With Design in Mindhttp://area.autodesk.com/Sat, 01 Nov 2014 02:31:23 UTCExtension for Autodesk 3ds Max Design 2014Eddie Perlberg<h2>Point Cloud Support</h2> <p>You can now create more precise models from real-world references, with the new ability to import and visualize massive datasets captured from reality as point clouds. If you are a modeler, you can view point clouds in true color in the 3ds Max Design viewport, interactively adjust the extent of the cloud displayed, and create new geometry in context by snapping to point cloud vertices. Support for the .rcp and .rcs file formats enables you to take advantage of a connected reality capture workflow with other Autodesk solutions: Autodesk&reg; ReCap&trade; Studio, AutoCAD&reg;, Autodesk&reg; Revit&reg;, and Autodesk&reg; Inventor&reg; software.</p> <p><img style="vertical-align: middle;" src="/userdata/blogs/eddie/images/3ds_max_2014_ext_1_point_cloud.jpg" alt="Point Cloud" height="450" width="800" /></p> <h2>Python Scripting</h2> <p>If you are a visualization specialist or a developer, new support for the popular and easy-to-learn Python&reg; scripting language can help you extend and customize Autodesk&reg; 3ds Max&reg; Design 2014 software, and more easily integrate it into a Python-based pipeline. You can execute Python scripts from MAXScript and the 3ds Max Design command line.</p> <h2><img style="vertical-align: middle;" src="/userdata/blogs/eddie/images/3ds_max_2014_ext_1_python.jpg" alt="Python" height="450" width="801" /></h2> <h2>Stereo Camera</h2> <p>You can now create more engaging design visualizations with the addition of a new Stereo Camera feature set. Exclusively available through the Autodesk Exchange* application store (apps.exchange.autodesk.com) to Autodesk customers on active Autodesk&reg; Subscription, the Stereo Camera plug-in** enables you to create stereoscopic camera rigs. Multiple display modes offer Left Eye, Right Eye, Center, or Anaglyph views in the Nitrous viewport, while in-scene 3D volumes help with the adjustment of valid stereo zones. In addition to a Passive Stereo viewing mode, if you have a recent AMD FirePro&trade; graphics card and a supported HD3D Active Stereo monitor or equivalent, you can take advantage of Active Stereo viewing.</p> <p><img style="vertical-align: middle;" src="/userdata/blogs/eddie/images/3ds_max_2014_ext_1_stereo.jpg" alt="Stereo Camera" height="483" width="800" /></p>Mon, 16 Sep 2013 10:37:18 UTChttp://area.autodesk.com/blogs/eddie/extension-for-autodesk-3ds-max-design-2014Has anybody seen my Civil View 2014?Eddie Perlberg<p>To err is human, to forgive, divine. I hope that I appeal to the divinity in all of us.</p> <p>With the release of the Autodesk Building Design Suite Premium and Ultimate 2014, the Civil View option in the installer is not activated. Thus, as you install 3ds Max Design, the Civil View Resource kit is not included. The result is the following error message when starting Civil View.</p> <p style="text-align: center;"><img style="vertical-align: middle;" src="/userdata/blogs/eddie/CivilViewError.png" alt="Civil View Error" width="452" height="224" /></p> <p>The good news is the development team is working on a fix for future installers of the Building Design Suite Premium and Ultimate</p> <p>Those of us that have already installed can <span style="text-decoration: underline;">easily</span> add the Civil View Resource kits by running the CivilView2014.msi.</p> <p>If you installed using the downloaded installer set, navigate to the location that the files expanded to a find the installer. I found mine here: C:\\Autodesk\\Building_Design_Suite_Ultimate_2014_English_Win_32_64bit_dlm\\x86\\Components\\CV</p> <p>If you are running off of the Building Design Suite jump drive, it will be in the same place just instead on the location of that drive when you plug it in.</p> <p>If you&rsquo;ve already deleted these files from the hard drive, you can copy just the .msi from one location to the other or sneaker net it around the office.&nbsp;</p> <p>While I can't speak for them, I know the development team would sincerely apologies for the inconvenience this may occur.</p>Mon, 03 Jun 2013 17:33:25 UTChttp://area.autodesk.com/blogs/eddie/has-anybody-seen-my-civil-view-2014Beginner, Intermediate ExpertEddie Perlberg<p>Recently, I have been giving the following terms a lot of thought. It all stems from comments and scores made in my AU classes reviews. Apparently, I had disappointed a few attendees with the level of expertise contained in the class. I am now forming some internal classes and am considering these terms again. Here's my conclusions.</p> <p><br />When proposing classes for Autodesk University, we have 4 basic levels of intended audience;<br /><strong>Beginner</strong><br /><strong>Intermediate</strong><br /><strong>Expert</strong><br /><strong>All Levels</strong></p> <p>When I consider the expert level of a class, I assume that the class will help you either move into that level or solidify your position in it. Here&rsquo;s how I approach it.</p> <p><br /><strong>Beginner</strong> &ndash; Here I consider those that just got the software or are even considering adding 3ds Max and 3ds Max Design to their workflow. I assume the beginner doesn&rsquo;t even know how to draw out a box or understand the benefits of one renderer over another for various rendering situations. After mastering the Beginner status, you will successfully be creating still images, adjusting light and material definitions and embellishing your scenes with entourage. When you can accomplish these, you are an intermediate. Most of the owners of the software are at the top of beginner curve.</p> <p><br /><strong>Intermediate</strong> &ndash; Here&rsquo;s where we may differ. Intermediate users, to me, are those of you that feel comfortable with the concepts and techniques of the beginner and are looking to extend their knowledge of the product to start extending their capabilities. Here, you are looking learn how to set up a cloth object with the effects of wind. Looking into simple particle systems and perhaps using MassFX to help place objects around your scene or move some pieces in your animations. An Intermediate will open a Graph Editor to adjust animation timing, UVW unwrap an object to better control the map a complex material and rendering to elements for compositing in another application. Most of us will spend our lives as an intermediate user of 3ds Max Design. Once mastering these, you will be an Expert.<br /><strong></strong></p> <p><strong>Expert</strong> &ndash; You are <a href="/blogs/louis">Louis Marcoux</a>.</p> <p>To be serious, as an Expert, you write your own scripts and macros. You use bones and Character rigs for controlling animations. You know how to wire parameters, use animation layers and CAT rigs to automate your scenes. You use a track view more for your animations than manipulating objects in a viewport. For Design Visualization, often the experts are crossing over from entertainment where many of these concepts are more important to their workflow.</p> <p><br /><strong>All Levels</strong> &ndash; Here, I consider all 3 levels of expertise, but truth be told, I lean mostly to beginner and intermediate. Let&rsquo;s be honest, classes geared to &ldquo;All Levels&rdquo; is rarely revealing anything to experts. And, the expert stuff would probably overwhelm the majority of the class at the benefit of a small minority.</p> <p><br />So given these parameters, I assigned my classes the following designations.</p> <p><br /><em>&ldquo;What's New in 3ds Max and 3ds Max Design&rdquo;</em> &ndash; All Levels. I truly believe that introducing the new tools of the application transcends experience level. We are all beginners to a new tool. The only difference is the more experienced will see benefits to their current workflow, beginners will hopefully be inspired to start working it in.</p> <p><em>"Movie Magic in Autodesk&reg; 3ds Max&reg; Design"</em> &ndash; Intermediate. When I conceived this class in my mind, its working title could have been &ldquo;Introduction to an Intermediate Expertise&rdquo;. Does that make it a beginner course? In my opinion, the answer would be no. I wanted to give attendees tools they could go back to the office and start using the very next day. HDRI lighting, MassFX Simulations, Hair presets for grass and a very early intro to particle systems. If I would have assigned &ldquo;Beginner&rdquo;, those still struggling with the Material editor would have passed out in Particle Flow. Of course, I always hope that &ldquo;Beginners&rdquo; come in looking for inspiration, but it would be irresponsible to tag these concepts as &ldquo;beginner&rdquo;.</p> <p><em>"Optimizing Your Workflow to Meet Visualization Deadlines with Autodesk&reg; 3ds Max&reg; Design"</em> &ndash; Intermediate. For those of you that were in the class, you can testify that I opened the class with the statement that these concepts are the third often most asked question I get and it seems to come from all levels of expertise. True, some of the concepts were simple, while others transcend into the intermediate. So, with the same guidelines as above, I leaned forward to the intermediate label.</p> <p>The good news is that there's tons of stuff in all of these classes, so, I plan on dispensing them here through the course of the this year plus I am sure there will be new things to talk about. (Wink)</p> <p>Until then, when you are signing up for my classes, whether at AU or elsewhere, now you know my thought processes. For the attendee that was disappointed in the level of expertise displayed, my apologies for the misunderstanding.</p>Mon, 11 Feb 2013 18:29:47 UTChttp://area.autodesk.com/blogs/eddie/beginner-intermediate-expertA New Year, A New LookEddie Perlberg<p>First, Let's congratulation the winners of the Autodesk 3ds Max Design Heroes contest. This stunning image by Tianyi Zhu won best overall image.</p> <p><img alt="Overall Winner" src="/userdata/blogs/eddie/Tianyi_Zhu.jpg" width="640" height="623" /></p> <p>Congratulations also to the honourable mentions:</p> <p>Ly Anh Thi &ndash; 2nd place overall</p> <p><img alt="2nd Place" src="/userdata/blogs/eddie/Ly_Anh_Thi.jpg" width="640" height="618" /></p> <p></p> <p></p> <p>Viktor Fretyan &ndash; Honorable Mention, Buildings Category</p> <p><img alt="Honorable Mention - Buildings" src="/userdata/blogs/eddie/Viktor_Fretyan.jpg" width="483" height="640" /></p> <p></p> <p></p> <p>Josh Barandon &ndash; Honorable Mention, Transportation</p> <p><img alt="Honorable Mention - Transportation " src="/userdata/blogs/eddie/Josh_Barandon.jpg" width="640" height="360" /></p> <p></p> <p></p> <p>Zdravko Barisic &ndash; Honorable Mention, Product Design</p> <p><img alt="Honorable Mention - Product Design" src="/userdata/blogs/eddie/Zdravko_Barisic.jpg" width="395" height="640" /></p> <p>Thanks to co-sponsors @Nvidia, @Boxx Technologies and @CGARchitect.com<br />Check out the gallery to see all entries, so much great work!<br /><a href="http://bit.ly/149CCkM">http://bit.ly/149CCkM</a></p> <p>Second, let me share with you my New Year&rsquo;s resolutions.<br />Well not all of them. The one that matters here is my re-dedication to &ldquo;With Design in Mind&rdquo;. As many of you know, these postings are a labor of love. And, I ALWAYS tried to make them significant. This often slowed and stifled my creative process thinking &ldquo;I don&rsquo;t have time to write a new tutorial&rdquo;. Well, now with personnel and personal changes, I recognize the significance that more news and insights are here as well. <br />So, I am more dedicated to the information here as ever. <br />2013 is going to be a great year!