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Maxwell Magazine - Rivista elettronica del mondo Maxwell Render
Direzione e Redazione
Pietro Spampatti - Maxwell Render dot it
www.maxwellrender.it - info@maxwellrender.it
Collaboratori
Fire
Motopiku
Nicola82
Paperless
Pasquale
Silvia_i
Tiziano
Valter
Maxwell Render dot it Italian Staff
Nicole
Patrik Panda
Tim Ellis
Copyright
Tutte le citazioni dei marchi registrati o TradeMark hanno soltanto na-
tura giornalistica e di informazione. Tutti i diritti di riproduzione e tradu-
zione degli articoli pubblicati sono riservati.
Cover image
Silvia Artini
This magazine has been created in collaboration with Next Limit SL.
Maxwell Render dot it is entirely responsible for all the contents of this
magazine. Next Limit SL is not in any way responsible or liable for any
of the contents.
- Maxwell enizagaM
SOMMARIO SUMMARY
Maxwell enizagaM -
LOG-IN
Anno 2007 Numero 01: primi aggiustamenti
Buona lettura
Pietro Spampatti
Maxwell Render dot it
- Maxwell enizagaM
LOG-IN
Year 2007 Number 01: first adjustments
Welcome again to the first and only magazine dedicated to Maxwell Render.
The great unexpected success of number 00 and your many many feedbacks gave us the will to continue
improving the magazine, shortening release time between each number: a big thank to all of you for massive
support!
Let’s start with graphical output: in this issue we’ve changed font for a better reading, in the next issue all of
the graphic layout will be revised in order to decrease ink consumption if you decide to print the magazine.
As far as contents, we increased the English translated articles.
In this issue Nicole continues opening the NL doors introducing David, Jenny, Jorge, Carlos, Miguel and Ayu-
mi.
For the interview zone, this time we played at home: Gianni Melis from Maxwell Render dot it staff answers the
other staff teammates questions.
The Telecine Suite article by Tim Ellis, Maxwell Contest Render winner, continues and regarding the same area
Patrik Panda explains his work flow.
In the Maxwell Area Tim Ellis again explains one of the Thomas Luft’s Ivy Generator work flow combined with
Maxwell Render, while Paperless explains the MXM material reassignment. The last article of the section is the
history by Fire of the HDRI images from birth to MXI.
Riding the wave, the last magazine pages (Reflex section) are dedicated to HDR images creation and manipu-
lation in Photoshop CS2 and thereafter imported in Maxwell Render, tutorial by Nicola82.
Following the many translation requests, we’ve published in MXM Area the English version of Material Editor
article by Tiziano, author of “The Multilight System”, “Cooperative and Resume Render” and “The diffraction of
light - Glare system” topics, published in Italian language in Maxwellrender.it forum.
Plug-in Area: Paperless explains the DOF for ArchiCAD users that do not have a photographic knowledge. Mo-
topiku and Pasquale show how to create a photographic studio using the 3DStudio Max plug-in, while Tiziano
again shows MXM material usage in 3DStudio Max.
Valter writes a first step tutorial using Maxwell Render plug-in for Cinema 4D while Silvia_i shows the making
of the render of this issue cover, also realized with CineMaxwell. Last but not least, in Gallery area, a render
selection of Maxwellrender.it users.
Enjoy
Pietro Spampatti
Maxwell Render dot it
Maxwell enizagaM -
NEXT LIMIT SPACE
NEXT LIMIT OPEN DOOR
- Maxwell enizagaM
NEXT LIMIT SPACE
NEXT LIMIT OPEN DOOR
Maxwell enizagaM -
INTERVIEWS
Intervista a... co suggerirei l’utilizzo di un software cad di tipo parametrico
che consente di avere a disposizione tutti gli strumenti di rap-
presentazione dedicati in un unico software.
Gianni Melis PS: cosa ti aspetti dal settore della CG e, nello specifico, quali
esigenze di rappresentazione progettuale pensi debbano es-
Italian CG Artist sere soddisfatte nel futuro prossimo?
- Maxwell enizagaM
INTERVIEWS
che mi hanno impressionato e spinto nella scelta, cito senza richiedono dei tempi eccessivi. Il problema del tempo si pone
dubbio quelle prodotte dallo studio keytoon che sono tra le al contrario nelle situazioni di criticità d’illuminazione tipica
mie preferite. La principale caratteristica che ha influito nella degli interni architettonici dove il flusso luminoso passa attra-
scelta è l’estrema semplicità d’uso rapportata alla qualità che verso poche aperture e la diffusione all’interno è caratterizza-
l’engine è in grado di offrire , caratteristica che rende unico (o ta dal tipico noise dei motori unbiased. In quest’ultimo caso
quasi) il programma nel panorama dei software di rappresen- la scelta del phisycal sky+sun porta a dei risultati strabilianti
tazione fotorealistica. in termini di qualità, a mio parere non realizzabili con nessun
altro software in tempi minori, ma con uno sviluppo tempo-
PS: Quale fra le possibilità esclusive offerte in più da MW ri- rale piuttosto dilatato. Il compromesso in questi casi richiama
spetto agli altri SW (Rendering cooperativo, Multilight etc...) all’uso degli emitter che possono, se correttamente utilizzati,
giudichi come più importante? portare ad un logico compromesso tra qualità e tempi.
