Autodesk 3ds Max 2013 Bible E-Book

Kelly L. Murdock

• Herausgeber: John Wiley & Sons
• Kategorie: Wissenschaft und neue Technologien
• Serie: Bible
• Sprache: Englisch

Seitenzahl: 1182

Veröffentlichungsjahr: 2012

Beschreibung

Updated version of the bestselling 3ds Max book on the market Autodesk 3ds Max is top animation software used by developers, visual effects artists, and graphic designers in film, television, and the game industry. One place designers turn for crucial information on how to use 3ds Max is this in-depth book. Whether you're a beginner just itching to create something right away or an experienced user checking out the latest and greatest features, you'll find it here. See what's new, what's tried and true, and just how creative you can get using the tips, tricks, and techniques in this essential reference. Every previous edition has been a top-seller. * Packs expert advice, timesaving tips, and more than 150 step-by-step tutorials into over 800 pages that help you master this complex software * Gives you in-depth coverage of all new features, as well as the basics * Jump-starts your learning on day one with a Quick Start tutorial, so you can create an exciting animation right away * Provides you with access to all before-and-after example files from each tutorial, plus unique models and textures that you can customize on the companion CD * Includes extra content from previous editions of the 3ds Max Bible, including bonus Quick Start tutorials from previous editions Whether you're just starting out or getting up to speed on 3ds Max 2013, this comprehensive book will get you there.

Leseprobe

Autodesk® 3ds Max® 2013 Bible

Table of Contents

Wiley publishes its books in a variety of electronic formats and by print-on-demand. Not all content that is available in standard print versions of this book may appear or be packaged in all book formats. If you have purchased a version of this book that did not include media that is referenced by or accompanies a standard print version, you may request this media by visiting http://booksupport.wiley.com. For more information about Wiley products, visit us www.wiley.com.

