3D Studio

Merry Christmas!

Maxo — Sat, 17 Dec 2011 15:58:22 GMT

50 UHQ JPEG | up to ~ 22100 x 4600 | 300 dpi | 663 Mb RAR

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Digital Tutors : Exploring Animation Principles in 3ds Max 2011 (Collection)

ryuzin — Wed, 20 Jul 2011 16:20:40 GMT

Digital Tutors : Exploring Animation Principles in 3ds Max 2011 (Collection)
Language: English| 09:01:00 | 782 x 646 | .FLV | 15.00fps | Mp3 - 96Kbps | 3.0 GB
Genre: eLearning

Exploring Animation Principles in 3ds Max 2011: Appeal (8 lessons, Runtime: 01:04:00)
This course will delve in the animation principle of Appeal in Max. The goal of this course is to give you a greater understanding of what appeal is. We will explore various ways appeal can be added successfully, which will, in turn, strength your ability as an animator as you use this principle to refine your work for more captivating results.

$CUT$

Exploring Animation Principles in 3ds Max 2011: Arcs (4 lessons, Runtime: 00:16:37)
This course will venture into the animation principle of Arcs in 3ds Max. What are arcs? Why is this subject so vital in animation? These are but a few questions we will answer as we learn techniques that will assist us in checking for and fixing arcs in our animations. By the end of this course, you will know how to improve your arcs, which will help you become a stronger animator, as you use this principle to add an extra level of realism to the movement of your character.

Exploring Animation Principles in 3ds Max 2011: Climbing a Wall (18 lessons, Runtime: 03:22:00)
In this course we will build an animation of a character climbing over a wall from scratch, using techniques that can be implemented in any animation. Step by step, we'll create this climb while covering various techniques like: how to block in your extremes so that finalizing the animation becomes a faster process, strengthening poses to get a more entertaining outcome, and we'll also learn how to work smarter by utilizing Animation Layers to tweak pre-existing animation non-destructively, so that by the end of this course, you'll have the knowledgebase you need to create animations quickly and proficiently.

Exploring Animation Principles in 3ds Max 2011: Ease In and Ease Out (5 lessons, Runtime: 00:30:49)
In this course, we will explore the animation principle of Ease In and Ease Out in 3ds Max. Why is Ease In and Ease Out so important? Do our characters always need to cushion in and out of their movements, or are there special cases where doing so will just not work? We will answer these questions as we cover tips and techniques for using this principle to help enhance the sense of authenticity in characters. By the end of this course, you will have a deeper understanding of the principle of Ease In and Ease Out, which will help your characters become more life-like to the viewer.

Exploring Animation Principles in 3ds Max 2011: Exaggeration (5 lessons, Runtime: 00:35:17)
This course will delve in the animation principle of Exaggeration in Max. The goal of this course is to give you a clearer understanding of what exaggeration is all about. We will explore various ways exaggeration can be implemented successfully. We'll also cover how and how not it should be used, which will, in turn, strength your ability as an animator as you use this principle to refine your work for a more entertaining end result.

Exploring Animation Principles in 3ds Max 2011: Pose to Pose and Straight Ahead (8 lessons, Runtime: 01:15:00)
This course will delve in the animation principle of Pose to Pose and Straight Ahead in Max. The goal of this course is to, not only learn the differences between both Pose to Pose and the Straight Ahead approach of animation, but is also for you to learn the advantages of bridging the two methods together. We'll even look a different technique for animating with Pose to Pose than we've used in the past. That way you can find which workflow is more suitable for you. By the end of this course, you'll have a firm understanding of Pose to Pose and Straight Ahead, so that your animation skill-set can be expanded as you use this principle to rough-in and refine your work.

Exploring Animation Principles in 3ds Max 2011: Secondary Action (3 lessons, Runtime: 00:13:17)
This course will venture into the animation principle of Secondary Action in 3ds Max. What is Secondary Action? Is it another way of describing Follow-through and Overlap, or is it much more? Throughout this course, we will define Secondary Action and work through a variety exercises to help get the point across. By the end of this course, you will understand what the principle of Secondary Action boils down to, which will help you enhance your animations by adding an extra level of realism to your characters.

Exploring Animation Principles in 3ds Max 2011: Squash and Stretch (3 lessons, Runtime: 00:23:42)
This course will delve in the animation principle of Squash and Stretch in Max. The goal of this course is to provide you with a deeper understanding of what squash and stretch is all about. We'll cover everything from learning a technique for automating squash and stretch that computes fast, to exploring ways it can be used to add more flexibility to characters.

Exploring Animation Principles in 3ds Max 2011: Timing and Spacing (5 lessons, Runtime: 00:26:27)
This course will delve in the animation principle of Timing and Spacing in Max. Throughout this course, we'll define Timing and Spacing and work through a variety exercises to help get the point across. We'll even discuss techniques we can use to make sure our animations are Timed accurately. By the end of this course, you'll have a deeper understanding of the principle of Timing and Spacing, which will help you become a better animator.

[NEW!]Exploring Animation Principles in 3ds Max 2011: Follow-through and Overlapping (5 lessons, Runtime: 00:36:17)
In this course, we will explore the animation principle of Follow-through and Overlapping in 3ds Max. What should be considered when animating Follow-through and Overlap? Can Follow-through be automated to save time? We will answer these questions as we cover techniques for using this principle to help add more realism to our animations. By the end of this course, you will be more knowledgeable of Follow-through and Overlapping Action, which will help you create more natural-looking animations.

More details: http://tutolearning.com/digital....ax-2011

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At the Opera by Jeffrey Watts (DVD 1 and 2)

ryuzin — Sat, 16 Jul 2011 22:52:38 GMT

At the Opera by Jeffrey Watts (DVD 1 and 2)
DVDRip | English | H264 | 512x384 | 1328 kbps | AAC | 48 kHz | ~107 Kbps | 1.37 + 2.06 GB
Genre: Drawing, Painting and Design

Jeff has carved a permanent place for himself in the California educational art scene by creating and operating an art school, Watts Atelier of the Arts, near San Diego, and now passes on his drawing and painting knowledge to a new generation of artists in an ongoing curriculum of classical drawing and painting semester classes. His own work is receiving national recognition as one of the most powerful portrait and figurative painters of this generation, winning awards from the Portrait Society of America, Oil Painters of America and being invited to participate in such exclusive events as the Prix de West competition.

$CUT$

As with all our programs in the "In the Studio With..." series, you are gifted with the rare opportunity to see a master artist at work on a major, gallery-bound piece and have the privilege of seeing virtually every brushstroke required to bring this painting from bare canvas to finished masterpiece. Watts is a verbal, energetic instructor who will talk you though every phase of the painting's development.

Home: tutolearning.com

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Gnomon Conceptual Storyboarding: Storytelling and Struggle

ryuzin — Thu, 14 Jul 2011 22:24:54 GMT

Gnomon Conceptual Storyboarding: Storytelling and Struggle
Eng| ISZ file| 2008 y.| 510Mb
Genre: elearning

In this expansive demonstration, concept and story artist Derek Thompson takes you through his storyboarding process using Adobe Photoshop®. From developing story concepts through shot design and construction, Derek generates a story sequence directly from his imagination. Topics include sequence building, editorial thinking, action and movement, simulating camera moves and more. You'll see first hand how the process of storyboarding can be fun, exciting, challenging and frustrating. Join Derek as he journeys towards the elusive reward that is a finished, pitch-worthy sequence.$CUT$

$CUT$

Topics covered:

Developing Story Concepts
Sequence Building
Shot Design and Construction
Improving Story through Character
Troubleshooting Story Problems
Action and Movement
Simulating Camera Moves
Sequence Pitching

Chapters:

01: Introduction
02: Reverse Angle/ Closeup/Layout for P.O.V.
03: The Chase Is On
04: The moving Pan, Struggle, and Tracking Shots
05: Action Energy and Punchline
06: Inserts and Revisions
07: Rough Sequence Pitch

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'Making Of 'Alfa Romeo Competizione C8 Spyder Studio'

defaultNick — Sat, 02 Apr 2011 12:47:37 GMT

'Making Of 'Alfa Romeo Competizione C8 Spyder Studio'
by Arturo Garcia

Software Used: 3ds Max

$CUT$

Introduction:

- Line

The project, Alfa Romeo C8 Spyder, started as a personal challenge in order to improve my modelling techniques and final renders. The modelling of cars has always attracted and fascinated me, and this is what I specialise in. I have created some car models and the treatment of each finished model is better than the previous one.

I choose this model for this personal project because, from the very first time I saw it in a car magazine, my attention was simply drawn to its form. It decided it was time to bring it into the world of 3D!