GM: Non credo sia possibile fare una classifica di ciò che ma- PS: Fai uso di denoiser e più in generale di post?
xwellrender offre in esclusiva ma credo che il multilight possa
essere definito come una delle vere e innovative caratteristi- GM: Le modifiche in post dei render devono essere, per il mio
che del software. Ritengo che la caratteristica più esclusiva del modo di lavorare, ridotte al minimo, diversamente non ha sen-
software rimanga la straordinaria accoppiata semplicità-qua- so neppure parlare di engine di render.
lità che nonostante sia penalizzata da tempi di render elevati Solitamente dopo un render aggiusto i livelli e aggiungo un
rimane il punto di forza del software. po’ di contrasto all’immagine ma solo per puro gusto persona-
le di rappresentazione. Non sono infatti un cultore del fotorea-
PS: i tuoi lavori sono sempre molto ricchi di particolari, quanto lismo estremo; i miei lavori sono caratterizzati da una partico-
tempo dedichi allo studio e alla costruzione della scena? e an- lare resa cromatica e saturazione (talvolta eccessiva) del tutto
cora, come riesci a coniugare la sperimentazione dei materiali voluta e cercata: i render sono il colore e la grigia realtà non è
avanzati e la scelta delle luci con dei tempi di rendering, sicura- interessante da rappresentare, almeno per me.
mente adeguati alla qualità dei risultati, ma indiscutibilmente
fuori dalla media? PS: Ci posti alcuni esempi dei tuoi lavori preferiti specificando
i tempi di lavorazione e di calcolo?
GM: Dopo aver modellato la base del progetto inizio lo studio
vero e proprio che parte dalla scelta delle inquadrature e arri- GM: in generale i lavori preferiti non sono quelli più riusciti da
va a quanto si vuole trasmettere o all’atmosfera che si vuole un punto di vista tecnico e la scelta è davvero difficile...
ricreare. La notte porta consiglio e gran parte delle mie scelte cito il mio primo lavoro con maxwellrender che probabilmen-
deriva da un pensare in post che mi agevola e velocizza la par- te è anche quello più conosciuto:
te conclusiva del progetto: occorre fare una sorta di proget-
to mentale della scena, organizzare il lavoro e rapportarlo a
quanto si vuole comunicare ed esprimere.
Con un po’ di pratica la velocità di esecuzione si acquisisce e
l’esperienza porta a delle scelte che generalmente sortiscono
il risultato atteso. Riguardo ai tempi di render e l’ultimo dei
miei pensieri: i computer lavorano di notte e la mattina il ri-
sveglio è dolce!
Maxwell enizagaM -
INTERVIEWS
quello a cui sono più affezionato è questo:
I più accorti potranno dire che i due aspetti non sono nuo-
vi…in tempo ormai remoto erano sostanzialmente integrati
nel mitico engine Lightscape e devo dire che la loro utilità è
estremamente attuale e sarebbe auspicabile una integrazione
all’interno di Maxwellrender.
PS: Grazie Gianni alla prox ...anzi già che ci siamo... cosa ne dici
di iniziare a preparare un bel tutorial per il prossimo numero
del magazine?
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Interview to... PS: What software do you use and for what?
Gianni Melis Maxwellrender. All these software are for architectural planning
and designing. Then I use other software to cover specific needs
Italian CG Artist of my job. Generally I always start with the pencil, then I create
the structure with Archicad, complete the design with 3dsmax or
Rhino and render with Maxwellrender.
PS: Hello Gianni, as a member of the MaxwellRender.it staff
PS: Looking at your beautiful pictures, vegetation is outstanding.
you already know what we are talking about so let’ s start with
How much do you care about and how do you suggest to realize
our questions. What is your specialization?
it?
GM: Hello everybody! I started working with CG when I was at
GM: Generally I prefer working with 3D models rather than 2D
the University. Since then I have developed my skills through
objects. Various softwares are available for sale, such as Xfrog and
internet and specializing books and magazines. I have got a
Onyxtree, both with very good libraries. They are user-friendly
degree in civil engineering, specializing in building, and cur-
and reproduce quite well different kind of plants. Then I complete
rently I use CG as a job instrument at work.
the work choosing carefully the materials, that’s all.
PS: Why is virtual design so important? More simply, why do
PS: Tell us something about Maxwell. When did you first notice
you develop rendering?
this software and why did you choose its unbiased technology?
