Getting Started in 3D

with 3ds Max

This page intentionally left blank
Getting Started in
3D with 3ds Max
Model, Texture, Rig, Animate, and
Render in 3ds Max

Ted Boardman

Focal Press is an imprint of the

Taylor & Francis Group, an Informa business
First published 2013
by Focal Press
70 Blanchard Road, Suite 402, Burlington, MA 01803

Simultaneously published in the UK

by Focal Press
2 Park Square, Milton Park, Abingdon, Oxon OX14 4RN

Focal Press is an imprint of the Taylor & Francis Group, an informa business

© 2013 Taylor & Francis

The right of Ted Boardman to be identified as author of this work has been asserted by him in accordance with
sections 77 and 78 of the Copyright, Designs and Patents Act 1988.

All rights reserved. No part of this book may be reprinted or reproduced or utilised in any form or by any
electronic, mechanical, or other means, now known or hereafter invented, including photocopying and recording,
or in any information storage or retrieval system, without permission in writing from the publishers.

Notices
Knowledge and best practice in this field are constantly changing. As new research and experience broaden
our understanding, changes in research methods, professional practices, or medical treatment may become
necessary.

Practitioners and researchers must always rely on their own experience and knowledge in evaluating and using
any information, methods, compounds, or experiments described herein. In using such information or methods
they should be mindful of their own safety and the safety of others, including parties for whom they have a
professional responsibility.

Product or corporate names may be trademarks or registered trademarks, and are used only for identification and
explanation without intent to infringe.

Library of Congress Cataloging in Publication Data

CIP data has been applied for

ISBN: 978-0-240-82395-9 (pbk)

ISBN: 978-0-240-82402-4 (ebk)

Typeset in Myriad Pro

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 Contents
If you are using 3ds Max Design . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . xi

PART 1: Concepts. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1

Chapter 1: User Interface . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3

1.1 User Interface Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
Viewports . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
Application Button. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6
Pull-down Menus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7
Main Toolbar. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7
Ribbon Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8
Command Panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8
Timeline . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9
Status Line. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9
Animation Playback. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9
Navigation Buttons . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10
Quad Menus. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10
1.2 Viewport Display Types . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11
Viewport Labels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11
Orthographic Viewports . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12
1.3 UI Navigation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13
1.4 Viewport Navigation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19
1.5 File Management . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26

Chapter 2: Creating Objects. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .35

2.1 Object Types. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36
2.2 Creating Primitives. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38

Chapter 3: Object Transforms . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .47

3.1 Reference Coordinate Systems . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48
3.2 Transforms. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58
3.3 Transform Type-In. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 65
3.4 Pivot Points . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69

Chapter 4: Object Selection . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .73

4.1 Object Naming . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74
4.2 Object Selection . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77

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4.3 Select by Name . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 84

4.4 Scene Explorer. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 87

Chapter 5: Object Cloning . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 93

5.1 Cloning Concepts. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94
5.2 Clone Types. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94
Copy Clone . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 95
Instance Clone. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 95
Reference Clone . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 95
5.3 Transform Cloning . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 96
5.4 Edit Menu Cloning . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .100

Chapter 6: Scene Setup . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 103

6.1 Units Setup . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .104
6.2 Grid and Snaps . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .108
6.3 Maxstart.max Prototype File. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .111

Chapter 7: 2D Shapes. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 115

7.1 2D Shape Concepts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .116
7.2 Create Basic Shapes. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .116
7.3 Compound Shapes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .119
7.4 SubObject Editing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .128

Chapter 8: Modifiers. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 133

8.1 Modifier Concepts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .134
8.2 Applying Modifiers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .134
8.3 Editing Modifiers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .138
8.4 Modifier Stack View . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .142

Chapter 9: Lofting. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 149

9.1 Lofting Concepts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .150
The Lofting Process . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .152
9.2 Lofting an Object . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .152
9.3 Editing a Lofted Object . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .161

Chapter 10: Lighting Basics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 169

10.1 Lighting Concepts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .170
10.2 Photometric Lighting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .175
10.3 Create Lights . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .175
10.4 Light Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .181
10.5 Light Distribution. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .188
10.6 Three-Point Lighting. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .190

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Chapter 11: Materials. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 195

11.1 Material Concepts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 196
11.2 Slate Material Editor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 197
11.3 Create and Assign Materials. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 202

Chapter 12: Mapping Coordinates. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 211

12.1 Mapping Coordinate Concepts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 211
12.2 UVW Map Modifier . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 213
12.3 Sizing Maps Correctly. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 216

Chapter 13: Camera Basics. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 221

13.1 Camera Concepts. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 222
13.2 Target and Free Cameras. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 222
13.3 Camera Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 226
13.4 Camera Viewport Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 228
13.5 Camera Principles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 232
Safe Frames . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 233
Rule-of-Thirds . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 235
Camera Shots . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 236

Chapter 14: Rendering Basics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 241

14.1 Mental Ray Concepts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 242
14.2 Render Setup. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 242
14.3 Rendered Frame Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 246
14.4 Rendered Files Types . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 250

PART 2: Workflow . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 255

Chapter 15: Create 3D Primitives . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 259

15.1 The Landscape . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 259
15.2 The Windmill and Base. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 262
15.3 The Domed Roof . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 264
15.4 The Platform Walkway . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 265
15.5 The Railing Post . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 267
15.6 Align Objects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 268

Chapter 16: Procedural Modeling . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 273

16.1 Adding Modifiers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 274
16.2 Merge and Clone Objects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 279

Chapter 17: Subobject Editing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 287

17.1 Edit Mesh Modifier and Editable Mesh . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 288
17.2 Changing Topology. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 293

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Chapter 18: Geometry Types . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 297

18.1 Mesh Editing Tools. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 298
18.2 Poly Editing Tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 301
18.3 Patch Grid . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 306

Chapter 19: More Object Cloning. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 311

19.1 The Array Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 312
19.2 The Spacing Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 316
19.3 The Object Paint Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 319

Chapter 20: Graphite Modeling Tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 323

20.1 Introduction to Graphite Modeling Tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 324
20.2 Graphite Modeling Tools Workflow. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 328

Chapter 21: Compound Objects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 333

21.1 ProBoolean Compound Object . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 334
21.2 ShapeMerge Compound Object . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 336
21.3 Scatter Compound Object . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 340

Chapter 22: Exterior Daylight . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 343

22.1 Exterior Daylight. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 344
22.2 Introduction to Shadows . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 351
22.3 mr Physical Sky . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 352

Chapter 23: More Materials . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 355

23.1 More on Arch & Design Material . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 355
23.2 Substance Maps . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 362
23.3 Material Libraries . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 366

Chapter 24: Multiple Materials . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 371

24.1 Multi/Subobject Material . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 372
24.2 Blend Material . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 377
24.3 Multiple Mapping Modifiers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 381

Chapter 25: Introduction to Animation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 385

25.1 Animation User Interface . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 386
25.2 Keyframe Animation. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 388
25.3 Animating Modifiers. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 393

Chapter 26: Intermediate Modeling . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 397

26.1 More Graphite Modeling Tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 398
26.2 Lofting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 404

viii
 Contents

Chapter 27: Intermediate Animation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 411

27.1 Controllers and Constraints . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 412
27.2 Track View-Curve Editor. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 416
27.3 Hierarchical Linking . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 418

Chapter 28: Global Illumination . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 423

28.1 Introduction to Global Illumination . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 424
28.2 Global Illumination in 3ds Max . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 425
28.3 Final Gathering . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 429
28.4 Ambient Occlusion . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 431

Chapter 29: Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 435

29.1 Atmospheric Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 436
29.2 Introduction to Particle Flow. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 443

Chapter 30: Introduction to IK/FK . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 449

30.1 Inverse Kinematics and Forward Kinematics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 450
30.2 Hierarchical Linking and Pivot Points . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 450
30.3 The HI Solver . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 456

Chapter 31: Introduction to CAT. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 461

31.1 Character Animation Tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 462

Chapter 32: Dynamics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 473

32.1 Introduction to MassFX . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 474
32.2 MassFX Simulations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 474

Chapter 33: Introduction to Scripting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 483

33.1 MAXScript. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 484
33.2 Open a MAXScript . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 485
33.3 Run a Script . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 487

Chapter 34: Intermediate Rendering . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 491

34.1 Alpha Channel. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 491
34.2 Render Elements . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 497

Index . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 501

ix
This page intentionally left blank
 If you are using 3ds
Max Design
Autodesk® offers users two, somewhat different, programs: 3ds Max and 3ds Max
Design. The concepts and workflows presented in this book are very useful for both ver-
sions of the software. The author has used 3ds Max exclusively for consistency through-
out the figures and exercises.
Let’s begin this discussion by investigating the differences between 3ds Max and 3ds
Max Design.
• 3ds Max: 3ds Max ships with a set of programming tools called SDK (software
developers kit) that allows companies to develop their own commands and routines
using C++ programming language. 3ds Max is generally used by gaming companies
and the film industry, for example.
• 3ds Max Design: 3ds Max Design ships with specialized tools (Daylight Simulation)
for accurate lighting analysis and an add-on for civil engineers (Civil View). 3ds Max
Design is generally used by architects and engineers.

Autodesk® has provided two different versions of the software aimed at specific users,
but unless you are taking advantage of the specialized tools in each program, you can
comfortably use either one for any industry.
Both the programming language and the lighting analysis tools are beyond the scope
of this book, but each versions of the 3ds Max ship with different default tools, interface
layout, and a variety of settings.
Although the functionality of the versions is the same, the different interface and
settings are confusing for new users of 3ds Max Design. However, Autodesk® has made
it easy to switch from one set of defaults and interface to the other and then to switch
back again.
If you are using 3ds Max Design, you need to access the Customize pull-down
menu and then choose the Custom UI and Defaults Switcher option in the menu
(See Figure P-1).
In the Choose Initial Settings for Tool Options and you are Layout dialog, Initial Settings
for Tool Options column, highlight Max.mentalray. In the UI Schemes column, you can
use the DefaultUI option. This dialog also provides you with a list of all the interface
options and settings that will be changed to the default 3ds Max configuration (see
Figure P-2). Left-click the Set button and then restart 3ds Max Design to affect the
changes.

xi
 If you are using 3ds Max Design

FIG P1 You can change the user

interface and startup defaults for 3ds
Max and 3ds Max Design.

FIG P2 The interface will now match

the images in the book.

When you have finished working with the exercises in this book, you can then repeat the
process to choose DesignVIZ.mentalray (or one of the other options) to return 3ds Max
Design to its default configuration.

These changes are necessary only for users of 3ds Max Design.

xii
 PART 1

Concepts

Concepts—image by Ted Boardman.

Concepts in 3ds Max

3ds Max is a “mature” piece of software that has evolved over many years into an
extremely powerful and complex program. The original designers of 3ds Max could
never have imagined what it would become, but in fact 3ds Max has evolved through
constant refinement into the software you are using today.
There are a number of major concepts that are part of the core software that you need
to know to be productive and to utilize the available computer hardware efficiently.
1
 Getting Started in 3D with 3ds Max

You need to learn and understand these concepts to maintain flexibility and efficiency
throughout your workflow. For example, you’ll learn why it’s important not to scale or mirror
objects in 3ds Max. The concept is simple and the workarounds are easy, but if you ignore
this basic concept, its consequences will plague you throughout your 3ds Max career.
In Part 1—Concepts, you will be introduced to the important fundamental concepts without
focusing much on what it is you are creating. Pay close attention to how the concepts fit
into the “big picture” of 3D visualization. Once you understand how to take advantage of the
fundamental concepts, the process of learning 3ds Max will become easier and more logical.
You will understand why certain processes might be better than others in the long run when
there are multiple methods of reaching the same goal.
3ds Max training simply walks you through a series of numbered steps to accomplish a
task without explaining the concepts behind the approach and the methodology teaches
you only to do and not to think. Problem solving is one of the most valuable lessons to be
learned in this book. Having a good understanding of the fundamental concepts is essential
in a production environment.
Part 1 will include the following topics presented in a form that frees you from getting
bogged down into the details of which buttons to push in which order to complete a given
task.
• User Interface: Learn to locate tools and commands and navigate through 3D scenes.
• Creating objects: Create 3D primitives and 2D shapes to be used as the basis for more
complex 3D models.
• Object transforms: Move, rotate, and scale (safely) objects through space with accuracy
and control.
• Object selection: Much of your production time is spent selecting objects in scenes, and
here you’ll learn important fundamental techniques to aid in that selection process.
• Object cloning: Proper cloning, or copying, objects can increase flexibility and efficiency.
• 2D Shapes: Learn to create shapes that are used as a basis for 3D modeling.
• Modifiers: Modifiers are applied to 2D or 3D objects to provide complex editing and
creation.
• Lofting: Lofting is a powerful modeling technique that offers flexibility and efficiency.
• Lighting: Learn the fundamentals of placing and adjusting lights in your scene.
• Materials: Enhance the surface of objects by learning to create and apply basic materials.
• Mapping Coordinates: Adjust the size and position of patterns used in materials to
provide convincing results.
• Camera basics: Learn to place and adjust cameras in 3ds Max.
• Rendering basics: Render scenes and adjust parameters to create images for your clients.
Again, the purpose of the Part 1 chapters of this book is to provide you with a platform of
knowledge about how to take advantage of the design and workflow of 3ds Max to help you
make better choices for creating your 3D scenes quickly and efficiently. Other training and
tutorials will make much more sense when you know why you are choosing one method
over another rather than just learning to push a set number of buttons to reach an end
result. You will learn to think about what you’re doing.

2
 CHAPTER 1

User Interface

Much of your 3ds Max career will be spent navigating the user interface. It’s important that
you learn the layout and structure of the user interface to efficiently perform steps like
finding commands, moving through 3D space in viewports, or animating objects just to
name a few.
The software designers are constantly trying to make 3ds Max easier to use by redesigning
the user interface, but in such a complex program, there will always seem to be cumbersome
command sequences, hidden menus, and confusing workflow. You, the user, need to
familiarize yourself with as much of the user interface as possible and adapt a workflow
based on your preferences for navigating 3ds Max. No two users will use the same navigation
techniques; there are many cases where commands can be accessed from several locations
and might even perform a bit differently depending on the access method you choose.
Although trying to memorize all the buttons and options in the 3ds Max user interface is
not a productive use of your time, this chapter will introduce you to the fundamentals of
the default layout, some of the most commonly accessed menu options, and some of the
navigation tools that may not be readily obvious to the new 3ds Max user.
The information presented here will be broken down into several sections that introduce
you to the main areas and options, such as:
• User interface overview
• Viewport display types

3
 Getting Started in 3D with 3ds Max

Note
Many commands and processes in 3ds Max have preassigned keyboard shortcuts
that allow you to choose options buried deep in the menu system with a few simple
keystrokes. You can also customize the user interface to add your own keyboard
shortcuts. In this book, you will learn a few of the more commonly used keyboard
shortcuts, but the author feels that it is important for new 3ds Max users to understand
the structure of the menus and the proper sequence of processes first before using a
lot of shortcuts. In this way, you’ll develop an overall feel for the software to utilize it
productively.
As you learn the 3ds Max user interface, you can then begin to employ the keyboard
shortcuts to increase your productivity.

• UI (user interface) navigation

• Viewport navigation
• File management
Once you have familiarized yourself with layout and navigation capabilities in the 3ds
Max user interface, the best thing to do is to start work immediately and investigate and
experiment to “learn by doing.” Although many things might be confusing at first, it only
takes a little bit of practice and experience before you are comfortable navigating through
your daily workflow.

1.1 User Interface Overview

At first, 3ds Max can be overwhelming as you look at all the options and controls of the user
interface and realize that there appear to be many more hidden below the surface. Again, by
approaching the user interface systematically and then practicing a bit you’ll find yourself
working smoothly and efficiently without thinking about it.
Figure 1-1 shows an image of the default 3ds Max user interface as it appears when you first
install the program.

Note
There may be some variations between the user interface figures shown here and exactly
what you see on your display due to variations in the Windows version and various
Windows options that you have set on your computer. The variations will not affect the
functionality of the 3ds Max interface.

Viewports
Let’s highlight a few of the important main features of the 3ds Max user interface beginning
with the most noticeable feature; the viewports. Figure 1-2 shows the default viewports
highlighted in light yellow as being four equally sized panes filling most of the user interface.
These viewports are where you create your 3D geometry scenes. This section is only for
familiarization – you’ll learn more details as you progress through the chapters.

4
 User Interface

FIG 1-1 The default 3ds Max

user interface

FIG 1-2 3ds Max default

viewports highlighted in yellow

Figure 1-3 shows the default Perspective viewport. In the upper left corner of each viewport
are the viewport labels. At the upper right corner of each viewport is a ViewCube used as a
navigation tool within the viewport, and at the lower left of each viewport is a red, green,
and blue “tripod” indicating the positive axes direction of the World Coordinate System.
The lower right viewport pane has a yellow border indicating that it is currently the active
viewport. The grid shown in the viewport represents the current work plane.

5
 Getting Started in 3D with 3ds Max

FIG 1-3 Default Perspective viewport elements

Application Button
At the upper left corner of the entire 3ds Max display, you’ll see a green button with the
3ds Max logo. This button is called the Application button. Clicking the Application button
displays a window with file commands and some management tools in the left column and
a list of recent documents in the right column. Items in the left column which have a black
arrow to the right of the command name will open a second menu in the right column
where you can choose subsets of the command, or other options when you hover the
mouse cursor over the command (see Figure 1-4).

FIG 1-4 Application button showing some options

6
 User Interface

Pull-down Menus
To the right of the application button are other pull-down menus such as Edit and Tools.
Left-clicking a pull-down menu will open a submenu with appropriate tools for that
category. See Figure 1-5 for the Edit pull-down menu options. Down the right side of the
submenu, you will see the keyboard shortcut for that command (when a shortcut has been
assigned) or sometimes a black triangle indicating a second submenu level.

FIG 1-5 Default pull-down menus with menus and sub menus

Main Toolbar
Just below the pull-down menus is the main toolbar containing buttons for a number of
commonly used tools and several drop-down lists that contain a list of options. Some of the
buttons have a small triangle at the lower right corner indicating the availability of “flyout”
buttons that can be accessed by left-clicking and holding down the button. See Figure 1-6 to
see the buttons and a drop-down list in the main toolbar.

FIG 1.6 The main toolbar buttons and drop-down lists

7
 Getting Started in 3D with 3ds Max

Ribbon Menu
The Ribbon menu is a “strip” of commands grouped according to types of workflows.
The Ribbon contains many commonly used tools that are otherwise available only deep
in the menu structure. The submenus can be accessed by hovering the mouse cursor over
the command option you want to use. In Figure 1-7, you’ll see the Selection commands for
the Graphite Tools ribbon menu. Most of the options are grayed out because there are no
appropriate objects selected in the scene.

FIG 1.7 The ribbon menu runs horizontally below the main toolbar

Command Panel
At the far right side of the display is the command panel containing many of the commands
that you’ll use on a daily basis during production. The different command panels can be
accessed by clicking one of the six icons along the top row from left to right:
• Create
• Modify
• Hierarchy
• Motion
• Display
• Utilities
The Create panel is the default panel, and the only panel to have a second row of icons
representing creation categories such as Geometry, Shapes, and Lights. As you can see in
Figure 1-8 the default Create panel has icons for creating standard primitive 3D objects, the
base objects of almost any 3D scene. You will learn more about accessing these panels as the
chapter progresses.
8
 User Interface

FIG 1-8 The Create command

panel with icons for standard
primitive 3D objects

Timeline
A couple of elements running horizontally along the bottom of the viewports make up the
timeline in 3ds Max; there is a frame slider button with 0/100 printed on it, and there is a
ruler line with tick marks 0 through 100. Several buttons to the right and below the timeline
allow you to create animation keys defining the keyframes of your animation (see Figure 1-9).

FIG 1-9 The Timeline and its controls are used to create animation

Status Line
Just below the timeline, we have the MAXScript listener window and status lines that contain
information relevant to the current functions you are performing in 3ds Max, as well as a
couple of useful tool buttons and coordinate numeric fields (see Figure 1-10). For new 3ds Max
users, it is useful to glance at the status line to see if there are any prompts or information
that might be helpful to your current work.

FIG 1-10 The Status line provides information and prompting as you work

Animation Playback
The next group of buttons to the right of the status line control animation playback in scenes
with animation. The controls are relatively standard controls that you would be familiar with
from real-life playback equipment such as DVD players (see Figure 1-11).

FIG 1-11 Playback buttons for animated scenes.

9
 Getting Started in 3D with 3ds Max

Navigation Buttons
At the lower right of the display are eight very important navigation buttons that are used
to navigate your way in viewports. These buttons control zooming, panning, and rotating
your scenes, operations you will perform frequently during the course of your work. As you
learned earlier, the buttons with small triangles at their lower right corners have flyouts
with variations on the command (see Figure 1-12). You will learn more about how to use these
buttons to navigate a scene later in the chapter.

FIG 1-12 The Navigation buttons allow you to move around in your 3D scene.

Note
The navigation buttons are dynamic, i.e., they change form but have similar functions
when in different viewports For example, the zooming and panning functions for a
Perspective viewport become Dolly Camera and Truck Camera when a Camera viewport
is active. This can be a bit confusing to the new user of 3ds Max. It can help to know that
the navigation tools change just your view of the scene, not the objects in it, so you can
play with them all you like without concern for losing work or damaging your scene.

Quad Menus
By default quad menus do not show up in the 3ds Max display but must be activated by
right-clicking in a viewport. Quad menus are also dynamic and context-sensitive, i.e., they
will adapt themselves to the current command and according to the location where the
cursor is positioned when right-clicking. See Figure 1-13 for the Quad menu that appears when
you right-click in the active perspective viewport.

FIG 1-13 An example of a Quad

menu called by right-clicking in
the viewport.

10
 User Interface

Take some time to familiarize yourself with the overall elements of the 3ds Max user
interface and practice a bit with expanding drop-down lists and flyout buttons. Before you
know, the actions will seem natural without requiring you to think about them. Also keep
in mind that navigating the user interface takes up a lot of your day-to-day workflow and
must be performed quickly and efficiently. Later in the chapter, you’ll gain some hands-on
experience with a few important aspects of the user interface.

1.2 Viewport Display Types

You have learned that the default 3ds Max user interface has four equally sized viewports
labeled, from upper left clockwise, as Top, Front, Perspective, and Left. There are other
viewports that can increase productivity by allowing you to view your scenes from a more
appropriate angle or through a camera or light, for example. In this section, you’ll learn
how to switch from one viewport type to another and learn about orthographic and
nonorthographic viewports.

Viewport Labels
The viewport labels at the upper left corner of each viewport are not simply textual
information but can be used to open menus with viewport commands or options. Let’s look
at a couple of examples in the Perspective viewport to see some of the available options.
By left-clicking on the [+] symbol at the left of the perspective viewport label, you will open
a menu that allows you to change various aspects of the viewport; for example, changing
the options in the ViewCube from a submenus you see in Figure 1-14.

FIG 1-14 An example of menu

options when left-clicking the
[+] symbol in the viewport
label

A different set of menus is accessed by left-clicking the viewport name, in this example
Perspective, where you can change the type of viewport to the top, bottom, left, or
right viewing directions, or change to a camera or a light view (if there are cameras and
directional lights in the scene). As with other menus, some options have black triangles
representing submenus and others have predefined keyboard shortcuts indicated on the
right side of the menu (see Figure 1-15). Switching from Perspective to Front viewport viewing
11
 Getting Started in 3D with 3ds Max

directions does not affect the scene itself, but simply changes the direction from which
you view it in that active viewport. It would be possible to have four Top viewports each at
different zoom levels, for example.

FIG 1-15 Left-click the viewport name in the current active viewport to change the viewport type

The next element in the viewport label, Shaded in this case, provides you with options when
left-clicked for changing how 3D objects are displayed in the scene. We will look at this
option later in the chapter when we have some 3D objects to work with.

Orthographic Viewports
Viewports are classified as either orthographic or nonorthographic to clarify how 3D objects
are displayed in two dimensions. After all, the computer monitor is flat and, at this point in
time, does not usually simulate 3D space.
In orthographic viewports objects are seen in parallel projection, i.e., there is no perspective
where object’s edges appear to converge or diverge. The typical orthographic viewports are
Top, Bottom, Left, Right, Back, and Front. You can also have an Orthographic view with an
axonometric projection, where the objects are viewed from an angle but still have parallel
edges.
Nonorthographic viewports, such as Perspective, Camera, and Light viewports, display 3D
objects with nonparallel edges to provide a more realistic view of a 3D scene. You can easily
toggle back and forth between Orthographic and Perspective viewports by using the U and
P keyboard shortcuts in a 3ds Max scene that contains a box, for example.
Although these facts may seem like unnecessary detail at this point in your learning about
3ds Max, the differences between orthographic and nonorthographic viewports will become
important when learning about Reference Coordinate Systems in Chapter 6.

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1.3 UI Navigation
Now that you have an overview of the 3ds Max user interface and some detail about
viewports, let’s learn about navigation using some of the features such as
• Tooltips
• Flyouts
• Drop-down lists
• Rollouts
• Panning in panels
It will be easier for you to learn user interface navigation with an actual 3ds Max scene, so
you will start 3ds Max and load a simple scene to use in the upcoming exercises.

Exercise 1-3-1 Starting 3ds Max

1. Double-click the 3ds Max icon on your Windows desktop to launch 3ds Max. If this
is the first time you have opened 3ds Max you will be presented with a “Welcome to
3ds Max” dialog that contains links to some essential skills movies in the left column
and commands for starting a new scene or opening existing scenes.
2. Let’s disable the welcome screen, so it doesn’t pop up every time we start 3ds Max.
Clear the “Show this Welcome Screen at Startup” checkbox in the lower left corner
and then click the Close button at the lower right corner of the dialog (see Figure 1-16).
This step will just save us a little time when we open 3ds Max. The information the
welcome dialog contains can be accessed at any time through other menus.

FIG 1-16 Start 3ds Max and disable the Welcome to 3ds Max dialog

3ds Max is now opened in its default state. At this point, you should take a few minutes to
review some of the topics covered previously in this chapter, so you become familiar with
the layout of the default display.

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 Getting Started in 3D with 3ds Max

Exercise 1-3-2 Opening an Existing 3ds Max File

1. Click the Application button at the upper left of the display (green 3ds Max icon)
and hover your mouse over Open in the left column to show a new menu with
two choices. Click the Open option in the right column (see Figure 1-17) to open an
existing file from the website associated with the book.

FIG 1-17 Use the Application button to open an existing file

2. Using the Open File dialog, navigate to the folder on the website containing 3ds
Max files for Chapter 1 and then double-click on a file called 1-3-2_ElevatorLobby01.
max to open it. Figure 1-18 shows an example of the Open File dialog, although the
path structure will be different. Click on the Application button and click the Save As
option and save the file to your “My Documents/3ds Max/Scenes” folder with a new
name 1-3-2_ElevatorLobbyTestUI.max. You’ll be using the original elevator lobby file
later on and saving the file in this way will prevent you from saving over it with any
changes you may make during the user interface lessons.

FIG 1-18 Navigate to the 3ds Max file with the Open File dialog and open the file

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 User Interface

This simple scene of an elevator lobby with an overhead light fixture and two ashtrays will
help make sense of some of the user interface navigation tools that you’ll learn about in
upcoming exercises. Let’s first learn about a few of the common user interface elements that
you’ll encounter in your day-to-day work.

Exercise 1-3-3 Common User Interface Elements

1. Move your mouse cursor slowly over the buttons in the main toolbar, and you’ll
see that a tooltip appears with the name of the tool directly under the cursor, for
example, the Select and Move button (see Figure 1-19). It is extremely helpful to know
the correct names for tools because if you need to look up a command in the Help
files, it is necessary for you to search for the proper name. As you become more
comfortable with the user interface in 3ds Max you’ll be able to ignore the tooltips.

FIG 1-19 Tooltips will appear when you hover the cursor over a button

2. As mentioned earlier, some buttons have a small black triangle at the lower right
corner indicating “flyouts” or buttons containing other similar commands. You
access the flyouts by left-clicking on the button and holding until the flyouts appear.
You can then move the mouse cursor to the appropriate new command button
and release to select it. In the main toolbar left-click and hold on the Rectangular
Selection Region button to reveal other selection options (see Figure 1-20). Notice that
if you select another button inside the flyout, this button will now be on the main
toolbar for this working session of 3ds Max.
3. In the main toolbar, you will notice several drop-down lists. Left-click on the View
drop-down list at the left center of the main toolbar to view a drop-down list of
available Reference Coordinate System options (see Figure 1-21). You can then move
your cursor over the list and click the option you want.
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 Getting Started in 3D with 3ds Max

FIG 1-20 Flyouts appear when you left-click and hold on a button with a triangle in the lower right corner

FIG 1-21 Left-clicking on a drop-down list allows you to choose from a menu of options

4. Let’s have a look at some of the navigation options in the command panels to the
right side of your display. Begin by left-clicking the Select Object button in the
main toolbar and then by left-clicking on the elevator lobby in the Top viewport
(see Figure 1-22). You have just selected the elevator object (you can see how the
object is now drawn in white in the Top viewport). You will now move to the
command panels to learn more navigation options, and having an object selected in
the scene will make it easier to expand the panels.
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 User Interface

FIG 1-22 Select the Elevator_lobby01 object in the Top viewport

5. Left-click on the Modify command panel button to reveal the expanded command
panel. The name of the selected object appears below the command panel buttons
followed by a drop-down Modifier List, a Stack view, a rollout of modifier control
buttons. The rest of the panel is occupied by the Parameters rollout (see Figure 1-23).
For now, you’ll focus on the functionality of the rollouts and some of the options
found in those rollouts.

FIG 1-23 The major elements in the Modify panel

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 Getting Started in 3D with 3ds Max

6. The Parameters rollout button has a minus sign on the left to indicate that it is
expanded. Left-click anywhere in the Parameters rollout button and it will collapse
to hide its options, then left-click again and the options will reappear. Many panels
in 3ds Max have many rollouts, and the ability to expand and collapse rollouts allows
you to view more or fewer options. In the Mapping area of the Parameters rollout
is a list of “radio buttons,” with the Planar radio button on by default. If you click the
empty dot to the left of one of the other options in the list you will see that the new
choice is activated while the Planar option is turned off. This behavior is similar to
old-style car radios (see Figure 1-24).

FIG 1-24 Only one radio button can be on in a list

7. In the Modify command panel are numeric fields, spinners, and checkboxes, which
are all very common in the 3ds Max user interface. The use of checkboxes should
be self-explanatory; check it to turn the option on or clear the checkbox to turn
the option off. Spinners, which consist of two up-down arrows, are user interface
elements for changing values in numeric fields. By left-clicking on the up arrow
you can increment the number, and by left-clicking on the down arrow you can
decrement the number. The increment by which the value is increased or decreased
is preset in Preferences. You can also left-click and hold on the spinner buttons and
move the mouse forward and backward to scroll through numeric values. However,
the most accurate method of changing numeric fields is to highlight the number in
the field with the cursor, enter an exact value with the keyboard, and then press the
Enter key to finalize the modification (see Figure 1-25).

FIG 1-25 Numeric fields can be adjusted with spinners or by entering numeric values

8. Depending on your screen resolution and the amount of information in the panel,
you might not be able to see all of the options in the command panel. You can pan
the panel up or down by positioning your cursor in an empty area of the panel
changing it to a hand: you can then left-click and hold the mouse button, and slide
the panel up or down. There is also a scroll bar along the right edge of the panel,
which you can left-click and drag to pan up or down (see Figure 1-26).
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 User Interface

FIG 1-26 The scrollbar on the right side can also be used to navigate up or down in the panels

Note
If you’re working on a high-resolution screen, all of the options in the Modify panel might
be displayed, and you won’t be able to (or need to) pan rollouts on panels. If you want to
try out panning on rollouts, you can simulate a lower resolution monitor by reducing the
size of the 3ds Max display area until some of the Modify panel options aren’t visible.

Take the time to practice navigating the user interface. Try the elements you have learned
about and you will soon find yourself navigating 3ds Max without having to think about how
things function.

1.4 Viewport Navigation

The next area of 3ds Max navigation you will investigate is the viewports. Your ability
to automatically navigate scenes in the viewports will greatly affect your day-to-day
production. It will seem as if there are a lot of options, but again, with time they’ll become
natural processes that you won’t have to think about. Some of the topics you’ll learn about in
the next exercises are
• Activating viewports
• Navigation buttons
• Resizing and resetting
• Maximizing and minimizing
• Isolate Selection
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 Getting Started in 3D with 3ds Max

Let’s begin by looking at how to activate viewports in a nondestructive manner, so that you
can avoid accidentally transforming (moving or rotating) objects when switching from one
viewport to another. We’ll then have a look at some of the navigation buttons and practice
navigating in the elevator lobby scene. You’ll also learn how to resize viewports to make it
easier to work in the scene.

Exercise 1-4-1 Working in Viewports

1. You should still have the elevator lobby scene open. One viewport is always active;
you can tell which one by the heavy yellow border around the viewport. Activate the
lower right Camera01 viewport by positioning the cursor in the viewport and right-
clicking. If the Camera01 viewport is already the active viewport you’ll get a Quad
menu which you can dismiss by right-clicking again.
2. Right-click in the Top viewport to activate it, and then work your way around
the other viewports, activating each one before returning back to the Camera01
viewport as the active viewport. While it is possible to activate a viewport by left-
clicking in it, doing so can be dangerous, as left-clicking is also the way you tell 3ds
Max to perform the currently active command. You might be in a command that
will move or rotate an object inadvertently without noticing that you have done
so. Always right-click to activate viewports! Another important aspect of right-
clicking to activate a viewport is that by doing so you don’t lose your current object
selection.
3. At the lower right corner of the 3ds Max interface are the navigation buttons.
These buttons are dynamic and can change depending on the type of viewport
that is currently active. Because you have the Camera01 viewport active, the
buttons represent navigation tools for that type of viewport, using terminology
and behavior common to a real-life camera (see Figure 1-27). Move the mouse
cursor slowly over the buttons to see the tooltips. Right-click in the Top viewport
to activate it, and you will see that the buttons have changed again. Review the
tooltips for these buttons (see Figure 1-28). The actions the buttons perform for the
Top viewport are similar, but more closely reflect terminology and behavior of
navigating an orthographic viewport rather than a camera viewport.

FIG 1-27 Camera viewport navigation buttons

FIG 1-28 Orthographic viewport navigation buttons

4. With the Top viewport still activated, left-click the Zoom button at the upper left
of the eight navigation buttons, and then left-click anywhere in the Top viewport
when you see the new zoom cursor. Dragging the cursor upwards in the viewport
will zoom in and dragging the cursor downward will zoom out (see Figure 1-29). Notice
that you are only zooming in the currently active viewport.
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 User Interface

FIG 1-29 Dragging the zoom cursor zooms in or out of the viewport

5. Left-click on the second button in the top row called Zoom All (see Figure 1-30) and
repeat the zooming process in the Top viewport when you see the new cursor. This
navigation option allows you to zoom all viewports (except the Camera01 viewport)
simultaneously. Single viewport zooming can also be accomplished by spinning
the middle mouse wheel with the cursor in the active viewport. This zooming
method, however, causes zooming to occur in incremental steps rather than smooth
continuous motion of the previous method.

FIG 1-30 Orthographic viewport navigation buttons

6. You can pan in a viewport by clicking the Pan View button (second from left, bottom
row), and then left-clicking and dragging the cursor in the viewport. Panning is also
done by pressing down on the middle mouse wheel until you see the hand cursor,
and then moving the mouse around. It is also possible to drag the cursor off the
edge of the display for panning over large scenes.
7. With the Top viewport still activated, click the Zoom Extents button (third from left,
top row) and the Top viewport will be filled with the entire scene. Click the Zoom
Extents All button on the far right of the top row and all but the Camera01 viewports
will be filled with the entire scene.
8. At the lower left of the navigation buttons is the Zoom Region button. If you left-
click on it and then drag a region window in the Top viewport you will zoom in on
that region (see Figure 1-31). The region window you describe in the viewport may be
a different aspect ratio than the viewport itself, and the region will fit as best it can.
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 Getting Started in 3D with 3ds Max

FIG 1-31 Drag a zoom region in the viewport and zoom to a best fit

9. Click the Zoom Extents All button to fill all orthographic viewports with the entire
scene. Notice that some of the buttons have a small triangle at the lower right corner
indicating flyouts. In the main toolbar, click the Select Object button, and then in the
Top viewport, click on one of the green ashtrays in the scene to select it. Left-click
and hold the Zoom Extents button and choose the second flyout (a green cube);
click Zoom Extents Selected to see the viewport filled with the selected object only.
Click and hold on the Zoom Extents All button and choose the Zoom Extents All
Selected button from the flyout to see all the orthographic viewports filled with the
selected object (see Figure 1-32). In later exercises, you’ll learn about the importance of
naming objects logically, so that you can use these viewport navigation tools to find
FIG 1-32 Zoom in easily on objects easily in complex scenes.
selected objects

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 User Interface

10. In the Top viewport, use the Zoom Extents All flyout to fill all orthographic viewports
with the entire scene. Click the Orbit button buttons (third from left, bottom row)
and you will see a yellow circle with squares appear in the top (active) viewport.
Move your cursor outside the circle, inside the circle, and over each box to see that
the cursor changes to indicate how the orbit will occur when you left-click and hold
the mouse button (see Figure 1-33). Experiment with orbiting around the objects in
your scene. If you get “lost in space” press the letter T on the keyboard to return to
the Top view and start the orbiting again. You can also orbit by pressing and holding
the Alt key on the keyboard, pressing down on the middle mouse wheel, and then
moving the mouse around. Another option is to use the ViewCube at the upper right
corner of each viewport. Experiment with clicking on the ViewCube for orbiting the
viewport.

Note
The ViewCube is not often used in production because it takes up too much screen space;
other methods of navigating viewports such as the keyboard shortcuts for Zoom, Rotate,
etc. are much more efficient.

FIG 1-33 You can orbit around the scene in different ways

11. With the Top view active, click the Min/Max Toggle button at the lower right corner
of the navigation buttons. This maximizes the active viewport to full-screen and
pressing the Min/Max Toggle button again returns to the four viewport layout.
The default keyboard shortcut for Min/Max Toggle is to hold the Alt key and then
press W (Alt + W).

There are a few other useful features in 3ds Max that can be used to make working with
viewports easier and more efficient. In the next exercise, you will investigate a couple of
these features.
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 Getting Started in 3D with 3ds Max

Exercise 1-4-2 Other Viewport Tools

1. If you move your cursor to the boundary between viewports, it will change
shape to become horizontal, vertical, or a four-way arrow cursor at the
intersection of the four viewports. By clicking and dragging when you see this
cursor you can interactively resize viewports (see Figure 1-34). You can then reset
the viewports back to the default configuration by positioning the cursor at the
intersection of the four viewports, right-clicking, and choosing Reset Layout
(see Figure 1-35).

FIG 1-34 Resize the viewports

dynamically

2. Scenes can become extremely complex with many, many 3D objects making
it difficult to work on single objects or small selection sets. There is a viewport
navigation tool called Isolate Selection that is very useful. In the Top viewport,
select one of the green ashtrays again. In the status bar at the bottom of the
display, click the Isolate Selection button to toggle it on. All objects except the
selected object are hidden from view and 3ds Max attempts to perform a Zoom
Extents All so that you can now easily work on the object or objects you have
selected (see Figure 1-36). You can return the scene to normal by toggling the Isolate
Selection button off again or you can use the keyboard shortcut Alt+Q to toggle it
on and off.

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 User Interface

FIG 1-35 Reset Layout can be accessed by right-clicking at the intersection of the viewports

FIG 1-36 Isolate Selection toggle fills the orthographic viewports with the selected objects

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 Getting Started in 3D with 3ds Max

Armed with the information in this section you should now be able to comfortably navigate
and manipulate the viewports, and with just a little bit of hands-on practice all these
commands will come naturally to you. Viewport navigation is an important part of your
workday, and you must be comfortable with all these options as they will help increase your
productivity.

1.5 File Management

Working on a 3ds Max project will involve not only the actual 3ds max file but also several
other files such as image files, reference files, light definition files, audio files, motion capture
files, and just to name a few. Organizing your project files so that you have immediate access
to them is an important factor in your productivity. If you are working with a team, the
importance of properly organized files becomes even greater. You need to have a central
location for storing files and a common naming scheme that everyone on the team is
aware of. Setting up a proper folder structure and file naming convention is all part of the
pre-planning process. What you’ll learn in this section is where to find the necessary tools
and commands in the 3ds Max user interface to accomplish the task. You’ll learn about
things like:

• Project folders
• File operations
• Backup files
• Safe working procedures

Good housekeeping habits will increase your daily productivity, make it easier to transfer
files from one computer to another, and keep track of editing history in case you need to go
back to previous versions of files.
Let’s look first at the concept of project folders in 3ds Max. A project folder is not just a single
folder with the project name but includes a subset of folders that are automatically created
to store important files for that particular project. This folder structure makes it easier to
track and archive all of the files related to that one project. Here’s how you set up project
folders in 3ds Max.

Exercise 1-5-1 Project Folders

1. Start a new session of 3ds Max. Click the Application button and hover the mouse
cursor over the Manage option. In the right pane click on the Set Project Folder
option (see Figure 1-37). This will bring up the Browse For Folder dialog.
2. In the Browse For Folder dialog, navigate to the drive or folder where you want your
projects stored (in this case My Documents), and then click the Make New Folder
button. Rename the new folder with your project folder name (for example, 3ds Max
Test Project) (see Figure 1-38). Click the OK button to finish the process.

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 User Interface

FIG 1-37 Common file operations are found in the Application button menu

FIG 1-38 Project folders are a powerful organizational tool

3. Click the Application button and then choose Save As in the left pane. You will see in
the Save File As dialog that the automatically created Scene folder under your project
folder has been chosen as the location to save files for this project (see Figure 1-39).
4. Using the Windows file Explorer, you can expand the new project folder to see the
specific 3ds Max folders that have been created for you to store appropriate files in a
standardized 3ds Max folder structure (see Figure 1-40).

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 Getting Started in 3D with 3ds Max

FIG 1-39 All 3ds Max files will

now be saved to the project
folders

FIG 1-40 Standardized 3ds Max

folders created for new projects

Creating and utilizing project folders in 3ds Max is not mandatory but will help ensure that
files and assets are well organized and can be efficiently accessed by everyone on the team.
Now let’s take a look at some of the file operations, such as
• Save
• Save As
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 User Interface

• Incremental files
• Save Selected

Exercise 1-5-2 File Operations

1. You should still have 3ds Max open to a new empty file and a new project folder
structure. Click the Application button and choose Save As in the left column,
enter the file name Test01 in the Save File As dialog (see Figure 1-41) and then press
the Save button. Once the file has been saved to disk, you can use the Save option
to overwrite the file with new changes. The keyboard shortcut to save a file and
overwrite the old file with the same name is Ctrl+S.

Note
Pressing the Ctrl-S keyboard shortcut to save files regularly while you are working is a
good habit to get into, especially during the early development of scenes before the files
get particularly large.

FIG 1-41 Save As allows you to save an existing with a new name or save a file for the first time

2. Click the Application button and click Save As in the menu. Now you should see
the file called Test01.max that you saved earlier. In the Save File As dialog, at the
lower right, you’ll see a button with a + that can be used to save incremental files,
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 Getting Started in 3D with 3ds Max

i.e., files with the name incremented by one with each new save action. Click on
the + button and then opened the Save As command again to see that you now
have a new file called Test02.max (see Figure 1-42). This is a great method for keeping
a series of files saved at different stages so that you can fall back to a previous scene
state if necessary.

FIG 1-42 The + button saves an existing file with a numerically incremented name

Another safety feature of 3ds Max automatically creates backup files that are stored in a
special folder within your current project folder structure. In cases of unexpected problems
like power failures or system crashes, you can access the folder and rename the most recent
backup file to recover the latest version of your work. Let’s take a look at how backup files
work in 3ds Max.

Exercise 1-5-3 Backup Files

1. Click the Customize pull-down menu and choose Preferences in the submenu (see
Figure 1-43). Backup settings are not found in the Application menus even though it is
a file operation.
2. In the Preferences Settings dialog, click the Files tab and in the lower left corner you
will see an Auto Backup area with the auto backup feature automatically enabled.
The number of backup files is set to 3 and the backup interval is set to 5 minutes
by default (see Figure 1-44). This means that for every 5 minutes, 3ds Max will create
a new backup file in the project’s autoback folder; 5 minutes later, it will create a
new backup file, and 5 minutes later, it will create a third backup file. Five minutes
later, the first backup file (the oldest one) will be overwritten, and the process will
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 User Interface

FIG 1-43 Backup file settings are found in the Preferences dialog

FIG 1-44 Auto Backup default settings

continue throughout the working session. So you are guaranteed to always have the
three most recent backup files of your 3ds Max session, i.e., you can always refer back
to your previous work done up to 15 minutes ago. Cancel the Preference Settings
dialog as you will not need to change any of the Auto Backup settings at this time.
3. Yet another safety feature built into 3ds Max which saves files to your hard drive for later
recovery is the complementary commands called Hold and Fetch that can be found
in the Edit pull-down menu (see Figure 1-45). To try this out, you can click on the Edit pull-
down menu and click the Hold option in the menu. This saves the entire 3ds Max scene
into the project’s autoback folder, where the automatic backup files are kept. This new
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 Getting Started in 3D with 3ds Max

file is called maxhold.mx, and there can only be one of these files at a time. If you click
Hold again it will overwrite the file with the new information. To recover the information
stored in the file, you can click on the Edit pull-down menu and choose the Fetch
option. Hold/Fetch acts like a bookmark and is extremely useful when you are about to
perform steps that you’re not quite sure of and feel that you need an easy way out of the
changes.

FIG 1-45 Hold and Fetch are found in the Edit pull-down menu

Warning
If you are working with very large 3ds Max scenes, it could take several minutes to save
the file and 3ds Max will slow down considerably during the save operation. In such
cases, don’t be tempted to disable the autoback feature entirely. You can simply increase
the backup interval time to more than 5 minutes, such as 30 or 60 minutes, and save
yourself a lot of grief when something goes wrong.

By saving your working 3ds Max file with the Ctrl-S keyboard shortcut, using the Save As
command to save incremental files, understanding the process by which 3ds Max creates
backup files, and using the Hold/Fetch feature, you should be safe against any unforeseen
file problems that could bring production to an abrupt halt.
Learning your way around the user interface of 3ds Max is an important step in becoming
productive and efficient in your workflow. In this chapter, you have been exposed to an
overview of the various areas such as viewports and command panels to provide you with
the big picture of the layout of 3ds Max user interface.
You then learned more detail about these viewports themselves and how they represent
your 3D scene from various points of view to make it easier to visualize objects or areas in
the scene or even the entire scene.
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Your ability to manipulate and navigate the user interface is dependent on your
understanding of the various elements specific to 3ds Max, such as rollouts, spinners,
numeric fields, and flyouts. Although these user interface elements are not difficult to learn,
their efficient use is not always apparent to the new user. Once you see how they function,
you can work them into your day-to-day production.
Another concept of 3ds Max you learned about was navigating within the viewports by
using the various methods of zooming, panning, and orbiting through and around your 3D
scene. Many times, there are several ways to accomplish any given viewport navigation task,
for example zooming with the navigation buttons or with the middle mouse wheel, and you
need to practice with each method to find which works best for your personal needs.
In this chapter, you also learned about file management techniques that allow you to open
and save files in various ways, and about the safety features such as backup files and the
Hold/Fetch “bookmarking” feature.

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 CHAPTER 2

Creating Objects

3ds Max has a good selection of 3D primitive objects and 2D shapes for you to use as a basis
for the modeling of more complex objects. Most of these are classified as parametric objects,
i.e., they have a number of parameters that can be adjusted during creation or modified
later, such as radius, height, or number of segments. This important concept of working with
parametric objects is a key to efficient and flexible editing.
Many objects created in 3ds Max began as a primitive object or shape that were then modified
into something much more complex using the modifiers and tools available in 3ds Max. Much
like a sculptor who starts with a block of marble and turns it into a fine sculpture, you will learn
to develop a sense of which primitive might work best for the object you are creating.
Once a sculptor has chipped marble away from the block, it is impossible to put the chips
back just as it’s impossible to make the original marble block larger. But in 3ds Max, the
parametric nature of the software gives you the opportunity to build your models in a way
that allows you to go back and make changes to the original primitive’s parameters to affect
the end result.
In this chapter, you will learn the very basic steps of creating both 3D and 2D objects in 3ds
Max and will have the opportunity to practice the hand–eye coordination required for the
first few times you create the objects. Some of the topics that will be covered are as follows:
• Object types – This section will be an overview of the types of primitive objects you create
directly in 3ds Max, generally to be used as base objects for modeling.

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 Getting Started in 3D with 3ds Max

• Creating primitives – You learn the sequence of mouse clicking and dragging required to
create 3D primitive objects such as boxes, spheres, or cylinders.
• Creating shapes – 2D shapes can be created in 3ds Max as basic construction elements or
as paths for animated objects.

2.1 Object Types

In this section, you’ll have a look at some of the common object types usually used as a
starting point for more complex 3D models. The intent at this point is to learn where the
objects are located in the user interface and the actions required to create objects in a scene.
Objects in 3ds Max can be three-dimensional (3D) objects or two-dimensional (2D) shapes
and are located in separate categories of the Create panel. 3D objects are found in the
Geometry category and 2D shapes are found in the Shapes category.

Exercise 2-1-1 Accessing Create Panel Categories

1. Open 3ds Max so that you have a new scene using the default user interface. The
default command panel is set to the Create panel with the Geometry category
selected. Standard Primitives is active in the drop-down list and the Object Type
rollout displays 10 buttons containing “3D” object types (see Figure 2-1).

FIG 2-1 3D objects are created from the Create panel, Geometry category.

Note
3D is in quotes in Step 1 of this exercise because one of the primitives is a Plane
that, technically speaking, does not occupy 3D space but is considered as a 3D
object because it has a surface.

2. In the Object Type rollout, click the Box primitive button and notice a list of parameters
that appear in the Parameters rollout below. A Box primitive is defined by the length,
width, height, and a number of segments in each direction (see Figure 2-2). You will not
be creating primitive objects in this exercise.
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 Creating Objects

FIG 2-2 A Box primitive has several parameters.

3. Click on the other Standard Primitive buttons in the Object Type rollout and observe
the parameters associated with each object.
4. In the Create panel, click the Shapes category button to the right of Geometry in the
second row. The Object Type rollout, below a drop-down list named Splines, now
displays 12 buttons that will allow you to create 2D shape primitives. Click on the
Circle shape button and you will see that the only parameter associated with the
circle is radius (see Figure 2-3).

FIG 2-3 2D shapes are created from the Create panel, Shapes category.

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 Getting Started in 3D with 3ds Max

The Create panel is the only command panel with a second row of category buttons where
you can switch from a variety of object categories. The Geometry category contains 3D
primitive objects whereas the Shapes category contains 2D shapes.
Let’s learn in the next exercise how these primitive objects are actually created in the
viewports.

2.2 Creating Primitives

Each primitive object type that you want to create in 3ds Max has a specific process of
defining the parameters through a series of clicking and dragging the cursor in a viewport to
define the object in 3D or 2D space.
For the new user, the correct order of the clicks and drags to define certain parameters can
be a bit confusing, but with just a little practice, creating primitives will become such an
automatic process that you won’t have to think much about it.
Let’s begin by creating a few of the more commonly used 3D and 2D objects in 3ds Max.

Exercise 2-2-1 Creating Objects

1. Open a new scene in 3ds Max or continue working in the untitled scene from the
previous exercise. Disable the visible grids in the three orthographic viewports by
right-clicking to activate the viewport and then pressing the keyboard shortcut G.
This will make it easier to see the plane in this case. Click on the Geometry category
that should be set to Standard Primitives. Right-click in the Top viewport to activate
it. Then, click the Plane button in the Object Type rollout. Left-click in the upper left
corner of the Top viewport and, while holding the left mouse button down, drag
to the lower right corner before releasing the left mouse button. The flat plane
primitive requires that you describe two corners to adjust the Length and Width
parameters (see Figure 2-4). At this point, you are not interested in creating a plane of
any particular size, but should only be concerned with the process of clicking and
dragging to create the plane. Notice in the Create panel, Name and Color rollout,
the plane has automatically been assigned the name Plane001 and a color (because
this color was randomly chosen from a pallet of 64 colors, your planes’ color will
probably be different from the one in Figure 2-4).
2. In the Create panel, Geometry category, Object Type rollout, click the Box button.
In the Top viewport, click near the upper left of the plane and drag a short distance
down and to the right to define the base of a box object. Release the left mouse
button and move the mouse forward to define a height for the box, then left-click to
set the height parameter (see Figure 2-5). To create a box, you need one extra process
to define and set the height because it is an object that occupies 3D space. Again,
don’t worry about the exact size of boxes; also, take note that the height is not
visible in the Top viewport, so you need to watch the other viewports to determine
the height of the box. Notice also that this box has been named Box001 and has a
different color assigned to it. The next box you create would be named Box002 and
have a different color again, selected by the program from the 64 colors available.
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 Creating Objects

FIG 2-4 Plane primitive objects are defined by clicking and dragging to a diagonal corner.

FIG 2-5 Box primitive objects have a third dimension; height.

Note
If you are using 3ds Max Design instead of 3ds Max, the colors of newly created objects
will not cycle randomly through the 64 pallet of colors by default.

39
 Getting Started in 3D with 3ds Max

3. In the Object Type rollout, click the Sphere button. Click and drag near the center of
the plane in the Top viewport to define the radius of a sphere. Because the radius is
defined from the sphere’s center, the sphere will be placed half below and half above
the plane that was created on the current work plane in the Top viewport during
Step 1 (see Figure 2-6).

FIG 2-6 A Sphere primitive object has only one parameter; radius.

4. In the Top viewport, create a Cylinder primitive, a Tube primitive, and a Cone
primitive to see how each object has slightly different combinations of clicks and
drags to define the primitive shapes’ parameters. Don’t worry if the object is not
created correctly on the first try, but try again until you get the desired results.
Notice that the selected object in the scene can be identified by its white color
in the wireframe viewports and the white “bounding box” brackets in the shaded
perspective view, and that the current parameters for the object you have just
created are visible in the Command panel (see Figure 2-7).
5. Left-click somewhere in the empty space around your objects in the Top viewport
to deselect everything. Left-click again on the visible part of any object in the Top
viewport and notice that the parameters are no longer available in the command
panel. So how do you edit an existing object? 3ds Max is a program that follows a
“create, then modify” concept. While you are in the process of creating an object,
you can adjust its parameters, but once you have left the creation process, you must
go to the Modify panel to edit its parameters further. With an object selected in
the viewport, click the Modify button (second from left, top row) at the top of the
Command panel and you will see that the parameters appear in the panel for editing
(see Figure 2-8).
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 Creating Objects

FIG 2-7 Create a Cylinder, Tube, and Cone primitive to experiment with mouse clicks and drags required for each different object.

FIG 2-8 3ds Max works on a “create, then modify” concept and you must switch to the Modify panel to edit an existing selected object.

Creating 3D primitive objects in 3ds Max is a straightforward process, but it will require a little
bit of practice for you to get the right sequence of clicking and dragging in the viewports for
any given object type. While you are in the process of creating an object, you can also change
its parameters in the Create panel, but if you select an existing object in the scene, you must go
to the Modify panel to edit its parameters.
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 Getting Started in 3D with 3ds Max

The process of creating 2D shapes is very similar to the process you just learned to create 3D
objects, but let’s have a look at the menu structure and some of the options.

Exercise 2-2-2 Creating Shapes

1. Let’s begin by creating a completely new scene that replaces the current scene of
3D objects. Click the Application button and choose Reset in the menu. If you hover
your cursor over the command, a description of the command will appear and a tip
on how to access the 3ds Max Help is included (see Figure 2-9).

FIG 2-9 The Reset command clears everything from the current scene and starts a new scene.

2. A dialog appears warning that this scene has been modified and asks if you want to
save your changes. Click the No button (see Figure 2-10). This scene is only for testing
the creation of objects and there’s no reason to save it.

FIG 2-10 The Reset command warns that you have unsaved changes in the current scene.

3. Another dialog appears asking whether you are sure you want to reset the scene
(see Figure 2-11). Click the Yes button. The reset command discards everything in
your current scene, so 3ds Max wants to make sure that you really want to reset.
Once the scene has returned to its default state, right-click in each of the orthographic
viewports (top, front, and left), then press the keyboard shortcut G in each viewport to
disable the grid. This will make it easier to see the random shapes you will be creating.
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 Creating Objects

FIG 2-11 The Reset command clears everything from the current scene and starts a new scene.

4. Right-click in the Top viewport to activate it. In the Create panel, click the Shapes
category button (second row, second from left) to show the Object Type rollout
containing the possible shapes that can be created (see Figure 2-12).

FIG 2-12 There are 12 2D shapes available in 3ds Max.

5. In the Object Type rollout, click the Rectangle button. In the Top viewport,
somewhere near the center of the viewport, click and drag from upper left to lower
right to define a rectangle much in the same way you created the Plane primitive
in the previous exercise (see Figure 2-13). This is a 2D shape that has a name and a
randomly chosen color, but has no surfaces, so it will not show up as a shaded object
in the Perspective viewport or in a rendered image. It is a construction object that
can be modified into a 3D object or used as an animation path.
6. Let’s create a simple straight line that requires just a click of the mouse at each endpoint
of the line. At this point, do not click while dragging the mouse, because doing so will
create curvature that will be explained later in this book. Click the Line button in the
Object Type rollout, click in the Top viewport (quickly and release left mouse button),
and then move the mouse to where you want the end of the line to be and click quickly
again. Right-click to end the line creation sequence (see Figure 2-14). If you don’t succeed
at first, try again until you can create a straight line with no curvature.
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 Getting Started in 3D with 3ds Max

FIG 2-13 Create a Rectangle shape by clicking and dragging to define its diagonal corners.

FIG 2-14 To create a straight line, you need to click and release with no dragging and then right-click to end the line command.

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 Creating Objects

7. You should be comfortable enough with creating objects in 3ds Max now to try a
few of the other types of shapes in the Top viewport. Concentrate on the sequences
of clicking and dragging with the mouse until it begins to feel natural to you.

Note
The Text, Helix, and Section shapes are specialized types of shapes. You can try
creating Text and Helix (like creating a 3D cone) in this exercise, but it would not
be possible to create a Section shape at this point.

Shapes, except for the helix, are created in 2D space. Shapes are extremely useful as the
basic element to begin creating 3D objects or to use as animation paths for animated
objects. Shapes are parametric, providing easy editing in the Modify panel once you
have left the creation process. As with 3D primitives, a shape must be selected before its
parameters appear in the Modify panel.
3D primitives and 2D shapes are the basic elements of many of the objects that will
eventually populate your scenes and can provide you with a high degree of accuracy when
animating objects. Take the time to practice creating these basic objects so that the process
becomes an automatic part of your workflow, and then investigate some of the parameters
that make up each object by going into the Modify panel and making basic edits to your
selected primitive or shape.
Some of the important concepts introduced in this chapter are the fact that the objects
are automatically assigned a name and a color. Although the color is there simply to
differentiate between new primitives or shapes, you will learn later that the name of
objects become extremely important. The name must be edited to provide a logical and
recognizable identification that ultimately improves organization. Also, 3ds Max works on
a create–modify design where it is possible to change the parameters of an object as it is
being created, although after leaving the creation process you must select the object and
switch to the Modify panel to make any subsequent edits to its parameters.
Working with the tools and techniques for creating each type of object might seem a bit
confusing at first, but with a little practice, you’ll become more comfortable, performing the
steps without thinking about them.

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 CHAPTER 3

Object Transforms

Although the topics covered in this chapter may not be the most glamorous or exciting in
3ds Max, still it is very important for you to learn the fundamentals of coordinate systems
and transforms. You will then begin applying these methods and techniques, incorporating
them into your workflow. Some of the topics you’ll learn about in this chapter are as follows:
• Reference Coordinate Systems
• Transforms
• Transform Type-in
• Pivot Points
The use of Reference Coordinate Systems in 3ds Max is an essential part of fully
implementing transformations in your day-to-day workflow. They can be a bit confusing for
new users, but with a little bit of practice you’ll find yourself using the appropriate Reference
Coordinate System automatically.
Moving, rotating, and scaling objects in 3ds Max can take up a considerable amount of
your time and energy during a typical workflow, and it is critical that you learn the options
available, which allow you to quickly and accurately perform these functions.
You’ll learn a very important lesson about how to safely scale and mirror objects in a way
that will avoid potential problems later in your scene development. Moving and rotating
objects can always be done safely, but it’s important that you take advantage of the 3ds
Max features that add accuracy and control through the use of “transform gizmos” in the
viewports and transform type-in numeric fields in the interface.
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 Getting Started in 3D with 3ds Max

Every object in 3ds Max has a pivot point associated with it that defines a point of rotation
in 3D space. The pivot point is indicated by the apex of a transformation tripod that also has
the function of defining a particular set of X, Y, and Z axis. You’ll learn the fundamentals of
accessing and adjusting pivot points for added control over object transformation.

3.1 Reference Coordinate Systems

As mentioned earlier in the chapter, it is very important that you understand how the
Reference Coordinate Systems function in 3ds Max, and to allow you a higher degree of
control over the transformation of objects in the scene.
The 3D space in 3ds Max where you can build and animate your scenes is defined mathe-
matically by the values calculated from a fixed origin point in the virtual world that you see
through your viewports. These values are described as positive or negative numbers in the
three axis X, Y, and Z. This World coordinate system is the basis within which all values are
determined.
However, the World coordinate system is fixed in space and is not always ideal for describing
the position, rotation, or scaling of objects that are not aligned with the World coordinate
system. Therefore, 3ds Max provides several Reference Coordinate Systems which always
refer back to the World coordinate system, but have a variety of options that make it easy
to transform objects through more logical and flexible transformation axis.
You’ll begin by learning about the World coordinate system that defines the 3D environment
space in which 3ds Max scenes are developed; the origin point and the axis directions form
the default working planes on which you build your models.
Once you have a fundamental understanding of the World coordinate system, you can begin
to learn some of the options available in the Reference Coordinate Systems, which provide
more flexibility in transforming objects and laying out your 3ds Max scenes. Depending on the
viewport that is active and the current Reference Coordinate System, the XYZ axis could point in
different directions. Some of the Reference Coordinate Systems you’ll learn about are as follows:
• View
• Screen
• World
• Local
These are some of the most commonly used Reference Coordinate Systems that you will
be able to apply early in the 3ds Max learning process. Once you become comfortable with
these basic options and have more complex scenes, you can use the Help files in 3ds Max to
learn about the remaining Reference Coordinate Systems.

Exercise 3-1-1 The World Coordinate System

1. Open 3ds Max to a default state or use Reset to return your current scene to the
default settings. You should have four viewports with their grids toggled on.
Remember, the keyboard shortcut G can be used in each viewport to toggle the grid
on or off (see Figure 3-1). These grids are based on the World coordinate system to
define the working planes for each viewport.
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 Object Transforms

FIG 3-1 The default 3ds Max display with grids on.

2. At the lower left corner of each viewport you will see a red, green, and blue tripod
indicating the positive axis directions of the World coordinate system (see Figure 3-2).
Take some time to study the tripod in each viewport to see the relative direction of
each positive coordinate axis and compare it with the other viewports.

FIG 3-2 The World coordinate system axis tripod.

Note
A useful “formula” in 3ds Max is RGB = XYZ. The colors red (R), green (G), and blue (B)
can be used in many instances to identify the X, Y, or Z axis directions.

3. The origin of the World coordinate system is a point in space defined by the
intersection of the black lines of each grid (see Figure 3-3). The mathematical
49
 Getting Started in 3D with 3ds Max

coordinates of this point are (0, 0, 0) providing a starting point from which all other
coordinates are derived. Keep in mind that it is a single point in space that you are
viewing from four different viewports.

FIG 3-3 The World coordinate origin (0, 0, 0) is located at the intersection of the black gridlines.

4. The working planes of each viewport are defined by pairs of black origin lines. In
the Create panel, Geometry category, Object Type rollout, click the Box button and
create a small, flat box in each viewport to see that the base of the box is defined
on a plane passing through the black lines (see Figure 3-4). Again, take some time to
study the orientation of each box and the location of its base.

FIG 3-4 Each viewport’s working plane is defined along the black lines passing through the origin.

5. Click the Application button and choose Reset in the menu. In the 3ds Max dialog,
click the No button to indicate that you do not want to save the file, and then in the
next 3ds Max dialog, click the Yes button to indicate that you really do want to reset.
This returns you to an empty and untitled default 3ds Max configuration.

50
 Object Transforms

The World Reference coordinate system is fixed in 3D space and cannot be altered. The origin
from which all coordinates are calculated begins at the intersection of the black gridlines
with the X, Y, and Z values of (0, 0, 0). You will now learn about Reference Coordinate
Systems that are based on the World coordinate system but which adapt based on the active
viewport to more accurately transform the objects in 3D space.

Exercise 3-1-2 View Reference Coordinate System

1. Open 3ds Max to the default configuration if it isn’t open already and right-click in
the Top viewport to activate it. In the Create panel, Geometry category, Object Type
rollout, click the Box button and, in the upper left of the Top viewport, create a small
flat box. Notice that when the box is selected, another tripod appears with its apex
indicating the pivot point of the box. This axis tripod is also called the transform axis
tripod, as it provides three axis X, Y, and Z along which the object can be moved
or around which the object can be rotated. It displays the positive x-axis pointing
toward the right, positive y-axis pointing up, and positive z-axis pointing out directly
toward the viewer (notice how the X and Y axis are displayed in red, whereas the
z-axis is displayed in gray). You can also see that the transform axis tripod directions
match the World coordinate system axis (see Figure 3-5).

FIG 3-5 A transform tripod appears at the pivot point of the selected object and indicates that the positive axis directions are
currently associated with that object.

2. Look at the orientation of the transform tripod in the Top viewport and then right-
click in the Front viewport to activate it while watching the transform tripod in
that viewport. You may have to right-click back and forth between viewports to
see clearly what is happening with the transform tripod. The transform tripod flips
to match the viewport that is currently active with the x-axis pointing to the right,
the y-axis pointing up, in the z-axis pointing out from the viewport. In other words,
the axis are not necessarily aligned with the World coordinate system axis, but
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 Getting Started in 3D with 3ds Max

have adapted themselves to the viewport, as a direct result of the current default
Reference Coordinate System settings (see Figure 3-6). Right-click in the Left viewport
to activate it and you will see similar behavior with the positive x-axis pointing to the
right, the y-axis pointing up, and the z-axis pointing out. It is important to note that
these are all orthographic viewports.

FIG 3-6 The transform tripod flips to adapt to the active orthographic viewport. Positive x-axis is to the right, y-axis is pointing up,
and z-axis is outward.

3. Right-click in the Perspective viewport to activate it and you will see that the
transform tripod once again matches with the World Reference coordinate system
tripod. The behavior of the transform tripod is different for orthographic or
nonorthographic viewports (see Figure 3-7). The transform tripod is conforming to
the current Reference Coordinate System selected and the current active viewport.
Orthographic viewports have the positive x-axis to the right, the positive y-axis
pointing up, and the positive z-axis pointing toward the viewer. Nonorthographic
viewports correspond to the World coordinate system. Let’s learn a little more about
why this is occurring and what advantages it has in production.

FIG 3-7 In the active Perspective viewport, the transform axis tripod matches the World coordinate system axis directions.

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 Object Transforms

4. In the main toolbar, you will see that the Reference Coordinate System drop-down
list is set to View by default. This current Reference Coordinate System determines
the behavior of the transform tripod. Click on the drop-down list to open it for a
menu of Reference Coordinate System options (see Figure 3-8).

FIG 3-8 View reference

coordinate system is the default
setting for 3ds Max.

5. Although still in the View reference coordinate system, right-click through the
viewports to learn the behavior of the transform tripod in both orthographic and
nonorthographic viewports. Make sure that you understand how the transform
tripod is changing the positive axis directions so that you can compare what
happens when you change the Reference Coordinate System to Screen mode in
Exercise 3-1-3. Remember, you are learning about the concept at this point and you
will put this knowledge into practice later in the chapter.

The View reference coordinate system is the 3ds Max default and can be confusing to new
users because it keeps changing the XYZ axis directions based on the active viewport.
The basic concept is quite simple; however, for orthographic viewports, the positive x-axis
points to the right, the positive y-axis points up, and the positive z-axis points out from the
viewport, whereas for nonorthographic viewports, the axis tripod aligns with the World
coordinate system. Again, this will all become very important when you start transforming
objects in later exercises. Now let’s have a look at the Screen reference coordinate system to
see how it compares with the View reference coordinate system.

Exercise 3-1-3 Screen Reference Coordinate System

1. You should still have the scene open from Exercise 3-1-2 that contains the small flat
box. If you are beginning this exercise fresh, then simply re-create the box in the
upper left area of the Top viewport. Right-click in the Top viewport to make sure that
it is active. In the main toolbar, click the View reference coordinate system drop-
down list and choose Screen in the menu (see Figure 3-9).
53
 Getting Started in 3D with 3ds Max

FIG 3-9 Change the Reference

Coordinate System from View
to Screen.

2. You should notice that the transform tripod has not changed in the Top viewport:
positive x-axis is to the right, positive y-axis is up, and positive z-axis is outward.
This is the same behavior as for the View reference coordinate system for this
orthographic viewport. Right-click in the Front viewport to activate it and watch the
tripod flip the same as it did in View reference coordinate system. Right-click in the
Left viewport to see the same behavior; positive x-axis to the right, positive y-axis up,
and positive z-axis outward (see Figure 3-10). Again, the same behavior as for the View
reference coordinate system.