Part I: Getting Started with Autodesk 3ds Max 2013

Quick Start: Falling from a Tightrope

Planning the Production

Setting Up the Scene

Tutorial: Creating the objects

Tutorial: Balancing the biped

Tutorial: Adding a balance pole

Adding a Camera and Light

Tutorial: Adding a camera and light

Tutorial: Rendering a test preview

Animating the Great Fall

Tutorial: Creating animation keys

Tutorial: Linking objects

Tutorial: Animating with MassFX

Tutorial: Rendering the final animation

Summary

Chapter 1: Exploring the Interface

Learning the Interface Elements

Using the Menus

Using the Toolbars

Docking and floating toolbars

Using tooltips and flyouts

Using the Quick Access toolbar

Learning the main toolbar

Using the Modeling Ribbon

Using the Viewports

Using the Command Panel

Working with rollouts

Increasing the Command Panel's width

Tutorial: Rearranging the interface for lefties

Using the Lower Interface Bar Controls

Interacting with the Interface

Gaining quick access with the right-click quad menus

Using Caddy controls

Understanding the button color cues

Using drag-and-drop features

Controlling spinners

Understanding modeless and persistent dialog boxes

Using Workspaces

Getting Help

Using the InfoCenter toolbar

Viewing the Essential Skills Movies

Using the online reference guides

Using the rest of the Help menu

Summary

Chapter 2: Controlling the Viewports

Understanding 3D Space

Learning Axonometric versus Perspective

Learning orthographic and isometric views

Discovering the viewports in 3ds Max

Using the Navigation Gizmos

Working with the ViewCube

Using the SteeringWheels

Tutorial: Navigating the active viewport

Controlling Viewports with a Scroll Wheel Mouse

Using the Viewport Navigation Controls

Zooming a view

Panning a view

Walking through a view

Rotating a view

Maximizing the active viewport

Controlling camera and spotlight views

Setting the navigation controls to match Maya

Changing the Viewport Display

Undoing and saving viewport changes

Disabling and refreshing viewports

Setting the viewport visual style

Viewing stylized scenes

Enhancing the Viewport

Changing the viewport layout

Displaying Safe Frames

Using clipping planes

Tutorial: Viewing the interior of a heart with clipping planes

Locating mesh problems with xView

Displaying Materials, Lighting, and Shadows in the Viewport

Viewing materials in the viewports

Displaying lighting and shadows in the viewports

Working with Viewport Backgrounds

Changing the viewport background

Loading viewport background images

Loading viewport background animations

Tutorial: Loading reference images for modeling

Summary

Chapter 3: Working with Files

Working with 3ds Max Scene Files

Using the Application Button

Using the Welcome Screen

Starting new

Saving files

Archiving files

Opening files

Setting a Project Folder

Merging and replacing objects

Getting out

Importing and Exporting

Importing supported formats

Import preference

Exporting supported formats

Moving files to other Suite packages

Manually moving files to and from Maya

Using the File Utilities

Using the Asset Browser utility

Finding files with the Max File Finder utility

Collecting files with the Resource Collector utility

Accessing File Information

Displaying scene information

Viewing file properties

Viewing files

Summary

Part II: Manipulating Objects

Chapter 4: Creating and Editing Primitive Objects

Selecting System Units

Using Custom and Generic units

Handling mismatched units

Rescaling world units

Creating Primitive Objects

Using the Create menu

Using the Create panel

Naming and renaming objects

Assigning colors

Using the Color Clipboard

Using different creation methods

Using the Keyboard Entry rollout for precise dimensions

Altering object parameters

Recovering from mistakes and deleting objects

Tutorial: Exploring the Platonic solids

Using Modeling Helpers

Using Dummy and Point objects

Measuring coordinate distances

Tutorial: Testing the Pythagorean Theorem

Summary

Chapter 5: Selecting Objects and Using Layers

Selecting Objects

Selection filters

Select buttons

Selecting with the Edit menu

Selecting multiple objects

Using the Paint Selection Region tool

Tutorial: Selecting objects

Using named selection sets

Editing named selection Sets

Locking selection sets

Isolating the current selection

Selecting objects in other interfaces

Setting Object Properties

Hiding and Freezing Objects

Using the Display Floater dialog box

Using the Display panel

Tutorial: Hidden toothbrushes

Using Layers

Using the Layer Manager

Using the layer list

Tutorial: Dividing a scene into layers

Using the Scene Explorer

Selecting and filtering objects

Finding objects

Editing in the Scene Explorer

Summary

Chapter 6: Transforming Objects, Pivoting, Aligning, and Snapping

Translating, Rotating, and Scaling Objects

Translating objects

Rotating objects

Scaling objects

Using the transform buttons

Working with the Transformation Tools

Working with the Transform Gizmos

Using the Transform Toolbox

Using the Transform Type-In dialog box

Using the Status Bar Type-In fields

Understanding the Transform Managers

Tutorial: Landing a spaceship in port

Using Pivot Points

Positioning pivot points

Aligning pivot points

Using the Working Pivot

Transform adjustments

Using the Reset XForm utility

Tutorial: A bee buzzing about a flower

Using the Align Commands

Aligning objects

Using the Quick Align tool

Aligning normals

Tutorial: Aligning a kissing couple

Aligning to a view

Using Grids

The Home Grid

Creating and activating new grids

Using AutoGrid

Tutorial: Creating a spyglass

Using Snap Options

Tutorial: Creating a 2D outline of an object

Setting snap points

Setting snap options

Using the Snaps toolbar

Tutorial: Creating a lattice for a methane molecule

Summary

Chapter 7: Cloning Objects and Creating Object Arrays

Cloning Objects

Using the Clone command

Using the Shift-clone method

Tutorial: Cloning dinosaurs

Using Quick Clone

Understanding Cloning Options

Working with copies, instances, and references

Tutorial: Creating instanced doughnuts

Tutorial: Working with referenced apples

Mirroring Objects

Using the Mirror command

Tutorial: Mirroring a robot's leg

Cloning over Time

Using the Snapshot command

Tutorial: Creating a path through a maze

Spacing Cloned Objects

Using the Spacing tool

Tutorial: Stacking a row of dominoes

Using the Clone and Align Tool

Aligning source objects to destination objects

Tutorial: Cloning and aligning trees on a beach

Creating Arrays of Objects

Linear arrays

Tutorial: Building a white picket fence

Circular arrays

Tutorial: Building a Ferris wheel

Working with a Ring Array

Tutorial: Using Ring Array to create a carousel

Summary

Chapter 8: Grouping, Linking, and Parenting Objects

Working with Groups

Creating groups

Ungrouping objects

Opening and closing groups

Attaching and detaching objects

Tutorial: Grouping a plane's parts together

Alternatives to grouping

Understanding Parent, Child, and Root Relationships

Building Links between Objects

Linking objects

Unlinking objects

Tutorial: Linking a family of ducks

Displaying Links and Hierarchies

Displaying links in the viewport

Viewing hierarchies

Working with Linked Objects

Locking inheriting transformations

Using the Link Inheritance utility

Selecting hierarchies

Linking to dummies

Tutorial: Circling the globe

Summary

Part III: Modeling 3D Assets

Chapter 9: Introducing Subobjects and Modifiers and Using the Modifier Stack

Exploring the Model Types

Parametric objects versus editable objects

Converting to editable objects

Understanding Normals

Viewing normals

Tutorial: Cleaning up imported meshes

Working with Subobjects

Using Soft Selection

Tutorial: Soft selecting a heart shape from a plane

Introducing Modifiers

Exploring the Modifier Stack

Understanding Base Objects

Applying modifiers

Tutorial: Bending a tree

Other Modifier Stack entities

Using the Modifier Stack

Reordering the Stack

Tutorial: Creating a molecular chain

Holding and fetching a scene

Collapsing the Stack

Using the Collapse utility

Using gizmo subobjects

Tutorial: Squeezing a plastic bottle

Applying modifiers to subobject selections

Tutorial: Applying damage to a car

Topology dependency

Summary

Chapter 10: Drawing and Editing 2D Splines and Shapes

Drawing in 2D

Working with shape primitives

Tutorial: Drawing a company logo

Tutorial: Viewing the interior of a heart

Editing Splines

Editable Splines versus the Edit Spline modifier

Making splines renderable

Selecting spline subobjects

Controlling spline geometry

Editing vertices

Editing segments

Editing Spline subobjects

Summary

Chapter 11: Modeling with Polygons

Understanding Poly Objects

Creating Editable Poly Objects

Converting objects

Collapsing to a mesh object

Applying the Edit Poly modifier

Editing Poly Objects

Editable Poly Subobject modes

Subobject selection

Tutorial: Modeling a clown head

Editing geometry

Editing Vertex subobjects

Editing Edge subobjects

Editing Border subobjects

Editing Polygon and Element subobjects

Surface properties

Tutorial: Modeling a tooth

Summary

Chapter 12: Using the Graphite Modeling Tools

Working with the Graphite Modeling Tools

Using the Polygon Modeling panel

Using the Modify Selection panel

Editing geometry

Editing Vertex subobjects

Editing Edge and Border subobjects

Editing Polygon and Element subobjects

Surface properties

Using the Freeform Tools

Using the Paint Deform tools

Using the Selection Tools

Selecting Tops, Open, and Non-Quads

Copying and pasting selections

Selecting by criteria

Using the Object Paint Tools

Selecting an object to paint with

Painting with objects

Painting with multiple objects

Painting on objects

Using the Paint Fill mode

Painting with animated objects

Tutorial: Painting a scar

Summary

Chapter 13: Working with Compound Objects

Understanding Compound Object Types

Morphing Objects

Creating Morph keys

Morph objects versus the Morpher modifier

Tutorial: Morphing a woman's face

Creating a Terrain Object

Coloring elevations

Tutorial: Creating an island with the Terrain compound object

Working with BlobMesh Objects

Setting BlobMesh parameters

Tutorial: Creating icy geometry with BlobMesh

Working with ProBoolean and ProCutter Objects

Using ProBoolean

Tutorial: Creating a keyhole

Using ProCutter

Tutorial: Creating a jigsaw puzzle

Summary

Part IV: Applying Materials and Textures

Chapter 14: Creating and Applying Standard Materials with the Slate Material Editor