GM: I work with CG creating and developing my projects. CG
GM: When first images were published on the web, it was clear
is a powerful tool in term of planning and implementing my
that the Next Limit project offered the greatest quality ever. I was
projects.
mostly impressed by Keytoon images, still among my favorite.
What makes Maxwellrender the best software of photo-realistic
PS: What would you suggest to a student or to a designer-to-
render is the incredible easiness of use compared to the rende-
be or to somebody not familiar with CG?
ring engine quality, that brought me to choose it.
GM: I would suggest to specialize in one particular software
PS: What is the main feature of Maxwell compared to other sof-
keeping an eye on the other related programs. I do not think
tware (cooperative rendering, multilight etc)?
that a software is better than another, it’s just a matter of per-
sonal choice.
GM: It’s not possible to tell. However - in my opinion the multi-
Today joining CG forums is very helpful for both personal and
light is one of the most innovative features of this software. The
professional development.
amazing easiness and quality together make this software out-
With reference to architectural planning, I would suggest to
standing, in spite of the long render time.
work with a cad parametric software. This type of software
provides all the necessary tools in one go.
PS: Your works are always rich in details. How much time do you
spend in planning and implementing the scene? How do you ma-
PS: What do you expect from the CG sector? What part of the
nage to put together new materials and careful lighting choice
software should be implemented in the next future?
with the long rendering time (for sure justified by the results qua-
lity, but above the average)?
GM: I can’t see any major innovation in the future. You can
already find so many software in the market for all the desi-
GM: After laying down the project structure, I study the scene
gn needs. Recently they have started talking about real time
starting from framing and then concentrating on what I want to
visualization, however quality standard should be discussed
communicate and on the atmosphere I want to create. I sleep on
first.
it and decide a lot of things later, this makes the last part of the
Maxwell enizagaM - 11
INTERVIEWS
work easier and faster. For me it’s necessary having a scenario
in my mind, organizing the work and developing it according
to what I want to communicate.
With some practice this process gets faster and the experience
gives what you are aiming to. I don’t bother at all about ren-
dering time: the computers work during the night and I wake
up happy!
PS: Can you show us some of your favorite works and tell us
how long did it take to make them and to render them?
GM: Usually my favorite works are not the best technical resul-
ts, it’s really difficult to choose. This is the first work that I made
with Maxwellrender and probably the best known:
12 - Maxwell enizagaM
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Two more: Someone could say that it’s nothing new, some time ago they
were essentially integrated features of Lightscape engine.
Their usefulness is still topical and I wish they will be integra-
ted in Maxwellrender. I also would like to have the possibility
to create skies and volumetric atmosphere.
PS: Thank you Gianni, see you next time. What do you think
about preparing a tutorial for the next Magazine issue?
Rendering times are always below 15 hours, except for the first
pool, that needed nearly 40 hours.
Modeling took about two days.
Maxwell enizagaM - 13
Maxwell Render Gadgets
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Maxwell Render Gadgets
Maxwell enizagaM - 15
MAXWELL AREA
The telecine suite
Tim Ellis 2006
Due to the large number of objects in the scene, I won’t be explaining how to model everything.
This tutorial will refer back to anything already covered, to save repeating the same methods again and again.
For example, the material creation and assignment, is only explained once, but is referred to throughout the tutorial. Text will refer
to the image immediately below it.
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Second part of the tutorial: Camera match with 3DStudio Max 7
Preparation
Open 3DStudio Max. Click the customize tab and select ‘Unit setup’.
Check the Display Units and System Unit Setup are set as follows.
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Go to the File menu and select import. Change the file type to ‘WaveFront Object (.obj)’ and locate the X100.obj file.
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Confirm the import options.
Select the base scale cube and right click in the viewport. Select ‘Properties’ and check the dimensions = 1m x 1m x 1m.
If the base scale cube is not the correct dimensions, check you haven’t exported the camera from Blender.
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We need to load up a background image to use for the camera match.
Now go to the View menu and select ‘Viewport background’.
Press the ‘Files’ button and load the background photo. Change the aspect ratio to ‘Match Rendering Output’
Change the viewport to ‘Perspective’ and press OK to confirm.
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Press F10 to open the render dialogue. Set the assigned Production renderer to Maxwell.
Change the width and height to match the image resolution, 800 x 600 in this case.
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Camera matching
Open the create menu, then the create Helpers menu and select Camera match.
Press the ‘CamPoint’ button and left click in the top viewport, over the top right hand corner of the desk.
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Use the other viewports and transform the CamPoint to the corner of the desk. Rename the CamPoint ‘desk-corner-top’.
Add another Cam-Point for the bottom corner of the desk and rename it accordingly.
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Repeat for the other parts of the desk, the door frame and the lights, renaming them accordingly.
