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Autodesk 3ds Max 2015 Essentials
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Autodesk 3ds Max 2015 Essentials
by Dariush Derakhshani, Randi L. Derakhshani
Autodesk 3ds Max 2015 Essentials: Autodesk Official Press
Titlepage
Copyright
Credits
Dedication
Publisher's Note
Acknowledgments
Writing on the HP EliteBook
About the Authors
Introduction
Who Should Read This Book
What Is Covered in This Book
The Essentials Series
Chapter 1: The 3ds Max Interface
Navigate the Workspace
Transforming Objects Using Gizmos
Graphite Modeling Tools Set
Command Panel
Time Slider and Track Bar
File Management
Chapter 2: Your First 3ds Max Project
Set Up a Project Workflow
The Secret to Accurate Modeling: Reference Material!
Building a Simple Model
Creating Details Using Splines
Lathing, Extruding, and Beveling to Create 3D from 2D
Bringing It All Together
Chapter 3: Modeling in 3ds Max: Architectural Model Part I
Setting Up the Scene
Building the Room
Adding Special Details to the Room
Chapter 4: Modeling in 3ds Max: Architectural Model Part II
Model the Couch
Modeling the Lounge Chair
Chapter 5: Introduction to Animation
Animating the Ball
Reading Animation Curves
Refining the Animation
Chapter 6: Animation Principles
Chapter 7: Character Modeling Part I
Setting Up the Scene
Blocking Out the Alien Model
Chapter 8: Character Modeling Part II
Creating the Alien Head
Building the Alien Hand
Building the Foot
Completing the Alien
Chapter 9: Introduction to Materials
Navigate the Slate Material Editor
Identify the Standard Material
Identify the mental ray Material
Identifying Shaders
Build Materials for the Couch
Build Materials for the Lounge Chair
Build Materials for the Window
Chapter 10: Textures and UV Workflow: The Alien
Define UVs on the Alien’s Body
Unwrap UVs on the Alien’s Body
Build the Material and Apply It to the Alien
Chapter 11: Character Studio: Rigging
Character Studio Workflow
Associating a Biped with the Alien Model
Skinning the Alien Model
Chapter 12: Character Studio: Animation
Animating the Alien
Freeform Animation
Modifying Animation in the Dope Sheet
Chapter 13: Introduction to Lighting: Interior Lighting
Recognizing 3ds Max Lights
Lighting a Still Life
Atmospherics and Effects
The Light Lister
Chapter 14: 3ds Max Rendering
Navigate the Render Setup Dialog
Render a Scene
Work with Cameras
Raytraced Reflections and Refractions
Render the Interior and Furniture
Chapter 15: mental ray
Navigate the mental ray Renderer
Navigate the Final Gather Parameters
Navigate mental ray Materials
Use Photometric Lights with mental ray
Use the Daylight System
Appendix A: Autodesk 3ds Max Certification
End-User License Agreement
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Titlepage
CONTENTS
Titlepage
Copyright
Credits
Dedication
Publisher's Note
Acknowledgments
Writing on the HP EliteBook
About the Authors
Introduction
Who Should Read This Book
What Is Covered in This Book
The Essentials Series
Chapter 1: The 3ds Max Interface
Navigate the Workspace
Transforming Objects Using Gizmos
Graphite Modeling Tools Set
Command Panel
Time Slider and Track Bar
File Management
Chapter 2: Your First 3ds Max Project
Set Up a Project Workflow
The Secret to Accurate Modeling: Reference Material!