Research:

- Line

I started by searching for all possible references of this model, which didn’t really take me too long as there are lots of very good images on the Internet. Despite this, I couldn’t find any pictures of the Spyder model itself and so I had to use pictures of the model with a hard roof instead. From all the reference material I had gathered, I selected three images in order to create the "blueprints” from which I could begin the modelling phase.

Modelling:

- Line

I began by putting the blueprints into the viewport: front view, side view and rear view. I did not have an image of the top of the model of my choice, so I had to model this section of the car without using any references (Fig.01).

Fig.01

All parts of the car were created using the polygonal modelling technique, starting from the front bumper (Fig.02). I began with a plane of a single face, converted to Editable Poly (Fig.03). The plane was placed in front view and, selecting the edge side, I started to extrude along the lines of the car, following the blueprint in front view. With the upper edge, I took this upwards toward the hood of the car, so I was shaping the body of the model (Fig.04).

Fig.02

Fig.03

Fig.04

All parts, such as the bumper, doors, and windows and so on, were exactly the same shape: a one-sided plane that, once turned into an Editable Poly, allowed me to extrude the edges and shape the basic form of the objects, and then add the details (Fig.05).

Fig.05

For the modelling of the tyres, I tried to spell them out as much as possible by giving more attention to the small details, such as the brake disc and bolts. As a personal touch, I always exaggerate the size of the wheels slightly, with the purpose of further accentuating the look of a sports car (Fig.06, Fig.07 and Fig.08).

Fig.08

For the lights, I used the same procedure and level of details in order to achieve a good-looking appearance (Fig.09 and Fig.10).

Fig.09

Fig.10

And so, I proceeded in the same manner until the end of the modelling process (Fig.11 and Fig.12).

Fig.11

Fig.12

Texturing:

Once I’d completed the whole modelling process and was satisfied that I had achieved my main goal (which was the detailed modelling of the car), I proceeded to apply the materials in V-Ray – all of which are very simple, with little "science” in the preparation of them. I began with the car paint - the values that I used can be seen in Fig.13. For the rims, the values are shown here: Fig.14. The brake calipers have an image on the diffuse as well, as shown in Fig.15. For the sidewall, I generated a map drawing in the bump (Fig.16).

Fig.13

Fig.14

Fig.15

Fig.16

The material for the chrome headlights had to be very reflective, with values in the Refl. glossiness box at 1.0, and Subdivs at 50 (Fig.17).

Fig.17

For the mesh of the front air intakes, I used a standard Max material with the following values, plus an opacity bitmap to create holes (Fig.18).

Fig.18

Another relevant material present in the scene was the floor, which was easy to make with a standard Max material, these values: diffuse white specular level 0, glossiness 10, and a reflection VrayMap.

So as you can see, the texturing is very easy to do. Any other materials that I used were standard Max and modified in the diffuse and glossiness levels.

Rendering:

Let’s now turn to the final part of the preparation process and render the scene! The idea was to create a kind of studio environment, like some brands of cars do in order to shoot their cars. To generate the environment I used a ramp gradient. In the Materials Editor I applied the degrading ramp and gave it an angle of W90 degrees in the co-ordinates. In the Gradient Ramp Parameters I set the colour from blue to white, as shown in the image (Fig.19).

Fig.19

The placement of the camera in a low position, with a small angle of inclination of the box with depth of field, achieves the blurring that we can see in the final render (the target distance depends on the amount of blurring that we need) (Fig.20).

Fig.20

I added a V-Ray light to help with the lighting setup; I set the value in the multiplier to 2.7 and sampling subdivs with a value of 256.

For the rendering process, I chose V-Ray as my rendering engine because it’s very fast and yields excellent results! For the anti-aliasing filter I used a combination of adaptive subdivision and Ron Catmull, but this depends on each according to the GI. I selected a combination of Irradiance Map for the Primary Light bounces, and Secondary Cache bounces, which I used to obtain correct results with Global Lighting.

The post production for the final render was done entirely in Photoshop. Basically, it consisted of a small colour correction and that was all!

I wish you all good health and good luck with your own 3D projects. Thanks for reading!

Final Render 1

Final Render 2

3Ds Max 2010 Hotfix

defaultNick — Mon, 12 Apr 2010 10:12:51 GMT

3Ds Max 2010 Hotfix

The latest Hot Fix (2010.02.17) from Autodesk for Autodesk® 3ds Max® 2010 and Autodesk® 3ds Max® Design 2010 software includes fixes for issues with stability and performance. Specific areas addressed are Autodesk® Backburner™, Biped, Hardware Meshes, mental ray®, Microsoft® DirectX® Shader Material, Save as Previous, Scripted Custom Attributes, Scene Explorer, and User Interface.
$CUT$

http://usa.autodesk.com/adsk/servlet/ps/dl/item?siteID=123112&id=14943564&linkID=9241178

* Tutorials\ * Autodesk 3Ds Max Create a Beautiful Sunset Scene Using Dreamscape and 3ds Max

defaultNick — Fri, 02 Apr 2010 13:24:32 GMT

In this tutorial you will learn how to create a beautiful sunset over a calm sea using DreamScape and 3dsmax. DreamScape is sophisticated set of plug-ins for 3dsmax, that allows you to create and render realistic landscapes, seascapes, skies, clouds, outdoor lighting and more.
$CUT$

Step 1

First of all, to render a scene with DreamScape, you will need to create a special light called "Sun”. In the "Create” panel, click the "Lights” icon, then from the dropdown menu, select "DreamScape”, and add a "Sun” light in the viewport.

Step 2

Move this light to the coordinates: x = 1700, y = 11000, and z = 800.

Step 3

Create a free camera, and move it to the coordinates: x = 0, y = 0, and z = 100. Rotate the camera by ‘87′ degrees on the ‘x’ axis.

Step 4

Next, you will create the sun and the clouds. Press the ‘8′ key on the keyboard, to open the "Environment” panel. In the "Atmosphere” rollout, click the "Add” button and choose "DreamScape”.

Step 5

In the "General Parameters” rollout, click the "Preview” button to open the "DreamScape Sky Preview” window. This tool allows you to quickly review your sky settings in realtime.

Step 6

In the "Atmosphere Parameters” rollout, change the "Sky Density” to ‘5′, the "Glow” value to ‘4′, and the "H Scale” to ‘5000′.

Step 7

After that, change the "Haze Density” to ‘2′, the "H Scale” to ‘200′, and the "Brightness” value to ‘2′.

Step 8

In the "Clouds Parameters” rollout, change the "Clouds Type” to "Cirrus”. Under the "Shape” group, change the "Detail” value to ‘16′, the "Scale” to ‘0.25′, the "Coverage” value to ‘0.8′ and the "Sharpness” value to ‘0.5′.

Step 9

If you want to move the clouds around, you can do it in the "DreamScape Sky Preview” window. Click in the "Clouds Shape Preview”, and holding the left mouse button, move the clouds and see the result in realtime. This affects the "Motion Offset” ‘x’ and ‘y’ parameters.

Step 10

Render the scene. If you want another result, you can play with all these settings until you get something you like.

Step 11

Next you will create the sea surface. Go to the "Create” panel, click the "Geometry” icon, and from the dropdown menu, select "DreamScape Objects”, and add a "Sea Surface” in the viewport.

Step 12

Under the "Parameters” rollout, change the "Surface Type” to "Adaptive Mesh”. This allows you to create a sea surface relative to your camera position and field of view (the sea surface that is nearest to the camera will be more detailed than the surface that is further away).

Step 13

Change the "Surface Width” to ‘400′ and the "Surface Length” to ‘10000′.

Step 14

Under the "Adaptive Mesh” rollout, click the "Pick Camera” icon, and select the camera in the viewport.

Step 15

Under the "Waves” rollout, change the "Height Scale” to ‘0.7′ and the "Choppy Waves” value to ‘1.3′.

Step 16

Open the "Material Editor”, click the "Get Material” icon, and select "DreamScape: SeaMaterial” in the "Material Browser”.

Step 17

In the "Material Editor”, under the "DreamScape: SeaMaterial Parameters” rollout, set the "Sharpness” value to ‘10′, change the "Sky Color Type” to "DreamScape Sky”, and the "Underwater Color Type” to "DreamScape SubSurface”.

Step 18

In the "Bump Map” slot, add a "DreamScape: Sea Bump” map to add more details to the waves. Assign this material to the "Sea Surface”.

Step 19

Finally, in the "Time Configuration” panel, set the "FPS” to ‘25′ . Turn on "Auto Key”, and animate the "Sun” on the ‘z’ axis, from ‘800′ at frame ‘0′ to ‘600′ at frame ‘100′. That’s all, you can now render the animation.

