FUM | How to: 3DS MAX

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Preface

FUM Flexible Urban Modelling ABPL90304

“This subject is a research elective focusing on urban modelling using CAD, photogrammetry and animation technology.”

This is a How to Guide that demonstrates how to use digital sitemodelling as a method of research, site analysis and design and how to use analysis as design driver and blur the boundaries between what might be considered separate entities - analysis and design. it is intended in learning software skills through instruction, and how to research new design analysing methods and how to ‘teach’ whilst recording learning using digital knowledge-capture techniques, serving them within the elective but also in future learning and research.

Contents 1 | HOW TO ‘SELF’ // Class Learnings

1 | HOW TO ‘GROUP’ // GROUP PROJECTS

1] USER INTERFACE

4] CREATING CITY SCAPES (CASE STUDY)

1] MAPPING AND 3D MODELING

A) GETTING TO KNOW THE INTERFACE (CONTROLS AND SHORTCUTS)

B) HOW TO START UP 3DSMAX (UNIT SET UP)

BUILDINGS

C) USING THE COMMANDS

D) MODIFIERS AND MODELING

B) ROADS AND PATHWAYS OF THE CITY

C) HOW TO INSTALL PLUGINS GREEBLE

C) POPULATING - CIVIL VIEW + HUMAN OCCUPATION

D) SETTING UP SUN/LIGHT/CAMERA (FOR RENDERING)

A) USING GREEBLE OBJECTS + TEXTURES

2] CURVES, SPLINES, SURFACES AND GEOMETRY (BASIC)

A) CREATING BASIC GEOMETRIES THROUGH OBJECT PANEL

5] IMPORTING/EXPORTING FILES

B) HOW TO DRAW CURVES - HOW TO MANIPULATE AND CHANGE THEM

(VERTICIES ) TURN ON VERTICES AND SUCH

A) IMPORTING .STL, .3DS, .OBJ FILES

C) IMPORTING/EXPORTING LINES FROM AUTO

C) HOW TO TURN A CLOSED SPLINE GEOMETRY INTO A SURFACE - AND

TURNING INTO A BLOCK (EXTRUDE)

D) CREATING STRUCTURES AND EDITING SURFACES - TALK ABOUT ANIMATE + MODEL

E) MODIFYING GEOMETRIES

F) CUT, COPY + PASTE // COPYING - COPY, INSTANCE AND REFERENCE - APPLICATIONS 3] GEOMETRY MANIPULATION

C) TOPOGRAPHICAL MANIPULATION

CREATING TOPOGRAPHY FROM REFERENCE IMAGES

UPDATING REFERENCE IMAGES THROUGH PHOTOSHOP

MATERIAL EDITOR // TOPOGRAPHY - PROJECTING IMAGES ONTO DISPLACEMENT

D) POLYSURFACES AND ATTRACTOR - OPEN AND CLOSE SURFACES (APERTURES)

E) WIRING AND PARAMETRIC BASED MODELLING

6] RENDERING

A) RENDERING SETUP

B) MATERIAL EDITING

C) RENDERING PROPERTIES

D) RENDERING

A) EDITABLE POLYGONS

B) MANIPULATING POLYSURFACES (TUNRING GEOEMTRY INTO POLYSURFACES AND

ALLOWING GREATER MANIPULATION)

UTILIZING GEOMETRY AND CREATING TERRAIN FROM LINE WORK

7] ANIMATION - PARTICLE FLOWS

A)OSM (OPEN STREET MAP)

EDITING AND CONTRIBUTING INFORMATION TO AN OPEN SOURCE PLATFORM

B) MAPROOM - ‘EXTRUDING’ MAP DATA 2] FROM DIGITAL TO THE PHYSICAL

A) PHOTOGRAMMETRY

B) 3D PRINTING

3] URBAN UTOPIA MODELLING TECHNIQUES, BAKING/EXPORTING AND THIRD-PARTY RENDERING

A) 3DSMAX TO SKETCHFAB

LIMITATIONS OF POLYSURFACE COUNT FOR RENDERINGS

BAKING/EXPORTING

B) RENDERING IN SKETCHFAB

CHAPTER 1: HOW TO ‘SELF’ An Explorative investigation into using 3dsMAX learnt throughout the semester

[1] USER INTERFACE

[1a] INTERFACE

How to: Navigate

Getting to know me

INTERFACE

INTERFACE COMMANDS

The interface allows manipulation of system such as plug in managerment, file saving, importing and exporting...etc

RENDER/ MATERIAL EDITOR

SNAPPING

COMMANDS

Shortcuts Selection: Q Move: W Rotate: E Scale: R

SNAPPING Snapping tools for moving and modeling objects RENDERING

Rendering engine editor, material selection and manipulation.

SCENE EXPLORER

VIEWPORT

The viewport is segmented into four main views, Top, Rght, Left and Perspective. The view can be changed in each viewport but clicking on the top left corner of the view port. To make a certain viewport full screen double click on the viewport tab or CTRL+W.

SCENE EXPLORER

VIEWPORT COMMAND PANEL

The scene explorer shows the objects of the modelling scene in a list format. This can be used to quickly sypher through particular objects.

COMMAND PANEL

The Command panel is the most important in terms of modelling within the scene. It controls the geoemetry aswell as the modifications done to objects.

ANIMATION/ TIME SLIDER FIGURE 1.1.1: 3dsMAC Interface

ANIMATION/TIME SLIDER

TIME + NAVIGATION

Animation slider controls each frame of the animation.

TIME + NAVIGATION

Main navigation, controlling views within viewport.

Allowssolation of objects while in perspective view.

[1b] INTERFACE Setting up 3dsMAX

How to: Unit Set Up Setting up the system’s unit configuration will vary and it is important to check this set up when ever you use different devices with 3dsMAX. The unit set up will dictate the configuration of the model space and can cause onscure projections of the model space when moving between programs (importing/exporting)

FIGURE 1.2.1: Setting up system’s units

[1c] INTERFACE

How to: Commands

Basic Commands

Main Shortcuts Selection: Move: Rotate: Scale:

Q W E R

Selection Selection command allows the picking and choosing of specific objects in the modelign space

FIGURE 1.3.1: Moving Tool

FIGURE 1.3.2: Moving tool - World

Move Move allows the control of location of the object, using the gumball tool while HOLDING shift key locks the direction of the moving axis (by hovering over the direction will also lock the directional axis) Rotate Rotate tool allows the flexible shifting of a geometries axis on multiple axis, while the control panel will enable a ore accurate rotation depending on desired degrees.

Scale Scale command allows the quick adjustment of size of multiple objects. This can be controlled as well as arbitrurary desires.

NOTE**

FIGURE 1.3.3: Rotate

FIGURE 1.3.4: Scale

Plugin’s that requier configuring the systems path need to be restarted (closing MAX). Plugin Manager loading also works for loading plug ins without the need of restarting the software.

[1d] INTERFACE

How to: Command Panel

(Modifiers)

Modifiers + Modeling (INTRO)

Modifiers are the backbone of the modeling space within 3dsMAX and can be found within the COMMAND PANEL (figure 1..)

Editing geometries and be modified directly here, such as changing sizing parameters and subdivisions.

Modifiers Within this section we have a number of ways to quickly modify the desired geometry.

By modifying an object into an EDITABLE POLY you can further manipulate it by choosing specific polygon options such as ; FIGURE 1.4.1: Plane Creation

FIGURE 1.4.2: Choose perspective and view.

Verticies Edge Border Polysurfaces and Element

Each sleection will have different uses/ modifiable options. Clicking on edit polygons in the command panel will enable quick modifications such as extruding and beveling which can be further manipulated.

NOTE**

FIGURE 1.4.3: Bevel + Extrude

FIGURE 1.4.4: Inset Manipulation

There are a number of different modifiers within the 3dsMAX interface and can be used quite intuatively and in conjunction with one another but will be firther discussed later.

[1d] INTERFACE

How to: Object and (WSM) modifiers

Object Modifier and World-Space Modifiers (WSM)

Modifier: Subdivide it is important to note that there are some modifiers that outline two strands of the same modifying component, World-Space Modifiers and Normal Modifiers for example the subdivide component;

2

1] Subdivide (WSM)

subdivide World Space Modifier (WSM) refers to the surrounding ‘world’ within the model space. Acting as object Space-warps (explained later in page....) WSM modifiers use WORLD SPACE rather than the object space for its effects.

Assigning world-space modifier to an object appears at the top of the modifier stack, controlling ALL of the other modifiers previous.

1

2] Subdivide

Subdivide modifier is only appleid to the object-space therefore is used when objet modeling Utlizing eaither modifier is beneficial within the modelign process, however it is important to distinguish the two to maximise modeling potential

FIGURE 1.4.5: SUBDIVIDE - Surface manipulation

[1e] INTERFACE

How to: Plugins

Downloading + Installing Plugins // GREEBL

Finding the approriate plugin for 3ds max such as greeble can be found on websites such as Max.Klanky and Scriptspot.

Greeble is a ‘installation’ based plug in that requiers the embedding of a .dlm file into the software.

Some plugins (explored later) will only requier a simple click and drag, followed by a step by step installation. Greeble however, requiers the user to infiltrate the systems plugin’s file.

FIGURE 1.5.1: GREEBLE DOWNLAOD

FIGURE 1.5.2: GREEBLE

NOTE**

FIGURE 1.5.3: GREEBLE - Installing

FIGURE 1.5.4: GREEBLE - Interface

Plugin’s that requier configuring the systems path need to be restarted (closing MAX). Plugin Manager loading also works for loading plug ins without the need of restarting the software.

[2] CURVES, SPLINES, SURFACES & GEOMETRY

[2a] Geometry & Objects

How to: Geometries + Objects

Generating Basic Geometries

Through the Command Panel you can generate different types of geometries and objects, ranging brom basic to complex poly-shapes - each shape is able to be manipulated within the modifier component.

OM

S EM P ST AR SY W E AC SP RS E LP HE S T GH LI S T GH LI E AP Y SH ETR

GE

The first tab within the command tool is the GEOMETRY tab which enables a range of variable geoemtries to use as a base modeling component.

Standard Primitave Standard primitave is the most commonly used category within the geometry tab as it accesses primitave and basic shapes FIGURE 2.1.2: Standard Primitave Object Creation

Extended Primitave extended primatives allow the access of slightly more complex geoemetries, ones that are more uncommon but are likely to be used.

These are the fundemental geometry primatives that will enable you to furhter manipulate and model with, while other Categories within the geometry tab cover a different functionaility which is covered later in the guide.