</p>Thu, 24 Jan 2013 09:10:01 UTChttp://area.autodesk.com/blogs/eddie/a-new-year-a-new-lookJoin me at AU 2012Eddie Perlberg<p class="MsoNormal" style="margin-bottom: .0001pt; mso-line-height-alt: 14.4pt; mso-outline-level: 3;"><b><span style="font-size: 15.0pt; font-family: 'Arial','sans-serif'; mso-fareast-font-family: 'Times New Roman'; color: white; mso-themecolor: background1;">What&rsquo;s New in Autodesk 3ds Max and 3ds Max Design 2013</span></b></p> <p class="MsoNormal" style="margin-bottom: .0001pt; line-height: 18.0pt;"><span style="font-size: 10.5pt; font-family: 'Verdana','sans-serif'; mso-fareast-font-family: 'Times New Roman'; mso-bidi-font-family: 'Times New Roman'; color: white; mso-themecolor: background1;"> The latest version of 3ds Max and 3ds Max Design has been recognized for its workflow enhancements, ease of use advances and new capabilities. In this session, we will present the new features of 3ds Max 2013 and 3ds Max Design 2013 with exploration of the Nitrous improvements, Tabbed viewport layouts, MassFX Updates &amp; mCloth, Workflow improvements, After Effects Interop, Iray 2.0, the Revit Interop update and more. We will also be sure to look at the latest benefits for subscription customers. <br /> Visualization Artists working in the Architectural, Manufacturing or Infrastructure industries or the Digital Creation Artist working in the Game or Film industries.<o:p></o:p></span></p> <p class="MsoNormal" style="margin-bottom: .0001pt; mso-line-height-alt: 14.4pt; mso-outline-level: 3;"><b><span style="font-size: 15.0pt; font-family: 'Arial','sans-serif'; mso-fareast-font-family: 'Times New Roman'; color: white; mso-themecolor: background1;">Movie Magic in Autodesk 3ds Max Design<o:p></o:p></span></b></p> <p class="MsoNormal" style="margin-bottom: .0001pt; line-height: 18.0pt;"><span style="font-size: 10.5pt; font-family: 'Verdana','sans-serif'; mso-fareast-font-family: 'Times New Roman'; mso-bidi-font-family: 'Times New Roman'; color: white; mso-themecolor: background1;"><br /> Now that you&rsquo;ve experienced the ease of creating compelling renderings with 3ds Max Design, you are ready to start investigating some of the tools that Hollywood uses to win Academy Awards for visual effects. Particle systems to have your project assemble before your eyes, techniques to marry your designs to photographs and add natural movement with the MassFX toolsets.<o:p></o:p></span></p> <p class="MsoNormal" style="margin-bottom: .0001pt; mso-line-height-alt: 14.4pt; mso-outline-level: 3;"><b><span style="font-size: 15.0pt; font-family: 'Arial','sans-serif'; mso-fareast-font-family: 'Times New Roman'; color: white; mso-themecolor: background1;"><br /> Optimizing your workflow to meet visualization deadlines with Autodesk 3ds Max Design<o:p></o:p></span></b></p> <p class="MsoNormal" style="margin-bottom: .0001pt; line-height: 18.0pt;"><span style="font-size: 10.5pt; font-family: 'Verdana','sans-serif'; mso-fareast-font-family: 'Times New Roman'; mso-bidi-font-family: 'Times New Roman'; color: white; mso-themecolor: background1;"><br /> As visualization projects expectations grow higher and higher, the time to complete them grows shorter and shorter. In this session, we will look at 3 distinct areas of optimizing your workflow to make your deadlines with little or no stress; Before 3ds Max Design, In 3ds Max Design and After 3ds Max Design. We&rsquo;ll look at Model Optimization, linking and rendering philosophies and post production practices.<o:p></o:p></span></p> <p class="MsoNormal" style="margin-bottom: .0001pt; line-height: 18.0pt;"><span style="font-size: 10.5pt; font-family: 'Verdana','sans-serif'; mso-fareast-font-family: 'Times New Roman'; mso-bidi-font-family: 'Times New Roman'; color: white; mso-themecolor: background1;">Of course, getting classes accepted is never easy, but now, the hard part begins. While I begin to shape the classes and put them together, if there's any comments or must have's you want me to consider, let me know as soon as possible. If you wanted to experience the satisfaction of teaching at AU this year, it's not to late to submit. The </span><span style="text-decoration: underline;"><a href="http://au.autodesk.com/?nd=sv_call_for_proposals"><span style="font-size: 10.5pt; font-family: Verdana, sans-serif; color: white; text-decoration: underline;">AU Virtual 2012 Call for Proposals </span></a></span><span style="font-size: 10.5pt; font-family: 'Verdana','sans-serif'; mso-fareast-font-family: 'Times New Roman'; mso-bidi-font-family: 'Times New Roman'; color: white; mso-themecolor: background1;">now open. Submit proposals to teach a recorded class to be made available during AU 2012 in Las Vegas. If you submitted a proposal for AU Las Vegas that was not selected, consider submitting it as a virtual class.<br /> <br /> Classes may be in Spanish, Portuguese, or English. These 45- to 60-minute classes are ideal for tricks and tips, feature-based content, basic and intermediate procedures, and specific workflows involving multiple Autodesk&reg; software products.<o:p></o:p></span></p> <p class="MsoNormal" style="margin-bottom: 7.5pt; line-height: 18.0pt;"><span style="font-size: 10.5pt; font-family: 'Verdana','sans-serif'; mso-fareast-font-family: 'Times New Roman'; mso-bidi-font-family: 'Times New Roman'; color: white; mso-themecolor: background1;">In posts to come, I will be sure to highlight some of the other classes of interest for Design Viz. Of course, AU is a personal journey of enlightenment, so don't take my word for it. Come out and experience it for yourself.<o:p></o:p></span></p> <p class="MsoNormal"><o:p>&nbsp;</o:p></p>Mon, 09 Jul 2012 09:52:32 UTChttp://area.autodesk.com/blogs/eddie/join-me-at-au-2012I've got some catching up to do.Eddie Perlberg<p>Dear Subscriber,</p> <p><br /> I sincerely apologize for the lack of attention the &ldquo;With Design in Mind&rdquo; blog has received in the past few months. In fact, at a recent event, Nil Norgren at <a href="http://www.neoscape.com/">Neoscape</a> gave me quite an earful. And he was right. But, in my defense, Design Visualization at Autodesk has never been more in demand and that leaves little time for my labors of love like this blog. I do want to assure you that I am here and will rededicate my efforts to post all of the exciting stuff going on.<br /> So, Speaking of exciting, the event that I mentioned earlier was <a href="http://www.skillsusa.org/">SkillsUSA</a>. If you&rsquo;re not familiar with SkillsUSA, you&rsquo;re not alone. If you are familiar with it, you&rsquo;re not alone either. SkillsUSA is secondary and post-secondary school competition in numerous categories. Students are competing in everything from carpentry and cooking to auto audio installation and motorcycle repair. I let the motorcycle repair guys that I have 2 Harley&rsquo;s sitting in my garage waiting for me to get home. (See, lots of things I love are feeling neglected). But, I digress.</p> <p style="text-align: center"><img alt="" width="640" height="427" src="/userdata/fckdata/27985/image/SkillsUSA/Competitors(1).jpg" /></p> <p style="text-align: center"><img alt="" width="640" height="427" src="/userdata/fckdata/27985/image/SkillsUSA/Competitors(2).jpg" /></p> <p style="text-align: center"><br /> &nbsp;</p> <p>Nil Norgren and I were &ldquo;guest judges&rdquo; in the 3D Visualization and Animation competition along with Stephen Goldblatt, Principal/Creative Producer from <a href="http://www.bazillionpictures.com/">Bazillion Pictures </a>and Bob Donatucci Art Director at&nbsp;<a href="http://www.doublehelixgames.com/">Double Helix Games</a>. This was our second year as the formidable four and we were excited to participate, helping to mold the future of the industry by inspiring and mentoring the artists of tomorrow. That, plus all of the great Kansas City BBQ. Special thanks to Bazillion Pictures for hosting the judging session and finding the great chinese food for the evening.</p> <p style="text-align: center"><img alt="" width="640" height="427" src="/userdata/fckdata/27985/image/SkillsUSA/Nils_and_Bob.jpg" /></p> <p style="text-align: center">&nbsp;</p> <p><br /> Expectations were high since these 40 teams were the best of the best, competing on the national level and they did not disappoint. This year, the competitors were given 8 hours to conceive, create and execute a 30 second animation about an imaginary character focusing on their dwelling, transportation or a needed invention to help with their polluted environment. This is the same character, iiKo from the planet Recyclz, the Education Team used at the FIRST robotic competition earlier this year.</p> <p style="text-align: center"><img alt="" width="199" height="298" src="/userdata/fckdata/27985/image/SkillsUSA/iiko1.jpg" />&nbsp;&nbsp;&nbsp;<img alt="" width="199" height="299" src="/userdata/fckdata/27985/image/SkillsUSA/iiko2.jpg" />&nbsp;&nbsp; <img alt="" width="200" height="299" src="/userdata/fckdata/27985/image/SkillsUSA/iiko3.jpg" /></p> <p style="text-align: left"><br /> I know what you&rsquo;re thinking, &ldquo;Eight hours for 30 seconds?&rdquo;</p> <p style="text-align: left">I know!</p> <p style="text-align: left">I just spent 40 farm hours rendering a 15 second walk up, without considering the conceiving and modeling part. Well, they did it. Working in teams of 2, storyboarding, modeling, texturing, lighting animating and rendering the whole thing, their extreme levels of creativity were apparent. Making the most of the time they had, we should reconsider renaming the competition to IronAnimator like IronChef.</p> <p style="text-align: center"><img alt="" width="640" height="427" src="/userdata/fckdata/27985/image/SkillsUSA/Battle.jpg" /></p> <p style="text-align: center"><img alt="" width="640" height="427" src="/userdata/fckdata/27985/image/SkillsUSA/iiKo_Maya.jpg" /></p> <p style="text-align: left"><br /> Special thanks to Peter Mancini at <a href="http://www.3dconnexion.com/">3DConnexion</a> for providing EVERY competitor with a SpaceNavigator. I was so jealous; I considered moving from judge to competitor. If you work in 3ds max/3ds Max Design, Maya or Showcase as well as Revit, AutoCAD or Inventor this is a must have. The 3dConnexion products work in a lot more software than that, but those are the ones I use mine for.</p> <p style="text-align: left"><br /> So are you ready to compete? Talk to your instructors or your advisors to get you involved.</p> <p style="text-align: center"><img alt="" width="640" height="427" src="/userdata/fckdata/27985/After(1).jpg" /></p> <p style="text-align: center"><img alt="" width="640" height="427" src="/userdata/fckdata/27985/After(2).jpg" /></p> <p style="text-align: left"><br /> Of course the learning wasn&rsquo;t all one way. I learned a lot as well. 2011 has been a big year for the Autodesk Education team launching <a href="http://students.autodesk.com/?nd=digital_steam">Digital Steam </a>(science, technology, engineering, art and math) curriculum portal. Educators and students can access free software, tutorials and more.