convincing items use maps you've created from a photo. However, these items are often odd-shaped, and it can be tough to get the object and map to match. By using the Preserve UVs feature, you can use a map placed right on the object as a guide and get the modeling done right-quick. For the 15-minute building in the previous cheat, the original image shows an ornate balcony. Adding the balcony to the scene as a three-dimensional object adds depth to the rendering without a lot of work.
Make a material with the balcony front map and put it on the box. Adjust the size of the box so the map looks right. That means you need to adjust the box until the map is correct, without any regard for whether the box is the right size.
Modeling right over the mapping, rather than modeling and applying the mapping later, makes the process much simpler. Here, I've shortened the sides of the balcony to show only half of the map.
How to Cheat in 3ds Max
WhtBldgMap.jpg BalconyMap.jpg Balcony.max
Separate the balcony picture into the front and top views, and save each one as a map. Not much of the balcony top is visible, so I've stretched the image to make its proportions match the balcony front.
In 3ds Max, create a primitive object a bit larger than the final object. A box works best for the balcony, as it does for most modeling tasks. Create the box in the Top viewport.
Make a judgement on the number of segments you'll need to model the object. Here we want sufficient segments for the supports and top detail. Collapse the box to an Editable Poly.
For the balcony top, select the top polygons and apply a UVW Map modifier to give that area its own Planar mapping, and collapse the stack. Apply a material with the balcony top map to the polygons, and extrude them down.
Go to the Vertex sub-object level, turn on Preserve UVs in the Edit Geometry rollout, and move vertices around to fit the map. You might need to delete polygons or use Extrude or Weld to make the right object shape.
When creating maps from photos, fill in the background with a main color from the map. That way, if the map "bleeds" a little off the sides of the object in 3ds Max, the effect won't be so noticeable.
Add a shadow-casting light, and you have an interesting detail that gives a lot of depth with minimal effort.
1 Modeling from a plan Modeling Modeling
Use File > Import to bring in the plan in DXF, DWG, or other file format. Turn on 3D Snap and right-click it to turn on the Vertex option. Use Line to draw the outer wall by snapping to vertices on the plan. Set Steps on the Interpolation rollout to 0, and use Refine at the Vertex level to add any needed vertices on rounded areas.
Apply a Surface modifier to the spline, and if necessary, turn on Flip Normals to make the faces visible from the Top view. Collapse to an Editable Poly, and at the Polygon level, select all faces and Extrude them to create the height.
FLOOR PLAN can be helpful as a guide when creating a building or a design. But contrary to popular belief, it's not just a matter of importing the plan and extruding it. Most plans aren't built for easy extrusion; even if you try to weld the vertices together, you'll usually end up with a mess. When you redraw the plan with your own lines, creating a building from a plan goes from a long nightmare to a quick, beautiful dream.
Instead of extruding the windows, you can create actual holes for them. Delete the window polygons on both the inner and outer walls, select the open edges with the Border sub-object, and close up the sides with the Bridge tool.
How to Cheat in 3ds Max
TurretBldg.dwg TB*.jpg TurretBldg.max
At the Spline level, use Outline to create another spline to define the inner wall, and add more vertices at the corners to line up horizontally and vertically. Apply a CrossSection modifier to connect the two splines together with segments. By creating the shape this way, you won't create interior polygons when you extrude.
Place each map on the building (see the Multiple Maps cheat in the Materials and Mapping chapter). Then use Connect to make edge lines using the 15-Minute Building technique.
Create long, thin boxes to replace the window mullions. Create a separate plane almost as large as the building facade and place it behind the mullions to represent the window panes, and apply a reflective material to it.
Before extruding the plan, you'll need maps to guide the modeling process, one for each part of the building. Since this is a new building, I've drawn maps in Photoshop by pasting together brick textures and a few other items borrowed from photographs of similar buildings. The maps shown are for the side, turret, and front, respectively.
At the Vertex sub-object level, turn on Preserve UVs and move vertices to line up edges with windows and other elements. When working with corner areas like the turret, use all your viewports to help you select the correct vertices.
HOT TIP Interior walls can be created in the same way, by drawing lines over the plan and extruding them, then using Connect to create horizontal and vertical edges. Knock out the doors by deleting polygons and using Bridge to close up the sides.
Create the roof in the same way, using the maps as guides to horizontal and vertical lines. You can also extrude other detail on the outside of the building, such as the blocks below the windows.
1 Modeling a gorge Modeling Modeling
EALISTIC LANDSCAPE elements require a certain amount of detail. While it isn't feasible to model every nook and cranny, you need to give the object some sort of shape to support the texture. With the use of contour lines, you can create a custom surface that fits your tileable map. Modeling takes care of the major shapes, and a bit of mapping takes care of the small bumps and crevices.
Apply the Surface modifier with Steps set to 0 to create the surface. Assign the rocky material to the new object, and use the UVW Map modifier's Acquire option to get the plane's mapping with the Acquire Absolute option. Collapse the new object's modifier stack to create an Editable Patch, then collapse to an Editable Poly. Use Remove at the Edge sub-object level to remove unwanted edges that cross lines.
How to Cheat in 3ds Max
MountainTex.jpg GorgeStart.max GorgeFinish.max
A reference photo serves as both an inspiration and a texture source. In Photoshop, select the largest chunk of the image that you can get for the texture, and stretch it into a rectangle. Turn it into a tileable texture with the technique described in the Preparing Textures topic in the Materials and Mapping chapter.
At the Polygon sub-object level, use Bevel to pull out rocks from the surface. Reapply the UVW Map modifier as needed to restore the mapping. Apply a TurboSmooth modifier to smooth out the rocks.
Apply the texture to a plane in 3ds Max, and use Bitmap Fit to fit the mapping to the bitmap's aspect ratio. Use the Line tool to draw contours that follow the rocky ridges in the texture. Select the leftmost line, and use Attach to attach the lines in sequence going from left to right. Apply the CrossSection modifier to create connecting lines.
HOT TIP Allowing the texture to repeat across the plane three or four times will give you a larger canvas for tracing the contours.
Bump and displacement maps created from the original texture enhance the surface's craggy appearance. Here, I've used a Mental Ray Arch & Design (mi) material with the Masonry preset and my custom textures.
1 Modeling a character Modeling Modeling
N A TRIP to Cape Cod several years ago, I was introduced to the 2D artwork of Joey Mars. I was so captivated by No. 3, one of his signature characters, that I asked Joey if he wanted to collaborate on a 3D project. He provided 2D front and side views and a story line, and the result was a short television spot that still brings a smile whenever we see it. If you're new to character modeling, this simple little guy will give you the basics so you can eventually create characters of your own.
In the side view, move vertices around to line up polygons for the arm holes, one on each side of the body. You might need to use Connect at the Edge sub-object level to cut more edges. Select the arm hole polygons, and Bevel or Extrude to get the basic arm shape. Then move vertices to shape the arms.
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To create the mouth, move vertices to fit the mouth shape and delete the polygons that are in the way. Then select edges on either side of the mouth and use Bridge to bridge across them with new polygons. Selecting the edges is easier if you turn off the See-Through option.
How to Cheat in 3ds Max
No3RefFront.jpg No3RefSide.jpg No3CatchFly.mov
Create or obtain front and side views of the character (called a model sheet in the 3d biz), and use it to create a virtual studio in 3ds Max. Create a box with 1-4 segments along the height, width, and depth.
Make the box see-through, and collapse it to an Editable Poly. At the Vertex sub-object level, shape the box to match the character's torso. Move vertices at the corners of the box to make it rounder.
HOT TIPS By default, a box is rendered with hard edges. To smooth the edges, select all the polygons at the Polygon sub-object level and click Auto Smooth in the Polygon: Smoothing Groups rollout.
At the end of each arm, use Connect to cut extra edges for fingers. Bevel polygons with By Polygon option turned on to create separate fingers.
In the same way you did the arms, extrude the legs and feet and shape them at the Vertex sub-object level. Then use Bevel to create the head, and shape it the same way.
Some character modelers like to use the Symmetry modifier, which automatically copies one side of the model to the other side. This means you only have to model one side of the character to get a complete model. I prefer to model each side separately for a more organic look.
Apply the TurboSmooth modifier for some instant gratification. If TurboSmooth makes the model too squishy, select some of the edges and increase the Crease value to 0.5 or 1.0. This will hold the edges in place even when TurboSmooth is applied. Continue working with the model, using the same tools to extrude and shape any additional character elements.
Modeling Modeling I
How to make a mess with modeling WHEN YOU SET OUT to model an object, your primary concern is to give the model the right overall shape to represent the object. But right behind that concern is the necessity to create a clean model that will be easy to edit, and that will work in a variety of rendering and animation situations. Consider a toy car model as an example. To create the body of the car, the most obvious approach is to draw a couple of splines to represent the shape, attach them together, and use the Extrude or Bevel modifier to create a 3D object. While this is all fine and good for getting the basic shape of the car body, consider what happens afterward. The model is not quite smooth enough, so you apply the TurboSmooth modifier, and that's when you experience the disaster. The model collapses into itself and makes a mess. Even if you don't apply TurboSmooth, just try applying a Bend modifier to it to experience a completely different kind of mess. What went wrong? When you use Extrude or Bevel on a spline, you're taking a gamble with the face structure. To see what I mean, select the object and turn off the Edges Only option on the Display panel. The edges on such an object go every which way, creating long, thin, triangular faces that the TurboSmooth modifier doesn't like. A better approach is to start with a Plane, convert it to an Editable Poly, and shape the car's profile by deleting polygons and moving vertices around. Then apply a Shell modifier to give it some thickness, or use Extrude or Bevel at the Polygon level to shape the object. You might need to use the Flip option on some
How to Cheat in 3ds Max
of the polygons to get the object to look right, but it's well worth the trouble. When you apply TurboSmooth to it, the result is beautiful to behold. TurboSmooth works well with three-sided and four-sided polygons of a fairly regular shape and size, but not so well with any other kind. Modifiers like Bend and Taper work best with these types, too. In general, you can use splines all you like with the Sweep and Lathe modifiers, and as Loft paths. Using the Extrude and Bevel modifiers with splines works fine with a boxy object that isn't going to be smoothed. But if you plan to use TurboSmooth with an object, use the Plane modeling method instead.
Modeling Modeling P
Secrets of the spline SPLINES MIGHT SEEM LIKE a lesser cousin of polygons, but in practice they have many uses. Some types of modeling, such as vehicle and aircraft design, require these smooth curves to define the shape of the object. Splines have a long history. Back in the shipbuilding days of yore, naval architects created their hull designs by bending a strip of wood over and around a series of weights, creating a smooth curve. The piece of wood was called a spline. In computer graphics, this idea was borrowed to create what is now called the spline. Some modelers avoid splines, saying they take too long to adjust. But if you learn to draw them right the first time (or at least close to right), you'll have the freedom to use splines for the jobs that call for them. I won't lie and say that drawing splines is intuitive. When I first started using splines, I cursed them more often than anyone. But then I figured out a few key things about them, and now I can draw them nearly perfectly the first time, every time. The factors that determine the shape of the spline are the placement of the vertices and the curves going in and out of them. You can get a large curve out of just two well-placed vertices. The fewer you use, the easier it will be to adjust the curves. Start by drawing as few vertices as possible and see what you can get out of that. When drawing a spline, a single click makes a corner vertex, where the spline will go straight in and out of the vertex. To get a little curve on it, drag the vertex while placing it. The two key points to get into your head are: You do not have to drag all the way to the next vertex before releasing the mouse button. Once the curve looks good for all the vertices drawn so far, release the mouse and move it to the next spot. You don't even have to drag in the direction of the next vertex. Learn to ignore the line between the last vertex and the current cursor position, as this does not determine the shape of the line. After you drag to make the curve shape, you can release and move the cursor and place the next vertex anywhere you want.
How to Cheat in 3ds Max
HOT TIP If you can't move the vertex handles after you've created the spline, press x to turn off the axis display, and press f5 to move handles left-right or f6 to move them up-down. When you've got the handles the way you want them, press x again to turn on the axis display.
After you've drawn your nearly-perfect spline, you can move vertices around and adjust their handles (if they're the Bezier type). To change a vertex type, right-click the vertex and choose the new type from the quad menu. If you make a big mess of things, change all the vertex types to Smooth and take it from there. It takes practice to get good at drawing splines, but really no more than an hour or two. That's all it takes to unravel the secrets of the spline. Just imagine how good you'll feel when you can create them quickly with no muss or fuss.
How to Cheat in
ď Ž Textures modified from photographs coupled with mapping to match the object's shape make the best renderings.
3ds Max Materials and mapping HAVING GOOD TEXTURES is half the battle in making realistic materials. The other half is knowing how to create materials with the textures, and how to get them onto objects with the right orientation and size. While a map is 2D and provides color information only, a material has a 3D aspect to it. Shininess, bumpiness, and transparency are all set within the material. You define a material with one or more maps, and then assign the material to a 3D object. In this chapter, you'll learn how to create materials and apply mapping to suit your scene.
2 Material Editor basics
Materials Mapping Materials andand Mapping
HE MATERIAL EDITOR is the heart of all materials and mapping. Here is where you specify the maps that will be applied to the object. This topic is a quick guide to the Material Editor tools you'll use the most often. When navigating the Material Editor, keep in mind that it works with a tree structure, where every map is considered a "child" of the main material.
Open the Material Editor by pressing the m key or clicking the Material Editor button on the toolbar. Note the sample slots across the top, which will guide you in the material creation process.
The rollouts are different because you are currently at a child level of the material tree. Click Go to Parent to get back to the previous level.
For a bit of quick gratification, click the Diffuse color swatch on the Blinn Basic Parameters rollout and change the color in the Color Selector. The Diffuse color is the main color of the object.
Experiment with the Specular Level and Glossiness values. The changes aren't visible in viewports, only in the sample slot and renderings.
How to Cheat in 3ds Max
The easiest way to assign the material is to drag from the sample slot and drop it on the object. Triangles appear at the corners of the sample slot to indicate that the material has been assigned.
Now for the fun part--assigning a map for the Diffuse color. In the Material Editor, click the small box next to the Diffuse color swatch, choose Bitmap from the Material/Map Browser, and pick a bitmap texture.
To make the bitmap show up on the object in viewports, click the Show Standard Map in Viewport button on the Material Editor toolbar. In 3ds Max 9 and earlier versions, this button is called Show Map in Viewport.
HOT TIP 3ds Max comes with a wide variety of bitmaps. Look in Program Files/3ds Max/ maps for a selection of folders.
Expand the Maps rollout and note the different types of attributes listed. Diffuse, Bump, and Reflection are the ones you'll use most often.
Click the slot next to Bump and choose the Noise procedural map. Experiment with the settings and see how it affects your rendering.
You can also add a Reflection map. On the Maps rollout, set the Reflection value to 20 to keep it from overwhelming the material.
2 Mapping coordinates
Materials Mapping Materials andand Mapping
APPING IS A METHOD of specifying the orientation and size of maps on an object. For mapping, 3ds Max uses a special coordinate system that works with both flat and curved sections of objects. When you apply a material to an object, the object's own mapping coordinates determine the textures' orientation and size. Every primitive, and just about every other kind of object you can create in 3ds Max, has mapping coordinates assigned to it by default. You can change the default coordinates by applying a UVW Map modifier to the object, where you'll have a selection of mapping types to choose from. In practice, you'll use just two or three of them for the majority of your work.
Every primitive in 3ds Max, and most other objects, have default mapping coordinates applied. As you'd imagine, the default mapping coordinates correspond to the general shape of the primitive.
Box, Spherical, and Shrink-Wrap have specialty uses for certain types of objects. You will rarely use these and other types available with the UVW Map modifier.
How to Cheat in 3ds Max
To change the mapping coordinates, apply a UVW Map modifier. The default setting for this modifier, Planar, projects the map onto the surface. This is the mapping type you'll use most often.
On a lofted object, you can use the Apply Mapping option to apply custom mapping coordinates that follow the path.
Cylindrical mapping looks good on curved surfaces, but warps at the edges of flat surfaces. This is the mapping type you'll use occasionally, mostly for round surfaces.
HOT TIP 3ds Max uses UVW as the letters for its coordinate system to avoid confusion with the XYZ coordinate system used to designate 3D space.
When mapping coordinates from the UVW Map modifier don't give you exactly what you need, you can use the Unwrap UVW modifier to fine-tune the mapping. See the Unwrapping the Mapping topic for details on this feature.
2 Preparing textures
Materials Mapping Materials andand Mapping
OOD TEXTURE MAPS are the key to believability in your renderings. Realistic textures can bring a crude model to life, but it doesn't work the other way around. If your textures aren't up to par, your rendering will suffer accordingly. Rather than paint your own textures, start with photographs as a base and do a bit of cleanup in Photoshop.
A straight-on photograph of an object makes an excellent basis for a texture map. In Photoshop, remove perspective with the Warp and Distort tools and clean up the image.
If you need a Bump map, make a grayscale version of your texture map and increase the contrast so you have a range from black to white.
If the map doesn't match the object exactly, the background color will "bleed" onto the object. Use Photoshop's Smudge tool to push the edges of the image and make it larger.
Tiny shadows in crevices can be hard to produce with lighting and shadows alone. Build these shadows into the texture itself for a more realistic rendering.
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You can also create textures right in 3ds Max by rendering an orthographic viewport. This is a great way to make animated textures for television and monitor screens.
To create interesting shadows without having to model the objects, create a Projector map from a photo. See the Shadows chapter to find out how to use this type of map.
To make a map tileable, cut it into four equal quadrants and swap each one with its diagonal counterpart. Clean up the visible edges in the middle, and the result is a tileable map. This technique is particularly good for landscape elements that need to be tiled over a large area, like grass, rocks, and sand. Use a texture like this with the Gradual Mix cheat to make a natural-looking landscape.
HOT TIP To create textures from photographs, you can use the same techniques as those used on reference images in the Modeling chapter.
For quick people, cars, and trees, start with a photo and paint out the background to a transparent layer. Put the texture on a plane facing the camera. Create an Opacity map with solid areas as white and transparent areas as black, or use an alpha channel to hide the background. This technique is described in detail in the People, Trees, and Cars topic.
2 Applying a decal
Materials Mapping Materials andand Mapping
PPLYING A MAP in a single spot on the model is a common need in 3D presentation. Instead of applying multiple materials, you can create a decal by using a PSD texture map with a transparent background.
Prepare the decal bitmap in Photoshop with a transparent background, and save it as a PSD file. This automatically stores the transparency information as an alpha channel that you can use in 3ds Max.
Assign the material to the object, and turn on Show Standard Map in Viewport. The decal appears all over the object. In the Coordinates rollout, turn off the Tile option for both U and V to remove the decal from all parts of the object except the area designated by the UVW Map gizmo.
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BottleStart.max BottleFinish.max Label.psd
Apply a UVW Map modifier to the object, and leave the Mapping as Planar. Highlight the Gizmo listing at the UVW Mapping modifier sub-object level, and move and scale the gizmo so it roughly matches the desired decal size.
In the Bitmap Parameters rollout, make sure Alpha Source is set to Image Alpha. This utilizes the alpha channel and makes the corners of the decal transparent. If your decal corners are black, choose the bitmap again. Take care to choose Individual Layer and highlight the single layer.
