• 3-D Human Modeling and Animation Second Edition
• 3ds max 5 for Dummies
• 3ds Max at a Glance
• Advanced 3ds max 5 Modeling and Animating
• An Essential Introduction to Maya Character Rigging with DVD
• AutoCAD 2008 3D Modeling Workbook For Dummies
• AutoCAD 2009 and AutoCAD LT 2009 All-in-One Desk Reference For Dummies
• AutoCAD2008 and AutoCAD LT 2008: No Experience Required
• AutoCAD: Professional Tips and Techniques
• AutoCAD: Secrets Every User Should Know
• Blender 3D Architecture Buildings and Scenery
• Character Animation: 2D Skills for Better 3D
• Digital Animation Bible: Creating Professional Animation with 3ds Max Lightwave and Maya
• DirectX 3D Graphics Programming Bible
• Foundations of 3D Graphics Programming: Using JOGL and Java3D
• Game Character Development with Maya
• Inside LightWave v9
• Introducing 3ds Max 2008
• Introducing 3ds Max 9: 3D for Beginners
• Introducing AutoCAD 2008
• Introducing Maya 2008
• Introducing Maya 8: 3D for Beginners
• Introducing ZBrush
• Introduction to 3D Game Programming with Direct X 9.0c: A Shader Approach
• Introduction to 3D Game Programming with Direct X 9.0c: A Shader Approach
• Learning 3ds Max 2008 Foundation
• Lightwave 3D 8 Cartoon Character Creation Volume 2: Rigging and Animation
• Lightwave 3D Character Animation
• Mastering Maya 8.5
• Maya 8 at a Glance
• Maya 8 Character Modeling
• Maya at a Glance
• Maya Character Creation: Modeling and Animation Controls
• Maya Professional Tips and Techniques
• Mental ray for Maya - 3ds Max and XSI: A 3D Artists Guide to Rendering
• Thinking Animation: Bridging the Gap Between 2D and CG
• Tips and Tricks For Using AutoCAD 2009
• Understanding 3D Animation Using Maya
• Virtual Vixens: 3D Character Modeling and Scene Placement
• X3D: Extensible 3D Graphics for Web Authors
• ZBrush Character Creation: Advanced Digital Sculpting

Profosyonel olarak 3dsmax ile çalışanlar genelde siyah kullanırlar gözü yormaması ve daha iyi odaklanmak için.Ama eğer başlangıç seviyesinde iseniz sakın siyah ekranı seçmeyniz.

Şimdi

Dökümanı hazırlayan arkadaşa teşekkür ederiz.

Selim karakterini 3ds max'te modelledim. Karakter bitmedi, dişleri, dili falan eksik. Mental Ray fast skin shader kullandım. Böyle kaba bir ön izleme aldım. Belki daha sonra tamamlarım.

Diz não às drogas!

Posso dizer que este foi um trabalho elaborado para uma cadeira de produção de video, e que a equipa (eu , e restantes autores) não teve qualquer apoio da parte do docente... é triste ter de criar video sem ter qualquer conhecimento técnico.

Foi filmado com duas cameras DV e contou com muito improviso e boa disposição! ^^

Área 51

Este foi o meu primeiro projecto de 3D, com o software 3d studio max.

Um pouco arcaico... mas tendo em conta o conhecimento do sotware na altura, está muito bom.

]]> http://dubaiwebdesigner.wordpress.com/?p=3 Wed, 01 Oct 2008 13:11:11 +0000 sanju388 http://dubaiwebdesigner.id.wordpress.com/2008/10/01/v-ray-autodesk-3d-studio-3d-studio-max-tutorials/

September 23, 2008 by sanju388

Antes de entrar a este enlace, coged aire, os hará falta,  ya que encontraréis un website habitado por modelos 3D, texturas, tutoriales, arquitectura, gráficos 3D, Vray, 3ds max, un foro, secciones exclusivas, galería de imágenes de usuarios, making of, render, animaciones, video tutoriales, etc., etc.