FIGURE 2.1.1: 3dsMAX Interface

FIGURE 2.1.3: Extended Object Creation

[2b] Curves, Lines & Splines Drawing lines and curves // Freeformed

How to: Lines and Splines Lines and Splines are also generated through the Command Panel but within the SHAPES tab.

Line tool can be controlled in many ways; whether as free formed sketching or accururate snapping to create specific geometries. The line tool can enable a user to edit and re-draw organic shapes.

Controling the ‘curvature’ of lines can be conrolled through the modifier control panel or controlled by CLICKING and DRAGGING the right mouse button to achieve a desired curvature.

When finished double click or clicking back onto the line will snap it back into completion.

Verticie Manipulation 3dsMAX follows the simple Bezier curve geoemetry that enables manipulation of points along the curves result in changing its curvature.

FIGURE 2.2.1: SPLINES

[2c] Splines & Surfaces

Closing Splines to create Surface Objects

How to: Lines to Surfaces Closing splines and curves will create boundaries that are able to be turned into surfaces.

Using the modifier tool; EXTRUDE you are able to extrude the desired form turnign it from a 2d linework into a 3-Dimensional object.

Using the command panel you can furhter control the extursion of the geometry

FIGURE 2.3.1: 3D Extrusions of close Splines

[2d] Creating Objects and Editing Surfaces Multiple Modifiers on 3d Geometries

How to: Multiple Modifiers Using the Modifier component like a layering process, allows each component to extrude apon each of the previous modifier.

Shown in figure .... the process of TWISTING and BENDING of a simple 3-Dimensional box object is developed as a sequence.

By changing the original geoemtry’s (Box) parameters can also change the way modifiers after it will react.

FIGURE 2.4.1: Modifiers

[2e] Modifying Geometries Creating Structure from Geometry

How to: Modifying basic Shapes Through the standard primitave cetegories of the GEOMETRY tab explained previously (pg...) basic geoemtries are able to be further manipulated to create desired forms/ objects.

A simple sphere can be turned into a geodisic dome through altering the parameters of its segments.

FIGURE 2.5.1: Creating a Dome

[2e] Modifying Geometries

How to: Structure Modeling External Lattices

Creating Structure from Geometry

Modifier: Lattice

1

By changing the paramaters of the segmentation of a dome, using modifiers such as LATTICE changes the geoemtry into a structural entity The internal dome is copied and turned into an external lattice structure.

2

Components: + Struts + Joints Struts - Control the sizing of the connecting edges Joints - Changes the geometry and ‘smootheness’ of each verticies (node)

FIGURE 2.5.2: Creating Structural Members through Lattice modifier

[2e] Modifying Geometries Creating Structure from Geometry - Materiality

How to: Rendering Materiality Material Editor

The material editor allows the instant visualisation of materials within the model space.

Changing and editing the material pallet in the material editor panel allows the ability to manipulate colours and textures to achieve the desired visual outcome.

Changing Visible Material using 3dsMAX material editor for quick modeling.

For furhter rendering see page .. []

FIGURE 2.5.3:Material Assignment

[2f] Cut, Copy + Paste

How to: Copy + Edit

COPYING - Copy, Instance, Reference

The copy tool within 3dsMAX is more intuative as it allows teh possibilty to have a ‘father’ object that is either; 1) Copied from 2) Instanced from or 3) Referenced from

COPY // CLONE

Normal copying of an object is the duplication of the chosen geometry

COPY // INSTANCE

Copying-instance of an object will create a ‘sibling’ object that is an exact clone and is able to be manipulated where each cloned object is reciprocal to change. this is useful when there are alot of the same objects within the same scene and you want to edit all at the same time.

COPY

FIGURE 2.6.1: Copying and Instancing

INSTANCE

Shortcut: CRTL + V to cop

[2f] Cut, Copy + Paste

How to: Copy + Array

COPYING - Copy, Instance, Reference

COPY // REFERENCE

Like instance however it enables more fludity between the two objects, where instead it is more of a ‘father’ and ‘offspring’ relationship Where the original ‘father’ object will dictate how both the objects will form - the ‘offspring’ object is still able to be modified and edited while under the control of the father.

ARRAY

using the copying commands in conjunction with ARRAY is beneficial for quick and multiple modeling.

REFERENCE FIGURE 2.6.2: Referencing objects and Array

ARRAY

[3] GEOMETRY MANIPULATION

[3a] EDITABLE POLYGONS Geometry modeling

How to: Editable Polygons Changing the mesh to an editable polygon in the modifier panel alters the range of possibilities for manipulation as explored earlier in Ch[1d] and Ch[2d] Right click on the object you want to convert and convert to edit poly or convert within the modifier dropdown searching for EDIT POLY

When converted to an editable polygon, verticies, edges, Border, Polysurfaces and Elements are able to be manipulated.

FIGURE 3.1.1: Box Creation > Editable Poly

[3a] EDITABLE POLYGONS Geometry modeling

How to: Editing Vertices When editing Vertices, using the command panel/shortcuts will quickly allow intuitive modelling; such as editing vertices using move control to collapse/unfold/expand geometry.

FIGURE 3.1.1: Box Creation > Editable Poly

the vertices of a geometry contains the nodes of intersections of edges that segments the object. The number of editable vertices can be reduced and increased by simply adjusting the parameters of the original object through the command panel (number of segments) Controls: Holding down CTRL to add multiple vertices to selection, Holding down ALT to deselect multiple vertices from selection

FIGURE 3.1.2: Verticie Manipulation

[3a] EDITABLE POLYGONS Geometry modeling

How to: Editing Polygons Like editing VERTICES, editing polysurfaces is much more flexible in terms of manipulation.

Explained earlier in Ch[1d] polysurfaces can be quickly manipulated by the EXTRUDE, BEVEL, INSET...etc modifiers.

FIGURE 3.1.3: Polysurface Manipulation

[3a] EDITABLE POLYGONS

How to: Attatch Objects

Geometry modeling - Attatching objects

An interesting aspect of geometry modeling within 3dsMAX is its ability to ATTACH objects with one another.

By attaching an object with another object (duplicate or not) it provides the ability to create links and connection between the two objects within the modeling space.

FIGURE 3.1.2: Copying Objects for Reference

FIGURE 3.1.3: Rotating object

FIGURE 3.1.4: Attatching objects together

FIGURE 3.1.5: Bridging Faces

[3a] EDITABLE POLYGONS

How to: Edit Attatched Objects

Geometry modeling - Attatching objects

Creating a ATTACHMENT between geometries/objects opens a range of possible modeling modifiers, such as; 1) Bridging 2) Twisting and segmenting 3) Tapering 4) Smoothening

FIGURE 3.1.6: Bridging Polygons

FIGURE 3.1.7: Adjusting Geometry of Bridges

FIGURE 3.1.8: Twisting and Bending

FIGURE 3.1.9: Smoothing the bridge

[3a] EDITABLE POLYGONS

How to: Selection + Deleting

Geometry modeling - Selection and Deleting Polysurfaces

Selection

Selecting multiple polysurfaces paired with using the INSET command allows the user to offset frames within each individual polygonal surface. This provides the opportunity to create ‘windows’ and voids within the object.

Deleting

When deciding to delete or replace objects/ surfaces/verticies etc it is important to never delete the object completely from the scene but apply a DELETE MESH modifier.

This way the object/geoemtry isnt lost but is merely replaced with a void.

FIGURE 3.1.10: Insetting Polysurface

FIGURE 3.1.11: Using Delete modifier to rid the inset polysurface

FIGURE 3.1.12: Extruding Verticies

NOTE** with the mesh modifier the deletion can be turned off and on at any given time, while deleting the object/geometry completely from the scene will not recover the object even with the REDO command (CTRL+Z).

[3a] EDITABLE POLYGONS

How to: Turbosmooth reference

Geometry modeling

When modeling, it is always a battle moving between quick test modelign and final object rendering - therefore it is also beneficial to create a replicant model that is updated in real time while is able to also showcase the desired ‘rendered’ perspective within teh same odelign space.

REFERENCED objects, Ch[2f, is useful in this case - enabling the orginal file as a referencing/qucik modeling object wil the second object as a visual geoemtry for final rendering.

2 1

FIGURE 3.1.13: Turbo Smoothing Reference Object

1] ‘Parent’ Object for quick modeling 2] Turbo-smoothed object for visualisation.

[3b] Manipulating Polysurfaces Planar modeling

How to: Edit Planar Surfaces // create topogrophical surfaces Creating Planar surfaces and editing the verticies will enable the opportunity to manipulte its surface to create interesting undulations. It does However limit the user to create very abrupt formations where the curvatures of the surface are not realstic.

When editing teh verticies, you can collapse/ unfold/expand the geometry while utilizing short cut keys such as the CTRL ket to ADD more verticies to the selection and ALT to deselect.

FIGURE 3.2.1: Planar Surface Extrusion from Verticies

[3b] Manipulating Polysurfaces Planar modeling

How to: Editing extrding By turning on the soft selection tool in the modifier list when editing verticies, allows the selection of the surrounding elements that is immediate proximity to the main selected node. This parameter can be edited to change the radius of the soft select, in which will change the outcome of the selection/extrusion.

FIGURE 3.2.2: Planar Surface - Soft selection of verticies

[3b] Manipulating Polysurfaces Planar modeling

How to: Editing extrding This simple tool can be very usful in create topogrophical modeling sites as it allows smoother undulations. Where the soft selection is not limited by only the verticies component but can be used for all of the editing points.

The colours fo the softselection represent the intensity of the manipulation, where the main selected node will be affected the most (red) and as it moves away from the main selection (blue) it reduces its intensity.

FIGURE 3.2.3: Planar Surface - Soft selection of verticies

[3b] Manipulating Polysurfaces Planar modeling

How to: Editing extrding Continuing the extrusion of a surface can also be as simple as editing the ‘edges’ of the planar surface. This can be especially usefull when the geoemtry set out from the start is not correct aswell as enables a more versatile component of modeling.

FIGURE 3.2.4: Planar Surface - Editing Edges

[3b] Manipulating Polysurfaces

How to: Editing extrding

Planar modeling

Modifier: Turbo Smooth

1] selecting edge selection and holding

down shift key while dragging mouse extends/copies the planar surface enabling user to edit.

2) creating reference object to allow further

manipulation

3) reference planar surface and

turbosmoothed to allow real time modeling, making updates to original reference plane will update the turbo smoothed surface FIGURE 3.2.5: Extending the planar surface

FIGURE 3.2.6: Creating Referenced object

2

FIGURE 3.2.7: TurboSmoothing Referenced Object

FIGURE 3.2.7: Manipulating one geometry affects both

4] extending/cropping the original object

affects the reference layer without having to do everything onto the one model. can see direct and quick modeling

[3b] Manipulating Polysurfaces

How to: Editing extrding

Planar modeling

Subdividing the Surface in preperation for furthur manipulation is dependent on the location and amont of node verticies and edges there are on a geoemtry. By altering and modifying these aspects will enable greater manipulation. Introducing the turbosmoothed modifier on the second referenced object will showcase the extrudion holes within the geoemtry when deleting the polysurfaces.