FIG 3-10 In all orthographic

viewports, the Screen and View
reference coordinate systems
display the axis in the same
manner.

3. Right-click in the Perspective viewport and look at the transform tripod in all the
other viewports. Screen reference coordinate system adapts itself to the viewing
directions of nonorthographic viewports. This enables you to transform the objects
perpendicular to or parallel with your line-of-sight when the nonorthographic
viewport is active (see Figure 3-11).
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 Object Transforms

FIG 3-11 Screen reference coordinate system aligns with the line-of-sight of nonorthographic viewports.

Note
The positive z-axis leg of the transform tripod doesn’t appear to be parallel with the
line-of-sight of the Perspective viewport because of the nature of a perspective view’s
distortion of parallel lines.

Making accurate moves with objects perpendicular to or parallel with the line-of-sight would
be impossible without the Screen reference coordinate system. Take the time to familiarize
yourself with these options and practice a little until they become second nature to your
workflow. Once you have learned these simple concepts, the tools will be at your disposal
to increase your productivity. Without a good knowledge of Reference Coordinate Systems,
you will still be able to get your work done, but you will waste too much time “fudging” your
transformation of objects. Let’s have a quick look at the World reference coordinate system.

Exercise 3-1-4 World Reference Coordinate System

1. With the 3ds Max scene opened from Exercise 3-1-3, use the Reference Coordinate
System drop-down list in the main toolbar to switch from Screen to World reference
coordinate system.
2. Right click each viewport to activate it and watch how the transform tripod does
not change but always remains oriented to the World reference coordinate system.
Using the World reference coordinate system is sometimes useful for maintaining
consistency throughout all viewports while transforming objects.
3. Right-click in the Front viewport to activate it. In the Create panel, Geometry
category, Object Type rollout, click the Cylinder button, and then create a small
cylinder to the right of the existing box in the scene. Notice that its transform tripod
is also locked to the World reference coordinate system (see Figure 3-12).
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 Getting Started in 3D with 3ds Max

FIG 3-12 World reference coordinate system is useful for the consistency of axis directions throughout viewports.

4. In the main toolbar, click the Select Object button, and in each viewport select the
box in the scene and then the cylinder, to verify that the transform tripod remains
the same regardless of which the object is selected or viewport is currently active.

Perhaps the most useful Reference Coordinate System is Local, but it is helpful to understand
how the objects are created before investigating the behavior of the Local reference
coordinate system. For example, when you created the cylinder in the Front viewport, the
cylinder’s base was created on the viewport’s current working plane and the height of the
cylinder was extruded toward or away from the viewer. The box in the scene, however, was
created in the Top viewport. Let’s see how the Local reference coordinate system differs from
what you have learned so far.

Exercise 3-1-5 Local Reference Coordinate System

1. In the current 3ds Max scene containing the box and the cylinder, right-click on the
Top viewport to activate it. Click the Select Object button in the main toolbar and
select the box in the top viewport. Notice the transform tripod. In the Reference
Coordinate System drop-down list, choose Local and you will see that the tripod
orientation has not changed, but remains the same as World reference coordinate
system (see Figure 3-13). This is because the box was created originally in the Top
viewport, and therefore, its Local reference coordinate system is aligned to the World
reference coordinate system.
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 Object Transforms

FIG 3-13 For the box in the

Top viewport Local reference
coordinate system is the same
as that of World reference
coordinate system.

2. Select the cylinder in the Top viewport and you will see that it does not share a
common reference coordinate system with the box. This is because the transform
tripod orientation shows the cylinder’s Local reference coordinate system, which
differs this time from the World reference coordinate system because the cylinder
was created in the Front viewport (see Figure 3-14). The Local reference coordinate
system is specific to each object, always oriented to the object itself, enabling you to
transform objects along their own local axis. The usefulness of this Local reference
coordinate system will become very apparent when you learn to rotate objects so
that they are not aligned to any current viewport working planes.

FIG 3-14 The Local reference

coordinate system remains
oriented to the object
irrespective of where it was
created.

3. Activate each of the other viewports and select the box and then the cylinder to
verify that regardless of the active viewport the transform tripod always remains
oriented to the object’s Local reference coordinate system.

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 Getting Started in 3D with 3ds Max

There are no hard and fast rules for setting and using Reference Coordinate Systems, but you
must be comfortable with each option so that you can choose the appropriate Reference
Coordinate System during production. Practice on simple scenes until you understand the
concepts and behavior of each Reference Coordinate System. Then these tools will become
an integral part of your workflow. Without learning the Reference Coordinate Systems, you
will waste time when transforming or aligning objects in your scenes. Although there are
other Reference Coordinate Systems in the drop-down list, the ones that we have covered so
far are most commonly used, whereas the others require much more knowledge of 3ds Max,
beyond the scope of this lesson.
In Section 3.2, you will apply the lessons presented here while learning to transform objects
in 3D space.

3.2 Transforms
Move, Rotate, and Scale are the three transforms in 3ds Max, which allow you to position,
orientate, and size the objects in 3D space. In this section, you’ll learn how to use the
“transform gizmos” to move and rotate the objects in the scene. Accuracy in moving and
rotating objects will not be important for now, you’ll instead focus your attention on
restricting transformations to either one axis or multiple axis.
The Reference Coordinate Systems are an important part of learning how to transform
objects in 3ds Max because you need to know and understand where the XYZ axis point to,
which can differ based on active viewport and current Reference Coordinate System.
Remember that you were previously introduced to the formula RGB = XYZ, meaning that
the x-axis is colored Red, the y-axis is colored Green, and the z-axis is colored Blue. This can
assist you as a visual cue when choosing the transformation axis. The transform gizmos are
color-coded using this formula.
In this section, you’ll learn about:
• Transform Gizmos
• Select and Move
• Select and Rotate

Warning
Do not Scale or Mirror objects in 3ds Max. Owing to a design issue in the original 3ds
Max software, you cannot use the Select and Scale tool directly on 2D or 3D objects.
Doing so can result in major problems with your models later in the production
process that are very difficult to troubleshoot. Further in this book, you will learn the
reason for this warning and the very simple workaround that will allow you to safely
scale objects.
The Mirror command simply applies a −1 scale value to objects, creating the same
dangerous situation as the Select and Scale command.

When transforming objects, the transform gizmos provide you with options for restricting
the movement or rotation of objects along individual axis or multiple axis. Let’s have a look
at the gizmo’s options before learning how to actually transform objects.
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Exercise 3-2-1 Transform Gizmo

1. You should have the scene from Exercise 3-1-5 with a box and a cylinder opened,
or you can re-create it in a new 3ds Max scene. Create the box in the Top viewport
and the cylinder in the Front viewport. Make sure that the Top viewport is activated
and the Reference Coordinate System is set to the default View. Select the box object
(see Figure 3-15).

FIG 3-15 Begin with a scene

with a box and a cylinder to
learn about transform gizmos.

2. In the main toolbar, click the Select and Move button. The box’s transform tripod
now changes to the Select and Move transform gizmo. The three axis are aligned
based on the current Reference Coordinate System and the active viewport. Right-
click in each of the other viewports to activate it and observe the behavior of the
transform gizmo, it is exactly the same as the transform tripod. Activate the Top
viewport and hover the cursor over the shaft of the red x-axis leg. The arrow shaft
will be highlighted in yellow (see Figure 3-16).
FIG 3-16 The Select and Move
transform gizmo is color-coded
and indicates the positive axis
directions based on the selected
Reference Coordinate System
and active viewport.

3. Activate the other viewports and hover the mouse over each of the arrow shafts to
see them being highlighted, indicating that a Select and Move transform can be
restricted to any of the axis that may be different based on the current Reference
Coordinate System and viewport.
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 Getting Started in 3D with 3ds Max

Note
The transform tools are called Select and Move, Select and Rotate, and Select and
Scale, because you don’t need to click on the Select Object button and then select the
object in the viewport before transforming it, but you can select and transform the
object in one single action.

4. Right-click in the Top viewport to activate it and hover the cursor over the red and
green lines between the shafts of the X and Y axis legs to see the yellow square
appears at the apex of the tripod legs (see Figure 3-17). This square indicates that the
object may be moved freely in both the X and Y axis in one motion rather than being
restricted to only one of the axis.

FIG 3-17 Movement can be

restricted in two axis with the
yellow square at the apex of the
tripod legs.

5. Activate the other viewports and see that the yellow square indicates movement
restriction in just two axis of the viewport. In the Perspective viewport, you can position
the cursor to activate any of the three yellow squares for more control (see Figure 3-18).

FIG 3-18 You can often

access three pairs of axis in the
Perspective viewport.
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 Object Transforms

6. In the main toolbar, click the Select and Rotate button and you will see the
rotation transform gizmo appear. Again, the axis are color-coded according to
the RGB = XYZ formula. Hovering the cursor over a circle turns it yellow and left
clicking and dragging allow you to rotate the object about the selected axis.
The gray circle restricts rotation around the line-of-sight of the active viewport
(see Figure 3-19). In orthographic viewports with the View reference coordinate
system selected, the gray circle functions the same as rotating about the z-axis.
By hovering the cursor between the restriction circles and left clicking, you can
rotate freely in all axis.

FIG 3-19 Rotation is restricted with the Rotate transform gizmo.

Practice a little by highlighting the various options in the Select and Move and Select and
Rotate transform gizmos. In Exercise 3-2-2, you’ll practice actually moving objects in the
scene to try out what you have learned.

Exercise 3-2-2 Move Transform

1. Use the 3ds Max scene from Exercise 3-2-1 or re-create a similar scene with a box,
created in the Top viewport, and a cylinder created in the Front viewport. Activate
the Top viewport and select the box in the scene. In the main toolbar, click the Select
and Move button and the Move transform gizmo should appear with its apex at the
pivot point of the box.

Note
If you do not see the Move transform gizmo after clicking the Select and Move
button you might have toggled the transform gizmo off accidentally by pressing the
keyboard shortcut X key. Pressing X again will toggle the gizmo on.

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 Getting Started in 3D with 3ds Max

2. Hover the mouse cursor over the x-axis arrow shaft and left click and hold when it
turns yellow. Drag the mouse to the right, moving the box in the same direction
while restricting it to the x-axis. Hover the cursor over the y-axis arrow shaft and click
and drag it downward to restrict the movement to the y-axis (see Figure 3-20).

FIG 3-20 Movement is

restricted to a single axis when
the corresponding arrow shaft is
used (highlighted in yellow).

3. Right-click in the Perspective viewport to activate it and position the cursor over one
of the three sets of colored lines that define a square at the apex until the square turns
yellow, and then click and drag to move the box in two axis at once (see Figure 3-21).
Where you move the box is not important, just focus on the process of using the Move
transform gizmo.

FIG 3-21 Highlighting the

square at the Move transform
gizmo apex restricts movement
in two axis.

Getting used to using the Move transform gizmo to move objects through the scene will
only take a short time and is an important step in controlling the repositioning of objects in
3D space, where optical illusions can sometimes trick the users into thinking that they are
moving in one direction while they are actually going in another. In Exercise 3-2-3, you’ll
practice using the Select and Rotate transform gizmo.

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Exercise 3-2-3 Rotate Transform

1. Use the 3ds Max scene from Exercise 3-2-2 and activate the Top viewport. In the
main toolbar, click the Select and Rotate button to activate the Rotate transform
gizmo; a series of circles appear to be colored according to the RGB = XYZ formula.
Hover the cursor over the red x-axis circle until it turns yellow, and then click and
drag the mouse downward to rotate the box about the x-axis. As you rotate the box,
you will notice that the amount of rotation in the x-axis is displayed, as well as a
small yellow arrow indicating the direction of rotation (see Figure 3-22).

FIG 3-22 Rotation about a

particular axis can be restricted
with the appropriate circle.

2. Activate the Perspective viewport and rotate the box and the cylinder using each
of the Rotate transform gizmo circles as well as clicking between the circles for
free rotation in all axis. Use the outer gray circle to rotate the object around the
line-of-sight (see Figure 3-23). The line-of-sight rotation only makes sense in the
nonorthographic viewports. In the orthographic viewports, it is the same as rotating
about the z-axis when in the default View reference coordinate system.

FIG 3-23 Click and drag

between circles of the transform
gizmo to rotate freely in all axis.

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 Getting Started in 3D with 3ds Max

3. The transform gizmos have been oriented according to the current View reference
coordinate system and the particular active viewport. With the cylinder selected in
the Perspective viewport and the Select and Rotate button toggled on, click the View
reference coordinate system drop-down list and choose Local reference coordinate
system. The transform gizmo aligns itself to the Local coordinates of the cylinder
which remained oriented along the axis of the cylinder as it was created. Rotate the
cylinder about its X, Y, and Z axis to see the current behavior (see Figure 3-24).

FIG 3-24 Local reference

coordinate system uses the
object’s creation axis, a powerful
transform option.

4. In the main toolbar, click the Select and Move button, and then look to see which
Reference Coordinate System is active; it is the View reference coordinate system
and not the Local that you set in Step 3. This is because the Reference Coordinate
Systems are “sticky” for each transform, i.e., each transform will remain set to the
default Reference Coordinate System until you change it, and then will remain
set to the option you choose until changed again or until you close the scene (see
Figure 3-25). Click the Select and Rotate button and you will see it remains set to Local
reference coordinate system.

FIG 3-25 The Reference

Coordinate System is sticky for
each transform.

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5. With the Select and Move button toggled on, set Local reference coordinate system
in the drop-down list, and then move the cylinder along its own creation axis in
the Perspective viewport (see Figure 3-26). Select the box object in the Perspective
viewport and move and rotate it using the Local reference coordinate system.

FIG 3-26 Select and Move transform gizmo in Local reference coordinate system.

Experiment moving and rotating the two objects in different viewports with the World
and Screen reference coordinate systems to see how they differ from each other. Also
notice the difference whether an orthographic or nonorthographic viewport is currently
active. Take the time to become comfortable with the process of switching viewports and
Reference Coordinate Systems to optimize your ability to move objects as necessary. It
is not difficult, but does require a little practice initially before it becomes a part of your
natural workflow.

3.3 Transform Type-In

Often you need to move or rotate an object accurately and so far you have only learned
to move or rotate an object randomly by clicking and dragging. In this section, you’ll learn
about using tools in 3ds Max to move or rotate objects by exact numerical values entered
into the transform type-in fields.
The transform type-in fields are labeled as XYZ and your knowledge of Reference Coordinate
Systems is critical to moving objects in the desired direction. Because of the combination
of Reference Coordinate System and orthographic or nonorthographic viewports, the XYZ
directions are not always the same, so you must pay close attention to the variables while
learning to transform objects accurately.
You must also learn to toggle transform type-in from Absolute mode to Offset mode to
obtain the desired results. Let’s refresh your knowledge of the difference between the two
modes:
• Absolute mode – coordinate values are measured from the World coordinate system
origin (0, 0, 0).
• Offset mode – coordinate values are measured from the objects current position.
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 Getting Started in 3D with 3ds Max

Working in Absolute mode for the transform type-in generally requires considerable math to
calculate your way from an object’s current position back to the origin, and then to the new
position. Offset mode allows you to enter a numeric value for the transformation amount
without regards to the objects current position. You only need to know how far an object
needs to move, or the angle an object must be transformed, without any extra math.
You’ll use the scene from Exercise 3-2-3 and learn to use the transform type-in fields and
the Absolute/Offset toggle button in the status line at the bottom of the 3ds Max display
(see Figure 3-27).

FIG 3-27 The transform type-in fields and the Absolute/Offset toggle are at the bottom of the 3ds Max display.

Let’s learn to transform objects accurately.

Exercise 3-3-1 Accurate Transforms

1. Use the scene from Exercise 3-2-3 or re-create it approximately. Right-click in the Top
viewport to activate it, and then click the Select and Move button. Set the current
Reference Coordinate System to View. Select the box in the Top viewport and
notice that the numeric values appear in the transform type-in fields. These values
represent the current absolute position of the pivot point of the box in the World
XYZ axis (see Figure 3-28).
2. Enter 10 in each of the transform type-in numeric fields and press the Enter key to
finalize each entry. The pivot point of the box moves to a position that is 10 units
in the positive direction of each axis from the World coordinate system origin (see
Figure 3-29). Now if you need to move the box, another 10 units in either direction you

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 Object Transforms

FIG 3-28 Absolute coordinates of box’s pivot point in World coordinates.

FIG 3-29 The Absolute coordinates are values measured from the World origin.

would have to mentally add that to the current coordinate value measured from the
origin. This is not an intuitive or easy process, so let’s learn about Offset mode.
3. Click on the Absolute/Offset toggle button to switch from Absolute mode to Offset
mode. The numeric values in the transform type-in fields reset to 0.0 to indicate the
object is in its current position. The Top viewport is active and the current Reference
Coordinate System is set to View. Enter 10 in the X: transform type-in numeric field,
and then press the Enter key. The box moves 10 units in the positive x-axis direction
of the Top viewport. The position was offset by 10 units and the numeric value resets
itself to zero to indicate it’s in its new position (see Figure 3-30).

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 Getting Started in 3D with 3ds Max

FIG 3-30 Values entered in Offset mode transform the object an exact amount and then the numeric fields reset to 0.0.

4. In the main toolbar, open the View reference coordinate system drop-down list and
choose Local reference coordinate system. In the Z: transform type-in field, enter
30 and press the Enter key. The box moves 30 units along its Local positive z-axis
direction and the transform type-in fields reset to 0.0 (see Figure 3-31). In Local reference
coordinate system, the active viewport doesn’t matter because the Local reference
coordinate system is based on the object itself and is not viewport dependent.

FIG 3-31 In Offset mode and Local reference coordinate system, the object moves an exact amount along its own axis.

5. In the main toolbar, click on the Select and Rotate button, and then make sure the
Local reference coordinate system is set. The values in the transform type-in fields
now represent the angles of rotation in degrees, but the functionality is the same
as with Select and Move. Enter 90 in the X: numeric field (see Figure 3-32) and press
the Enter key and you will see that the box rotates 90° about its own x-axis and the
number resets itself to 0.0.
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 Object Transforms

Note
Positive rotation values rotate the object counterclockwise, measured as you look
down the axis of rotation.

FIG 3-32 Using Select and Rotate in Local reference coordinate system allows you to rotate objects on their own axis.

6. Continue practicing rotating objects by exact amounts in different viewports, using

different Reference Coordinate Systems, and by entering the values in different
rotation transform type-in fields.

Learning and practicing techniques for transforming objects may seem to be little boring, but
an analogy might be that of a musician practicing the scales. No matter how good a musician
gets they must always come back to the fundamental techniques and methods of creating
music as a basis on which to build more complex knowledge. The same principle holds true
for learning 3ds Max. Let’s investigate pivot points in a little more detail in Section 3.4.

3.4 Pivot Points

You now know what pivot points are and that they are identified either by the transform
tripod or by the transform gizmo apex location. Each primitive object you have created so far
has a pivot point in a default location on the geometry that you, so far, have had no control
over. There are times, however, when you want an object to rotate about a specific point
other than where the default pivot point is.
You know about transforming objects. Now, you will learn how to transform pivot points
independent of the objects they are associated with. This will allow you to place the pivot point
of any object in any location within the geometry or anywhere else in the 3ds Max scene.
The point of this section is to teach you where you can access the pivot point’s location and
how you can use the transform tools to reposition it.
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 Getting Started in 3D with 3ds Max

Exercise 3-4-1 Transform Pivot Points

1. In the 3ds Max scene from Exercise 3-3-1 or a similar scene that you have re-created,
make sure that the Top viewport is active and the cylinder is the selected object.
In the main toolbar, click the Select and Move button and make sure that you are
in Local reference coordinate system (see Figure 3-33). The default location for a
cylinder’s pivot points is at the center of the base of the cylinder as it was created.
You would like to have the pivot point be in the geometric center of the cylinder.

FIG 3-33 The pivot point of a cylinder is at the bottom center by default.

2. In the Command panel, click the Hierarchy button in the top row. This opens a
series of rollouts which, among other things, allows you control of the pivot point
independent of the object itself (see Figure 3-34).

FIG 3-34 The Hierarchy panel contains tools to adjust pivot points of objects without affecting the object itself.

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 Object Transforms

3. In the Hierarchy panel, Adjust Pivot rollout, Move/Rotate/Scale: area, click the Affect Pivot
Only button. This makes buttons available in the Alignment; area changes the transform
gizmo into the transform pivot tripod, still coded with red, green, and blue to help
identify the XYZ axis (see Figure 3-35). At this point, you could use the Select and Move or
Select and Rotate to reposition the pivot point in 3D space, but there is a shortcut for
positioning it in the geometric center of the object which you will learn in the next step.

FIG 3-35 You can transform the pivot point without affecting the object.

4. In the Hierarchy panel, Adjust Pivot rollout, Alignment: area, click the Center to
Object button. This will move the pivot point to the geometric center of the cylinder
to provide a new point of future rotations (see Figure 3-36). Click the Affect Pivot Only
button to toggle it off, and then use Select and Rotate to rotate the cylinder about
its new pivot point.

FIG 3-36 Center to Object positions the pivot point in the geometric center of the cylinder.

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 Getting Started in 3D with 3ds Max

Note
It is important to remember to toggle the Affect Pivot Only button off when you are
done transforming the pivot point to avoid any surprises during future transforms.

5. Practice adjusting the pivot point of the box in the scene in the same manner, and
try using Select and Move while in Affect Pivot Only mode to reposition it by hand or
using transform type-in. When you have finished experimenting, you can close 3ds
Max without saving this file.

Transforming objects in 3D space is something you will spend a lot of your production
time on during a typical workflow, and it’s important that you take the time to learn these
fundamental steps of Reference Coordinate Systems, viewports, the transform tools and
transform type-in, as well as adjusting pivot points so that you can use all of the tools in
concert with each other to position objects accurately and efficiently.
None of these techniques are particularly difficult but when you are new to 3ds Max, the
process as a whole can be confusing. Practice with simple examples and work your way up
to more complexity as you develop a feel for how the tools work in conjunction with each
other. Make sure that you understand the fundamentals before moving on.

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 CHAPTER 4

Object Selection

You already have some experience in selecting objects in 3ds Max by clicking the Select
Object button in the main toolbar and then clicking on an object in a viewport. The object
turns white in the wireframe viewports and displays “bounding box” corners in the shaded
viewports to indicate that it is selected. But what happens when you need to select several
objects that are scattered around a complex 3ds Max scene?
There is a wide selection of options, which allows you to add individual objects to a selection
set, either by defining an area to select a group of objects or by selecting objects by their
names. You must familiarize yourself with the basic techniques of selecting objects in the
scene and then practice until it becomes a seamless part of your day-to-day workflow. Once
you understand the fundamental techniques of selecting objects, you can go on to build a
wider knowledge of selection techniques that speed your workflow and make collaboration
with other team members in a smoother process.
Some of the fundamental techniques you’ll learn in this chapter are as follows:
• Object naming – learn the importance of logical naming of objects.
• Object selection – learn some of the fundamental techniques of selecting objects in
viewports.
• Select by Name – logically named objects can be selected easily with this tool.
• Scene Explorer – organize and select objects by attributes with this tool.

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 Getting Started in 3D with 3ds Max

A surprising amount of production time can be spent in selecting the objects that you want
to work on for any given task and it’s imperative that you become as comfortable as possible
with the many selection options 3ds Max has to offer, making the process as efficient as
possible.
Selecting objects in 3ds Max is another inherently simple task that, until you learn the
fundamentals, is not intuitive to the new user. This chapter will help you to get started with
the fundamental tools for developing powerful selection techniques.

4.1 Object Naming

When you learned to create primitive 3D objects or 2D shapes in Chapter 2, you also learned
that they were automatically assigned by a name like Box001 or Circle001. At the time
you created these objects, the names made sense because that was the end result of the
creation process and no editing was performed to change the appearance of the object.
In production, however, when you start with a primitive object or shape, usually, it will be
edited into a more complex object that no longer resembles the basic primitive, so the
default name no longer makes any sense if you want to find that object. For example, you
could start with a box primitive to create a table and then afterward you could start with
another box primitive to create a house. But if both the objects still have the default names
Box001 and Box002, it becomes very difficult to identify which object is which by its name,
because neither object looks like a box anymore.
You must develop a habit of renaming objects as soon as they are created, so that everyone
in the production team can clearly identify what the object is. This makes it easier to select
objects in the scene and to build libraries of assets that people can retrieve quickly because
the names are logical.
In Exercise 4-1-1, you’ll refresh your knowledge about creating and naming objects and learn
about a useful tool built into 3ds Max that helps you to rename objects that are still using
the default names or are not named logically for your purposes.

Exercise 4-1-1 Naming Objects

1. Open 3ds Max and toggle the grid off in each of the orthographic viewports,
keyboard shortcut G, to reduce the visual clutter, and then right-click the Top
viewport to activate it. In the Create panel, Geometry category, Object Type
rollout, click the Box button and create four small boxes horizontally across the
viewport. The exact size and position of the boxes are not important. Click the
Zoom Extents All button in the group of eight navigation buttons at the lower right
corner of the 3ds Max display (see Figure 4-1). This fills each viewport with the newly
created boxes.
2. You learned previously that 3ds Max follows a Create, then Modify concept and it
is seldom efficient to rename objects during the creation process. Once creation is
complete, you should go to the Modify panel as soon as possible to rename your
object and do any necessary editing. Click the Modify panel button and, in the
object name field, rename the selected box (it should be Box004) Crate001 as if
these objects were going to be crates in your scene (see Figure 4-2). Select each of
the other boxes and rename each Crate00?, with the “?” being replaced by the next

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 Object Selection

FIG 4-1 Create boxes with the

automatically assigned default
names.

FIG 4-2 Objects can be renamed

in the Modify panel.

incremental number. You should now have all boxes named Crate001 to Crate004.
Although it was not so difficult to individually select each box and rename it in the
Modify panel for just a few objects, it would be very time-consuming and confusing
if you had, for example, 25 columns in a building all incrementally named. Let’s learn
about a faster method of renaming objects.

Note
It almost always makes sense to end an object’s name with an incremental
multidigit number, so that when multiple new copies are created automatically,
they will be properly incremented.

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 Getting Started in 3D with 3ds Max

3. You are almost certainly going to encounter 3ds Max files that have improperly
named incremental sequences of objects that you want to rename, so this is an
appropriate time to learn about this powerful feature. In the Tools pull-down menu,
choose Rename Objects…; the ellipsis to the right of the name indicates that a
dialog will appear (see Figure 4-3). Let’s assume that these objects will be the blocks in
our new scene.

FIG 4-3 3ds Max has a useful

tool called Rename Objects.

4. In the Rename Objects dialog, choose the Pick radio button and left-click and drag
your cursor down over the names in the Pick Objects to Rename dialog that appears
(see Figure 4-4).

FIG 4-4 The Pick option allows

you to select objects by name.

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 Object Selection

5. In the Pick Objects to Rename dialog, click the Use button at the lower right to
accept your selection. In the Rename Objects dialog, enter the name Block in the
Base Name field and make sure that the checkbox at the left is checked. Check the
Numbered options checkbox and enter 1 in the Base Number: field (see Figure 4-5).
Click the Rename button.

FIG 4-5 Assign the objects

a new base name and a base
number to increment from.

6. Click on each of the objects in the Top viewport and notice in the Modify panel that
they have been renamed to Block01 through Block04. When many objects have to
be renamed in the scene, a situation you will often encounter, this is a handy tool
that is not easily spotted by new users.

Note
In this example, the objects you wanted to rename had the same base name and
were numbered sequentially, but this command also works on randomly named
objects to assign a single logical name that is incrementally numbered.

4.2 Object Selection

Now that you have been introduced to the process of naming objects and understand that it
is an important function for maintaining productivity, it’s time to learn some of the options
for selecting objects in a 3ds Max scene. You will open a scene with multiple objects and
learn the following techniques:
• Add/Subtract using Ctrl/Alt keys
• Window/Crossing modes
• Selection regions
These techniques are the fundamental processes commonly used in selecting objects in
a 3ds Max scene. You will open a scene that contains multiple objects from the website,
save it to your hard drive with a new name, and then use the new file to practice selecting
objects.

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 Getting Started in 3D with 3ds Max

Exercise 4-2-1 Add/Subtract Selections

1. Start 3ds Max. Click the Application button, choose Open and navigate to the
folders containing the 3ds Max files on the website for Chapter 4. In the Open File
dialog, double-click on the file name Exercise 4-2-1_Object_selection.max to open it
(see Figure 4-6). The file contains an array of boxes, cylinders, teapots, and spheres for
you to practice in selecting objects.

FIG 4-6 Open a file containing

multiple objects.

2. Click the Application button and choose Save As in the menu. Navigate to an
appropriate folder on your hard drive. In the Save File As dialog, click the + to the
left of the Save button to increment the filename and save it to the hard drive
(see Figure 4-7). This workflow allows you to maintain the original files and create a
series of new files with incremental names as a method of going back in time in case
something happens to the current file.
3. Make sure the Top viewport is active. In the main toolbar, make sure that the Select
Object button is toggled on, and then click on the upper leftmost box to select it. It
will turn white in the wireframe viewports and will show bounding box corners in
the shaded viewport to indicate that it is selected (see Figure 4-8). You have already
learned how to select individual objects, but let’s learn how to add and subtract
objects to and from the selection set.
4. Although you are still in Select Object mode, you can use the Ctrl key to add other
objects to the current selection set. Hold the Ctrl key and you will see a + appear near the
cursor, and as you click on other objects, they will be selected and added to the current
selection set. Using this method, select the other objects in the top row (see Figure 4-9).

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 Object Selection

FIG 4-7 Save the file with a new incremental name.

FIG 4-8 Select a single box with Select object.

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 Getting Started in 3D with 3ds Max

FIG 4-9 Use the Ctrl key to add

objects to a selection set.

5. Although you are still in Select Object mode, you can use the Alt key to subtract
objects from the current selection set. Use this method to deselect the cylinder and
the teapot from the selection set.

Using the Ctrl/Alt keys while selecting objects is a relatively fast way to build selection sets of
a few objects that are visible in the current viewport; practice a bit to get the hang of adding
or subtracting objects in the scene to the current selection set.
Let’s find a way to speed up the process of creating selection sets of objects in the current
viewport in Exercise 4-2-2.

Exercise 4-2-2 Window/Crossing Modes

1. In the main toolbar, to the right of the Select Object button, there is another button
with a little cube half-in and half-out of a dotted square. This button is the Windows/
Crossing mode toggle. Click it a few times to toggle between Windows and Crossing
modes, and set it to Windows mode (the little cube is INSIDE the dotted square). This
method allows you to click and drag a Rectangular Selection Region around objects
in the active viewport: all objects that are entirely inside the rectangle will be added
to the selection set (see Figure 4-10). When you release the left mouse button only the
objects that are completely inside the selection region will become a new selection
set, and any previous selection set is lost.
2. In the main toolbar, click the Windows/Crossing button to toggle it from Windows
mode to Crossing mode. The button will change to a cube half-in and half-out of
the dotted square. In the Top viewport, click and drag roughly the same selection
region as in the previous step (see Figure 4-11). In the Crossing mode, all objects that
are completely inside the selection region or crossed by it will be added and any
previous selection set is lost.
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 Object Selection

FIG 4-10 A Windows selection

region selects all objects
completely inside the defined
boundary.

FIG 4-11 Crossing mode selects

objects inside or crossed by the
selection region.

3. Try using Windows/Crossing selection mode in conjunction with the Ctrl/Alt keys to
verify that you can build relatively complex selection sets rather quickly by adding or
removing several objects at once.

When you need to make selection sets of many objects that are near each other in the
viewports, the Windows/Crossing mode, especially in conjunction with Ctrl/Alt keys, can
increase your productivity during the task of selecting objects. The default Rectangular
Selection Region is fine for many selection sets you may create, but there are other options
which expand the capabilities of the Windows/Crossing selection mode; you’ll learn them in
Exercise 4-2-3.
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 Getting Started in 3D with 3ds Max

Exercise 4-2-3 Selection Regions

1. Continue with the file from Exercise 4-2-2 or open the incrementally named file that
you saved to your hard drive. If you are continuing with the current file, you can
left-click anywhere in the active viewport’s empty space to clear the current
selection set. In the main toolbar, left-click and hold on the Rectangular Selection
Region button to expand the flyout button (Figure 4-12).

FIG 4-12 Selection region

options are flyouts below the
Rectangular Selection Region
button in the main toolbar.

2. Click on the Circular Selection Region flyout and, in the Top viewport, click and drag
near the center of the objects to define a circular selection region that behaves
according to the current Windows/Crossing mode (Figure 4-13).
3. Choose the Fence Selection Region flyout, click and drag in the Top viewport to
begin a series of straight line segments, release the left mouse button and click
several times, and then double-click to close the fence region (see Figure 4-14).
4. Choose the Lasso Selection Region flyout, click and hold it in the Top viewport, and
then drag the mouse to define a free-form closed selection region (see Figure 4-15).
Again, the current Windows/Crossing mode is always respected.
5. Choose the Paint Selection Region flyout, and then click and drag to paint over the
objects in the Top viewport. The Windows/Crossing mode is respected, so if you are
in Windows mode and the object is larger than the “brush” region, the object is not
selected. You can change the brush size by right-clicking on the Brush flyout button
in the main toolbar, and then in Preference Settings dialog, General tab, Scene
Selection area, enter a new value for Paint Selection Brush Size (see Figure 4-16). If you
are in the Crossing mode then you just need to “touch” each object with your brush
to select them.

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FIG 4-13 Circular selection

region respects Windows/
Crossing mode.

FIG 4-14 A Fence selection

region is defined by straight line
segments.

FIG 4-15 A Lasso selection

region is a free-form closed
region.

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 Getting Started in 3D with 3ds Max

FIG 4-16 Paint Selection Region

uses a variable brush size to
select objects.

The process of selecting objects in 3ds Max scenes can be time-consuming if you do not
apply the many options available for creating complex selection sets. Practice on this scene
with the different selection techniques you’ve learned until you become comfortable and
proficient with them.
Earlier in the chapter you learned how to rename objects and were introduced to some of the
reasons why it is important to select logical names for all the objects in your scenes. Selecting
objects by their logical names is also a helpful method of selecting objects in the scene when
those objects are scattered around the scene, making it difficult to select them with pick or
region selection methods. In Section 4.3, you’ll learn about selecting objects by their names.

4.3 Select by Name

Let’s say that you have a 3ds Max scene containing a building with a number of columns that
are all the same and you need to select them to make a global change, for example, apply
a new material. The columns are randomly distributed throughout the building and are not
good candidates for selection by picking individually or by using one of the selection region
options. You should, however, have named those objects something logical like Column001
with sequential numbering for the rest of the columns. These objects can be easily selected
with the Select by Name command, so let’s learn how the process works.

Exercise 4-3-1 Selecting Objects by Name

1. Continue with the file from Exercise 4-2-3 or open the incrementally named file
that you saved to your hard drive. If you are continuing in the current file, then you
can left-click anywhere in the active viewport’s empty space to clear the current
selection set. In the main toolbar, left-click on the Select by Name button to the
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right of the Select Object button. This brings up the Select From Scene dialog with a
listing of all of the objects in your scene (see Figure 4-17). The objects in the scene are
listed in an alphabetical order.

FIG 4-17 The Select by Name

button opens the Select From
Scene Dialog.

2. You can click on individual object names in the list to highlight them in blue, and
you can use the Ctrl and Shift keys in typical Windows fashion to add or remove
objects from your selection, thereby creating more complex selection sets. You can
also click and drag the cursor across the names you want to select and when you
have finished highlighting the objects in the list you must click the OK button to
actually create the selection set (see Figure 4-18). Once you have them selected, you
can use the method that you previously learned to add or subtract from the current
selection set.

FIG 4-18 Highlight object

names in the Select From Scene
Dialog and click the OK button to
select them.

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 Getting Started in 3D with 3ds Max

3. In production, you can use the corresponding keyboard shortcut by pressing the H
key to bring up the Select From Scene dialog again. Highlight the Find text field and
press the T key and you will see that all of the objects whose names begin with the
letter T are tentatively highlighted (light gray) (see Figure 4-19). Click the OK button
and all teapots will be selected.

FIG 4-19 Object names can be

highlighted with the find field.

Note
Text entered into the Find field can include standard Windows wildcard
characters for a more powerful selection by name (tea*, for example, would
select all teapots and teacups objects in a scene).

4. In the Top viewport, click in an empty space to deselect everything. Using the Ctrl
key, select a few random objects. Highlight the Named Selection Sets field in the
main toolbar and type the name New objects, then press the Enter key to make sure
that the Named Selection Set is created (see Figure 4-20).

FIG 4-20 Create a named

selection set and press the
Enter key.

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 Object Selection

5. Click in the empty space in the Top viewport to deselect everything. Open the
Named Selection Sets drop-down list (see Figure 4-21) and click New objects in the
list to reselect the objects saved in that Named Selection Set. This tool allows you to
quickly reselect complex selection sets that may have taken some time to originally
compile. Press the keyboard shortcut Ctrl-S to save the latest changes to the file
named Exercise 4-2-1_Object_selection01.max.

FIG 4-21 Previously created

named selection sets can be
accessed from the drop-down
list in the main toolbar.

Now you can perhaps more clearly understand the important need for logical naming of
objects in 3ds Max. First, everyone on the production team will know what the objects are by
their names, and second, you can employ these powerful Select by Name options to select
objects that are randomly distributed throughout the scene.
Some selection sets can be difficult to create, but you have learned that the Named
Selection Sets allow you to assign a name for a complex selection set, and then invoke it at
any time through the drop-down list. This drop-down list is also available in the Select by
Name dialog.

4.4 Scene Explorer

The Select by Name dialog is a useful tool for selecting objects according to their
names, and then creating a selection set from the named objects. This section will introduce
you to a similar tool called Scene Explorer where not only you can select objects by name
but also you can find and sort objects on parameters such as color, the number of faces
that make up the object, or whether the object has a material assigned to it, just to name
a few examples. Once you have configured a Scene Explorer dialog to display certain
objects and attributes, you can then save the Scene Explorer dialog with a specific name for
easy retrieval.
In this section, you will learn the fundamentals of opening Scene Explorer, configuring the
columns of data, and saving the Scene Explorer with a logical name.
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 Getting Started in 3D with 3ds Max

Exercise 4-4-1 Opening and Adjusting Scene Explorer

1. Open the 3ds Max file that you saved in the previous exercise, Exercise 4-2-1_Object
selection01.max. In the Tools pull-down menu, choose New Scene Explorer in the
menu (see Figure 4-22). This opens the Scene Explorer-Scene Explorer 1 dialog.

FIG 4-22 New Scene Explorer

is found in the Tools pull-down
menu.

2. The Scene Explorer dialog looks similar to the Select by Name dialog, showing you a
list of all the objects in the scene alphabetically by name. You can search for objects
or choose Named Selection Sets if there are any in the scene (see Figure 4-23). Let’s
learn to customize the information displayed in columns.

FIG 4-23 Many of the options

found in the Select by Name
dialog are found here.

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 Object Selection

3. In the Scene Explorer-Scene Explorer 1 dialog, right-click on the Name column bar
above the list of names, and then choose Configure Columns (see Figure 4-24). You will
add a column that displays the number of faces (triangles) that define the surface of
each object. This will be important information to have later in the book.

FIG 4-24 New columns of data

can be added to Scene Explorer.

4. In the Configure Columns dialog that appears, use the scrollbar to the right until you
find Faces (see Figure 4-25). You will add this column to the Scene Explorer dialog.

FIG 4-25 Locate Faces in

Configure Columns dialog.

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 Getting Started in 3D with 3ds Max

5. Left-click on Faces and then drag and drop it on the Name text in the column
bar at the top of the list. Faces will be moved from the Configure Columns dialog
and should appear to the left of the Name column bar showing a list of numbers
indicating the faces in each object (see Figure 4-26).

FIG 4-26 Drag-and-drop faces to add the column to the list.

Note
If the column Faces does not appear to the left of the Name column, then it may
have been inserted to the right by mistake. Expand the Scene Explorer dialog by
clicking and dragging on its right edge until the column appears.

6. Many different configurations are possible to achieve with the Scene Explorer,
and it can sometimes take a while to configure the dialog according to your
requirements. Highlight the View drop-down list at the top of Scene Explorer 1
and enter the name Object Select Test, and then press the Enter key to rename the
Scene Explorer you have configured (see Figure 4-27). It is important that you press
the Enter key to actually save the new name. You can now retrieve this configuration
at any time by choosing its name from the View drop-down list in the Scene
Explorer dialog.
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 Object Selection

FIG 4-27 Scene Explorer dialogs

can be reconfigured, renamed,
saved, and retrieved later.

There are many methods of selecting objects in 3ds Max and organizing them into useful
selection sets. These methods will reduce the amount of production time you spend
for reselecting objects. You’ve learned that objects can be selected individually in small
selection sets using the Ctrl/Alt keys to add or subtract to the current selection set.
Logical naming of objects is necessary to make it easy to identify objects and to use these
names as a means of selecting objects in a 3ds Max scene.
For selecting more than a few objects, you have various selection regions with the
Windows/Crossing option, providing control over which the objects are selected or not by
the region. The types of selection regions can range from rectangles to painted brushstrokes
across objects, in conjunction with the other selection options for complex results.
Once you have created a complex selection set you learned that it is often wise to use the
Named Selection Sets drop-down list in the main toolbar to assign a logical name to that
selection set for easier retrieval later.
The Select by Name and the Scene Explorer tools allow you to take advantage of the logical
names you assigned to objects for creating selection sets by the object name, and then
Scene Explorer makes it possible for you to sort objects by many of the attributes assigned
to them.
Practice using the fundamental tools you have learned and build your knowledge of
selecting objects until it becomes an integral part of your workflow.
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 CHAPTER 5

Object Cloning

The concept of object cloning in 3ds Max is one of its most powerful features for increasing
efficiency and flexibility. It establishes editing connections between objects and reduces memory
overhead by decreasing the amount of information required to be saved with each object.
You’ll learn two methods of creating clones from original objects; the most popular method
is to clone objects while transforming them and the other method is to clone objects in
place. Each one has its own uses, but the end result is the same with either of the methods.
Some of the fundamental techniques you’ll learn in this chapter are:
• Cloning concepts
• Clone types
• Transform cloning
• Edit menu cloning
For maximum productivity, you must fully understand and take advantage of the cloning
process so that when you need to edit similar objects in a scene you can simply select one of
the objects, modify it, and it will pass its modifications to all other similar clones and, in some
cases, back to the original object. This saves many hours of searching for similar objects and
editing each one individually. Also, as you will learn throughout this book, it is important to
reduce the computer system overhead produced by all the objects in your scene. Cloning is
a method of creating objects that don’t carry the overhead of the original object, but refer
back to the original object instead. This reduces the amount of computer memory used by

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 Getting Started in 3D with 3ds Max

each clone resulting in potentially significant savings for large scenes. Reduced memory
usage means better performance.
This chapter will focus on helping you understand the concepts behind cloning which you
will then put in practice in later chapters.

5.1 Cloning Concepts

When you need multiple objects in 3ds Max, you have options available to make different
types of “copies” or clones with no connectivity to the original object, a two-way connection
to the original object, or a one-way connection to the original object. Each type allows the
objects to be edited with varying flexibility and efficiency.
Objects can be cloned while holding the Shift key during a transformation (move, rotate,
and/or scale) or by using the Clone command found in the Edit pull-down menu. The Clone
command is useful for cloning objects in place.
Clones can be one of three types: Copies, Instances, or References.
Each type of clone has a different relationship with the original object. You need to
understand them for maximum editing flexibility and efficiency reasons. For example, you
may want to copy an object that is used as a starting point which is then edited into an
entirely different object without affecting the original (Copy clone). Another option would
be to copy an object many times, such as a column in a building, and be able to select
any one of those objects and edit it while affecting all the other objects in the same way
(Instance clone). Other times you might want to copy an object, so that you can edit the
original object and affect all the copies, but any edits you perform on the copies will not be
passed back to the original object (Reference clone). This might be useful when you only
need to make slight changes to a few of the copies, but not affect the original object.
Even if you do not intend to make changes that will affect multiple objects, cloning can be
useful to save computer memory space. Each object you create has information attached
to it, which describes the original object and takes up some amount of memory. This
information is also known as a node. Instance and Reference clones contain pointers that
refer back to the original object node; they do not have to store all of the information
describing them as they refer back to the original object, thereby saving memory space.
Copy clones always take up exactly the same amount of memory space as the original object.
In Section 5.2, you’ll learn about the individual types of clones and how they interact with
each other and the original object in more detail.

5.2 Clone Types

When you clone an object in 3ds Max, you are presented with several radio button options
in a dialog to choose from:
• Copy
• Instance
• Reference
The following diagram shows the interconnectivity of the original object to each type of
clone (see Figure 5-1).
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 Object Cloning

FIG 5-1 Cloning options.

Copy Clone
Copy-type clones are exactly the same as the original object and have no connectivity
between the clone and the original, so any edits to one or the other are applied only to the
object you are editing. There is no memory savings or increased efficiency because each
object contains the full node description. You can make a single clone or multiple clones to
create an array of copies.

Instance Clone
When you choose Instance-type clone, as you can see from Figure 5-1, there is a two-way
connectivity from the original to each instance. If you edit the original object then the edits
will be applied to all the other Instance clones of that object. If you edit any one of the Instance
clones then those edits will be passed to all other Instance clones and back to the original
object. There are memory savings because the clone “looks back” to the original object for the
node description. You can make a single clone or multiple clones to create an array of instances.

Reference Clone
When choosing the Reference clone option, a one-way connection from the original object
down to the cloned object is established. If you edit the original object then those edits
will be passed to the clone, but any edits made to the clone will not be passed back to the
original object. Reference clones save memory because they look back to the original object
for the node description. You can make a single clone or multiple clones to create an array of
references.
Once you understand the cloning process in 3ds Max, you need to plan ahead (this requires
some experience) to choose which connectivity will make the most sense for your editing
needs. You can also set up complex connections by cloning Instance clones of Reference
clones or Reference clones of Reference clones, etc. However, keeping track of the complexity
can be a problem.
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 Getting Started in 3D with 3ds Max

Objects that have been cloned as Instances or References can be turned into Copy clones by
using a command called Make Unique. This breaks any connections between the objects in
the original and adds the node information to the clone that is now unique, but makes the
object less efficient in terms of memory.
Let’s learn to create clones in Section 5.3 using the transforms.

5.3 Transform Cloning

Perhaps the most commonly used method of cloning objects is to select the object, choose
Select and Move or Select and Rotate, hold the Shift key, and transform the object in any
viewport. The dialog will appear with the clone type radio buttons, a Number of Copies
numeric field, and an opportunity to rename the object.

Note
Although it is possible to use the Select and Scale transform to clone objects, you should
remember the warning issued previously “Do not Scale or Mirror objects in 3ds Max.”

Let’s try using the Select and Move command in 3ds Max to clone a cylinder into each clone
type and then edit the cylinder to see the difference in connectivity.

Exercise 5-3-1 Clone Objects by Transforming the Object

1. Click the Application button, and then open the 3ds Max file from Chapter 5 folder
on the website called Exercise 5-3-1_Transform clone.max. In the Application menu,
choose Save As, then save the file to an appropriate folder on your hard disk with a
new incremental name using the + in the Save File As dialog (see Figure 5-2). This will
name the new file as Exercise 5-3-1_Transform clone01.max. The file contains one
Cylinder standard primitive object.

FIG 5-2 Open a 3ds Max file

and save it to your hard disk
with a new name.

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 Object Cloning

2. Select the cylinder in the Top viewport. In the main toolbar, click the Select and Move
button. Hold the Shift key and click and drag on the transform gizmo X-axis arrow shaft
and move the new clone cylinder a little to the right. Release the left mouse button
and the Shift key and you will see the Clone Options dialog appear (see Figure 5-3).

FIG 5-3 The Shift key clones

objects while transforming
them.

3. In the Clone Options dialog, make sure that the Copy radio button is selected and
rename the object Copy in the Name field (see Figure 5-4). Click the OK button to
finish the cloning process.

FIG 5-4 The copy option creates

a clone with no connection to
the original.

4. In the Top viewport, select the original object again. Hold the Shift key and move the
new clone through the Copy clone and slightly beyond. In the Clone Options dialog,
choose the Instance radio button and rename the object Instance (see Figure 5-5).
Click the OK button to finish the process.

FIG 5-5 Create an Instance

clone to the right of the copy
clone.

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 Getting Started in 3D with 3ds Max

5. In the Top viewport, select the original object again and clone it through the others
just to the right of the Instance clone. Choose the Reference radio button and
rename the object Reference in the Clone Options dialog (see Figure 5-6). At this point,
the objects still look identical, but in the next step you’ll change the parameters
of the original cylinder and the Instance clone. Then, you’ll apply a modifier to the
Reference clone.

FIG 5-6 Create a Reference

clone to the right of the others.

6. In the Top viewport, select the original cylinder at the far left. In the Modify panel,
Parameters rollout, click and hold on the spinner’s to the right of the Radius numeric
field and move the mouse forward and backward to dynamically adjust the radius.
You will notice that three of the cylinder’s radii are also changed. The Copy clone has
no connection (see Figure 5-7).

FIG 5-7 The copy clone is the

only one that is not connected to
the original cylinder.

7. In the Top viewport, select the Instance clone (third from left) and, in the Modify
panel, adjust the Height spinner to alter the height of the objects (see Figure 5-8).
The edits are passed from the Instance clone to the original because of the two-
way link. The Reference clone changes because of the one-way link between the
original and the Reference clone. There is no direct connection from the Instance
clone to the Reference clone because it was the original that you cloned each time.
Modifying the Instance clone affects the original, and then the original affects the
Reference clone.

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 Object Cloning

FIG 5-8 Modifying the Instance clone affects the original, and then the original affects the Reference clone.

8. In the Top viewport, select the Reference clone at the far right. In the Modifiers pull-
down menu, hover your mouse over Parametric Deformers and then choose Bend
in the menu (see Figure 5-9). This applies a Bend modifier that you’ll learn more about
later to the Reference clone object.

FIG 5-9 Apply a Bend modifier to the Reference clone.

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 Getting Started in 3D with 3ds Max

9. In the Modify panel, Parameters rollout, enter 90 in the Angle numeric field (see
Figure 5-10). This bends only the Reference clone object, which only has a one-way
connection from the original down to the Reference clone. This modifier is applied
as a new level of modification on top of any of the original editing parameters. Press
Ctrl+S to save the current file with its incremented name to your hard disk. Don’t
worry about modifiers at this point as they will be addressed in more detail later in
the book. Focus your attention on the connections created by the clone objects.

FIG 5-10 Editing the parameters of the Bend modifier affects only the Reference clone with its one-way connection to the original.

The fundamental concepts of cloning are that a Copy clone has no connection to the
original and takes up the same amount of memory space, an Instance clone has a two-way
connection with the original and takes up less memory space, and a Reference clone has a
one-way connection with the original down to the Reference clone and takes up even less
memory space. Any modifier applied to the Reference clone does not affect the original.
You could also have cloned the objects using the Select and Rotate tool in conjunction with
the Shift key.
Cloning requires a little bit of preplanning to ensure your connections are set for your
production needs, but with a little practice you’ll realize how it brings extra flexibility and
efficiency into your workflow.

5.4 Edit Menu Cloning

In Exercise 5-4-1, you’ll learn how to create clones in place from the Edit pull-down menu.
This has no effect on the behavior of cloning, but creates clone objects without transforming
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them through space, thereby allowing you to more accurately transform them after they
have been created. For example, you clone a building column as an Instance clone in the
same position as the original, and then you use the transform type-in fields to move it
10’6” in the X-axis.

Exercise 5-4-1 Cloning Objects in Place

1. Use the 3ds Max file from Exercise 5-3-1 or open it from the folder on your hard drive
where you saved it. It is the scene with the original cylinder and the three clones. In
the Top viewport, select the Copy clone (second from left).
2. In the Edit pull-down menu, choose Clone (see Figure 5-11). This brings up the Clone
Options dialog which is similar to Exercise 5-3-1, except that there is no option for
creating multiple clones. Choose the Instance radio button, rename the object Edit
Clone (see Figure 5-12) and then click the OK button to finish the process.

FIG 5-11 A Clone command

is found in the Edit pull-down
menu.

FIG 5-12 Clone options allows

only one clone object from the
Edit pull-down menu.

3. You won’t see another cloned object in the scene because it is exactly in the same
position as the original object. Use the H key shortcut to open the Select by Name
dialog and see that Edit Clone is the selected object. Click OK. In the main toolbar,
click the Select and Move button. In the status line, toggle from Absolute mode to
Offset mode and then enter 20 in the Y-axis numeric field (see Figure 5-13). Press the
Enter key and the Instance clone object will move 20 units in the positive y-axis.
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 Getting Started in 3D with 3ds Max

FIG 5-13 Move the Instance clone with the transform type-in set to offset mode.

4. In the Modify panel, Parameters rollout, adjust the Height numeric field to see that
both the Copy clone from Exercise 5-3-1 and the Instance clone share a two-way
connection while none of the other objects is affected in any way. Press Ctrl+S to
save the file.

The only difference in cloning from the Edit pull-down menu is that the cloned object is
created exactly in the same position as the original object and there is no option for creating
multiple cloned objects. This method of cloning is more conducive to moving objects in
exact amounts.
The concept of cloning objects in 3ds Max is very important for both flexibility in editing and
efficiency in memory savings. The concept is not intuitive for new 3ds Max users and you will
need to think ahead to calculate your editing needs before deciding which type of clones to
create.

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 CHAPTER 6

Scene Setup

When you start 3ds Max for the first time each day or when you press the Reset command
to return the current scene to the default settings, those settings that shipped with 3ds Max
are not always ideal for your workflow. In this chapter, you will learn how to make changes to
the viewport configuration and numerical unit settings that you would like to have for each
new file created in 3ds Max.
In this chapter, you will learn the concepts and process behind setting up a “prototype” file
that automatically reconfigures 3ds Max on startup or when you reset the scene. Some of
the topics covered in this chapter will be as follows:
• Unit setup
• Grid and snaps
• Maxstart.max prototype file

Unit Setup
Setting up your display units so that numeric values in the 3ds Max interface conform
to the type of units you use is important. For example, you might work with values
such as a 10’6” , or 200 mm, or 101” , but 3ds Max uses something called Generic units
as the default unit display. These numeric values are simply decimal numbers that have
no visible markings to indicate which measurement system they use. Most real-world
projects standardize on a specific system of measurement, so that everyone on the
production team is building objects in real-world sizes.
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 Getting Started in 3D with 3ds Max

There are also system units in 3ds Max, which are used during the internal calculations
based on a specific measurement system. The default system units are 1 unit = 1 inch, which
users in the USA seldom need to be concerned with. In most other parts of the world, the
metric system is standard and you may need to change the system units to represent meters
or centimeters, for example. For best results, the measurement system of the system unit
should also be used in the display units.
You’ll learn about the importance of building your 3ds Max scenes around the World
coordinate system origin (0, 0, 0) and about some of the problems you might have if objects
are imported from other software with a different coordinate system origin.

Grid and Snaps

You’ll learn to adjust the visible grid spacing in viewports and the concept of using
“snaps” as aids for construction accuracy. It can be important for new 3ds Max users to
utilize the viewport grids as a guide for creating objects in real-world sizes. Since the
grids can be toggled on or off with a keyboard shortcut you always have the option
of using them only when necessary, and turning them off to avoid visual clutter in the
viewports.
Snaps can be configured to lock the cursor to elements in the viewports or to other objects
in the scene. For example, creating a primitive object might be more accurate if you snap to
grid at intersections set with a spacing of 1’0” or if you want to create a cylinder whose pivot
point and starting location snaps exactly to the corner of a box. You’ll learn to adjust the grid
system to maximize flexibility.

Maxstart.max Prototype File

Once you have your scene set up with your preferences, you will learn to save a special
file that will be read each time 3ds Max starts or each time you press the Reset command,
reloading your specific configuration as a starting point for the new file. This ensures that
the entire production team is working with the same configuration, thereby minimizing
incompatibilities in the production pipeline.
Let’s start by adjusting the Display units and learning some details about the System units.

6.1 Units Setup

You’ll learn to configure the Display units in 3ds Max for a particular measurement system;
in this case we will use feet and inches with fractions, a typical measurement system used in
the USA by architects and, sometimes, civil engineers. Remember that the settings we use
here are not necessarily the ones that you will use in production, but you are learning the
fundamentals of how units function in 3ds Max and you can change them to your preference
at any time.
3ds Max contains settings for two different numeric values as follows:
• Display units – this sets the system of measurements displayed in the numeric fields and
readouts of the user interface.
• System units – this is the system of measurements used internally by 3ds Max
calculations.
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 Scene Setup

The System units are generally changed only when you are building scenes using the metric
system or sometimes when importing and exporting 3ds Max files to software that uses
another measurement system. It is a good habit to get into adjusting the measurement
system of the Display units to match the measurement system in the System units.
You learned earlier that your scenes in 3ds Max should be constructed around the origin
point of the World coordinate system (0, 0, 0) as indicated by the black gridlines in the
viewports. This is the origin of the absolute coordinate system that defines 3ds Max space.
The design of 3ds Max uses Single Precision Math to allocate more computer memory to
specialized tasks such as reflections, shadows, and lighting. Objects that are constructed or
animated at great distance from this origin point can have severe problems with accuracy,
resulting in distorted geometry and random animation. CAD software, by comparison, is
Double Precision Math based and has a significantly higher accuracy.

Note
Civil engineers and architects often create scenes in CAD software based on a surveying
system known as “State Plane Coordinates” that is measured from a single datum point
for each US state. The coordinates of these objects are, therefore, extremely large in
numbers, which can overwhelm the memory used by 3ds Max causing inaccuracy. These
imported models should be moved to the 3ds Max origin point.
Let’s open a max file and learn how to set up units systems.

Exercise 6-1-1 Display and System Units

1. Start 3ds Max. It should open the default configuration of four viewports, grids
visible in all viewports, perspective viewport active, and Display units set to Generic.
In the Customize pull-down menu, choose Units Setup (see Figure 6-1). This will open
the Units Setup dialog.

FIG 6-1 The default 3ds Max

interface and Units Setup.

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2. In the Units Setup dialog, Display Unit Scale area, choose the US Standard radio
button. This is currently set to use a display configuration of feet w/fractional
inches in the drop-down list and is set to display the nearest 1/32 of an inch
precision (see Figure 6-2). In the US Standards area, you’ll also notice that the Feet
radio button is set for Default Units. This might seem a little bit confusing at first, but
you will learn about it in more detail later. This is for setting the Display units, but
let’s have a look at the System units before leaving the Units Setup dialog.

FIG 6-2 Set the Display units to

US Standard feet and inches.

3. In the Units Setup dialog, click the System Unit Setup button to display the System
Unit Setup dialog (see Figure 6-3). The default System Unit Scale is 1 Unit = 1.0 Inches,
which is fine for our Display units of feet and inches. Again, this setting is usually
changed only when you switch to a metric system of measurement. What is
important in the System Unit Setup dialog at this point in time is the information in
the Origin area. It is reporting an extremely precise Resulting Accuracy value when
an object is 1.0 unit (inches in this case) distant from the origin for reference.

FIG 6-3 The default system unit

configuration.

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4. In the Distance from Origin numeric field enter 100,000,000 and then press the
Enter key. This would not be an unusual number of inches away from a datum point
in a large US state. You can see now that the Resulting Accuracy would be 8.0 inches
at best. This is completely unacceptable working accuracy for 3ds Max (see Figure 6-4).
This accuracy calculator doesn’t have any other functionality than to determine the
accuracy tolerance factor for your particular scenes.

FIG 6-4 The System Unit

accuracy reference.

5. In the System Unit Setup dialog, click the Cancel button to dismiss the dialog,
and then in the Units Setup dialog, click the OK button to finalize the Units Setup
process. You will notice now that the numeric field for the grid spacing in the status
line has changed from 10.0 generic units to 0’10” and the coordinate readouts are in
feet and inches indicating the change in the Display units (see Figure 6-5). Save the file
to your hard drive with the name Chapter 6_Units.max.

FIG 6-5 Display units are now

set to feet with fractional inches.

Once the Display and System units are set, they usually won’t need to be adjusted unless
the project switches to a new system of measurement. However, this information should be
established as part of the preplanning process for each project and maintained as a standard
throughout the project to avoid inconsistencies in 3ds Max scenes.
Many problems that arise during 3ds Max projects such as animated objects that jump
randomly or geometry that distorts inexplicably can often be traced back to how far any
object in the 3ds Max scene is from the (0, 0, 0) World coordinate system origin.
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In Section 6.2, you’ll learn to adjust the visible grid in viewports for accuracy and flexibility
when creating objects in 3ds Max.

6.2 Grid and Snaps

The visible grids in the viewports can be a useful tool for reference in creating and placing
objects in a 3ds Max scene, and they can be used as a construction aid when creating
objects in conjunction with the Snaps system. You will learn the fundamentals of adjusting
the grids and enabling the Snaps system to allow you to use grid intersections for
constructing objects more accurately.

Exercise 6-2-1 Using Grids and Snaps as Construction Aids

1. Open the file from the previous exercise called Chapter 6_Units.max if it isn’t already
your current scene, or open it from the website. It should have the US Standard
system of measurement set for display units. In the main toolbar, right click on the
Snaps Toggle button to open the Grid and Snap Settings dialog. Click the Home Grid
tab to adjust the grid settings first (see Figure 6-6).

FIG 6-6 Grid and Snap Settings

dialog.

2. In the Home Grid tab, Grid Dimensions area, enter 1” in the Grid Spacing numeric
field and then press the Enter key to see the numeric value update to 0’1” inch.
In Step 2 of the previous Exercise 6-1-1, you observed that Default Units was set to
Feet. What this means is that if you type in a numeric value with no inch or foot sign,
the value will be understood as feet in numeric fields. For values containing inches,
you need to add the inch sign. In the Major Lines every Nth Grid Line numeric field,
enter 12. In the Perspective View Grid Extent numeric field, enter 960 (see Figure 6-7).
Grid Spacing is the distance between grid lines, Major Lines is the darker gray grid
line visible at every 12th grid line, and Perspective View is the size of the grid visible
in the Perspective viewport. Close the Grid and Snap Settings dialog.
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FIG 6-7 Adjust the Home Grid

values.

Note
The Home Grid dialog in 3ds Max is not consistent when entering numeric
values. The Grid Spacing is entered in feet and inches, the Major Lines is an
integer number, And Perspective View is the size in inches which must be entered
as an integer (with no foot or inch sign). This inconsistency is often confusing to
new users, but it’s the way it works in 3ds Max and you need to live with it.

3. In the status line notice that the grid size information field reads Grid = 1’0”,
even though you set grid spacing to 0’1”. This is a secondary effect of the Major
Lines setting. It acts as a zoom factor to automatically resize the grid by a factor
of 12, in this case, as you zoom in and out. If you use the mouse wheel to zoom
out in the Perspective viewport, you will see that the grid spacing shifts to 12’0”
(see Figure 6-8) and if you zoom in you will see that it goes to 1’0”, and then 0’1”.
Zooming in further will not go below 1 inch because of a setting in the Home
Grid tab. Click the Zoom Extents All button to reset the grid spacing zoom level
for all viewports to 1’0”.

FIG 6-8 The Major Lines setting has two functions.

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 Getting Started in 3D with 3ds Max

Note
Some computer graphics cards and displays make it very difficult to see the Major
Lines in the viewports, but they have no special function other than visual reference.

4. Right click in the Top viewport to activate it. In the main toolbar, right click on the
Snaps Toggle button and, in the Grid and Snaps Setting dialog, Snaps tab, make sure
that the only option checked is Grid Points (see Figure 6-9). This sets the snaps to use
the grid intersections as a construction aid, but it does not enable Snaps.
FIG 6-9 Set Snaps to Grid
Points.

5. In the main toolbar, left click the Snaps Toggle button to toggle it on. Snaps are now
activated, so let’s see how they work. In the Create panel, Geometry category, Object
type rollout, click the Box button. In the Top viewport, move the cursor over the
grid and you will see a yellow box with crosshairs each time the cursor crosses the
intersection of grid lines (see Figure 6-10).

FIG 6-10 Snaps Toggle must be

toggled on.

6. When you see the yellow snap cursor, click and drag, and then snap to another grid
intersection to define the base of a box primitive. The snap cursor will turn green.
Release the left mouse button and move the mouse to define a height of the box,
and then click to set the height. In the main toolbar, click the Snaps Toggle button to
toggle snaps off. It is a good habit to turn snaps off when you are not using them.

You have set the grid spacing to a value that would generally be useful for creating
“architectural” scenes. It might be pure architecture or it could be a level for a computer
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game, but the grid will assist you as a reference for the size of objects as you create
them.
You then set snaps settings for grid intersections and then had to toggle Snaps Toggle button
on to actually use the snaps. Review the Snaps options available in the Grid and Snap Settings
dialog, Snaps tab to see what types of geometry components or interface elements can be
used for snapping purposes. You may also select multiple options for more flexible snapping.
In Section 6.3, you will make a couple of new adjustments to the viewports and then learn to
save a prototype file that will be read each time you start a new 3ds Max scene.

6.3 Maxstart.max Prototype File

While it’s not particularly difficult or time consuming to make the few changes for unit setup,
grid and snaps that you have learned so far, it would be handy to have that information read and
adopted automatically each time you open 3ds Max or perform the Reset command. In Exercise
6-3-1, you will create a new file on your hard drive that stores some of the changes you have
made to the interface with the specific filename of maxstart.max. This is the only file that 3ds Max
recognizes as a prototype settings file and it must be stored in one of the active 3ds Max folders.
For a production team, it is advisable for this file to be distributed to all the team members,
so that everyone starts their files in the same way for consistency throughout the
production. Let’s make a few more interface changes and then create the file.

Exercise 6-3-1 Saving the Maxstart.max File

1. Close the Grid and Snap Settings dialog in the scene you have been working on
from the previous Exercise 6-2-1. Delete the box object you created by pressing the
Delete key on the keyboard when the box is selected. In the main toolbar, toggle
the Snaps Toggle button off. Turn off the grid in both the Front and Left viewports
by activating each one and pressing the keyboard shortcut G. Right-click in the Top
viewport to activate it again (see Figure 6-11).

FIG 6-11 Configure the

viewports.

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 Getting Started in 3D with 3ds Max

2. Click the Application button and choose Save As. In the File Save As dialog, navigate
to the My Documents/3dsMax/Scenes folder on your hard drive. In the File Name
text field, enter the filename maxstart. Click the Save button to save the file to your
hard drive (see Figure 6-12). You have now created a new file that contains no objects,
but has been configured to your needs.

FIG 6-12 Save the file in the

/3dsMax/Scenes folder on your
hard drive.

3. The file that is now active is the maxstart.max prototype file and anything you do
from this point on will be saved to that file, so it’s important to reset the machine
for a new file. Click the Application button and then choose Reset in the menu
(see Figure 6-13). Watch the display as you click the Yes button to tell 3ds Max you
really want to reset and you will see the screen load the default settings, and then
read the maxstart.max and automatically reconfigure your preferences.

FIG 6-13 Reset 3ds Max to start

a new scene with your prototype
configuration.

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Note
In a collaborative production environment, this file can be placed on the main 3ds
Max server, so that everyone in the production team has access to the file from their
computer. Check with your system administrator for more information.

The maxstart.max prototype file is used to make sure that everyone in the production team
is starting their scenes with the same basic information and viewport configurations. This
helps reduce inconsistencies in the production workflow. The file can be overwritten with
new information at any time, for example, if your next project uses the metric measurement
system rather than the US standard that you set here.
Proper configuration of the Units Setup is important to make sure all objects created in 3ds
Max have the same relative real-world sizes. This ensures that objects may be reused in other
scenes without problems. You also learned that it is extremely important to create your
3ds Max scenes centered around the (0, 0, 0) World coordinate system origin to maintain
accuracy throughout production.
Grids and snapping are useful aids to construction, but are not mandatory. New users
should try implementing them, especially when learning 3ds Max initially, and then as you
become comfortable working in 3ds Max, you will know when they are necessary and when
they are not.

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 CHAPTER 7

2D Shapes

You might ask yourself why you would want to create 2D shapes in a complex 3D program
such as 3ds Max. The two biggest reasons are efficiency and flexibility.
By starting your models with 2D shapes, you gain access to many powerful editing
options that are not available when you start your models with 3D primitive objects. You
have already learned to edit 2D shapes by changing their parameters, the length or width
of a rectangle or the radius of a circle, for example. This chapter will cover the following
topics:
• 2D shape concepts – learn about the concepts that make 2D shapes efficient and flexible
when modeling.
• Create basic shapes – create both simple and compound shapes.
• Compound shapes – learn to attach simple shapes into a single compound shape and the
related effects of nesting levels of the splines within the shape.
• Editable Spline – a 2D shape that has been converted to allow access to subobject
entities.
• Subobject editing – here you will access and edit 2D shapes at vertex, segment, and spline
subobject level.

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7.1 2D Shape Concepts

2D shapes can be used as a basis for creating complex 3D objects with a high degree of
efficiency and flexibility, while helping to maximize computer resources and allowing you
to make complex changes to 3D objects using simple edits performed on the underlying
2D shapes.
A simple 2D shape, a circle for example, can be extruded into a 3D cylinder. However,
2D shapes can be attached to each other to become a Compound shape, a single shape
containing multiple Spline subobject entities. When a compound shape is extruded into a
3D object, each of its subobject Splines become a solid or a void, depending on the nesting
level within the shape. This powerful concept can increase your productivity in making
complex 3D objects while minimizing the use of computer memory.
You can also take advantage of a concept in 3ds Max called subobject editing where you
can modify the basic entities that make up the 2D shape: vertex, segment, and spline. In this
chapter, you’ll learn to identify, access, and transform these shape building blocks at sub-
object level.
2D shapes can also be used as animation paths, provided they are simple shapes and not
compound shapes. By default, shapes are nonrenderable.