Building a Simple Model
Creating Details Using Splines
Lathing, Extruding, and Beveling to Create 3D from 2D
Bringing It All Together
Chapter 3: Modeling in 3ds Max: Architectural Model Part I
Setting Up the Scene
Building the Room
Adding Special Details to the Room
Chapter 4: Modeling in 3ds Max: Architectural Model Part II
Model the Couch
Modeling the Lounge Chair
Chapter 5: Introduction to Animation
Animating the Ball
Reading Animation Curves
Refining the Animation
Chapter 6: Animation Principles
Chapter 7: Character Modeling Part I
Setting Up the Scene
Blocking Out the Alien Model
Chapter 8: Character Modeling Part II
Creating the Alien Head
Building the Alien Hand
Building the Foot
Completing the Alien
Chapter 9: Introduction to Materials
Navigate the Slate Material Editor
Identify the Standard Material
Identify the mental ray Material
Identifying Shaders
Build Materials for the Couch
Build Materials for the Lounge Chair
Build Materials for the Window
Chapter 10: Textures and UV Workflow: The Alien
Define UVs on the Alien’s Body
Unwrap UVs on the Alien’s Body
Build the Material and Apply It to the Alien
Chapter 11: Character Studio: Rigging
Character Studio Workflow
Associating a Biped with the Alien Model
Skinning the Alien Model
Chapter 12: Character Studio: Animation
Animating the Alien
Freeform Animation
Modifying Animation in the Dope Sheet
Chapter 13: Introduction to Lighting: Interior Lighting
Recognizing 3ds Max Lights
Lighting a Still Life
Atmospherics and Effects
The Light Lister
Chapter 14: 3ds Max Rendering
Navigate the Render Setup Dialog
Render a Scene
Work with Cameras
Raytraced Reflections and Refractions
Render the Interior and Furniture
Chapter 15: mental ray
Navigate the mental ray Renderer
Navigate the Final Gather Parameters
Navigate mental ray Materials
Use Photometric Lights with mental ray
Use the Daylight System
Appendix A: Autodesk 3ds Max Certification
End-User License Agreement
List of Tables
Table 1-1
Table 1-2
Table 1-3
Table A-1
List of Illustrations
Figure 1-1: Workspace drop-down menu
Figure 1-2: The 3ds Max interface elements
Figure 1-3: Viewport Layout tab bar
Figure 1-4: Viewport label menus showing the General Viewport, Point-of-View, and Shading Viewport menus
Figure 1-5: ViewCube navigation tool
Figure 1-6: Breakdown of the three mouse buttons
Figure 1-7: Quad menus
Figure 1-8: Viewport rendering options with the default Nitrous driver modes
Figure 1-9: The viewport navigation controls are handy, but the key/mouse combinations are much faster to use for navigation in viewports.
Figure 1-10: Gizmos for the transform tools
Figure 1-11: The Modeling tab found in the ribbon
Figure 1-12: The Min/Max toggle for the Graphite Modeling Tools set
Figure 1-13: The modifier stack in the Modify panel
Figure 1-14: Choosing Set Project Folder
Figure 2-1: The clock to be modeled
Figure 2-2: Position and Length/Width Type-Ins in the plane Keyboard Entry rollout
Figure 2-3: Shading viewport label menu
Figure 2-4: The image planes with the clock images applied
Figure 2-5: Converting the cylinder to an editable poly
Figure 2-6: Select the back polygon of the cylinder; it is shaded red when selected.
Figure 2-7: Using the SwiftLoop tool, place three loops as shown.
Figure 2-8: Edges are scaled to match the image plane.
Figure 2-9: Bevel Settings will bring up the caddy for parameter input.
Figure 2-10: Clock body progress
Figure 2-11: Select the edge shown in this image.
Figure 2-12: Move the edges back.
Figure 2-13: Select and loop the edge to prepare for chamfer.
Figure 2-14: The chamfer performed on a looped edge
Figure 2-15: Select these four edges.
Figure 2-16: Chamfer result for the clock body’s edge and lip.
Figure 2-17: Add an edge loop with SwiftLoop.
Figure 2-18: The two edge loops chamfered
Figure 2-19: The clock handle
Figure 2-20: The intended cross section for the clock handle.
Figure 2-21: From the three sub-objects of the Line command, select Vertex.
Figure 2-22: Use the quad menu to modify the vertex type.
Figure 2-23: The line for the handle with all but the first and last vertices adjusted
Figure 2-24: Rendering enabled on the clock handle line, set to Radial
Figure 2-25: On the Selection Region flyout, choose the Fence Selection Region.
Figure 2-26: Use the Fence Selection Region to draw a selection around the desired vertices.
Figure 2-27: The finished handle
Figure 2-28: The bell’s profile line with the vertices numbered according to their creation order
Figure 2-29: Choose the Lathe modifier from the Modifier List.
