In this video we introduce the concepts that will be presented throughout Project II of Max Fundamentals.
We begin by reviewing the storyboards and the concept for how the animation will play out.
An overview at the different reference coordinate systems and centers available within 3ds Max.
In this video we take an in depth look at the World reference coordinate system and how it works.
This video focuses on the Local reference coordinate sytem and how it is used on your scene.
In this video you'll see what the Screen reference coordinate system does and how to use it.
Next on the list is the View reference coordinate system, which we check out in this video.
The Parent reference coordinate system allows you to manipulate an object relative to a hierarchy.
Choose your own pivot with the Pick reference coordinate system, demonstrated in this video!
The Grid refrence coordinate system gives you the ability to use customized grids as your basis of manipulation.
In this video we take an overview-style look at how snapping is handled in 3ds Max and how you go about doing it.
Here we introduce some basic snapping skills that will be critical as you work within more complex scenes.
This video takes a look at some of the various snap types available in 3ds Max and how they are used.
Snapping comes with several possible options, and here we take a look at what they are and how to use them.
A discussion of the difference between 2D, 2.5D, and 3D snapping abilities in Max and how they work.
In this video we take a look at different ways snapping cofigurations can be overridden for more flexibility.
An overview of the other operations that can be snapped as well, and how they contribute to workflow.
By snapping angles and spinners, you can get more accurate control over manipulations in your 3D scenes.
A look at the basics of working with polygons for modeling in 3ds Max and the topics we'll be discussing.
The Editable Poly is the standard surface type for most polygonal modeling operations and we introduce it here.
The Selection Rollout gives access to the various subobject types available on your polygonal object.
Soft Selection provides a way to do a falloff-based selection to the subobjects of your model.
By painting soft selection, you have highly customized control over how your soft selection takes place.
The Edit Vertices rollout contains many of the operations that can be performed strictly open the vertices of your object.
Within the Edit Edges rollout, you can find a variety of modeling operations geared solely to working with polygonal edges.
Borders are polygonal edges that take place on the edge of an exposed polygon. In this rollout we see the operations available for working with them.
The Polygons rollout is one of the most extensive rollouts for your subobjects, consisting of some of the most frequently used operations.
Though there are only a few options, the Elements rollout contains some essential tools for working with contained components of your object.
The Geometry rollout holds all of the generic subobject-independent operations that you can perform for modeling your objects.
Smoothing groups allow you to adjust how faceted your model appears to be, or how smooth the edges between faces will appear.
The Subdivision Surfaces rollout gives you access to your polygon's NURMS smoothing, which allows for higher resolution modeling.
The Paint Deformation rollout contains tools that allow you to sculpt your surface using brush-based tools rather than moving components.
In this exercise, we take a look at painting deformation by first setting up the initial surface we'll need to paint a skull-like face.
This first round of sculpting allows us to get the initial shape of the skull into place for more in-depth modeling later.
With the basic shape in place, we can now start sculpting in some of the fine details of the head and facial area.
In this video we augment the look of our skull by adding in some teeth to polish up the effect.
The Vertex Paint modifier allows you to change the vertex colors of your object in an intuitive brush-based manner instead of with a texture.
To model our jet, we first need to set up the image planes that will be used for reference and vertex placement.
Using some simple versions of the model, we'll later be able to create some basic animatics to control the timing of our animation.
In this video we introduce you to the world of working with splines and how they can be used to create models.
The Rendering rollout allows you to make your splines renderable by adding a polygonal shell around them and conrolling their look.
The Interpolation rollout gives you access to the number of calculation points along each section of your spline, thereby affecting resolution.
The Selection rollout gives you access to the various subobjects available on your splines and different ways you can affect them.
Soft Selection provides a falloff-based approach to selecting the subobjects of your spline, which can lead to smoother deformations.
The Geometry rollout contains most of the modeling operations available for modeling with splines. This list is extensive, and so spans two videos.
Here we continue discussing the Geometry rollout and the various functions and abilities you are provided through it for working with splines.
