| Introduction |
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xv | |
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1 | (8) |
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2 | (3) |
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2 | (1) |
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3 | (1) |
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3 | (2) |
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5 | (1) |
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Choose a Team with Both Desire and Talent |
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5 | (1) |
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Set Up a Productive Working Environment |
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5 | (1) |
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6 | (1) |
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6 | (3) |
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6 | (1) |
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7 | (1) |
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Learn Cinematic Animation Techniques |
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7 | (1) |
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Determine Output Capabilities in Advance |
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8 | (1) |
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9 | (24) |
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Coordinate Systems in 3ds Max 8 |
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10 | (10) |
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Getting the Lay of the Land |
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11 | (2) |
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The View Reference Coordinate System |
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13 | (1) |
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The Screen Reference Coordinate System |
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13 | (1) |
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The World Reference Coordinate System |
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14 | (1) |
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The Parent Reference Coordinate System |
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14 | (1) |
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The Local Reference Coordinate System |
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14 | (2) |
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The Grid Reference Coordinate System |
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16 | (2) |
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The Pick Reference Coordinate System |
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18 | (1) |
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18 | (1) |
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Coordinate Systems Summary |
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19 | (1) |
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20 | (3) |
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21 | (1) |
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The Object Properties Dialog |
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22 | (1) |
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Settings and Startup Configuration |
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23 | (1) |
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23 | (10) |
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But I Don't Speak the Language! |
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24 | (2) |
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26 | (2) |
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The Importance of the First Vertex |
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28 | (1) |
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29 | (4) |
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Fine-Tuning Productivity Via the 3ds Max Interface |
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33 | (12) |
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Using the Align Tool and Transform Gizmos |
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34 | (11) |
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Aligning Objects Quickly and Accurately |
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35 | (1) |
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Exercise 3.1: Transforming and aligning shapes |
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35 | (5) |
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Increasing Your Productivity: More Gizmo Practice |
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40 | (1) |
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Exercise 3.2: Using Transform gizmos and keyboard shortcuts to enhance productivity |
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41 | (4) |
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45 | (32) |
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46 | (4) |
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Exercise 4.1: Setting the prototype file |
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47 | (3) |
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50 | (13) |
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Exercise 4.2: Applying modifiers to shapes |
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51 | (3) |
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Working with 2D Compound Shapes |
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54 | (1) |
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Exercise 4.3: Creating and editing compound shapes |
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54 | (5) |
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More Sub-Object-Level Editing |
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59 | (1) |
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Exercise 4.4: Trimming and welding 2D shapes |
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60 | (3) |
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Cloning Objects and Using More Modifiers |
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63 | (5) |
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Exercise 4.5: Cloning objects for efficiency and flexibility |
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64 | (4) |
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Using Align Tools to Assemble the Building |
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68 | (9) |
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Exercise 4.6: Aligning objects to the active viewport |
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69 | (8) |
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77 | (34) |
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Applying Modifiers to 3D Primitive Objects |
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78 | (15) |
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Applying a Noise Modifier |
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79 | (1) |
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Exercise 5.1: Creating an undulating ocean bottom |
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79 | (3) |
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Applying Normal and Wave Modifiers |
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82 | (1) |
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Exercise 5.2: Creating a wavy ocean surface |
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82 | (4) |
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Applying a Lattice Modifier |
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86 | (1) |
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Exercise 5.3: Creating a wire cage lobster trap |
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86 | (3) |
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Applying the Mesh Select Modifier |
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89 | (1) |
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Exercise 5.4: Creating a davit to support a pulley and rope |
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90 | (3) |
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Using Lofting to Create 3D Objects |
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93 | (5) |
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Exercise 5.5: Creating a 3D mesh object representing a rope |
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94 | (4) |
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Controlling Lofted Objects Using the Linked XForm Modifier |
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98 | (2) |
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Exercise 5.6: Attaching the rope to the lobster trap |
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98 | (2) |
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100 | (6) |
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Exercise 5.7: Creating a stylized lobster |
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101 | (5) |
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Applying the Symmetry Modifier |
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106 | (5) |
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Exercise 5.8: Creating a whole lobster from a half |
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106 | (5) |
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111 | (18) |
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112 | (1) |