Understanding Material Properties

Colors

Opacity and transparency

Reflection and refraction

Shininess and specular highlights

Other properties

Working with the Slate Material Editor

Using the Slate Material Editor controls

Loading the Material Node View panel

Navigating the Material Node View panel

Selecting and applying materials

Changing the material preview

Selecting objects by material

Setting Slate Material Editor preferences

Removing materials and maps

Using utilities

Using the Fix Ambient utility

Tutorial: Coloring Easter eggs

Using the Standard Material

Using Shading Types

Blinn shader

Phong shader

Anisotropic shader

Multi-Layer shader

Oren-Nayar-Blinn shader

Metal shader

Strauss shader

Translucent shader

Tutorial: Making curtains translucent

Accessing Other Parameters

Extended Parameters rollout

SuperSampling rollout

Maps rollout

mental ray Connection rollout

Tutorial: Coloring a dolphin

Summary

Chapter 15: Adding Material Details with Maps

Understanding Maps

Different map types

Enabling the global viewport rendering setting

Using Real-World maps

Working with Maps

Connecting maps to materials

Using the Maps rollout

Tutorial: Aging objects for realism

Understanding map types

Accessing Map parameters

Creating Textures with External Tools

Creating material textures using Photoshop

Capturing digital images

Scanning images

Tutorial: Creating a fishing net

Summary

Chapter 16: Creating Compound Materials and Using Material Modifiers

Using Compound Materials

Blend

Composite

Double Sided

Multi/Sub-Object

Tutorial: Creating a patchwork quilt

Morpher

Shellac

Top/Bottom

Tutorial: Surfing the waves

Applying Multiple Materials

Using material IDs

Tutorial: Mapping die faces

Using the Clean MultiMaterial utility

Using the Matte/Shadow Material

Matte/Shadow Basic Parameters rollout

Tutorial: Adding 3D objects to a scene

Material Modifiers

Material modifier

MaterialByElementmodifier

Tutorial: Creating random marquee lights with the MaterialByElement modifier

Comparing Displacement maps and Displace modifiers

Tutorial: Displacing geometry with a bitmap

Summary

Chapter 17: Unwrapping UVs

Mapping Modifiers

UVW Map modifier

Tutorial: Using the UVW Map modifier to apply decals

UVW Mapping Add and Clear modifiers

UVW XForm modifier

Map Scaler modifier

Camera Map modifier

Using the Unwrap UVW Modifier

Selecting UVW subobjects

Accessing the Edit UVWs interface

Tweaking vertices in the viewport

Using the Quick Planar Map

Saving and loading mapping coordinates

Using the Edit UVWs Interface

Selecting subobjects within the dialog box

Navigating the main view

Using the Quick Transform buttons

Straightening and Relaxing UV clusters

Stitching and welding

Separating into clusters using flattening methods

Arranging and grouping clusters

Accessing the Unwrap Options

Tutorial: Controlling the mapping of a covered wagon

Rendering UV templates

Mapping multiple objects

Tutorial: Creating a mapping for a fighter plane

Summary

Part V: Working with Cameras, Lighting, and Rendering

Chapter 18: Configuring and Aiming Cameras

Learning to Work with Cameras

Creating a camera object

Creating a camera view

Tutorial: Setting up an opponent's view

Controlling a camera

Aiming a camera

Tutorial: Watching a rocket

Aligning cameras

Tutorial: Seeing the dinosaur's good side

Setting Camera Parameters

Lens settings and field of view

Camera type and display options

Environment ranges and clipping planes

Camera Correction modifier

Creating multi-pass camera effects

Using the Depth of Field effect

Tutorial: Applying a Depth of Field effect to a row of windmills

Using the Motion Blur effect

Tutorial: Using a Motion Blur multi-pass camera effect

Summary

Chapter 19: Using Lights and Basic Lighting Techniques

Understanding the Basics of Lighting

Natural and artificial light

A standard lighting method

Shadows

Getting to Know the Light Types

Default lighting

Ambient light

Standard lights

Photometric lights

Creating and Positioning Light Objects

Transforming lights

Viewing lights and shadows in the viewport

Listing lights

Placing highlights

Tutorial: Lighting the snowman's face

Viewing a Scene from a Light

Light viewport controls

Manipulating Hotspot/Beam and Falloff/Field cones

Tutorial: Lighting a lamp

Altering Light Parameters

General parameters

The Intensity/Color/Attenuation rollout

Spotlight and directional light parameters

Advanced Effects

Shadow parameters

Optimizing lights

Photometric light parameters

Summary

Chapter 20: Rendering a Scene and Enabling Quicksilver

Working with Render Parameters

Initiating a render job

Common parameters

E-mail notifications

Adding pre-render and post-render scripts

Assigning renderers

Default Scanline Renderer

Quicksilver Hardware Renderer

Rendering stylized scenes

Using the Rendered Frame Window

Using the Render Types

Previewing with ActiveShade

Summary

Chapter 21: Using Atmospheric and Render Effects

Adding an Environment Background

Defining the rendered environment

Using Exposure Controls

Automatic, Linear, and Logarithmic Exposure Control

Pseudo Color Exposure Control

Photographic Exposure Control

Tutorial: Using the Logarithmic Exposure Control

Creating Atmospheric Effects

Working with the Atmospheric Apparatus

Adding effects to a scene

Using the Fire Effect

Tutorial: Creating the sun

Tutorial: Creating clouds

Using the Fog Effect

Using the Volume Fog effect

Tutorial: Creating a swamp scene

Using the Volume Light effect

Adding Render Effects

Using Render Effects

Blur render effect

Brightness and Contrast render effect

Color Balance render effect

File Output render effect

Film Grain render effect

Motion Blur render effect

Depth of Field render effect

Summary

Chapter 22: Rendering with mental ray and iray

Enabling mental ray and iray

Working with iray

Tutorial: Starting iray

Working with mental ray

Using mental ray Lights and Shadows

Understanding Caustics and Photons

Controlling Indirect Illumination

Using mental ray materials

Summary

Chapter 23: Compositing with Render Elements and the Video Post Interface

Using External Compositing Packages

Compositing with Photoshop

Video editing with Premiere Pro

Video compositing with After Effects

Tutorial: Adding animation effects using After Effects

Using Render Elements

Using State Sets

Recording states

Using templates and nesting states

Rendering states

Tutorial: Presenting several stylized rendered options

Accessing Compositor View

Changing node parameters

Adding new nodes

Exporting to Photoshop

Linking data to After Effects

Completing Post-Production with the Video Post Interface

The Video Post toolbar

The Video Post Queue and Range panes

The Video Post status bar

Working with Sequences

Adding and Editing Events

Adding an image input event

Adding scene events

Adding image filter events

Adding image layer events

Adding external events

Using loop events

Adding an image output event

Working with Ranges

Adding backgrounds and filters using Video Post

Summary

Part VI: Animating Objects and Scenes

Chapter 24: Understanding Animation and Keyframes

Using the Time Controls

Setting frame rate

Setting speed and direction

Using Time Tags

Working with Keys

Auto Key mode

Set Key mode

Tutorial: Rotating a windmill's blades

Copying parameter animation keys

Deleting all object animation keys

Using the Track Bar