<br /> In the Autodesk Booth, I learned about a new initiative at Autodesk to help the makers out there. People, who as a hobby or livelihood, make stuff. Out in front of that initiative is free software called <a href="http://www.123dapp.com/">123D</a>.</p> <p style="text-align: center"><img alt="" width="640" height="427" src="/userdata/fckdata/27985/image/SkillsUSA/ADSK_Booth.jpg" /></p> <p style="text-align: left"><br /> I&rsquo;m hoping we can get more people involved in this exceptional event in both the competitive and sponsorship levels.</p> <p style="text-align: left"><br /> If you&rsquo;re an educator, Autodesk will be hosting our annual Education Summit in Vancouver, during SIGGRAPH 2011, where we are offering educators the opportunity to connect with Autodesk executives and staff to discuss key industry trends and best practices, network with their peers and learn about our products and programs. Find out more and register <a href="http://siggrapheducationsummit.autodeskevents.net/">here</a>.</p> <p style="text-align: left"><br /> Thanks again for your patience about blog frequency. I will work on getting stuff to you in a more timely manner.<br /> &nbsp;</p>Thu, 30 Jun 2011 12:00:00 UTChttp://area.autodesk.com/blogs/eddie/i_ve_got_some_catching_up_to_doRevit to 3ds Max Design with VRay/Mental Ray workflow Eddie Perlberg<p>It's not often that I repurpose stuff from others, but this one NEEDS&nbsp;to be shared....</p> <p>&nbsp;</p> <object height="225" width="400"> <param name="allowfullscreen" value="true" /> <param name="allowscriptaccess" value="always" /> <param name="movie" value="http://vimeo.com/moogaloop.swf?clip_id=13256169&amp;server=vimeo.com&amp;show_title=1&amp;show_byline=1&amp;show_portrait=0&amp;color=&amp;fullscreen=1" /><embed type="application/x-shockwave-flash" height="225" width="400" allowscriptaccess="always" allowfullscreen="true" src="http://vimeo.com/moogaloop.swf?clip_id=13256169&amp;server=vimeo.com&amp;show_title=1&amp;show_byline=1&amp;show_portrait=0&amp;color=&amp;fullscreen=1"></embed></object> <p><a href="http://vimeo.com/13256169">The Bach: RTC Revit presentation</a> from <a href="http://vimeo.com/nzdan">Dan Jurgens</a> on <a href="http://vimeo.com">Vimeo</a>.</p> <object height="225" width="400"> <param name="allowfullscreen" value="true" /> <param name="allowscriptaccess" value="always" /> <param name="movie" value="http://vimeo.com/moogaloop.swf?clip_id=13319737&amp;server=vimeo.com&amp;show_title=1&amp;show_byline=1&amp;show_portrait=0&amp;color=&amp;fullscreen=1" /><embed type="application/x-shockwave-flash" height="225" width="400" allowscriptaccess="always" allowfullscreen="true" src="http://vimeo.com/moogaloop.swf?clip_id=13319737&amp;server=vimeo.com&amp;show_title=1&amp;show_byline=1&amp;show_portrait=0&amp;color=&amp;fullscreen=1"></embed></object> <p><a href="http://vimeo.com/13319737">The Bach: RTC 3ds Max with Vray presentation</a> from <a href="http://vimeo.com/nzdan">Dan Jurgens</a> on <a href="http://vimeo.com">Vimeo</a>.</p> <p>&nbsp;</p> <p>You'll want to visit&nbsp;the ENTIRE story. Go&nbsp;to his&nbsp;post to get all of the info.....</p> <p><a href="http://www.nzdan.com/white-papers/revit-technology-conference-2010">www.nzdan.com/white-papers/revit-technology-conference-2010</a></p> <p>While you're there, be sure to enjoy the other tips and tricks, tutorials and post Dan has provided.</p>Fri, 16 Jul 2010 12:00:00 UTChttp://area.autodesk.com/blogs/eddie/revit_to_3dsmax_with_vray_workflowDon’t Panic - An Introduction to the Slate Material EditorEddie Perlberg<p>One of the most compelling new features to 3dsmax and 3ds max Design is the Slate Material Editor. If your running into this for the first time and are totally confused by it, don&rsquo;t panic, you can always flip back to the Classic Editor or the &ldquo;Compact Material Editor&rdquo;. In fact, I&rsquo;ve been creating my materials in Compact mode and then refining in Slate mode. <br /> For as long as I can remember, the material button on the Main toolbar has opened the &ldquo;Material Editor&rdquo;. The first time I used it to open the material editor I got the Slate editor. While I had been exposed to it in all of our development meetings, I totally panicked and couldn&rsquo;t remember how to access the other mode. Closed it and tried to use the &ldquo;M&rdquo; button to bring it up. The &ldquo;M&rdquo; key will now bring back whichever mode you left the material editor. Only after a deep breath, did I remember how to flip from one mode to another. So if you get nothing out of this entry, remember how to flip your Material Editor Modes. <br /> &nbsp;</p> <p><big>Main Toolbar Material Editor Flyout.</big></p> <p>From the Main tool bar, pick and hold the Material Editor button to access the 2 mode options.<br /> <img alt="Flyout" width="38" height="67" src="/userdata/fckdata/27985/01Pulldown.jpg" /><br /> &nbsp;</p> <p>The &ldquo;Classic&rdquo; or Compact Mode has the mini Material editor.<br /> <img alt="Compact" width="34" height="32" src="/userdata/fckdata/27985/02Compact.jpg" /><br /> &nbsp;</p> <p>The Slate Material editor shows a bar moving to another bar.<br /> <img alt="Slate" width="34" height="34" src="/userdata/fckdata/27985/03Slate.jpg" /><br /> &nbsp;</p> <p>I can also flip from one mode to another from inside the Material Editor. By accessing the Modes drop down menu, I select the desired mode.<br /> <img alt="Modes" width="232" height="81" src="/userdata/fckdata/27985/04Modes.jpg" /><br /> <br /> &nbsp;</p> <p>Better now? Good. Ready for more?</p> <p><br /> Now, that we know there&rsquo;s a map back to a safe haven; let&rsquo;s take a quick view of what is this Slate Material Editor. The Slate Material Editor (Slate) is a &ldquo;Node Based&rdquo; editor. Rather than drilling through dialog box to dialog box, jumping through Parents and Children, all of which was a great source of frustration to new users, we now see each component of a material as a separate module that gets connected to slots.<br /> <img alt="" width="400" height="397" src="/userdata/fckdata/27985/06Example.jpg" /><br /> &nbsp;</p> <p>Immediately, you can see how easy it is to identify the components being used to create the Concrete material I&rsquo;ve started.</p> <p>&nbsp;</p> <p style="text-align: left"><br /> <span style="font-size: medium">User Interface</span><br /> &nbsp;</p> <p style="text-align: left"><img alt="" width="800" height="483" src="/userdata/fckdata/27985/05Interface.jpg" /></p> <p style="text-align: left"><br /> 1. Menu bar<br /> 2. Toolbar<br /> 3. Material/Map Browser<br /> 4. Status<br /> 5. Active View<br /> 6. View navigation<br /> 7. Parameter Editor<br /> 8. Navigator</p> <p style="text-align: left"><br /> We will spend many posts here to help you become a &ldquo;SM&rdquo; (Slate Master), but for now baby steps. I have found that creating materials in the Compact Material Editor and tweaking in the Slate Editor is a good productivity strategy. However you approach the new capabilities, the first element to understand is the Material Map Browser.</p> <p style="text-align: left"><br /> <p><big>Material map Browser</big></p><br /> Integral to the Slate Material editor or accessible by the Get Material button in the Compact Editor, the Material Map browser has gotten quite a bit of attention. <br /> Don&rsquo;t overlook the Search by Name&hellip; option. With 1200 Autodesk materials to sift through, this alone will make this a speedy tool.<br /> Navigation through the Browser is pretty straight forward. Plus signs (+) open sections, minus signs (-) closes them. What is not as obvious are all of the capabilities associated with the pulldown next to the Search by name window or with the right click in the Material Map browser. Here you can access material Libraries, create groups, etc.<br /> &nbsp;</p> <p style="text-align: left"><img alt="" width="213" height="315" src="/userdata/fckdata/27985/07dropdown.jpg" /></p> <p style="text-align: left"><br /> Alright, by now you should be feeling a little better. See, it&rsquo;s all here. <br /> &nbsp;</p> <p><big>Lets Try it.</big></p> <ol> <li>Reset your Scene</li> <li>Open the Material Editor</li> <li>Set your mode to Slate</li> <li>Expose the Sample Slots if not already exposed <p><img alt="" width="190" height="212" src="/userdata/fckdata/27985/08SampleSlots.jpg" /></p> </li> <li>Drag a sample sphere (01 &ndash; Default) into the Active view (View 1) and pick Instance. <p><img alt="" width="192" height="185" src="/userdata/fckdata/27985/09Instanced.jpg" /></p> <p>Look like this?</p> <p><img alt="" width="526" height="638" src="/userdata/fckdata/27985/11Step1.jpg" /></p> <p>Good</p> </li> <li>Now expose the Maps.</li> <li>Drag a noise map into the view.</li> <li>Double Click on the noise map to open its values in the Parameter Editor. <p><img alt="" width="800" height="673" src="/userdata/fckdata/27985/12Step2.jpg" /></p> <p>You now have access to all of the Noise Parameters.</p> </li> <li>Connect the Noise Map to the Diffuse Slot by dragging the output node (circle) to the input node of the Diffuse Color Map. <p><img alt="" width="404" height="186" src="/userdata/fckdata/27985/13Dragging.jpg" /></p> <p><img alt="" width="403" height="182" src="/userdata/fckdata/27985/14Connected.jpg" /></p> </li> <li>Now Drag the Output Node of the Noise to the Input Node to the Bump Slot. <p><img alt="" width="405" height="421" src="/userdata/fckdata/27985/16Instanced.jpg" /></p> </li> <li>Now you&rsquo;re instancing your maps from one slot to another. <br /> &nbsp;</li> </ol> <p>So that&rsquo;s it in a simple scope. Can you do more? ABSOLUTELY! We&rsquo;ll take a deeper dive as time goes on. But for now, I hope you feel a little bit more comfortable in the new Slate Editor. &lsquo;Til then.<br /> &nbsp;</p> <p>PDF&nbsp;is <a href="/userdata/fckdata/27985/Don't Panic - Slate(1).pdf">Here</a>.</p>Tue, 20 Apr 2010 00:00:00 UTChttp://area.autodesk.com/blogs/eddie/don_t_panic_an_introduction_to_the_slate_material_editorRevit fbx Linking in ActionEddie Perlberg<p>Tips &amp; Tricks for Better Design Decisions with Visualization<br /> This 25-minute screencast presentation takes a look at ways to optimize your design workflow and inform your design decisions using visualization techniques in Autodesk&reg; 3ds Max&reg; Design.</p> <p>You'll learn how to leverage your building information model (BIM) for design validation, how to promote your design data for the creation of compelling Design Visualization and how to collaboratively look at design options with digital prototyping.</p> <p>You'll get a first hand look at the highlights of a typical workflow with stops along the way to examine design alternatives, material placement, and interactive designs.</p> <p>Access it <a href="http://usa.autodesk.com/adsk/servlet/oc/offer/form?siteID=123112&amp;id=14626875">Here</a></p>Wed, 31 Mar 2010 00:00:00 UTChttp://area.autodesk.com/blogs/eddie/revit_fbx_linking_in_actionMastering mental rayEddie Perlberg<p>Complete with the new Slate Material Editor, this book covers EVERYTHING you&rsquo;ll need to know to master this technique. I&rsquo;ve already learned new techniques for backburner network rendering, importons and irradiance particles. If you want more out of your 3ds Max/3ds max Design application, pre-order it <a href="http://tinyurl.com/yzjt2om">here</a>.