kelly l murdock 3ds Max 2009 Bible phần 1 pot

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3ds Max ®

2009 Bible

Kelly L Murdock

Copyright © 2008 by Wiley Publishing, Inc., Indianapolis, Indiana

Published simultaneously in Canada

01923, (978) 750-8400, fax (978) 646-8600 Requests to the Publisher for permission should be addressed to the LegalDepartment, Wiley Publishing, Inc., 10475 Crosspoint Blvd., Indianapolis, IN 46256, (317) 572-3447, fax (317)

572-4355, or online at http://www.wiley.com/go/permissions

LIMIT OF LIABILITY/DISCLAIMER OF WARRANTY: THE PUBLISHER AND THE AUTHOR MAKE NO REPRESENTATIONS OR WARRANTIES WITH RESPECT TO THE ACCURACY OR COMPLETENESS OF THE CONTENTS OF THIS WORK AND SPECIFICALLY DISCLAIM ALL WARRANTIES, INCLUDING WITHOUT LIMITATION WARRANTIES OF FITNESS FOR A PARTICULAR PURPOSE NO WARRANTY MAY BE CREATED OR EXTENDED BY SALES OR PROMOTIONAL MATERIALS THE ADVICE AND STRATEGIES CONTAINED HEREIN MAY NOT BE SUITABLE FOR EVERY SITUATION THIS WORK IS SOLD WITH THE UNDERSTANDING THAT THE PUBLISHER IS NOT ENGAGED IN RENDERING LEGAL, ACCOUNTING, OR OTHER PROFESSIONAL SERVICES IF PROFESSIONAL ASSISTANCE IS REQUIRED, THE SERVICES OF A COMPETENT PROFESSIONAL PERSON SHOULD BE SOUGHT NEITHER THE PUBLISHER NOR THE AUTHOR SHALL BE LIABLE FOR DAMAGES ARISING HEREFROM THE FACT THAT AN ORGANIZATION OR WEBSITE IS REFERRED TO IN THIS WORK AS A CITATION AND/OR A POTENTIAL SOURCE OF FURTHER INFORMATION DOES NOT MEAN THAT THE AUTHOR OR THE PUBLISHER ENDORSES THE INFORMATION THE ORGANIZATION OR WEBSITE MAY PROVIDE OR RECOMMENDATIONS IT MAY MAKE FURTHER, READERS SHOULD BE AWARE THAT INTERNET WEBSITES LISTED IN THIS WORK MAY HAVE CHANGED OR DISAPPEARED BETWEEN WHEN THIS WORK WAS WRITTEN AND WHEN IT IS READ.

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Trademarks: Wiley, the Wiley logo, and related trade dress are trademarks or registered trademarks of John Wiley & Sons,

Inc and/or its affiliates, in the United States and other countries, and may not be used without written permission.Autodesk and 3ds Max are registered trademarks or trademarks of Autodesk, Inc in the U.S.A and/or certain othercountries Certain content, including trial software, provided courtesy of Autodesk, Inc ©2008 All rights reserved Allother trademarks are the property of their respective owners Wiley Publishing, Inc., is not associated with any product orvendor mentioned in this book

Wiley also publishes its books in a variety of electronic formats Some content that appears in print may not be available inelectronic books

About the Author

Kelly L Murdock has been authoring computer books for many years now and still gets immense

enjoy-ment from the completed work His book credits include various 3D, graphics, multimedia, and Web titles,

including eight previous editions of this book, 3ds Max Bible Other major accomplishments include

Edgeloop Character Modeling for 3D Professionals Only, Maya 6 and 7 Revealed, LightWave 3D 8 Revealed, The Official Guide to Anime Studio, Poser 6 and 7 Revealed, 3D Game Animation For Dummies, gmax Bible, Adobe Atmosphere Bible, Master VISUALLY HTML and XHTML, JavaScript Visual Blueprint, and co-authoring duties

on two editions of the Illustrator Bible (for versions 9 and 10) and three editions of the Adobe Creative Suite

Bible.

With a background in engineering and computer graphics, Kelly has been all over the 3D industry and stillfinds it fascinating He’s used high-level CAD workstations for product design and analysis, completed sev-eral large-scale visualization projects, created 3D models for feature films and games, worked as a freelance3D artist, and even done some 3D programming Kelly’s been using 3D Studio since version 3 for DOS.Kelly has also branched into training others in 3D technologies He teaches at the local university and is afrequent speaker at various conferences

In his spare time, Kelly enjoys the outdoors while rock climbing, mountain biking, or skiing

Beauty is not a mountain you climb,

Or a grand adventure that is sublime Beauty is not a treasure that you stumble upon,

Or a prize to be won.

Beauty is a not a reward for a job well done,

Or obtained by sitting out in the sun.

Beauty is a trait, That comes from living straight.

It is a glow that shines from within, From having a soul free of sin.

And although it is highly sought, With money it cannot be bought.

To find beauty the quickest path,

Is to live your life without wrath.

To my wonderful cousin Tina, one of the most beautiful people I know.

Quality Control Technician

Preface xxxvii

Acknowledgments xlii Part I: Getting Started with 3ds Max 1

Quick Start: Firing a Cannonball 3

Chapter 1: Exploring the Max Interface 17

Chapter 2: Controlling and Configuring the Viewports 39

Chapter 3: Working with Files, Importing, and Exporting 79

Chapter 4: Customizing the Max Interface and Setting Preferences 103

Part II: Working with Objects 131

Chapter 5: Creating and Editing Primitive Objects 133

Chapter 6: Selecting Objects, Setting Object Properties, and Using Layers and the Scene Explorer 163