In the Material Editor, assign the PSD file as a Diffuse bitmap. Choose the Individual Layer option and pick the single layer available. Using this option, rather than Collapsed Layers, preserves the alpha channel.
Click Go to Parent to return to the root level of the material. In the Blinn Basic Parameters rollout, change the Diffuse color swatch to the color of the rest of the object. Here, I've changed it to light green. Adjust the Specular Level and other parameters as you like.
2 People, trees, and cars
Materials Mapping Materials andand Mapping
XTRA SCENE ELEMENTS like people, trees, and cars are time-consuming to create as models. You can save a lot of time by creating these extra elements as textures and mapping each one onto a plane. For a more three-dimensional look, you can also model a simple low-polygon object, and let the textures do most of the work.
Place a shadow-casting light in the scene with Ray Traced Shadows. This will render shadows cast by transparent objects correctly, while a Shadow Map won't.
In 3ds Max, create a material with the PSD file as the Diffuse map. In the PSD Input Options dialog, choose the Individual Layer option and select the single layer. This ensures that the background area will be transparent. In the Bitmap Parameters rollout, make sure Alpha Source is set to None.
The same can be done with trees. The base of the tree will give away the fact that it's on a plane unless you hide it behind something, such as a mailbox.
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Tree.psd Man Walking.psd Car Top.jpg Car Side.psd Car Back.psd
Get together a few pictures of elements you want to use in the scene. Action poses work best for people, such as walking or sitting, rather than just standing there. For cars, get side and top photos, and back or front views as needed.
In Photoshop, paste the image onto a transparent layer, and erase the background. The Quick Selection tool can help with large areas, but you'll need to do some custom cleanup around the edges. Save each image as a PSD file.
In the Maps rollout, drag the map from the Diffuse slot to Opacity slot as a Copy. Click the map in the Opacity slot, and set Mono Channel Output to Alpha. Change the Sample Type to a cube and turn on the Background option to check that the map background is transparent.
To darken the shadowy area of the tree, use a Mix map and mix the tree with black, with a black-to-white Gradient map to determine the Mix Amount.
Create a plane in the scene and assign the material to it. Turn on Show Standard Map in Viewport to see the image in the scene. Assign a UVW Map modifier to the plane, and use View Align, Fit, and Bitmap Fit to ensure the mapping matches the PSD file's aspect ratio.
If there are no shadows cast upon the plane in the scene, you can set the SelfIllumination value in the Blinn Basic Parameters rollout to 100 to get the full range of color in the image regardless of the scene lighting. However, selfillumination will also prevent the plane from receiving shadows from other scene elements.
A car can also be mapped onto a plane or created as a low-polygon object. Although it won't hold up to close scrutiny, it's fine as an auxiliary element.
2 Multiple maps
Materials Mapping Materials andand Mapping
Assign a material with a plain color to the object. Drag the material to another slot to make a copy, and give it a different name. In this second material, assign the texture map you want to apply as the Diffuse map.
OU WILL OFTEN NEED to map several different textures onto one object. There are many ways to do this, but the one shown here is the quickest. The key is to assign both materials and mapping to selected polygons at the same time. This technique automatically creates a Multi/ Sub-Object material for you with exactly the right materials in the right places.
Choose the Bitmap Fit option on the UVW Mapping modifier, and pick the texture map. This will resize the gizmo to the same aspect ratio as the bitmap.
Access the main level of the UVW Mapping modifier, and right-click it. Choose Collapse All to collapse the modifier stack. This embeds the mapping in the selected polygons.
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MailStart.max MailFinish.max USPS Logo.psd USMail.jpg
At the Polygon sub-object level, select the polygons to which you want to apply the texture map. Assign the material to the object while still at the Polygon sub-object level. This assigns the material to the selected polygons only.
While still selected at the Polygon sub-object level, apply a UVW Map modifier to the object. Use the View Align and Fit options to line up the gizmo with the approximate size and orientation.
HOT TIP Turn on the Show Standard Map in Viewport option on the Material Editor toolbar to see the bitmap on the object after assigning the material.
If the texture needs to be moved or scaled, access the Gizmo sub-object level of the UVW Mapping modifier, and move or scale the gizmo.
Select another set of polygons and repeat the process: Assign a material, apply a UVW Map modifier, adjust the gizmo, collapse the stack. Repeat this as many times as needed to map the entire object.
If the map is a decal (meaning it's not meant to be tiled), turn off the Tile checkbox for both U and V in the bitmap's Coordinates rollout in the Material Editor.
After assigning multiple materials, click an empty sample slot in the Material Editor and use the eyedropper to pick the automatically-generated Multi/Sub-Object material from the object.
2 Background maps
Materials Mapping Materials andand Mapping
OUR RENDERINGS can get a lot of mileage out of a photograph used as a background. The bitmap can be shifted or tiled within 3ds Max to match your camera's perspective.
Open the Material Editor. Drag from the Environment Map button in the Environment and Effects dialog to an empty material slot. When asked to choose the copy method, choose Instance. This will enable you to change the background map from within the Material Editor.
Select the background image slot in the Material Editor. Experiment with the Offset and Tiling values to eliminate stretching, or to make the parts you want to see show up in the viewport and rendering. You can also change the Mapping to Cylindrical or Spherical Environment, or use the Mirror option to get more sky at the top and trees at the sides.
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To set up the background for the rendering, choose Rendering > Environment, click the blank Environment Map button, and choose a Bitmap. You won't see the bitmap in viewports; you need to render to see the background. Background.jpg
To display the background in a viewport, activate a camera or Perspective viewport and choose Views > Viewport Background. Turn on the Use Environment Background and Display Background options and click OK. If the image's aspect ratio differs from the viewport's, the image will appear squashed.
HOT TIP When choosing a background map, look for images with landscape elements far from the camera.
In the Coordinates rollout, the mapping type is set to Environ by default. This means the background will stay still even if the camera moves. If the camera is animated, you'll need to put the background texture on an actual 3D object in the scene. Create a giant sphere or cylinder around the scene, and apply a material to it that uses the background image as a Diffuse map. Turn on the 2-Sided option and set Self-Illumination to 100. With this type of setup, the background will pan appropriately when the camera moves.
2 Procedurally speaking
Materials Mapping Materials andand Mapping
ROCEDURAL MAPS use algorithms (a series of equations) to generate an individual color pattern. You change the pattern not by painting pixels, but by adjusting parameters. Although 3ds Max comes with many procedural maps, I use the Noise map and Gradient Ramp map more than all the others combined. With the examples here, it's easy to see why.
The Noise map makes a random pattern of black and white blobs. This type of map makes a great Bump map to give an object a bit of texture. Change the Source to Explicit Map Channel and turn on Show Standard Map in Viewport to see how the map lies on the object. A Bump map only shows up on a somewhat shiny material, so be sure to turn up the Glossiness and/or Specular Level to see the bumps in the rendering.
The Gradient Ramp map makes a gradient from a series of colors. The Radial type creates concentric circles, and the Solid Interpolation setting makes great cartoon-style eyeballs.
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CandyBowl.max DogEyes.max PlanetGrad.max
The Noise map, like many maps, can be nested. In other words, the black or white channels in a Noise map can lead to another Noise map, or any map for that matter. Here, a Noise map is used as a background. The Size parameter is turned down low and the Noise Threshold: Low value is increased to reduce the amount of white. This produces a field of white stars on a black background. Then the black channel holds another Noise map made up of larger blobs of dark blue and purple, creating a rich background for a space scene.
HOT TIP If a Noise pattern is still too large with a small Size setting, increase the Tiling values in the map's Coordinates rollout.
You can also use a Gradient Ramp to generate rings of varying colors. Here, the Gradient Ramp map in the Diffuse channel is coupled with a Noise map in the Opacity channel to create the semi-transparent rings around a planet.
2 Gradual mix
Materials Mapping Materials andand Mapping
LARGE LANDSCAPE might call for gradual changes from one kind of ground cover to another. Examples would be grass and dirt on a forest floor, or rocks and snow on a mountaintop. There are a number of ways you could create the texture map for such a landscape, such as mixing two maps using a Noise map to vary it across the surface. But with that type of setup, it would be hard to control where each map appears on the terrain. Instead, you can use vertex painting to put different maps on specific areas. This technique gives you fine control over the final look of the landscape while retaining natural-looking variations from one map to another.
Create a terrain object with any method and apply a VertexPaint modifier to it. In the VertexPaint dialog, turn on Vertex Color Display - Unshaded. By default, all vertex colors are white. You'll use the VertexPaint tool to paint some of the vertices black.
In the Material Editor, create a Standard material with a Mix map in the Diffuse map slot, and assign it to the terrain. Select a Color 1 map for the black areas and a Color 2 map for the white areas. As you assign each map, display it in the viewport with the Show Standard Map in Viewport option so you can adjust tiling appropriately.
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Terrain.max TerrainMix.max
Make sure the color swatch in the Paintbox is black. Click the Paint tool and move the cursor over the object to see the disk-shaped paintbrush tool. Drag the cursor over the object to paint areas black. Here, I've painted the peaks black and left the valleys white.
HOT TIP To see the ground cover bitmap on the object without the vertex colors, turn on the Disable vertex color display option in the VertexPaint dialog.
For the Mix Amount map, choose a Vertex Color map. This will use the vertex colors to determine the amount by which the two maps are mixed. Since you can see only one map at a time in viewports, you'll need to render the image to see the result. You can also paint some of the black vertices back to white to change the effect.
2 Unwrapping the mapping Materials Mapping Materials andand Mapping
APPING A VERTICAL surface like a mountain presents specific difficulties that can be solved only with the Unwrap UVW modifier. This powerful tool can be used in a variety of situations. Here it's used to clean up mapping artifacts on a vertical surface. Learning to visualize how the Edit UVWs dialog relates to the object takes some practice, but it's well worth the time spent. Once you know how to unwrap your UVWs, you'll be able to map any object with ease regardless of its size or shape.
Planar mapping works fine for the top of the mountain, but you'll get stripes on the sides due to the map pixels going straight down.
For extreme vertical areas, you can also reduce the striping further by scaling selected vertices so they use more of the map. Vertices selected in the viewport are automatically selected in the Edit UVWs dialog, and vice versa.
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Mount.max MountUVW.max
Apply an Unwrap UVW modifier and click Edit, and you'll see why. The vertices in the vertical areas are all bunched up around the center of the mapping coordinates. You'll use the Relax tool to fix this.
Select all the points and choose Tools menu > Relax. Choose the Relax by Centers option with the Keep Boundary Points Fixed option turned on, and click Apply several times until the distribution evens out.
HOT TIP You can display a bitmap in the Edit UVWs dialog to help you visualize how the map will fall on the object. If a material with a Diffuse bitmap has been assigned to the object, you can pick the bitmap from the dropdown list at the top of the dialog. You can also choose Pick Texture and pick a new one.
If the bitmap is displayed on the object in the viewport, you'll see it change interactively as you move vertices around in the Edit UVWs dialog. The result is a mountaintop with an evenly distributed texture and no obvious stripes due to mapping.
2 Mapping a character
Materials Mapping Materials andand Mapping
APPING A CHARACTER requires a few special techniques. The use of the Unwrap UVW modifier makes it possible to put all the textures into one image, making a gameready character that uses as little memory as possible. Wrapping your head around the Unwrap UVW modifier takes a little practice, but will open up a new world of texturing to you.
Apply the Unwrap UVW modifier, and click Edit. The mesh displayed in the Edit UVWs dialog represents the skirt flattened out. Choose the texture map from the dropdown at the top of the dialog to display it in the window.
Put all the various textures for the character in one square image. Create a material with this image as the Diffuse map.
Select all the vertices in the window. Using the transform tools at the upper left of the dialog, move and scale the vertices to fit the part of the texture they correspond to. In this case, it's the rectangular patch of green at the upper right of the texture image.
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Select a body part to start mapping. In this case we'll start with the skirt. Select the polygons that make up the skirt, making sure you get all the ones around the back.
With the polygons still selected, apply the UVW Map modifier. Choose an appropriate map type, in this case Cylinder. Use View Align and Fit to fit the gizmo.
Apply the material to the selected polygons. The material won't look right, but that's okay at this stage.
Choose Thick Seam Display in the UVW Map modifier panel to see where the gizmo's seam is. At the Gizmo sub-object level, rotate the gizmo to put the seam at the back.
HOT TIP To make the map easier to see and work with in the Edit UVWs dialog, Choose Options > Preferences and turn off Tile Bitmap, and use Views > Show Grid to turn off the grid display.
Collapse the modifier stack to set the mapping. Repeat the process for each part of the body, selecting polygons, choosing an appropriate UVW Map type for that section, and applying an Unwrap UVW modifier to align the mesh with the texture in the Edit UVWs dialog. When you select a vertex in the Edit UVWs dialog, it turns yellow on the mesh. You will see the mapping change on the character in the viewport as you move and scale vertices in the Edit UVWs dialog. Collapse the stack after aligning each part of the mesh in the Edit UVWs dialog.
2 Basic mental ray materials Materials Mapping Materials andand Mapping
ENTAL RAY comes with a number of preset materials that work "as is� in your scene. Materials that are difficult to create with the Standard type take just minutes when you use the Arch & Design material's presets. Mental Ray materials are available only when Mental Ray is selected as the renderer. These materials are designated in the Material/Map Browser by a yellow sphere icon. Note that if you switch back to the default renderer after you assign Mental Ray materials, you will need to reassign non-Mental Ray materials to make the scene render properly.
In the Render Scene dialog > Common tab, change the renderer to Mental Ray. Open the Material Editor, and click the Standard button on the Material Editor toolbar. Choose the Arch & Design (mi) material, one of the Mental Ray Materials in the Material/Map Browser.
Experiment with more templates, and note how they change the Diffuse, Reflectivity, and Transparency settings. Also, look for the Bump and Displacement settings in the Special Purpose Maps rollout. Many templates automatically assign textures to these parameters.
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On the Main Material Parameters rollout, you'll see some of the same types of parameters you are accustomed to, such as Diffuse and Transparency. To get started, choose a template from the Select a Template dropdown and assign the material to an object in the scene.
Where Mental Ray really shines is with hard-to-getright materials like glass. Here, I've applied the Glass (Physical) template to the bottle. At any time, you can change the parameters on any rollout to change the object's color or appearance.
Choosing a template sets the material parameters to appropriate values, but the preset name doesn't stay with the material. Try a new template, change the Diffuse color swatch, apply it to an object, and render. Set the output resolution low to keep the rendering time reasonable.
HOT TIP To keep the rendering time to a reasonable length while getting the benefits of Mental Ray, turn on Enable Final Gather in the Indirect Illumination tab of the Render Scene dialog, and set the Preset to Draft.
The Water, Reflective Surface template gives you instantly believable water. With just a quick change of the Diffuse color, you can make it match your scene. In the next topic, Custom Mental Ray Materials, you'll learn how to use your own maps with these templates.
2 Custom mental ray materials Materials Mapping Materials andand Mapping
HILE PRESET MATERIALS can get you through some of your projects, to really make use of Mental Ray you'll need to use your own bitmaps and textures. To create a 3D version of this 17th-century ornamental carving, I used Mental Ray to make all those nooks and crannies really pop.
In the Main Material Parameters rollout, click the Diffuse map button, then click the Bitmap button on the Material Editor toolbar (just under the sample slots). In the Material/Map Browser, choose Mtl Editor. under Browse From. Pick the Diffuse map you used for the original material, which you named so carefully earlier so it would be easy to find. Render it to see how it's coming along. Here I've assigned the material to the leaves only.
Before you start using Mental Ray, create Standard materials for the object as usual. Name all your maps and materials with highly descriptive names. This will become very important when you create your custom Mental Ray materials.
Replace the Reflectivity map with the same map as the Diffuse map. In the case of Masonry, this will put soft reflections on the object. Scroll down to the Special Purpose Maps rollout, and replace the Bump map with your original material's bump map. By now, I'm sure you understand why I had you name your maps in the first step! For my model, the bumpiness was a bit high for the leaves, so I reduced the Bump value from 1.0 to 0.6.
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Get the maps and materials to the point where the rendering looks pretty good with the default renderer, then assign Mental Ray as the current renderer (Render Scene dialog > Assign Renderer rollout). In the Indirect Illumination tab, turn on Enable Final Gather and choose the Draft preset. Render the scene to see if it looks any different. Shown here are renderings with the default renderer (top) and Mental Ray renderer (bottom). Aside from slight differences in shadows, you won't see much of a change until you assign Mental Ray materials.
In an empty sample slot, click the Standard button and choose the Arch & Design (mi) material. This type of material, which is available only after you have set the renderer to Mental Ray, comes with a number of presets that make it easy to get a particular look for your materials. Click the Templates dropdown menu and choose a template. For my carving, I chose Masonry. Choosing a template changes the material parameters, and assigns default maps automatically. You will make your custom material by replacing the default maps.
Carving.max CarvingMR.max
HOT TIP If a bump map has too hard a line between black and white areas, increase the Blur value on the bitmap's Coordinates rollout.
Use the same method to create Mental Ray materials for all other parts of the model. Use an appropriate preset as a base for each material, and replace the maps with your Standard material maps as necessary. Assign each material to a Polygon sub-object selection to automatically create a Multi/Sub-Object material made up of Mental Ray materials. Here, I've used the Vertex Paint method to make a messy wall with the Gradual Mix technique.
You can also use the bump map as a Displacement map. This causes the bumps to look as though they are physically modeled, so they show in profile in the rendering. Note the difference in the the circular center of this model, where the ridges stand out and prevent it from looking perfectly round. I also made it look like an old relic by mixing a bit of the Speckle map with the original bump map, and by applying a Noise modifier to the model.
Materials Mapping Materials andand Mapping I
Lumps, bumps, and dainty curly stuff WHEN YOU'RE MODELING an object that has lots of creases, crevices, and curlicues, a question arises: what parts do you model with polygons, and what parts do you represent with maps? To answer this question, we'll look at an ornate mirror that I photographed at my friend's house. (Yep, that's me in the mirror with the camera.) My friend has a lot of cool antique stuff, and when I saw this mirror I knew I had to model it in 3ds Max. The first step, of course, was to remove the background (and my face) and make a nice, clean texture map. Since the mirror frame is white, the image can work as both a texture map and a bump map. Then I painted over the frame with white to create an opacity map. Rather than model each curlicue in the mirror frame, the texture/bump map can provide this detail. But what about the outer edges? The easiest approach is to map the image onto a box using the opacity map. However, the result is a flat-looking object. While the curlicues themselves look fine, you can tell from the edge of the object that it's flat.
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To get some thickness around the edges, I took a plane with 20x20 segments and pushed and pulled the vertices to make the mirror frame outline, then applied the Shell modifier to make it a 3D object. The TurboSmooth modifier with Iterations of 2 smoothed out the mirror frame nicely. (To understand why I didn't just draw a spline and extrude it, see How to Make a Mess with Modeling in the Modeling chapter.) I also modified the opacity map to be solid (white) around the edges of the mirror frame. With this setup, the model has a bit of thickness around the edges, and all the curlicue detail is still provided by maps. The same rules can be applied to any object. Interior detail: use maps. Exterior edges: use modeling.
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ď Ž Simple lighting is usually the best. A few lights placed at actual light sources, plus an extra fill light or two, is usually all you need.