Figure 2-30: The bell with the lathe center in the correct place
Figure 2-31: The image of the bell showing the three pieces to be created
Figure 2-32: The parameters for the three objects to be created
Figure 2-33: In the Group menu, choose Group and name the group Bell.
Figure 2-34: Text shape parameters
Figure 2-35: Bevel Values rollout showing all of the shape parameters for the number 12
Figure 2-36: Parameters rollout for the bevel modifier
Figure 2-37: Bevel modifier applied to the number
Figure 2-38: Use Refine to add two vertices to the right and left sides of the rectangle.
Figure 2-39: The clock hands positioned to match the clock face
Figure 2-40: Merge is found in the Application menu under Import.
Figure 2-41: The clock so far
Figure 3-1: Accessing the Units Setup options
Figure 3-2: From the US Standard drop-down menu, choose Feet w/Decimal Inches.
Figure 3-3: Images of the room to be created
Figure 3-4: The AutoCAD DWG/DXF Import Options dialog box
Figure 3-5: An AutoCAD drawing showing walls, doors, and window
Figure 3-6: The Grid and Snap Settings dialog box
Figure 3-7: The Parameters rollout for the Wall object
Figure 3-8: The finished wall shown in the Perspective viewport
Figure 3-9: Wall parameters
Figure 3-10: The Door object parameters
Figure 3-11: Use the Select And Link tool to create an opening in the wall for the door. This is necessary only if autolinking doesn’t work.
Figure 3-12: The sliding door in the wall
Figure 3-13: The window is centered on the wall.
Figure 3-14: Walls with doors and a window
Figure 3-15: Select the Line tool.
Figure 3-16: From the Modifier List drop-down menu, choose Extrude.
Figure 3-17: The Clone Options dialog box
Figure 3-18: The baseboard molding
Figure 3-19: Deleting the Extrude modifier in the modifier stack
Figure 3-20: Change the Outline amount to –0′6.0″ to offset the spline.
Figure 3-21: Profile of the baseboard molding
Figure 3-22: Picking the baseboard shape in the Sweep modifier
Figure 3-23: The baseboard molding is going through the door opening.
Figure 3-24: Use Refine to add two new vertices on either side of the door; then delete the segment.
Figure 3-25: The baseboard with proper gaps at the doors
Figure 4-1: Couch with measurements
Figure 4-2: The Clone Options dialog box
Figure 4-3: The first few pieces to start the couch (left); the blocked-out couch (right)
Figure 4-4: Couch armrest with NURMS applied
Figure 4-5: Use the SwiftLoop tool to add edge loops to the box.
Figure 4-6: Decorative piping runs along the seams of the couch.
Figure 4-7: Select the highlighted edges.
Figure 4-8: Set the extrusion type to Local Normal.
Figure 4-9: The finished couch armrest
Figure 4-10: Add a new loop to the chaise box.
Figure 4-11: Use Extrude to create the wing on the chaise.
Figure 4-12: Use SwiftLoop to add an edge loop on the chaise cushion box.
Figure 4-13: The couch feet with measurements
Figure 4-14: The Taper parameters
Figure 4-15: The final couch
Figure 4-16: The chair for the spline-modeling exercise
Figure 4-17: The lounge chair with measurements
Figure 4-18: Mapped image planes in viewports
Figure 4-19: Create vertex points by following the numbers.
Figure 4-20: A vertex fillet creates two vertices from one and curves the segment between them.
Figure 4-21: The competed spline for the side of the lounge
Figure 4-22: Use Shift+Move to clone the chair spline so it lines up with the chair frame on the left.
Figure 4-23: Attach both sides of the chair frame.
Figure 4-24: Use Connect to create a segment between the two separate splines.
Figure 4-25: The finished lounge frame with spline rendering enabled
Figure 4-26: The arc frames are attached and connected at the base and top.
Figure 4-27: Arrange the vertices on the box so they follow the lounge chair frame.
Figure 4-28: Turning up NURMS iterations and using SwiftLoop to smooth out the model
Figure 4-29: Create straps using splines and the Rendering rollout.
Figure 4-30: The lounge base
Figure 4-31: Create a box the size of the base leg in the image plane.
