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2011-05-04T04:27:00.000-07:00

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2011-05-04T04:13:00.000-07:00

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2011-05-02T03:43:00.000-07:00

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WORKING WITH BIPED FOOT STEPS

2010-03-07T11:18:00.001-08:00

Footsteps are a central compositional tool in Biped. Footsteps are biped sub-objects, similar to gizmos in 3ds max. In view ports, footsteps look like the diagrams often used to explain ballroom dancing. Each footstep's position and orientation in the scene controls where the biped steps. While the placement of footsteps appears in view ports, the timing appears in Track View. There, each footstep appears as a block of time, with each block representing the time when the foot is planted in a footstep

In general, we compose a footstep pattern with these actions:

1. Select the biped and access the Motion panel.

2. Click Biped rollout > Footstep Mode.

3. In the Footstep Creation rollout, click Walk, Run or Jump to choose the gait (a method or pattern of moving on foot). The gait sets the initial timing for footsteps you create.

When we first create them, footsteps are inactive. They exist in the scene but don't yet control the biped's motion.

4. Create the footstep pattern in view ports. we can create footsteps in a few different ways, each available in the Footstep Creation rollout:

• Automatically create a number of footsteps with Create Multiple Footsteps, or

• Individually place each footstep with Create Footsteps (append) or Create Footsteps (at current frame). Use Auto Grid to create footsteps on a surface of a mesh.

5. Edit footstep placement by moving or rotating footstep icons in view ports. .

6. Activate the footsteps to create keys for the biped. The biped will now move through the footsteps using the placement and timing you set up.

7. Play the motion to test it out, looking only at the leg and foot motion and disregarding the upper body for now. If the footstep motion isn't right, deactivate the footsteps, make changes to footstep placement or timing, reactivate the footsteps and play it again. Do this until the foot and leg motions are correct.

When footsteps are activated, keys are created for each of the tracks of the figure: the head, spine, pelvis, arms, legs, and, if appropriate, tail and ponytails. These keys form an initial sketch of your animation. The default keys, when interpolated, form the basic, minimal motion required to animate the figure according to the footstep pattern. Most likely you will want to adjust or replace these keys.

RIGING OF CHARACTER WITH BIPED

2009-12-26T11:38:00.000-08:00

We have to decide to animate character in 3d studio max the simple way is to animate character we have to rig biped with character simply we have a character and its open in 3d max now we have to set biped with the character. We have to create biped first we have to go into last option system select biped and drag biped in to the character from the front view as we see in the picture 1 (A)

Picture 1(A)

Then we have to select character and go into modify panel and select skin modifier then we open skin modifier click on envelopes press add button and select all biped objects. Then we have to check on vertices as we see in the picture 1 (B)

Picture 1(b)

Biped is rigged with the character. As we animate the biped character also moves now we select biped and go into motion panel and simple create the biped footsteps but when we rig the biped with the character we have to sure that the figure mode of the biped is selected. we create the biped footstep for checking that biped is rigged with the character or not after we create the biped footsteps we play the animation and we see biped really rigged with the character and the character is moving as we see in the picture 1 (C)

Picture 1(C)

we can see as biped is walking character also walk with the biped but here is one problem some parts of the character disturbed and now we have to set the vertices of the character. We select character go into modify panel open skin go into envelopes and check on vertices and see which parts of character disturbed as we see both legs and both upper arms of character disturbed first we have to select bip right calf not select by pressing h button we select right calf of biped in the skin modifier and select only calf vertices then we go into weight properties and properties set to 1 it’s also in the skin modifier as we see in picture 1(D) and picture 1(E)

Picture 1(D)

Picture 1(E)

Then we have to select right thigh of the biped and again same step as we done with right leg calf .Then we have to select left thigh and calf and again repeat same step as we done with right calf and thigh. Then we have select all the parts of biped and see all the vertices have weight properties 1 if not 1 then we have to give 1 vale of all vertices but we have to remember 1 thing if we select arm and we give the weight to spine vertices then vertices of the character is disturbed this work is very carefully to done. We have done all vertices after done all we select all biped parts by pressing h and hide all our work has done. Character rigged by biped successfully

Picture 1(F)

WATERFALL BY PARTICLES

2009-10-09T13:19:00.000-07:00

First we have to create a scene for the creation of the scene we follows the following steps

(1)we drag the box from the top view , length of the box is 300 width is 100 and the height is 150

(2)we have to draw a cylinder from the front view radius =30, height= 400 and the position of the cylinder is from x axis is -11.19 from y axis=184 and from z axis=151.

(3)we have go into modify pannel and pick noise on cylinder noise value,seed =20 strength of x axis on noise =30,y=15and z=30

(5) we select box and gointo compound objects and hit pick operend b and then select cylinder the box looks like this as we see in the picture 1 (A)

(6)Drag a plane from the top view value of position is x = 0, y= 8, z=143

(7)Another plane but this time we drag this plane from front view length =38, width =52 and position x = -8.279,y=-128.213,z=124.999

(8)plane 3 from top view length=275 widht= 250 position x=0,y=-191,z=0

Now the scene must be like that as we see in picture 1(B)

Picture 1(B)

Now we need a texture look like water so we create the texture of water we follows the following steps

(1)press m and in ambient R=5,G=119,B=88

(2)Diffuse R=99,G-161,B=141

(3)In entended parameters filter colour value R=0,G=112,B=71 Go into maps in bump pick noise noise value tiling x=3,y=1,z=1 check on turbulence and size =30 water texture ready and apply on plane 1 and plane 3 as we see in the picture 1(c)

Picture 1(C)

ANIMATION OF PARTICLES BY SPRAY
W e create a spray from the front view for the waterfall as we see in picture 1(D) from top view

Picture 1(D)

Then we set the values of the spray viewport count =100 render count =20000, drop size = 6, speed= 10,variation=0,check on drops in render tetrahedron timing start time 0 ,life=60,width =60, length=30

Create another spray when 1st spray particles stop then 2nd one started

We set values of 2nd one spray is viewport count =100,render count =10000,drop size=6,speed=10,variaton =3,check on drop in render check on tetrahedron timing start =60,life=97 width=60, length=30 particles

1(f)

FIRE WITH PARTICLES

2009-10-09T13:13:00.000-07:00

Step 1 Setting up Particles

Start by creating a blizzard particle system and place it in your scene so its pointing upwards. To do this go to Create > Particles > Blizzard. Rotate the particle emitter 180 degrees so its pointing up. Under the modify panel, change the emitter size to 45 x 45.

The viewport display show how the particles will be represented in the viewport, not how the particles will be rendered. The percentage of particles displays a certain percentage in the viewport but the amount of particles rendered will always be 100%.

Step 2 Particle Generation

Under Particle Generation choose a user rate of 3. This controls how many particles are to be created per frame. Under Particle Motion choose a speed of 1.97, a variation of .276, tumble 0 and tumble rate 0. Under Particle Timing make our Emit start a negative number. we can make that negative number the amount of frames we have so that the particle generation is constant throughout the clip. our frame count is 250 so we chose an Emit Start of -250, Emit Stop and Display Until of 250. Chose 36 for Life and 34 for Variation. Under Particle Size choose 2.24, Variation 2.39, Grow For 5 and Fade For 29.

