Lighting and Texturing in 3D

Models

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Edition 1 - 2014

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Preface
This book introduces you to Lighting and Texturing in 3D Models. It gives an understanding of the
principles, practical applications, and different features of lighting and texturing in 3D models.

This book is an upgrade from 2012 to 2015.

The ARENA Design team has designed this course keeping in mind that motivation coupled with
relevant training and methodology can bring out the best. The team will be glad to receive your
feedback, suggestions, and recommendations for improvement of the book.

Please feel free to send your feedback to the ARENA Design team at the Head Office, Mumbai.

ARENA Design Team

 Table of Contents
Overview
Introduction
Concept of Lighting
Creating Max Basic Lights
Summary

Exercise

Lights
Introduction
Creating Max Lights in Interior and Exterior Environment
Summary
Exercise

Understanding Cameras
Introduction to Cameras
Creating Cameras
Multi-Pass Effects
Camera Correction Modifier
Summary
Exercise

Material Editor Part I

Introduction
Material Editor Basics
Material Editor Buttons
Customizing the Material Editor
Basic Material Parameters
Standard Materials

Creating Materials
Summary
Exercise
Material Editor Part II
Introduction
Normal Mapping
UVW Mapping
Summary
Exercise

Unwrapping
Introduction
Object Mesh Flow
Unwrapping objects
Modify Unwrap
Summary
Exercise

Answer Key

Iconography

: Note

: Quick Test

: System Requirements

: Tip

: Quick Answers

: Exercise Answers
 Se ssi on 1
Overview
Learning Outcomes
In this session, you will learn to:

 Describe various concepts of Lights

 Describe the use of default max lights into a scene

System Requirements

 Microsoft® Windows® 7 (SP1), Windows® 8, and Windows® 8.1 Professional operating

system
 Latest version Google Chrome or Microsoft® Internet Explorer Web browser
 64-bit Intel® or AMD® multi-core processor
 4 GB of RAM (8 GB recommended)
 4.5 GB of free disk space for install
 NVIDIA Graphics Card
1.1 Introduction
A picture or scene can look fake and flat without the proper use of lights and shadows. Hence, lights
play an important part in the visual process. Use proper lighting, to improve the illumination of a scene
and enhance the scene's realism through realistic lighting effects. Real lights such as lamps, sun, and
light instruments used in stage and film work are simulated by Lights as objects. Different types of light
objects cast light in different ways and emulate different kinds of real-world light sources. Using different
types of lights, various effects such as day, overcast skies, and night are created. This session covers
the use of natural and artificial light in 3ds max.

■ Natural Light
For outdoor scenes, use Natural light that is created using lights that have parallel light rays coming
from a single direction. The intensity of day or sun light is based on the time, date, and location of
the sun. Control the intensity of Natural Light precisely by using 3ds max's sunlight or daylight
systems.

■ Artificial Light
For indoor scenes, use Artificial light with light bulbs as the light source. In 3ds max, Artificial light
is produced by using multiple lights of lower intensity. The Omni Light that casts light rays in all
directions from a single source, is a very effective choice for indoor lighting.

1.2 Concept of Lighting

Lights provide a realistic appearance to the scene. Ideal indoor lighting includes one key light and
several secondary lights. A spotlight is good to use as a key light. The secondary lights fill in the lighting
gaps and holes.

1.2.1 Standard Light Objects

These are the basic lights whose intensity is based on parameters such as Multiplier, Decay, and
Attenuation. They do not have physically-based intensity values. Following are the types of standard
light objects in 3ds max:

Figure 1.1: Omni Light

 Omni Lights: It is the default lighting in 3ds max. An Omni light casts rays in all directions from a
single source point like a light bulb. Refer to Figure 1.1 for Omni Light.
 Spotlight: It emits light from a point in a single direction, it can be pointed in different directions
and resized. The cone in the viewport with the light positioned at the cone’s apex denotes a
Spotlight. The two types of Spotlights are as follows:

Figure 1.2: Target Spotlight

 Target Lights: Target Spotlight consists of a light object and a target marker at which the
Spotlight points. Move the Target Spotlight within the scene using the Select and Move button.
Refer to Figure 1.2 for Target Spotlight.
 Free Lights: A Free Spotlight has no target. Hence, rotate it in any direction by using the
Select and Rotate button. Refer to Figure 1.3 for Free Spotlight.

Directional Light: Direct lights emit parallel light rays in a single direction. Direct lights, like Spotlights,
are also Target Direct lights and Free Direct lights. They have the same attributes as Target and Free
Spotlights. Refer to Figure 1.4 for Directional Light.

Figure 1.3: Free Spotlight

 Figure 1.4: Directional Light

Note

Target Spotlight and Target Direct light are very similar in functionality to the Target
Camera object.

 Area Lights: Area lights emit light from a broader area around the source. When using an Area
Light, render the scene by using the mental ray renderer. When a scene is rendered using the
mental ray renderer, an area light emits light from a given shape volume, rather than from a point
source. With the default scanline renderer, the area light behaves like any other standard Omni
or Spotlight.

The two types of Area lights are as follows:

 mental ray (mr) Area Omni Light: It emits light from a spherical or cylindrical volume, rather
than from a point source. When rendering a scene containing Area Omni Light, it creates the
same effect as a standard Omni Light. Refer to Figure 1.5 for mr Area Omni Light.
 mr Area Spotlight: It emits light from a rectangular or a disc-shaped area. When rendering
a scene containing Area Spotlight, it creates the same effect as a standard Spotlight. Refer
to Figure 1.6 for mr Area Spotlight.

Figure 1.5: mr Area Omni Light

 Figure 1.6: mr Area Spotlight

 Skylight: Skylight helps to create a daylight effect. It is a controllable ambient light, which can be
moved on top of the scene like any other light. Use a Skylight with Light Tracer since, it provides
soft-edged shadows and color bleeding for brightly-lit scenes such as outdoor scenes.

1.2.2 Advanced Light Objects

It is impossible to recreate a realistic effect to the scene by using Standard lights alone because they
lack real world properties such as Intensity, Lumens, and Temperature. 3D Studio Max has advanced
lighting options that helps to create real world scenes.

 Photometric Lights

These lights are based on real world light measurement values. In 3ds max, Photometric lights
provide physically based simulation of the spread of light rays through a physical environment.

Note

When using Photometric lights, the scene geometry should be in realistic dimension for
accurate lighting.

In Photometric lights, the Attenuation and Color are automatically calculated. The different types of
photometric light objects in 3ds max are as follows:

 Target light: A Target light, like a standard omni light, emits light from a geometric point. Set the
light distribution; this light has three types of distribution, with corresponding icons. Use a target
object to aim the light. Refer to Figure 1.7 for Target Light.
 Figure 1.7: Target light

Note

When a Target light is added, 3ds max automatically assigns a Look At controller to it,
with the light’s target object assigned as the Look At target. Use the controller settings on
the Motion panel to assign any other object in the scene as the Look At target.

 Free Light: A Free light emits light from a geometric point. It allows to set the light distribution;
this light has three types of distribution, with corresponding icons. A free light has no target
object. Use transforms to aim the light. Refer to Figure 1.8 for Free Light.

Figure 1.8: Free light

 mr Sky Portal: The mr Sky Portal object provides an efficient method of ‘gathering’ existing sky
lighting in interior scenes without requiring high final gather or global illumination settings that
would result in excessively long render times. In effect, a portal acts as an area light that derives
its brightness and coloring from the environment. Refer to Figure 1.9 for mr Sky Portal.
 Figure 1.9: mr Sky Portal
■ Sunlight and Daylight
Use the Sunlight and Daylight systems to emulate the sun with specific attributes such as a date
and time for a geographical location with specific compass directions.

To create Sunlight

1. On the Create menu, click Systems, and then click Daylight System.
2. Drag the Daylight button on the viewport.

3. This displays a Compass helper object. Click to create the Daylight on the viewport.

■ Radiosity
Radiosity is a method of rendering based on a detailed analysis of light reflections off diffuse
surfaces. The images that result from a radiosity renderer are characterized by soft gradual
shadows. Radiosity is typically used to render the interior scenes. It can achieve extremely photo-
realistic results when it includes diffuse reflections. Radiosity offers significant benefits over
standard lights by more accurately simulating the lighting in a scene. Radiosity, as this technique
is called in the computer graphics world, differs fundamentally from raytracing. Rather than
determining the color for each pixel on a screen, radiosity calculates the intensity for all surfaces
in the environment. This is accomplished by first dividing the original surfaces into a mesh of
smaller surfaces known as elements. The radiosity algorithm calculates the amount of light
distributed from each mesh element to every other mesh element. The final radiosity values are
stored for each element of the mesh.

■ Light Tracer
This is a Global Illumination (GI) System that takes into account how light bounces off surfaces
in the scene. Use Light Tracing to provide soft shadows and color bleeding in brightly lit outdoor
scenes. This system works well while using Scanline Rendering.
A typical procedure to use Light tracer is as follows:

1. Create the geometry for an outdoor scene.

2. Add a Skylight to illuminate it. One or more spotlights can also work well. When using
physically based IES Sun or IES Sky lights, using an exposure control is essential.

3. Select Rendering -> Advanced Lighting -> Light Tracer. This opens the Render Setup
dialog box to the Advanced Lighting panel and activates Light Tracer.

4. Adjust the Light Tracer parameters, activate the viewport to render, and then activate the
Common panel.

5. Adjust the rendering settings, and then click the Render button at the bottom of the dialog
box.

The scene renders with soft-edged shadows and color bleeding.

Quick Test 1.1

1. In an outdoor scene use Ray Traced shadows, Radiosity, or _____ to achieve soft
shadows in the scene.
Light Tracer Daylight System

2. Spotlights emit parallel light rays in a single direction. (True/False)

1.3 Creating Max Basic Lights

To create lights in a scene, on the Create menu, click Lights, and then select the required type of light.
Alternatively, click the Lights button on the Create panel, select the type of lights from the Object Type
rollout and then drag it in a viewport. Create Omni light, Skylight, and Free lights with a single click. To
create a Target light, click where the light has to be positioned and then drag it to the target.

To create a Target Light, perform the following steps:

1. In the Command panel, click Create panel, and then click Lights.

2. From the drop-down list, select Standard light.

3. In the Object Type rollout, click Target Spot or Target Direct button.

4. Click and drag in a viewport to create a Target Light. Refer to Figure 1.10 for Target and Free
Lights in Command Panel.

To create a Free Light, perform the following steps:

1. In the Command panel, click Create panel, and then click Lights.

2. From the drop-down list, select Standard light.

3. In the Object Type rollout, click the Free Spot or Free Direct button.

4. Click within the Viewport to specify the location of the light.

Figure 1.10: Target and Free Lights in Figure 1.11: General Parameters
the Command Panel
1.3.1 Light Parameters
After creating a light, adjust parameters by using the Modify command panel. The parameters for
standard lights are common to all the types of light.
 General Parameters
The General Parameters rollout is common to all types of lights. Using the controls in the General
Parameters rollout, turn a light On or Off, and change the lights from one type to another. Include
or exclude objects in a scene for the light to fall upon. The general parameters rollout has two
sections. Refer to Figure 1.11 for General Parameters.
 Light Type
● On: When checked, the light illuminates the scene.
● Targeted: This option is selected while using a Free light but need to convert it into a Target
Light. When a Target Light used and needs to convert it into a Free light, uncheck this
option. The distance in scene units between the light and the target is displayed to the right
of the Targeted option. This value is specified for a free light.
 Shadows
● On: When selected, the current lights will cast shadows.

● Use Global Settings: Select this option to use global settings for Shadows cast by this light.
This option helps to maintain consistent settings across several lights. It applies the same
settings to all lights, so while changing the value for one light; the changes are applied to all
lights.

● Shadow Type: Use the Shadow Type drop-down list to select the type of shadow used during
rendering, such as Shadow Map, Ray Traced Shadows, Adv. Ray Traced, Area Shadows,
and Mental Ray Shadow Map. When a particular shadow type is selected, the set of controls
specific to that shadow type are displayed in a different rollout.

■ Shadow Map Params

To create realistic, softer shadows, select Shadow Map from the Shadow Type drop-down list. Use
the controls in the Shadow Map Params rollout to set the size and softness of the shadow map.
Refer to Figure 1.12 for Shadow Map Params. This option does not support transparency.

Figure 1.12: Shadow Map Params

  Bias: Use this option to move the shadow towards or away from the object that is casting
the shadow.
 Size: Use this option to set the size of the shadow map in Pixels.
 Sample Range: Use this option to specify the softness of the edge of the shadow. Higher
the value, softer would be the shadow edge.
 Absolute Map Bias: When enabled, the bias for the shadow map is not normalized. It is
based on a fixed scale expressed in 3ds max units. This value does not change during an
animation.
 Sided Shadows: This option is selected to display the back face of an object.

■ Ray Traced Shadows

This option is used to create shadows with sharp edges. It also supports transparency. Refer to
Figure 1.13 for Ray Traced Shadow Params.

The values that are specified for the Ray Traced Shadows are as follows:

 Ray Bias: This option is used to move the shadow towards or away from the object that is
casting the shadow. It is similar to the Bias option in Shadow Map Params rollout.
 Sided Shadows: This option is selected to display the back face of an object.
 Max Quadtree Depth: This option is used to adjust the depth of the quadtree used by the
ray-trace.

Figure 1.13: Ray Traced Shadow Params

■ Adv. Ray Traced
Use this shadow type for more control over shadow behavior. Advanced Ray traced shadows are
similar to raytraced shadows; however, they give more control over shadow behavior. Additional
controls are available in the Optimizations rollout. Refer to Figure 1.14 for Adv. Ray Traced Params.

 Basic Options
● Mode: This option allows to select the type of raytracing for generating shadows.

● 2 Sided Shadows: This option is selected to display the back face of an object.

 Antialiasing Options
● Shadow Integrity: This option sets the number of shadow rays.
Increase the Shadows Integrity value to create shadow contour with accuracy.
● Shadow Quality: This option sets the number of rays cast in the penumbra. Increase
the Shadow’s Quality value for a more accurate penumbra within the contour defined by
 the Shadow Integrity value.

● Shadow Spread: The option specifies the radius in Pixels, to blur the antialiased edge.
This option is disabled when the raytracing mode is Simple.

● Shadow Bias: This option sets the distance of the object from the point being shaded to
cast a shadow.
● Jitter Amount: This option adds randomness to the rays.

Figure 1.14: Adv. Ray Traced Params Figure 1.15: Area Shadows

■ Area Shadows
This shadow type is used to create shadows based on the area that casts a light. Transparent
objects are supported in this shadow type. Use the Area Shadows rollout to set the values. Refer
to Figure 1.15 for Area Shadows.

 Basic Options
● Mode: This option allows to select the type of raytracing for
generating shadows.
● 2 Sided Shadows: This option is selected to display the back face of an object.
 Antialiasing Options
● Shadow Integrity: This option sets the number of shadow rays.
Increase the Shadows Integrity value to create shadow contour with accuracy.
● Shadow Quality: This option sets the number of rays cast in the penumbra. Increase
the Shadows Quality value for a more accurate penumbra within the contour defined by
the Shadow Integrity value.
● Sample Spread: This option sets radius in pixels to blur the antialising edge. This
option is disabled when the raytracing mode set to Simple.
 ● Shadow Bias: This option sets the distance of the object from the point being shaded to
cast a shadow.

● Jitter Amount: This option adds randomness to the rays.

 Area Light Dimensions: This option allows to set the length, width, and height of the area
shadows.

■ Exclude Objects from Shadows

Choose to exclude objects from being illuminated or casting shadows. From the Modify panel,
click General Parameters, and then click Exclude. Refer to Figure 1.16 for Exclude/Include
dialog box. The left panel includes a list of objects in a scene. Based on whether Exclude or
Include is selected, the right pane lists the objects that are to be included or excluded. Use the
arrows in the center to move objects from the left to the right or vice versa. To cast shadow on
selected objects, include them from the lights include/exclude object lists. Similarly, select the list
of objects to add or remove from being illuminated.

Figure 1.16: Exclude/Include Dialog Box

■ Intensity/Color/Attenuation

To set the intensity, color, and attenuation of all standard lights, except Skylight, use the
Intensity/Color/Attenuation rollout. Use the parameters near, far, and decay to simulate realistic
attenuation to determine how light fades over a distance. Refer to Figure 1.17 for
Intensity/Color/Attenuation.
 Figure 1.17: Intensity/Color/Attenuation

 Multiplier: This option sets the intensity of the light. Higher values make a light appear as
white regardless of the light color.

 Color Swatch: This option sets the color of the light.

 Decay: This option simulates attenuation by using formulae to compute the reduction in the
intensity of light over a period of time.

● Type: This option sets the type of decay. Select None, Inverse, or Inverse Square. The Inverse
type decays linearly with distance. The Inverse Square type decays exponentially with
distance.
● Start: This option sets the distance at which the light begins to decay.

● Show: Select this check box to display the decay in viewport.

 Near Attenuation: This option sets the distance at which the light would begin to fade.
● Use: Select this check box to enable near attenuation.

● Show: Select this check box to display the near attenuation distance in viewport.

● Start: This option sets the distance at which the light begins to fade in.

● End: This option sets the distance at which the light reaches its maximum value.

 Far Attenuation: This option sets the distance at which the light falls to zero.

● Use: Select this check box to enable far attenuation.

● Show: Select this check box to display the far attenuation distance in viewport.

● Start: This option sets the distance at which the light begins to fade out.

● End: This option sets the distance at which the light falls to zero value.
To set the color and intensity of light

1. Create objects and light in the scene.

2. Select the light and click Modify panel.

3. In the Intensity/Color/Attenuation rollout, set the Multiplier value to 2. This will increase the
intensity of the light. Note that when a higher value is selected, irrespective of the color specified,
the light will appear white.
4. To select the color of the light, in the Intensity/Color/Attenuation rollout, click the Color
Swatch. The Color Selector dialog box appears.

5. Select a new color and close the dialog box.

Notice that the Viewports update to show the new color of the light.

To use attenuation

1. Create a scene with a target Spotlight.

2. In the Left viewport, select the Spotlight.

3. Click the Modify panel and expand the Intensity/Color/Attenuation rollout.

4. In the Far Attenuation section, select the Use check box. Notice that the attenuation range is
displayed in the viewport. In the End box, increase the value to enclose the objects. Notice that
the light diminishes over a distance.

5. Select the Show check box. This will display the Far attenuation distance in the viewport. The
light from the Spotlight will disappear if the objects are out of the lights current attenuation range.

6. In the End box, increase the value to enclose the objects. Notice that the light diminishes over a
distance.

■ Advanced Effects
To set the intensity, color, and attenuation of all standard lights, except Skylight, uses the
Intensity/Color/Attenuation rollout. Use the parameters near, far, and decay to simulate realistic
attenuation to determine how light fades over a distance. Refer to Figure 1.18 for Advanced Effects.
 Affect Surfaces
● Contrast: This option alters the contrast between the diffuse and the ambient surface
area.
● Soften Diff. Edge: This option softens the edges between the diffuse and ambient
areas of a surface.

● Diffuse: This option sets the light to affect the diffuse properties of an object’s surface.
When unchecked, the light does not affect the diffuse surface.

● Specular: This option sets the light to affect the specular properties of an object’s
surface. When unchecked, the light does not affect the specular properties.