FIGURE 3.2.8: Further Subdividing surfaces

FIGURE 3.2.9: Positioning Nodes on surface

FIGURE 3.2.10: Selecting Polysurfaces for Deleting

FIGURE 3.2.11: Analysing Holes within Surface

[3b] Manipulating Polysurfaces

How to: Shell and ready for 3d printing

Planar modeling

in order to 3d print the geometry or give the planar surface some depth, Shelling the surface will enable the user to adjust the thickness accordingly

‘OVER EXTRUSION’

FIGURE 3.2.12: Shelling flat geometries provides thickness that can be ready for 3d printing

NOTE** it is important to understand that by adjusting the inner amount and outer amount will differ dependign on the GEOMETRIES of the object - risking ‘over extrusion’ and ‘folding’

[3c] Topographical Manipulation

How to: Create Topography from Referenced images

Planar Surface Modeling

3dsMAX is able to also create topographical surfaces from DISPLACEMENT referencedimage files such as .PNG, .JPG, .TIFF etc.

‘Read-able’ .PNG? 3dsMAX reads the mono-toned colour gradient to determine the displacement and dispercement of the heights.

‘READABLE’ .PNG

NOTE** FIGURE 3.3.1: Monochrome .PNG images used to displace surfaces in 3dsMAX - Readible files

It is also beneficial to understand that any image can be displaced and turned into a topography, depending on its colour gradient mapping.

[3c] Topographical Manipulation

How to: Create Topography from Referenced images

Planar Surface Modeling

Modifier: Displacement 3dsMAX is able to also create topographic surfaces from DISPLACEMENT referenced image files such as .PNG, .JPG, .TIFF etc.

3dsMAX reads the mono-toned colour gradient to determine the displacement and displacement of the heights.

FIGURE 3.3.1: Displace Modifier

FIGURE 3.3.2: Integrating Bitmap file into displace

FIGURE 3.3.3: Increaing Strength of Displacement

FIGURE 3.3.4: Displacement Compare

[3c] Topographical Manipulation

How to: Editing Referenced images

Planar Surface Modeling

Modifier:

Displacement The DISPLACEMENT modifier integrates a live updated system that reads the reference image in real time.

Using tools such as ADOBE PHOTOSHOP to quickly draw on, updates the referenced image in real time.

FIGURE 3.3.5: Bitmap Editing

FIGURE 3.3.6: Photoshopping monochrome colorization to edit displacement

.PNG > PS > 3dsMAX

FIGURE 3.3.7: Updated Displacement

FIGURE 3.3.8: Further Bitmap editing

[3c] Topographical Manipulation Planar Surface Modeling - Material Editor

How to: Material Edit Reference As explained earlier, the material editor enables realtime visualisation of materials apon an object.

Using this method you can apply an image onto a surface and displace the object accordingly.

NOTE** This material editor is for the newer versions of 3dsMAX, which can be found in the; MODES>SLATE MATERIAL EDITOR..

Select a STANDARD material pallet into the material editor to enable a BITMAP component to plug into the material editor.

FIGURE 3.3.9: Material Editing to displace

[3c] Topographical Manipulation

How to: Material Edit Reference

Planar Surface Modeling - Material Editor

Modifier:

Displacement Another technique to displace a surface to create a topography is to RENDER MAP a surface.

This process allows both the displacement of a surface to create topography while also projecting the image onto its surface.

FIGURE 3.3.10: Possible to utilize colorized photos to displace

FIGURE 3.3.11: Integrating any bitmap photo

FIGURE 3.3.12: Remapping Displacement Projection

FIGURE 3.3.13: Increasing the strength of Displacement

[3c] Topographical Manipulation Height Gradient Analysis

How to: Create Topography Modifier: Noise

In 3dsMAX it is possible to analyse topographical undulations by breaking down and remapping its height parameters to project a gradient on its surface through the material editor.

Creating a ‘quick’ topography can be done through the modifier, NOISE. Noise distorts and undulates a planar surface by taking in its x,y and/or z direction and generates a noise that distorts its geometry based on the segments of the plane.

This will create the curvatures and height of the topography to analyse

FIGURE 3.3.14: Noise Modifier to create undulations without bitmap

[3c] Topographical Manipulation

How to: Material Edit Gradients

Height Gradient Analysis

Assigning colours can be reconfigured through the diffuse colour sub-component of a ‘STANDARD’ material pallet. The Gradient component as a material editor can assign colour variations to a deformed surface depending on different values along either its x, y or z axis.

This can be controlled within the material editing interface or under the UVM mapper modifier.

The gradient colour component will project different colour on a spectrum specified within the material editor, which can be changed depending on the parameters of distance/length.

FIGURE 3.3.15: Material Editor to project colourization

FIGURE 3.3.16: Gradient colourization

FIGURE 3.3.17: Material Editing

FIGURE 3.3.18: Projected Gradient

[3c] Topographical Manipulation

How to: UVM Edit and Fit

Height Gradient Analysis

Modifier: UVW Map

UVM PLANE

By remapping the UMV direction, the gradient/material projected onto the geometry will reparameterize its orientation (as explained earlier) depending on its requirement.

The UVM Plane will dictate the gradient projection onto the geometry, In the case of the geometry protruding the UVM’s plane dimensions, the gradient projection tile will significantly be ‘cut’ as shown in... by altering the dimensions of the plan or by click ‘fit’ the gradient projections will be

FIGURE 3.3.19: Alignment of UVM Plane - X position (horizontal)

FIGURE 3.3.20: Alignment of UVM Plane - Y position (Verticle)

‘TILING’

FIGURE 3.3.21: Tiling of Colourisation dependent on UVM Plane boundaries

FIGURE 3.3.22: Adjusting UVM Plane

remapped.

[3c] Topographical Manipulation

How to: Material Edit - Gradient Ramp

Height Gradient Analysis

Gradient Ramp is more of an ‘intuitive’ way of projecting a gradient map onto a geometry and is more flexible in terms of its limitations.

With Gradient Ramp, it can also change its gradient direction, where it doesn’t have to be a Linear gradient but also radial, box, diagonal...etc Using the ‘Slider’ tool, the colour pallet can be easily manipulated, while also allowing more colours to be added to the pallet by double clicking on the colour gradient.

FIGURE 3.3.23: Gradient Ramp editor

FIGURE 3.3.24: Adjusting Paramters of gradient

In terms of flexibility this can be used to create various projections that is not limited to gradient mapping, such as ‘quick contouring’ ‘Gradient Ramp can be found underneath the Gradient Material Component.’

GRADIENT SLIDER

FIGURE 3.3.25: Gradient Slider more intuative way of colourisation

FIGURE 3.3.26: Contouring through manipulation of gradient slider

[3d] Polysurface and Attractors

How to: Subdivide surface

3d Objects and surfaces // Closing/Opening Apertures

Modifier: Subdivide MeshSmooth Subdivide Subdividng the surface(s) of the orginal box into segments for further manipulation MeshSmooth re-paramaratizes the parameters of the surface. creating a more intricate subdivision

FIGURE 3.4.1: Subdivided Box for patterning

FIGURE 3.4.2: Meshsmoothed pattern

[3d] Polysurface and Attractors

How to: Attractor OBJECT

Setting Attractor OBJECT

Setting Up attraction point

Modifier:

VOL. SELECT Turnign the desired affected object into a editable poly after successfully subdiving its surface will re-parametize the geoemtry and cosntruct it s a singular object.

With the VOL.SELECT modifier enables the soft selection explored in Ch[3b] to be applied to a third-party object and enable that object to change the paramters of the original geometry by distance.

FIGURE 3.4.3: Convert geometry into an editable poly

FIGURE 3.4.5: Softslection through object

FIGURE 3.4.4: Vol.Select Modifier verticie selection

[3d] Polysurface and Attractors ‘BREAKING’ polysurface

How to: ‘Break’ object To be able to control the polysurfaces of a geometry and enable an attractor object to OPEN/CLOSE an object, the polysurfaces of the object must first be detatched and individualized BREAKING the geometry from its vertices, effectively explodes each vertice and allows each polysurface to become individual entities that orients around its own pivotal point.

Select VERTICES and select ALL or CTRL+A

FIGURE 3.4.6: Breaking the verticies of the geometry to ensure each polysurface is independent and not grouped

[3d] Polysurface and Attractors MORPHER - Scaling Polysurface APERTURE

How to: Open/Close Apertures

MORPH 1

Modifier: Morpher

Morpher allows re-parametrization of an object through scenes.

Morph 1 Setting the first target morpher to the original geometry of the box, setting the current state of the geometry as a the CLOSED aperture

FIGURE 3.4.7: Morpher Modifier

FIGURE 3.4.8: Setting the first scene

MORPH 2

Morph 2 Scaling the same object’s polysurfaces by scaling each individual surface down to create the OPENING apertures. Right-click on scaling tab to open Scale Transforme Type to Offset:world Scale (figure...1.)

Setting the new current scene with the scaled surfaces as shown in figure .... will juxtapose both scenes with one another.

It is also important to set the first scene of the morph to a 100.00 value to fully close the geoemtry.

NOTE** Set SCALING command to uniform scaling by holding down on the left-mouse button FIGURE 3.4.9: Scaling Each polysurface independent of its centroid

FIGURE 34.10: Setting up the second aperture

on the scaling tab to enable uniform scaling.

[3d] Polysurface and Attractors

How to: Inverting Apertures

MORPHER - Inverting Selection // MMoving Apertures

ORIGINAL

Simply by re-parameterizing the vol.select modifier and clicking the invert selection method the selection of open/close apertures flips.

Now you have a fully working and responsive facade system, scaling and shifting in reciprocal to the positioning of the ATTRACTOR GEOMETRY.

FIGURE 3.4.11: Original Selection

FIGURE 3.4.12: Reverse Selection

INVERT

FIGURE 3.4.13: Opening of Apertures as its proximity to the object

FIGURE 3.4.14: Parameterically affecting the box at points dependent on location

NOTE** This works on ANY base Geometry and the transformation is not just restricted to the SCALING of the apertures, but can also be applied to other transformation methods. see .... for futher details.

[3e] Parametic Modeling - WIRING

How to: Wire Objects

Objects and Attractor points - Parametric Modeling

Wiring objects within 3dsMAX is a useful technique to parameterize geometries for a responsive and complex yet simple way to edit/manipulate geometries.