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112 | (1) |
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113 | (16) |
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113 | (1) |
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Exercise 6.1: Setting the field of view |
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114 | (4) |
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118 | (1) |
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Exercise 6.2: Adjusting the camera angle |
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118 | (3) |
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Rule-of-Thirds Composition |
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121 | (1) |
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Exercise 6.3: Composing the camera view |
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122 | (7) |
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129 | (22) |
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130 | (1) |
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Using Sunlight to Calculate Shadows |
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131 | (10) |
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131 | (1) |
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Exercise 7.1: Placing the sunlight system in a scene |
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131 | (3) |
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Sunlight-System Ray-Traced Shadows |
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134 | (1) |
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Exercise 7.2: Optimizing ray-traced shadows |
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135 | (3) |
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Positioning the Sunlight for Time, Date, and Location |
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138 | (1) |
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Exercise 7.3: Positioning a sunlight system |
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138 | (3) |
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Using Omni Lights to Simulate Bounced Light |
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141 | (10) |
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Simulating Atmospheric Light for Landscape and Water Surfaces |
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141 | (1) |
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Exercise 7.4: Lighting horizontal surfaces |
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141 | (6) |
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147 | (1) |
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Exercise 7.5: Using the angle of incidence to evenly light the sky |
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147 | (4) |
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151 | (30) |
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Attenuating Light Using Standard Omni Lights |
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152 | (9) |
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Exercise 8.1: Using Far Attenuation and scaled omni lights |
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152 | (9) |
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Adding Spotlights to the Scene for Accent |
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161 | (5) |
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Exercise 8.2: Placing and adjusting spotlights |
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161 | (5) |
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Adjusting Shadow-Mapped Shadows |
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166 | (3) |
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Exercise 8.3: Using shadow-mapped shadow controls |
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167 | (2) |
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Simulating Shadows Using Projector Maps |
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169 | (4) |
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Exercise 8.4: Creating and adjusting target spotlights |
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169 | (4) |
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Projecting Maps for Efficiency |
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173 | (8) |
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Exercise 8.5: Creating and adjusting a projector map |
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174 | (7) |
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181 | (22) |
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182 | (1) |
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183 | (3) |
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Exercise 9.1: Setting the output resolution for the Web |
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183 | (2) |
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Exercise 9.2: Setting the output file type |
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185 | (1) |
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The Rendered Frame Window |
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186 | (5) |
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Exercise 9.3: Using the rendered frame window to speed production |
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187 | (4) |
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191 | (8) |
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Exercise 9.4: Rendering animations for computer playback |
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192 | (4) |
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Exercise 9.5: Converting still images to animation |
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196 | (3) |
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Rendering for Print Output |
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199 | (4) |
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Exercise 9.6: Using the Print Size Wizard |
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200 | (3) |
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Creating Convincing Materials |
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203 | (24) |
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The Material Editor: Interactive Editing |
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204 | (4) |
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Exercise 10.1: Getting acquainted with the Material Editor |
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205 | (3) |
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208 | (2) |
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Exercise 10.2: Adjusting the parameters of specular highlights |
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208 | (2) |
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Creating Patterned Materials |
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210 | (4) |
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Exercise 10.3: Using maps as color patterns |
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211 | (3) |
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Using Mapping Coordinates to Size Maps |
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214 | (3) |
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Exercise 10.4: Applying and adjusting a UVW Map modifier |
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214 | (3) |
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Creating the Illusion of Geometry Using Bump Maps |
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217 | (5) |
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Exercise 10.5: Using bump maps for raised tiles |
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218 | (4) |
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Generating Reflections in Materials |
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222 | (5) |
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Exercise 10.6: Applying Raytrace map reflections |
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222 | (5) |
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227 | (32) |
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228 | (1) |
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Applying the Mask Map Type |
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228 | (12) |
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Exercise 11.1: Masking at the map level |
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228 | (5) |
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Using Masking in Materials |
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233 | (1) |
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Exercise 11.2: Masking at the material level |
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233 | (7) |
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Assigning Materials to Objects at Face Level |
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240 | (13) |
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Preparing an Object for a Multi/Sub-Object Material |
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240 | (1) |
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Exercise 11.3: Assigning Material ID numbers |
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240 | (3) |
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Creating the Multi/Sub-Object Material |
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243 | (1) |