Nota: Está todo en inglés, pero vamos, que el idioma no debe de ser inconveniente para entrar a esta web.

Creo que unas cuantas imágenes bastarán para que comprendáis lo que quiero decir.

Evermotion.org

http://www.cgarena.com/freestuff/tutorials/max/xna/index.html

Empecemos...

Entre las figuras básicas que podemos crear están los primitivos standart como:

• Box (caja)
• Cone (cono)
• Sphere (esfera)
• Geosphere (geoesfera)
• Cilynder (cilindro)
• Tube (tubo)
• Torus (dona)
• Pyramid (pirámide)
• Teapot (una tetera) -no muy útil pero ya un ícono de 3D studio cuando se creo-
• Plane (plano)

Los otros tipos de figuras básicas que podemos crear son los primitivos extendidos como:

• Hedra (Doble piramide)
• ChamferBox (cubo con esquinas redondeadas)
• Oiltank (es una forma parecida a un tanque)
• Spindle (parecido a un cilindro pero con tope y fondo cónico)
• Gengon (un cilindro con lados cuadrados)
• Ringwave (es un anillo con el interior entrecortado)
• Prism (un prisma)
• Torus Knot (un figura de lazos entrelados)
• ChamferCyl (cilindro con lados cuadrados que se pueden suavizar)
• Capsule (si algun dia necesitas dibujar una pildora esta es la herramienta)
• L-Ext (una figura en forma de letra L)
• CExt (lo mismo que la anterior pero en forma de C)
• Hose (es una forma de acordeón)

Todas estas son figuras básicas que podemos usar para iniciar los modelados o para complementar lo que ya creamos. Estas son todas:

Todavia podemos crear muchas más figuras complejas, sin embargo si estas empezando a trabajar con 3DS MAX es bueno empezar con las básicas. y trabajar con ellas es bien simple ya que todas se controlan de la misma manera. Veamos por ejemplo la figura basica del cilindro....como lo creamos y controlamos:

PASO 1: Crea un documento nuevo y vete al panel derecho: haz click en crear (ver 1 en la figura) luego click en el botón geometria (ver 2 en la figura) luego click en el desplegable para seleccionar Standart primitives (ver 3 en la figura) y por último click en el botón Cylinder (ver 4 en la figura)

PASO 2: Ya tenemos lista la herramienta. Ahora sólo es cuestión de seleccionar un Viewport (una de las 4 ventandas de trabajo) para crear la figura. Yo voy a usar el Viewport llamado TOP para ver la figura desde arriba, de esta forma es más fácil ver como la figura se crea. Ahora sólo haz un click y sostén el click para crear la base del cilindro, luego suelta el click para empezar a dibujar la altura del cilindro. La mayoria de las figuras se crean sosteniendo el click para controlar la altura, las aristas, el grosor, etc.

PASO 3: Ya el polígono esta listo. Ahora si por casualidad necesitas modificar su ancho, altura, número de caras, etc. lo puedes hacer facilito mediante el menu de modificar. Solo tienes que hacer click aqui:

Estos son los pasos necesarios para crear y controlar los polígonos básicos en 3DS MAX. Ahora el siguiente paso que necesitamos es conocer las herramientas de control que son las que tienen todos los programas de diseño que usarmos: las herramientas para Seleccionar, mover, rotar, y escalar. Estas las consigues en la parte superior de la interfaz:

Ahora puedes con todo esto jugar como si fuesen piezas de madera con los que jugaban nuestros abuelos... sólo que ahora son digitales. Las figuras que puedes crear con ellas te pueden dar nuevas ideas para tus artes y te permiten entender como se visualiza y se entiende el espacio tridimensional. Si quieres obtener una imagen o un Render de lo que estas haciendo presiona en el teclado las teclas SHIFT-Q y veras una ventana con el render del viewport que tengas seleccionado. Para salvar tu imagen sólo haz click en el botón del disquette que está en la ventana que te aparecerá y salva una imagen de tus poligonos.