Step 3 Instanced Geometry

Under Particle Type choose Instanced Geometry. This allows the particle to be any mesh or geometry created in the scene. We are going to create a custom particle. Create in your scene a Sphere of a radius of 3.625 and 32 Segments. Now we add a noise modifier to the sphere. Under the noise Parameters, choose Seed 0, Scale 4.777, Roughness 0, Iterations 4.48. Under Strength make X: -2.87, Y: 5.59, Z: 12.182. We now have a custom particle that looks pretty crazy. Go back to the particle emitter parameters. Under particle type, we should have Instanced Geometry selected. Scroll down until we see a button that says Pick Object. Click on that button and choose the sphere you just created. Right click on the sphere and choose hide selected. We no longer need to mess with the sphere. Now the particle emitter should emitting many little spheres. To see this change your viewport display from dots to mesh. (be careful as this could crash your computer) Once you have had your fill, switch back to dots to save memory.

Step 4 Adding Materials

Hit M and add your material to the particle emitter by either dragging it to your emitter or hitting

the assign to selection button. This will add the fire material you created to your particle system. Do a test render, you should have something that looks pretty close to fire. Under the Material ID Channel, change the ID from 0 to 1.

Step 5 Video Post

To add the final touch were going to use 3ds Max’s Video Post. Under Render choose Video Post. Click on the add scene event button. Choose Camera. If we don’t have a camera then just choose perspective. Make sure that the VP start time and VP end time match the length of your main timeline. In this case the VP start time is 0 and the VP end time is 250. Hit ok.thenk we sure we don’t have anything in your queue highlighted. Next click on the add image filter event button. Choose lens effect glow and hit ok. Again, we make sure we have nothing in the queue highlighted. Last choose the image output event button. Click on file and choose a path to save your file. Also choose an output type. we usually use .avi movies.

Double click on Lens Effects Glow and click on Setup. Click the VP Preview button. This gives a general idea of what the glow will look like. Click the VP Queue button to see a preview of our scene. Under Properties check the effects ID checkbox. Make sure we have effects ID 1. Under the preferences tab change the Effect size to 7. Make sure the Color type is pixel and bring the intensity down to 1. we can play around with these preferences to get various desired effects.

When we are ready to render out your movie, click the Execute Sequence button under the video post options. Choose our output size and time range and hit render. we have to play around with the settings, but the general idea is to mimic movement, opacity and the brightness of fire using a combination of custom particle and post effects.

FIRE MATERIAL

2009-10-09T13:11:00.000-07:00

Start by creating a new Standard material. Under Shader Basic Parameters, choose Blinn. Choose an orange color for Ambient/Diffuse Color. I chose an RBG of

Red: 255

Green: 120

Blue: 0

Hue: 20

Sat: 255

Value: 255

Check the self illumination box and select a slighter brighter orange color. I chose

Red: 255

Green: 174

Blue: 0

Hue: 29

Sat: 255

Value: 255

So far our material should look like this.

Under maps, choose diffuse color. Pick Particle Age and hit ok.

For Color #1 choose a red color, and for Age #1 type in 20%.

For Color #2 choose an orange color and Age# 2 type in 50%

Color # pick white and Age# 3 make 100%

Go back up to the parent level by clicking on the go to parent button. Make sure the diffuse amount for the diffuse map is 100. Click on the self illumination map and choose Smoke. Under Smoke Parameters choose size: 40 and make color 1 an orange color and color 2 a yellow color.

Go back to the parent level. Under the opacity map choose Smoke. Under Smoke Parameters choose size: 40 and make the two colors pure white and pure black. Your material should look like this.

Once we have a material that looks like this

SNOW SCENE WITH PARTICLES

2009-10-08T13:01:00.000-07:00

First we have to make a scene we have created a scene in 3d max see in picture 1(A)

1(a)

Then we have decide to create a snow fall in this scene this is the procedure we create rain. First we have to go in geometery and in geometery particle systems. In particle systems we have pick the snow and make spray from the top view. Then we go into modify and In modify pannel we set up the values of some option as we see in the picture 1(B)

Then we set the value we decide to make a texture of snow we press m and go into texture menu. In texture menu we set ambient colour litlle bit off white self illumination 100 etc as we see in picture 1(c)

Then we have blur the snow particle select the spray then right click and go into properties then in motion blur we have select object and blur is auto for snow fall. Now we have to attach the wind with tha snow. We gointo space wraps pannel select wind and make wind then we attach the snow with the wind using bind to space wrap option on top bar as we see in the picture 1(D) We bind the snow with wind with this option as we see in the picture 1(D) option is highlited with blue clour.

Now we have to freeze the snow on every object that’s why we have to pick and drag the pc cloud in the scene pc cloud is available in particle systems. Drag the pc cloud on every object and go in to modify pannel and pick the object which object we want to freeze the snow and some setting on the modify pannel and we also set the texture of the pc cloud same as the texture of the snow as we see in the picture 1(E)

Some setting of pc cloud are:

(1)particle formation box ammiter

(2)view port display ticks

(3) percentage of particles 100%

(4)particle quantity check on use rate and the ammount is 100

(5)particle motion random direction

(6)particle timing when the snow is hit on any object then the start points active for exp snow hit on the box at the 46 frame so the start point is 46 and the end point is 60 or its depend on the situation of the scene.

(7)size depends on the object for exp 10 , 20 etc

Some setting as we see in the pictures

TEXT ANIMATION BY TARGET CAMERA

2009-09-30T14:40:00.000-07:00

First we type a text in 3d studio max like uzair. In text uzair u is written separately z is written separately a is written separately I is written separately and z is also written separately. Then we set a target camera from the front as we see in the picture

Then we animate text one by one by pressing auto key as we see in picture

One by one we animate text through target camera when all text is animate. Then we press f10 as we see in picture

Then we check on active time segment in output size we select pal d1 video check on force 2 sided. In render output click on files save the file in avi format then click on save when we click on save a new window appears actually this window is a compressor window then click on render now our work is save on .avi format as we see in picture

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WIRE PARAMETERS

2009-09-30T14:32:00.000-07:00

Wire parameter is another kind of animation with wire parameters we can control many objects such as we can have 2 objects like box and a tea pot we only animate box and the teapot automatically moves

See in picture

ANIMATION BY GIZMO

2009-09-30T14:25:00.000-07:00

Animation by gizmo is used for door, window etc animation

If the gizmo is in the center then the door dose not animate exact what we want so to solve this problem is only the way to move gizmo go to hierarchy then click the button affect pivot only and then move the gizmo

Now we move the gizmo and the animation of door is correct as we want see in picture

AUTO KEY

2009-09-30T14:20:00.000-07:00

The Auto Key button turns the key framing mode called Auto Key on or off. All movement, rotation, and scale changes are key framed while the Auto key button is on. When it's off, these changes are applied to frame 0.

You can also key frame by using Set Key mode, which allows you to selectively add key frames using the Set Keys button.

The Auto Key button is red when it’s on. The active view port is also outlined in red when the Auto Key mode is on; the time slider turns red as well. This serves to remind you that you are in animate mode, and that you are setting key frames with your actions.

Be sure to turn off Auto Key after key framing, or you will inadvertently create unwanted animation. Use Undo to remove the unwanted animation. Be careful; it’s easy to forget.

Within an existing animation, you can create key frames for transforms without the use of the Auto Key button by right-clicking the time slider and then setting the source and destination time. For example, you can use this function to copy an existing Move key to a later frame, so an object pauses its motion momentarily (to keep the object still, you must use linear or step interpolation). You can also set key frames for other anima table parameters in Track View and the Motion panel without using Auto Key.