7.2 Create Basic Shapes

Let’s have a little refresher on how to create 2D shapes in 3ds Max and then learn a little
more detail about some of the different types of shapes beyond the basic simple shape. You
learned earlier in the book to create parametric rectangles and circles and then to go to the
Modify panel to adjust the parameters associated with each type of shape.
A shape is a 2D object in 3ds Max, which has a name and a randomly selected color assigned
to it during creation.
Here you’ll learn how some of the other types of shapes have different parameters, for
example, a NGon or multisided polygon, a Donut compound shape, and Text. The purpose of
this lesson will be to learn to access the command for creating the shape and the sequence
of clicks and drags necessary to describe a basic shape.

Exercise 7-2-1 New 2D Shapes

1. Open 3ds Max to begin a new scene. The maxstart.max prototype file that you
created and saved in the last chapter should configure your user interface and units.
Use the Application button, Save As, in the Save File As dialog to navigate to an
appropriate folder on your hard drive, and then name the file Exercise 7-2-1_New
shape01. Click the Save button (see Figure 7-1). This creates a file that can be accessed
later if you are interrupted during the exercise.
2. In the Top viewport, use the keyboard shortcut G to turn off the grid. In the Create
panel, Shapes category, Object Type rollout, click the NGon button. In the Top
viewport, click and drag to define a radius describing the polygon shape. The size
is not important (see Figure 7-2). A NGon is a simple multisided polygon. Circles,
rectangles, ellipses, or stars are other examples of simple 2D shapes.
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 2D Shapes

FIG 7-1 Begin by saving a new 3ds Max file.

FIG 7-2 A default 6 sided NGon.

3. In the Create panel, Shapes category, Object Type rollout, click the Donut button.
Click and drag in the Top viewport to describe the radius of a circle, and then move
the mouse to describe a second circle and click to set its radius (see Figure 7-3). This
shape is a compound shape made up of two splines, which you’ll learn more about
in Section 7.3.
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 Getting Started in 3D with 3ds Max

FIG 7-3 A Donut is made up of

4. In the Create panel, Shapes category, Object Type rollout, click the Text button and
two splines and requires more
then click in the Top viewport. Click the Modify panel button to see some of the
input to describe both circular
parameters for editing the text shape (see Figure 7-4). This creates default text with a
splines.
single click in the viewport, which is a compound 2D shape with many splines. You
can then edit the text itself, the font, and some layout parameters in the Modify panel.

FIG 7-4 Text is a compound 2D shape with editable parameters.

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 2D Shapes

Remember that this is a 2D shape and that these are nonrenderable shapes that must
be turned into a 3D object before they would be visible in a rendered scene.
5. Click the Zoom Extents All button (in the group of eight navigation buttons at the
lower right of the display) to zoom all objects in all viewports. Press the Ctrl+S
keyboard shortcut to save the file. It should already be named Exercise 10-2-1_New
shape01.max, so this will update the existing file with the new shapes you have just
created.
You have learned that some of the 2D shape primitives are simple shapes containing
one spline, whereas others are compound shapes containing two or more splines.
The shapes are created in the current work plane of the active viewport. Let’s learn
more about the difference between simple and compound shapes and why it’s
important in 3ds Max.

7.3 Compound Shapes

Compound shapes are shapes with multiple splines, but why does that matter?
When simple shapes are edited into 3D objects, they appear as if they were solid objects, but
when compound shapes are edited into 3D objects, they create surfaces with solid areas and
voids depending on the configuration of the splines within the shape. As mentioned earlier,
this attribute can be used to create complex yet flexible 3D objects efficiently without the
use of mathematically intensive Boolean operations.
In the following exercises, you will learn to apply a modifier to 2D shapes to create 3D
objects, and then you will learn to access and edit the splines contained in the shape for
more control in defining your 3D objects.

Exercise 7-3-1 Compound Shape as 3D Object

1. If it isn’t already the current file in 3ds Max, then open the file called Exercise 7-2-1_New
shape01.max that you saved to your hard drive in Exercise 7-2-1. Save the file with a
new incremental name to your hard drive. The scene contains the three new shapes
that you created in the last exercise. In the Top viewport, select the NGon. In the Modify
panel, click on the drop-down Modifier list, and then choose Extrude from the list (see
Figure 7-5).
2. The resulting object has no height and appears as a flat surface. In the Modify panel,
Parameters rollout, enter 1 in the Amount numeric field and press the Enter key. This
extrudes the 2D shape into a hexagonal solid that is 1′0″ tall (see Figure 7-6). The 3D
object appears solid because it was extruded from a simple 2D shape.
3. In the Top viewport, select the Donut 2D shape. In the Modify panel, Modifier list,
choose the Extrude modifier. The new modifier remembers the height you assigned
to the previous modifier and extrudes the compound shape as a cylinder with a
hole running through it (see Figure 7-7). The concept of compound shapes allows you
to create complex objects more efficiently than other modeling techniques. The
extruded compound shape creates a solid from its outer boundary until it finds an
“island,” which becomes a void in the 3D model.
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 Getting Started in 3D with 3ds Max

FIG 7-5 Apply a modifier to the 2D shape to create a 3D object.

FIG 7-6 Edit the Extrude parameters to give the new 3D object height.

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 2D Shapes

FIG 7-7 A compound shape

4. In the top viewport, select the Text shape, then apply the Extrude modifier to it. results in a more complex 3D
The configuration of the new 3D solid is a combination of standalone solids from object.
individual splines and nested splines that create solids with voids (see Figure 7-8).
The extruded text is a single 3D object with many parts; some of the letters are solid
while the letter A and the letter e have the correct voids created by nested splines.

FIG 7-8 Text 2D shapes can be complex compound shapes.

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 Getting Started in 3D with 3ds Max

5. Press the Ctrl+S keyboard shortcut to save the file. It should already be named
Exercise 7-2-1_New shape02.max. You should be able to begin to see the power of
compound 2D shapes when they are edited to become 3D objects. Let’s learn a little
more about nested compound shapes containing more than two levels of nesting.

Exercise 7-3-2 Nesting Shapes

1. Open the 3ds Max file from the website called Exercise 7-3-2_Nested shapes01.max
and save it to an appropriate folder on your hard drive with a new incremental name.
This scene contains a number of simple shapes. You can see that each shape has its
own color and if you hover the mouse over a visible part of a shape, you will see a
tooltip appear with the name of the shape (see Figure 7-9). Remember that those are
the two indicators of a shape; name and color.

FIG 7-9 Shapes have a color

and a name. 2. Press the H keyboard shortcut and, in the Select From Scene dialog, select all of
the shapes by name by clicking and dragging down across the names to highlight
them in blue (see Figure 7-10). Click OK to select the shapes. You will apply an Extrude
modifier to the selected individual shapes keeping in mind that this is not a
compound shape.
3. In the Modify panel, Modifier list, choose the Extrude modifier. In the Modify panel,
Parameters rollout, enter 1 in the Amount numeric field to extrude all of the shapes
to a height of one foot. The result is a number of individual 3D objects all extruded
to the same height (see Figure 7-11). What you really wanted was a solid object with
voids and interior solids. In Exercise 7-3-3, you’ll learn to combine individual shapes
into a compound nested shape.
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FIG 7-10 Select multiple individual shapes.

FIG 7-11 Individual 2D shapes become individual 3D objects.

Note
The result of applying an Extrude modifier to multiple independent shapes that
are nested in this way will cause problems due to coincidence surfaces at the top
and bottom of the resulting 3D objects. You can see in the Perspective viewport
that 3ds Max does not know which of the surfaces to display, causing artifacts and
distortions in the display of these surfaces.

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 Getting Started in 3D with 3ds Max

4. Remove the Extrude modifier from the objects by clicking on the Remove Modifier
From the Stack trashcan button just above the Parameters rollout (see Figure 7-12). Do
not try to drag the Extrude modifier from the stack view to the trashcan button (this
is not Photoshop!!). The Extrude modifier must be highlighted in the stack before
you can remove it. All of the objects now become individual 2D shapes once again.
Use the Ctrl+S keyboard shortcut to save the file.

FIG 7-12 A modifier can be removed with the remove Modifier From the Stack button.

You have learned that extruding multiple yet independent shapes that are nested
results in a number of individual 3D objects, whereas extruding a compound
shape doesn’t. The result you want is a single solid object with voids and islands
determined by the position of each shape that will involve attaching the multiple
shapes into a single compound shape. Let’s learn to attach individual shapes in
Exercise 7-3-3 to create a compound shape.
In Exercise 7-3-3, you will open the scene that you used in Exercise 7-3-2 and save
it again to your hard drive, overwriting the existing file. All of the 2D shapes in the
scene are parametric shapes and the Modify panel will allow you to adjust the
parameters only. In order to attach the shapes, you will need to learn to convert the
shape to an Editable Spline 2D shape that allows access to more editing tools. Then
the Modify panel will provide you with options to attach shapes.

Exercise 7-3-3 Attach/Detach

1. Open the 3ds Max file from the website called Exercise 7-3-2_Nested shapes01.max
and save it to an appropriate folder on your hard drive with a new incremental name.
This should produce a Save File As dialog warning that the file already exists and asks
if you really want to replace it (see Figure 7-13). Click the Yes button to overwrite the file.
This is the same file you opened in Exercise 7-3-2 and saved to your hard drive, and its
fine to overwrite it in this case, but you should always heed the warning and make sure
you are not overwriting something important. If you do not get the warning, then you
either didn’t save the last time or you are saving the file to a different folder this time.
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 2D Shapes

FIG 7-13 Saving a file that already exists produces a warning.

2. In the Top viewport, select the outermost rectangle named Rectangle 001. In
the Modify panel, you’ll see that you can edit the parameters of the rectangle
(see Figure 7-14). There is no option to attach shapes while the shape is still a
parametric shape. Let’s learn to convert the shape from parametric to Editable
Spline.

FIG 7-14 All 2D shapes in the scene are parametric.

3. In the Top viewport, right-click to open the Quad menu. Hover your mouse over
Convert To and then choose Convert to Editable Spline in the new menu (see Figure 7-15).
The rectangle does not change appearance, but it is no longer a parametric rectangle
and the Modify panel now shows completely different editing options.
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 Getting Started in 3D with 3ds Max

FIG 7-15 From the quad menu, you can convert shapes to Editable Splines.

Note
It is important that you choose Editable Spline in the Convert To menu. Any of the
other choices in the menu will convert the 2D shape to a 3D object that cannot be
used for this exercise. If you mistakenly convert the 2D shape to another type of
object, you can use the Ctrl-Z keyboard shortcut to undo the process.

4. In the modify panel, Geometry rollout, click the Attach Mult. button. In the Attach
Multiple dialog, highlight the names of the four remaining shapes in the list
(see Figure 7-16). Click the Attach button to attach all of the remaining shapes to the
FIG 7-16 You can attach rectangular Editable Spline to create a compound shape named Rectangle001. You
multiple shapes by name with will now notice that all shapes in the scene have the same color. In the main toolbar,
Attach Mult. click the Select Object button to make sure the Attach process is completed.

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 2D Shapes

5. Press the H keyboard shortcut to open the Select From Scene dialog and you will
notice that there is now only one 2D shape appearing in the Select From Scene
dialog. This shape is a compound shape with multiple nested splines. Click OK to exit
the dialog and make sure the shape is selected. In the Modify panel, Modifier list,
choose the Extrude modifier. In the Modify panel, Parameters rollout, enter 1 in the
Amount numeric field and press the Enter key (see Figure 7-17).

FIG 7-17 An extruded compound shape is made of solids and voids based on spline nesting levels.

6. Save the file. It should already be named Exercise 7-3-2_Nested shapes02.max. The
object was created from the outside spline inward when extruded. It starts with a
solid until it detects an island spline to create a void. The process then continues
looking for island splines, creating alternating solids and voids as deeply as the
available nesting of splines.
The concept of compound shapes, shapes containing multiple nested splines, is a
powerful tool for creating complex but efficient 3D objects. To create this object
with Boolean operations by subtracting 3D objects from 3D objects would be very
inefficient because of the complex math involved in cutting and mending the
surfaces appropriately.
The resulting object is also easily edited, as you will learn in Exercise 7-4-1. You
will be introduced to the new concept of subobject editing of the underlying 2D
compound shape that is the basis for this 3D object. As an introduction, you will
learn to edit at the subobject Spline level to transform interior splines for a different
3D object configuration.

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 Getting Started in 3D with 3ds Max

7.4 SubObject Editing

All 2D shapes and 3D objects are assembled from sub-elements that make up the shape or
surface. In this section, you’ll learn about these “building blocks” of 2D shapes:
• Vertex – a point in 3D space with no dimensions.
• Segment – a visible line connecting two vertices of a 2D shape.
• Spline – a collection of contiguous vertices and segments.
All 2D shapes must contain at least one spline and that shape is considered a simple shape.
When a shape contains two or more splines, it is a compound shape. In Exercise 7-4-1, you
will learn to access and edit at the Spline subobject level in the Modify panel. The 2D shape
must have been converted to Editable Spline or to have a modifier called Edit Spline applied.
In Exercise 7-3-3, you converted the rectangle to Editable Spline and then attached the other
shapes to it resulting in a Editable Spline compound shape.
You’ll use the object you created in Exercise 7-3-3, which is a 3D object and not a 2D shape.
However, you’ll also learn about the flexible editing technique of using the modifier stack
view to drop-down the history of the creation of the object below the Extrude modifier level
to the Editable Spline level. These concepts of modifier stack view history and subobject
editing is a key combination in working with 3ds Max efficiently and flexibly.
You will select a subobject Spline and move it to a new location within the shape to change
its nesting level that will result in a new configuration for the 3D object.

Exercise 7-4-1 Edit at SubObject Level

1. Open the file from the previous exercise called Exercise 7-3-2_Nested shapes02.max.
It contains the odd 3D object that is a result of extruding a compound shape with
many splines. Save the file to an appropriate folder on your hard drive with a new
incremental name. Make sure the 3D object is currently selected in the Top
viewport.
2. In the Modify panel, stack view, click the + to the left of Editable Spline in the stack
view list to expand it, revealing a list of subobject elements: vertex, segment, and
spline. The Extrude modifier is still highlighted in the stack view, so the parameters
rollout shows the parameters for that modifier (see Figure 7-18).
3. In the stack view, highlight the subobject Spline below Editable Spline. The 3D
object in the viewports will disappear, the vertices, segments, and splines are visible,
and the Modify panel rollouts now show tools for editing at that subobject level (see
Figure 7-19). Let’s select a spline and move it.
4. Make sure the Top viewport is active, click the Select and Move button in the main
toolbar, and then click the star shaped spline. When the spline is selected, it will turn
red to indicate that you can now edit it and, because you are in Select and Move
mode, the transform gizmo will appear. Move the cursor over the transform gizmo
until the yellow square appears at the apex, click on the yellow square and move the
star-shaped spline up and to the right so that it is clear of the circular and elliptical

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FIG 7-18 Expand the Editable Spline subobject elements list in stack view.

FIG 7-19 Highlight Spline subobject level to edit splines of the currently selected shape in the viewports.

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 Getting Started in 3D with 3ds Max

splines, but still within the interior rectangle (see Figure 7-20). The star-shaped spline,
which formed a void because of its nesting level, is now at the same nesting level as
the circular spline and elliptical spline.

FIG 7-20 Move the star-shaped spline to a new nesting level.

Note
Splines should not overlap other splines in a compound shape. Overlapping splines
can create coincidence surfaces when turned into 3D objects and coincidence
surfaces are difficult to render.

5. In the Modify panel, stack view, click on the Editable Spline line (not the plus symbol)
to exit subobject mode. The Spline symbol will disappear from the right-hand edge
of the stack view and the blue highlighting of Spline subobject level will be turned
off. Highlight Extrude in the stack view to return to that level and activate the
Extrude modifier again (see Figure 7-21). The 3D object reappears in the scene and the
star-shaped spline no longer describes a void, but is now a solid because of its new
nesting level. Press Ctrl+S to save the file.

Note
It is often important to exit subobject mode after editing, so that the entire shape is
passed up the stack view to the next modifier.

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 2D Shapes

FIG 7-21 First exit subobject mode (select the Editable Spline line in the stack), and then highlight Extrude at the top of the stack to return to that level.

You have now been introduced to the fundamentals of accessing and editing a 2D shape at
subobject level. This is an important modeling technique for maximizing the efficiency and
flexibility when creating 3D objects. Learning to navigate the Modify panel and stack view is
a crucial part of the process. Compound shapes are shapes containing two or more splines
that may be easily edited to form a completely different 3D object based on the nesting level
of the splines that make up the shape.
Working with 2D shapes is a powerful method of creating complex 3D objects easily and
efficiently, while having a high level of flexibility when it comes to editing. You have learned
to convert parametric shapes to Editable Splines to access subobject editing, attached
individual shapes to create a single compound shape, and then learned about the concept
of spline nesting levels and their effect on the resulting 3D object.

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 CHAPTER 8

Modifiers

You already have some experience in the previous chapter of adding a modifier, specifically
the Extrude modifier, to a 2D shape to create a 3D object. You also learned that you could
adjust the parameters of the Extrude modifier in the Modify panel, stack view.
In this chapter, you’ll learn more about the flexibility and power of applying multiple
modifiers to 3D objects, and then editing their parameters in the Modify panel to make
changes without affecting the original object or other modifier’s parameters.
Throughout the chapter, focus your attention on the concepts and processes of working with
modifiers to develop a base knowledge of how things work so that you may experiment with the
many different modifiers in 3ds Max. A productive 3ds Max user must use his or her imagination to
apply modifiers to a wide variety of design challenges. Working with modifiers is much more of an
art form than it is a technical workflow. Yes, you must know the mechanics of adjusting modifier
parameters, and you must also develop a “feel” for using modifiers to solve your particular needs.
The following topics will be covered to help you learn the logic behind modifiers in 3ds Max:
• Modifier concepts – learn about the concepts that will provide you with a flexible workflow.
• Applying modifiers – learn to stack modifiers onto 3D objects to form a workflow history.
• Editing modifiers – change modifier parameters to affect the end result and learn how
cloning can provide increased flexibility.
• Modifier stack view – learn to reorder modifiers in the Modify panel, stack view to affect
the end result.
Let’s begin by having a closer look at the underlying concept of working with modifiers.
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8.1 Modifier Concepts

You have learned in the previous chapter that a modifier can be applied to a 2D shape to
turn it into a 3D object, and that the modifier’s parameters can be adjusted in the Modify
panel to edit the 3D object. That’s only the beginning of the power of modifiers in 3ds Max,
so let’s take a look at a few of the fundamental steps involved in working with modifiers.
Each modifier contains a set of parameters that operate on the base object independent
of all other modifiers and the base object’s own parameters. There are no technical limits
on the number of modifiers that can be applied to a single object, but the order in which
modifiers are applied can greatly affect the end result.
Modifiers respect the clone type of the object they are applied to; for example, if you apply a
modifier to an instance clone, you can then change its parameters on any of the instance clones
to affect all of them and the original object as well. If you apply a modifier to a reference clone,
any changes to the modifier are not passed back to the original. Modifiers themselves can be
cloned as instances or references from one object to another to allow you to apply instanced or
referenced modifiers to different objects that have no connection at the base level.
The Modify panel, stack view provides you with a visual history of all modifiers applied to
the selected object so that you can navigate from one modifier to another to change its
parameters, remove or disable modifiers, and reorder the modifiers for different results.
Working with modifiers is a very dynamic editing process that provides you with the means
to make experimental changes without destroying the underlying object or any effects of
other modifiers.
Let’s try applying a sampling of modifiers to a set of cloned objects as a means of learning
the power and flexibility inherent in using modifiers in 3ds Max. You don’t need to be
concerned about the actual object that is being created, instead focus your attention
on these fundamental concepts of working with modifiers. This will give you a base of
knowledge for you to continue experimenting with the many modifiers in 3ds Max.

8.2 Applying Modifiers

In this section, you’ll perform a number of exercises that go beyond adding a single modifier
as you did in the previous chapter. The scene will begin with four cloned cylinders similar to
the one you used in Chapter 5 on cloning. You’ll then apply the Bend and Taper modifiers to
the cylinders so that you can see the power of a modifier workflow.
Again, the cylinders and the specific modifiers are not as important as learning the workflow
of applying and adjusting modifiers to 3D objects.

Exercise 8-2-1 Apply Bend and Taper Modifier

1. Start a new session of 3ds Max and click the Application button and then choose Open
in the menu. Navigate to the Max file folders for Chapter 8 on the website and then
double-click the 3ds Max file called Exercise 8-2-1_Modifiers01.max to open it, and
save the file with a new incremental name to an appropriate folder on your hard drive.
This scene contains four cylinders: the original at the far left of the Top viewport, a
copy clone, an instance clone, and a reference clone at the far right (see Figure 8-1).
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FIG 8-1 The original cylinder and three clones.

2. In the main toolbar, make sure the Select Objects tool is active and then select the
original cylinder in the Top viewport (far left). In the Modify panel, Modifier list,
choose Bend (see Figure 8-2). This applies the Bend modifier to the original object, but
doesn’t affect the geometry because no parameters have been adjusted. FIG 8-2 The Bend modifier is
applied to the original cylinder.

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 Getting Started in 3D with 3ds Max

3. In the Modify panel, Parameters rollout, enter 45 in the Angle numeric field and
then press Enter. You will notice several things in the viewports: the modifier is
applied above the cylinder in the stack view and becomes the selected level, and
several objects seem to be contained in an orange “gizmo” and are affected by the
change in the angle parameter. The original cylinder passed its modification to the
instance clone and the reference clone as you learned in Chapter 5. The Bend center
is located at the pivot point of the original cylinder (bottom center) as indicated by
crosshairs (see Figure 8-3).

FIG 8-3 Visual cues help

identify the modifier’s effect on
objects.
4. In the Top viewport, select the instance clone (third from left). In the Modify panel,
Modifier list, choose Taper. You’ll need to scroll down in the Modify drop-down
list or press the letter T (first letter of modifier name) to navigate the long list of
modifiers. Taper is now the active level at the top of stack view. A new gizmo appears
on the original and on the reference clone because of the connectivity in cloned
objects. In the Modify panel, Parameters rollout, enter −0.5 in the Amount numeric
field and then press Enter. The negative value causes the top of the cylinder to
become half the size of the original (see Figure 8-4). 3ds Max evaluates the modifiers
from the original object up to the last modifier applied in the stack view. The
cylinder is first bent, and then the bent cylinder is tapered, resulting in some odd
distortion of the geometry. Perhaps not what you expected, though you will learn
how to adjust it later.
5. Notice the text in the stack view; Cylinder, Bend, and Taper are all bold text, indicating
a dependency with something else in the scene. You can also see in the viewports
that dependency is caused by cloning and has affected the original, the instance
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 Modifiers

FIG 8-4 The Taper modifier is applied above the Bend modifier.

clone, and the reference clone. The orange gizmos on all objects, but the copy
clones are also an indication of a dependency between objects. In the Modify panel,
stack view, click the light bulb icon to the left of Taper to temporarily disable it. The FIG 8-5 Modifiers can be
Taper gizmo still shows its intended effect, but the Taper is not applied to the object temporarily disabled or enabled
(see Figure 8-5). Click the light bulb icon to enable the Taper modifier again. with the light bulb icon in stack
view.

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 Getting Started in 3D with 3ds Max

Note
The ability to enable or disable modifiers is very useful in troubleshooting modeling
problems or analyzing how a coworker has created a particular 3D object by disabling
all modifiers and then enabling them one at the time from the bottom up.

6. Press Ctrl+S to save the file, and it should already be called Exercise 8-2-1_Modifier02
.max. This simple exercise should give you a hint of the incredible power inherent in
taking full advantage of modifiers in 3ds Max for a flexible workflow.
You have learned that when applying multiple modifiers to an object in 3ds Max, each
new modifier is applied above the active level in the stack view. Modifiers are affected by
the connectivity created by cloning, and each modifier may be enabled or disabled in the
stack view to analyze their effect on the objects. But the particular order of applying a Bend
modifier and then a Taper modifier results in a somewhat distorted object, which you will
learn to correct later in this chapter. Visual cues such as bold text in the stack view and
gizmos in the viewports help identify the dependency relationships caused by cloning.
In the next exercise, you’ll learn to edit various parameters of the modifiers to affect the end
result of the 3D object in the scene.

8.3 Editing Modifiers

Along with learning what modifiers are supposed to do when applied to objects, you will
eventually need to learn the myriad of parameters particular to each modifier. This may
seem like a daunting task, but once you understand some of the fundamentals of editing
modifiers that knowledge can be transferred to make the next modifier parameter options
less intimidating.
In this section, you’ll learn some of the editing parameters available for the Bend and Taper
modifiers that you applied to your cylinder. This will introduce you to some of the possibilities
to be aware of as you work with modifiers, and you should always remember that the Help
files in the Help pull-down menu will explain in detail the function of various parameters.
Let’s make adjustments to some parameters of the modifiers applied to the cylinders to learn
some of the power inherent in the modifiers.

Exercise 8-3-1 Modifier Parameters

1. If it isn’t already the current file in 3ds Max, open the file called Exercise 8-2-1_Modifier02
.max and save it to your hard drive with a new incremental name. Saving incremental
files can be a good habit in production to provide extra backup safety in case of a crash
or file corruption. In the Top viewport, select the instance clone (third from left).
2. In the Modify panel, stack view, make sure the Taper modifier is highlighted at the top
of the stack. In the Parameters rollout, Taper Axis area, choose the Y radio button in the
Primary row. This applies the Taper effect along the Local y-axis of the cylinder instead
of along the default z-axis (see Figure 8-6). The resulting taper is quite different. Choose
the x-axis radio button to see its effect and then return to the z-axis radio button.
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 Modifiers

FIG 8-6 The taper effect can

be applied to either of the Local
axes directions of the selected
object.

3. In the Modify panel, stack view, highlight the Bend modifier in the stack and you
will see that its parameters appear in the Parameters rollout with somewhat similar
options. In the Parameters rollout, Bend axis area, check the Y radio button and you
will see that the Bend effect is now applied along the Local y-axis of the cylinder
(see Figure 8-7). Try the x-axis radio button and then return to the default z-axis radio
button. By navigating the stack view, you are able to edit the parameters of only the
modifier at the selected level in stack view without affecting any other parameters.
And, because of the cloning connectivity, the edits are passed from the instance
clone to the original and then from the original down to the reference clone.

FIG 8-7 By navigating the

stack view, you can change the
parameters of any modifier.

4. In the Modify panel, stack view, highlight the Taper modifier to return to the top of
the stack. This is a good habit to get into so that you see the effects of all modifiers
in the viewports and not just to, and including, the selected level. Press Ctrl+S to
save the file, and it should already be called Exercise 8-2-1_Modifier03.max.

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 Getting Started in 3D with 3ds Max

Note
There is a button called Show End Result On/Off Toggle at the bottom of the stack view
(second from left) that determines whether you see the end result of all modifiers in
the viewports (On) or only the modifiers to the highlighted modifier (Off ). This is useful
for troubleshooting modifier problems or seeing how a coworker built a model.
This important exercise illustrates the power of navigating discrete modifiers to edit
parameters at any level without affecting any other modifiers or the parameters of the
original object, but having a potential major effect on the end result.
Let’s learn a bit more detail about the cloning process and its relationship to modifiers.

Exercise 8-3-2 Modifiers and Cloning

1. Open the 3ds Max file from the Exercise 8-2-1_Modifier03.max if it is not already
your current file. Save the scene to your hard drive with a new incremental name. In
the Top viewport, select the original cylinder at the far left. In the Modify panel, stack
view, make sure that the Taper modifier at the top of the stack is highlighted.
2. In the Modify panel, click the Remove Modifier from the Stack button just below
stack view (fourth button from left) (see Figure 8-8). This completely removes
and discards the Taper modifier from the object and, of course, passes the edit
accordingly to the cloning connections.

FIG 8-8 Modifiers can be removed from objects and discarded without affecting other modifiers or the base object.

3. Apply a new Taper modifier to the original cylinder and then adjust the Amount
parameter to be 0.5 so that the objects appear as they did in Step 1 of this exercise.
In the Modify panel, click the Make Unique button just below the stack view (third
from left) (see Figure 8-9). The only noticeable effect that you’ll see is that the text in
the stack view is no longer bold. This indicates that the selected modifier has no
more dependencies with other objects in the scene.
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 Modifiers

FIG 8-9 Make Unique command breaks the cloning connectivity of the selected object and/or its modifiers.

4. In the Modify panel, Parameters rollout, enter −0.75 in the Amount numeric field
and press Enter. Make Unique has turned the original modifier into a copy with no
connection to the instance clone or the reference clone (see Figure 8-10). This allows
for edits specific to this modifier, but also has the effect of increasing the memory
footprint by making the modifier unique, and therefore less efficient.

FIG 8-10 Modifiers and parameters affect only this object.

5. Save the file. It should already be called Exercise 8-2-1_Modifier04.max. The easiest
method of restoring the connectivity is to delete this object and clone the instance
clone again. You should always analyze your situation before using the Make Unique
command.
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 Getting Started in 3D with 3ds Max

Modifiers can be removed from any level in the stack view. This discards the modifier and its
parameters so you might consider simply disabling the modifier so that the parameters may
be restored at a later point in time. With practice, you will develop a sense for the best option
in your workflow.
Clone objects with modifiers can also have the cloning link severed by using Make Unique
so that the modifier parameters now only affect the object they have been applied to.
Dependencies due to cloning are indicated by the bold text in the stack view and the orange
gizmos in the viewport.
Let’s learn a bit more information about the stack view and some of its options in the next
exercise.

8.4 Modifier Stack View

The Modify panel, stack view contains a lot of information about the currently selected
object. You have learned that the stack view evaluation is from the bottom up; 3ds Max
evaluates the base object first and then evaluates each modifier in the order determined
by the stack view. This means that the order of modifiers can have an effect on the end
result. For example, you applied a Bend modifier to a cylinder and then you applied a Taper
modifier to taper the bent cylinder, which results in a rather distorted object. You also
learned that if modifiers are applied to instance or reference clone objects, the dependency
is indicated as bold text in stack view. This means that changing the parameters of one
modifier will affect the others depending on whether they are instance or reference clones.
You also learned that you could break the dependency link by using the Make Unique
button just below stack view. This converts the object and its modifiers to copies that have
no connection to other objects in the scene.
In this section, you’ll learn more in detail about manipulating modifiers in the stack
view, cloning only modifiers onto dissimilar objects, and other visual cues that help you
understand the interconnectivity of modifiers in the scene.
Let’s begin by reordering modifiers in the stack view to obtain a different end result on the
modified object. You’ll then learn to clone modifiers independently of the base object.

Exercise 8-4-1 Modifier Order and Cloning Modifiers

1. Open the file from website called Exercise 8-4-1_Stackview01.max and save it with
an incremental name to an appropriate folder on your hard drive. The scene contains
three cylinders and a box with height segments added to allow bending. The
cylinders from left to right are original, instance, and reference clones (see Figure 8-11).
The box, of course, is not a clone because it’s a dissimilar object.
2. In the Top viewport, select the original cylinder on the left, and then in the Modify
panel, Modifier list, apply a Bend modifier with a Bend Angle of 90°, followed by
a Taper modifier with a Taper Amount set to −0.5. This is the same as in previous
exercises and results in the somewhat distorted cylinders (see Figure 8-12). If you think
about what you have done, first bent and then tapered the cylinder, the results are
exactly what you should expect. However, let’s presume you wanted a bent cylinder
that was initially tapered.
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 Modifiers

FIG 8-11 Cloned cylinders and a box.

FIG 8-12 A bent, tapered cylinder is distorted.

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 Getting Started in 3D with 3ds Max

3. With the original cylinder still selected, in the stack view, click and drag the Taper
modifier at the top of the stack until you see a blue line appear between Cylinder
and Bend (see Figure 8-13). Release the left mouse button and you will see that the
new order results in a very different object: a tapered and then bent cylinder (see
Figure 8-14). Let’s learn to apply clone modifiers to dissimilar objects.

FIG 8-13 Drag and drop modifiers in stack view to reorder them.

FIG 8-14 A tapered cylinder

that has been bent.

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 Modifiers

Note
Not all combinations of modifiers can be reordered with predictable results; however, it
is important for you to learn the concepts of the modifiers and stack view to understand
how 3ds Max functions so that you can put these concepts to work in your production
workflow.

4. In the Modify panel, stack view, use the Shift key to highlight both the Taper and
Bend modifiers. Then right-click on the modifiers and choose Copy in the menu (see
Figure 8-15). This copies the modifiers from the selected object and places them in a
temporary memory buffer, similar to Copy and Paste in other programs.

FIG 8-15 Right-click in stack

view to copy highlighted
modifiers.

5. In the Top viewport, select the box at the far right. In the Modify panel, stack view,
you will notice that there are no modifiers on the box and the object name is in
lowercase to indicate no dependencies in the scene. Right-click on Box in stack view
and then choose Paste Instanced in the menu (see Figure 8-16). Only the modifiers are
instanced in this case because a box can’t be a clone of the cylinder.

FIG 8-16 Paste the modifiers

only as instance clones onto the
box object.

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 Getting Started in 3D with 3ds Max

6. The box now bends and tapers and the modifiers are instanced as indicated by italics
in the stack view. In the Modify panel, Parameters rollout, enter −90 and then press
Enter. All the objects in the scene respect the parameter changes (see Figure 8-17).
Save the file, and it should already be called Exercise 8-4-1_Stackview02.max. Select
one of the cylinders in the scene, and you will see that the text in the stack view is
bold and the modifiers are also in italics to indicate the new dependency.

FIG 8-17 Stack view text can

be bold and italicized to indicate As you work in 3ds Max, take the time to watch the Modify panel, stack view closely to see
dependencies. the wealth of information on the dependency of objects and modifiers in your scene. You
have learned that modifiers can often be reordered in the stack view to change the currently
selected object and that modifiers can be copied (or cut) and pasted onto dissimilar objects
for more flexibility and control.
In the next exercise, you will apply a new modifier to the cylinder reference clone to learn a
bit more about visual cues in the stack view.

Exercise 8-4-2 Apply Twist Modifier

1. Open the file from the Exercise 8-4-1_Stackview02.max and save it to an appropriate
folder on your hard drive with a new incremental name. In the Top viewport, select
the blue reference clone cylinder (third from left). In the Modify panel, Modifier
list, choose the Twist modifier. In the Modify panel, Parameters rollout, enter 45
in the Angle numeric field and then press Enter. This twists the cylinder 45° on
its Local Z-axis, but because the cylinder is a reference clone, it does not pass the
modification back to the original cylinder (see Figure 8-18).
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 Modifiers

FIG 8-18 A new modifier applied to a reference clone operates on only the reference clone.

2. Several changes can be seen in stack view with the current scenario. A light gray line
appears below the Twist modifier to indicate a boundary that blocks the effects of
Twist from passing through to other objects through dependency. This cylinder is
a reference clone with a one-way connection. The text for the Twist modifier is not
bold or italicized to indicate that it has no dependencies (see Figure 8-19).

FIG 8-19 New visual cues in stack view provide information about the reference clone.

3. Save the file, and it should already be called Exercise 8-4-1_Stackview03.max. Again,
it is important to get into the habit of watching the Modify panel, stack view closely
to determine how the selected object relates to other objects or modifiers in the
scene. With a little practice, this will become second nature in your workflow.

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 Getting Started in 3D with 3ds Max

The Modify panel, stack view might be considered the “heart” of 3ds Max editing. In this
chapter, you have learned to apply modifiers and adjust modifier parameters and how
modifiers relate to clone objects to provide more power and flexibility in editing.
You learned that the order in which modifiers are applied to selected objects can affect the
end result of the editing, and that in many cases the modifiers can be reordered in the stack
view to obtain a different result.
You learned to read some of the visual cues provided in the stack view to help you
understand the relationships and dependencies that have been established with other
objects in the scene as you modify them. This workflow provides you with a high degree of
flexibility in making changes over many objects or to restrict those changes to individual
objects. Practice applying modifiers to objects without much thought of what it is you are
creating while focusing on the functionality and parameters of the modifiers themselves.

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 CHAPTER 9

Lofting

Lofting is an underutilized modeling technique in 3ds Max that uses 2D shapes to generate
3D geometry. In Chapter 6, you learned about the Local reference coordinate system that
maintains a constant orientation relative to the object as it is moved or rotated through 3D
space. In lofting, the orientation of the 2D shape and the 2D path are based on the shape’s
Local reference coordinate system. This basic orientation method is constant and must be
understood to effectively use lofting.
Lofting requires a minimum of two 2D shapes: a path and a shape. The loft path is a 2D
shape that is used to define the direction and length of a lofted object. The loft shape is a
2D shape that defines the cross section of the 3D object along the path.
You will also be introduced to the concept of first vertex and how it affects the creation of
lofted objects. The pivot point of shapes is also important to the orientation of the lofting
process and you will be reintroduced to instance cloning with respect to editing shapes and
paths used to generate lofted objects.
When editing lofted objects, you will learn to control the number of triangular faces that
form the surface, giving you a high degree of control of the efficiency of the 3D object while
maintaining an acceptable level of visible detail.
In order to find the Loft command in the 3ds Max interface, you’ll need to learn to access
the Create panel, Geometry category, Standard Primitives drop-down list, and choose a new
class of modeling tools called Compound Objects.

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 Getting Started in 3D with 3ds Max

The following topics will be covered to help you understand the process of lofting 2D shapes
to create 3D objects in 3ds Max:
• Lofting concepts—Local reference coordinate system, pivot point, and first vertex are key
components to the lofting concept.
• Lofting an object—Learn to create a simple lofted object, first with a single shape lofted
along a path, and then with multiple shapes on the path.
• Editing a lofted object—Learn to edit a lofted 3D object to correct unwanted twisting,
adjust the object’s efficiency and detail, and edit the loft path.
Lofting is a powerful modeling technique when you understand a few very basic rules.
Let’s begin by having a closer look at the underlying concept of lofting 2D shapes. Keep
in mind that lofting always uses 2D shapes, but 3ds Max uses specific terminology that
can sometimes be confusing to the new user. The loft path is a 2D shape that defines the
direction and length of the lofted object. The loft shape(s) is a 2D shape that defines the
cross section of the lofted object.

9.1 Lofting Concepts

Lofting is simple. It requires a minimum of one 2D path and one 2D shape. You can only have
one path and it must not be a compound shape (shape containing multiple splines). You can
have an unlimited number of cross-sectional shapes and each shape must have the same
number of splines. For example, you cannot create a lofted object that has a circle shape
defining the cross section at one end and a donut shape at the other end because the circle
is a simple shape and the donut is a compound shape (two circular splines).
The initial orientation of the shape to the path is that the shape’s pivot point automatically
attaches itself to the first vertex of the path. The first vertex of an open 2D shape can be at
the beginning or end of the shape you have created. The first vertex of a closed 2D shape is
determined by 3ds Max. You will be able to identify the first vertex by going to the subobject
level and looking for a vertex tick mark that appears as a white square in the viewports
(other vertices appear as yellow squares) (see Figure 9-1). Each spline in a compound shape
has a first vertex as you can see in the donut. A simple shape or each compound shape
spline can only have one first vertex.

FIG 9-1 First vertex appears as a

white square in subobject mode
for 2D shapes.

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 Lofting

Note
The first vertex is usually displayed as a white square and the other vertices as yellow
squares, but your graphics card or your copy of 3ds Max may be adjusted differently to
show first vertex as a different color.

The pivot point of a selected shape is indicated by a tripod or a transform gizmo, if you are in
one of the transform modes (see Figure 9-2).

FIG 9-2 A tripod indicates the

pivot point of a selected shape.

Once a shape has been lofted along a path, it generates a 3D surface. Perhaps the most
common workflow is to create the loft path in the position and orientation where you want
the 3D object and then allow an instance clone of the loft shape (the default method) to
move to the path’s location. In Figure 9-3, you will see a 2D shape that has been lofted along
a straight line. The original shape is still in its initial location while the 3D object has been
created at the path’s location. The first vertex of the path is indicated by a yellow X when the
lofted object is selected in the scene.

FIG 9-3 A 2D shape lofted on a

straight line path.

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 Getting Started in 3D with 3ds Max

In Figure 9-3, a feature has been enabled in the viewports called Edged Faces, which displays
the edges of polygons on the selected geometry as white lines so that you can see the
relative efficiency of the object; the fewer edges the object displays, the more efficient it is
in terms of the amount of memory used and the number of calculations that are necessary
when editing or rendering the object. Later in this chapter, you will learn to adjust the
number of polygons in a lofted object to balance efficiency and visual detail for best
performance. This ability to adjust the “density” (number of polygons or faces) of objects is
one of the most powerful features of lofting in terms of both flexibility and efficiency.

The Lofting Process

Let’s learn how a lofted object is created as a reference for the Section 9.2 where you will
actually create and edit lofted objects.
• When you use Get Shape, the shape you select creates an instance clone that attaches its
pivot point to the first vertex of the path.
• The positive local z-axis of the shape orients itself “down” the path (away from first vertex).
The positive local y-axis of the shape aligns itself to the negative local z-axis of the path.
In the example shown in Figure 9-3, you can see red, green, and blue arrows that indicate
the positive local axes directions of the shape and the path. Remember that the shape was
created in the Top viewport, while the path was created in the Front viewport creating
different local axes system for each shape.
In the next few exercises, you will learn to loft a few different shapes along a straight line path
to learn the process of creating and adjusting geometry with lofting. Keep your attention
focused on learning the fundamentals of lofting and not on the objects being created.

9.2 Lofting an Object

In this section, you’ll create a simple object using lofting to learn the functionality and workflow
of this powerful 3ds Max tool. You’ll begin by lofting a 2D shape along a straight line path and
will learn about the important concept of path steps and shape steps, which are intermediate
steps between the vertices of the shape, which determine curvature in the surface of the lofted
object. By adjusting the path steps and shape steps, you can increase or decrease the number
of polygons that make up the surface, achieving a balance between efficiency and visual detail.
You’ll also learn to set an object property to display the first vertex of shapes without being in
subobject mode so that you have a better idea of how the first vertex affects the lofting process.
You will then perform an exercise that will introduce you to the process of applying multiple shapes
to a single path to create much more complex objects while maintaining efficiency and flexibility.

Exercise 9-2-1 Loft a Shape on a Path

1. Start a new session of 3ds Max and click the Application button, and then choose
Open in the menu. Navigate to the Max file folders for Chapter 9 on the website,
double-click the 3ds Max file called Exercise 9-2-1_Lofting01.max to open it, then
save the file with a new incremental name to an appropriate folder on your hard
drive. This scene contains five 2D shapes: two circles, a rectangle, a six-sided star, and
a line (see Figure 9-4). You will use these shapes to learn about lofting.
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FIG 9-4 The scene contains five 2D shapes for lofting.

2. Press the H keyboard shortcut to call up the Select from Scene dialog, and then
highlight all of the shapes in the list. Click the OK button. Right-click in the Top
viewport, and then choose Object Properties in the Quad menu (see Figure 9-5). In the
Object Properties dialog, General tab, Display Properties area, check the Vertex Ticks
checkbox (see Figure 9-6). Click the OK button. Vertex ticks will enable the display of
vertices on all the shapes in the scene without being in subobject mode.

FIG 9-5 Object Properties is found in a Quad menu.

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 Getting Started in 3D with 3ds Max

FIG 9-6 Vertex Ticks object

properties option displays
vertices in the viewports.

3. In the Perspective viewport, select the line shape. This will become the loft path
and will remain in place during the lofting process. In the Create panel, Geometry
category, click on the Standard Primitives drop-down list, and choose Compound
Objects (see Figure 9-7). This calls up new rollouts containing a new class of tools
called Compound Objects, including the Loft tool.

FIG 9-7 Compound Object

tools are found in the Standard
Primitives drop-down list.

Note
With only one shape selected in the viewport you can now see that the first
vertex of each shape is white while the other vertices are the shape’s color.

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4. In the Create panel, Geometry category, Object Type rollout, click the Loft button.
This opens new rollouts required to loft objects. In the Creation Method rollout,
click the Get Shape button. In the Perspective viewport, move the cursor over
the blue circle at the left until you see the loft cursor and a tooltip with the shape
name (see Figure 9-8). Click on the circle to create a lofted object. An instance
clone of the circle places its pivot point at the first vertex of the line and a
cylinder is lofted.

FIG 9-8 The Get Shape command is used to choose a cross-sectional shape for the selected loft path.

5. In the Perspective viewport, right-click on the Smooth + Highlights viewport label,

and choose Edged Faces from the menu (see Figure 9-9). This displays the edges of the
polygons that make up the lofted geometry so that you can more easily estimate the
efficiency level at a glance.

FIG 9-9 Edged Faces displays the underlying mesh of the geometry.

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 Getting Started in 3D with 3ds Max

Note
The terms “polygons” and “faces” are often used interchangeably in 3ds Max
documentation and interface. Faces are triangular entities that make up the surface
of objects while polygons are four-sided or multisided entities. For maximum
performance of 3ds Max, you should be concerned with minimizing the number of
faces or polygons in the scene while maintaining the necessary visual detail.

6. Press the 7 keyboard shortcut to enable scene statistics at the upper left of the active
viewport. It is reported that the 3D object in the scene contains 332 polygons (see
Figure 9-10). Save the file. It should already be called Exercise 9-2-1_Lofting02.max.
Congratulations, you have lofted your first object.

FIG 9-10 Statistics can be enabled to see the actual number of polygons in your scene.

The steps you have just performed seem to be much more difficult than simply creating a
cylinder standard primitive. However, a cylinder primitive only has a few parameters that
can be adjusted and, as you will learn, the power of this lofted cylinder will become more
apparent as you learn to modify it in 3ds Max.
In Exercise 9-2-2, you will learn to use the Modify panel to adjust the efficiency of the
lofted cylinder by changing its path steps and shape steps parameters, and you’ll learn to
add a second shape to the loft path for a much more complex 3D object.

Exercise 9-2-2 Controlling Lofted Object Efficiency

1. Open the file called Exercise 9-2-1_Lofting02.max and save it to an appropriate

folder on your hard drive with a new incremental name. In the Perspective viewport,
select the lofted cylinder. Go to the Modify panel and expand the Skin Parameters
rollout by clicking on it. In the Options area are two numeric fields for Shape Steps
and Path Steps (see Figure 9-11). Remember that shape steps and path steps are
intermediate steps between the vertices that define curvature.
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FIG 9-11 Shape Steps and Path Steps are set to 5 by default.

2. In the Path Steps numeric field enter 0, and then press Enter. This removes all of the
horizontal segments along the length of the lofted object. The number of polygons
has gone from 332 down to 92; a significant increase in efficiency (see Figure 9-12). The
straight line path has no curvature; therefore, the extra segments created by path
steps are unnecessary in this particular example, and when removed, the cylinder is
still visually acceptable.

FIG 9-12 The segments created by path steps define no curvature and can be removed.

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3. In the Shape Steps numeric field, enter 0, and then press Enter. Shape steps are
intermediate steps in the circle that define curvature and when the shape steps are
removed the cylinder becomes a box, which is no longer visually acceptable, even
though the object may be very efficient (12 polygons) (see Figure 9-13). The circle
shape has four vertices and, with the default five shape steps, the cylinder originally
had 24 segments running along the path for a smooth, round cylinder.

FIG 9-13 The segments created by shape steps are necessary to define curvature.

4. Enter 3 in the Shape Steps numeric field and press Enter. The extra shape steps
only increase the number of polygons to 60 and the resulting cylinder is visually
acceptable (see Figure 9-14). Much of the power of lofted objects is related to your
ability to easily balance the number of polygons in the object with the visual detail
needed by adjusting the path steps and shape steps.

FIG 9-14 Shape steps set to 3

provides a balance of efficiency
and visual detail.
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5. Enter 5 in both Path Steps and Shape Steps numeric fields, pressing Enter to finalize
the process (see Figure 9-15). Save the file, it should already be called Exercise 9-2-1_
Lofting03.max. This returns the lofted cylinder to its default state in preparation for
the next exercises.

FIG 9-15 Return lofted cylinder to default settings.

You might be asking yourself “how much effect does reducing the number of polygons
in this cylinder really have on overall efficiency?” The answer is, not much. However, if you
have 300 similar cylinders in the scene and all of your other objects are created with more
polygons than necessary for proper visual detail, then you are adding significant overhead
that reduces productivity and cost-effectiveness.
There is a good saying that “your modeling isn’t finished until you CAN’T remove anything
else.” Building efficient models is easy when you know how, and with the flexibility of
lofting you can always edit the amount of detail at any time it becomes necessary. Get into
the habit of using these flexible and efficient tools and your entire workflow will become
smoother and more productive.
Let’s learn to add a second shape along the path of an existing lofted object to create a
more complex object that would be difficult to model with other techniques in 3ds Max
while maintaining the flexibility and efficiency of lofting.

Exercise 9-2-3 Adding Shapes to Lofted Objects

1. Open the file called Exercise 9-2-1_Lofting03.max and save it to an appropriate folder
on your hard drive with a new incremental name. In the Perspective viewport, select
the lofted cylinder. In the Modify panel, Path Parameters rollout, you can see that the
Path numeric field is set to 0.0 and the Percentage radio button is active. This means
that the Get Shape command brought an instance clone of the circle to 0% of the
way along the path, that is, at the first vertex. In the viewports, you see a yellow tick
indicating the currently active percentage level along the path (see Figure 9-16).

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FIG 9-16 The default Get Shape location is 0.0 percentage along the path.

2. Enter 100 in the Path numeric field and press Enter. The yellow tick moves to the
other end of the path line (see Figure 9-17). This location on the path now becomes the
active level for the Get Shape command.

FIG 9-17 The Path value is the distance along the path in percentage for the active Get Shape level.

3. In the Creation Method rollout, click the Get Shape button, and then pick the
orange square in the Perspective viewport. The lofted object is no longer a simple
cylinder, but begins with a round cross section and ends with a square cross section.
However, the lofted object has an unexpected twist (see Figure 9-18).

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4. Save the file, it should already be called Exercise 9-2-1_Lofting04.max. This is a point
when many new users give up on lofting because they don’t understand the twist or
how to get rid of it. There is a simple, logical reason and the fix is easy.

FIG 9-18 The lofted object begins as a circle and ends as a square, but twists along its length.

In Section 9.3, you will review the process of lofting and learn how to correct the twist
caused by adding a square shape along the path of a cylindrical lofted object.

9.3 Editing a Lofted Object

Think about the previous description of how a lofted object is created. A shape is added to
the beginning of the path and a mesh is generated from the shape’s vertices (first vertex and
then the others) and the shape steps in between each pair of vertices.
The shapes are aligned to the path in a very particular order. The shape’s positive local z-axis
points down the path starting at first vertex. The shape’s positive local y-axis is then aligned
to the path’s negative local z-axis. Take the time to look over the scene from Exercise 9-2-3
and formulate that alignment in your mind.
You then add a rectangular shape 100% of the way along the path. It follows exactly the
same rules of alignment. The twist is caused by the fact that the first vertex of the square is
45° off the position of the circle’s first vertex with respect to the Local reference coordinate
system. Thus, the same alignment rules cause a 45° twist (see Figure 9-19).

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 Getting Started in 3D with 3ds Max

FIG 9-19 The relative positions

of the shape’s first vertices are
off by 45° to the Local reference
coordinate system, causing a twist.

In Exercise 9-3-1, you will learn to correct the twist by editing the lofted object.

Exercise 9-3-1 Edit Unwanted Twist

1. If it isn’t already the current file in 3ds Max, then open the file called Exercise 9-2-1_
Lofting04.max and save it to your hard drive with a new incremental name. Saving
incremental files can be a good habit in production to provide extra backup safety in
case of a crash or file corruption. In the Perspective viewport, select the lofted object.
2. In the Modify panel, stack view, click the + to the left of the loft to access subobject
level editing, and then highlight Shape. In the Perspective viewport, select the
instance clone of the rectangle at the top of the lofted object. It will turn red when
selected (see Figure 9-20). You should not edit the original shape, only the instance
clone in the loft object.

FIG 9-20 Select the square

shape at the top of the lofted
object in subobject Shape mode.
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3. In the main toolbar, click the Select and Rotate button. Notice that the Local
reference coordinate system is automatically active and gray indicating it cannot
be changed for rotating shapes on a lofted object. In the transform type in numeric
fields in the status bar at the bottom of the display, enter −45 in the z-axis numeric
field (see Figure 9-21) and then press Enter.

FIG 9-21 Negative angles are measured clockwise when viewing down the intended axis.

4. Save the file, it should already be called Exercise 9-2-1_Lofting05.max. The twist is
now removed from the object. In the Modify panel, stack view, click on Loft to exit
subobject mode (see Figure 9-22). Rotating the original square shape wouldn’t have
solved the problem because its Local reference coordinate system rotates with it and
the alignment would be the same. You could also use this method to add a twist to
lofted objects if that was appropriate for your needs.

FIG 9-22 It is a good habit

to exit subobject mode when
finished editing.

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Lofting, again, has proven to be a powerful modeling tool with a high degree of flexibility
and efficiency. There are, however, a few fundamental rules that you have learned so
that you understand how lofting functions and some of the options you have if the
unexpected happens during the lofting.
In Exercise 9-3-2, you will learn to edit the loft path and to replace a current shape on the
lofted object with a new shape. You’ll then learn a method of creating “clean” geometry
that might be easier to edit or animate further.

Exercise 9-3-2 Edit Shape and Path

1. Open the 3ds Max file from Exercise 9-3-1, if it is not already your current file,
it should be called Exercise 9-2-1_Lofting06.max. Save the scene to your hard
drive with a new incremental name. In the Perspective viewport, select the lofted
object. In the Modify panel, Path Parameters rollout, make sure that the current
Get Shape level in the Path numeric field is set to 100.0 (see Figure 9-23). The yellow
tick will appear at the top of the lofted object. You will replace the current square
shape that defines the cross section at the top of the lofted object with the star
shape in the scene.

FIG 9-23 The current Get Shape level should be 100 percent along the path.

2. In the Modify panel, Creation Method rollout, click the Get Shape button. In the
Perspective viewport, click on the blue star shape to send an instance clone
to the top of the lofted object. The square shape will be replaced with the star
and the lofted object will change accordingly; circular cross section at the
bottom and start cross section at the top (see Figure 9-24). There is no twist with
the new shape because the first vertex of the star and the circle are in the same
relative position.

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FIG 9-24 The star shaped replaces the square shape at the current level.

3. The new lofted object would be very difficult to model using other techniques with
as much potential flexibility. However, if you look closely at the edged faces, you’ll
see that the mesh surface is now a complex tangle of many triangles and not regular
polygons as in the previous lofted object. This is because the circle shape at the base
has four vertices with five shape steps between each pair of vertices, and the star
has 24 vertices with five steps between each pair of vertices (see Figure 9-25). While it
is technically possible to loft multiple shapes with different numbers of vertices, it is
not always ideal. Let’s learn what we can do to fix the surface.

FIG 9-25 Lofting between shapes with different numbers of vertices creates complex surfaces.

4. One of the shapes in the scene is an NGon, a multisided polygon, which has 12 sides
and the circular option checked. In the Path Parameters rollout, enter 0 in the Path
numeric field, and then press Enter. This makes the beginning of the lofted object

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the active Get Shape level. In the Creation Method rollout, make sure that the Get
Shape button is toggled on, and then pick the red NGon in the Perspective viewport.
The resulting lofted object is much cleaner because the shapes have the same
number of vertices. However, the object now has 1004 polygons (see Figure 9-26). Let’s
make the object more efficient in the next step.

FIG 9-26 Shapes with equal

numbers of vertices create
cleaner geometry.

5. In the Modify panel, expand the Skin Parameters rollout. In the Options area, Shape
Steps numeric field, enter 1 and press Enter. In the Path Steps numeric field, enter 3
and press Enter (see Figure 9-27). This reduces the number of polygons from 1004
to 236, yet the lofted object probably still maintains enough visual detail for most
situations. Save the file.

FIG 9-27 Efficient lofted object

with good visual detail.

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Once you understand the fundamentals of lofting in 3ds Max, it becomes an extremely
powerful tool in terms of flexible editing capabilities matched with flexible efficiency
controls. A lofted object can have only one path, but has the ability to use as many shapes
along a path as required to create complex objects.
Look around your office for objects that may be potential candidates for lofting and
practice by trying to re-create them in 3ds Max. Typical objects might be door and window
trim, cables and piping, countertops and architectural trim, and parts of lamps and
furniture, just to name a few examples. Use your imagination.

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 CHAPTER 10

Lighting Basics

Lighting a scene in 3ds Max is perhaps one of the most difficult tasks in a production
workflow. There are many variables and parameters that will affect the physical aspects of
lighting, and this chapter will introduce you to the fundamental techniques that will form a
basis for learning lighting in 3ds Max.
You’ll begin by learning some of the concepts of lighting and about photometric lights that
you will be using throughout this lesson. Understanding how lighting works in 3ds Max is
an important first step to avoid being overwhelmed by unfamiliar terminology and complex
physical science behind lighting in the real world. You’ll then create the two most commonly
used types of light: Free light and Target light, and then be introduced to a few parameters
necessary for the basic adjustments in lighting values. You’ll also learn to create Spotlight
distribution, a common form of lighting in the real world, which casts its light from the light
source outward within a cone toward the surfaces.
Some of the topics covered in this chapter are
• Lighting concepts – You will learn some of the important concepts in the process of
creating, positioning, and adjusting lights in a 3ds Max scene.
• Photometric lighting – 3ds Max can use photometric lights to simulate real world physical
lighting values.
• Create lights – Learn to create Free and Target lights in a scene.
• Light parameters – Investigate some of the basic light parameters used to adjust
lighting.

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• Light distribution – Learn to control light distribution by setting Spotlight parameters.

• Three-point lighting – An introduction to three-point lighting: a basic studio lighting
technique with three lights.
Lighting is a very subjective topic that can greatly affect the influence of your rendered
images on the viewer. Although this chapter is focused more on the technical aspects
involved in placing and adjusting lights, you are also encouraged to investigate the
effect of light and dark values in paintings, as well as photographic and film lighting
techniques.
Learn to see the world around you in terms of lighting. Keep in mind that in life you never
actually see the object, but you only see light reflected from the object. Without light,
you would exist in a world of black so understanding the properties and psychological
impact of light and shadow will inevitably improve your final renders. Without the power
of observation focused on the effects of lighting in the real world, you won’t be able to
reproduce those effects in 3ds Max.

10.1 Lighting Concepts

If you have had training in traditional art forms such as film and video, photography, or
painting, you will understand that lighting is an extremely important element in conveying
information about the image to the viewer. Without formal training, we tend to take lighting
for granted in our day-to-day lives and don’t pay much attention about how light interacts
with objects to influence our perception of the real world.
In 3ds Max, you are trying to interpret “reality” to suit the needs of your client and the
project. The images you deliver to the client can range from “photorealistic” to rather
abstract interpretations of real or imaginary worlds. Lighting plays a critical role in
establishing the mood and the viewer’s perception of any image.
Although 3ds Max is considered to be 3D software, the end product is always a 2D image.
Lighting concepts in traditional art have long been used to enhance the perception of
“3D-ness” or depth in a painting. Psychologically speaking, white areas of an image come
forward, while dark areas appear to fall back. You can take advantage of this while adjusting
your lighting to increase or decrease the apparent depth of your images. Dark shadows form
negative areas to guide the viewer’s gaze toward the light or more important areas in the
image.
Take the time to investigate traditional paintings such as those by Rembrandt or Vermeer
and black and white photographs by Ansel Adams to see examples of how light and dark are
used as basic elements of the images.
There are two main types of light that are important in 3ds Max: direct light and indirect
light. In this chapter, you will learn about direct light that beams in a straight line from
a light source to a surface (see Figure 10-1). You’ll learn to adjust light parameters to affect
the intensity of light at the source and about the effects of attenuation and angle of
incidence.
Light attenuation is the decay of light intensity based on the distance of the light from the
surface. Angle of incidence affects the intensity of light on a surface based on the angle
of the light to the surface (see Figure 10-2). With a fundamental knowledge of these lighting
concepts, you will be able to control the light quality in your 3ds Max scenes.

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FIG 10-1 Direct light from

source to surfaces.

FIG 10-2 Angle of incidence

affects light intensity.

In previous chapters, you have created or opened 3ds Max scenes and you could clearly
see the 3D objects in the viewports, though you haven’t placed any lights in any of the
scenes. 3ds Max has default lighting that enables you to work in viewports and see what
you are doing. As soon as you create a light source in a 3ds Max scene, the default lighting is
automatically switched off and no longer has any effect in your scene or in rendered images.

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The viewports in 3ds Max are capable of displaying different levels of lighting and shadow
detail, depending on the currently active render engine, the viewport settings, and the
graphics card capabilities in your computer. But to see an accurate representation of lighting,
you must render the scene. In Exercise 10-1-1, you will set 3ds Max to use the mental ray
renderer engine to calculate only direct light. This will ensure that everyone performing the
exercises are seeing the same results.

Exercise 10-1-1 Setting the 3ds Max Mental Ray Render Engine

1. Start 3ds Max. In the main toolbar, left-click the Render Setup button to open the
Render Setup dialog (see Figure 10-3).

FIG 10-3 Open the Render Setup dialog.

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 Lighting Basics

2. In the Common tab, scroll the dialog upward and then expand the Assign Renderer
rollout. Left-click on the ellipsis button (three dots) to the right of the Production
field. In the Choose Renderer dialog, double-click on NVIDIA mental ray or mental ray,
whichever option is available for your computer (see Figure 10-4). If there is no mental
ray option in the list, then it is already the current render engine and it will show in
the Production field. Close the Render Setup dialog.

FIG 10-4 Set the active render engine to NVIDIA mental ray or mental ray.

3. In the Render Setup dialog, Indirect Illumination tab, clear the Enable Final Gather
checkbox in the Basic area (see Figure 10-5). This disables the calculation of bounced or
indirect light by the mental ray renderer so that you can better evaluate the effects
of direct light.
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 Getting Started in 3D with 3ds Max

FIG 10-5 Disable final gather for direct light calculations only.

4. In the Application menu, save the current empty scene with the name maxstart
.max, and in the Save File As dialog, click the Yes button to overwrite your existing
prototype file. Overwriting this file will save the new render engine settings so that
the settings will be loaded each time you start a new scene or reset 3ds Max.
5. In the Application menu, choose the Reset command, and then in the 3ds Max
dialog, click the Yes button to reset the scene. This ensures that you will not
accidentally save other information into the 3ds Max prototype file.

The mental ray renderer will be used throughout this book to maintain consistency. Mental
ray produces good rendering results across a wide range of graphics cards and is commonly
used in 3ds Max production environments.
The most common type of 3ds Max light used with the mental ray renderer is called
photometric lights. In Section 10.2, you’ll learn some of the concepts associated with
photometric lights.
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 Lighting Basics

10.2 Photometric Lighting

Photometric lights in 3ds Max are designed to closely simulate the physical behavior of light
in the real world from the sun to light bulbs and glowing objects. Photometric lights are also
designed to work accurately with 3ds Max materials applied to objects in your scene.
One of the important physical properties associated with photometric lights in 3ds Max is
attenuation, that is, the decay of light intensity over distance from the source. The physical
phenomena of attenuation can have a profound effect on the quantity and quality of
lighting in your scenes and is the reason why you need to create scenes using the real world
sizes. A default photometric light would appear very different in a room that is 1′ × 1′ × 1′
compared to a room that is 100′ × 100′ × 100′.
3ds Max has two different types of photometric lights:
• Free – A Free light source is a freestanding light that casts light equally in all directions.
• Target – A Target light source is paired with a target object that defines a light’s direction.
Generally speaking, Free lights are useful for lights that will be animated through a scene, for
example, the headlights of a car or a flashlight. Target lights can be used to simulate lights
that are aimed in a particular direction like studio spotlights. However, Free lights can be
converted to Target lights and vice versa, so 3ds Max provides flexibility during production.
When you use the mental ray renderer and create your first photometric light, 3ds Max will
prompt you with a message stating “It is recommended that you use the mr Photographic
Exposure Control” that is loaded when you click the Yes button. Exposure control regulates
the amount of light in your scene that reaches the renderer to control underexposure or
overexposure. This is similar to the iris on a typical camera that allows you to photograph in
bright sunlight or in a dimly lit room. You will learn more about mr Photographic Exposure
Control in Chapter 22.
In Section 10.3, you’ll learn to create each of the photometric light types and then learn to
switch from one light type to another and back again.

10.3 Create Lights

Creating photometric lights in 3ds Max is a simple process: either a single click is all that is
required to create a Free light or just click and drag to create a Target light. In the next two
exercises, you’ll create one of each light in a 3ds Max scene containing a “room” with one end
wall missing and a cylinder and sphere positioned near the back of the room (see Figure 10-6). All
the objects in the scene have been assigned a mid-gray color. Your task will be to light the scene
with photometric lights. In the Perspective viewport, you can see the effects of default lighting
which appears to be positioned behind the viewer, high and to the right. The light is brightest
on the top and front surfaces while the sides receive no light. Remember that you are seeing
the effects of direct light only because the calculation of bounced light has been disabled.

Note
If you right-click on the Shaded viewport label in the Perspective viewport and then
choose Realistic in the menu, you will see more of a convincing lighting representation.
Set it back to Shaded for more efficient viewport performance.

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 Getting Started in 3D with 3ds Max

FIG 10-6 A simple 3ds Max

scene with default lighting
in the shaded Perspective The goal of the exercises in this section is to illustrate the differences between the two
viewport. light types and learn how to position lights in 3ds Max. You will also learn the effects of
attenuation and angle of incidence on the brightness of the light on surfaces.
Let’s begin by creating a Free light.

Exercise 10-3-1 Free Lights

1. Open the 3ds Max file from the website called Exercise 10-3-1_Free lights01.max and
save it to an appropriate folder on your hard drive with a new incremental name. Right-
click in the Top viewport to activate it. In the Create panel, Lights category, Object Type
rollout, click the Free Light button. In the Photometric Light Creation dialog, click the
Yes button to enable mr Photographic Exposure Control (see Figure 10-7).
2. In the Top viewport, left-click just inside the lower-left corner of the room to place
the Free light. Placing a light in the scene disables the default lights, and in the
Perspective viewport, you can see that the quality of the light has changed radically.
The light was placed on the active work plane of the Top viewport as described
by the grid (see Figure 10-8). You can clearly see the effects of angle of incidence on
the surfaces. The light is brightest where a surface is 90° (perpendicular) to the
light source, and there is no light where the angle of incidence is 0° or less, that is,
in the floor and the outside walls of the room. The curved surfaces of the sphere
and cylinder show a shading effect due to angle of incidence. Free lights cast light
equally in all directions. The effects of attenuation are not visible in the viewports by
default.

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FIG 10-7 You are prompted to enable exposure control when you create the first photometric light.

FIG 10-8 A Free Light placed in the Top viewport is created on the floor and the default lights are disabled.

3. In the main toolbar, click the Select and Move button to toggle it on. Right-click
in the Front viewport to activate it and then move the light source in the positive
y-axis to just below the inside of the ceiling (see Figure 10-9). The lighting effects in
the shaded Perspective viewport update interactively as you move the light, and the
“mood”of the new light position is noticeably different.
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FIG 10-9 Move the light near the ceiling in the Front viewport.

4. Right-click in the Perspective viewport to activate it. In the main toolbar, click the
Render Production button at the far right. This renders the scene and displays the
result in the Virtual Frame window. You can see that the approximation of lighting in
the default Shaded viewport is only a guide and that the actual rendered image is
noticeably different. In the rendered image, the effects of attenuation and angle of
incidence can be seen as the surfaces darken at greater distances and lesser angles
to the light source (see Figure 10-10). The light intensity also needs adjusting.

FIG 10-10 The lighting in default Shaded viewports is only an approximation of the rendered lighting.

5. Use the keyboard shortcut Ctrl+S to save the file. It should already be called Exercise
10-3-1_Free lights02.max. Congratulations, you have created and rendered your first
3ds Max scene with lights in this book.

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A single click in a viewport places a Free light in the scene, but as you see that is only the
beginning of lighting a scene. Free lights cast their light equally in all directions from the
light source, and the brightness of the light on a surface is controlled by the intensity of
the light, attenuation based on the distance from the light source, and angle of incidence of
a surface to the light source.
In Exercise 10-3-2, you’ll create a Target light in the Front viewport. The default Target light
also casts light equally in all directions but has a “look at” target attached to it to control the
direction the light shines in. A Target light requires you to click to place the light source and
then drag the mouse to position the target.

Exercise 10-3-2 Target Lights

1. Open the 3ds Max file from the previous exercise called Exercise 10-3-1_Free
lights02.max and save it to an appropriate folder on your hard drive with a new
incremental name. Right-click in the Front viewport to make sure it is the active
viewport.
2. In the Create panel, Lights category, Object Type rollout, click the Target Light
button. In the Front viewport, click just to the right of the existing Free Light, drag
the mouse straight down to the floor level and then release the mouse button. This
creates the source of the Target light and the target itself on the work plane defined
by the Front viewport and indicated by the black lines of the Perspective view grid
(see Figure 10-11).

FIG 10-11 Left-click and drag to create a Target Light source and its target.

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3. In the main toolbar, click the Select and Move button in the Front viewport and
move it along the positive x-axis to the center of the cylinder (see Figure 10-12). In the
Top viewport, move the yellow light source in the positive y-axis to just inside the
wall of the room (see Figure 10-13).