Switch to the Utilities tab and select Camera Match. All the In the Perspective viewport, pan the view so the scene objects
CamPoints we’ve created will be listed here. are not obstructing the background image.
Maximize the viewport to help with assigning the CamPoint
positions.
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Select the first CamPoint in the list and press the ‘Assign Position’ button.
Left click in the perspective viewport, over the relevant place on the background and repeat for each of the cam points.
Position assigned CamPoints, will appear as green crosses in the viewport and the current selected point, appears as a red cross.
After the final position has been assigned, press the ‘Assign Position’ button again, to turn it off. Then press the ‘Create Camera’
button.
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Switch the perspective viewport to the new Camera and check the match.
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If need be, tweak the positions of the CamPoints and re-create the matched camera.
When you’re happy with the match, press M to open the material editor.
Change the Standard material type to ‘Maxwell Diffuse’. Select all objects in the scene and assign the material to them.
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Next assign an MXS file path and name in the render dialogue. (F10, System tab).
Select the Camera created in the Cam Match and press render.
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Second part of the tutorial: MXI texture creation with Photoshop7 and
MXCL.
MXI textures
For the computer screens and the waveform monitors, we need to create MXI textures to be used as emitters.
For each screen, I’ve cropped the photographs in Photoshop, so each image is the same size as the screen area.
Open MXCL through the command line using mxcl -d -p:low
Either use Windows Run command, or a command line window.
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Referring to my digital camera’s EXIF data for the scene photograph, we need to match the Film ISO, Shutter speed and F-Stop va-
lues. Matching these values will give the best results at render time, as we will use the same settings for the Maxwell camera.
Enter these values in the relevant boxes in the Preview/MXI section, change the Burn value to 0.8 and adjust the intensity to suit.
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Note:- The intensity level is the maximum value a Multilight slider can reach.
So if you want more headroom, use a higher intensity level and reduce the Multilight slider later.
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Third part of the tutorial: Maxwell studio section.
Open Maxwell Studio and open the camera match MXS file.
Next ‘Import an object to the scene’, from the file menu. Locate the standard scale .obj file, we exported from Blender.
Press the T button at the top of the viewport, to change it to a 2D top view.
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Using the Object list, select all the imported objects. Switch the shading mode to wireframe and check the imported objects,
are aligned exactly to the MXS objects.
Right click the object list, choose ‘Inverse object selection’ and delete
these MXS objects.
Note:- The MXS objects will have materials assigned to them. .Obj files
don’t import with materials into Studio.
Object names imported from Blender are resolved as:- Object name_
Mesh name_Material name_Texture map name.
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The reason we’re working this way, is because 3DStudio Max renames .obj objects.
As we wanted to retain Blender’s mesh & material names, this is the easiest way to combine the camera match and the scene.
Blender’s names are retained so that selection and material assignments, are much easier to do.
In the Sky options, change the Sky type to MXI/HDR map and check screen mapping is activated for the background.
Load the MXI of the reference photo we made earlier, into the background channel.
Adjust the intensity to 1.0000 and uncheck the ‘Disable channel’ button.
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With the background displayed through the wireframes, it’s possible to tweak object positions to match the photograph correctly.
Note:- The green lines on my background image, were added in Photoshop to show me the dead center of the image. The camera
target should be at the cross over point.
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We need to match the camera settings to those of the digital camera.
In the Camera options panel, set Film ISO to 200, Shutter to 1/40 & F-Stop to 2.8
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Set the focal distance by switching the viewport to shaded mode.
Right click the viewport with the camera view selected and choose ‘Focus to’.
Left click on a surface of the desk top and the DOF display should lose all colour.
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Computer screen MXM breakdown.
Layer 1 - Emitter layer - Texture is a computer screen MXI. Layer 3 - Coating layer.
Layer 2 - Base BSDF colour layer - Lambertian. Layer 4 - Main reflections layer.
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Layer 5 - Weightmap for fingerprints. Reflectivity map.
Bump map.
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Carpet MXM layer breakdown.
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Layer 2 - Weightmap for worn carpet. Worn carpet texture map.
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Layer 3 - Weightmap for carpet stains. Layer 3 - Bump map for carpet stains.
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Twin layer BSDF MXM breakdown.
All the materials in the scene, except those with colour texture maps, were created in the same method as follows.
I used the eye dropper tool in Photoshop, to get RGB data from the photograph.
This was then applied to the colour swatches in the BSDF layers.
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Layer 2 - Weighted reflective BSDF layer.
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UV projectors.
By default any .OBJ object that is imported into Studio, will be assigned a Cubic UV
projector.
While this is very useful, the projectors usually need rotating.
For example the desk supports had a rotated texture map for the wood.
Note:- Switch the viewport to either ‘Textured decal’ or ‘Textured’ to view texture maps
in the viewport.
Change one of the Studio windows to the ‘Projections Parameter Table’.
