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.
Professionals who are tasked with producing renders with 3ds Max or 3ds Max® Design,
or Maya® using mental ray and iray and want to enhance their knowledge and productivity; and Autodesk® Premium Suites users who have access to 3ds Max Design
As the Director of Digital Artists at Blue Marble 3D, Jennifer manages the production of 2D, 3D, and Virtual Reality models and images. She joined the company in February of 2012 as 3D Visualization Specialist, bringing with her over 27 years of experience in 2D and 3D CAD.Jennifer is the author of 5-star rated book "Mastering mental ray. Rendering Techniques for 3D & CAD Professionals" (Sybex 2010), where she literally "wrote the book" on 3d rendering for architecture and design.In addition to her work at Blue Marble 3D, since 1996 Jennifer has worked as an adjunct college professor at the College of Lake County, teaching classes in 3ds Max Design and 3D Architectural Illustration, along with classes in AutoCAD, Revit, Inventor, and Computer Concepts. Jennifer is the President and founder of the Autodesk Animation User's Group Association (AAUGA) for Chicago, a group focusing on 3ds Max/Design. The User's Group web site is at www.render-art.com.
In 2013, George was appointed Principal of Blue Marble 3D, heading up the division which had already begun expanding beyond Chipman Design's architecture clients. Recognized throughout the industry, George has presented at Autodesk University Conferences in Las Vegas on rendering and animation technology as well as conducting widely-subscribed webinars for BOXX, NVIDIA and Autodesk. Blue Marble 3D places fundamental importance on supporting each client in ways to best utilize their existing technologies. Beyond creating the latest in leading-edge imagery, his team also provides a range of consultative services including technical training and development of new technology in conjunction with its strategic partners.
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.
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.
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.
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.