Using State Sets in 3ds Max - Part 5 - Compositor View

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Industry
  • Design Visualization
Subject
  • Rendering
  • 2013
  • Interoperability
Products
  • 3ds Max
Skill Level
  • Advanced
Duration
5 min

Using State Sets in 3ds Max - Part 5 - Compositor View

In this tutorial, you take a look at your rendered sequences in 3ds Max's own Compositor Views. This will help you get a sense of what your composition will look like in Adobe After Effects. You will also learn to create a File Link xml file that ensures After Effects understand the sequence you have setup in 3ds Max.

Notes


  • Recorded in: 3ds Max 2013
  • This tutorial is intended for use with 3ds Max version 2013 or higher.

Transcript

00:00:02 --> 00:00:09
With the State Sets sequences rendered to disk, you now take a look at how they are organized using the Compositor View.

00:00:10 --> 00:00:13
Click the Compositor menu on the State Sets floater.

00:00:13 --> 00:00:19
Notice the two Compositor View entries: Compositor View and Compositor View (RE).

00:00:20 --> 00:00:27
RE stands for Render Elements and should be used with any scenes where you have set up render passes, as is the case here.

00:00:28 --> 00:00:32
To view the difference between the two modes, start with Compositor View.

00:00:33 --> 00:00:38
The State Sets floater expands into a new UI, reminiscent of the Slate Material Editor.

00:00:39 --> 00:00:44
The various rendered sequences appear as nodes wired to a Composite output.

00:00:44 --> 00:00:51
Notice that you only have nodes related to the State Sets names, as in one rendered sequence per state set.

00:00:52 --> 00:00:59
However, on a couple of occasions, you rendered passes for Self-Illumination and Transparency (using a Matte pass).

00:00:59 --> 00:01:02
These don't appear at this time.

00:01:02 --> 00:01:08
To see all rendered sequences and passes, use the Compositor View (RE) option.

00:01:10 --> 00:01:16
Now you have more nodes that also take into account the render passes you set up on two occasions.

00:01:20 --> 00:01:30
The final output at this time shows only the last rendered sequence layered on top of everything else, in this case, the arm AO output.

00:01:30 --> 00:01:36
You need to change the blending mode on some of these layers to get the output to work correctly.

00:01:36 --> 00:01:43
Ultimately, you can do this type of work in After Effects but you can also test it here before exporting.

00:01:43 --> 00:01:51
So, at the Compositor Output level, you can expand the individual layer rollouts and adjust the blending mode.

00:01:52 --> 00:01:56
Start by setting the AO layers to Multiply mode.

00:02:05 --> 00:02:14
You also need to reduce the Matte Pass opacity to 20 or 30%. This will give you a good starting point until you refine this value in After Effects.

00:02:15 --> 00:02:21
As for the Vault's Self-Illumination pass, its blending mode ultimately needs to be changed to show a glow effect.

00:02:22 --> 00:02:27
It also needs to sit on top of the vault's beauty pass to affect the scene.

00:02:27 --> 00:02:35
You could rewire the nodes to re-order the layers but this is often easier to do in After Effects, so we'll work on Self-Illumination later.

00:02:36 --> 00:02:44
You are almost ready to create a link file for export purposes but before you do that, let's revisit the security panel object.

00:02:44 --> 00:02:51
As mentioned briefly before, the security panel is a simple flat Plane primitive named Bio-Scan.

00:02:51 --> 00:02:59
Plane primitives have a distinct property in that they are recognized as Solids in After Effects, making their manipulation easier.

00:03:00 --> 00:03:08
For that to work, you have to define them as part of an "Object" Set, along with other special objects such as Cameras and Lights.

00:03:09 --> 00:03:17
In this tutorial, you will not need to handle light properties in After Effects but you will export the animated camera and the Bio-Scan plane.

00:03:18 --> 00:03:20
Make sure no State Set is active.

00:03:21 --> 00:03:26
This essentially means that the scene is displayed and set up as it was when you first opened the file.

00:03:26 --> 00:03:31
Also make sure that no objects are selected by pressing Ctrl+D.

00:03:33 --> 00:03:42
Click the Record icon next to the Objects Set. This makes that set current and all objects disappear from the scene.

00:03:42 --> 00:03:52
Using Unhide by Name, unhide the Bio-Scan object under the Door-Left hierarchy and also the camera and its target.

00:03:53 --> 00:03:58
In this tutorial, these are the only objects that need to be part of this special set.

00:03:59 --> 00:04:02
Click the Objects Record icon again to deactivate it.

00:04:03 --> 00:04:08
If you wish, you can also deactivate the set to go back to a full screen display.

00:04:09 --> 00:04:13
To create a link file, go to the Compositor Link tab.

00:04:13 --> 00:04:20
Click the Create Link button and specify a path and a file name such as Vault Scene.

00:04:20 --> 00:04:24
The link file has a .sof extension.

00:04:25 --> 00:04:33
It's really primarily an xml file that you can open and edit in a text editor such as Notepad, in case you need to make changes.

00:04:34 --> 00:04:40
A typical change may be a path change. A simple Search and Replace can take care of that easily.

00:04:41 --> 00:04:47
With the Link created, the next step is to open the sequence in Adobe After Effects.

00:04:47 --> 00:04:54
In order to do that, you need to set up After Effects to enable it to read Autodesk .sof files.

00:04:55 --> 00:04:59
For that, you need to manually copy a couple of files to certain folders.

00:04:59 --> 00:05:01
This is what you will do in the next movie.
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Tags
  • 3ds Max
  • Rendering
  • 2013
  • Interoperability
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