● Ambient Only: This option sets the light to affect only the ambient properties of the
surface.
 Figure 1.18: Advanced Effects
 Projector Map: This option sets any light as a projector.
● Map: This option enables to use the light as a projector.

● None (Button): This option selects a map to project.

To apply Projector Map

1. Create a Spotlight in a scene.

2. Select the Spotlight and click the Modify panel.

3. Expand the advanced effects rollout and select the Map option.

4. Click the None check box.

5. In Material/Map Browser dialog box, click Select Bitmap.

6. Open the image file, from the Select Bitmap Image File dialog box.

7. To render the scene, on the Rendering menu, click Render.

■ Shadow Parameters
The Shadow parameters rollout is common for all types of standard lights except Skylight. Use
this rollout to set the shadow properties. Refer to Figure 1.19 for Shadow Parameters.
 Object Shadows: Use the controls in this section to set the color and density of the
shadow.
● Color: This option sets the color of the shadow. To choose a new shadow color, click
the color Swatch button. This displays the Color Selector dialog box.
● Dens: This option sets the density of the shadow. Specify low values
for light shadow effect, and higher value for darker shadows.
● Map: This option assigns a map to the shadow.

● None (Button): This option sets the map for a shadow.

 Light Affects Shadow Color: This option helps to change the shadow color by
 blending it with the color of the light.

 Atmosphere Shadows: This option specifies atmospheric effects for the shadow to pass
through, such as fog.
● On: Check this box to cast shadows through an atmospheric effect.

● Opacity: This option adjusts the opacity of the shadows.

● Color Amount: This option adjusts the level to which the atmospheric
colors will blend with the shadow color.

Figure 1.19: Shadow Parameters Figure 1.20: Spotlight Parameters

■ Spotlight and Directional Light Parameters

Selecting the Target Spotlight or Free Spotlight displays the Spotlight Parameters rollout. Both the
spotlight and directional light have same parameters. Refer to Figure 1.20 for Spotlight
Parameters.

 Light Cone

 Show Cone: This option displays the Hotspot and Falloff cones in the viewport when
the light is not selected.

 Overshoot: This option makes the light shine in all directions like an Omni Light, but
projections and shadows only occur within the Falloff cone.

 Hotspot/Beam: This option specifies a value to adjust the angle of the light’s cone.

 Falloff/Field: This option specifies a value to adjust the angle of a light’s falloff.

 Circle: This option sets the shape of the hotspot and falloff as circular.

 Rectangle: This option sets the shape of the hotspot and falloff as rectangular.

 Aspect: This option sets the aspect ratio for a rectangular-shaped Spotlight/Direct light.
This option is available only when Rectangle is selected.

 Bitmap Fit (Button): This option matches the aspect ratio with a specified bitmap.
■ Area Light Parameters

When mr Area Omni or mr Area Spotlight is selected, use the controls in the Area Light Parameters
rollout to specify the parameters. Refer to Figure 1.21 for Area Light Parameters.

Figure 1.21: Area Light Parameters

 On: This option enables the Area Light.

 Show Icon in Renderer: This option displays the icon in renderer.
 Type: This option specifies the shape of the Area Light. For an mr Area Omni Light, the
different shapes are as follows:
● A sphere for a spherical volume
● A cylinder for a cylindrical volume
For Area Spotlight, the different shapes in mr Area Spotlight are as follows:
● A rectangle for a rectangular area
● A disc for a circular area

 Radius: This option sets the radius of the Sphere or Cylinder. In case of an Area Spotlight,
this option is available for Disc type.
 Height: This option sets the height of the cylinder in case of an Area Omni light and Rectangle
for an Area Spot type shape.
 Width: This option sets the width of the rectangle type. This option is available only for mr
Area Spotlight.
 Samples: This option allows to adjust the quality of the shadows cast by the
Area Light.

■ Creating a Light View

Except for the Omni Light, it is possible to change any viewport to a light viewport to display the
viewpoint. If the light is moved, it will be reflected in the light viewport. When a viewport is changed
to light view, the viewport navigation buttons in the lower-right corner of the screen changes into
Light Navigation controls. Refer to Table 1.1 for Light Navigation Controls.
 Icon Name Description

Dolly Light Moves the light towards or away from the scene in the direction in which
it is pointing.

Moves the target towards or away from the scene in the direction
Dolly Target
in which it is pointing.

Dolly Light + Moves the light and the target towards or away from the scene in
Target the direction in which it is pointing.

Light Hotspot Adjusts the angle of the light’s hotspot, which is displayed as a blue
cone.

Roll Light Spins the light about its local Z-axis.

Light Falloff Changes the angle of the light’s falloff cone.

Orbit Rotates the light around the target.

Pan (Truck Rotates the target around the light.

Light)

Table 1.1: Light Navigation Controls

For detailed step-by-step procedure, refer to demo Lights parameters from:

eResources 4 Me>> My Varsity>> Lighting & Texturing in 3D Models>> Show Me How

1.3.2 Positioning Lights

After creating a light and specifying the applicable parameters, reorient and reposition the light by
moving its location, rotating its axis, or resizing it.

■ Transforming Lights
Transform lights like any other geometric object in 3ds max by using the Transformations button
on the main toolbar. Use Select and Move button on the main toolbar to change the position of
lights. The position of the light’s target can also be changed. Use Select and Rotate button to
change the orientation of lights. Certain lights can be transformed under specific limitations. For
example, rotating an Omni Light has no effect on the scene. However, rotate Target Lights by
selecting the light and target together. In case of a Target light, change the target and the light
independently. Use Select and Scale button to change the light beam and attenuation ranges of
Spotlight and Directional lights. Scaling Area Lights has no effect. Scaling Omni Lights changes
only the range of attenuation.

■ Light Lister
To view details for all the lights in the scene, use the Light Lister command on the Tools menu.
Use the Light Lister dialog box to change the parameters of many lights at the same time.
Configuration and Lights are the two rollouts in the Light Lister dialog box. Use the
 Configuration rollout to select the lights and controls. Refer to Figure 1.22 for Configuration.

Figure 1.22: Configuration

 Configuration
● All Lights: This option shows all lights in the scene in the Light rollout.

● Selected Lights: This option shows selected lights in the scene in the Light rollout.

● General Settings: This option helps to select settings such as Multiplier, Color, Shadows, and
Map size for selected or all lights.
● Refresh (Button): This option is used to update the list of lights if a new light is added to the
scene or alter any parameters in the Modify panel.

 Lights
This rollout is visible while All Lights or Selected Lights are active on the Configuration rollout.
Its controls are for individual light objects. Two lists, one for standard lights and the other for
photometric lights, are displayed in this rollout.

Quick Test 1.2

1. ______________ option is used, if multiple lights are transformed at the same time.
Light Tracer Light Lister

2. Atmosphere Shadows helps to specify atmospheric effects for the shadow to pass
through. (True/False)

Note

When All Lights or the Selected Lights option is selected, the Lights rollout is
displayed. The controls in this rollout are for individual light objects.
1.3.3 Volume Light
When light shines through fog, smoke, or dust, the beam of the light becomes visible. The effect is
known as a Volume Light. To select Volume Light, on the Rendering menu, click Environment. In the
Environment and Effects dialog box, click Add. In the Add Atmospheric Effects dialog box, select
Volume Light. The Volume Light Parameters appears in the Environment and Effects dialog box.
Refer to Figure 1.23 for Volume Light Parameters.

Figure 1.23: Volume Light Parameters

 Lights
● Pick Light: This option specifies the light to which the effect would be applied. Select
several lights that will be displayed in a drop-down list.

● Remove Light: Removes lights from the list.

 Volume
● Fog Color: This option specifies a color for the fog that is seen within the light. This color is
combined with the color of the light.

● Attenuation Color: This option attenuates volume light over a distance. The volume light
increases from the Fog Color to the attenuation color over the lights Near and Far attenuation
distances. This color also combines with the Fog Color.

● Use Attenuation Color: This option enables the attenuation color.

● Exponential: This option increases the density exponentially with the specified distance.

● Density: This option sets the thickness of the fog.

● Max Light %, Min Light %: These options determine the amount of glow caused by the
volume light.
 ● Atten. Mult.: This option controls the strength of the attenuation color.

● Filter Shadows: This option allows to select from four options Low, Medium, High, and Use
Light Smp Range. The Low option renders shadows quickly but is low on accuracy. The High
option takes longer to render but produces the best quality. The Use Light Smp Range
option bases the filtering on the Sample Volume value. This option can be set to Auto.

● Sample Volume: This option controls the rate at which the volume is sampled. This option is
highlighted only when the Auto check box is unchecked.

● Auto: This option controls the Sample Volume rate automatically.

 Attenuation
● Start %, End %: Specifies the percentage values of the light from the starting point to the
ending point. These values have an impact only if attenuation for the light is enabled.
 Noise: This section determines the randomness of the Volume Light.
● Noise On: This option enables the noise effect.

● Amount: This option sets the percentage of noise to the fog.

● Link To Light: This option links the noise with the light object.

● Types: This option allows to select the type from the Regular, Fractal, and Turbulence type
of noise.

● Invert: This option inverts the noise pattern.

● Noise Threshold: This option limits the effect of noise on the shadow.

● Wind: This option is used to determine light’s direction to the wind’s direction, strength, and
phase.

To use Volume Light

1. In the Command panel, click Create panel, click Lights, and then click Standard.

2. In the Object Type rollout, select Target Spot and drag in the Front viewport to create a
Spotlight and position it.

3. To add a Volume Light, on the Rendering menu, click Environment.

4. In the Environment dialog box, in the Atmospheres rollout, click Add.

5. In the Add Atmospheric dialog box, select Volume Lights and click OK. This displays the
Volume Light Parameters.

6. In the Lights section of the Lights parameters, click Pick Lights and then in the viewport, click
Spotlight.

7. Set the Density to 3.

8. Render the scene. Note that the beam of light becomes visible. Refer to Figure 1.24 for
Volume Light.
 Figure 1.24: Volume Light

For detailed step-by-step procedure, refer to demo Volume Light from:

eResources 4 Me>> My Varsity>> Lighting & Texturing in 3D Models>> Show Me How

1.4 Summary
In this session, Overview, you learned that:
 Types of lights used for required effect are as follows:
● Ambient light is general lighting that helps to uniformly illuminate the entire scene.

● Standard lights are the basic lights available in 3ds max that do not have physically
based intensity values.

● Omni lights emit light rays in all directions from a single source.
● Spotlights can be pointed and sized as required.

● Direct lights emit parallel light rays in a single direction.

● Area lights emit light from a broader area around the light source.

 Shadow Map creates realistic, softer shadows, but it does not support transparency.

 Ray Traced shadow creates shadow with sharp edges. It also supports transparency.

 Adv. Ray Traced shadow provides more control over shadow behavior than Ray Traced
shadow.

 Area Shadow creates shadows based on an area that casts a light. It supports transparent
objects.

 Attenuation determines how light fades over distance.

 Use the Light Lister to change the parameters of many lights at once.

 Change any viewport to a light viewport to show any light’s viewpoint, with the exception of an
Omni Light.

 To make the effect of the light more visible and real, use atmospheric effects to shine the light
through fog, smoke, or dust. The effect is known as Volume Light.
1.5 Exercise
1. When a scene containing an Area Spotlight is rendered, it behaves as a Direct Light.

True

False

2. Standard lights are based on measurement values such as Intensity, Lumens, and
Temperatures.

True

False

3. __________ option is used to add randomness to the rays of light.

Shadow Bias

Shadow Integrity
Jitter Amount

Shadow Quality

4. __________ and __________ lights does not have Shadow Parameters rollout.

Area Light
Spotlight
Directional Light
Sky Light

5. __________ control is used to adjust the angle of a light’s cone.

Hotspot/Beam

Show Cone
Overshoot

Aspect
 Se ssi on 2
Lights
Learning Outcomes
In this session, you will learn to:

 Describe the basics of max default lights

 Explain the process of lighting an environment with max default lights

2.1 Introduction
As learned in session 1, 3ds max provides standard and photometric lights. Photometric lights are real-
world accurate lights. Unlike photometric, standard lights do not have physically-based intensity values.
They are simple computer-based algorithms representing lights. This session will cover photometric
lights in detail.

2.1.1 Creating Photometric Lights

To create a Photometric light, from the Create menu, click Lights, and then click Photometric Lights.
Alternatively, in the Create panel, click the Lights button, select Photometric from the drop-down list,
then select the type of light from the Object Type rollout, and drag it in the viewport. After creating a
light, adjust its parameters through the Modify panel.

 Distribution (Photometric File)

From the Command panel, select photometric light from type drop-down menu. Then, select
either free light or target light. The Distribution (Photometric File) rollout appears on the modify
panel. Create the light in viewport.
 Figure 2.1: Distribution Photometric File

 Distribution (Spotlight)

In command panel, select photometric light from type-drop down menu. Then select either free light or
target light. The distribution (Spotlight) rollout appears on the modify panel when a photometric light is
created or selected either a photometric Web distribution (Spotlight is to be selected from Light Distribution
(Type) drop-down menu first from General Parameters rollout). Create the light in viewport. Refer to Figure
2.1 for Distribution Photometric Files.

 Templates
The Templates rollout is used to choose preset light from different preset light types. Refer to Figure
2.2 for Templates.
 Figure 2.2: Templates

 General Parameters
The controls in General Parameters are used to turn a light on and off. It also excludes or includes
objects in the scene. The controls are also used to set the type of light distribution. Refer to Figure
2.3 for General Parameters.

Figure 2.3: General Parameters

 Light Properties

 On: This option turns the light on and off. By default the light is On.

 Targeted: When it is disabled, move the light using transforms tools.

 Targ. Dist: This option displays the distance between the camera and its source.
  Shadows
 On: This option determines whether the current light casts shadows or not. Default is On.
 Shadow Method drop-down list: This option determines whether the renderer uses
shadow maps, ray-traced shadows, adv. ray-traced shadows, or area shadows to generate
shadows for this light.

 Use Global Settings: This option is turned on to use global settings for shadows cast by this.
 Exclude (Button): This option excludes selected objects from the effects of the light. Click
this button to display the Exclude/Include dialog box. Excluded objects always appear lit in
shaded viewports. Exclusion takes effect only when the scene is rendered.

 Light Distribution (Type): The Light Distribution (Type) drop-down list is used to choose the
type of light distribution.

 Intensity/Color/Attenuation
This rollout is used to define the intensity, color, and type of distribution for all photometric lights.
Refer to Figure 2.4 for Intensity/Color/Attenuation.

Figure 2.4: Intensity/Color/Attenuation

 Color: This section specifies the color of light by selecting from standard real-world lights such as
Cool White, Mercury, and Halogen. The temperature of light expressed in degree Kelvin.

 Light: This option sets the lamp specification to approximate the spectral character of the light.
After this value is set, the color swatch next to the Kelvin parameter refreshes to reflect the
light selected.
  Kelvin: This option sets the color of the light by adjusting the color temperature spinners. The
corresponding color is visible in the color swatch next to the temperature spinners.

 Filter Color: This option simulates the effect of a color filter placed over the light source. For
example, a red filter over a white light source casts red light. Set the filter color by clicking the
color swatch to display the Color Selector Default filter (RGB = 255, 255, 255; HSV = 0, 0, 255).

 Intensity: This section specifies the brightness of photometric lights. The units used to set the
intensity of a light source are as follows:

 Lumen (lm): The overall output power of the light is luminous flux. A 100-watt general-purpose
light bulb has a luminous flux of approximately 1750 lm.

 Candela (cd): It is the max luminous intensity of the light in the direction in which it is aimed. A
100-watt general-purpose light bulb has a luminous intensity of approximately 139 cd.

 Lux (lx at): It is the illuminance caused by the light shining on a surface at a certain distance
and facing the direction of the source. Lx, an International Scene unit, is equivalent to 1 lm per
square meter. The AS unit for illuminance is the Footcandle (fc) which is equivalent to 1 lm
per square foot. To convert fc to lx, multiply by 10.76.

To specify the illuminance of a light, set the lx value, and enter the distance at which that illuminance is
measured.
 Dimming: This section generates a fall off blend in the intensity of light on adjusting the percentage
value of the Dimming percentage.

 Resulting Intensity: This option displays the intensity caused by the dimming.

 Dimming percentage: When the toggle is on, the value specifies a ‘multiplier’ that dims the
intensity of the light. At 100 percent, the light has its full intensity. At lower percentages, the
light is dimmed.

 Incandescent lamp color shift when dimming: When on, the light simulates an
incandescent light by turning more yellow in color as it is dimmed.
 Far Attenuation: This section sets the attenuation range for a photometric light. Rendering time
improves after setting an attenuation range. Far Attenuation works only with the Mental Ray
renderer.
● Use: This option enables far attenuation for the light.

● Show: This option displays the far attenuation range settings in viewports.
● Start: This option sets the distance at which the light begins to fade out.
● End: This option sets the distance at which the light gets faded to zero.
 Figure 2.5: Shape/Area Shadows

 Shape/Area Shadows
The Shape/Area Shadows rollout is used to choose the light shape to generate shadows. Refer to
Figure 2.5 for Shape/Area Shadows.
 Emit light from (shape)

 Emit light from (Shape) drop-down list: This drop-down list is used to choose the shadow-
generating shape.

 Length: This option sets the focal Length of the camera view.
 Rendering

 Light Shape Visible in Rendering: When on, the shape of the light is visible in renderings
as self-illuminated (glowing), provided the light object is within the Field of View. When off,
the light’s shape is not rendered, it only casts the light. Default is off.

 Shadow Samples: This option sets the overall quality of shadows for lights that have an
area. Default is 32.

Figure 2.6: Distribution (Photometric File)

 Distribution (Photometric File)
The Distribution (Photometric File) rollout appears on the Modify panel when a photometric light is
created or selected with a photometric Web distribution. Use this rollout to select a photometric
Web file and to adjust the orientation of the Web. Refer to Figure 2.6 for Distribution (Photometric
File).
 Web diagram: This thumbnail shows a schematic diagram of the light’s distribution pattern
after choosing a Photometric light.
 Choose Photometric File: Click Choose Photometric File button to select a file that can be
used as a photometric Web. The file can be in IES, LTLI, or CIBSE format.

 X Rotation: This option rotates the photometric Web about the X axis. Range is -180 degrees
to 180 degrees.

 Y Rotation: This option rotates the photometric Web about the Y axis. Range is -180 degrees
to 180 degrees.

 Z Rotation: This option rotates the photometric Web about the Z axis. Range is -180 degrees
to 180 degrees.

 Distribution (Spotlight)
The Distribution (Spotlight) rollout appears on the Modify panel when a photometric light is
created or selected with spotlight distribution. These parameters control hotspots and falloff
for spotlights. Refer to Figure 2.7 for Distribution (Spotlight).

Figure 2.7: Distribution (Spotlight)

 Light Cone
 Cone visible in viewport when unselected: This option is used to turn the display of the cone
on or off.

 Hotspot/Beam: This option adjusts the angle of the cone of a light. The Beam value is
measured in degrees. For photometric lights, the Beam angle is the angle at which the light’s
intensity falls to 50 percent of its full intensity. Default is 30.0.

