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As of my freshman year, I will be posting content centered around a certain topic. You can expect my blog posts to feature well-written sentences.
Brady Bryan
In the last few units, I have learned how to animate cameras utilizing different types of camera angles with different types of cameras, illuminating scenes with various types of lights based on what the scene constitutes, and rigging objects to change how it interacts with the environment while changing form in the middle of its movement. As you can tell from this list of knowledge, these are all time-consuming processes. While this entirely depends on the level one quality one seeks, it is bound to take a while to properly set each object and alter the settings for an optimal render. Lighting has been the hardest skill to learn during the past two months. This is primarily due to certain lights functioning properly when a certain renderer is chosen. Additionally, the color for some lights require adjustment for the scene to not become over-saturated with lighting. The placement of the lights matter much more than one would originally think, especially when considering certain lights. This normally constitutes the addition of multiple lights or an omni light with a decreased intensity. Doing the "Depth of Field" assignment was a pain because the omni light cast shadows on the spheres in directions where they would overlap. While the solution seems simple, moving the spheres around caused them to fall out of the FOV of the camera which would decrease the visibility of the blurriness around further objects, depicting how they affect each other. Aside from minor inconveniences that are bound to happen with first-time learners, lights, cameras, and rigging can be put to good use as I have done here, and they can enhance older projects by quite the margin. I hope to learn more about their applications to enhance the quality of my scenes. Recap:
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Brady Bryan
Using lights in 3ds Max so far has been fairly simple. However, such a simple application of lights adds so much to my scene. The creation of shadows cast by the light and objects adds so much detail to my scene, especially when objects are placed on top or in front of one another. Mixing different-colored lights together create a new color (obviously). However, the intensity and opacity also play a role in the color's visibility. For instance, mixing red, blue, and yellow together yielded a warm, opaque, pinkish. There is even an option for the light to cast shadows of different colors, materials, and opacity as shown here. As for general light settings, the general size of the light ray can be altered via changing the parameters of the falloff/field option. However, the size of the central light ray can be altered via the hotspot/beam option. Something that I found to be odd was the overshoot option which, when checked, fills the entire exposed scene with a specific color. I have yet to realize a viable application for this option that outrules simply using an omni light which practically does the some thing. Pairing scenes with applied materials and maps with lights make the scene appear as detailed as can be. It almost makes you wonder why lights aren't labeled as a subgroup of the environment option in 3ds Max. Lights can also have a rectangular reflection as opposed to a basic circle as shown here (the outermost light). Lights have a lot of versatility in 3ds Max, and can add so much more detail to a basic scene that only contains a solid-colored primitive. Minimalism and highly-detailed scenes can only be reached with the addition of lights. Recap:
Brady Bryan
So far, using UVW Wrapping in 3ds Max has been an interesting experience. All of the various ways that it can be applied to multiple objects have yet to be seen. Its uses can be exploited differently based in whether you edit the material in a Slate Material Editor or Compact Material Editor. As I am using the Slate Material Editor, I have to get used to seeing an interface different than what I'm used to and locating certain parameters and options. Because of this, using UVW Wrapping efficiently has become a sort of challenge to me as I am not familiar with the interface. The only reason why I'm using the Compact Material Editor is because it appears that all the settings for the materials of the UVW Wrap are located in one general interface (as the name suggests). However, as I continue to use the Compact Material Editor, I not only become more familiar with the layout, but with the UVW Wrapping options as well. Apart from the learning curve that I have to deal with, the UVW Wrapping itself seemed useless at first as you could virtually accomplish the same task by applying a bitmap to a standard material to all sides of a primitive. However, as the name suggest, UVW Wrapping does not necessarily require multiple bitmap files but can instead wrap a single bitmap containing different designs to wrap around a given primitive in such a way that each side contains a different image. I find this aspect interesting as you can simply take a picture of real-life object and apply the image to a primitive to model realistic objects. Thanks to this, I now understand how modelers were able to give textures to Minecraft mobs and in-game towers. Recap:
Brady Bryan
Recently, we have started to get into the nitty-gritty of utilizing 3DS Max in applicable ways with the use of MassFX and particle systems. However, none of this would have been possible without gaining a deep understanding for the essentials: base knowledge. From learning what primitives are and how parameters work to applying various modifiers and adding forces and daylight systems, we have come quite a long way. The most interesting tools we have learned thus far to me in general are the tools we recently learned, primarily MassFX, forces, and particle systems. All three of these tools simulate real-world physics, which is an important feature to consider when creating assets for a video game as it is not only reminiscent of the real world and simply looks good, but it also prevents certain objects from looking static and stale. As we are given more assignments, we will most likely be expected to make our scenes appear more realistic and less solid and simple. As a result, we will not only have to implement other types of tools into our scenes, but several at one time. Other tools that I enjoyed using were the Hair and Fur modifier and the foliage AEC Extended Primitive. As the name suggests, the Hair and Fur modifier allows you to generate different types of hair, fur, and even grass while changing the height, placement, and color of them on a specific surface. The foliage primitive allows the user to generate different types of trees, bushes, and other shrubbery while changing the scale and seed (a number that dictates the overall look and orientation of the foliage). As we continue to use 3DS Max, I hope to create more realistic and interesting scenes which incorporate new tools. Recap:
Brady Bryan