Final Effect

Below you can see my final results. I hope you enjoyed this intro to Dreamscape in 3ds Max!

gordon-v DEMOREEL 2010

defaultNick — Sun, 28 Mar 2010 13:38:43 GMT

gordon- v has uploaded his stunning demoreel for 2010.

$CUT$

"This is my Demoreel that I created at VFS.
The Hunter was created for the Hunterchallenge at evolvecg.net where it won 3rd place in modeling."

DEMOREEL 2010 from gordon-v on Vimeo.

Round 6 – Snowball Studios

defaultNick — Sun, 21 Mar 2010 06:50:54 GMT

Round 6 is a short 3D animated film created by Snowball Studios. Watch awesome animated short and tutorial on character texturing using Mudbox, Photoshop and Mental Ray!
$CUT$

R6 - Snap armor material tutorial

This video shows the creation process for the material Snowball Studios used to make Snap's armor plates. Snowball Studios cover here the material itself, made in Mental Ray in 3Ds Max, and the texture creation and manipulation done in
Mudbox and Photoshop respectively.

R6 - Snap closeup turntable.

Snap is the main character in Round 6.
Done in 3D studio Max.
Shaded and rendered in MR.
Textured and sculpted in Mudbox.

R6 - Preacher turntable

R6 - Snap turntable

R6 - Preacher sculpt

This is a short presentation of the Preacher's sculpted mesh, done in Mudbox.

R6 - Ashmedator turntable

R6 - Unwrella demo

This video demonstrates Unwrella, an automatic UV unwrapping tool for Max and Maya.

R6 - Shot 16 animation with video reference

This video shows the animation for shot 16 together with the video reference we shot for it.

R6 - Shot 16 progress

This video shows the progress of one of the shots in R6, from storyboard to final animation and render.

Fore More Information Visit Thise Sites:
Snowball Studios: snowballvfx.com
Round 6 website: round6.net
the Round 6 development blog: round6construction.blogspot.com/

Create an Ivy Covered Tree Stump with 3ds Max, Ivy Gen, and VRay

defaultNick — Tue, 16 Mar 2010 08:37:57 GMT

Create an Ivy Covered Tree Stump with 3ds Max, Ivy Gen, and VRay

In this quick and easy tutorial, we will use 3ds Max, VRay, and a free plugin called GW:Ivy to create a highly detailed ivy covered tree stump scene. $CUT$

gw Ivy plugin v0.93b for 3Ds Max 2010 x86 x64 you can download HERE
Source:cg.tutsplus.com

Brink - Official Trailer

defaultNick — Mon, 15 Mar 2010 08:18:36 GMT

Check out the official trailer for Brink. For more information on the game, $CUT$visit BrinkTheGame.com.

FEATURES

Brink is an immersive first-person shooter that blends single-player, co-op, and multiplayer gameplay into one seamless experience, allowing you to develop your character whether playing alone, with your friends, or against others online. You decide the combat role you want to assume in the world of Brink as you fight to save yourself and mankind's last refuge. Brink offers a compelling mix of dynamic battlefields, extensive customization options, and an innovative control system that will keep you coming back for more.

Not Just Another Hero

Brink's advanced player customization offers a near-endless combination of looks for your character - allowing for the appearance of your character to be truly unique. As you progress through the game and acquire more experience, you'll have even more opportunities for customization.

Two Sides to Every Story

Choose to fight through two complete story campaigns as either a member of the Resistance or Security. Experience these campaigns solo, co-operatively, or competively - it's your choice.

Blurring the Lines

Take your unique character online at any time you choose. Brink allows you to seamlessly move between single player, co-op with friends, and intense multiplayer action. Multiplayer takes the story online where you can play with up to seven other people (or AI characters) cooperatively as you take on the opposing faction or with up to 16 players competitively.

Play SMART

Brink uses the familiar shooter controls that you're used to and adds a new feature: the SMART button. When you hold down the SMART button, the game dynamically evaluates where you're trying to get to, and makes it happen. Whether you're a seasoned FPS veteran or someone just getting started, you'll be able to make more intelligent decisions during the fast-paced action with SMART.

Context-Sensitive Goals and Rewards

Objectives, communications, missions, and inventory selection are all dynamically generated based on your role, your condition, your location, your squad-mates, and the overall status of the battle in all gameplay modes. You'll always know exactly where to go, what to do when you get there, and what your reward will be for success.

More info here:www.brinkthegame.com

Autodesk® 3ds Max® 2011 New Features

defaultNick — Wed, 10 Mar 2010 05:41:19 GMT

An industry-standard 3D modeling, animation, rendering, and visual effects solution used to produce award-winning games, film, and video content. $CUT$

Autodesk® 3ds Max® 2011 3D modeling, animation, rendering software includes the following new and enhanced features:

Slate, a new node-based material editor, enables you to more easily visualize and edit material component relationships.

Quicksilver hardware renderer enables you to create high-fidelity
pre-visualizations, animatics, and games-related marketing materials in
less time.

Graphite modeling and Viewport Canvas tools help accelerate modeling and texturing tasks.

The new 3ds Max Composite feature offers high-performance, HDR-capable compositing tools and is based on technology from Autodesk® Toxik® software.

3ds Max 2010-compatible format enables you to save scene files to help manage the transition to 3ds Max 2011.

Detailed 3ds Max^® Features

Autodesk® 3ds Max® 2011 software offers compelling new techniques for creating and texturing models, animating characters, and producing high-quality images. Incorporating tools that accelerate everyday workflows, 3ds Max 2011 software helps significantly increase productivity for both individuals and collaborating teams working on games, visual effects, and television productions. Artists can focus on creativity, and have the freedom to iteratively refine their work to maximize the quality of their final output in the least amount of time.

Slate Material Editor

Easily visualize and edit material component relationships with Slate, a new node-based material editor that helps significantly improve workflow and productivity for artists creating and editing complex material networks.

Quicksilver Hardware Renderer

Create high-fidelity pre-visualizations, animatics, and games-related marketing materials in less time with Quicksilver, an innovative new hardware renderer that helps produce high-quality images at incredible speeds. This new multi-threaded rendering engine utilizes both the CPU and the GPU.

Local Edits to Containers

Collaborate more efficiently with significantly enhanced workflows for Containers that enable users to layer local edits non-destructively on top of referenced content allowing artists to meet tight deadlines by working in parallel.

Modeling and Texturing Enhancements

Accelerate modeling and texturing tasks with new tools that extend the Graphite modeling and Viewport Canvas toolsets: a revised toolset for 3D painting and editing textures within the viewport; the ability to paint with object brushes to create geometry within a scene; a new brush interface for editing UVW coordinates; and an interactive tool for extending edge loops.

Viewport Display of 3ds Max Materials

Develop and refine scenes in a high-fidelity interactive display environment—without the constant need to re-render— with the new ability to view most 3ds Max texture maps and materials in the viewport.

3ds Max Composite

Enhance rendered passes and incorporate them into live action footage with 3ds Max Composite: a fully-featured, high-performance, HDR-capable compositor, based on technology from Autodesk^® Toxik^® software.

In-Context Direct Manipulation UI

Save time when modeling and maintain focus on the creative task at hand with a new in-context user interface (UI) for polygon modeling tools that eliminates unnecessary mouse movement away from the model. Modelers can interactively manipulate properties, enter values directly at the point of interest in the viewport, and preview results prior to committing changes.

CAT Integration

More easily create and manage characters, and layer, load, save, remap, and mirror animations with the Character Animation Toolkit (CAT). Now fully integrated into 3ds Max, CAT provides an out-of-the-box advanced rigging and animation system.

UI Customization

Maximize the usable workspace and focus on the features that matter most for specialized workflows with customizable UI layouts. Create and store personalized UI configurations that include frequently-used action items and macro scripts, and toggle the display of these configurations with the touch of a hotkey or button.

System Requirements

To run software at an optimal level, your computer hardware configuration will have to meet the minimal list of requirements. See this list of qualified hardware and systems requirements that are necessary to run your software application.