Chapter 7: Transforming Objects, Pivoting, Aligning, and Snapping 191

Chapter 8: Cloning Objects and Creating Object Arrays 219

Chapter 9: Grouping, Linking, and Parenting Objects 241

Part III: Modeling Basics 251

Chapter 10: Learning Modeling Basics and Working with Subobjects and Helpers 253

Chapter 11: Introducing Modifiers and Using the Modifier Stack 267

Chapter 12: Drawing and Editing 2D Splines and Shapes 299

Chapter 13: Modeling with Polygons 343

Part IV: Materials, Cameras, and Lighting Basics 373

Chapter 14: Exploring the Material Editor 375

Chapter 15: Creating and Applying Standard Materials 395

Chapter 16: Creating Compound Materials and Using Material Modifiers 407

Chapter 17: Adding Material Details with Maps 425

Chapter 18: Configuring and Aiming Cameras 463

Chapter 19: Using Lights and Basic Lighting Techniques 479

Part V: Animation and Rendering Basics 509

Chapter 20: Understanding Animation and Keyframe Basics 511

Chapter 21: Animating with Constraints and Controllers 535

Chapter 22: Learning to Render a Scene 571

Part VI: Advanced Modeling 593

Chapter 23: Building Complex Scenes with XRefs and Using Vault 595

Chapter 24: Working with the Schematic View 611

Chapter 25: Deforming Surfaces and Using the Mesh Modifiers 629

Chapter 26: Working with Compound Objects 649

Chapter 27: Modeling with Patches and NURBS 687

Chapter 28: Adding and Styling Hair and Fur, and Using Cloth 727

Part VII: Advanced Materials 745

Chapter 29: Using Specialized Material Types 747

Chapter 30: Unwrapping UVs and Using Pelt Mapping 761

Chapter 31: Creating Baked Textures and Normal Maps 787

Part VIII: Advanced Animation Techniques 797

Chapter 32: Using Animation Modifiers 799

Chapter 33: Animating with the Expression Controller and Wiring Parameters 813

Chapter 34: Working with Function Curves in the Track View 831

Chapter 35: Using Animation Layers and the Motion Mixer 869

Part IX: Dynamic Animation 885

Chapter 36: Creating Particles and Particle Flow 887

Chapter 37: Using Space Warps 919

Chapter 38: Simulating Physics-Based Motion with reactor 941

Chapter 39: Animating Hair and Cloth 963

Part X: Working with Characters 971

Chapter 40: Understanding Rigging and Working with Bones 973

Chapter 41: Working with Inverse Kinematics 981

Chapter 42: Creating and Animating Bipeds and Crowds 999

Chapter 43: Skinning Characters 1027

Part XI: Advanced Lighting and Rendering 1045

Chapter 44: Working with Advanced Lighting, Light Tracing, and Radiosity 1047

Chapter 45: Using Atmospheric and Render Effects 1065

Chapter 46: Raytracing and mental ray 1097

Chapter 47: Batch and Network Rendering 1119

Chapter 48: Compositing with Render Elements and the Video Post Interface 1135

Part XII: MAXScript and Plug-Ins 1167

Chapter 49: Automating with MAXScript 1169

Chapter 50: Expanding Max with Third-Party Plug-Ins 1207

Appendix A: What’s New with 3ds Max 2009 1215

Appendix B: What’s on the DVD 1219

Index 1223

Preface xxxvii

Acknowledgments xlii Part I: Getting Started with 3ds Max 1 Quick Start: Firing a Cannonball 3

Hills and Cannonballs — Planning the Production 4

Modeling the Cannon 4

Tutorial: Building a cannon wheel 4

Tutorial: Cloning and positioning the cannon wheels 6

Tutorial: Finishing the cannon 7

Tutorial: Adding ProMaterials 8

Tutorial: Adding a Sun & Sky system 10

Tutorial: Rendering the scene 10

Tutorial: Animating a cannon firing 12

Tutorial: Adding particles 13

Summary 15

Chapter 1: Exploring the Max Interface 17

Learning the Interface Elements 18

Using the Menus 20

Using the Toolbars 21

Docking and floating toolbars 21

Using tooltips and flyouts 22

Learning the main toolbar 23

Using the Viewports 26

Using the Command Panel 26

Working with rollouts 27

Increasing the Command Panel’s width 28

Tutorial: Rearranging the interface for lefties 28

Using the Lower Interface Bar Controls 30

Interacting with the Interface 31

Gaining quick access with the right-click quadmenus 31

Understanding the button color cues 32

Using drag-and-drop features 33

Controlling spinners 33

Understanding modeless and persistent dialog boxes 33

Getting Help 34

Using the InfoCenter toolbar 34

Viewing the Essential Skills Movies 36

Using the browser-based reference guides 36

Using the rest of the Help menu 37

Summary 38

Chapter 2: Controlling and Configuring the Viewports 39

Understanding 3D Space 39

Learning Axonometric versus Perspective 40

Learning Orthographic and Isometric views 40

Discovering the viewports in Max 40

Using the Navigation Gizmos 41

Working with the ViewCube 42

Using the SteeringWheels 42

Tutorial: Navigating the active viewport 45

Controlling Viewports with a Scroll Wheel 47

Using the Viewport Navigation Controls 48

Zooming a view 49

Panning a view 50

Walking through a view 50

Rotating a view 50

Maximizing the active viewport 51

Controlling camera and spotlight views 52

Using the Views Menu 53

Undoing and saving Viewport changes 53

Disabling and refreshing viewports 54

Viewing materials in the viewports 54

Displaying Lights and Shadows in the viewports 54

Configuring the Viewports 58

Setting the viewport rendering method 58

Altering the Viewport layout 65

Using Safe Frames 66

Understanding Adaptive Degradation 68

Defining regions 70

Viewing statistics 73

Working with Viewport Backgrounds 74

Loading viewport background images 74

Loading viewport background animations 75

Tutorial: Loading reference images for modeling 75

Summary 77

Chapter 3: Working with Files, Importing, and Exporting 79

Working with Max Scene Files 79

Saving files 80

Opening files 81

Setting a Project Folder 82

Merging and replacing objects 82

Archiving files 83

Getting out 83

Setting File Preferences 83

Handling files 84

Backing up files 86

Tutorial: Setting Auto Backup 86

Maintaining log files 87

Importing and Exporting 87

Importing supported formats 87

Import preference 88

Exporting supported formats 88

Exporting utilities 94

Using the File Utilities 96

Using the Asset Browser utility 96

Finding files with the Max File Finder utility 98

Collecting files with the Resource Collector utility 98

Using the File Link Manager utility 99

Using i-drop 99

Accessing File Information 99

Displaying scene information 99

Viewing file properties 100

Viewing files 100

Summary 102

Chapter 4: Customizing the Max Interface and Setting Preferences 103

Using the Customize User Interface Window 103

Customizing keyboard shortcuts 103

Customizing toolbars 105

Tutorial: Creating a custom toolbar 106

Customizing quadmenus 108

Customizing menus 110

Tutorial: Adding a new menu 111

Customizing colors 111

Customizing Modify and Utility Panel Buttons 112

Working with Custom Interfaces 113

Saving and loading a custom interface 113

Locking the interface 115

Reverting to the startup interface 115

Switching between default and custom interfaces 115

Configuring Paths 116

Configuring user paths 116

Configuring system paths 117

Selecting System Units 118

Using Custom and Generic units 118

Handling mismatched units 119

Rescaling world units 120

Setting Preferences 120

General preferences 120

Files panel preferences 123

Viewport preferences 123

Gamma preferences 128

Other preference panels 129

Summary 129

Contents

Part II: Working with Objects 131

Chapter 5: Creating and Editing Primitive Objects 133

Creating Primitive Objects 133

Using the Create menu 133

Using the Create panel 134

Naming and renaming objects 135

Assigning colors 136

Using the Color Clipboard 138

Using different creation methods 138

Using the Keyboard Entry rollout for precise dimensions 141

Altering object parameters 141

Recovering from mistakes and deleting objects 141

Tutorial: Exploring the Platonic solids 142

Exploring the Primitive Object Types 144

Starting with the Standard Primitives 144

Extended Primitives 148

Modifying object parameters 157

Tutorial: Filling a treasure chest with gems 158

Using Architecture Primitives 159

Using AEC Objects 159

Tutorial: Adding stairs to a clock tower building 161

Summary 162

Chapter 6: Selecting Objects, Setting Object Properties, and Using Layers and the Scene Explorer 163