Like using attractor points as previously explained in Ch[3d] Wiring objects can create interesting and informative outcomes ‘scripted’ by the user.

Geometry

The geoemtry is the desired object to replicate and manipulate.

GEOMETRY

ExposeTransform

is found within the HELPER tab in teh command panel. It is a helper that shows the information of the tranform information of an object.

Attractor/Dummy EXPOSETRANSFORM

ATTRACTOR/ DUMMY OBJECT

FIGURE 3.5.1: Parametric Wiring utilizes 3 main objects

This is the object that will determine the adjustment/manipulation of the geoemtry.

[3e] Parametic Modeling - WIRING Objects and Attractor points - Parametric Modeling

How to: Set up ExposeTranform To accuratly ‘expose’ the information of the transform of an object, aligning the exposetransform with the object/geometry is neccessary.

By doing so it reveals all off the information of the transform within the command panel on the right.

FIGURE 3.5.2: Setting Up Dummy object

FIGURE 3.5.3: ExposeTransform Object

FIGURE 3.5.4: Aligning exposetransform to sphere

FIGURE 3.5.5: Exposing the details of the sphere

[3e] Parametic Modeling - WIRING Objects and Attractor points - Parametric Modeling

How to: Set up ExposeTranform Instead of using the information in relation to the PARENT of the object we want to introduce a secondary geometry to parametrize our information.

Un-tick the ‘parent’ box will enable the assignment of a Local Reference Node which will be the attractor geometry, in this case the DUMMY OBJECT. While the Expose Node is the referenced geometry

FIGURE 3.5.6: Referenceing the local reference of the dummy object unchecking parent object

FIGURE 3.5.7: Referencing the object

FIGURE 3.5.8: Linking the dummy object

FIGURE 3.5.9: Exposing the distance from sphere to dummy object

Clicking on the ExposeTranform tool, quickly found through the SCENE EXPLORER will show the information of the transform, in particular the DISTANCE from the Expose Node to the Local Reference Node. This is the important parameter that will be used to reshape and resize the geometries.

[3e] Parametic Modeling - WIRING Objects and Attractor points - Parametric Modeling

How to: Wire Parameters By allocating the referenced objects, wiring the desired Geometry to the ExposeTransform can be found under the ANIMATION tab.

The wiring of the geometry in this instance is to wire its RADIUS (to be manipulated) to the ExposedTransform in relation to its DISTANCE to the Local Reference Node (Dummy Object) This tells the script within 3dsMAX to parameterize the sizing of the radius of the sphere geometry reciprocal to the distance relationship it has with the dummy object.

FIGURE 3.5.10: Wiring Animation

FIGURE 3.5.11: Object: Radius affect

The Parameter Wiring Component is the control panel that initializes the process, where the right showcases the ExposeTransform information while the left has the sphere geometry when the ExposeTransform drives the geometry.

Connecting the two parameters together creates the expression of the WIRING to initialise, where in this case, it says that; the radius of the sphere is equal to the distance of the two nodes

FIGURE 3.5.12: Exposing the distance paramter

FIGURE 3.5.13: Paramatric wiring dialog, Setting Expressions and linking rules

NOTE** This expression can be altered by applying simple maths for example, if the object is too large or too small, the distance paramter can be multiplied or divded by to achieve the appropriate scale.

[3e] Parametic Modeling - WIRING Objects and Attractor points - Parametric Modeling

How to: Wire - Scaling With Wiring set up, the script will scale the RADIUS of the sphere geometry by the distance of the two NODES accordingly in real-time.

This can be pushed further to create MULTIPLE objects scaled ina 3-Dimensional Platform through COPY and ARRAY

FIGURE 3.5.14: Expression set dictates the radius of sphere, determiend within wiring dialogue

[3e] Parametic Modeling - WIRING Objects and Attractor points - Parametric Modeling

How to: WIRE - Multiple To replicate/copy the editable geometry both the object AND ExposeTransform must be cloned.

This is to enable the information of each transformed object to read as each individual object.

FIGURE 3.5.15: Adjusting Sphere

FIGURE 3.5.16: Array Expose Tranform and Sphere

NOTE**

FIGURE 3.5.17: Array over 2d

FIGURE 3.5.18: Array 3-dimensional

If you want to rechange the expression of the distance then the whole copyign process has to restart as changign the wiring parameter will only affect the ORIGINAL wired object

[3e] Parametic Modeling - WIRING Objects and Attractor points - Parametric Modeling

2-DIMENSIONAL

3-DIMENSIONAL

[4] CREATING CITY SCAPES

[4a] Creating Utopian Cities

How to: Greeble

Buildings - GREEBLE (plugin)

After installing the plugin ‘Greeble’, we are able to use its modiying component to manipulate the geoemtry of a desired surface and extrude buildings.

Greeble enables a randomization of heights within the segmentation of a surface.

By manipulating the subdivisions of a polysurface it is possible to create arbitrary city blocks instead of rectlinear extrusions.

Panels/Buildings After selecting the poylsurfaces to extrude using greeble, the Min and Max hieght values can be adjusted to create randomized undulations - mimicking that of a city scape.

FIGURE 4.1.1: Editable poly

FIGURE 4.1.2: Selecting Polysurfaces to greeble

FIGURE 4.1.3: Greebling

FIGURE4.1.4: Editing widgets

Widgets Widgets can be turned off and manipulated aswell as the panels/buildings. Widgets are the extrusions ontop of the buildings.

[4a] Creating Utopian Cities

How to: Greeble 2

Buildings - GREEBLE (plugin)

‘Greebling’ dosnt stop at the singular surface extrusions, but can also be applied to objects to create different requierments, such as turning rectilinear building extrusions into hyper-dense, futuristic dystopias.

FIGURE 4.1.5: Beveling The streetscape

FIGURE 4.1.6: Selecting the Sides of the towers

HYPER-CITY FIGURE 4.1.7: Greebling the side of the buildings for more hyper dense sity scapes

FIGURE 4.1.8: Hypercity encased by the dystopian city

CITY

[4a] Creating Utopian Cities

How to: Greeble - Textures

Other Applications of Greeble - Texture Creation

‘Greebling’ has the capacity to also create Objects and Textures, For instance turning a Sphere Into the Deathstar, or turning a surface into Brick tiles.

The capabilities of ‘Greebling’ dosnt stop at ‘buildings’

DEATHSTAR

ProBoolean two spheres, subdividing the surface and Greeble.

TEXTURE MODELING

FIGURE 4.1.9: Boolean Subtraction

BRICK TILES FIGURE 4.1.11: Creating Textures and materials

FIGURE 4.1.10: Greeblign sphere to create Deathstar

TIMBER WALL FIGURE 4.1.12: Greeble capabilties To create different textures

Creating textures such as brick tiles and timber panels can also be acheived throguh greebling as it extrudes the subdivided surfaces and controling min and max hieghts of the undulations.

[4a] Creating Utopian Cities Other Applications of Greeble - Texture Creation

How to: Greeble - Textures ‘Greebling’ has the capacity to also create Objects and Textures, For instance turning a Sphere Into the Deathstar, or turning a surface into Brick tiles.

The capabilities of ‘Greebling’ dosnt stop at ‘buildings’

DEATHSTAR

ProBoolean two spheres, subdividing the surface and Greeble.

TEXTURE MODELING

Creating textures such as brick tiles and timber panels can also be acheived throguh greebling as it extrudes the subdivided surfaces and controling min and max hieghts of the undulations.

FIGURE 4.1.13: Integrated Scenes

[4b] Creating Utopian Cities

How to: Create ‘Organic’ Cities

Other Applications of Greeble - Texture Creation

in the case of generating randomized city scapes with a bit of ‘control’, 3dsMAX allows two geometries (city and edited surface) to intersect one another and create interesting formations.

By linking the two object together creates a relationship, which therefore then can be interected with one another.

FIGURE 4.2.1: Surface and greeble creation

FIGURE 4.2.2: Linking Objects

FIGURE 4.2.3: Changing the material to create a transparent working field

FIGURE 4.2.4: Moving the undulations to slice at the greebled city

[4b] Creating Utopian Cities Other Applications of Greeble - Texture Creation

How to: Create ‘Organic’ Cities By altering the material properties of the edited surface to a transparent surface it is possible to view what is happening the city underneath.

This then allows the user to manipulate and alter the surface through the planar manipulation paired with the soft selection too to create more of undulating spaces.

FIGURE 4.2.5: Soft selection to adjust adn manipulate topography

[4c] Roads + Pathways SPLINE / SURFACE CREATION

How to: Splines for Roads To set up the road and padestrian sidewalks of a city, setting up splines that will enable a simple ‘lofting’ of an object will be needed to appropriatly guide the pathways.

FIGURE 4.3.1: Spline road creation

[4c] Roads + Pathways SPLINE / SURFACE CREATION

How to: Base Geometries for Road Drawing COMPLETED splines to formulate the loft, where capped geoemtries will not work, only line drawings.

When finished with the line drawings to ensure that the geometry is a CLOSED object, in the midifier panel slect all of the exposed verticies and WELD the verticies together. One thing to note is that when welding, it is crucial that the verticies are adjacent and in close proximity to one another, otherwise welding will not work.

1] Road

The 2d Road geoemtry has two main elements, the padestrian walkway and the road itself.

2] Road access

the road access line drawing is used to break up the road and enter in access paths from the road to the pathway.

FIGURE 4.3.2: Flat Geometry 2d line drawing ready to sweep

[4c] Roads + Pathways SPLINE / SURFACE CREATION

How to: Sweep Modifier: Sweep the sweep modifier allows a flat 2d object to be lofted around a continuous spline, augmenting a 3d object that is reciprocol to the 2d geometry. By selecting the ‘custom’ line works you can set the sweep to any geoemtry desiered.

FIGURE 4.3.3: Sweeping and picking objects

[4c] Roads + Pathways SPLINE / SURFACE CREATION

How to: Road + Pathways Pathways can be simply created through this method, where later manipulation can be added to the pathways such as populating the streetscape. This will be later explained.

FIGURE 4.3.4: Road and Pathways Sweep

[4d] Setting up Sun/light/camera LIGHTS / SUN / CAMERA SET UP

How to: Sunlgiht + Daylight To attain accurate readings of sun penetration on the model, proper daylight must be set up to attain shadows.

Both of these components are very similar however the daylighting componenet enables more possiblities in terms of analysis.

FIGURE 4.4.1: Daylighting and Sunlighting

[4d] Setting up Sun/light/camera

How to: Sunlgiht + Daylight

LIGHTS / SUN / CAMERA SET UP

Sunlight:

Sunlight applies the direct sun radiation of the solar pathways

Daylight:

Daylighting attain both direct and indirect illuminance. where daylighting will requier you to adjust the daylighting system.