Software

The 32-bit version of Autodesk^® 3ds Max^® 2011 software is supported by any of the operating systems: ¹

Microsoft^® Windows^® 7 Professional operating system
Microsoft^® Windows^® Vista Business (SP2 or higher)
Microsoft^® Windows^® XP Professional (SP2 or higher)
Microsoft^® Internet Explorer^® 7.0 internet browser or higher
Mozilla^® Firefox^® 2.0 web browser or higher

The 64-bit version of 3ds Max 2011 software is supported by any of the operating systems: ¹

Microsoft^® Windows^® XP Professional x64 operating system (SP2 or higher)
Microsoft^® Windows Vista^® Business x64 operating system (SP2 or higher)
Microsoft^® Windows^® 7 Professional x64 operating system
Microsoft^® Internet Explorer^® 7.0 internet browser or higher
Mozilla^® Firefox^® 2.0 web browser or higher

Hardware

General animation and rendering (typically fewer than 1,000 objects or 100,000 polygons):

At a minimum, the 32-bit version of 3ds Max 2011 software requires a system with the following hardware:

Intel^® Pentium^® 4 1.4 GHz or equivalent AMD^® processor with SSE2 technology ²
2 GB RAM (4 GB recommended)
2 GB swap space (4 GB recommended) ³
Direct3D^® 10 technology, Direct3D 9, or OpenGL-capable graphics card ⁴
- 256 MB or higher video card memory
- 1 GB or higher recommended
Three-button mouse with mouse driver software
3 GB free hard drive space
DVD-ROM drive ⁵
Internet connection for web downloads and Subscription-aware access
3ds Max Composite media cache hard drive requirements:
- 10 GB minimum, 200 GB recommended
- HDD: IDE, SATA, SATA 2, SAS, SCSI

At a minimum, the 64-bit version of 3ds Max 2011 software requires a system with the following hardware:

Intel^® 64 or AMD64 processor with SSE2 technology ²
4 GB RAM (8 GB recommended)
4 GB swap space (8 GB recommended) ³
Direct3D^® 10 technology, Direct3D 9, or OpenGL-capable graphics card ⁴
- 256 MB or higher video card memory
- 1 GB or higher recommended
Three-button mouse with mouse driver software
3 GB free hard drive space
DVD-ROM drive ⁵
Internet connection for web downloads and Subscription-aware access
3ds Max Composite media cache hard drive requirements:
- 10 GB minimum, 200 GB recommended
- HDD: IDE, SATA, SATA 2, SAS, SCSI

Large scenes and complex data sets (typically more than 1,000 objects or 100,000 polygons):

Recommended, the 64-bit version of 3ds Max 2011 software requires a system with the following hardware:

Intel^® 64 or AMD64 processor with SSE2 technology ²
8 GB RAM
8 GB swap space ²
Direct3D 10, Direct3D 9, or OpenGL-capable graphics card ⁴
- 1 GB or higher video card memory
Three-button mouse with mouse driver software
3 GB free hard drive space
DVD-ROM drive ⁵
Internet connection for web downloads and Subscription-aware access
3ds Max Composite media cache hard drive requirements:
- 10 GB minimum, 200 GB recommended
- HDD: IDE, SATA, SATA 2, SAS, SCSI

Explanations for software and hardware:

1
The 3ds Max Composite feature requires one of the following 32-bit or 64-bit operating systems:
- Microsoft® Windows® XP Professional (SP2 or higher)
- Microsoft® Windows® XP Professional x64 (SP2 or higher)
- Microsoft® Windows® 7 Professional x64

2
Autodesk 3ds Max 2011 has been optimized to take advantage of the SSE2 extended instruction sets supported on Intel^® Pentium^® 4 or higher, AMD Athlon^™ 64, AMD Opteron^™, AMD Phenom^™ processors. 3ds Max 2011 will not operate on computers that do not support SSE2. Several utilities are available on the Internet that report CPUID, including supported instructions sets.

Source: area.autodesk.com

3ds Max 2011 Announced!

defaultNick — Tue, 09 Mar 2010 19:22:51 GMT

3ds Max 2011 Announced!

We've annouced 3ds Max 2011 at GDC and can now reveal the feature set (officially). We had a tough chore in topping the feature set for 3ds Max 2010, we hope we've come close with this new release. You'll find a mix of new features, XBR features and improvements to previous features. More details will be available March 25th, but here are more

vdieos/pictures on the Area: http://area.autodesk.com/3dsmax2011

3ds Max Design is not officially announced at this time, so we're keeping the focus on 3ds Max and Entertainment uses right now. Feature-wise, they are effectively the same (thought there is an added benefit for 3ds Max Design subscription customers that will be announced).

Key Features and Benefits

Top Features and Benefits

Slate Material Editor
Easily visualize and edit material component relationships with Slate, a new node-based material editor that helps significantly improve workflow and productivity for artists creating and editing complex material networks. The intuitive schematic framework is engineered to handle the vast numbers of materials required by today’s demanding productions.

Quicksilver Hardware Renderer
Create high-fidelity pre-visualizations, animatics, and games-related marketing materials in less time with Quicksilver, an innovative new hardware renderer that helps produce high-quality images at incredible speeds. This new multi-threaded rendering engine utilizes both the CPU and the GPU, and supports alpha and z-buffer render elements; depth-of-field; motion blur; dynamic reflections; area, photometric, ambient occlusion, and indirect lighting effects along with precision adaptive shadow maps; and the ability to render at larger-than-screen resolutions.

Local Edits to Containers
Collaborate more efficiently with significantly enhanced workflows for Containers that enable users to layer local edits non-destructively on top of referenced content. Meet tight deadlines by working in parallel: while one user iteratively edits unlocked aspects of the container, another can continue to refine the underlying data. Multiple users can contribute changes to different elements of the same container at once, while simultaneous edits to the same component are prevented.

Modeling and Texturing Enhancements
Accelerate modeling and texturing tasks with new tools that extend the Graphite modeling and Viewport Canvas toolsets: a revised toolset for 3D painting and editing textures within the viewport; the ability to paint with object brushes to create geometry within a scene; a new brush interface for editing UVW coordinates; and an interactive tool for extending edge loops.

Viewport Display of 3ds Max Materials
Develop and refine scenes in a high-fidelity interactive display environment—without the constant need to re-render— with the new ability to view most 3ds Max texture maps and materials in the viewport. Modelers and animators can make interactive decisions in a context that more closely matches the final output, helping reduce errors and enhance the creative storytelling process.

3ds Max Composite
Enhance rendered passes and incorporate them into live action footage with 3ds Max Composite: a fully-featured, high-performance, HDR-capable compositor, based on technology from Autodesk® Toxik® software. The 3ds Max Composite toolset incorporates keying, color correction, tracking, camera mapping, raster and vector paint, spline-based warping, motion blur, depth of field, and tools to support stereoscopic productions.

In-Context Direct Manipulation UI
Save time when modeling and maintain focus on the creative task at hand with a new in-context user interface (UI) for polygon modeling tools that eliminates unnecessary mouse movement away from the model. Modelers can interactively manipulate properties, enter values directly at the point of interest in the viewport, and preview results prior to committing changes.

CAT Integration
More easily create and manage characters, and layer, load, save, remap, and mirror animations with the Character Animation Toolkit (CAT). Now fully integrated into 3ds Max, CAT provides an out-of-the-box advanced rigging and animation system. With its approachable, flexible toolset, animators can use default settings in CAT to help achieve high-quality results in less time—or completely customize rigs to include arbitrary morphology, embedded custom behaviors, and procedural controllers for more demanding character set-ups.

Ribbon Customization
Maximize the usable workspace and focus on the features that matter most for specialized workflows with customizable Ribbon layouts. Create and store personalized UI configurations that include frequently-used action items and macro scripts, and toggle the display of these configurations with the touch of a hotkey or button.

Other New Features

Autodesk 3ds Max 2011 software also includes the following key features:

mental ray 2011
The latest version of mental ray® renderer included with 3ds Max offers enhanced performance and stability.

Updated OpenEXR Image IO Plug-in
An updated OpenEXR plug-in supports unlimited layers in one EXR file and automatically stores Render Elements and G-Buffer channels to EXR layers.

Save to Previous Release
Manage the transition to 3ds Max 2011 with the option to save scene files in a format compatible with 3ds Max 2010.

Windows 7 Support
3ds Max 2011 adds Windows® 7 operating system as a supported platform.

FBX File Link with Autodesk Revit
Receive and manage updates to a file imported from Autodesk® Revit® Architecture software using the new FBX File Link.

Native Solids Import/Export
Non-destructively transfer trimmed surfaces, solids models, and assemblies between 3ds Max and certain other CAD applications that support SAT files.

Autodesk Material Library
Choose from up to 1,200 material templates, and more accurately exchange materials with other supporting Autodesk applications.

Google SketchUp Importer
Efficiently import Google® SketchUp™ sketching software (SKP) version 6 and 7 files into 3ds Max.

Inventor Import Improvements
Import Autodesk® Inventor® software files into 3ds Max without the requirement for Inventor to be installed on the same machine. Plus, get better results when importing solids objects, materials, surfaces, and composites.