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Exercise 11.4: Converting a Standard material to a Multi/Sub-Object material |
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243 | (5) |
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Assigning Different Materials Based on Face Normals |
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248 | (1) |
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Exercise 11.5: The Double Sided material type |
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248 | (5) |
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Material Libraries: A Management Tool |
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253 | (6) |
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Exercise 11.6: Building and saving material libraries |
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253 | (6) |
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259 | (26) |
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Simulating Bounced Light Using Global Illumination |
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260 | (1) |
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260 | (7) |
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Exercise 12.1: Changing renderers in 3ds Max 8 |
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261 | (3) |
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Exercise 12.2: Working with photometric lights |
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264 | (3) |
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Radiosity Meshing Parameters |
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267 | (5) |
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Exercise 12.3: Adjusting meshing parameters |
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269 | (3) |
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272 | (2) |
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Exercise 12.4: Accessing and adjusting Exposure Control |
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273 | (1) |
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Radiosity Solution Refinement |
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274 | (3) |
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Exercise 12.5: Increasing radiosity rendering quality |
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275 | (2) |
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Materials for Radiosity Rendering |
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277 | (8) |
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Exercise 12.6: Adjusting reflectance and color bleed |
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278 | (7) |
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285 | (14) |
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286 | (1) |
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287 | (6) |
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Exercise 13.1: Animating a position using Set Key mode |
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287 | (3) |
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Exercise 13.2: Animating rotation in Set Key mode |
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290 | (3) |
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The Track View-Dope Sheet |
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293 | (6) |
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Exercise 13.3: Opening and setting up the Dope Sheet |
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294 | (5) |
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299 | (18) |
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Animating Using Controllers and Constraints |
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300 | (4) |
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Changing an Object's Controller Type |
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300 | (1) |
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Exercise 14.1: Using the path constraint for animation |
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300 | (4) |
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Using Hierarchical Linking for Extra Control |
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304 | (2) |
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Exercise 14.2: Aligning and linking the truck to the dummy |
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304 | (2) |
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Using the Track View-Curve Editor |
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306 | (11) |
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Applying Ease Curves for Velocity Control |
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306 | (1) |
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Exercise 14.3: Adding ease curves in the Curve Editor |
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307 | (2) |
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Editing the Ease Curve to Affect Changes in Velocity |
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309 | (1) |
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Exercise 14.4: Adjusting the Ease Curve graph |
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310 | (3) |
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Changing the Controller to Apply Secondary Motion |
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313 | (1) |
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Exercise 14.5: Adding a Noise controller to the truck for random movement |
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314 | (3) |
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317 | (18) |
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318 | (8) |
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Using the Volume Light Effect |
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318 | (1) |
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Exercise 15.1: Using the Volume Light environment effect |
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319 | (3) |
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322 | (1) |
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Exercise 15.2: Applying Fog and Adjusting its Density |
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322 | (4) |
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Adjusting Particle Flow Effects |
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326 | (9) |
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Exercise 15.3: Adjusting a Particle Flow System |
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327 | (8) |
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Simplified Animation Using Inverse Kinematics |
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335 | (14) |
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Understanding Inverse Kinematics |
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336 | (1) |
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336 | (7) |
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Exercise 16.1: Setting up interactive IK joints |
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337 | (3) |
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Animating with Interactive IK |
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340 | (1) |
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Exercise 16.2: Setting the keyframes |
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340 | (3) |
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Animating with the HI Solver |
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343 | (6) |
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Exercise 16.3: Applying the HI solver |
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343 | (6) |
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349 | (16) |
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Using Reactor to Simulate Collision Dynamics |
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350 | (1) |
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350 | (6) |
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Exercise 17.1: Colliding rigid bodies |
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351 | (5) |
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356 | (5) |
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Exercise 17.2: Simulating cloth using reactor dynamics |
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356 | (5) |
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361 | (4) |
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Exercise 17.3: Running a MAXScript |
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361 | (4) |
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365 | (9) |
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366 | (4) |
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Exercise 18.1: Accessing files using the Asset Browser |
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366 | (4) |
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370 | (3) |
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Exercise 18.2: Merging and replacing objects |
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371 | (2) |
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Compositing Rendered Scenes |
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373 | (1) |
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Exercise 18.3: Compositing images in Video Post |
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374 | |
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