Viewing and Editing Key Values

Using the Motion Panel

Setting parameters

Using trajectories

Tutorial: Making an airplane follow a looping path

Using the Follow/Bank utility

Using Ghosting

Animating Objects

Animating cameras

Tutorial: Animating darts hitting a dartboard

Animating lights

Animating materials

Tutorial: Dimming lights

Working with Previews

Creating previews

Viewing previews

Renaming previews

Using the RAM Player

Tutorial: Using the RAM Player to Combine Rendered Images into a Video File

Summary

Chapter 25: Animating with Constraints and Simple Controllers

Restricting Movement with Constraints

Using constraints

Working with the constraints

Understanding Controller Types

Assigning Controllers

Automatically assigned controllers

Assigning controllers with the Animation menu

Assigning controllers in the Motion panel

Assigning controllers in the Track View

Setting default controllers

Examining Some Simple Controllers

Noise controller

Spring controller

Summary

Chapter 26: Using Animation Layers and Animation Modifiers

Using the Animation Layers Toolbar

Working with Animation Layers

Enabling animation layers

Setting animation layers properties

Collapsing animation layers

Tutorial: Using animation layers for a plane takeoff

Saving and Loading Animation Files

Saving general animations

Mapping animated objects

Using the Map Animation dialog box

Retargeting animations

Using the Animation Modifiers

Baking Animation Keys with the Point Cache Modifier

Tutorial: Trees in a hurricane

Morpher modifier

Tutorial: Morphing facial expressions

Summary

Chapter 27: Wiring Parameters

Wiring Parameters

Using the Parameter Wiring dialog box

Manipulator helpers

Tutorial: Controlling a crocodile's bite

Collecting Parameters

Adding Custom Parameters

Summary

Chapter 28: Editing Animation Curves in the Track View

Learning the Track View Interface

The Track View layouts

Track View menus and toolbars

Controller and Key panes

Working with Keys

Selecting keys

Using soft selection

Adding and deleting keys

Moving, sliding, and scaling keys

Using the Region tool

Using the Retime tool

Editing keys

Using the Randomize Keys utility

Using the Euler Filter utility

Displaying keyable icons

Editing Time

Selecting time and the Select Keys by Time utility

Deleting, cutting, copying, and pasting time

Reversing, inserting, and scaling time

Setting ranges

Editing Curves

Inserting new keys and moving keys

Tutorial: Animating a monorail

Drawing curves

Reducing keys

Working with tangents

Tutorial: Animating a flowing river

Applying out-of-range, ease, and multiplier curves

Tutorial: Animating a wind-up teapot

Filtering Tracks and Creating Track Sets

Using the Filters dialog box

Creating a track set

Working with Controllers

Using visibility tracks

Adding note tracks

Using the ProSound Plug-in

Tutorial: Adding sound to an animation

Summary

Part VII: Working with Characters

Chapter 29: Understanding Rigging, Kinematics, and Working with Bones

Understanding Rigging

A typical rigging workflow

Building a Bones System

Assigning an IK Solver

Setting bone parameters

Defining joint constraints

Naming bones

Tutorial: Creating a bones system for an alligator

Using the Bone Tools

Reordering bones

Refining and mirroring bones

Coloring bones

Adjusting fins

Making objects into bones

Forward Kinematics versus Inverse Kinematics

Creating an Inverse Kinematics System

History Independent (HI) IK solver

History Dependent (HD) IK solver

Tutorial: Animating a spyglass with the HD IK solver

IK Limb solver

Tutorial: Animating a spider's leg with the IK Limb solver

Spline IK solver

Tutorial: Building an IK Spline alligator

Summary

Chapter 30: Skinning Characters

Understanding Your Character

The curse and blessing of symmetry

Dealing with details

Animated Skin Modifiers

Understanding the skinning process

Binding to a skeleton

Using the Skin Wrap modifiers

Tutorial: Making a simple squirt bottle walk

Using the Skin Morph modifier

Tutorial: Bulging arm muscles

Using Character Animation Techniques

Summary

Chapter 31: Animating Characters with CAT

Character Creation Workflow

Creating a CAT Rig

Using prebuilt CAT rigs

Modifying prebuilt CAT rigs

Using custom meshes

Tutorial: Editing the head bone

Building a custom CAT rig

Naming CAT bones

Tutorial: Building a custom CAT rig to match a skin mesh

Animating a CAT Rig

Blending absolute animation layers

Using adjustment animation layers

Creating a walk cycle with a CAT Motion layer

Tutorial: Animating a character walking along a path

Summary

Part VIII: Dynamic Animation

Chapter 32: Creating Particles

Understanding the Various Particle Systems

Creating a Particle System

Using the Spray and Snow Particle Systems

Tutorial: Creating rain showers

Tutorial: Creating a snowstorm

Using the Super Spray Particle System

Super Spray Basic Parameters rollout

Particle Generation rollout

Particle Type rollout

Rotation and Collision rollout

Tutorial: Basketball shooting practice

Object Motion Inheritance rollout

Bubble Motionrollout

Particle Spawn rollout

Load/Save Presets rollout

Using the Blizzard Particle System

Using the PArray Particle System

Splitting an object into fragments

Tutorial: Creating rising steam

Using the PCloud Particle System

Using Particle System Maps

Using the Particle Age map

Using the Particle MBlur map

Tutorial: Creating jet engine flames

Summary

Chapter 33: Using Space Warps

Creating and Binding Space Warps

Creating a Space Warp

Binding a Space Warp to an object

Understanding Space Warp Types

Force Space Warps

Deflector Space Warps

Geometric/Deformable Space Warps

Modifier-Based Space Warps

Combining Particle Systems with Space Warps

Tutorial: Shattering glass

Tutorial: Making water flow down a trough

Summary

Appendix A: What's New with Autodesk 3ds Max 2013

State Sets

Compact Track View

Viewport Layouts toolbar

Gradient background

Autodesk DirectConnect support

Maya Navigation mode

gPoly Modeling Format

MassFX improvements

Skin improvements

Workspaces

Nitrous improvements

iray and mental ray improvements

Appendix B: What's on the CD-ROM

Author-created materials

3D models

Autodesk® 3ds Max® 2013 Bible

Kelly L. Murdock

Autodesk® 3ds Max® 2013 Bible

Published byJohn Wiley & Sons, Inc.10475 Crosspoint BoulevardIndianapolis, IN 46256www.wiley.com

Copyright © 2012 by John Wiley & Sons, Inc., Indianapolis, Indiana

Published by John Wiley & Sons, Inc., Indianapolis, Indiana

Published simultaneously in Canada

ISBN: 978-1-118-32832-3

Manufactured in the United States of America

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About the Author

Kelly Murdock has been authoring computer books for many years now and still gets immense enjoyment from the completed work. His book credits include various 3D, graphics, multimedia, and Web titles, including eleven previous editions of this book, 3ds Max Bible. Other major accomplishments include Google SketchUp Bible, Edgeloop Character Modeling for 3D Professionals Only, Maya 6 and 7 Revealed, LightWave 3D 8 Revealed, The Official Guide to Anime Studio, Poser 6, 7, and 8 Revealed, 3D Game Animation For Dummies, gmax Bible, Adobe Atmosphere Bible, Master VISUALLY HTML and XHTML, JavaScript Visual Blueprint, and co-authoring duties on two editions of the Illustrator Bible (for versions 9 and 10) and five editions of the Adobe Creative Suite Bible.