3ds Max Lighting THE MOST COMMON QUESTIONS I get from 3ds Max users are about lighting--where to begin, how to fix it when it isn't right. While specialized lighting is a field of its own, the majority of projects call for simple lighting that follows basic principles borrowed from photography. Lighting in 3D software doesn't follow exactly the same rules as lighting in real life, so you have to find ways to make it fake the real world. With this chapter and the Shadows chapter that follows, you'll be able to light your scenes quickly and confidently without falling into common traps.
3 1-2-3 Lighting Lighting Lighting
OR GENERAL LIGHTING, a three-point system provides general illumination without washing out your scene. An optional back light can also be used to fill in additional areas. A light's intensity is set by its Multiplier value in the Intensity/Color/ Attenuation rollout. You can also change it in the Light Lister dialog, available from the Tools menu. Use the top view of this classic lighting setup (shown at left) and angled view (shown on the right) to guide you in placing lights.
3 1
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The key light provides the shadow and the bulk of the illumination. Make this light a directional or spot light, and give it the highest intensity of all lights in the scene.
If needed, you can also add an omni light at the back of the scene to light the top of the object.
The fill light fills in the other side of the scene and lightens up shadows. This omni light has a lower intensity than the key light.
HOT TIP A light always shines through objects in the scene unless its Shadow checkbox is turned on.
A dim omni light placed under the ground and slightly forward simulates light bouncing off the ground.
3 Exterior lighting Lighting Lighting
IGHTING FOR AN outdoor scene requires a direct shadow-casting light to simulate the sun, a medium-strength fill light to lighten the shadows, and a dim underground light to simulate bounced light. This lighting setup works equally well with the default renderer and with Mental Ray.
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How to Cheat in 3ds Max
A strong direct light provides sunlight and shadow for the scene. Ray traced shadows simulate the sharp shadows of daylight.
An omni light opposite the main light fills in the shadows and simulates ambient light.
HOT TIP While Ray Traced Shadows cast sharp shadows, Shadow Map shadows cast soft shadows like those you see on an overcast day.
A dim underground light provides the effect of light bouncing off the ground to illuminate overhangs and eaves.
3 Interior lighting Lighting Lighting
HE BEST WAY to simulate interior lighting is to place lights at actual light source locations. Shadow-casting spot lights provide the main illumination, while a few omni lights fill in the rest. When placing multiple lights from the same type of light source, copy the lights as instances so you can adjust them all at once. In the Light Lister dialog, instanced lights show up as a single light with a dropdown menu.
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Place a shadow-casting spot light at each different type of ceiling light or lamp.
Create instances of the lights that repeat within the scene.
Add one or two omni lights to fill in the dark spots. Place an extra omni light underneath the structure to illuminate the ceiling and any overhangs.
If you place a shadow-casting light inside or above a lamp or other geometry, you'll need to use the light's Exclude option to prevent the object from blocking the light.
3 Bright sunshiny day Lighting Lighting
UNLIGHT THROUGH a window makes a pretty presentation for a room. A glow around the windows simulates the real-life effect of light spilling in through the window and washing the outdoor view to white. This topic shows how to set up this type of lighting for the default renderer. See the Mental Ray Lighting cheat for details on how to adjust it for Mental Ray.
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Use a strong Direct light to make sunlight come through the window. Turn on Shadows and set the shadow type to Ray Traced Shadows. Turn off the Casts Shadows property for the window panes to allow the light to come through the windows and shine onto the floor.
Two or three Omni lights placed in the central part of the room simulate sunlight bouncing off the walls and floor to illuminate areas that aren't in the direct path of the sunlight. Turn on Shadows and set the shadow type to Shadow Map. A small Size and a large Sample Range create soft shadows on the walls and floor.
HOT TIP Shadow Map shadows from an Omni light get softer when you move the light farther away from the object receiving the shadow (wall or floor).
A glow around the windows adds to the impression of strong sunlight. Change the window pane material's Material ID Channel to a number other than 0, then set up a Glow with Render > Effects > Lens Effects. On the Options tab, set the Object ID to the same number as the Material ID Channel. Adjust the Intensity and Size parameters on the Parameters tab to make a soft glow around the windows in the rendering.
3 Space scenes Lighting Lighting
UTER SPACE is an unusual place with regard to lighting. The nearest star provides a strong light source, while distant stars and any lights from man-made starcraft make a negligible dent in the immediate scene. The fact that very few people have actually seen outer space means you have a certain amount of freedom in your representation. That said, you won't go wrong by sticking to the lighting setup shown here. The strong light and deep shadows convey the mystery and majesty of outer space while remaining true to video footage from the space shuttle. If you want to add a few earthbound special effects like lens flares and glows, see the Good Lighting Made Better topic in this chapter. In the rendering shown, a slight blur has been applied to the distant planet to indicate its distance from the camera. See the Depth of Field topic in the Rendering chapter to create this effect. To learn how to make the space background with mapping, see the Procedurally Speaking topic in the Materials and Mapping chapter.
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Create a shadow-casting Direct light just for planets and other heavenly bodies. The light should come from the direction of the nearest star, wherever you decide that is, and its light cone should encompass just the planets and not your foreground elements. Increase the Multiplier to get a strong contrast between the daytime and nighttime sides of the planet, and set the shadow type to Ray Traced Shadows.
Create a second shadow-casting Direct light just for foreground elements, with the shadow type set to Ray Traced Shadows. This will allow you to adjust the Multiplier separately for this light. The light's direction should match the heavenly bodies' light exactly.
HOT TIP Make the light cone as small as possible while still illuminating the elements in the scene. The larger the light cones, the longer the render time will be.
3 Mental Ray lighting Lighting Lighting
HE KEY TO GOOD LIGHTING with Mental Ray is to start with lighting that works well with the default renderer. Then you can switch to the Mental Ray renderer and adjust your lighting before moving on to adjusting materials. This usually means turning lights off or reducing their intensities rather than adding more lights to the scene. To change the renderer to the Mental Ray renderer, choose Render > Render Scene > Common tab > Assign Renderer and pick the Mental Ray renderer. Then turn on Enable Final Gather in the Indirect Illumination tab, and set the Preset to Draft. You can also increase Diffuse Bounces to 1 or 2 to brighten up dark areas and make the lighting more realistic.
For an interior with windows, you'll always need to change all Shadow Map shadows to the Mental Ray Shadow Map type to keep soft shadows in the Mental Ray rendering. Usually, the default settings for this shadow type will give you harsh and blocky shadows, and even strange artifacts such as those on the tapestry on the far wall.
To fix the Mental Ray Shadow Map shadows, start by increasing the Sample Range in the Mental Ray Shadow Map rollout for both lights, which will spread out each shadow over a wider area. Here, I've increased the Sample Range to 0.2 for both lights. The result is a spray of dark dots on the walls, but we can fix that.
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With an exterior scene, the change to Mental Ray lighting takes just a couple of minutes. You might need to decrease the lights' Multiplier values to get the right intensity, or turn them off altogether. Here, I've turned off the underground light and reduced the Multiplier for both the sun and fill lights.
ExteriorMR.max BallroomMR.max RoomMR.max
Interior scenes are often just as easy to change over to Mental Ray. If most of your lights are instanced, you can reduce the Multiplier for several lights at a time. For an easy transition, set all shadow types to Ray Traced Shadows. The image at left shows the scene rendered with Mental Ray, with Standard materials and the lights dimmed by about half their original intensities. At right, most of the materials have been changed to Mental Ray materials, and the lights are at the same intensities as they were for the default renderer.
HOT TIP When you render a Mental Ray scene that contains a glow, you might get an error message. Just click Continue, and the glow will appear in the rendering regardless of what the error message says.
To smooth out the spotty shadows, increase the Samples value for each light to a high number such as 100 or 200. This will take color samples from more pixels in each shadow, effectively smoothing them out. It's a lot easier to make these adjustments at the very start, before you adjust Multiplier levels.
Before making further adjustments to lights, change your materials to Mental Ray materials, as described in the Custom Mental Ray Materials topic in the Materials and Mapping chapter.
3 Good lighting made better Lighting Lighting
IGHTING EFFECTS can add that extra something to a scene. The techniques shown here are good choices if you need to punch up the scene or give it a bit of interest. However, these techniques are not a substitute for good basic lighting. As with all good things in 3D, enhancements can take longer to render, but can set your image apart from the crowd.
Changing the color swatch in the Intensity/Color/ Attenuation rollout changes the light's color. For outdoor scenes, use pale yellow for sunlight and pale blue for moonlight.
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Lens flares, in real life, are the result of dust on the lens interacting with strong light. Set up this type of effect on the Effects tab of the Environment and Effects dialog (Render > Effects) by choosing the Lens Effects Flare effect, with an omni light as the source of the flare.
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RoomNeg.max RoomAtten.max SpaceFlare.max RoomVolume.max
A negative Multiplier value decreases the lighting where the light shines, creating a dark spot. Use this technique when you want to reduce light in a small area. You can also scale the light itself on one axis to shape the light to the area you want to affect. Here, a spot light has been scaled on one axis to make its hotspot and falloff areas tall and thin.
Attenuation causes a light to lessen or decay farther from the light source. Turn on this feature for an individual light with the Use checkbox in the Far Attenuation group. To control the degree of decay, turn on Show and adjust the Start and End values. The image at left has no attenuation, while the image at right has attenuation enabled for the two omni lights that simulate bounced light. The effect takes longer to render, but can add a touch of realism to good lighting.
A volume light is suitable for strong sunlight through a window mingling with dust or smoke. To create this effect, choose Render > Environment, click Add, pick Volume Light, and pick the light. For the light itself, turn on the two Use checkboxes for the light in the Intensity/Color/ Attenuation rollout and adjust the Near and Far values to prevent the volume light from overpowering the scene. You can also change the Density and Max Light % values in the Environment rollout to change the "thickness� of the effect.
Lighting Lighting I
How to waste time with lighting IF YOU'VE GOT a lot of time to kill, I can recommend a few ways to spend it. Here are some tried-and-true ways to spend hours and hours on your lighting without improving it at all. The first one goes something like this. The rendering doesn't look so good, so you add more lights. Then it looks even worse, so you add more lights. Before you know it, you have a scene that takes five times longer to render than the one you started with, it doesn't look any better, and you have a mess of lights that are becoming more confusing by the minute. If your lighting isn't behaving, the solution is usually fewer lights, not more. Sure, if it all looks perfect except that one little corner, you might add another fill light to brighten it up. But that's improving good lighting, not trying to fix bad lighting with more and more lights. When the rendering doesn't look good, step back and consider what's missing. If you've got plenty of lights in there and it's still too dim, an object in the scene might be blocking a shadow-casting light. Use the Light Lister dialog to turn off all your shadows and try it again. If it's too bright, the answer is obvious: turn down the Multiplier for some of the lights. In general, if you have to set a Multiplier to more than 2.0, something else is wrong. If the scene is well-illuminated but still looks blah, look at other tools for improving it. Does the scene need reflections or shadows to spruce it up? Are your materials flat, boring, or downright ugly? Another time-killer is the use of Mental Ray to "fix" bad lighting. Sorry, but it doesn't work that way. Your lighting needs to look good in the default renderer in order to look good in Mental Ray. But don't take my word for it--go ahead and do a few long renderings to use up all that free time you have. As with all aspects of 3D, your best reference is the real world. Need outdoor lighting? Look out the window. Look at the reflections, the shadows, the difference between colors in direct and indirect light. These will give you clues as to where to place your fill lights.
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Photographs can also be helpful, especially pretty pictures taken by professional photographers. If you're doing interiors, look for photos at websites that sell home furnishings. What kind of light pattern does a lamp shade make on the wall when the light is turned on? Can you actually see under the sofa, and do you want to? And lastly, the most common mistake I see in new users is an overwhelming zeal for lighting every little nook and cranny of the scene. A beautiful rendering has areas of contrast, light and shadow, dim corners, and variations in light across large surfaces. So if you're not interested in wasting time, stick to the basics. Put three or four lights in the scene and get it reasonably well-illuminated, then look at simple ways to simulate real life with an extra light here or there. Then call it a day, and spend your time doing something else.
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ď Ž In the first image, the objects appear to hover above the ground, and it's hard to tell how far apart they are from one another. Shadows ground the objects and clarify their relationship in the scene.
3ds Max Shadows SHADOWS ADD REALISM to a rendering, but their purpose goes beyond making a scene believable. Shadows anchor stationary objects to the ground and give flying objects their height. They also give important visual cues about scale and location, object solidity, and time of day. Once you determine the types of shadows you want to have in your scene, you can choose from a variety of methods to create them. Unfortunately, the best-looking shadows usually take the longest to render. In this chapter, you'll also learn some time-saving methods for realistic shadows.
4 Pick your shadows Shadows Shadows
HADOWS CAN BE sharp or fuzzy, light or dark. Regardless of the renderer you use, most shadows come in one of two flavors: Ray Traced Shadows cast sharp, accurate shadows. Shadow Map shadows can be sharp or fuzzy, depending on your settings. There are other types of shadows available in 3ds Max, but these are the types you'll use most often.
With no shadows in the scene, the objects appear to float above the ground. Turning on the Shadow checkbox for your main light will cause shadows to appear, and will give your scene much higher realism.
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In life, soft shadows are the result of light bouncing around, effectively creating millions of pale light sources. Examples are indoor lighting which bounces many times around a room, or overcast daylight which bounces in the clouds before coming down. For this effect, use a Shadow Map with a low Size and high Sample Range. Note that Shadow Map shadows don't work with Opacity maps.
HOT TIP If you're not sure what types of shadows to use in your scene, find a photograph with lighting similar to your scene's lighting and create the same kinds of shadows in your scene. Ten minutes of research can save you hours of trial and error. Try Google Images and search with general keywords like street scene, living room, or outer space.
Sharp shadows indicate objects close to the ground in a hard light like sunlight. Ray Traced Shadows always produce sharp shadows. You can get a similar effect in less rendering time with a Shadow Map with the Size parameter set to a high value. However, the only way to get shadows from an Opacity map is to use Ray Traced Shadows.
4 Shadow timesavers Shadows Shadows
ENDERINGS WITH LOTS of detailed shadows can easily take five to ten times longer to render than simpler scenes. Use these timesavers to reduce rendering time without sacrificing scene quality.
When a complex object needs just a simple shadow, you can place a simplified copy of the object in the same spot and use its shadow instead. Here, a sphere with the Noise modifier applied to it and a tapered cylinder stand in for the tree. Turn off the Casts Shadows property for the complex object, and for the simple objects, turn off the Visible to Camera property.
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You can create a fastrendering shadow using a light with a negative Multiplier value. These "blob" shadows render much faster than ordinary shadows, making them a favorite for background elements such as cars, trees, and distant buildings. In the rendering shown, the shadow under the mailbox comes from a rectangular spot light with the Multiplier set to -0.6, a value that makes the mailbox shadow match the intensity of the lamppost shadow. Using the Scale transform, I scaled the light on one axis to make its beam match the mailbox's actual shadow shape, and I added a Skew modifier to the spot light itself to skew the light beam in the correct direction. The light's falloff angle is about 50% larger than its hotspot, giving the shadow a soft edge. The spot light affects only the sidewalk, and the mailbox's Casts Shadows property is turned off. The diagram shows the spot light's skewed falloff and hotspot in relationship to the mailbox from the Top view.
To cast additional shadows without adding objects to the scene, assign a black-and-white map as a projector map on the light's Advanced Effects rollout. A map used in this way is called a gobo. Shown are the original photo of a tree's shadow on concrete (top left) and the cleaned-up image used as a gobo (bottom left). The impression of shade from a nearby tree is achieved with no added geometry.
4 Where's the shadow? Shadows Shadows
HADOWS HAVE A HABIT of disappearing from time to time. Described here are the top five reasons your shadows aren't appearing in your scene.
Make sure the Shadows option is turned on for the light, and that each object's Cast Shadows and Receive Shadows properties are turned on (Tools > Object Properties).
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Light that you expect to show through an opening, such as light through a window, might be blocked by an object. Turn off the object's Cast Shadows attribute to let the light shine through.
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If the other lights are too bright, shadows can be washed out. The shadow-casting light should be the brightest, and the total of all Multipliers should be below 3.0.
If the object receiving the shadow is completely selfilluminated, no shadow will appear. Turn down the material's Self-Illumination value in the Material Editor.
HOT TIP If you're having trouble determining what the problem is with your shadows, turn off all the lights, then turn them on one by one and render the scene. The Light Lister dialog is an excellent tool for this troubleshooting technique.
If the light angle is too low in relation to the surface receiving the shadow, the shadow might stretch out, or might not even appear at all. Move the light up to increase the angle to the ground.
4 Troubleshooting shadows Shadows Shadows
O YOUR SHADOWS ARE appearing, but they're misbehaving. If you don't know why they're being naughty, you can waste hours trying to make them obey. Check out these common shadow problems and their solutions.
If visible rectangular chunks appear in a shadow map shadow, you need more samples. Increase the Sample Range for the shadow to smooth them out.
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Shadow map shadows can sometimes appear to skip over parts of the model, creating rough shadow lines. Increase the shadow map's Size parameter.
Sometimes a shadow becomes disconnected from the object that casts it. This effect is most noticeable with thin objects. Reduce the Bias setting for the shadow type to bring the shadow closer to the object.
HOT TIP A Shadow Map shadow works by projecting a square map in the direction of the light in the Size you specify. The larger the Size, the more shadow detail is calculated.
Spot and Omni lights cast non-parallel shadows (left). Compare with Direct lights, which cast parallel shadows like those from the sun (right). Non-parallel shadows make an outdoor scene look small, like a miniature indoor version. The difference is subtle, but the human eye can detect it.
Shadows Shadows I
Shadow and wireframe presentation YOU'VE PROBABLY SEEN images of models presented with a nice shadow beneath them, or even a wireframe representation. These types of images have become a staple on the web for modelers showcasing their work in portfolios, stock 3D model marketplaces, and online profiles. The techniques for producing these images aren't complicated, but require a bit more thought than a simple rendering or screen capture. For a model with a shadow beneath it, place a plane at the floor level (usually just touching the bottom of the model) and point a shadow-casting light at the model. Then create a Matte/Shadow material and apply it to the object. When you render, only the shadow cast by the object will appear on the plane, and the rest of the plane will be invisible. Presenting a wireframe requires a little more ingenuity. You could just turn on the Backface Cull option on the Display panel and capture the screen, but in general this gives you a pretty ugly capture. On the dog model shown, for example, there's a lot of crisscrossing of edges on the belly, back, and head. This happens with just about any model that has any complexity to it. You could also render the model with the Force Wireframe option turned on (Render Scene dialog > Renderer tab), but that will give you pretty much the same result. Instead, create a copy of the model right on top of itself with Edit > Clone. Create two materials, one a Matte/Shadow material with the Receive Shadows option turned off, and the other a black self-illuminated material. Assign the Matte/Shadow material to the original, and the black material to the copy. Select the copy and apply the Lattice modifier to it. This creates geometry along each edge. Choose the Struts Only From Edges option and reduce the Radius to a value that looks good. For the dog, I set the Radius to 0.5. The Lattice technique is the most reliable, but it has a limitation: the wireframe will be narrower farther from the camera. For most models this isn't
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Dog model rendered with Matte/Shadow plane below it, then three wireframe representations: straight screen capture with Backface Cull, Lattice copy, and Push copy. The last two would work fine for presentation of your model, but the one at bottom left, created with the Lattice modifier, has slightly narrower wires on the dog's rump and hind legs because they're farther from the camera. The presentation at the lower right, created with the Push modifier, has a uniform wire size from front to back.
a problem, but if you prefer to have a uniform wire width, you can use the Push modifier instead. Select the copy, and instead of applying the Lattice modifier, apply a Push modifier. Set the Push Value to a small number such as 0.2. This will push the model's faces out along their normals. Then, for the black material, turn on the Wire option. In the Extended Parameters rollout, set the wire's Size and turn on the Pixels option. The rendered image will have a uniform wire size everywhere in the rendering, regardless of the edges' distances from the camera. In both cases, the key is the original object inside the copy with its Matte/ Shadow material. This material hides the edges at the back of the model and does a far better job than a screen capture with the Backface Cull option.