Ahora sólo resta probar con las figuras. Yo usé algunos de estos poligonos básicos para crear la figura del post. Aqui les muestro la posición de cada una de ellas:

No es dificil...es suuuuper fácil. Sólo necesitas algo de tiempo y dedicación ;) mas adelante veremos otras tecnicas para modelar con 3DS MAX, asi como también el manejo y aplicación de texturas.

saludos a todos.

Luis S.

Camaras in V-ray

understanding step by step the camaras settings in V-ray

Image: © courtesy of Chaosgroup

The cameras in VRay generally define the rays that are cast into the scene, which essentially is how the scene is projected onto the screen. VRay supports several camera types: Standard, Spherical, Cylindrical (point), Cylindrical (ortho), Box and Fish eye. Orthographic views are supported too.

Override FOV - with this setting you can override the 3dsmax's FOV angle. This is because some VRay camera types can take FOV ranges from 0 to 360 degrees, whereas the cameras in 3dsmax are limited to 180 degrees.

FOV - here you specify the FOV angle (only when Override FOV is turned on and the current camera type supports FOV angle).

Height - here you can specify the height of the Cylindrical (ortho) camera. Note: this setting is available only when the Type is set to Cylindrical (ortho).

Auto-fit - this setting controls the auto-fit option of the Fish-eye camera. When Auto-fit is enabled VRay will calculate the Dist value automatically so that the rendered image fits horizontally with the image's dimensions.

Dist - this setting applies only to the Fish-eye camera. The Fish-eye camera is simulated as a Standard camera pointed to an absolutely reflective sphere (with a radius of 1.0) that reflects the scene into the camera's shutter. The Dist value contorts how far is the camera from the sphere's center (which is how much of the sphere will be captured by the camera). Note: this setting has no effect when the Auto-fit option is enabled.

Curve - this setting applies only to the Fish-eye camera. This setting contorts the way the rendered image is warped. A value of 1.0 corresponds to a real world Fish-eye camera. As the value approaches 0.0 the warping is increased. As the value approaches 2.0 the warping is reduced. Note: in fact this value controls the angle at which rays are reflected by the virtual sphere of the camera.

Image: © courtesy of Chaosgroup

Type - from this list you can select the type of the camera. The available types are Standard, Spherical, Cylindrical (point), Cylindrical (ortho), Box, Fish eye. See the Examples section for a more detailed discussion on camera types.
Standard - this is a standard pinhole camera.
Spherical - this is a spherical camera which means that the camera lenses has spherical form.
Cylindrical (point) - with this type of camera all rays have a common origin - they are cast from the center of the cylinder. In the vertical direction the camera acts as a pinhole camera and in the horizontal direction it acts as a spherical camera.
Cylindrical (ortho) - in vertical direction the camera acts as an orthographic view and in the horizontal direction it acts as a spherical camera.
Box - the box camera is simply 6 standard cameras placed on the sides of a box. This type of camera is excellent for generation of environment maps for cube mapping. It may be very useful for GI too - you can calculate the irradiance map with a Box camera, save it to file and you can reuse it with a Standard camera that can be pointed at any direction.
Fish eye - this special type of camera captures the scene as if it is normal pinhole camera pointed at an absolutely reflective sphere which reflects the scene into the camera's shutter. You can use the Dist/FOV settings to control what part of the sphere will be captured by the camera. The red arc in the diagram corresponds to the FOV angle. Note that the sphere has always a radius of 1.0.
Depth of field
On - turns the depth-of-field effect on.

Image: © courtesy of Chaosgroup

Aperture - this is the size of the virtual camera aperture, in world units. Small aperture sizes reduce the DOF effect, larger sizes produce more blur.

Center bias - this determines the uniformity of the DOF effect. A value of 0.0 means that light passes uniformly through the aperture. Positive values mean that light is concentrated towards the rim of the aperture, while negative values concentrate light at the center.

Focal distance - determines the distance from the camera at which objects will be in perfect focus. Objects closer or farther than that distance will be blurred.

Get from camera - when this option is on, the Focal distance is determined from the camera target, if the rendering is done froma camera view.