Spinning Logo Animation

2009-09-24T12:20:00.000-07:00

Step 1

Since this type of animation is not a big deal I will cover some material and advanced lighting issues in this tutorial. Also, I will describe two alternative methods for such logo animation (one after another).

Step 2

First, we should adjust the Pivot point. So, go to Hierarchy panel > enable “Affect Pivot Only” mode > click “Center to Object”.

Step 3

While “Affect Pivot Only” is still enabled, move the pivot point down in the Front viewport as shown. Then turn OFF “Affect Pivot Only” mode.

Step 4

Let’s assign a material to the logo. Open the Material Editor > choose the 1st empty material slot > adjust the Diffuse color as shown.

Step 5

Under the Specular Highlights group, adjust the Specular Level and Glossiness as shown.

Step 6

We’ll assign white background for the logo. So, choose Rendering > Environment.

Step 7

Set pure white color as the Background color.

Step 8

Quick Render the scene. Logo is now simply a glossy one.

Step 9

Let’s add some reflectivity to the logo. For that, open the Material Editor again to edit the logo material. Expand the “Maps” roll-out and assign “Bitmap” to the Reflection map slot.

Step 10

There is a good reflection map which comes with 3dsmax itself. You will find it in the Maps > Reflection folder under your Max installation directory. Choose this map (REFMAP.GIF) as the Bitmap for the reflection map.

Step 11

Render again. Is the specular or the reflection too bright? May be. However, we can adjust this.

Step 12

Click “Go to Parent” button to reach the top-most level of the material.

Step 13

Adjust the Specular color as shown. Earlier one was white, so there was more brightness (or whiteness?).

Step 14

Render the scene again. Do you like it? I liked the earlier one also. May be, I have not very good graphics eyes. So, I like everything.

Step 15

Ok, let’s assign some soft shadow for the logo. For this, we need a Plane object where the shadow will fall on. So, draw a Plane primitive object as shown.

Step 16

Actually, if this Plane object is also seen in final render it will not look so good. It should vanish into the BG color while keeping the track of the shadow etc. of the shadow-casting objects standing on it. This is not only applicable for the logo. You can apply the same rule for visualizing any product in 3D (clear image with some nice soft shadow against a clear BG color, preferably white). So, choose the 2nd empty material slot. Switch the material type from default Standard to Matte/Shadow type. This type of material makes the surface (of the object which it is assigned to) transparent to those areas where other objects’ shadow/reflection does not fall.

Step 17

No adjustment is needed in the Matte/Shadow. Just assign the material to Plane01.

Step 18

Render the scene. The Plane01 vanishes into the BG color. But, where is the shadow for which we are telling these too much words.

Step 19

There are default lights in Max whose source is invisible by default. We can use “Light Tracer” to trace these default lights to get the soft shadow below the logo and on the matte Plane01 surface. So, choose Rendering > Advanced Lighting.

Step 20

In the Advanced Lighting dialogue choose “Light Tracer”. In the later versions of Max, you may have to choose Light Tracer from the sub-menu of the previous step (i.e. Rendering > Advanced Lighting > Light Tracer).

Step 21

Under Light Tracer parameters settings, lower the Rays/Samples to 100 (keeping the value at default 200 will cause taking more times in rendering). Increase the Bounces to 1 (keeping the value as default 0 will lower the render-time, but it will not help to get the soft shadow).

Step 22

Render the scene now. This time you will see some nice shadow below the feet of Mr. X.

Step 23

Let’s start the animation process. At first, we will set-up a camera and animate it around the logo. Then we will render the camera view to simulate the spinning of the logo. For the rotation-path of the camera, draw a circle in the Top viewport as shown.

Step 24

While the Crcle01 is still selected, enable “Align” button.

Step 25

Then, with the changed cursor shape, click on the logo with which we want to align the circle.

Step 26

In the “Align Selection” dialogue box, check all the X, Y, Z positions under the Align Position group and choose “Center” option under both the Current and Target object groups.

Step 27

Now, maximize the Top viewport and draw a Target camera as shown.

Step 28

Open the Select by Name dialogue box and select Camera01.Target object.

Step 29

Click the Align button again and then click on the logo model.

Step 30

Choose the Align options as before this time also.

Step 31

Now, select the Camera01 and choose Animation > Constraints > Path Constraint.

Step 32

You will see a dotted line (coming from the Camera01) telling you to pick the path through-out which you should drive the camera. So, click on the Circle01 to pick it as the camera’s traveling path.

Step 33

Assign the Camera01 to the Perspective viewport.

Step 34

You may notice that some parts are out of the range of the Camera view. We can accommodate the whole logo either by adjusting the lens/focal parameters of the Camera or by adjusting the radius of the Circle. Since the camera is constrained to the circle, camera’s position depends on the circle’s perimeter thus radius. So, when you increase the circle’s radius camera will go far from the logo. And, when camera will go far it will accommodate more areas into its view like real-world’s camera or eye does.

Step 35

So, select the Circle and adjust (increase) its radius until the whole logo can be seen inside the Camera view.

Step 36

Play the animation. The logo rotates a full revolution as we expected. The animation is also seamlessly loopable. But, still there are some problems. One problem is, at the first frame, the logo should face us with its front. But, presently it shows its side to us at the first frame.

Step 37

Once again, we can solve this by negotiating with the circle. So, select the circle. Enable the “Rotate” button and the “Angle Snap” option in the main toolbar. Make sure, you are at the 1st frame of the animation. Then, in the top viewport, rotate the circle -90 degree around the Z view axis. See the Camera viewport at the same time. Now the said problem is solved.

Step 38

But, if you play the animation, you will see that the logo is rotating to the wrong direction (right-to-left instead of left-to-right).

Step 39

To correct this situation, in the Front/Top viewport, select the circle and click the “Mirror” button in the main toolbar. Leave the Mirror Axis as “X” and Clone Selection option as “No Clone”. Then click OK.

Step 40

Everything is now well & good. We can now set-up the render issues. Click the “Render Scene” button in the main toolbar. Then, in the Render Scene dialogue box, set both the Width and Height values as 480 to get a square-shape output. Then, right-click on the Camera01 viewport label and choose “Show Safe Frame” to anticipate the render view from before.

Step 41

It seems that we can zoom more onto the logo to get its maximum volume in the render.

Step 42

Once again, we can do it by adjusting the Circle01’s Radius value. So do the same as shown to zoom-in on the logo as long as it stays within the Safe frame’s inner-most mark.

Step 43

Let’s tweak the angle of the camera view a little to have a better view. Just select the circle (if it is not selected) and move it down a little.

Step 44

Now, settle the final render issues. In the Render Scene dialogue box, choose “Active Time Segment: 0 to 100”. Then click on the “Files…” button; give a filename; choose “AVI” as file-type and click “Save”.

Step 45

For getting maximum output quality, choose “Full Frame (Uncompressed)” as the Compressor (codec). However, it may cause the output size to be the largest (but, quality will be the best). Click OK.

Step 46

Now, hit the “Render” button and relax. After rendering is finished, navigate to the folder where you saved the output to see it by opening with your preferred player.