FIG 10-12 Move the target to the cylinder in the Front viewport.

FIG 10-13 Move the source to the wall in the Top viewport.

4. Activate the Perspective viewport and then use the Render Production button to
render the viewport. The default Target light has exactly the same attributes as the
Free light. It casts its light equally in all directions, and at this point, the target has no
effect on the quality of light. The intensity of the default lights are additive and the
rendered image is much too bright. (see Figure 10-14).

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FIG 10-14 Two default lights are much too bright for a room of this size.

5. Use the keyboard shortcut Ctrl+S to save the file. It should already be called Exercise
10-3-1_Free lights03.max. You have placed two lights of equal intensity that casts
light equally in all directions in a relatively small room. The default intensity of the
lights and the adjustment of mr Photographic Exposure Control allows too much
light for the renderer and the result is an overexposed image.

In Section 10.4, you will learn to adjust some of the more commonly used light parameters
to reduce the intensity of the lights in the scene and to enable shadow casting for a more
convincing lighting effect.

10.4 Light Parameters

Photometric lights have many parameters that can be edited to control intensity, color,
distribution, and shadow quality, just to name a few. In the following exercises, you’ll learn to
adjust the intensity of lights and to enable shadow-casting capabilities.
The intensity of photometric lights can be adjusted to achieve a desirable and therefore
subjective degree of lighting in a scene, or the lighting intensity values can be set to match
real world lighting. For the purposes of this fundamental lesson, you’ll be controlling lights
subjectively to get the look you want in your scene.
All lights in the real world cast shadows, so shadows are very important to our perception
of lighting because they provide a feeling of depth and “weight” for objects that are casting
shadows. The shadow helps anchor the object visually to the surface it is sitting on. However,
shadow calculation can be computationally expensive and can slow rendering times in

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scenes with many lights and shadows. You should only enable shadow casting for lights that
are necessary for the level of visual quality required to make your scene convincing.
You’ll also learn about the 3ds Max tool called Light Lister that allows you to access some of
the parameters of all the lights in the scene for easier editing.
Both the lights that you have created in your scene, a Free light and a Target light, cast light
equally in all directions. You will perform an exercise to learn how to change the distribution
of the Target light from an omnidirectional distribution to a Spotlight distribution with the
light emitted from the source focused within a cone. This provides you with much more
control of the coverage of the light.

Exercise 10-4-1 Adjust Light Intensity

1. Open the file from the previous exercise called Exercise 10-3-1_Free lights03.max
and save it to an appropriate folder on your hard drive. This is the scene from
Exercise 10-3-1, which has a Free light and a Target light near the ceiling on opposite
walls. The default light intensity is too much brighter for the current scene.
2. Right-click in the Top viewport to activate it and select the Free light at the lower
left of the room. In the Modify panel, Intensity/Color/Attenuation rollout, Intensity
area, enter 150 in the numeric field and then press Enter. The light intensity in the
Perspective viewport diminishes noticeably (see Figure 10-15).

FIG 10-15 Light intensity of an existing light can be changed in the Modify panel.

Note
The default light intensity for photometric lights in 3ds Max is measured in candelas
(cd) as you can see by the radio button above the Intensity numeric field. Candelas
are a scientific measurement of light intensity.

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3. In the Top viewport, select the Target light and adjust its intensity value to 150 and
then press Enter. The apparent lighting in the Perspective viewport is now much
darker with only 10% of the default lighting values (see Figure 10-16).

FIG 10-16 The parameters of a Target Light are the same as a Free Light.

4. Right-click in the Perspective viewport to activate it. In the main toolbar, click
the Render Production button to render the scene with the new lighting values
(see Figure 10-17). The new scene is much more convincing than the overexposed
result of the original light intensity values. In the Rendered Frame window, there
is still a noticeable hotspot on the wall caused by the proximity of the light to
the surface. Angle of incidence and attenuation create variations in light values as
the distance from the source increases.

FIG 10-17 The rendered scene

shows a more convincing
lighting result from the reduced
intensity.

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5. Save the file, and it should already be called Exercise 10-3-1_Free lights04.max. The
default intensities of photometric lights are almost never appropriate and are one of
the first parameters to be adjusted. Remember that the size of the room is one of the
key components of how the intensity of lights affects a scene, followed by the angle
of incidence and the attenuation.

Let’s try turning Shadows On to add visual weight to the objects in the scene.

Exercise 10-4-2 Enable Shadows

1. Open the scene from the previous exercise called Exercise 10-3-1_Free lights04.
max and save it to an appropriate folder on your hard drive with a new incremental
name. In the Top viewport, select the Free light at the lower-left corner of the
scene. In the Modify panel, General Parameters rollout, Shadows area, check the
On checkbox. Right-click in the Perspective viewport to activate it and then click
the Render Production button in the main toolbar. You will see that the sphere
and the cylinder are now casting shadows on the floor and wall (see Figure 10-18).
Close the Rendered Frame window.

Note
Make sure you do not clear the On checkbox in the Light Properties area as that will
FIG 10-18 Shadows are enabled turn the light off.
with a checkbox.

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2. In the Top viewport, select the Target light source icon, and then in the Modify
panel, General Parameters rollout, check the On checkbox also. Right-click in the
Perspective viewport to activate it and then render the scene. Both lights now cast
shadows of the sphere and cylinder (see Figure 10-19).

FIG 10-19 All lights in the

3. Save the file. It should already be called Exercise 10-3-1_Free lights05.max. Close the scene can have shadow casting
Rendered Frame window. All the lights in a 3ds Max scene can have shadow casting enabled if required.
enabled. However, keep in mind that multiple shadows can sometimes create a
confusing image and each shadow casting light must be calculated by the computer
resulting in potentially lost production. Use shadows only when necessary.

Up to this point, you have selected each light that you wanted to edit and made the changes
in the Modify panel. This is no problem for a small scene with a minimum number of lights,
but when you have a large scene with many lights it can be rather slow to identify the
correct light, select it, go to the Modify panel and edit it, and then move onto the next light.
Let’s see how you can make the process a little easier with Light Lister.

Exercise 10-4-3 Light Lister

1. Open the 3ds Max file from the previous exercise called Exercise 10-3-1_Free
lights05.max and then save it to an appropriate folder on your hard drive with a new
incremental name. In the Tools pull-down menu, choose Light Lister (see Figure 10-20).
In a scene with many lights, the Light Lister may take a few seconds the first time
you open it to search for the lights in the scene.

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FIG 10-20 Light Lister is found

in the Tools pull-down menu.

2. In the Light Lister dialog, you will see narrow vertical buttons at the far left that can
be used to select lights in the scene. Left-click on the button in the first row and you
will see that the Free light is selected in the scene (see Figure 10-21). Only one light at a
time can be selected with this method.

FIG 10-21 One light at a time can be selected in the Light Lister.

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3. In the Light Lister dialog, top row, enter 75 in the Intensity(cd) numeric field and
then press Enter. This halves the intensity of the selected Free light. Right-click in
the Perspective viewport and render the scene. The scene is darker overall, and the
shadow is less intense from the lower intensity light (see Figure 10-22). You may need
to rearrange the dialogs in the viewports to see everything.

FIG 10-22 Decreased intensity darkens the scene, and the light’s shadows are lighter.

Note
It is not necessary to have the light selected when changing any of the parameters in
Light Lister. Also, the default names of photometric lights are too long to show in the
name field of the Light Lister. You can rename your lights in the Light Lister or in the
Modify panel.

4. Close all windows and dialogs and then save the file. It should already be named
Exercise 10-3-1_Free lights06.max. Many of the commonly edited parameters for lights
and shadows can be accessed through the Light Lister, providing you with an overview
of all the lights in the scene. This can be a handy productivity tool in your workflow.

Lighting a scene is often a subjective process, and you need to make adjustments for the
scene to be convincing to you and the viewer (client). You need to study lighting in the real
world and in more traditional art forms such as painting and photography to develop an
“artist’s eye” for lighting.
By beginning with direct lighting in 3ds Max, you will begin to develop a sense for
controlling and adjusting lighting values. Study the rendered scene in Exercise 10-4-2 to see
how angle of incidence and attenuation are also important aspects of lighting quality.

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In Section 10.5, you’ll learn about photometric light’s distribution options and how to
change the Target Light from the default Uniform Spherical (equal distribution in all
directions) to Spotlight distribution.

10.5 Light Distribution

Spotlight distribution is cone shaped from the light source outward. There are actually two
boundaries defining the distribution pattern: Hotspot/Beam and Falloff/Field. The Hotspot/
Beam’s inner cone defines an area of full light intensity, while the outer Falloff/Field cone defines
an area of diminishing light. Outside the Falloff/Field cone there is no light. This provides you
with more control over the objects or areas in the scene being affected by the light. The amount
of light within the cones is also affected by the angle of incidence and attenuation.
The Target Light is useful for Spotlight distribution because either the light source or the
light target can be moved to aim the light, and the area covered by the light is obvious in the
viewports. Let’s change the distribution of the Target light in the scene.

Exercise 10-5-1 Spotlight Distribution

1. Open the scene you saved in the previous exercise called Exercise 10-3-1_Free lights06.
max and save it to an appropriate folder on your hard drive with a new incremental
name. In the Top viewport, select the target light source at the upper left of the room.
In the Modify panel, General Parameters rollout, Light Distribution (Type) area, click on
the Uniform Spherical drop-down list and choose Spotlight (see Figure 10-23).

FIG 10-23 Spotlight distribution affects the parent of light from the source.

2. The light icon has changed from a sphere to a cone, and you can see the Hotspot/
Beam inner cone and the Falloff/Field outer cone. The Modify panel also has a new
rollout: Distribution (Spotlight) with numeric fields to adjust the angles of the two
cones (see Figure 10-24).
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FIG 10-24 Spotlight distribution contains light within two cones.

3. Right-click in the Perspective viewport to activate it and then click the Render
Production button in the main toolbar. The Hotspot/Beam inner cone defines the
area of full intensity light, while the Falloff/Field outer cone defines the area where
the light ends. The falloff area in between the two cones controls the softness of the
light Falloff. In Figure 10-25, you can see a very soft-edged brighter area at the front left
of the cylinder.

FIG 10-25 The greater the angle between the cones, the softer the edge of the beam.

4. In the Modify panel, Distribution (Spotlight) rollout, enter 35 in the Falloff/Field

numeric field, and then press Enter. This reduces the angle between the cones
significantly by making the outer Falloff/Field cone smaller while leaving the Hotspot/
Beam cone the same. Render the Perspective viewport (see Figure 10-26). The area
of full intensity light defined by the Hotspot/Beam cone becomes more apparent
because of the sharper edge resulting from the 5° separation between the cones.
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FIG 10-26 The edge of the Spotlight beam is controlled by the separation between the cones.

5. Close the Rendered Frame window and save the file, and it should already be called
Exercise 10-3-1_Free lights07.max. Spotlights in 3ds Max can be used like spotlights in
the real world to highlight objects in your scene by focusing the light distribution within
cones and controlling the sharpness of the edge of the light beam on the surface. The
smaller the difference in angles between cones, the sharper the edge of the beam
becomes. Within the cones, the lights are still affected by attenuation and angle of
incidence. By default, the cones will only show when a Spotlight is selected in the scene.

Your 3ds Max scenes now looks significantly different than it did when you had two
extremely bright default Uniform Spherical distribution lights and no shadows. By reducing
each light’s intensity to different values and changing the distribution of one light to
Spotlight, and then adding shadows, you have created a more pleasing (in a subjective way)
rendered image.
In Section 10.6, you will learn about creating a traditional studio lighting scenario to help
control the viewer’s perception of the objects in your scene.

10.6 Three-Point Lighting

Three-point lighting is a traditional method in photography, film, and video for focusing the
viewer’s attention on the main subject in the scene. The technique is often used in portrait
photography, and you’ll see it on the evening television news.
In this lesson, three-point lighting will provide you with a good tool for experimenting with
variations in lighting values and placement. The lighting you have created in the previous
exercises is a good beginning for three-point lighting, which consists of a main light, a fill
light, and a backlight.
• Main light – the main light is the brightest one in the scene and establishes the upper
level of illumination from an angle of about 45° over the viewer’s shoulder.
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• Fill light – the fill light is positioned about 45° over the viewer’s opposite shoulder (90° to
the main light) at about one-half intensity of the main light to reduce strong shadows.
• Backlight – the backlight is behind and above the subject to create a “halo effect” to
separate the subject from the background.
In the previous exercises of this chapter, you have already positioned two lights in the main
light and fill light locations. Let’s revisit the scene and make some adjustments to create a
typical three-point light system.

Exercise 10-6-1 Positioning Lights

1. Open the 3ds Max file called Exercise 10-6-1_3 point lights01.max and save it to an
appropriate folder on your hard drive with a new incremental name. This is the scene
from Exercise 10-5-1 with a change to the Perspective viewport, and the Free light
has been turned off as indicated by the black icon. The Spotlight is positioned over
the viewer’s left shoulder, and the Free Light is positioned over the viewer’s right
shoulder, forming an angle of about 90° between the lights (see Figure 10-27).

FIG 10-27 The main light is over the viewer’s left shoulder.

2. Make sure the Perspective viewport is active and then click the Render Production
button in the main toolbar. The scene is being lit entirely by the main Spotlight over
the viewer’s left shoulder. The right side of the sphere and cylinder are very dark and
the shadow is black (see Figure 10-28).
3. In the Tools pull-down menu, choose Light Lister. In the Light Lister dialog, check the
On checkbox in the top row to turn the Free Light back on. Render the Perspective
viewport (see Figure 10-29). The Free Light is now used as a fill light at half the
intensity of the main light. This lightens the right side of the cylinder and sphere
and brightens the main light’s shadow to make it less distracting. However, the new
shadow from the fill light is very distracting. Close the Render Frame window.

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FIG 10-28 The main light illuminates the scene from upper left.

FIG 10-29 The fill light reduces black shading and main light shadow for a more balanced image.

4. In the Light Lister, clear the Shadows checkbox in the top row to turn off the fill light
shadows. In the main toolbar, click the Select and Move button to toggle it on. In the
Top viewport, select the main light. Hold the shift key and move the main light clone
directly over its target. In the Clone Options dialog, make sure that the Copy radio
button is chosen (see Figure 10-30). Click the OK button.
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FIG 10-30 Clone the main light as a copy to become the backlight.

5. In the Light Lister, click the Refresh button at the upper right to add the new light
to the list. Clear the Shadows checkbox for the new light. In the Front viewport,
click the vertical blue line that connects the new light source with its target. This
selects both the source and the target so that they can be moved in unison. In the
Front viewport, move the light and its target in the positive x-axis until the inner
Hotspot/Beam cone intersects the middle of the sphere. Activate and then render
the Perspective viewport (see Figure 10-31). The new backlight brightens the outer
edge of the sphere and the top of the cylinder to make them contrast with the
background for better definition.

FIG 10-31 The backlight is used to separate the subjects from the background.

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Note
Though all lights in the real world cast shadows, photographers and videographers
can use diffusers to soften these shadows.

6. Close all windows and dialogs and then save the file. It should already be named
Exercise 10-6-1_3 point lights02.max. Three-point lighting is useful for 3ds Max
projects like product design or “talking head” character animations where you want
to present a foreground object while drawing the viewer’s attention to the object
and away from the background. By disabling shadows for some lights, you reduce
distractions and increase computer efficiency by reducing calculation.

Experiment with this scene by changing some of the parameters and settings you have
learned in these exercises and see if you can create different moods for the scene.

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 CHAPTER 11

Materials

Materials are the attributes of an object’s surface. 3ds Max ships with many predetermined
materials that you can assign directly to the objects in your scene without ever learning
how to create materials yourself, but this chapter will focus on showing you the process
of creating materials from scratch. If you use the materials that are supplied with 3ds Max,
your presentations will undoubtedly look very much like the scenes your competition is
delivering. However, if you create your own materials, you can provide your presentations
with a “signature” look that helps you stand apart from your competition.
Some of the surface attributes contained in the materials are color or pattern, reflectivity and
shininess, surface texture, and transparency, just to name a few. This chapter will focus on a
material type called the Arch & Design material. This material forms a basis of attributes that
is extremely flexible and efficient to render, which makes it a good choice for many of the
materials you use in your scenes, especially as a new user of 3ds Max.
By default, materials are created in the 3ds Max Slate Material Editor; a graphical interface
where the surface attributes are combined and then applied to the objects in the scene.
Materials can be highly realistic or “artistic” depending on the project requirements. Materials
can be solid colors or can use maps or images to create complex patterns within the material.
You’ll begin by learning some of the concepts of creating Arch & Design materials and then
learn about basic navigating, both in the Slate Material Editor. Your ability to navigate quickly
and organize your materials is an important part of a productive workflow in 3ds Max.

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You’ll then assign materials to objects and learn to make adjustments that will automatically
be updated on the objects they have been applied to in the scene.
Some of the topics covered in this chapter are as follows:
• Material concepts – Materials are applied to objects to define surface attributes such as
color, glossiness, and transparency, for example.
• Slate Material Editor – Slate is a graphical environment for creating materials.
• Create and assign materials – Learn to create basic materials and assign them to the
objects in 3ds Max.
Let’s begin with some of the basic concepts involved in creating materials in 3ds Max.

11.1 Material Concepts

Materials, working in conjunction with lighting in the scene, elevate your renderings
from the dull, default colored objects you have created so far in this book to much more
convincing presentations.
Materials can be extremely complex with many layers of attributes combined to simulate
various real or imaginary surface conditions. As with many aspects of 3ds Max, it is important
to become familiar with the fundamental concepts of material creation to have a solid basis
for learning about and experimenting with materials.
An important component of your ability to create materials is to develop an artist’s eye
when observing the real world. What is it that makes materials readily identifiable as you
look around your environment? Colors and patterns are usually recognizable at a glance, but
reflections and glossiness are often taken for granted if you haven’t trained yourself to look
at them specifically. There is no way to create convincing materials if you can’t “see” the world
around you. Again, it’s worth looking at traditional art, specifically paintings, to see how an
artist has interpreted materials in a picture. This can help provide an important insight into
what makes materials support the objects in the scene.
Often, your clients want you to create “realistic” materials, for example in an architectural
presentation, but it’s more important to create “convincing” materials that enhance the
viewer’s perception of your presentation.
There are two terms in computer graphics that are often used interchangeably, but are
actually very different: materials and maps.
• Materials – materials contain all the surface attributes applied to the objects in the
scene.
• Maps – maps are patterns within a material; color, texture, or transparency, for
example.
So when you hear someone in a tutorial say that they assigned a map to an object’s
surface in 3ds Max, they are actually assigning a material that contains a map pattern.
The terminology can sometimes be confusing to new 3ds Max users, so it’s an important
difference to understand when learning about materials.
In the next sections, you will learn about the Slate Material Editor and the process of creating
materials and assigning them to objects in the scene.

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11.2 Slate Material Editor

Let’s begin by looking at the Slate Material Editor where materials are created in 3ds Max
(see Figure 11-1).

FIG 11-1 Slate Material Editor with materials and maps.

The default Slate Material Editor in 3ds Max provides you with a graphical interface for
building materials that will be applied to objects in the current scene. As you can see from
the example shown in the image above, there are blue colored nodes representing materials
and green colored nodes representing maps. Maps can be “wired” to the various surface
attributes of a material and materials can be wired to other materials for added complexity
and layering. The depth and complexity is primarily limited by your knowledge and
imagination.
New and existing materials can be accessed in the left-hand pane called Material/Map
Browser and the current active material can be edited in the right-hand pane. A Navigator
panel provides you with an overview of the material layout and allows you to navigate
through the various materials at the upper right corner of the Slate Material Editor dialog
(see Figure 11-2).
Slate editor material nodes and map nodes have sockets along the sides to enable
wiring; input sockets are on the left and output sockets are on the right. Wiring can be
accomplished by dragging from one socket to another. At the top of the material and map
nodes are sample windows for previewing the material or map (see Figure 11-3).

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FIG 11-2 Material/Map Browser, Navigator, and Editor pane are used to create materials.

FIG 11-3 Material and map

nodes.
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 Materials

Let’s have a look around the Slate Material Editor to learn some basic navigation techniques.

Exercise 11-2-1 Introduction to the Slate Material Editor

1. Open the 3ds Max file from the website called Exercise 11-2-1_Slate01.max and save it
to an appropriate folder on your hard drive with a new incremental name. The scene
contains three primitive objects with basic materials assigned to each. In the main
toolbar, click the Material Editor button to open the Slate Material Editor. The three
material nodes assigned to the objects in the scene are visible and a white border
around the sample window indicates that they are “hot” materials; editing a material
will automatically update the materials in the shaded viewports (see Figure 11-4).

FIG 11-4 The Slate Material

Editor contains the current scene
materials.

2. In the Slate Material Editor, View1, double-click the header of the Red material node to
open the editing parameters in the editing pane on the right. A dashed line appears
around the material node to indicate it is active in the editing pane (see Figure 11-5).
This is an Arch & Design material with the Diffuse Color swatch set to bright red.

FIG 11-5 Double-clicking a

material header makes it active
in the editing pane.

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3. Left-click the Diffuse Color swatch to access the Color Selector dialog, and then click
and drag the Value slider to the left to darken the value of the red color. You will see
the color swatch update and the red box in the shaded viewport will also become
darker (see Figure 11-6). Close the Color Selector dialog.

Note
The Color Selector provides you with several methods of editing color; the Hue panel
at the left, the RGB (red, green, blue) sliders at top right, and the HSV (hue, saturation,
value) sliders at the bottom right. The three editing methods are interlinked and
changing values using one method will affect the other values automatically. This
provides you with a variety of options for adjusting color in 3ds Max.

FIG 11-6 Editing the Diffuse

Color swatch affects the
swatch and the material in the
viewports.

4. In the Material/Map Browser pane, scroll down to the Scene Materials rollout.
Double-click on Green (Arch & Design) in the rollout to center that material node in
the view pane and then double-click on the header to open its parameters in the
edit pane (see Figure 11-7). In large 3ds Max scenes with many materials, this method
allows you to locate materials that are not currently visible in the view pane.

FIG 11-7 Materials are centered

in the view pane when double-
clicked in the Scene Materials
rollout.

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5. Right-click the header for the active Green material and then choose Open Preview
Window in the menu. This opens a resizable sample window dialog for a more
detailed view of the material applied to the sample sphere (see Figure 11-8).

FIG 11-8 Material Preview

Windows can be expanded for
easier editing.

6. Click and drag a corner of the Preview Window to make it larger. In the edit pane,
Reflection area, enter 0.5 in the Glossiness numeric field and then press Enter. The
results are more apparent in the Preview Window than in the small sample window
of the material node (see Figure 11-9).

FIG 11-9 Resize the Preview

Window for easier editing.

7. Close the Slate Material Editor dialog and then save the 3ds Max scene. Learning to
navigate the Slate Material Editor smoothly requires a little practice, but this node-
based environment is a powerful feature in 3ds Max.
In Section 11.3, you will create three more realistic Arch & Design materials in the Slate
Material Editor and then assign the materials to three objects in another 3ds Max scene.

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11.3 Create and Assign Materials

Each object in a 3ds Max scene needs materials to convince the viewer of its physical
composition: steel, rubber, wood, or plastic are examples of a few possibilities. In this
section, you will use the Arch & Design material to create materials with color, patterns, and
transparency to learn the process of building materials from a variety of parameters and
components.
You’ll practice navigating the Slate Material Editor, create materials, and then assign the
materials to objects in the scene that you created in previous exercises. The materials will be
as follows:
• Flat beige paint – the paint material will have beige color and no glossiness or reflectivity.
• Glossy green plastic – the plastic will be dark green and moderately shiny.
• Red clear plastic – the light red plastic will be semitransparent.
Once the materials are created, you will learn to assign materials to many objects in the
scene at once and then to assign materials individually to objects.

Exercise 11-3-1 Create Materials

1. Open the 3ds Max file from the website called Exercise 11-3-1_Materials01.max
and save it to an appropriate folder on your hard drive with a new incremental
name. This is the scene that you applied lighting to in Chapter 10. In the main
toolbar, click the Material Editor button to open the Slate Material Editor dialog.
Right-click in the view pane, expand Materials menu, mental ray menu, and
choose Arch & Design material (see Figure 11-10). This opens a new material node in
the view pane.

FIG 11-10 Create a new Arch

& Design material node in the
view pane.

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2. In the main toolbar, click the Select by Name button to open the Select From Scene
dialog. Highlight the three objects: Room001, Sphere001, and Table001 in the list
(see Figure 11-11). Click OK to select the objects.

FIG 11-11 Use Select by Name

to select the 3D objects in the
scene.

3. In the Slate Material Editor dialog, view pane, right-click the header of the new
material and then choose Assign Material to Selection in the menu (see Figure 11-12).
This assigns the material to all of the selected objects at once.

FIG 11-12 Materials can be

assigned to many selected
objects at once.

4. In the view pane, double-click the material node header to open it in the edit pane.
Rename the material Paint beige in the name field at the top of the pane. In the
Main material parameters rollout, click the Diffuse Color swatch to open the Color
Selector and then change the color to beige (use your judgment to determine
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the color). Click OK in the Colors Selector to finalize the color change. In the edit
pane, Reflection area, enter 0.0 in the Reflectivity and Glossiness numeric fields
(see Figure 11-13). This creates a flat material with no shininess or reflectivity.

FIG 11-13 Create a flat, beige

paint material.

5. Hold the Shift key and drag the material node to the right to clone it as a copy. Double-
click the new material node header to open it in the editing pane and then change the
name to Plastic green glossy in the name field. Click the Diffuse Color swatch and, in
the Color Selector, change the color to dark green. In the Reflection area, enter 0.3 in the
Reflectivity numeric field and enter 0.5 in the Glossiness numeric field. Right-click on
the material editor and choose Open Preview Window, and then resize the new sample
window for a better view of the level of glossiness on the material (see Figure 11-14).

FIG 11-14 Create a green glossy

plastic material.

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6. Use the Shift key to clone this material, double-click the material header to open
it in the editing pane, and then rename it to Plastic red clear. In the Templates
rollout, click the (Select a template) drop-down list and then choose Translucent
Plastic Film, Light blur in the list. The template changes many of the material
attributes to simulate transparent red plastic and provides a description of
the material (see Figure 11-15). Edit the Diffuse Color swatch to create a light red
color. Material templates found in the Arch & Design material can change many
parameters and are sometimes useful to establish a starting point for a particular
material.

Note
By naming a material “Plastic red clear” instead of clear red plastic, the material
will be easier to find in long lists of materials because all of the plastic will be
grouped together, for example.

FIG 11-15 Create a transparent red plastic using an Arch & Design material template.

7. Close the Slate Material Editor and then use the keyboard shortcut Ctrl+S to save the
file; it should already be called Exercise 11-3-1_Materials02.max. You have created
two new materials, glossy green plastic and transparent red plastic, but have not
assigned those materials to any objects in the scene.
Let’s learn to assign a map as a pattern within a material to alter the color of the Plastic
green glossy material in Exercise 11-3-2.

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Exercise 11-3-2 Maps

1. Open the 3ds Max file that you created in the previous exercise called Exercise 11-
3-1_Materials02.max and save it to an appropriate folder on your hard drive with
a new incremental name. Open the Slate Material Editor if it isn’t open already. In
the view pane, double-click the header for Plastic green glossy material to open its
attributes in the editing pane. In the Main material parameters rollout, Diffuse area,
left-click the gray map shortcut button just to the right of the Diffuse Color swatch
to open the Material/Map Browser dialog. In the Material/Map Browser dialog,
Standard rollout, double-click Checker (see Figure 11-16). The procedural Checker map
overrides the Diffuse Color swatch with a black and white checker pattern.

FIG 11-16 Open the Checker

map in the Diffuse Color.

2. In the view pane, right-click on the material header and then choose Open Preview
Window to see that the sample sphere is now colored by a checker pattern. Pan
in the view pane so that you can see the entire material and you will see that the
Checker map is now wired from its output to the input of the Diffuse Color Map slot
of the material. Double-click on the Checker map header to open its parameters in
the editing pane (see Figure 11-17).

FIG 11-17 A Checker map

overrides the Diffuse Color with a
black and white checker pattern.

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3. In the editing pane, Checker Parameters rollout, edit the Black Checker Color swatch
to make it a dark green and then edit the White Checker Color swatch to a lighter
green color (see Figure 11-18). The checker pattern is now providing 100% of the
Diffuse material color.

FIG 11-18 The Diffuse Color is now provided by a Checker map.

4. Close the Slate Material Editor and save the file. It should already be called Exercise
11-3-1_Materials03.max. Simple materials can have solid colors, but much more
complex materials can be created using maps to define patterns within the material.
You have created new materials in the Slate Material Editor, but have not assigned the
materials to objects in the scene. In Exercise 11-3-3, you will learn to “wire” the output
of the new materials directly to objects in the viewports to assign the materials to the
objects.

Exercise 11-3-3 Assigning Materials to Scene Objects

1. Open the 3ds Max scene from the previous exercise called Exercise 11-3-1_
Materials03.max and save it to an appropriate folder on your hard drive with a new
incremental name. Open the Slate Material Editor and double-click the header for
Plastic green glossy material node to activate it. Make sure that you can see the
cylinder and the sphere in the Perspective viewport. Left-click and drag a red wire
from the output of the material to the cylinder in the Perspective viewport until
you see this cursor change to an arrow and rectangle (see Figure 11-19). Release the
left mouse button and the material will be assigned to the cylinder. If you have
not closed the file from the previous Exercise 11-3-2, you might still have all three
objects selected, and in this case select Assign to Object in the Assign Material
dialog box that should appear once you drop the material onto the cylinder.
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 Getting Started in 3D with 3ds Max

FIG 11-19 Materials can be

assigned to individual objects by
wiring the material output to the
object in a viewport.

2. Pan in the view pane to see the Plastic red clear material node. In the view pane,
click and drag from the output to the sphere in the Perspective viewport. Release
the left mouse button to assign the materials to the sphere (see Figure 11-20). The
material does not have to be currently active in the editing pane to be assigned to
the objects in the scene. The white border around the sample window indicates the
material is “hot” in the scene.

FIG 11-20 Materials do not

need to be active to wire the
material to objects in the
viewports.

3. The room in the scene now has beige paint material, the sphere has clear red plastic,
and the cylinder has green Checker material assigned. In the view pane, navigate to
the Checker map node and double-click to activate it. Right-click on the map header
and then choose Show Shaded Material in Viewport from the menu (see Figure 11-21).
This displays the map on the assigned object in the shaded viewport (see Figure 11-22).
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FIG 11-21 Enable Show Shaded Material in viewports for the Checker map.

FIG 11-22 A representation of maps can be viewed in shaded viewports.

4. Close the Slate Material Editor and save the file. It should already be called Exercise
11-3-1_Materials04.max. The Checker map pattern has been assigned to the Diffuse
Color slot of a material and the map has been displayed in the viewport. However,
the size of the checker pattern on the cylinder may need adjusting.

In Chapter 12, you will learn to apply mapping coordinates to patterns used in materials to
resize the pattern in the viewports and in the rendered images.
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 CHAPTER 12

Mapping Coordinates

Mapping coordinates are information stored in an object’s vertices that describes how the
maps or patterns used in the materials applied to the object are projected onto the surface.
The most common method of applying specific mapping coordinates is using the UVW Map
modifier, which has adjustable parameters for projecting the maps onto object’s surfaces.
Some of the topics covered in this chapter are as follows:
• Mapping coordinate concepts – Learn how mapping coordinates can affect the
positioning and sizing of maps used in materials on 3D surfaces.
• UVW map modifier – Learn some of the options available for projecting maps onto
3D surfaces.
• Sizing maps correctly – Learn the easy steps to scale maps for real-world patterns in
3ds Max.
Let’s begin with some of the basic concepts of how mapping coordinates function in
3ds Max.

12.1 Mapping Coordinate Concepts

When you apply materials that contain specific maps or patterns for representing real-
world materials, it is important to size and position the maps or patterns so that they are
convincing to the viewer. For example, if you apply a material with a brick pattern where the

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bricks are represented as 4' × 2' in size, the resulting image is cartoonish and unbelievable
(see Figure 12-1). You need to apply proper mapping coordinates to represent real-world
bricks, unless otherwise specified by the type of presentation.

FIG 12-1 Improperly sized brick is not convincing to the viewer.

Maps used in materials in 3ds Max often represent a specific area of a pattern. For example, a
Tiles map has a default setting of four tiles across and four tiles down (see Figure 12-2).

FIG 12-2 The default Tiles map

in 3ds Max.

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 Mapping Coordinates

When applied to a 3D surface this default pattern must be sized by editing mapping
coordinates so that each tile is represented in real-world sizes. The UVW Map modifier helps
you project the map correctly onto a surface.
Let’s learn to control mapping coordinates with the UVW Map modifier.

12.2 UVW Map Modifier

The UVW Map modifier projects a material’s maps or patterns onto 3D surfaces with
adjustments for placement and size.
Primitive 3D objects created in 3ds Max usually have general mapping coordinates applied
so that you can view maps in the shaded viewports and in a rendered image, providing you
with a starting point for how the material will look (see Figure 12-3). However, these general
mapping coordinates almost never provide an acceptable pattern.

FIG 12-3 A newly created a cylinder primitive has mapping coordinates enabled.

Most of the mapping coordinates you define with the UVW Map modifier will provide you
with sufficient control to resize and reposition the patterns on the object’s surface. The UVW
Map modifier projects one repetition of the map you are using onto the surface, and then a
process called “tiling” repeats the pattern horizontally and vertically over the entire surface.
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 Getting Started in 3D with 3ds Max

Exercise 12-2-1 Applying UVW Map Modifier

1. Open the 3ds Max file from the website called Exercise 12-2-1_Mapping01.max
and save it to an appropriate folder on your hard drive with a new incremental
name. This is the scene from the Chapter 11 containing a room with a cylinder and
the sphere. The room has a beige paint material with no pattern, the sphere has a
clear plastic material with no pattern, and the cylinder has a green plastic material
with a checker pattern. The checker pattern is visible in the viewport because the
cylinder has general mapping coordinates. Let’s swap the materials on the room and
the cylinder.
2. In the main toolbar, click the Material Editor button to open the Slate Material Editor.
Click and drag from the output of the Plastic green glossy material node to the room in
the Perspective viewport. Click and drag from the output of the Paint beige material
node to the cylinder in the Perspective viewport (see Figure 12-4). One repetition of
the checker pattern is now shown on each surface of the room based on general
FIG 12-4 Swap the materials on
mapping coordinates assigned during creation. Close the Slate Material Editor.
the cylinder and the room.

3. Select the Room001 object in the scene. In the Modify panel, Modifier list, choose
UVW Map; you can scroll down in the list or begin typing the modifier name to find
it (see Figure 12-5). By default, the UVW Map modifier is projecting the checker pattern
along the Local z-axis of the room, zoom out in the Perspective viewport so that you
can see the whole room and you will notice the full checker on the floor and ceiling,
but not on the walls. The default mapping mode is planar, as seen from the orange
gizmo in the viewports, with this gizmo fitting the extent of the room as seen from
the Top viewport (see Figure 12-6). The checker pattern is “streaked” on the vertical
walls.
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FIG 12-5 Apply a UVW Map modifier to the room.

FIG 12-6 Default projection is planar along the Local z-axis.

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 Getting Started in 3D with 3ds Max

4. In the Modify panel, Parameters rollout, Mapping area, choose the Box radio button.
This uses a box-shaped gizmo to project one repetition of the checker pattern in
six directions (see Figure 12-7). A general rule is to use the mapping mode that most
closely represents the object on which the UVW Map modifier has been applied.
FIG 12-7 Box mapping mode The orange projection gizmo is now a box and one repetition of the checker pattern
projects the checker pattern in appears on each wall and floor surface.
six directions.

5. Save the 3ds Max file. It should already be called Exercise 12-2-1_Mapping02.max.
By applying the UVW Map modifier to an object you override the general mapping
coordinates assigned at creation and are provided with controls for projecting,
positioning, and sizing the patterns within the material assigned to the object.

Let’s learn to correctly size a pattern to represent real-world units.

12.3 Sizing Maps Correctly

Sizing maps correctly for the majority of your material maps and patterns is a simple process
consisting of four steps:
• Analyze the map pattern
• Determine the size of the area covered by one repetition of the map pattern
• Apply a UVW Map modifier
• Adjust the size of the projected gizmo to match the size of the area covered by one repetition
of the map pattern
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 Mapping Coordinates

You have already performed step 3 by applying the UVW Map modifier to the room. Let’s
perform an exercise where the client has requested that each individual “check” in the
pattern will be 1' × 1' in this situation.

Exercise 12-3-1 Create Convincing Tiles

1. Open the 3ds Max file called Exercise 12-2-1_Mapping02.max and save it to an
appropriate folder on your hard drive with a new incremental name. The UVW Map
modifier gizmo is set to Box mode and is sized, by default, to project one repetition
of the checker pattern (four checks) per side, with the size of each pattern based on
the dimensions of the room (see Figure 12-8).

FIG 12-8 The default UVW Map gizmo size is based on the room dimensions.

2. Open the Slate Material Editor, and select the Checker map node linked to the
Plastic green glossy material’s Diffuse Color Map input node. Let’s analyze the map.
Right-click on the Checker map header, and then choose Open Preview in the menu
(see Figure 12-9). Click and drag a corner of the Preview Window to make it a little
larger. You can see that the map consists of 4 square checks, alternating light green
and dark green in this case.
3. The next step is to determine the size of the area you want to cover by one repetition
of the map. If the client wants 1' × 1' checks, then the size of the area covered by this
map is 2' × 2'. Make note of the size of the area covered (see Figure 12-10).
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 Getting Started in 3D with 3ds Max

FIG 12-9 Analyze the map by opening it in a Preview Window.

FIG 12-10 The size of the area covered by one repetition of this map is 2' × 2'.

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4. The third step in the process, applying a UVW Map modifier, has already been
performed. The last step is to adjust the size of the UVW Map modifier gizmo to
match the size of the area covered by one repetition of the map. Close the Slate
Material Editor. In the Modify panel, Parameters rollout, Mapping area, enter 2' in
the length, width, and height numeric fields, and then press Enter. The orange UVW
Map gizmo will become a 2' × 2' × 2' cube and will project the checker map on all
six directions. 3ds Max then “tiles” the checker pattern horizontally and vertically to
cover the surfaces (see Figure 12-11).

FIG 12-11 Entering the size of the area covered into the UVW Map gizmo sizes the checks correctly.

5. Save the file. It should already be called Exercise 12-2-1_Mapping03.max. Following

these four simple steps will allow you to correctly size many maps in day-to-day
production.

You have learned to analyze a map pattern by looking at it in a Preview Window and
determining the size of each element in the pattern, and then calculating the size of the area
covered by one repetition of the entire map. The UVW Map gizmo is then adjusted in size to
match the area of the size needed to project it correctly onto the surfaces.
Unless you are developing a fantasy world that has absolutely no basis in reality, you will
usually need to size the map patterns in your materials so that they are convincing to the
viewer. As you have learned in this chapter, the process is quite simple for a majority of
day-to-day materials you may encounter.
Take some time to open a new scene in 3ds Max, create a few simple materials with patterns
using some of the built-in procedural maps or image maps, and then experiment with the
steps you have learned in this chapter for sizing the patterns appropriately.
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 CHAPTER 13

Camera Basics

Cameras in 3ds Max are either of two types: Target or Free. The concept is very similar to the
Target and Free lights you created in Chapter 10; Target cameras are usually fairly stationary
and pointed at a particular object or in a particular direction, whereas Free cameras are best
for animating freely along a path.
Some of the topics covered in this chapter are as follows:
• Camera concepts – 3ds Max cameras are based on traditional 35 mm
photography.
• Target and Free cameras – Learn to create and transform Target cameras and Free
cameras.
• Camera parameters – Learn to adjust the focal length and field of view (FOV).
• Camera viewport controls – Turn a Perspective viewport into a Camera viewport and
learn about the new navigation tools specific to this viewport.
• Camera principles – Learn some of the basic principles of traditional camera placement
in scenes.
Let’s begin with some of the basic concepts of creating and adjusting cameras in
3ds Max.

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 Getting Started in 3D with 3ds Max

13.1 Camera Concepts

Cameras in 3ds Max are based on traditional 35 mm photography. For example, a “normal”
lens for a 35 mm camera is considered to have a 50 mm focal length. This creates a
perspective that most closely represents what humans see from one eye. Focal lengths that
are less than 50 mm are considered to be wide-angle, whereas focal lengths greater than
50 mm are telephoto lenses.

Note
The focal length of digital still cameras and video cameras do not correspond directly
to 3ds Max cameras. The film in a traditional camera is measured 35 mm diagonally,
which required a 50 mm focal length lens to cover the film while maintaining normal
perspective. The new digital sensors in most cameras today are much smaller, making a
50 mm lens function as a telephoto lens.

Cameras are used in 3ds Max to provide the viewer with a convincing composition that helps
maintain the viewer’s focus on the message you are presenting. The psychological effects of
even slight changes in perspective and FOV of cameras can have a major effect on how the
viewer perceives the presentation.
When you are positioning cameras in 3ds Max, it is important to understand that, by default,
what you see in the Camera viewport is not necessarily what the camera will render in the
final image. Although it is not part of camera parameters, you’ll learn to enable Safe Frames
that matches the viewport aspect ratio to the image output ratio when rendered, providing
you with an accurate Camera viewport. This is an important step to make sure that “what you
see is what you get” when rendering your scene.
As you view photography or watch videos and films, you should focus on how the artist has
composed the camera and what effect it has on your perception of the scene. You’ll learn
about the concept of “rule-of-thirds,” imaginary lines dividing the camera view in thirds both
vertically and horizontally. The main focal point of your presentation should then be placed
at one of the intersections of the rule-of-thirds lines for major impact. Rule-of-thirds has
been used in all forms of art for many, many years.
Camera shots are also a composition tool that enables you to focus the viewer on
appropriate areas of your presentation. For example, a wide-angle camera shot introduces
the viewer to the overall scene, whereas a telephoto shot focuses the viewer’s attention on
a much more specific point of action. Again, these are traditional tools used by artists in all
media.
Let’s begin by learning to create Target and Free cameras.

13.2 Target and Free Cameras

Target cameras, like Target lights, require a click and drag action, creating the camera with
the first click and then dragging the mouse to position the target, which is created when
you release the mouse button. This provides you with the ability to move the camera in

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the scene while maintaining a line of sight to the target. Of course, the target may also be
moved to change the point of view seen by the camera.
Free cameras are created with a single click in a viewport and can be moved without
affecting the rotation of the camera; they can also be rotated freely in space. This makes Free
cameras ideal for animating along a path in 3ds Max without the need to be concerned with
moving a target as well.
Let’s begin by creating both a Target camera and a Free camera in a 3ds Max scene.

Exercise 13-2-1 Create a Target and Free Camera

1. Open the 3ds Max file from the website called Exercise 13-2-1_Cameras01.max and
save it to an appropriate folder on your hard drive with a new incremental name.
The scene contains few buildings, trees, a trailer, and a character to introduce you to
creation and adjustment of cameras (see Figure 13-1).

FIG 13-1 A San Francisco street scene.

2. Right-click in the Top viewport to activate it; in the Create panel, Cameras category,
Object Type rollout, click the Target button. In the Top viewport, click between
the lower pair of trees (salmon colored) and then drag to the right side of the
trailer (green colored). Release the left mouse button to create the camera’s target
(see Figure 13-2).

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 Getting Started in 3D with 3ds Max

FIG 13-2 Create a Target camera in the Top viewport.

3. Right-click in the Perspective viewport to activate it and then press the letter C, the
keyboard shortcut for the currently selected camera’s Camera001 viewport. The
Camera001 viewport now shows what the default camera sees and, because the
camera and target were created on the current work plane in the Top viewport, the
scene’s ground plane is at eye level (see Figure 13-3). You will adjust the camera later.

FIG 13-3 A camera created in the Top viewport is at ground level.

4. Right-click in the Front viewport to activate it. In the Create panel, Cameras category,
Object Type rollout, click the Free button. In the Front viewport, click near the top of
the green trailer, above the current camera. This creates a Free camera facing in the
negative z-axis direction of the viewport.
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5. Right-click in the Camera001 viewport and then press the C keyboard shortcut. The
Camera002 viewport (currently selected camera) shows the top of the trailer and the
trees beyond (see Figure 13-4).

FIG 13-4 A Free camera requires

only a single click to create the
camera.

6. In the main toolbar, click the Select Object button, and then in the Front viewport,
click in an empty space to deselect all cameras. Press the C keyboard shortcut and
you will be presented with the Select Camera dialog listing the cameras in your
scene (see Figure 13-5). Double-click Camera001 in the list to change from the Front
viewport to the Camera001 viewport.

FIG 13-5 Keyboard shortcut C

opens the Select Camera dialog
when multiple cameras are in
the scene and none are currently
selected.

7. Save the file. It should already be called Exercise 13-2-1_Cameras02.max. You now
have a scene with two cameras and two Camera viewports, but neither Camera
viewport is particularly useful without further adjustment of camera parameters.

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 Getting Started in 3D with 3ds Max

Creating cameras, both Target and Free cameras, is a simple process in 3ds Max, but cameras
usually require parameter changes and transformations to create interesting views of your
3ds Max scene.
Let’s learn about some of those camera parameters in Section 13.3.

13.3 Camera Parameters

The two camera parameters you will be primarily concerned with in 3ds Max are as follows:
• Lens (focal length)
• FOV (field of view)
The numeric values for the Lens parameter and the FOV parameter are interlinked so that
when you change one, the other also changes.
The Lens parameter adjusts the focal length of the camera based on 35 mm photography
and is probably the most familiar one to users. The FOV is the horizontal angle covered by
the current camera view and is especially useful for forensic professionals where real-world
cameras must be matched accurately.
The Lens focal length is set to 43.456 mm to approximate human sight with one eye closed.
You can enter any new value for the Lens numeric field, or you can choose preset buttons
ranging from a wide-angle 15 mm stock lens for 35 mm photography to a 200 mm telephoto
lens. The smaller the focal length value is, the wider the FOV becomes. Both Target cameras
and Free cameras share the same parameters.
Let’s adjust the Lens focal length for the cameras you have created in the San Francisco
street scene.

Exercise 13-3-1 Adjust Basic Camera Parameters

1. Open the 3ds Max file from the website called Exercise 13-2-1_Camera02.max and
save it to an appropriate folder on your hard drive with a new incremental name.
Right-click in the Camera002 viewport to activate it. Press the keyboard shortcut H to
open the Select From Scene dialog and then double-click on Camera002 in the list (see
Figure 13-6).This is the Free camera, so there is no corresponding target object in the list.

FIG 13-6 Select Camera002 to

edit its parameters.
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2. In the Modify panel, Parameters rollout, Stock Lenses area, click on the 28 mm
button and you will see the Camera002 viewport change to a wider view. Click the
15 mm button and you will see even more of the scene in the Camera002 viewport
(see Figure 13-7).

FIG 13-7 Change the Free

camera to a 15 mm focal length.

3. Use Select From Scene to select Camera001. In the Modify panel, Parameters rollout,
Stock Lenses area, click the 15 mm button again. The Target camera, with the same
15 mm focal length, shows more of the scene (your results may be slightly different)
than the Free camera (see Figure 13-8). The reason for the difference is that the Target
camera is further away from the trailer, so the camera with the same FOV shows
more of the scene.

FIG 13-8 Cameras of equal

focal length are affected by the
distance from objects in the
scene.
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 Getting Started in 3D with 3ds Max

4. Save the file. It should already be called Exercise 13-2-1_Cameras03.max. Modifying

the focal length of cameras is a small, but important, part of creating effective
camera views in 3ds Max.
In Section 13.4, you’ll learn to adjust camera views by navigating the position and
orientation of the cameras using the camera navigation buttons that appear when a
Camera viewport is active.

13.4 Camera Viewport Controls

Once a viewport has been set for a camera in the scene, the viewport navigation buttons at
the lower right of the 3ds Max display change to represent terminology used when adjusting
camera settings and position in the real world. You can, of course, always move and rotate
cameras as you would do with any other object in 3ds Max, but the camera navigation
buttons can provide slightly different controls such as Dolly Camera, Truck Camera, and
Roll Camera. These terms are commonly used in film and video to describe basic camera
transformations.
In Exercise 13-4-1, you will perform some hands-on camera adjustments to familiarize
yourself with the navigation tools.

Exercise 13-4-1 Navigate a Camera Viewport

1. Open the 3ds Max file from the previous exercise called Exercise 13-2-1_Camera03.
max and save it to an appropriate folder on your hard drive with a new incremental
name. Right-click in the Camera001 viewport (the Target camera) to activate it and
you will see new navigation buttons at the lower right corner of the 3ds Max display
(see Figure 13-9).

FIG 13-9 When a Camera

viewport is active, the
navigation buttons represent
camera transformations.

2. In the Camera001 viewport, right-click on Wireframe in the viewport label and then
choose Shaded from the menu (see Figure 13-10). Click the Truck Camera button,
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and then, in the Camera001 viewport, click and drag the “hand” cursor downward
until the trailer wheel is near the bottom of the viewport (see Figure 13-11). The Truck
Camera command moves both the camera and its target, so that the perspective
does not change.

FIG 13-10 Change the Camera001 viewport from Wireframe to Shaded.

FIG 13-11 Move a Target camera and its target simultaneously with Truck Camera.

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3. Click the Orbit Camera button, and then, in the Camera001 viewport, click and drag
to the right until the rear of the trailer is near the character. Orbit Camera moves the
camera freely, but leaves the target in place (see Figure 13-12). Orbiting the camera
changes the scene perspective.

FIG 13-12 Move only the Target camera and not the target with Orbit Camera.

4. Click the Dolly Camera button, and then, in the Camera001 viewport, click and drag
downward until the entire trailer comes into view (see Figure 13-13). Dolly Camera
moves a Target camera toward and away from its target along the line of sight.

FIG 13-13 Move a Target camera along the line of sight. The target does not move.

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5. Click the FOV button and then, in the Camera001 viewport, click and drag
downward slightly. FOV changes the FOV and Lens focal length simultaneously for a
wider angle or more telephoto lens (see Figure 13-14).

FIG 13-14 Field of view changes the Lens focal length and the FOV settings of a camera.

6. Click on the Perspective button and then click and drag upward in the Camera001
viewport. Perspective changes the FOV and dollies the camera along its line of sight
to change the perspective and position simultaneously (see Figure 13-15).

FIG 13-15 Use Perspective to Dolly and change field of view simultaneously.

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7. Click the Roll Camera button and then click and drag slightly to the right in the
Camera001 viewport. While still holding the left mouse button down, click the right
mouse button to cancel the operation (see Figure 13-16). Rolling a camera rotates
it around the line of sight. Tilting the horizon of an image is usually done only in
special cases. Use the Ctrl+Z keyboard shortcut to undo the camera roll if you didn’t
cancel it in time.

FIG 13-16 Roll Camera rotates a camera around its line of sight.

8. Activate the Camera002 viewport and then try the navigation buttons for the Free
camera. The commands function similarly for each camera type. Save the file. It
should already be called Exercise 13-2-1_Cameras04.max. The other two navigation
buttons, Zoom Extents All Selected and Maximize Viewport Toggle, have the same
functions as in other viewports and are not camera specific navigation tools.

Again, although it is possible to transform cameras using the Select and Move and the Select
and Rotate commands, it is often useful to work directly in the Camera viewport with the
special navigation tools for the best result.
In Section 13.5, you’ll learn some of the principles of adjusting the composition of your
camera views.

13.5 Camera Principles

The basic technical operation of cameras in 3ds Max is relatively simple. The challenge
comes in applying traditional cinema and photography principles of camera placement for
effective scene composition.
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You will learn about the 3ds Max option of Safe Frames. What you see in a 3ds Max viewport
can be very different from what the rendered camera image will contain. Safe Frames
matches the aspect ratio of the viewport with the rendered output so that “what you see is
what you get.” Figure 13-17 shows a comparison of the rendered image and the viewports for
Camera002. The rendered image shows much more sky and foreground and some leaves at
the upper right corner.

FIG 13-17 The rendered output on the left does not match the Camera002 viewport scene on the right.

Also in this section, you’ll learn some of the basic principles of traditional scene composition
including the following:
• Rule-of-thirds – The rule-of-thirds divides a scene into thirds horizontally and vertically
with imaginary lines. The main topic of the scene is then placed at one of the
intersections of the lines for the greatest impact on the viewer.
• Camera shots – High and low camera viewing angles along with wide-angle and
telephoto FOV can greatly affect the emotional impact of the scene on the viewer.
Let’s look at the examples of images that represent some of the principles of camera
composition.

Safe Frames
Enabling Safe Frames in 3ds Max Camera viewports crops the viewport and changes the
aspect ratio to match the rendered output. This ensures that what you see in the viewport is
what will be rendered in the final image. Let’s turn Safe Frames on.

Exercise 13-5-1 Enable Safe Frames

1. Open the 3ds Max scene from the previous exercise called Exercise 13-2-1_
Cameras04.max and save it to an appropriate folder on your hard drive with a new
incremental name. Right-click the Camera001 viewport to activate it.

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2. Click on the Camera001 viewport label and then choose Show Safe Frames in the
menu (see Figure 13-18). The scene in Camera001 viewport changes aspect ratio to
match the current default render output settings.

FIG 13-18 Show Safe Frames

can be enabled by clicking on
the Camera001 viewport label.

3. Click in the Camera002 viewport to activate it and then use the keyboard shortcut
Shift+F to enable Safe Frames for that viewport (see Figure 13-19). Now what you see in
the viewports is what you will get when you render the scene.

FIG 13-19 Safe Frames can

be enabled with the keyboard
shortcut Shift+F.
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4. Save the 3ds Max file. It should be called Exercise 13-2-1_Cameras05.max. Enabling
Safe Frames in your Camera viewports is a good habit to avoid any surprises when
rendering scenes under the pressure of deadlines.

Let’s learn about some camera principles involving shooting angles and distances that
are commonly used in traditional photography and film. Where the main object of your
visualization is positioned in the scene and how close the main object appears to be to the
viewer can have a major impact on the viewer’s perception of the scene.

Rule-of-Thirds
Composing camera views using the age old rule-of-thirds technique devised in early
paintings and continued in photography and film is a method of drawing the viewer’s
attention to specific objects or areas in a scene.
A scene with the main object centered in the camera view is usually perceived as static
and “boring,” it is highly recommended to compose a scene with the main object at the
intersection of rule-of-thirds lines (see Figure 13-20).

FIG 13-20 Rule-of-thirds divides a camera view horizontally and vertically.

In Western societies, people read from left to right and top to bottom, and this natural
process is carried over to viewing images. You can increase the impact of the main subject
of the scene, in this case the trailer, by positioning it at one of the left intersections of the
rule-of-thirds lines. It then becomes one of the first objects the viewer observes, resulting in
a stronger visual impact (see Figure 13-21).
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 Getting Started in 3D with 3ds Max

FIG 13-21 The trailer is placed at the lower left intersection of rule-of-thirds lines.

Camera Shots
There are also several traditional camera shots that are used effectively to control the
viewer’s perception of the scene. Let’s have a look at few of the more commonly used shots
from the film industry:
• Long or establishing shots
• Medium shots
• Close-up shots
• Low-angle shots
• High-angle shots
Long or establishing shots
These shots are used to introduce the viewer to the overall scene or situation by covering
a large area to provide physical context in which the action occurs (see Figure 13-22). The
viewer quickly realizes in this example that the story involves a trailer in an area similar to
San Francisco.

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 Camera Basics

FIG 13-22 A long or

establishing shot provides
physical context for the viewer.

Medium Shots
Medium shots can be accomplished by either moving the camera closer to some of the
subjects in the scene or by zooming in with a higher focal length to draw the viewer’s
attention to greater detail in the scene (see Figure 13-23). The trailer becomes a bigger part of
the scene’s topic and the character comes into play. The architecture plays a lesser role in the
scene. It’s also important to remember to use the rule-of-thirds for all of your shots.

FIG 13-23 Increasing the lens

focal length can be used for a
medium shot.
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 Getting Started in 3D with 3ds Max

Close-Up Shots
A close-up shot focuses the viewer’s attention on specific details, often a character or a piece of
furniture, for example. The mood of the scene changes as the character comes into focus and
the lighting becomes dominated by shade. A close-up can be accomplished by moving the
camera or changing the focal length, or a combination of the two methods (see Figure 13-24).

FIG 13-24 Close-up shots focus

the viewer’s attention on specific
details.

Low-Angle Shots
Low-angle camera shots can be used to make the viewer seem less significant while the
character in the scene becomes more important and powerful (see Figure 13-25).

FIG 13-25 Low-angle shots put

the main character in control.
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High-Angle Shots
High-angle shots, as you might suspect, are used to put the viewer in control of the scene
and minimizing the impact of the character (see Figure 13-26). It’s not a coincidence that in
almost any court of law, the judge sits higher than the jury and the jury sits higher than the
defendant.

FIG 13-26 High-angle shots put

the viewer in control.

There are, of course, many variations of these basic camera shots available for you to
manipulate the viewer’s emotions, to draw the best impact from your presentation. Next
time you watch a movie or television drama, pay closer attention to how camera angles
and camera shots are traditionally used and then adapt those methods to your 3ds Max
visualizations.
Although it is certainly possible to “break the rules,” you must first learn and practice them
before you can know when it is appropriate to introduce nontraditional methods in your
own work.
Using the camera principles that you have learned here can help make your presentations
more meaningful to the viewers, by applying the techniques they used to see in all other
forms of traditional art.

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 CHAPTER 14

Rendering Basics

Creating a 3D scene with objects, lights, and materials in 3ds Max is only a part of the
presentation process. You also need to be able to create images that can be delivered to
clients according to their specific needs.
The rendering engine of choice for this book is the mental ray renderer engine; a powerful
and efficient method of calculating the effects of lighting and materials on 3D surfaces,
rendering them to still images or animations. Mental ray offers a wide variety of material
types, lighting options, and special effects that allow you to render quality images in a cost-
effective amount of time.
Scenes that you have rendered in previous chapters, specifically in Chapters 11 and 12 on
materials and mapping, used the mental ray renderer to calculate the effects of direct lights
from Chapter 10. In this Chapter 14, you’ll prepare 3ds Max to render still images of a simple
scene from the previous chapters to learn the concepts of choosing an image resolution
(size), a file type, and an output location for saving the files.
Some of the topics covered in this chapter are as follows:
• Mental ray concepts
• Render Setup
• Render Frame window
• Render files

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The Render Setup dialog in 3ds Max is used to set the parameters for the output images.
Here you’ll learn a few basic options necessary for creating and saving rendered images that
can be distributed to your clients.
You’ll learn about the Render Frame window where you can adjust a variety of rendering
options as you preview the rendering process and finished image.
You’ll also learn about the commonly used still image file types such as png, exr, and jpg, just
to name a few options available in 3ds Max.
Let’s learn how to render with mental ray in 3ds Max.

14.1 Mental Ray Concepts

Mental ray is the “behind the scenes” mathematical calculations engine that processes your
3ds Max 3D scenes into a 2D image that can be viewed by anyone with a computer, or
printed for off-line viewing.
Mental ray is a product of Mental Images, a division of the graphics card manufacturer,
NVIDIA. Mental ray has been included in 3ds Max for a number of years and is constantly
being developed and improved to make it easier for you to generate high-quality, efficient
rendered images in a reasonable amount of time.
Mental ray works well with the photometric lights you learned about in Chapter 10.
Photometric lights, when rendered with mental ray, use real-world calculations for light
intensity and light attenuation to provide you with accurate renderings. Mental ray
always calculates direct light, but it can also be used to calculate global illumination of
the bouncing of light from surface to surface such as sunlight reflected from a white
wall onto other objects, essentially multiplying the light sources to simulate real-world
conditions.
This chapter will focus on the basics of setting up mental ray for rendering still images to
give you a solid base of knowledge from which you can learn more detail as you produce
rendered images. Without a good grounding in the fundamental process of rendering with
mental ray, the more advanced aspects of rendering will make little, if any, sense and you will
be frustrated by the trial-and-error required to get acceptable rendering results.

14.2 Render Setup

The methods of rendering scenes in 3ds Max presented in this book use mental ray as the
rendering engine of choice for its versatility and quality. In this section, you’ll learn about the
Render Setup dialog where you can choose which rendering engine you prefer and ways
you can adjust the parameters necessary for creating the type of rendered image you need
to deliver to your client.
You will open the file from Chapter 12 containing the room with the cylinder and sphere,
and the basic lighting setup for rendering direct light only. The rendering engine has already
been set to NVIDIA mental ray in the exercise file by using the Assign Renderer rollout in the
Render Setup dialog (see Figure 14-1). Click on the Render Setup button in the main toolbar
and, in the Render Setup dialog, scroll up to make sure that your computer is set to use
NVIDIA mental ray.
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FIG 14-1 Use the Render Setup dialog to set NVIDIA mental ray as your current rendering engine.

In the Render Setup dialog, you will learn the following:

• Time Output
• Output Size
• Render Output
These settings, found in the Common tab of Render Setup, control whether you are
rendering still images or animations, provide adjustable settings for the image resolution,
and determine where and what type of files will be saved.
Let’s make some adjustments in the Render Setup dialog.

Exercise 14-2-1 Render Setup Dialog

1. Open the 3ds Max file from the website called Exercise 14-2-1_Rendering01.max and
save it to an appropriate folder on your hard drive with a new incremental name. In
the main toolbar, click the Render Setup button to open the Render Setup dialog. By
default, the Common tab should be currently displayed. In the Common Parameters
rollout, Time Output area, you will see that the Single radio button is active (see
Figure 14-2). This means that only a single image will be rendered as opposed to a
range of animation frames rendered by the other options.
2. In the Output Size area, the default is Custom output with a width of 640 pixels and
a height of 480 pixels. In the Output Size drop-down list, choose HDTV (video), and
then click on the 1280 × 720 resolution preset button (see Figure 14-3). This changes the
rendering resolution to a moderate HD compatible format. The image will take longer
to render than the 640 × 480 resolution because there are more pixels to calculate.
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 Getting Started in 3D with 3ds Max

FIG 14-2 Time Output Single radio button renders a single still image.

FIG 14-3 Set the output resolution to HDTV 1280 × 720.

Note
The resolution preset is HDTV (video), but this render output is commonly used for
both video animation and still images to fit the 16:9 width to height aspect ratio of
high definition images that are becoming more common in production.

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3. In the Render Setup dialog, scroll up to find the Render Output area, and then click
the Files button to open the Render Output file dialog. In the File name field, enter
render test01 and click the Save as Type drop-down list. Choose PNG Image File
(*.png) in the list to set the file output type (see Figure 14-4). Click the Save button
and then click OK in the PNG Configuration dialog to save the default settings. This
determines the name of the file, the file type, and the location where it will be saved
(the default/render output set by your current project). You’ll learn more about the
individual types of render files later in this chapter.

FIG 14-4 The rendered file

needs a name, a file type, and
a location to save the rendered
image file.

4. In the Render Setup dialog, click the big Render button at the bottom right. Mental
ray will open the Rendered Frame window and reveal the rendered image by FIG 14-5 The rendered image
processing rectangular “buckets” randomly (see Figure 14-5). When the buckets have is shown in the Rendered Frame
finished rendering, the image seen in the Rendered Frame window is also stored as a window and saved as a png file
png file on your hard drive. to the hard drive simultaneously.

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5. Close the Rendered Frame window and the Render Setup dialog, and then save the
file. It should already be called Exercise 14-2-1_Rendering02.max. You have learned
the necessary steps for rendering a scene to a file on the hard drive. The rendered
image on the hard drive has a resolution of 1280 × 720 pixels and can be opened
and viewed by any common graphics software.

You have learned the most important steps in creating a still image that can be shared with
anyone having a compatible computing or viewing device. Use Windows File Explorer to
locate the file called render test01.png on your hard drive, and then double-click it to open it
with the default Windows image viewer program.

14.3 Rendered Frame Window

The Rendered Frame window opens when you render an image, but it can also be
opened from the Rendered Frame Window button in the main toolbar to preview
rendered images.
Options within the Rendered Frame Window dialog allow you to choose the area to render
which is set by default to View, the entire viewport area. You can also choose which viewport
to render and perform file operations on the rendered image.
Below the Rendered Frame window are sliders and numeric fields for adjusting image
parameters, and there is a large Render button for re-rendering the scene once you have
made adjustments. In Exercise 14-3-1, you will learn to enable a global illumination option
called Final Gather to calculate the bounced light component in your scene. You will also
make adjustments to the Image Precision (Antialiasing) slider to speed test renders.

Exercise 14-3-1 Rendered Frame Window Controls

1. Open the 3ds Max file called Exercise 14-2-1_Rendering02.max and save it to an
appropriate folder on your hard drive with a new incremental name. In the main
toolbar, click the Rendered Frame Window button to open the dialog (see Figure 14-6).
You are set to render the entire view area and the Camera001 viewport at the top
of the dialog. In the control panel at the bottom of the Rendered Frame Window,
the Image Precision (Antialiasing) is set to Medium and Final Gather Precision is
disabled.
2. Click the Render button to render the currently active viewport. You will see a File
Exists warning dialog appear, reminding you that you set up 3ds Max to render a file
called render test01.png in the previous exercise, and asking if you want to overwrite
that file (see Figure 14-7). Click the Yes button to overwrite the file. This will re-render
the buckets and save the file over the existing file. When the rendering is finished,
you can see the Rendering Time in the status bar; make note of the time shown in
your display (Author’s Dell, Intel quad core i7, 8g ram: 0:26 seconds).

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FIG 14-6 Rendered Frame window with various options for rendering.

FIG 14-7 Overwrite the existing file and note the rendering time of the image.

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 Getting Started in 3D with 3ds Max

3. In the Rendered Frame window, Final Gather Precision slider, drag the slider one
notch to the right to Draft mode global illumination to calculate the light bouncing
from objects in the scene. In the Trace/Boxes Limits area, enter 2 in the FG Bounces
numeric field (see Figure 14-8). 3ds Max will calculate the direct light, and then two
iterations of bounced light. You’ll learn more about global illumination in Chapter 28.

FIG 14-8 Enable Final Gather global illumination at Draft mode and set it to calculate two bounces.

4. Click the Render button in the Rendered Frame window and then click Yes in the File
Exists dialog. The Rendered Frame window will appear spotted as 3ds Max performs
the Final Gather calculations before the render buckets display the fully rendered
image (see Figure 14-9).

FIG 14-9 Final Gathered

calculations display as spots
before final rendering occurs.

5. The fully rendered scene is noticeably brighter, but has also taken much longer to
calculate the bounced light and render the scene (Author’s machine: 1:43 minutes)
(see Figure 14-10). Rendering the bounced light component of any scene is important
to create a convincing image, but it can slow production during test rendering.
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 Rendering Basics

FIG 14-10 Final Gather

produces a more convincing
image at the expense of longer
rendering times.

6. In the Rendered Frame window, Image Precision (Antialiasing) slider, drag the slider
left one notch to Low. This will reduce the precision of smoothing diagonal edges
during rendering and result in some speckling in the glossiness of the walls. Click the
Render button, and then click Yes in the File Exists dialog. The scene will render more
quickly, thereby restoring some of your production losses (Author’s machine: 0:57
seconds). Because this scene has minimal diagonal details, the noticeable difference
is around the edge of the sphere (see Figure 14-11).

FIG 14-11 Reducing Image

Precision is useful for speeding
test rendering times.

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 Getting Started in 3D with 3ds Max

7. Set the Image Precision (Antialiasing) slider back to the Medium position. Close
the Rendered Frame window and save the file. It should already be called Exercise
14-2-1_Rendering03.max. You have learned to render a more convincing image
by enabling Final Gather global illumination at the cost of the increased rendering
times, and then lowered the Image Precision to regain some productivity during test
renders.

Warning
Remember that you have lowered Image Precision for testing purposes and that you
must restore the original Medium setting or higher for acceptable final renders.

Test rendering scenes in 3ds Max can be a time-consuming process that slows production,
so you need to know some of the steps to balance image quality and rendering time during
the test rendering phases. It is then important during the final render process to use settings
that will maximize rendering quality.

14.4 Rendered Files Types

Rendering and saving files, either still images or animations, are necessary for sharing
progress files and final renderings with your clients.
There are a number of file types available within 3ds Max for saving rendered images. Some
of the more common file types for still images are as follows:
• jpg – jpg or jpeg stores still images with “lossy” compression techniques. The stored files
are small in size, but have reduced quality.
• tif and tga – Similar file types of moderate compression with high quality.
• png – Portable Network Graphics files have high compression and high quality making
them a good choice for 3ds Max users.
• exr – Special still image files containing accessible information for postprocessing.

A good choice of file type for still images (and animations) in 3ds Max is the png file. It
combines high quality with good compression for efficient storage.
Exr files are very large, high-quality files that contain information about color, shadows,
reflections, and so on, as separate “channels” for compositing in Autodesk Composite or
Adobe After Effects.

Note
Animations should be rendered as a sequence of png or exr files; these still images can
then be saved again as animated file types such as avi or mov for delivery to your client.
Sequential still image can be rendered over multiple computers and are easier to edit if
something goes wrong.

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Exercise 14-4-1 Render Still Images

1. Open the 3ds Max file called Exercise 14-2-1_Rendering03.max and save it to an
appropriate folder on your hard drive with a new incremental name. In the main
toolbar, click the Render Setup button. In the Common Parameters rollout, Time
Output area, make sure that the Single radio button is active. In the Render Output
area, click the Files button to open the Render Output File dialog (see Figure 14-12).
3ds Max is already set to render png files, but you will make some changes.