Figure 4-32: Move the vertices so they line up with the image plane.
Figure 4-33: Use Extrude to begin the creation of the foot.
Figure 4-34: Add edge loops using SwiftLoop in designated areas.
Figure 4-35: The final base shown with frame and cushion
Figure 4-36: In the Merge dialog box, select the All button at the bottom of the dialog.
Figure 5-1: The time slider is used to change your position in time, counted in frames.
Figure 5-2: The Auto Key button records your animations.
Figure 5-3: Press Shift and drag the keyframe to copy it to frame 20.
Figure 5-4: The Curve Editor shows the animation curves of the ball.
Figure 5-5: Selecting Out Of Range Types
Figure 5-6: Choosing to loop your animation
Figure 5-7: The Curve Editor now shows the looped animation curve.
Figure 5-8: The object quickly accelerates to an ease-in stop.
Figure 5-9: The object eases out to acceleration and suddenly stops at its fastest velocity.
Figure 5-10: Ease-out and ease-in
Figure 5-11: Step interpolation makes the object “jump” suddenly from one value to the next.
Figure 5-12: The Curve Editor
Figure 5-13: The keyframe handle
Figure 5-14: Click the Open Mini Curve Editor button.
Figure 5-15: The effect of the new tangent type
Figure 5-16: Use the Select And Squash tool to squash the ball on impact.
Figure 5-17: The final curves
Figure 5-18: Enter a value of 100.
Figure 5-19: The X Position track of the ball does not look right.
Figure 5-20: The X Position curve for the ball’s movement now has no ease-out or ease-in.
Figure 5-21: The ball will not rotate properly because the pivot is at the bottom.
Figure 5-22: Align Sub-Object Selection dialog box
Figure 5-23: The Gizmo track’s Y-axis rotation is selected in the Controller window and Linear tangents are set.
Figure 6-1: Move the knife to the target at frame 30.
Figure 6-2: Move the knife up slightly at frame 15.
Figure 6-3: Change the frame range in the Time Configuration dialog box.
Figure 6-4: The initial curves for the knife
Figure 6-5: Finished curves with the position of the knife starting at frame 10
Figure 6-6: Turning on Trajectories for the knife
Figure 6-7: The curve shows the trajectory for the knife’s motion.
Figure 6-8: The Curve Editor graph for the rotation on the knife
Figure 6-9: Adjust the curve for the knife’s arc through the air.
Figure 6-10: Match your curve to this one.
Figure 6-11: Add a key to the beginning to create anticipation for the knife throw.
Figure 6-12: To create a believable anticipation for the knife throw, set your curve to resemble this one.
Figure 6-13: Your animation should end like this.
Figure 6-14: Link the knife to the target (left), and then rotate the target in the X-axis (right).
Figure 6-15: The target animation curve
Figure 7-1: The Clone Options dialog box
Figure 7-2: Mapped image planes in viewports
Figure 7-3: Box parameters
Figure 7-4: Box position from the front and side views
Figure 7-5: Move the vertices to match the alien’s image in the Left viewport.
Figure 7-6: Move the vertices to match the alien’s image in the Front viewport.
Figure 7-7: Select and move vertices towards the center of the model.
Figure 7-8: Use SwiftLoop to place an edge on the model.
Figure 7-9: The Symmetry modifier creates a full torso.
Figure 7-10: The alien model with the Symmetry modifier and Use NURMS applied
Figure 7-11: Select the polygon in the armhole location.
Figure 7-12: Position the arm with the image plane.
Figure 7-13: Rotate the polygon 65 degrees.
Figure 7-14: Bevel settings for completing the arm to the wrist
Figure 7-15: Problems with the model are more evident with Use NURMS active.
Figure 7-16: Use SwiftLoop to add edges to fix problems with the model.
Figure 7-17: Select the polygon at the bottom of the alien model to begin blocking out the leg.
Figure 7-18: Use Scale to change the width of thigh, and then use the Shift+Move Extrude method to extrude the thigh.
Figure 7-19: The left side image shows the leg from the Front viewport, and the right side image shows the leg from the Left viewport.