Select the object we need to change the projector for, using the Object list.
Now check in the bottom of the Object parameters table and click on the projector name.
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The selected projector will now be displayed in the Projector parameters table.
Singularly change the X, Z & Y rotation to 90’. Check in the viewport to see if you’ve adjusted the correct rotation.
In this case I needed to rotate the Z axis.
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Maxwell Contest Render Tutorial
Patrik Panda
This tutorial will cover all the stages of image preparation for Maxwell Render Contest.
To avoid repeating of notoriously known approaches, I will focus on FUR-modelling in greater detail.
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Phase 1 – Resources Preparation
Final choice of the image was determined by a sufficient number of references. Design and an appropriate difficulty of model
preparation also caught my attention. The contest image depicts the Noodles-restaurant interior from a Czech studio MimoLimit.
In regard to the fact that there are lightning fixtures /lamps/ and furniture from reknown designers in the interior, I was also able to
get sufficient documention to base the modelling upon. It was also helpful in determination of proportionating the space available.
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Phase 2 – Space Modelling
For modelling I was using the software Cinema4D with AdvancedRender module, Hair Department plugin and MaxwellRender 1.0.
In the whole process I was using the image of an actual interior in the background and initial renders of Cinema 4D native renderer.
I have subsequently checked the accuracy by overlapping the photograph of the interior with the initial renders in Photoshop.
Ground plan of the place modelled is U-shaped. In between its arms there is an atrium. The interior is interconnected with the
atrium by sizeable windows with massive parapets. The basic space is modelled by point-to-point polygonal technique. I have
created a separate object for the floor, its copy created the ceiling of the space. The walls were also created using the point-to-point
technique. The parapet was modelled using the Box-modelling technique, window frames are extruded profiles, just like the glass
filling. All the aforementioned elements are crudely modelled and later given their definite shape in point-editing mode.
The columns are created by profile-rotation, through Lathe-Nurbs object. Ceiling apertures were created by Boolean operations.
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Phase 3 – Modelling of Elements
Elements modelling was an easy task thanks to good references. The sofas in the background were created by profile extruding
and a subsequent editing in the point-editing mode. I have then modelled the Fjord seats and chairs. The paddings of the seats are
modelled by the point-to-point polygonal technique. I have always modelled only one half of the model and later used Symmetry
Object function to generate the second half. For smoothing of the object the Hyper Nurbs object was used. This modelling tech-
nique is also suitable for final point-shaping of the object. The legs of the chairs are modelled using the Sweep Nurbs Object. The
legs of the seats are modelled using the profile-rotation of the Lathe Nurbs Object. The tables in the background are a combination
of the upper desk which is a Cube Object and a leg which is a Lathe Nurbs Object. The table in the middle is composed of Sphere
and Cylinder Objects.
The scene encomprises several types of lightning fixtures. Mirrorball by Tom Dickson is composed of a Sphere Object divided in
two parts. A Cylinder Object and one half of a Sphere is used as a hinge. Three Mirrorballs are on the floor as well, set on Cylinder
Objects. Another lightning fixtures are halogene lamps located in the ceiling apertures. They are modelled using the Lathe Nurbs
Object. There are also concealed neon lights modelled by using Box Objects.
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Phase 4 – FUR modelling
For the FUR-object modelling I was using the Hair Department plugin. It can be downloaded at www.bgs-group.de and it also con-
tains a detailed and easy-to-use manual. First I have modelled the core of the object using the Box Modelling technique. By using
Hyper Nurbs for smoothing I have obtained the definite shape and a sufficient number of polygons for generating the Hair groups.
I have chosen these groups according to the length and shape of the hair in the original picture. The work method is simple. In the
polygonal-mode we select a group of core polygons. We initialize the Hair Department plugin.
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Distance – The distance defines the space between the single hairs
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Sections – This parameter defines the number of sections the hair will be divided into.
Length offset – The length offset generates random length variations depending on the given percentage value.
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Direction offset – This parameter tells Hair Department how curly the hair should be.
Angle offset – This parameter defines an additional, random angle variation for every single hair.
After having setup the main parameters of the hair, you can now define the hir form.
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Sidefaces – The sidefaces defines the roundness of every single hair.
The values of these parameters were different for each group of hair. It is important to mind to achieve the effect by using as few
polygons as possible. The parameters of Distance, Section and Side Faces have the biggest impact on the number of polygons. After
setting the parameters and pressing OK the plugin will create polygonal hairs. Their shape can later be adjusted by point-editing.
Phase 5 - Materials
All materials used in scene were custom MXMs, that can be found in Maxwell´s material database. They were mostly standard ones
without the textures. AGS materials were used for all of the glass surfases. I used Arroway textures for the flooring, free canvas tex-
ture for the seats and self-made gradient textures for the flowers.