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Nothing says "shiny" like reflective surfaces in your scene. Get as much bang as you can with as little rendering time as possible with the techniques in this chapter.
3ds Max Reflections IN LIFE, REFLECTIONS APPEAR on shiny objects. A bit of shine and reflection well placed in a scene add realism that you can't get any other way. While nature produces reflections with ease, recreating them in 3ds Max takes some know-how. There are also a number of tricks for keeping rendering time low while bringing that extra bling to your scene.
5 Reflecting on reflections Reflections Reflections
EFLECTIONS ADD a needed degree of realism to a scene. However, there's no magic Reflections button in 3ds Max; you need to set reflection types separately for each material used in the scene. In general, the more accurate you want the reflections to be, the longer the effect will take to render. If an object is close to the camera or is the focal point of the scene, you'll need accurate reflections. For incidental objects, simpler and faster-rendering solutions will do. Here, reflection techniques are presented roughly in order of fast/decent to slow/ accurate.
To make a material reflective, start by clicking the Reflection channel in the Maps rollout to choose a type of reflection map.
Using a Reflect/Refract map in the Reflection channel causes curved objects to reflect the environment, which means you need to have surrounding geometry and/ or an environment map to reflect. The Reflection percentage determines how strongly the surrounding geometry is reflected. Here, the ball and candy dish reflect each other as well as the environment.
While a Reflect/Refract map works fine for rounded objects, it won't generate accurate reflections on flat surfaces. For flat surfaces, use a Flat Mirror map in the Reflection channel, and apply the Flat Mirror material to a set of coplanar (flat) polygons rather than the entire object. You can do this using the technique described in the Multiple Maps topic in the Materials and Mapping chapter.
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The easiest type of map to use is a Bitmap. This puts a bitmap on an imaginary sphere around the scene and reflects the pixels off the object based on the camera angle. This type of map works best with curved surfaces. By default, the Reflection percentage is set to 100, which causes the reflection to overpower the material. By reducing this value to 10 or 20 and increasing the Specular Level and Glossiness settings, reflections will be more realistic.
You can get slightly more accurate results with a Raytrace map on both curved and flat surfaces, but it takes much longer to render. This map was an older solution to the problem of reflections, which is why it's used in so many scenes from previous versions of 3ds Max. Raytrace maps can usually be replaced with Reflect/Refract and Flat Mirror maps without noticeable loss of scene quality.
HOT TIP Many all-purpose reflection bitmaps are included with 3ds Max in the Maps/Reflection folder.
Of course, you get the best results with Mental Ray materials, which automatically reflect the geometry and environment map if the Reflectivity setting is above 0.0. The reflectivity works for both curved and flat surfaces. However, the added render time is worth it only if you need those accurate reflections in the scene. In most cases, a bitmap reflection, Reflect/Refract, and Flat Mirror will do the trick.
5 Bling
Reflections Reflections
UCH A BRILLIANT SHINE is actually easy to produce with the help of the Raytrace material and a black-and-white background map. A few simple steps is all it takes. The resulting jewels will shine like diamonds (and rubies) regardless of the light setup.
To make the bling sing, a black-and-white background is essential. Here, I've used Chromic.jpg, a map that comes standard with 3ds Max in the Reflections folder. Choose the Environ option and the Spherical Environment type to wrap the image around the scene.
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To make the jewel surface, start with a Spindle, available as an Extended Primitive. Collapse it to an Editable Poly and weld the center vertices together.
Shape the spindle by welding vertices and chamfering edges as needed. Don't apply TurboSmooth, as the faceted surface will provide the shine.
HOT TIP You can enhance the gemstone's transparency by using a Falloff map as the Reflect map. Choose Fresnel as the Falloff Type for the best results.
The other half of the bling is the Raytrace material. Change Luminosity and Transparency to white and apply the material to the spindle to create a diamond. Experiment with the index of refraction (Index of Refr.) to get the look you want.
To make a gemstone, set Luminosity to black, and change the Diffuse and Transparency colors to the colors of the gem. Change the Specular Color to a lighter version of the gemstone color, and adjust the index of refraction as necessary.
5 Mirror, mirror Reflections Reflections
LAT SURFACES that need to appear shiny are easy to create when you have an environment to reflect. But often, you won't have enough geometry in the scene to offer a realistic reflection, or the reflection of the scene itself won't give you the look you want. A bitmap in the Reflection channel might seem like the perfect fast-rendering solution, but you'll find that this type of reflection won't work with flat surfaces. You'll have to fool the renderer into thinking your surface is curved to get a reflection happening on your flat surface.
A mirror needs to reflect something to look like a mirror. Simply using a Flat Mirror map doesn't do the job. Since there's no environment to reflect, the mirror looks like an empty hole.
By using a Noise map in the Bump map channel, you can fool the renderer into treating the glass like a curved surface. The bump map doesn't affect the edges of the oval at all, only the appearance of the surface itself.
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Using a bitmap as an environment background gives you a reflection, but this works only if you want a background image, and if there's nothing obstructing the mirror.
With this fake bumpy surface, a Reflection bitmap picks up the reflection along with any highlights from light sources. The Specular Level and Glossiness need to be turned up to see the effect.
You could put the background bitmap in the Reflection channel, but since the mirror is flat, it reflects only one pixel from the entire image. This type of map works only if the surface is curved.
HOT TIP To get just two or three bumps across the entire surface, increase the Noise map's Size parameter to a larger value.
To make the reflection less distinct, increase the Reflection bitmap's Blur Offset parameter to a small value such as 0.1. Now the mirror looks as if it's reflecting some kind of environment.
Reflections Reflections I
Dude, where's my reflection? SO YOU'VE SET UP A STANDARD MATERIAL for a reflective surface using a Reflect/Refract map or Flat Mirror map in the Reflection slot. You apply the material, render the camera view, and...nothing. No reflection on the surface. What went wrong? The first thing to check is the material's Specular Level and Glossiness parameters, which control the material's shininess. If it ain't shiny, it won't reflect. Increase these parameters and see if that works. If increased shininess doesn't do the trick, then the problem is most likely with the angles between the objects. To understand how this works, we'll do a quick lesson in optics, the science of light. In life, light bounces off an object and into your eyes or a camera. Light bouncing off the object means you can see it; no light bouncing off the object means you can't. When a mirror or other reflective surface is present, light bounces off the object, then the mirror, and then into your eyes. That's how you see the reflection in the mirror. The light always bounces in a straight line, and bounces off the reflective surface at exactly the same angle at which it hits it. In order to see a reflection in a mirror, your eyes have to be at the same angle to the mirror as the object you're looking at. When you stand straight in front of a mirror, the light just bounces straight out and back again into your eyes. If you stand to one side of the mirror, you'll see objects on the other side. When you're seeing a reflection, distance from the mirror is not a factor in whether the object is reflected; only the angle of reflection is important. If this is confusing, get out a hand mirror and experiment with it. Hold it to the side and see what reflects in the mirror, and compare your eyes' angle to the reflected angle. And so it is in 3D. In order for the camera to "see" the reflection, the object being reflected on the surface must be at the same angle to the surface as the camera. If it isn't, you won't see a reflection.
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ď Ž Angle A must equal angle B for the camera to see the watch reflected on the surface.
Highlights work the same way. A highlight is created by light reflecting off a surface and right into your eyes. Getting highlights on an object is a matter of placing the light in such a way that it bounces off a part of the object and right into the camera lens. The Place Highlight tool, available from the Align flyout on the toolbar, works very well for both highlight and reflection placement. For a highlight, activate the camera view, select the light, choose Place Highlight, and drag the cursor over the shiny object. The light will move around to place the highlight at the cursor position. Release the cursor where you want the highlight to appear, and the light is placed in such a way that a highlight will be produced when you render. To place an object to reflect on a surface, select the object that will be reflected, activate the camera view, and choose Place Highlight. Drag the cursor over the reflective surface and release the mouse when you reach the spot where you want the reflection to appear. If you still don't get a reflection, then something else is wrong. Be sure to use the Reflect/Refract map on curved surfaces only, and the Flat Mirror map on flat surfaces only. You can also try working with a simplified version of the scene. Get the reflections to appear in the less complex scene, then build it up gradually to the complex version.
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ď Ž What makes glass look like glass? Reflections, transparency, shininess, and refraction all play a part.
3ds Max Glass
GLASS CAN SEEM TO BE awfully complicated. Plain old transparency with a bit of shine doesn't do the trick. You search in vain for the Glass button, but somehow the developers of 3ds Max left it out of the user interface. The key is to use reference images to find the look you want, then consider which maps and parameters will create a material that simulates that look.
6 Exterior daytime windows Glass Glass
LASS WINDOWS ON A SUNNY DAY make a pretty architectural rendering. Using photos for reference, you can create a realistic rendition of windows seen from the outside, as with this rendering from Neoscape, Inc.
You can use a photo as a basis for a texture and map it onto the windows. This will give you a realistic look, but only if the light is coming from the same angle as in the photo. For a still image, this is a viable option. With an animated camera, the lack of a changing reflection will become obvious as soon as the camera moves.
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From photos, you can see that exterior windows in daylight aren't really transparent. Depending on the lighting, you might be able to see partway into the building, or you only see a reflection of the environment.
To reflect the sky and also show shadows from the scene's light source, apply a Matte/Shadow material to the window panes. Be sure to turn on Receive Shadows and Additive Reflection for the material. Here, a large plane creates the panes for all the windows at once, and mullions are modeled to sit on the plane.
6 Interior daytime windows Glass Glass
HE APPEARANCE OF WINDOWS can make or break an interior rendering. Nicely done windows indicate a space with air and light. The appearance of the exterior environment through the windows coupled with the play of light on the floor will do most of the work for you.
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Being able to see the environment outside indicates less direct light, or a lower exposure for your virtual photograph. Here, there's no distinct light shape on the floor, but rather a blown-out highlight, indicating indirect light. This effect is created with a spot light that shines only on the floors and nearby walls, with a large difference between its Hotspot and Falloff angles. A hint of reflection in the window panes is appropriate for this type of setup.
DayClear.max DayWhite.max
A higher exposure for your virtual photo almost completely whites out the environment in the windows. A sharp light shape on the floor indicates direct light coming through the window. Create this effect by whiting out the background and making the windows nearly opaque.
6 Nighttime and dusk Glass Glass
INDOWS AT NIGHTTIME are perhaps the easiest to do. For exterior scenes, they're just clear panes showing the scene lit within. For interiors, the scene outside is dark, perhaps showing a brightly-lit cityscape, but not much else. For exterior scenes at dusk, the appearance of windows varies according to the direction of the sun, and also whether anyone has bothered to turn on the lights. The reference images shown above help show the various ways windows can look at these different times of day.
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In late afternoon or at dusk, windows are dark if the lights aren't on, and bright if they are. The direction of the sun is also a factor.
HOT TIP For nighttime exteriors, you'll need to put something inside the building for the viewer to see through the window. Often, a few items mapped onto planes will do the trick.
Nighttime windows are brightly lit from inside, and the interior is visible.
Interior windows at night are dark, not allowing much of an exterior view. In the picture at right, at bit of the cityscape is visible.
6 Glass bottle Glass Glass
LASS IS SHINY and transparent, so to make curved glass, all you have to do is turn up the shine and lower the opacity on the material, right? Not exactly. Curved glass is refractive, meaning light bends as it passes through it. Refraction is one of the properties that distinguishes glass from plastic and other materials. To make convincing glass, you actually don't mess with the opacity at all. Instead, you get refraction to do all the work for you. You can use the same technique to create drinking glasses, vases, and any kind of curved glass object.
Let's take a look at a few reference photos. The cut-glass vase refracts light aplenty, creating an irregular pattern of black and white reflections. In fact, there's so much refraction you can hardly see through it at all. Even a simple drinking glass refracts light to some degree.
To save rendering time, you can get pretty decent glass with a Standard material. Start by setting up a streaky map as the Reflection map and giving the material high Specular Level and Glossiness values to make it shiny.
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To make convincing glass, model both the inside and outside of the object. To get the refractions that suggest cut glass, don't apply TurboSmooth. Keep the number of polygons low and assign facets to different smoothing groups to enhance the effect.
To get refractions, add a Raytrace map as the Refraction map. Lower the Reflection map percent to 10 or 20. Because the Refraction map creates the illusion of transparency, you won't need to adjust Opacity at all.
If you have plenty of time for rendering, you can use a Mental Ray material. Change the renderer to Mental Ray, choose the Arch & Design material, and choose the Glass (Physical) template. This material works right out of the box, but takes longer to render than a Standard material.
HOT TIP In 3ds Max, the appearance of a glass material changes in different kinds of light. Set up your lighting first before spending a lot of time getting the glass to look right.
Change the Index of Refraction in the Extended Parameters rollout to get different effects. Here, I've set the Index of Refraction to 2.5 and set the Reflection map percent to just 10.
Glass Glass I
Fun with physics
BEHOLD THE HUMBLE drinking glass. You've seen a glass like this a hundred times, so you know what it should look like, right? Unfortunately, so does everyone else. This means you can't get away with a cheezy rendering of a transparent tube sitting on a transparent cylinder. A little physics is required to get a realistic rendering. To study the properties of curved glass, I performed the classic science experiment of placing a pencil in an ordinary drinking glass. As light passes through the glass, it bends, bounces around a bit, and eventually makes it into your eyes (or in this case, the camera lens). The picture at the far left shows the actual photograph, where the part of the pencil inside the glass appears bent. Modeling the glass, pencil, and tabletop in 3ds Max was a pretty simple exercise. I used Bevel on each of the polygons in the middle portion of the glass to simulate the indentations in the glass I photographed, and I made a custom texture to simulate the spots on the glass. Next up was the material for the glass. In life, some transparent media, such as glass and water, bend light to some degree. In physics, this degree is expressed as a number called the Index of Refraction. Clear air, which doesn't bend light at all, has an Index of Refraction of 1.0. Numbers greater and lesser than 1.0 indicate bending of light. The farther you get from 1.0, the more the light bends. Numbers less than 1.0, such as 0.8 and 0.9, bend the light one
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The first image shows a photo of a pencil in a glass. The rest of the images are renderings, with an IOR of 0.8, 0.9, 1.1, and 1.2 respectively, and then a last rendering with an IOR that varies over the surface of the glass. The variable IOR was created with a pair of Gradient Ramp maps in the IOR channel of an Arch & Design (mi) material. When a map is used to set the IOR, white represents 1.0, and darker colors descend to lower IOR values.
way, while numbers such as 1.1 and 1.2 bend it in the other direction. For many materials, 3ds Max provides a parameter to set the Index of Refraction for transparent/refractive objects. You can find the Index of Refraction parameter in the Extended Parameters rollout for Standard materials, and the IOR parameter in the Main Material Parameters rollout for Arch & Design (mi) materials. There are numerous websites where you can find the IOR for everyday items like glass, plastic, water, and gemstones. However, getting a realistic rendering isn't as simple as setting the IOR to the specified number. The IOR for glass clocks in at about 1.5, but the outside of a drinking glass might have a different IOR than the inside, and the glass might have imperfections. In other words, the physics-based IOR is just a guide. If the rendering looks good, the IOR is right; if it doesn't, it isn't. Physics tells us that the IOR for all known substances is above 1.0. But the second and last renderings shown above, both of which use IORs under 1.0, are actually truer to the reference photo than those with IORs above 1.0. So when you need to simulate refraction, go with what your eyes tell you, not what the physics book says. A realistic rendering is always more "correct" than a technically accurate one.
The 3ds Max file contains numerous lights, many of which illuminate just one or two objects. This makes it easier to control the highlights and brightness of individual objects in the rendering so the reference photo could be matched as closely as possible. In addition, Exposure Control was used on the image with Render > Environment > Exposure Control rollout.
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ď Ž Learning a few animation tricks of the trade will make it possible for you to animate scenes quickly and effectively.
3ds Max Animation ANIMATION IS WHERE the real fun comes in with 3ds Max. You can fly through or around your model, or make objects whiz by. You can even animate materials and modifiers. In this chapter, you'll learn how to utilize 3ds Max's powerful animation toolset to animate your scene in a minimum of time.
7 Animation 101 Animation Animation
EYFRAME ANIMATION is the easiest type to do with 3ds Max. Use this primer to learn the basic tools and start animating your scene right away.
A keyframe is a major point that the animation passes through. You don't animate every frame in 3ds Max; you just place the object at key points along the way, and 3ds Max figures out what to do in between.
While the time line shows you the keyframes for the currently selected object, you can see a full representation of all keys in Graph Editors > Track View. In Dope Sheet mode, you can see a track for each axis of each transform.
Curve Editor mode shows how the frames between keys are interpolated. You can also move keys around to change timing, either in Track View or on the time line. Learning to use Track View and the time line effectively means you can create the animation you envision.
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To create keyframes, turn on Auto Key at the bottom of the screen. Pull the time slider to go to a frame later than 0, and move or rotate the object. This sets a key at that frame, and also at frame 0 if a key is not already present.
Move to other frames and transform the object again to set more keyframes. You can instantly see the results of your keyframing by pressing Play Animation at the lower right of the screen. Press the same button to stop playback.
HOT TIP To determine rough timing for your animation, play it in your head while counting the seconds. This might sound silly, but it works.
On the time line, right-click the key to see which parameters are animated at that frame. You can change the key value or frame number in the dialog that appears.
You can also animate any numeric parameter or color in 3ds Max by changing it with Auto Key turned on. Doing so creates a keyframe on the time line and in Track View.
You can set the total number of frames and the speed of the animation by clicking Time Configuration at the lower right of the screen.
7 Spinning your gears Animation Animation
HEELS, GEARS, and other spinning objects often need to rotate over the length of the entire animation. With a few keyframes and a bit of math, you can get your wheels and gears in motion.
Draw a diagram to figure out how many teeth each gear will have. Numbers that divide evenly into 360 are easiest to work with. My gears will have 12 and 15 teeth.
Scale the selected vertices outward to form the gear teeth. Create the additional gears in the same way, selecting every other set of two vertices to form the teeth.
Turn on Auto Key. On a frame later than 0, such as frame 10, rotate each gear by the number of degrees equal to one tooth, which is 360 (the number of degrees in a circle) divided by the number of teeth. After rotation, the teeth will be aligned again. Scrub the animation to test it.