</p> <p>&nbsp;</p> <p>&nbsp;</p>Fri, 12 Mar 2010 16:01:56 UTChttp://area.autodesk.com/blogs/eddie/mastering_mental_rayProductivity Galore (Part 2)Eddie Perlberg<p><span style="font-size: medium"><strong>More from our &ldquo;Design Visualization for Architects&rdquo; webcast series. </strong></span><br /> You can download the actual webcast from the <a href="http://resources.autodesk.com/Architecture/3ds_Max_Design/Webcasts">Architectural Resource Center</a>.<br /> &nbsp;</p> <p><span style="font-size: medium"><strong>Containers</strong></span><br /> &nbsp;</p> <p>Similar to Xreffing in their workflow, &ldquo;Containers&rdquo; offer the ability to have many artists working on a project at any one time. Containers add a number of enhanced features beyond the xref technology.</p> <p>&nbsp;<br /> The container helper objects allows for simple transforms to the entire object.</p> <p><br /> Edit in Place allows for a minimum level of file control.</p> <p><br /> Container Labels make identifying Container Groups easy.</p> <p><br /> The ability to load and unload containers can make scene navigation a pleasure again.<br /> &nbsp;</p> <p>The Container explorer makes all of it convenient.</p> <p style="text-align: center"><br /> <img alt="" width="600" height="333" src="/userdata/fckdata/27985/Container.jpg" /><br /> <br /> &nbsp;</p> <p style="text-align: left"><span style="font-size: medium"><strong>&ldquo;Slop-timization&rdquo;</strong></span></p> <p style="text-align: left"><br /> Speaking of scene navigation, Autodesk&rsquo;s Gary Davis uses the following to make maneuvering in the viewport smooth without affecting rendering output.</p> <p><br /> In 3ds Max Design 2008&rsquo;s subscription extension, we introduced the ProOptimizer modifier. Originally introduced to help reduce the number of faces on objects coming from other sources like Mudbox . ProOptimizer can be used to temporarily crunch the number of faces in the viewport until render time.</p> <p><br /> 1. Apply ProOptimizer to heavy viewport object</p> <p><br /> Reduce the Vertex % to reduce the faces shown in the viewport.</p> <p><img alt="" width="185" height="186" src="/userdata/fckdata/27985/slop3.jpg" /></p> <p><br /> <br /> 2. Right Click over the ProOptimizer modifier in the stack.</p> <p><img alt="" width="275" height="441" src="/userdata/fckdata/27985/slop4.jpg" /></p> <p><br /> 3. Check the Off in Renderer option.</p> <p style="text-align: center">&nbsp;<img alt="" width="443" height="207" src="/userdata/fckdata/27985/Slop1.jpg" /></p> <p style="text-align: center"><img alt="" width="443" height="224" src="/userdata/fckdata/27985/Slop2.jpg" /></p> <p style="text-align: center"><img alt="" width="443" height="224" src="/userdata/fckdata/27985/Slop3a.jpg" /><br /> <br /> <br /> &nbsp;</p> <p style="text-align: left">So the ProOptimizer can reduce the number of faces and vertices the video card need s to process. Just remember to turn it off in the rendering or the results will be less than desirable.</p> <p><br /> <strong><span style="font-size: medium">Rendering Test Runs</span></strong></p> <p><br /> Nothing is more heartbreaking than doing a rendering and after hours, if not days of processing, to find an &ldquo;issue&rdquo;. Objects missing, Materials settings or lighting misplaced have all forced me to &ldquo;re-render&rdquo;. When creating animations, I never recommend going straight to .avi or .mov file formats. The best practice is to render each frame as an individual file and compile in the RAM Player or applications like Autodesk Combustion or its peer.</p> <p><br /> Why?</p> <p><br /> There are a number of benefits including the ability to use Satellite rendering techniques, resume rendering in the event of computer issues, etc. One of the undocumented opportunities is the ability to do test render passes and continuing to build from one test run to the next.</p> <p style="text-align: center"><img width="363" height="196" alt="" src="/userdata/fckdata/27985/Testrun50.jpg" /></p> <p>&gt;<br /> &nbsp;</p> <p style="text-align: center"><img width="363" height="190" alt="" src="/userdata/fckdata/27985/Testrun25.jpg" /></p> <p>&gt;<br /> &nbsp;</p> <p style="text-align: center"><img width="363" height="192" alt="" src="/userdata/fckdata/27985/Testrun10.jpg" /></p> <p>&gt;<br /> &nbsp;</p> <p style="text-align: center"><img width="363" height="193" alt="" src="/userdata/fckdata/27985/Testrun01.jpg" /></p> <p><br /> <br /> <br /> <br /> The key to making this a productive workflow is the ability for 3ds Max Design skip existing images in the destination folder. Of course, if I rename the output file name, this won&rsquo;t work.</p> <p>&nbsp;</p> <p style="text-align: center"><img width="363" height="348" alt="" src="/userdata/fckdata/27985/TestrunSettings.jpg" /></p> <p><br /> <br /> With each rendering pass, more and more images populate the rendering output folder, yet, no images are &ldquo;re-rendered&rdquo;. This technique gives you the opportunity to inspect each run for &ldquo;work stoppage&rdquo; type of rendering issues.</p> <p>&nbsp;</p> <p><br /> <span style="font-size: medium"><strong>Staging a scene with Scene States and Animation </strong></span></p> <p><br /> In the &ldquo;Design Visualization for Architects&rdquo; webcast series, we have talked a lot about Scene States. Here&rsquo;s what the help file reports about &ldquo;Scene States&rdquo; -<br /> &ldquo;The Scene States feature provides a fast way to save different scene conditions with various lighting, camera, material, environment, and object properties that can be restored at any time and rendered to produce numerous interpretations of a model.&rdquo;</p> <p><br /> Scene states can make exploring various scenarios easy. They also make moving from one scenario to another effortless. <br /> &nbsp;</p> <p>First let&rsquo;s understand what we can control with the Scene State manager.<br /> &nbsp;</p> <p><img alt="" width="237" height="274" src="/userdata/fckdata/27985/Scenestates1.jpg" /></p> <p><br /> I can use any one, multiple or all of the above in the saved scene state. So you can see, it is easy to save a scene state, adjust any of the above parameters, and save that as another scene state.</p> <p><br /> To access a scene state, simply right click in your scene and access the Restore Scene State from the Quad menu. You can also access Scene States in the Batch rendering feature. So you can render your different &ldquo;states&rdquo; one after another.</p> <p><br /> <span style="font-size: medium"><strong>Animation Layers</strong></span></p> <p><br /> It seems like the only element that Scene States doesn&rsquo;t capture is an objects position. We can easily capture those elements with Animation Layers.</p> <p><br /> While the Help file does a really deep dive into animation layers, let&rsquo;s just use them, for now, to capture object position.</p> <p><br /> To make thing easier, I bring up the Animation Layers toolbar.<br /> <br /> <br /> <img alt="" width="182" height="278" src="/userdata/fckdata/27985/AnimationLayers1.jpg" /></p> <p style="text-align: center"><img alt="" width="593" height="59" src="/userdata/fckdata/27985/AnimationLayers2.jpg" /></p> <p>I&rsquo;ll need to grab everything to start the process &lt;Ctrl&gt;+A</p> <p><br /> From there, I need to Enable Anim Layers</p> <p><img alt="" width="194" height="87" src="/userdata/fckdata/27985/AnimationLayers3.jpg" /><br /> <br /> This will bring up the animation list. Here I determine what elements of animation I would like to capture. For our purposes, I will accept the defaults, Position, Rotation and Scale.</p> <p><img alt="" width="166" height="270" src="/userdata/fckdata/27985/AnimationLayers4.jpg" /><br /> <br /> Automatically, a Base Layer is created to capture the original position.<br /> &nbsp;</p> <p>With the Original position taken care of, let make some changes.<br /> &nbsp;</p> <p>With everything still selected, I&rsquo;m going to pick the Add Anim Layer button from the Animation Layer toolbar.</p> <p><img alt="" width="183" height="95" src="/userdata/fckdata/27985/AnimationLayers5.jpg" /><br /> <br /> In the popup dialog box, I give the layer a name and change to the Default Controller Type.</p> <p><img alt="" width="295" height="153" src="/userdata/fckdata/27985/AnimationLayers6.jpg" /><br /> <br /> From here we can make our position changes.<br /> &nbsp;</p> <p style="text-align: center"><img alt="" width="831" height="471" src="/userdata/fckdata/27985/AnimationLayers7.jpg" /></p> <p style="text-align: center"><img alt="" width="832" height="473" src="/userdata/fckdata/27985/AnimationLayers8.jpg" /><br /> <br /> &nbsp;</p> <p style="text-align: left">Subtle?</p> <p>True.</p> <p>But, this is how Art Directors improve their movies and how you will improve your renderings.</p> <p><br /> To get the original scene back for renderings from other camera angles, we simply reduce the weight of the new animation layer down to 0% in the Animation Layers toolbar.</p> <p style="text-align: center"><img alt="" width="625" height="353" src="/userdata/fckdata/27985/AnimationLayers9.jpg" /></p> <p style="text-align: center"><img alt="" width="626" height="353" src="/userdata/fckdata/27985/AnimationLayers10.jpg" /><br /> <br /> &nbsp;</p> <p><span style="font-size: medium"><strong>Light Lister with Scene States.</strong></span></p> <p><span style="font-size: medium"><strong><br /> </strong></span>To bring it all together at this point, let&rsquo;s stay in the current shot with 100% weight assigned to our new animation layer. From here, I&rsquo;ll turn on 3ds Max Design&rsquo;s Viewport hardware shading to see the results of light intensities. <br /> &nbsp;</p> <p style="text-align: center"><img alt="" width="537" height="302" src="/userdata/fckdata/27985/lightlister1.jpg" /></p> <p><br /> To capture the original intensity of the lights, I right click in the scene, bring up the Quad menu and Save Scene State.</p> <p><img alt="" width="187" height="143" src="/userdata/fckdata/27985/lightlister3.jpg" /><br /> <br /> Since I am only concerned about the light intensity, I only highlight the Light Properties.</p> <p><img alt="" width="237" height="274" src="/userdata/fckdata/27985/lightlister4.jpg" /><br /> <br /> Opening the Light Lister&hellip; from the Tools pulldown, I&rsquo;ll make adjustments to the intensities of the lights&hellip;</p> <p style="text-align: center"><img alt="" width="537" height="303" src="/userdata/fckdata/27985/lightlister2.jpg" /></p> <p style="text-align: left"><br /> <br /> &hellip;and save that to a Scene State.</p> <p><img alt="" width="237" height="274" src="/userdata/fckdata/27985/lightlister5.jpg" /><br /> <br /> Done.</p> <p style="text-align: center"><img alt="" width="640" height="360" src="/userdata/fckdata/27985/lightlister6.jpg" /></p> <p style="text-align: left"><br /> <br /> Thanks for your patience for this addition. At this time of year, we here in Design Visualization are gearing up for a new year of good news. Let me know if there&rsquo;s anything you want us to focus on here at &ldquo;With Design in Mind&rdquo;.