For a complete review of the new features and enhancements in Autodesk 3ds Max 2011, view the "What’s New” documentation on the 3ds Max family product center at www.autodesk.com/3dsmax-documentation. Note: this link won't point to the 2011 release until the release ships in April.

NOTE: more feature videos and screen shots will be posted on March 25th

3ds Max 2011 Changes/Enhancements

This is a more complete list of changes organized slightly differently. It's important to understand that the 2011 release delivers on some aspects of our XBR vision (as did 3ds Max 2010). XBR is being implemented in a series of phases, and with 3ds Max 2011, we can say that Phase 1 is complete. One down, two to go!

XBR Graphics
1. New Quicksilver hardware rendering using the GPU
2. Enhanced viewport material display (most 3ds Max legacy shaders were converted to metasl)
3. Improved MetaSL Shaders (performance and quality improvements in many areas)
XBR UI
1. New Slate Node-based Material Editor (with integrated metasl workflow)
2. Simplified material/map browsing
3. New Caddy UI for faster modeling
4. Fully customizable ribbon
5. New collapsible command panel
Workflow
1. New Local Edits to Containers
2. New object paint feature in Viewport Canvas
3. New layered texture painting features in Viewport Canvas
4. New 3ds Max Composite (based on Autodesk toxik technology)
5. New mental ray 2011
6. Better snapping
7. Shift clicking selects loops or rings intelligently
8. CTRL clicking only adds to the selection sets instead of toggling
9. Bitmap pager changes (user control of paging)
10. New CAT character-animation toolset (with bug fixes and stability improvements)
11. New FBX File Link for Revit files (with several import optimizations)
12. Dynamite VSP for civil visualization (3ds Max Design subscription customers only)
13. New Autodesk Materials library and workflow (over 1,200 presets)
14. Native import of Inventor IPT/IAM files as solids
15. SAT file import/export and solid-model support
16. Native SketchUp file import
17. Improved OpenEXR support
18. Enhanced SGI RGBA file support
Misc:
1. New "Save to 3ds Max/Design 2010”
2. 100% plug-in compatible with 3ds Max/Design 2010
3. Windows 7 Support
New Third-party tools:
1. Craft Animation free tools
  1. SoftMotionCam, ObserverCam, MultiStateCam, HumanizerCam, PreRigged Models (4)
2. Pixelactive Cityscape free tool for GIS import
New Content:
1. (10) Biped and (10) CAT rigged hires characters from aXYZ Design
2. (60) low-poly, mix of trees and palms from Marlin Studios
3. (25) high-quality vehicles from aXYZ Design
4. (50) low-poly, vehicles from Cacheforce
5. (70) pedestrian motion capture clips (male and female)
6. "The Dark” animation (and related files) from NMTrix (http://www.youtube.com/watch?v=EUVMSZSvado)
Unsupported features (not documented to work):
1. Exposed mental ray string options for "under-the-hood” manipulation of mental ray
2. Native import of Alias Design files (.WIRE) as surfaces

Source: area.autodesk.com

Making of Le Patisserie by Adriana Salinas

defaultNick — Sun, 07 Mar 2010 11:11:30 GMT

Hello, firstly I would like to thank CGArena for the opportunity to publicize my work on their website. I would like to clarify that this is how I personally executed this project however, other professionals may use their own methods in achieving the same or better results.

$CUT$

The inspiration for this Project was a small French restaurant, Le Petite Zinc, which I came across while searching the internet for Art Nouveu images and information on an artist I admire very much, Alphonse Mucha, whose work is typical of the period. I started working on the patisserie, but became so enthusiastic and I ended up designing the whole street. The intension was to give the whole scene a 1900s feel.

References

I usually spend a considerable time searching for references and considering every detail I will include in the artwork. Thanks to Google it was fairly simple locating images to reference for the scene as a whole.

If I couldn’t find exactly what I am looking for any specific design elements, I sketched by hand to visualize before I started the modeling. For example, when considering the photos I had found I changed the urban distribution to create a plaza outsidethe restaurant. I wanted to pierce the scene with light filtering through the tree which created shadows that gave depth and volume to the final image.

Modeling

The modeling in this scene is nothing special, mostly the boxes, Spline and Editpoly (plus Boolean and some objects made by Lathe). I started modeling the front of the Patisserie. You can see I have modified the door from the original picture, I felt it would look better this way and then I could light it better once the camera is positioned.

The door frames are boxes with enough subdivisions and then a Noise modifier so that the wood does not appear too perfect, more natural. The door is flat line modeled with the opening modeled after. The form is very specific.

I transformed it using Editpoly and then extruded the contour. I centered this figure on the door blank and then used a Boolean to cut the shape into the door. With a new line, once again, I drew the shape of the relief on the door and gave volume with Loft. I did the same for the form on the lower section of the door.

For the friezes I used a plan with the necessary subdivisions to simulate ceramic and then transform it using Editpoly and finally a Bevel by polygons. I used the same method for the glass.

As I could not find a doorknob I like to draw one and then modeled based on the drawing. With a line I drew the contour of the knob and then transformed it using Editpoly. Using Extrude and Bevel I gave it more body and the applied an FFD (Free Form Deformers) to arch it a little and finally used Meshsmooth. For the base of the knob I used the same method.

Acid etched glass is very characteristic of this style. The iron frame is made with lines to which I applied the Sweep modifier.The windows are made of line, and then transformed with Editpoly and lastly Shell modifier. All the ornaments of the awning and outdoor pendant lamp are made in the same way.

I think the more detail you incorporate in the image; the more realistic will be the final image.

As for the building, hotel and walls I used the same system to draw all lines, with the window openings done in Editpoly and Shell. I turned again to Editpoly to make the cuts where the extrusions and moldings sit. Curved moldings for windows were done with Line and thenSweep modifier. The railings are made using the same method as the details on the awnings, line and sweep.

I tried to save polygons so that mostly repeated things are transformed by Proxy. Fireplaces are lines, then modified with Sweep and transformed using Editpoly. I then select some polygons to model the joints of the fireplace. I try to add as much detail as possible; this is what excites me throughout the process.

Other scene elements are very simple to model using boxes and primitives with modifiers. For example, to the curb did a box with many subdivisions, select the edges and they did a Chanfle, moved some vertices to deform a little, then a bigger and brighter Noise meshsmooth. I changed the position for, which is not very homogeneous.

Vegetation

The climbing plants came from GW Ivy Generator (http://www.guruware.at/main/). In my experience this free plug-in is very useful. The good thing about it is that you can use it with any climbing plant that generates branches and planes (which are the leaves.) What I do is build the plant with the plug-in then transform it with Editpoly and it automatically separates the ID of the leaves and branches. To make it easier you can select detach leaves and some planes. These planes will then be flowers when you apply the texture.

What took more work was the tree I worked on several versions, none of them very good. I started modeling with Onyx tree, but it wasn´t very lifelike. So I opened it in 3d Max and used it as a basis to model the trunk and thicker branches. I erased the Onyx tree and was left with some twigs. Selecting some large branches I distributed these twigs with Scatter. Then, hiding the trunk and large branches, I distributed the smaller twigs with leaves, previously modeled with Scatter. Then using UV layout, I mapped the texture of the trunk.

Texturing

The texture of the image took me a while. Most are images that I download from CG Textures (www.cgtextures.com) and others found browsing the Internet amended using PhotoShop.

Basically the method used for this image was: get the map of the objects and paint or adjust the textures in Photoshop...

First I extracted the map into Photoshop looking for the right texture. Then, as for the window, I cut and tailored the texture for each rod of the blind so they were not all the same. Then I ‘dirtied’ thetextures which would naturally deteriorate over time and layered them with black and white paint for an uneven appearance. I realize that you don´t see much of the blinds but I tried to make them just as authentic in every detail.

For the roofs, instead of using Bump I used a normal map with a plug-in for Photoshop, the NVIDIA Normal Map Filter which is free. (http://developer.nvidia.com/object/photoshop_dds_plugins.html)

In some cases I used a material called Mix but usually I used the method previously described. Sometimes I changed the textures several times until I was happy.

For all the walls I used VRayDirt with a texture, like Diffuse. I did this because the VRayDirt takes on aspects of Ambient Occlusion (AO), which as well as staining and dirtying gives the ability to give shade to thetextures, a characteristic of AO and gives more accuracy to the final image.

Light, Camera and V-Ray Parameters

For lighting I usually use the VRaySun and VRaySky. I use gentle sunlight and adjust it using VRayLight Dome. Doing it this way creates a little noise in the image that I like and give realistic look. This is not very scientific but I like the results I get.