FIG 14-12 Open the Render Output File dialog to make changes to the file being saved.

2. In the File Name field, change the filename to render test02. In the Save as
Type, choose PNG Image File (*.png). Click the Setup button to open the PNG
Configuration dialog. Make sure the RGB 24bit (16.7 million) color option radio
button is chosen and that no other checkboxes appear (see Figure 14-13). Click OK.
Click the Save button in the Render Output File dialog and then click the Render
button in the Render Setup dialog to render the new png file. This configuration
creates high-quality color images with good compression for efficient file sizes.
3. In the main toolbar, click the Render Setup button again. In the Common Parameters
rollout, Render Output area, click the Files button. Change the name of the file to
render test03 in the File Name field. In the Save as Type drop-down list, choose
OpenEXR Image File (*.exr,*.fxr). Click the Save button to open the OpenEXR
Configuration dialog (see Figure 14-14).
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 Getting Started in 3D with 3ds Max

FIG 14-13 Enter a new file name and choose the file configuration options.

FIG 14-14 Render a file as an exr file type in 3ds Max.

4. In the OpenEXR Configuration dialog, G-Buffer Channels area, click the Add button
to open a list of G-Buffer Channel options (see Figure 14-15). At this point, you do not
have enough information to choose appropriate G-Buffer Channels, but this lesson
illustrates the potential power of the exr file type in 3ds Max. Click the Cancel button
to cancel the channel list, and then click the cancel button again in the OpenEXR
Configuration dialog. Click the Cancel button again in the Render Output File dialog
to close the option.
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5. Close the Rendered Frame window, the Render Setup dialog, and then save the file.
It should already be called Exercise 14-2-1_Rendering04.max. Rendering and saving
still image files with different file types provide you a variety of editing options in
the production pipeline.

FIG 14-15 The EXR file type in 3ds Max is a powerful file type option, which can store extra information as channels in your
rendered files.

When rendering still images in 3ds Max, the png file type is a common choice for a good
compromise between image quality and image size for more efficient storage. Saving
image files with the exr file type allows you to save independent channels and elements of
information that can then be processed during postproduction for more control over the
final image.
Often when rendering files in 3ds Max, the client’s needs and preferences will influence the
file type you render to, and many times you might be required to render multiple file types
for the same project. Experience will help guide you through proper choices of file types, but
the png and exr file types are powerful and high-quality options for many situations.

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 PART 2

Workflow

Workflow—image by Tangram3DS.

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 Getting Started in 3D with 3ds Max

Workflow in 3ds Max

Now that you have a fundamental understanding of some of the important concepts in
working with 3ds Max, it’s time to delve a bit deeper into production workflow. The following
chapters will consist of a series of hands-on exercises in which you will use various methods
of modeling with modifiers and at subobject level, for example. You’ll learn new tools and
methods for modeling like Graphite Modeling Tools and Boolean operations.
As you develop an outdoor scene in the exercises, you’ll learn to light it with the Daylight
System in 3ds Max and then create new materials and apply mapping coordinates for more
convincing objects in the rendered images.
In Part 1—Concepts, you learned to create materials and assign them to objects in the scene.
However, in a production environment, it is often necessary to have more than one material
on a single object. You’ll learn to assign multiple materials to subobject selections, and using
a special Blend material type with a process called “masking,” you will learn to hide and
reveal multiple materials.
You’ll be introduced to fundamental animation techniques, global illumination methods,
and some special effects included in 3ds Max. These techniques and methods will expand
your overview of the entire production process so that you understand how it’s possible to
combine basic principles into complex visualization scenes.
Part 2 will include the following topics presented in a form that frees you from getting
bogged down into the details of which buttons to push in which order to complete a given
task.
• Creating 3D primitives: Use 3D primitives in 3ds Max as a basis for building real world
objects.
• 3D procedural modeling: Learn more about the power of modifiers and object cloning, as
well as merging objects from libraries of objects.
• Subobject editing: Access subobject level options and edit geometry to add detail to
scenes.
• Surface types: Discover the differences between mesh geometry, polygon geometry, and
patch surfaces.
• More object cloning: 3ds Max has advanced tools for cloning arrays and tools for painting
multiple objects on surfaces.
• Graphite Modeling Tools: Learn about “poly” modeling techniques using Graphite
Modeling Tools.
• Compound objects: Compound objects is a class of tools such as ProBoolean and
Shapemerge.
• Exterior lighting: Create and adjust a Daylight System to light an outdoor scene.
• More materials: Refresh your knowledge of Arch & Design materials and learn to create
material libraries.
• Multiple materials: Use Multi/Subobject and Blend material types to apply multiple
materials to single objects.
• Introduction to animation: Learn the fundamentals of keyframe animation techniques.
• Intermediate modeling: Graphite Tools and Lofting for complex modeling.
• Intermediate animation: Understand the fundamentals of animation Controllers,
Constraints and Hierarchical Linking are important to the animation process.
• Global illumination: Learn the differences between Final Gather and Global Illumination
techniques of calculating bounced light in 3ds Max.
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• Effects: Special effects such as atmospherics and particles can enhance your visualization
projects.
• Introduction to IK: Inverse Kinematics are powerful animation tools.
• Character animation: Learn the basics of creating a CAT character animation skeleton
system.
• Introduction to dynamics: Dynamics in 3ds Max is used to create realistic rigid body
collisions between objects.
• Introduction to scripting: Learn to create and run a simple script using the built-in
programming language.
• Intermediate rendering: Alpha channel and Render Elements are important concepts in
rendering.
The focus of Part 2 is to expand your knowledge of the overall workflow in a 3ds Max project.
Your focus should be on how the coordination of various aspects of 3ds Max are woven
together into a comprehensive process that can be created by individuals or shared amongst
a collaborative workgroup. You’ll practice applying the concepts you have already learned to
more real world situations and learn about new tools and methods available in 3ds Max.
The scenes used in these chapters will be simple and the resulting rendered images are
intended to be examples of fundamental workflow. Just as a “Getting Started with the
Violin” book would not prepare you to play a Mozart symphony, this book will focus on basic
techniques to provide you with a solid foundation of knowledge on which to build and
practice a workflow that fits your particular needs.

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 CHAPTER 15

Create 3D Primitives

Creating a 3D scene containing a windmill and landscape can be accomplished with 3D

primitives in 3ds Max.
Some of the primitives covered in this chapter are as follows:
• Plane – A Plane 3D primitive will become the basis of your landscape.
• Cylinder – The Cylinder can be used as the basis for multiple objects in the scene.
• Sphere – The Sphere primitive will be edited into a hemispherical dome for the windmill
roof.
• Box – A simple Box object will be used for the walkway railing posts.
Simple primitive geometry will become more complex as editing progresses while providing
a workflow history that you can navigate in the Modify panel, stack view for increased
flexibility when the client requests changes.

15.1 The Landscape

The client has asked you to create a scene of a Dutch style windmill on a foggy morning. The
scene will have hilly landscape and a canal with several boats and the client has provided a
sketch as a storyboard (see Figure 15-1).

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 Getting Started in 3D with 3ds Max

FIG 15-1 Windmill with canal

on a foggy morning.

Using a Plane 3D primitive, you will create a flat landscape as the basis for your outdoor scene
with a windmill. The plane will be created in the Top viewport on the default workplane, and
then you will adjust the size in the Modify panel. Remember, although you can make changes
to the parameters during the creation process, you will, at some point, be required to go to
the Modify panel for further editing. A good habit is to create a primitive object of any size,
and then go immediately to the Modify panel to adjust the parameters as required.
You will also review the file save, hold and fetch, and backup options as important aids in a
safe production workflow.
Let’s begin with a simple exercise to create the basic landscape object for your scene on the
currently active World reference coordinate system grid, seen in the Top viewport.

Exercise 15-1-1 Create a Landscape

1. Open the file from the website called Exercise 15-1-1_Primitives01.max and save
it to an appropriate folder on your hard drive with a new incremental name. The
scene contains no objects, but has the units set to U.S. Standard and has grids
enabled in the Top and Perspective viewports. In the Create panel, Geometry
category, Object Type rollout, click the Plane button. In the Top viewport, left-click
and drag from upper left to lower right to create a basic Plane object of any size
(see Figure 15-2).
2. In the Modify panel, object name field, rename the object Landscape001. Click the
color swatch to the right of the object name field, and then, in the Color Selector,
choose a dark green color. In the Parameters rollout, enter 750' in both the Length
and Width numeric fields, and then press Enter. Click the Zoom Extents All Selected
button at the lower right of the display to fill each viewport with the primitive object
(see Figure 15-3). It is not necessary to change the object color, but it is sometimes
helpful for recognizing objects in the scene if they are colored similar to what their
materials will eventually be.
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FIG 15-2 Create a basic plane in the Top viewport.

FIG 15-3 Rename the object, change its object color, and adjust the size parameters in the Modify panel.

3. Use the keyboard shortcut Ctrl+S to save the file. It should already be called Exercise
15-1-1_Primitives02.max. Also remember that automatic backup is on by default in 3ds
Max. Every 5 minutes a new backup file is saved to the backup folder for a total of three
backup files before the first backup file is overwritten and the cycle begins again.

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The scene certainly doesn’t look like much yet, but you have already performed an
important part of a typical production workflow. Naming the objects logically as you create
them is extremely important for good management throughout the creation process.

15.2 The Windmill and Base

The traditional Dutch style windmill will be an octagon mill building on a circular base.
You will create the parts of the building in random positions around the center of your
landscape, and then you will assemble the parts into a windmill at the end of the chapter.

Exercise 15-2-1 Create a Windmill and Base

1. Open the 3ds Max file called Exercise 15-1-1_Primitives02.max and save it to an
appropriate folder on your hard drive with a new incremental name. In the Create
panel, Geometry category, Object Type rollout, click the Cylinder button. In the Top
viewport, left-click and drag to define the radius of a cylinder, and then release the
mouse button and move the mouse forward to define a cylinder height. Left-click
to set the cylinder height. Click the Zoom Extents All Selected button to fill all
viewports with the new cylinder.
2. In the Modify panel, rename the object Windmill_base001. In the Parameters
rollout, enter 7'6" in the Radius numeric field. Enter 10'0" in the Height numeric
field. Enter 1 in the Height Segments numeric field, and then enter 24 in the Sides
numeric field (see Figure 15-4). There are no plans to bend the windmill base, so by
adjusting the number of height segments to 1, you reduce unnecessary geometry
for a more efficient object. You then increase the geometry by adding more sides,
FIG 15-4 Modify the cylinder with the result being a smoother appearing cylinder that is still efficient.
primitive to become the
windmill base.

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Note
The underscore character in the name Windmill_base001 is not necessary; however,
it sometimes makes object names more readable on high-resolution computer
screens.

3. In the Top viewport, create a new Cylinder primitive of any size. In the Modify
panel, change the name to Windmill001. In the Parameters rollout, enter 7'6" in
the Radius numeric field, enter 24'0" in the Height numeric field, enter 5 in the
Height Segments numeric field, and then enter 8 in the Sides numeric field. Clear
the Smooth checkbox (see Figure 15-5). 3ds Max remembers the edits you previously
entered for the Cylinder primitive, so you need to increase the number of Height FIG 15-5 Adjust the parameters
Segments so that the windmill can be tapered later. The Smooth option makes the of the windmill and disable the
object appear faceted so that you can clearly see the individual sides of the windmill. smooth option for a faceted
surface.

Note
Smoothing is a process performed by 3ds Max to make simple geometry appear
smooth. This allows low polygon objects (for efficiency) to appear more complex in
the viewports and rendered images.

4. Save the file with Ctrl+S. It should already be called Exercise 15-1-1_Primitives03
.max. You should begin to see a pattern developing in your workflow. With a little
bit of practice you will be creating objects of any size, going to the Modify panel to
rename them and adjust their parameters.

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You may be tempted to wait until later to rename objects, but that will certainly lead to
confusion when you have a number of cylinders in a scene and each is indistinguishable
from the other by name. Even if you’re not sure what the name of the object will eventually
be, it is better to assign a unique name to make the object easier to find later.

15.3 The Domed Roof

Many windmills have a domed roof and you will use the 3ds Max Sphere primitive and then
modify it to become a hemisphere. The size of the sphere will be considerably smaller than
the windmill, but in Chapter 16 you will modify the windmill so that the domed roof fits
appropriately.

Exercise 15-3-1 Create a Domed Roof

1. Open the 3ds Max file called Exercise 15-1-1_Primitives03.max and save it to
an appropriate folder on your hard drive with a new incremental name. In the
Create panel, Object Type rollout, click the Sphere button and then in the Top
viewport, click and drag a sphere primitive of any size near the other objects in
the scene.
2. In the Modify panel, rename the object Windmill_roof001, enter 4'0" in the Radius
numeric field, enter 0.5 in the Hemisphere numeric field. Always remember to press
Enter to finalize the last numeric field edited.
3. Click the Zoom Extents All Selected button to fill all viewports with the new
FIG 15-6 One half the sphere hemisphere. As you can see from the Chop radio button in the Parameters rollout,
is chopped from the sphere the lower half of the sphere has been deleted (see Figure 15-6).
primitive.

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4. Save the file with the keyboard shortcut Ctrl+S. It should already be named Exercise
15-1-1_Primitives04.max. The hemisphere seems to have a lot of geometry that
appears unnecessary compared to the other objects in the scene. You will edit the
object later for a better fit and greater efficiency.

In many typical Dutch windmills, there is a platform walkway between the base and the
windmill itself. In Exercise 15-4-1, you’ll use a Cylinder primitive to create the walkway.

15.4 The Platform Walkway

The walkway that encircles the windmill between the base and the windmill building itself can
be created with a Cylinder primitive object. You will refresh your memory of how to track the
number of polygons in your scene by using the Statistics options. By tracking statistics, you
can maintain a sense of how a newly created object affects the overall efficiency of your scene.
Let’s create a walkway and enable Statistics.

Exercise 15-4-1 Create the Walkway

1. Open the 3ds Max file called Exercise 15-1-1_Primitives04.max and save it to the
project folder on your hard drive with a new incremental name. The domed roof that
you created in Exercise 15-3-1 should dominate the viewports. Click on the Zoom All
navigation button, and then click and drag downward in any viewport to zoom all
FIG 15-7 Use Zoom All to
viewports out so that you can see the windmill parts (see Figure 15-7).
zoom out in all viewports
simultaneously.

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 Getting Started in 3D with 3ds Max

2. Create a Cylinder primitive in the Top viewport. Again, the settings from the last
cylinder are remembered and the object is too segmented to create a smooth
platform. Press the 7 keyboard shortcut to enable Statistics in the Top viewport. It
reports that there are a total of 896 Polys in the scene (see Figure 15-8).

FIG 15-8 Enable statistics to

see the number of polygons in
the scene.

3. In the Modify panel, rename the object Walkway001. In the Parameters rollout,
enter 12'6" in the Radius numeric field, enter 1'0" in the Height numeric field, enter
24 in the Sides numeric field, and then check the Smooth option to remove the
faceted appearance in the viewport. These changes result in a total of 1088 Polys in
the scene. Enter 1 in the Height Segments numeric field, and then observe that the
number of polygons is back to 896 (see Figure 15-9). This illustrates how it is possible
to increase the visual quality of your objects while maintaining efficiency. This is
somewhat of a special case specific to this scene, but it is important that you are
aware of the efficiency of your scenes as you work.

FIG 15-9 Balance the visual

quality of the objects with the
total number of polygons for
best efficiency.

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4. Save the file. It should already be called Exercise 15-1-1_Primitives05.max. A

production workflow in 3ds Max is a constant battle between visual quality and
physical efficiency of your objects, but you must pay close attention initially. When
learning 3ds Max, a little bit of practice will allow you to anticipate future changes
and the process will become easier. For example, you could have fewer than 24
sides for the walkway but the Smooth option would still give good visual quality.
However, because the windmill base cylinder has 24 sides and is smooth, the
walkway parameters now match the windmill parameters for consistency.

In Exercise15-5-1, you will create a single railing post from a Box primitive.

15.5 The Railing Post

The walkway of the windmill will eventually have a railing with many posts around the outer
edge. Let’s begin by creating a single post that can then be cloned in Chapter 19 with some
new 3ds Max tools.

Exercise 15-5-1 Create a Railing Post

1. Open the file called Exercise 15-1-1_Primitives05.max and save it to an appropriate

folder on your hard drive with a new incremental name. Saving a series of
incremental 3ds Max scene files may take up a little bit of extra hard drive space, but
the safety factor of having files that you can retrieve if something goes wrong will
more than make up for the small cost of new hard drives.
2. In the Top viewport, create a Box primitive near the other objects.
3. In the Modify panel, rename the object Railing_post001. In the Parameters
rollout, enter 0'4" in the Length and Width numeric fields, and then enter 3'0" in
the Height numeric field. This creates a square railing post. When entering numeric
values as an integer with no sign, the value will be recognized as feet, but when the
numeric value is inches or feet and inches, you need to use the ' and/or the " signs
appropriately (see Figure 15-10).

FIG 15-10 Create a railing post

4 inches square and 3 feet tall.

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 Getting Started in 3D with 3ds Max

4. Save the file. It should already be called Exercise 15-1-1_Primitives06.max. You now
have the basic objects you need to begin assembling the basic windmill structure: a
base, a walkway, the building, and the domed roof.
In Exercise 15-6-1, you’ll use the Align tool to stack the objects on top of and
centered with each other to begin building the windmill structure. The Align tool, if
you remember, is dependent on the Reference Coordinate System that is active in
the viewport that is currently selected.

15.6 Align Objects

The Align tool, found in the main toolbar, can be used to very quickly assemble geometry
by aligning the “bounding box” of each object to that of another. Think of the bounding box
as a crate containing the object and you are actually aligning the crates not the physical
geometry itself.
Objects are aligned in their respective xyz axes and the directions of those axes are
determined by the Reference Coordinate System used in the active viewport. In Exercise
15-6-1, you will use Align to stack the objects on top of and centered to each other.

Exercise 15-6-1 Assemble the Windmill with Align

1. Open the file called Exercise 15-1-1_Primitives06.max and save it to an appropriate

folder on your hard drive with a new incremental name. Click the Select Object
button in the main toolbar, and then right-click in the Top viewport to activate it.
FIG 15-11 The windmill001
Select the Windmill001 object in the viewport (see Figure 15-11). This object will be
object is selected and will be
aligned with Windmill_base001, which will remain stationary.
aligned to windmill_base001.

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2. In the main toolbar, click the Align button, and then move the cursor over the edge of
Windmill_base001 until you see the cursor change to a crosshair (see Figure 15-12). Left-
click on the Windmill_base001 to open the Align Selection (Windmill_base001) dialog.

FIG 15-12 You must click on

3. In the Align Selection (Windmill_base001) dialog, the default settings are to align the object you want to align the
both object’s Pivot Point in all three axes based on the Screen reference coordinate selected object to.
system. This is a good starting point for the initial alignment, so you can click the
Apply button to position the objects centered on each other with their bases on the
current grid plane (see Figure 15-13). Clicking the Apply button sets the current new
alignment and clears the axes checkboxes, but remains in the Align Selection dialog
so that you can continue the alignment process. FIG 15-13 Object alignment is
often a multistep process.

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 Getting Started in 3D with 3ds Max

4. You now need to align the bottom of Windmill001 with the top of the Windmill_
base001, using, therefore, the z-axis in the active viewport. In the Align Selection dialog,
check z Position. In the Current Object column, choose the Minimum radio button.
In the Target Object column, choose the Maximum radio button (see Figure 15-14).
The Minimum radio button refers to the furthest point on the selected object in the
negative z-axis, and the Maximum radio button refers to the furthest point on the target
object in the positive z-axis. This places the bottom of the windmill on the top of the
base. Click the OK button to finalize the alignment.

FIG 15-14 Align the bottom of the windmill to the top of the base in the z-axis of the Top viewport.

5. In the Edit pull-down menu, choose the Hold option in the menu. This saves all of
your work up to this point in a buffer file on the hard drive. In the Top viewport,
use the Align tool to align all of the other objects, except the Railing_post001, as
shown on Figure 15-14. You will be repeating steps similar to the previous ones.
Notice, however, that the Walkway001 must be placed on top of and centered with
Windmill_base001, and the Windmill001 must be realigned to sit on the top of it (see
Figure 15-15). If you make a mistake, you can use the Edit pull-down menu, and then
choose Fetch to restore the scene to the starting point where you can begin again.
The process is easy, it just takes a little forethought and practice before it becomes a
completely automatic process.

Tip
You won’t be able to easily select the objects by picking them in the Top viewport
because they are all in alignment with each other. Use the keyboard shortcut H to select
objects by name.

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FIG 15-15 Align the objects in the Top viewport with the base at the bottom, the walkway next, then the windmill, and finally the
domed roof.

6. Save the file. It should already be called Exercise 15-1-1_Primitives07.max. Your

success with the Align tool in 3ds Max is dependent on your understanding of
the Reference Coordinate Systems and how they relate to the active viewport.
Significant productivity increases are possible with intelligent use of the Align tool. It
is a basic concept that you must learn and assimilate into your workflow.

Again, the result of this exercise is not something that you’ll want to show around to all your
friends perhaps, but it is a very necessary beginning point in learning about efficient and
flexible workflow in 3ds Max.
Many of your objects will start as 3D primitives that might eventually be modified into
something which no longer resembles the original primitive object. Therefore, you need
to name objects logically as soon as you create them so that you can use powerful tools
like Select by Name to find objects in the scene quickly. Sifting through many objects
with names such as Cylinder001-Cylinder100 until you find the object you want is
counterproductive.
The Align tool is your friend. It can save countless hours of moving and rotating objects in
the course of a single workday.

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 CHAPTER 16

Procedural Modeling

Taking full advantage of the power of procedural modeling in 3ds Max is important for
obtaining maximum productivity with the software. In this chapter, you will apply and adjust
a Taper modifier to shape the windmill into tapered, curving walls. You’ll then navigate
the stack view history to the base node level and make an adjustment to the overall size
of the windmill. This does not affect the parameters of the discrete modifier higher up in
stack view. There is no physical limit to the number of modifiers, which can be applied to an
object.
To maximize productivity in 3ds Max, you must also take advantage of the ability to merge
objects from 3ds Max scenes into your current working scene. This allows you to build
libraries of parts on your hard drive that may be shared with other team members who
need an object that has already been created. You can also go directly into other working
scenes instead of a parts library to merge one or multiple objects into your current scene.
An important aspect of using the merge capabilities is your ability to catalog objects so that
they can be easily found and updated as necessary.
Cloning objects provides you with high levels of flexibility and efficiency. Objects can be
cloned as Instance or Reference clones that maintain a connection to the original object for
flexible editing. The efficiency comes from the fact that an Instance or Reference clone does
not need to store the original object’s node information in memory.

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 Getting Started in 3D with 3ds Max

Another possibility for increasing scene efficiency is attaching multiple objects into a single
object to reduce the memory overhead a bit more and making it easier to select “ensembles”
of objects. The attached objects can be edited as elements at subobject level or may be
detached to become individual objects again. Flexibility and efficiency are keys in this
workflow.
Some of the topics covered in this chapter are
• Adding modifiers – Add a modifier to edit the object and then navigate the stack view for
flexible editing.
• Merge and clone objects – Import objects from other scenes and then clone them for
efficiency and flexibility.
Let’s begin by making some changes to the windmill from Chapter 15. The client has
notified you that the windmill building should have curved and tapered sides and should
be a different size. You will also adjust the domed roof to make it fit better and increase its
efficiency.
Modifiers perform discrete operations on objects at the level in the Modify panel, stack view
where they were applied. Objects are evaluated from the bottom of the stack view upward.
This allows you to navigate through the stack view to make changes at various levels
without changing the parameters of individual modifiers.

16.1 Adding Modifiers

Modifiers are applied to objects in the Modify panel, thereby creating a history of
editing that can be navigated to increase the adaptability of making changes to objects.
In Exercise 16-1-1, you will add a Taper modifier to the windmill to taper and curve
the walls and then navigate to the original object’s node level to make changes to its
parameters.
You’ll also make changes to the domed roof to fit the new windmill walls and increase the
objects’ efficiency. Adding a hub to the domed roof will prepare the windmill to accept
blades in Exercise 16-2-1. You will use AutoGrid during the creation of the hub for more
accurately positioning the new object directly on a specific surface.

Exercise 16-1-1 Taper the Windmill

1. Open the file from the website called Exercise 16-1-1_Procedural01.max and save it
to an appropriate folder on your hard drive with a new incremental name. The scene
contains the objects created in Chapter 15. Right-click in the Perspective viewport to
activate it and then right-click on the Shaded viewport label. Choose Edged Faces in
the menu (see Figure 16-1).
2. Edged Faces displays 3D objects in both shaded and wireframe mode in any Shaded
viewport for easier editing. In the Perspective viewport, select Windmill001. In the
Modify panel, Modifier list, choose the Taper modifier. An orange gizmo appears
around the windmill, and the Taper parameters are displayed in the Modify panel
(see Figure 16-2).
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 Procedural Modeling

FIG 16-1 Enable Edged Faces in the shaded Perspective viewport.

FIG 16-2 Apply a Taper modifier to the windmill.

3. In the Parameters rollout, Taper area, enter −0.45 in the Amount numeric field. This
tapers the cylinder so that it is slightly less than half its original size at the top. In
the Parameters rollout, Taper area, enter −0.5 in the Curve numeric field. This curves
the sides of the windmill. You can zoom into the top of the windmill in the Front
viewport to see that it matches the domed roof (see Figure 16-3). Let’s make changes
to the domed roof to make it more like the windmill.
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 Getting Started in 3D with 3ds Max

FIG 16-3 Adjust the Taper

modifier to create curved walls.

4. In the Front viewport, select the Windmill_roof001 hemisphere. In the Modify panel,
Parameters rollout, enter 8 in the Segments numeric field. This matches the eight
sides of the windmill, but loses the domed shape. In the Parameters rollout, choose
the Squash radio button (see Figure 16-4). This restores another segment in the dome
making it appear more rounded, while still maintaining good efficiency. However,
the client wants a larger windmill.

FIG 16-4 Balance the visual

quality and the efficiency of the
domed roof.

5. In the Perspective viewport, select the Windmill001. In the Modify panel, stack view,
highlight Cylinder to navigate to that level of the object’s history. Enter 9'0" in the
Radius numeric field and press Enter. This increases the radius of the windmill without
affecting the amount of taper or curvature (see Figure 16-5). In the stack view, highlight
the Taper modifier at the top of the stack to return to that level. It is always best to
remember to navigate back to the top of the stack to ensure that all modifiers are
being applied to the object. The domed roof now needs adjusting to match the walls.
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 Procedural Modeling

FIG 16-5 Navigate the stack view to edit the base object node: Cylinder.

6. In the Perspective viewport, select the Windmill_roof001 and then in the Modify
panel, Parameters rollout, enter 5'0" in the Radius numeric field so that it matches
the size of the walls. Let’s add a windmill blade hub to the domed roof and learn
about AutoGrid.
7. In the Create panel, Geometry category, Object Type rollout, click the Cone button.
Check the AutoGrid checkbox. In the Perspective viewport, move the cursor over
the domed roof surface and see that the transform gizmo “reads” the surfaces below
the cursor to place the positive z-axis perpendicular to that point on the surface (see
Figure 16-6). You have to be in Create mode for a specific object type before AutoGrid
becomes available.

FIG 16-6 AutoGrid will create objects directly on and perpendicular to the surface below the cursor.

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 Getting Started in 3D with 3ds Max

8. When the cursor is just above the first segment, left-click and drag to define the
base of a Cone primitive. Release the left mouse button and then move the cursor
to describe the height of the Cone projecting away from the domed roof. Left-click
to set the height. Move the mouse slightly to define the top radius of the Cone that
is smaller than the base and then left-click to set the radius (see Figure 16-7). In the
Object Type rollout, clear the AutoGrid checkbox. Don’t worry about the size, you
will modify it in the next step.

FIG 16-7 Create a Cone

primitive perpendicular to the
surface of the domed roof.

9. In the Modify panel, rename the object to Blade_hub001. In the Parameters rollout,
enter 1'0" in the Radius 1 numeric field, enter 0'6" in the Radius 2 numeric field,
enter 2'0" in the Height numeric field, enter 1 in the Height Segments numeric field,
and enter 8 in the Sides numeric field. Click the Zoom Extents All Selected button
to fill all viewports with the cone (see Figure 16-8). The base of the cone was created
tangent to the curved surface and needs to be moved into the domed roof.

FIG 16-8 Rename the cone and

adjust its parameters.

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 Procedural Modeling

10. In the main toolbar, click the Select and Move button. In the Reference Coordinate
System drop-down list, choose Local. In the Perspective viewport, choose the Local
z-axis arrow shaft and then move the cone into the domed roof so that you no
longer see the bottom edges of the cone (see Figure 16-9). “Eyeballing” the position of
the blade hub is sufficient so no mathematical information is needed to determine
how far the object should be moved. Sometimes if it looks right, it is right.

FIG 16-9 Move the blade hub

along its Local z-axis into the
domed roof.

11. In the Perspective viewport, select the Windmill001 and then click the Zoom Extents
All Selected button to zoom out a bit. Save the file. It should already be called
Exercise 16-1-1_Procedural02.max.

Learning to apply modifiers and then navigating the Modify panel stack view to make
changes at various levels is an important factor in increasing your productivity in 3ds Max.
You have also learned to use AutoGrid to create new primitive objects directly on the surface
of the existing objects, thereby reducing the extra step of aligning those objects.

16.2 Merge and Clone Objects

Windmills generally have blades and it just so happens that you have a windmill blade saved
in the file on the hard drive from another project. Rather than re-creating a windmill blade
for the project, it would be more efficient to be able to merge the object from the existing
scene into the current scene.
Merging an object or objects from one 3ds Max file to another is an option in the File, Import
command. You can bring all the objects in a selected file into the current scene, or you can
choose individual objects that you want to import from a list.
In Exercise 16-2-1, you will merge the windmill blade into the current scene, adjust the
position of the blade’s pivot point, and then orient and align the blade with the hub that
you have created in the domed roof. Pivot points of objects can be adjusted in the Hierarchy
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 Getting Started in 3D with 3ds Max

panel. This again will require knowledge of the Local Reference Coordinate System because
you don’t currently know at what angle the hub was created.
In Exercise 16-2-2, you’ll clone the windmill blade for a total of four blades on the hub and
then you will attach the blades to the hub to reduce node space being tracked in memory.

Exercise 16-2-1 Merge Windmill Blade

1. Open the 3ds Max file called the Exercise 16-1-1_Procedural02.max and save it
to an appropriate folder on your hard drive with a new incremental name. In the
Application button, hover the cursor over the Import option and then click Merge in
the menu (see Figure 16-10). This will open the Merge File dialog.

FIG 16-10 Merge is found in the Application menu, under Import.

2. In the Merge File dialog, navigate to the appropriate folder for Chapter 16 on the
website and then double-click on the file called 16-3_Windmill_blade.max. In the
Merge dialog, highlight the Windmill_blade001 object in the list (see Figure 16-11).
Click the OK button. The windmill blade is the only object in the 3ds Max file you
are merging from. The object is imported into the current scene and becomes the
selected object. Let’s adjust the pivot point of the blade to a point near the bottom
of the shaft.
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FIG 16-11 You must highlight

the object or objects you want to
merge into your current scene.

3. Use the keyboard shortcut Alt+Q (Isolate Selection) to isolate the selected windmill
blade and then click Zoom Extents All Selected to fill all viewports with the object.
In the Hierarchy panel, Adjust Pivot rollout, click the Affect Pivot Only button (see
Figure 16-12). The pivot point transform gizmo will appear as a red, green, and blue
tripod. This allows you to transform the object’s pivot point without affecting the
object itself. FIG 16-12 Pivot points can be
adjusted in the Hierarchy panel.

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4. In the main toolbar, click the Select and Move button. Notice that you are still in
Local Reference Coordinate System. Right-click in the Top viewport to activate
it and then move the pivot to just inside the lower end of the shaft at the right
(see  Figure 16-13). Click the Affect Pivot Only button to toggle it off. Use the keyboard
shortcut Alt+Q to return all the objects to the scene. The next task is to orient
the windmill blade’s Local Reference Coordinate System to match that of the
windmill hub.

FIG 16-13 Move the pivot point

to the base of the blade shaft.

5. In the main toolbar, click the Select Object button and then in the Perspective
viewport, select the Windmill_blade001 object. In the main toolbar, click the align
button and then click on Blade_hub001 in the domed roof. In the Align Selection
dialog, click the XYZ axes checkboxes in the Align Orientation (Local) area (see
Figure 16-14). Click the OK button. This orients the blade to the hub by Local Reference
Coordinate System axes and then outlines the pivot points of the two objects.

FIG 16-14 Align two objects

based on their Local Reference
Coordinate Systems.

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6. Use Select and Move to move the blade in its Local positive z-axis to about one-
third the distance from base to top of the hub. This will ensure that it is clear of
the domed roof when it rotates. Save the file. It should already be called Exercise
16-1-1_Procedural 03.max.

Merging objects from other 3ds Max files is an efficient method of reusing the existing
models. It is important that the objects are cataloged so that everyone involved in
production can easily find and access objects that will be used over and over.
Aligning objects based on their Local Reference Coordinate Systems with the Align tool is
much more efficient and accurate than trying to move and rotate them in 3D space.
One windmill blade would certainly cause problems, so in order to balance the windmill
you’ll clone the existing blade for a total of four blades. Cloning the blades as Instance clones
will reduce the overhead by allowing the four blades to share the node information from the
original object. To gain further efficiency, you learn to apply an Edit Mesh modifier and use it
to attach the four blades to the hub. This creates one object with one node space in memory,
but it also allows you to navigate the modifier stack to Element subobject level to edit or
transform the blades providing you with flexibility and efficiency.

Exercise 16-2-2 Clone and Attach Windmill Blades

1. Open the 3ds Max file called the Exercise 16-1-1_Procedural03.max and save it to
an appropriate folder on your hard drive with a new incremental name. Zoom out
in the viewports so that you have enough room to see the extra blades as they are
cloned. In the main toolbar, click the Select and Rotate button. In the Reference
Coordinate System drop-down list, choose Local (see Figure 16-15). Remember that the
Reference Coordinate System is “sticky” to each transform: although it was previously
set to Local for Select and Move, when you chose Select and Rotate you will notice
how the Reference Coordinate System changes to View.
Let’s also adjust the rotation Angle Snap settings.

FIG 16-15 You will clone

by rotating about the Local
Reference Coordinate System.

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2. In the main toolbar, right-click on the Angle Snap Toggle button to open the Grid
and Snap Settings dialog. In the General area, enter 90 in the Angle numeric field
(see Figure 16-16). Close the dialog. This restricts rotation to 90° only making it easier to
clone accurately.

FIG 16-16 Set the Angle snap

restriction to 90°.

3. In the main toolbar, click the Angle Snap Toggle button to turn it on (setting the
snap angle does not enable the tool, you still need to click in the button to activate
it). Hold the Shift key and then use the rotate gizmo’s z-axis restrict circle to rotate
the selected blade 90° clockwise. Release the left mouse button, and in the Clone
Options dialog, choose the Instance radio button and enter 3 in the Number of
Copies numeric field (see Figure 16-17). Click the OK button. You should have three
additional equally spaced Instance clones of the original windmill blade, totaling four
blades in all. Click the Angle Snap Toggle button in the main toolbar to turn it off.

FIG 16-17 Use the Shift key to clone objects while rotating.

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4. In the main toolbar, click the Select Object button. In the Perspective viewport,
select the Windmill_hub001 object. In the Modify panel, Modifier list, choose Edit
Mesh. In the Modify panel, Edit Geometry rollout, click the Attach List button. In
the Attach List dialog, highlight the four Windmill_blade objects (see Figure 16-18).
In the Attach List dialog, click the Attach button to finish the process. Five objects
become one object for added efficiency. Plus you can still edit the parameters of the
Cone base node.

FIG 16-18 You can attach

multiple objects to create a
single object with the Edit Mesh
modifier and maintain some
editing flexibility.

Note
You could have used the Edit Poly modifier in the previous step to attach the objects.
Objects in 3ds Max can be Poly or Mesh interchangeably depending on your editing
needs. Mesh objects are more efficient but don’t have all the editing control of Poly
objects.

5. Save the file. It should already be called Exercise 16-1-1_Procedural04.max. Again,

the Local Reference Coordinate System saves the day by allowing you to clone the
windmill blades in a logical manner without knowing the angle of orientation.

Procedural modeling with modifiers for maximum editing flexibility, in combination with the
use of the Local Reference Coordinate System, makes what might otherwise be a complex
task relatively simple.
Make sure that you understand the concepts and the process of using these tools together
and then practice on some scenes with other objects that you create. Work simply at first
until you have committed the process to your memory and then it will become an automatic
response when it’s appropriate in your workflow. These seemingly insignificant tools, when
combined, become a powerful workflow that let you get the bulk of your production work
done quickly and easily so that you can later spend time on more important tasks.
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 CHAPTER 17

Subobject Editing

By working in subobject editing in the Modify panel you can access the smaller subobject
components that make up 3D objects. In this chapter, you will learn about a specific surface
type called a Mesh surface. A mesh surface in 3ds Max is made up of triangular faces and is
the original 3D surface type in 3ds Max.
When you create a 3D primitive object in 3ds Max, you have access to its parameters in the
Modify panel, where you can change parameters such as height and width, for example. For
more detailed editing, you need to access the subobject components, which can then be
transformed or can have modifiers applied to the subobject selection set.
In this chapter, you will learn two methods of accessing subobject level editing of mesh
objects: Edit Mesh modifier and Editable Mesh object.
Edit Mesh modifier is applied to the object in the Modify panel and will appear in the stack view
to allow access to subobject level components and editing tools. Applying Edit Mesh modifiers
to objects can offer flexibility in editing by allowing you to navigate the stack view from one
modifier to the other. However, if you change the topology of geometry, that is, add or subtract
subobject level components, you can lose your ability to navigate the stack view. Also, for each
Edit Mesh modifier you add to an object, you double the memory footprint of that object,
decreasing overall efficiency. For best results, you need to balance flexibility and efficiency.
You can also convert any object to an Editable Mesh by right-clicking on it and choosing the
option in the menu. You lose the ability to change the original parameters, but you will have

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access to the subobject level components and editing tools in the Modify panel. Converting a
primitive object to Editable Mesh does not alter the memory footprint of the object significantly
and provides you with the same editing tools you will find in the Edit Mesh modifier.
Only experience will teach you which option is right, Edit Mesh modifier or convert to Editable
Mesh, for any given circumstance. In this chapter, you will use each method to learn the workflow
of accessing subobject level editing, and then you will edit the existing landscape for your scene
at subobject level. You will be introduced to the workflow of using Soft Selection that allows
weighted editing of surrounding subobject level components based on parameters you set.
The subobject components of 3D mesh objects in 3ds Max are as follows:
• Vertex – A vertex is a dimensionless point in 3D space.
• Edge – An Edge connects two vertices.
• Face – A Face is a triangular surface with three vertices and three edges.
• Polygon – A Polygon is a collection of adjacent faces surrounded by visible edges.
• Element – An Element is a collection of faces or polygons.
In this chapter, you will be concerned with editing at Vertex subobject level.
Some of the topics covered in this chapter are as follows:
• Edit Mesh modifier and Editable Mesh – Two methods of accessing subobject components
of 3D geometry.
• Changing object’s topology – Adding or deleting subobject components such as element,
polygon, face, and edge can affect the ability to navigate the Modify panel, stack view.
Let’s begin by learning to add the Edit Mesh modifier to the landscape and accessing some
of the subobject level components. You will not actually be doing any permanent edits in
this exercise but you’ll refresh your knowledge of the Hold and Fetch commands that allow
you to save a “bookmark” of your work with the Hold command, and then Fetch the stored
information to provide an extra level of safety in your workflow.

17.1 Edit Mesh Modifier and Editable Mesh

Modifiers are applied to objects in the Modify panel, stack view, and are discrete editing
tools forming a history that you can navigate for flexible editing. The Edit Mesh modifier
allows you to access the subobject level components of a mesh surface, and then provides
you with many options for editing selection sets of subobject level components. Each time
you add an Edit Mesh modifier in the stack view, you double the memory occupied by
everything below the new modifier in the stack. More than one Edit Mesh modifier can be
added to a single object if needed, but at a cost of efficiency.
You can also right-click on an object in 3ds Max and, in the Quad menu, convert the object
to an Editable Mesh to access the same editing tools you found in the Edit Mesh modifier.
Converting to Editable Mesh does not add significantly to the memory footprint of the
object, but you lose the ability to edit the object’s original parameters. The Editable Mesh
becomes the base node in the stack view.
In Exercise 17-1-1, you will use the Hold tool to save the current state of your scene. You’ll
then add an Edit Mesh modifier to the landscape and learn to select and edit some of the
subobject components. However, the edits you perform are not permanent, so you will use
the Fetch command to restore the scene to its previous state.

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Exercise 17-1-1 Edit Mesh Modifier

1. Open the file from the website called Exercise 17-1-1_Sub-object01.max and save it
to an appropriate folder on your hard drive with a new incremental name. The scene
contains the windmill parts and landscape from previous chapters. In the Edit pull-
down menu, click Hold. This saves the current state of your 3ds Max scene in a buffer file
on the hard drive, which can be restored later with the Fetch command (see Figure 17-1).

FIG 17-1 Use the Hold

command so you can restore
back to this scene state later.

2. In the Perspective viewport, select the Landscape001 object. In the Modify panel,
Modifier list, choose the Edit Mesh modifier. The modifier is entered above the
Plane-based node in the stack view. Click the + to the left of Edit Mesh in the stack to
expand the list of subobject components (see Figure 17-2).
3. In the Stack view, highlight Vertex subobject level. You will see the vertices at
the intersections of the visible edges turn blue to indicate you are in subobject
Vertex mode. In the Perspective viewport, select one of the vertices by picking it.
The selected vertex will turn red to indicate that it is selected and may now be
transformed or edited (see Figure 17-3). In the Selection rollout, there are also buttons
for selecting subobject level components.
4. Highlight Edge subobject level in the stack view, and then pick on one of the visible
white edges of the landscape. Edges connect two vertices. Highlight Face in the
stack view, and then click anywhere on the surface of the landscape. All faces are
triangular and will turn red when selected. Highlight Polygons in the stack view,
and then click in the same place you selected the face on the landscape. In a mesh
object, a polygon is a selection of faces bordered by visible white edges (see Figure
17-4). Try selecting at Element subobject level and you will see that in this particular
object the Element is the object itself.

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 Getting Started in 3D with 3ds Max

FIG 17-2 Expand the Edit Mesh

modifier in stack view to access
subobject level components.

FIG 17-3 Selected (red)

subobject components can be
transformed or edited.

FIG 17-4 A polygon in a mesh

object is a collection of faces
bordered by visible white edges.

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 Subobject Editing

5. In the stack view, click on the word Edit Mesh at the top of the stack. This exits subobject
level editing and returns control back to the whole object. None of these subobject
components should be highlighted in the stack view and none of the buttons in the
Selection rollout should be yellow when you have exited subobject editing mode (see
Figure 17-5). It is important that you properly exit subobject editing mode when you are
finished, otherwise you won’t be able to select any other objects in the scene.

FIG 17-5 Exit subobject editing

6. In the Edit pull-down menu, choose Fetch, and then click the Yes button in the
mode properly.
About to Fetch, OK? dialog that appears. This will return you to the original file
you saved with the Hold command in case you have done any unwanted editing
in subobject mode. Save the file. It should already be called Exercise 17-1-1_Sub-
object02.max.

By applying an Edit Mesh modifier, you gain access to subobject level editing. You must,
however, select one of the subobject components in the geometry before you can actually
do any subobject editing. The subobject level component will turn red to indicate it is
selected. When you are finished at subobject level, it is important that you properly exit
subobject mode before proceeding with your work.

Exercise 17-1-2 Editable Mesh

1. Open the file called Exercise 17-1-1_Sub-object02.max and save it to an appropriate

folder on your hard drive with a new incremental name. In the Perspective viewport,
select the Landscape 001 object. Right-click on the object and, in the Quad menu,
hover your mouse over Convert To, and then choose Convert to Editable Mesh
(see Figure 17-6).

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 Getting Started in 3D with 3ds Max

FIG 17-6 You can convert

objects to Editable Mesh from
the Quad menu.

2. In the Modify panel, stack view, expand Editable Mesh by clicking the + to the left
of the name. This expands the subobject levels with the same options as in the Edit
Mesh modifier in Exercise 17-1-1 (see Figure 17-7). Editable Mesh is the only entry in
stack view. The parameters for the original Plane 3D primitive are lost.

FIG 17-7 The only editing 3. In the stack view, highlight Vertex subobject level. In the Perspective viewport, select a
capabilities are found in the vertex along a back edge of the Editable Mesh. In the main toolbar, click the Select and
Editable Mesh object. Move button, and then move the vertex in the positive z-axis direction (see Figure 17-8).
The vertex moves and its adjacent edges change angle, but the surrounding vertices
are not affected. In the stack view, highlight Editable Mesh to exit subobject mode.
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 Subobject Editing

FIG 17-8 Move a vertex in

Note the positive z-axis to edit the
Editable Mesh.
You have been selecting subobject level components by clicking on them in the
viewports, but all of the selection options you learned about in Chapter 4 are valid
except the Select by Name tools.

4. In the Edit pull-down menu, choose Fetch, and then click the Yes button in the
About to Fetch, OK? dialog. Even if you have closed the previous 3ds Max session
and opened it again to begin this exercise the information stored with the Hold
command is still on the hard drive. The stored information will stay the same until
you use the Hold command again. Save the file. It should already be called Exercise
17-1-1_sub-object03.max.

In this exercise, you moved a vertex at subobject editing level with a result you probably
expected. In Section 17.2, you will edit the landscape to place low hills or mounds along the
back edge.

17.2 Changing Topology

The topology of an object is the relationship of subobject components that make up the
3D surface. In this section, you will change the topology of the landscape by creating new
vertices, and so on, with a modifier called Quadify Mesh, and then you will convert the
resulting mesh to an Editable Mesh. This “bakes” the new information and removes the
modifier from the stack. You’ll then move a vertex with Soft Selection enabled, which will
affect the surrounding vertices in a weighted manner.
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 Getting Started in 3D with 3ds Max

Exercise 17-2-1 Landscape Hills

1. Open the 3ds Max file from the previous exercise called Exercise 17-1-1_Sub-
object03.max and save it to an appropriate folder on your hard drive with a new
incremental name. In the Perspective viewport, select Landscape001, and then right-
click and convert to Editable Mesh. In the Modify panel, Modifier list, choose Quadify
Mesh. This modifier subdivides the existing surface so that the new polygons are 4%
the size of the original object. In the Modify panel, Parameters rollout, enter 2 in the
Quad Size % numeric field, and then press enter to complete the edit (see Figure 17-9).

FIG 17-9 Quadify Mesh 2. Right-click on the landscape, and then convert it to Editable Mesh. The modifier is
modifier subdivides the existing removed from the stack and the object is a simple Editable Mesh with the added
object. geometry.
3. In the Modify panel, stack view, expand Editable Mesh, and then highlight Vertex
subobject level. In the Perspective viewport, select a vertex along one of the back
edges of the landscape. Expand the Soft Selection rollout, and then check the Use Soft
Selection option. Enter 200'0" in the Falloff numeric field. This expands the influence
of Soft Selection to 200 feet from the selected vertex (see Figure 17-10). The color
coding in the surrounding vertices indicates the “weight” or influence that edits to
the selected vertex have on them. The selected vertex is red and will be transformed
absolutely. The orange vertices will be affected somewhat less, the yellow, green, and
the blue vertices even less respectively based on the Falloff amount.
4. In the main toolbar, click the Select and Move button, and then move the selected
vertex in the Perspective viewport slightly in the positive z-axis (You want a hill,
not a mountain). Select another vertex along the back edge, hold the Ctrl key and
add another vertex nearby to the selection set, and then move them slightly in the
positive z-axis (see Figure 17-11).

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 Subobject Editing

FIG 17-10 Soft Selection

weights the influence of editing
on the selected vertex or
vertices.

FIG 17-11 Create several small

hills along the backside of the
landscape with Soft Selection.

5. Exit subobject level by highlighting Editable Mesh in the stack view, and then save
the file. It should already be called Exercise 17-1-1_Sub-object04.max. Editing at
subobject level provides you with more detailed control of your objects and offers
specialized tools for flexible editing. The edits you performed can be accomplished
in Edit Mesh modifier or in Editable Mesh equally well.

Learning to access subobject editing gives you access to many new tools for adding
detail to your models. There are many forms of subobject editing and the workflow you
have learned with Edit Mesh modifier and Editable Mesh objects can be used throughout
3ds Max.

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 CHAPTER 18

Geometry Types

In previous chapters, you have created 3D primitive objects in 3ds Max and then edited
them with the Edit Mesh modifier or converted them to Editable Mesh geometry; either
method offers the same set of tools for editing at subobject level. The basic subobject
component of Mesh geometry is a triangular face. You might remember that a collection
of triangular faces surrounded by visible white edges is also called a Polygon subobject
component.
Another geometry type available in 3ds Max is the Poly geometry, with the basic subobject
component a four-sided Polygon. Although it might appear similar to the Polygon subobject
level component of Mesh geometry, the Poly geometry polygon is not a collection of
triangular faces, but a subobject component in its own right.
The major differences between Mesh and Poly geometry for the purposes of your workflow
are in the editing tools available for each surface type. Poly geometry, the newer form of
surface type in 3ds Max, has more powerful and flexible editing tools available, making
it a good choice for modeling. But because the render engines in 3ds Max can render
only triangles, all geometry types must be converted to triangular Mesh surfaces “behind
the scenes” during rendering. This makes complex Poly geometry less efficient than an
equivalent Mesh geometry.
Very often in a production workflow, geometry is converted from Mesh to Poly and back
again several times throughout the editing process, so that you can choose the most
appropriate editing tools for a particular need.

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 Getting Started in 3D with 3ds Max

In the previous chapter, you created the hills in a landscape object by selecting and
moving one or several vertices, using the Soft Selection option to “weight” the influence
of surrounding vertices as you moved the selected vertex/vertices to create a mound. The
hill you created, however, was perfectly round as the weighted influence radiates equally
in all directions from the selected vertex. In this chapter, you will create a new landscape
surface using a Patch Grid as the initial surface type and then working at subobject Vertex
level to more easily make flowing surfaces with a high degree of control.
Some of the topics covered in this chapter are as follows:
• Mesh editing tools – This will be a refresher for using Editable Mesh tools at subobject
level.
• Poly editing tools – You will be introduced to the workflow of Poly editing tools.
• Patch Grid – With Patch Grid geometry, you will learn to edit the slope of a surface
between adjacent vertices.
Let’s begin by exploring the basic differences between Mesh geometry editing and Poly
geometry editing while adding a bit of detail to the windmill from the previous scene.
You’ll then learn about Patch Grid by creating a hilly landscape in a new 3ds Max scene and
to use the Replace tool in the original scene to substitute the old landscape for the new.

18.1 Mesh Editing Tools

Again, you are familiar with the Edit Mesh modifier and the Editable Mesh geometry from
Chapter 17, and this section will reinforce the workflow of editing at subobject level. You will
use the Edit Mesh modifier to create and access a hatch in the domed roof of the windmill
using the Extrude and Bevel editing tools at the Polygon subobject level.
While using Extrude to create the initial hatch, you’ll learn to manually manipulate the
surface to “eyeball” the hatch, and then you will use numeric values in the Bevel editing
option for a more accurate control.

Exercise 18-1-1 Create a Roof Hatch

1. Open the file from the website called Exercise 18-1-1_Geometry01.max and save
it to an appropriate folder on your hard drive with a new incremental name. This is
essentially the same scene you created in Chapter 17. Press the keyboard shortcut H to
open the Select From Scene dialog and then highlight Windmill_roof001 and Blade_
hub001 in the dialog list (see Figure 18-1). Click the OK button to select the objects.
2. Use the keyboard shortcut Alt+Q to isolate the selection. The windmill blades are part
of the selection because you used an Edit Mesh modifier in Chapter 17 to attach them
into a single entity. In the Perspective viewport, select the Windmill_roof001 and then
click the Zoom Extents All Selected button to fill all viewports with the object.
3. Hold the Shift key and, in the Perspective Viewport, click and hold the mouse wheel
and then use Arc Rotate to make the back of the domed roof visible. You will place
the hatch in the polygon (collection of triangles surrounded by a visible white edge)
opposite the blade hub. Right-click on the domed roof and, in the Quad menu,
choose Convert To and then choose Convert to Editable Mesh in the submenu
(see Figure 18-2).
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 Geometry Types

FIG 18-1 Select Windmill_roof001 and Blade_hub001 using Select From Scene.

FIG 18-2 Convert Windmill_roof001 to an Editable Mesh.

4. In the Modify panel, stack view, expand Editable Mesh and highlight Polygon
subobject mode. In the Perspective viewport, select the polygon opposite the
hub. It will be shaded red when selected (see Figure 18-3). If the polygon itself is
not shaded red and only the edges appear red, then you might have selected
a polygon on the opposite side of the mesh, behind the intended polygon
according to your view of the mesh. If you don’t select the correct polygon on the
first click, just keep clicking in the same spot to toggle between polygons below
the cursor.
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 Getting Started in 3D with 3ds Max

FIG 18-3 The polygon will

highlight in red when selected.

5. In the Modify panel, Edit Geometry rollout, click the Extrude button to place it
into manual mode. Move the cursor over the selected polygon in the Perspective
Viewport and you will see a new extrude cursor appear. Left-click on the selected
polygon and drag the mouse upward to extrude the polygon a little (see Figure 18-4).
Left-click to set the Extrude amount, which you can see in the numeric field to the
right of the Extrude button, to somewhere between four and five inches. Click the
Extrude button to toggle it off.

FIG 18-4 Click the Extrude

button for manual control of the
extrusion amount.

6. In the Extrude numeric field, enter 0'1" and then press Enter. This performs another
extrude operation with an exact amount. In the Bevel numeric field, enter −0'1" to
bevel the new polygon inward to form a beveled edge around the new access hatch
(see Figure 18-5). As soon as you press Enter, the numeric fields reset themselves to 0'0".
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 Geometry Types

FIG 18-5 You can also Extrude and Bevel numerically for accurate amounts.

7. In the Modify panel, stack view, highlight Editable Mesh to exit subobject mode.
Use the keyboard shortcut Alt+Q to exit isolation mode and make the other objects
in the scene visible again. Save the file, it should already be called Exercise 18-1-1_
Geometry02.max. Even though you are editing a Mesh object, you still have access
to a Polygon subobject mode; a collection of two triangular faces in this case. The
editing steps are a linear process – once you extrude a polygon, for example, the edit
is immediately applied and you can move on to the bevel process.

Mesh geometry has many editing tools for creating complex surfaces in 3ds Max and the
resulting geometry is efficient because it does not need to be converted internally before
rendering. The subobject editing tools are linear, meaning that once you have performed several
steps, it can be difficult to make changes to the edits from step one, for example. However,
you can add multiple Edit Mesh modifiers containing the same editing tools and offering the
advantage of deleting the edits performed by deleting the modifier itself. Remember however,
that each time you add an Edit Mesh modifier, the memory footprint of the object doubles.
Let’s perform some similar edits using the Poly editing tools accessed by converting an
object to Editable Poly.

18.2 Poly Editing Tools

Poly geometry has a topology that is primarily four-sided polygons, although it is sometimes
necessary to have three-sided polygons or polygons with more than four sides to create a
particular object.
The basic workflow of either applying an Edit Poly modifier or converting an object to
Editable Poly is the same as with Mesh geometry. Each method gives the same subobject
editing tools that may work similarly to those found in the Mesh object options, though
many function a bit differently, allowing you to preview the changes made by the tool before
committing to the edit. This improves the flexibility of the workflow for Poly geometry.
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 Getting Started in 3D with 3ds Max

In Exercise 18-2-1, you will isolate the Windmill_base001 object and then edit the geometry
to place an inset door with a doorframe. The exercise will be simple, so that you can focus
your attention on how the workflow of Poly geometry varies from the workflow of Mesh
geometry.

Exercise 18-2-1 Windmill Door

1. Open the 3ds Max file from the previous exercise called Exercise 18-1-1_
Geometry02.max and save it to an appropriate folder on your hard drive with a new
incremental name. Select the Windmill_base001 object in the Perspective viewport
and then use the keyboard shortcut Alt+Q to isolate the selection. Click the Zoom
Extents All Selected button to fill all viewports with the object. Right-click in the
Front viewport to activate it.
2. Right-click on the object in the Front viewport, choose Convert To in the Quad
menu, and then choose Editable Poly in the submenu. In the Modify panel, stack
view, expand Editable Poly for a list of subobject components. In stack view,
highlight Edge subobject level. In the Front viewport, use the Ctrl key to select the
three center vertical edges (see Figure 18-6). The edges will turn red when selected.

FIG 18-6 Select the three vertical edges at the front of the windmill base. Ctrl key allows you to add to a selection set.

3. In the Modify panel, Edit Edges rollout, click the Settings button to the right of the
Connect button. This opens a “caddy” that floats in the viewport with adjustable
parameters (see Figure 18-7). It’s difficult to see, but the Connect tool has created a
new edge through the midpoints of the three selected edges that will be used to
define the top of the doorway.
4. In the caddy, highlight the Slide numeric field and then enter 35 to move the edge
up 35 units along the vertical edges (see Figure 18-8). You are still in the Settings caddy
for the Connect tool and haven’t yet committed to the edit. It is still possible to
change your current edit or to adjust some of the other options at this point.
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 Geometry Types

FIG 18-7 Poly geometry editing has Settings options for many tools to allow you to preview your edits before committing to them.

FIG 18-8 The Slide option slides the new edge up and down along the original edges.

5. Once you have previewed the edit, you can click the OK check button to accept
it (see Figure 18-9). The + button could be used to apply the current edit and still
continue editing, or you could cancel the edit by clicking the X button. This workflow
provides you with a “what you see is what you get” flexibility not available in the
Editable Mesh geometry.

FIG 18-9 You can accept the current edits by clicking the OK button.

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6. In the Front viewport, select the edge below the center of the new horizontal
connect edge. In the Edit Edges rollout, click the Remove button (see Figure 18-10).
Removing this edge defines a new polygon bordered by visible white edges.

FIG 18-10 You can remove

the visible edges to combine
polygons.

Note
In the Front viewport, it will appear as though the edge is still there, but you are
actually seeing the edge beyond on the backside of the windmill base. In the
shaded Perspective viewport, you can clearly see that the edge has been removed.

7. In the Modify panel, stack view, highlight the Polygon subobject mode. You will
see the newly defined polygon turn red to indicate that it is selected. In the Edit
Polygons rollout, click the Settings button to the right of Inset to open the Inset
caddy. Enter 0'4" in the Amount numeric field and press Enter. You can see that the
selected polygon has been inset by 4 inches on each side to create new “doorframe”
polygons (see Figure 18-11). Click the OK button to complete the process.

FIG 18-11 The Inset command

posts the edges of the selected
polygon inward to create new
polygons.

8. In the Edit Polygons rollout, click the Settings button for the Extrude command and
then enter −0'6" in the Height numeric field of the caddy. This pulls the selected
polygon inward (see Figure 18-12). Click the OK check button to finalize the edit.
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FIG 18-12 Use the Extrude

Settings to pull the door surface
into the windmill base.

9. Use the Ctrl key to select the polygons that make up the doorframe. There should
be six polygons and you can see the count in the Selection rollout. Click the Extrude
Settings button and then enter 0'2" in the Height numeric field. This extrudes the
doorframe out from the surface of the windmill base (see Figure 18-13). Click the OK
check button to finalize the edit.

FIG 18-13 Extrude the

doorframe polygons outward
away from the windmill base.

10. In the Modify panel, stack view, highlight Editable Poly to exit subobject mode. Use
the Alt+Q keyboard shortcut to restore the other objects in the scene and then save
the file. It should already be called Exercise 18-1-1_Geometry03.max. The Settings
buttons that open the adjustment caddies in Editable Poly or in the Edit Poly modifier
give you a chance to preview your edits before committing to them for a more
flexible editing experience.

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Although the basic workflow for Editable Poly or Edit Poly modifier is very similar to the
Mesh object editing tools, the Settings caddy present in the Poly editing tools give you a bit
more freedom to experiment with changes before actually deciding to commit those edits
to the geometry. There are also many more tools for Poly geometry, some of which you will
learn more about in upcoming chapters.
Let’s learn about a completely different type of geometry in 3ds Max called the Patch Grid.

18.3 Patch Grid

The Patch Grid geometry in 3ds Max, called Quad Patch, is a flat plain surface with unique
editing capabilities. In this section, you will create a landscape from a Quad Patch, convert it
to Editable Patch, and then move its vertices upward to form gentle rolling hills.
Although this is similar to what you did to create the previous landscape using Editable
Mesh and Soft Selection, the Quad Patch offers more control in making smooth curves in
surfaces. The curvature of the edges is weighted toward the other vertex at the end of the
edge. This allows you to adjust the slope and curvature of the “hills” by editing far fewer
vertices.
Once you have the new landscape with the name Landscape001 (same name as the
previous landscape) created in a new 3ds Max scene, you’ll save it to the hard drive. You’ll
open the previous windmill scene that has the Editable Mesh landscape, access the Import,
Replace command, and replace the current landscape with the Patch Grid landscape of the
same name.
Again, the intent of this exercise is not simply to replace one object with another, but to
introduce you to the power of the Replace command. In a production setting, Replace
might be used to replace simple stand-in geometry, adopted for more efficiency in the
viewports while you are working, with the final more complex geometry that will be used
at render time.
Let’s create the landscape in a new scene and then replace the existing one.

Exercise 18-3-1 New Landscape

1. Reset 3ds Max or open a new empty scene. Save the empty scene to a file called
Landscape_patch.max in an appropriate folder on your hard drive. In the Create
panel, Geometry rollout, click the Standard Primitives drop-down list and then
choose Patch Grids (see Figure 18-14).
2. In the Object Type rollout, click the Quad Patch button. In the Perspective viewport,
click and drag a Quad Patch of any size. In the Modify panel, Parameters rollout,
enter 750'0" in the Length and Width numeric fields, and then enter 4 in the
Length Segs and Width Segs numeric fields for four segments in each direction.
In the Perspective viewport, click on the Shaded viewport label and then choose
Edged Faces in the menu. Press Enter to finalize the numeric data entry and then
click the Zoom Extents All Selected button to fill the viewports with the new object
(see Figure 18-15).

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FIG 18-14 The Quad Patch object is found in the Patch Grids menu.

FIG 18-15 Create and modify a Quad Patch with four segments in each direction.

3. Right-click in the Perspective viewport, choose Convert To in the quad menu, and
then choose Convert to Editable Patch in the submenu (see Figure 18-16). The Modify
panel now displays the geometry editing tools for a Patch object.
4. In the Modify panel, stack view, expand Editable Patch and then highlight the
Vertex subobject mode. In the main toolbar, click the Select and Move button. In
the Perspective viewport, move a couple of the vertices along the back edges in the
World positive z-axis (see Figure 18-17). Make sure that you are moving the vertices in
the right axes to create low hills.

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FIG 18-16 Convert the Quad Patch primitive to an Editable Patch object.

FIG 18-17 Use the Transform Gizmo to restrict vertex movement in the World positive z-axis.

5. In the Modify panel, stack view, highlight Editable Patch to exit subobject mode.
Rename the object Landscape001 and then save the file.
6. Open the 3ds Max file from the previous exercise called Exercise 18-1-1_Geometry03.
max. In the Application button, Import option, choose Replace (see Figure 18-18).
7. In the Replace File dialog, navigate to the folder where you saved the file from
Exercise 18-2-1 and then double-click on it. It should be called Landscape_patch
.max. In the Replace dialog that appears, highlight Landscape001 in the list. It should
be the only object in the list and it must have the exact same name as the object
in your current scene that you want to replace. Click the OK button and then click
the Yes button when prompted to replace the materials along with the objects

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FIG 18-18 The Replace command is found in the Import options.

(see Figure 18-19). Your choice here doesn’t really matter because there were no
materials assigned to the Quad Patch landscape.

FIG 18-19 You can replace materials in the current scene with the imported materials or not.

8. Click the Zoom Extents All Selected button to fill the viewports with the landscape
and you will see that gentle rolling hills created with the Quad Patch. Save the file. It
should already be called Exercise 18-1-1_Geometry03.max.

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Different situations call for different geometry types for maximum editing control. Whether
you use Mesh, Poly, or Patch surfaces will depend on your personal workflow and your
client’s requirements.
Take the time to create a few simple examples of each geometry and experiment with the
many editing options you’ll find in the Modify panel.

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 CHAPTER 19

More Object Cloning

Cloning an object in 3ds Max can be accomplished by transforming the object while holding
the Shift key and then choosing the type of clone (copy, instance, or reference) with the
option of creating a single clone or multiple clones, each with the same offset of the original
transformation. This method of cloning is useful for creating a line of office desks where the
exact offset distance is not critical, for example. You can create a similar array by using the
Shift key while rotating an object.
However, there will be many times when you need more control over exactly how the array
is spaced and whether the array occupies one, two, or three dimensions. The Array tool in
3ds Max presents you with a dialog where you can enter the numeric values for the offsets,
either linear or radial, and then choose the type of clone you require. This might be used to
create a rectangular array of bolts on a piece of machinery in a numerically correct pattern,
for example.
Sometimes you’ll need to evenly space object clones between two given points in a scene;
for example, you might need a line of trees between two buildings that are 10 feet apart.
The Spacing tool will provide you with the ability to perform such an array, plus you have an
option of choosing a 2D shape in the scene and having objects evenly distributed along, be
it a straight line or curved path.
Then there are other situations where objects need to be cloned in a more random, free-
form distribution pattern. For that, 3ds Max has the Object Paint tool where you can use the
mouse cursor to paint an area to distribute object clones.

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In this chapter, you will perform several exercises to learn the fundamental workflow of each
of the cloning options.
Some of the topics covered in this chapter are as follows:
• Array tool – The Array tool is used to create linear or circular arrays of object clones.
• Spacing tool – The Spacing tool is used to distribute object clones between two points or
along a path.
• Object Paint tool – You can use Object Paint to “paint” object clones over a surface.
Let’s start off by making a radial array of the railing posts around the circular walkway of the
windmill.

19.1 The Array Tool

The Array tool in 3ds Max provide you with a powerful option of creating numerically
correct offset clones of objects either in a linear or radial array. The Array dialog can be a bit
intimidating the first few times you try it, but with just a little practice you’ll master the tool
in no time.
For a 3D linear array, you need to enter the offsets in the axes based on the Reference
Coordinate System for the active viewport, the type of clone, and then the number of
dimensions of the array. A typical 3D linear array can be seen in Figure 19-1.

FIG 19-1 Linear 3D array.

A 2D radial array uses the selected objects current pivot point position and can include
an offset angle and a position offset value to create an array of objects that might be very
difficult to accomplish manually (see Figure 19-2).
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FIG 19-2 A radial array can have

Let’s try a simple radial array to distribute railing posts around the outside edge of the a radial and a linear offset.
windmill walkway. This will require you to “borrow” the pivot point of the walkway with
the Pick reference coordinate system to ensure correct distribution, and you will need to
learn about Transform Center options for determining the correct axis of rotation. You
must also have an object or objects selected in 3ds Max before the Array tool will be
available in the menu.

Exercise 19-1-1 Array Walkway Railings

1. Open the file from the website called Exercise 19-1-1_Cloning01.max and save
it to an appropriate folder on your hard drive with a new incremental name. This
is the windmill scene with a repositioned railing post on the walkway and a tree.
Right-click in the Top viewport to activate it. In the main toolbar, click the Select
and Rotate button, and then set the Reference Coordinate System to Pick. In the
Top viewport, pick the edge of the blue Walkway001. This creates a new Reference
Coordinate System called Walkway (see Figure 19-3).
2. Click and hold on the Use Pivot Point Center button to the right of the Reference
Coordinate System drop-down menu, and then click the bottom flyout called Use
Transform Coordinate Center (see Figure 19-4). The railing post will now use the
walkway’s pivot point instead of its own for rotations.

Note
When you create a Pick reference coordinate system, in this case called Walkway001,
it will remain an option in the Reference Coordinate System drop-down menu for the
duration of this 3ds Max work session.

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FIG 19-3 For Select and Rotate, create a new Pick reference coordinate system using the Walkway001.

FIG 19-4 Set the center of rotation at the pivot point of Walkway001.

3. Use the keyboard shortcut H to highlight Railing_post001 in the Select From Scene
dialog. Click OK to select the object. In the Tools pull-down menu, choose Array. In
the Array dialog, enter 36 in the z-axis Rotate numeric field. In the Type of Object
area, make sure that Instance radio button is chosen. In the Array Dimensions area,
make sure that 1D radio button is chosen and that the Count is set to 10. Click the
Preview button at the right of the dialog. This arrays the railings every 36° around
the walkway (see Figure 19-5). However, the spacing of the railing posts is too much for
safety, so you need to add more posts.

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FIG 19-5 The Railing_post001

will be arrayed around the
outside of the walkway.

4. In the Array dialog, enter 12 in the z-axis Rotate numeric field, and then press Enter
to refresh the preview. This places the railings close together, but only one-third
of the way around a complete circle. In the Array Dimensions area, Count numeric
field, enter 30, and then press Enter (see Figure 19-6). There are now 30 railing
posts spanning the full 360° and the preview allows you to see the results before
committing to it. Click the OK button to finish the array.

FIG 19-6 Decrease the angle

between each post and increase
the number of posts.

