No matter how good the modeled geometry in 3ds Max® software is, without the application of good materials, the final rendered images and animations look subpar. Throughout the development of 3ds Max and prior to the 2011 release, the only way to manage materials was through the Compact Material Editor. This relatively small interface could be very cumbersome when trying to understand how a material needs to be developed. The introduction of the Slate Material Editor made a larger dialog for materials and associated maps available, implementing a very intuitive node-based graphic display process that can create hierarchical wired material trees. Using 3ds Max and 3ds Max® Design software, you can learn the principles of node-based material creation, its flexibility, and ease of use.
Beginner to intermediate-level end users of 3ds Max and 3ds Max Design who are focused on design visualization,
and those who want to improve the look of their 3ds Max and 3ds Max Design renderings
Marcus Kim is a Business Consultant for Autodesk Consulting with over 15 years of industry experience and has spoken at AU in 2011 and 2010. Prior to Autodesk, he has served as the BIM Manager at the Chicago office of Skidmore Owings and Merrill on many early BIM projects and has held lead roles at other AEC firms for competitions, design visualization, design architecture, and technical architecture. At Autodesk, Mr. Kim provides enterprise-level BIM consulting, BIM and design visualization training, and has mentored his customers throughout every critical phase of a project. Outside of Autodesk, Mr. Kim volunteers his time to chair the Chicago Chapter of the Computer Graphics Society, a non-profit organization, whose mission is to mentor professionals and students in the latest design and visualization techniques. Mr. Kim has a BA in Architecture from the University of Illinois Chicago, and an AAS in Digital Media from the American Academy of Art in Chicago.
In today's design industry, 3D visualization has become an important part of the practice. Media and entertainment studios have long developed compositing techniques for their renderings, a method in which visual elements from a 3D scene are sent out as separate elements and stylistically reassembled through a compositing program into a single image. However, in the architecture design industry, these techniques are little known or typically practiced to a very limited degree using available software such as Adobe® Photoshop®. There exists a common misconception that a Hollywood-like compositing workflow is too expensive or beyond their reach. For architectural companies that have 3ds Max® software, a powerful compositing program called Autodesk® Composite is already inherently available. From Autodesk Composite software, learn how to assemble your rendered layers and make post-production changes that impact the look and feel of your final rendered image.
In this hands-on lab, you learn to use the tools and capabilities of the new Populate feature in 3ds Max and 3ds Max Design. Together, we will put in walk flows and idle areas, adjust flow points and segments, create ramps, and dial in densities, distributions, and direction.
Using the mental ray rendering engine in 3ds Max Design software can be an intimidating effort. This class primarily focuses on demystifying global illumination (GI) and final gather (FG) within the context of the interior and exterior rendering types that are typical of architecture, engineering, and construction (AEC) visualization. Included in the class materials are tutorials complete with ready-made scenes to help you practice with the mental ray rendering process as well as experiment with mental ray settings on your own.
This class gives you a challenging and fast-paced look at recent advances in mental ray® Standalone 3D rendering software and the NVIDIA® iray® renderer with 2014 Autodesk® software releases. In this class we cover (1) the use of mental ray image-based lighting (IBL) in 3ds Max® 2014 software for product rendering, (2) the use of the Skylight IBL mode for final gathering, (3) the use of String Options in the new UI and through MAXScript to access hidden features of mental ray such as progressive rendering, importons, and irradiance particles, and IBL in 3ds Max 2013, (4) the use of the new Unified Sampling option, and how it compares to previous options (5) the new Architectural and Caustics modes in iray 3.1, and (6) optimal hardware options for using iray.