Figure 7-20: Front view of the completed leg (left image); left view of the completed leg (right image)
Figure 7-21: The completed model shown from the Left and Front viewports
Figure 7-22: Areas to be refined on the model
Figure 7-23: The knee vertices moved to add more detail
Figure 7-24: With vertices added, the groin area is more refined.
Figure 7-25: Groin area with Use NURMS active
Figure 7-26: The left image shows the zoomed-out area; the right image shows the zoomed-in area where you need to select the vertex.
Figure 7-27: Move the three selected vertices closer to the center of the model.
Figure 7-28: The completed backside of the alien
Figure 7-29: The left image shows the elbow with the loops added; the right image shows the changes with Use NURMS turned on.
Figure 7-30: The final alien body; the left image is the front and the right image is the back.
Figure 7-31: Select the edges around the neck hole.
Figure 7-32: Use the Shift+Move Extrude method to create two more sets of polygons for the alien’s neck.
Figure 7-33: Using SwiftLoop, add a new edge to the top of the arm and neck to help in rounding out the neck.
Figure 7-34: The adjusted shape of the neck
Figure 7-35: Adjust the vertices to match the neck of the alien in the image plane.
Figure 7-36: Move up the vertices on the outside of the arm to round out the top of the arm.
Figure 7-37: Final neck and arm
Figure 8-1: Align the box with the alien head.
Figure 8-2: Move the edges so they surround the eye.
Figure 8-3: By selecting the corners and scaling them inward, you make the head more spherical.
Figure 8-4: In Vertex mode edit the alien’s nose to match the image plane.
Figure 8-5: Move the new edges to create a small ridge around the eye socket.
Figure 8-6: To make sure the Scale gizmo is at the center of the selected edges, select Use Selection Center from the Use Center flyout on the main toolbar.
Figure 8-7: Select the edges on the head that were once the corners of the original box.
Figure 8-8: From the Front viewport, in Vertex mode, move the vertices so they match the alien’s jaw line in the image plane (right). Repeat from the Left viewport (left).
Figure 8-9: The refined head
Figure 8-10: The hand image plane positioned at the end of the wrist
Figure 8-11: The parameters for the box that will create the hand
Figure 8-12: Rearrange the vertices to match the palm in the image plane.
Figure 8-13: Select the three polygons to prepare for beveling the fingers.
Figure 8-14: Rearrange the thumb vertices to follow the thumb in the image plane.
Figure 8-15: The hand from the Top viewport
Figure 8-16: Select Local from the Reference Coordinate System drop-down menu.
Figure 8-17: The final alien hand shown and isolated
Figure 8-18: Select and scale the vertices together to form the heel; then select the second row from the top and move it down below the heel.
Figure 8-19: Edit the middle and top rows of vertices to further refine the foot.
Figure 8-20: Edit the line of vertices at the base of the toes.
Figure 8-21: Toes extruded using Bevel
Figure 8-22: The finished foot with the ankle
Figure 8-23: Hand and lower arm showing the borders meeting and the edges
Figure 8-24: The top of the wrist has an extra edge.
Figure 8-25: Use Cut to create new edges on the top of the hand.
Figure 8-26: Select the four vertices on the top front of the foot (left). Use Weld to combine the edges (right).
Figure 8-27: Use Cut to create an edge from the bottom of the lower leg to the bottom of the knee.
Figure 8-28: Select vertices on the outer edge of the leg and move them so the leg is more rounded.
Figure 8-29: Attach the foot to the leg using Target Weld.
Figure 8-30: Use the Cut tool to add new edges.
Figure 8-31: Select the old edges and use the Remove tool to properly delete them.
Figure 8-32: Use GeoPoly to rearrange the polygon into a circular shape.
Figure 8-33: Select the three vertices at the top of the neck (left). Use the Merge tool to combine the vertices (right).
Figure 8-34: The merged vertices on the front of the neck
Figure 8-35: Move the vertices at the neck to eliminate the twisting.
Figure 8-36: The completed alien model
Figure 9-1: The Slate Material Editor
Figure 9-2: The Standard material type shown in the Slate Material Editor
Figure 9-3: Shader types shown on rendered spheres
Figure 9-4: Material in the Material Editor and on the couch in the viewport
Figure 9-5: The render of the couch with a Standard material applied
Figure 9-6: The shortcut button to add an image or bitmap to your material
Figure 9-7: Choose Bitmap in the Material/Map Browser ⇒ Maps ⇒ Standard rollout to add an image to your material.