With a background in engineering and computer graphics, Kelly has been all over the 3D industry and still finds it fascinating. He's used high-level CAD workstations for product design and analysis, completed several large-scale visualization projects, created 3D models for feature films and games, worked as a freelance 3D artist, and even did some 3D programming. Kelly's been using 3D Studio since version 3 for DOS. Kelly has also branched into training others in 3D technologies. He currently works as a freelance graphic artist and video game producer.

In his spare time, Kelly enjoys playing basketball and collecting video games.

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Marilyn Hummel

Dedication

We all have a brother or some crazy aunt,whose movie obsession, understand we just can't.Be it Star Wars, or Star Trek, or Lord of the Rings,The movie's praises they loudly do sing.They keep a count of the times they've seen each show,and to see the latest movies, they'll wait hours in the snow.They live as their heroes and quote famous movie lines,and they cover their rooms with posters and signs.They play all the games and chat with other fans online,and their bathroom is decorated to look like a shrine.They have boxes that are filled with collectibles galore,with so much stuff you can't even open the door.They look forward all year for the time of Halloween,Because the costumes they wear are straight off the screen.I can't understand all these the super fan views,Just don't touch my limited edition basketball shoes.

To Kerry and Donna, the obsession rages on 2013

Preface

Every time I enter the computer room (which my wife calls the dungeon), my wife still says that I am off to my “fun and games.” I, as always, flatly deny this accusation, saying that it is serious work that I am involved in. But later, when I emerge with a twinkle in my eye and excitedly ask her to take a look at my latest rendering, I know that she is right. Working with the Autodesk® 3ds Max® 2013 software is pure “fun and games.”

My goal in writing this book was to take all my fun years of playing and working in 3D and boil them down into something that's worthwhile for you, the reader. This goal was compounded by the fact that all you 3ds Max-heads out there are at different levels. Luckily, this book is thick enough to include a little something for everyone.

The audience level for the book focuses on the beginner, with a smattering of intermediate and advanced topics for the seasoned user. If you're new to 3ds Max, then you'll want to start at the beginning and move methodically through the book. If you're relatively comfortable making your way around 3ds Max, then review the Table of Contents for sections that can enhance your fundamental base. If you're a seasoned pro, then you'll want to watch for coverage of the features new to Release 2013.

As this book has come together, I've tried to write the type of book that I'd like to read. I've tried to include a variety of scenes that are infused with creativity. It is my hope that these examples will not only teach you how to use the software but also provide a creative springboard for you in your own projects. After all, that's what turns 3D graphics from work into “fun and games.”

The Growth of 3ds Max?

One way we humans develop our personalities is to incorporate desirable personality traits from those around us. The personality of the 3ds Max software is developing as well: Every new release has incorporated a plethora of desirable new features. Many of these features come from the many additional plug-ins being developed to enhance 3ds Max. With each new release, 3ds Max has adopted many features that were available as plug-ins for previous releases. Several new features have been magically assimilated into the core product, such as the Character Animation Toolkit (CAT) and the Hair and Fur system. These additions make the software's personality much more likable, like a human developing a sense of humor.

Other personality traits are gained by stretching in new directions. 3ds Max and its developers have accomplished this feat as well. Many of the new features are completely new, not only to 3ds Max, but also to the industry. As 3ds Max grows up, it will continue to mature by adopting new features and inventing others. I just hope 3ds Max doesn't experience a midlife crisis in the next version.

Along with adopted features and new developments, the development teams at Autodesk have sought feedback from 3ds Max users. This feedback has resulted in many small tweaks to the package that enable scenes to be created more quickly and easily.

Some additional factors have appeared in the software's house that certainly affect its development. First is the appearance of the software's adopted brother, Maya. There are other siblings in the Autodesk household (including MotionBuilder, Softimage, and AutoCAD), but Maya is closest in age to 3ds Max, and its personality likely will rub off in different ways.

3ds Max also has a split personality with two different versions. The standard 3ds Max 2013 is intended for the entertainment markets, and the 3ds Max Design 2013 package is intended for visualization and architecture users. The differences between these two versions are subtle.

About This Book

Let me paint a picture of the writing process. It starts with years of experience, which are followed by months of painstaking research. There were system crashes and personal catastrophes and the always-present, ever-looming deadlines. I wrote into the early hours of the morning and during the late hours of the night—burning the candle at both ends and in the middle all at the same time. It was grueling and difficult, and spending all this time staring at the 3ds Max interface made me feel like . . . well . . . like a 3d artist.

Sound familiar? This process actually isn't much different from what 3D artists, modelers, and animators do on a daily basis, and, like you, I find satisfaction in the finished product.

Tutorials aplenty

I've always been a very visual learner—the easiest way for me to gain knowledge is by doing things for myself while exploring at the same time. Other people learn by reading and comprehending ideas. In this book, I've tried to present information in a number of ways to make the information usable for all types of learners. That is why you see detailed discussions of the various features along with tutorials that show these concepts in action.

The tutorials appear throughout the book and are clearly marked with the “Tutorial” label in front of the title. They always include a series of logical steps, typically ending with a figure for you to study and compare. These tutorial examples are provided on the book's CD to give you a firsthand look and a chance to get some hands-on experience.

I've attempted to “laser focus” all the tutorials down to one or two key concepts. All tutorials are designed to be completed in 10 steps or less. This means that you probably will not want to place the results in your portfolio. For example, many of the early tutorials don't have any materials applied because I felt that using materials before they've been explained would only confuse you.

I've attempted to think of and use examples that are diverse, unique, and interesting, while striving to make them simple, light, and easy to follow. I'm happy to report that every example in the book is included on the CD along with the models and textures required to complete the tutorial.

The tutorials often don't start from scratch but instead give you a starting point. This approach lets me “laser focus” the tutorials even more, and with fewer, more relevant steps, you can learn and experience the concepts without the complexity. On the book's CD, you will find the 3ds Max files that are referenced in Step 1 of most tutorials.

In addition to the starting-point files, every tutorial has been saved at the completion of the tutorial steps. These files are marked with the word final at the end of the filename. If you get stuck in a tutorial, simply open the final example and compare the settings.

I've put lots of effort into this book, and I hope it helps you in your efforts. I present this book as a starting point. In each tutorial, I've purposely left out most of the creative spice, leaving room for you to put it in—you're the one with the vision.