Boolean operations allow you to change the shape of a spline by using a second spline to work as an operand.
Trimming splines allows a spline to be broken into several different pieces. Extending a spline can help one spline reach a length of another.
Here we take a look at the final list of operations and functions for spline modeling found within the Geometry rollout.
Here we set up the image planes that we will be using as references while we model out our scene's aircraft carrier.
This basic version of the aircraft carrier will serve as a low-resolution stand-in for the creation fo animatics later on.
This video introduces the concept of file referencing, which allows you to work with exterior Max files, a critical skill for collaboration projects.
Here we look at the XRef Scene command, which allows you to bring an entire Max scene into your existing scene as a reference.
With XRef Object, you can bring in a single object from an external Max scene, rather than the entire scene itself.
This demonstration shows how you can go about piecing together a simple scene using XRef, as demonstrated using two separate machines.
It's time for us to start modeling out or F-14 Tomcat model. We begin by creating the first portion of the spline surface cage.
Our next step is to produce a spline cage that will allow us to create the engine nacelles on either side of the fuselage.
One the F-14's trademark features, the retractable wing control surfaces are established in this video.
As we continue adding the critical control surfaces, this video focuses on the horizontal and vertical stabilizers of the F-14.
Once we've set up our basic spline models, we con go ahead and convert to Editable Polys and move forward with NURMS smoothing.
Here we model out the nose cone of the F-14, which can be tricky if you don't want to see any pinching or normal issues.
In this video we add on the canopy of the F-14 Tomcat, through which we'll be able to see the pilots while the jets are taking off!
By creasing some of the edges of the canopy, we can more clearly differentiate where the actutal canopy and the fuselage divide.
Now that we're working with traditional polygons instead of splines, we can move forward with shaping out our engine nacelles.
With the engine nacelle basically roughed out, we can now take a second and make it a single piece with the fuselage.
Our engine nacelle needs a little bit of work to look more like the real deal, and in this video we make some of the necesary changes.
Still not quite satisfied with the overall shape, work continues on the engine nacelle getting it ready for liftoff!
We now add in the vertical stabilizers we created earlier, and make them a cohesive part of the entire F-14 model
Some editing and adjustment are needed on the stabilizers to get them to be fully realized and finished on our jet.
In order to prevent someone accidentally seeing through the geometry of the jet, we create some closure pieces to plug up the engines.
From the basic start we created earlier, we now model out and finalize the wings of our F-14 Tomcat and prepare it for finalization.
To wrap up the F-14 Tomcat, we need to make some last minute tweaks and adjustments to the overall shape.
To start the landing gear, we begin with only a simple shape, using photographic refrences of the jet's actual pieces.
In this video we continue work on the landing gear, adding in more detailed pieces and subparts to make the gear look more complicated.
Yes, we fully realize that this is not the kind of missile you'd generally be firing at a ground target. But it does look cool. Thanks.
Now we just need to work in some last minute tweaks and adjustments in order to finalize the overall shape of the F-14.
This is a discussionary lecture in which we explore different ways one could approach modeling and how to decide when to stop working.
We begin the modeling process for the aircraft carrier by creating the basic shape of the hull, omitting the large ballast beneath the surface.
In this video we create the various ledges and outcroppings visible along the port side of the ship, which is the only visible side of the craft.
Here we lay out the basic shape of the control tower of the aircraft carrier, preparing for more details and additional shapes to be added later.
In this video we add further details to the aircraft carrier's control tower, including the walkway and the windows around the outside.
Here we add in the masts and towers that protrude from the top of the control tower and extend up above the roofline.
Next, we create the safety fences and railings surrounding the walkways and gantryways that cover the control tower.
Our next step is to start adding some of the decorative shapes that will be indiscernable at a distance, but will help to fill in the shape of the tower.
In this video we wrap up the decorative elements of our aircraft carrier's control tower, and are ready to begin the finalization process
We're just about done with the aircraft carrier, and here we take care of any remaining parts to getting it all wrapped up.