</p> <p>&nbsp;</p> <p><a href="/userdata/fckdata/27985/Productivity Galore 2.pdf">PDF&nbsp;Version</a></p>Sat, 20 Feb 2010 00:00:00 UTChttp://area.autodesk.com/blogs/eddie/productivity_galore_part_2Productivity Galore (Part 1)Eddie Perlberg<p>In our last installment in the Design Visualization for Architects Webcast Series we talked about enhancing your productivity with some simple tricks to get you there quicker and give you move design options. Armed with suggestions from Louis Marcoux and Gary Davis, I talked about Project Folders, AssetTracking and setting the Start material set. From there, we explored the benefits of creating a maxstart file to set your environment for the word go. After that, a quick tour of using 3ds Max Design&rsquo;s new container function to create a better X-ref. To turbocharge our rendering workflow, Gary&rsquo;s test render sequencing was next and we finished up with Louis&rsquo;s use of scene states and animations states to determine the organization and layout of our scenes. As always, the Tips from the Experts webcast is the fastest 60 minutes on the internet.<br /> <strong><span style="font-size: medium">Project Folders<br /> </span></strong>Project Folders are used by 3ds Max Design to organize and maintain project files. By establishing unique Project Folders, we are creating a unique environment for each to live. The Project Folder will simplify the default search parameters, storage and location criteria. To create a new project folder, click Project Folder on the Quick Access toolbar or choose the application menu &gt; Manage &gt; Set Project Folder. Then choose a path from the browser and click OK to set your project folder. Automatically, by creating the project folder you will create all of the Sub-folders within. By using the created structure, opening files, importing data, etc. with be shortened to just a few clicks instead of the constant drill down and yes, the Project folder can be loaded on the Network. I think the best aspect of the Project Folder is not only it&rsquo;s organizational properties, but it&rsquo;s portability as well. Knowing all of the files for a Project are now contained, entire directories can be archived or moved easily.</p> <p><strong><span style="font-size: medium">Asset Tracking</span><br /> </strong>With the Project Folder defined, the Asset Tracking system becomes even more powerful. Access the Asset Tracker by choosing the Application menu &gt; Manage &gt; Asset Tracking. Here you can find or relocate a number of different files .By default the Asset Tracking System takes advantage of Autodesk&rsquo;s Vault. Vault provides another level of security. Not ready for Vaulting? Disable it by navigating to the install directory-&gt;stdplugs-&gt;AssetTracking and renaming the two .dlls here. Mine looked like this, C:\Program Files\Autodeskds Max Design 2010\stdplugs\AssetTracking. Don&rsquo;t delete them. You may discover the value of Vault in the near future.<br /> While in the Asset Tracking dialog box, great power comes to the right click function. Here are the tools to browse to files and set the files relative to the project folder. If you do this to your file locations, it will never matter were the Project Folder is, Network, Hard Drive, Flashdrive or optical drive, the scenes within will always open and render flawlessly.</p> <p><strong><span style="font-size: medium">Setting the Start Material</span> </strong><br /> Setting the Start Material configuration is a bit trickier. It will require you to access hidden files. Don&rsquo;t be afraid, just be cautious. Of course this varies depending on your version of Windows. To enable the visibility of hidden files, search &ldquo;hidden files&rdquo; in Windows help. Now that the Hidden Folders are visible, jump into Max Design. In the Material Editor, set up the materials you wish to appear.<br /> <img alt="" width="376" height="376" src="/userdata/fckdata/27985/Blog0000.jpg" /><br /> Select Get Material button.<br /> In the Material/Map browser, Move the Browse From: button to the Mtl Editor option.<br /> <img alt="" width="340" height="466" src="/userdata/fckdata/27985/Blog0001.jpg" /><br /> Select Save As&hellip;<br /> Tricky part:<br /> Navigate to the default settings folder. Here&rsquo;s where mine was in Windows 7, C:\Users\Eddie\AppData\Local\AutodeskdsMaxDesign10 - 64bit\enu\defaults\DesignVIZ.mentalray. For Windows XP, substitute &ldquo;Documents and Settings&rdquo; for &ldquo;User&rdquo; and &ldquo;Application Data&rdquo; for &ldquo;AppData&rdquo;. I think Vista has combinations of both.<br /> Replace the Medit.mat<br /> <img alt="" width="579" height="304" src="/userdata/fckdata/27985/Blog0002.jpg" /><br /> From now on, your new scenes will open with your material list.<br /> I recommend hiding your Hidden Folders and Files again, less to navigate through.<br /> <strong><span style="font-size: medium">Start Up Scene</span>.</strong><br /> Wouldn&rsquo;t you love to have to stop going through the chore of setting Scene light as the default or turning on Ambient Occlusion in the Viewport? Perhaps you would like every new scene to start with a Ground Plane, Daylight System, Units set to Architectural and Exposure set to Photographic Exposure Control. All of this can be accomplished with the maxstart.max file. Simply open a new scene. Make all of the changes you desire. Add all of the objects you need at New or Reset and SaveAs to the Scenes directory of your Project Folder. Now, very time you start a New file or reset, The maxstart file will come up. You may be wondering if you can simply save the Material Editor settings with your maxstart file. Sorry, 3ds Max Design looks to that Medit.mat for New Scenes and Resets.<br /> <strong><span style="font-size: medium">Windows Shortcuts<br /> </span></strong>Looking to make Navigating to Studio standard locations a bit easier? Simply put a Windows shortcut file in the Project Folder directory location. For example, you would like to access the material libraries that ship with 3ds Max Design as well as the custom ones created for the specific project. In Windows Explorer, navigate to the install location of 3ds Max Design; mine was C:\Program Files\Autodeskds Max Design 2010\. Right click over the &ldquo;materiallibraries&rdquo; folder and select Create Shortcut.<br /> <img alt="" width="260" height="191" src="/userdata/fckdata/27985/Blog0003.jpg" /><br /> This creates a Shortcut file in this directory. Cut, Paste and Rename it to your liking in the Project Folder&rsquo;s &ldquo;materiallibraries&rdquo; folder. Now, whenever you&rsquo;re in a scene and want to access the installed material libraries, you can access them directly from the Project&rsquo;s default location.<br /> <img alt="" width="579" height="309" src="/userdata/fckdata/27985/Blog0004.jpg" /><br /> This works for all Project Folder Subfolders, Scenes, Images, etc.<br /> More to come&hellip;.<br /> In the meantime, be sure to sign up for the Webcast in the series <a href="http://www.adskmedia.com/architecturewebcasts/">here</a>.<br /> &nbsp;</p> <p>PDF&nbsp;version <a href="/userdata/fckdata/27985/Productity Galore (Part 1).pdf">here</a>.</p>Tue, 12 Jan 2010 02:27:04 UTChttp://area.autodesk.com/blogs/eddie/productivity_galore_part_1Technique 4: Using Ink and Paint shaders to create NPR’sEddie Perlberg<p><span style="font-size: medium"><strong>Creating Artistic Renderings in Autodesk 3ds Max Design </strong></span><br /> <strong>Technique 4: Using Ink 'n Paint shaders to create NPR&rsquo;s. <br /> </strong>In the last technique, we looked at the outlining effect of the&nbsp; Contour shader in mental ray. The addition of the Ambient Occlusion effects, gave us rich 3d effects&nbsp; while including a nice outline. But, some of the limitations of those techniques, outlines not reflecting or not showing through transparent objects, may have left our NPR looking a little incomplete. So to solve those small issues, we'll turn to the Ink 'n Paint Shader.<br /> The Ink 'n Paint shader was originally developed as a Raytrace based material for use with the Scaneline rendering system. While developed for the entertainment world for the creation of cartoons, this shader has some benefits for us in the Design Visualization arena, especially when it comes to NPR's (Non-Photorealist Renderings). We'll discuss those benefits as we go along.<br /> Because of its origins, Ink 'n Paint on its own will require some adjustments to components like Exposure controls and other rendering settings. And because it's not a mental ray shader, it doesn't have settings for Ambient Occlusion.</p> <p style="text-align: center">&nbsp;<img alt="" width="320" height="240" src="/userdata/fckdata/27985/t4 I&amp;P.jpg" /><br /> Ink 'n Paint with Photographic Exposure Control</p> <p style="text-align: center"><img alt="" width="320" height="240" src="/userdata/fckdata/27985/t4 I&amp;P Log.jpg" /><br /> &nbsp;<br /> Ink 'n Paint with Logarithmic Exposure Control</p> <p style="text-align: left">I strongly encourage you to read through the Ink 'n Paint Material section of the 3ds Max Design User Guide to understand the individual settings for your desired results.<br /> One way to bring together the controls of the Arch &amp; Design mental ray material (Ambient Occlusion and proper response to Exposure Controls)with the look of the Ink 'n Paint material is to use the Ink 'n Paint as a map inside the Arch &amp; Design material. We do that with mental rays &quot;Material to Shader&quot; map.</p> <p style="text-align: left"><br /> <span style="font-size: medium"><strong>Material to Shader</strong></span><strong><br /> </strong>Material to Shader is a mental ray map allowing the user to use a completely defined material as a map in another material.</p> <p>1.&nbsp;Open the Material editor (M).</p> <p>2. Define a new Arch &amp; Design material. In a Material slot and in an adjacent slot, start a new Ink 'n Paint material.</p> <p style="text-align: center"><img alt="" width="300" height="206" src="/userdata/fckdata/27985/T4-0002.jpg" /><img alt="" width="300" height="206" src="/userdata/fckdata/27985/T4-0001.jpg" /></p> <p style="text-align: center"><img alt="" width="220" height="156" src="/userdata/fckdata/27985/T4-0003.jpg" /></p> <p>3. In the Arch &amp; Design material. I've set the color to pure white. I've turned on and&nbsp; adjusted the Ambient Occlusion to 32 Samples and a Distance of 5'-0&quot;.</p> <p style="text-align: center"><img alt="" width="373" height="134" src="/userdata/fckdata/27985/T4-0004.jpg" /><br /> &nbsp;</p> <p style="text-align: left">Remember, these are not the magic numbers, just the ones that, for this model, give us acceptable quality with acceptable speed. Your values will differ.<br /> 4. After assigning the Arch &amp; Design material to all non-glass objects, we get the following results.</p> <p style="text-align: center"><img alt="" width="400" height="300" src="/userdata/fckdata/27985/t4 AO.jpg" /></p> <p style="text-align: left">5. Select the Map button next to the Diffuse color swatch.</p> <p style="text-align: center"><img alt="" width="339" height="89" src="/userdata/fckdata/27985/T4-0005.jpg" /></p> <p style="text-align: left">6. From the Material/Map Browser, select the Material to Shader option</p> <p style="text-align: center"><img alt="" width="345" height="107" src="/userdata/fckdata/27985/T4-000.jpg" /></p> <p style="text-align: left">7. From the Material Editor, drag the Ink 'n Paint material we created earlier on to the Material bar. Choose Instance as the Copy Method. That way, any changes we make to the original, reflect in the Final Material.</p> <p style="text-align: center"><img alt="" width="189" height="181" src="/userdata/fckdata/27985/T4-0006.jpg" /></p> <p style="text-align: center"><img alt="" width="330" height="55" src="/userdata/fckdata/27985/T4-0011.jpg" /></p> <p style="text-align: left">Don't be surprised if the model does not turn blue in your scene. Don't forget, we set the Diffuse Color to white in the Arch &amp; Design Swatch. That's what's driving the viewport &quot;look&quot;. Assuming the Ink 'n Paint defaults, let's render!