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Phase 6 – Lightning
The third group are green neon lights, Cube Shapes are used as
Then we have four groups of artificial light sources. Mirrorballs emitters.
are the first of them. Simple polygons are used to emit light.
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The fourth group is made of white neon lights.
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Grouping of the emitters into these four groups enables an easier manipulation of Multilight and saves the RAM.
Because of the reflections seen in the lamps I have also created JPEG of the rear wall. I have subsequently converted it into MXI and
employed it as an other lightning element.
Phase 7 – Photoshop
After 150 hours of rendering the image achieved the sampling level value of 17,55. Excess noise was removed using the NeatI-
mage Software. In Photoshop I have also slightly adjusted the levels and contrast and by using Selective Colours I have shifted the
colour expression more towards green.
Patrik Panda
age 29
freelance architect and 3d visualiser
Slovakia
Maxwell enizagaM - 59
.9.("--&3:
Join the smart community!
/PXXJUINPSFUIBO
Architecture
Metals
Glass
Woods
Liquids
Organics
More than 25 different categories...
3D &
PC - Mac - Linux*
*soon
www.maxwellrender.com
mxmgallery.maxwellrender.com is an original idea from Next Limit Technologies.
MAXWELL AREA
Using Thomas Luft’s Ivy Generator
with Maxwell Render
Tim Ellis 2007
This tutorial will explain the process of using the Ivy Generator, to add ivy to this scene
and to render it using Maxwell render.
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1. Preparing your model.
The Ivy Generator works faster with low poly mesh objects, so I’m going to remove the sections of my scene,
which won’t be covered with ivy.
Triangulate all mesh objects in your model or scene and export as an .obj file.
You can use high poly objects, but at the cost of increased calculation times for growing the ivy.
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2. Importing your model into the Ivy Generator.
Open the Ivy Generator. Load your model by clicking on the ‘import obj+mtl’ button.
Use the following key and mouse commands to move the viewport, so that you can see the whole
model.
Camera controls:
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3. Understanding the sliders and placing the ivy root.
Each slider affects the category and value directly below it.
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For the ivy to start growing, we need to set the position of the root point.
Double click anywhere on the imported mesh to place the root point.
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4. Growing the ivy.
Test the default settings by clicking the ‘Grow’ button and watch the ivy grow.
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If you can’t see the ivy growing, press the ‘Grow’ button again to stop the growing process. Then press the ‘Flip normals’ button and
double click the mesh again. Finally press ‘Grow’ again to restart.
The ivy will grow on the side of the mesh, on which the face normals are pointing. Face normals inside the mesh, the ivy will grow
inside the mesh. Face normals outside the mesh, the ivy will grow outside the mesh.
The longer you grow your ivy, the higher the resulting poly count will be.
Depending on the model, the growing may only occur for a small number of branches and then stop.
If this happens, change a few of the slider values and try again. You will need to double click the mesh again to create a new root
point.
You can press the ‘Grow’ button again at any time, to stop the growing process. You can also modify the sliders and press the ‘Grow’
button again, to continue growing using the modified settings. Camera rotate, track, dolly and orbit are possible during growing,
depending on the speed of the computer.
Adjust the birth sliders to suit and click the ‘birth’ button again to update the geometry.
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6. Exporting the ivy.
Once you are happy with the results, press the ‘export obj+mtl’ button to export the mesh.
Your model won’t be exported, only the ivy geometry.
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7. Creating multiple ivy plants.
Once you have exported your birthed ivy, you can double click on the mesh to grow a new plant.
Creating several plants will reduce the file size of objects. You will have slightly more control over smaller plants, than you will over
one large plant.
In the folowing images, I’ve tried to follow the general direction with each plant, to produce one large plant.
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Ivy plant two:
I’ve exported each plant before creating the next one. The applied slider settings are shown for each plant.
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8. Preparing the .obj file for Maxwell Studio.
We need to use a 3D application, which has the ability to import a .obj file retaining material groups. Unfortunately Maxwell Studio
does not offer this when importing directly from the Ivy Generator. So I will be using the free 3D application Blender 3D 2.43. Import
each created ivy .obj into Blender.
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I’ll use the scene file I used for the export, so the correct scale is retained between the Ivy Generator, Blender and Maxwell Studio.
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Export the ivy and the whole scene as an .obj file using the same method as before.
9. Maxwell Studio.
Open Maxwell Studio and import the ivy and model .obj file.
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Once open, select all objects and press the ‘Recalc Normals’ button in the object parameters window.
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10. Material creation.
Create a new material. Name it ‘Ivy Adult leaves’.
BSDF layer 1: BSDF layer 2:
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BSDF layer 3:
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Texture maps used in above images: Repeat for a new mxm called ‘Young leaves’, using the young leaf
textures.
Assign these mxms to the relevant ivy objects and create a new
mxm called ‘ivy branches’.