Twelfth time around

This book is now in its 12th edition, and the editors have requested a major shake-up. In this day of mobile devices and tablets, carrying around a huge 1,200-page book is just too much. So, we've opted for a streamlined 800-page book covering all the necessary basics. But, for complete coverage, we're also making an Expanded Edition e-book available that has many more chapters, tutorials, and projects. And the nice part about the e-book is that it doesn't have a page limit, so if you're reading the e-book version, stand squarely in front of the fire hose because there's a lot of information coming your way.

Also for this edition, we've updated the tutorials to reflect the latest 3ds Max features. I've also included a new Quick Start.

How this book is organized

Many different aspects of 3D graphics exist, and in some larger production houses, you might be focused on only one specific area. However, for smaller organizations or the general hobbyist, you end up wearing all the hats—from modeler and lighting director to animator and post-production compositor. This book is organized to cover all the various aspects of 3D graphics, regardless of the hat on your head.

If you're so excited to be working with 3ds Max that you can't decide where to start, then head straight for the Quick Start. The Quick Start is a single chapter-long tutorial that takes you through the creation and animation of an entire scene. For those of you who were too anxious to wade through a mountain of material before you could create something, this Quick Start is for you.

The book is divided into the following parts:

• Quick Start—This single chapter (which is actually a chapter in Part I) is an entire animation project presented in several focused tutorials. It is designed to whet your appetite and get you up to speed and producing animations immediately.

• Part I: Getting Started with Autodesk 3ds Max 2013—Whether it's understanding the interface, working with the viewports, or dealing with files, the chapters in this part get you comfortable with the interface so you won't get lost moving about this mammoth package.

• Part II: Manipulating Objects—3ds Max objects can include meshes, cameras, lights, Space Warps, and anything that can be viewed in a viewport. This part starts by introducing the various primitive objects and also includes chapters on how to reference, select, clone, group, link, and transform these various objects.

• Part III: Modeling 3D Assets—3ds Max includes several different ways to model objects. This part includes chapters covering the basic modeling methods and constructs including working with spline shapes, meshes, and polys. It also introduces modifiers and the Modifier Stack.

• Part IV: Applying Materials and Textures—This part shows how to apply basic materials and textures to objects including maps using the Slate Material Editor.

• Part V: Working with Cameras, Lighting, and Rendering—This part delves into using cameras and lights. It then shows how to render out images using Quicksilver and mental ray, how to use atmospheric and render effects, and ends with some coverage of compositing.

• Part VI: Animating Objects and Scenes—The simplest animation features include keyframing, constraints, and controllers. With these topics, you'll be able to animate scenes. It also covers some advanced techniques, including animation layers and modifiers, wiring parameters, and the Track View.

• Part VII: Working with Characters—This part covers creating and working with bone systems, rigging, skinning, and the CAT system.

• Part VIII: Dynamic Animation—This part covers creating animation sequences using physics calculations. It includes coverage of particles and Space Warps.

• Appendixes—At the very end of this book, you'll find two appendixes that cover the new features of 3ds Max 2013 and the contents of the book's CD.

Using the book's icons

The following margin icons are used to help you get the most out of this book:

Note

Notes highlight useful information that you should take into consideration.

Tip

Tips provide additional bits of advice that make particular features quicker or easier to use.

Caution

Cautions warn you of potential problems before you make a mistake.

New Feature

The New Feature icon highlights features that are new to the 2013 release.

On the CD

This icon points you toward related material on the book's CD.

Watch for the Cross-Reference icon to learn where in another chapter you can go to find more information on a particular feature.

The book's CD

Computer-book CD-ROMs are sometimes just an afterthought that includes a handful of examples and product demos. This book's CD, however, includes a diverse selection of 3D models that you can use in your projects if you choose. Many of these models are used in the tutorials. The CD also includes the 3ds Max files for every tutorial.

Acknowledgments

I have a host of people to thank for their involvement in this major work. The order in which they are mentioned doesn't necessarily represent the amount of work they did.

Thanks as always to my dear wife, Angela, and my sons, Eric and Thomas, without whose support I wouldn't get very far. They are my QA team and my brainstorming team who always provide honest feedback on my latest example. We have had many family sessions to think of good tutorial examples, and I'm always amazed with what they come up with. One of my favorites that hasn't been implemented yet is a tutorial of a group of bicycles chasing an ice cream truck.

In the first edition, the task at hand was too big for just me, so I shared the pain with two co-authors—Dave Brueck and Sanford Kennedy (both of whom have gone on to write books of their own). I still thank them for their work, which, although overhauled, retains their spirits. In a later edition, I again asked for help, a request that was answered by Sue Blackman. Sue provided several excellent examples that show off the power of the Track View interface. Thanks for your help, Sue.

Major thanks to the editors and personnel at Wiley. I'd like to specifically thank Stephanie McComb, who has managed the whole project and as always done a great job. Her encouragement, dedication, and positive attitude have made a big difference as I've faced some tough deadlines. Huge thanks to Marty Minner (the double M), who has once again managed the entire editing process, and to Gwenette Gaddis for her excellent copyediting input. Marty's comments during the review cycle always crack me up.

I'd also like to thank Jon McFarland for taking on the technical editing. Additional thanks go out to Laura Moss-Hollister and her co-workers in the Media Development department for chasing down the required permissions and for compiling the resources for the CD, and finally, to the entire staff at Wiley who helped me on this journey. Of particular note are the cover designers who have been delightfully stuck on reptiles and amphibians for the covers to the last several editions. I'm starting to refer to the titles by their cover creature; that is, “hand me the frog book next to the lizard book.”

The various people who work in the graphics industry are amazing in their willingness to help and support. I'd like to thank first of all Rob Hoffman, Brittany Bonhomme, and the entire Autodesk team for their timely support and help. I'd also like to thank the talented people at Zygote Media, Curious Labs, and Viewpoint Digital Media for many of their models, which make the examples much more interesting. (You can only do so much with the teapot after all.) Additional thanks go out to David Mathis, Sue Blackman, and Chris Murdock for completing models used in some of the tutorials.

Part I: Getting Started with Autodesk 3ds Max 2013

IN THIS PART

Quick Start

Falling from a Tightrope

Chapter 1

Exploring the Interface

Chapter 2

Controlling the Viewports

Chapter 3

Working with Files

Quick Start: Falling from a Tightrope

In This Chapter

Planning the productionCreating and positioning objectsAdding a camera and lightsRendering a previewAnimating with keyframesRunning a MassFX simulationRendering the final animation

When you first sat down to use the Autodesk® 3ds Max® 2013 software, you were probably focused on one goal—creating cool 3D images and animations. I know that many of you bought 3ds Max to make money, claim a tax write-off, earn a way to Hollywood, or impress your girlfriend or boyfriend, but I'll just ignore those reasons for now. The goal is to create something cool.