</p> <p style="text-align: center"><img alt="" width="403" height="302" src="/userdata/fckdata/27985/T4-0007.jpg" /></p> <p style="text-align: left">Notice the Ink 'n Paint lines of the Pots are reflected in the Patio door glass. Because the lines are put in at render time, we don't lose them in the image. The rafters going into the space show through the glass as well.<br /> &nbsp;</p> <p style="text-align: left"><span style="font-size: medium"><strong>Ink 'n Paint for Design Visualization</strong> <br /> </span>To control the &quot;look&quot; of your rendered material, let's look at how to assign or create regular components to make a realistic type of material with ink 'n paint boarders. <br /> 1. In the Ink 'n Paint material, open the Basic Material Extentions.</p> <p style="text-align: center"><img alt="" width="339" height="152" src="/userdata/fckdata/27985/T4-0023.jpg" /></p> <p style="text-align: left">2. In the Bump slot, I've assigned a bitmap and set the Bump level. Mine is very high to &quot;Show&quot; in the tutorial.<br /> 3. In the Paint Controls, I've assigned another bitmap as the Paint Lighted map. This will respond the same as our Diffuse slot.</p> <p style="text-align: center"><img alt="" width="332" height="132" src="/userdata/fckdata/27985/T4-0010.jpg" /><br /> Well discuss Paint levels and Shades levels in the next section</p> <p style="text-align: left">4. Because my bricks are darker than the pure white from earlier. I adjust My photographic exposure control to make the scene a little lighter.<br /> 5. Render!</p> <p style="text-align: center"><img alt="" width="402" height="302" src="/userdata/fckdata/27985/T4-0012.jpg" /><br /> I told you, I applied the single Arch and Design to everything non glass.</p> <p style="text-align: left"><span style="font-size: medium"><strong>Paint and Shaded Levels</strong></span><strong><br /> </strong>When using Ink 'n Paint as a Material to Shader, the Paint levels aren't going to affect your final output, but the Shaded levels are.</p> <p style="text-align: center"><img alt="" width="402" height="302" src="/userdata/fckdata/27985/T4-0014.jpg" /></p> <p style="text-align: left"><span style="font-size: medium"><strong>Multi/Sub Map</strong></span><br /> Earlier in the tutorial, we looked at applying in a bitmap in the Paint Lighted map slot. Another way to create a quick artistic rendering is to use the new Multi/Sub-map.<br /> 1. In the Paint Controls, assign a Multi/Sub-map as the Paint Lighted map. Don&rsquo;t' forget, this will respond the same as our Diffuse slot.</p> <p style="text-align: center"><img alt="" width="199" height="165" src="/userdata/fckdata/27985/T4-0018.jpg" /></p> <p style="text-align: left">I'm going to accomplish the look I want with 8 colors Red &bull; Orange &bull; Yellow &bull; Green &bull; Cyan &bull; Blue &bull; Violet &bull; Grey <br /> 2. Open the Multi/Sub-Map controls. For the Switch Color option, I select Object ID. Number of Maps, 8. and change colors 1 thru 8 to reflect the list above taking note of color to number relationship.</p> <p style="text-align: center"><img alt="" width="348" height="346" src="/userdata/fckdata/27985/T4-0020.jpg" /></p> <p style="text-align: left">3. In the Scene, designate object ID's by selecting objects to render the same color. For this example, all of the walls will be Orange. So, in the Select in Scene dialog box(H), I select all of the wall objects. Space bar to lock the select set. Right click in the viewport to bring up the Quad-Menu. Navigate to the Object Properties&hellip; option. In the Properties dialog box, I will assign the Object ID 2 (Red objects were already number 1)</p> <p style="text-align: center"><img alt="" width="226" height="131" src="/userdata/fckdata/27985/T4-0019.jpg" /></p> <p style="text-align: left">If you feel comfortable giving up control. you can always use the Random feature of the Multi/Sub Map to determine color assignments. Notice each color has a Map button next to the color swatch. This allows you the opportunity to use the map list including textures for these assignments.<br /> 4. &nbsp;Render!</p> <p style="text-align: center"><img alt="" width="600" height="450" src="/userdata/fckdata/27985/T4-0017.jpg" /></p> <p style="text-align: left"><span style="font-size: medium"><strong>Ink 'n Paint and Render Elements</strong></span><br /> Another great benefit to Ink 'n Paint is the opportunity to separate out the Ink and the Paint as separate render passes.&nbsp;</p> <p style="text-align: center"><img alt="" width="370" height="237" src="/userdata/fckdata/27985/T4-0015.jpg" /></p> <p style="text-align: center"><img alt="" width="320" height="286" src="/userdata/fckdata/27985/T4-0021.jpg" />&nbsp;&nbsp;&nbsp; <img alt="" width="320" height="286" src="/userdata/fckdata/27985/T4-0022.jpg" /></p> <p style="text-align: left; margin-left: 80px">Imagine the fun you could have with these.</p> <p style="text-align: left; margin-left: 80px">Next week. Our Final installment for this series. &quot;Fun with Falloff&quot;</p> <p style="text-align: left; margin-left: 80px">Here's the <a href="/userdata/fckdata/27985/file/Technique%204%20-Ink%20and%20Paint.pdf">PDF</a>.</p>Tue, 22 Sep 2009 03:35:14 UTChttp://area.autodesk.com/blogs/eddie/technique_4_using_ink_and_paint_shaders_to_create_npr_sAvatech Solutions just launched the 'Render Us Speechless' contest with over 5000 dollars in prizes.Eddie Perlberg<p>Photorealism, degree of difficulty, aesthetics, and technical skill will be the primary focus of the judges. Select entries will be showcased on Avatech&rsquo;s Web site and the premiere entries in each category will be exhibited at Autodesk University, where industry peers will cast their vote for their favorite rendering.</p> <p>The deadline for submissions is Oct. 16, 2009. Entrants are welcome to enter as many categories as they want, but the same rendering cannot be entered in more than one category. There is no entry fee.</p> <p>&nbsp;</p> <p>If you&rsquo;d like to find out more, please visit http://www.avatech.com/Renderingcontest or read the news release at http://www.avatech.com/aboutus/pressroom/releasemain.aspx?intreleaseID=238 .</p> <p>&nbsp;</p>Fri, 18 Sep 2009 01:47:41 UTChttp://area.autodesk.com/blogs/eddie/avatech_solutions_just_launched_the_render_us_speechless_contest_with_over_5_000_in_prizeTechnique 3: Using Ambient Occlusion and Contours in mental ray to create NPR’s.Eddie Perlberg<p><b><font size="6"><font size="5"><font color="#365f91">Creating Artistic Renderings in Autodesk 3ds Max Design </font></font></font></b></p> <div style="margin: 0in 0in 10pt;"><span style="color: rgb(0, 100, 181);"><span style="font-size: medium;"><strong>Technique 3: Using Ambient Occlusion and Contours in mental ray to create NPR&rsquo;s.</strong></span></span></div> <div style="margin: 0in 0in 10pt;">This Technique requires using the mental ray renderer.</div> <div style="margin: 0in 0in 10pt 0.5in; text-indent: -0.25in;"><span>1.<span style="font-family: 'Times New Roman'; font-style: normal; font-variant: normal; font-weight: normal; font-size: 7pt; line-height: normal; font-size-adjust: none; font-stretch: normal; -x-system-font: none;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; </span></span>In the Render Setup Dialog box (F10), verify that &ldquo;mental ray Renderer&rdquo; is assigned as the Assigned Renderer in the Production slot.</div> <div style="margin: 0in 0in 10pt 0.5in; text-align: center; text-indent: -0.25in;"><img height="348" width="355" src="/userdata/fckdata/27985/Effect2-1.jpg" alt="" /></div> <div style="margin: 0in 0in 10pt;"><span style="line-height: 115%; font-size: 13pt;"><strong><font color="#4f81bd">Ambient Occlusion</font></strong></span></div> <div style="margin: 0in 0in 10pt;"><span style="font-size: larger;"><span style="font-family: Arial;"><span style="line-height: 115%;">Ambient Occlusion is considered a &ldquo;Special Effect&rdquo; to help simulate realistic global illumination. Here we are going to use it to help generate a Non-Photorealistic Rendering effect.</span></span></span></div> <div style="margin: 0in 0in 0pt 0.5in; text-indent: -0.25in;"><span>1.<span style="font-family: 'Times New Roman'; font-style: normal; font-variant: normal; font-weight: normal; font-size: 7pt; line-height: normal; font-size-adjust: none; font-stretch: normal; -x-system-font: none;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; </span></span>Open the Material editor (M).</div> <div style="margin: 0in 0in 10pt 0.5in; text-indent: -0.25in;"><span>2.<span style="font-family: 'Times New Roman'; font-style: normal; font-variant: normal; font-weight: normal; font-size: 7pt; line-height: normal; font-size-adjust: none; font-stretch: normal; -x-system-font: none;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; </span></span>Create a new material. Ambient Occlusion (AO) is limited to mental ray&rsquo;s Arch&amp;Desisn and ProMaterials. For this tutorial, we&rsquo;ll select the Arch&amp;Design material. I have applied this material to all non-glass objects and instanced it into all multi-sub object materials to replace non-glass materials. &nbsp;I have also set the Diffuse Color to White.</div> <div style="margin: 0in 0in 10pt 0.5in; text-align: center; text-indent: -0.25in;"><img height="183" width="341" src="/userdata/fckdata/27985/Effect3-2.jpg" alt="" /></div> <div style="margin: 0in 0in 10pt 0.5in;">*We&rsquo;ll look at one other AO technique later.</div> <div style="margin: 0in 0in 0pt 0.5in; text-indent: -0.25in;"><span>3.<span style="font-family: 'Times New Roman'; font-style: normal; font-variant: normal; font-weight: normal; font-size: 7pt; line-height: normal; font-size-adjust: none; font-stretch: normal; -x-system-font: none;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; </span></span>Burrow down into the Arch&amp;Design and open the Special Effects rollout.</div> <div style="margin: 0in 0in 10pt 0.5in; text-indent: -0.25in;"><span>4.<span style="font-family: 'Times New Roman'; font-style: normal; font-variant: normal; font-weight: normal; font-size: 7pt; line-height: normal; font-size-adjust: none; font-stretch: normal; -x-system-font: none;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; </span></span>Enable Ambient Occlusion</div> <div style="margin: 0in 0in 10pt 0.5in; text-align: center; text-indent: -0.25in;"><img height="183" width="374" src="/userdata/fckdata/27985/Effect3-0000.jpg" alt="" /></div> <div style="margin: 0in 0in 10pt 0.5in;"><strong>Samples</strong> will affect the quality - too low and the AO looks splotchy. Too high and rendering time is affected.</div> <div style="margin: 0in 0in 10pt 0.5in;"><strong>Max Distance</strong> determines how far away from the &ldquo;corner&rdquo; or &ldquo;crevice&rdquo; the AO is calculated. Too small and the affect will be lost. Too large and the object becomes black. Don&rsquo;t forget the scale of the project. Small object will get small distances, Large objects, I think you get the idea...</div> <div style="margin: 0in 0in 10pt 0.5in;">For this tutorial, I&rsquo;m going to make the Shadow Color Blue so we can really see the affect.</div> <div style="margin: 0in 0in 10pt 0.5in; text-indent: -0.25in;"><span>5.