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Branch textures used in above images:
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DOSCH DESIGN
Dosch 3D: Dosch 3D: Buildings V2 Dosch HDRI: Chrome Dosch Textures: Dosch HDRI:
Building Interiors for Maxwell Render & Studio Effects V2 Construction Materials V2 Radiant Skies
Dosch Viz-Images: Dosch 3D: Dosch 3D: Dosch 3D: Dosch 3D: Passenger
People - Urban Job Poses Cranes Food & Groceries Transportation
Dosch 3D: Modern Furniture Dosch 3D: Dosch 3D: Dosch 3D: Dosch 3D:
for Maxwell Render Humans V2 Surrounding Skies V2 Kitchen Designs Antique Furniture
Dosch 3D: Cars 2006 Dosch Viz-Images: Dosch 3D: Dosch 3D: Trees & Conifers Dosch 3D:
for Maxwell Render People - Beach & Pool Lo-Poly People V3 for Maxwell Render Clothing
Completely textured 3D-models and scenes of the The 2-D objects of >Dosch Viz-Images support you by
>Dosch 3D productline are supplemented by the seamlessly creating professional architectural visualizations.
tileable surface materials of >Dosch Textures.
The royalty-free images of >Dosch Layer FX unlock a new
High Dynamic Range Images >Dosch HDRI allow you to realm of creative freedom - and therefore substantial time and
incorporate the complex lighting of a real scene in your 3D- cost savings. Illustrations, cover pictures, advertising, annual
scenes. Perfect shadow casting and reflections will create a reports, event artwork: the DOSCH DESIGN products offer a
new dimension of realism in your renderings. comprehensive collection of design templates.
The effect “Glare System”, is of type post-production (process to only render finished), usable from Maxwell Viewer or command line
MXCL –d.
Otherwise it will stop alone as soon as it will have arrived to sampling level or wished time.
N.B.: Once pressed the button “Stop” is possible to save the image file in format .MXI in order then to be re-edit, sees more ahead. In
order to save the image of rendering completed in format MXI, select menu FilegSave MXI.
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To follow we can access to glare effect in this mode:
Low on the left Preview section (preview) will come shown in real time the effect to glare to
varying of the parameters as soon as it sets up to you. To make Click on the push-button refresh
(low) therefore to apply the effect to the entire image (to render completed)
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Examples:
In order to carry out a test without having to create null, you can use this scene file, that it comes installed with the installation of
Maxwell, therefore from Maxwell Studio continuations these steps:
Using EMITTERS
• Menu FilegOpen Scene (CTRL+O) select:
C:\Program Files\Next Limit\Maxwell\content\tutorials\studio environment\studio_final.mxs
• Create a new material “metal” with right click mouse select - Create new material – insert the name “metal” and modify these pa-
rameter:
• Assign the new material to object “PAWN”: select metal (from Material List) leave press the left button of mouse then drag to
“PAWN” (Object List)
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Modified the parameters of the “materials”: EmitterKey and EmitterBack (double click of the left push-button of the mouse) in the
under-window Material List:
Select Color RGB then: 255,255,255 (white) Select Color RGB then: 255,255,255 (bianco)
Wait some istants and voilà thisi is the glare system using emitters:
We can see the diffracion of light: little rainbows near point of reflection light.
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Using: Physical Sky + Sun light
• Menu FilegOpen Scene (CTRL+O) select:
C:\Program Files\Next Limit\Maxwell\content\tutorials\studio environment\studio_final.mxs
• Create a new material “metal” with right click mouse select - Create new material – insert the name “metal” and modify these pa-
rameter:
Load full IOR data =
C:\Program Files\Next Limit\Maxwell\materials database\ior files\
common\copper.ior
Roughness = 2.00
• Assign the new material to object “PAWN”: select metal (from
Material List) leave press the left button of mouse then drag to
“PAWN” (Object List)
• Remove the object plane for EmitterKey and EmitterBack, so we
don’t have any emitters.
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• Modify the parameter Shutter speed to (1/n) for the camera your current camera, for example Camera0: (double click to Camera0
into window Camera List)
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To attend some moments and voilà: here the effect to glare with physical Sky + Sunlight
N.B:
What it comes shown in preview does not coincide with the final
result, this why the preview comes realized with a render engine
more express and less accurate. The resolution of the images used
for Opening Map and Obstacle Map must coincide, but not neces-
sarily to be equal to the resolution of the final image, more they
will be equal (resolution of Openings Map equal to Obstacle Map)
and little errors than diffraction we will have.
- Emitter / SUN
The sunlight (Physical SKY + SUN) emphasizes the effect remarkably, this because it is a direct light where the shadows are clean,
Using the Emitter it produces lights of type diffused with soft shadows.
In a generalized manner it is possible to assert, as it is in the truth, than superficial much smooth or very smoot in presence of much
light it provokes this flare of light if the camera is found in situations of.