It's time to shift our attention to our target object that our hero F-14s will be destroying. Here we take a look at what's in store for us.
To start the modeling process, we create the towers that reach up from the top of the platform and provide a clear shape for the target.
In this video we demonstrate the use of the Array Tool and how it can employed to create repeated duplicates of objects in an array.
It's now time for us to create the two cranes that will be visible on the roof of our target rig just before it's blown up.
Continuing with the modeling process for our target, we now move on and start constructing the highest platform.
We now move on and create the support legs visible on the outsides of the platform that hold everything together and provide structure.
These cargo box will serve as the main body for the tower target, preventing us from being able to see through the shape.
It's time to start texturing our objects. But first, we need to have a discussion of the process of texture mapping and how it is handled.
The key tool for creating UV layouts in 3ds Max, we deomonstrate the use of this modfier and its associated user interface.
In this lesson, we show you how to create a UVW layout for a simple object, which will allow for painting of texture in Photoshop.
With our layout in place, the next step is to get the pattern into Photoshop so that we can create a texture for our object.
This discussion covers many concepts that you'll need to know regarding the creation of custom UVW layouts in 3D applications.
By using different mapping channels, you can have multiple UVW layouts, with each layout associated to a different texture.
A simple version of the previous modifier, the UVW Map modifier allows you to create a basic layout based on a predefined map type.
Here we color code the various pieces of our model, so that when to get into layout of the UVWs, the work can progress more quickly.
Multi-SubObject materials provide the user with the ability to assign different materials to separate subobjects of the model.
Here we start breaking up the subobjects of the fuselage into different material IDs, allowing for specific placement of materials and textures.
In this video we wrap up the material ID division of the F-14's fuselage, after which we will be ready to create our intial layouts.
We begin the process of creating our UV layout for the jet, beginning with the surfaces that make up the main fuselage.
Moving along the surface of the jet, we begin creating the UVW layouts for the surfaces of the engine nacelles adjacent to the fuselage.
Here we wrap up the layout of the engine nacelle surfaces, leaving only a few secondary parts of the jet's body remaining for layout.
In this video we create and edit layouts for some of the remining parts of the F-14's body, as well as making some adjustments.
We now move on to other secondary areas of the jet's layout, after which we will have created basic texture coordinate for the jet.
Before we move away from laying out the UVs, there are a few changes we should make to the overall pattern as well as some tweaks.
After creating our layouts we make some adjustments and finalizations to the structure of our material IDs for the multi-subobject material.
UV layouts can be a bit of an organic process, and here we take on just a few more final adjustments before moving away from them.
Now that our UVs are fully laid out, we can take templates of them over into Photoshop so that we can paint textures upon them.
Next we create simple layouts for the F-14 Tomcat's retractable wings so that we can paint textures upon them as well.
Moving along, we now create a basic layout that can be used to create a surface texture for the jet's flap control surfaces.
Our next step is to create the necessary texture coordinates for painting up the jet's stablizers and the nozzles for the afterburners.
One of our primary pieces of the animation, the missile also needs a set up for its UVs so that we can paint a texture in Photoshop.
While not critical surfaces in terms of detail, we also need to create a UVW layout for the missile mount and the jet's fuel tanks.
To help with texturing later, we need to create labels for the texture, helping us to identify which areas are associated with individual parts.
Our first step is to lay down our base color and get the file associated over in Max. This allows us to build upon that color to create the texture.
Our missile needs to look like it has been assembed from various panels of metal, and here we start painting the seams for the effect.
Here we add on some of the decorations that can be seen on the photographic references of the missile, making them part of the texture.
For a more realistic effect, and for a little fun, we now create some text that will be placed along the surface of the missile's texture.
To add to the level of realism, we now embellish the texture with a simplified grunge map to keep the missile from looking impossibly clean.
In this video we create the bump map for our missile, as well as the specularity map we'll use to control its overal shininess.