Which ever the choice there is no drastic difference in terms of rendering capabilties.

It is also important to note that the sizing of the compas is directly aligned to the testing fiel that sunlgiht will be penetrating onto.

FIGURE 4.4.2: Sunlight

FIGURE 4.4.3: Daylight

FIGURE 4.4.4: Detting up for daylighting

[4d] Setting up Sun/light/camera LIGHTS / SUN / CAMERA SET UP

How to: Setting Up the sun Within the modifier tab of the daylighting modifier, we are able to assign an accurate depiction of time and place in accordance to sun trajectories within a year, in any place.

In this case Melbourne, Australia. This can be altered when ever.

FIGURE 4.4.5: Setting up locations for sun analysis

[4d] Setting up Sun/light/camera

How to: High Quality View

LIGHTS / SUN / CAMERA SET UP

Switching the view properties on the top left corner of the model scene will enable the user to change the viewing aspect of the model. to view the sun tangent and shadows in real time switch the standard view to high quality view.

Changing the time and date of the sun vector can also be attained through the MOTION tab on the right hand side.

FIGURE 4.4.6: Daylight tangent

FIGURE 4.4.7: Adjusting time

FIGURE 4.4.9: Adjusting time

[4d] Setting up Sun/light/camera (for rendering) LIGHTS / SUN / CAMERA SET UP

How to: Create Camera’s Setting up camera Views can be accessed through the views drop down tab or by pressing CTRL + C as a shortcut.

By initially setting up the camera view locks the current position within the viewport. you cannot change the view unless you change both the camera and the camera target independently.

FIGURE 4.5.1: Setting Camera views, CTRL + C

[4d] Setting up Sun/light/camera (for rendering) LIGHTS / SUN / CAMERA SET UP

How to: Control the Camera Editing the camera views is a little hard to get use to but very worth it. It enables a view port to be locked in a certain position and can sometiems reveal more. Utilizing the 4 main perspective views is important when adjust teh cameras as it enables more versatility and stops the object from snapping.

Camera

The camera view is the tangent in which the eye level of the person is at. Where ever this camera view is positioned the is where the eye of the person is. within this objective it is also possible to manipuate the camera view aspects, such as its depth of field, lens length and aperture.

Camera Target

The camera target makes sense of the camera view where positioning the camera target helps posititions the target of viewing.

FIGURE 4.5.2: Adjusting camera angles

[5] IMPORTING/EXPORTING FILES

[5a] Importing/Exporting Files Overview

EXPORT

How to: Import/Export 3dsMAX is able to model with/from a number of different files. aswell as being capable of exporting a wide variety of file types Such as; .DWG .3ds .3dm .OBJ .STL

IMPORT Each file .... will obtain different polygon/ mesh counts and therefore will affect its modeling capabilities, therefore it is crucial to understand and determine which files is necessary when importing INTO max aswell as when exporting OUT of max into other programs.

FIGURE 5.1.1: Importing//exporting files

[5b] Importing Terrains

How to: Import/Export

.Dwg Files - Lines from AutoCAD

When importing the geometry it is very important to set the file up correctly so the same geo-location will be used with the rest of the models through the multiple software platforms. It also ensures that the scale of the model will be preserved.

In the case of the contours from autoCAD it is important that the objects and lines are of a grouped character.

FIGURE 5.2.1: Importing CAD Linework

FIGURE 5.2.2: Correctly scaling and grouping objects before initial merging

FIGURE 5.2.3: Terrain Integration

[5b] Importing Terrains

How to: Terrain

.Dwg Files - Lines from AutoCAD

Modifier: Terrain

The imported terrain created throguh line contours can be turned into a cmplex mesh through the TERRAIN modifier. In this situation, it is able to reduce the complexity of the mesh aswell through its modifier panel.

FIGURE 5.2.4: Compund objects to create 3d terrain

FIGURE 5.2.5: Terrain Object

[5b] Importing Terrains Editing Terrains

How to: Edit Terrains Creating an analysis of terrain is also possible, by specifying COLOR ZONES, 3dsMAX enables the possibilites of hieght analysis of the terrain.

FIGURE 5.2.6: undulating land height analysis

[5c] Importing Buildings

How to: Import Buildings

Importing + Extruding Buildings from .DWG files

As mentioned before, it is crucial to keep the geo-locations of each model as we import/ export them and move through different software platforms. To ensure that each part of the process ends up in the exact same locations, it is improtant to set up the files correctly. when improting buildings, or even multiple seperate objects into 3dsMAX, depending on the requiered outcome it isimportant to keep units all the same, and to ensure that each object is not blocked.

FIGURE 5.3.1: Optimizing CAD File

FIGURE 5.3.2: Exporting line work

FIGURE 5.3.3: Importing buildings as correct scale

FIGURE 5.3.4: Imported Buildings

[5c] Importing Buildings

How to: Welding verticies

Closing/patching un-closed polylines

When importing geoemtries there is bound to have inconsistencies, or things that may have eben missed. Therefore by going throguh and welding verticies together will ensure the objects are closed for further extrusion

FIGURE 5.3.5: Extruding Lines

FIGURE 5.3.6: Welding Veriticies

[5d] Aligning Buildings and Terrains Exploding Geometry

x

FIGURE 5.3.7: Importing as a Group/block will limit the capabiltiies of editing

FIGURE 5.3.9: Individual Buildings

How to: Importing Buildings right As explained before it is crucial that buildings, or multiple seperate objects are not grouped togetehr when imported into the scene. by initially clicking and importing the buildings into 3dsMAX as Entity, Blocks as Node Hierarchy will solve this problem

FIGURE 5.3.8: Re-importing the buildings to seperate

[5d] Aligning Buildings and Terrains Editing Terrains

How to: Aligning to base Modifier:

Scripted glue By exploding each individual building, it is not possible to move each building to the undulating surface of the terrain. Utilizing scripted glue from the script spot website we are able to project the buildings in respect to its proximity to the ‘base’.

FIGURE 5.4.10: raiding the building above terrain

FIGURE 5.4.11: Downloading Scripted glue plugin

FIGURE 5.4.12: Gluing onto terrain

FIGURE 5.4.13: Flush leveling of buildings onto terrain

[5e] Exporting Geometry

How to: ‘Clean’ Surfaces to export

Exporting back into AustoCAD and/or Rhinosaurus 5

Exporting from 3dsMAX outputs complex mesh faces which, when working with programs such as rhino that generally reads NURB surfaces, slows adown and makes modeling a little bit trickier. a way to combat this is to reduce the amount of polysurfaces that are on the model in 3dsMAX FIRST, this will reduce the complexity of the model and speed up the process. This HOWEVER, ‘dumbs’ down the model and reduces its ‘quality’. i.e. Turning a circle into jagged quads.

Modifier: Terrain Allows the subdivision of the terrain for easier better exporting.

FIGURE 5.5.1: Mesh surface from terrain

FIGURE 5.5.2: Simplifying the mesh

[5e] Exporting Geometry

Exporting back into AustoCAD and Rhinosaurus

How to: Export 3dsMAX By exporting FROM 3dsMAX to Rhino, it is important to export as an .OBJ. This is to preserve the assigned material pallet assigned in 3dsMAX and utilized within Rhino

FIGURE 5.5.3: Exporting as .OBJ

[6] RENDERING // MATERIALS

[6a] Rendering Rendering Engine

How to: Set up render engine In 3dsMAX it is impairative that the rendering engine is firstly set up and integrted into the model scene as it will determine the limitations and exceptions of the material pallet and viewport accessibilities.

There are a number of different rendering engines that can be paired with 3dsMAX. The one used within this tutotial is NVIDEA’s Mental ray - this rendering engine although is not the strongest, provides optimal perfermonce while providing a large selection of material editing capabilities.

Octane is another rendering engine that is quite powerful and enables greater capabiltiies within real time rendering and modeling.

To obtain NVIDEIA Mental ray you must downlaod it off the NVIDEA Website and install it onto your computer.

To enter the rendering set up properties, the rendering set up preview icon is located on the rop right corner of the modeling space.

FIGURE 6.1.1: Setting up the rendering Engine

[6b] Rendering Material Editor

How to: Material Editor The material Editor Panel is versatile between its view aspects, where at a more intuative configuration, the ‘Slate Material Editor’ view is much more better to utilize to achieve optimal rending possiblities. This can be access through the Modes tab of the material editor component.

What this view aspect enables us to achieve is a much more intuative workflow, where parameters are set up and linked with one another to achieve more complex outcomes, much liek that of the sequence of events within particle flows.

FIGURE 6.1.2: Material Editor - Slate Material Editor

[6b] Rendering Material Editor

How to: Material Editor Within the Material editing phase we can assign colors and different aspect to the material application phase. By double clicking on the material component in the slate field, opens up the material editing modifiers which can be edited and adjusted.

To assign the materials to the objects simply click and drag the material pallet onto the object within the model space

FIGURE 6.1.3: Adjusting material properties / Clicking and dragging onto model object to paint

[6c] Rendering Rendering Properties

How to: Edit Renderings The rendering properties enable adjustments to the render itself, where determining the aspect ratio as well as depth of field to the depth of pixel count is determiend within this phase. It is also possible to run test renders at lower counts to test view ports. This aspect of rendering is highly important as it determines the length and quality of renders.

It is also important to note to test that lighting levels are correct and levels of the model scene are correct.

FIGURE 6.1.4: Rendering properties allows further manipulation to quality

[6e] Rendering

How to: Render Once all of the rendering porperties are set up, the daylight/sunlighting are perfect and the camera angles are on point, rendering out the viewport is as easy as a click of the button.

Once Rendering The Rendering task bar will pop up to estimate teh time of finish.

RENDER!

FIGURE 6.1.5: Rendering out objects

[6e] Rendering NON-RENDERED

FIGURE 6.1.6: Non-Rendered view

[6e] Rendering RENDERED

FIGURE 6.1.7: Rendered view

[7] PARTICLE FLOWS (SCRIPTING + ANIMATION)

[7a] Base Beometries

How to: Set up For Anmation

Creating Base Geoemtries for Animation

1] TOPOGRAPHY (BASE)

Creating and setting up animation scenes requier base geometries to be conctructed to make way of the scirpting phase of the process.

1] Setting the base

firstly creating a base plane to ground the scene

2] Creating the object of the scene

Creating the object of the scene for further manipulation is requiered externally to the animation.