Step 47

The above procedure is especially useful when the whole logo is animated. The logo itself wasn’t animated (rotated) here. However, there are some cases when we may have to rotate the logo itself. Say, there are more parts in your logo and only one part will be animated (for example, a text-logo is made with the word “Max” and only letter “x” will be animated). In that case, we should not animate the camera to represent such animation. Rather, we should animate the rotation of the logo (or part of the logo) itself. Well, we will learn that process now. First, select the Camera. Then, in the Track Bar, region-select the two keys as shown.

Step 48

Make sure, you are at the first frame. Then, right-click in any place of the track bar and choose “Delete selected keys”.

Step 49

Select the logo model and choose Graph Editors menu > Track View-Curve Editor.

Step 50

Highlight “Rotation” under Transform in the left side pane. You can see that its type is NOT Euler XYZ. Presently, it is set as TCB controller. This is because, I originally exported the X-logo to .3ds format after modeling it in another Max file and then imported to the current Max file. Such imported .3ds file is assigned TCB Rotation controller by default. We need to convert this controller to Euler XYZ to have the explicit control over the individual rotation axis (X/Y/Z).

Step 51

Make sure, “Rotation” is still highlighted. Then choose Controller > Assign from the Track View menu

Step 52

Choose “Euler XYZ” from the list and click OK.

Step 53

Now, you will see that the Rotation controller is optioned with three sub-options (X + Y + Z Rotation). Well, highlight “Z Rotation” now and then enable “Add Keys” button.

Step 54

On the straight graph, click at the place above the Frame number 0 to introduce a key over there.

Step 55

Do the same at the place above the Frame number 100 to create a key at the end of present animation range as well. Look, you do not have to place the keys precisely. Because you can set the exact time of any key and the related value by typing those in the text-field below the graph area. You will see this fact shortly.

Step 56

Enable the “Move Keys” button to disable the “Add Keys” mode and drag-select the 1st key. Note that you cannot select the key(s) in “Add Keys” mode.

Step 57

There are two type-in box below the graph area. Left one is for the Time and Right one is for the value for the selected controller-track (here, value for the Z Rotation). Ensure the proper time and value for the selected 1st key by typing 0, 0 in the respective boxes (1st 0 is for frame no. 0 and second one is for setting the Z Rotation value to 0 degree).

Step 58

If both the keys are not within your view click the two Zoom Extents buttons.

Step 59

Now, drag-select (or click-select) the end key one at/near the 100th frame.

Step 60

Use the frame type-in box to ensure that the key is set to 100th frame exactly. Then type 360 in the right type-in box for the Z-Rotation value at this frame. We know that one full revolution of any object is equal to a rotation from 0 degree to 360 degree of that object. So, for an animation range of 1-100 frame, the rotation around the appropriate axis (here, Z) at frame 0 will be 0 degree and at frame 100 will be 360 degree

Step 61

After typing 360 in the previous step the end of the graph-curve will go beyond the view again to reach that value in the graph area. So, click again the two Zoom Extents buttons (or at least the “Zoom Value Extents” button).

Step 62

If you play and see the animation in the viewport you will see that the motion of the rotation is not smooth over the time. Because, by default, Max assign some Ease-in and Ease-out to the animation. You can also see this in the starting and the ending of the Graph. That is why the graph is curved. To smooth the rotation (for getting a seamlessly loopable animation), we need to straight-out this graph, thus make the animation linear.

Step 63

Drag-select both the keys as shown.

Step 64

Now, click on the “Set Tangents to Linear” button in the Key Tangents toolbar. You are finished with the animation process.

Step 65

Choose a new filename for the output and render-out the animation. That’s all. Thank you for staying with me in this tutorial.

ANIMATION BY 3D MAX (CAMERA)

2009-09-20T02:24:00.000-07:00

Animation of camera is of different types and different styles one camera animation is u see in this image

This image is created through Photoshop Photoshop is work on satellite camera and physics theory. Now we create the camera animation by 3d max. First of all we set a background in a perspective by pressing alt+b. when we press alt+b a new window is appear. In a new window go to files open .jpeag file. When we pick a file then we check match rendering output and then press ok now pree 8 button and pick a same .jpeag file in a render. Then create a box from top and press m and go to bitmap and pick same map. Now we create a camera illusion. Then click in perspective and press ctrl+c to fixed camera view. Then we select box and go to modify list and pick a camera map wsm modifier. In camera map modifier go to camera mapping and click on pick camera all is set but there is a little bit problem. Problem is that the box is saw. But we want to disappear box. Now what we are doing its wrong but we want result that’s why we want to do this. Press m material editor is now on go to blinn basic parameters. In blinn basic parameters there is a self illumination is 0 increase the value to 100. Then in specular highlights glossiness is 10 decrease the value and give the value 0. In soften give the value to 0 and then press enter. Now we see the box is really disappear. Then we press auto key and animate the box. Our work is done as u see in the image

Rain fall In 3d Max

2009-09-05T16:53:00.000-07:00

Step 1
Have a look at what we will use for the rain. We will use “Spray” particle system to simulate such raining system which is located under Create > Geometry > Particle Systems.

Step 2
For now, just to have an idea click on Spray button and, in the Top viewport, drag to draw a rectangular spray icon.

Step 3
If you click the Play button, you will see how particles are emitting from the Spray source

Step 4

OK, let’s delete it for now and then choose an environment image with which we will match the rain-fall. We could model an actual environment for this purpose, but since our main focus will be the rain itself we will use just an environment picture that shipped with 3dsmax (thanks to autodesk). Press ‘8’ in your keyboard to open the Environment dialogue box.

Step 5

Click on the button labeled “None”, then choose “Bitmap” in the Material/Map Browser window.

Step 6

Navigate to the “Backgrounds” folder under your 3dsmax’s root directory > Maps which is the default maps installation folder of your 3dsmax program.

Step 7
Now, highlight “LAKESIDE.JPG” and click Open button

Step 8

Although the image has been set to be rendered as the background we will need to set it up as the Viewport Background as well to aid our scene arranging process. For that, activate the perspective viewport and press ‘ALT+B’ in the keyboard. Then check both “Use Environment Background” and “Display Backgrund”. Click OK.

Step 9

Now, you should see the Image in the Perspective view.

Step 10

At this stage, we should set up a camera to assign it to the Perspective viewpot. Choose Create > Cameras (Standard) > Target and then drag in the Top viewport to place a camera. Go to Perspective viewport and press ‘C’ in the keyboard to assign the camera to the view.

Step 11

While the Camera01 is still selected go to the Modify panel and check “Show Horizon”.

Step 12

Showing horizon will let you see a black horizontal line in the camera viewport which represents eye level. It will facilitate to adjust the camera. You may see another same looking line in the view before showing horizon. But that is grid line, not the horizon line.

Step 13

Create a box in the Top viewport as shown. This box will be our water surface matched to that of the background image.

Step 14

Now maximize and adjust the Camera01 viewport (using Truck/Orbit/Dolly tools located at the lower-right navigation area) so that the water surface box is set with the background images’ water portion.

Step 15
Name the box as “water surface”. Then press ‘M’ in the keyboard to open the Material Editor

Step 16

The first empty slot should be selected by default. We will now make a water material with this one. Set Specular Level = 102 (approx.) and Glossiness = 49 (approx.).

Step 17

Go down and expand the Maps roll-out. Then click the None button in the Bump slot. In the Material/Map browser window, choose Noise.