Figure 9-8: The couch with the fabric image applied
Figure 9-9: The Alignment section for the UVW Map modifier parameters
Figure 9-10: The final results of the couch mapping
Figure 9-11: Apply the Dark Red Wood material by clicking and dragging from the node’s output socket to the couch foot.
Figure 9-12: The couch fabric showing the subtle surface bumpiness
Figure 9-13: The couch fabric without the bump map (left) and with the bump map (right)
Figure 9-14: The lounge chair
Figure 9-15: The Leather texture is applied to the chair cushion.
Figure 9-16: The Chrome material applied to the lounge chair frame
Figure 9-17: Final reflections on the chair frame
Figure 9-18: The final materials applied to the lounge chair
Figure 9-19: Multi/Sub-Object material and parameters
Figure 9-20: Adding a Standard material to the Multi/Sub-Object Material node
Figure 9-21: Finished MSOM with five Standard materials added
Figure 9-22: The Multi/Sub-Object material applied to the window object shows the different colors applied to the different parts of the window.
Figure 9-23: Drag from the output socket of the Shiny White Plastic material into the input socket of the remaining ID slots of the Multi/Sub-Object material.
Figure 9-24: The completed window
Figure 10-1: Uncheck Map Seams in the Configure rollout.
Figure 10-2: Click the Point-To-Point Seams button.
Figure 10-3: Pick this edge intersection to begin defining the seam (left). Choose the next point at the upper shoulder (middle).
Figure 10-4: Select the intersections under the arm.
Figure 10-5: Select edge intersections around the wrist to complete the forearm/wrist seam.
Figure 10-6: Add these seams to define the torso area.
Figure 10-7: Cut a new seam around the hand, starting as shown in the left image. Cut a seam around the fingers, as shown in the middle image, finishing at the opposite side of the wrist, as shown in the right image.
Figure 10-8: Using the Point-To-Point Seams tool to cut the seams for the left and right legs.
Figure 10-9: Cut a seam around the foot.
Figure 10-10: Cut seams for the head. Right image shows seams on the back of the head; left image shown seam that runs around the base of the nose.
Figure 10-11: Cut seams for the nose.
Figure 10-12: A low-contrast checker pattern is added to the alien model.
Figure 10-13: The arm’s polygons are selected.
Figure 10-14: The Edit UVWs and Pelt Map dialog boxes showing the left arm UVs
Figure 10-15: In the Pelt Map dialog box, use Start Pelt to unfold the UVs of the alien’s arm.
Figure 10-16: Use the Start Relax button to relax the UVs.
Figure 10-17: Both arms are pelted and relaxed.
Figure 10-18: The alien’s backside with its UVs pelted and relaxed, showing the checker pattern evenly laid out
Figure 10-19: Click the Select By Element UV Toggle.
Figure 10-20: Select an element in the Edit UVWs dialog box, and it will appear as selected on the model.
Figure 10-21: The Arrange Elements rollout
Figure 10-22: UVs placed within the UV space
Figure 10-23: Use Save Image button to create UV layout image.
Figure 10-24: The UV layout image.
Figure 10-25: The final map for the alien
Figure 10-26: The alien with the material applied
Figure 10-27: Bump map created in Photoshop by desaturating the original color map to create light and dark areas that conform to the original color texture
Figure 10-28: Alien rendered with the bump map
Figure 10-29: The specular map for the alien
Figure 10-30: Final render of the alien with the specular map applied
Figure 11-1: A bipedal character in the reference position
Figure 11-2: Skeleton, Male, Female, and Classic bipeds (from left to right)
Figure 11-3: Create a biped about the same height as the alien model.
Figure 11-4: Enter Figure mode in the Biped rollout.
Figure 11-5: Change the biped from the Structure rollout.
Figure 11-6: Match the positions of the biped’s pelvis and the alien’s pelvis.
Figure 11-7: Set the reference coordinate system to Local.
Figure 11-8: Scale the pelvis to fit.