I used the VRayPhysicalCamera with fairly normal values. Using this camera because the community usually shoots the orange if the sun is very low but I do not like much because it distorts the colors. The parameters of VRay are very common; I use them for almost all of my images.

The buildings completing the scene are Hotel by Proxy, which is next to the Cake Shop, using different textures. The stones used in the street, those are textures with a displacement map, the corner this plane curve, a little down and put on another plane to make a puddle of water. The grass was created using VrayFur. I tried other ways too but this was the most convincing.

Post-Production

Post production was done with Photoshop. I duplicated the image, I then raised image brightness and contrast, and I de-saturated it, and then applied a Gaussian filter. The final layer was Linear Dodge layer at 12% opacity and I was finished.

I hope you will find this useful. Again, my special thanks to CGArena. Visit my blog - http://demumy.blogspot.com

Pixologic Release UV Master (WIN & MAC)

defaultNick — Thu, 25 Feb 2010 10:23:00 GMT

With one click of the button UV Master automatically produces UVs for 3D models created by or imported into ZBrush. UV Master is designed to make the creation of UVs easily accessible for all artists who need to create human-readable UV maps for painting textures in any kind of 2D image editor.
                                                                                                      $CUT$

Pixologic is proud to announce the release of UV Master.

A plugin for ZBrush 3.2 Mac and ZBrush 3.5R3 WIN.

With UV Master , you can quickly create high quality and artist-friendly UV maps. It's as simple as 1-2-3

    1. Select your model's lowest subdivision level.

    2. Click UV Master's Unwrap button.

    3. Actually, there is no step 3. You're done!

UV Master will unwrap your model's UVs in a way that's easily understood by the human eye and without texture distortion. It's incredibly fast, with results so clean that you can paint on the unwrapped model in a 2D image editor of your choice. (This includes ZBrush's 2.5D canvas.)

UV Master was also built with several innovative features to help control its automated UV creation. It can:

    Use your model's polygroups to create UV islands. In this way you can for example unwrap the face separately from the rest of the body. Or have different texture space for the inner and outer surfaces.

    Use Control Painting to protect parts of the model from UV seams and attract them toward places where they'll be out of sight. For example, a couple brush strokes can move the unwrap seams to a model's back where they will be out of sight. This is ideal for normal maps, which are typically very sensitive to UV seams.

    You can also use Control Painting to change how the UVs make use of the available texture space. If your model's face is where most of the detail needs to be, a single stroke with the paint brush can tell UV Master to give it more texture pixels.

UV Master can even combine any or all of these options, giving you remarkable control while saving hours of tedious work. UV Master will free you from the labor of creating UVs, giving you more time to release the Artist inside you and focus on your sculpting and texturing!

UV Master Feature List:

Create high quality UV Unwrap in one click.
Control of UV seam placement through control painting: seam Protect and seam Attract options.
Specialized Ambient Occlusion algorithm to automatically create seam Attract painting, which you can then refine if desired.
Density mode to paint areas in which UV space will be increased or decreased to give the most texture pixels where it really matters.
Flatten mode to literally unwrap your model as a flat surface based on its UVs. You can then use TransPose or the ZBrush sculpting brushes to adjust your UVs.
Check Seams mode to display the UV seams on your model so that you can identify potential problems before you begin painting.
Use UV seams created in other packages, but remap for better use of the texture space and zero distortion.
Unwrap by polygroups.
Includes several checkerboard maps to visualize the results of the UV unwrap.
Work On Clone feature instantly sets your model up for control painting without putting your existing sculpting or painting at risk.
Copy UVs and Paste UVs to easily transfer UV mapping back to your original model, or even to another model with the same topology.
Full documentation with tutorials.

What to know about UV Master:

UV Master has been designed as a one-click UV Unwrap solution, with extra controls for if you wish to change or improve this first result.
UV Master's purpose is to create UVs quickly with a result that will suit the needs of 95% of artists.
UV Master creates and manages the UV seams system automatically. You do not use it to try and draw specific UV seams.
You can "drive" UV Master to attract or protect UV seam creation in parts of the model by painting large areas. The plugin has been designed to work with large painted areas rather than requiring you to focus on specific seam placement.
UV Master is a UV creator plugin and not a full UV editor. However, it can make use of the seams from a full UV editor for those rare situations where precise seam placement is required while still giving the benefits of UV Master's distortion-free unwrapping.

What artists are saying about UV Master:

"UV Master is a great tool that saves the user an extensive amount of time. I think people are going to love it, since everything else out there is tedious."

Josh Tiefer – Character Artist - Namco Bandai Games

"UV Master is a really right-brain tool... you just PAINT how you'd like the UV to be mapped, and ZBrush does the rest!"

Szabolcs Mátéfy - Senior Character Artist - Crytek

"Pixologic has done it again, making one of the slowest processes in 3D modeling and texturing a snap... or rather I should say a click."

Yariv Newman - External Art Director - Snowball VFX

"A great new plug-in that provides fast and intuitive unwrapping. UVMaster allows me to unwrap everything rangeing from the simplest mesh to complex models comprised of multiple polygroups on the fly! Getting my meshes out of ZBrush with clean UV and texture maps has never been easier. Thank you Pixologic!"

Geert "Etcher” Melis - Art Teacher - Antwerp

"No more UV-headaches!"

Alessandro Mastronardi – ZBrush Artist

UV Master Download

Focke-Wulf Crash in the Snow - Tutorial - Making of

defaultNick — Mon, 22 Feb 2010 13:53:24 GMT

The idea for this project was born while watching the movie The Golden Compass, which has scenes on ice and snow that are really fantastic. I added to that the fact that I like old airplanes and then started to develop the idea.

For a long time I wanted to make a scene that involved ice and snow, and my greatest difficulty for that is the fact that I have never seen snow.

After watching the movie I began to sketch a scene, and with the sketches defined, I made a simple model to use as a guide for the work.

Following that I began to work on the creation and composition of materials to be used in the scene. Even though this is a stage that is performed further into the process, I decided to bring this to the beginning of the process, because the main focus of this work was actually the materials.

Snow Material:

Ice Material:

Rock Material:

Composing two materials

The composition of the base materials (we will call base materials the materials that receive a layer of snow) with the snow material was made using the shader "Blend” and to mix the two materials the map "Falloff” as a mask, using a world Z technique.

To mix the materials the shader "Top/Bottom” could also be used (it substitutes the world Z technique). But to have a better result of the displacement I used the "3d Displacement”, which cannot be used inside the shader "Arch&Design” (used to make the base and snow materials), so the shaders had to be placed inside the "shader "Mental Ray”, using the shader "Material to Shader” to make the connection.

As I had two different materials with two different displacement maps that needed to have the same mix as the base+snow materials I opted for the "Falloff” technique in world Z instead of the "Top/Bottom”, because in the "Falloff” map itself there are two channels, one for each displacement map. This "Falloff” map is the same map that was used as a mask in the shader "Blend”.

Let`s see how that works:

Modeling

The terrain modeling was made inside 3ds Max using simple resources, such as the modifier "Noise” and the modifier "Displace”.
After making a simple relief base, the mesh was subdivided to receive the modifier "Noise”.

After using the "Noise”, which will pull and stretch the mesh, we will perform the mapping of the object, in order to make a new subdivision and use the modifier "Displace” to deform the mesh according to the texture that will be used.

And finally a new subdivision to leave the mesh uniform.

With all that, the mesh becomes really heavy, so now that we have the shape we desire, the following stage is to optimize the mesh using the modifier "Multires” which optimizes maintaining the mapping (in the case of the example in figure 7 the mesh was reduced from 53000 vertex to 5300 vertex).

Now the mesh can be converted in "Editable Poly”, for those who use 3ds Max 2010, the resource "Quadrify” can be used to correct the mesh and remove the triangular faces. For those who use older versions that can be achieved by using the "Polyboost”.

Now the model is ready to be used.

For the modeling of the airplane I utilized the "Box Modeling” technique using as reference images found on the internet.

Mapping

The mapping was made on 3ds Max using the "Unwrap” with the "Pelt Map” tool to open the mesh. However, using only the "Pelt Map” the result will not be good, so to correct the mesh after it is open I use the "Relax” tool, which can be found in the "Tools” menu. The option that presents the best result is the "Relax by Face Angles”.

With the mesh ready, all that is left to be done is to use the "Pack Uvs” tool, also in the "Tools” menu, to correctly distribute the mesh inside the "Safe Area” of the "Unwrap”. If there is too much space left all you have to do is use the "Scale” tool and make the adjustments manually, but this entire process is usually pretty quick.

To have textures with a good detail level, I separated the airplane elements in groups, to perform the mapping, as it can be seen in Figure 9.