Selecting Objects 163

Selection filters 164

Select buttons 165

Selecting with the Edit menu 166

Selecting multiple objects 169

Using the Paint Selection Region tool 169

Tutorial: Selecting objects 170

Locking selection sets 171

Using named selection sets 172

Editing named selections 172

Isolating the current selection 173

Selecting objects in other interfaces 173

Setting Object Properties 174

Viewing object information 174

Setting display properties 175

Setting rendering controls 177

Enabling Motion Blur 178

Using the Advanced Lighting and mental ray panels 178

Using the User-Defined panel 178

Hiding and Freezing Objects 179

Using the Display Floater dialog box 179

Using the Display panel 179

Tutorial: Hidden toothbrushes 181

Using Layers 182

Using the Layer Manager 182

Using the Layer List 185

Tutorial: Dividing a scene into layers 185

Using the Scene Explorer 186

Selecting and filtering objects 187

Finding objects 188

Editing in the Scene Explorer 189

Summary 190

Chapter 7: Transforming Objects, Pivoting, Aligning, and Snapping 191

Translating, Rotating, and Scaling Objects 191

Translating objects 191

Rotating objects 192

Scaling objects 192

Using the transform buttons 193

Working with the Transformation Tools 193

Working with the Transform Gizmos 193

Using the Transform Type-In dialog box 196

Using the status bar Type-In fields 197

Understanding the Transform Managers 197

Tutorial: Landing a spaceship in port 202

Using Pivot Points 203

Positioning pivot points 203

Aligning pivot points 204

Using the Working Pivot 204

Transform adjustments 205

Using the Reset XForm utility 205

Tutorial: A bee buzzing about a flower 205

Using the Align Commands 207

Aligning objects 207

Using the Quick Align tool 208

Aligning normals 208

Tutorial: Aligning a kissing couple 209

Aligning to a view 210

Using Grids 210

The Home Grid 210

Creating and activating new grids 211

Using AutoGrid 211

Tutorial: Creating a spyglass 212

Using Snap Options 213

Tutorial: Creating a 2D outline of an object 213

Setting snap points 215

Setting snap options 215

Using the Snaps toolbar 216

Tutorial: Creating a lattice for a methane molecule 216

Summary 218

Contents

Chapter 8: Cloning Objects and Creating Object Arrays 219

Cloning Objects 219

Using the Clone command 219

Using the Shift-clone method 220

Tutorial: Cloning dinosaurs 220

Understanding Cloning Options 222

Working with copies, instances, and references 222

Tutorial: Creating instanced doughnuts 222

Tutorial: Working with referenced apples 224

Mirroring Objects 225

Using the Mirror command 225

Tutorial: Mirroring a robot’s leg 226

Cloning over Time 227

Using the Snapshot command 227

Tutorial: Creating a path through a maze 228

Spacing Cloned Objects 229

Using the Spacing tool 229

Tutorial: Stacking a row of dominoes 230

Using the Clone and Align Tool 232

Aligning source objects to destination objects 232

Tutorial: Cloning and aligning trees on a beach 233

Creating Arrays of Objects 234

Linear arrays 234

Tutorial: Building a white picket fence 235

Circular arrays 235

Tutorial: Building a Ferris wheel 236

Working with a ring array 237

Tutorial: Using Ring Array to create a carousel 238

Summary 239

Chapter 9: Grouping, Linking, and Parenting Objects 241

Working with Groups 241

Creating groups 241

Ungrouping objects 242

Opening and closing groups 242

Attaching and detaching objects 242

Tutorial: Grouping a plane’s parts together 242

Building Assemblies 243

Understanding Parent, Child, and Root Relationships 244

Building Links between Objects 245

Linking objects 245

Unlinking objects 245

Tutorial: Linking a family of ducks 245

Displaying Links and Hierarchies 246

Displaying links in the viewport 247

Viewing hierarchies 247

Working with Linked Objects 248

Locking inheriting transformations 248

Using the Link Inheritance utility 248

Selecting hierarchies 248

Linking to dummies 249

Tutorial: Circling the globe 249

Summary 250

Part III: Modeling Basics 251 Chapter 10: Learning Modeling Basics and Working with Subobjects and Helpers 253

Exploring the Model Types 253

Parametric objects versus editable objects 253

Converting to editable objects 255

Understanding Normals 256

Viewing normals 256

Tutorial: Cleaning up imported meshes 256

Working with Subobjects 258

Using Soft Selection 259

Tutorial: Soft selecting a heart shape from a plane 260

Applying modifiers to subobject selections 261

Using Modeling Helpers 262

Using Dummy and Point objects 262

Measuring coordinate distances 263

Summary 265

Chapter 11: Introducing Modifiers and Using the Modifier Stack 267

Exploring the Modifier Stack 267

Understanding Base Objects 268

Applying modifiers 268

Other Modifier Stack entities 268

Using the Modifier Stack 268

Reordering the Stack 271

Tutorial: Creating a molecular chain 271

Holding and fetching a scene 273

Collapsing the Stack 273

Using the Collapse utility 273

Using gizmo subobjects 274

Tutorial: Squeezing a plastic bottle 274

Modifying subobjects 275

Topology dependency 275

Exploring Modifier Types 276

Object-Space versus World-Space modifiers 277

Selection modifiers 277

Parametric Deformer modifiers 279

Free Form Deformer modifiers 295

Summary 297

Contents

Chapter 12: Drawing and Editing 2D Splines and Shapes 299

Drawing in 2D 299

Working with shape primitives 300

Tutorial: Drawing a company logo 310

Tutorial: Viewing the interior of a heart 311

Editing Splines 313

Editable Splines versus the Edit Spline modifier 313

Making splines renderable 313

Selecting spline subobjects 314

Controlling spline geometry 316

Editing vertices 320

Editing segments 326

Editing Spline subobjects 328

Using Spline Modifiers 333

Spline-specific modifiers 333

Moving splines to 3D 336

Summary 341

Chapter 13: Modeling with Polygons 343

Understanding Poly Objects 343

Creating Editable Poly Objects 345

Converting objects 345

Collapsing to a mesh object 345

Applying the Edit Poly modifier 345

Editing Poly Objects 345

Editable Poly subobject modes 346

Selection rollout 347

Tutorial: Modeling a clown head 349

Edit Geometry rollout 350

Editing Vertex subobjects 357

Editing Edge subobjects 361

Editing Border subobjects 363

Editing Polygon and Element subobjects 364

Surface properties 368

Tutorial: Modeling a tooth 371

Summary 372

Part IV: Materials, Cameras, and Lighting Basics 373 Chapter 14: Exploring the Material Editor 375