Step 18

In Noise Parameters, set the Size value = 5. It may be adjusted further later on while having a look on the rendered result for the water

Step 19

Now, assign a Flat Mirror map to the Reflection map (just under the Bump slot). Flat Mirror is good enough as water kind reflection map.

Step 20

Under Distortion group, increase the Distortion Amount value to 2 To get enough noisy reflection. And to match the reflection with the Bump look choose “Use Bump Map” option.

Step 21

Our Water Material is ready. Apply this material to the water surface in the viewport.

Step 22

Quick Render the Camera viewport to see the resulting water surface.

Step 23
If you are not happy with the result, adjust the values in material editor. Also you can adjust the diffuse color. And if you are happy with the rendered image, let’s animate the water now. Turn ON the Auto Key and go to the last frame of the animation. In the Material Editor, set the Phase value = 10. You will not be able to see the resulted animated water until you render out the whole animation which you do later on.

Step 24
Now, for the Rain, create a Spray particle system in the top viewport covering at least the water surface as shown below.

Step 25

Using the Front viewport, position the Spray enough above the water surface. Also, rotate the Spray to simulate the natural rain-fall direction.

Step 26

If you play the animation you will perhaps understand that some adjustments are needed to achieve the rain-look in the Parameters area of the Spray

Step 27
Go to the modifier panel and set the parameters of the Spray as Viewport Count = 500, Render Count = 6000, Speed = 22, Timing Start = -100, Timing Life = 100.

Step 28

Quick Render the camera view again. You will see a raw particle looking which obviously you did not expect for the rain-fall.

Step 29

We must apply a matching material to the spray which is representing the rain-drops. Open the Material Editor again and select the second empty material slot.

Step 30

Apply a pure White color (255, 255, 255) to the Diffuse color (since Ambient color is locked with the diffuse it should also be white as well). Set the Self-Illumination value to 100.

Step 31
Apply the material to the Spray and have a Quick Render. Still it is not a rain-like thing. We still need some adjustments for the object properties of spray itself.

Step 32
Select (if it is not already selected) and right-click on Spray01 and choose “Object Properties” (it may be “Properties” in the earlier versions of max).

Step 33
In the Object Properties window > Motion Blur group, choose the “Image” option and set the Multiplier value = 3.0 (a value of 2.0 may work fine). Click OK to exit the window.

Step 34

Quick Render again. The appearance of the rain has been improved a lot. But we can do further adjustments in the parameters of Spray.

Step 35

While the Spray01 is still selected, go to modify panel again and set the Render Count = 8000 and Drop Size = 1.5. These values and other values may be played with later on when you practice

Step 36

Quick Render. You will see more improved result

Step 37

But one important thing – if you notice the animation in the Left or Front viewport you will see that the rain is penetrating and thus passing through the water surface. We should not let it happen, rather we should make the raindrops be stopped by the surface and do a little bounce on the water surface.

Step 38

To do it, make a Deflector (Create > Space Warps > Deflectors > Deflector) aligned and matched to the water surface.

Step 39

Select the Spray01. Then enable the Bind to Space Warp button in the main toolbar and drag to the Deflector01 to bind the spray to the deflector.

Step 40

Play the animation in the Front or Left viewport. You will see that now rain is not passing through the surface. But the bounce is too high. We should lower it. We should also have some variations.

Step 41

Select the Deflector01 and go to its parameters in the modifier panel. Set the Bounce = 0.02, Variation = 23, Chaos = 4.

Step 42

Quick Render to see the result. If you are happy you may like to render out the animation. Before, that you should save the file. Because, at the time of rendering the whole animation, if your computer becomes unstable for other reasons (windows problem etc.) or electricity goes OFF (which is a common problem in the non-developed country), you may get the file corrupted after re-opening it. So, this is a good and safe idea to save frequently the max file while working on.

Step 43

To render the animation, press ‘F10’ to open the Render Scene dialogue box.

Step 44

Either choose “Active Time Segment: 0 to 100” option or Range option with a specified range. Then go down and choose Save option with an .avi file for the output. Hit “Render” button and see the result after rendering of the whole sequence is finished.

ANIMATION OF TEXTURES IN 3D MAX

2009-09-01T11:35:00.000-07:00

We have to animate texture in 3d max. first we drag a sphere then we press m and go to standard and select blend and then press ok and pick a two different map in the blend option and mix amount = 50 as we see in the picture 1 ( a)

Now we have to animate the texture press auto key button and the mix amount value is to be zero then press auto key and on 20 frame the mix amount value is to be 1 but on 19 frame the mix amount value is set to be zero. Then on 40 frame we change the value of mix amount is to 20 on 60 frame change the value of mix is 50 as we see in the picture 1 (b)

Then on 80 frames we change the value to 80 and on 100 frame we change the value to 100 now the texture animation is complete. Now the time for render the animation we press f10 and check on active segment select pal d1 and check on force 2 sided save a file on d drive and press render button

ANIMATION BY SLICE PLANE (chess board)

2009-09-01T11:24:00.000-07:00

First of all we create a plane then press m then go into bitmap and select checker then increase checker tiling to 5and 5 and apply it on the plane the plane is look like the chess board then we create a chess board players like pawn, bishop, knight, king, queen, rook etc then press auto key and animate the all players one by one see in picture 1(a) and 1(b)

Then we create text on chess board as u see in the picture 1(c)

Then we take a slice tool from modify list and set on the text and now we press auto key and make animation of text with slice plane as u see in picture 1(d)

Just like that we make all text animation and now our project is completed by checker, auto key and slice plane see in picture 1(e)

ANIMATION OF BOUNCING BALL IN 3D MAX

2009-09-01T11:22:00.001-07:00

We want to animate the ball in the continuous bouncing. First we create a plane then we create a sphere and then press auto key. Then we press auto key go to 20 frame and in the left side we take the ball to down through y axis then we copy the 0 frame key through shift button in key board and set the copy key on the 40 frame now the 1st bounce of the ball is complete. Then we go to helpers and took dummy helper and then drag the dummy. Then we go to select and link and link the ball to the box. Then we animate the dummy at x axis. But the ball bounce is soft. In natural the ball is bounce hard for hard bouncing we right click on the sphere and go to the curve editor as we see the picture of curve editor screen 1(a)

Then we go to x axis there is a straight line we can delete the x axis line as we do in the x axis we same do in y axis then we go in to the z axis and select the bottom key and click on the set tangents to the linear for hard bouncing then we go to parameter curve out of range in the curve editor. In the option we select looping and click ok then we select sphere and right click on it and go to properties of the sphere and check on trajectory. Then we want to animate ball un-natural. We move the bar of the auto key and stop it at 41 frame and check on set key then we go to 47 frame and again set key. Then we go to 51 and again set key. Now we back to key 47 and move the sphere by the help of gizmo then again right click on the sphere and off the trajectory then we go to the display and check on helpers dummy helper is hide then we play the sphere. The sphere is move like that as we want. Our work is now successfully done through auto key, set key,helpers and also curve editor.