On the NGon, select two adjacent vertices, skip two vertices, select the next two, skip the next two, continuing in this fashion all the way around the NGon.
To make the gears turn infinitely, select one of the gears and open the Curve Editor. Select the Rotation track with the curve, and click the Parameter Curves Out-of-Range Types button on the Curve Editor toolbar. Click the right button under Relative Repeat, and close the dialog.
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In 3ds Max, create an NGon shape with four times as many teeth as the gear will have. Collapse the shape to an Editable Spline.
Select all vertices and right-click them to change them all to the Corner type. This will make it easier to form the teeth.
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The additional gears should be proportional in size. For example, since the second gear has 20% more teeth (15 as opposed to 12), it should be 20% larger.
When you play the animation, you'll see a slight hesitation on each turn. Open the Curve Editor, select the points at each end of the animation curve, and click Set Tangents to Linear. When you play the animation again, the gear will turn smoothly.
Prepare for animation by rotating and moving one of the gears so its teeth fit with the other gear.
To rotate by exactly a specified number of degrees, type the value into the entry area at the bottom of the screen. If you're not sure which axis is correct, try each one. If you pick the wrong one, type in 0 to reset the rotation on that axis, and try again.
Repeat the process for each gear, and play the animation to test it. Extrude the gears and shape them, and add additional elements as necessary to complete your scene.
7 Following a path Animation Animation
NSTEAD OF MANUALLY setting keyframes to animate an object, you can use a constraint. A constraint automatically animates an object according to specific parameters. In this example, you'll use a Path Constraint to make an object follow a path shape over a series of frames. This technique is particularly useful for making a camera follow a path to create a fly-around or fly-through of your scene.
Create a camera in the scene at around the same spot you want it to be when the animation starts. Create a shape for the camera to follow, and move the shape so it starts roughly at the same spot where the camera currently sits. Here, I've created an Arc shape.
Scrub the time slider to see the animation. In the Motion panel, you can see that the % Along Path parameter in the Path Parameters rollout has been animated from 0 to 100 over the course of the total number of frames in your animation. If you want the object to start at the other end, you can turn on Auto Key and change the % Along Path parameter to start at 100 and end at 0.
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PathStart.max PathFinish.max
Select the camera and choose Animation > Constraints > Path Constraint. A dotted line appears, waiting for you to select a path. Click the shape to complete the assignment of the constraint. The camera jumps to the start of the path.
If moving the vertices causes the path to take a strange shape, change all vertices to the Smooth type on the right-click quad menu.
To change the path, you can convert the shape to an Editable Spline and move the vertices. The constrained object will move along the path in its new shape.
7 Look-a-here Animation Animation
HE LOOKAT CONSTRAINT is a rotation controller that forces an object to always be rotated to "look at" another object. In practice, this means that one axis of an object will always point toward another object. The LookAt Constraint is particularly useful for controlling a pair of eyes. Instead of rotating the eyeballs manually to look this way and that, you can use a LookAt Constraint with a Dummy object to control the eyeball rotation.
Set up a couple of eyeballs to control. Here, we can make a little dog look this way and that with the LookAt Constraint.
It's not unusual for the LookAt Constraint to deliver up the wrong LookAt Axis by default. Try different axes in the Select LookAt Axis group in the Motion panel to see which one works best. Here, the Y axis gives me the right result.
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LookAtStart.max LookAtFinish.max
Create a Dummy object for the eyes to look at with Create panel > Helpers > Dummy.
Select one of the eyeballs and choose Animation menu > Constraints > LookAt Constraint. Move the cursor to pick the object that you want the selected object to look at.
Repeat the process for the other eye. When you move the Dummy object around, the dog's eyeballs will automatically orient themselves to look at it.
7 Jumping beans Animation Animation
HE NOISE CONTROLLER animates an object randomly. This type of controller is useful for giving life to an object, making it sway or vibrate in a subtle way that will register as real to your audience. You can assign a Noise Controller to animate the position, rotation, or scale of an object, and adjust each one separately for that transform. The animation produced by the Noise Controller appears to be random, but is actually calculated to appear that way. At the heart of the calculation is a Seed number that produces a motion graph. By using the same Seed for two Noise Controllers, you can produce exactly the same "random" effect today that you did yesterday. On the other hand, using a different Seed for two different objects gives you the same flavor of motion without an exact match in speed and direction. Making the Seed values different is important; making them wildly different is not. Two consecutive Seed numbers produce completely different motion, so making the Seed 0 for one object and 1 for another will give you as much variation as using 57 and 2398 for the two values.
Select the object that you want to make jump around randomly. Choose Animation menu > Position Controllers > Noise. Scrub the time slider to see the object jump around.
Reduce the Frequency to make the object move slower. You will see the Characteristic Graph change to reflect the new frequency. Turn on the >0 checkbox for the Z Strength parameter to keep the object from moving below the surface it's sitting on. Adjust any other parameters as you like, and scrub the time slider to test the effect.
The Noise Controller takes over the definition of the object's position so you can't move it manually in the viewport. If you want to move the object to another location, select the Position XYZ layer in the Position List rollout to give control back to the default transform controller. Now you can move the object in the usual way.
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Beans.max JumpingBeans.max
On the Motion panel, expand the hierarchy in the Assign Controller rollout to see the Transform > Position > Noise Position entry. Highlight Noise Position, and right-click to choose Properties from the menu.
Repeat the process of assigning a Noise Controller to animate each object's position. Change the Seed parameter to change the graph pattern while retaining the same overall parameters. You can also assign a Noise Controller to an object's position with Animation menu > Rotation Controllers > Noise.
Close the Noise Controller dialog before selecting another object. If you don't close the dialog and select another object, the dialog will still show the earlier object's parameters and not those of the currently selected object, making it too easy to accidentally change the earlier object and not the current one.
Add some motion blur by changing the object properties. Select all objects, right-click to choose Object Properties from the quad menu, and turn on the Image type of motion blur. After rendering a test, adjust the Multiplier value to give you the right amount of blur in the rendering.
7 Linktopia
Animation Animation
INKING OBJECTS TOGETHER with Select and Link can help you control your animation without having to animate each object individually. Linking works with a parent-child relationship, where you link the child to the parent and the child does what the parent does thereafter. Dummy objects can assist greatly with linked animation. A Dummy object is a non-rendering Helper object that works as an intermediary between linked objects, allowing you to pass only movement and not rotation, or vice versa. The advantage of linking to Dummy objects is that you can easily change the animation without losing your animation keys. Just link different objects to the Dummy objects to get a completely new animation. In this topic, I've created low-poly models of icons of India to rotate around a traditional Indian carving.
To prevent the outside objects from rotating, select an outside Dummy and go to the Hierarchy panel. On the Link Info tab, turn off the Rotate checkboxes for X, Y, and Z. Repeat for each outside Dummy object.
Now you can rotate the center Dummy object to rotate the outside objects without rotating the center object.
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IndiaIcons.max IndiaDummies.max
Use Select and Link to link all the outside objects to the one in the center, and rotate the center object. All the outside objects rotate around the center object and turn as they do so. If this is what you want, then you're done.
Use Create panel > Helpers > Dummy to create a Dummy around the center object and around each outside object. Link each outside object to its Dummy.
More likely, you'll want the outside objects to keep their original upright orientations as they rotate, and you won't necessarily want the center object to rotate. You can achieve this effect with Dummy objects.
HOT TIP When linking, take care to drag the cursor to an area of the screen that contains only the parent to avoid linking to the wrong object. Click Select Objects to end the linking process and avoid linking additional objects by accident.
Link all outside Dummy objects to the center Dummy. You can do this by selecting all the Dummy objects and linking them to the center Dummy at the same time.
To complete the controls, create another Dummy object around the center object, and link both the object and the first center Dummy to it. This will allow you to move or rotate both the center object and the entire assembly.
Now you can make the outer objects orbit the inner one without rotating.
7 Linking to multiple objects Animation Animation
INKING IS A USEFUL TOOL for many types of scenes, but it limits an object to having one parent throughout the entire animation. For times when you want an object to follow one parent for a while and then another, use the Link Constraint. In this example, the object follows two different parents, but in practice you could make an object follow numerous different parents over the course of the animation.
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Animate the object changing position at the transition point. In this case, the nail jumps to the magnet when the magnet gets close.
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MagnetStart.max MagnetFinish.max
Select the object to be animated or the Dummy object that the object is linked to. Choose Animation menu > Transform Controllers > Link Constraint, then click a stationary object in the scene. This will keep the selected object still until you want it to follow another object.
At the frame where the nail comes into contact with the magnet, go to the Motion panel and click Add Link, and pick the magnet.
Play the animation. The nail sits still until the magnet gets close, then jumps to the magnet and sticks to it as the magnet leaves the frame.
7 Chains
Animation Animation
DS MAX INCLUDES a Bones system, a series of nonrendering objects that are already linked together. While Bones were primarily intended to create a skeletal system for a character, they are useful for animating a series of solid objects that need to stay together but move separately. A series of linked objects is called a chain. Like a metal chain, each link can rotate on its own, but only as long as it stays connected to its adjacent chain members. Any linked chain can be controlled by an IK solver. IK stands for inverse kinematics, a technical term meaning an individual link in the chain can be affected by links on either side of it. This is the opposite of forward kinematics, where a link can be affected by one end of the chain only. Here, we'll use a short chain of five objects to illustrate the concept. In practice, you can use Bones and IK chains on as long a chain as you like. On a historical note, the implementation of inverse kinematics in mainstream 3D software in the 1990s was a breakthrough that made all kinds of animation possible. A character animator, for example, could finally animate a leg by working with either the hip or the foot. Inverse kinematics is one of the reasons 3D animation has taken off so much in the past decade.
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Create the chain as a series of objects laid out straight. While it isn't strictly necessary to have the objects lined up, it will make your work much easier if they are.
Choose Create panel > Systems > Bones to create a series of bones through the objects. Click at each joint in the chain to create a bone for that joint. When you get to the end, right-click to create a nub at the end. Don't delete the nub; you'll need it in a few minutes.
Move the bones so they go through the objects, with each bone end coinciding with a "joint." In this case, the joints lie between the jewels. Use Select and Link on the toolbar to link each jewel to its bone. When you're done, click Select Objects to close the linking process and avoid accidental linking when doing the next steps.
HOT TIP If the bones appear too skinny in your viewport, you can make them fatter by increasing the Width and Height values in the Bone Parameters rollout on the Modify panel.
Now you'll apply an IK solver, a gizmo that allows you to use IK with your object. Select the first bone you created, choose Animation menu > IK Solvers > HI Solver, and click the nub at the end of the bone chain. This creates a new object, an IK Chain helper, between the nub and its previous bone.
You can move the IK Chain helper to change the shape of the chain, and can even animate it. To make this easier, you might want to place a Dummy object at each end of the chain, and link the first bone to one Dummy and the IK Chain object to the other. The object might flip onto its side when you do this, but you can simply rotate it back into place. If you want to change the angle of rotation of the chain, you can select the IK Chain object, and on the Motion panel, change the Swivel Angle parameter.
7 Cracks in a surface Animation Animation
NIMATED CRACKS appearing in a landmass make a powerful visual statement. The ProBoolean tool with an animated loft makes quick work of it, and allows you to determine where the crack appears and how fast it grows.
Next you'll animate the loft scale to make the loft grow along the path. Go to the Modify panel, and on the Deformations rollout, click Scale. In the Scale Deformation window, click Insert Corner Point, and add two points on the line. Click Move Control Point and arrange the graph as shown in the diagram. Use the value entries at the bottom of the window to enter the value 0 for the two rightmost points.
Go to the last frame of the animation, turn on Auto Key, and move the two middle points on the graph to arrange it as shown in the picture. Take care not to make the points pass by each other, as this could confuse 3ds Max make it do unexpected things.
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CrackStart.max CrackFinish.max
Create a terrain with some thickness, and draw the line in the shape of the crack. Use Snaps Toggle with the Face option turned on. Create a line in the Top viewport starting outside the terrain, then zigzag it across the terrain to form the crack. Place three or four vertices between each twist and turn so the line stays on the surface the whole time. Be sure to turn off Snaps Toggle when you're done.
Create a tall, thin ellipse and loft it along the line. The resulting loft will be used to cut the crack. Make sure the Creation Method is set to Instance, and turn off Banking in the Skin Parameters rollout. Set Shape Steps to 2 or 3 and Path Steps to 0 for faster computation. If it looks like the cut won't be the right width or depth, change the ellipse parameters.
Test the animation by scrubbing the time slider. The loft should grow over time.
Select the terrain, and use the ProBoolean compound object to subtract the loft object. Hide the loft and scrub the animation. If you want to change the crack's path anywhere along the way, just move the vertices of the original line used to make the loft.
To make the crack automatically have a material different from the surface, assign different material IDs to the surface and the loft before performing the boolean operation. You can do this quickly by applying a Material modifier with a different ID number to each object.
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ď Ž 3ds Max has some of the best character animation tools available for PC-based software. A little bit of work can go a long way toward bringing your models to life.
3ds Max Character animation ANIMATION OF CHARACTERS is one of the primary uses for 3ds Max in the fields of games and broadcast. While this primer won't teach you everything you need to know to be a character animator, it can get you started with the main tool: the Biped. The Biped is a two-legged skeletal structure with its own animation tools built into it. While entire books have been written about the use of the Biped in character animation, this chapter will give you the basics for common animation needs. In this chapter you'll also find a few additional tools for character animation that will give you results with a minimum of time and effort.
8 Biped workflow
Character animation Character animation
O YOU'VE HEARD about the Biped skeleton and what it can do. How do you get started? The overview here will give you the basic workflow, then you can use the topics that follow to kick-start your own Biped animation.
Start with a character model created with the usual modeling tools. Create a Biped to suit the character, and pose the Biped to fit inside it.
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Once the skinning is complete, animate the Biped performing the final animation.
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Create a short test animation for the Biped, moving it through the most extreme poses it's likely to take over the course of the final animation.
Use the Skin modifier to associate the Biped with the character model, and adjust the influence of each bone over the vertices around it.
Hide the Biped and check the animation. Adjust skinning as necessary, and render the final animation.
8 Biped 101
Character animation Character animation
IPED BODY PARTS work a little differently from regular 3ds Max objects. While you can animate as usual with Auto Key, several additional tools are available on the Motion panel that are specific to the Biped. To create a Biped, click Create panel > Systems > Biped, and drag anywhere in the scene.
To animate the entire Biped, move or rotate the COM (center of mass) object. You can select this object easily by clicking one of the first three selection buttons in the Selection Track rollout. The COM works a little differently from other 3ds Max objects, where it has a separate track for horizontal movement, vertical movement, and rotation.
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To prepare the Biped for animation, you will need to put a key at frame 0 for all Biped parts. Unlike regular 3ds Max objects, the Biped system won't do this for you automatically. Select all Biped parts, go to the Motion panel, and click the Set Key button in the Key Info dialog. You will also need to click each of the three COM selection buttons (the first three buttons in the Track Selection rollout) and click Set Key for each one.
Now you can turn on Auto Key, move to a frame other than 0, and start moving and rotating Biped parts. Don't animate the pose at frame 0. If you want the Biped to start off in a different pose, animate his parts into the pose on a later frame, such as 10. When you render, you can simply render from that frame forward.
HOT TIP In Track View, tracks for Biped parts are different from regular 3ds Max objects. There is one track for each entire leg/ foot, and one track for each arm/hand. The COM object is named Bip01 by default. It's the root of the entire linked Biped hierarchy.
To move the entire animation, use Move All Mode in the Biped rollout. This causes a disk to appear around the COM, indicating that you can move or rotate the Biped to shift the entire animation. An Offset dialog appears where you can type in numerical values rather than manually moving or rotating the Biped. Be sure to turn off Move All Mode when you're finished with this tool.
To reuse a pose, copy and paste postures in the Copy/Paste rollout. You will need to click the Create Collection button first, then select the Biped parts you want to copy and click Copy Posture. Then you can go to another frame, and with Auto Key turned on, paste the posture to the selected parts.
8 Biped fitting
Character animation Character animation
HE FIRST STEP in associating a Biped with a character is posing the Biped to fit the character. A Biped that fits the character well will animate the character well. Conversely, it's nearly impossible to get a decent animation from a poorly-fitting Biped. When you fit the Biped, you turn on Figure Mode in the Motion panel to indicate that you're posing the Biped and not animating it. In general, you want the Biped to fit inside the character model with its bones about 1/2 the width of the model. It's okay if a few of the Biped bones are larger than that, but too many large bones will give you trouble during the skinning process. While working with a specific part of the Biped, it's important to put on blinders and work with just that Biped part to get it posed correctly before moving on to the next. The Biped will look very strange until the very end, when it all comes together in a perfect pose.
Your character model should be posed with arms out at its sides and palms facing down, and with the feet a shoulder's width apart. It can also help to bend the arms and legs slightly.
Rotate and scale the Biped legs to fit the character's legs. If the Biped legs don't go down the center of the character's legs, scale the Pelvis object horizontally until the legs fit. Be sure to match up the knees and ankles in all views, and rotate the legs slightly to match the bent legs. You can also pose one side of the body and use the Copy/Paste rollout to copy the pose to the other side.
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Girl.max GirlPosed.max
Position character on the ground plane grid. If you've applied a TurboSmooth modifier to the body, remove it. Make all the body parts seethrough, and freeze them.
Click Create panel > Systems > Biped and drag in any viewport to create a Biped about the same height as the model. Change the parameters in the Create Biped rollout to match the character. If the character is wearing shoes, you can set both Toes and Toe Links to 1.
Scale all the spine links to get the shoulders into the right place, then rotate the arms to fit the model. Be sure to check the Top view to ensure the Biped arms are inside the character's arms. Note that the lower arm rotates in just one direction, so you might need to adjust the character model to work with the Biped arms. Scale the bones so the joints fall at the elbow and wrist. Don't worry too much about matching up the hands; you'll deal with them later.
On the Motion panel, turn on Figure Mode. Move the COM (center of mass object) to the character's center of mass, which is usually halfway between its belly button and its crotch. The rest of the body will not match up. Ignore everything else and just get the COM lined up correctly with the inside of the character's hips. Use the Body Horizontal and Body Vertical buttons in the Track Selection rollout to move the COM left-right or up-down as necessary.
HOT TIP For the best results with Biped fitting and animation, the character body model should be all one piece. While it's possible to use Biped with a multipiece model, when you animate the Biped you might end up with visible seams where the body parts meet. It's usually okay to leave the head and hair as separate objects.
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Scale the neck and head to fit the model, then do the feet and toes. Here, I've adjusted the character model to make the feet go straight down, just like the Biped's feet do. If the character is wearing shoes or boots, you can simply scale the single toe link to represent the entire toe of the shoe.
Fingers usually take the longest to pose. Here, I've adjusted the character model to fit the Biped's wrist area better. Scale the palm to fit the character, and move and rotate each base finger link to get it going in the right direction before scaling the finger links. The hand is easiest to pose in an angled view while simultaneously checking your work in an orthographic view. After you've done one hand, copy and paste the pose to the other side of the body.
8 Skinning
Character animation Character animation 1
Hide the character model. With the Biped, create a simple animation to test the skinning, such as bending the arms and legs. The file SkinStart.max contains a simple test animation. You should also create a Selection Set for the Biped to make the skinning process easier.