Texturing

The texture was all made in photoshop, using the painting techniques and the assembling of photographic textures.

Airplane Material:

Airplane Rendering Test

Assembly of the final scene

With the airplane and the scene ready, it is time to put the two together, and for that I had to wreck the airplane. I opted to do that manually, separating the elements, mashing and tearing the bodywork.

To tear the bodywork I used the "Cut” tool of the "Editable Poly” to demarcate the mesh on the position of the cut.

The parts that were pulled out of the main body of the airplane, already demarcated, were selected through the polygon selection and separated with the "Detache”.

I once again used the tool "Noise” to make the mashes. To be able to use the effect only on the selected areas, I used the modifier "Poly Select” with the option "Soft Selection” activated.

In the parts that were separated from the main body I also applied the modifier "Shell” to give these parts some thickness.

Lighting

The lighting of the scene should be pale and diffuse, because the intention for the scene was to picture a blizzard during the day, therefore it should not be dark.

To achieve the result I used a very simple alternative. A "Skylight” with HDRI, which was also used on the "Environment” as a reflection map and a "mr Area Omni” with the shadows completely softened so that the scene would not be marked.

When it was all ready I Just had to wait a few hours for the render to be completed, so that the post production adjustments and corrections could be performed.

Post Production

The post production work was divided between After Effects and Photoshop. The first corrections were made in photoshop and consisted in removing and fixing minor imperfections. For these corrections I used the tools "Healing” and "Clone Stamp”.

The second stage made in photoshop was to perform the "Matte Painting” to compose the background of the scene.

With the corrections and the "Matte Painting” ready I took the material to the After Effects to begin the assembly of the elements. The first stage is to compose the render with "Matte Painting”.

To better integrate the scene I created a fog effect using the filter "Fractal Noise” of "After FX” and a render pass of Zdepth as a mask to give depth to the effect.

After adding the fog to the scene I used three more Adjustment Layer with filters of Brightness & Contrast, Levels, Shadow/Highlight and Hue/Saturation to correct and adjust the scene and only after that I added the layer with the snow.

With that I finished the AfterFX stage rendering what was done so far and taking it once again to photoshop, because I felt the need to make further adjustments on the scene, as the frosted metal parts of the airplane, to compose a render pass of Ambient Occlusion and also to make a new adjustment to the background of the scene, giving it a little more contrast and turning the tone to a lighter blue.

The next stage was to select all the layers and converting into "Smart Object” to continue the adjustments that are now to simulate the effect of a 35mm film. In order to do that I used the filter "Lens Correction” to create an effect of chromatic aberration, increased the sharpness of the image with the filter "Sharpen” and applied GRÃO with the filter "Add Noise”.

On the top I applied three more Adjustment Layer for fine adjustments and once again I converted all the layers into "Smart Object” to continue to work on the 35mm film effect.

Now comes the final stage, where once again I applied a series of filters intending to soften the edges of the image but maintaining the sharpness and the correct level of grain.

A major "problem” of 3d is that it makes everything very perfect, smooth and clean. And when we work with film the scene ends up with imperfections such as softened edges, grain and some dirt due to dust and micro scratches. And as I use to say, in order to make it look good, we have to make it look "bad”!

Final Image

Source: http://area.autodesk.com

Realistically Light and Render Interior Scenes using 3ds Max and Vray - Tutorial

defaultNick — Mon, 22 Feb 2010 12:30:38 GMT

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Step 1

In this tutorial, we’ll be using real units, so the first thing would be to open the menu "Customize > Units Setup > US" and choose "Standard > Feet w/Decimal Inches" as the unit.

Step 2

When you are trying to get a photorealistic quality it is very important to make sure that your object scale is accurate. This will play an important role in achieving a good render. Also, as you can see the scene is quite simple... just a small lobby (mostly modeled with boxes). Note: It is important that it is a closed room, and there are no openings for the light from environment to enter.

Step 3

Press f10, and from the "assign renderer" tab choose "Vray". This will enable "Vray" as your renderer, and also enable Vray materials in your material editor.

Step 4

Assign a simple Vray material to all the objects in the scene, and set up basic scene lighting and render settings. This is to finalize the lighting and render settings and save time, since a plain material renders much faster than reflective and glossy materials which will be added later.

Step 5

Now to work on the lighting and render settings to achieve the final result.

Step 6

Add a Vray physical camera to the scene by going to "Create Tab > Camera > Vray > Physical Camera".

Step 7

The settings for a physical camera are:

Type - Determines the type of the camera. Set it to "Still".

Film Gate - Specifies the horizontal size of the film gate in millimeters. Set it according to your scene.

Focal Length - Specifies the equivalent focal length of the camera lens.

f-number - The width of the camera aperture and (indirectly) exposure. If the Exposure option is checked, changing the f-number will affect the image brightness.

Vignetting - When this option is on, the optical vignetting effect of a real-world cameras is simulated.

White Balance - Allows additional modification of the image output according to the color or preset chosen.

Shutter Speed - The shutter speed (in inverse seconds) for the still photographic camera. For example, a shutter speed of 1/50 s corresponds to a value of 50 for this parameter.

Film Speed (ISO) - Determines the film power (sensitivity). Smaller values make the image darker, while larger values make it brighter.

Step 8

Now to place the various Vray lights. Lights 1-4 affect the scene directly, whereas light 5 has been placed in a downward direction, and will affect the scene in an indirect (in the form of bounced light).

Step 9

The basic parameters of the Vray lights are:

Color - The color of the light.

Multiplier - The multiplier for the light color. This is also the light intensity determined by the Intensity units parameter.

Invisible - This setting controls whether the shape of the VRay light source is visible in the render result. When this option is turned off the source is rendered in the current light color. Otherwise it is not visible in the scene.

Subdivs - Defines the samples, or the quality of the light. 8-10 should be used for test renders, and 15-20 for final renders. Increasing the samples will significantly increase your render time.

Step 10

IES stands for "Illuminating Engineering Society". The photometric data is stored in these files. A photometric web is a 3D representation of the light intensity distribution of a light source. Web definitions are stored in files. Many lighting manufacturers provide web files that model their products, and these are often available on the Internet. We as artists can use them to replicate the real life phenomena of light in 3d.

Go to the "Lights" tab, choose "Vray" from the drop down list, and create a "Vray ies" in the right view. Then instance it below all four steel holders.

Step 11

The main settings for the ies lights are:

Browse Button - Click it and browse for the ies file that you want to use.

Color Mode - If you choose this option, you can change and affect the light intensity through the color picker.

Temperature Mode - Allows you to accurately change the light intensity through the color temperature.

Power - Determines how bright the light will be.

Step 12

Through the following steps, you will configure the rendering settings in Vray. Press F10, then under "Global Switches", uncheck "Default Lights". This will cause the default lights in the scene to be switched off. For the Image Sampler type select "Adaptive DMC", and "Catmull Rom" as the filter. Also, change the min and max subdivs as shown.

Lastly, change the "Color Mapping" type to "Exponential". This mode will saturate the colors based on their brightness, and therefore, will not clip bright colors, but saturate them instead. This can be useful to prevent Burn-outs in the very bright areas (for example around light sources etc).

Step 13

Under the "Indirect Illumination" select "Irradiance Map" and use "Light Cache" as the primary and secondary engine. Also, change the Preset to "High", "hsph subdivs" to 50, and "interp samples" to 20.

Irradiance Map - Computes the indirect illumination only at some points in the scene, and interpolates for the rest of the points. The Irradiance Map is very fast compared to direct computation, especially for scenes with large flat areas.

Current Preset - Allows you to choose from several presets for some of the irradiance map parameters.

Hemispheric Subdivs (HSph. subdivs) - Controls the quality of individual GI samples. Smaller values makes things faster, but may produce blotchy results. Higher values produce smoother images.

Step 14

With a Light Cache, the light map is built by tracing many eye paths from the camera. Each of the bounces in the path stores the illumination from the rest of the path into a 3d structure (very similar to the photon map). In the Light Cache put 1500 for subdivs and 8 for no of passes.

The Subdivs determines how many paths are traced from the camera. The actual number of paths is the square of the subdivs (the default 1000 subdivs mean that 1 000 000 paths will be traced from the camera).

Step 15

Your settings for the test render are done. If you hit render now, you should see the same image that was shown before. Now all you need to do is apply the materials, and increase the Irradiance Map and Light Cache samples for the final render.

Step 16

Now to texture the scene (actually it's quite simple). The basic parameters that will be used in materials are:

Diffuse - The diffuse color of the material.

Roughness - Can be used to simulate rough surfaces or surfaces covered with dust.

Reflect - The reflection color.

