kelly l murdock 3ds Max 2009 Bible phần 5 pdf

FIGURE 19.13 Several frames of an animation showing a tree scene from sunrise to sunset Using Volume Lights When light shines through fog, smoke, or dust, the beam of the light becomes visible. The effect is known as a Volume Light. To add a Volume Light to a scene, choose Rendering ➪ Environment (or press the 8 key) to open the Environment dialog box. Then click the Add button in the Atmosphere rollout to open the Add Atmospheric Effect dialog box, and select Volume Light. The parameters for the volume light are presented in the Volume Light Parameters rollout. You can also access the Volume Light effect from the Atmospheres and Effects rollout in the Modify panel when a light is selected. Chapter 45, “Using Atmospheric and Render Effects,” covers the other atmospheric effects. Volume light parameters At the top of the Volume Light Parameters rollout, shown in Figure 19.14, is a Pick Light button, which enables you to select a light to apply the effect to. You can select several lights, which then appear in a drop- down list. You can remove lights from this list with the Remove Light button. CROSS-REF CROSS-REF 500 Materials, Cameras, and Lighting Basics Part IV 26_381304-ch19.qxp 7/7/08 2:46 PM Page 500 FIGURE 19.14 The Volume Light Parameters rollout in the Environment dialog box lets you choose which lights to include in the effect. In the Volume section, the Fog Color swatch lets you select a color for the fog that is seen within the light. This color is combined with the color of the light. The Attenuation Color is the color the fog appears to have at a distance far from the light source. This color also combines with the Fog Color and is best set to a dark color. The Density value determines the thickness of the fog. The Exponential option causes the density to increase exponentially with the distance. The Max and Min Light Percentage values determine the amount of glow that the volume light causes, and the Attenuation Multiplier controls the strength of the attenuation color. You have four options for filtering shadows: Low, Medium, High, and Use Light Smp Range. The Low option renders shadows quickly but isn’t very accurate. The High option takes a while but produces the best quality. The Use Light Smp Range option bases the filtering on the Sample Volume value and can be set to Auto. The Sample Volume can range from 1 to 10,000. The Low option has a Sample Volume value of 8; Medium, 25; and High, 50. Only Shadow Map type shadows cast shadows through volume fog. The Start and End Attenuation values are percentages of the Start and End range values for the light’s atten- uation. These values have an impact only if attenuation is turned on for the light. The Noise settings help to determine the randomness of Volume Light. Noise effects can be turned on and given an Amount. You can also Link the noise to the light instead of using world coordinates. Noise types NOTE NOTE 501 Using Lights and Basic Lighting Techniques 19 26_381304-ch19.qxp 7/7/08 2:46 PM Page 501 include Regular, Fractal, and Turbulence. Another option inverts the noise pattern. The Noise Threshold limits the effect of noise. Wind settings affect how the light moves as determined by the wind’s direction, Wind Strength, and Phase. Figure 19.15 shows several volume light possibilities. The left image includes the Volume Light effect, the middle image enables shadows, and the right image includes some Turbulent Noise. FIGURE 19.15 The Volume Light effect makes the light visible. Tutorial: Showing car headlights One popular way to use volume lights is to display the headlights of cars. For this tutorial, you’re going to use the Delfino Feroce 2001 car model created by Viewpoint Datalabs. To display the headlights of a car, follow these steps: 1. Open the Car headlights.max file from the Chap 19 directory on the DVD. This file includes a model of a car. 2. Select the Create ➪ Lights ➪ Standard Lights ➪ Target Spotlight menu command, and drag in the Left viewport to create a spotlight object. Select and move the spotlight and the target to be posi- tioned to look as if a light is shining out from the left headlight. 