5. Save the file. It should already be called Exercise 19-1-1_Cloning02.max. The Array
tool in 3ds Max provides you with many options for cloning objects. You should
create a new 3ds Max scene with just one or two 3D objects and experiment with
making linear and radial arrays. Remember that for radial arrays the position of the
object’s pivot point and the Transform Center option is important for accurate control.

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Let’s try cloning the tree in the scene with the Spacing tool.

19.2 The Spacing Tool

The Spacing tool in 3ds Max has two fundamental techniques for creating arrays of objects:
distributing objects between two points and distributing objects along a 2D path.
You can, of course, determine the number of objects, the count, and the clone type when
using the Spacing tool, but there are also many options that determine exactly how the
objects are distributed at the beginning and end of the points or path, and whether the
objects rotate to follow the curvature of the path (see Figure 19-7).

FIG 19-7 The Spacing tool has flexible options.

In Exercise 19-2-1, you’ll learn to space a few trees between points, and then space trees
along a 2D path. As with the Array tool, you can see a preview of the results of your
adjustments before applying the spacing to the scene.

Exercise 19-2-1 Spacing Trees

1. Open the 3ds Max file from the previous exercise called Exercise 19-1-1_Cloning02.
max and save it to an appropriate folder on your hard drive with a new incremental
name. In the Top viewport, zoom out until you see the windmill, the tree, and a
curved path at the upper left of the viewport. Select the tree called Tree_decid01.
2. In the Tools pull-down menu, hover the cursor over Align, and then choose Spacing
tool in the submenu (see Figure 19-8).
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FIG 19-8 The Spacing tool is found in the align menu.

3. In the Spacing tool dialog, click the Pick Points button. In the Top viewport, left-click
between the tree and the windmill, and then release the mouse button and move
the cursor up and to the right a short distance. You will see a blue “rubber band”
line. Left-click to set the second point. Three clones of the tree will be distributed
evenly along the line defined by the two pick points (see Figure 19-9). The original tree
remains in place.

FIG 19-9 Picking two points in

a viewport defines the endpoints
of the spacing line.

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4. In the Spacing tool dialog, enter 5 in the Count numeric field, and then press Enter.
The viewport will update with five trees divided evenly, with objects at the ends (the
pick points) (see Figure 19-10). Click the Apply button to finalize the cloning process.

FIG 19-10 Change a parameter,

and then press Enter to update
the preview.

5. The tree should still be selected in the Top viewport. In the Spacing tool dialog,
click the Pick Path button. Move the cursor over the curved line called tree_path01
(you can also use the keyboard shortcut H to select it from a list), and then when
the cursor changes to a crosshair click the line. You now have five clones of the tree
distributed along the curved path. You can also see in the information box at the
bottom of the dialog that the objects are spaced 20'11 24/32" between centers
(see Figure 19-11).

FIG 19-11 Trees are evenly

distributed along a curved path.

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6. In the Spacing tool dialog, check the Spacing option, and then clear the checkbox
in the Count option. Enter 15'0" in the Spacing numeric field, and then press Enter
to see the scene update. There are now six trees spaced 15'0" apart beginning
at the first vertex of the path (at the left end, in this case). In the Spacing tool
dialog, Context area, check the Follow checkbox. The trees will rotate to remain
perpendicular to the curvature of the path (see Figure 19-12). Click the Apply
button to finalize the cloning process, and then click the Close button to close
the dialog.

FIG 19-12 You can also space objects by a given distance and have them rotate perpendicular to the curved path.

7. Save the file. It should already be called Exercise 19-1-1_Cloning03.max. The

Spacing tool offers options for distributing objects that are not available in the
Array tool. Again, try creating your own scene with only one of two objects
and practice with the Spacing tool so that it becomes a natural part of your
workflow.

The Object Paint tool in 3ds Max provide you with a more free-form method of distributing
objects in a scene. Let’s learn the fundamentals of how it functions.

19.3 The Object Paint Tool

The Object Paint tool in 3ds Max is not found in the Tools pull-down menu, but is part of the
Ribbon menu just below the main toolbar.
In this section, you’ll learn to expand the Ribbon menu and make adjustments to the Object
Paint brush options before choosing the object you want to paint in the scene. You’ll then
choose the original tree and paint a few clones around the scene.
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 Getting Started in 3D with 3ds Max

Exercise 19-3-1 Object Paint Trees

1. Open the 3ds Max file from the previous exercise called Exercise 19-1-1_Cloning03.
max and save it to an appropriate folder on your hard drive with a new incremental
name. In the Ribbon menu, click the Object Paint tab, and then click the Show Full
Ribbon button just to the right of it (see Figure 19-13).

FIG 19-13 The Object Paint tool

is found in the ribbon menu.

2. Enter 300 in the Spacing numeric field at the bottom center of the Ribbon menu,
Brush Settings area, and then press Enter. This sets the spacing to 300 inches (see
Figure 19-14).

FIG 19-14 Set the spacing

before painting objects.

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Note
A “glitch” in the 3ds Max interface may keep you from seeing anything but the last
integer and three decimal places of the numeric value you enter.

3. In the Top viewport, select the original tree. Click the Edit Object List button in the
Paint Objects area, and then, in the Paint Objects dialog, click the Add Selected
button. The name of the tree shows in the Ribbon menu (see Figure 19-15). Close the
Paint Objects dialog.

FIG 19-15 You can choose the

selected object as the paint
object, and multiple objects can
be added to the list.

4. In the Ribbon menu, Paint Objects area, click the large Paint button at the upper
left corner. In the Top viewport, click and drag the cursor in a semicircle around the
original tree. This distributes a tree every 300 inches along the path described by
the cursor (see Figure 19-16). Click the Minimize to Tabs button in the Ribbon menu to
close the expanded tabs.

FIG 19-16 Paint a few trees in

the Top viewport.

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Warning
Trees in 3ds Max can sometimes have very large numbers of polygons and you
should be careful about placing more than necessary in a scene.

5. Save the file. It should already be called Exercise 19-1-1_Cloning04.max. The Object
Paint tool is convenient for placing objects more randomly in a scene than it is
possible with the Array and Spacing tool. Experiment in a simple scene with some of
the options to learn more about Object Paint.

Your ability to choose the right 3ds Max tool for distributing objects throughout a scene
can enhance your productivity. You must develop a workflow with the tools by first learning
how they work and then practicing until they become a natural part of your repertoire of
3ds Max tools.

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 CHAPTER 20

Graphite Modeling Tools

Graphite Modeling Tools is a collection of Poly editing tools found in the Ribbon menu in 3ds
Max. In Chapter 18, you used Poly editing tools found in the Modify panel after converting
the windmill to an Editable Poly object. Graphite Modeling Tools have much of the
functionality of the Modify panel editing, but also add an extensive set of tools for selecting
and editing at subobject level.
In this introduction to Graphite Modeling Tools, you’ll learn the process of accessing the
Ribbon menu and working with some of the basic functions to get a feel for how the tools
differ from the Modify panel Poly editing tools. Graphite Modeling Tools also make extensive
use of tooltips to interactively help you through the options available.
You’ll then edit your windmill building with Graphite Modeling Tools to create multiple
windows in much the same way you created the door in Chapter 18, while being introduced
to some of the unique workflow available in Graphite Modeling Tools.
Some of the topics covered in this chapter are as follows:
• Introduction to Graphite Modeling Tools – Learn some of the basic functions of accessing
and applying Graphite Modeling Tools.
• Graphite Modeling Tools workflow – Use Graphite Modeling Tools to create multiple
windows simultaneously in the windmill.

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20.1 Introduction to Graphite Modeling Tools

Graphite Modeling Tools are located in the Ribbon menu and display differently depending
on what objects are selected in the scene. For example, if you have no objects selected in
the scene, the Graphite Modeling Tools options are grayed out. If you expand the Ribbon
menu and then hover the cursor over the Graphite Modeling Tools tab in the Ribbon menu, a
tooltip will appear explaining what you need to do to use the tools (see Figure 20-1).

FIG 201 Tooltips are available

extensively throughout Graphite
Modeling Tools.

If the selected object does not have an Edit Poly modifier or has not been converted to
Editable Poly, then the options are available in the Graphite Modeling Tools for adding the
modifier or converting the object. If the object has the Edit Poly modifier or is an Editable
Poly object, then the full range of Graphite Modeling Tools is available in the Ribbon menu.
The Graphite Modeling Tools workflow is well suited to “organic” objects such as soft
furniture or characters where a modifier-based or lofting workflow is not particularly
appropriate. But because of the linear nature of editing with Graphite Modeling Tools, it is a
good idea to carefully plan your approach to the creation process before starting any actual
modeling. This planning process requires experience with the tools, so it is recommended
that you begin using Graphite Modeling Tools by creating simple objects to familiarize
yourself with as many options as possible before undertaking complex modeling tasks.

Exercise 20-1-1 Basic Graphite Modeling Tools Functions

1. Open the file from the website called Exercise 20-1-1_Graphite01.max. You will not
keep any edits you make, so you don’t need to save this file. In the Edit pull-down
menu, choose Hold to save the file to the Hold buffer on your hard drive. In this
exercise, you will not be actually making any permanent changes, so it is best to take
the extra safety measure in case something gets changed by mistake and then is
automatically saved. The scene is the windmill with just a few trees.
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2. Right-click in the Perspective viewport to activate it and then select the Windmill001.
The object has an Edit Poly modifier. In the Ribbon menu, double-click the Graphite
Modeling Tools to expand the options (see Figure 20-2). Use the keyboard shortcut
Alt+Q to isolate the selection and hide all of the other objects in the scene.

FIG 202 Full Graphite

Modeling Tools options available
for an object with an Edit Poly
modifier.

3. In the Graphite Modeling Tools menu, Polygon Modeling area, click the Edge
subobject button to toggle it on. In the Perspective viewport, select any vertical
edge at the bottom of the windmill. The selected edge will turn red. In the Modify
Selection area, hover the cursor over the Loop button. The tooltip appears explaining
the functionality of Loop selection (see Figure 20-3). The Ribbon menu expands to
show all of the available tools for editing at edge subobject level.

FIG 203 Loop selection options

are a powerful tool in Graphite
Modeling Tools.
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 Getting Started in 3D with 3ds Max

4. Click the Loop button and you will see that the edges that are adjacent end to end
are added to the selection set. The loop is terminated when there are no more
adjacent edges or a sharp angle transition occurs (see Figure 20-4). This is faster and
more reliable than using the Ctrl key to add individual edges to the selection set. You
can also double-click on one edge to select the corresponding loop, making your
selection task even faster.

FIG 204 Edges adjacent end to end form a loop.

5. In the Perspective viewport, click in an empty space to deselect all edges and then
select a vertical edge near the middle of the windmill. In the Modify Selection area,
click the Ring button. A ring of vertical edges belonging to adjacent polygons around
the windmill is selected (see Figure 20-5).

FIG 205 Edges belonging to adjacent polygons form a ring.

6. In the Ribbon menu, Loops area, click the down arrow to the right of the Connect
button and then choose Connect Settings (see Figure 20-6). Hovering the cursor over
the button displays a tooltip explaining Connect Settings.
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FIG 206 The Connect tool has a Connect Settings options similar to the Edit Poly modifier or Editable Poly object.

7. A Connect Edges caddy appears in the active viewport. Hover the cursor over a
numeric field to highlight it and the name of the parameter will appear at the
top of the caddy. You can preview the connect operations on the geometry (see
Figure 20-7).

FIG 207 Parameters can be edited in the caddy numeric fields.

8. Three buttons at the bottom of the caddy accept the results, apply and continue the
command on the currently selected edges, or cancel the operation (see Figure 20-8).
Click the red X button on the right to cancel the operation.
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 Getting Started in 3D with 3ds Max

FIG 208 Three different options for the caddy operation.

9. Use the keyboard shortcut Alt+Q to exit isolation mode. In the Polygon Modeling
area, click the Edge subobject button to exit subobject mode. Close 3ds Max without
saving the file. The workflow of Graphite Modeling Tools has some similarities with
Editable Poly or Edit Poly modifier, but there are many more options for selecting and
editing at subobject mode.

Let’s use Graphite Modeling Tools to create multiple windows around the middle of the
windmill.

20.2 Graphite Modeling Tools Workflow

The best workflow for Graphite Modeling Tools is to use the Settings options for tools when
it is available. This opens the appropriate caddy containing the parameter numeric fields and
other options. As you change the parameters, you will see the edits appear on the geometry
in your scene and then you can either accept the edits as is, apply the edits and continue
editing, or cancel the operation. Again, the workflow for Graphite Modeling Tools is linear
and you need to be sure that the edits you are performing are correct before continuing, as
it is rather difficult to undo multiple steps without destroying the entire work history.
In Exercise 20-2-1, you will work at Polygon subobject level to select every other polygon
around the middle of the windmill, and then use the Inset, Extrude, and Bevel options to
create three windows simultaneously.

Exercise 20-2-1 Create Windmill Windows

1. Start 3ds Max, and then open the 3ds Max file from the website called Exercise
20-1-1_Graphite01.max and save it to an appropriate folder on your hard drive with a
new incremental name. In the Perspective viewport, select the Windmill001 and then
use Alt+Q to isolate the selection.
2. In the Ribbon menu, Polygon Modeling area, click the Polygon button to access
Polygon subobject mode. In the Perspective viewport, use the Ctrl key to select two
adjacent horizontal polygons in the middle of the windmill (see Figure 20-9).

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FIG 209 Select two adjacent polygons to indicate a horizontal loop direction.

3. In the Ribbon menu, Modify Selection area, click the Dot Loop button. Dot Loop
selects every other polygon in the polygon loop in the direction indicated in the
previous step (see Figure 20-10). On more complex geometry, this can save significant
time when selecting every other polygon by avoiding the process of arc rotating
around the geometry as you build your selection set.

FIG 2010 Dot Loop selects, by default, every other polygon in the direction indicated.

Note
The Dot Loop command can be adjusted to skip any number of polygons between
selected polygons, for example, you could choose to select every fourth polygon in a
loop.

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4. In the Ribbon menu, Polygons area, click the Inset down arrow and choose Inset
Settings to open the caddy in the Perspective viewport. In the Amount numeric field,
enter 0'6" and then press Enter to preview the result (see Figure 20-11). Each polygon is
inset from its edges to create new polygons that will define the window frame. Click
the OK (green check) button to accept the results.

FIG 2011 Inset the selected Polygons by 6 inches to form window frames.

5. In the Polygons area, access Extrude Settings and then enter −0'6" in the Height
numeric field to extrude the polygon inward. Click the OK button to accept the
results (see Figure 20-12).

FIG 2012 Extrude the selected polygons inward to create a window.

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6. Using the control key, select the two adjacent polygons that make up the frame for
one window, and then click the Loop button in Modify Selection area to select the
other two window frame polygons. In the Ribbon menu, click on Modify Selection
to open the drop-down menu and then click the Similar button (see Figure 20-13). This
will select the window frame polygons for the other windows.

FIG 2013 Complex selection sets can be easily built in Graphite Modeling Tools.

7. Use the Extrude Settings tools to extrude the selected polygons 0'2". Use the Bevel
Settings tools to enter 0' 0 1/2" in the Height numeric field and then enter −0' 0 1/2"
in the Inset numeric field (see Figure 20-14). Click the OK button to finalize the Bevel
operation. The Bevel operation creates a chamfered edge around the window frame
to catch the light.

FIG 2014 Extrude and then Bevel the window frame polygons.

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8. Exit subobject editing mode and then use Alt+Q to exit Isolate Selection mode.
Save the file, it should already be called Exercise 20-1-1_Graphite02.max. Although
there are many, many options to be explored in Graphite Modeling Tools, this simple
exercise has provided you with an overview of the basic workflow.

Graphite Modeling Tools provide powerful options for selecting and editing at subobject
level of Poly objects. The windows in Exercise 20-2-1 could have been created in the Edit Poly
modifier or Editable Poly Modify panel tools, but there would have been many more manual
steps involved.
Experiment with simple Poly objects and investigate as many of the tools as you possibly can
to see how they function and interact with each other.

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 CHAPTER 21

Compound Objects

Compound Objects in 3ds Max are tools, not physical objects in the sense of a Standard
primitive, for example. Compound Objects use two or more existing objects, 2D or 3D, and
combine them to edit the form of one or the other into a new single object. In Chapter 9,
you used the Compound Object tool called Lofting to create a complex 3D object from 2D
shapes.
Compound Objects provide editing tools with options that are not readily available in other
3ds Max tools by using 2D or 3D geometry as part of the tool itself. Because Compound
Objects in 3ds Max are in some way combining 3D surfaces, the resulting object can be
complex and memory intensive to keep track of the original objects being used. There is
also a moderate chance that the tool will fail because 3ds Max works only with surface
information and not volume information, as in CAD software performing similar functions.
Some of the topics covered in this chapter are as follows:
• ProBoolean – ProBoolean compound object is used to combine two 3D objects, subtract
one 3D object from another 3D object, or calculate the intersecting area of two 3D
objects.
• ShapeMerge – It “cuts” a 2D shape into the surface of a 3D object to define new edges and
polygons.
• Scatter – The Scatter tools randomly distribute clones of one object over the surface of
another.

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21.1 ProBoolean Compound Object

Compound Objects in 3ds Max are located in the Create panel, Standard Primitives drop-
down list. In this section, you’ll focus your attention on the ProBoolean compound object
type. ProBoolean allows you to create compound 3D objects from multiple 3D objects. The
types of Boolean operations available are Union, Intersection, Subtraction, Merge, Attach,
and Insert. The following exercise will use the Subtract option to delete a box that represents
a keyway for a millstone to help you learn the workflow of ProBoolean.
You will notice in the Object Type rollout that there is also a button for Boolean. This is an
older form of 3ds Max Boolean operations that have been left in the program so that older
files that used Boolean would still be compatible with newer versions. You should always use
ProBoolean, as it is more reliable and efficient.
In Exercise 21-1-1, you will find an object called Mill_stone001 that was created from a 2D
Donut with a Bevel modifier applied, and then converted to Editable Poly. The modeler
forgot to add a keyway, which is a notch cut from the interior of the millstone that would
keep it from slipping on its shaft as the shaft turned.
You will use ProBoolean to subtract a box called Mill_stone_keyway001 that is already
positioned correctly. You’ll then learn to edit the size of the keyway in the new compound
object created by ProBoolean.

Exercise 21-1-1 Cut a Keyway from a Millstone

1. Open the file from the website called Exercise 21-1-1_Compound objects01.max
and then save it to an appropriate folder on your hard drive with a new incremental
name. The windmill scene now contains a millstone, a keyway, and a 2D shape
defining the banks of a canal. Use the keyboard shortcut H to open the Select From
Scene dialog and then double-click the Mill_stone001 object in the list to select it.
This is operand 1. Click the Zoom Extents All Selected button to fill all viewports with
the millstone and the keyway (see Figure 21-1).

FIG 21-1 The millstone has a

keyway already in position.

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2. In the Create panel, click the Standard Primitives drop-down list and choose
Compound Objects. In the Object Type rollout, click the ProBoolean button. In the
Pick Boolean rollout, click the Start Picking button. In the Perspective viewport,
click on Mill_stone_keyway001. This is operand 2 (see Figure 21-2). The keyway will
disappear and its volume that was overlapping the millstone is cut away. Click the
Start Picking button again to toggle it off.

FIG 21-2 Subtract the keyway

from the millstone.

3. In the Modify panel, stack view, expand ProBoolean and then highlight
Operands. In the Parameters rollout, highlight 1:Subtr-Mill_stone_keyway001
(see Figure 21-3). The original object type Box for the keyway appears now at the
bottom of the stack view.

FIG 21-3 Operands can be

accessed in Modify panel, stack
view.

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4. In the Modify panel, stack view, highlight Box. In the Parameters rollout, enter 1'0" in
the Width numeric field and then press Enter. The keyway will be cut deeper into the
millstone (see Figure 21-4). In the Modify panel, stack view, highlight ProBoolean at the
top of the stack to exit operand editing mode.

FIG 21-4 Edit the operand parameters to affect the Boolean operation.

5. Click in an empty space in any viewport to deselect all of the objects and then use
Zoom Extents All Selected to fill all viewports with all objects in the scene. It should
already be called Exercise 21-1-1_Compound objects02.max.

ProBoolean is a very powerful tool when other options to perform the same editing are not
available or practical, but remember that Boolean operations are memory intensive because
3ds Max must keep track of all of the operands and all of the operations.
Let’s have a look at another similar Compound Object that cuts 2D shapes into 3D surfaces
to define new edges and polygons.

21.2 ShapeMerge Compound Object

ShapeMerge projects a 2D shape into a 3D surface to define new polygons and edges. Once
the new edges and polygons are defined, they can be selected and edited as any other
selection set. In Exercise 21-2-1, you will use ShapeMerge to project a rectangle shape into
the surface of the landscape to cut the edges for a canal.
The first object to be selected during a ShapeMerge operation is the 3D surface to be cut.
The ShapeMerge compound object is applied and then you must pick the 2D shape in the
scene to define the cut in the surface.

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As soon as a ShapeMerge operation is complete and you select the new polygons, you
should use Named Selection Sets so that you may easily retrieve the selected polygons
later.

Exercise 21-2-1 Create a Canal

1. Open the file from the previous exercise called Exercise 21-1-1_Compound
objects02.max and save it to an appropriate folder on your hard drive with a new
incremental name. In the Top viewport, select the Landscape001 object. You will
notice that the rectangle in the scene shows many vertices. Having sufficient vertices
is important to increase the reliability of the ShapeMerge operations (see Figure 21-5).

FIG 21-5 The 3D surface to be cut is selected before performing ShapeMerge.

Note
The rectangle was edited at Segment subobject level with the Divide command
to add extra vertices along the long edges. The vertices are then displayed in the
viewport by changing the Object Properties to enable Show Vertex Ticks. The
rectangle has also been moved slightly below the landscape because it will be
projected in the positive local z-axis direction and this ensures that it will “see” the
entire surface.

2. In the Create panel, Geometry category, Compound Objects list, Object Type rollout,
click the ShapeMerge button. In the Pick Operand rollout, click the Pick Shape
button (see Figure 21-6).

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 Getting Started in 3D with 3ds Max

FIG 21-6 Use the Pick Shape button to select the 2D shape in the scene that you want to cut into the 3D surface.

3. In the Top viewport, pick the shape called canal_edge001. You might see new white
edges appear on the surface of the landscape and the shape name is added to the
Operands list, but otherwise there is little to indicate the operation was successful
(see Figure 21-7). Click the Pick Shape button to toggle it off.

FIG 21-7 Pick the 2D shape you want to merge into the surface and it is added to the Operands list.

4. In the Modify panel, Modifier list, choose Edit Poly modifier. In the Modify panel,
stack view, expand Edit Poly and then highlight Polygon subobject level. The newly
defined polygons will turn red to indicate they are selected. In the main toolbar,
Named Selection Sets field, enter canal and then press Enter (see Figure 21-8). This
ensures that you will be able to reselect the polygons when you are in subobject
Polygon level in this modifier.
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 Compound Objects

FIG 21-8 Save the newly defined polygons in a Named Selection Set.

5. In the Modify panel, Edit Polygons rollout, click the Settings button for Extrude to
open the caddy in the active viewport. Enter −20'0" in the Height numeric field. This
extrudes the new polygons downward to form a canal (see Figure 21-9). Click the OK
button in the caddy to finalize the operation.

FIG 21-9 Extrude the selected polygons downward to form a new canal.

6. In the Modify panel, stack view, highlight Edit Poly to exit subobject mode. Save
the file. It should already be called Exercise 21-1-1_Compound objects03.max.
The ShapeMerge compound object enables you to define new polygons sets by
projecting 2D shapes into 3D surfaces.

Let’s learn about one more Compound Object called Scatter that can be used to distribute
objects over a surface.
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 Getting Started in 3D with 3ds Max

21.3 Scatter Compound Object

Scatter compound object is used to distribute clones of an object over the surface of
another object in a random pattern. You first select the 3D objects that you want to scatter
and then choose the surface that you want to use as a Distribution object, i.e., the surface
over which other objects will be scattered. The Distribution object is then hidden, leaving
you with just the newly scattered objects visible in the Scatter compound object.
To scatter objects over selected polygons of a surface, you need to first select the polygons
at subobject level before using the Scatter compound object.
In Exercise 21-3-1, you will create a small orchard of trees over a few selected polygons of the
landscape.

Exercise 21-3-1 Create an Orchard

1. Open the 3ds Max file from the previous exercise called Exercise 21-1-1_Compound
objects03.max and save it to an appropriate folder on your hard drive with a new
incremental name. In the Top viewport, select the object called Tree_decid01 and
then use Zoom Extents All Selected to fill all viewports with the object. Use the
mouse wheel to zoom out to see some of the surrounding landscape.
2. In the Top viewport, select the Landscape001 object. In the Modify panel, stack view,
highlight Polygon subobject level. Select a polygon next to the trees and then hold
the Ctrl key and add two more polygons to the selection set (see Figure 21-10). In the
Modify panel, stack view, highlight Edit Poly modifier to exit subobject mode.

FIG 21-10 Select landscape polygons where you want to scattered trees.

3. In the Top viewport, select the tree again. In the Create panel, Geometry category,
Compound Objects list, Object Type rollout, click the Scatter button. In the Pick
Distribution Object rollout, click the Pick Distribution Object button and then pick

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 Compound Objects

the landscape object in the Top viewport. The landscape will appear to change color,
but you are now seeing the distribution object that has been created and the tree
has moved to the middle of the landscape (see Figure 21-11).

FIG 21-11 A new distribution object is created over the landscape and a single tree is “scattered.”

4. In the Scatter Objects rollout, Source Object Parameters area, enter 4 in the
Duplicates numerical field. This scatters four trees randomly over the distribution
object, but you only want trees scattered over the selected polygons in the earlier
step. In the Scatter Objects rollout, Distribution Object Parameter area, check the
Use Selected Faces Only option and then the four trees are scattered over the
selected polygons (faces) (see Figure 21-12).

FIG 21-12 Check Use Selected Faces Only to scatter the trees on the previously selected polygons.

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 Getting Started in 3D with 3ds Max

5. Expand the Display rollout and check the Hide Distribution Object option. This hides
the distribution object that was derived from the landscape surface, so that it will
not interfere with rendering (see Figure 21-13).

FIG 21-13 It is important to remember to hide the distribution object to prevent it from rendering.

6. In the main toolbar, click the Select Object button to exit Scatter compound object.
Click in an empty space in any viewport to deselect all objects and then click Zoom
Extents Selected All. Save the file. It should already be called Exercise 21-1-1_
Compound objects04.max. The four new trees are treated as a single compound
object.

This is an introduction to just a few of the Compound Objects available in 3ds Max, but
ProBoolean, ShapeMerge, and Scatter are some of the more commonly used in general
production.
Practice using each Compound Object you have learned in this chapter on simple scenes, so
that the workflow becomes ingrained in your memory. The order in which you performed
the steps of each Compound Object is important.

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 CHAPTER 22

Exterior Daylight

A Daylight System in 3ds Max has several functions, such as simulate direct daylight and
cast shadows, simulate light bounced in the atmosphere, and position the light based on
location, date, and time.
You begin by placing a “compass” by clicking and dragging in the middle of your landscape in
the Top viewport, which can then be adjusted to determine the direction of North based on
your location on earth. You then move the mouse to create a light source consisting of Sun and
Skylight that will illuminate the scene and cast shadows, and then click to set its position. Another
part of the Daylight System, which is automatically added, is an animation controller that allows
you to enter a geographic location and date and time information for accurate shadows.
An important role of the Daylight System is to cast accurate shadows that provide visual
contrast and “anchor” your objects to the surface they sit on for a more convincing scene.
An exterior daylight scene in 3ds Max is certainly not convincing if the sky is black, so you’ll
learn to place an mr Physical Sky map in the 3ds Max environment to provide accurate
background color for your scene. The mr Physical Sky map automatically adjusts its color and
intensity based on the date and time of day, and the location of the Sun, such as dawn, high
noon, or evening’s golden hour in the scene.
Some of the topics covered in this chapter are
• Daylight System – Daylight System is not a light per se but is a system of components
used to simulate daylight in 3ds Max scenes.

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 Getting Started in 3D with 3ds Max

• Introduction to Shadows – Shadows are import elements in rendered scenes that add
visual depth and “weight” to objects.
• mr Physical Sky – mr Physical Sky is a special map type that calculates environmental sky
backgrounds for your scenes.

22.1 Exterior Daylight

Exterior daylight is simulated with the Daylight System found in Create panel, Systems
category. Daylight System is a physically accurate source of light for calculating light
intensities and shadows for any place on earth at any date and time.
It is called a Daylight System because it consists of multiple components: the compass
defining the North direction; the light sources, Sun and Skylight; and the animation
controller for adjusting the position of the Sun in the sky.
Because you are using the mental ray renderer, you will switch from the default light types
to the appropriate light sources called mr Sun and mr Sky, which simulate physically correct
daylight. Daylight is extremely bright so to compensate that you are prompted to enable mr
Photographic Exposure Control that will allow you to regulate the amount of light reaching
the renderer. You have already had experience with exposure control in Chapter 10.
Let’s place a Daylight System in the windmill scene from the previous chapter, and then
adjust some Daylight parameters and the position of the Sun in the sky.

Exercise 22-1-1 Create a Daylight System

1. Open the file from the website called Exercise 22-1-1_Daylight01.max and then
save it to an appropriate folder on your hard drive with a new incremental name.
The windmill scene is currently using the default lighting in 3ds Max and needs a
Daylight System to be more convincing. Right-click in the Top viewport to activate it.
2. In the Create panel, Systems category, Object Type rollout, click the Daylight button.
You are prompted in the Daylight System Creation dialog to use mr Photographic
Exposure Control set to an exposure value of EV = 15 (see Figure 22-1). Click the Yes
button to add mr Photographic Exposure Control.

FIG 22-1 Daylight is found in

the Systems category of the
Create panel.
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 Exterior Daylight

Note
There is also a system called Sunlight, which is an older version to be used with
the Scanline renderer.

3. In the Top viewport, left-click in the middle of the landscape and drag the cursor
slowly to see a gray compass rose appear. When the compass rose is slightly larger
than the landscape, release the left mouse button and move the mouse forward
on the mouse pad. This moves the Sun and Skylight components away from the
landscape (see Figure 22-2). Left-click in the viewport to set the position of the
light sources. The size of the compass rose and the distance of the lights from the
landscape are not particularly important.

FIG 22-2 Creating a Daylight System is a multistep process.

Note
It sometimes takes a bit of practice to create the compass rose as it can resize
quickly as you move the cursor. If you are not happy with your initial result, for
example, the compass seems too large or small, use the keyboard shortcut Ctrl+Z
to undo the step and then try again.

4. Save the file. It should already be called Exercise 22-1-1_Daylight02.max. The Sun
and Skylight components are in place, and the compass rose is indicating the
direction of North. The mr Photographic Exposure Control has been added during
the process to adjust the amount of light used by the mental ray renderer to
compensate for the brightness of daylight.

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 Getting Started in 3D with 3ds Max

Let’s adjust some of the Daylight parameters to change the default light types from Standard
lights to Photometric mental ray lights. This will provide physically correct lighting for your
outdoor scene.

Exercise 22-1-2 Adjust Daylight Parameters

1. Open the file from the previous exercise called Exercise 22-1-1_Daylight02.max and
then save it to an appropriate folder on your hard drive with a new incremental
name. Select Daylight001 in any viewport. In the Modify panel, Daylight Parameters
rollout, click the Sunlight drop-down list and choose mr Sun. In the Skylight drop-
down list, choose mr Sky. In the mental ray Sky dialog, you are prompted to add an
mr Physical Sky environment map (see Figure 22-3). Click the Yes button to add the
map to the environment. The drop-down list will change from Skylight to mr Sky.
Let’s create a camera in the scene.

FIG 22-3 Changing the default Skylight to mr Sky prompt you to add mr Physical Sky map to the environment.

2. Right-click in the Top viewport to activate it, and then in the Create panel, Cameras
category, Object Type rollout, click the Target button. In the Top viewport, click near
the cluster of four trees and drag to the center of the windmill, and then release the
mouse button to create the camera target (see Figure 22-4).

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 Exterior Daylight

FIG 22-4 Create a target camera in the Top viewport.

3. Right-click in the Perspective viewport to activate it, and then use the keyboard
shortcut C to switch the viewport to a Camera001 viewport. Click the Truck
Camera navigation buttons at the lower right of the display, and then click and
drag downward in the Camera001 viewport. In the Modify panel, Parameters
rollout, Stock Lenses area, click the 28 mm button to provide a wider angle
lens (see Figure 22-5). Your scene may not be exactly the same as the image.

FIG 22-5 Adjust the Camera001 viewport for a view of the windmill.

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 Getting Started in 3D with 3ds Max

4. In the main toolbar, click the Render Production button at the far right. The Render
Frame window will show a scene flooded with sunlight with objects casting
shadows, but there is a gray area below the mr Physical Sky background, which you
will adjust in Exercise 22-1-3 (see Figure 22-6).

FIG 22-6 The rendered scene has sunlight, shadows, and a sky background.

5. Close the Render Frame window, and then save the file. It should already be called
Exercise 22-1-1_Daylight03.max. Placing a Daylight System may require a bit of
practice the first few times you try it, but it soon becomes an easy process. When
using the mental ray renderer, it is usually best to use mr Sun and mr Sky as the
light source options. You are automatically prompted for the mr Physical Sky, which
renders as a blue sky background by default.

Let’s learn to adjust the position of the Sun to simulate Amsterdam, Netherlands, on the first
day of summer.

Exercise 22-1-3 Adjust Daylight Position

1. Open the file from the previous exercise called Exercise 22-1-1_Daylight03.max,
and then save it to an appropriate folder on your hard drive with a new incremental
name. Select Daylight001 in any viewport. You cannot move this object with the
Select and Move tool because of the special animation controller assigned as a part
of the Daylight System. In the Motion panel, Control Parameters rollout, you’ll see
the animation controller parameters that let you adjust the location, date, and time
you want the Daylight System to simulate (see Figure 22-7).
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 Exterior Daylight

FIG 22-7 The position of a Daylight System is adjusted in the Motion panel.

2. In the Control Parameters rollout, Time area, enter 10 to change the time to 10:00
in the morning. The date is set to the first day of summer in the current year. In the
Location area, click the Get Location button. In the Geographic Location dialog, Map
drop-down list, choose Europe. In the City area, choose Amsterdam, Netherlands, in
the list (see Figure 22-8). Click the OK button.

FIG 22-8 Change the time of day and location for accurate Sun positioning.

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 Getting Started in 3D with 3ds Max

3. Right-click in the Camera001 viewport to activate it, and then click the Render
Production button in the main toolbar. In the Render Frame window, you will
see that the shadows are longer due to the earlier time and the Sun is positioned
differently due to the new location (see Figure 22-9).

FIG 22-9 The rendered image shows a change in shadow angle and lighting.

4. Close the Render Frame window and then save the file. It should already be called
Exercise 22-1-1_Daylight04.max. The Daylight System light sources cannot be
moved manually by default but can be adjusted in the Motion panel with the
animation controller parameters.

The animation controller parameters are based on U.S. Navy astronomical data and are
extremely accurate. Let’s take a look at some of the shadow options available for Daylight
System with mr Sun and mr Skylight sources.

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22.2 Introduction to Shadows

Shadows have a very important role in making any scene convincing to the viewer, but this
is especially important for exterior daylight scenes. Without shadows, objects might appear
to float above the surfaces they are sitting on and scenes lack visual contrast critical to a
convincing rendered image.
The default setting is to have the Sun source cast shadows by default, but disabling them
can sometimes significantly speed test rendering. For more accurate shadows, there are also
different shadow types that you’ll have a look at in Exercise 22-2-1.

Exercise 22-2-1 Daylight Shadows

1. Open the file from the previous exercise called Exercise 22-1-1_Daylight04.max
and save it to an appropriate folder on your hard drive with a new incremental
name. Select Daylight001 in any viewport. In the Modify panel, mr Sun Basic
Parameters rollout, clear the On checkbox in the Shadows area. Right-click in the
Camera001 viewport and then click the Render Production button (see Figure 22-10).
This simple scene renders faster (3 seconds faster on the author’s machine), but the
objects appear to be floating above the landscape without shadows. Check the On
checkbox to enable the shadows again.

FIG 22-10 Shadows can be disabled for faster test renders.

2. mr Sun and mr Sky use Raytrace shadows, which have hard sharp edges. In the mr
Sun Basic Parameters rollout, Shadows area, enter 10 in the Softness numeric field
and then enter 5 in the Softness Samples numeric field. This more closely simulates

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the Sun on a partly cloudy day by blurring the edges of the shadows somewhat.
Render the Camera001 viewport to see the result (see Figure 22-11).

FIG 22-11 Softer shadows simulate sunlight on a partly cloudy day.

3. Close the Render Frame window and then save the file. It should already be called
Exercise 22-1-1_Daylight5.max. Shadows are important for a convincing rendered
image, but in a complex scene with many objects shadows can add significantly to
render times.

Let’s adjust the mr Physical Sky to eliminate the gray horizon line.

22.3 mr Physical Sky

mr Physical Sky is a special type of map in 3ds Max, which does not get applied to surfaces
but is used in the rendering environment to simulate the sky in daylight scenes. The sky
is calculated to be deep blue directly overhead, becoming somewhat hazier toward the
horizon to simulate the effect of denser atmosphere.
The horizon of mr Physical Sky does not necessarily correspond to the horizon of your camera
view and landscape. Let’s adjust the mr Physical Sky horizon position in the next exercise.

Exercise 22-3-1 Adjust mr Physical Sky

1. Open the 3ds Max file from the previous exercise called Exercise 22-1-1_Daylight05.
max and save it to an appropriate folder on your hard drive with a new incremental
name. Activate the Camera001 viewport and render it to refresh your memory of the
gray horizon line (see Figure 22-12).
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FIG 22-12 The mr Physical Sky

horizon does not match the
landscape horizon from this
camera view.

2. In the Modify panel, mr Sky Advanced Parameters rollout, Horizon area, enter −0.5
in the Height numeric field. Negative numbers move the horizon downward. Render
the Camera001 viewport and you should see that the gray line has disappeared
below the landscape horizon (see Figure 22-13).

FIG 22-13 The mr Physical Sky horizon can be adjusted up or down as necessary.

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 Getting Started in 3D with 3ds Max

Note
Due to a difference in your camera adjustments, you may need to use a slightly
different value in the Height numeric field to adjust your particular mr Physical
Sky horizon.

3. Save the file. It should already be called Exercise 22-1-1_Daylight05.max. When first
learning to use mr Physical Sky, it is easy to overlook the horizon position and not
notice it until the client points it out.

Creating and adjusting a Daylight System is relatively easy once you have done it once or
twice. Two important aspects to remember are that you modify the quality of the light in the
Modify panel and then you adjust the position of the light in the Motion panel.

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 CHAPTER 23

More Materials

Some of the topics covered in this chapter are

• More about the Arch & Design material – Learn more techniques toward making
convincing materials.
• Substance maps – 3ds Max Substance maps are powerful parametric maps.
• Material libraries – Create material libraries to store materials so that they can be available
to other 3ds Max scenes.

23.1 More on Arch & Design Material

Arch & Design materials in 3ds Max are a productive option for use with the mental ray
renderer. You have learned the fundamentals of creating and assigning Arch & Design
materials to objects in the scene, with a map applied as a pattern and several of the
parameters adjusted. In this chapter, you’ll learn to add to the complexity by combining map
patterns within map patterns for multiple levels of flexibility.
You’ll create a landscape material by applying a Noise map to the material’s Diffuse Color
Map slot. This Noise map will be a “container” to hold two other maps to give the landscape
its color. You will first adjust the Noise map pattern and then add the subsequent maps
to replace the black and white pattern. Finally, you will adjust the original Noise map
parameters for a smoother transition between color maps.

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Exercise 23-1-1 Create a Landscape Material

1. Open the file from the website called Exercise 23-1-1_Materials01.max and then save
it to an appropriate folder on your hard drive with a new incremental name. This is
the windmill scene with a water surface added in the canal. All objects have object
color at this point and you need to begin to assign materials. In the main toolbar,
click the Material Editor button to open the Slate Material Editor. Right-click in the
View1 pane and then choose Materials, mental ray, Arch & Design material (see
Figure 23-1). This creates a new node in the View1 window.

FIG 23-1 Create a new Arch & Design material node in the Slate Material Editor.

2. Double-click the material node heading to open its parameters in the Edit pane.
Rename the material as Landscape. In the Main Material Parameters rollout,
Reflection area, set the Reflectivity and Glossiness to 0.0. Click and drag from the
Output button on the right side of the material node to the landscape in the scene
(see Figure 23-2). Release the mouse button to assign the material.
3. In the Slate Material Editor, View1 pane, right-click, and then choose Maps, Standard,
Noise. Click and drag from the Noise map Output button to the Landscape material,
Diffuse Color Map Input button. Double-click the Noise map heading to open its
parameters in the Edit pane (see Figure 23-3). The Noise map is a random pattern using
black and white as the default colors.
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FIG 23-2 You can assign a material by dragging from its Output button to the object in any viewport.

FIG 23-3 Connected a Noise

map to the material’s Diffuse
Color Map slot.

4. In the Noise Parameters rollout, Noise Threshold area, enter 0.5 in the High numeric
fields, and then enter 0.49 in the Low numeric field. Right-click in the Camera001
viewport and then click the Render Production button in the main toolbar to render
the scene (see Figure 23-4). The pattern renders as a hard-edged black and white
random pattern. The closer the High (maximum = 1.0) and Low (minimum = 0.0)
threshold numbers are to each other, the harder the edge between the colors. This
pattern allows you to clearly see the distribution of the color areas so that they may
be adjusted for size. The pattern is a bit small so you will adjust it in the next step.
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 Getting Started in 3D with 3ds Max

FIG 23-4 Adjust the Noise map to have a hard edge between colors.

Note
This randomly generated pattern is set in the Coordinates rollout to use Object
xyz coordinates, which means it needs no other mapping coordinates to project
onto the surface. This procedural map is also calculated at render time and won’t
display correctly in the viewports so the scene must be rendered for an accurate
representation of the map pattern.

5. In the Noise Parameters rollout, enter 75.0 in the Size numeric field and then press
Enter. Use the Render button in the Render Frame window to render the Camera001
viewport again to see that the pattern is larger. The black and white is not an
appropriate landscape color so let’s add patterns within the black and white areas
with other maps using the appropriate colors.
6. In the Slate Material Editor, right-click to the left of the Noise map and then choose
Maps, Standard, Noise. Connect the Output button of the new Noise map to the
Input button of Color 1 in the original Noise map. Double-click on the new Noise
map heading (the map border will turn dotted) to open its parameters in the Edit
menu. In the Noise Parameters rollout, click the Color #1 color swatch and then in
the Color Selector, change the color to dark green. Click the Color #2 color swatch,
and then change the color to light green (see Figure 23-5). Click OK in the color
selector to close it. Render the Camera001 viewport and you will see that you now
have a pattern of mottled green and solid white.
7. In the Slate Material Editor, right-click below the green Noise map and then choose
Maps, Standard, Speckle. A Speckle map is black dots on a white background by
default. Connect the Output of Speckle to the Input of Color #2 in the original Noise
map. This substitutes the white areas with a Speckle map. Double-click the Speckle map
to open its parameters in the Edit pane. Change the Speckle map Color #1 to yellow and
Color #2 to dark brown. Render the Camera001 viewport (see Figure 23-6). In the Color
Selector, click the OK button to close it. You now have a mixed pattern of greens and
browns, but the hard edge between the patterns is unconvincing. Let’s fix that.
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FIG 23-5 Create a new Noise map for Color #1 with dark green and light green colors.

FIG 23-6 Substitute the white areas of the original Noise map with brown and yellow Speckle map.

8. Double-click on the original Noise map heading to open its parameters in the Edit
menu. In the Noise Parameters rollout, Noise Threshold area, enter 0.75 in the High
numeric field and then enter 0.35 in the Low numeric field. This softens the edge
between the colors of the original map. Render the Camera001 viewport and you
will see a more convincing random pattern of earth and plant colors (see Figure 23-7).
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 Getting Started in 3D with 3ds Max

FIG 23-7 Readjust the original Noise map Threshold parameters for a softer edge.

9. Close all windows and dialogs and then save the file. It should already be called
Exercise 23-1-1_Materials02.max. Maps can be nested to any depth for more
complex patterns. Experiment with the parameters associated with the Noise and
Speckle maps, especially the color combinations, to try a variety of landscape colors.

As always, keep in mind that the lessons throughout this book are intended to show you
how 3ds Max concepts can be worked into a production workflow and not to show you
“the” method of creating landscape materials. The lesson here is that you can combine maps
within maps to add layers of flexibility in designing materials.
Let’s use an Arch & Design material template to create water for the canal in the scene.

Exercise 23-1-2 Create a Water Material

1. Open the file from the previous exercise called Exercise 23-1-1_Materials02
.max and then save it to an appropriate folder on your hard drive with a new
incremental name. Open the Slate Material Editor and then right-click on View1
and choose Create New View in the menu (see Figure 23-8). In the Create New View
dialog, enter Water in the name field and then click OK to create the new view
and make it the active view. Views are a method of separating materials for better
organization.
2. Right-click in the Water view and create a new Arch & Design material. Double-click
the material node heading to open its parameters in the Edit window. Rename the
material Water. Assign the new material to the Water001 plane in the canal.
3. In the Templates rollout, click the Select a Template drop-down list and then choose
Water, Reflective surface. When you hover the cursor over an option in the drop-
down list, a description of the material appears at the upper left (see Figure 23-9). This
adds a special map called Ocean and connects it to the Water Bump slot.
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FIG 23-8 Create a new View

in the Slate Material Editor for
better organization.

FIG 23-9 Load an Arch & Design

material template for water with
a reflective surface.

4. Double-click the Ocean map in the Water view to open the Ocean Parameters
in the Edit pane. There are many parameters that can be adjusted to affect the
size and type of waves for the water material. In the Camera001 viewport, use
the Orbit Camera navigation buttons for a view down the canal and then render
the Camera001 viewport (see Figure 23-10). The water surface is a dark green color,
reflective, with small wavelets on the surface.
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 Getting Started in 3D with 3ds Max

FIG 23-10 A special Bump map creates wavelets for the water template.

5. Close all Windows and dialogs and then save the file. It should already be called
Exercise 23-1-1_Materials03.max. An Arch & Design material template is not a
material itself; it only changes parameters and connects different maps, as in this
case a Bump map to simulate waves.

23.2 Substance Maps

A powerful type of map in 3ds Max is the Substance map. A Substance map is a special
programming routine that can be connected to multiple slots in a material to provide
you with a variety of adjustable parameters. In this section, you will use one of the
preprogrammed Substance maps to create a material for the millstone in the scene.

Exercise 23-2-1 Create a Stone Material

1. Open the 3ds Max file from the previous exercise called Exercise 23-1-1_Materials03
.max and save it to an appropriate folder on your hard drive with a new incremental
name. Select the object in any viewport called Mill_stone001 and then use the
keyboard shortcut Alt+Q to isolate the selection. Activate the Camera001 viewport
and then use the keyboard shortcut P to switch from a Camera viewport to a
Perspective viewport. Click the Zoom Extents All Selected button to fill all viewports
with the millstone (see Figure 23-11).
2. Open the Slate Material Editor and then create a new view called Stone. Right-
click in the Stone view and choose a new Arch & Design material from the menus.
Right-click to the left of the material node and in Maps, Standard, choose Substance.
Double-click on the new map heading to open its parameters in the Edit pane
(see Figure 23-12).

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FIG 23-11 Select and isolate the Mill_stone001.

FIG 23-12 Open a Substance map and then make it active in the Edit pane.

3. In the Substance Package Browser rollout, click the Load Substance button. In the
Textures folder, choose Granite_02.sbsar (see Figure 23-13). This loads a map definition
file into the Substance map.
4. In the new Substance map, connect the Diffuse Output button to the material’s
Diffuse Color Map Input button. Connect the Substance map Bump Output button
to the material’s Bump Map Input button. A new appropriate map will be placed
between the Substance map and the material. The Edit pane displays Granite
parameters. Click on the material node heading and then click the Lay Out Children
button at the top of the Slate Material Editor (see Figure 23-14). This organizes the child
maps in a more logical layout.

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 Getting Started in 3D with 3ds Max

FIG 23-13 A Substance map

requires a special definition file
with the .sbsar file ending.

FIG 23-14 You can organize

your materials by picking the
node and then using Lay Out
Children.

5. Double-click the material node heading, then in the Edit pane change the name of
the material to Granite, and then in the Main Material Parameters rollout, Reflection
area, set the reflectivity and Glossiness to 0.0 (see Figure 23-15). Assign the material to
the millstone in the scene.
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FIG 23-15 Rename the material and disable reflectivity and glossiness.

6. The material will not render because the millstone does not have mapping
coordinates. Make sure Mill_stone001 is selected and then in the Modify panel,
Modifier list, choose UVW Map. In the Modify panel, Parameters rollout, choose
Cylindrical radio button and then check Cap. This mapping coordinate projection
most closely fits the shape of the object. Render the Perspective viewport
(see Figure 23-16).

FIG 23-16 The millstone needs mapping coordinates to render correctly.

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 Getting Started in 3D with 3ds Max

7. Close all windows and dialogs and then use the keyboard shortcut Alt+Q to exit
Isolate Selection mode. In the Perspective viewport, use the keyboard shortcut C to
switch to the Camera001 viewport. Save the file. It should already be called Exercise
23-1-1_Materials04.max.

A Substance map contains much more information than a standard image or

procedural map and when you load a Substance definition and connect the outputs to
the appropriate material inputs, the Substance map knows to use a color map, a bump
map, or a displacement map according to the slot to which it has been connected.
Although additional substance maps can be purchased, it’s possible for you to program
your own.

23.3 Material Libraries

Material libraries in 3ds Max are special files for storing material definitions onto your hard
drive so that they are accessible from any other 3ds Max file.
Up to this point in the book, you have been creating materials and assigning them to objects
in the scene. When the 3ds Max file is saved, the material definitions are saved with the
objects and are available again when you reopen the file. However, if you start or open a
new 3ds Max file, those material definitions are no longer accessible.
Material libraries containing the material definitions are small files so it’s possible to save
a material in multiple material libraries efficiently. For example, you should probably save
all of the materials for a given scene in a project Material Library, perhaps named Windmill
.mat and then you could save all your stone materials in a library called Stone.mat. The same
material definition would be stored in two files and with proper management everyone on
the production team will know where to look for specific materials.
Let’s create a Material Library for the windmill scene and save the materials that you have
created into the library.

Exercise 23-3-1 Put Scene Materials in a Library

1. Open the file from the previous exercise called Exercise 23-1-1_Materials04.max and
save it to an appropriate folder on your hard drive with a new incremental name.
Open the Slate Material Editor. In the Material/Map Browser pane, scroll down to the
bottom of the Scene Materials rollout.
2. Right-click on the Scene Materials rollout heading and then choose Save As New
Material Library. This operation will scan the entire scene to find maps and materials
that are stored in the scene, in the renderer, and in the environment (mr Physical Sky
map, for example) (see Figure 23-17).
3. In the Save As New Material Library dialog, click the Save As button. In the Save As
New Material Library navigation, enter Windmill in the File Name field and then
click the Save button (see Figure 23-18). The file will automatically be saved into the
/materiallibrary folder of your current project folder structure.

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FIG 23-17 Materials will be gathered from all areas of the current scene and stored in a material library.

FIG 23-18 By default, the file is saved in the /materiallibrary folder of your current project folder structure.

4. At the top of the Material/Map Browser pane, click the Material/Map Browser
Options black arrow to the left of the search window and then choose Open Material
Library (see Figure 23-19).
5. In the Import Material Library navigation dialog, double-click Windmill. The
Windmill.mat material library is opened at the top of the Material/Map Browser and
you can drag and drop the materials into the View pane as required (see Figure 23-20).

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 Getting Started in 3D with 3ds Max

FIG 23-19 Open existing material libraries in Material/Map Browser Options.

FIG 23-20 Opening a material library places it at the top of the Material/Map Browser.

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6. Close the Slate Material Editor and save the file. It should already be called Exercise
23-1-1_Materials05.max. You have stored your scene materials into a new Material
Library onto your hard drive so that it can be accessed from any other 3ds Max
file. Material libraries are a very important management tool in a production
environment.

You have learned to create more complex materials with nested maps, Arch & Design
material templates, and by using Substance Maps. These methods provide you with tools for
creating complex materials to make your 3ds Max scenes more convincing to the viewer.
Take the time to come up with some of your own materials and experiment with different
maps and templates.

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 CHAPTER 24

Multiple Materials

You have been assigning a material to an object in a 3ds Max scene by connecting a material
node output in the Slate material editor to an object in the scene or by using the Assign
Material to Selection option in the Slate material editor. If you apply a different material to
the object, the original material is replaced.
However, there are many situations that require multiple materials on single objects. In the
case of the current windmill scene you’ve been working with, the siding of the windmill will
be a orange tile material, the window frames will be white paint material, and the windmill
glass will get a transparent glass material. That’s three materials assigned to the windmill
object. Then, just to make life difficult for you, the client will decide to have a horizontal blue
stripe for the windmill siding.
In this chapter, you’ll learn to assign materials to the appropriate parts of the windmill,
and because the client has not yet decided exactly where the blue horizontal stripe will be
positioned, you’ll also learn a flexible option for applying the siding materials to the windmill
using Blend material and a mask.
Both methods of assigning multiple materials to objects are critical for productivity as they
provide you with a high degree of flexibility for quickly changing an object’s materials.
Some of the topics covered in this chapter are
• Multi/Subobject material – Assign multiple materials to objects with a combination of
Multi/Subobject submaterials matched to Material ID numbers on the geometry.

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 Getting Started in 3D with 3ds Max

• Blend material – Display multiple materials on an object with a Blend material and a
mask.
• Multiple mapping modifiers – You can apply multiple mapping modifiers to a single object
by matching Map Channel numbers to their respective maps.

24.1 Multi/Subobject Material

Multi/Subobject material is found in the Standard materials menu and, by default, has
10 submaterials. The Multi/Subobject material is simply a “container,” which holds the 10
submaterials in order, each with a Material ID number assigned to it.
Objects in a 3ds Max scene have Material ID numbers assigned to each face or polygon
which you can edit at Face or Polygon subobject level. The Material ID number assigned to
the face or polygon determines which of the submaterials is applied to it.
In the 3ds Max windmill scene, you have previously edited the windmill building geometry
to add four windows, each made up of a window frame and a window pane. In this section,
you will edit the windmill building geometry to assign Material ID numbers 1 to 3. Material
ID number 1 will be assigned to the siding polygons of the windmill. Material ID number 2
will be assigned to the window frame polygons. Material ID number 3 will be applied to the
windowpane polygons.
In the Slate material editor, you will create a Multi/Subobject material and then
connect three materials that have already been created to the proper input buttons of
the Multi/Subobject material. The Multi/Subobject material will then be assigned to the
windmill.
The process is simple, and you create a Multi/Subobject material with multiple
submaterials and then match the Material ID numbers on the geometry to the
appropriate material.
In the following exercise, you’ll use Named Selection Sets that have already been created
at Polygon subobject level to select the appropriate geometry for applying Material ID
numbers.

Exercise 24-1-1 Assign Materials to the Windmill

1. Open the file from the website called Exercise 24-1-1_Multi Materials01.max and
then save it to an appropriate folder on your hard drive with a new incremental
name. In the Camera001 viewport, select the Windmill001 and then use the
keyboard shortcut Alt+Q to isolate the selection. Use Zoom Extents All Selected to
fill all viewports with the windmill.
2. In the Modify panel, stack view, make sure that Edit Poly is expanded and then
highlight Element subobject level. Pick the windmill in any viewport and all
polygons will be highlighted in red to indicate they are selected. In the Modify
panel, Polygon: Material IDs rollout, enter 1 in the Set ID: numeric field (see
Figure 24-1). This ensures that you are beginning with Material ID 1 assigned to all
polygons.
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 Multiple Materials

FIG 24-1 Begin by assigning

Material ID 1 to all polygons.

Note
All primitive 3D objects in 3ds Max have Material ID numbers assigned by default
when created. It is best to begin Material ID assignments by making sure that all
polygons have Material ID 1 and then edit them as necessary.

3. In the Modify panel, stack view, highlight Polygon subobject level. In the main
toolbar, Named Selection Sets drop-down list, choose window frames. This is a
previously created selection set of the polygons which make up the four window
frames in the scene. In the Polygon: Material IDs rollout, enter 2 in the Set ID:
numeric field (see Figure 24-2). This changes the Material ID number of the window
frame polygons from 1 to 2 to receive the second material in a Multi/Subobject
material.

FIG 24-2 Change the Material

ID numbers of the window
frames to 2.

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 Getting Started in 3D with 3ds Max

4. In the Named Selection Sets drop-down list, choose the window panes to select the
window pane polygons in the windows, and then change the Material ID number
to 3. In the Modify panel, stack view, highlight Edit Poly to exit subobject mode. The
appropriate Material ID numbers are assigned to polygons, so let’s create a matching
Multi/Subobject material.
5. In the main toolbar, click the Material Editor button to open the Slate material
editor. You should see a new view called Windmill with four materials: Paint_white,
Window_glass, Tile_orange, and Tile_blue (see Figure 24-3).

FIG 24-3 The scene contains four new materials in the Windmill view pane.

Note
If you do not see the materials, you can open the Windmill Material Library from
the Chapter 24 Max files website location and drag the four materials mentioned
in Step 5 into the view pane.

6. In the Windmill view pane, zoom out a little and then right-click to the right of all the
material nodes. In the Materials menu, Standard menu, choose Multi/Subobject (see
Figure 24-4). This places a Multi/Subobject material node with 10 submaterials in the
view pane.
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 Multiple Materials

FIG 24-4 Create a Multi/

Subobject material node in the
view pane.

7. Connect the output node of Tile_orange to the input node (1) of the Multi/
Subobject material. Connect the output node of the Paint_white material to the
input node (2) and then connect the output node of Window_glass to the input
node (3). Double-click on the heading of Multi/Subobject material to open its
parameters in the Edit pane (see Figure 24-5). The Multi/Subobject material applies
submaterials to appropriate Material ID number assigned to polygons. In the Edit
pane, rename the Multi/Subobject material Windmill.
8. Connect the Multi/Subobject material output node to Windmill001 in the
Camera001 viewport. The materials should appear on the appropriate polygons,
but the tile pattern for Tile_orange is too much large and needs mapping
coordinates. In the Modify panel, Modifier list, choose MapScaler(WSM) modifier in
the World-space modifiers (WSMs) area near the top of the list. In the Modify panel,
Parameters rollout, enter 2'0" in the Scale numeric field (see Figure 24-6). This creates
a MapScaler Binding(WSM) at the top of the stack view and projects the tile pattern
in a 2' × 2' space.

Note
World-space modifiers apply their effects to the space in which an object exists
rather than directly to the object, as in the Object-space modifiers that you have
been using up to now.

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 Getting Started in 3D with 3ds Max

FIG 24-5 Connect the

appropriate material output
to the matching Material ID
number in the Multi/Subobject
material.

FIG 24-6 Apply a

MapScaler(WSM) modifier and
adjust to project the tiles in a
2' × 2' space.

9. Use the keyboard shortcut Alt+Q to exit isolation mode and then render the
Camera001 viewport. You can see in the Rendered Frame window that Tile_orange
material renders on the windmill walls, Paint_white material renders on the window
frames, and the windowpanes are clear glass (see Figure 24-7).
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 Multiple Materials

FIG 24-7 The rendered image shows the correct materials assigned to the correct polygons.

10. Close all windows and dialogs and then save the file. It should already be called
Exercise 24-1-1_Multi materials02.max. Again, the process is simple. You need to
use a Multi/Subobject material that has submaterials in the appropriate Material ID
number slots and then you need to edit the geometry to assign matching Material
ID numbers to the proper polygons.

The Multi/Subobject material method of applying multiple materials to single objects is

extremely effective in many cases, but there are situations where the object’s geometry does
not match the area in the way you want the materials to be assigned. For situations like that,
you will learn to use a Blend material with masking in the following section.

24.2 Blend Material

The client has notified you that they need to have a horizontal stripe of blue tiles just above
the windows of the windmill. However, the existing geometry of the windmill does not
have polygons in the right places to use the Multi/Subobject material method of applying
multiple materials.
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 Getting Started in 3D with 3ds Max

3ds Max has a Standard material type called Blend that is a container for two other
materials. In this case, you will apply the Multi/Subobject material to Material #1 and then
connect a new Tile_blue material to Material #2. Then, to reveal the two materials in the
proper locations you will use a Gradient Ramp map as a mask. Where the mask map is black
the Tile_orange material will show, and where the mask map is white the Tile_blue material
will show.
You then have the flexibility to edit the Gradient Ramp mask to easily reposition the blue
stripe anywhere on the windmill independent of polygons.

Exercise 24-2-1 Add a Horizontal Stripe

1. Open the file from the previous exercise called Exercise 24-1-1_Materials02.max
and save it to an appropriate folder on your hard drive with a new incremental
name. Select Windmill001 and then use the keyboard shortcut Alt+Q to isolate the
selection. Open the Slate material editor.
2. In the Windmill view pane, right-click to the right of the Multi/Subobject material
node and then choose Materials, Standard, Blend in the menus. Double-click on
the Blend material heading to open its parameters in the Edit menu. The Blend
material already has two Standard materials assigned to it. In the view pane, click the
heading of one of the materials to select it, hold the Ctrl key, and then add the other
material to the selection set by clicking on its heading. Press Delete on the keyboard
to delete the two materials (see Figure 24-8). Rename the Blend material Tile_stripe.

FIG 24-8 Create a Blend

material and then delete
the two Standard materials
connected to it.
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 Multiple Materials

3. In the view pane, connect the output of the Multi/Subobject material to Material #1
of the Blend material and then connect the output of Tile_blue to Material #2 of the
Blend material. Then, connect the output of the Blend material to the windmill in the
scene to assign it. The Windmill001 will turn gray in the Camera001 viewport, but
the material assignments are still the same. Render the Camera001 viewport and
you will see that Tile_blue material (Material #2) does not show because it is being
overridden by the Tile_orange submaterial of the Windmill Multi/Subobject material
(Material #1) of the Blend material (see Figure 24-9). Close the Render Frame window
and let’s add a mask to the Blend material.

FIG 24-9 You must use a Mask

in the Blend material to reveal
both materials.

4. In the view pane, right-click to the right of Tile_blue and then choose Maps,
Standard, Gradient Ramp to apply a Gradient Ramp map node to the Slate material
editor. Connect the output of the Gradient Ramp map to the input of the Mask in
the Blend material. In the Edit pane, Blend Basic Parameters rollout, choose the
Interactive radio button to the right of Mask. Select the Gradient Ramp map node
by clicking on its heading and then right-click on the heading and choose Show
Shaded Material in Viewport (see Figure 24-10). The Gradient Ramp pattern on the
windmill is being projected by the 2' × 2' MapScaler(WSM) modifier. Let’s adjust the
Gradient Ramp map.
5. Double-click on the Gradient Ramp heading to open its parameters in the Edit pane.
In the Coordinates rollout, Angle area, enter 90 in the W: numeric field to rotate
the Gradient Ramp to run horizontally. In the Gradient Ramp Parameters rollout,
Interpolation drop-down list, choose Solid to provide a hard edge between the
gradient flag colors. Right-click on the middle flag in the gradient and then choose
Edit Properties in the menu. In the Flag Properties rollout, click the Color swatch and
then in the Color Selector, set the color to pure white. Click the OK button. Right-
click in the Front viewport to activate it. Click the Render Production button in the
main toolbar to render the viewport (see Figure 24-11). There are clearly alternating
orange and blue tile stripes running horizontally, but the client only wants one
stripe. The problem is that all three maps’ coordinates are being managed by a single
MapScaler(WSM) modifier set to cover 2' × 2'.
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 Getting Started in 3D with 3ds Max

FIG 24-10 The Mask in a Blend

material must be Interactive to
show in the viewports.

FIG 24-11 Rotate the Gradient

Ramp map and create a Solid
interpolation between pure
black and pure white.

6. Close all windows and dialogs, use Alt+Q to exit isolation mode, and then save the
file. It should already be called Exercise 24-1-1_Multi materials03.max. The client has
also decided that the blue bricks should be twice as large as the orange bricks. In the
following section, you will learn to apply multiple mapping coordinate modifiers so
that each map can have its own independent mapping coordinates.

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24.3 Multiple Mapping Modifiers

The windmill materials are assigned, but there is a problem with the map patterns within
the materials. All the patterns are being projected by a MapScaler(WSM) modifier, which
is set to cover a 2' × 2' area on all surfaces. This is appropriate for the initial tile pattern, but
not for the Blend mask which should only reveal a stripe of Tile_blue material just above the
windows. Also, the client has requested that the Tile_blue pattern be double the size of the
Tile_orange pattern.
The solution to this problem is to use multiple mapping coordinate modifiers, but because
in the evaluation process of the Modify panel, stack view, the modifiers are evaluated from
the bottom up and the top modifier affects everything below it; you also need to make use
of an option called Map Channels in both the mapping coordinate modifiers and many of
the map types.
You, therefore, need to match the Map Channel numbers for each mapping coordinate
modifier to the Map Channel numbers in the map they are to control. Let’s fix the materials
on the windmill.

Exercise 24-3-1 Map Channels and Mapping

1. Open the 3ds Max file from the previous exercise called Exercise 24-1-1_Materials04.
max and save it to an appropriate folder on your hard drive with a new incremental
name. Select Windmill001 and then use the keyboard shortcut Alt+Q to isolate
the selection. Activate the Front viewport and then zoom in to the midsection
of the windmill. Render the Front viewport so you can see the patterns clearly
(see Figure 24-12).

FIG 24-12 The client wants

a larger orange brick and one
stripe of blue brick above the
windows.

2. In the Modify panel, Parameters rollout, you will see that the MapScaler(WSM)
modifier is set to apply the coordinates to Channel 1. Open the Slate material editor,
and in the Windmill view pane, double-click the orange Tile map node to open its
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 Getting Started in 3D with 3ds Max

parameters in the Edit pane. In the Coordinates rollout, you will see that the Map
Channel number is also set to 1 (see Figure 24-13). This is fine because the Tile_orange
is the correct size. Let’s apply another MapScaler(WSM) modifier for the Tile_blue
material.

FIG 24-13 The original

MapScaler(WSM) modifier
will control the coordinates of
Tile_orange material.

3. In the Modify panel, Modifier List, choose MapScaler(WSM). The mapping

coordinates change because this MapScaler(WSM) is also set to Map Channel 1
by default and now controls all the maps. In the Parameters rollout, enter 4'0" in
the Scale numeric field. In the Slate material editor, Coordinates rollout, enter 2 in
the Map Channel numeric field. Render the Front viewport (see Figure 24-14). This
MapScaler(WSM) modifier now only controls Tile_orange as you can see in the
rendered image. Close the Render Frame window.

FIG 24-14 Tile_orange is

now controlled by the top
MapScaler(WSM) modifier in
stack view.

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4. In the Slate material editor, Windmill view pane, double-click on the Gradient Ramp
map node and then in the Coordinates rollout, enter 3 in the Map Channel numeric
field. In the Modify panel, Modifier list, choose UVW Map modifier. Make sure the
Front viewport is active, and in the Parameters rollout, Alignment area, click the View
Align button and then click the Fit button. In the Channel area, enter 3 in the Map
Channel numeric field. Render the Front viewport (see Figure 24-15). This projects the
Gradient Ramp map over the entire windmill from the front and displays Tile_blue
on the bottom half and Tile_orange on the top half.

FIG 24-15 The UVW Map

modifier controls mapping
coordinates for the Gradient
Ramp mask.

5. In the Slate material editor, Edit pane, Gradient Ramp Parameters rollout, click and
drag directly on the middle flag in the gradient and then drag it left to position 30
(see Figure 24-16). This positions the solid edge of the gradient above the top of the
windows.

FIG 24-16 Move the middle

gradient flag to place the black/
white edge of the gradient
above the top of the windows.

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6. In the Gradient area, click in the black area to create a new black flag and then drag
it to the right to position 40. This results in a thin white stripe in the mask. Render
the Front viewport (see Figure 24-17). The result is a horizontal blue stripe of smaller
tiles above the windows. Experiment with adjusting the Gradient Ramp flags to see
that you can rapidly adjust the stripe’s size and position, and by creating new flags,
you can add new stripes.

FIG 24-17 Create a black flag

and move it to the right of the
existing flag for a white stripe
bordered by black areas.

7. Use the keyboard shortcut Alt+Q to exit isolation mode. Close all windows and
dialogs and then save the file. It should already be called Exercise 24-1-1_Multi
materials05.max. You now have the flexibility to change each map’s size and position
in the Blend material quickly and efficiently by adjusting the appropriate mapping
coordinate modifier or the parameters of the map itself.

Applying multiple materials to a single object can be done using Multi/Subobject materials
and Material ID numbers or with Blend material and masking. Each method has its place in
your production pipeline. The flexibility of both methods is enhanced through the use of
multiple mapping coordinate modifiers with Map Channels matched to the maps you need
to control. There are 99 Map Channels available to provide maximum flexibility.