Reflection Glossiness - Controls the sharpness of the reflections. A value of 1.0 means perfect mirror-like reflections; lower values produce blurry or glossy reflections. Use the Subdivs parameter below to control the quality of the glossy reflections.

The shader for the tiles on the base is a simple vray material with a de-saturated texture in the diffuse and a noise map in bump.

Step 17

The wood rack is also made of a Vray material with slight reflections and glossiness.

Step 18

The material for the wall is again just simple cream and black colors with no reflections.

Step 19

The shader on the wall on which the paintings are hanging is made of steel and white wall. The wall part also has a grainy texture assigned to it.

Step 20

Your scene is now textured! You can add any other props or objects you like to fill up the scene. The above rendering settings are good for test renders, but for production quality you will need to increase the samples for the image sampler, Light Cache, and Irradiance map.

Step 21

Here is the final result! Hope you learned something new!!.

Locking textures to particles with Particle Flow & Krakatoa Tutorial

defaultNick — Fri, 19 Feb 2010 08:56:04 GMT

Allan Mckay Shows us a very brief tutorial just explaining the simple process of generating particles and having them adopt their mapping coordinates off of their emitter object, and then lastly pathing them through Krakatoa as well. So this way particles adopt the texture of their emitter object and lock onto each individual particle.

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Making Decorative Element for Interior by Mateusz Pietruszka

defaultNick — Tue, 16 Feb 2010 06:17:43 GMT

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STEP 1

At first we have to find reference image. In this case I needed to model object I have had physically in my hands, so using scanner was an obvious choice. After few minutes image was ready. It was too bright to use it, so I had to darken it a little bit in photoshop to get better contrast. Here is a final result – download B-9.jpg image. So – after this introduction it is time to open max.

STEP 2

I will be using Generic units, so I prefer you use it as well to avoid mistakes. Just roll out Customize from toolbar, click on Units Setup and check Generic Units. We get to the Top view – as we have view from the top of element (you can use either of viewports but it will be harder to operate camera in perspective then)

STEP 3

Pressing Alt + B opens window called Viewport Background . If you think we will choose file now, you are right. Press Files... and choose B-9.jpg in this case. Then tick Match Bitmap, Display Background, Lock Zoom/Pan – it will allow us to use image as a blueprint.

Press OK. It should look like this:

STEP 4

As you can see in the viewport in this situation grid is rather annoying, so I prefer turning it off (just press G as the Top view selected). Now we get into modeling. First step is to create Cylinder with parameters – radius 7.5 and height 164 with eg. 12 height segments. Place it like shown on the image below. Clone it 3 times. Just hold Shift and move it like shown in picture. It is important to have Gizmo correctly in this place (just create Cylinder from Left view).

STEP 5

Now bending it. Convert one Cylinder to Editable Poly and then use Attach button to attach all these objects in one.

STEP 6

We have them attached. It is time to add Bend modifier from Modifier List. Angle parameter allows us to control value of bending it. As you can see -70.5 does its job. It will disturb somehow our placement, so move it again into correct position (even turn it a little bit to match the reference).

STEP 7

Now, also from Modifier List, choose FDD 3x3x3. Roll it out and click on Control Points. Select middle points and put it higher than others. After doing it, select the others two on the one edge, and put it lower, like on the screenshot. It is necessary to avoid bad collisions in future.

STEP 8

We are ready to clone our model. Like before, hold shift and move it like on the picture. Now we just clone it 5 times just for training (if you want you can clone it 1 000 000 times – amount does not matters). Remember to be even though a little bit precise to match the reference. Check Instance – if you would like to change shape or bending value, changing it just in one random element will cause changes in every object.

And as a result of our work, we should get something similar to this:

STEP 9

We have done just one side. It is time to do the second one – very easy and fast method. Select all of the elements and click on the Mirror icon on the command panel.

New windows appeard – just make everything look like on the screenshot below.

STEP 10

We get a little bit confused element, so it is time to put it in some order. Just move it to match the reference. This is what we should get after it:

STEP 11

Main thing is finished. Now we will model something to put in on. I have chosen rather simple shape. Just use Line from Splines section. And try to achive for example this shape:

STEP 12

I use mostly Fillet to get little bends. Just select vertex where you would like to have smooth corner, click on Fillet and insert some value (the higher the smoother corner is) or just simply move arrow pointer on vertex and slide it with left mouse button pressed.

Bigger bends are easier to control with bezier and bezier corner.

After some tweakings with line, we should end up with something similar to this:

STEP 13

Now we have just a spline so it is time to make it real object. It is very simple – just add Extrude modifier from list and enter value as big as you like. It just controls length of element. So we are done with it. It is time to make it fully tillable.

STEP 14

Select all elements in the scene, clone and move it on the right to match excatly the ends of last element. Convert last 2 elements (with red crosses on the screenshot) to editable poly and attach them to themselves. We will use Quick slice (Edit geometry) to cut it fast and without pain. Maximaze the Top view and cut it somewhere where the line on the picture appears (it is end of last element we have created with line). Try to be precise to cut it perpendicular as it is possible.

It will add new vertixes along the cut line.

STEP 15

Now delete everything what is on the right side of the cut (crossed with red lines). Delete also elements from the right – they were there just to help us with matching correct position.

We ended up with open cylinders, so we have to close them. Use Border to select edges and then click on Cap. It will fill the ends.

Done on the one side and for the other side is 99% the same. Copy, cut and cap. This is what we should get:

We have nice, fully tillable decorative element for our interior. It has many polys but you can easy change it just by lowering down segments or sides, thanks to instance copying. Final result after rendering is right here:

Source:www.evermotion.org

Quick Tip: the Secret to Making Convincing Explosions with FumeFX

defaultNick — Tue, 16 Feb 2010 06:08:54 GMT

In this Quick Tip we will examine a few overlooked methods to optimize explosions made with FumeFX. Not noise parameters or other obvious things, but something that many don't think about until they are told, and than they say "Oh yeah! That make perfect sense!!". Not sensational...but quite handy if creating a realistically behaving explosion is what you're after.

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3D Studio

Merry Christmas!

Digital Tutors : Exploring Animation Principles in 3ds Max 2011 (Collection)

At the Opera by Jeffrey Watts (DVD 1 and 2)

Gnomon Conceptual Storyboarding: Storytelling and Struggle

'Making Of 'Alfa Romeo Competizione C8 Spyder Studio'

3Ds Max 2010 Hotfix

3Ds Max 2010 Hotfix

* Tutorials\ * Autodesk 3Ds Max Create a Beautiful Sunset Scene Using Dreamscape and 3ds Max

Step 1

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Step 3

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Final Effect

gordon-v DEMOREEL 2010

Round 6 – Snowball Studios

R6 - Snap armor material tutorial

R6 - Snap closeup turntable.

R6 - Preacher turntable

R6 - Snap turntable

R6 - Preacher sculpt

R6 - Ashmedator turntable

R6 - Unwrella demo

R6 - Shot 16 animation with video reference

R6 - Shot 16 progress

Create an Ivy Covered Tree Stump with 3ds Max, Ivy Gen, and VRay

Create an Ivy Covered Tree Stump with 3ds Max, Ivy Gen, and VRay

Brink - Official Trailer

Autodesk® 3ds Max® 2011 New Features

Autodesk® 3ds Max® 2011 3D modeling, animation, rendering software includes the following new and enhanced features:

Detailed 3ds Max® Features

Slate Material Editor

Quicksilver Hardware Renderer

Local Edits to Containers

Modeling and Texturing Enhancements

Viewport Display of 3ds Max Materials

3ds Max Composite

In-Context Direct Manipulation UI

CAT Integration

UI Customization

System Requirements

Software

The 32-bit version of Autodesk® 3ds Max® 2011 software is supported by any of the operating systems: 1

The 64-bit version of 3ds Max 2011 software is supported by any of the operating systems: 1

Hardware

Explanations for software and hardware:

3ds Max 2011 Announced!

Key Features and Benefits

Top Features and Benefits

Other New Features

3ds Max 2011 Changes/Enhancements

Making of Le Patisserie by Adriana Salinas

Pixologic Release UV Master (WIN & MAC)

Focke-Wulf Crash in the Snow - Tutorial - Making of

Snow Material:

Ice Material:

Rock Material:

Composing two materials

Modeling

Mapping

Texturing

Airplane Material:

Airplane Rendering Test

Assembly of the final scene

Lighting

Detailed 3ds Max^® Features

The 32-bit version of Autodesk^® 3ds Max^® 2011 software is supported by any of the operating systems: ¹

The 64-bit version of 3ds Max 2011 software is supported by any of the operating systems: ¹