3. Open the Modify panel, and in the Spotlight Parameters rollout, set the Hotspot value to 20, the Falloff to 25, and in the Intensity/Color/Attenuation rollout, set the Decay setting to Inverse Square with a Start value of 3.0. In the Atmospheres and Effects rollout, click the Add button, select Volume Light from the Add Atmosphere or Effect dialog box that appears, and click OK. When a light is added to the scene, the default lights are automatically turned off. To provide any additional lighting, add some Omni lights above the car. 4. Select the Volume Light effect in the list within the Atmospheres and Effects rollout, and click the Setup button. The Environment dialog box opens, in which you can edit the Volume Light parameters for the newly created light. Set the Density value to 100. 5. Now create three more headlights. To do this, select both the first spotlight object and its target, and create a cloned copy by holding down the Shift key while moving it toward the right head- light. Position the other spotlights so that they shine outward from the other headlights. Figure 19.16 shows the resulting car with its headlights illuminated. NOTE NOTE 502 Materials, Cameras, and Lighting Basics Part IV 26_381304-ch19.qxp 7/7/08 2:46 PM Page 502 FIGURE 19.16 The car now has headlights, thanks to spotlights and the Volume Light effect. Tutorial: Creating laser beams Laser beams are extremely useful lights. From your CD-ROM drive to your laser printer, lasers are found throughout a modern-day office. They also are great to use in fantasy and science fiction images. You can easily create laser beams using direct lights and the Volume Light effect. In this tutorial, you’ll add some lasers to the spaceship model created by Viewpoint Datalabs. To add some laser beams to a scene, follow these steps: 1. Open the Spaceship laser.max file from the Chap 19 directory on the DVD. This file includes a spaceship model. 2. Select the Create ➪ Lights ➪ Standard Lights ➪ Directional menu command, and add a Free Direct light to the end of one of the laser guns in the Front viewport. Scale the light down until the cylinder is the size of the desired laser beam and rotate it so it points away from the laser beam. 3. With the light selected, open the Modify panel. In the Atmospheres and Effects rollout, click the Add button and double-click the Volume Light selection. Then select the Volume Light option in the list, and click the Setup button to open the Environment dialog box. Change the Fog Color to red and the Density value to 50 and make sure that the Use Attenuation Color is disabled. 4. With the direct lights added to the scene, the default lights are deactivated, so you need to add some Omni lights above the spaceship to illuminate it. To do this, select the Create ➪ Lights ➪ Standard Lights ➪ Omni menu command, and click above the spaceship in the Front view three times to create three lights. Set the Multiplier on the first light to 1.0, and position it directly above the spaceship. Set the other two lights to 0.5, and position them on either side of the space- ship and lower than the first light. Figure 19.17 shows the resulting laser beams shooting forth from the spaceship. 503 Using Lights and Basic Lighting Techniques 19 26_381304-ch19.qxp 7/7/08 2:46 PM Page 503 FIGURE 19.17 You can create laser beams using direct lights and the Volume Light effect. Using projector maps and raytraced shadows If a map is added to a light in the Parameters rollout, the light becomes a projector. Projector maps can be simple images, animated images, or black-and-white masks to cast shadows. To load a projector map, select a light and open the Modify panel. Under the Spotlight Parameters rollout, click the Projector Map button and select the map to use from the Material/Map Browser. Raytraced shadows take longer to render than the Shadow Maps or Area Shadows option, but the shadows always have a hard edge and are an accurate representation of the object. You can create shadows for wireframe objects with transparency only by using raytraced shadows. In the Shadow Parameters rollout, you can select whether shadows are computed using shadow maps or raytraced shadows. Using the latter selection lets you project a transparent object’s color onto the shadow. Tutorial: Projecting a trumpet image on a scene As an example of a projector light, you create a musical scene with several musical notes and project the image of a trumpet on them. To project an image onto a rendered scene, follow these steps: 1. Open the Trumpet mask.max file from the Chap 19 directory on the DVD. This file includes a