 Falloff/Field: This option is used to adjust the angle of a light’s field. The Field value is
measured in degrees.
 Quick Test 2.1

1. Option distributes the light equally in all directions.

Distribution Isotropic

2. _____ enables or disables area sampling and defines the number of samples to
use for subdivision conversion.
Area Light Sampling Shape/Area Shadows

2.1.2 Sunlight and Daylight

2.1.2 Sunlight and Daylight

The Sunlight and the Daylight systems stimulate the sun for a specific geographical
location, date, time, and compass direction. To create Sunlight or Daylight, select
The Sunlight and the Daylight systems stimulate the sun for a specific geographical location, date,
Systems from the Create menu, and then click Sunlight or Daylight. Then, drag the
time, and compass direction. To create Sunlight or Daylight, select Systems from the Create menu,
Sunlight or Daylight button in the viewport. A Compass helper object appears. Click to
and then click Sunlight or Daylight. Then, drag the Sunlight or Daylight button in the viewport. A
create Direct Light to represent the sun.
Compass helper object appears. Click to create Direct Light to represent the sun.


 Daylight Parameters
The Daylight Parameters
The Daylight Parameters rollout defines the daylight system’s sun object and sets the sunlight
The
and Daylight
skylight Parameters
behaviors. rollout
This rollout defines
appears on the daylight
the Modify system’s
panel sunlight
when the object and of the
component
sets the
Daylight sunlight
system and skylight
is selected. behaviors.
Refer to This
Figure 2.8 for rollout
Daylightappears on the Modify panel
Parameters.
when the light component of the Daylight system is selected. Refer to Figure 2.7 for
DayLight Parameters.

Figure 2.8: Daylight Parameters

 Sunlight: This option is used to activate or deactivate the Sunlight. The different lights available in
this option are as follows:

 IES Sun: This option uses an IES Sun object to simulate the sun.
  Standard: This option uses a Target Direct light to simulate the sun.

 No Sunlight: This option ensures that sunlight is not simulated.

 Active: This option is used to turn sunlight on/off.

 Skylight: This option is used to activate or deactivate the Skylight. The different lights available in
this option are as follows:

 IES Sun: This option uses an IES Sun object to simulate skylight.

 Standard: This option uses a skylight to simulate the sun.

 No Sunlight: This option ensures that sunlight is not simulated.

 Active: This option is used to turn sunlight on/off.

 Position: This option sets the position of the Skylight. The options available are as follows:

 Manual: This option adjusts the position of the daylight assembly head object and the
intensity value of the sunlight.

 Date, Time and Location: This option utilizes the correct angle and movement of the sun at
a geographically particular location.
 Weather Data File: This option obtains an angle and intensity of the sun from a Weather
Data (EPW) File.

 Setup (Button): This option opens the Motion panel, allowing adjustments to the time,
location, and site of the daylight system.

Note

When Date, Time and Location is chosen, adjusting the light's intensity has no
Effect.

 Daylight and Sunlight System Control Parameters

When the light component of the Daylight or Sunlight system is activated, this rollout appears in
the Create panel and the Motion panel. Refer to Figure 2.9 for Control Parameters.
 Figure 2.9: Control Parameters

● Manual: This option, when activated, helps to manually adjust the location and the intensity
of the sun object in the scene. This option is only applicable to Daylight system.

● Azimuth/Altitude: This option displays the azimuth and altitude of the sun. Azimuth is the
compass direction of the sun in degrees (North=0, East=90). Altitude defines the height of
the sun. It is measured in degrees.

 Time: This section provides settings for the time, date, and time zone. Remember to select the
Daylight Saving Time check box if the specified location uses Daylight Saving Time. During the
summer months, the Sunlight system adjusts the sun’s azimuth and altitude options accordingly.

 Hours/Mins/Secs: This option specifies the time of day in Hours/Mins/Secs.

 Month/Day/Year: This option specifies the date in Month/Day/Year.

 Time Zone: Time zones range from -12 to 12. To select a time zone, on the desktop, click My
Computer, click Control panel, click Date, and then click Time. Click the Time Zone tab to
view the list of world locations and their time zones.

 Daylight Saving Time: This option calculates daylight savings by adjusting azimuth and
altitude options.
 Location: This section provides controls for setting the location of the scene.

 Get Location (Button): This option displays the Geographic Location dialog box. It sets the
values of altitude and longitude by choosing a location from a map.

 Latitude: This option specifies the latitude.

 Longitude: This option specifies the longitude.

 North Direction: This option is used to set the rotational direction of the compass rose. It also
works as a geographical orientation of the compass rose. By default, north is 0 and points
along the positive Y axis of the ground plane. Positive X (East) is 90 degrees. Adjust the North
Direction to correspond to the site to ensure accuracy.

Note

For specific locations, mention exact coordinates in the Latitude/Longitude options.

 Model Scale
 Orbital Scale: This option sets the distance of the sun, which is the directional light used in
the scene, from the compass rose. This distance does not affect the accuracy of the sunlight
due to the parallel beams casted by a directional light. However, the light must point towards
the model. The light’s hotspot and falloff have an effect on the sunlight’s accuracy in the scene.
To create a daylight scene, create Sunlight from the Create panel, under the Systems tab. Adjust the
Time and Get Location Settings under the Control Parameters rollout. Also, adjust the lighting
based on the current date and year. The sunlight compass helper object is used to view the direction
pointing towards North. Adjust these parameters based on the output desired and render the scene to
observe the difference in the lighting. Refer to Figure 2.10 for Sunlight.

Figure 2.10: Sunlight

2.1.3 Radiosity
Radiosity is a lighting algorithm that follows rays of light throughout the scene, reducing the light
energy every time the light strikes a surface. It is generally used in indoor scenes to enhance the
effect of light bouncing off surfaces. The greater the number of bounces computed, the more realistic
is the scene. However, the computation time increases considerably. Refer to Figure 2.11 for
Radiosity Processing Parameters.

Figure 2.11: Radiosity Processing Parameters

 Radiosity Processing Parameters
To access Radiosity parameters, on the Rendering menu, click Advanced Lighting, and then click
Radiosity.
 Reset All: This option clears all the geometry from the engine.

 Reset: This option clears the light levels from the radiosity engine, but does not clear the
geometry.
 Start: This option initiates the radiosity processing. After the radiosity solution reaches the
percentage amount specified by the Initial Quality, the Start button changes to Continue.
 Process

 Initial Quality: This option sets the initial quality percentage at which the initial quality stage
is stopped. The initial quality percentage can be up to 100%.

 Refine Iterations (All Objects): This option sets the number of Refine iterations to
perform for the scene. The Refine Iterations stage increases the quality of the radiosity
processing on all objects in the scene.
  Refine Iterations (Selected Objects): This option sets the number of Refine iterations to
perform for selected objects, and saves considerable processing time.

 Interactive Tools
 Indirect Light: This option reduces the amount of noise between surface elements by
averaging the indirect lighting levels with the surrounding elements.

 Direct Light Filtering: This option reduces the amount of noise between surface elements
by averaging the direct lighting levels with the surrounding elements.

 Setup (Button): This option displays the Environment panel for accessing the Exposure
Control rollout to set the current control and the parameters rollout for a specified exposure
control.

Figure 2.12: Rendering Parameters

To understand the use of Radiosity in a scene, create a scene comprising of primitive objects
along with Skylight. Assign Radiosity from the Render Setup dialog box under the Advanced Lighting
tab. After assigning Radiosity, manipulate the settings to understand its use.
Remember to turn on the Global Subdivision Settings as well as the Render Direct Illumination
settings to get the desired output. Refer to Figure 2.12 for Rendering Parameters.
Each time the parameters are adjusted, click the Continue button under the Radiosity Processing
Parameters rollout for the changes to take place. Add a skylight to observe the difference in a normal
render and the one after assigning Radiosity. Refer to Figure 2.13 for Radiosity.

Figure 2.13: Radiosity

Note

While creating the object by using the spline method, ensure that the object does not
lose its geometry while converting the spline into mesh.

Quick Test 2.2

1. initiates the radiosity processing.

Advanced Lighting Start

2. Radiosity is a lighting algorithm that follows rays of light throughout the scene.

(True/False)

2.1.4 Advanced Lighting Materials

The two materials, present in Material Editor, useful in working with advanced lighting are as follows:

 Advanced Lighting Override: This option includes material parameters that override the global
Advanced Lighting solution. The parameters set the amount of Reflectance, Color Bleed,
Transmittance, Luminance, and Bump Map Scale that the material uses. This is a way to
make a specific material have its own defined lighting parameters.
 Lightscape Material: This option is used to apply material to objects that are imported from
Lightscape. The Basic Parameters rollout includes values of Brightness, Ambient Light,
Contrast, and Bump Amount. These values are applied in addition to the base material.
2.1.5 Lighting Analysis

Lighting Analysis tool is used to get information about the current lighting solution. The scene must
include a lighting solution before this tool is available. From the Rendering menu, click Advanced
Lighting, and then click Light Analysis.

 Light Tracer
The Light Tracer is a GI system similar to Raytracing. It calculates how light bounces off surfaces
in a scene. It provides soft-edged shadows and color bleeding for brightly lit scenes. It is normally
used for outdoor scenes. Refer to Figure 2.14 for Light Tracer.

Figure 2.14: Light Tracer

 Parameters
To enable light tracing in a scene, in the Rendering menu click Advanced Lighting, and then click
Light racer. The Global Multiplier value increases the overall effect of the Light Tracer. To set the
amount of light energy that bounces off the objects, change the value of Object Multiplier. Create a
scene with primitive objects and Skylight to see the difference between a basic render and the one
with Light Tracing on. Adjust the settings under the Parameters rollout and observe the change in
the output. Refer to Figure 2.15 for Light Tracer Parameters.
Figure 2.15: Light Tracer Parameters
2.2 Creating Max Lights in Interior and Exterior
Environment
Lights play an important role in any scene composition. The output of a scene depends on the use of
the lights in a given environment. For interior scene environment, use Photometric lights, it gives a
photo realistic output based on the dimensions of the mesh in the given scene. Lighting an exterior
scene environment is generally done with the help of Sunlight and Daylight systems.

2.2.1 Lighting an Interior Scene

The guidelines to light an interior space are quite simple. Light object with realistic values should be
used in instances like a building where these objects should be placed at its respective light sources.
For this purpose, Photometric lights are preferred. This is because, due to the new updates in Max, it
has been developed to render as close as photo real as Max can get. Earlier, an IES profile was
added to the lights which used to increase the realism and the distribution of the light. However, in
order to use photometric lights, it is crucial that the model has realistic dimensions.

Photometric values are used by Photometric lights, which define lights as they would appear in the
real world. It is possible to create lights with various distribution and color characteristics, or import
specific photometric files available from lighting manufacturers.

To light an interior space, the guidelines are simple, use light objects with realistic values, and place
them in the actual environment. In this case, Photometric lights are preferred as it provides physically
based simulation for the spread of light through an environment.

 Set Up the Scene

Lighting as shown in Figure 2.14 shows an interior bed-room space. The complete scene has
been given a basic grey color texture along with Ambient/Reflective Occlusion material.

Tip

On the Customize menu, click Customize User Interface, and then click Colors to make
changes to the Viewport background.

 Add a Photometric Target light as a Key light source from outside the window
Activate the Shadows option and select Ray Traced Shadows from the drop-down list. Adjust the
Color value to 7500 by selecting Kelvin. Change the Intensity of light to 750 cd. Keep the Emit
light from (Shape) option to Point.

 Add Photometric Free Light as a Fill light source

To add a fill light into the scene, add a Photometric Free Light and create it in the opposite direction
of the Key light (Photometric Target Light). Make sure that the placement of the light is opposite
to the Key light position inside the room. Keep the Shadows off by default. Now, change the Color
value to 7500 in Kelvin. Refer to Figure 2.16 for Lighting an Interior Scene.
 Figure 2.16: Lighting an Interior Scene

For detailed step-by-step procedure, refer to demo Interior Lighting from:

eResources 4 Me>> My Varsity>> Lighting & Texturing in 3D Models>> Show Me How

As this light works here as a Fill light source, do not keep the intensity high to dominate the scene
by two lighting sources. Keep the intensity value to 25 cd. The Emit light from Shape option will be
Point by default.

 Render the scene

Render the scene to understand the flow of light from the window as well inside the room.
Adjust the light position of either of the light sources to get the desired output. However, it is ideal
to keep the fill light in the middle of the room, so that we can have an Ambient light source within
the room.

Thus, the Photometric lights can be used in an interior environment scene. Also, few additional
light sources can be added to illuminate required areas inside the room. Remember to deactivate
the shadows of all the Fill lights. This helps to maintain the look of a single light source in the
given scene.
 2.2.2 Lighting an Exterior Scene

A list of light, ideal for lighting up an exterior scene setup, are available in Photometric Lights. For
outdoor scenes, physically accurate results are possible with mr SkyPortal along with the Sunlight
given by the Mental Ray Renderer. Using this, renderer gives output that appears similar to the
output produced by using the default Scanline renderer. The source of sunlight is replicated by this
light; hence, it is critical that the values should be adjusted as per the model dimensions. Moreover,
the output also depends on the realistic dimensions of the model in a scene.

If the SunLight or mr SkyPortal are used with the Logarithmic Exposure Control, check both the
Daylight and Exterior option. This helps to provide greater control for mapping the higher energy
levels to RGB colors. Moreover, it is crucial to set the Physical Scale to the brightest light source in
the scene. When a Sun light is added, the software automatically assigns a Look At controller to it.
Here, the light's target object is assigned as the Look At target. The controller settings on the Motion
panel can be used to assign any other object in the scene as the Look At target.
To light an exterior environment, the guidelines as similar to the guidelines of an interior environment.

The key source of lighting in an exterior scene setup during the day time is Sunlight. The Sunlight
systems utilize geographically correct angle and movement of the sun at a particular location over the

Earth. It allows to choose location, date, time, and compass orientation. The date and time can also

be animated. This system is referred for shadow studies of proposed and existing structures. In

addition, the Latitude, Longitude, North Direction, and Orbital Scale can also be animated.

■ Set up the scene

The scene shows an exterior structure. The extended grass environment had been added to a
circular plane to compliment the exterior space.

■ Add a light with a present value to the entryway

Make sure the Systems button is active and then click Daylight. Drag to create the radius of a
compass rose, and then release the mouse button. Now, move the mouse to set the orbital scale of the
Day light over the compass rose. This can be any convenient distance, since mrSun and mrSky
lights generate parallel illumination despite of their icon's position. Click to finish. Select the Daylight
and the Daylight Parameters rollouts are displayed. Then adjust the time and month parameters
under the Motion panel based on requirement.

■ Additional lights (Optional)

In general, while lighting a scene environment for day lighting, there need not be a requirement for
an additional light source. However, sometimes due to the complex designs of the architectural
model, there may be few places where the daylight might not illuminate the space. In those
spaces, an additional mr Area Omni light could act like a Fill light.

■ Background image
Even though a background image is not added, the Daylight system adds a realistic horizon along
with realistic atmospheric element like haze and natural blur. However, to make the scene look
 real, it is ideal to have a background sky image. This helps the scene to give a seamless horizon.

■ Render the scene

Cross check the Exposure Control settings. From the Rendering menu, select Environment
and Effects dialog box, and then adjust Exposure Control settings. It should be set to mr
Photographic Exposure Control. Now, Render the scene in the Camera view. Refer to Figure
2.17 for the Lighting an Exterior Scene.

Figure 2.17: Lighting an Exterior Scene

For detailed step-by-step procedure, refer to demo Exterior Lighting from:

eResources 4 Me>> My Varsity>> Lighting & Texturing in 3D Models>> Show Me How

2.3 Summary
In this session, Lights, you learned that:
 Photometric Lights provide physically based simulation by spread light through an environment.
 The Intensity/Color/Distribution rollout defines the intensity and color of lights. It also sets the
type of distribution for Photometric Lights.
 Area Light Parameters rollout sets the dimensions of Photometric Area Light.
 In the Area Light Sampling rollout, the area light sampling can be enabled and disabled.
 The Sunlight and the Daylight systems stimulate the sun for a specific geographical location,
date, time, and compass direction.
  Radiosity is a lighting algorithm that follows rays of light throughout the scene and every time
it strikes a surface, the light energy is reduced.
 Advanced Lighting Override includes material parameters that override the global Advanced
Lighting solution.
 Lightscape Materials apply material to objects that are imported from Lightscape.
 Lighting analysis tool is used to get information about the current lighting solution.
 The Light Tracer is a Global Illumination System that is similar to raytracing, but it focuses more
on calculating how light bounces off surface in the scene.
 To light an indoor scene, position the lights and fixture assemblies as they would appear in
an actual building, and use radiosity to model bounced light.
 Exterior lighting is more dependent on the environment setup. Ensure all the environment
elements complement the scene.

2.4 Exercise
1. A light is always created after adding objects to the scene.

True

False

2. _________ distribution represents the light intensity distribution of a light source in 3D.

Spotlight

Web
Diffuse

Isotropic

3. If a location uses Daylight Saving Time, 3ds max applies it to the scene automatically.
True

False

4. To add reflected light to a 3ds max scene, use _________.

Radiosity

Light Tracer

Light Analysis
Object Multiplier

5. Adjust the light's intensity to override the Date, Time and Location.

True
False
 Se ssi on 3
Understanding Cameras
Learning Outcomes
In this session, you will learn to -

 Discuss the basics of Cameras and different types of Cameras

 Describe the use of a Camera for a given scene

 List the important features of Cameras

 Explain Camera Correction Techniques

3.1 Introduction to Cameras

Cameras help to capture any real-life scene on photographic film or digitally. These photographs in a
scene can be viewed after many years even when that scene no longer exits. Cameras help to frame
the scene. They also present a controllable point of view. Some aspects of real-world photography, such
as depth of field and motion blur, can be simulated by cameras. The main advantage of using a camera
is that it can be positioned anywhere. It can be used to render both still images as well as animated
sequences. Cameras can also be animated. The cameras in 3ds max are used to get custom views of
a scene. The cameras in 3ds max behave just like real-world cameras.

3.1.1 About Camera Angles

Setting correct camera parameters play an important role in getting correct camera angles.
 Camera Parameters
The camera parameters can be directly modified in the Create panel, when the camera is first
created. To do this, the new camera should be selected. The camera object has to be first
deselected. The changes can then be made in the Modify panel parameters rollout of the camera.

3.1.2 Types of Camera

Target Camera and Free Camera are the two types of cameras. In the viewport, camera objects are
seen as icons. However, they are not rendered. There are two icons created by the Target Camera icon;
one rep- resenting the camera and the other representing the target. Free Camera creates a single icon
representing the camera. Refer to Figure 3.1 for Different Types of Camera.
 Figure 3.1: Different Types of Camera

 Target Camera: It is very easy to aim with Target cameras. This is due to the fact that
the Target camera always points at a controllable target point at some distance in front of
the camera. Target cameras are very useful when the view has to be changed without
changing the camera position. In such situation, only the position of the target point is
changed and not the position of the camera.

 Free Camera: A view of the area which is directly in front of the camera is offered by the
Free Camera. In situations where the camera is to be animated, Free camera is used.

