3ds Max Training_SD_Final.pdf

2011

2011

• Module1:

Lighting

•

Lesson1:

CreatingaDaylightSystem

•

Lesson2:

AdjustingPhotographicExposure

•

Lesson3:

AddingInteriorLightswithPhotometricWebDistribution

• Module2:

Materials

•

Lesson1:

SolidMaterials

•

Lesson2:

RealisticMaterialswithMaps

•

Lesson3:

ExamplesofCommonMaterials

•

Lesson4:

CutoutMapsinArch&DesignMaterial

• Module3:

RenderingSettings

•

Lesson1:

AnimatingtheDaylightSystem

•

Lesson2:

OptimizingRenderSettingsforAnimation

• Module4:

UsingtheLightingAnalysisAssistant

•

Lesson1:

LightingAnalysisAssistant

•

Lesson2:

Pseudo-ColorExposureControl

• Module5:

CreatinganArchitecturalCameraAnimation

•

Lesson1:

ArchitecturalCameraAnimation

•

Lesson2:

AnimatingaCameraFlyThrough

• Module6:

AnimatingObjects

•

Lesson1:

SolarPanelsTrackingtheSun

•

Lesson2:

AnimatingaTelescopingSlidingScreen

•

Lesson3:

SpinningFans

•

Lesson4:

OpeningaHingedDoor

•

Lesson6:

AnimatingComponentsImportedfromtheAutodeskRevitfamilyofproducts

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Module 1: Lighting

Introduction:

In this chapter you will add a mental ray® Daylight System to a scene, as well as Photographic Exposure. Additionally, you will light

a building with photometric web-based lights.

The irst step in lighting a scene is to step into the role of Director of Photography, a position found in motion picture, television,

and commercial production. The Director of Photography is responsible for creating the look and feel of the inal images in

accordance with the Director’s vision. On a movie set, the Director directs the actors in the scene; the Director of Photography

directs the light as an actor in the scene. With this role in mind, the conscious direction of light and hence shadows as actors in the

scene, you as the design visualization professional need to step into the shoes of a Director of Photography for a moment to direct

the light on how to sell the feel of the image of the building you are rendering.

It is important to pronounce the mood of the light in the scene in as much detail as possible. Light does not simply happen; light

ixtures are designed and placed for a certain brightness, bounce, and mood in a room. Sunlight does not simply enter through

windows and doors; rather it spills across walls, pools languidly on rugs and couches, and caresses countertops and cabinets.

Light and how it behaves is not a physics problem to be solved when lighting a scene, but instead a brush to be painted with great

variation and nuance.

Note:

If you are importing a ile from software based on the Autodesk® Revit® platform, there may already

be a Daylight System present in the scene. If there is a Daylight System, you can skip ahead to step 7 on

adjusting the date and time.

• Lesson1:

CreatingaDaylightSystem

Open Demo House M1-01.max from the project scenes folder.

The default rendering engine for Autodesk® 3ds Max® Design 2010 is mental ray; however this may have been

changed depending on the task at hand. To restore the default rendering engine and user interface we will use for

this workbook, choose Customize > Custom UI and Defaults Switcher. In the window that pops up, make sure that

DesignVIZ.mentalray is selected on the left column, and Default UI is selected on the right. This will set mental ray as

the rendering engine, populate the Material Editor with Arch & Design Materials, change the default Daylight System

to a mental ray physical sun and sky, and enable other defaults for a design visualization work low. Click Set when you

are inished.

On the top menu, choose Create > Lights > Daylight System, or on the Command Panel, click on the Create tab and

then on the Systems button, and choose Daylight.

In the viewport, click on or outside of the building to place the compass and then drag and release to extend the

Daylight assembly head. The sun’s hotspot is set to encompass the entire scene, so placement does not have to be

exact.

A pop up will open asking if you want to enable Logarithmic Exposure control; for this tutorial we will be using the mr

Photographic Exposure, so click No.

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Another pop up will open asking to add a mr Physical Sky shader into the environment map; choose Yes to do so. The

mental ray Daylight System needs the Physical Sky shader to function correctly, as it contains the main controls for

the Daylight System as well as adding the correct bounce of light into shadows and adding a sky background into the

viewport and renderings.

For a still image, you will need to angle the sun to best show the design and lighting. On the Modiier panel, with the

Daylight assembly head selected, click on the Setup button. This will take you to the Motion tab on the Command

panel, where you can access the location, day, and time of the Daylight System.

On the Motion tab, irst click on the Get Location button to set the place where the scene is located. In the window

that pops up, you may choose either by the city list on the left or by clicking on the map; the nearest big city will be

selected unless this option is disabled. Set the location of this house to Los Angeles, California, and click OK.

Back on the Motion tab on the Command Panel, set the date and time using the ields and spinners. For this lesson,

set the date to October 2009, at 9:00 a.m. You will see the Daylight assembly head move in the scene, rotating to aim

at the compass.

10.

From the top menu, choose Rendering > Environment. You will need to add the aforementioned mr Photographic

Exposure to the scene; the lighting will be blown out if an exposure control is not used. Exposure control compensates

for the overpowering brightness of the sun relative to artiicial lights, and allows the full dynamic range of light to be

rendered.

11.

In the Environment dialog, drop down the list reading No Exposure Control, and select mr Photographic Exposure.

This will allow you to render the scene as if it is being shot with a camera, and adjust the mood of the image to best

highlight the design.

12.

The exposure is controlled either by an Exposure Value or by a more traditional use of ISO, shutter speed, and F

number. For this lesson, we will use the Exposure Value, which adjusts all of the camera settings at once, Drop down

the Preset list and choose Outdoor Daylight Clear Sky. This will set the Exposure Value at 15, which is a generally good

setting for daylight.

13.

If you imported a scene from Autodesk Revit-based software via FBX, you will need to add the Physical Sky shader to

the environment background. In the Environment window, click on the map slot for the Environment background at

the top.

14.

On the Material/Map browser that pops up, choose mr Physical Sky from the available Maps, and then click OK.

15.

Press C to change to a camera view, and choose Courtyard Cam from the camera list.

16.

Press F9 to render the current view. For this lesson, the render size has already been set up at 720x405, a derivative

size of high deinition video. You should see the house rendered in sunlight, with reasonable depth in the shadows,

dark interiors, and soft highlights on the window frames and screens.

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Figure 1.1: The rendered image of the courtyard with an EV of 15

17.

If the image you rendered does not look like the image shown, check the following settings:

a. Select the Daylight assembly head, and verify that the Sunlight is set to mr Sun, and the Skylight is set to mr

Sky; both of these are available in the drop down lists at the top of their respective rollouts on the Modiier

panel.

b. Make sure that mental ray is selected as the rendering engine. Press F10 to access the Render Setup window,

and scroll down to the bottom of the Common tab to the Assign Renderer rollout. If it is not, and Default

Scanline is selected as the Production renderer, click on the button and choose mental ray from the

available list. Click OK after selecting mental ray.

In the Render Setup, click on the Indirect Illumination tab at the top, and then make sure Final Gather is en-

abled, and the FG Precision Presets slider is set to Draft.

d. Verify that the Exposure Control is set to use the mr Photographic Exposure Control, with an EV of 15.

Conclusion:

In this lesson, you added a Daylight System to a scene in 3ds Max Design, as well as set up a basic exposure control for the camera.

This will allow you to produce reasonable looking renderings more quickly and easily, and have the model and materials behave in a

most physically correct and realistic manner.

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