If you've perused this book's Table of Contents or thumbed through its many pages, you've seen sections on modeling, materials, dynamics, and other topics. But if you're like me, you don't want to wade through tons of material before you have something to show off to Mom. (Actually, if you're like me, you opened straight to the special effects section, in which case you won't be reading this.)

The purpose of this Quick Start is to give you a taste of what 3ds Max can do. This soaring view of the software from 20,000 feet is intended to show you the big picture before you delve into the details. It exposes you to some of the most common features and, I hope, whets your appetite for the more in-depth chapters to follow.

This part of the book is intended for those new to the software. If you're an experienced user, then your mom no doubt is already impressed with your work, so you can happily advance to whichever chapter appeals to you. (Forgive me for catering to the newbie, but we were all beginners once.)

Planning the Production

For this Quick Start, we'll take a trip to the circus to see a character on the tightrope that really shouldn't be there. But don't worry, because the plan is not to have him stay around long. In this example, you'll use the ragdoll feature in the MassFX system to automate the spectacular fall. This gives you a chance to set up a scene, create and position some primitive objects and lights, and work with the MassFX system to animate the untimely accident.

The first thing to consider is setting up the scene. For this sequence, we need some simple cylinders to create the tightrope and the balancing pole. We also need a spot light aimed right at the character, and we need a character. For the character, we're going to use a simple default biped character. After the objects and lights are in place, we can turn our attention to the animation process. We'll start by animating the character struggling to keep its balance for about 30 frames, then we'll turn control over to the MassFX system and let it compute the remaining motions of the fall.

On the CD

After each of the following tutorials, I saved the scene file. You can find these files in the Quick Start directory on the book's CD.

Setting Up the Scene

This section on setting up is divided into several simple tutorials. The first step in the production is to create all the objects we need. Then we can position them where we need them.

After the models are in place, we can create the ground plane, and then we're ready to add a camera and light.

Tutorial: Creating the objects

Your first step begins with creating and positioning the tightrope and the balance pole. Then we can create the biped skeleton and position it at its initial location. To create and position the objects, follow these steps:

1. Reset the interface with the Application Button ➪ Reset menu command. Answer Yes in the warning box that appears to confirm the reset.

2. In the Command Panel, click the Cylinder button, drag in the Front viewport to create a circular base, and then click and drag again to define the cylinder's height. In the Parameters rollout, set the Radius to 2 and the Height to 500. Then type the name Tightrope in the Name field in the Name and Color rollout.

Note

This Quick Start uses Generic Units. You can change the units using the Units Setup dialog box, which you open using the Customize ➪ Units Setup menu command.

3. Click the Select and Move button on the main toolbar, and drag the red X-axis to the left in the Left viewport to center the tightrope about the origin. Then drag the green Y-axis upward in the Left viewport to move the tightrope above the ground plane.

4. Drag on the ViewCube in the Perspective viewport until the view changes so that the tightrope object runs diagonally through the viewport.

The tightrope is positioned, as shown in Figure QS.1.

Figure QS.1

The tightrope is now in place.

Tutorial: Balancing the biped

The next object to add is the biped, which we need to balance on the tightrope.

To position the balanced biped on the tightrope, follow these steps:

1. Select the Create ➪ Systems ➪ Biped menu command, and drag in the Top viewport to create a biped skeleton. The height of the biped should be about half the height from the ground to the tightrope.

2. Using the Select and Move tool in the main toolbar, drag the green Y-axis in the Left viewport upward to position the biped so its feet are just above the tightrope.

3. Select the biped's right foot, and move it in the Front viewport to be centered over the tightrope and in the Left viewport to be behind the left foot. Then repeat similar moves for the right foot until the body is balanced with the left foot in front of the right foot standing on the tightrope.

4. With the biped's feet in place, select and move the tightrope upward until it just touches the bottoms of both feet.

5. Click the Select and Rotate tool in the main toolbar, and rotate the left and right upper arms until they stick straight out from the body on either side.

The biped skeleton is now balancing nicely on the tightrope, as shown in Figure QS.2. He'll be alright as long as he doesn't try to move.

Figure QS.2

The biped is balanced on the tightrope.

Tutorial: Adding a balance pole

Next we'll add a balance pole to the scene. This should make the biped feel safer, but actually we just want to have another object that will be falling along with our character.

To add a balance pole, follow these steps:

1. Click the Geometry button in the Command Panel, and click the Cylinder button. Then click and drag in the Left viewport to set the circular base and again to set the cylinder height. Create a cylinder that runs parallel to the biped's arms. Set the Radius value to 1 and the Height to 200.

2. Click the Hierarchy panel in the Command Panel, click the Affect Pivot Only button in the Adjust Pivot rollout. Then click the Center to Object button, and click the Affect Pivot Only button again to exit pivot mode. This moves the pivot point to the center of the balance pole.

3. Move the cylinder in the Left viewport so it's in front of the biped, and center it on the tightrope in the Top viewport.

4. Select and rotate the upper arms in the Top viewport toward the balance pole about 15 degrees and then downward in the Front viewport about 15 degrees also. Then select and rotate the lower arm until the hands are over the balance pole in the Top viewport.

5. Finally, select and move the balance pole upward in the Left viewport until it is just under the hands.

The balance pole is now in place, as shown in Figure QS.3.

Figure QS.3

The balance pole surely makes the biped feel more comfortable.

Adding a Camera and Light

The modeling phase, which usually is quite time-consuming, went really quickly when we used the default primitives, and because we're not adding materials, we can jump straight to the placement of a camera and lights.

Tutorial: Adding a camera and light

We'll use only a single camera, but we want a camera to follow the biped's fall down. If the viewport view was used, we wouldn't have control over following the fall.

To add single camera to the scene, follow these steps:

1. Click in the Perspective viewport, and select the Views ➪ Create Camera from View menu command to automatically create a camera that is positioned to create this same view.

2. Select the Create ➪ Lights ➪ Standard Lights ➪ Target Spotlight and drag from the top-right corner of the Left viewport to the center of the biped.

3. Select the Create ➪ Lights ➪ Standard Lights ➪ Omni menu command, and click in the Left viewport. Then position the Omni light underneath and to the side of the biped. In the Intensity/Color/Attenuation rollout, set the Multiplier value to 0.5 and make sure the Shadows On option in the General Parameters rollout is disabled. This secondary light provides some additional lighting to the scene.

The viewports by default render with a black background, so with the camera and lights in place, we have a scene setup complete. Figure QS.4 shows the light and camera positions.

Figure QS.4

With the camera and lights in position, the scene is ready to go.

Tutorial: Rendering a test preview

Before moving to animation, you can render the scene now that lights have been added. Rendering is configured using the Render Setup dialog box accessed from the Rendering menu.