3.1.3 About Lenses

Lenses are an important component of any camera. Lens Length and Field Of View (FOV) are the
two important characteristics of a lens considered while selecting any lens.
 Lens Length: It is an important characteristic of a lens. The greater the lens length, the more
it is like a telephoto. Whereas, a shorter lens length provides a wider view. Generally, while
using 3ds max, a lens length of 35 mm or 50 mm is used. However, other options of lens length
can also be selected to match a real-world camera.
 FOV: This is an important parameter. The angle of the cone displayed in the view port on the
camera icon is known as the FOV. When the viewer looks through the camera FOV represents
the view in a Conical shape.
3.2 Creating Cameras
Target camera and Free camera can be created by performing some steps in the Command panel.

3.2.1 Creating a Target Camera

To create a Target Camera in the scene:

1. From the Command panel, click the Camera tab.

2. From the Object Type menu, select Target.

3. Click and drag in the Front Viewport.
Click and drag on to a viewport to create the Target Camera. The camera is created at the point where
it has been dragged. The target gets placed at the point where the mouse button has been released.
When a Target Camera is created in 3ds max, it automatically names the target by attaching the word
‘target’ at the end of the camera name. This default name can be changed by typing a different name
in the ‘Name’ field in the Modifier Stack. Refer to Figure 3.2 for Naming the Target.

Figure 3.2: Naming the Target

3.2.2 Creating a Free Camera
To create a Free Camera in the scene:

 From the Command panel, click the Camera tab.

 From the Object Type menu, select Free.

 Click in the Front Viewport and a Free Camera is created at the point of mouse click.
Initially, when a Free Camera is created, it points at the negative Z-axis of the active viewport.

3.2.3 Creating a Camera View

To see a camera’s viewpoint, change any Viewport to a Camera Viewport. The two different ways to
change any viewpoint to camera viewport are as follows:
 Right-click the Viewport’s Title, click the View command. From the pop-up menu, select
camera’s name.
 Another option to change a Viewport to Camera Viewport is to press the C key. Hence, the
active viewport is changed into a camera view by this keyboard shortcut.
Refer to Figure 3.3 for Target Camera and Free Camera.

Figure 3.3: Target Camera and Free Camera

 To create a Camera Viewport in the perspective view:

 Click the Camera from the Command panel.

 Select Target from the Object Type rollout, click and drag in the Front Viewport.

 Now, to change the Perspective view to a Camera view, right-click a Perspective viewport
title.

 Select the Target Camera from the list. Refer to Figure 3.4 for Target Camera List.
 Figure 3.4: Target Camera List

3.2.4 Controlling a Camera

The camera view in a viewport can be controlled by means of the Camera Navigation Control
buttons. The Camera Navigation Control buttons are located in the lower-right corner of the screen.
When a Camera Viewport is selected, these controls replace the Normal Viewport Controls and are
different from the Normal Viewport Controls. Hold the Shift key while using the control buttons to
constrain the movements to a single axis. Hold the Ctrl key while using the control buttons to cause the
movements to increase rapidly. Each tool performs a specific function. These tools help us to work with
cameras and use them more effectively. As each tool is used to adjust the Camera Viewport, we can
see the effect on the camera in the other viewports. Flyouts are shown by a small triangle on the lower-
right side of the tool’s icon. These flyouts contain some nested camera navigation controls. Refer to
Table 3.1 for Camera Navigation Controls.
 Icon Name Description

Dolly Camera Moves the camera towards or away from the target at which the camera
points.
Moves the target towards or away from the camera. However, the lens
Dolly Target
parameter and the composition of the scene are not changed.
Moves both the camera and target along the line of positioning. This has
Dolly Camera the same effect as Dolly Camera, except that the distance between target
+ Target and camera do not change and remain constant. Thus, this control can be
used to move the camera closer to the subject and keep the same orbit
behavior.
Increases or decreases the viewpoint’s perspective by dollying and altering its
field of view. Thus, this control can be used to increase or decrease the
Perspective distortion of a character and make it appear more ominous. Moreover,
perspective is reduced by longer focal lengths which give the scene a flatter
appearance tending towards orthographic projection.
Spins the camera about its Z-axis. It causes the camera to roll about its line of
sight. The effect of this control is similar to tilting the head while looking at a
Roll Camera
subject. This control can be used to create the effect of rolling motion of an
aircraft flying at low level over mountainous region.
Produces an effect similar to that by the Perspective control. However, it does
not change the camera position when the field of view changes. Thus, more
Field-of-View scene is visible when the FOV is larger and when the FOV is smaller, the
scene view is reduced.
Moves the camera perpendicular to the line of sight in the view pane. Only the
Truck Camera camera position changes with the target and all other parameters remain
constant. In non-camera viewport controls, the same icon is used to represent
Pan.
Rotates the camera around the target. The rotation can be limited to a
Orbit Camera horizontal or a vertical plane by pressing the Shift key.
vertical planeisby
This control pressing
nested thethe
within Shift key.
Orbit Camera flyout. It causes the rotation of
Pan Camera the target point around the camera.
point around the camera.
Table 3.1: Camera Navigation Controls

To reposition the camera object, use the Transformations buttons on the Main toolbar. Move the
camera by using the Select & Move tool. Change the direction by using the Select & Rotate tool. The
Free Camera rotates in all directions whereas the Target Camera rotates the camera in a particular
axis.

3.2.5 Camera Parameters

When a camera is created, its parameters can be directly changed in the Create panel, if the new
camera is selected. Select the camera object again after it has been deselected to make changes in
the Modify panel Parameters rollout for the camera. Refer to Figure 3.5 for Camera Parameters.
 Figure 3.5: Camera Parameters

The various camera parameters are as follows:

 Lens: This option sets the camera’s focal length in millimetres.

 FOV: It sets the width of the area that is displayed by the camera. There is a fly out with three
buttons to the left of the FOV spinner. These buttons determine the direction in which the FOV
will be measured, when looked through the camera. FOV can be measured both vertically and
diagonally.

 Orthographic Projection: Selecting this option makes the camera view look like any of the
orthographic viewports such as Top, Left, or Front. Perspective view is seen when this option
is disabled.
 Stock Lenses: This option enables the creation of common camera lens length. Thus, to
simulate a 50 mm lens, either 50 mm can be entered in the Lens field or the 50 mm button
can be clicked.
  Type: This drop-down is used to convert a Target Camera to a Free Camera and vice
versa.
 Show Cone: This option displays the camera’s cone even if the camera icon is not selected.

 Show Horizon: This option displays the horizon line within the camera view. It is shown as a dark
gray line at the place where the horizon is located. This line helps to match the perspective of
a scene to the perspective of a still image.
 Environment Ranges: This option consists of Near Range and Far Range values. These
values are used to specify the volume within which the atmospheric effects like fog and volume
lights are to be contained. The Show option is selected to display the limits as yellow rectangles
within the camera’s cone.
 Clipping Planes: This option excludes some geometry of the scene to view or render certain
portion of the scene. It is displayed as red rectangles with crossing diagonals in the camera
cone. The clipping planes can be defined manually by selecting the Clip Manually option.
Hence, when this option is not selected, geometry closer to the camera than three units is not
displayed. Near and far planes can be seen by selecting the Near Clip and Far Clip options.

For detailed step-by-step procedure, refer to demo Understanding Camera Parameters

from:
eResources 4 Me>> My Varsity>> Lighting & Texturing in 3D Models>> Show Me How

Quick Test 3.1

1. are the general lens lengths used while working in 3ds Max.
35 mm or 50 mm 45 mm or 60 mm

2. Stock Lenses enable the creation of common camera lens lengths.

(True/False)

3.3 Multi-Pass Effects

Multi-Pass Effects are created by using several rendered images of a scene, with slight camera
movement between each rendering. Depth of Field and Motion Blur are the two types of Multi-
Pass camera effects. These effects can be accessed from the Parameters rollout, when the
camera is selected.

To apply Multi-Pass effects

These effects can be accessed from the Parameters rollout, when the Camera is selected. Check the
Enable button in the Multi-Pass Effect section. Then, select the desired effect from the drop-down list.
Refer to Figure 3.6 for Multi-Pass Effect.
The Preview button makes the effect visible in the viewports. Check the Render Effects Per Pass option
to apply Render Effects at each pass. The camera can then be orbited around this point. Refer to Figure
3.7 for applying Multi-Pass Camera Effects.

Figure 3.6: Multi-Pass Effect

Figure 3.7: Multi-Pass Camera Effects

3.3.1 Depth of Field
Depth of Field simulates a camera’s depth of field. This is done by blurring areas of the frame at a
distance from the camera’s focal point. When Depth of Field option is selected in the Multi-Pass Effect
section, the Depth of Field Parameters rollout appears. It includes settings for controlling the Depth
of Field multi-pass effect. Refer to Figure 3.8 for Depth of Field Parameters.
 Figure 3.8: Depth of Field Parameters
 Focal Depth

● Use Target Distance: This option is selected to use camera’s target distance as the point to
offset the camera for each pass.

 Focal Depth: This option is to be used when the Use Target Distance option is off. This option
helps to set the depth from which the camera is offset.

 Sampling

● Display Passes: This option is selected to display each separate pass in the Rendered Frame
window.

● Use Original Location: This option is selected to use the camera’s original location for
the first rendering pass.
● Total Passes: This option specifies the number of times the scene is rendered to produce the
effect.

● Sample Radius: This option generates blurriness. As this value is increased, it increases the
blurriness. As this value is decreased, it decreases the blurriness.
 ● Sample Bias: This option moves the blurring closer or away from the focal point. As this
value is increased, it moves the blurring closer to the focal point. As this value is decreased,
it moves the blurring away from the focal point.

 Pass Blending

● Normalize Weights: This option is selected to normalize the weights giving a smoother
result. Deselecting this option makes the effect sharper.

● Dither Strength: This option controls the amount of dither. As the value of Dither is
increased, it produces a grainy image.

● Tile Size: This option sets the pattern size of the dither.

 Scanline Renderer Params

● Disable Filtering: This option is selected to disable the filtering pass.

● Disable Antialiasing: This option is selected to disable antialiasing that causes edges of the
geometry to render sharpness.

For detailed step-by-step procedure, refer to demo Depth of Field from:

eResources 4 Me>> My Varsity>> Lighting & Texturing in 3D Models>> Show Me How

3.3.2 Motion Blur

Motion Blur blurs a moving object. The greater the speed of the object, the more blurred it becomes.
Consider that a still object is surrounded by several moving objects. Then, the motion blur effect will
blur the moving objects and keep the still object in clear view. With multi-pass camera, the subsequent
frames of an animation are rendered by the camera and the images are then blurred together. Refer to
Figure 3.9 for Motion Blur.
In the Multi-Pass Effect section, selecting the Motion Blur option causes the Motion Blur Parameters
rollout to appear. Many of its parameters are similar to the ones seen in the case of the Depth of Field
effect. Refer to Figure 3.10 for Motion Blur Parameters.

Figure 3.9: Motion Blur

 Figure 3.10: Motion Blur Parameters

The various components of Motion Blur Parameters rollout are as follows:

 Sampling
 Display Passes: This option is selected to display different frames as they are being
rendered.

 Total Passes: This option specifies the number of frames that are included in averaging.
 Duration (frames): This option specifies the number of frames to include in the effect.
  Bias: The default set value causes the blurring to come equally from frames before and
after the current frame. As this value is increased, it moves the blurring behind the blurred
object. As this value is decreased, it moves the blurring in front of the blurred object.
 Pass Blending

Earlier, while using Pass Blending, the dither option was used to set values. In 3ds Max 2015,
this option is replaced with dither strength. Refer to Figure 3.11 for Pass Blending Parameters.

Figure 3.11: Pass Blending Parameters

 Normalize Weights: This option is selected to normalize the weights giving a smoother
result. Deselecting this option makes the effect sharper.
● Dither Strength: This option controls the amount of dither. As this value is increased, it
produces a grainy image.
● Tile Size: This option sets the pattern size of the dither.

 Scanline Renderer Params

● Disable Filtering: This option is selected to disable the filtering pass.

● Disable Antialiasing: This option is selected to disable antialiasing that causes edges of
the geometry to render sharpness.

For detailed step-by-step procedure, refer to demo Motion Blur from:

eResources 4 Me>> My Varsity>> Lighting & Texturing in 3D Models>> Show Me How

3.4 Camera Correction Modifier
By default, a 3-point perspective is used by cameras. This results in converging of all lines to a vanishing
point off in the distance. Whereas, a 2-point perspective causes all vertical lines to remain vertical. A 2-
point perspective is applied to a camera view by the Camera Correction Modifier. When camera angles
are set, the image gets distorted sometimes. This distortion depends on the type of lens used and its
distance from the objects. Such a distorted image can be corrected by using the Camera Correction
Modifier.

3.4.1 How to do Camera Corrections Using Modifiers?

The Camera Correction Modifier is not seen in the Modifier List. Camera Correction Modifier is applied
by selecting the Camera and right-clicking it. Select Apply Camera Correction Modifier from the pop-up
menu that appears. The modifier is applied to the camera. The various parameters of the modifier
appear in the Modify panel. Refer to Figure 3.12 for Camera Correction Modifier Parameters.
 Figure 3.12: Camera Correction Modifier Parameters

 2-Point perspective correction

 Amount: This option specifies the amount of correction to be applied for 2-point
perspective.
 Direction: This option orients the angle of vertical lines in the scene.
 Guess: This button automatically sets the correction values based on the Z-axis vertical.

To apply Camera Correction Modifier to the Scene

Create an object and a Target Camera in the Front Viewport. Now, right-click the Target Camera to
apply Camera Correction Modifier. Then select the Apply Camera Correction Modifier option that
appears in the pop-up menu. Change the value of Guess option and Direction box and view the effect
respectively.

3.4.2 Align Camera

A camera is aligned in 3ds max, using the Align Camera command. The camera is aligned by clicking
one of the faces of the object. The Align Camera command is found under Tools menu. The camera
is repositioned by the software to point directly at the selected face. The camera can also be assigned
by clicking the Align Camera button under Align Flyout on the Main toolbar.

3.4.3 Creating Walkthrough

A walkthrough animation is created by using a camera and a path through which it animates. Dummy
Objects are used as a camera. These objects can be attached to the dummy, to make the
walkthrough easier. The direction of the camera is defined by a path which is created. A 'Dummy' is
then created and animated on the path using Path Constraint. To point the 'Dummy' in the direction of
the path, the Follow option is used. Finally, the camera follows the Dummy which is initially attached
to it. The required changes can then be made to the camera. A Free Camera can also be directly
constrained to a path so that it follows the path.

Quick Test 3.2

1. perspective is applied by Camera Correction modifier to a camera view.

A 2-point A 3-point

2. A walkthrough animation is created by using a camera and a path through which it

Animates. (True/False)

3.5 Summary

In this session, Understanding Cameras, you learned that:

 The two types of cameras are Target Camera and Free Camera.
 Camera objects are seen as icons in the viewport, but they are not rendered.
 A Target camera always points at a controllable target point some distance in front of the
camera.
 A Free camera object offers a view of the area that is directly in front of the camera. Use Free
Camera if the camera is to be animated.
 A Target Camera is created by selecting the Target option and clicking and dragging within a
viewport.
 A Free Camera is created by selecting the Free option and then simply clicking in a viewport.
 A camera's viewpoint can be shown by changing any viewport to a camera viewport.
 The Camera Navigation control buttons located in the lower-right corner of the screen help to
control the camera view in a viewport.
 Multi-Pass Effect uses multiple rendering of the same frame, with slight camera movement
between each rendering.
 A camera's depth of field is simulated by Depth of Field. This is done by blurring areas of the
frame at a distance from the camera's focal point.
 A moving object is blurred by Motion Blur. The greater the speed of an object, the more blurred
the object is.
 A 2-point perspective to a camera view is applied by the Camera Correction Modifier.
3.6 Exercise
1. By default Free Camera point to the _________ when it is first created.

Positive X-axis of the active viewport

Negative Y-axis of the active viewport

Negative Z-axis of the active viewport

Positive Z-axis of the active viewport

2. Depth of Field option simulates a camera's depth of field by inclining areas of the frame at a
distance from the camera's focal point.

True

False

3. _________ parameter creates blurriness in Depth of Field.

Sample Radius
Tile Size

Focal Depth

Sample Bias

4. If Motion Blur effect is applied to a still object then __________.

The still object would blur

The still object would rotate
The still object would remain clear
The still object would become grayscale

5. The camera icon is placed _________ while creating a camera in 3ds max.

At the point where we start dragging

At the point where we release the mouse

At any random point on the screen

In a pop-out window that appears

 Se ssi on 4
Material Editor Part I
Learning Outcomes
In this session, you will learn to:

 Explain the basics of materials

 List the features of Material Editor
 Describe the use of colored and textured surfaces applied on various objects
 List the options under the Material Editor
 Describe the various attributes in customizing the Material Editor
 Explain the process of manipulating options to create your own material
 Explain the default Max material types
 Explain the process of creating and animating the materials

4.1 Introduction
The various materials in 3ds max are similar to materials in real life. Hence, they can be of different
types and can be described as soft, smooth, opaque, and so on. Materials are applied to 3D objects so
that the objects can mimic properties such as color, texture, transparency, and shininess. Object’s
material describes the reflection or transmission of light. Maps within a material can imitate textures,
applied designs, reflections, refractions, and other effects. Moreover, maps can also be used as
environments and projections from lights. This session covers the basics of working with materials and
the various features of the Material Editor for creating and applying these materials to objects.

4.2 Material Editor Basics

Color is the simplest and also the easiest material property to identify. We can choose colored and
textured surfaces that can be applied to one or more objects in the scene by using the Material Editor
dialog box. There are a variety of tools and settings in the Material Editor to help create materials and
also animate them. 3ds max has several materials such as Ink ‘n Paint material for cartoon shading,
translucency in standard materials, and a material to adjust the effects of the new advanced lighting
options. A Translucent Shader when used as a material helps to create an effect of light passing through
an object. For creating objects such as curtains, projection screens, and etched glass, translucent
shading is a good option. Advance Lighting Override material is used with advanced lighting features
such as radiosity and light tracing. It allows to adjust how a material affects global illumination. Refer to
Figure 4.1 for Advanced Lighting Override Material.
 Figure 4.1: Advanced Lighting Override Material
4.2.1 Interface of Material Editor
The Interface of Material Editor allows to define, create, and apply materials to objects. From the
Rendering menu, the Interface of Material Editor can be accessed by selecting Material Editor
command. It can also be accessed by clicking the Material Editor button on the Main toolbar or by
pressing the M key. A realistic view of the scene is created by the use of Materials. Moreover, the
properties of material work in conjunction with the properties of Light. A simulation of an object as seen
in the real-world setting is created by combining light and material properties by the use of shading or
rendering. Materials are usually applied to individual objects or selection sets. Hence, there may be
many different materials in a single scene.
The elements in the Material Editor dialog box are as follows:

 Material Sample Slots

 Material Editor menu

 Material Editor buttons such as Vertical buttons and Horizontal buttons

 Material Type and Name area buttons

 Material Parameters area

Refer to Figure 4.2 for Interface of Material Editor.