FIGURE 7.1.1: CREATING TOPOGRAPHY - Creating Pavement and water pond (subdividing plane - creating subdivisions for greeble bricks)

FIGURE 7.1.2: CREATING TOPOGRAPHY - Greeble

2] BASE GEOMETRY

FIGURE 7.1.3: CREATING RAINDROPS - Cone and extruding Verticies

FIGURE 7.1.4: TURBOSMOOTH

[7a] Base Beometries

How to: Setting up Particle Flows

Creating Base Geoemtries for Animation

Particle Flows is the modifier that will construct the process through a series of commands and sequences. Particle flows can be found in the ‘Particle systems’ tab of the geometry tab. the base of the paricle flows is defined by the sizing of the plane that is situated within it. Aligning the sizing of the animation field to the base topography is important to reach all corners of the scene.

With the particle flows the generic process is the ‘falling’ of particles from the particle plane. This will simulate the rain environment.

FIGURE 7.1.5: INITIALIZING PARTICLE FLOWS

FIGURE 7.1.6: ALIGNING SIZE WITH SITE - adjust manually by clicking and dragging and

FIGURE 7.1.7: RAIN ENVIRONMENT - Changing the particle flow script to create better environment

[7b] Particle Flows - Interface

How to: Particle Flows Interface

Using the Interface

The Particle flows interface is opened by clicking on the particle flow modifier. Within this interface is controlled through a simple scirpting process, where the sequence of events mentioned earlier gives way to the process of animation. The changing of the geometries and process of animation is controlled here.

Where each sequence happens in a chronological order, it is important to understand that by placing an event before or after another drastically changes the resulting scene.

FIGURE 7.2.1: BIRTH - Changing the birth rate and positioning along the time frame of the animation can control speed and rate. Changing the start and end time of the birth also allows

FIGURE 7.2.2: SHAPE INSTANCE - Controls the shape of the particles

FIGURE 7.2.3: ASSIGNING RAINDROP GEOMETRY - Changing the shape instance of points to geoemetry of created raindrop. Change the display to from ticks to geometry to display

FIGURE 7.2.4: ROTATION OF DROPS - with rotation on it obscures the geoemtry as each drop falls - delete to allow drops to become verticle. This can be used when you want a bit of variation in each drop

Where the BIRTH, SHAPE INSTANCE and DISPLAY events relate to the individul particles and their speed through the animation.

[7b] Particle Flows - Interface Using the Interface

How to: Particle Flows Interface After The process of editing the particles and assigning the raindrop geoemtry to them, it is interesting to udnerstand that each geoemtry can also be randomized and scaled indifferent to one another. this is called ‘variation’ which is controlled within the Shape instance event.

FIGURE 7.2.5: SCALING AND VARIATION - Changing the size of the rainsdrops - giving variance to each one to get abit more of a realistic approach

[7b] Particle Flows - Interface

How to: Create Deflectors

Using the Interface

Modifier: Deflectors

Like in the real world, as a raindrop collides with water it ends abruptly and causes a ripple effect. Utilizing the deflector modifier, sets up a plane that the particles will react against. Aligning the deflector plane to the water will allow the particles to udnerstand which object to create a collision with and not fall pass the topogrophical object.

FIGURE 7.2.6: INTERACTION WITH WATER - Deflectors

FIGURE 7.2.7: ALLIGN PLANE TO WATER - Aligning the deflection panel to the water plane

It is also important to note that the events list at the bottom of the particle flows interface are able to be sequenced into the events list as new parameters or replacement of old ones, depending on the sdesired outcome.

In this case the ‘Collision’ Event is used to create a collision event between the raindrop and the deflector plane (water)

FIGURE 7.2.8: COLLISION - assignign Collision componenet to deflector and raindrops

FIGURE 7.2.9: COLLISION WITH WATER - Creating Drops in puddles

[7c] Merging Scenes

How to: Merging Scenes

Merging Different Particle Flow Scripts

Merging different Scene is possible, with the sequence of events easily transferred at a gven time. Eachscene, when merged will act independently depending on its sequence of events, but will happen on the same time frame if allowed.

FIGURE 7.3.1: IMPORTING SCENES - Importing Particle flow scenes by click and dragging and

‘merging’ files

FIGURE 7.3.2: IMPORTING SCENES - Two scenes happing on the same timeline

[7d] Particle Flows - Scripting

How to: Integrate Scripts

Integrating scripts

As Explained, merging particle scenes will transfar particle flow scripts, therefore will requier tweaking between scenes to integrate the two animations. In this instance We have a reciprocal relationship between the flocking birds and the colision with the water as they dive for feed.

Therefore the events panels that enables for collision is connected to both the BIRD FLOCKING scene and RAINDROP scene.

It is also improtant to note that keeping a clean script is fundemental, especially when workign with more complex animations.

FIGURE 7.4.1: Bird Scne integration

FIGURE 7.4.3: Linking sequences together

FIGURE 7.4.2: Colliding Sequence of events t modelign scene

FIGURE 7.4.4: Colliding Droplets and birds onto deflection plane

[7d] Particle Flows - Clouds

How to: Create Clouds

Scene modeling

Modifier:

Boolean + Blob Mesh Creating omenious clouds for the rainy scene is simplistic as using two simple modifiers of boolean and blob mesh.

Boolean (Union) Defining the cloud formation through simple simple spheres and utilizing the boolean modifier will allow the union of the multiple objects and converge them into one. This is an important process as it enables the later blob mesh modifier to construct cloud like formations.

FIGURE 7.4.5: Sphere creation

FIGURE 7.4.7: Blob mesh modifier

FIGURE 7.4.6: Boolean Union

FIGURE 7.4.8: Blob Mesh constructing cloud formations

Blob Mesh Blob mesh constructs a ‘blob’ as its initial geoemtry that allows the user to ‘pick’ other geometries to add to its blobbing-ness. This is an interesting way to creat homogenous objects that are more of an ‘organic nature, i.e. clouds.

[7e] Particle Flows - Final Scene

ANIMATION/ TIME SLIDER FIGURE 7.5.1: Final scene

TIME + NAVIGATION

CHAPTER CHAPTER 1.2: 1.2: HOW HOW TO TO ‘GROUP’ ‘GROUP’ An Explorative investigation into using 3dsMAX learnt throughout the semester

[1] MAPPING AND 3D MODELING

[1a] OSM DATA

How to: Interface - Editing

Use OSM - Open Street Map (Open Source)

Within the OSM interface, we are able to contribute to the Open sourced database that surrounds the online mapping world.

EDIT TAB

OSM allows users to contribute research and produce mapping assets and itnegrate them intot eh system by ‘editing’ the singular online map.

SEARCH BAR

Editing the map goes through various steps to ensure that multiple layers of information is gathered on site.

OSM MAP FIGURE 8.1.1: OSM Interface

[1a] OSM DATA Use OSM - Open Street Map (Open Source)

How to: Editing Places By entering the edit scene, we can initially start to assign geoemtries that are traced from a satalite image of a location with specfic functionalities.

Feature Type

Fields/Attributes

FIGURE 8.1.2: Editing places throguh OSM

Feature Types, will enable users to choose specific funtionalities to assign each individual component that they have drawn and distribute fields/attributes to them so that others can gather information more easily.

[1a] OSM DATA Use OSM - Open Street Map (Open Source)

How to: Editing ROADS Editing roads is another component that stems of the feature type editing functionality. This type of editing however, is much different to that of creating building types. Instead of enclosing a geoemtry, the roads editing will requiere both open or close lines, in which the fields and attributes will also be different to that of the building types.

The different types of roads chosen will also be indicated by the different types fo lines displayed, i.e. dirt roads will be less tick and be more dotted than that of main roads.

FIGURE 8.1.3: Editing Roads through lines

[1a] OSM DATA

How to: Create Places

Use OSM - Open Street Map (Open Source)

By creating place ‘marks’ it is easier to quickly identify places of interest, rather than assigning specific buildings with specific names. This gives more noteriety to each location, therefore signiling monuments and/or points of itnerest.

1 3

By clicking on the ‘place’ and then clicking on a specific location ont eh map the fields and attributes bar will open to allow further selection of type.

2

FIGURE 8.1.4: Creating Place marks

[1a] OSM DATA Use OSM - Open Street Map (Open Source)

How to: Edit Lines Changing roads means to change the lines.

By clicking on the roads tab, we are able to mapiluate and add more roads, while assignign different attributes.

By clicking various points on the map create different nodes that conencts a spline together to therefore create a road.

FIGURE 8.1.5: Line Editing

[1a] OSM DATA Use OSM - Open Street Map (Open Source)

How to: Edit Lines Sometimes we make mistakes, so changing and adapting our mistakes after we’ve made them is imparitave. By double clicking on existing lines to create new nodes will aloow further manipulations of individual splines.

By draging existing nodes, we can also start by deformign the existing splines/lines.

FIGURE 8.1.6: Node adjustments

[1a] OSM DATA Use OSM - Open Street Map (Open Source)

How to: Editing Places Thtoguh the editing scene, we can begind to draw ‘areas’ that will define the functionality of a place. The ‘areas’ drawn will encapsulate information about a building on a 2d plane. Clicking on the area tab will allow userst o click specifically on the map, outlineing the satelite image to further incldue information. by tappnig the tab key on the keyboard will re-allign the geoemtry to a more perpendicular state. cleanign up any wonkey lines.

FIGURE 8.1.7: Building outline

[1a] OSM DATA Use OSM - Open Street Map (Open Source)

How to: Editing Places Clicking all over the palce to get the eprfect geoemtry is hard, and soemtimes the efforts are fail. OSM has a tool that enables the geoemtry to re-align it self, where by right clicking and choosing the creations tool will straighten up and fix obscure geoemtries.

FIGURE 8.1.8: Geomtry fixing

[1a] OSM DATA Use OSM - Open Street Map (Open Source) www.nearmaps.com

How to: Get the right info...

Although when contributing to the OSM world, we are creating our own input in terms of places and facts, it is always important to remmebr that ALL of the information is not correctly given. It is important to cross reference images and knowledge throgu different mapping sources to then integrate into OSM, otherwise data gained and shared is incomplete.

Websites such as nearmaps.com are good sources of findign more accurate variatiosn of data that can be used to cross reference and further integrated into OSM. Such as the satelite image shot of OSM locations can be significantly different to those taken from nearmaps, this will be explained a little later.

FIGURE 8.1.9: Cross referencing Sources - Nearmaps.com

[1a] OSM DATA

How to: Get the right info...