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 CHAPTER 25

Introduction to Animation

Animation is an important part of the functionality of 3ds Max that breathes life into an
otherwise static presentation. The basic concepts behind animation are derived from the
traditional “cartoon” animation techniques where a master animator sketches objects at key
points in time and then passes those sketches to the junior animators whose job is to draw
all the “in-between” positions that transition from one pose to the next.
An important user interface element of animation is the Auto Key button. While the Auto
Key button is toggled on and you have set 3ds Max to some point in time other than frame
0, almost any changes you make will become recorded as a keyframe and will generate
animation. To minimize the chances that you animate changes and edits by mistake, the
3ds Max interface displays many elements in a bright red color to indicate that the Auto Key
button is toggled on.
You will learn to use the track bar and Time slider to determine at which point in time
keyframes will be recorded. 3ds Max also has video recorder-like buttons to play animations
back in the viewports or jump to the beginning or end of an animation.
3ds Max is set, by default, to a duration of 100 frames. At a standard video animation rate of
30 frames per second (fps), that is, the equivalent of 3.3 seconds of time when the animation
frames are saved, you’ll also learn to adjust the duration of animations.

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In one exercise, you’ll animate a small boat that has been added to the windmill scene
moving from one side of the canal to the other. This will require keyframes to record
position changes and rotation changes for a convincing animation of a moving boat.
Transformations are not the only things that can be animated in 3ds Max, and so you’ll
learn to apply a Bend modifier to trees in the windmill scene and then animate the Bend
parameters to simulate the trees blowing in the wind.
Some of the topics covered in this chapter are as follows:
• Animation user interface: Basic animation can be created and managed on the track bar at
the bottom of the 3ds Max interface.
• Keyframe animation: Keyframe animation records changes made to the 3ds Max scene in
keys on the track bar.
• Animating modifiers: Modifier parameters can also be animated to deform objects over
time.
Let’s begin by having a closer look at the 3ds Max interface to refresh your memory of the
animation features.

25.1 Animation User Interface

Fundamental animation relies on three aspects of the 3ds Max interface; the Auto Key
button, the track bar, and the time slider. The time aspect of the track bar can be changed in
the Time Configuration dialog. You can also use the Play Animation button in the 3ds Max
user interface to visualize the animation in the currently active viewport.
For any animation to be recorded, you must move the time slider forward in time on the
track bar to some frame other than frame 0 (the beginning), you must toggled the Auto
Key button on, and then you must edit something in the 3ds Max scene. The result is an
animation of the changes you made, starting at frame 0 and finishing at the point in time
that you performed the edit. Keyframes will appear at frame 0 and at the current frame on
the track bar. “Scrubbing” or dragging the time slider back and forth will step through the
automatically calculated in-between steps to transition from one key to the next.
Hundred frames of animation is an arbitrary duration used as a place to start your animation
process. The actual length of animations should be determined at the time of pre-planning
your project.
Let’s have a look at the important components for basic animation in the 3ds Max interface
(see Figure 25-1).
The track bar below the 3ds Max viewports represents points in time based on 30 fps
(frames per second) with a default active frame on frame 0 at the far left of the track bar.
The time slider button is located above the track bar and is labeled 0/100 in its default
position on frame 0. You can click and drag or “scrub” the time slider to set the current time
to any value on the track bar. The numbers on the button will update to indicate that you are
on frame 25/100, for example.
The Auto Key is below the right end of the track bar and can be toggled on and off as
necessary. When the Auto Key button is toggled on, the time slider track and the border of
the currently active viewport are highlighted in red as a warning that any changes made to

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FIG 25-1 Animation interface

your scene may be recorded and result in animation (Figure 25-2). The red warning should be components.
taken seriously as any editing actions will become animations if you are on a frame other
than frame 0 and the Auto Key button is toggled on.

FIG 25-2 When Auto Key is on, elements turn red in the viewport as a warning.

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The animation playback buttons also include Go to Start, Previous Frame, Play Animation,
Frame, and Go to End for navigating through the track bar. The Time Configuration button is
located below the Go to End button (see Figure 25-3).

FIG 25-3 Playback buttons allow you to navigate the track bar.

Let’s create an animation.

25.2 Keyframe Animation

When the Auto Key button is toggled on in 3ds Max and the time slider is on a frame other
than frame 0, most changes to the 3ds Max scene will be recorded as keyframes and an
animation is created starting at frame 0 or at a previously created key.
Animation keys for transformations, move, rotate, and scale, are recorded on the track bar at
the current frame.

Note
Animation keys for other editing actions are found in the animation Graph Editors.

In Exercise 25-2-1, you will animate the transformation of a boat moving from one side of the
canal to another. This will require both position and rotation keys for smooth action. You will
learn to create keys to record the current position or rotation of the boat and then to edit the
scene to generate new animation keys.

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The boat will remain stationary for the first 20 frames of the animation and so you’ll learn
to create keys that don’t require the Auto Key button to be toggled on. This is a good
practice when you are first learning animation to make sure you have absolute control of the
transformations.
Focus on the process of recording animation keys in time and not on the actual motion of
the boat. Once you understand how key framing works at a fundamental level, then you can
go on to more complex animations.

Exercise 25-2-1 Animate a Boat

1. Open the file from the website called Exercise 25-1-1_Animation01.max and
save it to an appropriate folder on your hard drive with a new incremental
name. In the Top viewport, select the boat at the lower right corner of the
viewport or you can select it by its name HULL01. In the main toolbar, click the
Select and Move button and then in the Reference Coordinate System drop-
down list, choose Local. This will help move the boat along its own axes. Right-
click on the time slider to open the Create Key dialog. This allows you to record
the current transformations of the boat in a key at the current frame 0 that will
act as a starting point for your animation (see Figure 25-4). Click the OK button to
set the keys.

FIG 25-4 Create transformation keys at frame 0 to record the starting position of the boat.

2. Click and drag the time slider to frame 20 and then right-click on the time slider to
record the same position, rotation, and scale again. This ensures that the boat will
remain stationary for the first 20 frames of the animation (see Figure 25-5). Click the OK
button.

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FIG 25-5 New transformation keys at frame 20 keep the boat stationary for the first 20 frames.

3. Drag the time slider to frame 30. Toggle the Auto Key button on. In the Top viewport,
move the boat forward along its Local x-axis until the front of the boat just passes
the blue segment of the water surface. A key is automatically created at frame 30
(see Figure 25-6). Toggle the Auto Key button off and then scrub (click and drag) the
time slider back and forth to see the boat move between frames 20 and 30.

FIG 25-6 Use Auto Key to record a position change at frame 30.

4. Drag the time slider to frame 50 and then toggle Auto Key on. In the Top viewport,
move the boat forward, slightly forward of the windmill, and to the other side of the
canal. The edge of the canal is indicated by a green line (see Figure 25-7). Toggle the
Auto Key button off. Scrub the time slider and you will see the boat move forward
and then slide sideways and forward to the other side of the canal. The boat needs
some rotation to be more convincing.
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 Introduction to Animation

FIG 25-7 At frame 50, position the boat to the other side of the canal and forward of the windmill.

5. Drag the time slider to frame 29 and then right-click on the time slider. In the
Create Key dialog, clear the Position and Scale checkboxes and then click the OK
button. This records only the current rotation of the boat at frame 29 to act as a
starting point for rotating the boat so that it doesn’t begin to rotate at frame
20: the last rotation key in the track bar. Drag the time slider to frame 35 and
then toggle the Auto Key button on. Click on the Select and Rotate button in
the main toolbar and then in the Top viewport rotate the boat roughly 30° about
the z-axis in a clockwise direction. Click to set the rotation angle (see Figure 25-8).
Toggle the Auto Key button off. Scrub the time slider back and forth and you
will see the boat move forward in a straight line and then turn toward the
windmill.

FIG 25-8 Record an animation key for a 30° clockwise rotation at frame 35.

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6. Drag the time slider to frame 45 and then toggle the Auto Key button on. In the Top
viewport, rotate the boat clockwise about 30° (see Figure 25-9). Toggle the Auto Key
button off.

FIG 25-9 Rotate the boat clockwise at frame 45 to create a key.

7. Toggle the Auto Key button on. Click the Select and Move button in the main
toolbar. Drag the frame slider forward to frame 65 and then move the boat forward
in the Top viewport until the back is just visible in the Camera001 viewport at lower
right corner (see Figure 25-10). Toggle the Auto Key button off.

FIG 25-10 Animate the boat to its final resting position.

8. Click the Play Animation button and watch the animation in the active Top viewport.
The boat moves forward and turns, continues forward, and then turns again to slide
into position. Right click on the Camera001 viewport to activate it and watch the
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animation there. Click the Stop Animation button to end the animation. Notice on
the track bar that position keys are red and rotation keys are green. On frames where
you recorded starting points for the animation, you can see red, green, and blue keys
on top of each other.

Note
Color coding is used throughout 3ds Max to indicate transform axes or keys.
RGB = XYZ = UVW = PRS (Position, Rotation, Scale keys). This helps in quickly
identifying axes or transforms in many windows and dialogs.

9. Close all windows and dialogs and save the file. It should already be called
Exercise 25-2-1_Animation02.max. Although it might seem a bit unnecessary to
keep toggling the Auto Key button on and off, it is an extremely good habit
to get yourself into. There is nothing more disappointing than to work for a
while only to realize that every edit you have performed was recorded as an
animation.

In Section 25.3, you will learn the process of animating modifier parameters to create trees
blowing in the wind.

25.3 Animating Modifiers

As mentioned earlier, almost everything in 3ds Max can be animated when edited
with the Auto Key button toggled on. In this section, you’ll learn to simulate the wind
blowing the trees in the scene by applying a Bend modifier and then animating the Angle
parameter.
If you recall creating the trees, you might remember that you used the Instance clone option
in the Scatter compound object for some of the trees and the Shift/Transform method to
clone the other. Because they are Instance clones, you can apply the modifier to any one of
the trees and they will all be affected.

Exercise 25-3-1 Trees in the Wind

1. Open the 3ds Max file from the previous exercise called Exercise 25-2-1_Animation02.
max and save it to an appropriate folder on your hard drive with a new incremental
name. Make sure the Select Object button is toggled on in the main toolbar. In the
Perspective viewport, select either of the trees next to the windmill. In the Modify
panel, Modifier list, choose Bend (see Figure 25-11). The two trees near the windmill
display the orange gizmo of the Bend modifier to indicate that the modifier will affect
both objects. However, if you look at the cluster of trees in the Top viewport beyond
the windmill, there are no orange gizmos, but they will still be affected because the
Instance option was part of the Scatter compound object.
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FIG 25-11 All Instance clone trees will be affected by the Bend modifier.

2. Toggle the Auto Key on and then drag the time slider to frame 25. In the Modify
panel, Parameters rollout, Bend area, enter 10 in the Angle numeric field. Make sure
the Bend Axis Z radio button is chosen to bend the tree in their Local z-axis and
then press enter. Notice that the spinners to the right of the numeric field have read
brackets to indicate the parameter is animated (see Figure 25-12). Toggle the Auto Key
button off. You can see that the orange gizmo is bent slightly as are the trees.

FIG 25-12 Bend the trees 10° in their Local z-axis.

3. Drag the time slider a few frames away from frame 25 and notice that there are two
keys: one at frame 0 that recorded the original bend angle and the key at frame
25 recording the 10° bend. At frame 50, you want the tree to return to its original
upright position (stored at frame 0). Select the key at frame 0. It will turn white to
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indicate it is selected. Hold the Shift key and then drag the selected key to frame
50. You will see a double horizontal arrow as you move the key. This clones the
animation key (see Figure 25-13). Scrub the time slider and you will see that the tree
bends in one direction and then returns back to vertical.

FIG 25-13 You can clone animation keys by transforming with the Shift key.

4. Clone animation key from frame 50 to frame 75 and then clone the animation key
from frame 0 to frame 100. This completes a cycle of animation from vertical to a 10°
bend at frame 25, back to vertical at frame 50, another 10° bend at frame 75, and
finally back to vertical at frame 100 (see Figure 25-14). Scrub the time slider to see the
animation or click the Play Animation button to see the motion.

FIG 25-14 Clone animation keys to create a waving action over the entire time duration.

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5. Select any of the animation keys on the track bar and then right click on the key and
choose Tree_decid002: Angle (the name of your selected tree may be different) in
the menu. In the dialog with the name of the object, you can change the frame for
the currently selected key or the Bend angle value (see Figure 25-15). If you do edit a
parameter, it affects the current key and does not create a new key. Close the dialog
because you don’t actually need to edit this key.

FIG 25-15 Right-click on a key to access editing parameters for the key.

6. Save the file. It should already be called Exercise 25-2-1_Animation03.max. Object

parameters in the Modify panel can be animated while the Auto Key button
is toggled on and the time slider is at a frame other than frame 0. Animated
parameters are indicated by red brackets.

Keyframe animation, in its fundamental form, is relatively straightforward. You toggle the
Auto Key button on, move the time slider to a frame other than frame 0, and then either
transform the object or change a parameter associated with the object or its modifiers. The
result is an animation that begins at frame 0 or at a previously created key and ends with the
final edit that was automatically keyframed.
You can transform and clone keys in the track bar using the Shift key and you can edit a key’s
parameters by right clicking the key and choosing its name in the menu.

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 CHAPTER 26

Intermediate Modeling

The more methods of modeling you know in 3ds Max and the deeper your knowledge about
each method will increase your productivity accordingly. This chapter will introduce you to
some more advanced features of Graphite Modeling Tools to give you a preview of some of
the incredible power available. In the course of creating a grain sack for the windmill, you’ll
learn about the Bridge tool in Graphite Modeling Tools used to bridge two openings in a
surface and then you’ll learn to use Nonuniform Rational Mesh Smooth (NURMS) smoothing
to give the object a more organic form.
You’ll open the windmill scene again and use Lofting to create a railing around the walkway.
The focus of the lesson is the flexibility of Lofting as a modeling tool in situations where you
need to show the client multiple options quickly. You’ll also learn to adjust parameters to
balance the efficiency and visual integrity of the model.
Some of the topics covered in this chapter are as follows:
• More Graphite Modeling Tools: The Bridge tool and NURMS are covered.
• Lofting: Flexibility and efficiency are two advantages of lofting.
Let’s begin by using Graphite Modeling Tools to create an organic grain sack that might be
used to store the flour created by the windmill. You will start out with basic Editable Poly
objects and end with a grain sack that looks soft and natural.

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26.1 More Graphite Modeling Tools

Starting with a cylinder and a cone that have been converted to Editable Poly objects, you
will use Graphite Modeling Tools to create a lumpy, organic grain sack for your windmill
scene. You’ll learn about using Border subobject level and the Bridge tool in Graphite
Modeling Tools to bridge a surface between two openings in the geometry and then adjust
it to be a curved surface. The object will still look nothing like a grain sack until you enable
the NURMS option that adds geometry to smoothen the surface into a more organic form.
Then to make the grain sack more organic, you’ll use the Freeform paint deformation tools
for a rougher surface.

Exercise 26-1-1 Create a Grain Sack

1. Open the file from the website called Exercise 26-1-1_Modeling01.max and save
it to an appropriate folder on your hard drive with a new incremental name. The
scene contains a simple eight-sided cone and an eight-sided cylinder. In the Ribbon
menu, click the Graphite Modeling Tools tab and then hover the cursor over Polygon
Modeling. Click the Polygon subobject button and then click on the polygon at the
top of the cylinder. It will turn red when selected (see Figure 26-1). Press the Delete key
to remove the polygon.

FIG 261 Use Graphite

Modeling Tools to highlight
the polygon at the top of the
cylinder.

2. You need to remove the top and bottom polygons of the cone also, but they are a
different object and you either have to exit subobject mode and then repeat the
process for the cone or attach the two objects into a single Editable Poly. Let’s attach
the objects. In Polygon Modeling, exit Polygon subobject mode. In the Geometry
(All) tab, click the Attach button (the blue boxes) (see Figure 26-2). Do not click the
Attach Settings down arrow. In the Perspective viewport, pick the cone-shaped
object to attach it to the cylinder. It will turn blue to indicate it has been attached.
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FIG 262 Attach the cone to

the cylinder to create a single
Editable Poly object.

3. In Polygon Modeling, click the Polygon subobject button and then select and
delete the end Polygons of the cone element. You’ll need to use ArcRotate (hold the
Alt key and press down on the mouse wheel) to view the underside of the cone. The
polygon edges that make up the new openings are known as the Border subobject.
In Polygon Modeling, click the Border subobject button. In the Perspective viewport,
select the bottom Border of the cone and then hold the Ctrl key and pick the top
Border of the cylinder. They will both turn red to indicate they are selected
(see Figure 26-3).

FIG 263 Select the Borders at

the top of the cylinder and at the
bottom of the cone.

4. In the Ribbon menu, Borders tab, click the Bridge Settings button (the down arrow)
and then choose Bridge Settings (see Figure 26-4).
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FIG 264 The text and down

arrow access the Settings caddy
for a command.

5. In the Bridge Settings caddy, enter 3 in the Segments numeric field. Enter 1.5 in the
Taper numeric field. This provides tapered sides for the bridge surface (see Figure 26-5).
Click the OK check button to finish the process.

FIG 265 In the Bridge Settings

caddy, edit parameters for
tapered and curved sides.

6. In the Ribbon menu, Edit tab, choose Use NURMS. The object turns into a much
more organic form and a new tab called Use NURMS appears in the Ribbon menu. In
the Use NURMS tab, enter 2 in the Iterations numeric field and then click the Isoline
Display button to show all the geometry in the viewport (see Figure 26-6). NURMS
subdivision adds geometry to smooth sharp edges and round the object into a more
organic form.
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FIG 266 NURMS is a method of subdividing the object to smooth the surface.

7. Save the file. It should already be called Exercise 26-1-1_Modeling02.max. While the
grain sack is certainly more organic than it was when you started, it needs to have a
more “relaxed” look to be convincing.

In Exercise 26-1-2, you’ll learn to use Freeform deformation tools to push and pull Editable
Poly objects into an even more organic form.
Trying to make a smooth object look more organic by adding wrinkles and bumps to the
surface can be a daunting task when working at subobject level. It’s difficult to get a natural
look when pushing and pulling vertices or polygons.
Graphite Modeling Tools has a series of Freeform tools, one of which is called Paint Deform,
which has several variations on modeling tools that you can “paint” directly on the surface.
In Exercise 26-1-2, you will use the Push/Pull tool and the Relax/Soften tool to make the grain
sack look more natural.

Exercise 26-1-2 Freeform Tools

1. Open the 3ds Max file from the previous exercise called Exercise 26-1-1_
Modeling02.max and save it to an appropriate folder on your hard drive with a
new incremental name. Make sure the grain bag is selected in the Perspective
viewport. Right click on the object and convert it to Editable Poly. This “bakes”
the NURMS information into the geometry. In the Freeform Ribbon menu,
choose the Paint Deform tab. This reveals the buttons for the Paint Deform tools
(see Figure 26-7).
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FIG 267 There are many Paint

Deform tools.

2. In the Paint Deform tab, click the Push/Pull button and then move the cursor over
the surface of the grain bag in the Perspective viewport. The cursor will be a large
circle with a line pointing from its center indicating the brush size and the direction
of the deformation. Click and drag the cursor over the surface and move the brush
as if you were painting. The cursor will turn red and the surface will slowly deform
outward beneath the cursor (see Figure 26-8).

FIG 268 Painting with Push/

Pull deforms the surface
outward.

Note
The default action for Push/Pull is to “pull” geometry outward. If you hold the Alt key
while painting, the tool will become a “push” tool for forming the geometry inward.
The Relax/Soften tool works similarly.

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3. In the Freeform menu, Paint Options tab, enter 10 in the Size numeric field and enter
2 in the Strength numeric field (see Figure 26-9).

FIG 269 The size of the brush

and the strength of the action
can be adjusted.

4. Paint with the new cursor, set to a reduced brush size and increased strength, over
the surface to make smaller deformations in an outward direction. Paint over the
surface and you will see more smaller deformations protruding further from the
surface because of the increased strength.
5. In the Paint Deform tab, click the Relax/Soften button. Paint over the high areas on
the surface and you will see them begin to relax back toward their original positions.
You can use ArcRotate to work your way around the object and “paint” a more
organic look (see Figure 26-10). Don’t worry if your grain sack is beginning to look like a
bag of rocks; Paint Deform takes a little bit of practice.

FIG 2610 Relax/Soften

softens the effect of aggressive
Push/Pull.

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6. Save the file. It should already be called Exercise 26-1-1_Modeling03.max. You can
continue practicing on this model and try some of the other Paint Deform tools to
see how they affect your geometry.

26.2 Lofting
In Chapter 9, you were introduced to the fundamental process of Lofting in 3ds Max, and in
this chapter, you’ll apply it to a more real world situation. Lofting requires a minimum of two
2D shapes: a path and a shape.
A good workflow is to position the path where you want the 3D object to be created and
then use the Get Shape command in the Loft compound object to attach an Instance clone
of the shape on the path to define the cross-section of the 3D object.
Let’s presume that your client has asked you to create a railing around the walkway of your
windmill, but the client is not exactly sure what cross-section would be best and would like
you to offer several options. This is an ideal situation for applying Lofting because you can
quickly substitute one cross-section shape for another and view the results immediately
in the scene. Once the client has made a decision of which option would be best, you can
then quickly adjust Path Steps and Shape Steps to optimize the lofted 3D object for the best
visual quality and efficiency balance.
The windmill scene you will use in Exercise 26-2-1 already has a circle positioned at the top
of the railings (loft path) and two 2D shapes (loft shapes) to be used as alternate cross-
sections for the lofted object. Let’s create a railing.

Exercise 26-2-1 Loft a Railing

1. Open the file from the website called Exercise 26-2-1_Modeling01.max and save
it to an appropriate folder on your hard drive with a new incremental name. Use
the keyboard shortcut H to open the Select From Scene dialog and then click the
Display None filter button in the dialog’s toolbar. This hides all the objects in the
list. Then click the Display Shapes button to reveal only the 2D shapes in the list.
Highlight railing_path, railing_shape001, and railing_shape002 and then click
the Display All button to return all objects to the list (see Figure 26-11). Click the
OK button.
2. Use the keyboard shortcut Alt+Q to isolate the selection. Click Zoom Extents
All Selected to fill all viewports with the selected shapes. In the Top viewport,
select the circle called railing_path. Again, the path defines where the lofted
object will be created. In the Create panel, Geometry category, click the
Standard Primitives drop-down list and choose Compound Objects. In the
Object Type rollout, click the Loft button (see Figure 26-12). This opens the Loft
creation tool.
3. In the Creation Method rollout, click the Get Shape button. In the Top viewport,
pick the railing_shape001 (red). The 3D railing appears as a cross-section lofted
around the circle (see Figure 26-13). Press the Esc key to exit Get Shape mode. Exiting
Get Shape mode is a good habit to avoid accidentally picking another shape and
replacing the current lofted shape.
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FIG 2611 Select the three 2D railing shapes.

FIG 2612 The Loft command is deep in the menu hierarchy.

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FIG 2613 The 2D shape is

lofted around the circle to create
the railing.

4. In the Top viewport, right click on the lofted object and then choose Object
Properties from the Quad menu. In the Object Properties dialog, Object Information
area, Name field, enter Railing001 to rename the object. Notice that the object has
2304 Faces, making it a relatively complex object (see Figure 26-14). Click OK to close
the dialog and accept the name change.

FIG 2614 The Object

Properties dialog contains useful
information and options.
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5. Right click on the Camera001 viewport and then press the keyboard shortcut P to
switch to a Perspective viewport. Use the mouse wheel to zoom in on the railing
for a closer look. Click on the [Shaded] viewport label and choose Edged Faces to
display both the wireframe and the shaded geometry. In the Modify panel, Skin
Parameters rollout, Options area, enter 2 in the Shape Steps numeric field and
then press Enter (see Figure 26-15). The railing becomes more efficient by eliminating
intermediate steps between vertices that define curvature, thereby reducing the
number of faces. If you check Object Properties again, you will see that there are
1152 faces in the object, about half the original. The railing still looks the same, but it
appears a bit segmented and not round.

FIG 2615 Reducing Shape Steps increases efficiency while maintaining visual quality.

6. In the Modify panel, Skin Parameters rollout, Options area, enter 8 in the Path Steps
numeric field and then press Enter. This increases the number of intermediate steps
along the path that define curvature. A check of the Object Properties dialog shows
that the number of Faces has increased to 1728, a bit less efficient but better visual
quality for a good balance (see Figure 26-16). Click OK to close the dialog.
7. In the Modify panel, Creation Method rollout, click the Get Shape button. In the Top
viewport, pick railing_shape002 (green). Zoom in on the shapes. The original lofted
shape is replaced with the new, more complex shape and has increased the number
of faces to 2592. However, the Path Steps in the Shape Steps remain optimized for
the more complex railing (see Figure 26-17).
8. Right click on the Perspective viewport, then press C to switch back to Camera001
viewport, and then use the keyboard shortcut Alt+Q to exit isolation mode. The
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FIG 2616 For a better looking, railing and minimal increase in the number of faces increase Path Steps.

FIG 2617 You can quickly substitute a new cross-section shape with Get Shape to show the client an alternate railing.

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 Intermediate Modeling

railing is positioned on the walkway. Save the file. It should already be called Exercise
26-2-1_Modeling02.max. Lofting is flexible and efficient and should be a common
modeling tool in your day-to-day workflow.

Graphite Modeling Tools provide modeling options that are not available in other modeling
techniques and you have reasonable control over the number of faces or polygons as you
are creating the objects. However, this type of polygon modeling is not particularly flexible if
you need to undo some of the work you’ve done.
Lofting can be used as a basis for organic models, but is perhaps better suited for more
linear geometry, which requires flexibility and efficiency combined. The modeling technique
you choose will depend on your requirements and production workflow, but the more you
know about the various techniques, the more intelligent your choices will be.

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 CHAPTER 27

Intermediate Animation

Keyframe animation that you learned in Chapter 25, transforming objects while the Auto Key
is toggled on, is an excellent method of animating simple motion. Once you create several
keys on the track bar, you can then move the keys around to change the animation.
It is important to understand that practically every object in 3ds Max has a Position XYZ
animation controller assigned to it by default. This allows you to move objects freely in
space. The Euler XYZ controller is assigned to all objects to allow free rotations in space and,
as you learned previously, to animate them when the Auto Key button is toggled on and the
time slider is at a frame other than frame 0.
However, when the animated motion you require becomes more complex, that method
of keyframe animation can be very limiting. In this chapter, you will learn about changing
animation controllers to affect the behavior of object motion or rotation in the scene. You’ll
also be introduced to animation constraints, controllers that require outside information to
define the motion or rotation.
Also, rather than moving animation keys on the track bar, you’ll be introduced to the Track
View-Curve Editor, a dialog that allows you to view and edit animation as curves. This
provides more visual feedback for fine-tuning your animation.
You will learn the basic concepts and practices of hierarchical linking, establishing a parent/
child relationship between objects to provide more control when animating.

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 Getting Started in 3D with 3ds Max

Some of the topics covered in this chapter are as follows:

• Controllers/Constraints: Controllers and constraints are the animation “modifiers” in 3ds Max.
• Track View-Curve Editor: Expand the control of animation keys and curves in Track View-
Curve Editor.
• Hierarchical linking: Establishing a parent/child relationship between animated objects.
The windmill scene has a pair of dories (small open boats) in the canal that you will animate
moving across the water. However, one of the dories must take several turns before
coming to rest, and while you could animate the dory using the keyframe method you
learned earlier, it will be much easier to change its default Position XYZ controller to a Path
Constraint. This allows you to pick a 2D path on the water surface to describe the animation
of the pivot point of the dory.

Note
It is helpful to understand that when you animate an object, you are actually animating
its pivot point.

You will replace the default Euler XYZ rotation controller of another dory with a Look-At
constraint and then pick the first dory as the Look-At target. This will cause the second dory
to always rotate toward the first dory as it moves through the scene.
You’ll then use Track View-Curve Editor to make adjustments to the animation, and finally
you will hierarchically link a flag and flagpole in the scene to the first dory. The dory becomes
the parent object, and wherever the parent goes, the child (or children) must go with it, but
the child can have its own motion.

27.1 Controllers and Constraints

Every object and many parameters have controllers assigned to them in 3ds Max that are
used to define the animation of objects. Constraints are controllers that require outside
information used as targets to define the animation of objects.
Let’s animate the dories.

Exercise 27-1-1 Animate the Dories

1. Open the file from the website called Exercise 27-1-1_Animation01.max and save it
to an appropriate folder on your hard drive with a new incremental name. In the Top
viewport, select Dory002. This object can be moved freely in space because it has
the default Position XYZ controller assigned to it, but you want to animate the dory
using the question mark–shaped path surrounding the dory (dory_path001) (see
Figure 27-1). Notice also there is a flag and flagpole at the back of the dory.
2. In the Motion panel, Assign Controller rollout, highlight position: Position XYZ in
the Controller list, and then click the Assign Controller button. In the Assign Position
Controller dialog, double-click Path Constraint (see Figure 27-2). This substitutes the
existing position controller with the new Path Constraint, which will require outside
information to function. If you try to move the dory at this point it will not move.

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 Intermediate Animation

FIG 27-1 The dory will be

animated along the path.

FIG 27-2 Replace the default

Position XYZ controller with the
Path Constraint.

3. In the Motion panel, Path Parameters rollout, click the Add Path button. In the Top
viewport, pick the dory_path001 question mark shape. The pivot point of the dory
jumps to the first vertex of the path, and the name of the path appears in the Target
list (see Figure 27-3). You can see that animation keys have automatically been placed

FIG 27-3 Add the 2D shape as a

Path target, and the pivot point
of the dory is animated along
the path.
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 Getting Started in 3D with 3ds Max

at frame 0 and frame 100. Scrub the time slider and you will see the boat is animated
over the entire time duration. It also keeps its orientation as it travels along the path.
Let’s fix the object’s orientation next.
4. In the Path Parameters rollout, check the Follow checkbox. This causes the dory to
orient itself perpendicular to the path’s curvature as it travels along the path. Scrub
the frame slider and you will see the boat turn as it moves. However, the boat is
traveling backward. In the Path Parameters rollout, Axis area, check the Flip checkbox
(see Figure 27-4). The orientation of an object animated along a path will depend on its
original creation parameters. Let’s change the rotation controller of the other dory.

FIG 27-4 Follow orientates

the boat perpendicular to the
curvature of the path, and Flip
reverses it on the path.

5. In the Top viewport, select Dory01. In the Motion panel, Assign Controller rollout,
highlight Rotation: Euler XYZ. Click the Assign Controller button and then double
click Look-At constraint (see Figure 27-5). This constraint requires a Look-At target.

FIG 27-5 Assign a Look-At

Constraint to dory01’s rotation.
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 Intermediate Animation

6. In the Look-At constraint rollout, click the Add Look-At Target button and then pick
Dory002 in the Top viewport. The side of Dory01 now points at Dory002. In the
Select Look-At Axis area, choose the Y radio button. This orients the front of the
dory toward Dory002 (see Figure 27-6). Scrub the time slider and you will see the dory
orient itself toward the other dory as it moves along the path.

FIG 27-6 The Look-At Constraint

orients (rotates) an object
towards the target object.

7. If you watch Dory01 in the Camera001 viewport, you will notice that it rolls to one
side when the Dory002 comes close. Look-At rotation objects sometimes need to
be told “which way is up.” In the Source/Upnode Alignment area, check the Flip
checkbox in the Source Axis area and then choose the Y radio button in the Aligned
to Upnode Axis area (see Figure 27-7). This keeps the boat upright as it rotates.

FIG 27-7 Sometimes the

Look-At objects need to know
which way is up.
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 Getting Started in 3D with 3ds Max

8. Save the file. It should already be called Exercise 27-1-1_Animation02.max. The

problem now is that if you scrub the time slider, you will see that Dory002 collides
with HULL01. You’ll fix that in Exercise 27-2-1.

27.2 Track View-Curve Editor

It is fine to slide animation keys of the selected object along the track bar for adjusting
the simplest animations when it’s clear what the keys are representing. However, as your
animations become more complex and sophisticated, determining which key on the track
bar does what can be daunting.
In the following exercise, you will learn to use the Track View-Curve Editor to view position
function curves of two animated objects and then adjust them to avoid collisions.

Exercise 27-2-1 Adjusting Animation

1. Open the 3ds Max file from the previous exercise called Exercise 27-1-1_Animation02
.max and save it to an appropriate folder on your hard drive with a new incremental
name. Make sure the Top viewport is active and then scrub the time slider to see
that at frame 30 both HULL01 and Dory002 are about to collide with each other (see
Figure 27-8). Position the time slider on frame 30. You will use Track View-Curve Editor
to slow the dory down to avoid collisions.

FIG 27-8 The boats are about to

collide at frame 30.

2. In the Top viewport, select HULL01 and Dory002. In the Graph Editors pull-down
menu, choose Track View-Curve Editor. The Track View-Curve Editor dialog shows
color-coded curves representing the positions and rotations of the HULL01 and a
cyan-colored Percent curve for Dory002 (see Figure 27-9). You will be interested in the
x-axis position of HULL01 (red curve) and the Percent curve of Dory002 (cyan curve).
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 Intermediate Animation

FIG 27-9 The Track View-Curve

Editor shows function curves
for transformation on selected
objects.

3. In Track View-Curve Editor, hierarchy column, highlight X Position for HULL01, hold
the Ctrl key, and highlight Percent for Dory002. This displays the curves and you
can see that around frame 36 the curves intersect, indicating a near collision of the
object’s pivot points (see Figure 27-10). You will add a new control point to the Percent
curve at frame 30 and then adjust its value to slow the dory down.

FIG 27-10 A pivot point

collision occurs near frame 36.

4. Highlight Percent for Dory002 to view its curve. In the Track View-Curve Editor
toolbar, click the Add Keys button. In the function curve window, pick the cyan curve
where it intersects the vertical yellow lines (current frame) to add a new control key
to the curve (see Figure 27-11). Click the Move Keys button to toggle Add Keys off to
avoid adding another key by mistake.

FIG 27-11 Add a new control

key to the Percent curve at
frame 30.
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 Getting Started in 3D with 3ds Max

5. At the top center of the Track View-Curve Editor are numeric fields for the Frame
number and the Value (percent along the path). To slow the dory down, you need to
lower the value at the current frame. Enter 7 in the Value numeric field. Where the
Percent curve is flatter, the object is traveling slower. It is only 7 percent of the way
along the path at frame 30. Scrub the time slider and you will see that the boats just
barely make it past each other at frame 41 (see Figure 27-12).

FIG 27-12 At frame 30, the dory

is now only 7 percent of the way
along the path, thereby avoiding
a collision.

6. Close the Track View-Curve Editor and save the file. It should already be called
Exercise 27-1-1_Animation03.max. By changing the percentage curve of the dory
which is controlled by a Path Constraint, you can change the speed at any point
in time by adding a new key and adjusting its value. The problem now is that the
animated Dory002 has gone off without its flag and flagpole. In Section 27.3, you’ll
learn some fundamentals about hierarchical linking.

27.3 Hierarchical Linking

Many times in 3ds Max animation, animated objects need to stay in proximity to each other as
they move and rotate through space, but the objects must have their own animation as well.
Rather than animate each object individually and hope that you get things coordinated, you
can use a concept called hierarchical linking. A “child” object is linked to a “parent” object and
wherever the parent goes, the child has to go with it, but the child can have its own action.
In this scene you want the flagpole to travel with the dory, but the flagpole should be free
to move or rotate within the confines of the boat if you need to reposition it. Also, the flag
should stay with the flagpole as it moves and rotates with the boat through the scene, but
the flag should have the ability to move independently too.
You will open the previous 3ds Max scene, link the flag as a child to the flagpole parent, and
then move the flagpole to the new position of the dory where it will become a child of the
dory parent. The result will be that when the boat moves and rotates, so will the flag and
flagpole, but they can have their own independent motion.
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 Intermediate Animation

Exercise 27-3-1 Link the Flag, Flagpole, and Dory

1. Open the file from the previous exercise called Exercise 27-1-1_Animation03.max
and save it to an appropriate folder on your hard drive with a new incremental
name. Select Flag_pole001, Flag001, and Dory002. Use the keyboard shortcut Alt+Q
to isolate the selection Move the flag and the flagpole to the back of the dory (see
Figure 27-13).

FIG 27-13 Place the flag and

flagpole at the back of the dory.

2. In the Front viewport, select Flag001. In the main toolbar, click the Select and Link
at the far left. Move the cursor over the flag in the Front viewport and when you
see the link cursor and click and drag to the Flag_pole001. Release the left mouse
button when you see this cursor change (see Figure 27-14).

FIG 27-14 Click and drag from

the child object and then release
over the parent object to create
the link.
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 Getting Started in 3D with 3ds Max

3. In the main toolbar, click the Select and Rotate button. In the Top viewport, select
Flag_pole001 and then rotate slightly toward the back (see Figure 27-15). As you rotate
the flagpole, the flag follows correctly because the flag is a child of the flagpole parent.

FIG 27-15 Rotating the parent

(flag pole) affects the child
(flag).

4. In the main toolbar, click the Select and Link button. In the Front viewport, click and
drag from the flagpole (child) to the dory (parent) to establish a hierarchical link.
Zoom out in the orthographic viewports and then scrub the time slider to see that
all the objects move together (see Figure 27-16).

FIG 27-16 The dory is the

grandparent, the flagpole is the
parent, and the flag is the child.

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 Intermediate Animation

5. Use the keyboard shortcut Alt+Q to exit isolation mode and then save the file. It
should already be called Exercise 27-1-1_Animation04.max. Hierarchical linking may
be used as deeply as necessary. A child can only have one parent, but a parent can
have many children.

A variety of animation controllers and constraints can be applied in 3ds Max to determine
the type of animation parameters available for objects. Animation controllers act directly
and have parameters that can be adjusted, but animation constraints require outside “target”
objects to define the animation capabilities.
Track View-Curve Editor can be used to view function curves representing the animation
parameters of an object that can be adjusted visually and numerically for better control.
Hierarchical linking is very useful to establish a parent/child relationship between objects.
The child object is selected and then linked to the parent object and the process may be
nested as deeply as necessary.
Experiment on a very simple scene with just a few 3D objects and 2D shapes and assign
different controllers and constraints to see how they function. Then open Track View-Curve
Editor and adjust the various curves so that you have a feeling for how everything works in
conjunction with each other.

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 CHAPTER 28

Global Illumination

In Chapter 22, you learned to light the windmill scene with the direct light from the sun and
sky. The result was not particularly convincing because the shadows and shaded portions of
the scene were pure black. Any surface that is not in the path of the light rays emitted from
the light source received no light.
In the real world, direct illumination strikes a surface and then is bounced from that surface
until it strikes another surface, and so on. This indirect illumination transfers light energy and
with it some of the surfaces’ color throughout the scene, raising the overall lighting levels,
especially in the shadows and shaded areas.
3ds Max with the mental ray rendering engine has the ability to calculate indirect
illumination, and in this chapter, you will learn the fundamentals of how it works to make
your renderings more convincing to the viewer.
Some of the topics covered in this chapter are as follows:
• Introduction to global illumination: Global illumination is, in general, computer
visualization terminology, the result of all light sources combined.
• Global Illumination in 3ds Max: You will learn to use Global Illumination in 3ds Max as a
method of calculating light bounced from surface to surface.
• Final Gathering: You’ll also learn about another method of calculating bounced light
called Final Gathering in 3ds Max.
• Ambient Occlusion: This Arch & Design material attribute is used to simulate shadows at
the intersection of two surfaces to add depth to the scene.
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 Getting Started in 3D with 3ds Max

28.1 Introduction to Global Illumination

Global illumination can be a confusing term for new users of computer visualization. In
general terms, it means the lighting effect from all combined light sources in a scene. It is
possible to have many different light sources contributing to this overall lighting effect:
direct light from the sun and sky, direct lighting from artificial light fixtures, and direct light
from glowing objects in a scene.
Another important source of light in global illumination is the indirect light that is the result
of light bouncing from one surface to another. The amount of indirect light contribution
is determined by the intensity of the light sources (direct light) and the reflectivity of the
surfaces’ materials (indirect light).
When rendering in 3ds Max with the mental ray rendering engine, you have two basic options
for calculating indirect illumination (bounced light): Global Illumination and Final Gathering.
Global Illumination, in 3ds Max terms, is a specific method of tracing the path of light energy
(photon) from the light source to the first surface and then on to the subsequent surfaces
along its new path. Upon each bounce, energy and color is transferred from one surface to
the next, resulting in indirect illumination. The photons must hit at least two surfaces to have
any effect (see Figure 28-1).

FIG 281 Enabling Global

Illumination would trace light
energy bouncing from surfaces,
providing indirect illumination.

The other method of calculating bounced light in 3ds Max is called Final Gathering, where
each of the rendered pixels is compared with its neighbors’ and then adapted to blend into
its surroundings, simulating the transfer of light from one surface to another (see Figure 28-2).
Discussions of global illumination can often be highly technical, with impressive jargon
and mathematical concepts that leave new users of 3ds Max totally overwhelmed and
bewildered. In this book you will learn the “big picture” of how global illumination functions
using analogies rather than technical terminology. Once you understand the process, it
will be easier to make sense of the technical aspects as you apply the Global Illumination
methods to more complex scenes.
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 Global Illumination

FIG 282 Enabling Final

Gathering would alter the
color and brightness of pixels
based on an analysis of their
surroundings.

28.2 Global Illumination in 3ds Max

Again, 3ds Max uses the term Global Illumination as a specific method of calculating
bounced light in mental ray where photons are emitted from light sources and bounced
from surface to surface. Let’s use honeybees as an analogy to better understand the process
of Global Illumination in 3ds Max.
The honeybee hive is equivalent to the 3ds Max light source, it’s where all the energy is
stored. The bees consume that energy and leave the hive to travel to flowers. A hive can
only supply a set amount of energy (photons in 3ds Max terms) and each bee takes an
equal amount.
The bees travel to flowers (surfaces in 3ds Max) to pick up pollen and then transfer it to
other flowers until they run out of energy. As they travel from flower to flower, they transfer
genetic information that eventually will affect the flowers they travel to. For example, if a
bee lands on a red flower and transfers its pollen to a white flower, the result will eventually
be a pink flower. Similarly in 3ds Max, light energy and color information is transferred from
surface to surface affecting each surface along its path. This transfer of energy is subject
to attenuation in the same way you learned about in this books’ discussion of direct light,
eventually the photon has little or no effect.
Bees that do not find flowers simply dissipate their energy and have no effect on the
environment. Photons that do not strike surfaces also have no effect in a 3ds Max scene.
In Exercise 28-2-1, you will open a windmill scene that has a white material assigned
to all the objects except the windmill itself, which maintains the materials you applied
in Chapter 23. You will render the scene using direct light first and then save that
rendered image in RAM Player. You’ll then enable Global Illumination with the default
settings and render the scene again to compare the effects of indirect illumination.
You’ll then make some adjustments to increase the quality of Global Illumination in
the scene.
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 Getting Started in 3D with 3ds Max

Exercise 28-2-1 Global Illumination

1. Open the 3ds Max file from the website called Exercise 28-2-1_GI01.max and
save it to an appropriate folder on your hard drive with a new incremental name.
Make sure the Camera001 viewport is active and then click the Render Production
button in the main toolbar. In the Rendering pull-down menu, choose RAM
Player. In the RAM Player dialog, click the Open Last Rendered Image in Channel
A and then click the OK button in the RAM Player Configuration dialog to accept
the default settings (see Figure 28-3). 3ds Max is set to render direct light only,
resulting in black shadows and shading. Minimize the RAM Player, but do not
close it.

FIG 283 Rendering direct light

only reduces black shadows and
shading.
2. In the main toolbar, click the Render Setup button. In the Render Setup dialog, click
the Indirect Illumination tab. In the Caustics and Global Illumination (GI) rollout,
Global Illumination (GI) area, check the Enable checkbox to turn Global Illumination
on. Check the Maximum Sampling Radius option and then enter 1'0" in the
Maximum Sampling Radius numeric field (see Figure 28-4).
3. In the Render Setup dialog, click the Render button at the lower right. The
result should be a scene with many multicolored circles where light energy has
bounced from surface to surface transferring color and brightness information
(see Figure 28-5). However, the sampling radius is too small to effectively blend the
indirect illumination.

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 Global Illumination

FIG 284 Global Illumination

is enabled in Render Setup,
Indirect Illumination.

FIG 285 Enabling Global

Illumination calculates light
bouncing from surface to
surface.

4. In the Render Setup dialog, Caustics and Global Illumination (GI) rollout, Global
Illumination (GI) area, enter 10'0" in the Maximum Sampling Radius numeric field
and then render the scene again. The result is a much smoother transfer of color
information and lighting from surface to surface, resulting in the illusion of indirect
illumination. Change the Maximum Sampling Radius to 5'0" and then render again.
The smaller radius results in less blending, but better definition of some of the surfaces

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 Getting Started in 3D with 3ds Max

(see Figure 28-6). A good Global Illumination result is achieved by balancing the numeric
values for both sampling radius and number of photons per sample. Each scene will
be different and it’s important that you approach the changes systematically.

FIG 286 Increasing the

sampling radius blends the
indirect illumination.

5. Maximize the RAM Player and then click the Open Last Rendered Image in Channel
B and accept the defaults in the dialogs. Click and drag the cursor in the RAM Player
window and you’ll see a comparison of the rough Global Illumination calculations
on the right compared with the direct light only rendering on the left (see Figure 28-7).

FIG 287 RAM Player can be

used to compare images in
Channel A and Channel B.
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 Global Illumination

6. Close all windows and dialogs and save the file. It should be called Exercise 28-2-1_GI02.
max. As mentioned earlier in the chapter, Global Illumination is best used for interior
scenes or scenes that are enclosed by geometry so that the photons from the light
sources are used efficiently, bouncing off various surfaces. In this outdoor scene, many
of the photons are lost when they travel into space.

Let’s see what happens in this scene with Final Gathering as the indirect illumination
calculation method.

28.3 Final Gathering

Another method of calculating bounced light in mental ray is with Final Gathering, where
pixels in the rendered image are compared with their neighbors and adjusted to blend in to
the surroundings more convincingly.
An analogy that can be used for Final Gathering indirect illumination is that of a chameleon.
The pixel is a chameleon sitting on, for example, a gray rock. To one side of the chameleon
is a green bush and on the other side are some red flowers. Above the chameleon is a clear
blue sky.
The chameleon starts with its natural coloring and then perceives the surrounding colors
and does its best to blend in. The pixel in a 3ds Max scene performs similar calculations and
changes its original color based on the samples of its surroundings.
Let’s begin by opening the scene from the last exercise and rendering it again, putting the
Global Illumination rendering in Channel A of the RAM Player so that you can compare it
with the result from Final Gathering calculation methods.

Exercise 28-3-1 Enable Final Gathering

1. Open the file from the previous exercise called Exercise 28-2-1_GI02.max and
save it to an appropriate folder on your hard drive with a new incremental name.
Render the Camera001 viewport and then open the rendered image in Channel
A of the RAM Player. In the Render Setup dialog, Indirect Illumination tab, Caustics
and Global Illumination (GI) rollout, Global Illumination (GI) area, clear the Enable
checkbox to turn Global Illumination off.
2. In the Render Frame Window, Final Gather Precision area, drag the slider one notch
to the right to Draft mode and then click the Render button. The render window will
appear mottled as Final Gathering samples the pixels in the scene on the first pass
(see Figure 28-8). A second pass then renders the scene based on the Final Gathering
calculations.
3. In the RAM Player, click the Open Last Rendered Image in Channel B button and
accept the defaults in the dialogs. Click and drag the cursor in the RAM Player
window to compare the two side-by-side images. Two things are immediately
apparent: the distribution of indirect illumination is much smoother and the scene
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 Getting Started in 3D with 3ds Max

FIG 288 Final Gathering

analyzes a sampling of pixels
and adjusts them based on their
surroundings.

has a blue component that simulates the effects of the blue sky on shadows and
materials (see Figure 28-9). All areas of the rendered scene are sampled by Final
Gathering, including the blue sky, whereas in Global Illumination, the photons were
lost in space and did not bounce off the blue sky.

FIG 289 Final Gathering

samples the pixels in every
area of the rendered image for
calculating indirect illumination.
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 Global Illumination

4. Close all windows and dialogs and then save the file. It should already be
called Exercise 28-2-1_GI03.max. Final Gathering is designed for outdoor scenes,
but is often useful in calculating indirect illumination for many indoor scenes,
as well.

Global Illumination can result in higher accuracy at a cost of longer rendering times
when the number of photons cast from light sources is increased and the sampling
area is balanced to provide a smooth result. Again, this works well in scenes that are
completely enclosed by geometry and usually requires experimentation to reach the
“sweet spot.”
Final Gathering is generally a faster process that may result in some lack of detail, but
includes areas of mr Physical Sky background, which makes it especially well-suited to
outdoor scenes. However, it is generally recommended that you try Final Gathering on
any scene to see if the results are acceptable and then move to Global Illumination, if
necessary.
Another possible workflow is to first render with Global Illumination to obtain a rough,
blotchy result to capture some of the accuracy and then render that result with Final
Gathering. This combination method can increase productivity and give better results for
many situations.
Let’s have a look at Ambient Occlusion in the Arch & Design material in the scene.

28.4 Ambient Occlusion

Although not a form of global illumination, Ambient Occlusion is a material attribute
that can be an important factor in quality rendering in mental ray. Ambient Occlusion
is found in the Arch & Design material and samples the scene to locate surfaces that
intersect or are in contact with each other. A shadow-like effect is then added to the
scene to increase the viewer’s perception of depth and weight. The effect can be
subtle but profound at the same time and is an efficient way to enhance most of your
renderings.

Exercise 28-4-1 Ambient Occlusion

1. Open the file from the previous exercise called Exercise 28-2-1_GI03.max and save
it to an appropriate folder on your hard drive with a new incremental name. Open
the Slate material editor and, in the View1 pane, double-click the heading for
Paint_white material node to open its parameters in the Edit pane. In the Special
Effects rollout, check Ambient Occlusion (see Figure 28-10).
2. Enter 64 in the Samples numeric field to increase the number of samples calculated
for increased accuracy. Enter 1'0" in the Max Distance numeric field to create the
special effect further away from every intersections it finds. Click the color swatch to
the right of Shadow Color and, in the Color Selector, change the color to pure black
(see Figure 28-11).
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FIG 2810 Enable Ambient

Occlusion in the Special Effects
rollout of Arch & Design
material.

FIG 2811 It’s best to start with

moderately high values to test
Ambient Occlusion.
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 Global Illumination

3. Render the Camera001 viewport and you will see darkened areas at the intersection of
surfaces that have Paint_white material assigned to them (see Figure 28-12). This provides
a “crisper” intersection between surfaces. Are you having trouble seeing the effect? Let’s
choose Render Elements to render the Ambient Occlusion in its own window.

FIG 2812 Ambient Occlusion

appears as a dark shadow at the
intersection of surfaces.

4. In the Render Setup dialog, Render Elements tab, Render Elements rollout, click the
Add button. In the Render Elements dialog, choose mr A&D Raw: Ambient Occlusion
(see Figure 28-13). Click the OK button and the Ambient Occlusion Render Element will
be added to the list.

FIG 2813 Add Ambient

Occlusion to the Render
Elements list.
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 Getting Started in 3D with 3ds Max

5. In the Render Setup dialog, click the Render button. The scene will render normally
and then another render pass will produce an image of just the Ambient Occlusion
solution, which clearly shows the effects (see Figure 28-14). This subtle effect can go a
long way in enhancing the detail in your scene without excessively high sampling in
either Global Illumination or Final Gathering.

FIG 2814 Ambient Occlusion

Render Elements pass.

6. In the Render Setup dialog, Render Elements tab, highlight mr A&D Raw: Ambient
Occlusion in the list and then click the Delete button to remove it. While the image
could be used in postproduction, you have only rendered it here to see the effects
of Ambient Occlusion. Close all windows and dialogs and then save the file. It should
already be called Exercise 28-2-1_GI04.max.

Rendering in 3ds Max with mental ray is a flexible and efficient method of calculating the
effects of global illumination (indirect illumination) using either Global Illumination or Final
Gathering or a combination of the two calculation methods.
For an efficient method of enhancing your mental ray renderings, you can enable the
Ambient Occlusion special effects component of Arch & Design materials to add more
contrast at the intersection of surfaces in the scene.

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 CHAPTER 29

Effects

Effects, sometimes called special or digital effects, can be used to enhance your scenes to
make them more convincing to the viewer. For example, in the outdoor windmill scene that
you’ve been working on throughout this book, a few simple atmospheric effects may be
used to change the mood of the scene from noon to early morning.
Atmospheric effects are applied to the scene and they can be based on the World coordinate
system, as in ground fog, or placed inside containers called Atmospheric Helpers to simulate
clouds.
When using the mental ray renderer, the Photometric lights in the scene have values
determined by real world physics. Atmospheric effects in 3ds Max have been around since
long before mental ray was available, and they work on a different scale of lighting. To match
values between the Daylight system brightness levels and the legacy atmospheric effects,
you will learn to adjust a setting called Physical Scale.
3ds Max also contains a particle generation effect called Particle Flow. You will learn to
simulate a flock of birds flying from one tree to the next by setting up a schematic Particle
Flow system. In this case, because the birds are seen at a distance, you will simply use the
particles generated by Particle Flow and not digitally modeled birds. The point of the lesson
is to learn the workflow of creating a particle system.

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 Getting Started in 3D with 3ds Max

Some of the topics covered in this chapter are as follows:

• Fog effect: Atmospheric fog can add depth to your scenes.
• Simulate clouds: Fire Effect in 3ds Max can simulate 3D clouds.
• Introduction to Particle Flow: You will learn to set up a simple Particle Flow system to
simulate a flock of birds.

29.1 Atmospheric Effects

Atmospheric effects such as fog and clouds can add a sense of depth to your scenes and
help focus the viewer’s attention where you want it. In this section, you’ll create two types of
atmospheric effects: ground fog and clouds.
The goal will be to turn the windmill scene from an afternoon, bright sun scene into a more
moody early morning simulation with overhead clouds. The morning fog will be layered and
denser at ground level than at eye level. The clouds will be overhead and will help fill the
negative space of the empty sky and force the viewer’s attention to the horizon. In the scene you
will open, the sun has already been repositioned for 6:00 AM and will be shining in the viewer’s
eyes to illustrate how the mr Physical Sky background displays the sun’s disk in the sky.
The atmospheric ground fog is an environmental atmospheric effect associated with the
World coordinate system while the clouds are positioned within an Atmospheric Helper,
which acts as a container for the clouds.
This scene is set to use Final Gathering to calculate indirect illumination and to speed
rendering; you will learn to reuse the Final Gathering solution by saving it to your hard drive
so that it can be used without recalculating the indirect illumination each time you render.

Exercise 29-1-1 Create Fog

1. Open the 3ds Max file from the website called Exercise 29-1-1_Effects01.max and save
it to an appropriate folder on your hard drive with a new incremental name. Make
sure the Camera001 viewport is active and then click on the Rendered Frame Window
button in the main toolbar. In the Rendered Frame Window, Reuse area, check the
Final Gather checkbox. This will cause 3ds Max to save the Final Gathering solution for
the next render. Click on the Render button. When the rendering has finished, toggle
the Lock button to the left of Final Gather (see Figure 29-1). 3ds Max has saved the Final
Gathering solution to your hard drive and will reuse it the next time you render to
avoid recalculation. The sun’s disk is created automatically by mr Physical Sky.

Note
If the lighting or materials change in the scene or if new large objects are added, you
should clear the indirect illumination solution by clicking the red X button and then
recalculating a new solution file.

2. Close the Rendered Frame Window. In the Rendering pull-down menu, choose
Environment. In the Environment and Effects dialog, Atmosphere rollout, click the
Add button and then double-click Fog in the Add Atmospheric Effect dialog (see
Figure 29-2). This will add the effect to the list and make available its editing parameters.
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 Effects

FIG 29-1 Check Final Gather in

Rendered Frame window, render
the scene, toggle the lock on.

FIG 29-2 Add the

Environmental effect called Fog
to your scene.

3. In the Fog Parameters rollout, Fog area, notice that the color swatch is white. Choose
the Layered radio button to create layered fog. In the Layered area, enter 5’0” in
the Top numeric field, choose the Top Falloff radio button, and then enter 2 in the
Density numeric field (see Figure 29-3). Render the Camera001 viewport. The lower
one quarter of the screen becomes much darker, especially along the horizon. You
need to adjust Physical Scale to match the brightness of the mental ray sun with the
old-style effects.

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 Getting Started in 3D with 3ds Max

FIG 29-3 Adjust the Fog

parameters.
4. Open the Rendered Frame Window, Reuse area, click the Lock button to unlock the
Final Gather solution, and then click the red X to the right of Final Gather. In the
Delete Files dialog, click the Yes button to confirm deletion of the saved Final Gather
solution file. The next step will change the lighting values in the scene, resulting in
an overexposed rendering if the current Final Gather solution is used.
5. In the Environment and Effects dialog, mr Photographic Exposure Control rollout,
Physical Scale area, choose the Unitless radio button and enter 80000 (eighty
thousand) in the Unitless numeric field (see Figure 29-4). This value approximately

FIG 29-4 The Physical Scale

must be set to Unitless and
match the brightest light in the
scene, in this case the sun.
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 Effects

matches the number of lumens generated by the sun. Render the Camera001
viewport and you will see a layer of ground fog tapering off at about 5 feet above
the ground. The problem is the horizon is distracting because you are looking
through fog to infinity. Let’s fix that by adding Noise to the horizon.
6. In the Environment and Effects dialog, Atmosphere rollout, make sure that Fog in
the Effects list is highlighted. In the Fog Parameters rollout, Layered area, check the
Horizon Noise checkbox and then enter 10 in the Size numeric field (see Figure 29-5).
Render the Camera001 viewport and you will see that the Noise has resulted in a
more convincing look, especially at the horizon.

FIG 29-5 Add Horizon Noise to

break up the top edge of the fog.

7. Close all windows and dialogs and then save the file. It should already be called
Exercise 29-1-1_Effects02.max. The addition of the Environment Atmospheric fog
changes the mood of the scene to better reflect the early morning hour. The fog
begins at the World coordinate plane and then extends up to the height you set to
create a layered affect over the landscape (see Figure 29-6).
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 Getting Started in 3D with 3ds Max

FIG 29-6 Layered fog creates an

early-morning mood.

Let’s try a different approach to add clouds in the sky by using an atmospheric effect called
Fire Effect. As its name implies, it’s intended to create fire and explosions, but with the right
settings (and Physical Scale), it can be used to make convincing clouds with many possible
variations.
This type of atmospheric effect requires a container called an Atmospheric Apparatus Helper
in the scene.

Exercise 29-1-2 Create Clouds

1. Open the 3ds Max file from the previous exercise called Exercise 29-1-1_Effects02
.max and save it to an appropriate folder on your hard drive with a new incremental
name. Right-click in the top viewport to activate it. In the Create panel, Helpers
category, click the Standard drop-down list and then choose Atmospheric Apparatus
(see Figure 29-7).

FIG 29-7 Atmospheric

Apparatus are containers for
environmental effects.

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 Effects

2. In the Object Type rollout, click the BoxGizmo button, then click in the Top viewport
near the tree at the upper left, and then drag down and to the right beyond the larger
boat. Release the left mouse button, push the mouse forward, and then click to set the
height. In the Modify panel, BoxGizmo Parameters rollout, enter 200’0” in the Length
and the Width numeric fields and then enter 25’0” in the Height numeric field. Click
the Select and Move button in the main toolbar, and in the Camera001 viewport, move
the BoxGizmo up so that its bottom is just above the windmill blade (see Figure 29-8).

FIG 29-8 Create a BoxGizmo

Helper and move it above the
windmill blades.

3. In the Atmospheres & Effects rollout, click the Add button, and in the Add
Atmosphere dialog, double-click Fire Effect (see Figure 29-9).

FIG 29-9 Fire Effect can be

added from the Modify panel
or from the Environment and
Effects dialog.

4. In the Atmospheres & Effects rollout, highlight Fire Effect in the list and then click
the Setup button to open the Environment and Effects dialog. In the Fire Effect
Parameters rollout, Shape area, enter 0.75 in the Regularity numeric field, enter
1000 in the Flame Size numeric field, and enter 2.0 in the Density numeric field
(see Figure 29-10). Render the Camera001 viewport and you will see a fire-like cloud:
interesting perhaps, but not convincing. Let’s make some minor changes.
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 Getting Started in 3D with 3ds Max

FIG 29-10 Adjust the Fire Effect

parameters.

5. In the Fire Effect Parameters rollout, edit the Inner Color color swatch to pure white
and then edit the Outer Color color swatch to pure black. Render the Camera001
viewport and you will see a more natural looking cloud (see Figure 29-11).

FIG 29-11 Make the Inner Color

white and the Outer Color black.

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 Effects

6. Close all windows and dialogs and then save the file. It should already be called
Exercise 29-1-1_Effects03.max. The Fire Effect’s parameters can all be edited and the
BoxGizmo can also be edited and animated to produce dynamic cloud effects.

Let’s learn the fundamentals of creating a Particle Flow system in 3ds Max.

29.2 Introduction to Particle Flow

Particle Flow is an event-driven feature of 3ds Max used to generate particle systems to
simulate special effects from steam and smoke, spraying water, or even a flock of birds, for
example. You create a Particle Source to emit particles and then you add Operators to edit
the particles’ behavior.
Particle Flow uses a special dialog called Particle View where you schematically place the
Particle Source and the Operators and then wire them together to obtain the desired behavior.

Exercise 29-2-1 A Flock of Birds

1. Open the 3ds Max file from the website called Exercise 29-2-1_Effects03.max and
save it to an appropriate folder on your hard drive with a new incremental name.
Select the two trees in the upper left corner of the Top viewport and then use the
keyboard shortcut Alt+Q to isolate the selection. Click several times on the Zoom
Extents All Selected button to fill all viewports (except Camera001) with the two
trees (see Figure 29-12).

FIG 29-12 Isolate the two trees

near the windmill.

2. In the Create panel, Geometry category, click the Standard drop-down list and then
choose Particle Systems. In the Object Type rollout, click the PF Source button. In the
Top viewport, click and drag a Particle Source icon midway between the trees (see
Figure 29-13). Scrub the time slider and you will see particles being emitted downward
from frame 0 to frame 30.
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 Getting Started in 3D with 3ds Max

FIG 29-13 Create a PF Source

icon between the trees.

3. Use the Align tool in the main toolbar to align the PF Source icon with the
tree on the left. Align Center to Center in all 3 axes. In the Modify panel, Setup
rollout, click the Particle View button. This opens the Particle View dialog
showing the PF Source and an Event that controls the behavior of the particles
(see Figure 29-14).

FIG 29-14 Particle View

contains an Event with Operators
describing the behavior of the
particles.

4. Highlight Birth 001 operator in Event 001. In the Birth 001 rollout, enter 30 in the
Emit Start numeric field. Enter 50 in the Emit Stop numeric field and then enter
20 in the Total numeric field (see Figure 29-15). This tells the particles when to start,
stop, and how many there should be. Scrub the time slider to view the new particle
settings.
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 Effects

FIG 29-15 Adjust Birth 001

to control when particles
are emitted and how many
there are.

5. In the Particle View dialog, Operators pane, click and drag the Find Target operator
and then drop it in Event 001 between Rotation 001 and Shape 001. You will see a
blue line appearing when it is safe to release the left mouse button and drop the
operator (see Figure 29-16). A Find Target icon will be placed near the tree.

FIG 29-16 Add a Find Target

operator by dragging and
dropping to Event 001.
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 Getting Started in 3D with 3ds Max

6. In Particle View, Event 001, highlight the new Find Target 001 operator. In the Edit
pane, Find Target 001 rollout, Target area, choose the Mesh Objects radio button,
and then click the Add button. Pick the rightmost tree in the Top viewport. The name
of the tree will be added to the list (see Figure 29-17).

FIG 29-17 Pick the second tree

as a Find Target mesh object.

7. Right-click in the Camera001 viewport to activate it and then use the Orbit
Camera button to navigate the camera so that you can see between the trees. Drag
the time slider to frame 70 and you will see the particles traveling from the first tree
to the second tree. Render the Camera001 viewport and you will see the “flock of
birds” between the two trees (see Figure 29-18). Alright, it’s not really a flock of birds, but
you see some of the power and the basic workflow of creating a Particle Flow system.

FIG 29-18 The default particles

render as cubes in the scene.

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 Effects

8. Use the keyboard shortcut Alt+Q to exit isolation mode. Close all windows and
dialogs and then save the file. It should already be called Exercise 29-1-1_Effects04
.max. The workflow for Particle Flow is aided by the graphical nature of the Particle
View dialog. You can easily see the operators associated with an Event, you can drag-
and-drop operators, and you can edit their parameters all in the same dialog.

Special effects in 3ds Max can be useful for changing the mood or adding interesting details
to hold the viewer’s attention. Use them sparingly though: effects placed in the scene that
don’t add substantially to the purpose of the presentation become useless distractions.

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 CHAPTER 30

Introduction to IK/FK

Inverse Kinematics (IK) and Forward Kinematics (FK) are both methods of controlling
hierarchically linked chains of objects. In this case, you will manipulate the arms of a crane
using each of the methods to learn the workflow using kinematics in animation.
Fundamentally, when you have a chain of hierarchically linked objects, the control of those
objects either begins at the root object (FK) and passes control up the chain or begins at the
end child object (IK) and passes control down the chain. When planning your hierarchical
chain, you can determine the root object by asking yourself “If this object moves do I want
everything else to move with it?” If the answer is yes, then that object will be your root object.
Pivot points are an essential component of animation and you will review the process of
manipulating an object’s pivot points and using the Align tool for accuracy and efficiency.
You’ll also learn how to use Dummy Helper objects and Point Helper objects as aids to
animation.
IK, through which control flows from the child object down to the root object, will use the
HI Solver (history independent solver) to simplify manipulation of the hierarchically linked
chain.
Some of the topics covered in this chapter are as follows:
• IK/FK: Learn the differences between IK and FK.
• Hierarchical linking: Review hierarchical linking and pivot points.
• HI Solver: Use a HI Solver to apply IK to a crane.

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 Getting Started in 3D with 3ds Max

30.1 Inverse Kinematics and Forward Kinematics

IK and FK are methods of passing control through hierarchically linked objects for the
purposes of animating those objects.
To understand IK, you need to have a working knowledge of FK. If you want to use FK to, say,
animate an arm reaching to pick up an object, you’d have to set the keyframes first for the
upper arm, then for the forearm, and finally for the hand. Each new position would require
you to repeat the steps, resulting in many keyframes that would be difficult to edit.
IK would simplify this task by letting you set keyframes only for the hand and then have the
other objects in that hierarchically linked chain move and rotate accordingly, keeping their
proper relationships to the hand while remaining connected to the body.

30.2 Hierarchical Linking and Pivot Points

Hierarchical linking is a parent/child control relationship between objects; when the parent
moves the child must move with it, but the child can have its own motion. Pivot points are the
local centers of rotation indicated by the position of the local axis tripod for any selected objects.
Working together, hierarchical linking and pivot points provide you with the control
necessary to easily animate complex systems.
The scene in the next exercise contains a crane base, three arms, three pins, three Dummy
objects, and one Point object. Objects have been positioned to form a crane, and your task
is to adjust the pivot points of the pins and then link the objects in a hierarchical chain from
the Dummy004 at the end to Crane_base001, the root object.
The pins at each rotating joint are created from an Extended Primitive object called
ChamferCyl and still have the pivot points in their original position. You should always make
sure that pivot points are in logical positions for your hierarchical chain, in this case, the
geometric center of each pin.
The Dummy and Point Helper objects will be included in the hierarchical chain to make it
easy to grab manipulators for animating the crane. The hierarchy will look like the following:

Crane_base001
Dummy001
Pin001
Arm001
Dummy002
Pin002
Arm002
Point003
Pin003
Arm003
Dummy004

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 Introduction to IK/FK

You always start hierarchical linking from the object furthest from the root object, the
“child-most” object: you link it to its parent, then select that parent and link it to its parent,
etc. Using the Select by Name feature in 3ds Max can be useful in hierarchical linking.
Let’s adjust the pin’s pivot points and then link the objects in the hierarchical chain. Take a
deep breath and think about the linking process based on the hierarchical list above, then
proceed with the process. It will seem a bit confusing at first, but if you make a mistake you
can select all the objects and click the Unlink Selection button in the main toolbar and start
again.

Exercise 30-2-1 Create a Hierarchical Chain

1. Open the 3ds Max file from the website called Exercise 30-2-1_IKFK01.max and
save it to an appropriate folder on your hard drive with a new incremental name.
The objects are all in proper alignment, but the pin’s pivot points all need to be at
the geometric center of the pin to make sense in this crane structure. Right-click
on the Left viewport and then use the keyboard shortcut Alt+W to maximize the
viewport. Use the keyboard shortcut H to open the Select From Scene dialog and
then double-click Pin001 (Figure 30-1).

FIG 30-1 Adjust the pin’s pivot points to be in the geometric center of the pin.

2. In the Hierarchy panel, Adjust Pivot rollout, click the Affect Pivot Only button. In the
Alignment area, click the Center to Object button to ensure that the pivot point is in
the geometric center of the object (Figure 30-2). Click the Affect Pivot Only button to
toggle it off. Repeat this process for the other two pins. You won’t see any apparent
change in the object’s pivot point because it is already centered as seen from the
Left viewport. However, the pivot point will move toward you to align itself in the
screen’s z-axis (you might want to verify that by restoring all 4 viewports—Alt+W
again—and checking the pivot point’s position in the Front viewport).

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 Getting Started in 3D with 3ds Max

FIG 30-2 Pivot points are

accessed in the Hierarchy panel.

3. In the Left viewport, select Dummy004 at the end of the crane. In the main toolbar, click
the Select and Link button at the far left. Click and drag from the edge of the dummy
to somewhere on Arm003 and then release the left mouse button when you see the
cursor change to complete the link. A rubber band will connect the cursor and the pivot
point of Dummy004 to indicate the pivot point location of the child object (Figure 30-3).