Sides - this option allows you to simulate the polygonal shape of the aperture of real-world cameras. When this option is off, the shape is assumed to be perfectly circular.

Rotation - specifies the orientation of the aperture shape.

Anisotropy - this option allows the stretching of the bokeh effect horizontally or vertically. Positive values stretch the effect in the vertical direction. Negative values stretch it in the horizontal direction.

Subdivs - controls the quality of the DOF effect. Lower values are computed faster, but produce more noise in the image. Higher values smooth out the noise, but take more time to render. Note that the quality of sampling also depends on the settings of the QMC sampler as well as on the chosen Image sampler.
Motion blur
On - turns motion blur on.

Duration - specifies the duration, in frames, during which the camera shutter is open.

Interval center - specifies the middle of the motion blur interval with respect to the 3dsmax frame. A value of 0.5 means that the middle of the motion blur interval is halfway between the frames. A value of 0.0 means that the middle of the interval is at the exact frame position.

Bias - this controls the bias of the motion blur effect. A value of 0.0 means that the light passes uniformly during the whole motion blur interval. Positive values mean that light is concentrated towards the end of the interval, while negative values concentrate light towards the beginning.

Prepass samples - this controls how many samples in time will be computed during irradiance map calculations.

Blur particles as mesh - this option controls the blurring of particle systems. When this is on, particles will be blurred like normal meshes. However, many particle systems change the number of particles between frames. You can turn off this option to compute the motion blur from the velocity of the particles instead.

Geometry samples - this determines the number of geometry segments used to approximate motion blur. Objects are assumed to move linearly between geometry samples. For fast rotating objects, you need to increase this to get correct motion blur. Note that more geometry samples increase the memory consumption, since more geometry copies are kept in memory.

Subdivs - determines the quality of the motion blur. Lower values are computed faster, but produce more noise in the image. Higher values smooth out the noise, but take more time to render. Note that the quality of sampling also depends on the settings of the QMC sampler as well as on the chosen Image sampler.
Notes
• Depth of field is supported only for the Standard camera type. Other camera types do not produce depth of field effect at this time.
• When DOF and motion blur are both enabled, they are sampled together using the higher of the two Subdivs parameters.

A free version of V-ray (1.09.03)is avaiable here (must login first)

A demo version of the last released version of V-ray (1.47.05)is avaiable here (must login first)

After spending a few weeks working with a beta version, I've concluded that there's just enough that's better in the CS4 updates to Photoshop and Photoshop Extended — most notably, usability improvements for core features — that many people will find themselves sighing, biting the bullet, and upgrading. That bullet-biting stems from Adobe's traditionally steep upgrade pricing — in this case, £139 (ex. VAT) for Photoshop and £275 (ex. VAT) for Photoshop Extended — combined with the knowledge that in 18 months Adobe will be asking for another upgrade because it only partly ported over the interface changes and that 2009's latest version will have delivered on the promises of this version's technology upgrades.

In some ways, this version feels like a necessary evil. Adobe has obviously put a lot of work into it, but most of it is under the surface — way under the surface from the perspective of the everyday user. The entire 3D engine (in Extended) has been migrated from a PDF-based architecture to OpenGL, and the company has seeded OpenGL support throughout the application. The panels architecture is now extensible via Flash, allowing Adobe, or third parties, to create their own panels or modify some of the existing ones. And via the release of the Pixel Bender SDK, the filter library is not only extensible but has integrated GPU and multi-core acceleration. All of this is essential in order to allow future versions of Photoshop to evolve. However, the move to support 64-bit Windows, and multi-touch inputs and 16-bit printing on the Mac, are probably the only technology changes that will significantly impact users of this version.