KINNING IS THE PROCESS of associating a character model with a Biped. When you apply the Skin modifier to a model, it uses the bones you specify (in this case, the Biped) to determine how the model will deform when the Biped is animated. Skinning works by associating each bone with specific vertices on the model. If a vertex is affected by more than one bone, then the bone's influence on that vertex is determined by a weight value. All the weights for a vertex add up to 1.0, and a weight of 1.0 means the bone has complete influence over the vertex. Weights are set with the Abs. Effect parameter and the Weight Table.
Select any part of the Biped. On the Motion panel, turn off Figure Mode. Then hide the Biped. Pull the time slider to see if the character model deforms correctly. Chances are, it won't. The easiest areas to fix are the legs and arms. Let's use the left calf as an example.
Another area that's fairly easy to clean up initially is the torso. Select 2-3 rows of vertices and the nearest spine bone, and set Abs. Effect to 1.0. You can also scrub to a later frame to find and select vertices that aren't behaving correctly. Here, the vertices that make up the third button need to be affected by the Spine2 bone. At frame 10, they're easy to select and adjust.
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Turn on Figure Mode for the Biped. Unhide just the character body (not the head or hair, if they are separate objects). If the body has a TurboSmooth or MeshSmooth modifier applied to it, remove the modifier. If there are other modifiers still on the stack such as UVW Map, collapse the stack before continuing.
Apply the Skin modifier to the body model. Click the Add button next to Bones in the Parameters rollout, and choose all the Biped parts.
Select the body model. In the Parameters rollout, click Edit Envelopes. In the Select group, turn on the Vertices option. Select all vertices that should be affected by the left calf bone only. In the Parameters rollout, choose the Bip01 L Calf bone. In the Weight Properties group, change Abs. Effect to 1.0.
Scrub the time slider to a later frame, and check the left calf. Select individual vertices, and for each one, adjust the Abs. Effect parameter for the L Calf and L Thigh bones until the leg looks good. If you like, you can apply a TurboSmooth modifier above the Skin modifier to see how it's coming along.
Once you've done a general cleanup, some areas, such as underarms and hips, will need additional work. Select a few vertices and open the Weight Table. Choose Selected Vertices at bottom left of the dialog, and from the Options menu, choose Show Affected Bones. In the table, drag a weight value left or right to change the weight values. The vertex changes position as you change the values.
Work on the vertex weights until the entire body looks good in the test animation. Unhide the Biped and the other body parts. Put the Biped in Figure Mode again, and link any facial parts such as eyes, hair, and teeth to the Biped head. Exit Figure Mode, remove the Biped animation keys, and your skinned model is ready for animation.
With straight skinning, as we've done here, elbows and knees don't retain their bony appearance when bent to extremes, giving you "spaghetti" or "noodle" arms and legs. To fix this problem, use the Skin Morph modifier to set custom volumes at extreme poses.
8 Walking in your footsteps Character animation Character animation
NE OF THE BIPED'S key features is its footstep tool, which lays down footstep icons for the Biped to step through. This unique feature uses a complex set of calculations to set keys for the entire Biped skeleton, including the spine and arms. In order to use footsteps to animate the Biped, you must not have set any keys for Biped parts. If you animate one or more of the Biped body parts manually, the Footstep Mode button will be disabled, making it impossible to use footsteps. If this happens, you can delete the keys to make Footstep Mode become available.
Select any part of the Biped. On the Motion panel, turn on Footstep Mode in the Biped rollout.
Click Create Keys for Inactive Footsteps in the Footstep Operations rollout to create the keys. Play the animation to see the Biped move through the footsteps. If more frames are needed to create your animation, the length of the animation is extended automatically.
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In the Footstep Creation rollout, choose a gait: Walk, Run, or Jump. The gait determines the overall footstep pattern that will be created.
You can move and rotate the footsteps themselves, and the Biped's feet will follow them automatically. You can also use the Bend and Scale parameters in the Footstep Operations rollout to change selected footsteps.
Click Create Multiple Footsteps. In the dialog that appears, set the Number of Footsteps and other parameters as desired. Click OK to create the footstep icons in the scene. If you play the the animation, you won't see any action as the keys haven't been created yet.
If moving, rotating, scaling, or bending footsteps causes the Biped's legs to behave strangely (unexpected stomping, kicking, etc.), you can reset the body keys. Select the footsteps and click Deactivate Footsteps in the Footstep Operations rollout to remove the keys, then click Create Keys for Inactive Footsteps to reset them. While this will fix the leg animation, it will also remove any upper body animation, so copy the upper body animation to a track first and paste it back on afterward if necessary.
To change footstep timing, open Track View – Dope Sheet while still in Footstep Mode, and expand the Bip01 Footsteps track. Each colored box corresponds to a footstep. Drag one end of a footstep key to change its length, or select and drag an entire key to move the entire footstep in time.
8 Catch a wave
Character animation Character animation
HEN YOU WANT the Biped's feet or hands to follow a particular object, this presents a problem. You can't link the hands or feet to the object, as they are already linked to other parts of the Biped. Instead, you'll use one of Biped's features for designating an object as an IK (inverse kinematics) object. This means you can bind a hand or foot to the object and have it control the hand/foot without linking.
Move the COM (center of mass) to position the Biped on the surfboard. There is no need to turn on Auto Key as you are just setting the starting position.
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As a test, move the surfboard and make sure the foot follows it.
Repeat the process for the other foot. Now both feet follow the surfboard. You can also move the COM down to make the Biped crouch, and the feet will stay stuck to the surfboard.
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SurfStart.max SurfFinish.max
Select one of the feet. On the Motion panel, expand the Key Info rollout and the IK section. Click the Select IK Object button and pick the Surfboard, then click Set Planted Key. This binds the foot to the surfboard.
If you animate the surfboard moving, you will discover a problem: the feet try to stay stuck to it, but the body doesn't follow. To correct this, use Select and Link to link the COM to the surfboard.
HOT TIP The COM is the only Biped part that you can link to another object with Select and Link. All other Biped parts are already linked to another body part.
Now the Biped follows the surfboard. You can animate the Biped's COM to move up and down, and animate the arms as you like. If you want to reposition the feet at the first frame, turn on Auto Key first.
8 The alternative Biped Character animation Character animation
HILE THE BIPED is intended to animate two-legged creatures, you can also use it to animate just about anything that's supposed to be alive. Remove its arms, and it's a household product. Bend it over, and it's a four-legged animal.
Who says dishwashing liquid doesn't have a secret life when the kitchen lights go out? Turn off the Arms checkbox to create a Biped that runs and jumps without appendages getting in the way.
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By bending over the spine, you can pose a Biped as a four-legged creature. Tail links provide the tail, and Ponytail links make an animatable jaw. Planted keys on the hands make them work just like feet, sticking to the ground when necessary to make the dog walk, sit, and crouch.
8 Bouncing and flexing Character animation Character animation
ECONDARY MOTION is action that occurs in addition to the main motion, often in a different direction. An example would be a horse's tail swishing and bouncing as it runs. The tail responds to the horse's motion by moving around on its own. 3ds Max has a few tools for simulating secondary motion without having to keyframe it manually. Here, I've used a simplified dog head to illustrate these methods. Each of these techniques makes the ear bounce and flex automatically as the head moves.
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The Flex modifier is the simplest and fastest method for creating secondary motion. Apply Flex to a selection of vertices at the tip of the linked object, and it will stretch and sway automatically when the parent object is animated.
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A Spring controller creates a virtual spring between two objects, in this case two bones in the ear. While the springy bounce is natural and realistic, it can take a very long time to compute if your animation is long.
A Reactor Rope provides a swingy path for the ear to follow with the PathDeform modifier. However, the result is inaccurate for extreme motion, as shown in the bottom image.
Character animation Character animation I
The life of Biped IN THE BEGINNING, there was no Biped. From 1990 to 1995, character animators using 3ds Max had to fend for themselves with Bones and fairly primitive IK systems. While a few brave souls managed to get some good work done, the process took a long time and required an extensive knowledge of skeletal animation, not to mention 3ds Max itself. Then, in 1996, a breakthrough. Unreal Pictures, an independent software developer, released the Character Studio plug-in for 3ds Max with its signature Biped skeleton. Although the first release was nowhere near as sophisticated as it is now, it did include those magic footsteps. Character animation suddenly became available to anyone willing to purchase the plug-in, and subsequent versions went from strength to strength. When 3ds Max 7.0 was released in 2004, Character Studio was included with the package. Autodesk decided to call it Biped, and the existing Character Studio help files were folded in with the 3ds Max help. Not all the documentation was updated to reflect this change, so you'll frequently see the original plug-in name when searching for help on Biped. The original version included a modifier called Physique, which performed the same function as the Skin modifier. In its day, Physique was the modifier of choice for skinning. Although Physique is still available if you want to use it, it hasn't been updated in several versions, and the Skin modifier has long since surpassed it in ease of use, functionality, and reliability. Physique is still included with Character Studio (or Biped, as it were) so users with older files can still open, edit, and render them. From time to time I meet up with someone who genuinely prefers Physique, but the majority of artists use the Skin modifier instead. The default walk cycle created with footsteps hasn't changed one iota since the first release of Character Studio. The Biped's left arm swings more than its right, and its ramrod posture gives the character a tentative air. I am always
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amused by students' complaints about this. The default walk is intended as a starting point, not a final result. Animate the arms, spine, and head to give your character more bounce than the default walk can ever give you. It takes just a few minutes, and will prevent embarassment when a more experienced animator views your work. The default Run and Jump gaits are also starting points, not final destinations. If you need to create a realistic run or jump, get a book or CD of photos by Eadweard Muybridge, a stop-action photographer who specialized in human and animal motion. The photos will give you all the poses you need for your keyframes. In short, you can't expect the Biped to do all your work for you. However, it will do pretty much whatever you tell it to.
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ď Ž Cameras go hand-in-hand with rendering. Sometimes you just need to change a few camera parameters to get an illusion of depth.
3ds Max Rendering RENDERING IS THE EASIEST task in 3ds Max, in most cases just a matter of a few clicks. In this chapter, we'll look at ways to enhance your rendering experience while keeping the process fast and easy.
9 Rendering basics Rendering Rendering
HE RENDER SCENE DIALOG is your main resource for rendering settings. Choose Render menu > Render Scene to open the dialog. While this dialog contains numerous parameters, there are a few that are crucial to creating the type of rendering you want.
To prepare for rendering, your first stop is the Time Output group in the Render Scene dialog. To render an animated sequence, choose Active Time Segment or enter a range of frames next to Range.
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HOT TIP To render an image for print at the right resolution, multiply the final size by the desired dotsper-inch (dpi) to determine the resolution. For example, if the final image will be 3" x 4" at 300 dpi, render the image at 900 x 1200. After rendering, change the image's dpi in Photoshop without resampling the image.
Your next stop is the Output Size group. Choose from resolution presets, or enter a custom Width and Height.
If you're rendering an animated sequence, be sure to click Files in the Render Output group and enter a file name. Otherwise, your animation will get rendered to nowhere.
To accurately show what portion of a viewport will get rendered, right-click the viewport name and turn on the Show Safe Frame option.
9 Mental Ray rendering Rendering Rendering
HE DEFAULT RENDERER for 3ds Max is called the Default Scanline Renderer. There are also two other renderers available: the Mental Ray renderer and the VUE File renderer. You will rarely use the VUE File renderer, but you will find many uses for the Mental Ray renderer, which creates images with a higher degree of realism than the Default Scanline renderer. This topic gives you a quick guide to using Mental Ray. More information is available in the Materials and and Mapping chapter and the Lighting chapter.
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Under the Indirect Illumination rollout, turn on Enable Final Gather. Change the Preset to Draft.
To get the most from Mental Ray, change your materials to Mental Ray materials. See the Materials and Mapping chapter for specifics on how to do this.
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To change the renderer to the Mental Ray renderer, click the pick button in the Assign Renderer rollout of the Render Scene dialog, and choose the Mental Ray Renderer from the dialog that appears.
HOT TIP When you switch to the Mental Ray renderer, you might need to turn down the intensity of your lights by 50% or so to get the same general lighting you had before you switched the renderer. You can also use Exposure Control on the Render menu > Environment and Effects dialog to control the darkness or brightness of the rendering.
Mental Ray renders one rectangular chunk of the image at a time, making one pass for general blobs of color and another pass for the final rendering.
9 Depth of field Rendering Rendering
O MAKE A RENDERING look as much like a photograph as possible, the world of 3D borrows many techniques from photography. Depth of field is a photography method for suggesting distance between objects by means of focus. 3ds Max has a built-in Depth of Field tool to make the process easy. Although it takes a bit longer to render, it's quick to set up, and will give your renderings added realism.
Click the Preview button for the Multi-Pass effect. The planet will jiggle a few times in the camera view, and then will settle down to show you roughly how blurry the planet will be in the final rendering.
If the planet is too blurry, reduce the Sample Radius value. Here, I've reduced Total Passes to 10 and Sample Radius to 0.6. Click Preview again to see the result.
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PlanetPlain.max PlanetDepth.max
Load the file PlanetPlain.max and render the camera view. It's hard to tell how far the planet is from the satellite because both are in perfect focus.
Select the camera. Note that the camera target is aligned with the satellite. This means the Depth of Field tool will keep the satellite in focus and blur other scene objects. In the Modify panel, turn on Enable for the MultiPass Effect, and choose Depth of Field.
Render the scene. The Total Passes number determines how many passes the renderer makes before completing the rendering. On each pass, the scene becomes more visible.
9 A shift of perspective Rendering Rendering
HE PERSPECTIVE BUTTON changes the camera's field of view and its distance from the target at the same time. As a result, objects near the camera target retain the same size relative to the image, while other objects appear to move away from or come closer to the camera. This tool is useful for quickly adding an air of drama to an otherwise static scene. When used in filmmaking, the cameraperson must carefully change the field of view while the camera dollies toward or away from the subject. In 3ds Max, it's just a click-and-drag away.
Load the file Watch.max, which contains a watch surrounded by a spray of flowers. Play the animation. The watch hands go around over 300 frames. To give more depth to the scene, we'll use the Perspective tool on the camera.
Play the animation to see the effect. To enhance the feeling of movement, add a Depth of Field effect to the camera and animate the Sample Radius going from a small value to a larger one. As objects appear to move farther from the focal point, they will get blurrier as well.
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Watch.max WatchPersp.max
Go to the last frame and turn on Auto Key. Activate the camera view, and pick the Perspective tool at the lower right of the screen. Drag from the bottom of the camera view to the top to alter the FOV and camera distance at the same time.
9 ActiveShade Rendering Rendering
N ACTIVESHADE VIEWPORT gives you the speed of viewport display with quality that approaches a rendering. Although an ActiveShade view isn't as accurate as a rendering, it can show you where shadows fall and how lights interact with your materials. To enable an ActiveShade viewport, choose the ActiveShade option at the bottom of the Render Scene dialog. The Render button changes to the ActiveShade button, which you can click to create a floating ActiveShade view. You can also turn any viewport into an ActiveShade view by rightclicking the viewport label and choosing Views > ActiveShade. Every time you update the scene, the ActiveShade view will take a moment to render the changes and update the view.
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HOT TIP After you render a floating ActiveShade view, the Quick Render button on the toolbar changes to Quick Render (ActiveShade). If you close the ActiveShade view, you can quickly render it again with this button.
Rendering Rendering I
What is Mental Ray, anyway? IN REAL LIFE, light bounces all around all the time. The light bouncing off any surface, such as your desk, then into your eyes (so you can see it) might have bounced thousands of times before it got to you. Each time it bounces, it loses some of its energy (brightness). To understand the effect this bounced light has on what you see in everyday life, take a look under your desk. You can clearly make out the carpet or floor below even though no light reaches this area directly. Light from a window or from overhead has bounced several times off the floor and the underside of the desk to illuminate this area enough for you to see it. The Mental Ray renderer calculates an approximation of this bounced light. It isn't feasible for your humble computer system to calculate light rays bouncing as many times as they do in real life, so Mental Ray cheats a bit and uses just a handful of bounces. The reasoning is that by the time light has bounced a few times it's lost most of its brightness anyway, so you only need so many bounces to get a decent result. Mental Ray renders by bouncing light around the scene a specific number of times. Compare with the Default Scanline Renderer, which does no such thing. The default renderer sends light rays out one time from each light source, and that's it. In addition to lighting areas that don't receive direct light, bounced light also picks up a bit of color from each object it touches. For example, a brightly colored object near a plain wall will leave a subtle spray of color on the wall. This effect, called radiosity, makes the difference between a so-so rendering and a magnificent one. Viewers, without knowing anything about radiosity, will intuitively find a scene with this effect warmer and more inviting, not to mention more realistic. The Mental Ray renderer, when used with Mental Ray materials, produces this effect. To enhance the radiosity effect, increase the number of Diffuse Bounces in the Final Gather rollout to 1 or 2.
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Two Mental Ray renderings. The image on the left has no Diffuse Bounces, while the image on the right has two. Note the red cast on the wall in the second image, where light bouncing off the red bottle affects the color of the wall.
Mental Ray includes two methods for bouncing light around a scene, Global Illumination (GI) and Final Gather. While the rays used for GI are narrower and give a more accurate result, Final Gather sends out big clumpy rays to light an entire blob of the rendering in one shot. Originally, Final Gather was intended to be used in addition to GI to lighten up dark corners and other areas that somehow didn't get their share of GI rays. But then artists discovered that you could get pretty good results with Final Gather alone, and that it was much faster to use than GI. So the use of Final Gather alone has become popular as a rendering workflow. When using Final Gather, start with the Draft setting and make changes only as necessary. The Max Depth value (Render Scene > Renderer > Rendering Algorithms rollout) determines how many bounces occur. By default this value is 6, and a rendering often looks pretty close to real with just 6 bounces. You can increase realism by increasing this value, but you'll also increase rendering time. All this light-bouncing is done with an intense series of calculations, not with actual rays. So the rays are there in the virtual sense. Thus Mental Ray.
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Make your client's 2D logo really pop by incorporating 3D elements that retain the logo's recognizability while emphasizing the company's message.
3ds Max
Logo treatments A TREATMENT IS AN ADAPTATION of an existing artwork to create a new work in a different style. An example is the conversion of a static 2D logo to a 3D animation for a video or web site. Logo treatments appear on television, company websites, corporate videos, even at YouTube.com. Often, all you have to work with is a business card. The client asks for 5-10 seconds of knock-'em-dead animation, and they expect you to figure out what to do. You could spend days beating your brain for an idea that may or may not work, or you can use one of the tried-and-true themes that have been delighting clients for decades. Whenever I need to do a logo animation, I look through various existing treatments and pick a style and technique that fits the logo at hand. While I'm working on it, a new twist always emerges that makes it fresh and different. 177
10 The classics
Logo treatments Logo treatments
LASSIC ANIMATION TREATMENTS never go out of style. You'll find these techniques used on all kinds of logos and titles on TV and on the web, usually combined with other elements, but sometimes just by themselves. Clients are often satisfied with a clean, clear treatment that expresses their company's image, the simpler the better. Consider the logo's shape and the company's message when choosing a treatment.
Circular logos can roll in or spin in place. A slow spin above a surface works for just about any logo.