MODELING OF BRUSH IN 3D MAX

2009-09-01T11:14:00.000-07:00

We have to model a brush in 3d studio max. First we drag a box from top view. Then we increase the segment of box =7, 15, 3 then we go in to modify panel and select edit poly and select vertex of box as we see in the picture 1 (a)

Then we apply turbo smooth for the smoothness. Then we create a line on surface of the box and check on render able on line surface and copy line to many as wee see in picture 1 (b)

TEXTURING BY REFLECTION METHOD

2009-09-01T11:07:00.000-07:00

We have to take plane first. We set its segments 7, 7. Then we take edit poly select some polygons and detach them from the plane as we see in the picture 1 (a)

select the basic plane apply map of bricks on it. Now we select second detached and apply the same map on it. as we see in the picture 1 (b)

Now select checker in reflection from map material on detached plane roll out increase its tiling to 5, 5. Now copy the same brick map in checker parameter’s white color slot now the work is done as we see in the picture

Modeling by 3D STUDIO MAX ( monitor)

2009-08-24T19:25:00.000-07:00

(1) we take a box
(2) increase segment of box to make the monitor through box select perspective and then strike the key f4 to see the edged faces see in picture

(3) now goto modify list and select edit poly in edit poly select edges select the front side edges and then click on the loop button and set the edges on the corner of the box as u see in the picture

(4) now go into edit poly in edit poly go into polygon select polygon from front and then extrude polygon inside value of extrude is -16.98 as u see in picture

Then go into edges again and select quick slice and from front side make two edges and then set the edges for the turbo smooth then apply turbo smooth and the monitor is ready now the time for model the button and mirror of the monitor create 4 small different types of boxes by scaling and place all those boxes in to the bottom side of the monitor. Then create a plane and set the plane on the front side of the monitor the press m go to standard and double click on raytrace. In raytrace option ambient color set to white transparency
colour set to gray check on 2 sided then specular levelsetto300 and glossiness set to 30 and anisotrophy set to 50 the full monitor is complete see in this picture

To create the base of monitor take a cylinder and sphere and set it into base of the monitor.

MODELING IN 3D MAX BY LOFT (TOOTHPASTE)

2009-08-24T19:20:00.000-07:00

First we go into shapes and create line, rectangle and two circles. Then we select line and go to compound objects and select loft then we click on get shape and select rectangle then we give vale of path 30 and again click on set shape and now we click on circle then we change the value of path to 60 and again click on small circle a shape is created as we see in picture 1(a)

Then we go to modify and in loft and click on shape and set the shape by scaling or other option. As we see in picture 1 (b)

Then we convert the tube in to editable poly and select edges as we see in pic 1 (C

And then we extrude edges extrude value is -4.294 and 0.273. Then we create a cap for the tube we drag a cylinder and select edges of cylinder then we Boolean cap. Now the tube is completed as we see in the picture 1 (d)

MODELING OF CHAIR IN 3D MAX

2009-08-23T05:02:00.000-07:00

First we drag a box from the top view. Then we make a copy of box by pressing angle snap toggle and change the value of angle to 90 as we see in the picture 1 ( a )

Now we have to create a chair base we select a box and drag the box from the top view as wee see in the picture 1 (b)

Now chair is complete time for texture on the chair we press m and go to bitmap and select any fabric material and apply on chair as we see in picture 1 (c)

Patch and Nurbs Modeling

2009-08-23T05:00:00.000-07:00

3- Patch Modeling:

A patch is an area of a patch object, defined by three or four surrounding edges and vertices. Controls described in this topic let you manipulate a patch object at the patch level. As well as moving and rotating patches, you can create a separate element by holding down the SHIFT key during a move operation. This creates a separate element of the selected patches

4-NURBS Modeling:

NURBS (Non-Uniform Rational B-Splines) are a technique for interactively modeling 3D curves and surfaces

Surface Modeling

2009-08-23T04:59:00.000-07:00

2- Surface Modeling:

Surface modeling is more free form than geometric (parametric) modeling. Although you can create Patch and NURBS primitives from the Create panel, more often a surface model begins when you use the quad menu or the modifier stack to “collapse” a parametric model to some form of editable surface. Once you have done so, a variety of tools let you shape the surface. A lot of surface modeling work is done by editing sub-objects of the surface object.

Box Modeling

2009-08-23T04:58:00.000-07:00

1- Box Modeling:

Box Modeling is all about Edit Poly.
EDIT POLY

The Edit Poly modifier provides explicit editing tools for different sub-object levels of the selected object: vertex, edge, border, polygon, and element.
Vertex—Accesses the Vertex sub-object level, which lets you select a vertex beneath the cursor; region selection selects vertices within the region.
Edge—Accesses the Edge sub-object level, which lets you select a polygon edge beneath the cursor; region selection selects multiple edges within the region.
Border—Accesses the Border sub-object level, which lets you select a sequence of edges that borders a hole in the mesh.
Polygon—Accesses the Polygon sub-object level, which lets you select polygons beneath the cursor. Region selection selects multiple polygons within the region.
Shrink—Reduces the sub-object selection area by unselecting the outermost sub-objects. If the selection size can no longer be reduced, the remaining sub-objects are unselected.
Grow—Expands the selection area outward in all available directions.
For this function, a border is considered to be an edge selection.
Ring—Expands an edge selection by selecting all edges parallel to the selected edges. Ring applies only to edge and border selections.
Loop—Expands the selection as far as possible, in alignment with selected edges.
Soft Selection rollout
Soft Selection controls apply a smooth falloff between selected sub-objects and unselected ones. When Use Soft Selection is on, unselected sub-objects near your selection are given partial selection values. These values are shown in the viewports by means of a color gradient on the vertices, and optionally on the faces.

LOFT

Lofting is an important method for 3D object creation. You create shape objects to serve as a path and any number of cross-sectional shapes. The path becomes the framework that holds the cross-sections forming your loft object.

The lofting process first requires that you create shape objects to serve as the path and cross-sections of your loft object.
Get Path—Assigns a path to the selected shape or changes the current assigned path.
Get Shape—Assigns a shape to the selected path or changes the current assigned shape.
Tip: Hold down CTRL while getting the shape to flip the direction of the shape's Z axis.

LATHE

Lathe creates a 3D object by rotating a shape or NURBS curve about an axis.
Degrees—Determines the number of degrees that the object is spun around the axis of revolution (0 to 360, default=360). You can set keyframes for Degrees to animate the circular growth of a lathed object. The Lathe axis auto-sizes itself to the height of the shape being lathed.
Segments—Determines how many interpolated segments are created in the surface between the start and endpoint. This parameter is also animatable. Default=16
Capping group
Controls whether or not caps are created for the interior of the lathed object if Degrees is set to less than 360.
Direction group
Sets up the direction of the axis of revolution, relative to the pivot point of the object.
X/Y/Z—Set the direction of the axis of revolution relative to the pivot point of the object.
Align group
Min/Center/Max—Align the axis of revolution to the minimum, center, or maximum extents of the shape

Modeling

2009-08-23T04:56:00.000-07:00

Modeling in 3D can be likened to sculpting. Many different techniques can be used to create the objects in your scene. The techniques you learn are adaptable to any style of modeling you need to perform. For instance, if you're building models that will be incorporated into a game, you'll be most interested in low polygon modeling techniques. The same techniques will be equally beneficial when building highly detailed models for architectural presentations or motion pictures.
We can catagories Modeling in these four catagories:

1- Box Modeling;
2-Surface Modeling;
3-Patch Modeling;
4-NURBS Modeling.