Use OSM - Open Street Map (Open Source)

NEARMAPS DATA

FIGURE 8.1.10: Near maps data

NO WATER TANK

OSM DATA

FIGURE 8.1.11: OSM Data includes water tank

WATER TANK

[1a] OSM DATA Use OSM - Open Street Map (Open Source)

How to: Cross referencing As explained earlier, it is crucial that information of corret when placed into OSM, utilizing external soruces such as google to cross reference landmarks is also a good way of identifying place. If a place doesnt seem ‘right’, look towards gogoel to figure out what it is.

FIGURE 8.1.12: Cross referencing Sources - GOOGLE

[1a] OSM DATA Use OSM - Open Street Map (Open Source)

How to: Google Street View Utilizing google street view as a resource is a good way of understand what is visual on the narrow streets of a place that is hard to get information from. Where some places have no information on them, google street view is a sure way of interrogating a place or location; a picture is worth a 1000 words!

FIGURE 8.1.12: Cross referencing Sources - GOOGLE STREET VIEW

[1a] OSM DATA Use OSM - Open Street Map (Open Source)

How to: Save When finsiehd editing the map, to publish and place onto the wide web, we must first save and place our details in to keep track of what has been done and by whome. This is to identify and place credibility to those who have edited such locations. by click tghe save tab, a desciption must be left inorder to further save. a overal history panel will be displayed to show who and when someone has last edited the map/location.

HISTORY PANEL

FIGURE 8.1.13: SAving Edits to be shared

[1b] MAPROOM - KLAUSTOOLS Installing Maproom

How to: Klaus - Maproom Maproom Developed by Klaus is a very useful tool that is used in conjunction with OSM data. Maproom enables users to import data directly from OSM and project it into, specifically, 3dsMAX ranging from trees, roads, buildings, highways to terrains.

It is a very useful tool that enables the files to set up correctly for further manipultation.

FIGURE 8.2.1: Klaus - Maproom interface

[1b] MAPROOM - KLAUSTOOLS

How to: Installing Maproom

Installing Maproom

To Install maproom is simple as a click and drag, However getting the tool components is a little bit trickier.

To customize the user interface we are able to identify the klaustools and exttract the component into the tool bar by clickign and dragging.

When opening the Maproom component it is a requierment that you enter the product key that can be bought from the Klaus website.

FIGURE 8.2.2: CLicking and dragging installs maproom

FIGURE 8.2.3: Customize toolbar to locate component

FIGURE 8.2.5: Entering Key

[1b] MAPROOM - KLAUSTOOLS Installing Maproom API Keys

How to: Link Maproom API Keys To Start using maproom, it is also fundemental to gather the right information for accurate projections. Entering the Mapbox website and Bing maps website will allow users who have an account to link information between the programs and extract useful information when importing maps.

The link to the API keys can be foudn throguh these places of the websites.

FIGURE 8.2.6: Website API Keys

[1b] MAPROOM - KLAUSTOOLS

How to: Locating and importing

Importing Building Data

To import places into maproom to generate the landformations is a simple process of findign the location throguh the look up location component of the maproom tool and further processing the requierments that is wanted to be extracted from the tool.

This is where bing and Mapbox will be useful to extract Bitmap images that will allow the displacement method utilized within the maproom script to undulate the topography.

FIGURE 8.2.7: Entering Location to extract from

FIGURE 8.2.8: extracting map files

FIGURE 8.2.9: Setting Geoemtries that are to be extracted

FIGURE 8.2.10: Extracted from OSM data

[1b] MAPROOM - KLAUSTOOLS

How to: Import Terrains

Importing Terrains and topography

Importing Terrains from maproom utilizes the before mentioned api tokens from bing maps and MapBox, These are to utilize the bitmap format to displace the planar surface and create undulations that the buildings will sit on. At the point of importing you can specify the instensity and complexty of the mesh and also set out the display of the bitmap. editing teh strength of the displacement will result in the terrain creating weird and

un-desireable results

FIGURE 8.2.11: Terrain Mapping

FIGURE 8.2.12: Terrrain displacement from bitmap from bing maps

FIGURE 8.2.13: Trying different mapping keys

FIGURE 8.2.14: Building Imports

[1b] MAPROOM - KLAUSTOOLS Importing Terrains and topography

How to: Alinging buildings to Terrain As Explained previously, it is then possible to furthur utilize the scripted glue modifier to lay the imported buildings from maproom onto the generated terrain. ‘Running’ the scripted glue mcg script will enable the usabilty of the component.

FIGURE 8.2.15: Scirpt running for gluign of buildings

[1b] MAPROOM - KLAUSTOOLS Importing Terrains and topography

How to: Gluing buildings Gluing the buildings the the Z-direction of the objects will paste each individual building onto the undulated surface of the imported terrain.

FIGURE 8.2.16: Scripted glue

[2] FROM PHYSICAL TO THE DIGITAL

[2a] Photogrametry - 3D Scanning

ARTEC // EVA

3d Scanning

How to: 3d Scan 3D scanning is a technology that captures a physical object’s exact size, shape and surface texture and creates a digital 3-dimensional representation, or digital 3d model. Utilizing the Artec - EVA 3d Scanner enables a portable, hand held experience, providing an intuitive workflow, making 3d scanning as easy as taking a video.

3d Scanning physical objects enables the cross platform access, transitioning from the physical to the digital and back again.

The most fundemental process of 3d scanning is; 1) Do it 360O 2) Keep your hand still

[2a] Photogrametry - 3D Scanning 3d Scanning

How to: 3d Scan Within the interface of the artec scanning software it shows a live feed of what is happening when utlizing the device. Where the green shows the scanning obejct abd at what rate the frames are rendering at. This is the process that will identify the physical objects and project them into the digital realm by converting the referencd images in mesh surfaces. It is important to keep the object still and the hand still.

FIGURE 9.1.1: Photogrametry process

[2a] Photogrametry - 3D Scanning 3d Scanning

How to: 3d Scan When the camera is out of focus or the object has moved the screen will turn red, showing the inconsistency of the rendered object. This is not too large of an issue as it can be further post processed later.

FIGURE 9.1.2: Inconsistant Scanning

[2a] Photogrametry - 3D Scanning 3d Scanning

How to: Edit Mesh After scannign the object it is important to edit the mesh surfaces to rid of any inconsistencies. Through the model creation aspect we are able to alters and manipulate the model object.

FIGURE 9.1.3: Editing Mesh Faces to clean up file

[2a] Photogrametry - 3D Scanning 3d Scanning

How to: Clean the Mesh Clean the mesh for any mesh elements that may have been scanned during the process or that debrie left within the enviroment of scanning will show up and affect the overall model. This can be done through the software by simply ‘erasing’ foreign objects.

FIGURE 9.1.4: Cleaning up mesh surfaces

[2a] Photogrametry - 3D Scanning 3d Scanning

How to: Convert to Model Converting the mesh into the final object will requiere further process and preperation that is done through the software. Within this process further cleaning and mapping of the bitmap obtained from the 3d scanning process will be projected onto the mesh.

FIGURE 9.1.5: Converting Model to digital model with bitmap mapping

[2a] Photogrametry - 3D Scanning

How to: Import into 3ds MAX + edit m mesh

Importing the Mesh

Within this preccess it is also important to note that the opportunity to save the object through the artec software is capable of converting it into;

1

2

.OBJ .STL .XYZRBG Where .obj’s and .Stl’s are good for multiple 3d softwares where the .XYZRGB enables point cloud processing.

=

FIGURE 9.1.6: Importing files into 3dsMAX

[2b] 3d Printing File setup Editing the mesh for 3d Printing

How to: Edit the Model Same as any other geometry with the imported .OBJ file we can frther manipulate the geometries of the scan. deleting/pulling/ pushing and cleanign up the 3D File for further 3D printing

FIGURE 9.1.7: Bringing the model into 3ds max to check for failed geometry

[2b] 3d Printing File setup Editing the mesh for 3d Printing

How to: Getting Ready During the 3D scan there is a very high probability that some fo the meshes will be faulty or some extra folds and geometries willb be integrated, therefore by ‘cleaning up’ the file can reduce any risk of errors whilst 3D printing Being very careful as to not delete too much of mesh creating holes within the geometry It is also the opportunity to start ‘slicing’ away any uneccesary geoemtries - create a platform that the 3D model will rest. As the phtogrammetry scannign of the bust will produce unleveled surfaces it is our job to create a base/trim sides.

FIGURE 9.1.8: Cleaningthe mesh surface further where extrusions have formed

[2b] 3d Printing File setup Editing the mesh for 3d Printing

How to: Slice Modifier: Slice The slice tool allows the user to set up reference cuts with plane geometry, inwhich will enable manipulation to the mesh.

Select slice modifier > click on slice plan from drop down to move slicing plane.

With this method you can choose from list of options that slices/refines the object in such a way TIP* with such a complex geometry, turn off the eyeball to close Realtime view for quicker processing

FIGURE 9.1.9: Slicing The model to create cleaner Bases

[2b] 3d Printing File setup

How to: Capping the slices

Editing the mesh for 3d Printing

Modifier: Cap Holes To make the 3d file print ready, all of the surfaces have to be capped in order for the 3d printer to recognize tis geometries for further processing.

Using the CAP HOLES modifier before every slize will enable the previous sliced holes to be ‘patched’ and therefore create a closed surface.

X

FIGURE 9.1.10: Capping holes

NOTE** Using cap holes modifier should be used after each slice - if used after all slices have been made the cap holes will assume that all of the slices object will be wantesd to be capped and cap it accordingly.

[2b] 3d Printing File setup Exporting for 3d Printing

How to: Exporting for Print Modifier: Cap Holes After making thar sure all mesh surfaces are closed, and to make it 3D Pritner ready, Save the 3d file to a .STL file format .STL is the file type that is read by the 3D processing software.

Binary

Saving the geoemtry as a binary file compacts the mesh surfaces which will increase the processing time when submitting through 3d printing softwares.

FIGURE 9.1.11: Exporting to .STL

[2b] 3d Printing File setup Exporting for 3d Printing

How to: 3D Viewer Using 3D VIEWER to clean up geometry Scalign the model to desire sizing for 3d print

FIGURE 9.2.1: Placing into 3d Viewer to scale

[2b] 3d Printing File setup 3d Printing

How to: Runnign Test’s and diagnostics Downloading the makerbot software from its website will enable the quick processing of the 3d file and ensuring that everything is correct before fabrication.

FIGURE 9.2.2: Download the makerbot software for processing

[2b] 3d Printing File setup 3d Printing

How to: Choosing the System Setting up the right printing system such as the Replicator + (used in the uni fabrication workshop) will enable accurate processing simulations.

FIGURE 9.2.3: Setting the printer details

[2b] 3d Printing File setup 3d Printing

How to: Printer Style Making sure the printing Setting are accurate and correct, ensuring maximal possibilities that the model will not mess up. Supports on the 3d print are crucial in providing the object stability and ensures that will be no sagging.