If the logo contains a lot of easy-to-separate elements, create cardboard-style cutouts and animate the camera past them. See the Cardboard Cutouts cheat.
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If a 2D logo has a 3D quality to it already, a 3D version of the logo with a bit of animation can be plenty to please. See the Perspective Matching cheat for the technique used here.
A logo reflecting on a surface is an easy yet classy rendition. Apply a Flat Mirror reflection map to the surface, and take care to position the logo close enough to the surface so the camera can see the reflection.
If the logo contains a spherical element, you can fly in text to orbit the object for an instant treatment. See the Text Around a Sphere cheat.
The model can be broken into pieces that fly together to form the logo. See the Flying Fragments cheat for details.
A volume light shining through holes makes 'em go "Oooh!" without a lot of work. See the Light Through Holes topic.
10 Making it 3D
Logo treatments Logo treatments
OUR FIRST TASK in creating a 3D logo treatment is to create the model itself. The challenge is to keep key elements intact and the logo recognizable. Start with a simple treatment and work toward a more three-dimensional version as time permits. Often, the original logo itself can serve as a basis for texture and opacity maps. Pick out elements that are readily adaptable to 3D, such as text and the main shapes. Take care to keep proportions and colors as close as possible to the original. The logo might call for specific CMYK or Pantone colors, but highlights, reflections, and shadows will vary the colors in the 3D rendering. Use the client's colors as a guide, and adjust them as necessary to make the final rendering match the client's specification.
You can easily create an opacity map from the original image to knock out the background. To retain the signature blue color, a self-illuminated blue disk is placed at the back with its shadow-casting property turned off. The squid image still appears flat, but the cut-out shadow gives the rendering an extra something.
To give the squid's tentacles depth, I created a basic cutout of the squid with rough shapes and the ShapeMerge tool. To define the squid's suckers, I mapped a thin plate with the texture and opacity maps and placed it over the cutout. This achieves a decent result with far fewer polygons than modeling the suckers in detail.
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The original 2D logo features a number of elements that suggest perspective: the skewed head and eyes, the tentacles curling into the distance, the fold at the top of the squid.
More often than not, the logo font needs work or isn't available at all. Make adjustments by hand or import an Illustrator (AI) file. If the letters have an outline, apply a Bevel modifier to match this effect.
The simplest logo treatment is an extrusion of shapes that match the logo's basic elements. Here, I took a beveled cylinder, pulled out a few edges to accommodate the tip of the squid's head, and pasted on a texture map made from the original logo. The squid map and letters are selfilluminated to retain the logo colors, but the side of the disk is a shiny black to pick up highlights. The logo is positioned above a plane with a Matte/Shadow material to catch the ray-traced shadow.
A pair of scaled spheres for the eyes makes the treatment really pop without a lot of work. I took some care to match the pupil sizes and positions to the original logo. A treatment like this, with thickness on the basic elements and a couple of obvious three-dimensional parts, is enough to satisfy many clients.
TSLogo.jpg TSEyes.max TS3D.max
If you're working from a low-resolution reference image (for example, a 2D logo scanned from a business card), you won't be able to discern the exact edges from the blurry image. Not to worry; tiny discrepancies won't be noticeable when the logo is zipping around the screen.
For a full 3D treatment I modeled the squid itself, making judgement calls on the squid thickness and tentacle curls. The tentacle suckers are mapped to extruded faces with an opacity map. To retain the blue background, I placed a blue bowl behind the squid with partial selfillumination to retain the signature color.
10 Perspective matching Logo treatments Logo treatments
Create a plane and map the 2D logo onto it, then create a target camera with the target at the center of the plane. Assign a Look-at Constraint to the plane so it will always face the camera.
ANY 2D LOGOS already have a 3D aspect to them, such as the Hill CraftsMen logo. But 2D artwork often takes a bit of liberty with the laws of perspective, so you're unlikely to get a perfect match between the 2D original and the 3D rendition. Still, the differences are more than compensated for by the extra quality that 3D graphics bring to the imagery. Matching the perspective in a 2D logo can be tricky. With the help of the camera Perspective tool, you can make a close approximation and deliver a rendition that stays true to the original.
Place a couple of other elements in the scene to test the perspective. Resist the urge to rotate the objects! Just move the camera, fix the perspective, or change the boxes' dimensions if necessary. In this case, I'll need to rotate the house in the back a little to get the same angle as the original logo, but I'll do it after I finish the modeling.
Set up lighting to match the 2D image as closely as possible. Here, the shadows cast by the direct light don't match the 2D logo exactly, but they contribute to the 3D look while retaining the logo's feel.
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HCLogo.jpg HC_Start.max HC_Finish.max HC.mov
Place a box in the scene that roughly matches the size and shape of one element. Move the camera until the angle matches the logo. Do not rotate the box; move the camera only. You can tell if the angle is right by how much of the box side is visible as compared with logo elements. To make it easier, make the box see-through with Ax or use Edit > Object Properties to turn on See-Through mode.
With the Camera view active, use the Perspective tool to adjust the field of view and camera distance simultaneously. This will give you a different perspective of the object without changing the size of the logo and box in the viewport. You might also need to adjust the box's dimensions again. Here, the reference image has been dimmed by 50% to make it easier to see the box.
Model the object detail. Here, I added segments to the boxes before collapsing them so I could bevel the windows. When editing the objects, work in an orthographic viewport while watching the camera view to make sure the model matches the reference. Modeling is an easy task when the objects aren't rotated.
Animate the camera in a way that communicates the company's message. In this case, the camera comes up over the hills to view the houses, resonating with the company name.
The hillsides suggested by the 2D logo become 3D hills made from planes. Add the TurboSmooth modifier to make smooth hills from low-poly planes.
To make sure the logo mapped onto the plane as the same aspect ratio as the original, apply a UVW Map modifier to the plane and use the Bitmap Fit option.
A glow around the sun, animated materials, and the company name fading in complete the picture of night turning to day as we fly over the hill and the houses come into view.
10 Cardboard cutouts Logo treatments Logo treatments
NE WAY TO BRING a photograph to life is to separate the foreground and background elements and place them at varying distances from the camera. This requires a little work in Photoshop, but results in a scene that's easy to animate and gives you instant depth of field. The technique is shown here with four elements from a single photo, but you can layer as many elements as you like, and even add people, trees, and other elements from different pictures. The cardboard cutout technique works best when the foreground elements are completely contained within the frame and have a distinct outline. This makes the elements easy to separate in Photoshop.
Start with a photograph that has strong foreground and background elements. The gazebo, bride, and groom are within the frame and the background is an easy-to-clone-stamp sky, making this photo a good choice for this technique.
In 3ds Max, create a material for each element. For foreground elements, set up a Diffuse map with the TGA image, with the Mono Channel Output set to Alpha. Copy the map to the Opacity channel as an Instance. It will be easier to see how well the transparency is working if you change the Sample Type to a cube.
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Bride_Start.jpg Bride_Finish.max Bride.mov
In Photoshop, separate each element to its own layer. Use clone stamping to fill in the sky and other areas as necessary. Save each foreground element as a TGA file with an Alpha channel for transparency.
HOT TIP To create an Alpha channel in Photoshop, load the transparency selection for the layer and save the selection with the name Alpha. Then save the image to a 32-bit TGA file.
Create a plane for each element with a large distance between the background and foreground elements. Adjust the size of each plane as necessary, and assign materials to them. Animate the camera to pan across the scene. Elements closer to the camera will move faster than those in the background, giving a subtle illusion of depth.
10 Flying fragments Logo treatments Logo treatments
LOGO COMING TOGETHER from pieces communicates organization from chaos. Here I've used the logo from A. Routsis Associates, an engineering training company, to illustrate flying fragments coming together to form a whole. The PArray particle system creates the fragments for you. Then you can animate the pieces as you like to make them come together.
Create a 3D version of a logo element that can be broken into fragments. This often requires more than a simple trace and extrude. Here, I've drawn a shape with intersecting segments as the base.
Pull the time slider to see how the fragments will look, and set the Thickness appropriately. You can play with any and all PArray parameters to make sure the fragments look right; the settings will not affect your final animation. For example, you might need to increase the Spin Time in the Rotation and Collision rollout to really see the fragments.
Return to frame 0 to make the object appear intact. Choose Tools > Snapshot and select the Mesh option. This creates a new mesh object called GPArray01 with the fragments as elements. Select the new object and move it away from the original. Tuck in any vertices that have popped out due to the Thickness setting. You can also hide or delete the PArray at this point.
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ARSymbol.jpg AR_Start.max AR_Finish.max AR.mov
Make the shape into a surface with the Surface modifier, then collapse to an Editable Poly and use Shell, Extrude, or Bevel as desired to make the 3D object. This is also a good time to apply a material to the object. The file AR_Start.max starts from this point.
Go to the new object's Element sub-object level and select all the elements. In the Edit Geometry rollout, set the Explode value to 180 and choose the Objects option. Click Explode and type in an appropriate fragment object name, such as Piece. This creates a separate object from each element and names them Piece01, Piece02, etc. Delete the GPArray01 object, and set the pivot points for all the new objects to their centers.
Use a PArray particle system to break the object into fragments. Pick the object as the PArray object, turn on the Object Fragments option in the Particle Type rollout, and use Number of Chunks. Set Viewport Display to Mesh. In the Mat'l Mapping and Source group, choose the Picked Emitter option and click the Get Material From button.
HOT TIP To quickly set a transform key for the objects, select all the objects, go to the last frame, and right-click the time slider. You will be able to set a key for Position, Rotation, or Scale. In this case, set a key for Position and Rotation at the last frame.
Move the fragment objects back to match the original object, and hide the original object. Go to the last frame of the animation and set a key for the fragment objects. Then go to frame 0, turn on Auto Key, and move the fragments away. When you scrub the time slider, the fragments will fly into place to form the object. In practice, you would hide the solid logo until the pieces fly into place, then swap out the pieces for the solid logo.
10 Light through holes Logo treatments Logo treatments
VOLUMETRIC LIGHT shining through cracks or holes in the client's logo is a sure crowd-pleaser. This type of treatment is suitable for a high-tech company such as Astrophysics, Inc., which makes airport scanners and other security gadgets. The logo itself has a cutout lambda shape that follows the shape of the A in Astrophysics. These matching shapes lend themselves to an animation where the lambda reveals itself when the volume light flares, creating the illusion that the letter is created by the light.
Be sure to set attenuation settings for the light. Without attenuation, the volume light's brightness will take over the entire scene. The most important setting is the End value under Far Attenuation, which determines the end of the volume light effect.
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Start as usual by tracing the logo and making each piece a separate 3D object. In this case, each of the red, green, and blue logo pieces are separate objects. The lambda object is created as a separate object so it can be animated on its own.
Position a spot or direct light behind the objects through which you will shine the light, and turn on the Shadows checkbox. Use a Shadow Map type of shadow with a high Size setting such as 2048. Set up a Volume Light effect through the Render > Environment dialog, and pick the light.
APLogo.jpg AP_Finish.max AP.mov
HOT TIP To turn off the volume effect at a specific frame, animate the volume light's Density value to 0.
The camera can be put on a path to swing around to the front and gradually reveal the volumetric light effect. As the camera faces the logo, the volume light effect flares brightly. The lambda character and other letters are revealed by animating their Visibility tracks from 0 to 1.
10 Text around a sphere Logo treatments Logo treatments
EXT AROUND A SPHERE makes a strong statement for a global company. This technique can be used to make text fly around the scene or move around any object. The earth map used in this example comes with 3ds Max in the Maps/Space folder. The background was created from a Noise map with a technique described in the Procedurally Speaking topic in the Materials and Mapping chapter.
Apply a PathDeform (WSM) modifier to the text, and pick the path. Click Move to Path to put the text on the path. If necessary, change the Percent so you can see the text near the round object, and play with the X, Y, Z, and Flip options until the text looks right. If it's upside-down, change the Rotation value to -90, 90, or 180 to make it sit correctly.
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Create the globe or round logo, and draw a path coming into view and going around the object for the text to follow. It helps to draw a circle first and use it as a guide. You can always change the path later by editing the line's vertices.
TG_Finish.max TG.mov
Create the text to put on the path. Don't spend too much time adjusting the size. As long as you don't collapse the text, you can adjust the size and thickness later.
HOT TIP This technique works best with text that isn't too thick. Thin text will bend perfectly, while thick text will become misshapen around sharp corners.
Animate the Percent value from 0 to 100 to make the text come into view and rotate around the object. Adjust the text size as necessary.
Logo treatments Logo treatments I
Making it web-friendly ONCE YOU CREATE your 3D logo masterpiece, you'll often need to make a simplified version for the company's website. There are two types of animated logos that appear on the web. One is an intro or splash screen which appears only once, when the user first accesses the website. This type of logo treatment can be quite elaborate and impressive. Another type is a tiny version of the logo with a repeating animation that stays at a corner of the page at all times. This type of logo treatment has to be very simple, even bland, so it doesn't distract the user while he or she is perusing the website. An intro/splash screen animation is usually created with Adobe Flash. You'll need to render the animation to individual 2D images, such as JPG files, at an appropriate resolution to incorporate into the Flash presentation. But full-resolution images are often unnecessary and will make the Flash file large and unwieldy. If the 3D logo stays on one part of the screen at all times, render just that part to its own series of files so it can be positioned anywhere in the Flash presentation. Consider replacing 3D elements that are flat throughout the animation, such as text, with a single 2D image that can be animated within Flash itself. For a small, repeating logo at the corner of a page, create an animated GIF file that will load quickly when the user accesses the page. Your main considerations here are file size and simplicity. Design an extremely pared-down version of the animation that moves slowly and repeats every few seconds. A gently spinning sphere or disk works well for this type of treatment, as does a highlight moving across the text or some element of the graphic moving slowly from one side to another. The animation should be no more than 100 frames long and must repeat seamlessly. To create this type of animation, render every fourth or fifth frame to a series of TIF files in its own folder, and use Adobe ImageReady to import the entire folder. This will create an animated GIF file from the frames. Then save the file as a GIF, and place it on a web page like any other graphic.
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ď Ž A busy logo treatment looks great for a video presentation, but a simplified version against a solid background works better for a repeating animation on a website. Visit www. hillcraftsmen. com to see the simplified GIF animation on the home page.
Within ImageReady, you can set the playback speed and whether or not the graphic repeats (loops). Slow it down as much as necessary to make the graphic appealing without distracting the viewer. You can also reduce the size of the images to make them fit better on the website. The smaller and fewer the images, the faster the graphic will load when a visitor goes to the site.
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ď Ž Automate your animation with parameter wiring, and animate multiple objects by changing just one parameter.
11 3ds Max
Parameter wiring TO SIMPLIFY the animation process, you can set up custom parameters that pertain to just the values you want to animate, and put all the new parameters in one central location. Then you can wire (connect) these custom parameters to real parameters to create a useful interface for your animation needs. While programming experience and math skills are helpful for doing parameter wiring, they're not essential to take advantage of this powerful tool.
11 Wiring 101
Parameter wiring Parameter wiring
O ILLUSTRATE THE CONCEPTS of parameter wiring, I've used a simple animation of a bead on a wire. In this example, you'll create a custom manipulator right on the screen, and then use it to control the bead's animation.
Now we'll create a custom manipulator to control the bead. On the Create panel, choose Helpers > Manipulators, and click Slider. Enter a name for the manipulator in the Label field, and click in the Front view to create the slider. Set Maximum to 1.0, and adjust the X Position and Y Position so you can see the slider on the screen.
Next, we'll wire the manipulator's Value parameter to the Percent parameter for the bead. Right-click the slider and choose Wire Parameters. From the pop-up menu that appears, choose Object (Slider) > Value. Click the bead, and from the pop-up menu, choose Transform > Position > Path Constraint > Percent.
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Load the file BeadStart.max, and select the bead. Choose Animation menu > Constraints > Path Constraint, and click the wire to put the bead on the path. BeadStart.max BeadFinish.max
Pull the time slider to see the animation. The bead goes around the path, but doesn't turn with it. In the Motion panel, turn on Follow, and try different Axis settings until the bead goes around the wire correctly.
The Parameter Wiring dialog appears. Click the right arrow, then click Connect to connect the two parameters together, with the slider controlling the bead's Percent parameter. Minimize the dialog.
The reason we made the slider Value go from 0 to 1, rather than 0 to 100, is that 3ds Max stores the path constraint Percent parameter as a number between 0 and 1 internally.
On the toolbar, click Select and Manipulate. Pull the slider handle to make the bead go around the wire. To animate the bead moving around a wire, simply turn on Auto Key and animate the slider value.
11 Follow me
Parameter wiring Parameter wiring
NE BEAD is very nice, but what about multiple beads? We can't wire them all directly to the manipulator value or they'll all end up on top of one another. What we want is for each successive bead to follow the first, but with an offset so they'll follow in order.
Load the file BeadsSeq.max. The first bead is wired to the manipulator, and is currently at the 0 position on the path. Select each of the other beads, and note their % Along Path values on the Motion panel. Each bead's percent differs from the previous one's by -4.0. This will translate to -0.04 with parameter wiring.
When you pull the slider handle, the second bead follows the first, always keeping a distance equivalent to 4% of the path length.
Wire the third bead to the second, and the fourth to the third, each time with an offset of -0.04. When you pull the manipulator handle, all the beads will follow along.
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BeadsSeq.max BeadsFollow.max
Select the first bead. Right-click it to choose Wire Parameters, and choose Transform > Position > Path Constraint > Percent. Click the second bead, and choose the same sequence of parameters.
In the Parameter Wiring dialog, the first bead appears on the left, and the second bead on the right. In the entry area at the bottom right of the dialog, change the entry to Percent – 0.04. Click the right arrow and Connect to make the connection.
HOT TIP A manipulator is a special kind of helper that creates an in-viewport parameter control. Like every manipulator, you'll need to click Select and Manipulate on the toolbar before using it.
This type of setup works with any kind of path, even an open one. Here, I've converted the circle to an Editable Spline and used Break to break one of the vertices. Then I was able to fashion the spline into a necklace shape. When the first bead is at 0, the other beads will jump to the end of the path, as 3ds Max interprets a negative Percent value as 100 minus the value. For example, -4% is interpreted as 96%. To avoid this problem, you can adjust the slider's Minimum value to 0.12 to force the first bead to start far enough down the path to accommodate all the beads.
11 Telling time
Parameter wiring Parameter wiring
OU COULD SET THE TIME manually, but why bother when you can use wiring? Setting up wiring for rotation requires a smidgen of math and the use of a special function to convert the numbers to angular degrees that 3ds Max can interpret.
Load the file TimeStart.max, and select the Dummy object at the top of the watch. This is the object that will hold our new custom parameters.
Select the main control Dummy, and wire its Object (Dummy) > Custom Attributes > Hours parameter to the hour hand Dummy's Transform > Rotation > Keyframe XYZ > Z Rotation parameter.
6 4
Rotate the hour hand Dummy with the Local coordinate system, and you can see that it rotates on the negative Z axis. You will use this axis when wiring it to the Hours parameter.
Since the watch face has 360 degrees and 12 hours, each hour is 30 degrees along the watch face. At the lower right of the Parameter Wiring dialog, type in – Hours * 30 (with the minus sign for the negative rotation), and click the right arrow and Connect.
