(eBook) - 3DS Max Fundamentals, architektura
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nothing is acceptable but pure quality
In the pursuit of excellence
3D Studio MAX
®
3
New
Riders
Michael Todd Peterson
FUNDAMENTALS
Inside the Front Cover
Walking Man
Concept
The idea for this character came from a sketch I did a few
years back. I liked the idea of a nomad who carried all of his
worldly possessions on his back. I was getting
ready to move at the time, and I think that was
part of the inspiration. I also tried to
capture some of the fascination I have with
cultures who carry huge, implausible
burdens on their heads and backs and do
it with apparent ease.
Photoshop-style control over the look of a bitmap. With this
plugin, I was able to make a huge variety of texture
variations with a small number of bitmaps. All of the crates
in the scene, for example, are mapped with the same
wood texture. The differences in the look of each crate are
due to varying Color Correct settings and by blending the
submaterials differently.
I used bitmap masks in order to specify the position of the
dirt, adjusting the tiling and offset parameters of the masks
to get the best result. More detail was added by creating
additional Blend materials each with a different function;
small dirt, big dirt, bleached wood, painted woos, etc.
Research
I did a lot of research on this scene since I needed to fill it up
with all types of jewellery, artifacts, etc. I keep stacks of
magazines and books handy for such occasions.
Almost all of the scene materials are semi-generic in
nature. I use generic bitmaps and masks but use them in a
way that seems to fit the object. One of the advantages to
this method is speed. Most objects can be mapped in just
a few minutes. This technique also allows for incredible
variation since a material can be modified very easily to fit
other objects. It is rarely necessary to make new bitmaps
for any given material.
Modeling
All of the models were built in MAX. Most were built using
Primitives and Editable Mesh / Sub-Object editing. The ropes
on the pack were built with loft objects to allow flexibility in
animation and to ensure proper mapping coordinates.
Lighting
The lighting setup is very simple. One Target Direct Light
serves as the sun and casts ray -traced shadows. Three omni
lights provide reflected light, two for the ground light
reflection and one for the sky.
MeshSmooth was used on the character itself to increase the
resolution of the model. I also used it on the cloth of the
pack. I use MeshSmooth sparingly since it can lead to a very
high polygon count. Now that MAX 3 allows for intelligent
tessellation of meshes, MeshSmooth is practical in more
situations than before.
Rendering
I used BonesPro from Digimation to position the character
before rendering. After rendering, I did some touch-up to
the scene. There was some distortion to the fingers that I
fixed and I also added some detail t o the background of the
scene.
Modeling in MAX 3 is speedy. With the advent of Editable
Mesh hotkeys and built-in support for face bevelling the
workflow has been greatly improved.
Steve Burke
www.burkestudios.com
copyright 1999
Materials
Once mapping coordinates had been assigned, I used Deep
Paint from Right Hemisphere to paint the texture maps for the
character. Deep Paint was a big help in getting the bitmaps to
blend seamlessly across the different body parts. Final
detailing of the textures was completed in Photoshop.
One of the most useful plugins ever created is Color Correct
by Cuneyt Ozdas. It’s a free plugin that gives you extensive
3D S
TUDIO
MAX 3
F
UNDAMENTALS
Cover art by Steve Burke
New
Riders
201 West 103rd Street, Indianapolis Indiana 46290
Michael Todd Peterson
3D Studio MAX 3 Fundamentals
Copyright © 1999 by New Riders Publishing
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International Standard Book Number: 0-7357-0049-4
Library of Congress Catalogue Card Number: 99-63012
Printed in the United States of America
First Printing: July, 1999
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