Animation of 3d studio max

2009-08-01T05:36:00.000-07:00

ANIMATION OF 3D MAX

With 3ds max, you can create 3D computer animation for a variety of applications. You can animate characters or vehicles for computer games, or you can animate special effects for film or broadcast. You can create animation for serious purposes such as medical illustration or forensic presentation in the courtroom. Whatever reason you have to animate, you'll find 3ds max a capable environment for achieving your goals.
The basic way to animate is quite simple. You animate the transform parameters of any object to change its position, rotation, and scale over time. Turning on the Auto Key button, and then moving the time slider places you in a state in which any changes you make will create animation for the selected objects in the view port.
Animation is used throughout 3ds max. You can animate the position, rotation, and scale of an object, and almost any parameter setting that affects an object's shape and surface. You can link objects for hierarchical animation, using both forward and inverse kinematics, and you can edit your animation in Track View.
This section discusses the basics of creating animation. It looks briefly at a comparison between computer animation and classic hand-drawn animation, and then describes the creation of key framed animation

3ds max is not limited to animating transformations (such as position, rotation, and scale). It can animate just about any parameter you can access. Thus, you can animate modifier parameters, such as a Bend or a Taper angle, material parameters, such as the color or transparency of an object, and much more
3ds Max is the most widely-used off the shelf 3D animation program by content creation professionals it is mostly used by video game developers, TV commercial studios and architectural visualization studios. It is also used for movie effects and movie pre-visualization. In one second there
Is 24 frames. Animation basically not really consist it’s an illusion of our eyes. If one object moves in 24 frames so there is 24 images on 24 frames to understand the animation of 3d studio max we got to understand following points.
Which are?

(1)Auto key
(2)Scripting
(3)Slice plane
(4) Wire parameters
(5)Gizmo
(6)Curve editor
(7)Camera
(8)Melt
Etc

About Animation

2009-08-01T05:34:00.000-07:00

ANIMATION
As we known the term animation is generally used for the movement, rotation and scaling. In this sense we could say animation is all about movement of objects
Animation is a type of optical illusion. It creates 24 frames per second. It involves the appearance of motion caused by displaying still images one after another. Often, animation is used for entertainment purposes.
Cartoon animation is often considered to be animation in its classic form. The animated cartoon made its debut in the early part of the 20th century and calls for the use of 24 different drawings per second. In traditional animated cartoons, frames are hand drawn.
Animation is both time-consuming and costly to produce. For this reason, most of the animation made for television and film is produced by professorial studios. However, there are also many independent studios. In fact, there are many resources, such as lower-cost animation programs and distribution networks that make the work of the independent animator much easier than it was in the past.
When animation is used for films or movies, each frame is produced on an individual basis. Frames can be produced using computers or photographs of images that are either drawn or painted. Frames can also be generated by altering a model unit in small ways and using a special camera to take pictures of the results. No matter what method is used, the film or movie that results fools the eye into seeing continuous movement.
Persistence of vision is often projected as the reason the eyes can be fooled into seeing continuous movement that isn't really happening. Basically, the brain and the eyes cooperate, storing images for a mere fraction of a second. Minor jumps or blips are automatically smoothed out by the brain. Since animation frames are shot at very fast rates, most individuals see the movement without stoppages.
Keep in mind that persistence of vision is a theory and not a proven concept. Many film academics and theorists accept its relevance to animation.
Though the work of producing animated movies and cartoons can be intense and laborious, computer animation can make the process much faster. Computer technology is steadily improving, and professionals are able to create life-like characters using computers and special animation software.
Animation is based on a principle of human vision. If you view a series of related still images in quick succession, your brain perceives them as continuous motion. Each image is called a frame.
Most of the frames in an animation are routine, incremental changes from the previous frame directed toward some predefined goal. Early animation studios quickly realized they could increase the productivity of their master artists by having them draw only the important frames, called key frames. Assistants could then figure out the frames that were required in between the key frames. These frames were (and still are) called teens.
Use the software as your animation assistant. As the master animator, you create the key frames that record the beginning and end of each transformation. The values at these key frames are called keys. The software calculates the interpolated values between each key value, resulting in twined animation.
Early animation studios also had to employ artists to add the ink and color to each frame. Even today, production of a cartoon usually requires hundreds of crafts people and artists to generate the thousands of images. With 3ds max, the rendered takes over the job of shading and rendering each frame and storing it as you direct. The end result is a high-quality finished animation.

Some about animation

2009-08-01T05:27:00.000-07:00

ANIMATION

As we known the term animation is generally used for the movement, rotation and scaling. In this sense we could say animation is all about movement of objects.

ANIMATION OF 3D STUDIO MAX

To understand the animation of 3d studio max we got to understand following points.
Which are

(1)Auto key
(2)Scripting
(3)Slice plane
(4)Wire parameters
(5)Gizmo
(6)Curve editor
(7)Camera
(8)Melt
etc

Modeling by 3d max (FOOTBALL)

2009-07-26T13:25:00.000-07:00

It’s very easy to model foot ball in 3d max to understand the modeling of football we got to understand following points which are

(1) Go to extended privities and create hydra from front
(2) GO to hydra parameters and check into dodec/icon
(3) Go to family parameters of hydra and assign value of p=.3
(4) Then convert hydra in to editable poly
(5) In editable poly select polygon
(6) Select all polygon of hydra
(7) Then extrude polygon and in extrude window check by polygon
(8) Extrude value is 4
(9) Then go to bevel and check by polygon
(10) Bevel value is height value is 1.54 and outline amount is -2.01
(11) Now go to modifier list and select mesh smooth and iteration of mesh smooth is zero
By following process our project of football is completed as u see in picture

Basic Modeling [ Part - 15 ]

2009-07-06T17:28:00.001-07:00

Open the material window
Click on the diffuse map button then select the Bitmap option
Pick the jpg like this and open the coordinate’s palette and use the following setting

Basic Modeling [ Part - 14 ]

2009-07-06T09:59:00.000-07:00

Create a Chamfer cylinder with the following settings
Radius: 2.7, Height: 4.6 Fillet: 2.0
Set like this in the front view

Basic Modeling [ Part - 13 ]

2009-07-06T09:57:00.000-07:00

Create a cylinder with the following settings
Radius: 1.0, Height: 3
Set like this in the front view

Basic Modeling [ Part - 12 ]

2009-07-06T09:49:00.000-07:00

Create a Sphere with the following settings
Radius: 4.6, Segment: 48
Hemisphere 0.565
Select Chop mode
Set like this in the front view

Basic Modeling [ Part - 11 ]

2009-07-06T09:44:00.000-07:00

Now apply the Turbo Smooth Modifier
Set the Illustration: 1
Your object should like this

Basic Modeling [ Part - 10 ]

2009-07-06T09:40:00.000-07:00

Your object should like this in the front view

Basic Modeling [ Part - 9 ]

2009-07-05T18:07:00.000-07:00

Now click on the Extrude button and you will see the Extrude polygon pallete is openSet the Extrusion Height: 1Select the Local Normal mode then hit OK

Basic Modeling [ Part - 8 ]

2009-07-05T18:02:00.000-07:00

-Now convert into the Editable Poly and select the Polygon modeThen make a selection like this

Basic Modeling [ Part - 7 ]

2009-07-05T17:57:00.000-07:00

Now click on the cylinder buttonCreate a cylinder with the following settingsRadius: 4.0, Height: 188Create Cylinder in the left view.