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TimeStart.max TimeFinish.max
Choose Animation menu > Parameter Editor. Create a new parameter of the Float type called Hours, with a Range from 1 to 12. After you click Add, the parameter appears on the Modify panel. Create a second parameter called Minutes with a Range from 1 to 60.
We'll wire the hour hand first. But before we do that, we need to tell 3ds Max where the 0 position is. Select the hour hand Dummy and rotate the hour hand to point to the 12. Then use A-right-click to display the animation quad menu, and choose Freeze Rotation. This resets the current rotation to 0 internally, so any rotation coming from wiring will start from that point as the 0 point.
When you adjust the Hours spinner, the hour hand goes wild. This happens because internally, 3ds Max expresses degrees as radians, an angular measure equal to about 57 degrees. You'll need to convert the degrees to radians with the degtorad function in the Parameter Wiring dialog. At the lower right of the dialog, change the entry to – degtorad(Hours * 30) and click Update. Adjust the Hours spinner to see the hour hand move smoothly from hour to hour.
Wire the Minutes value in the same way. Freeze the minute hand Dummy at the 12 mark on the watch face, check for the correct rotation axis, and use – degtorad(Minutes * 6) to wire the Minutes parameter to the minute hand Dummy's rotation parameter. Now you can animate the Hours and Minutes parameters as you like to set the time on the watch.
Parameter wiring Parameter wiring I
Spinning wheels REMEMBER WHEN YOU dozed off in geometry class, wondering when you would ever use the stuff you were learning? That day has arrived. In your animation travels, sooner or later you'll need to make something spin. Of course you can keyframe the rotation, but that can be tricky. If you rotate an object three full times, for example, 3ds Max will sometimes think the object just has to go the shortest distance between the start and end rotation, which is essentially zero. So keyframing rotations of more than 360 degrees can be troublesome. Instead, look at wiring as an option. For example, suppose you need to animate a toy car moving along a road. You know how far the car is going to travel, so you can easily figure out the number of wheel rotations. If you know a bit of geometry, that is. Let's revisit that musty old classroom and grab a useful equation or two. A circle has 360 degrees, and a wheel turns 360 degrees to make one turn. So far, so good. Every circular object has a radius, the distance from the center to the edge of the circle. If you know the radius you can figure out all kinds of things, like how much road a wheel covers when it turns one time. Suppose you put a chalk mark on your car's tire, then roll it forward just far enough so the chalk mark goes around once and comes right back to where it started. You have just traveled a distance equal to the outside edge of your tire. The measurement of this outside edge is called the circumference. To measure the circumference of a wheel, you can get out your tape measure and wrap it around the wheel. Or you can do it the easy way: measure the radius and make a calculation. The circumference of any circle is the same as 2 times the radius times pi, a magic number equal to 3.14 something and a bit. Pi is sometimes represented as the Greek symbol π. You don't even have to know exactly what pi is to do your calculations. 3ds Max knows what it is, and that's all that matters.
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(D / C) x 360
C = 2 x R x pi
Say the car travels 300 units on the Y axis, and the radius of the wheel is 23. To figure out how many times the wheel turns, you need to divide the distance traveled (300) by the circumference of the wheel (2 x 23 x pi). So that gives us the number of full turns. To get the number of degrees it has turned at any given time, just multiply the whole thing by 360, stick a degtorad in front of it, and you have wheels-a-turning. If you want to see this equation in action, I've included a toy car file with all four wheels wired in this way. Granted, this technique isn't for the faint of heart. But if you like the idea of automated animation, parameter wiring can't be beat. If that's the case, dust off that old geometry book and revisit those equations. All of them still work.
How to Cheat in
3ds Max Appendix HERE IN THE BACK, I've included some goodies to aid you on your journey to becoming a better and faster artist with 3ds Max. These challenges will give you practice in the techniques described in this book. You can post your results at the book's website (www.howtocheatin3dsMax.com) for critiques and suggestions by me and other readers. The website also has additional training videos and files, so be sure to take advantage of these materials, and check out what your fellow artists are up to at the same time. The Appendix also includes an alphabetical list of all CD files referenced in topics.
Appendix Appendix
Challenges A
FTER GOING THROUGH the topics in this book, you're probably eager to start putting the techniques to use. The challenges here are intended to inspire you to explore 3ds Max and create your own original works. Use the images and guidelines provided here to practice the techniques in this book, or start with your own reference material. When you finish a challenge, I encourage you to post your work on one of the forums at the book's website, www.HowToCheatIn3dsMax.com. I look forward to seeing your unique works of art, and to hearing about your experiences with 3ds Max.
Take a straight-on photo of a household object, such as a remote control or cell phone. Using the techniques described in the Modeling chapter, remove the perspective from the photo in Photoshop, and use the map both as a guide for modeling and as a texture. You'll get extra points for changing the shape to make it unrecognizable as any existing product. If you prefer, use the reference image included on the CD.
3 206
Model this hand mirror by drawing a spline outline and applying the Extrude modifier to it. Then model it by starting with a 10x20 Plane and moving vertices around and deleting polygons. Apply the TurboSmooth modifier to each model. Which looks best? You'll need techniques from the Modeling chapter, the Materials and Mapping chapter, and the Reflection chapter to do this one.
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Start with a straight-on photo of a building. Flatten it out in Photoshop, and paint out items that hide the facade, such as trees and street elements. Use the photo to model a 15-minute building like the one in the Modeling chapter. Take a photo of a building in your environment, or use the image provided on the CD. Then light the building's windows for both day and night as described in the Glass chapter.
Try your hand at making your own mountain. Create a tileable texture from a photo, then use it to draw splines that follow the shape of the texture. Use the technique described in the Modeling a Gorge topic, which can be found in the Modeling chapter.
Appendix Appendix
Challenges OgreFront.jpg OgreSide.jpg
How to Cheat in 3ds Max
SethFront.jpg SethSide.jpg
What's more fun than modeling characters? Nothing is, according to my students. That's why I've included these reference images so you can make your own. These models were created by students in my Low Polygon Character Modeling class at CGSociety.org. They have graciously allowed me to include their reference images with the CD so you can enjoy the same pleasure. Use the techniques described in the Modeling a Character topic in the Modeling chapter, then rig it up and animate it with the Character Animation chapter.
Appendix Appendix
Challenges 6
Using the techniques in the Reflections chapter, make your own gemstones and jewelry. Start with a sketch or photo to guide the proportions. When you're done, post the rendering at the book's website so I can enjoy it. I love getting jewelry, even if all I can do is look at it. Plus, this kind of gift won't cost you a thing!
Practice creating splines by drawing your name as one continuous line, similar to the way you'd write your name with cursive handwriting. Before starting, be sure to check out the tips in the Secrets of the Spline topic in the Modeling chapter. Because you're going to loft the spline, you'll need to have all Smooth or Bezier type vertices, and no Corner or Bezier Corner types. Next, loft a small circle along the spline, and animate your name writing on the screen. Use the technique described in the Cracks in a Surface topic in the Animation chapter to animate the loft.
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Reference material is important for animation, too. Videotape your friend walking, getting as close to a straight-on side view as you can. Then animate the Biped walking the same way. The crazier your friend walks, the more fun you'll have. You'll get extra points for posting the video along with your finished animation.
To get a handle on the techniques of making curved glass, try your hand at this well-used pitcher. Feel free to use the spots texture I created for my drinking glass in the Glass chapter.
Appendix Appendix
CD files F
OR THOSE WHO LIKE to surf the CD for interesting files and find them in the book, here is an alphabetical list of all the files referenced in topics.
ActiveShade.max 173 AP_Finish.max 189 APLogo.jpg 189 AP.mov 189 AR_Finish.max 187 AR.mov 187 AR_Start.max 187 ARSymbol.jpg 187 Background.jpg 55 BalconyMap.jpg 29 Balcony.max 29 BallroomMR.max 83 BeadFinish.max 197 BeadsFollow.max 199 BeadsSeq.max 199 BeadStart.max 197 Beans.max 133 BottleFinish.max 49 BottleStart.max 49 Bracelet.max 105 Bride_Finish.max 185 Bride.mov 185 Bride_Start.jpg 185 Candles.jpg 39 CandyBowl.max 57 CandyDish.max 103 Car Back.psd 51 Car Side.psd 51 Car Top.jpg 51 Carving.max 67 CarvingMR.max 67 CellPhone.jpg 206 CrackFinish.max 141 CrackStart.max 141 DayClear.max 115 DayWhite.max 115
DogEarStudy.max 159 DogEyes.max 57 DrinkingGlass.max 121 ExteriorLit.max 75 ExteriorMR.max 83 ExtWindows.max 113 FireAlarm.max 23 FireAlarm.tga 23 Gears.max 127 Girl.max 149 GirlPosed.max 149 GlassBottle.max 119 GorgeFinish.max 33 GorgeStart.max 33 GrayBuilding.jpg 207 GreenGirl.max 63 HandMirror.jpg 206 HC_Finish.max 183 HCLogo.jpg 183 HC.mov 183 HC_Start.max 183 IndiaDummies.max 135 IndiaIcons.max 135 InteriorDay.max 79 InteriorLit.max 77 JewelLinks.max 139 JumpingBeans.max 133 Label.psd 49 LookAtFinish.max 131 LookAtStart.max 131 MagnetFinish.max 137 MagnetStart.max 137 MailboxLit.max 73 MailFinish.max 53 MailStart.max 53 Man Walking.psd 51
How to Cheat in 3ds Max
Meter.max 25 MeterMap.jpg 25 MeterPole.jpg 25 MeterRef.jpg 25 MirrorShine.max 107 MirrorThick.max 69 MountainTex.jpg 33 Mount.max 61 MountUVW.max 61 MRTable.max 65 No3CatchFly.mov 35 No3RefFront.jpg 35 No3RefSide.jpg 35 OgreFront.jpg 208 OgreSide.jpg 208 PathFinish.max 129 PathStart.max 129 PlanetDepth.max 169 PlanetGrad.max 57 PlanetPlain.max 169 RoomAtten.max 85 RoomMR.max 83 RoomNeg.max 85 RoomVolume.max 85 SethFront.jpg 209 SethSide.jpg 209 SkinStart.max 151 SpaceFlare.max 85 SpaceLit.max 81 Spots3.jpg 211 SurfFinish.max 155 SurfStart.max 155 Terrain.max 59 TerrainMix.max 59 TG_Finish.max 191 TG.mov 191
TimeFinish.max 201 TimeStart.max 201 ToyCar.max 203 Tree.psd 51 TS3D.max 181 TSEyes.max 181 TSLogo.jpg 181 TurretBldg.dwg 31 TurretBldg.max 31 USMail.jpg 53 USPS Logo.psd 53 VerdonRiver.jpg 207 Watch.max 171 WatchPersp.max 171 WhtBldgMap.jpg 27, 29 WhtBldg.max 27
Index A
Adobe ImageReady 192–193 alpha channel PSD file 49, 50 animation Auto Key 125 Curve Editor 126–127 Dummy objects 134–135 IK solver 138 keyframe 124–125 Link Constraint 136–137 loft 140–141 LookAt Constraint 130–131 Noise Controller 132–133 Path Constraint 128–129 random effect 132–133 scene workflow 4 secondary motion 158–159 trackbar 125 Track View 124 Arch & Design material 64–65, 66–67 Arc Rotate 9 Attach Editable Mesh/Poly 15–16 splines 33 attenuation 85 Auto Key 125
cameras changing perspective 170–171 circumference calculation 202–203 clone object 21 collapse modifier stack 52 COM linking 154–155 selecting 146 Connect 25–26, 27, 35 copy object 21 CrossSection modifier 33 Curve Editor 124, 126–127 set tangents 127 Cut 25–26
B Backface Cull 98 balcony 28–29 Bevel 33, 36–37 Bias 97 Biped 142–161 binding hands and feet 154–155 copy and paste postures 147 Figure Mode 149 footsteps 152–153 history 160–161 move without animating 147 quadruped 156–157 skinning 144–145, 150–151 Bones 138–139 Bridge 30, 34
D decal map 48–49, 53 degtorad 201 diamonds 104–105 Dope Sheet 124 Dummy objects 14, 134–135 DWG 30 DXF 30
E Edge sub-object 27 Editable Poly Convert to 24 Preserve UVs 26–27 Editable Poly/Mesh Attach 15–16 Edit UVWs dialog 60–61 Environ map 55 Environment Map 54 Extrude 36–37
How to Cheat in 3ds Max
face structure 36–37 Final Gather 65, 166 Flat Mirror map 102, 109 Flex modifier 158 freeze 11, 16 Front 8, 9
Lathe modifier 20, 37 Lattice modifier 98 layers 14–15 Layer Manager 10 lens flares 84 lighting attenuation 85 bounced 174–175 colors 84 exclude objects 77 instancing 76–77 intensity 72, 82 lens flares 84 Multiplier 86 negative Multiplier 85 scene workflow 5 Spot vs. Direct 97 sun 74–75 three-point 72–73 volume light 85 Light Lister dialog 72, 76, 86, 95 Link Constraint 136–137 linking 134–135, 136–137 lock selection 7, 16 loft 140–141 LookAt Constraint 130–131
G gemstones 104–105 glass bottle 118–119 drinking 120–121 windows 112–117 glow 78–79 Gradient Ramp map 56–57 Group 11, 14
H hide 11
I IK Chain 139 IK solver 138–139 index of refraction 120–121 Instance 21 isolation mode 9
M manipulator 196–197 mapping building 26–31 scene workflow 5 maps decal 48–49, 53 Environ 55 Flat Mirror 102, 109 Gradient Ramp 56–57 Noise 56–57, 106–107 Raytrace 103 Reflection 102–103 Reflect/Refract 102, 109 tileable 33, 47 Vertex Color 59
materials Matte/Shadow 98, 113 Mental Ray 103 Raytrace 104–105 scene workflow 5 Matte/Shadow material 98, 113 Maximize Viewport Toggle 9 Mental Ray 166–167, 174–175 Arch & Design material 64–65, 66–67 Final Gather 65, 166 radiosity 174–175 Shadow Map shadows 82–83 Mental Ray material 103 mirror 106–107 modifiers CrossSection 33 Flex 158 Lathe 20, 37 Lattice 98 PathDeform 190 Push 99 Shell 36 Skin 150–151 Surface 30, 32 Sweep 20, 37 Symmetry 25, 35 TurboSmooth 25, 36–37 Unwrap UVW 45, 60–61, 62–63 UVW Map 27, 44–45 VertexPaint 58–59 XForm 33
N NGon 126–127 Noise Controller 132–133 Noise map 56–57 Size 57 to fake reflection 106–107
P Parameter Editor 201 Parameter Wiring dialog 197–201 PArray 186–187 Path Constraint 128–129 PathDeform modifier 190 perspective matching with modeling 182–183 Perspective button 170–171 Photoshop cleaning up reference images 22–23 pi 202–203 Place Highlight tool 109 polygon structure 36 Polygon sub-object 27 Preserve UVs 26–31 primitives 20–21 scene workflow 5 Primitives Spindle 104–105 ProBoolean 140–141 PSD file alpha channel 49, 50 Push modifier 99
R radiosity 174–175 random animation 132–133 Raytrace map 103 Raytrace material 104–105 Reactor Rope 159 reference images 4–5 use in virtual studio 24–25 reflection troubleshooting 108–109 Reflection map 102–103 Reflect/Refract map 102, 109 Rename Objects 11 Render Scene dialog 164–165 rubies 104–105
How to Cheat in 3ds Max
scale transform 13 scene workflow 4–5 Select by Name 6, 17 selection 6–7, 16–17 lock 7, 16 multiple objects 6–7 sub-object 7, 16 unlock 7 Selection Filter 7, 17 Selection Set 11, 14 shadows Bias 97 Mental Ray Shadow Map 82–83 ray traced vs. shadow map 50, 75, 90–91 Shadow Map Size 97 troubleshooting 94–97 Shell modifier 36 Show Standard Map in Viewport 53 skinning 144–145 procedure 150–151 Weight Table 151 smoothing groups 35 Spindle 104–105 splines 20 how to draw 38–39 moving handles 39 Spring controller 159 sub-object Edge 27 Polygon 27 selection 7, 16 Vertex 24, 26 Surface modifier 30, 32 Sweep modifier 20, 37 Symmetry modifier 25, 35
three-point lighting 72–73 tileable texture 33, 47 Time Configuration 125 trackbar 125 Track View 124 TurboSmooth modifier 25 not working well 36–37
U Unwrap UVW modifier 45, 60–61, 62–63 UVW Map modifier 27, 44–45 fitting options 52–53 with Unwrap UVW 63
V Vertex Color map 59 vertex painting 58–59 Vertex sub-object 24, 26 virtual studio 24–25, 35 volume light 85, 188–189
W Window/Crossing toggle 7, 16 windows 112–117
X XForm modifier 13
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Essential CG Lighting Techniques with 3ds Max
Darren Brooker
'In terms of visual impact, lighting can either make or break an animation. In this book, Darren Brooker gives this subject the respect it deserves. Thoroughly recommended reading.' Brant Drewery, Editor, CGI Magazine This one-stop master class in CG lighting, co-published with Autodesk, teaches both the art and the science of lighting. CG models and environments on the companion DVD include tutorial files and bonus demo software. This book and DVD package presents the concepts and techniques you need to create convincing CG lighting effects with 3ds Max. Every ounce of theory is backed up with practical tutorials, using the free demo versions of 3ds Max and Combustion supplied on the companion DVD. The stunning color illustrated tutorials take you from the fundamentals of lighting, right through to advanced techniques. This new edition features new sections on radiosity techniques, rendering with mental ray, and compositing. 978-0-240-52022-3 $49.95/ £29.99
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Deconstructing the Elements with 3ds Max Pete Draper
'An impressive volume of special effects tutorials... [covering] those really exciting set pieces which you thought were only possible with expensive plug-ins' 3D World Magazine 'I don't think there's an excuse for not buying this book. It's a gold mine that will enrich your skills for a very low cost.' Mike Gladtchenko, Rendernode.com Get realistic effects without plug-ins! Tutorial lessons demonstrate professional techniques and workflow processes. The companion DVD contains all of the required tutorial media plus additional video tutorials. Get the most realistic effects from 3ds Max without having to spend more on plug-ins! Boost your effects skill-set with this 3ds Max workshop. Tutorial lessons give you hands-on experience in creating realistic fire, earth, air and water effects. Updated to demonstrate production techniques suitable for any version of 3ds Max, this new edition is co-published by Autodesk Media and Entertainment, and includes new tutorials on entering the Earth's atmosphere, glaciers, lava eruptions and a Badlands landscape. Inspirational color images cover every page of the book as the author shares his professional techniques and workflow processes. The companion DVD contains all of the required tutorial media as well as over 6 hours of video tutorials. 978-0-240-52019-3 $49.95/£29.99
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Additional Titles in the How to Cheat Series How to Cheat in Photoshop CS3
Steve Caplin 978-0-240-52062-9 $39.95/£24.99
How to Cheat in Photoshop Elements 6 Steve Caplin & David Asch 978-0-240-52083-4 $34.95/£19.99
How to Cheat in Adobe Flash CS3 Chris Georgenes 978-0-240-52058-2 $39.95/£22.99