Understanding Material Properties 375

Colors 375

Opacity and transparency 376

Reflection and refraction 376

Shininess and specular highlights 377

Other properties 377

Working with the Material Editor 377

Using the Material Editor controls 378

Using the sample slots 381

Naming materials 383

Getting new materials 384

Assigning materials to objects 384

Picking materials from a scene 384

Selecting objects by material 384

Previewing materials and rendering maps 385

Setting Material Editor options 385

Resetting materials 387

Removing materials and maps 387

Using the Fix Ambient utility 388

Tutorial: Coloring Easter eggs 388

Using the Material/Map Browser 389

Working with libraries 391

Tutorial: Loading a custom material library 392

Using the Material/Map Navigator 392

Summary 394

Chapter 15: Creating and Applying Standard Materials 395

Using the Standard Material 395

Using Shading Types 395

Blinn shader 396

Phong shader 398

Anisotropic shader 399

Multi-Layer shader 399

Oren-Nayar-Blinn shader 400

Metal shader 400

Strauss shader 400

Translucent shader 401

Tutorial: Making curtains translucent 401

Accessing Other Parameters 402

Extended Parameters rollout 402

SuperSampling rollout 403

Maps rollout 404

Dynamic Properties rollout 404

DirectX Manager rollout 404

mental ray connection rollout 405

Tutorial: Coloring a dolphin 405

Summary 406

Chapter 16: Creating Compound Materials and Using Material Modifiers 407

Using Compound Materials 407

Blend 408

Composite 409

Double Sided 410

Multi/Sub-Object 410

Tutorial: Creating a patchwork quilt 411

Contents

Shell 412

Shellac 413

Top/Bottom 413

Tutorial: Surfing the waves 413

Applying Multiple Materials 414

Using material IDs 414

Tutorial: Mapping die faces 415

Using the Clean MultiMaterial utility 415

Material Modifiers 416

Material modifier 416

MaterialByElement modifier 416

Tutorial: Creating random marquee lights with the MaterialByElement modifier 417

Disp Approx and Displace Mesh modifiers 417

Tutorial: Displacing geometry with a bitmap 418

Using Vertex Colors 419

Assigning vertex colors 420

Painting vertices with the Vertex Paint modifier 420

Tutorial: Marking heart tension 422

The Assign Vertex Color utility 422

Summary 423

Chapter 17: Adding Material Details with Maps 425

Understanding Maps 425

Different map types 425

Enabling the Global Viewport Rendering Setting 426

Using Real-World maps 426

Understanding Material Map Types 426

2D maps 427

3D maps 437

Compositor maps 444

Color Modifier maps 447

Miscellaneous maps 448

Using the Maps Rollout 452

Tutorial: Aging objects for realism 455

Using the Map Path Utility 455

Using Map Instances 457

Creating Textures with External Tools 457

Creating material textures using Photoshop 458

Capturing digital images 459

Scanning images 460

Tutorial: Creating a fishing net 460

Summary 462

Chapter 18: Configuring and Aiming Cameras 463

Learning to Work with Cameras 463

Creating a camera object 464

Creating a camera view 464

Tutorial: Setting up an opponent’s view 465

Controlling a camera 466

Aiming a camera 468

Tutorial: Watching a rocket 468

Aligning cameras 468

Tutorial: Seeing the dinosaur’s good side 469

Setting Camera Parameters 471

Lens settings and field of view 471

Camera type and display options 471

Environment ranges and clipping planes 472

Camera Correction modifier 472

Creating multi-pass camera effects 473

Using the Depth of Field effect 473

Tutorial: Applying a Depth of Field effect to a row of windmills 475

Using the Motion Blur effect 476

Tutorial: Using a Motion Blur multi-pass camera effect 477

Summary 478

Chapter 19: Using Lights and Basic Lighting Techniques 479

Understanding the Basics of Lighting 479

Natural and artificial light 479

A standard lighting method 480

Shadows 481

Getting to Know the Light Types 482

Default lighting 483

Ambient light 483

Standard lights 483

Photometric lights 484

Creating and Positioning Light Objects 485

Transforming lights 485

Viewing lights and shadows in the viewport 485

Listing lights 486

Placing highlights 487

Tutorial: Lighting the snowman’s face 487

Viewing a Scene from a Light 488

Light viewport controls 488

Tutorial: Lighting a lamp 489

Altering Light Parameters 490

General parameters 490

The Intensity/Color/Attenuation rollout 492

Spotlight and directional light parameters 492

Advanced Effects 492

Shadow parameters 493

Optimizing lights 493

Manipulating Hotspot and Falloff cones 494

Photometric light parameters 494

Using the Sunlight and Daylight Systems 497

Using the Compass helper 498

Understanding Azimuth and Altitude 498

Specifying date and time 498

Specifying location 498

Tutorial: Animating a day in 20 seconds 499

Contents

Using Volume Lights 500

Volume light parameters 500

Tutorial: Showing car headlights 502

Tutorial: Creating laser beams 503

Using projector maps and raytraced shadows 504

Tutorial: Projecting a trumpet image on a scene 504

Tutorial: Creating a stained-glass window 506

Summary 507

Part V: Animation and Rendering Basics 509 Chapter 20: Understanding Animation and Keyframe Basics 511

Using the Time Controls 511

Setting frame rate 512

Setting speed and direction 513

Using Time Tags 514

Working with Keys 514

Auto Key mode 514

Set Key mode 515

Tutorial: Rotating a windmill’s blades 515

Creating keys with the Time Slider 516

Copying parameter animation keys 517

Deleting all object animation keys 517

Using the Track Bar 517

Viewing and Editing Key Values 518

Using the Motion Panel 520

Setting parameters 520

Using trajectories 521

Tutorial: Making an airplane follow a looping path 522

Using the Follow/Bank utility 522

Using Ghosting 523

Animation Preferences 524

Animating Objects 526

Animating cameras 526

Tutorial: Animating darts hitting a dartboard 526

Animating lights 527

Animating materials 528

Creating Image File Lists 528

Generating IFL files with the IFL Manager Utility 529

Tutorial: What’s on TV? 529

Working with Previews 530

Creating previews 531

Viewing previews 532

Renaming previews 532

Summary 533

Chapter 21: Animating with Constraints and Controllers 535

Restricting Movement with Constraints 535

Using constraints 536

Understanding Controller Types 546

Assigning Controllers 547

Automatically assigned controllers 547

Assigning controllers with the Animation menu 547

Assigning controllers in the Motion panel 548

Assigning controllers in the Track View 549

Setting Default Controllers 550

Examining the Various Controllers 550

Transform controllers 550

Position track controllers 552

Rotation and Scale track controllers 561

Parameter controllers 562

Summary 570

Chapter 22: Learning to Render a Scene 571

Render Parameters 571

Initiating a render job 572

Common parameters 574

E-mail notifications 577

Adding pre-render and post-render scripts 577

Assigning renderers 577

Scanline A-Buffer renderer 578

Rendering Preferences 580

Using the Rendered Frame Window 581

Using the Render Types 582

Previewing with ActiveShade 584

Using the RAM Player 584

Using Command-Line Rendering 587

Creating Panoramic Images 587

Getting Printer Help 588

Creating an Environment 589

Defining the rendered environment 589

Summary 591

Part VI: Advanced Modeling 593 Chapter 23: Building Complex Scenes with XRefs and Using Vault 595

Referencing External Objects 595

Using XRef scenes 596

Using XRef objects 599

Using material XRefs 601

Merging modifiers 602

Using proxies 602

Controller XRefs 602

Configuring XRef paths 602

Setting Up Asset Tracking 603

Checking in and checking out 604

Logging in 604

Selecting a working folder 604

Contents

Using Autodesk Vault 605Opening Vault files 605Using the Asset Tracking interface 606Getting and adding Vault files 607Loading older file versions 607Changing asset paths 608Working with proxies 608Tutorial: Editing a Vault asset 608Summary 609

Chapter 24: Working with the Schematic View 611

Using the Schematic View Window 611The Graph Editors menu options 611The Schematic View interface 612Working with Schematic View nodes 615Working with Hierarchies 620Using the Display floater 620Connecting nodes 621Copying modifiers and materials between nodes 621Assigning controllers and wiring parameters 622Tutorial: Linking a character with the Schematic View 623Setting Schematic View Preferences 623Limiting nodes 624Working with grids and backgrounds 625Display preferences 625Tutorial: Adding a background image to the Schematic View 626Using List Views 627Summary 628

Chapter 25: Deforming Surfaces and Using the Mesh Modifiers 629

The Basics of Deformation Painting 629Painting deformations 629Accessing brush presets 631Using the Deformation Brushes 632Controlling the deformation direction 632Limiting the deformation 632Committing any changes 632Using the Relax and Revert brushes 632Tutorial: Adding veins to a forearm 632Setting Brush Options 634Primitive Maintenance Modifiers 635Edit Mesh modifier 635Edit Poly modifier 635Edit Geometry Modifiers 636Cap Holes modifier 636Delete Mesh modifier 636Extrude modifier 636Face Extrude modifier 637Tutorial: Extruding a bullet 637

Optimize modifier 639MultiRes modifier 640Tutorial: Creating a MultiRes hand 640Smooth modifier 641Symmetry modifier 641Tutorial: Creating symmetrical antlers 641Tessellate modifier 643Vertex Weld modifier 643Miscellaneous Modifiers 643Edit Normals 643Normal modifier 644STL Check modifier 644Subdivision Surface Modifiers 645MeshSmooth modifier 645TurboSmooth modifier 645Tutorial: Smoothing a birdbath 645HSDS modifier 646Summary 647