trumpet model shown in the maximized Left viewport. This file is used to gen- erate a project map. NOTE NOTE 504 Materials, Cameras, and Lighting Basics Part IV 26_381304-ch19.qxp 7/7/08 2:46 PM Page 504 2. Choose Rendering ➪ Render (or press the F10 key) to open the Render dialog box; set the resolu- tion to 640 × 480, and select the Left viewport. Then select the Render Elements tab, and click the Add button. Select Alpha from the Render Elements dialog box, click OK, and then click the Render button. The side view of the trumpet in the Rendered Frame Window renders along with an alpha channel rendering of the trumpet. When the rendering completes, click the Save File button in the Rendered Frame Window for the alpha channel and save the file as trumpet mask.tif. 3. Open the Musical notes.max file from the Chap 19 directory on the DVD. This file contains several musical notes created from primitive objects. 4. Select the Create ➪ Lights ➪ Standard Lights ➪ Target Spotlight menu command, and drag to cre- ate two lights in the Top viewport. Position the first spotlight to be perpendicular to the scene and to shine down on it from above. 5. Open the Modify panel; in the Advanced Effects rollout, click the Projector Map button and double- click Bitmap from the Material/Map Browser. Locate and select the Trumpet Mask.tif file, and click Open. This projects a silhouette of a trumpet onto the scene. Use the second spotlight to light the music notes. Figure 19.18 shows the musical notes with the trumpet projection map. FIGURE 19.18 You can use projection maps to project an image in the scene, like this trumpet. 505 Using Lights and Basic Lighting Techniques 19 26_381304-ch19.qxp 7/7/08 2:46 PM Page 505 Tutorial: Creating a stained-glass window When a light that uses raytraced shadows shines through an object with transparent materials, the Filter color of the material is projected onto objects behind. In this tutorial, you create a stained-glass window and shine a light through it using raytraced shadows. To create a stained-glass window, follow these steps: 1. Open the Stained glass window.max file from the Chap 19 directory on the DVD. This file includes a stained-glass window for a fish market. (Don’t ask me why a fish market has a stained-glass window.) 2. Select the Create ➪ Lights ➪ Standard Lights ➪ Target Spotlight menu command, and drag in the Left view from a position to the right and above the window to the window. This creates a target spotlight that shines through the stained-glass window onto the floor behind it. 3. In the General Parameters rollout, make sure that the On option is enabled in the Shadows sec- tion and select Ray Traced Shadows from the drop-down list. Figure 19.19 shows the stained-glass window with the colored shadow cast on the scene floor. FIGURE 19.19 A stained-glass window effect created with raytraced shadows 506 Materials, Cameras, and Lighting Basics Part IV 26_381304-ch19.qxp 7/7/08 2:46 PM Page 506 Summary I hope you have found this chapter enlightening. (Sorry about the bad pun, but I need to work them in where I can.) Max has many different lights, each with plenty of controls. Learning to master these controls can take you a long way toward increasing the realism of the scene. In this chapter, you’ve accomplished the following:  Learned the basics of lighting  Discovered Max’s standard and photometric light types  Created and positioned light objects  Learned to change the viewport view to a light  Used the Sunlight and Daylight systems  Used the Volume Light atmospheric effect  Added projection maps to lights  Used raytraced shadows to create a stained-glass window In the next chapter you finally start animating objects, beginning with the basics, including keyframing. 507 Using Lights and Basic Lighting Techniques 19 26_381304-ch19.qxp 7/7/08 2:46 PM Page 507 26_381304-ch19.qxp 7/7/08 2:46 PM Page 508 Animation and Rendering Basics IN THIS PART Chapter 20 Understanding Animation and Keyframe Basics Chapter 21 Animating with Constraints and Controllers Chapter 22 Learning to Render a Scene 27_381304-pp05.qxp 7/7/08 2:54 PM Page 509 [...]