 Figure 4.2: Interface of Material Editor

For detailed step-by-step procedure, refer to demo Interface of Mateial Editor from:

eResources 4 Me>> My Varsity>> Lighting & Texturing in 3D Models>> Show Me How

4.2.2 Sample Slots

The sample slots allow to maintain and preview the materials and maps. A single material or a map
is previewed by each slot. The Material Editor controls are used to change the material. This
changed material is applied to the objects in the scene. An easy way to apply the material is by
dragging the material from the sample slot to an object in the viewport. The sample slots serve as
temporary placeholders when an actual scene has hundreds of materials. The default setting allows
viewing of six out of twenty four sample windows in the workspace. Moreover, the sample window
workspace can be panned. Hence, to see more slots of materials, the scroll bars at the side and bottom
of the sample window can be used or the number of windows that are visible can be increased. For
more complex scenes, right-click any of the material slots to open the options for more number of
sample slots. A white border around a sample slot indicates that the material is selected.

For detailed step-by-step procedure, refer to demo Sample Slots from:

eResources 4 Me>> My Varsity>> Lighting & Texturing in 3D Models>> Show Me How

4.3 Material Editor Buttons
The materials can be managed by various controls found in the Interface of Material Editor through
the Material Editor buttons. These buttons run vertical on the right side of the sample slots. These
materials can be controlled by various tools described in the given table. Refer to Tables 4.1 and 4.2
for Material Editor Buttons.

Icon Name Description

This controls the type of geometry displayed in the sample slot. Sphere is
the default object. Other options available in the fly out include a Cylinder
Sample Type
and a Cube. A custom object can also be selected as the preview object if
Custom Sample Object has been selected from the Material Editor
Options dialog box.

Backlight It turns backlighting in the selected sample slot On or Off.

Background It displays a checkered (or custom) background image behind the material.
This is helpful when displaying a transparent material.

Sample UV It sets UV tiling for the map in the sample slot. The default is 1x1. Additional
Tiling options available as fly outs are 2x2, 3x3, and 4x4. Only maps are affected
by this setting.

It checks the current material for colors that are not supported by the NTSC
Video Color
Check and PAL formats.

Make Preview, It is used to generate, play, and save material preview renderings. These
Play Preview, animated material previews help to see the effect of an animated material
Save Preview
before rendering.

Options It displays the Material Editor Options dialog box. The dialog box has
settings for enabling material animation, loading a custom background,
defining the light intensity and color of the sample slots, and selecting the
number of sample slots.

Select by It allows to select all objects that use the current material. This button opens
Material the Select Objects dialog box with the objects selected.

Material/Map It displays the Material/Map Navigator dialog box. This dialog box displays a
Navigator tree of all the levels for the current material.

Table 4.1: Material Editor Buttons-Vertical

Icon Name Description

Get Material It opens the Material/Map Browser for selecting materials.

Put Material to
It updates the materials in the scene after materials have been
Scene edited.
Assign
Material to It applies the selected object with the selected material.
selection
Reset Map/
It removes any changed properties and resets the material
Mtl to default
properties to their defaults.
settings
Make Material
It creates a copy of the current material in the active sample slot.
Copy

Make Unique It makes instanced materials into a new standalone material.

It displays the Put to Library dialog box which allows to rename the
Put to Library material and saves it into the current open library.
It sets a unique channel ID for applying post-processing effects. This
Material ID
Channel button includes channels 1-15 as fly outs. A material with
Channel
channel 0 means no effect will be applied.
Show Shaded
Material in It displays 2D material maps on objects in the viewports.
Viewport
Show End It displays the material in the sample slot with all levels applied. If
Result this button is disabled, only the current selected level is displayed.

Go to Parent It moves up one level for the current material. This is applicable only
to compound objects with multiple levels.
Go Forward to
It selects the next map or material at the same level.
Sibling

Pick Material It allows to select a material from an object in the scene and loads
From Object the material into the selected sample slot.

Material It lists the elements in the current material. The material or map
drop-down list name can be changed by typing a new name in this field.

Type button It displays the current material or map type that is being used.
Clicking this button opens the Material/Map Browser, where a new
material or map type can be selected.

Table 4.2: Material Editor Buttons-Horizontal

4.4 Customizing the Material Editor
The Material Editor Options dialog box can be used to customize the Material Editor according to
requirements. Click the Options button to open the Material Editor Options dialog box. There are
various options available in the Material Editor Options dialog box that control how the materials are
displayed in the sample slots. Refer to Figure 4.3 for Material Editor Options.

Figure 4.3: Material Editor Options

4.4.1 Manual Update

This check box is used to manually update any changes made in the sample slot. On activating Manual
Update, any changes made to the sample slot will not be updated until the slot is clicked.

4.4.2 Don’t Animate

This check box is used to disable the animation of materials, when an animation is played or the Time
Slider is dragged. However, it does update these materials to the current frame.
4.4.3 Animate Active Only
Selecting this check box will animate only the active sample slot if it contains an animated material. This
option is highlighted, only when the Don’t Animate option is selected.

4.4.4 Antialias
Selecting this check box will enable antialiasing for all sample slots. A negative staircase type
effect that occurs for pixel-based images when adjacent pixels along the edges of an image are of
different colors is known as Aliasing. The process of eliminating the distracting effect and smoothening
the edges is known as Antialiasing.

4.4.5 Progressive Refinement

Selecting this check box will cause materials to be rendered progressively. Hence, the materials will
appear quickly as blocky sections and then slowly in more detail. This helps to get an idea of how the
material looks before the rendering is completed.

4.4.6 Simple Multi Display Below Top Level

Selecting this check box will display different areas for the top level when a Multi/Sub-object material is
applied.

4.4.7 Display Maps as 2D

Selecting this check box will display standalone maps in 2D and not in the sample object. This
feature helps to differentiate between a map and a material.

4.4.8 Custom Background

Selecting this check box will enable the use of a custom background behind the sample slots. The button
to the right of the option is used to load the background.

4.5 Basic Material Parameters

It is important to understand material properties to create new materials. The default object color is the
only material property that is applied to an object by default randomly in 3ds max. Different types of
physical properties are simulated by the Material Editor. However, until the scene is rendered, many
of these materials are not visible.

4.5.1 Colors

Color is the simplest material property to identify. We can choose our own choice of colored and textured
surfaces that can be applied to one or more objects in the scene by using the Material Editor dialog
box. There are a variety of tools and settings in the Material Editor to help create materials and also
animate them. There are different color swatches within the Material Editor. These control the different
aspects of the color. The different types of color swatches are as follows:
  Ambient: This is the overall background light that affects all objects in the scene. It
includes the color of the object when it is in the shadows. Ambient is locked together
with Diffuse color to change their color together.

 Diffuse: This is the surface color of the object in normal, full light. Diffuse color typically
defines the normal color of an object.

 Specular: This is the color of the highlights where the light is focused on the surface of
a shiny material.

 Self-Illumination: This is the color through which the object glows from within. This
color takes over any shadows on the object.

 Filter: This is the transmitted color caused by light shining through a transparent object.

 Luminosity: This color used to make an object glow. It is like Self-Illumination color, but
this can be independent of the Diffuse color.

 Transparency: This is the color that is applied to the materials behind a transparent
raytrace material. It is like Filter color but is available only for raytrace materials. Refer
to Figure 4.4 for Colors.

For detailed step-by-step procedure, refer to demo Understanding Material

Parameters from:
eResources 4 Me>> My Varsity>> Lighting & Texturing in 3D Models>> Show Me How

Figure 4.4: Colors

4.5.2 Reflection and Refraction

When a person looks in the mirror, what he/she sees is known as reflection. Hence, it is seen that shiny
objects reflect their surroundings. The area of reflection can be controlled by defining a material’s
reflection value. This is essential as objects like mirror should reflect everything whereas objects
such as a rock should not reflect at all. The bending of light rays as it moves from one medium to
another is called as refraction. The Index of Refraction expresses the amount of refraction that is
produced by a material. Hence, the amount of light bending as it goes through a transparent object is
indicated by the Index of Refraction. Index of Refraction is an important parameter to set, as thick
glasses will bend light farther than thin ones and will therefore, have a higher Index of Refraction value.
The default Index value is 1.0. Water has a value of 1.3, glass has 1.5, and solid crystal has 2.0. Refer
to Figure 4.5 for Reflection and Refraction.

Figure 4.5: Reflection and Refraction

4.5.3 Shininess and Specular High-lights

There are shiny objects such as polished metal or clean windows in the scene. Such shiny objects also
have highlights where the lights reflect off their surfaces. These highlights are known as Specular
highlights and are determined by the Specular settings. Refer to Figure 4.6 for Shininess and Specular
Highlights.

Figure 4.6: Shininess and Specular Highlights

The s ettings in Spec u la r Highlight s are as follows:

 Specular Level: This setting is used to determine the intensity of the highlight.
 Glossiness: This setting determines the size of the highlight. Higher values result in smaller
highlight.
 Soften: The Soften value thins the highlight by increasing its size and at the same time lowering
its intensity.

Hence, objects that are rough and are not shiny will have almost no highlights. Therefore, the
Roughness property sets how quickly the Diffuse color blends with the Ambient color. Objects such
as cloth and fabric materials will have a high Roughness values, and plastic and metal will have low
Roughness values.
 Quick Test 4.1

1. ________ is the default object in the Sample Type.

Box Sphere
2. Material helps to create a more realistic view of the scene. (True/False)

4.6 Standard Materials

A realistic effect to the objects in the scene is given by Materials. A default max material type is the
Standard material. They use the Ambient, Diffuse, Specular, and Filter color swatches to provide a
single, uniform color. They can use any of the different shaders. Algorithms used to compute how the
materials look when its parameters are given are known as Shaders. They also have parameters for
controlling highlights, transparency, and Self-Illumination. Shader Basic Parameters, Basic
Parameters, Extended Parameters, Super Sampling, Maps, Dynamic Properties, DirectX
Manager, and Mental Ray Connection are the different parameters that can be changed to create
unique materials. A standard material has unlimited possibilities due to the various rollouts.

4.6.1 Shader Basic Parameters

Different shader types exist in Max. All the shaders are available in a drop-down list in the Shader Basic
Parameters rollout. Different options are displayed in each shader type in its respective Basic
Parameters rollout. Refer to Figure 4.7 for Shader.

Figure 4.7: Shader

The options for shading the material available in the Shader Basic Parameters rollout are as follows:

 Wire: This option causes the model to appear as a wireframe model.

 2-Sided: This option makes the material appear on both sides of a face.

 Face Map: This mode applies maps to each single face on the object.

 Faceted: This mode ignores the smoothening between faces.

4.6.2 Blinn

The Blinn shader is the standard default. It smoothens adjacent faces and renders simple circular
highlights. It has color swatches for setting Ambient, Diffuse, Specular, and Self-Illumination colors.
The color can be changed by clicking the color swatch and selecting a new color in the Color Selector
dialog box. Moreover, the colors can be locked together by using the Lock buttons to the left of the
color swatches. This will prevent a change made to one from automatically changing the other. A Diffuse
can be locked to Specular and Ambient to Diffuse. The small square buttons to the right of the Ambient,
Diffuse, Specular, Self-Illumination, Opacity, Specular Level, and Glossiness controls are shortcut
buttons. They are used for adding a map in place of the respective parameters. Clicking these buttons
will open the Material/Map Browser. Refer to Figure 4.8 for Material/Map Browser.

Figure 4.8: Material/Map Browser

 Here, the map type is selected. If a map has been loaded and is active, it will appear in the Maps
rollout. Letter M appears in uppercase on its button. However, if a map is loaded but is inactive, a
lowercase m appears. After a map is applied, these buttons will open to make the map and display its
parameters in the rollouts. If the Color check box is selected, then the Self-Illumination group can use
a color. Whereas, a spinner appears; if this check box is not selected. Refer to Figure 4.9 for Specular
Self-Illumination and Opacity.

Figure 4.9: Specular Self-Illumination and Opacity

The spinner allows to adjust the amount of default color used for illumination. If Materials have a Self-
Illumination value of 100 or is of a bright color like white, they will lose all shadows and highlight and
will appear to glow from within. The spinner can be set to 0 or the color can be set to black to remove the
effect of Self-Illumination. The level of transparency of an object is set by the Opacity spinner. Hence,
a material is made completely opaque by setting a value of 100 and setting a value of 0 makes the
material completely transparent. The Background button is used to view the effects of the Opacity
setting. The bright points on the surface where the light is reflected at maximum value are the Specular
Highlights. Therefore, the brightness of the highlight is determined by the Specular Level value. Its
values can range from 0, where there is no highlight, to 100, where the highlight is maximum. The
intensity per distance for a cross section of the highlight is shown by the graph to the right of the
values. The height of the curve or the value at the centre of the highlight where it is the brightest is
determined by the Specular Level. It is seen that this value can be overloaded to accept numbers
greater than 100. Larger, wider highlights are created by such overloaded values. The size of the
highlight is determined by the Glossiness value. A pinpoint highlight is created when this value is 100
whereas a value of 0 increases the highlight to the edges of the graph. The graph is not affected by
the Soften value. However, the graph does spread the highlight across the area defined by the
Glossiness value. It can range between 0 (wider) to 1 (thinner). Refer to Figure 4.10 for Blinn.

Figure 4.10: Blinn

4.6.3 Phong
Smooth surfaces like Blinn are created by the Phong shader but without the quality highlights. Moreover,
it renders more quickly than the Blinn shader. The parameters for the Phong shader are similar to the
parameters for Blinn shader. However, there are a few subtle differences between Blinn and Phong
shader. Softer highlights and highlight for lights at low angles to the surface are generally created by a
Blinn shader. Refer to Figure 4.11 for Phong.
 Figure 4.11: Phong

4.6.4 Anisotropic
Anisotropic shader gives non-circular highlights. The difference between the two axes that make up the
highlight is known as an Anisotropic value. A value of 0 is circular. Hence, as the value increase the
difference between the axes also increases, and the highlights are more elliptical. Most of the
parameters for this shader are similar to those for the Blinn shader. However, there are several
parameters of the Anisotropic shader that are unique. The brightness of the Diffuse color is determined
by the Diffuse Level value. This is just like Self-Illumination; however, this does not affect the specular
highlights or the shadows. Values can range from 0 to 400. The specular highlight graph is quite different
than that with the Blinn shader. This is due to the display of two highlight components that intersect at
the middle. The height of the curve is controlled by the Specular Level value and the width is controlled
by the Glossiness value. The width of one axis relative to the other is changed by the Anisotropy value
hence resulting in elliptical highlights. The highlight is rotated by the Orientation value. Refer to Figure
4.12 for Anisotropic.

Figure 4.12: Anisotropic

4.6.5 Multi-Layer
Two Anisotropic highlights are included in the Multi-layer shader. Each of these highlights can be of
different colors. All the parameters for this shader are the same as the Anisotropic shader. However, this
shader has two Specular Layers. Roughness is one additional parameter which is included with the
Multi-layer shader. Roughness defines how well the color blends into the color. When value is set to 0,
an object appears the same as it appears when Blinn shader is applied. As value increases, up to 100,
the material grows darker. Refer to Figure 4.13 for Multi-Layer.

Figure 4.13: Multi-Layer

 Figure 4.14: Oren-Nayar-Blinn
4.6.6 Oren-Nayar-Blinn
For creating materials for matte surfaces such as cloth and fabric, the Oren-Nayar-Blinn shader is useful.
The parameters are similar to the parameters of Blinn shader. Additional parameters of the Diffuse
Level and Roughness values are included. Refer to Figure 4.14 for Oren-Nayar-Blinn.

4.6.7 Metal
The lustre of metallic surfaces is simulated by the Metal shader. The shape of the highlight curve is
different from that of the other shaders. The highlight curve does not include a Soften value and is round
at the top. Moreover, a Specular color cannot be specified. All other parameters are similar to those of
the Blinn shader. Refer to Figure 4.15 for Metal.

Figure 4.15: Metal

4.6.8 Strauss
Another option, other than the metal shader, for creating metal materials is Strauss shader. Color,
Glossiness, Metalness, and Opacity are the four parameters in this shader. The entire shape of the
highlight is controlled by Glossiness. The material appears more metal-like by its Metalness value. This
value affects the primary and secondary highlights. Both of these values can range between 0 and 100.
Refer to Figure 4.16 for Strauss.

Figure 4.16: Strauss

4.6.9 Translucent Shader
Light is allowed to pass easily through an object by the Translucent Shader. This shader is used on
thin, flat, plane objects, such as curtains. Most of the parameters for this shader are the same as for
the other shaders. However, it also includes Translucent color as an additional parameter. When light
passes through an object, it uses translucent color shade applied with this material. It also includes a
Filter color and an option to disable the specular highlights on the backside of the object. Refer to
Figure 4.17 for Translucent Basic Parameters.

Figure 4.17: Translucent Basic Parameters

4.6.10 Extended Parameters (Raytrace Material)

The Extended parameter’s rollout includes Advanced Transparency, Reflection Dimming, and Wire
controls. Refer to Figure 4.18 for Extended Parameters.

lt is same for all the shaders. The Advanced Transparency controls can be used to set the Falloff as ln,
Out, or with a specified amount. The ln option increases the transparency further inside the Object, and
the Out option does the opposite. The Amt value sets the transparency for the inner or outer edge. The
three transparency types are Filter, Subtractive, and Additive. The Filter Type multiplies the Filter color
with any color surface that appears behind the transparent object. This option can be used to select the
Filter color. The Subtractive and Additive types subtract from or add to the color behind the transparent
object. The lndex of Refraction is a measure of the amount of deflection caused by light rays when it
passes through a Transparent object. Different physical materials have different lndex of Refraction
values. The amount of distortion also depends on the thickness of the transparent object. The lndex of
Refraction for water is t.33 and for glass 1.5. The default of 1.0 has no effect. The Wire section specifies
a wire size or thickness. This setting is used if the Wire mode is enabled in the Shaders rollout. The
size can be measured in either Pixels or Units. The Reflection Dimming controls the intensity of the
reflection. It can be enabled using the Apply option. The Dim Level setting controls the intensity of the
reflection within a shadow and the Refl Level sets the intensity for all Reflections outside the shadow.

Figure 4.18: Extended Parameters

4.6.11 Dynamic Properties

The properties in the Dynamic Properties rollout are used along the Dynamics Utility in simulations.
These properties define how the object is animated during collisions. lf these properties are not specified
for an object, then the default material settings are used. The values in the Dynamic Properties rollout
are as follows:
  Bounce Coefficient: This option determines how high an object will bounce after a collision.
The default of 1.0 is equal to a normal elastic collision. For example, a ball with a value greater
than 1, will continue to bounce higher with each impact.

 Static Friction: This option determines the difficulties in starting an object to move when
pushed across a surface. Objects with high Static Friction values will require a lot of force to
move.
 Sliding Friction: This option determines the difficulties in keeping an object in motion across a
surface. lce, for example, would have a low Sliding Friction value, because after it starts moving,
it will continue easily.

4.6.12 Using Compound Materials

Different materials are combined into one in Compound materials. A compound object is selected by
clicking the Type button in the Material Editor and then selecting the material type from the
Material/Map Browser. The Type button is found to the right of the material name. It lists the current
material on the button. Most of the entries in the Material/Map Browser are compound objects. The
Replace Material dialog box is displayed whenever the compound materials are selected. This dialog
box helps to choose if we want to discard the old material or make the old material a sub material. This
feature allows to change a normal material into a compound material while retaining the current
material. There are generally several different levels included in Compound materials. For example, two
materials for both top and bottom are included in Top/Bottom material. Another Top/Bottom material can
be included in each of these Sub-Materials. The material is displayed as a hierarchical list in the
Material/Map Navigator dialog box. The level that has to be worked with can be easily chosen from
this list.