<span style="font-family: 'Times New Roman'; font-style: normal; font-variant: normal; font-weight: normal; font-size: 7pt; line-height: normal; font-size-adjust: none; font-stretch: normal; -x-system-font: none;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; </span></span>In the Render Frame Window, I set the Max. Reflections, Max. Refractions and FG Bounces to 2.&nbsp;I also move the Final Gather Precision to Medium and The Image Precision to Very High so the Effect is not affected by low quality. You will need to find the settings that fit your expectations for render time and quality. I wanted to show you the Effect in the best possible light.</div> <div style="margin: 0in 0in 10pt 0.5in; text-align: center; text-indent: -0.25in;"><img height="480" width="640" src="/userdata/fckdata/27985/Effect3-1(1).jpg" alt="" /></div> <div style="margin: 0in 0in 10pt 0.5in;">Notice how the AO mixes with the Daylight Systems Shadows. Unfortunately for this scene, objects in direct light are getting a bit washed out. Let&lsquo;s make them pop with some outlines.</div> <div style="margin: 10pt 0in 0pt;"><b><font size="5"><font size="4" color="#4f81bd">Creating Contours</font></font></b></div> <div style="margin: 0in 0in 10pt;">Contours are a post rendering effect in mental ray that allow us to assign, per material, an edge condition. Post rendering meaning that the effect is applied after all other rendering calculations.</div> <div style="margin: 0in 0in 0pt 0.5in; text-indent: -0.25in;"><span>1.<span style="font-family: 'Times New Roman'; font-style: normal; font-variant: normal; font-weight: normal; font-size: 7pt; line-height: normal; font-size-adjust: none; font-stretch: normal; -x-system-font: none;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; </span></span>Burrow deeper into the Arch&amp;Design material(s) to access the mental ray connection menu.</div> <div style="margin: 0in 0in 0pt 0.5in; text-align: center; text-indent: -0.25in;">&nbsp;</div> <div style="margin: 0in 0in 10pt 0.5in; text-indent: -0.25in;"><span>2.<span style="font-family: 'Times New Roman'; font-style: normal; font-variant: normal; font-weight: normal; font-size: 7pt; line-height: normal; font-size-adjust: none; font-stretch: normal; -x-system-font: none;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; </span></span>Pick the button next to the Contours.</div> <div style="margin: 0in 0in 10pt 0.5in; text-align: center; text-indent: -0.25in;"><img height="140" width="376" src="/userdata/fckdata/27985/Effect3-0001.jpg" alt="" /></div> <div style="margin: 0in 0in 10pt 0.5in; text-indent: -0.25in;"><span>3.<span style="font-family: 'Times New Roman'; font-style: normal; font-variant: normal; font-weight: normal; font-size: 7pt; line-height: normal; font-size-adjust: none; font-stretch: normal; -x-system-font: none;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; </span></span>Select the type of Outline condition you are looking for. Some Contour maps like Depth fade diminish the further from the camera the outline is applied.</div> <div style="margin: 0in 0in 10pt 0.5in; text-align: center; text-indent: -0.25in;"><img height="252" width="339" src="/userdata/fckdata/27985/Effect3-0002.jpg" alt="" /></div> <div style="margin: 0in 0in 10pt 80px;">Here is an Example of Curvature with the Color of the Outline set to Blue.</div> <div style="margin: 0in 0in 10pt 0.5in; text-align: center;"><img height="149" width="376" src="/userdata/fckdata/27985/Effect3-0003.jpg" alt="" /></div> <div style="margin: 0in 0in 10pt 0.5in;">Notice how the Outlines are Strong (.3%) while the Interior lines are Lighter (.1%)</div> <div style="margin: 0in 0in 10pt 0.5in; text-align: center;"><img height="480" width="640" src="/userdata/fckdata/27985/Effect3-3.jpg" alt="" /></div> <div style="margin: 0in 0in 10pt 0.5in;">To see the affects of the Contour Shader, the Contour Camera Effect must also be enabled in the Rendering Setup Dialog box.</div> <div style="margin: 0in 0in 0pt 0.5in; text-indent: -0.25in;"><span>1.<span style="font-family: 'Times New Roman'; font-style: normal; font-variant: normal; font-weight: normal; font-size: 7pt; line-height: normal; font-size-adjust: none; font-stretch: normal; -x-system-font: none;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; </span></span>Open the Rendering Setup Dialog box.&nbsp;&nbsp;&nbsp;&nbsp; <img height="31" width="32" src="/userdata/fckdata/27985/Effect3-0004.jpg" alt="" /></div> <div style="margin: 0in 0in 0pt 0.5in; text-indent: -0.25in;">&nbsp;</div> <div style="margin: 0in 0in 0pt 0.5in; text-indent: -0.25in;"><span>2.<span style="font-family: 'Times New Roman'; font-style: normal; font-variant: normal; font-weight: normal; font-size: 7pt; line-height: normal; font-size-adjust: none; font-stretch: normal; -x-system-font: none;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; </span></span>Navigate to the Renderer Tab.&nbsp;&nbsp;&nbsp;&nbsp;</div> <div style="margin: 0in 0in 0pt 0.5in; text-indent: -0.25in;">&nbsp;</div> <div style="margin: 0in 0in 10pt 0.5in; text-indent: -0.25in;"><span>3.<span style="font-family: 'Times New Roman'; font-style: normal; font-variant: normal; font-weight: normal; font-size: 7pt; line-height: normal; font-size-adjust: none; font-stretch: normal; -x-system-font: none;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; </span></span>Dig down to the Camera Effects area and Enable Contours.</div> <div style="margin: 0in 0in 10pt 0.5in; text-align: center; text-indent: -0.25in;"><img height="170" width="364" src="/userdata/fckdata/27985/Effect3-0005.jpg" alt="" /></div> <div style="margin: 0in 0in 10pt 0.5in;">I assumed the Defaults here. Time permitting, investigate the options availbe such as Contous Only for Camera Output, or controling contour angle in the Contour Contrast.</div> <div style="margin: 0in 0in 10pt 0.5in; text-indent: -0.25in;"><span>4.<span style="font-family: 'Times New Roman'; font-style: normal; font-variant: normal; font-weight: normal; font-size: 7pt; line-height: normal; font-size-adjust: none; font-stretch: normal; -x-system-font: none;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; </span></span>Render as usual. Notice that the Contours are not applied until all other render functions are finished.</div> <div style="margin: 0in 0in 10pt 0.5in; text-align: center; text-indent: -0.25in;"><img height="480" width="640" src="/userdata/fckdata/27985/Effect3-4.jpg" alt="" /></div> <div style="margin: 0in 0in 10pt 0.5in;">Note: Contours can be applied to any material with the mental ray Connection available. If you simply wanted outlines on your photo real materials that too, may give you the NPR you&rsquo;re looking for.</div> <div style="margin: 0in 0in 10pt 0.5in; text-align: center;"><img height="480" width="640" src="/userdata/fckdata/27985/02d Org- AR-AO-Cont.jpg" alt="" /></div> <div style="margin: 0in 0in 10pt 0.5in; text-align: center;"><img height="480" width="640" src="/userdata/fckdata/27985/02e Org- AR-AO-Cont-Int.jpg" alt="" /></div> <div style="margin: 0in 0in 10pt 0.5in;">You may have noticed that Contour Lines do NOT show though glass or in reflections. We&rsquo;ll cure that in our next tutorial.</div> <div style="margin: 10pt 0in 0pt;"><b><font size="5"><font size="4" color="#4f81bd">One More Approach to AO and Contours</font></font></b></div> <div style="margin: 0in 0in 10pt;">The last technique we&rsquo;ll look at here is taking many of the same elements we saw in the Arch&amp;Design material and apply them in the simpler mental ray material.</div> <div style="margin: 0in 0in 10pt 0.5in; text-indent: -0.25in;"><span>1.<span style="font-family: 'Times New Roman'; font-style: normal; font-variant: normal; font-weight: normal; font-size: 7pt; line-height: normal; font-size-adjust: none; font-stretch: normal; -x-system-font: none;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; </span></span>Create a new material using the mental ray shader.</div> <div style="margin: 0in 0in 10pt 0.5in; text-align: center; text-indent: -0.25in;"><img height="299" width="340" src="/userdata/fckdata/27985/Effect3-0006.jpg" alt="" /></div> <div style="margin: 0in 0in 10pt 0.5in; text-indent: -0.25in;"><span>2.<span style="font-family: 'Times New Roman'; font-style: normal; font-variant: normal; font-weight: normal; font-size: 7pt; line-height: normal; font-size-adjust: none; font-stretch: normal; -x-system-font: none;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; </span></span>The mental ray Shader does not have any control to add Ambient Occlusion. We get around that by adding the Ambient/Reflective Occlusion map to the Surface slot.</div> <div style="margin: 0in 0in 10pt 0.5in; text-align: center; text-indent: -0.25in;"><img height="144" width="340" src="/userdata/fckdata/27985/Effect3-0007.jpg" alt="" /></div> <div style="margin: 0in 0in 10pt 0.5in;">This map gives us many of the same AO controls that are found in the Arch&amp;Design shader, plus more.</div> <div style="margin: 0in 0in 10pt 0.5in; text-align: center;"><img height="237" width="376" src="/userdata/fckdata/27985/Effect3-0012.jpg" alt="" /></div> <div style="margin: 0in 0in 10pt 0.5in;">Here I&rsquo;ve applied a 32 for the samples for good but not great results(I feel this is a good compromise between speed and quality). Notice a straight Blue for the Bright and a pure White for the Dark samples. This is going to generate a Blueprint effect. Lastly, for the scale of this scene, 4&rsquo;0&rdquo; for the distance.</div> <div style="margin: 0in 0in 0pt 0.5in; text-indent: -0.25in;"><span>3.<span style="font-family: 'Times New Roman'; font-style: normal; font-variant: normal; font-weight: normal; font-size: 7pt; line-height: normal; font-size-adjust: none; font-stretch: normal; -x-system-font: none;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; </span></span>Navigate back to the Parent level of the material.</div> <div style="margin: 0in 0in 10pt 0.5in; text-indent: -0.25in;"><span>4.<span style="font-family: 'Times New Roman'; font-style: normal; font-variant: normal; font-weight: normal; font-size: 7pt; line-height: normal; font-size-adjust: none; font-stretch: normal; -x-system-font: none;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; </span></span>In the Advance Shaders area I&rsquo;ve applied the Curvature (Contour)</div> <div style="margin: 0in 0in 10pt 0.5in; text-align: center; text-indent: -0.25in;"><img height="117" width="375" src="/userdata/fckdata/27985/Effect3-0010.jpg" alt="" /></div> <div style="margin: 0in 0in 10pt 0.5in; text-align: center; text-indent: -0.25in;"><img height="162" width="377" src="/userdata/fckdata/27985/Effect3-0009.jpg" alt="" /></div> <div style="margin: 0in 0in 10pt 0.5in;">Notice I&rsquo;ve used pure White as my Contour Color. Again, this will strengthen the Blueprint Effect.</div> <div style="margin: 0in 0in 0pt 0.5in; text-indent: -0.25in;"><span>1.<span style="font-family: 'Times New Roman'; font-style: normal; font-variant: normal; font-weight: normal; font-size: 7pt; line-height: normal; font-size-adjust: none; font-stretch: normal; -x-system-font: none;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; </span></span>Verify that Contours are enabled in the Renderer tab as described in steps 1-3 above.</div> <div style="margin: 0in 0in 10pt 0.5in; text-indent: -0.25in;"><span>2.