Up to this point, I have had a very bare-bones experience with creating simulations in 3DS Max. I have only worked with the "Cloth" modifier and particle systems. The most difficult part about working with simulations is finding the right parameters to create a moderately realistic scene without crashing the application. Even with my computer at home which runs 3DS Max better than the old computers that we use in class, increasing the number of segments and/or particles generated by the application is strictly limited by the capabilities of the hardware and software. As a result, using simulations to its fullest potential is primarily based on the simplicity of the content being created. However, what I enjoy the most out of creating simulations are viewing the animations and how smooth they can be, particularly with the "Cloth" modifier. It is very interesting to watch how a supposed cloth interacts when dropped over different primitives. Just as the name suggests, simulations can be used to add extra details to multiple assets (just as any other modifier does). For example, if someone wanted to add extra detail to a cabin scene with couches, tables, and a bed, they can add a "Cloth" modifier to a plane and/or another flat service and simulate it over any of the aforementioned objects to give the scene a more comfy ambiance. Another example would be a bakery scene in which multiple donuts are being glazed or are being sprinkled in which one would use a particle system ("Blobmesh" in particular) to simulate the falling of sprinkles. While these are simple examples, professional modelers will make use of the "MassFX" and "Space Warp Objects" simulations where objects will interact with each other while abiding by real-world physics, adding a sense of realism to a scene. Cloth Example: Cloth Citations:
Brady Bryan
3D modeling is becoming more prominent as technology continues to develop. We now use 3D assets in video games, movies, cartoons, and the like. Using a multitude of different software, professionals are able to simulate real life by turning basic primitives into works of art, and in order to come closer to realism, it is important to develop your skills. 3D models effectively capture the viewer's attention due to having extensive details. Taher Mohammed is a professional 3ds Max user from Egypt. One example of his 3D modeling skills is his rendition of a private villa designed for a client. He clearly put a considerable amount of time into it as he includes a blueprint with measurements to help him plan out his course of action from multiple views. The blueprints include several rooms, each with different measurements in order to make the villa as lifelike as possible. At first glance, you can tell that he used certain modifiers to create certain areas such as the balcony, the railing, and the doors, as well as various materials from the material editor. His portfolio contains other models including another private villa, an Andalusian palace, and an office building, which contains other assets than just a building in contrast to the 2011 version of the private villa. Works like these inspire me to do the same by using various modifiers on primitives, splines, and compound objects, as well as experimenting with options that I have never used. Mohammed clearly did his research on how to model a building, which is quite admirable. To emulate his work, I could start using the material editor more often to give certain shapes a realistic look instead of a solid color for upcoming assignments, as well as try out a new modifier at least once a week. Citations:
Resembling Piece: Rubiks Cube Brady Bryan
Ever wanted to create a model of your favorite cartoon character? Perhaps even for your own 3D video game? Then 3ds Max is the application for you! It is an application that allows you to do just that with a plethora of tools. It is unlike any Adobe product (unless you count Adobe Fuse) in that you work with 3D shapes (primarily that is) instead of 2D graphics. It is also more hardware heavy as a result, so don't expect it to work on an old computer. As soon as you open 3ds Max on your computer, you will be prompted with a window that features different templates. These range from a deep sea background to a forest background. As this is your first time in 3ds Max, it is recommended that you ignore the templates provided, as they will be a distraction to your firsthand experience. Simply exit the window to reappear in the standard window. You will be greeted with four different squares, each with a different angle of the same image. These are called "viewports," and will quickly become your best friend as you continue to model, as they allow you to view your product in several different ways. Inside each viewport is a grid, which serves as a basic surface to begin modeling on. The coordinates of your product are located right beneath it in terms of the "X, Y," and "Z" axes. The most common angle of a viewport (and recommended) is perspective. Just as the name suggests, you are able to view your product at any angle possible. You can maximize the size of a viewport by pressing "Alt-W." In order to pan across the viewport, simply press down on the scroll wheel of your mouse and move it around. To rotate around it, hold down the "Alt" key while panning. To zoom in and out, simply scroll up or down on the mouse respectively. If you think that navigating throughout a single viewport is troublesome enough, you'll have a harder time understanding how to model. Regardless, all of these techniques will become ingrained in your memory as you get used to using 3ds Max. You will be able to navigate without a second thought. It will take a long while before you even get to learn half of 3ds Max's tools and settings by heart. All it takes is a little willpower... Recap:
Brady Bryan
To create the robot for the assignment, I used a few different modifiers on certain primitives to make their edges more round instead of sharp. This was accomplished with the chamfer modifier, and was used on the feet of the robot, as well as its body and mouth (essentially only on the boxes). The feet were the first objects that were chamfered, and was used as a reference point for the other objects to decide on an appropriate amount and tension for each object. I would liked to increase the number of segments for the chamfered objects to make them look smoother, but 3DS Max couldn't handle it. For the legs, arms, and "pants", I used the tessellate modifier on four copied cylinders to give the ends of the cylinders an interesting edge. This also makes it look as tough the robot has joints where the cylinders meet. I simply added a tessellate modifier to the "pants" and arms just for consistency. For the fingers, I added a ripple modifier to two cones to bend them slightly. For the eyes and eyeballs, I just used a shell modifier to expand the spheres, and I brought the eyeballs out along the x-axis to have them poke out slightly. Recap:
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AuthorBrady Bryan is quite familiar with blogs since he had to frequently post on his blog in 6th grade. Although its been a long time since then, he still knows what a proper blog should look like. Archives
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