Basic Modeling [ Part - 6 ]

2009-07-05T17:49:00.000-07:00

Open the scatter parameter and use the following settingYour image should like this

Basic Modeling [ Part - 5 ]

2009-07-05T17:46:00.000-07:00

Now your object should like this:

Basic Modeling [ Part - 4 ]

2009-07-05T17:18:00.000-07:00

Now click on the Scatter button > Pick Distribution ObjectThen click on the Sphere like this

Basic Modeling [ Part - 3 ]

2009-07-05T17:15:00.000-07:00

Create a Cone with the following settings :
Radius 1: 2.8, Radius: 00: Height: 15
Create Cone in the top view
Set like this in the front view:

Basic Modeling [ Part - 2 ]

2009-07-05T16:50:00.000-07:00

Create a Sphere with the following settings
Radius: 22, Segment: 48 , Create Sphere in the top

Basic Modeling [ Part - 1 ]

2009-07-05T16:38:00.000-07:00

Here I will tell you about 3dsmax 3dmodel 3d mace studio tutorial.I have used following techniques in this 3ds max tutorial.Editable poly and Scatter techniques[1]-First of all you will press (ctrl +N) now you will see the new window is openNow click on the Geometry > Standard primitives > Plane. Use the following Setting creates a plane like thisIn the top view and set like this in the perspective view.

MODELING

2009-06-21T13:50:00.000-07:00

MODELING

Modeling in 3D can be likened to sculpting. Many different techniques can be used to create the objects in your scene. The techniques you learn are adaptable to any style of modeling you need to perform. For instance, if you're building models that will be incorporated into a game, you'll be most interested in low polygon modeling techniques. The same techniques will be equally beneficial when building highly detailed models for architectural presentations or motion pictures.
We can catagories Modeling in these four catagories:
1- Box Modeling;
2-Surface Modeling;
3-Patch Modeling;
4-NURBS Modeling.
1- Box Modeling:

Box Modeling is all about Edit Poly.
EDIT POLY

The Edit Poly modifier provides explicit editing tools for different sub-object levels of the selected object: vertex, edge, border, polygon, and element.
Vertex—Accesses the Vertex sub-object level, which lets you select a vertex beneath the cursor; region selection selects vertices within the region.
Edge—Accesses the Edge sub-object level, which lets you select a polygon edge beneath the cursor; region selection selects multiple edges within the region.
Border—Accesses the Border sub-object level, which lets you select a sequence of edges that borders a hole in the mesh.
Polygon—Accesses the Polygon sub-object level, which lets you select polygons beneath the cursor. Region selection selects multiple polygons within the region.
Shrink—Reduces the sub-object selection area by unselecting the outermost sub-objects. If the selection size can no longer be reduced, the remaining sub-objects are unselected.
Grow—Expands the selection area outward in all available directions.
For this function, a border is considered to be an edge selection.
Ring—Expands an edge selection by selecting all edges parallel to the selected edges. Ring applies only to edge and border selections.
Loop—Expands the selection as far as possible, in alignment with selected edges.
Soft Selection rollout
Soft Selection controls apply a smooth falloff between selected sub-objects and unselected ones. When Use Soft Selection is on, unselected sub-objects near your selection are given partial selection values. These values are shown in the viewports by means of a color gradient on the vertices, and optionally on the faces.

LOFT

Lofting is an important method for 3D object creation. You create shape objects to serve as a path and any number of cross-sectional shapes. The path becomes the framework that holds the cross-sections forming your loft object.

The lofting process first requires that you create shape objects to serve as the path and cross-sections of your loft object.
Get Path—Assigns a path to the selected shape or changes the current assigned path.
Get Shape—Assigns a shape to the selected path or changes the current assigned shape.
Tip: Hold down CTRL while getting the shape to flip the direction of the shape's Z axis.

LATHE

Lathe creates a 3D object by rotating a shape or NURBS curve about an axis.
Degrees—Determines the number of degrees that the object is spun around the axis of revolution (0 to 360, default=360). You can set keyframes for Degrees to animate the circular growth of a lathed object. The Lathe axis auto-sizes itself to the height of the shape being lathed.
Segments—Determines how many interpolated segments are created in the surface between the start and endpoint. This parameter is also animatable. Default=16
Capping group
Controls whether or not caps are created for the interior of the lathed object if Degrees is set to less than 360.
Direction group
Sets up the direction of the axis of revolution, relative to the pivot point of the object.
X/Y/Z—Set the direction of the axis of revolution relative to the pivot point of the object.
Align group
Min/Center/Max—Align the axis of revolution to the minimum, center, or maximum extents of the shape.
2- Surface Modeling:
Surface modeling is more free form than geometric (parametric) modeling. Although you can create Patch and NURBS primitives from the Create panel, more often a surface model begins when you use the quad menu or the modifier stack to “collapse” a parametric model to some form of editable surface. Once you have done so, a variety of tools let you shape the surface. A lot of surface modeling work is done by editing sub objects of the surface object.

3- Patch Modeling:
A patch is an area of a patch object, defined by three or four surrounding edges and vertices. Controls described in this topic let you manipulate a patch object at the patch level. As well as moving and rotating patches, you can create a separate element by holding down the SHIFT key during a move operation. This creates a separate element of the selected patches

4-NURBS Modeling:
NURBS (Non-Uniform Rational B-Splines) are a technique for interactively modeling 3D curves and surfaces

WELCOME

2009-03-05T07:36:00.000-08:00

I can try to post all the tutorials what i know about multimedia

MULTIMEDIA

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Website

WORKING WITH BIPED FOOT STEPS

RIGING OF CHARACTER WITH BIPED

WATERFALL BY PARTICLES

FIRE WITH PARTICLES

FIRE MATERIAL

SNOW SCENE WITH PARTICLES

TEXT ANIMATION BY TARGET CAMERA

WIRE PARAMETERS

ANIMATION BY GIZMO

AUTO KEY

Spinning Logo Animation

ANIMATION BY 3D MAX (CAMERA)

Rain fall In 3d Max

ANIMATION OF TEXTURES IN 3D MAX

ANIMATION BY SLICE PLANE (chess board)

ANIMATION OF BOUNCING BALL IN 3D MAX

MODELING OF BRUSH IN 3D MAX

TEXTURING BY REFLECTION METHOD

Modeling by 3D STUDIO MAX ( monitor)

MODELING IN 3D MAX BY LOFT (TOOTHPASTE)

MODELING OF CHAIR IN 3D MAX

Patch and Nurbs Modeling

Surface Modeling

Box Modeling

Modeling

Animation of 3d studio max

About Animation

Some about animation

Modeling by 3d max (FOOTBALL)

Basic Modeling [ Part - 15 ]

Basic Modeling [ Part - 14 ]

Basic Modeling [ Part - 13 ]

Basic Modeling [ Part - 12 ]

Basic Modeling [ Part - 11 ]

Basic Modeling [ Part - 10 ]

Basic Modeling [ Part - 9 ]

Basic Modeling [ Part - 8 ]

Basic Modeling [ Part - 7 ]

Basic Modeling [ Part - 6 ]

Basic Modeling [ Part - 5 ]

Basic Modeling [ Part - 4 ]

Basic Modeling [ Part - 3 ]

Basic Modeling [ Part - 2 ]

Basic Modeling [ Part - 1 ]

MODELING

WELCOME

“ Producing 3D Animations & Graphics
Have Never Been THIS EASY... ”