Figure 11-9: Match the biped’s leg, foot, and toes with the alien’s.
Figure 11-10: Create the collection to paste the left leg hierarchy.
Figure 11-11: Copy the posture. The selected objects will appear in red in the preview.
Figure 11-12: Scale the spine links up to place the clavicles in position.
Figure 11-13: Arm positioned within the 3D mesh
Figure 11-14: Match the biped’s fingers to the model’s fingers.
Figure 11-15: Matching the head
Figure 11-16: Match the ponytail links with the nose.
Figure 11-17: The problem areas with the skin
Figure 11-18: The alien with the Edit Envelopes button active
Figure 11-19: Select the bone vertex and move it to make the envelope smaller.
Figure 11-20: Make the inside and outside envelopes smaller by selecting and moving the points.
Figure 11-21: The Bip001Spine2 bone after the envelope has been edited
Figure 11-22: In the Biped rollout, click at the bottom to reveal the Modes And Display rollout.
Figure 11-23: The rendered alien during a walk cycle
Figure 12-1: Alien model with the jump sequence added
Figure 12-2: Selecting the head of the biped reveals all of that object’s animation keys in the track bar.
Figure 12-3: Delete the keys on either side of frame 50.
Figure 12-4: Rotate the head to the left and up.
Figure 12-5: Drag to copy the key.
Figure 12-6: Rotate the biped’s arm, hand, and finger to assume a pointing posture.
Figure 12-7: Use the Body Vertical button to position the biped for a jump.
Figure 12-8: Manually place the footsteps in the Top viewport.
Figure 12-9: Zoom to the footstep keys.
Figure 12-10: The dots indicate when contact begins and ends. You can drag a dot to change the duration of contact.
Figure 12-11: Create a key gap to get your biped airborne.
Figure 12-12: Prepare your biped to jump.
Figure 12-13: Position your biped in mid-jump.
Figure 13-1: A target spotlight
Figure 13-2: The Spotlight Parameters rollout
Figure 13-3: The falloff of a spotlight
Figure 13-4: A target direct light
Figure 13-5: A target spot (left) and a target direct (right)
Figure 13-6: Free spot (left) and free direct (right) lights
Figure 13-7: An omni light is a single-point-source light.
Figure 13-8: Omni light (left) and directional light (right)
Figure 13-9: A three-point lighting schematic
Figure 13-10: Choose Standard from the Lights drop-down menu.
Figure 13-11: The spotlight’s position in the room
Figure 13-12: The Shading Viewport Label menu
Figure 13-13: The Still Life Camera viewport set to Realistic, showing new Hotspot/Beam and Falloff/Field settings (left); the rendered scene (right)
Figure 13-14: It looks good, but the scene shadows are too soft.
Figure 13-15: The render showing more defined shadows
Figure 13-16: Interior room with key light and fill light
Figure 13-17: Shadows with Density set to 0.8
Figure 13-18: Check the Use and Show boxes for Far Attenuation.
Figure 13-19: Far Attenuation set on the fill light as viewed from the Top viewport with all the scene objects hidden
Figure 13-20: A still life rendered with Far Attenuation
Figure 13-21: The Shadow Map Size setting affects the shadow detail.
Figure 13-22: The image on the left shows the shadow maps, which do not show transparencies. The image on the right show raytraced shadows and how they react to transparencies.
Figure 13-23: The light’s position shown in all the viewports
Figure 13-24: Interior room with the direct light in place as the sun
Figure 13-25: Ooh! Volume light!
Figure 13-26: The Environment and Effects dialog box displays the Volume Light parameters.
Figure 13-27: The final results of the volume light in the interior room
Figure 13-28: The Light Lister dialog box
Figure 14-1: The Render Output File dialog box defines how the render saves to disk.
Figure 14-2: The Rendered Frame window
Figure 14-3: The Rendering processing dialog shows you everything you want to know about your current render.
Figure 14-4: QuickTime compression settings affect the quality of the rendered QuickTime video file.
Figure 14-5: A camera as seen in the Perspective viewport
Figure 14-6: Stock lenses make it easy to pick the right lens for a scene.
Figure 14-7: The camera shown in the Top, Front, Left, and Camera001 viewports.