Chapter 26: Working with Compound Objects 649

Understanding Compound Object Types 649Morphing Objects 650Creating Morph keys 651Morph objects versus the Morph modifier 651Tutorial: Morphing a woman’s face 652Creating Conform Objects 653Setting a vertex projection direction 654Tutorial: Placing a facial scar 654Creating a ShapeMerge Object 655Cookie Cutter and Merge options 656Tutorial: Using the ShapeMerge compound object 656Creating a Terrain Object 658Coloring elevations 659Tutorial: Creating an island with the Terrain compound object 659Using the Mesher Object 661Working with BlobMesh Objects 661Setting BlobMesh parameters 662Tutorial: Creating icy geometry with BlobMesh 662Creating a Scatter Object 663Working with Source objects 664Working with Distribution objects 665Setting Transforms 666Speeding updates with a proxy 666Loading and saving presets 666Tutorial: Covering the island with trees 666Creating Connect Objects 667Filling object holes 668Tutorial: Creating a park bench 668

Contents

Creating a Loft Object 669Using the Get Shape and Get Path buttons 670Controlling surface parameters 670Changing path parameters 670Setting skin parameters 671Tutorial: Designing a slip-proof hanger 672Deforming Loft objects 673The Deformation window interface 673Scale Deformation 676Twist Deformation 676Teeter Deformation 676Bevel Deformation 676Fit Deformation 677Modifying Loft subobjects 678Comparing shapes 679Editing Loft paths 679Tutorial: Creating drapes 680Loft objects versus surface tools 681Working with ProBoolean and ProCutter Objects 681Using ProBoolean 681Tutorial: Creating a keyhole 683Using ProCutter 684Tutorial: Creating a jigsaw puzzle 684Summary 685

Chapter 27: Modeling with Patches and NURBS 687

Introducing Patch Grids 687Creating a patch grid 688Tutorial: Creating a checkerboard 688Editing Patches 689Editable patches versus the Edit Patch modifier 690Selecting patch subobjects 690Working with Patch Geometry 692Editing vertices 693Editing handles 696Editing edges 696Editing patch and element subobjects 699Tutorial: Creating a maple leaf from patches 702Using Modifiers on Patch Objects 703Patch Select modifier 703Edit Patch modifier 703Delete Patch modifier 704Using the Surface tools 704Creating NURBS Curves and Surfaces 707NURBS curves 707NURBS surfaces 708Converting objects to NURBS 709Editing NURBS 710Attach and Import 710Display options 710

Surface and Curve Approximation 711The NURBS Creation Toolbox 712Using NURBS subobject editing tools 716Working with NURBS 716Lofting a NURBS surface 716Tutorial: Creating a U Loft NURBS spoon 716Creating a UV Loft surface 717Lathing a NURBS surface 717Tutorial: Lathing a NURBS CV curve to create a vase 718Creating a 1-rail and 2-rail sweep surface 719Tutorial: Creating a flower stem 719Sculpting a rectangular NURBS surface 720Tutorial: Creating a NURBS leaf 720Tutorial: Sculpting a flower petal 722NURBS modifiers 724Summary 725

Chapter 28: Adding and Styling Hair and Fur, and Using Cloth 727

Understanding Hair 727Working with Hair 728Growing hair 728Setting hair properties 729Tutorial: Adding a spline fringe to a quilt 732Styling Hair 733Using the Style interface 733Tutorial: Creating a set of fuzzy dice 735Using hair presets 736Using hair instances 736Rendering Hair 738Understanding Cloth 738Creating Cloth 739Using Garment Maker to define cloth 739Creating cloth from geometry objects 740Tutorial: Clothing a 3D model 742Summary 744

Chapter 29: Using Specialized Material Types 747

Using the Matte/Shadow Material 747Matte/Shadow Basic Parameters rollout 748Tutorial: Adding 3D objects to a scene 748Using the Ink ’n’ Paint Material 749Controlling paint and ink 749Tutorial: Cartooning a turtle 750Using Architectural Materials 752Using the DirectX Shader Material 752

Contents

Using mental ray Materials and Shaders 753Understanding shaders 754Accessing mental ray materials and shaders 754Using the Arch & Design materials 756Using the ProMaterials 757Using the Car Paint material 759Combining bump and displacement maps 759Using the Subsurface Scattering materials 759Summary 760

Chapter 30: Unwrapping UVs and Using Pelt Mapping 761

Mapping Modifiers 761UVW Map modifier 762Tutorial: Using the UVW Map modifier to apply decals 762UVW Mapping Add and Clear modifiers 764UVW XForm modifier 765Map Scaler modifier 765Camera Map modifier 765Using the Unwrap UVW Modifier 765The Edit UVWs interface 765Tutorial: Controlling the mapping of a covered wagon 771Relaxing vertices 773Using the Quick Planar Map 774Mapping multiple objects 774Tutorial: Creating a mapping for a fighter plane 774Using the Spline mapping 775Tutorial: Spline mapping a snake 776Using Pelt Mapping 777Selecting seams 778Positioning the projection gizmo 780Stretching the pelt mapping 780Tutorial: Using pelt mapping 781Rendering UV Templates 783Summary 785

Chapter 31: Creating Baked Textures and Normal Maps 787

Using Channels 787Using the Map Channel Info dialog box 788Select by Channel modifier 789Rendering to a Texture 789General Settings 790Selecting objects to bake 790Output settings 791Baked Material and Automatic Mapping settings 791Tutorial: Baking the textures for a dog model 792Creating Normal Maps 793Using the Projection modifier 794Setting Projection Mapping options 794Tutorial: Creating a normal map for a spikey sphere 795Summary 796

Part VIII: Advanced Animation Techniques 797 Chapter 32: Using Animation Modifiers 799

Baking Animation Keys with the Point Cache Modifier 799Tutorial: Trees in a hurricane 800Using the Animation Modifiers 801Morpher modifier 801Tutorial: Morphing facial expressions 803Using the Flex Modifier 804Melt modifier 808PatchDeform and SurfDeform modifiers 808Tutorial: Deforming a car going over a hill 809PathDeform modifier 810Linked XForm modifier 811SplineIK Control modifier 811Attribute Holder modifier 811Summary 812

Chapter 33: Animating with the Expression Controller and Wiring Parameters 813

Working with Expressions in Spinners 813Understanding the Expression Controller Interface 814Defining variables 815Building expressions 816Debugging and evaluating expressions 817Managing expressions 817Tutorial: Creating following eyes 817Using Expression Controllers 819Animating transforms with the Expression controller 819Animating parameters with the Float Expression controller 820Tutorial: Inflating a balloon 820Animating materials with the Expression controller 820Wiring Parameters 821Using the Parameter Wiring dialog box 821Manipulator helpers 823Tutorial: Controlling a crocodile’s bite 823Collecting Parameters 824Adding Custom Parameters 827Summary 829

Chapter 34: Working with Function Curves in the Track View 831

Learning the Track View Interface 831The Track View layouts 832Track View menus and toolbars 833Controller and Key panes 838Lower interface toolbars 840Working with Keys .841Selecting keys 842Using soft selection 842Adding and deleting keys 843Moving, sliding, and scaling keys 843