FIG 30-3 Link Dummy004

(child) to Arm003 (parent).

4. While you are still in Select and Link mode, you can click and drag from Arm003
to Pin003 (zoom in if necessary). Click on Pin003 to select it and then press the
keyboard shortcut H to open the Select Parent dialog. Highlight Point003 in the list
and then click the Link button (Figure 30-4). 3ds Max knows that you are in Select and
Link mode and presents a list of objects that are eligible link objects; notice how
Arm003 is not present in the Select parent list, since it is already Pin003’s child and,
therefore, cannot be its parent at the same time. This makes it easier to link to the
correct object in a crowded scene.

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 Introduction to IK/FK

FIG 30-4 Use the Select Parent

dialog (keyboard shortcut H) to
link to a parent by name.

5. Refer to the indented list in the introduction of Section 30.2 and continue linking
the objects in order. You will need to revert back from Select and Link mode to
Select Object mode if you want to select objects using the Select from Scene dialog
(keyboard shortcut H) before linking them. When you have finished linking, click
the Select Object button in the main toolbar and then press the keyboard shortcut
H to open the Select From Scene dialog. Click the + to the left of Crane_base001 to
expand its child and then continue expanding the entire hierarchy. It should read
the same as the list (Figure 30-5).

FIG 30-5 You can expand

entries in the Select From Name
dialog to see the hierarchical
chain.

6. Close all windows and dialogs, use Alt+W to minimize the viewport and then save
the file. It should already be called Exercise 30-2-1_IKFK02.max. Hierarchical linking
involves a bit of planning and forethought to determine which parent object
controls which child object. In the case of a linking mistake, however, you can select
an object or objects and then you can use the Unlink Selection button to break the
link and start again.
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 Getting Started in 3D with 3ds Max

This hierarchy contains Dummy and Point helper objects. They perform exactly
the same function to provide extra pivot points and control objects in hierarchical
linking. The Dummy object has no editing parameters and will never render. The
Point object has parameters that allow different configuration and size changes. The
Point object will also never render.
Keep in mind that the Dummy and Point helper objects are used to manipulate the
arms by rotating the pins at the joints. In the next exercise, you’ll clone the crane and
then apply FK to the original Crane.

Exercise 30-2-2 Forward Kinematics

1. Open the 3ds Max file from the previous exercise called Exercise 30-2-1_IKFK02
.max and save it to an appropriate folder on your hard drive with a new incremental
name. Zoom out in the Left viewport and pan so that the crane is on the left side
of the viewport, then select all the objects that make up the crane. Click the Select
and Move button in the main toolbar, hold the Shift key, and then clone the selected
objects as Instance to the right (Figure 30-6). Click OK to complete the clone process.
Let’s animate the crane on the left using FK.

FIG 30-6 Create an Instance

clone of the crane to the right
side of the viewport.

Note
Instance cloning will allow you to have changes made to the geometry of one
crane to affect both cranes. However, Instance clone replicates only modifications
and so any animations you perform on one crane will not affect the other.

2. Use the keyboard shortcut Alt+W to maximize the Left viewport, pick anywhere in
the viewport to clear the selection set, and then click Zoom Extents All Selected to
fill the viewport with both cranes. In the main toolbar, click the Select and Rotate
button and then set the Reference Coordinate System to Local. Select Dummy001
near the base of the crane. In the main toolbar, toggle the Angle Snap Toggle on
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 Introduction to IK/FK

to enable rotations at 5° increments. Click the Auto Key button to toggle it on and
then drag the time slider to frame 20. Rotate Dummy001 in its Local z-axis -10°
(clockwise) (Figure 30-7). This rotates the dummy and all the children, which includes
the pin and the entire arm structure.

FIG 30-7 Dummy001 is

the parent of the entire arm
structure.

3. Move the time slider to frame 40 and then rotate Dummy002 -10° in its Local z-axis.
This dummy controls all the arm elements “forward,” but does not affect anything
behind it in the hierarchy (Figure 30-8).

FIG 30-8 Forward Kinematics

affects objects forward of the
selected object in the hierarchy.

4. Move the time slider to frame 60 and then rotate the Point003 helper object -55° in its
Local z-axis to rotate the end arm into a vertical position (Figure 30-9). Each time you have
created an animation key, 3ds Max has automatically placed a starting rotation key
at frame 0. This means that all objects begin rotating at frame 0. Toggle the Auto Key
button off and then scrub the time slider slowly back and forth to see the animation.
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 Getting Started in 3D with 3ds Max

FIG 30-9 Each object begins

rotating at frame 0.

Note
If you had wanted Dummy002 to start rotating at frame 20 (when Dummy001 is
finished), you could have selected Dummy002, moved the time slider to frame
20, and then right-clicked on the time slider to record the current rotation at
frame 20. This key would determine the starting point for Dummy002’s rotation.

5. Save the file. It should already be called Exercise 29-2-1_IKFK03.max. FK can be

useful for simple animations where each object must be at a specific rotation angle,
but FK is often extremely time-consuming when it generates many keys that can be
difficult to edit later.
Let’s animate the second crane with IK and learn the difference between the two.

30.3 The HI Solver

IK needs a “solver” to manage animation of the hierarchy. For the type of animation required
by the crane in your scene, the best choice is HI Solver (history independent solver). History
independent means that the solver only needs to calculate back to a previous key to
determine its animation and not all the way back to frame 0, which can be mathematically
intensive in long animations.
Once your hierarchy is established, you create the HI Solver between the elements in the
hierarchy you want to control. A hierarchy can have multiple HI Solvers. Let’s assign a couple
of HI Solvers to the second crane.

Exercise 30-3-1 Assign a HI Solver

1. Open the 3ds Max file from the previous exercise called Exercise 30-2-1_IKFK03
.max and save it to an appropriate folder on your hard drive with a new incremental
name. In the Left viewport, select Dummy005 (large dummy near base) and in the
Animation pull-down menu, IK Solvers menu, choose HI Solver (Figure 30-10).
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 Introduction to IK/FK

FIG 30-10 The HI solver will

begin at the large dummy near
the base and end at the small
dummy near the tip.

2. Move the cursor to Dummy007 at the end of the arm and you will see a rubber band
connected to the cursor. Click on Dummy007 to place an HI Solver between the first
dummy and the second. Lines show you the connections of the HI Solver, and if you
look closely, you will see a crosshair that is selected called the End Effector, which is
the control object for this HI Solver (Figure 30-11).

FIG 30-11 The HI solver displays

the IK connection with white
lines and places an End Effector
at the end of the IK chain.

3. Select Dummy006 and then create a new HI Solver from it to Dummy007. This
creates a new End Effector called IK Chain002 (Figure 30-12). This new HI Solver
controls only the outer two arms of the crane.
4. Save the file. It should already be called Exercise 30-2-1_IKFK04.max. The HI Solver
recognizes the hierarchy of the objects and connects them with an End Effector,
which will function as the control object when you animate the crane.
In the next exercise, you will animate the crane using the End Effectors.
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FIG 30-12 Add another HI

solver to control the outer two
arms.

Exercise 30-3-2 Inverse Kinematics

1. Open the 3ds Max file from the previous exercise called Exercise 30-2-1_IKFK04.
max and save it to an appropriate folder on your hard drive with a new incremental
name. Use the keyboard shortcut H to open the Select From Scene dialog and then
double-click IK Chain001 to select it. In the main toolbar, toggle the Select and Move
button on and make sure you are in Local reference coordinate system. Right-click
on the time slider and then in the Create Key dialog (Figure 30-13). Click the OK button
to record the current position at frame 0.

FIG 30-13 Begin by creating a

key to record the position of IK
Chain001 at frame 0.

2. Drag the time slider to frame 25, right-click on the time slider, and create a new key
at frame 25. Click OK. This ensures that the animation of IK Chain001 will not begin
until frame 25. Move to frame 50. Toggle the Auto Key button on and then move
IK Chain001 to the left until the lower arm is approximately vertical (Figure 30-14). IK
Chain001 controls the entire arm, but is restricted in its movement by IK Chain002.
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FIG 30-14 IK Chain001 is

restricted by IK Chain002.

3. Select IK Chain002 and then move it to the left of IK Chain001. This manipulates only
the outer two arms of the crane. Move the time slider to frame 65. Use the Ctrl key to
select both IK Chain001 and IK Chain002 and then move both End Effectors below
the base until the lower arm is horizontal (Figure 30-15).

FIG 30-15 Moving both IK

Chains simultaneously provides
maximum flexibility.

4. Toggle the Auto Key button off and then scrub the time slider to see the animations,
or click the Play Animation button to play it back over time. Stop the animation if it
is playing and then save the file. It should already be called Exercise 30-2-1_IKFK05
.max. Experiment with creating more animation in the scene. Use both FK and IK on
the respective cranes.
Whether you use FK or IK will depend on your situation, as either method is valid if
it accomplishes your goal. FK usually requires more steps and so it is better suited
to simple repetitive animations, while IK can provide more flexibility and range of
motion while animating fewer objects in complex hierarchical systems.
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 CHAPTER 31

Introduction to CAT

Character Animation Tools (CAT) is a system of bone skeletons used to animate characters
in 3ds Max. The bones are hierarchically linked using a technique called Forward Kinematics
(FK)-driven Inverse Kinematics (IK) that allows you to position your character initially using
FK and then using IK to animate the character.
The process begins by creating a CAT skeleton; both two-legged and multilegged skeletons
are available, such as humans and spiders, for example. In this chapter, you will use a human
type skeleton to animate a simple character.
The CAT skeleton must be aligned with the character using FK to position the bones within
the character. You’ll learn to make minor adjustments for a better fitting skeleton.
Once the skeleton is sufficiently aligned with the character’s mesh, you will learn to add a
Skin modifier that connects the vertices of the character to individual bones. The default
method of attaching vertices to the bones is with envelopes that surround each bone. Mesh
vertices that are inside the envelope are affected by any movement or rotation of the bone
with either absolute or weighted influence.
Finally, you will use a built-in CAT walk cycle to move the character, make adjustments to the
envelopes to fine tune the influence of bones to surrounding vertices, and work on some of
the aspects of animation applied to the bones of the skeleton.

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Some of the topics covered in this chapter are as follows:

• Create a CAT Parent: Learn to create an animation skeleton.
• Align CAT to character: Manipulate skeleton bones to match a character.
• Skin character: Attach the skeleton bones to the character skin.
• CATMotion Editor: Learn to edit the motion of bones for a more convincing walk cycle.

31.1 Character Animation Tools

FK and IK are both used to create character animations, and 3ds Max has CAT that provides
preconfigured hierarchically linked skeletons.
The first step is to create a skeleton, and in this chapter, you will use a skeleton called Base
Human, which has bones similar to the human anatomy. The character mesh’s pivot point
has been positioned at the World Coordinate System origin 0, 0, 0, which can be a good
position to start the initial alignment process.
CAT Parent skeletons can be found in the Create panel, Helpers category, under CAT Objects.
Let’s begin by creating a skeleton for the character mesh in a scene with a ground plane and
a Daylight System.

Exercise 31-1-1 Create a CAT Parent

1. Open the 3ds Max file from the website called Exercise 31-1-1_Character01.max and
save it to an appropriate folder on your hard drive with a new incremental name. An
odd character standing with arms outstretched is positioned at 0, 0, 0. In the Create
FIG 31-1 A character awaits its panel, Helpers category, click the Standard drop-down list and then choose CAT
skeleton. Objects (see Figure 31-1).

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2. In the Object Type rollout, click the CATParent button. In the CATRig Load Save
rollout, highlight Base Human. Right-click on the Top viewport to activate it, and
then click and drag the cursor to one side of the character mesh. As you drag
the cursor, watch the skeleton grow in the Front viewport until the skeleton’s
collarbones are about where the character’s collarbones should be. Release the left
mouse button (see Figure 31-2).

FIG 31-2 Create a Base Human skeleton.

3. In the Modify panel, CATRig Parameters rollout, CATUnits Ratio, enter 0.268 in the
numeric field to make the skeleton a bit shorter; as you can see and learn how the
overall scale of the skeleton can be adjusted after it has been created (see Figure 31-3).

FIG 31-3 The overall scale of the skeleton can be adjusted in the Modify panel.

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4. Save the file. It should already be called Exercise 31-1-1_Character02.max. Creating

a CAT skeleton is a simple click and drag process. The CATParent object is the
triangular base over which the bones are created.

Let’s align the CAT skeleton to the character’s mesh, which has its pivot point positioned at
0, 0, 0.

Exercise 31-1-2 Align CAT to Character

1. Open the 3ds Max file from the previous exercise called Exercise 31-1-1_Character02
.max and save it to an appropriate folder on your hard drive with a new incremental
name. In the Top viewport, select CATParent. In the main toolbar, toggle Select and
Move on. In the Status bar at the bottom of the display, right-click on the spinners
for the X:, Y:, and Z: numeric fields (see Figure 31-4). Right-clicking a spinner will set it
to zero or its lowest possible value.

FIG 31-4 Align the pivot

point of the CATParent to the
World reference coordinate 2. Select the character mesh called TedB_body001, right-click, and then choose
system origin (0, 0, 0). Freeze Selection in the Quad menu. The mesh will turn gray in the viewports to
indicate that it is frozen and cannot be selected or edited. Select the CATParent.
In Motion panel, Setup Mode, use Select and Move and Select and Rotate, each in
Local reference coordinate system, then move and rotate the individual bones of
the skeleton so that they fit inside the mesh (see Figure 31-5). Work in all viewports
as necessary.
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FIG 31-5 Using the Local reference coordinate system, align all individual bones to the inside of the frozen mesh.

Note
Aligning a skeleton to a mesh can seem a bit difficult at first, but becomes
much easier with a little practice. It is not necessary that the bones be in exactly
the right anatomical position, but the closer you come, the easier it will be
throughout the production pipeline. For this exercise, an approximate fit is fine.

3. Right-click on the active viewport and then choose Unfreeze All from the Quad
menu to unfreeze the character mesh. Save the file. It should already be called
Exercise 31-1-1_Character 03.max. Aligning the bones to the skeleton is a simple,
but potentially time-consuming process.
The next step is to attach the character mesh to the bones in preparation for
animation. In Exercise 31-1-3, you will apply the Skin modifier.

Exercise 31-1-3 Skin the Character

1. Open the 3ds Max file from the previous exercise called Exercise 31-1-1_Character03
.max and save it to an appropriate folder on your hard drive with a new incremental
name. In the Top viewport, select the character mesh (TedB_body001). In the
Modify panel, Modifier List, choose Skin. In the Modify panel, Parameters rollout,
click the Add button to the right of Bones. In the Select Bones dialog, highlight Base
HumanPelvis and then click the Select button (see Figure 31-6). This adds all the bones
in the hierarchy below the Pelvis (all bones) to the list.
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 Getting Started in 3D with 3ds Max

FIG 31-6 Add all the bones to

the Skin modifier.
2. In the Top viewport, select the Base Human triangle. In the Motion panel,
Layer Manager rollout, click and hold on the Abs button and then choose the
last flyout. This adds a CATMotion layer that contains animation information
FIG 31-7 Add an animation (see Figure 31-7).
layer to the CATParent skeleton.

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3. In the Layer Manager rollout, click the red Setup/Animation Mode Toggle button to
toggle to Animation mode. Scrub the time slider and you will see that the character
has an unusual walk cycle, and there are areas of distortion in the mesh around the
waist (see Figure 31-8).

FIG 31-8 In animation mode,

the bones distort the character
mesh.

4. Return the time slider to frame 0 and toggle the Setup/Animation Mode toggle
back to setup mode. In the Front viewport, select the character mesh. In the Modify
panel, Parameters rollout, click the Edit Envelopes button. In the Name list, highlight
Base HumanPelvis. You will see the two envelopes, inner and outer, and vertices
colored to indicate the weight of the influence of the Pelvis bone. Red vertices move
absolutely with the bone, orange vertices somewhat less, yellow vertices even less,
and blue vertices not at all (see Figure 31-9). This works similarly to the Soft Selection
you used in to make hills in the landscape in Chapter 17.

FIG 31-9 Enable Edit Envelopes

to see the influence of the bone
on surrounding vertices.

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 Getting Started in 3D with 3ds Max

5. In the main toolbar, click the Select and Move button and make sure the current
reference coordinate system is set to View. In the Front viewport, move the control
points (small gray squares) at the top of the inner envelope upward to the characters
beltline and then move the top control points of the outer envelope about midway
up the waist (see Figure 31-10). Click the Edit Envelopes button to toggle it off. The
influence of the Pelvis bone covers a larger area to affect more vertices.

FIG 31-10 Increase the size of

the inner and outer envelopes
to give the Pelvis bone influence
over more vertices.

6. In the Top viewport, select the CATParent triangle and, in the Motion panel, click the
Setup/Animation Mode Toggle button to toggle to animation mode. Scrub the time
slider to see that the distortion has been minimized at the characters beltline (see
Figure 31-11). Toggle the Setup/Animation Mode Toggle button back to setup mode
and return the time slider to frame 0. There is more distortion in the mesh, but you
see the fundamentals of how the Skin modifier works and you can go back later to
fine tune the envelopes.

FIG 31-11 You can toggle back

to animation mode to check the
envelope edits.

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7. Save the file. It should already be called Exercise 31-1-1_Character03.max. Adjusting

Skin modifier envelopes to distribute the effect of each bone convincingly
throughout the character mesh also becomes much easier with practice.

The default animation causes the character to roll and twist considerably while going
through the walk cycle. In Exercise 31-1-4, you will learn to use the CATMotion Editor to
reduce the rolling and twisting of the Pelvis, the rib cage, and the head.

Exercise 31-1-4 CATMotion Editor

1. Open the 3ds Max file from the previous exercise called Exercise 31-1-1_Character03
.max and save it to an appropriate folder on your hard drive with a new incremental
name. In the Top viewport, select the CATParent triangle. In the Motion panel, Layout
Manager rollout, click the CATMotion Editor button (green animal paw print). In the
left column, expand PelvisGroup and then expand Pelvis. Highlight Twist. Right-click
on the spinner’s for the Scale numeric field to set it to 0, which will flatten the Twist
curve (remove all twist) (see Figure 31-12). After scaling down to zero, the Scale value
in the numeric field resets back to 100.0.
FIG 31-12 Remove all twist
motion of the Pelvis bone.

2. Highlight Roll in the left column and then right-click on the Scale spinner to set its
value to 0. This removes any rolling motion of the Pelvis (see Figure 31-13).
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 Getting Started in 3D with 3ds Max

FIG 31-13 Remove all roll from

the Pelvis bone.

3. Expand the RibcageGroup and then expand Ribcage. Set the Scale values of Twist
and Roll to 0. Expand HeadGroup and then expand Head. Set the Scale values of
Twist and Roll to 0. In the Layer Manager rollout, toggle the Setup/Animation Mode
Toggle to animation mode. Scrub the time slider to see that the character walks
more normally. Close the Base Human-Roll dialog. In the main toolbar, click the
Select and Rotate toggle button and then make sure you are in Local reference
coordinate system. Position the time slider at frame 0. In the Front viewport, rotate
FIG 31-14 Remove twist and the upper arm bones (Base HumanRUpperarm and Base HumanLUpperarm) to bring
roll from the torso and head the characters arms down along its sides. Scrub the time slider and a character will
bones and then use FK to move walk even more normally (see Figure 31-14).
the arms along the characters
sides.

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4. Save the file. It should already be called Exercise 31-1-1_Character04.max. There is

still lots of work that can be done to make the character walk more convincingly,
but these are the fundamental steps that you need to know to begin the character
animation process in 3ds Max.

Animated characters are an absolute necessity in some 3ds Max scenes that are character
oriented, but having characters move convincingly in architectural or engineering
animations can also add interest and impact to the viewer. Character Animation Tools
provides many preset options that make the job of animating characters easier.

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 CHAPTER 32

Dynamics

Animating the collision and interaction of objects in 3ds Max using keyframe methods can
be a frustrating process, usually with poor results. Because of the randomness of objects as
they interact with gravity and each other, many keys would need to be created and then
adjusted many times to achieve convincing results.
Included in 3ds Max, MassFX is a simulation software used to automatically apply gravity to
selected objects and then calculate their interactions as they collide with each other. The objects
can be rigid body objects, hard surfaces that do not distort upon collision, or cloth surfaces that
drape and fold as they interact with gravity, air friction, and other objects in the scene.
In this chapter, you’ll learn to simulate a barrel rolling down a ramp in the interior of the
windmill and then colliding with another stack of barrels. You will determine the weight and
friction parameters of the barrels to control the behavior during collision.
There is also a flag suspended from the ceiling, simply a flat plain that looks like a solid
surface. You will use the cloth component of MassFX to allow the flag to drape naturally as if
suspended from the beams and reacting to gravity.
Rigid body objects can be dynamic, kinematic, or static, while cloth objects can be either
dynamic or kinematic. Dynamic objects are subject to gravity and interact with other objects
in the scene. Kinematic objects can affect other objects, but are not affected by other
objects. Static objects are rigid body objects that cannot be animated as part of the MassFX
simulation, though they can collide with dynamic objects.

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 Getting Started in 3D with 3ds Max

Some of the topics covered in this chapter are as follows:

• Introduction to Dynamics: Learn about dynamics in 3ds Max.
• MassFX rigid body: Set up a rigid body dynamics simulation.
• MassFX cloth: Simulate cloth with MassFX.

32.1 Introduction to MassFX

MassFX is the software module included in 3ds Max, which makes it possible to create
simulations of colliding bodies and cloth animations. Such random animations add a level of
believability to your scenes that would be extremely difficult to keyframe manually.
MassFX includes two fundamental types of objects: rigid body and cloth. Rigid body objects
are hard surfaces that interact with gravity to create convincing collisions and interactions
with other MassFX objects in the scene. Cloth objects simulate the flexibility of draping cloth
or similar materials such as rubber.
You need to begin by adding rigid body or cloth objects to a class of behavior. Rigid body
objects can be dynamic, kinematic, or static, and cloth objects can be either dynamic or
kinematic.
Dynamic objects affect and are affected by other dynamic or kinematic objects in the scene.
Kinematic objects affect other objects, but are not affected by those objects. Remember that
static objects cannot themselves be animated, but interact with dynamic objects.
Once you have assigned the objects to a specific class of behavior, you can then adjust
parameters such as weight, friction, or bounciness, for example. The properties you assign
determine how the objects react with each other when the simulation is calculated.
Gravity is automatically applied with realistic strength as soon as you preview the simulation.
If the preview is not to your satisfaction, you can then readjust parameters and run the
preview again until you achieve the desired results. You can then tell MassFX to calculate the
final result and apply the necessary keyframes to your animation.

32.2 MassFX Simulations

As mentioned earlier in this chapter, MassFX calculations can be either rigid body collisions
or cloth simulations.
In Exercise 32-2-1, you will open a scene of the interior of your windmill. In the room is a
barrel sitting on a ramp and a stack of barrels sitting on the floor. Your task will be to use
MassFX to cause the barrel to roll down the ramp and collide with the stack of barrels,
sending them tumbling.
You’ll begin by assigning the initial behavior type to objects in the scene. The timbers and
walls and floor will be Static objects. They will not be animated, but must interact with the
barrels as they fall. The barrels, on the other hand, will be Dynamic objects because you want
them to react to impacts with other barrels.
On the first try, using the default settings, the result will be rather uninteresting. You will
then adjust barrel parameters to add weight to the barrel rolling down the ramp and reduce
the weight and friction of barrels in the stack to simulate empty barrels.
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 Dynamics

In the second exercise, you’ll make the flag hanging from the ceiling of the windmill interior
scene more convincing. The flag will also be a Dynamic object. However, if you use the
default settings, the flag will simply fall from the ceiling and interact with the barrels and
floor. You want the flag to appear to be hanging naturally from the timbers, so you will have
to “fix” some of the vertices of the flag in space and then allow it to drape as if connected to
the ceiling beams.
Let’s have some fun.

Exercise 32-2-1 MassFX Rigid Body

1. Open the 3ds Max file from the website called Exercise 32-2-1_Dynamics01.max and
save it to an appropriate folder on your hard drive with a new incremental name.
This scene is the interior of the windmill. Right-click on the empty space to the right
of the main toolbar buttons and then choose MassFX toolbar from the menu. This
opens a floating MassFX toolbar in the interface (Figure 32-1).

FIG 32-1 Open the MassFX toolbar.

2. In the main toolbar, Named Selection Sets drop-down list, choose timbers to select
all the timbers in the walls and ceiling. Hold the Ctrl key and click on the walls to add
Windmill_interior001 and the Ramp001 objects to the selection set. These objects
will all become Static MassFX objects (see Figure 32-2). The walls, floor, and ceiling are
all one enclosed object with thickness.
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 Getting Started in 3D with 3ds Max

FIG 32-2 The walls, floor, ceiling, and ramp will remain static in the MassFX simulation.

3. In the MassFX toolbar, click and hold on the Set Selected as Static Rigid Body button
(second from left) and make sure you are using the Static Rigid Body option (see
Figure 32-3). Static objects are not affected by gravity and cannot be animated. You will
see new visible edges appear on the selected objects in the viewports. This is a shell
created by MassFX that determines the actual collision detection surface.

FIG 32-3 Objects are assigned an initial behavior in the MassFX toolbar.

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 Dynamics

4. Select the Windmill_interior001 object in the Camera001 viewport. In the Modify

panel (a MassFX Rigid Body modifier was applied), Physical Shapes rollout, you’ll
see Element 1 and Element 2 in the Modify Shapes list; because the walls, floor,
and ceiling have thickness, they contain two elements, interior and exterior. In
the Physical Shapes rollout, you can see that the Shape Type is Convex by default.
This is fine for the timbers and the ramp because they are all convex surfaces.
In the Shape Type drop-down list, choose Original (see Figure 32-4). This will take
more time for the MassFX engine to calculate, but corresponds to the actual
shape of the surface. Highlight Element 2 in the list and then set its Shape Type
to Original.

FIG 32-4 Set the interior and exterior elements of the walls, floors, and ceiling to use Original geometry to determine collisions.

5. In the main toolbar, Named Selection Sets drop-down list, choose barrels. In the
MassFX toolbar, click and hold on the Set Selected as Static Rigid Body button
and then choose Set Selected as Dynamic Rigid Body. This assigns the default
Dynamic body parameters to all the barrels based on their size. Hold the Alt key
and, in the Camera001 viewport, pick the barrel at the front left of the viewport
(Barrel007) to deselect it. In the Modify panel, Physical Material rollout, enter 10
in the Mass numeric field. Enter 0.1 in the Dynamic Friction numeric field (see
Figure 32-5). These adjustments make the stacked barrels much lighter and more
“slippery.”
6. In the Camera001 viewport, select only Barrel007 on the ramp and then set its mass
to 500 and its Dynamic Friction to 0.3. This makes the barrel much heavier as if it
were full of something.
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 Getting Started in 3D with 3ds Max

FIG 32-5 Change the stacked barrels properties to make them lighter and slipperier.

7. In the MassFX toolbar, click the Start Simulation button. Gravity should cause the barrel
to roll down the ramp, into the stack of barrels tumbling them around the room
(see Figure 32-6). The collisions have been calculated in the action previewed, but no
keyframes have been written yet. If you need to make adjustments, you can click the
Reset Simulation Entities to their Original State button in the MassFX toolbar, change
some parameters, and then preview the simulation again. Let’s create the animation keys.

FIG 32-6 You can preview the simulation and then make adjustments and press Start Simulation again.

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 Dynamics

8. In the MassFX toolbar, click and hold on the World Parameters button and then
choose the Simulation Tools flyout. In the MassFX Tools dialog, Simulation rollout,
click the Bake All button (see Figure 32-7). This creates animation keys at each frame
for each dynamics object. If you need to adjust the parameters again, you can use
the Unbake All button.

FIG 32-7 You can bake or unbake keys on the timeline to convert the simulation to animation.

Note
This simulation runs longer than the 100 frames set by default in 3ds Max. You
can increase the number of frames by clicking the Time Configuration button and
adjusting the End Time numeric value to see more frames.

9. Save the file. It should already be called Exercise 32-2-1_Dynamics02.max. Think

about the time you might have spent animating this random collision of multiple
barrels and be thankful for MassFX. There are many more parameters that can be
adjusted to fine tune your results, but beginning with the fundamentals is important
before starting to experiment.

Rigid body collisions do not deform the objects themselves. In Exercise 32-2-2, you will turn
the flag at the ceiling into a cloth object, which deforms and drapes according to weight and
gravity.
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 Getting Started in 3D with 3ds Max

Exercise 32-2-2 MassFX Cloth

1. Open the 3ds Max file from the previous exercise called Exercise 32-2-1_Dynamics02.
max and save it to an appropriate folder on your hard drive with a new incremental
name. In the Camera001 viewport, select the flag hanging from the ceiling. In the
MassFX toolbar, click the Set Selected as mCloth Object button (T-shirt) to apply the
mCloth modifier to the flag. Let’s pin the corner vertices of the flag in place.
2. In the Modify panel, stack view, expand the mCloth modifier and highlight Vertex
subobject mode. In the Front viewport, drag a selection window around one
corner of the flag’s vertices, hold the Ctrl key, and then drag a selection set around
a few vertices at the other corner. In the Group rollout, click the Make Group
button. In the Make Group dialog, enter the name flag corners in the Group Name
field (see Figure 32-8). Click the OK button.

FIG 32-8 Make a group of selected vertices to “pin” in space.

3. In the Group rollout, click the Pin button. The vertices are no longer affected by
gravity. In the Modify panel, stack view, click on mCloth at the top of the stack to
exit subobject mode. In the MassFX toolbar, click the Start Simulation button and
you will see the flag drop and distort as if it were made of fabric. In the Modify panel,
mCloth Simulation rollout, click the Bake button to place animation keys at each
frame on the timeline, recording the distortion of the flag. Click the Play Animation
button at the bottom right of the display to see the barrels tumble and the flag wave
(see Figure 32-9).

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FIG 32-9 Pin the Group of selected vertices, start the simulation, and then bake the animation.

4. Save the file. It should already be called Exercise 32-2-1_Dynamics02.max. Rigid

body and cloth dynamics simulations can add a convincing animation to your
scenes. MassFX Tools is a powerful and reliable method of creating complex random
animations quickly and easily.

While there is much more to learn about MassFX Tools, this fundamental introduction will
put you on the right path for creating impressive random animations that simulate real
world physics for many situations. Begin slowly in your experimentation by adjusting only
one or two parameters at a time to see what the result will be before moving on and making
more adjustments. Learn from your mistakes and build a base of knowledge that you will be
able to apply in a production situation with confidence.

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 CHAPTER 33

Introduction to Scripting

Scripting is the process of writing program modules designed to extend the capabilities of a
software package. Many of the software programs you will use in 2D or 3D visualization have
a specific programming language built-in to make it relatively easy for users to customize
the software.
The original designers of 3ds Max, the Yost Group, wanted a program that could be extended
by users to eliminate repetitive tasks specific to their needs and to write routines that add
functionality that the designers hadn’t thought of.
The scripting language included in 3ds Max is called MAXScript and is a natural language
programming code that uses many terms and processes familiar to anyone who works with
3ds Max. MAXScript is powerful enough to access most areas of 3ds Max to provide you with
the ability to do almost anything the software is capable of. Because MAXScript is a part of
3ds Max, you must be running 3ds Max to access it.
You don’t need to be a programming guru to begin using MAXScript. There are sample
scripts that ship with 3ds Max and many more are available on the Internet. For those of you
interested in writing your own MAXScript routines, you can use the 3ds Max Help pull-down
menu to access the information necessary to begin (see Figure 33-1).

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 Getting Started in 3D with 3ds Max

FIG 33-1 Use the 3ds Max Help

menu to access information
about MAXScript.

One aid to learning MAXScript is to use the MacroRecorder. The steps you perform are
automatically recorded in the MAXScript language as you work in 3ds Max. Reviewing this can
help you learn the language syntax and to cut and paste the generated code into your scripts.
The 3ds Max interface uses the MAXScript Listener window and the MAXScript Editor
window to facilitate scripting.
Some of the topics covered in this chapter are as follows:
• Introduction to MAXScript: Learn to access MAXScript programming language and run the
MacroRecorder.
• Open a MAXScript: Open and view a MAXScript.
• Run a MAXScript: Run a MAXScript to extend the capability of 3ds Max.

33.1 MAXScript
MAXScript is the language built into 3ds Max for creating custom tools and processes to
increase your productivity. It can be used to extend the capability of existing commands in
3ds Max or to create completely new tools that the base program does not include.
You will be introduced to the MAXScript Listener, which is an interactive interpreter for the
MAXScript language. You can enter MAXScript commands in the Listener window as a tool
for developing small scripting fragments or learning the language syntax.
In this section, you will enable the MAXScript MacroRecorder that automatically records
any steps you perform in 3ds Max. The code generated by MacroRecorder can then be cut
and pasted into your own MAXScript routines or simply be used as a guide for learning
MAXScript.
Let’s try opening a script in the MAXScript Listener to see what it looks like.

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 Introduction to Scripting

33.2 Open a MAXScript

A good way to learn about scripting is to open existing scripts and analyze the flow and
syntax of the MAXScript language. You can use the MAXScript Listener or the MAXScript
Editor to view the scripts.
In Exercise 33-2-1, you’ll open a script that ships with 3ds Max for the purpose of creating
Microsoft’s Flight Studio objects. The script is moderately complex, but is a good example of
the layout of a script and the language used within the script. Much of the terminology will
be somewhat familiar in 3ds Max terms.

Exercise 33-2-1 MAXScript Listener

1. Open 3ds Max with a new empty scene. In the MAXScript pull-down menu, choose
MAXScript Listener (see Figure 33-2). This is one of the several locations from which
you can access MAXScript Listener.

FIG 33-2 You can use the

MAXScript pull-down menu to
open MAXScript Listener.

2. The MAXScript Listener is divided horizontally into two panes, the pink top pane
where you can enter MAXScript commands and the white bottom pane where the
results of those commands are reported. If you cannot see the pink pane, just hover
your mouse on the top edge of the white pane until you see arrows indicating that
you can click and drag down to reveal the pink pane. In the MAXScript Listener
dialog, click the File button and then choose Open Script. In the Open File dialog,
navigate to the folder C:\Program Files\Autodesk\3ds Max 2013\scripts\FlightStudio.
Double-click the file called flightstudio_tools.ms. The script opens in the MAXScript
Editor window (see Figure 33-3).

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 Getting Started in 3D with 3ds Max

FIG 33-3 Open a script to view

the syntax in the MAXScript
Editor window.

Note
3ds Max can be used to create objects that are then exported to Microsoft’s Flight
Studio program.

3. Scroll down through the Editor window and you will see that the MAXScript
language is based on logical terms for the most part. You could edit the existing
script in the MAXScript Editor or use it to write your own new code. Close the
MAXScript Editor dialog. In the MAXScript Listener pull-down menu, choose
MacroRecorder and then choose the Enable option (see Figure 33-4).

FIG 33-4 Enable the

MacroRecorder in the MAXScript
Listener window.

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 Introduction to Scripting

4. In the Create panel, Geometry category, Object Type rollout, click the Box button
and then create a small box in the Perspective viewport. You can see the MAXScript
commands being generated as you create the box (see Figure 33-5). There is also a
MAXScript Mini Listener at the lower left of the 3ds Max interface.

FIG 33-5 MacroRecorder records

the MAXScript commands as you
work in 3ds Max.

5. Close the MAXScript Listener window and delete the box you create. There is no
need to save the file, and so you can exit 3ds Max or continue on to the next exercise.

33.3 Run a Script

Opening a MAXScript in 3ds Max allows you to view and edit, but does not execute the script
itself. To perform the 3ds Max functions written into the MAXScript, you need to first run the
script to load it into 3ds Max’s memory and to load up any interface options designed into
the MAXScript.
When you run a MAXScript, there are several ways the script can be accessed. Sometimes it
appears in the Utilities panel and sometimes it can have an interface or dialogue of its own.
In Exercise 33-3-1, you will run a script by Alessandro Ardolino that allows you to place and
edit stones in a stone wall or a stone floor.

Exercise 33-3-1 MAXScript Mini Listener

1. Open a new 3ds Max empty scene. Right-click in the MAXScript Mini Listener
window and then choose Open Listener Window in the menu. This is just another
method of accessing MAXScript tools.
2. In the MAXScript Listener dialog, click the File button and then choose Run Script in
the menu. Navigate to the folder on the website called \Chapter 33_Introduction to
scripting\Max_files\aa_stoneplacementtools and, in the Choose Editor File dialog,
double-click on the file called aa_stonePlacementTools_1x0.mse (see Figure 33-6).
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 Getting Started in 3D with 3ds Max

FIG 33-6 You can run a

MAXScript by double-clicking
on it in the Choose File Editor
dialog.

3. The aa_stonePlacementTools 1.0 dialog will appear in your viewports. In the stone
wall area, click the Create Grid button, then you will see a multicolored stack of stone
placeholders appear in the viewport (see Figure 33-7).

FIG 33-7 The first step is to

create placeholders for stones in
a stone wall.

4. In the stone wall area, click the Create Stones button. A red progress bar will advance
from left to right, indicating that the MAXScript is generating stones, and then when
it is finished, a rough stone wall appears in your viewport (see Figure 33-8).

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 Introduction to Scripting

FIG 33-8 Convert the

placeholder boxes to stones.

5. Experiment with creating stones using the other options in the creation dialog and
then exit 3ds Max. You do not need to save the file.

MAXScript is a powerful extension for increasing your productivity. Simple scripting can be
accomplished quite easily, and with some experience and practice, you could learn to write
much more complex production tools.

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 CHAPTER 34

Intermediate Rendering

You learned to render images in 3ds Max in Chapter 14, and now you will learn some
rendering options important for production.
Some of the topics covered in this chapter are as follows:
• Alpha channel: Learn to render files with “alpha channel,” levels of transparency useful in
3ds Max maps or images.
• Render elements: Learn to separate specific elements, such as specular highlights or
reflections, as you render the finished image.

34.1 Alpha Channel

Understanding alpha channels in images requires a little knowledge of computer rendering
history. When computer rendering was developed in the 1980s, computers were significantly
less powerful than they are today. Slow computer processors and graphics cards coupled with
limited memory of both the rendering computers (render farm) and the client’s computer (used
for viewing the finished images) restricted the quality that could be cost-effectively processed.
A common file type for viewing on computers was called the gif file type, which was limited
to a maximum of 256 total possible colors. This meant that images with gradations in
lighting and shading tended to show severe banding because there weren’t enough colors
for smooth gradations. These were called 8-bit depth images (2 to the power of 8 = 256).

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 Getting Started in 3D with 3ds Max

As computers became more powerful, the software and hardware engineers developed
16-bit depth images that provided much smoother gradations in the rendered images, with
a total of about 65,000 colors available (2 to the power of 16 = 65,536). Many of these images
were rendered as bmp file types.
Even more power led to the development of 24-bit depth images such as the jpg file type,
which can display over 16 million colors (2 to the power of 24 = 16,777,216) for gradations
that are smooth to the human eye (see Figure 34-1).

FIG 34-1 The 8-bit depth

image on the left shows severe
banding.

You might be asking yourself what does this have to do with alpha channels? Although
16 million colors are plenty for smooth gradations, computer images were beginning to
be layered, or composited, on top of each other to make production more efficient and
enhance the quality of the finished images. This compositing process often required that
parts of the image be removed to allow layers lower in the stack to show through in the final
image. This required tedious handwork to cut out the unwanted parts of an image. This led
to the development of 32-bit depth file types (png, exr, tif, for example), which contain just
over 16 million colors, the same as 24-bit depth images. The extra 8-bits of data (256 levels)
stored in the new files is reserved for transparency information, known as the alpha channel.
This allows for composited layers.
When you saved your rendering to a file in Chapter 14, you chose the png file type because
it offers relatively high compression without any loss in quality. The result is smaller file sizes
while maintaining better quality than some other formats, in other words efficiency.
Another common file type used for 3ds Max renderings is the jpg file type. This file is
also compressed, but uses a compression method that combines information in areas of
similar color, which can result in degraded quality. Jpg files cannot have alpha channel
transparency, making it somewhat less useful as an all-around map type in 3ds Max.
Let’s create a 32-bit depth image and use it to create a decal material in 3ds Max, where the
transparency information is used as a mask.
The 3ds Max scene in Exercise 34-1-1 contains 2D text that has been converted to a surface
and has a white material applied that is not affected by scene lighting, so it remains
consistently white over the entire surface. There is also a box in the scene with a UVW Map
modifier applied with the default projection.
A material has been assigned to the box with diffuse color created by a Composite map. The
Composite map contains two solid color maps and a slot for a mask. You will render the mask
as a png file with alpha channel. Black pixels in the rendered mask will be transparent, white
pixels will be opaque, and gray pixels will be somewhere in between, depending on their
“whiteness.” The mask will reveal one or the other base color.
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 Intermediate Rendering

Exercise 34-1-1 Decal Materials

1. Open the 3ds Max file from the website called Exercise 34-1-1 and save it to an
appropriate folder on your hard drive with a new incremental name. Right-click
on the Top viewport to activate it and then on the Views pull-down menu, and
choose Restore Active Top View (Save Active Top View was used previously) to fill the
viewport with the text. Use the Shift+F keyboard shortcut to enable Show Safe Frames
to see exactly what will be rendered at the current output resolution (see Figure 34-2).

FIG 34-2 You can easily

render your own alpha channel
images in 3ds Max.

2. In the main toolbar, click the Render Setup button. In the Parameters rollout, Render
Output area, click the Files button. In the Render Output File dialog, navigate to an
appropriate folder on your hard drive. In the File Name text field, enter Text_test. In the
Save as Type drop-down list, choose PNG Image File (*.png). Click the Setup button and
then choose RGB 24-bit radio button and check Alpha channel in the PNG Configuration
dialog (see Figure 34-3). Click OK, click the Save button, and then click the Render button.

FIG 34-3 Render a 24-bit depth

png file with alpha channel to
use as a mask.
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 Getting Started in 3D with 3ds Max

3. In the rendered Frame Window, click the Display Alpha Channel button and then
use the mouse wheel to zoom in on the rendered image. Opaque areas are pure
white, transparent areas are pure black, and you can see the gray “antialiasing” pixels
at the edge of the letters used by the computer display to smooth the edges (see
Figure 34-4). Close the Rendered Frame Window. In the Render Setup dialog, Common
Parameters rollout, Render Output area, clear the Save File checkbox so that you
don’t accidentally overwrite the file you just rendered. Close the Render Setup dialog.

FIG 34-4 You can view the

alpha channel information in the
Rendered Frame Window.

4. In the main toolbar, click on the Material Editor button to open Slate material
editor. The material applied to the box in the scene contains a blue layer, a green
layer, and a map node containing a bitmap similar to the one you just rendered.
Double-click on the bitmap node heading to open it in the Edit pane. In the Bitmap
Parameters rollout, Mono Channel Output area, choose the Alpha radio button and
make sure the Image Alpha radio button is chosen in the Alpha Source area (see
Figure 34-5). This ensures that the alpha channel will be used and not the diffuse color
of the image.
5. In the Slate material editor, View1 pane, click and drag from the output node of the
bitmap to the input node Layer 2 (Mask). In the Camera001 viewport, you will see
that the mask is revealing the blue map color through the green background color
based on the alpha channel information in the image (see Figure 34-6). The bitmap
is being projected by the UVW Map modifier over the entire box. Let’s make some
adjustments to create a decal.
6. Right-click on the Camera001 viewport. Select the box in the scene. In the Modify
panel, Parameters rollout, Mapping area, enter 2'0" in the Length numeric field and
enter 3'0" in the Width numeric field. The text becomes smaller, but is repeated over
and over because of Tile option in the map (see Figure 34-7).
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 Intermediate Rendering

FIG 34-5 The alpha channel of

the bitmap is used as the mask.

FIG 34-6 The alpha channel

transparency reveals the blue
layer through the green layer.

7. In the Slate material editor, Edit pane, Coordinates rollout, clear the checkbox for the
Tile options. Render the Camera001 viewport and you will see that the alpha channel
information now creates a single mask decal (see Figure 34-8). The material is very flexible
because the base colors can be changed and a new map can be substituted at any time.
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 Getting Started in 3D with 3ds Max

FIG 34-7 The Tile option in

a map repeats the pattern
horizontally and vertically.

Note
The position and the size of the decal can now be adjusted with the Offset and
Tiling numeric fields in the Coordinates rollout.

FIG 34-8 The alpha channel

mask is applied as a decal to the
surface.

8. Close all windows and dialogs and then save the file. It should already be called
Exercise 34-1-1_Decal Alpha map02.max. This exercise is one example of creating a
decal map and using alpha channel. However, decal maps may also be applied for
placing images and logos on a racecar, for example, and the Composite map can be
made up of many layers and masks for a high degree of flexibility.

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 Intermediate Rendering

The alpha channel information stored in 32-bit depth images is also useful for Cutout maps
in the Arch & Design material to create the illusion of transparency or as Bump maps to
create the illusion of raised surfaces. The quality of the alpha channel, especially at the edges
of opaque and transparent areas, is better than when using similar grayscale images.

34.2 Render Elements

Alpha channel information is the only one element that can be extracted or used from
rendered images in 3ds Max. Many “elements” of a 3ds Max scene can be rendered separately
as independent files to be reused for other purposes. For example, you can render a Z Depth
element of a scene, which assigns a whiteness value that is brighter for objects closer to the
camera (see Figure 34-9). This image can then be used in compositing software to create the
illusion of distance blurring or fogging in your scene.
In Exercise 34-2-1, you will learn to set up render elements for reflections and specular
highlights. These elements could then be layered into Autodesk’s Composite compositing
software, Adobe’s After Effects, or Adobe’s Photoshop to enhance the original image.

FIG 34-9 Z depth render

elements can be used in
compositing software for special
effects.

Exercise 34-2-1 Render Elements

1. Open the 3ds Max scene from the website called Exercise 34-2-1_Render
elements01.max and save it to an appropriate folder on your hard drive with a
new incremental name. The scene contains several Standard Primitive objects with
simple materials of varying glossiness and reflectivity.
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 Getting Started in 3D with 3ds Max

2. In the main toolbar, click the Render Setup button. You will need to save the
rendered image, so click the Render Elements tab in the Render Setup dialog. In
the Render Elements rollout, click the Add button. In the Render Elements list, scroll
down and highlight Reflection and then hold the control key and highlight Specular
(see Figure 34-10). Click OK to add them to the list.

FIG 34-10 Add the render

elements you want to extract in
the Render Elements tab.

3. In the Selected Element Parameters area, click the ellipsis button (…) and navigate to
an appropriate folder on your hard drive. You can accept the default names that are
automatically given to the render elements (see Figure 34-11). Click the Save button to
save the files. Make sure the Camera001 viewport is active.

FIG 34-11 Save the render

elements files to an appropriate
folder.

4. In the Render Setup dialog, click the Render button. The scene will render normally
but you are not saving the rendered image to your hard drive. Soon after the
scene finishes rendering, two other render windows will appear; one contains
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 Intermediate Rendering

only the reflection information and the other contains only the specular highlight
information. These images would be used during the compositing steps, enhancing
or decreasing the effect of each layer as needed to create the best possible final
image (Figure 34-12). Both files have also been saved to your hard disk for later use.

FIG 34-12 Separate render

windows with reflections and
specular highlights appear after
the image is rendered.

5. Close all windows and dialogs and save the file. It should already be called
Exercise 34-2-1_Render elements02.max. Awareness of render elements will be
a factor in your productivity in the real world workflow. The render elements are
simply isolated data from your normally rendered image saved as a separate file
for post-processing.

The intermediate rendering topics of alpha channel and render elements will help provide
you with increased flexibility and power in your workflow in a production environment.

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 Index
Boldface page numbers refer figures.

Roll Camera button 232, 232; Truck

A B Camera button 228–89, 289
Absolute mode 65–7 backlight in three-point lighting 191, 193 Camera001 viewport 477, 480
Absolute/Offset toggle button 66, 66–7 backup files, management 29, 30–3 Camera viewport navigation buttons 20
Affect Pivot Only button 71, 72, 281, barrel parameters, stacked 478 canal, creating 337–9
282, 451 base human skeleton 463 candelas (cd) 182
alignment rules 161 bend center 136 CATMotion Editor 469–71
align objects 268–71, 268–71 bend modifier 137 CATParent skeleton 466
Align Selection dialog 269, 282 Bevel editing tools 298, 301 CATRig Parameters rollout 463
Align tool 268, 270, 271 Bevel operation 331, 331 ChamferCyl 450
alpha channel 491–2, 493, 494–7 Blend material 372, 377–8, 378, 380; character animations, talking head 194
Alpha radio button 494 horizontal stripe 378–80 Character Animation Tools (CAT): align
Ambient Occlusion: Arch & Design Boolean operation 336; operand to character 464–5; create parent
material 431, 432; intersection of parameter for 336; types of 334 462–4
surfaces 433; render elements pass border subobject 398, 399 character mesh 464, 465, 467
434; shadow-like effect 431 bounced light: energy bouncing from checkboxes 13, 18
Angle Snap settings 283, 284 surfaces 424; final gathering Checker map 206, 208; diffuse color
Angle Snap Toggle button 284 429–31, 430; global illumination provided by 207; show shaded
animating modifiers 386, 393–6 427; rendering 426 material for 209
animation 250, 385; character, talking bounding box corners 73, 78 child object 418, 419, 421
head 194; controllers 343, 348–50, boxes, create 74, 75 Circular Selection Region 82, 83
421; dories 412–16; interface BoxGizmo button 441, 441 clone animation keys 395, 395
components 386, 387; keys 388, box primitive 36, 37, 39 cloned cylinders 143
391; mode 467; playback 9, 9; bridge settings, caddy 400, 400 cloning in objects see object cloning
playback buttons 388, 388; user bridge tool 398 cloning modifiers 142–6
interface 386–8 Bump map 362, 363 cloth objects 474
Application button 6, 6, 14, 27, 308, 309 clouds effects 440–3
applying modifiers 134–8 color coding 393
Arch & Design material 195, 199, 205, 355; command panel 16, 17; create 8, 9; modify 18
in Slate Material Editor 202, 356; C complementary commands 31
for water 361 caddy operation 327, 328 Composite map 492, 496
array tool: 3D linear array 312, 312; 2D CAD software 105 Compound Objects 149, 154, 333;
radial array 312, 313; walkway camera: concepts 222; Dolly 10; ProBoolean 334–6; scatter 340–2;
railings 313–15, 314, 315 parameters 226, 226–8, 227; ShapeMerge 336–9; tools 154
assign controller rollout 414 principles 232–9; target and free compound shapes as 3D object 119–22
assign materials 207–9 222–6 cone primitives 278
assign position controller 412 Camera shots: close-up 238, 238; Configure Columns dialog 89, 89, 90
Atmospheric Apparatus Helper 440, 440 high-angle 239, 239; Connect button 302
atmospheric effects 435; clouds 440–3; long/establishing 236–7, 237; Connect Settings options 326, 327
fog 436–40, 437, 440 medium 237, 237 connect tool 302
Atmospheric Helpers 435, 436 Camera viewport 222, 346, 347, 350; controllers and constraints 412–16
attach/detach 124–7 controls 228–32; Dolly Camera copy clone 94, 98, 100
Attach Mult button 126, 126 button 230, 230; FOV setting Create command panel 8, 9
AutoGrid 277, 277, 279 231, 231; navigation button 228; Create Key dialog 389, 391, 458
Auto Key 386, 387, 390 Orbit Camera button 230, 230; curvature 156, 158
axis tripod see transform axis tripod Perspective button 231, 231; cylinder primitives 156, 262, 263, 265

501
 Index

Extrude Settings 304, 305

D Extrude Settings button 305 H
daylight shadows 351–2, 351 Extrude Settings tools 330, 331 HDTV, output resolution 244, 244
Daylight System 343; creating 344–5; hierarchical chain, creation of 451–4
parameters 346–8; position of hierarchical linking 418–21, 450–6
348–50, 349 Hierarchy panel 281
decal materials 493–7 history independent solver (HI Solver) 449,
default lighting 171, 177, 181; effects F 456; assign of 456–8
of 175; intensity for photometric faces 156 Hold/Fetch feature 31–3, 32
lights 182; in shaded perspective Falloff/Field outer cone 188, 189 Home Grid dialog 109
viewport 176 Fence Selection Region 82, 83 Home Grid tab 108
Diffuse Color swatch 200, 203–5; Checker field of view (FOV): of cameras 222; Horizon Noise checkbox 439, 439
map in 206–7 parameter 226; setting 231, 231 Hotspot/Beam inner cone 188, 189, 193
digital effects 435 file management 26; backup files 29,
direct lighting 170, 171, 173, 174 30–3; file operations 28–30; project
display units 106; feet and inches 107; for folder 26–8, 27, 28
measurement system 103–7 file output type 245
fill light in three-point lighting 191
I
Distribution Object button 340, 341; from Image Precision (Antialiasing) slider 246,
landscape surface 342, 342 Final Gathering 246, 248, 249, 429–31, 249, 250
Dolly camera 10 436, 437, 438; 3ds Max 424, 425; Import option 308, 309
Dolly Camera button 230, 230 sampling of pixels 429, 430 indirect lighting 170, 173
domed roof: creation 264, 264–5; Taper Fire Effect 440; parameters 442 Instance clone 95, 97, 99, 100, 393, 394,
modifier 275, 276; visual quality fog effects 436–40, 437, 440 454; to offset mode 102
and efficiency 276 Fog parameters 438 interface components, animation 386,
Donut button 117, 118 forward kinematics (FK) 450, 387
dories animation 412–16 454–6, 461 inverse kinematics (IK) 450, 458–9, 461
Dot Loop button 329, 329 FOV see field of view Isolate Selection tool 24, 25
Double Precision Math 105 fps see frames per second
dummy helper objects 449, 450, 454 frames per second 385, 386
dynamic objects 473 Free cameras: creation 223, 224; definition
223
Freeform tools 401–4
J
jpg file type 492
free light 175, 177; creating 176–9
E Front viewport 177, 178, 179; cylinder in
180; render 381, 384
edged faces 152, 155
Editable Mesh 298, 299; landscape 306; K
modifiers 301; subobject keyframe animation 386, 388, 396;
mode 301 animate boat 389–93
Editable Patch 306 G kinematic objects 473
Editable Poly 302, 304, 306; object 398, G-Buffer Channel 252
399, 401 generic units 103
Editable Spline 126, 127 Geometry category 36, 38
Edit Mesh modifier 283, 285 Get Shape command 155, 160, 166 L
Editor File dialog 487, 488 Get Shape mode 404 landscape creation 259–62, 261
Edit Poly modifier 306, 325, 325; preview, gif file type 491 landscape materials, creating 355–60
edits 305; workflow of 301 global illumination 431; in 3ds Max 425–8; landscape polygons 340
Edit pull-down menu 7, 7, 31, 32; for Render Setup 427; source of light Lasso Selection Region 82, 83
object cloning 100–2 424 layer manager rollout 466
effects 435 Gradient Ramp map 378, 379, 380 Lay Out Children button 363, 364
elements, user interface 15–19 grain sack, creation of 398–401 Lens parameter 226
Enable Edit Envelopes 467 Graphite Modeling Tools 331, 397, light attenuation 170, 175; effects of 176
Enable Final Gather 173, 248, 398–404; functions 324–8; Loop lighting, concepts of 170–4
429–31 selection options 325; planning light intensity 170, 175, 182–4; angle of
end effector 457 process 324; workflow 328–32 incidence affect 171; of existing
environmental effect 437, 438 Graphite Tools ribbon menu 8 light 182
exr files 250, 252, 252, 253 gravity 474 Light Lister 182, 185–8; in pull-down
exterior daylight 343–50 grid 104, 108–11 menu 186, 191
Extrude button 300 Grid button 488 light parameters 181; intensity of 182–4;
Extrude editing tools 298 Grid Settings dialog 108, 111, 284 shadows on 184–7
Extrude modifier 119, 121, 122, 123 grid spacing 108, 109 linear 3D array 312, 312

502
 Index

Local reference coordinate system 56–8, mental ray render engine 172–4
65, 163, 464, 465 mental ray renderer 344, 345, 348, 435 O
Local reference coordinate systems 282, Merge File dialog 280, 280 object cloning: Array Tool 312; concept
283, 283, 285 merge objects 279–83 of 93–4; edit menu for 100–2;
Loft command 149, 405 Mesh editing tools 298–301, 306 rotating 284; transform for 96–100;
lofted object, editing 161–2; local Mesh geometry 301 type of 94–6, 95; windmill blade
reference coordinate system 162; Mesh Objects radio button 446, 446 279–80
shape and path 164–7; unwanted mesh surface 161, 165 object naming 74–7, 75, 76, 77
twist 162–4 metric system 104 Object Paint brush options 319
lofting 149, 150–2; process 152; of railing millstone: creating material for 362, 365; Object Paint tool 319–22
404–9; 2D shapes 153 keyway for 334, 334–6, 335 objects: creating 38–42
lofting an object 150, 152, 166; adding Min/Max Toggle button 23 object selection 77; add/subtract
shapes 159–61; controlling modifiers 274–9; and cloning 140–2; selections 78–80, 79, 80; by name
efficiency 156–9; rotating shapes concepts of 134; editing of 138–42; 84–7, 85, 86; selection regions 82,
163; shape on path 152–6 effect on objects 136; order and 82–3; window/crossing modes
loft path 149, 150 cloning 142–6; parameters 138–40; 80–1, 81
loft shape 149, 150 stack view 142–8; Taper modifier Object Type rollout 463
Look-At constraint rollout 414, 415 275 Ocean map 360; in Water view 361
Loop selection options 325 Modify command panel button 17, 18 Offset mode 65–8
Modify panel 134, 156, 216, 393, 396; OpenEXR Configuration dialog 252
camera parameters 227; Daylight operand parameter, for Boolean operation
parameters in 346; elements in 17; 336
M Fire Effect from 441; mr Sky in 353; orange gizmos 136, 137, 142
main light: clone 193; in three-point mr Sun in 351; objects 274; objects Orbit button 23
lighting 190, 192 rename in 74, 75, 75; parameter Orbit Camera button 230, 230
Main Toolbar buttons 7, 7, 15, 468, 475, adjustments 260, 263; parameters Orbit Camera navigation buttons 361
477 rollout in 465; rename and color orchard, creating 340–2
Make Unique button 141, 142 261, 267; size adjustments 260; original cylinder: bend modifier 135; and
Map Channels: definition 381; and Taper parameters 274, 275 three clones 135
mapping 381–4 Motion panel, assign controller rollout Original State button 478
map pattern 358 in 414 orthographic viewports 12, 52–5, 61, 63;
mapping coordinates: concepts 211–13; Move button 307 navigation buttons 20, 21
UVW Map modifier 213–16 Move command to clone cylinder 96–100 output resolution, HDTV 244, 244
mapping mode 214; general rule 216, 216 Move transform gizmo 61–2
MapScaler modifier see World-space mr Photographic Exposure Control 175,
modifiers 176, 181, 344, 345
MassFX 473; cloth 480–1; introduction to mr Physical Sky map 343, 344, 346, 352–4, P
474; rigid body 475–9; simulations 353 paint beige 203, 204
474–5; toolbar 475, 475, 476, 479 mr Sky 344, 346, 348; Raytrace shadows paint deform, tools 401, 402
material creation 196, 202–5 in 351 Paint Objects dialog 321
material definitions 366 mr Sun 344, 348; Raytrace shadows in 351 Paint Selection Region 82, 84
Material Editor button 199, 200, 356 multiple mapping modifiers 372, 381 panel categories, creating 36, 37, 38
Material ID number 372, 373, 376 Multi/Subobject material 371, 375, 376; panning method 10, 19, 21, 33
Material libraries 366–9 windmill materials 372–7 Pan View button 21
Material/Map Browser 197, 198, 200, 206, parameters, of modifiers 138–40
367, 368 parameters rollout 136, 139, 146
material maps 216–17 Parameters rollout button 18
MAXScript 483, 484, 484, 487; open 485; N parent object 418, 419, 421
run 487 navigation: buttons 10, 10, 228; user Particle Flow 435, 443–7
MAXScript Editor 484, 486 interface 13; viewport 19–20 Particle View 443
MAXScript Listener 484, 485–7; nesting shapes 122–4 Patch Grid geometry 306–10
MacroRecorder in 486; pull-down NGon shape 116, 117, 165–6 Patch Grids 306, 307
menu 485, 485 node information 94 Path constraint 413, 418
MAXScript Listener dialog 487 Noise map 355, 356, 358; creating 359 path parameters rollout, in motion panel 413
MAXScript Listener window 9 Noise parameters rollout 357, 358 path steps 157, 160, 407; and shape steps
MAXScript Mini Listener 487–9 nonorthographic viewports 12, 52–5 152, 156, 157
maxstart.max prototype file 104, Nonuniform Rational Mesh Smooth path target 413
111–13 (NURMS) 397 Pelvis bone 468; twist motion of 468, 469
mCloth modifier 480 NVIDIA mental ray 173, 173, 242, Percent curve 416, 418
mental ray see NVIDIA mental ray 243, 245 Perspective button 231, 231

503
 Index

Perspective viewport 54, 60, 62–5, 176–8, Quad Patch: creation and modifiy 306, Screen reference coordinate systems
180, 487; access three pairs of 307; Editable Patch object 307, 53–5, 55
axes in 60; activate 52, 63, 180; 308; landscape 309 scripting language 483
apparent lighting in 183; default Quad Patch button 306 scroll bar 18, 19
5, 6; default lighting 175, 176; segment 128
enable edged faces in 275; grain Select and Move button 59, 64,
bag in 401–2; lighting effects in 65, 128
177; in light intensity 183; shaded R Select and Rotate button 61, 64, 65
viewport label in 175 radio button 18, 18 Select button 307
PF Source button 444 railing post creation 267, 267–8 Select by Name button 84, 85
photometric lights 174, 177, 435; creating RAM Player 426, 428; Final Gathering Select by Name dialog 87, 88, 88
175–81; parameters in see light calculation methods 429 select command, to clone cylinder
parameters Raytrace shadows 351 96–100
Physical Material rollout 477 Rectangular Selection Region 80, 81, Select Object button 22, 73, 78, 80, 85,
Physical Scale 435, 438 82, 82 282, 285
Physical Shapes rollout 477 reference clone 94, 98, 134, 136, 142, 146, select objects by name 84–7, 85, 86
Pick reference coordinate system 313, 314 147; bend modifier to 99, 100 Setup/Animation mode 467, 470
Pick Shape button 337, 338, 338 reference coordinate systems 260, 268, shaded Perspective viewport 176,
pin003 452 269, 271; Local 56–8; options 15; 274, 275
pivot point collision 417 Screen 53–5; use of 47–8; View shaded viewports 175; lighting in 178
pivot points 69–72, 279, 281, 282, 446, 51–3; World 55–6 shadow casting 181–2, 184–5; with
450–6 relax/soften button 403, 403 checkbox 184
placeholder boxes 489 remove modifier 124, 140 shadow-like effect 431
Planar radio button 18 rendered files 245, 250; render still images shadows 344, 351, 351–2
plane primitive objects 39 251–3 ShapeMerge compound object 333,
Plastic green glossy 204, 204; material Rendered Frame Window 246–50, 247, 336–9
214, 217 436, 437, 494 shapes alignment 161
Plastic red clear 205, 205 rendered images 171, 178, 180, 245, 246; shapes category button 37
platform walkway creation 265, 265–7, 266 alpha channels 491–2, 494–7; shapes, creating 42–5
Play Animation button 480 render elements 497–9 shape steps 158, 158, 407; and path steps
playback buttons 9; animation 388, 388 rendered scene 348, 348, 350 152, 156, 157
PNG see Portable Network Graphics render, Front viewport 381, 384 Single Precision Math, to allocate
png file type 492 Rendering pull-down menu, Environment computer memory 105
point helper objects 449, 450, 454 option in 436 skin character 465–9
Poly editing tools 301–6 Render Output File 251, 251, 252 skin modifier 461, 465, 466
Poly geometry editing 303 Render Production button 178, 180, 348, Slate Material Editor 356, 358, 361, 371,
polygons 156, 156, 266, 299, 300, 304; 350, 351, 426 494, 495; Arch & Design material
adjacent 329; creation of 304; Render Setup 172, 172, 242–6, 243, 433 node in 356
Extrude Settings 330, 331; render still images 251–3 Slate Material Editor in 3ds Max 197–8;
modeling 398, 399 Replace command 306; options 309 introduction to 199, 199–201
polygon subobject button 398, 399 ribbon menu 8, 8, 319, 320, 321, 398 slide option 302, 303
Portable Network Graphics 245, 250, 253 RibcageGroup 470 smooth option 263, 266, 267
primitives creation: objects 38–42; shapes rigid body collisions 479 snaps 104, 108–11
42–5 rigid body objects 473, 474 Snap Settings Dialog 108, 111, 284
ProBoolean compound object 333, 334–6 Roll Camera button 232, 232 Snaps Toggle Button 110, 111
procedural modeling: adding modifiers Rotate transform gizmo 61, 62, 63 softer shadows 352
274–9; merge and clone objects Rule-of-thirds, camera views using 235, software designers 3
279–85 235–6, 236 spacing tool: options 316; trees 316–19,
project folder, management 26–8, 27, 28 317, 318, 319
pull-down menu 7, 7, 30, 31, 76, 88, 88; in Spacing tool dialog 317, 318, 319
graph editors 416; Light Lister in spacing trees 316–19, 317, 318, 319
185, 186, 191 S special effects 435; flock of birds 443–7
push/pull button 402 Safe Frames, enabling 233–5, 234 Speckle map 358
scale of skeleton, in Modify panel 463 sphere primitive object 40
scale transform, to clone objects 96 sphere primitives 264
Scanline renderer 345 spinners 18, 18
Q Scatter compound object 333, 340–2 spline 128
Quad menu 10, 10–11, 125, 126; object Scene Explorer 87; opening and adjusting spotlight distribution 188–90
properties 153, 153, 406 88, 88–91, 89, 91 stack button 124

504
 Index

stack view 146; drag and drop modifiers three-point lighting 190–4
144; editable spline subobject in Threshold parameters, noise map 360 V
129; visual cues in 137, 147 Tiles map in 3ds Max 212 vertex 128
Standard Primitives 38, 154 tiling 213 Vertex ticks 153, 154
star shape 164, 165 timeline 9, 9 ViewCube 23
star-shaped spline 130 time slider 414, 458 view pane: Arch & Design material node
Start Simulation button 478 time slider button 386 in 202; subobject material node
static MassFX objects 475 tooltips 15, 15 in 375; windmill 374, 374, 378–9,
static objects 473 Top viewport 176, 185; free light in 177; 381, 383
Static Rigid Body button 475, 477 target camera in 347; wall in 180 viewports 4–5, 5, 6, 10, 12; display types
status line 9, 9 track bar 386, 388 11; labels 11, 11–12; navigation
stone material, creating 362–6 Track View-Curve Editor 416–18; adjusting 19–20, 26; tools 24–6; working in
Stone view 362 animation on 416–18 20–3
stone wall area 488, 488 transform: gizmos 47, 59–61, 65; Move View reference coordinate systems 51–3
subobject editing 128; levels of 128–31 61–2; pivot points 69–72; Rotate
Substance map 362–6, 363, 364 61–2; type-in fields 65–9, 66
system units 106; accuracy reference 107; transformation keys
for internal calculations 104–7 389, 390 W
transform axis tripod 51 walkway: railings, array 313–15; windmill
Transform Center options 313 313
transform cloning 96–100 water material, creating 360–2
T transform gizmo 59–64, 69, 128, windmill 443; and base creation 262,
262–4, 264; view pane 374,
tapered cylinder 143, 144 151, 308
taper effect 139 transform objects in 3ds Max 58 378–9, 381, 383; windows creation
taper gizmo 137 tripod 151, 151 328–32, 329, 330, 331
Taper modifier 136, 137, 274, 275, 276; truck camera 10 windmill scene 412; material library for
apply bend and 134–8 Truck Camera button 228, 289 366–9, 367
Target cameras: creation 223, 224; defini- Truck Camera navigation buttons 347 Window/Crossing modes 80–1, 81, 82,
tion 222–3 twist modifier 146–8 83, 91
target light 175; creating 179, 179–81; 2D radial array 312, 313 World coordinate system 48–51, 55–6;
parameters of 183; for spotlight 2D railing shapes 405 axes tripod 49
distribution 188 2D shape 36, 37; basic shapes creation World Parameters button 479
Templates rollout 360 116; concepts 116; new shapes in World-space modifiers (WSMs) 375, 376,
test rendering 248; scenes in 3ds Max 250 116–19 382
3D object types 36 type rollout: object 36, 37, 38,
3D primitives creation: align objects 40, 43
267–71, 268–71; domed roof 264,
264–5; landscape 259–62, 261; X
platform walkway 265, 265–7, 266; XYZ controller 411
railing post 267, 267–8; windmill U
and base creation 262, 262–4, 264 unit setup 103–7, 105; configuration of
3ds Max: create, then modify concept 40, 113
41; 3D primitive objects in 41; file user interface 4–11, 5; elements 15–19; Z
116, 117, 454, 458; interface 386, navigation 13 zoom 22; cursor dragging 20, 21
484; objects types in 36–8; opening UVW Map gizmo 217, 219, 219 Zoom All button 21
14, 14–15; process of 38; shapes UVW Map modifier 213–14, 215, 216, Zoom Extents All button 22, 24, 74
available in 43; test rendering 383, 383; create convincing tiles Zoom Extents button 21
scenes 250; windmill scene 372 217–18; gizmo 219 Zoom Region button 21

505