Thank you very much to Next Limit team for this wonderful features and others...
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WA N T Y O U !
Ma passiamo alla procedura. Come prima cosa apriamo MXED At first thing we open MXED and then (we open) the file that
e richiamiamo il file che vogliamo riposizionare. we want to reposition.
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MAXWELL AREA
Come potete vedere da questa seconda immagine.. le cartelle How you can see by this second image… the folders are neatly
sono organizzate in modo ordinato: organized:
MXM_gallery/MXM_Metal/MXM+TEX MXM_gallery/MXM_Metal/MXM+TEX
la cartella MXM contiene solo i file MXM The MXM folder contains only the MXM files
la cartella TEX contiene solo le cartelle dei relativi materiali The TEX folder contains only the folders of MXM relative ma-
MXM. Nelle relative cartelle ci sono le texture ed eventual- terials.
mente i file IOR che fanno riferimento al file MXM In the relative folders there are the texture and, if necessary,
the IOR files concerning the MXM file.
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Aperto il file.... l’MXED mi dice che non trova i file di riferimento When this file is open… MXED tells me (that) the reference
(3) files are not found (3)
Infatti potete notare la piccola icona vicino al canale bump che In fact we can note the little red hoped icon near the bump
è cerchiata in rosso (4). channel (4).
Attenzione... se notate il punto (5)... non vi è nessun avviso.
State attenti..di default il MXED pesca il file IOR dalla cartella Attention… if you note the point (5)… there’s any signal.
che si trova insieme al programma (MR) -->materials databa- Look out!… by default MXED finds the IOR file from the folder
se/ior file se non trova il file non vi segnala niente... ma se fate which is with the program (MR) materials database/ior file
il render compare tutto nero. Occhio quindi If MXED finds not file there is any signal… but if you make the
render, then it show all black (meglio: then all is black)
clicchiamo su YES... Look out! Now we click on YES …
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MAXWELL AREA
Si apre la finestra con le cartelle (6). The window with folders opens (6)
Andiamo a dare il percorso delle nostre TEX. We can give the way of our TEX
MXM_gallery/MXM_Metal/TEX/acciaio_spatolato MXM_gallery/MXM_Metal/TEX/Acciaio_Spazzolato
Come potete vedere, la cartella contiene 2 file. Uno è per il How you can see, the folder contain 2 files. One is for the Bump
canale Bump (jpg) e l’altro è il file ior. channel (jpg) and the other is the ior file.
dopo aver selezionato la cartella acciao_spatolato clicchiamo After selecting spatulate_steel folder, we click on CHOOSE…
su CHOOSE ...
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Come potete vedere, punto (7)... l’icona vicino al canale bump How you can see, point (7)… the icon near the bump channel
è cambiata... non è + cerchiata. Questo vuol dire che MXED is changed… now it is not red hoped.
ha correttamente caricato la tex. Se non dovesse essere così.... This means (that)MXED loaded correctly the tex.
MXED aprirà nuovamente la finestra delle cartelle.... e dovete If this not happens… MXED will opens the folders window
trovare il giusto percorso. again… and you must find the correct way.
Per quanto riguarda il file IOR... l’icona non è cambiata... ma Concerning the IOR file… the icon is not changed… but è sta-
è stata caricata automaticamente. Se non siete sicuri.... basta ta caricata automatically.
cliccare sul’icona a forma di cartellina gialla e dargli il percorso
(stesso procedimento fatto prima per la tex). If you are not sure…we have to click on the yellow folder –
shaped icon and to give the way (like for the tex).
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Una volta caricato tutte le tex e il file IOR dobbiamo salvare il After loading all tex and IOR file, we must save all (8).
tutto (8). That’s the end.
Abbiamo finito.
ATTENZIONE: MR (e nello specifico MXED) legge la posizione Attention: MR (and particularly MXED) reads tex position (IOR
delle tex (file IOR ecc) in modo ASSOLUTO... non relativo. Cosa file) in absolute way… not relative.
vuol dire questo? Se voi spostate la cartella madre (MXM_gal- What does this means?
lery) in un’altra posizione, dovrete rifare la procedura di rippo- If you move the mother folder (MXM_gallery) in an other posi-
sizionamento delle tex. ... è un problema di MR... spero che si tion, you must do again the reposition proceedings.
risolvi il tutto nelle prossime versioni. This is a MR problem… I hope to be ok for the next version.
NB: Il nome delle cartelle e la posizione delle stesse è una mia The folder name and their position are my own organization.
organizzazione personale. Non avrete tale organizzazione nel You will have not this organization in your PC or MAC…
vostro PC o MAC... Organizzate le cartelle come è + comodo You can organize the folders how it’s better for you.
per voi.. l’importante è sapere dove mettere le mani. Wath’s important is to know where to put the hands
Luca Luca
Maxwell enizagaM - 93
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