FIGURE 9.2.4: Testing the 3d Printing capabilities on geoemtry

[2b] 3d Printing File setup 3d Printing

How to: Test 3d Print After selecting the supports and infill directions, Print preview will enable a cost estimator and how much PLA filament will be used to fabricate the model.

The yellow object will be the support material used that are not integrated intot he actual structure of the physical object but as easily removed segments.

FIGURE 9.2.4: Previewing print

[2b] 3d Printing 3d Printing

[3] URBAN UTOPIA MODELLING TECHNIQUES

BAKING/EXPORTING AND THIRD-PARTY RENDERING

[3a] 3dsMAX to SketchFab

How to: Download Sketch Faab

Third Party Rendering

Much like the maproom plug in, the sketchfab tool, developed by Klaus follows the same instructions.

1] download from site 2] Click and drag downloaded .msp file into 3ds max 3] After Installation Go to Customize > Customize User Interface > Toolbars 4] in Category select Klaas Tools and drag Sketchfab Icon to a toolbar Sketchfab is now availiable!

FIGURE 10:1.1: Download Sketch fab toolbar

FIGURE 10.1.2: clicking and dragging sketchfab component into 3dsMAX to install

3

2

FIGURE 10.1.3: Installing sketchfab Script

FIGURE 10.1.4: inputting sketchfab component from user interface

[3a] 3dsMAX to SketchFab Third Party Rendering

How to: Set Up rendering Engine Setting the RENDERER to NVIDIA mental ray will allow for a better range of rendering process. It is important to set up rendering engine to obtain rendering pallet as explained previously.

FIGURE 10.1.5: Setting up renndering engine to expose material pallet

[3a] 3dsMAX to SketchFab Third Party Rendering

How to: Material Choice Entering the material editor of the rendering component found in the top right corner of the modelling ribbon enables the specification of different material pallets that has been assigned to the rendering engine.

The material editing process within the render engine enables the manipulation of different types of materials, assignign colours, textures and lighting levels to each physical material.

FIGURE 10.1.6. material editing, painting buildings

[3a] 3dsMAX to SketchFab

How to: Material Assigning

Third Party Rendering

Manipulation of the material pallete can later be assigned to each geoemtry and viewed in real time. This process paints the objects and cannot be undone unless re-assigned a different material.

By clicking and dragging the material pallet onto the object quckly paints it. It is also an important aspect to note that when assigning materials to the objects from 3dsMAX that lighting and ambient lights should be controlled so that when exported to teh external rending engine, the transitions are easier to manipulate.

FIGURE 10:1.7: Editing material colours

FIGURE 10.1.8: customizing pallet

FIGURE 10.1.9. Painting objects

[3a] 3dsMAX to SketchFab Third Party Rendering

How to: Render out: Sketch Fab Rendering out to sketch fab is a simple process but a tricky one to get right. There are limitations that sketchfab posses in terms of its rendering capabilities from 3dsMAX. It obtains four main componenets that will optimize its rendering process.

DRAFT MODE You can publish your model in Draft mode. If your model is in Draft mode you can’t share it and others can’t view it. This gives you the opportunity to modify the shaders and lighting before sharing and embedding your model. There’s more info on the general publishing procedure including Draft mode on the Sketchfab site LIGHT BAKED TEXTURES Scanline, Mental Ray and V-Ray are supported for lightbaking - The script uses the rendersettings of the current scene.

TEXTURESIZE The lightbaker has to determine the size of the rendered textures. looks at the surface area of your model related to the surface area of the bounding box of your model. It also uses a maximum size per texture file of 2048 x 2048 pixels.

Finally, you can influence the final sizes by adjusting a “Density” value.

AUTO UNWRAP using the auto-unwrap, the model is merged into one object and sliced into chunks which fill the textures optimally (as far as automatic unwrapping in 3dsMax goe

FIGURE 10:1.10: sketchfab rendering export, making sure file sizes do not exceed 50mb

[3a] 3dsMAX to SketchFab Third Party Rendering

How to: Render out: Sketch Fab There are simple rules in ‘rendering’ out to sketch fab;

1] Uploading file to sketchfab

the model must not exceed other wise it wont export - will have an error message

2] Uploading materials to sketchfab

Even after rendering polygon surfaces from 3ds max and uploading the file as a draft and without baking the lighting and texture density - materials/colours/textures will not be imported into the sketchfab upload as it doesn’t read the pallet imported from the model.

FIGURE 10:1.11: sketch fab web interface, uploaded models and process models

[3a] 3dsMAX to SketchFab Third Party Rendering

x

x

How to: What not to do: There are many things that can go wrong during the rendering process thrugh to sketch fab, these are the attempts to speed up or even render out the current geometry.

1] Scaling the object

Scaling the object will not increase the possiblity of rendering, nor does it optimize the polysurface count.

2] Reducing gemetries

reducing the geometries of the desired model will work, however is a very undesirable outcome as it provides inconsistent models.

3] BAKE the lightings FIGURE 10.1.12: Scaling the model scene

FIGURE 10.1.13: Deleting object to reduce polycount

x

FIGURE 10.1.14: Baking materials and lightings

x

FIGURE 10.1.15: material baking process to sketchfab

Baking the lighting is the sure way of getting things to render out into sketchfab. It is also the Right way to achieve thetransfer of material from the 3dsMAX material editor library out to sketchfab however, even baking on simple building within this model scene, accounted for 15 mins = Undesirable.

[3a] 3dsMAX to SketchFab Third Party Rendering

How to: Dumb ‘Down’ As stated before, within the rendering process from 3dsMAX to sketchfab is heavily dependent ont he complexity of the model, where the polysurface count heavily impacts the uploading potential. Therefore the process of dumbing down the model is requiered to enable sketchfab to fully read and optimize the rendered object.

FIGURE 10.1.15: Dumbing down of the model to achieve less polysurfaces while preserving the models integrity

[3a]3DS MAX Optimizing texture/ material application Material Optimization

How to: Simplyify and edit As explained before the dumbing down of the complexity of the polysurfaces where requiered and also the selection of material editing was to reciprocate. Allocating the selection tool accross the boundary perimeter blocks allowed quick selection and manipulation of the geoemtry.

FIGURE 10.1.16: Allocate selection tool across boundary perimeter blocks.

FIGURE 10.1.17: Selection through side toolbar.

FIGURE 10.1.18: Selection tool appleid to ‘towers’.

FIGURE 10.1.19: As we were working separately ont he city and the ‘temple’, we had to

then use the import -> merge tool to place and align the objects accurately in place.

[3a] Merging Scenes

How to: Merge and Edit

Material Optimization

Merging files together is solely dependent on preserving geo-locations with 3ds max as it is very difficult to align object together.

Enriching the environment while keeping the complexity of model to a minium is crucial to enable the ease of rendering.

FIGURE 10.1.120: Selection of objects to be imported into urban scape file.

FIGURE 10.1.21: Coordinates allow the temple to be put into the file easily.

FIGURE 10.1.22: Apply selection tool to be able to select temple easily during the textural process.

FIGURE 10.1.23: To richen the environment, we added some pigeons for the city, using the plug-in ‘debris-maker’ to scatter birds in the sky.

[3a] 3dsMAX to SketchFab

How to: Render Out

Colour Selection

the prospect in rendering material onto sketchfab from 3dsmax is reliant on ‘baking’ lighting and texture mapping within 3dsmax exporting phase - this take several minutes for just a singular building. Therefore this will take even longer for a network of buildings However - by not baking the texture and already rendering it on 3ds max, sketchfab does acknowledge the specific layers that the different material pallets have been assigned to - therefore by just exporting the urbanscape into sketchfab whilst assigning different materials to the surface will allow sketchfab to easily apply materials within it 3d editor phase to the respective layers outlined in 3dsmax.

FIGURE 10.1.24: We wanted to apply a simple gradient from the centre of the city, radiating from the temple.

FIGURE 10.1.25: Individual STL geometries with naked edges.

Dumbing down the model and assigning basic material pallet to the complex model enabled the rendering process to enter sketchfab.

[3b] SKETCHFAB 3D Environment Design Manipulation within Sketchfab

How to: Sketch Fab After the hard work of optimizing the model and placing it into sketchfab, further manipulation of the model is requiered with the post production phase.

Sketchfab allows a range of different possiblities within its rendering capabilities.

FIGURE 10.2.1: SKETCH FAB IMPORT - Imported Geoemtry into sketchfab (material rendered)

FIGURE 10.2.2: SKETCH FAB IMPORT - Imported Geoemtry into sketchfab (material rendered)

[3b] SKETCHFAB 3D Environment Design Manipulation within Sketchfab

How to: Sketch Fab - Post Production Through sketchfab the easibility of post production ranges accross 4 main rendering techiniques;

1] Environment light

This controls the amount of glare apon the object

2] Material color/tuning

FIGURE 10.2.3: Environment Light

FIGURE 10.2.4: Material Color Tuning

This enables the user to establish color tones and potentially change the color scheme all together. it is also important to note that within this, that the material assigned within 3dsMAX earlier will GROUP the objects based on material, therefore when imported into sketch fab, it will assign material properties to the objects that have been grouped by material assignment.

3] Atmosphere tuning

controllnig the environments armosphere

4] Lighting and Effects Manipulation

controlling the amount of light and effects withint he scene, contrasting with environmental lights.

FIGURE 10.2.5: Atmosphere tuning

FIGURE 10.2.6: Lighting and Effects manipulation

[3b] SKETCHFAB 3D Environment Design VR Ready

How to: Sketch Fab - VR Virtual Reality is another special component and is interesting within the spectrum of sketchfab. Simply by choosign the scale and location of the user, the virtual reality aspect is attainable through the post production effects and location of camera.

FIGURE 10.2.7: Positioning of VR - Goggles tuning.

FIGURE 10.2.8: Choose perspective and view.

FIGURE 10.2.9: Changing heighy level and ground level.

FIGURE 10.2.10 To richen the environment, we decided to add an ambience to the environment. Acheiving a 4D effect.

[3b] SKETCHFAB 3D Environment Design Post-Production

How to: Sketch Fab - Sounds The last nifty element within setchfab is it ability to allow sounds to be played within its realm. This, paired with VR enables a fully immersive model.

FIGURE 10.2.11: We could add sountracks or ambient noises to give another dimension to the 3d model of the utopian city.

FIGURE 10.2.12: Sound

FIGURE 10.2.13: Final Editing of the Environment

FIGURE 10.2.14:

Post- Apocalyptic Refuge SKETCH FAB Post-Production

FIGURE 10.2.15: Final render

FIN