Figure 14-8: Move the camera in the Top viewport.
Figure 14-9: A far clipping plane cuts off the distant extents of a scene (left). A near clipping plane cuts off the extents directly in front of a camera (right).
Figure 14-10: The Safe Frames tab in the Viewport Configuration dialog box
Figure 14-11: Safe Frames shown in the Camera001 viewport
Figure 14-12: The Raytrace material with reflections set to the maximum
Figure 14-13: More accurate reflections are added to the coffee table legs.
Figure 14-14: The reflection map with falloff
Figure 14-15: The Extended Parameters rollout for the Raytrace material
Figure 14-16: The SuperSampling rollout
Figure 14-17: The wineglass with default SuperSampling (left); the SuperSampling modified (right)
Figure 14-18: A much more pronounced refraction is rendered with an IOR of 8.0.
Figure 14-19: Use the Raytrace map on the Refraction parameter to create refraction in the wineglass.
Figure 14-20: The Advanced Transparency section in the Extended Parameters rollout
Figure 14-21: Frame the material using the Zoom To Results feature in the Material Parameter Editor.
Figure 14-22: Plug the Raytrace map into the Reflection input socket of the Light Wood for Chess material.
Figure 14-23: The Time Output section setup for a range from 0 to 60
Figure 15-1: The Assign Renderer rollout
Figure 15-2: The Renderer tab shows mental ray’s common settings.
Figure 15-3: A Quality setting of 0.01 renders a noisy image.
Figure 15-4: A Quality setting of 20.0 renders a smooth image.
Figure 15-5: The Final Gathering (FG) rollout in the Global Illumination tab of the Render Setup dialog box
Figure 15-6: The Draft setting produces a test render of the spheres (left). The High setting produces a better-quality render of the spheres (right).
Figure 15-7: More diffuse bounces mean more bounced light.
Figure 15-8: The Rendered Frame window now shows several mental ray controls.
Figure 15-9: The file rendered with mental ray
Figure 15-10: Create a new view.
Figure 15-11: Arch & Design Glass (Solid Geometry) from the template drop-down menu
Figure 15-12: Refraction color changed to white to achieve clear glass
Figure 15-13: The message warns you about assigning a material with a duplicate name to an object.
Figure 15-14: The new Chrome material applied to the chair frame and side table
Figure 15-15: Floor with the Arch & Design material applied
Figure 15-16: The Hardwood Floors material showing the change in the reflections
Figure 15-17: The final render of the mental ray materials
Figure 15-18: Select
Yes
in the Photometric Light Creation dialog box.
Figure 15-19: The Distribution (Photometric Web) rollout
Figure 15-20: Exposure Control and mr Photographic Exposure Control rollouts in the Environment and Effects dialog box
Figure 15-21: The room so far
Figure 15-22: Intensity/Color/Attenuation rollout showing the changed parameters
Figure 15-23: The room render with color and intensity changes
Figure 15-24: This mini panel gives you access to Final Gather controls to adjust your render easily.
Figure 15-25: The final mental ray render of the room’s interior lighting
Figure 15-26: The Daylight System Creation warning
Figure 15-27: Move the Daylight System light so it will shine through the window.
Figure 15-28: This scene is too dark.
Figure 15-29: Move the mr Sky Portal to the window in the wall in the Top viewport.
Figure 15-30: The final render
Guide
Cover
Title Page
Front Matter
Dedication
Introduction
Chapter 1: The 3ds Max Interface
Start Reading
Chapter 2: Your First 3ds Max Project
Chapter 3: Modeling in 3ds Max: Architectural Model Part I
Chapter 4: Modeling in 3ds Max: Architectural Model Part II
Chapter 5: Introduction to Animation
Chapter 6: Animation Principles
Chapter 7: Character Modeling Part I
Chapter 8: Character Modeling Part II
Chapter 9: Introduction to Materials
Chapter 10: Textures and UV Workflow: The Alien
Chapter 11: Character Studio: Rigging
Chapter 12: Character Studio: Animation
Chapter 13: Introduction to Lighting: Interior Lighting
Chapter 14: 3ds Max Rendering
Chapter 15: mental ray
End-User License Agreement
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