Contents

Editing keys 843Using the Randomize Keys utility 843Using the Euler Filter utility 844Displaying keyable icons 844Editing Time 845Selecting time and the Select Keys by Time utility 845Deleting, cutting, copying, and pasting time 845Reversing, inserting, and scaling time 846Setting ranges 846Editing Curves 846Inserting new keys and moving keys 847Tutorial: Animating a monorail 847Drawing curves 850Reducing keys 850Working with tangents 850Tutorial: Animating a flowing river 852Applying out-of-range, ease, and multiplier curves 852Tutorial: Animating a wind-up teapot 854Filtering Tracks and Creating Track Sets 857Using the Filters dialog box 857Creating a Track Set 858Working with Controllers 859Using visibility tracks 860Adding Note Tracks 860Tutorial: Animating a hazard light 860Tutorial: Animating a checkers move 862Synchronizing to a Sound Track 865Using the Sound Options dialog box 866Tutorial: Adding sound to an animation 866Summary 868

Chapter 35: Using Animation Layers and the Motion Mixer 869

Using the Animation Layers Toolbar 869Working with Animation Layers 871Enabling animation layers 871Setting animation layers properties 872Collapsing animation layers 872Tutorial: Using animation layers for a plane takeoff 872Saving Animation Files 874Saving biped animations 874Saving general animations 875Loading Animation Sequences 875Mapping animated objects 876Using the Map Animation dialog box 877Retargeting animations 878Using the Motion Mixer 878Learning the Motion Mixer interface 878Adding layer and transition tracks 880

Editing clips 881Editing track weights 881Adding Time Warps 881Copying mixed animation to a biped 882Saving and loading Mix files 882Tutorial: Mixing biped animations 882Summary 883

Chapter 36: Creating Particles and Particle Flow 887

Understanding the Various Particle Systems 887Creating a Particle System 888Using the Spray and Snow Particle Systems 889Tutorial: Creating rain showers 890Tutorial: Creating a snowstorm 891Using the Super Spray Particle System 892Super Spray Basic Parameters rollout 892Particle Generation rollout 893Particle Type rollout 894Rotation and Collision rollout 899Tutorial: Basketball shooting practice 900Object Motion Inheritance rollout 901Bubble Motion rollout 902Particle Spawn rollout 902Load/Save Presets rollout 903Using the Blizzard Particle System 904Using the PArray Particle System 904Splitting an object into fragments 905Tutorial: Creating rising steam 905Using the PCloud Particle System 906Using Particle System Maps 906Using the Particle Age map 907Using the Particle MBlur map 907Tutorial: Creating jet engine flames 907Controlling Particles with Particle Flow 908The Particle View window 909The Standard Flow 910Working with actions 910Tutorial: Creating an avalanche 912Using Particle Flow helpers 914Wiring events 914Tutorial: Moths chasing a light 914Debugging test actions 916Tutorial: Firing at a fleeing spaceship 916Summary 918

Contents

Chapter 37: Using Space Warps 919

Creating and Binding Space Warps 919Creating a Space Warp 920Binding a Space Warp to an object 920Understanding Space Warp Types 920Force Space Warps 920Deflector Space Warps 929Geometric/Deformable Space Warps 931Modifier-Based Space Warps 937Combining Particle Systems with Space Warps 938Tutorial: Shattering glass 938Tutorial: Making water flow down a trough 939Summary 940

Chapter 38: Simulating Physics-Based Motion with reactor 941

Understanding Dynamics 942Using reactor 942The reactor process 943Tutorial: Filling a glass bowl 943Using reactor Collections 945Collection modifiers 946Setting object properties 946Tutorial: Throwing a shirt over a chair 949Creating reactor Objects 950Springs and dashpots 951Plane 951Motor and Wind 951Toy Car 952Fracture 952Tutorial: Smashing a gingerbread house 952Water 954Tutorial: Working with water 954Calculating and Previewing a Simulation 955Using the Preview window 955Creating animation keys 956Analyzing the scene 957Tutorial: Dropping a plate of donuts 957Constraining Objects 958Using a Constraint Solver 959Rag Doll constraint 959Tutorial: Swinging into a wall 960reactor Troubleshooting 962Summary 962

Chapter 39: Animating Hair and Cloth 963

Using Hair Dynamics 963Making hair live 963Setting properties 964

Enabling collisions 964Enabling forces 965Running a simulation 965Tutorial: Simulating hair dynamics 965Simulating Cloth Dynamics 966Defining cloth properties and forces 966Creating a Cloth simulation 967Viewing cloth tension 968Tutorial: Draping cloth over a jet 968Summary 970

Chapter 40: Understanding Rigging and Working with Bones 973

Creating a Rigging Workflow 973Building a Bones System 974Assigning an IK Solver 975Setting bone parameters 975Tutorial: Creating a bones system for an alligator 976Using the Bone Tools 978Reordering bones 978Refining and mirroring bones 979Coloring bones 979Adjusting fins 980Making objects into bones 980Summary 980

Chapter 41: Working with Inverse Kinematics 981

Forward Kinematics versus Inverse Kinematics 981Creating an Inverse Kinematics System 982Building and linking a system 982Selecting a terminator 983Defining joint constraints 983Copying, pasting, and mirroring joints 983Binding objects 983Understanding precedence 984Tutorial: Controlling a backhoe 984Using the Various Inverse Kinematics Methods 986Interactive IK 986Applied IK 988History Independent IK solver 989History Dependent IK solver 992Tutorial: Animating a spyglass with the HD IK solver 994

IK Limb solver 994Tutorial: Animating a spider’s leg with the IK Limb solver 995Spline IK solver 996Tutorial: Building an IK Spline alligator 997Summary 998

Contents

Chapter 42: Creating and Animating Bipeds and Crowds 999

Character Creation Workflow 999Creating a Biped 1000Customizing a biped 1002Using Xtras 1004Modifying a biped 1005Setting the Biped display options 1006Selecting tracks 1008Moving and rotating the whole biped 1008Tutorial: Making a biped dive 1009Bending links 1010Working with postures and poses 1012Tutorial: Creating a four-footed biped 1012Animating a Biped 1015Using Footstep Mode 1015Tutorial: Making a biped jump on a box 1016Converting biped animation clips 1017Using Freeform Mode 1018Setting Freeform keys 1018Using the Keyframing Tools, Layers, and Motion Capture 1018Loading and saving biped animation clips 1019Using Motion Flow Mode 1019Previewing a biped animation 1020Moving a biped with its footsteps 1020Creating Crowds 1020Using Crowd and Delegate helpers 1021Scattering delegates 1021Setting delegate parameters 1021Assigning behaviors 1023Solving the simulation 1024Tutorial: Rabbits in the forest 1024Creating a Crowd of Bipeds 1025Associating delegates with objects 1025Associating delegates with objects 1026Summary 1026

Chapter 43: Skinning Characters 1027

Understanding Your Character 1027The curse and blessing of symmetry 1028Dealing with details 1028Animated Skin Modifiers 1028Understanding the Skinning Process 1029Binding to a skeleton 1029Using the Skin Wrap modifiers 1040Tutorial: Making a simple squirt bottle walk 1040Using the Skin Morph modifier 1041Tutorial: Bulging arm muscles 1041Using Character Animation Techniques 1043Summary 1043

Part XI: Advanced Lighting and Rendering 1045 Chapter 44: Working with Advanced Lighting, Light Tracing,

and Radiosity 1047

Selecting Advanced Lighting 1047How light tracing works 1048Enabling light tracing 1049Tutorial: Viewing color bleeding 1051Using Local Advanced Lighting Settings 1052Tutorial: Excluding objects from light tracing 1053Understanding Radiosity 1054Lighting for radiosity 1054Tutorial: Lighting a house interior with radiosity 1058Using Local and Global Advanced Lighting Settings 1059Working with Advanced Lighting Materials 1060Advanced Lighting Override 1061Lightscape material 1061Using Lighting Analysis 1062Summary 1064