4.6.13 Blend
Two separate materials on a surface are blended by the Blend material. The Blend Basic Parameters
rollout has buttons for loading the two Sub-Materials. Each Sub-Material can be enabled or disabled by
selecting the check boxes to the right of these buttons. One of the Sub-Materials can be viewed in the
viewports by using the Interactive option. A map to is loaded which allows to specify how the Sub-
Materials are mixed using the Mask button. Well blended materials are shown as white areas on the
map and black areas do not blend at all. Another option other than mask is to use the Mix Amount. This
determines how much of each Sub-Material to display. A value of 0 displays only Material 1. Whereas,
a value of 100 displays only Material 2. The transition between edges of the two materials is defined by
the Mixing Curve. The curve is controlled by the upper and lower spinners. Refer to Figure 4.19 for
Blend Material.
 Figure 4.19: Blend Material

4.6.14 Composite

Up to 10 different materials are mixed together in the composite material mixes by adding, subtracting,
or mixing the opacity. The Composite Basic Parameters rollout has buttons for the base material and
10 additional materials that can be composited on top of the base material. The materials are applied
from top to bottom. The check box to the left of each material can be used to enable or disable it. The
opacity type, Additive, Subtractive, or Mix are specified by labeling the buttons with an A, S, and M.

 The Additive option brightens the material. This is done by adding the background colors to
the current material.

 The Subtractive option has the opposite effect to the Additive option. It subtracts the
background colors from the current material.
 The Mix option blends the materials based on their Amount values.
The Mix Amount is to the right of A, S, and M buttons. The value can range from 0 to 200.At value
lower than 0, none of the materials are visible. Full compositing occurs at 100. Transparent regions
become more opaque at values greater than 100. Refer to Figure 4.20 for Composite.
 Figure 4.20: Composite

For detailed step-by-step procedure, refer to demo Composite from:

eResources 4 Me>> My Varsity>> Lighting & Texturing in 3D Models>> Show Me How

4.6.15 Double Sided

The different materials for the front and back of object faces are specified by the Double Sided material.
When the Double Sided material is applied, it shows the interior and exterior of objects having holes in
their surfaces. The Double Sided Basic Parameters rollout has two buttons for both the Facing and Back
materials. How much of one material shows through the other is determined by the Translucency value?
Refer to Figure 4.21 for Double Sided.
 Figure 4.21: Double Sided

For detailed step-by-step procedure, refer to demo Double Sided from:

eResources 4 Me>> My Varsity>> Lighting & Texturing in 3D Models>> Show Me How

4.6.16 Shellac
The Shellac material is added on top of the Base material. The Shellac Basic Parameters rollout has only
two buttons for each material, along with a Color Blend value. There is no upper limit for the Blend
value. Refer to Figure 4.22 for Shellac.

Figure 4.22: Shellac

For detailed step-by-step procedure, refer to demo Shellac from:

eResources 4 Me>> My Varsity>> Lighting & Texturing in 3D Models>> Show Me How

4.6.17 Multi/Sub-Object
Several different materials are assigned to a single object via the material lDs by the Multi/Sub-Object
material. The Mesh Select modifier is used to select each sub-object area to receive the different
materials. The Set Number button at the top of the Multi/Sub-Object Basic Parameters rollout allows to
select the number of sub-object materials to be included. This number is displayed in a text field to the
left of the button. Each Sub-Material is displayed as a separate area on the sample object in the sample
slots. The Add and Delete buttons are used to selectively add or delete Sub-Materials from the list. A
sample preview and an index number for each Sub-Material is listed to the left. There is also Name field
where the name of the Sub-Material can be typed. The Sub-Material button, a color swatch, and a check
box to enable or disable the Sub-Material are the columns available after the Name column. Clicking
the ID, Name, or Sub- Material buttons at the top of each column help to sort the Sub-Materials. After
a Multi/Sub-Object material is applied to an object, use the Mesh Select modifier to make a sub-object
selection. Then, choose a material lD to associate with a Sub-Material ID or select the material name
from the drop-down list, in the Material rollout for this sub-object selection. Refer to Figure 4.23 for
Multi/Sub-Object.

Figure 4.23: Multi/Sub-Object

For detailed step-by-step procedure, refer to demo Multi/Sub-Object from:

eResources 4 Me>> My Varsity>> Lighting & Texturing in 3D Models>> Show Me How

4.6.18 Top/Bottom
Different materials to the top and bottom of an object are assigned by the Top/Bottom material. The
direction in which the face normals point determined the Top and Bottom areas. These normals can
be according to the World or Local coordinate system. The two materials can also be blended. There
are two buttons in the Top/Bottom Basic rollout for loading the Top and Bottom materials. The Swap
button is used to switch the two materials. The object can be rotated without changing the material
positions by the World Coordinate System. Local Coordinates tie the material to the object. The Blend
value can range from 0 to 100. The value of0 being a hard edge and 100 being a smooth transition. The
location where the two materials meet is set by the Position value. A value of 0 indicated only the bottom
of the object and displays only the Top material. A value of 100 indicates the top of the object, and only
the Bottom material is displayed. Refer to Figure 4.24 for Top/Bottom.

Figure 4.24: Top/Bottom

4.6.19 Using Raytrace Materials

Raytracing is a rendering method. It calculates image colors by following imaginary light rays as they
move through a scene. These rays can travel through transparent objects. Whereas, they can reflect
from the shiny materials. This creates stunning realistic images. However, the major disadvantage is the
large amount of time it takes to render using raytrace materials. Moreover, scenes that have lots of
lights and reflecting materials will take even longer. Refer to Figure 4.25 for Raytrace.

For detailed step-by-step procedure, refer to demo Raytrace from:

eResources 4 Me>> My Varsity>> Lighting & Texturing in 3D Models>> Show Me How

 Figure 4.25: Raytrace

4.6.20 Using Matte/Shadow Materials

Matte/Shadow materials are applied to objects to make portions of the model invisible. This allows
putting any object behind the object or in the background. Also, objects with Matte/Shadow materials
applied can cast and receive shadows. However, the effect of these materials is seen only when the
object is rendered. Matte/Shadow material is applied by clicking the Type button and selecting
Matte/Shadow from the Material/Map Browser. The matte material is caused to appear in an alpha
channel by using the Opaque Alpha option. This is basically a switch for turning Matte objects On and
Off. Atmospheric effects such as fog and volume light can also be applied to Matte materials. The fog
to the background image is applied using the At Background Depth option. The At ObjectDepth
option applies the fog as if the object were rendered. The Receive Shadows section allows shadows
to be cast on a Matte object. The Shadow Brightness and color can also be specified. The shadows
can be made more transparent by increasing the Shadow Brightness values. The Affect Alpha option
makes the shadows part of the alpha channel. Matte objects can also have reflections. How much
reflection is used is controlled by the Amount spinner, and the Map button opens the Material/Map
Browser. Refer to Figure 4.26 for Matte/Shadow.

Figure 4.26: Matte/Shadow

4.6.21 Ink ‘n Paint

Cartoon effects are created by using Ink ‘n Paint material. This material gives ‘inked’ borders with flat
shading. This material allows to create a scene that combines 3D-shaded objects with flat-shaded
cartoon objects. Several rollouts appear when the Ink ‘n Paint material is selected. This includes the
Basic Material Extensions. Refer to Figure 4.27 for Ink ‘n Paint.
 Figure 4.27: Ink ‘n Paint

4.6.22 Using Paint and Ink

The settings for the application of the paint are included in the Paint Controls rollout. This rollout allows
to specify colors for the Lighted, Shaded, and Highlighted colors.

 For sections of the material that face the scene lights, the Lighted color is used.

 For sections that are in the shadows, the Shaded color is used.

 For the specular highlights, the Highlighted color is used.

A map with an amount value for each color can also be selected. The size of the highlight is determined by
the Glossiness value. The Ink Controls rollout has an Ink option that can be used to turn off the outlining
ink completely. The Ink Quality can also be set to values between 1 and 3. The higher quality values
trace the edges better, however, they require more time. The Variable Width or Clamp options can be
used to set the width of the ink strokes. For each option, select a Minimum ink width. If Variable Width
is enabled, then select Maximum ink width. For the Variable Width option, in lighted areas, the stroke
changes so that the minimum setting is used and in shaded areas, the maximum width is used. This
helps to accentuate the lighting. The ink width can also be applied as a map.

For detailed step-by-step procedure, refer to demo Ink and paint from:

eResources 4 Me>> My Varsity>> Lighting & Texturing in 3D Models>> Show Me How

4.6.23 Basic Material Extensions

The Basic Material Extensions rollout has options for making the material 2-Sided, a Face Map, and
making the material Faceted. When painting is incomplete, there are several other options which
cause the background to be foggy. This makes the alpha channel opaque. There are Maps available
for Bump and Displacement. Refer to Figure 4.28 for Basic Material Extensions.

Figure 4.28: Basic Material Extensions

4.6.24 Paint Controls

The main color of the material is Paint. The color, highlight, and shades, the kind of map to be added
to the material can be adjusted here. The paint levels can also be adjusted according to the depth of
the color or the shades that are required. The percent of the Lighted color that appears on the unlighted
side of objects is Shaded. On turning off this component, it displays a color swatch, which can be used
to assign a distinct color to shaded areas. Refer to Figure 4.29 for Paint Controls.
 Figure 4.29: Paint Controls

4.6.25 Ink Controls

The outline colors, depth, width, and other details like quality and the maps that are to be applied is
defined in this part of the rollout. A map can also be used on the outline. Refer to Figure 4.30 for Ink
Controls.

Figure 4.30: Ink Controls

4.6.26 Advanced Lighting
The radiosity properties of a material are controlled by this material. Advanced Lighting Override is
always a supplement to a base material. This can be any Renderable material. It has no effect on
ordinary renderings. It works only with radiosity solution or light tracing. To adjust the material properties
used in a radiosity solution or light tracing and to create special effects such as having Self-Illuminating
objects contributing energy to the radiosity solution are the two main uses of Advanced Lighting
Override.

4.6.27 Override Material

The base material’s advanced lighting properties are directly controlled by these parameters. The default
scale can be reduced. However, increasing it for any of these parameters may cause colors to ‘burn
out’. Also, if the scale is too great, they are rendered as pure white, appearing overexposed.
 Reflectance Scale: This scale increases or decreases the amount of energy reflected by the
material. Reflectance Scale increases or decreases the energy of reflected rays.
 Color Bleed: This increases or decreases the saturation of reflected color. The saturation of
reflected color is increased or decreased by Color Bleed.
 Transmittance Scale: This scale Increases or decreases the amount of energy transmitted by
the material. This parameter affects only radiosity and has no effect on light tracing.

 Special Effects Group

 Luminance Scale: The Self-Illumination component of the base material is increased, if this
value is greater than zero. This parameter is used to have Self-Illuminating objects.
 Indirect Light Bump Scale: This scale affects the base material’s bump mapping in areas lit
by indirect light. No bump mapping is done for indirect light, if this value is zero.

Quick Test 4.2

1. _____ effect is used to create cartoon effects in 3ds max.

Ink 'n Paint Shadow Materials

2. Advanced Lighting Override is always a supplement to a base material. (True/False)

4.7 Creating Materials

One of the most rewarding aspects of 3D Studio MAX is the ability to make your own materials.
Modelling is a necessary skill, however the materials and textures are also important to create an
impressive work while rendering. MAX comes with a wide variety of textures included, but they aren’t
perfect, and knowing how to fix them and add your own materials and material libraries is vital to
successful projects.
4.7.1 Animating Materials

Select the text and open the Material Editor from the Render menu. In Shader Basic Parameter
select Metal from the drop-down Menu. Set the Diffuse Color values. Then apply the Ambient Color
values. Set the Specular Level and Glossiness in Specular Highlights. From the Maps rollout go to
the Reflection and change its value. From the Raytrace Parameters, uncheck the Use Environment
Settings from Background options and enable the third check box. From the Bitmap Parameters, click
the button Next to Bitmap and select the required map from the C:\3dmax5\maps\Misc folder. This is
a default Map in the 3ds max folder. Then click the Go to Parent button twice to return to the Parent
material. Click the Assign Material to Selection button to assign the material to the text object. Render
the file for the output.

4.8 Summary
In this session, Material Editor Part I, you learned that:

 Materials and maps can be maintained and previewed by Sample slots.

 The amount of light bending as it goes through a transparent object is known as the Index of
Refraction.

 Algorithms that are used to compute how the materials look when its parameters are given
are known as Shaders.

 The height of the curve or the value at the centre of the highlight where it is the brightest is
defines by the Specular Level.
  A rendering method that calculates image colors by following imaginary light rays as they
move through a scene is known as Raytracing.

4.9 Exercise
1. _________ material property is the easiest to identify.

Texture

Color

Transparency

Shininess

2. The process of eliminating the distracting effect and smoothening of the edges known as _____.

Aliasing

Antialiasing

Antiliasoning

Liasoning

3. __________ material property is applied to an object by default randomly in 3ds max.

Size

Color

Texture

Illumination

4. The color of the highlights, where the light is focused on the surface of a shiny material is known
as _______.

Luminosity
Self-Illumination
Specular
Diffuse

5. __________ is used for creating materials for matte surfaces such as cloth and fabric.

Blinn Shader
Anisotropic

Phong Shader

Oren-Nayar-Blinn Shader
 Se ssi on 5
Material Editor Part II
Learning Outcomes
In this session, you will learn to:

 Describe the list of maps of different categories

 Explain the process of creating a normal map
 Describe the mapping coordinates for an object

5.1 Introduction
Maps provide patterns that are applied to the surface of an object. Some maps wrap an image on
objects. However, maps like displacement and bump maps modify the surface based on the intensity
of map. For example, a diffuse map can be used to add a label to a soda bottle. A bump map can be
used to add texture to the surface of a leaf. Use the Material Editor to apply Maps. The Material/Map
Browser lists all the available maps in different categories. Refer to Figure 5.1 for Material/Map Browser.

5.1.1 2D Maps
A two-dimensional map appears on the surface of the object. This map can be wrapped on the
surface of an object. Alternatively, it can be used as an environment map for the background image in
a scene. The most common 2D map used is the Bitmap. It is used to load images that can be
wrapped around an object's surface in numerous ways.
 Figure 5.1: Material/Map Browser Figure 5.2: Coordinates Parameters

5.1.2 Coordinates

Mapping coordinates define how a map lines up with the object to which it has been applied. Mapping
coordinates determine the upper-right corner of the map on the object. All map coordinates are based
on a UVW coordinate system that is equivalent to 3ds max XYZ coordinate system. It is named
differently to avoid confusion with the transformation coordinates. In most cases, when an object is
created, these coordinates are generated automatically by selecting the Generate Mapping Coordinates
option in the Parameter rollout of the object. Editable meshes do not have any default mapping
coordinates. Use the UVW Map modifier to generate the coordinates. In the Coordinates rollout for 2D
Maps, specify whether the map will be a texture map or an environment map. Refer to Figure 5.2 for
Coordinates Parameters.

 The Texture option applies the map to the surface of an object as a texture. This texture
moves with the object. Refer to Figure 5.3 for U and V Parameters for a Map.
 The Environ option creates an environment map. Environment maps are locked to the world
and not to the object. Moving an object, with an environment map applied to it, will scroll the
map across the surface of the object.
 Figure 5.3: U and V Parameters for a Map

The U and V coordinates correspond to the X and Y positions of the map. For each coordinate,
specify an Offset value. The Offset value is the distance from the origin. Tiling is the process of
placing a copy of the applied map edge to edge in a tiled manner until the entire surface is covered
with the map. Tiled images help in creating seamless copies of the image. If the Tile option is
selected, use the Tiling value to specify the number of times the image is repeated. The Mirror option
inverts the map. The UV, VW, and WU options apply the map on different planes. The map can also
be rotated about the U, V, or W axes by entering values in the respective fields. Alternatively, click the
Rotate button to open the Rotate Mapping Coordinates dialog box. Refer to Figure 5.4 for Rotate
Mapping Coordinates.

Using this dialog box, drag the mouse to rotate the mapping coordinates. Dragging within the circle
rotates about all three coordinates. Dragging outside the circle rotates the mapping coordinates about
their centre point.
 Figure 5.4: Rotate Mapping Coordinates

5.1.3 Time Configuration

Maps that can load animations include a Time rollout for controlling the animation files. In this rollout,
choose a Start Frame and the Playback Rate. The default Playback Rate is 1.0. Higher the value, faster
will be the speed at which it will animate. Refer to Figure 5.5 for Time dialog box.

Figure 5.5: Time Dialog Box

5.1.4 Bitmap

Selecting Bitmap from the Material/Map Browser opens the Select Bitmap Image File dialog box, where
the required image file can be selected. Image and animation formats like AVI, BMP, CIN, GIF, IFL,
IPP, FLC, JPEG, MOV, PNG, PSD, RGB, RLA, TGA, TIF, and YUV are supported in 3ds max. Refer
to Figure 5.6 for Bitmap Parameters.

The name of the current bitmap file is displayed on the button in the Bitmap Parameters rollout. To
change the bitmap file, click the Bitmap button, and then select the new file. The Reload button helps
update the bitmap when changes are made to the same loaded bitmap image by an external program.

For detailed step-by-step procedure, refer to demo Bitmaps from:

eResources 4 Me>> My Varsity>> Lighting & Texturing in 3D Models>> Show Me How

 Figure 5.6: Bitmap Parameters

5.1.5 Checker Map

The Checker map creates a checkerboard image in two colors. The Checker Parameters rollout
includes two color swatches for changing the checker colors. Maps can be loaded in place of each
color. The Swap button switches the position of the two colors. To blur the edges between the two
colors, specify a Soften value. Refer to Figure 5.7 for Checker Parameters.

For detailed step-by-step procedure, refer to demo Checker Map from:

eResources 4 Me>> My Varsity>> Lighting & Texturing in 3D Models>> Show Me How

5.1.6 Combustion Map

The Combustion map includes combustion-produced effects as a material map, by using the Discreet’s
Combustion package, which is used for post-processing compositing. Refer to Figure 5.8 for
Combustion Parameters.
 Figure 5.7: Checker Parameters

Figure 5.8: Combustion Parameters

5.1.7 Gradient Map

The Gradient map creates a gradient image in three colors. Select the Linear or Radial Gradient type
from the Gradient Parameters rollout. This rollout includes a color swatch and map button for each
color. Refer to Figure 5.9 for Gradient.

Figure 5.9: Gradient

The different options in Gradient Parameters are as follows:

 Three Color Swatches: These color swatches determine the color for three colors used in
gradient image.
 None (Buttons): These buttons specify the maps for three colors.
 Color 2 Position: This option is used to position the centre color at any location between the

two ends.
 Noise
● Amount: The Noise Amount adds noise to the gradient if its value is not zero.

● Size: This option sets the value to scale the noise effect.

● Phase: The option allows to control the noise changes over time.
● Noise Effects: The different noise effects available are Regular, Fractal, and Turbulence.

● Levels: This option sets the Levels value which determines how many times the noise
function is applied.
 Noise Threshold: The High and Low Threshold, and Smooth values set the limits of the noise
function to eliminate discontinuities.