To render a preview of the tightrope biped, follow these steps:

1. Select the Camera001 viewport.

2. Choose the Rendering ➪ Render menu command (or press the F9 key).

The scene is rendered in the Rendered Frame Window, as shown in Figure QS.5, includes the lighting.

Figure QS.5

A test render shows that the lights are working fine.

Animating the Great Fall

With the test render complete and the scene looking good, we can move to the animation phase. This phase starts with some simple keyframe animation and then uses the MassFX tools to create a dynamic animation for the final fall.

Tutorial: Creating animation keys

When creating animation keys, we can simply turn on the Auto Key feature and all the keys are set every time when make a change for each new frame we select. We want to animate using keyframes from the start to frame 25. We want the fall to be at frame 25, so we use the MassFX system at this point.

To create some simple animation keys, follow these steps:

1. Click the Auto Key button at the bottom of the interface. Notice that the button turns red to remind us that it is enabled.

2. Drag the Time Slider to frame 10, and select and lift the front foot upward in the Left viewport.

3. Drag the Time Slider back to frame 8, select the one of the middle spine bones, and barely rotate it to the left in the Front viewport to create a key. Then drag the Time Slider to frame 10, and rotate the middle spine bone about 5 degrees to create another key.

4. Drag the Time Slider to frame 12, and move the front foot back to the tightrope in the Left viewport.

5. Drag the Time Slider to frame 15, and rotate the middle spine bone to the right in the Front viewport about 10 degrees.

6. Drag the Time Slider to frame 20, and rotate the middle spine bone to the left in the Front viewport about 15 degrees.

7. Drag the Time Slider to frame 25, and rotate the middle spine bone to the right in the Front viewport about 20 degrees.

8. Click the Auto Key button again to disable Auto Key mode.

Figure QS.6 shows the scene after the keyframes have been set.

Figure QS.6

All keyframes for the selected object show up on the Track Bar under the Time Slider.

Tutorial: Linking objects

If you play through the animation, you'll notice it seems odd that the balance pole doesn't move with the biped; we can easily fix that with a link.

To animate the balance pole by linking, follow these steps:

1. Select the balance pole object, click the Select and Link button on the main toolbar, and then drag from the balance pole to the middle spine bone to create a link.

2. Drag the Time Slider through the animated frames, and notice how the pole now moves with the biped but that the hands are off.

3. Enable the Auto Key button again, drag the Time Slider to frame 0, and move the right and left hands in the Front viewport to be positioned on the balance pole. Repeat this step for frames 10, 12, 15, 20, and 25.

4. Click the Auto Key button again to disable Auto Key mode.

Figure QS.7 shows the rotating balance pole and the hands that move with it.

Figure QS.7

A link between the balance pole on the rotating spine makes the pole rotate also.

Tutorial: Animating with MassFX

Now that we have some simple keyframe animation, we can set up the MassFX system and let it create the falling motions using physics.

To animate the final fall using MassFX, follow these steps:

1. Right-click the toolbar away from the buttons, and select MassFX from the pop-up menu to open the MassFX toolbar.

2. Select the balance pole, and click the Set Selected as Dynamic Rigid Body button in the MassFX toolbar.

3. Select the tightrope object, and click the Set Selected as Static Rigid Body button (which is a flyout under the Dynamic Rigid Body button).

4. Double-click the biped's pelvis to select the entire biped hierarchy, and then click the Create Dynamic Ragdoll button in the MassFX toolbar.

5. Click the Time Configuration button near the Play button at the lower-right corner of the interface, set the Start Time to 26, and click OK.

6. In the MassFX toolbar, click the Start Simulation button. Let the simulation run to frame 100.

7. Open the Simulation Tools panel in the MassFX Tools dialog box by clicking its button in the MassFX toolbar located as a flyout under the World Parameters button, and then click the Bake All button to add all the keys for the simulation to the Track Bar.

8. Open the Time Configuration dialog box again, and set the Start Time back to 0.

9. Click the Play button to see the result animation with the keyframe and dynamic animations combined.

Figure QS.8 shows one frame of the tragic fall, compliments of the MassFX system.

Figure QS.8

The final animation includes both keyframe and dynamic animations.

Tutorial: Rendering the final animation

When the simulation looks good in the viewport, you are ready to render the final animation. This is a process that you can start by specifying the animation format. Once started, 3ds Max automatically proceeds through all the frames of the animation and notifies you when it is completed.

To render the final animation, follow these steps:

1. Select the Rendering ➪ Render Setup menu command to open the Render Setup dialog box.

2. At the top of the dialog box, enable the Active Time Segment so that all 100 frames of the animation are rendered. Then set the Output Size to 640x480.

3. In the Render Output section, click the Files button to open a file dialog box. Set the format as AVI, give the file a name such as Tightrope fall, and click the Save button. In the AVI Compression Setup dialog box that appears, simply select the default and click OK.

4. At the very bottom of the Render Setup dialog box, make sure the Camera001 view is selected and click the Render button.

3ds Max then renders each frame of the animation and shows its progress in a dialog box. When completed, the final animation file is saved with the filename you entered. You then can locate and play it. Figure QS.9 shows a frame of the final animation.

Figure QS.9

The final animation includes rendered results of each frame.

Summary

I hope you're happy with your first footsteps into 3ds Max. This chapter exposed you to a number of important aspects of 3ds Max, including the following:

• Setting up a scene

• Creating and positioning objects

• Adding a camera and lights

• Rendering test previews

• Animating using keyframes

• Linking objects

• Running dynamic simulations using MassFX

• Rendering the final animation

But hold onto your seats, because so much of the software lies ahead. In Chapter 1, you start easily with an in-depth look at the 3ds Max interface. If you feel ready for more advanced challenges, review the Table of Contents and dive into any topic that looks good.

Chapter 1: Exploring the Interface

In This Chapter

Learning the interface elementsPreviewing the menu commandsBecoming familiar with the toolbarsUsing the Command PanelExamining the Lower Interface BarInteracting with the interfaceDefining workspacesGetting help

Well, welcome to the latest version of the Autodesk® 3ds Max® 2013 software, and the first question on the minds of existing users is, “Did the interface change?” The answer is a happy “very little.” Most serious users would rather go through root canal surgery than have their user interface (UI) change, and Autodesk has learned and respected this valued opinion by keeping the interface changes to a minimum.

As you look around the new interface, you'll see that everything is still there, but that 3ds Max has a few new additions. You may find yourself saying, as you navigate the interface, “Where did that come from?” But, just like encountering a new house in your neighborhood, over time you'll become accustomed to the addition and may even meet some new friends.