Chapter 45: Using Atmospheric and Render Effects 1065

Using Exposure Controls 1065Automatic, Linear, and Logarithmic Exposure Control 1066Pseudo Color Exposure Control 1066Photographic Exposure Control 1067Tutorial: Using the Logarithmic Exposure Control 1068Creating Atmospheric Effects 1068Working with the Atmospheric Apparatus 1069Adding effects to a scene 1069Using the Fire Effect 1070Tutorial: Creating the sun 1072Tutorial: Creating clouds 1072Using the Fog Effect 1074Using the Volume Fog effect 1075Tutorial: Creating a swamp scene 1077Using the Volume Light effect 1078Adding Render Effects 1078Creating Lens Effects 1079Global Lens Effects Parameters 1080Glow 1081Tutorial: Creating shocking electricity from a plug outlet 1084Tutorial: Creating neon 1086Ring 1087Ray 1087Star 1087Streak 1088Auto Secondary 1088Manual Secondary 1090Tutorial: Making an airplane sparkle 1090

Contents

Using Other Render Effects 1091Blur render effect 1091Brightness and Contrast render effect 1093Color Balance render effect 1093File Output render effect 1093Film Grain render effect 1094Motion Blur render effect 1095Depth of Field render effect 1095Summary 1096

Chapter 46: Raytracing and mental ray 1097

Using Raytrace Materials 1097Raytrace Basic Parameters 1098Extended Parameters rollout 1099Raytracer Control rollout 1099Additional rollouts 1100Tutorial: Coming up roses 1100Using a Raytrace Map 1102Setting raytrace parameters 1102Understanding Global Raytracing Settings 1102Controlling the raytracer 1103Excluding objects 1105Enabling mental ray 1106mental ray preferences 1106mental ray lights and shadows 1107Controlling Indirect Illumination 1114Rendering control 1115Advanced mental ray 1115Using mental ray proxies 1116Summary 1117

Chapter 47: Batch and Network Rendering 1119

Batch Rendering Scenes 1119Using the Batch Render tool 1120Managing scene states 1120Creating a standalone executable 1121Understanding Network Rendering 1121Setting up a Network Rendering System 1122Starting the Network Rendering System 1122Tutorial: Initializing the network rendering system 1123Tutorial: Completing your first network rendering job 1124Job assignment options 1126Configuring the Network Manager and Servers 1127The network manager settings 1127The network servers settings 1129Logging Errors 1129Using the Monitor 1130Jobs 1131Servers 1132Summary 1133

Chapter 48: Compositing with Render Elements and the Video Post Interface 1135

Using External Compositing Packages 1136Compositing with Photoshop 1136Video editing with Premiere 1137Tutorial: Creating a montage of Space Warp animations 1138Video compositing with After Effects 1139Tutorial: Adding animation effects using After Effects 1139Introducing Combustion 1139Using other compositing solutions 1142Using Render Elements 1142Completing Post-Production with the Video Post Interface 1145The Video Post toolbar 1145The Video Post Queue and Range panes 1147The Video Post status bar 1147Working with Sequences 1147Adding and Editing Events 1148Adding an image input event 1148Adding scene events 1150Adding image filter events 1151Adding image layer events 1154Adding external events 1155Using loop events 1156Adding an image output event 1156Working with Ranges 1156Working with Lens Effects Filters 1157Adding flares 1158Adding focus 1160Adding glow 1160Adding highlights 1161Tutorial: Making a halo shine 1162Adding backgrounds and filters using Video Post 1163Summary 1165

Chapter 49: Automating with MAXScript 1169

What Is MAXScript? 1169MAXScript Tools 1170The MAXScript menu 1170The MAXScript Utility rollout 1170Tutorial: Using the SphereArray script 1171The MAXScript Listener window 1173Tutorial: Talking to the MAXScript interpreter 1174MAXScript Editor windows 1176The Macro Recorder 1176Tutorial: Recording a simple script 1178The MAXScript Debugger 1179

Contents

Setting MAXScript Preferences 1181Types of Scripts 1182Macro scripts 1182Scripted utilities 1183Scripted right-click menus 1183Scripted mouse tools 1183Scripted plug-ins 1183Writing Your Own MAXScripts 1183Variables and data types 1183Tutorial: Using variables 1185Program flow and comments 1185Expressions 1186Conditions 1188Collections and arrays 1189Loops 1190Functions 1191Tutorial: Creating a school of fish 1193Learning the Visual MAXScript Editor Interface 1198The Editor interface 1199The menus and the main toolbar 1199Toolbar elements 1200Laying Out a Rollout 1201Aligning and spacing elements 1201Tutorial: Building a custom rollout with the Visual MAXScript Editor 1202Summary 1205

Chapter 50: Expanding Max with Third-Party Plug-Ins 1207

Using Turbo Squid Tentacles 1207Working with Plug-Ins 1209Installing plug-ins 1209Viewing installed plug-ins 1209Managing plug-ins 1210Tutorial: Installing and using the AfterBurn Plug-in Demo 1211Locating Plug-Ins 1212Summary 1213

Appendix A: What’s New with 3ds Max 2009 1215 Appendix B: What’s on the DVD 1219 Index 1223

Every time I enter the computer room (which my wife calls the dungeon), my wife still says that I

am off to my “fun and games.” I, as always, flatly deny this accusation, saying that it is seriouswork that I am involved in But later, when I emerge with a twinkle in my eye and excitedly askher to take a look at my latest rendering, I know that she is right Working with 3D graphics is pure “funand games.”

My goal in writing this book was to take all my fun years of playing and working in 3D and boil themdown into something that’s worthwhile for you, the reader This goal was compounded by the fact thatall you Max-heads out there are at different levels Luckily, this book is thick enough to include a littlesomething for everyone

The audience level for the book ranges from beginning to intermediate, with a smattering of advancedtopics for the seasoned user If you’re new to Max, then you’ll want to start at the beginning and movemethodically through the book If you’re relatively comfortable making your way around Max, thenreview the Table of Contents for sections that can enhance your fundamental base If you’re a seasonedpro, then you’ll want to watch for coverage of the features new to Release 2009

Another goal of this book is to make it a complete reference for Max To achieve this goal, I’ve gone intopainstaking detail to cover almost every feature in Max, including coverage of every primitive, materialand map type, modifier, and controller

As this book has come together, I’ve tried to write the type of book that I’d like to read I’ve tried toinclude a variety of scenes that are infused with creativity It is my hope that these examples will not onlyteach you how to use the software, but also provide a creative springboard for you in your own projects.After all, that’s what turns 3D graphics from work into “fun and games.”

Who Is Max?