For detailed step-by-step procedure, refer to demo Gradient Map from:

eResources 4 Me>> My Varsity>> Lighting & Texturing in 3D Models>> Show Me How

5.1.8 Gradient Ramp Map

The Gradient Ramp Map is an advanced form of the Gradient map. The Gradient Ramp Parameters
rollout includes a color bar with several flags along its bottom edge. To add flags, simply click along the
bottom edge. In addition, the flags can be dragged or deleted. Refer to Figure 5.10 for Gradient Ramp
Parameters.

Figure 5.10: Gradient Ramp Parameters

The Gradient Type drop-down list in the Gradient Ramp Parameters rollout offers 4 Corner, Box,
Diagonal, Lighting, Linear, Mapped, Normal, Pong, Radial, Spiral, Sweep, and Tartan gradient types.
In addition choose Custom, Ease In, In Out, Ease Out, Linear, and Solid from the Interpolation drop-
down list.

5.1.9 3D Map

3D maps are created by using a mathematical algorithm that defines the map in three dimensions.
Therefore, if a portion of the object were to be cut away, the map would line up along each edge. The
Coordinates rollout for 3D maps is similar to the Coordinates rollout for 2D maps with a few additions.

Coordinates Sources Options from Object XYZ and World XYZ are as follows:

 Explicit Map Channel

 Vertex Color Channel

 Planar from Object XYZ

 Planar from World XYZ

Refer to Figure 5.11 for Maps Channel Coordinates Output.

 Figure 5.11: Maps Channel Coordinates Output

5.1.10 Cellular Map

The Cellular 3D map creates patterns of small objects referred to as cells. In the Cell Color section of
the Cellular Parameters rollout, specify the color for the individual cells or apply a map. To vary the
cell color, set the Variation value. In the Division Colors section, use two color swatches to define the
gradient color that appears in between the cells. Refer to Figure 5.12 for Cellular Parameters.

Figure 5.12: Cellular Parameters

5.1.11 Dent Map

The Dent 3D map creates indentations across the surface of an object. Refer to Figure 5.13 for Dent
Parameters.

The different Dent Parameters are as follows:

 Size: This option specifies the overall size of the dents.
 Strength: This option specifies the depth of the dents.

 Iterations: The iteration value specifies number of times the algorithm is to be computed.

 The Colors for the Dent map: The default colors are black and white. Black defines the
areas that are indented.
 Figure 5.13: Dent Parameters

5.1.12 Falloff Map

The Falloff 3D map is applied as an opacity map for greater control over the opacity of the object. It
creates a greyscale image based on the direction of the surface normals. Areas with normals that are
parallel to the view are black. Areas with normals perpendicular to the view are white. Refer to Figure
5.14 for Falloff Parameters.
The different options available in Falloff Parameters are as follows:
 Two color swatches: It determines the color.

 Strength: This option determines the value for each swatch.

 Falloff Type: The drop-down list includes Perpendicular/ Parallel, Towards/Away, Fresnel,
Shadow/Light, and Distance Blend.
 Falloff Direction: The drop-down list includes Viewing Direction (Camera Z-axis), Camera X-
Axis; Camera Y-Axis, Object, Local X, Y, and Z-Axis, and World X, Y, and Z-Axis.

For detailed step-by-step procedure, refer to demo Falloff Map from:

eResources 4 Me>> My Varsity>> Lighting & Texturing in 3D Models>> Show Me How

 Figure 5.14: Falloff Parameters

5.1.13 Marble Map

The Marble 3D map creates a marble material with random colored veins. Refer to Figure 5.15 for
Marble Parameters.
The different options available in Marble Parameters are as follows:
 Two color swatches: Color#1 is the vein color and Color#2 is the base color. Maps can be
loaded for each color.
 Swap (Button): This button is used to interchange the colors between the two color slots.

 Size: This option specifies the value to determine the distance between the veins.

 Vein width: This option defines the thickness of the veins.

 Figure 5.15: Marble Parameters

5.1.14 Noise Map

The Noise 3D map randomly alters the surface of an object using two colors. Refer to Figure 5.16 for
Noise Parameters.
 Regular Noise Fractal Noise
Figure 5.16: Noise

The different options available in Noise Parameters are as follows:

 Noise Types: Regular, Fractal, and Turbulence are the three types of Noise available. Each
type uses a different algorithm to compute noise.
 Two color swatches: Two color swatches change the colors used to represent the noise.

 Swap (Button): This button is used to interchange the colors between the two color slots.
 Size: This option scales the noise effect.

 Noise Threshold: This option is used to set High and Low Noise Threshold. This helps to set
noise limits for preventing discontinuities.

For detailed step-by-step procedure, refer to demo Noise Map from:

eResources 4 Me>> My Varsity>> Lighting & Texturing in 3D Models>> Show Me How

5.1.15 Particle MBlur Map

The Particle MBlur map is used with particle systems to blur particles as they increase in velocity. The
Particle Motion Blur Parameters rollout includes two colors. The first color is used for the slower
particles, and the second is used for the faster ones. To determine the amount of blur, specify the
Sharpness value. Refer to Figure 5.17 for Particle Motion Blur Map Parameters.
 Figure 5.17: Particle Motion Blur Map Parameters

5.1.16 Perlin Marble Map

The Perlin Marble creates marble textures. Refer to Figure 5.18 for Perlin Marble Parameters.

Figure 5.18: Perlin Marble Parameters

The different options available in Perlin Marble Parameters are as follows:

 Size: This option adjusts the size of the marble pattern.
 Levels: This option determines the number of times the algorithm is applied.

 Two color swatches: Two color swatches determine the base and vein colors, or a map can
be assigned to any of these colors.

 Saturation: This option sets the color saturation value.

 Swap (Button): This button is used to interchange the colors between the two color slots.

5.1.17 Smoke Map

The Smoke Map can create random fractal-based patterns such as those that are seen in smoke.
Refer to Figure 5.19 for Smoke Parameters.
The different options available in Smoke Parameters are as follows:
 Size: This option determines the Size of the smoke areas.
 Iterations: This option determines the number of iterations.

 Phase: This option determines the Phase value to shift the smoke in the scene.

 Exponent: This option determines an Exponent value to create thin, wispy lines of smoke.
 Swap: This option interchanges the colors.

 Color #1: This color represents the smokeless portion of the effect.

 Color #2: This color represents the smoke.

Figure 5.19: Smoke Parameters

5.1.18 Splat Map

The Splat map can create the look covering an object with splattered paint. In the Splat Parameters
rollout, the Size of the splattered areas and the number of Iterations can be set. The Threshold value
determines the amount of each color to be mixed. The rollout also includes two colors for the
splattered sections. The maps can also be loaded instead. Refer to Figure 5.20 for Splat Parameters.
 Figure 5.20: Splat Parameters

5.1.19 Stucco Map

The Stucco map, if applied as a bump map, generates random patches of gradients that create the
look of a Stucco surface. Refer to Figure 5.21 for Stucco Parameters.

In the Stucco Parameters rollout, the Size value determines the size of these areas. The Thickness
value determines how blurry the patches are. It also changes the sharpness of the bumps in the map.
The Threshold value determines the amount of each color is mixed. The rollout also includes two
colors for the patchy sections. The maps can also be loaded instead.

5.1.20 Reflect/Refract Map

Reflect/Refract maps can also be used to create reflections and refractions on objects. These maps
work by producing a rendering images from each axis of the object. These rendered images, called
cubic maps, are then projected on the object. These rendered images can be created automatically or
loaded from pre rendered images by using the Reflect/Refract Parameters rollout. If the automatic
option is selected, the first or every Nth frame can be rendered. If the From File option is selected, six
buttons appear to load cubic maps for each direction. Refer to Figure 5.22 for Reflect/Refract
Parameters.
 Figure 5.21: Stucco Parameters

Figure 5.22: Reflect/Refract Parameters

5.1.21 Thin Wall Refraction Map

The Thin Wall Refraction map simulates the refractions caused by a piece of glass, such as a
magnifying glass. This map achieves the result faster than a Reflect/Refract map would. The Thin
Wall Refraction Parameters rollout includes option for setting the Blur, the frames to render, and
Refractions values. The thickness Offset determines the amount of Offset and can range from 0
through 10. The Bump Map Effect value changes the refraction based on the presence of a bump
map. Refer to Figure 5.23 for Thin Wall Refraction Parameters.

Figure 5.23: Thin Wall Refraction Parameters

5.1.22 Flat Mirror Map

The Flat Mirror map reflects the surroundings by using a coplanar group of faces. Refer to Figure 5.24
for Flat Mirror Parameters.

Figure 5.24: Flat Mirror Parameters

 The different options available in Flat Mirror Parameters rollout are as follows:
 Blur: This section specifies the Blur parameters.

 Render: This section determines whether to Render the First Frame Only or Every Nth
Frame.
● Use Environment Map: Use the Environment Map or apply to Faces with a given ID.
Flat Mirror maps are applied only to selected coplanar faces by using the material ID.

 Distortion: The section is used to select distortion options like None, Use Bump Map, and
Use Built-In Noise.
● Distortion Amount: This option determines the Distortion Amount, when Use Bump
Map is selected.

 Noise: The section is used to select Regular, Fractal, or Turbulence noise type with Phase,
Size, and Levels values.

For detailed step-by-step procedure, refer to demo Reflect/Refract and Flat Mirror Map from:

eResources 4 Me>> My Varsity>> Lighting & Texturing in 3D Models>> Show Me How

Quick Test 5.1

1. Moving an object with map applied to it will scroll the map across the surface
of the object.
Flat Mirror Environment

2. The ____ map can create the look covering an object with splattered paint.
Splat Stucco

The Sunlight and the Daylight systems stimulate the sun for a specific geographical
location, date, time, and compass direction. To create Sunlight or Daylight, select
5.2 Normal Mapping
Systems from the Create menu, and then click Sunlight or Daylight. Then, drag the
SunlightMap
A Normal or Daylight
helps inbutton in thethe
providing viewport. A Compass
impression of fakehelper object appears.
high-resolution Clickdetail
geometry to when it is
create Direct Light to represent the sun.
mapped onto a low-resolution mesh. The pixels of the normal map store a normal. The normal is a
vector that describes the surface slope of the original high-resolution mesh at that point. Use the red,
green, and blue channels of the normal map to control the direction of each pixel’s normal. When a
 map
normal The isDaylight
applied toParameters
a low-poly mesh, the texture pixels control the direction. Each pixel on the low-
poly mesh will appear in 3D space, creating the illusion of more surface detail or better curvature.
However,The Daylight Parameters
the silhouette of the model rollout defines
does not theRefer
change. daylight system’s
to Figure sun
5.25 for objectMap.
Normal and
sets the sunlight and skylight behaviors. This rollout appears on the Modify panel
when the light component of the Daylight system is selected. Refer to Figure 2.7 for
5.2.1 Creating Normal Maps
DayLight Parameters.
Normal maps gained popularity in games because they offer a way to increase the bump details of a
model by mapping high-detail bump information onto a low- resolution model. Normal maps are
created by using the Render to Texture interface and applied to an object using the Normal Bump
map type found in the Material Editor. The Normal Bump map type is applied as a bump map in the
Maps rollout and includes a button to apply an additional bump map. Normal maps can be made in
tangent-space or object-space. Object-space is also known as local-space or model-space.

Figure 5.25: Normal Map

5.3 UVW Mapping

The UVW Map modifier controls the appearance of mapped and procedural materials. Mapping
Coordinates specifies the projection of bitmaps onto an object. The UVW coordinate system is similar
to the XYZ coordinate system. A bitmap’s U and V axes represent X and Y axes. The W-axis relates the
Z-axis. It is normally used for procedural maps. In the Material Editor, a bitmap’s coordinate system can
be switched to VW or WU. In this case, to make the bitmap perpendicular to the surface, it is rotated
and projected.

The UVW Map modifier specifies the Mapping Coordinates to mesh objects and patches. Objects that
create their own Mapping Coordinates apply them to Map Channel 1. If the UVW Map modifier is applied
to Map Channel 1 of an object that has mapping coordinates, the applied coordinates overwrite the
existing ones. The UVW Map modifier can be applied to different map channels. Applying this modifier
places a map gizmo on the object. This gizmo can be moved, scaled, or rotated. To transform a UVW
Map gizmo, select it from the sub-object list. Gizmos that are scaled smaller than the object can be tiled.
The Length, Width, and Height values are the dimensions for the UVW Map gizmo. The tiling values
can be set for all directions.
Mapping Coordinates

An object assigned a 2D mapped material must have mapping coordinates. Objects that create their
own mapping coordinates apply them to Map Channel 1. If the UVW Map modifier is applied to Map
Channel 1 of an object that has mapping coordinates, the applied coordinates overwrite the existing
ones. These coordinates specify how the map is projected onto the material, and whether it is
projected as a decal, or tiled, or mirrored. Refer to Figure 5.26 for Alignment Section.

Figure 5.26: Alignment Section

The eight buttons, in the Alignment section, to control the alignment of the gizmo are as follows:

 Fit button: It aligns the gizmo to the edges of the object.

 Centre button: It aligns the gizmo’s centre with the object’s centre.
 Bitmap Fit button: It opens a file dialog box where the gizmo can be aligned to the resolution
of the selected bitmaps.
 Normal Align button: It helps drag the gizmo on the surface of the object to align the gizmo
origin to the normal.
 View Align button: It aligns the gizmo to match the current viewport.
 Region Fit button: It helps drag a region in the viewport and match the gizmo to this region.
 Reset button: It moves the gizmo to its original location.
 Acquire button: It aligns the gizmo with the same coordinates as another object.

5.3.1 Applying UVW Modifier

1. Create a primitive object or any mesh object which has been applied a bitmap as a map.

2. Apply the UVW map modifier from the Modify list.

3. Adjust the Gizmo under the modifier stack and adjust the map on the selected mesh object as per
the requirement.

Refer to Figure 5.27 for the UVW Map Modifier.

 Figure 5.27: UVW Map Modifier

Quick Test 5.2

1. If the UVW Map modifier is applied to Map Channel 1 of an object that has
mapping coordinates, the applied coordinates overwrite the existing ones.
(True/False)

2. When a normal map is applied to a low-poly mesh, of the model

does not change.
Silhouette Normals

The Sunlight and the Daylight systems stimulate the sun for a specific geographical location,
date, time, and compass direction. To create Sunlight or Daylight, select Systems from the
Create menu, and then click Sunlight or Daylight. Then, drag the Sunlight or Daylight button
in the viewport. A Compass helper object appears. Click to create Direct Light to represent the
sun.

 The Daylight Parameters

The Daylight Parameters rollout defines the daylight system’s sun object and sets
the sunlight and skylight behaviors. This rollout appears on the Modify panel when the light
component of the Daylight system is selected. Refer to Figure 2.7 for DayLight Parameters.
5.4 Summary
In this session, Material Editor Part II, you learned that:

 Maps used in 3ds max help in adding details to objects in a scene.

 3ds max provides 2D, 3D, and Reflection and Refraction Map.

 A Normal Map, popularly used in games, helps in providing the impression of fake high-
resolution geometry detail when it is mapped onto a low-resolution mesh.
 Normal maps are created by using the Render to Texture interface. It is applied to an object by
using the Normal Bump map type found in the Material Editor.

 Use the UVW Map modifier to specify the mapping coordinates to mesh objects and patches.

5.5 Exercise
1. ____________ map creates an image with color gradients in several colors.

Bitmap

Gradient Ramp

Gradient

Checker
2. __________ map helps to create patterns of small objects.

Cellular

Particle MBlur

Marble

Perlin Marble

3. __________ map is not a 2D map.

Bricks

Checker

Smoke
Gradient

4. __________ map is not a 3D map.

Water
Bricks

Smoke

S Splat
5. __________ map creates a grayscale image based on the direction of the surface normals.
2D

Stucco

Falloff 3D
Checker

6. In a Smoke map, _______________ value determines thin, wispy lines of smoke.

Size
Phase

Iterations

Exponent
 Se ssi on 6
Unwrapping
Learning Outcomes
In this session, you will learn to:

 Describe the process of creating an object based material

 Describe the process of understanding an object mesh flow
 Describe the process of unwrapping an object based on the flow of mesh
 Explain the necessary modification in the unwrapped mesh
 Describe the material manipulation method based on the given mesh object

6.1 Introduction
Unwrapping is a process where a map is projected on a 3D mesh surface. In case of a complex mesh
model, it is difficult to wrap a map around the mesh surface by using default mapping. Hence,
unwrapping becomes essential at times.

Mapping coordinates can be assigned to objects and sub-object selections by using the Unwrap UVW
Modifier. It is also possible to edit these coordinates not only manually but also with variety of tools. The
Unwrap UVW Modifier can also be used to unwrap and edit existing UVW coordinates of an object. The
mapping is adjusted to fit on Polygon, Patch, Mesh, HSDS, and NURBS models by using different
combinations of manual and procedural methods.

Unwrap UVW is used as a texture-coordinate editor and a self-contained UVW mapping tool, it can also
be used in combination with the UVW Map modifier. Later, it is used for mapping method such as Shrink
Wrap which is unavailable in Unwrap UVW. The Auto Key button is turned on to animate UVW
coordinates and transform the coordinates at different frames. The object’s texture coordinates are
broken into smaller groups known as clusters while using Unwrap UVW. Hence, these clusters are
placed accurately for optimal mapping accuracy on various areas of the basic texture map. The outline
of these clusters is called a map seam that appears superimposed on the object. Map seam helps to
picturize the position of mapping clusters on the object surface. This feature can be toggled and the line
thickness can be set with the Display Settings.
6.2 Object Mesh Flow

The flow of the mesh is important at times while unwrapping an object. Based on this, the
approach towards an object unwrap changes. In this session, the object mesh flow will be covered in
detail.

6.2.1 Understanding the Object Mesh Flow

The object type determines the method of Unwrapping. Unwrapping is done with the help of given
presets for object under the geometric shapes category. However, the unwrapping method changes in
the cases where few complex geometry shapes are unwrapped. The best method to unwrap an object
can be found by understanding the object mesh flow. However, while unwrapping an organic model,
this process becomes very challenging. This is because in organic modelling, the mesh has soft corners
which show connecting seams that makes the model look incorrect. Such seams are removed by
understanding the flow of the mesh object and planning the seams accordingly to avoid its likely
exposure.

Quick Test 6.1

1. The Unwrap UVW Modifier is also used to unwrap and edit existing ______________
on an object.
UVW coordinates XYZ coordinates
2. The best method used to unwrap an object is found by understanding the object mesh
flow. (True/False)

6.3 Unwrapping Objects

Once the modelling of an object is completed, proceed with the object unwrapping. This process is
necessary, at times, to wrap different maps and textures created in a 2D software around the surface
of the mesh.

6.3.1 Mesh Unwrap

The UVW Unwrapping is like a puzzle game or a Jigsaw Puzzle. It has various ranges of different sizes
and shapes with no colors. An example of a 3D human head can be used to explain this.

UVW stands for the XYZ coordinates of the model; it is the representation of the mesh face. Here the
model is being flattened out in to a 2D image. This flattening is done in order to paint on the texture
using a non 3D program like Photoshop or Corel Painter. It is important to understand the unwrapped
UV cage structure to develop its texture. Let’s understand how to unwrap a human head. Refer to Figure
6.1 for Human Head Un-wrapped.

It is important to make sure that the model has been completed and is assigned proper material IDs
before applying the UVW Unwrap modifier. Assign Unwrap UVW Modifier from the Modifier list after
assigning proper material ID’s to its different parts.