<span style="font-family: 'Times New Roman'; font-style: normal; font-variant: normal; font-weight: normal; font-size: 7pt; line-height: normal; font-size-adjust: none; font-stretch: normal; -x-system-font: none;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; </span></span>In order to give the &ldquo;Full on&rdquo; Blueprint Effect, I also disabled the Use Map feature in the Environment and Effects dialog box and set the background color to pure blue. Access the Environment and Effects box by typing the number 8 or from the pulldowns, Rendering -&gt; Environment. I also changed the exposure control to logarithmic since we were no longer using ProMaterials.</div> <div style="margin: 0in 0in 10pt 0.5in; text-align: center; text-indent: -0.25in;"><img height="236" width="357" src="/userdata/fckdata/27985/Effect3-0011.jpg" alt="" /></div> <div style="margin: 0in 0in 10pt 0.5in; text-indent: -0.25in;"><span>3.<span style="font-family: 'Times New Roman'; font-style: normal; font-variant: normal; font-weight: normal; font-size: 7pt; line-height: normal; font-size-adjust: none; font-stretch: normal; -x-system-font: none;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; </span></span>Render as usual.</div> <div style="margin: 0in 0in 10pt 0.5in; text-align: center; text-indent: -0.25in;"><img height="480" width="640" src="/userdata/fckdata/27985/Effect3-5.jpg" alt="" /></div> <div style="margin: 0in 0in 10pt 0.25in;">I told you it would be different. The title is &quot;artistic renderings&quot;.</div> <div style="margin: 0in 0in 10pt 0.25in;">Here's the <a href="/userdata/fckdata/27985/Technique 3 - Using Ambient Occlusion and Contours in mental ray to create NPR.pdf">PDF</a>.</div> <div style="margin: 0in 0in 10pt 0.25in;">Tutorial 4 will cover Ink &amp; Paint.</div> <p>&nbsp;</p>Tue, 25 Aug 2009 15:04:20 UTChttp://area.autodesk.com/blogs/eddie/technique_3_using_ambient_occlusion_and_contours_in_mental_ray_to_create_npr_sEffect 2: Using mental ray's Material Override Eddie Perlberg<p style="text-align: center;"><object height="580" width="760" data="/player/loader.swf?p=/player/main.swf&amp;f=/userdata/fckdata/27985/flash/DesignInMind/Effect%202.flv" type="application/x-shockwave-flash"> <param value="true" name="allowFullScreen" /> <param value="transparent" name="wmode" /> <param value="/player/loader.swf?p=/player/main.swf&amp;f=/userdata/fckdata/27985/flash/DesignInMind/Effect%202.flv" name="movie" /></object></p> <p style="text-align: center;">&nbsp;</p> <p style="text-align: left;">The entire Webcast is archived <a href="http://www.adskmedia.com/architecturewebcasts/archive.php?mktvar001=&amp;mktvar002=&amp;rid=">www.adskmedia.com/architecturewebcasts/archive.php</a></p>Mon, 17 Aug 2009 23:51:53 UTChttp://area.autodesk.com/blogs/eddie/effect_2_using_mental_ray_s_material_overrideEffect 1: Creating Monochrome Renderings.Eddie Perlberg<p>&nbsp;</p> <h1><span style="font-size: 12pt;">Creating Artistic Renderings in Autodesk 3ds Max Design</span></h1> <h3>Tutorial 1: Creating Monochrome Renderings.</h3> <ol> <li>Insert the companion DVD in your DVD reader.</li> <li>Navigate to..\Samples\Scripts\PluginScripts\RenderEffect-Monochrome.ms</li> <li><span><span style=""> </span></span>Copy the desired files to the &ldquo;plugins&rdquo; folder of your 3ds max design install. If you accepted the default, it will be C:\Program Files\Autodeskds Max Design 2010\plugins. If you didn&rsquo;t, I hope you remember where you installed it.</li> <li><span><span style=""> </span></span>Start 3ds Max Design</li> <li>From the Rendering pulldown menu, select &ldquo;Effects...&rdquo;.</li> <li>In the Environment and Effects dialog box, verify you are in the Effects panel. Pick the Add... button.</li> </ol> <div align="center" style="margin-left: 0.25in;"> <div style="text-indent: -0.25in; text-align: center;"><img height="192" width="349" alt="" src="/userdata/fckdata/27985/Effect1-1.jpg" /></div> </div> <ol start="7."> <li><span><span style=""> </span></span>The Monochrome effect should now appear in the list. (Note: I also copied the Checkerize effect into mine).</li> </ol> <p style="text-align: center;"><img height="277" width="287" alt="" src="/userdata/fckdata/27985/Effect1-2.jpg" /></p> <ol start="8."> <li>After selecting the effect, it should now appear in the effects list.</li> </ol> <div align="center" style="margin-left: 0.25in;"><img height="497" width="349" alt="" src="/userdata/fckdata/27985/Effect1-3.jpg" /></div> <div style="margin-left: 0.5in;">Settings in the Monochrome Effect are minimal and pretty straight forward. Adjust to get the desired results. To see the affects of your adjustments, use the Update Effect button.</div> <ol start="9."> <li><span><span style=""> </span></span>Render as usual. Don&rsquo;t forget that Rendering Effects appear after all other rendering processes are complete.</li> </ol> <p style="text-align: center;"><img height="480" width="640" src="/userdata/fckdata/27985/00aMonochrome.jpg" alt="" /></p> <p style="text-align: center;"><img height="480" width="640" src="/userdata/fckdata/27985/00b Monochrome-Int.jpg" alt="" /></p> <p style="text-align: center;">&nbsp;</p> <h2>To use the monochrome image as a background.</h2> <ol> <li><span><span style=""> </span></span>Verify that steps 1-3 above have been completed</li> <li><span><span style=""> </span></span>Hide all objects in the scene that you wish to render &ldquo;in color&rdquo;.</li> <li><span><span style=""> </span></span>Repeat steps 5-9 above to create the background image.</li> <li><span><span style=""> </span></span>Hide all of the monochrome objects and unhide all of the color objects. Selection Sets make this easy.</li> <li><span><span style=""> </span></span>Create an Environment/Background Switcher (mi) by following the procedure described in the Autodesk 3ds Max Design Help. The background image will be used as an Environment/Background Camera Map (mi).</li> <li><span><span style=""> </span></span>Be sure to remove or uncheck the Monochrome Effect in the Environment and Effects dialog box.</li> <li><span><span style=""> </span></span>Render as usual.</li> </ol> <p style="text-align: center;"><img height="451" width="800" src="/userdata/fckdata/27985/00d Monochrome-Background.jpg" alt="" /></p> <p>&nbsp;</p> <p>&nbsp;Here's the <a href="/userdata/fckdata/27985/Tutorial 1- Creating Monochrome Rendering.pdf">PDF</a>.</p>Mon, 17 Aug 2009 00:20:02 UTChttp://area.autodesk.com/blogs/eddie/effect_1_creating_monochrome_renderingsYou want free stuff, I got free stuff for you.Eddie Perlberg<p> <div>While the rest of the world (or so it seems) is in New Orleans this week, the quiet time gives me a few days to check out some &ldquo;non-critical&rdquo; issues.</div> <div>During the development of 3ds Max Design, Ken and Shane (see blogs above) had us provide examples for the second DVD that ships with 3ds Max Design. So let&rsquo;s go see what ended up in the shipping version.</div> <div>&nbsp;</div> <div>There are 4 gigs of &ldquo;stuff&rdquo; which includes almost 2 gigs of motionbuilder training to enjoy. In the samples folder, we have Images, LandXML, Luminaires, Maps and Materials, Motion, Movies, Particle Flow Elements Library, Scenes, Scripts, and UI folders. Let me break that down for you.</div> <div>Looking for a fountain or to add snow to your scene? Snow in August? Grab it from the Particle Flow Elements Libraries. Revit users, want to get rid of the exposed edges on the imported BIM? autoedges.ms, one of 151 scripts, removes them. It helps with Inventor files also.</div> <div>&nbsp;</div> <div>I could go on and on.</div> <div>&nbsp;</div> <div>So, dig in, lots of goodies for FREE. Well, at least at no additional cost. </div> <div>&nbsp;</div> <div>Don&rsquo;t forget to sign up for our next webcast, Wednesday August 12th. We&rsquo;ll be looking at &ldquo;<strong><span style="">Creating Artistic Renderings in Autodesk 3ds Max Design</span></strong>&rdquo;. Sign up at the <a href="http://resources.autodesk.com/Architecture/3ds_Max_Design">Architectural Resource Center</a>.</div> </p>Tue, 04 Aug 2009 15:47:34 UTChttp://area.autodesk.com/blogs/eddie/you_want_free_stuff_i_got_free_stuff_for_youAdvanced Visualization BookEddie Perlberg<p> <meta http-equiv="Content-Type" content="text/html; charset=utf-8"> <meta name="ProgId" content="Word.Document"> <meta name="Generator" content="Microsoft Word 12"> <meta name="Originator" content="Microsoft Word 12"> <link rel="File-List" href="file:///C:%5CDOCUME%7E1%5CEddie%5CLOCALS%7E1%5CTemp%5Cmsohtmlclip1%5C01%5Cclip_filelist.xml" /> <link rel="themeData" href="file:///C:%5CDOCUME%7E1%5CEddie%5CLOCALS%7E1%5CTemp%5Cmsohtmlclip1%5C01%5Cclip_themedata.thmx" /> <link rel="colorSchemeMapping" href="file:///C:%5CDOCUME%7E1%5CEddie%5CLOCALS%7E1%5CTemp%5Cmsohtmlclip1%5C01%5Cclip_colorschememapping.xml" /><!--[if gte mso 9]><xml> <w:WordDocument> <w:View>Normal</w:View> <w:Zoom>0</w:Zoom> <w:TrackMoves/> 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Style Definitions */ p.MsoNormal, li.MsoNormal, div.MsoNormal {mso-style-unhide:no; mso-style-qformat:yes; mso-style-parent:""; margin:0in; margin-bottom:.0001pt; mso-pagination:widow-orphan; font-size:11.0pt; font-family:"Calibri","sans-serif"; mso-fareast-font-family:Calibri; mso-fareast-theme-font:minor-latin; mso-bidi-font-family:"Times New Roman";} a:link, span.MsoHyperlink {mso-style-priority:99; color:blue; text-decoration:underline; text-underline:single;} a:visited, span.MsoHyperlinkFollowed {mso-style-noshow:yes; mso-style-priority:99; color:purple; mso-themecolor:followedhyperlink; text-decoration:underline; text-underline:single;} .MsoChpDefault {mso-style-type:export-only; mso-default-props:yes; font-size:10.0pt; mso-ansi-font-size:10.0pt; mso-bidi-font-size:10.0pt;} @page Section1 {size:8.5in 11.0in; margin:1.0in 1.0in 1.0in 1.0in; mso-header-margin:.5in; mso-footer-margin:.5in; mso-paper-source:0;} div.Section1 {page:Section1;} --> </style><!--[if gte mso 10]> <style> /* Style Definitions */ table.MsoNormalTable {mso-style-name:"Table Normal"; mso-tstyle-rowband-size:0; mso-tstyle-colband-size:0; mso-style-noshow:yes; mso-style-priority:99; mso-style-qformat:yes; mso-style-parent:""; mso-padding-alt:0in 5.4pt 0in 5.4pt; mso-para-margin:0in; mso-para-margin-bottom:.0001pt; mso-pagination:widow-orphan; font-size:11.0pt; font-family:"Calibri","sans-serif"; mso-ascii-font-family:Calibri; mso-ascii-theme-font:minor-latin; mso-fareast-font-family:"Times New Roman"; mso-fareast-theme-font:minor-fareast; mso-hansi-font-family:Calibri; mso-hansi-theme-font:minor-latin; mso-bidi-font-family:"Times New Roman"; mso-bidi-theme-font:minor-bidi;} </style> <![endif]--> </meta> </meta> </meta> </meta> </p> <p class="MsoNormal">I would like to bring to your attention that a brand new expert book on 3D visualization is being published by 3DATS.<o:p>&nbsp;</o:p></p> <p class="MsoNormal">My colleagues Louis Marcoux and Gary M. Davis each wrote a chapter and are both proud of the amazing visual quality of the book. It's the third of a series on architectural visualization and it completes an exhaustive overview of what you need to know if you want to become a great visualization artist. It's for anybody that wants to gain expertise in the field.</p> <p class="MsoNormal"><o:p><br /> </o:p>Here is a link for a preview of the book: <a href="http://3dats.com/expert_book/">http://3dats.com/expert_book/</a>. It will ship in August.</p> <p>&nbsp;</p>Thu, 23 Jul 2009 13:55:14 UTChttp://area.autodesk.com/blogs/eddie/advanced_visualization_book