Extended users will benefit more immediately from these underlying changes than Standard users. For the latter, OpenGL support primarily manifests itself as some whizzy screen zooming and rotation tools that demo impressively but are unlikely to be used much. However, Adobe has greatly improved Extended's 3D support. It now offers most of the essential render settings and view controls, plus the ability to create primitives (and extend the library of primitives), necessary to work with 3D models. You edit and paint on textures simply by double-clicking on them in the Layers palette, then see your changes applied when you toggle back to the model — not quite real-time, interactive painting, but close enough for now. And now there's basic keyframe animation for 3D scenes. Still there's room for improvement: it needs better lighting handling and the ability to tile textures, and several aspects of the interface, like the Rendering options, are still far too dialogue-driven.

That mixture of real-time and dialogue-driven still permeates the interface of Photoshop in general, despite some advances. For example, if you use Photoshop for web or print production work, the move to modeless Adjustment and Masks panels for real-time adjustments and previewing of changes in mask feathering and density is potentially a huge time-saver. But all the ancillary operations, such as the Radius, Contrast, Smooth, (another) Feather and Contract/Expand parameters controlled by Refine Mask, remain in a modal dialogue box.

So while there are a few tweaks, such as the new tabbed windows (you can still float them, though) and jarring all-caps text, long-time users won't encounter a lot to slow down their workflow. On the upside, tool shortcut keys now behave in what Adobe refers to as a 'spring loaded' fashion. That means that if you hold down the shortcut key for one tool while another is selected in the toolbar, it temporarily overrides the toolbar until you release the key. Very nice. On the other hand, I don't particularly like the iconic representations of the adjustments in the new panel — you can't tell what they are without mousing over them and reading the text — but you can just ignore them and use the adjustment layer pop-up on the Layers palette as always.

Aside from the real-time adjustments, there's not a lot new here for Photoshop's core photo-editing audience. Adobe Camera Raw is now up to version 5, and has been brought more into sync with the way Lightroom handles files. It includes local retouching brushes like that application, although I suspect the quick fixes for which they're intended are less important when opening into Photoshop than in Lightroom. And now that you've trained yourself not to use Dodge, Burn and Sponge — because they've worked so poorly for the last 10-plus versions — Adobe has fixed them, by limiting the areas of the tonal range to which they apply. The Vibrance control, a saturation adjustment that preserves skin tones and which has made it into all the other Adobe photo applications, finally comes to Photoshop as well.

Also useful (some might say overdue) the Clone Stamp and Healing brushes now display a preview of what it will be stamping or healing, and brush size in general is now interactive.

Adobe has also tweaked the Color Range Select tool, adding the ability to limit the selection to 'Localized Color Clusters'. It sounds nice, but I couldn't get it to work well in any meaningful way; rather than limit it to contiguous colours that meet the specified criteria, as I expected, it seemed to limit the range to a user-specified-size circle around a sample point. An extension of the old Auto Align and Auto Blend capabilities combines the sharpest areas of several layers of similar images, which Adobe promotes as delivering an extended depth-of-field image. In practice, you have to be very careful or end up with an odd mixture of blur and sharp that bears no resemblance to anything producible with a camera. Those image combination scripts have also been beefed up with vignette (edge darkening) and fish-eye distortion correction when creating panoramas.

Also nice in theory, but not so much in practice, is Content-Aware scaling, Adobe's implementation of seam-carving technology. This feature looks and acts like a first stab at an interesting capability; the results are unpredictable and frequently not up to the standards of a typical Photoshop user. Photoshop also has ostensibly better integration with Lightroom 2 (still in beta), but the workflow still seems fairly clunky to me. You make adjustments in LR, then save the metadata, open it in Photoshop, make changes and save; then you have to force a read of the metadata to update the display in LR. Given that LR 2 hasn't shipped yet, let's hope Adobe comes up with something a bit more elegant.

And, of course, there's the inevitable disappointment with the stuff Adobe hasn't changed, such as the poor print layout controls and embarrassingly primitive text handling. Performance conclusions will have to wait for final code, and only time will tell if Adobe has fixed its heinously annoying updater.

There's more, of course, but nothing that screams 'I'm going to make your life easier!' Which is why I suspect users will be sighing when they lay down the cash for the upgrade rather than eagerly anticipating all the fun times ahead. Maybe that will come with CS5, when the fruits of Adobe's technological labours have ripened.

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