Refer to Figure 6.2 and Figure 6.3 for Edit UVs and Open UV Editor Button and Entangled UVs
respectively.
 Figure 6.1: Human Head Unwrapped

Figure 6.2: Edit UVs and Open UV Editor Button

Now, select Open UV Editor under the Edit UVs rollout and check the default unwrapped mesh. An
entangled UV cage structure with layers of UVs from different material ids overlapped on each other is
seen. To get the desired output from the unwrapped mesh, it is necessary to understand the process
of modifying the default unwrap. To work on this process, it is important to know the Unwrap UVWs
parameters.

To unwrap the mesh and to understand the use of unwrapping controllers, the rollouts used are as
follows:
 Figure 6.3: Entangled UVs

■ Selection
This rollout includes various tools to select texture coordinates. These tools are used to manipulate
with other tools in the Unwrap UVW Modifier. Some tools are used to select sub-objects
procedurally rather than explicitly. For example, Grow: XY Selection tool automatically selects sub-
objects connected to the current selection, which work in object (XY) space. Refer to Figure 6.4 for
Selection.

The various options in the Selection rollout are as follows:

 Vertex/ Edge/ Polygon: These buttons selects the respective texture sub-object level.
They are similar to the sub-object levels in the Modifier stack and Edit UVWs dialog box.

 Select by Element XY Toggle: When this option is on and modifier’s sub-object level is active,
click an element to select all sub-objects at the active level in that element. This is different from
 the Select by Element UV Toggle on the Edit UVWs toolbar, which applies to clusters of texture
coordinates.

 Modify Selection

● Grow: XY Selection: This option is used to expand the selection by selecting

all sub-objects which are related to the selected sub-objects.

● Shrink: XY Selection: This option is used to reduce the selection by deselecting

all sub-objects adjacent to the non-selected sub-objects.

● Loop: XY Edges: This option is used to enlarge the selection in alignment with
the selected edges. The Loop option is applied only to edge selections which get
highlighted through selection of even numbers of edges.

● Ring: XY Edges: This option is used to enlarge an edge selection by selecting all
edges parallel to the selected edges. This option is applied to edge selections.
 Select By

● Ignore Back facing: The sub-objects selections which are not visible in the
viewport are prevented using this option.

● Point-to-Point Edge Selection: This option is used to select connected edges.

The connected edges are selected by clicking successive vertices on the object at the
Edge level.

● Select by Planar Angle: This option is used to select contiguous coplanar polygons.
Turn this option on and specify the threshold angle value. The threshold angle value
determines the coplanar polygons by using the numeric setting.

● Select by Material ID - XY: This option enables face selection based on there
Material ID. Specify the Material ID for selection and click Select by Material ID option
which is available only at Polygon sub-object level.
● Select by Smoothing Group - XY: This option enables face selection by
Smoothing Group.

Figure 6.4: Selection

■ Edit UVs
This rollout gives access to the Edit UVs dialog box which is required to edit the UVs of the
mesh with the help of the modification tools. It also provides the Tweak option for tweaking the
unwrapped UVs. Refer to Figure 6.5 for Edit UVs.

The various options in the Edit UVs rollout are as follows:

Figure 6.5: Edit UVs

 Open UV Editor: This option opens the Edit UVWs dialog box.
 Tweak In View: This option is used to adjust one texture vertex at a time by dragging a
vertex on the model. When this is done, the vertex does not move. However, the mapping
changes as a result of the vertex moving in the editor. To view the changes done in
mapping as the vertices are tweaked, the object must be mapped with a texture and the
texture must be visible in the viewport. It applies at the modifier level and all sub-object
levels.
 Quick Planar Map: This option is used to apply planar mapping to the current texture-
polygon selection depending on the orientation of the Quick Map gizmo. This tool breaks
the selected texture polygons as a separate cluster. This is then scaled to fit the editor
extents, using the alignment specified on this rollout.
 Display Quick Planar Map: When this option is enabled, a rectangular planar
mapping gizmo appears over the selected faces in the viewports. The Rectangular planar
mapping gizmo works only with Quick Planar Map tool. This control can be used to
reorient but the gizmo cannot be adjusted manually.
 X/Y/Z/ Averaged Normals: This option is used to select the Quick Planar Map
gizmo alignment from the fly out. It is perpendicular to the object’s local X, Y, or Z axes,
or based on the face’s average normals.

■ Channel

This rollout allows to save the modified UVs and apply them again from the saved source. It
also allows to reset the UVs. Refer to Figure 6.6 for Channel.

The various options in the Channel rollout are as follows:

 Reset UVWs: This option is used to bring back the UVW coordinates to their
preceding state on the modifier stack.
 This option works similar to removing and reapplying the modifier. However, the map
assigned in the Edit UVWs rollout is not deleted. When the Generate Mapping Coordinates
option is turned off while the Unwrap UVW Modifier is applied, then the modifier without a
UVW coordinates would be incorrect. This issue can be resolved by selecting the modifier
stack and clicking the Reset UVWs button from the Generate Mapping Coordinate.

 Save: This option saves the UVW coordinates to a UVW (.uvw) file.
 Load: This option loads a previously saved UVW file.

 Channel: It is possible for each object to have 99 different UVW mapping coordinate
channels. The Generate Mapping Coordinates toggle, in the object’s creation
parameters, always has a default mapping channel as 1. For each channel different
Unwrap UVW or UVW Map modifier specify texture coordinates.

● Map Channel: This option sets an identification number of the texture coordinates.
This channel value corresponds to the Map Channel value which is set in the map’s
parameters. The Default is 1 and the Range is 1 to 99.
● Vertex Color Channel: This option defines the mapping channel as a vertex color
channel.

Figure 6.6: Channel

Some of the important points about Map Channels in the Unwrap UVW Modifier are as follows:
 The edits related to only one channel are contained in each modifier.
 In this modifier, the channel used in the material’s image map should be used by
the mapping.
 When the map channel in the modifier is modified, the Channel Change Warning dialog box
is appears. This dialog box has an option to copy the existing edit to the new channel.
 To apply different mapping coordinates for different maps on the same object, use a new
modifier with a unique map channel. At the end, the stack is collapsed and the mapping is
preserved.

The map channel settings available in various places in 3ds max are as follows:

 Generate Mapping Coords: This option is present in the parameters while creating objects.
When this option is on, it assigns map channel 1.
 UVW Map, UVW Xform, and Unwrap UVWs modifiers: These modifiers set the map channel
to 1 through 99. These options specify the UVW coordinates used by the modifier. The
modifier stack passes these channels at the same time for any face.
 Material Editor Channel Assignment: This option assigns the channel at the map level used
by a map in the Material Editor. To do this, activate the Explicit Map Channel option.
 NURBS Surface Objects and Sub-Objects: It is used to specify the map channel used by
the surface.
■ Peel
An implementation of the Least Square Conformal Maps (LSCM) method of unwrapping texture
coordinates is provided by the Peel tools. This helps for an easy and intuitive workflow in
flattening complex surfaces. Access to the Pelt method of unwrapping texture coordinates is also
provided by this rollout. Refer to Figure 6.7 for Peel.

Figure 6.7: Peel

The various options in the Peel rollout are as follows:

 Quick Peel: This ‘best-guess’ Peel operation on texture vertices is performed by this
option. The pinned ones is an exception. This operation is performed to maintain the existing
polygon shape by distributing vertices which are evenly based on their average locations.

For simple texture-mapping applications Quick Peel is suitable. However, for better control, the
Peel Mode should be used instead.

Note

Only selected polygons are affected when the Quick Peel at the Polygon level is used.
Otherwise, all clusters are affected.

 Peel Mode: This option stays active after applying a Quick Peel, where the layout of the
texture coordinates are interactively adjusted. This process takes place by dragging the sub-
objects under the Edit UVWs dialog box which redistributes all vertices in the cluster. These
vertices are evenly formed around any pinned vertices.
Edit Seams and Point-to-Point Seams tools are used to create Seams, while Peel Mode
is active.

 Reset Peel: This option allows merging of the existing map seams, which are converted
to new map seams out of the Peel seams. Later the resulting clusters are peeled and
normalized. When there are no active selections, this option affects all the polygons. However, it
 affects all the polygons when a selection is active.
Reconnect map seams on previously mapped geometry, or quickly break off and Peel a
selection by using the Reset Peel option.

 Pelt: This option applies pelt mapping to selected faces. When this button is clicked, it
activates Pelt mode, in which the mapping and Edit the Pelt Map is adjusted.
 Seams: This option specifies the cluster outlines for Peel Mapping, Pelt Mapping, and Spline
Mapping.
The Peel/Pelt seams are in blue color, contrasting to the green color of the Map seams which
shows cluster borders.

● Edit Seams: By selecting edges this option creates pelt/peel seams. The access is
provided at all sub-object levels of the Unwrap UVW Modifier. This option is similar to
standard edge selection. However, the only difference is that the designating seams are
cumulative by default. Hence, it is not required to hold Ctrl key to add edges to the seam
collection.

The process to use Edit Seams is as follows:

1. Click the Edge option assigns edge as part of a seam. However, at present removal of edges in
seams is not allowed.
2. To assign multiple edges as seam edges drag a Region.

3. To remove one or more edges from the current seams press the Alt key and click the Edge or drag
the Region.
● Point-to-Point Seams: This option is used to specify pelt/peel seams by selecting
vertices with the mouse in the viewports. By using this tool, the specified seams are
always added to the current seam selection. It is available at all sub-object levels of the
Unwrap UVW Modifier. In this mode, after a vertex is clicked, a rubber-band line
expands from the position of the vertex to the mouse cursor. For the creation of a seam,
click a different vertex followed by clicking vertices until the initial vertex point is reached.
However, by right-clicking it can be started at a different point under this mode where a
different vertex can be clicked. By right-clicking again the seam creation can be stopped
or it can be turned off by clicking the Point-to-Point Seams button.
● Convert Edge Selection To Seams: This converts the selected edge in to pelt/peel
seams. These seams can be added to any existing seam. It is available only at the Edge
sub-object level in the modifier stack.

● Expand Face Selection to Seams: This option expands the polygon selection to
the outline of the seam. If outlines with multiple seams exit and each seam contain
selected polygons, then based on only one outline on the highest polygon ID the
expansion takes place. Hence, the rest will be deselected. It is available only at the
Polygon sub-object level under the Unwrap UVW Modifier stack.
 Figure 6.8: Projection
■ Projection
These controls are used to apply and adjust one of four mapping gizmos to a polygon selection.
Refer to Figure 6.8 for Projection.

The various options in the Projection rollout are as follows:

 Planar Map: This option applies planar mapping to selected polygons. To assign a
Planar Map, click it and use the transform tools as well as the Align Options tools for
adjusting the plane gizmo. Later, click the Planar Map button again to exit this option.
 Cylindrical Map: This option allows a cylindrical mapping over the selected polygons.
Adjust the cylinder gizmo of a selected polygon by using the transform tools and Align
Options tools. By clicking the Cylindrical Map again the option can be exited.

 Spherical Map: This option applies spherical mapping on the selected object faces. To
assign it, select a polygon and click the Spherical Map button and adjust the sphere gizmo
with the help of transform tools and Align Options tools. Later, click the Spherical Map
button again to exit this option.

 Box Map: This option applies box mapping on the selected object faces. To assign it,
select a polygon and click the Box Map button and adjust the box gizmo with the help of
transform tools and the Align Options tools. Later, click the Box Map button again to exit
this option.
 Align Options: The section is used to align the mapping procedurally.
● X/Y/Z: These options align the mapping gizmo to the X, Y, or Z axes of an object.

● Best Align: This option adjusts the position, orientation, and scale of the mapping
gizmo to fit it as per the polygon selection. Selection extents and average polygon normals
are the basis of this option.
● View Align: To face an active viewport, the reorientation of the mapping gizmo is
done by this option. It adjusts the required size and position of the selected gizmos to fit
the extents of the polygon selection.
● Fit: This option allows the scaling of the mapping gizmo to the extents of the polygon
selection. It also centres it, based on the selection, yet it does not change its
orientation.

● Centre: This option adjusts the position of the mapping gizmo to the extent that its
 pivot point gets coincided with polygon selection centre.

● Reset Mapping Gizmo: This option adjusts the scale of the mapping gizmo to
fit the polygon selection for its alignment with the object’s local space.
■ Wrap
The Wrap tools are used to apply regular texture coordinates to irregular objects. Refer to
Figure 6.9 for Wrap.

The various options in the Wrap rollout are as follows:

 Spline Mapping: The currently selected faces are assigned spline mapping with the
help of this option. On clicking this option button, the Spline mode gets activated which also
adjusts the mapping and spline map.

 Unfold Strip from Loop: Using the object’s topology, this option provides a fast way
to unwrap a geometry along a linear path. This option is used by selecting an edge loop
which is parallel to the side for unwrapping and then click this button. This affects a great
change in the scale of the texture coordinates, for which a Pack tool is used to bring
them back under the standard UV range of 0 to 1.

Figure 6.9: Wrap

■ Configure
The settings in Configure are used to specify modifier defaults, including whether and how
seams appear. Refer to Figure 6.10 for Configure.

The various options in the Configure rollout are as follows:

 Display: This section determines the appearance of seams in the viewports.

● Map Seams: This option displays the mapping cluster boundaries which appear in
the viewports as green lines. This color is changed by adjusting the Display seams
color.
● Peel Seams: This option displays the peel and pelt boundaries which appear in the
viewports as blue lines.

● Thick/Thin: The option is used to display thickness setting which applies to both pelt
seams and map seams.
- Thick Seam Display: This option displays map seams and peel/pelt seams on
surface of an object with comparatively thick lines. When the view is zoomed, the
thickness of a line is increased. When the view is zoomed out, the thickness is
decreased.

- Thin Seam Display: This option displays map seams and peel/pelt seams on

surface of an object with comparatively thin lines. As the view is zoomed in and out,

the line thickness remains constant.

  Prevent Reflattening: This option does not reflatten the faces of the Unwrap UVW
Modifier. For texture baking, this option is primarily used.

 Normalize Map: By scaling the mapping coordinates, this option fits it into the standard
coordinate mapping space of 0 to 1. On disabling this option, the mapping coordinates sets
to the same size as the object.

● For example, a planar mapped sphere of 25 units is applied an Unwrap UVW by

turning off the Normalize Map. The value of radius option for a sphere is set to 25
units. When the Normalize Map option is enabled, the sphere and the map fits into the
0-1 coordinates space. This is the reason that both of the spheres are of the same size.

● Generally, for best results, Normalize Map should be kept on. However, while
mapping several elements of different proportions and keeping the same size of texture
with specific aspect ratio then this option should be turned off. One of the examples of
such kind is a brick texture.

Figure 6.10: Configure

For detailed step-by-step procedure, refer to demo Mesh Unwrap from:

eResources 4 Me>> My Varsity>> Lighting & Texturing in 3D Models>> Show Me How

Quick Test 6.2

1. stands for the XYZ coordinates of the model.

UVW Unwrap

2. Wrap tools apply regular texture coordinates to irregular objects.

(True/False)
6.4 Modify Unwrap

Once the application of Unwrap UVW Modifier is done, edit the flow of the UVs based on the flow of
the mesh, where modifications are required on the Unwrap as per requirement.

6.4.1 Modifying the Unwrapped Mesh

A cage structure of UVs unwrapped in a random way by the software itself is seen after the UVW
Unwrap modifier is applied. Now, select the Material IDs under the All IDs drop-down list inside the Edit
UVWs dialog box to make it easy to understand the unwrapped mesh. Refer to Figure 6.11 for Edit
UVWs dialog box.

Figure 6.11: Edit UVWs Dialog Box Figure 6.12: Relax Tool Output

This allows to view each layer of the default unwrapped mesh as per their material ids. It is possible to
modify the UVs by untangling the cage structure. This is done for understanding the mesh flow by using
the transformation tools under the Edit UVWs dialog box. This process becomes easier due to the
Relax option. This option automatically eases in the process of manual unwrapping to a certain level.
Refer to Figure 6.12 for Relax Tool Output.

Edit UVs comprises a menu bar, three toolbars out of which one is on the upper side of the dialog
box and two on the lower side and several rollouts on the right side.

This way, the unwrap can be modified and the flow of UVs representing the object mesh flow can be
understood.

To understand this process, it is important to understand the Edit UVs interface. Most of the tools that
are available in the editor are applicable to selected sub-objects. To select UVW sub-objects, use the
same methods and tools while working with mesh sub-objects in the viewports.

For detailed step-by-step procedure, refer to demo Modifying the Unwrapped Mesh from:

eResources 4 Me>> My Varsity>> Lighting & Texturing in 3D Models>> Show Me How

6.5 Summary

In this session, Unwrapping, you learned that:

 UVW Unwrapping is like a puzzle game or a Jigsaw Puzzle. It ranges from various sizes and
shapes except with no colors.

 UVW stands for the XYZ coordinates of the model but is the representation of the shape’s
faces.

 When the Edit UVWs dialog box is accessed, it updates in real time.

 The Configure rollout settings determine the appearance of seams in the viewports.
 Before starting with the process of Unwrapping, it is important to plan the textures.
6.6 Exercise
1. _________ Answer Key
Unwrap UVW Modifier

Unwrap UVY Modifier

Wrap UVW Modifier

Wrap UVY Modifier

2. While using Unwrap UVW, the object's texture coordinates are broken into _________.

Clusters

Coordinates

Edges

Mesh

3. __________ determines the method of Unwrapping.

Object Color

Object Material
Object Size

Object Type

4. The ‘Save’ option in the Channel rollout saves the coordinates in __________ format.

.uvw
.uvx
.uvy
.uvz

5. LSCM stands for __________.

Least Spline Conformal Mapping
Least Spline Conformal Maps

Least Square Configure Maps

Least Square Conformal Maps

 Answer Key

Quick Answers Exercise Answers

Quick Test 1.1 Exercise 1.5

1. Light Tracer 2. False 1. False 2. False
Quick Test 1.2 3. Jitter Amount 4. Area Light, Sky
Light
1. Light Lister 2. True
5. Hotspot/Beam
Quick Test 2.1
Exercise 2.4
2. Area Light
1. False 2. Web
1. Isotropic Sampling
3. False 4. Radiosity
Quick Test 2.2
5. False
1. Start 2. True
Exercise 3.6
Quick Test 3.1 1. Negative Z-axis 2. False
of the active
1. 35 mm or 50 mm 2. True viewport
3. Sample Radius 4. The still object
Quick Test 3.2 would remain clear
5. At the point
1. A 2-point 2. True
where we start
Quick Test 4.1 dragging
1. Sphere 2. True Exercise 4.9
Quick Test 4.2 1. Color 2. Antialiasing
3. Color 4. Specular
1. Ink ‘n Paint 2. True
5. Oren-Nayar-Blinn
Quick Test 5.1 Shader

1. Environment 2. Splat Exercise 5.5

Quick Test 5.2 1. Gradient Ramp 2. Cellular
3. Smoke 4. Bricks
1. True 2. Silhouette 5. Falloff 3D 6. Exponent
Quick Test 6.1
Exercise 6.6
1. UVW 1. Unwrap UVW 2. Clusters
coordinates 2. True Modifier
3. Object Type 4. .uvw
Quick Test 6.2
5. Least Square
1. UVW 2. True Conformal Maps