... primitive, and you’ll use this path to make a plane complete a loop To make an airplane follow a looping path, follow these steps: 1 Open the Looping airplane .max file from the Chap 20 directory on the DVD This file includes a simple looping spline path and an airplane created by Viewpoint Datalabs 2 With the airplane selected, open the Motion panel and click the Trajectories button Then click the Convert... PM Page 53 0 Animation and Rendering Basics Exploding planet Exploding planet Exploding planet Exploding planet Exploding planet Exploding planet Exploding planet static.tif 60 NOTE - frame frame frame frame frame frame frame 25. tif 30.tif 35. tif 40.tif 45. tif 50 .tif 55 .tif 2 2 2 2 2 2 2 The first line of text is referred to as a comment line You enter comments into the IFL file by starting the line with... rotating Imagine a roller coaster car; it rotates and banks as it moves around the track This rotation and banking motion can be added to an object following a path using the Follow/Bank utility You can access this utility by opening the Utilities panel and clicking the More button Double-click the Follow/Bank utility to load it into the Utilities panel The Follow/Bank utility aligns the local X-axis of the... rollout is the PRS Parameters rollout, where you can create and delete Position, Rotation, and Scale keys You can use this rollout to create Position, Rotation, and Scale keys whether or not the Auto Key or Set Key buttons are enabled Additional rollouts may be available, depending upon the selected controller Below the PRS Parameters rollout are two Key Info rollouts: Basic and Advanced These rollouts... Television — IFL File .max file from the Chap 20 directory on the DVD This file includes a television model created by Zygote Media 4 Select the television front screen object, open the Material Editor, and select the first sample slot Name the material Television Screen Click the map button to the right of the Diffuse color swatch Double-click the Bitmap map In the File dialog box, locate the tv.ifl... texture, but you can also use IFL files To create an IFL file that will be mapped on the front of a television model, follow these steps: 1 Open the Windows standard Notepad text editor, and type the following: ; these frames will be positioned on a television screen static.tif 20 Exploding planet - frame 10.tif 2 Exploding planet - frame 15. tif 2 Exploding planet - frame 20.tif 2 52 9 20 28_381304-ch20.qxp... controllers by selecting the position, rotation, or scaling track and clicking the Assign Controller button to open a list of applicable controllers that you can select CROSS-REF For more information on controllers, see Chapter 21, “Animating with Constraints and Controllers.” FIGURE 20.7 The Parameters section of the Motion panel lets you assign controllers and create keys Below the Assign Controller... Controls found on the lower interface bar These controls are located to the left of the Time Controls Table 20.2 displays and explains all these controls Closely related to the Key Controls is the Track Bar, which is located under the Time Slider TABLE 20.2 Key Controls Toolbar Button Name Description Set Key (K) Creates animation keys in Set Key mode Toggle Auto Key Mode (N) Sets keys automatically for... object with several Controllers assigned can be collapsed, thereby reducing the complexity of all the keys If you collapse all keys, you cannot alter their parameters via the controller rollouts NOTE The Views menu includes an option to Show Key Times The Show Key Times command displays frame numbers along the trajectory path where every animation key is located Enabling this option displays the frame... option lets you change the accuracy of all Spring controllers in the entire scene in one place The Rollback setting is the number of frames that the Spring controller uses to return to its original position 52 5 20 28_381304-ch20.qxp Part V 7/7/08 2:42 PM Page 52 6 Animation and Rendering Basics Clicking the Set Defaults button opens the Set Controller Defaults dialog box This dialog box includes a list . Controls. Table 20.2 displays and explains all these controls. Closely related to the Key Controls is the Track Bar, which is located under the Time Slider. TABLE 20.2 Key Controls Toolbar Button. the laser beam. 3. With the light selected, open the Modify panel. In the Atmospheres and Effects rollout, click the Add button and double-click the Volume Light selection. Then select the Volume. the filtering on the Sample Volume value and can be set to Auto. The Sample Volume can range from 1 to 10,000. The Low option has a Sample Volume value of 8; Medium, 25; and High, 50 . Only Shadow