Before you go any further, I should explain my naming convention The official name of the product inthis release is 3ds Max 2009, but I simply refer to it as Max This reference is a nickname given to apiece of software that has become more familiar to me than the family pets (whose names are Fuzzy,Snickers, and Pooky) Note: I have not been successful in training Max to come when I call or to sit oncommand, but it will on occasion play dead

One way we humans develop our personalities is to incorporate desirable personality traits from thosearound us Max’s personality is developing as well: Every new release has incorporated a plethora ofdesirable new features Many of these features come from the many additional plug-ins being developed

to enhance Max With each new release, Max has adopted many features that were available as plug-insfor previous releases Several new features have been magically assimilated into the core product, such asthe Character Studio or the Hair and Fur system These additions make Max’s personality much morelikable, like a human developing a sense of humor

Other personality traits are gained by stretching in new directions Max and its developers have plished this feat as well Many of the new features are completely new, not only to Max, but also to theindustry As Max grows up, it will continue to mature by adopting new features and inventing others I justhope Max doesn’t experience a mid-life crisis in the next version.

accom-Along with adopted features and new developments, the development teams at Autodesk have also soughtthe feedback from Max users This feedback has resulted in many small tweaks to the package that enablescenes to be created quicker and easier

Some additional factors have appeared in Max’s house that certainly have an impact on Max’s development.First is the appearance of Max’s adopted brother, Maya There are other siblings in the Autodesk household(including MotionBuilder and AutoCAD), but Maya is closest in age to Max and its personality likely willrub off in different ways

The second big factor is that Max has developed an alter ego that imagines it is a superhero The 3ds Maxinstallation discs ship with both 32-bit and 64-bit versions The 64-bit version overcomes the 2GB hard-ware restriction and lets users work with huge datasets This represents a huge leap forward in the scale ofmodels that you can work with In time, I see Max assuming this superhero persona permanently

Max also has a split personality with two different versions The standard 3ds Max 2009 is intended for theentertainment markets and the new 3ds Max 2009 Design package is intended for visualization and archi-tecture users The differences between these two versions are subtle, but I’m glad to report that both ver-sions are covered

About This Book

Let me paint a picture of the writing process It starts with years of experience, which are followed bymonths of painstaking research There were system crashes and personal catastrophes and the always-present, ever-looming deadlines I wrote into the early hours of the morning and during the late hours ofthe night—burning the candle at both ends and in the middle all at the same time It was grueling and diffi-cult, and spending all this time staring at the Max interface made me feel like well like an animator.Sound familiar? This process actually isn’t much different from what 3D artists, modelers, and animators do

on a daily basis and, like you, I find satisfaction in the finished product

Tutorials aplenty

I’ve always been a very visual learner—the easiest way for me to gain knowledge is by doing things formyself while exploring at the same time Other people learn by reading and comprehending ideas In thisbook, I’ve tried to present information in a number of ways to make the information usable for all types oflearners That is why you see detailed discussions of the various features along with tutorials that showthese concepts in action

The tutorials appear throughout the book and are clearly marked with the “Tutorial” label in front of thetitle They always include a series of logical steps, typically ending with a figure for you to study and com-pare These tutorial examples are provided on the book’s DVD to give you a firsthand look and a chance toget some hands-on experience

I’ve attempted to “laser focus” all the tutorials down to one or two key concepts All tutorials are designed to

be completed in ten steps or less This means that you probably will not want to place the results in yourportfolio For example, many of the early tutorials don’t have any materials applied because I felt that usingmaterials before they’ve been explained would only confuse you

I’ve attempted to think of and use examples that are diverse, unique, and interesting, while striving to makethem simple, light, and easy to follow I’m happy to report that every example in the book is included onthe DVD along with the models and textures required to complete the tutorial

The tutorials often don’t start from scratch, but instead give you a starting point This approach lets me

“laser focus” the tutorials even more; and with fewer, more relevant steps, you can learn and experience the concepts without the complexity On the book’s DVD, you will find the Max files that are referenced

in Step 1 of most tutorials

In addition to the starting point files, every tutorial has been saved at the completion of the tutorial steps

These files are marked with the word final at the end of the filename If you get stuck in a tutorial, simply

open the final example and compare the settings

I’ve put lots of effort into this book, and I hope it helps you in your efforts I present this book as a startingpoint In each tutorial, I’ve purposely left out most of the creative spice, leaving room for you to put it in—you’re the one with the vision

Ninth time around

This book is now in its ninth edition and, like aged cheese, is getting better with time This edition ispacked with the maximum number of pages that can be bound into a paperback book, so if you’re planning

on taking a book to read on a subway ride, take this book and leave all the others behind I’d hate to thinkthat I caused some loyal readers back pain

Several changes have been made in this edition First of all, many of the older tutorials have been retired tomake room for the new features I’ve also included a new Quick Start I’ve also made room for new sectionsthroughout the book covering the new features

Although I’ve strived to make the book comprehensive, there are some features that have fallen by the side and only remain in the software for backward compatibility The Dynamics utility, for example, hasbeen replaced with the much more agile reactor system These deprecated features are mentioned, but notcovered in depth If you need to learn about these features, I suggest you look for a previous edition of the

way-3ds Max Bible where these older features were covered.

Designed for educators

Since the last edition, I’ve begun teaching at the local university, and the experience has made me rethinkhow the book is organized Previous editions presented all the information on specific topics like animationtogether This is a fine approach for experienced users who are getting up to speed with Max, but for stu-dents just starting out, this comprehensive approach easily overloads beginners before they even get out ofthe starting gate

The new approach splits the book into beginning level topics that cover modeling, animation, and ing before moving on to the advanced features in each topic This allows the first half of the book to be usedfor beginning students as an introduction to the software without digging too deep into the advanced, trick-ier features

render-Preface

How this book is organized

Many different aspects of 3D graphics exist, and in some larger production houses, you might be focused ononly one specific area However, for smaller organizations or the general hobbyist, you end up wearing allthe hats—from modeler and lighting director to animator and post-production compositor This book isorganized to cover all the various aspects of 3D graphics, regardless of the hat on your head

If you’re so excited to be working with Max that you can’t decide where to start, then head straight for theQuick Start The Quick Start is a single chapter-long tutorial that takes you through the creation and anima-tion of an entire scene This Quick Start was included in response to some feedback from readers of the firstedition who complained that they didn’t know where to start For those of you who were too anxious towade through a mountain of material before you could create something, this Quick Start is for you.The book is divided into the following parts:

Quick Start—This single chapter (which is actually a chapter in Part I) is an entire animation

project presented in several focused tutorials It is designed to whet your appetite and get you up

to speed and producing animations immediately

Part I: Getting Started with 3ds Max—Whether it’s understanding the interface, working with

the viewports, dealing with files, or customizing the interface, the chapters in this part get youcomfortable with the interface so you won’t get lost moving about this mammoth package

Part II: Working with Objects—Max objects can include meshes, cameras, lights, Space Warps,

and anything that can be viewed in a viewport This part starts by introducing the various tive objects and also includes chapters on how to reference, select, clone, group, link, transform,and modify these various objects

primi-
Part III: Modeling Basics—Max includes several different ways to model objects This part

includes chapters covering the basic modeling methods and constructs including working withspline shapes, meshes, and polys It also introduces modifiers and the Modifier Stack

Part IV: Materials, Cameras, and Lighting Basics—This part shows how to apply basic

materi-als to objects including maps It then delves into using cameras and lights, but it focuses on thebasics of these topics while avoiding the advanced features

Part V: Animation and Rendering Basics—The simplest animation features include keyframing,

constraints, and controllers With these topics, you’ll be able to animate scenes This part alsocovers the basics of rendering scenes

Part VI: Advanced Modeling—This part continues the modeling features with coverage of XRefs,

the Schematic View, mesh modifiers, compound objects, NURBS, patches, hair, fur, and cloth

Part VII: Advanced Materials—The Advanced Materials part include coverage of unwrapping,

UV coordinates, pelt mapping, the Render to Texture interface, and Normal maps

Part VIII: Advanced Animation Techniques—After users are comfortable with the basics of

ani-mation, they can move on to advanced techniques, including animation modifiers, the expressioncontroller, wiring parameters, the Track View, and the Motion Mixer

Part IX: Dynamic Animation—This part covers creating animation sequences using physics

cal-culations It includes coverage of particles, Space Warps, the cool features of reactor, and usingforces to animate hair and cloth

Part X: Working with Characters—This part covers creating and working with bipeds, bone

systems, rigging, skinning, and character crowds It also provides coverage of the various inversekinematics methods