With the main part of the missile completed, we take a moment to create associated layouts for the control surfaces at the rear.
Before we texture up the jet, we take a look at some simple additions that will make the F-14 appear to be closer to the real thing.
We now move on and start texturing up the main body of the F-14, including the fuselage and the engine nacelles.
Next we create the textures for our jet's cockpit and the canopy, including the transparecny for the canopy glass.
We now need some final texturing in order to wrap up the cockpit area of our jet and prepare it for simple pilot models.
In this video we create some textures to be placed on the wings and the stabilizer control surfaces of the F-14 Tomcat.
Here start texturing some of the other elements of the jet, includin gthe afterburner nozzles and some of the other accessories.
Even though they're not heavily focused upon, we need some simple textures to place upon our jet's landing gear. We create that here.
With so much texturing behind us, this video takes an overview-style approach to the process of texturing our aircraft carrier model.
It's time to start preparing our jet fighter for animation. In this video we begin by setting up the basic rig we'll use for control.
To add to the effect of the takeoff sequence, we're going to rig the afterburner nozzles so that they can open and close.
The control surfaces of the jet should be able to be animated as well, and in this video we create the control system to do so.
When the jet is launched off the carrier deck, there is a marked drop in its nose as the catapult pulls it forward. We set up a system for that here.
Trajectories provide users with a way to visualize the resultant motion of an animation curve as a three-dimensional spline within their scene.
In this video we start bringing together some of our animatic models in preparation for creating the animatics for our sequence.
To start off the animatics process, we create a simple animation to help us nail down the timing for the first part of the sequence.
With our base motion in place, we can now lock down the camera with finality, associating it with the motion that we've got going on in the shot.
Here we create the basic animation and visualization/layout for the third and fourth shots of our animatics sequence.
In this lesson we progress forward with the creation of our animatics, setting up initial motion for the fifth scene of the animation.
The sixth scene of the animation in which the missiles drop from the bottom of the jets is roughed out and realized in this lesson.
In our final scene, we set up the timing for our incoming missiles, the resulting explosion and then a dual flyby of our hero jets after a delay.
With all of our animatics completed and ready for review, we have only to render them out and combine them into a single movie file.
With our basic motion in place, we can simply swap out the models from the animatics with our final models, and have a good start for the shot.
Here we simply swap all of our simplified animatic elements with the actual pieces that will be used in the final version of the animation.
Any remaining parts of the animatics that need to be exchanged for their final assets are taken care of as part of this lesson.
This lesson overviews many of the concepts and topics that will be covered as we progress through the lighting portion of this project.
Glow effects in 3ds Max require a fairly unique setup process. In this video, we deomonstrate the necessary steps to create an test your glows.
Here we discuss the natural light (moonlight) that we'll be using to illuminate our aircraft carrier's deck during the takeoff sequence.
Next, we start the environmental lighting for our first scene, getting the initial illumination and shadows established and running.
Here we take a look at setting up some initial lights coming from other elements of the aircraft carrier's deck and begin their construction.
In this video we wrap up the prop lights that we established in the previous video, adding some more color and character to the carrier.
Here we begin the lighting process for our second shot in which the F-14 Tomcat launches away from the carrier and into the sky
This video concludes the lighting process for the takeoff sequence of our animation, allowing us to move forward with remaining scenes.
In this lesson we begin the lighting procedure for our third shot, in which we see the target object that will end up being blown to tiny bits.
Since there are so many light features on the target, we have broken the lighting up into two separate lesson. This is the conclusion.
Previously on 3ds Max: The Fundamentals... We lit scene three. And now, the next episode in which we light the fourth scene!
The 3ds Max scenes were made by 3D Buzz. They evolved. They rebelled. There are many copies. And they have a plan.
In this video we create the lighting setup for the sixth scene in which the jets fire their missiles toward the target.
Adding some final lighting to our seventh shot, we are done with the lighting portion and can now move on to taking a look at dynamics!
This discussion introduces you to working with 3ds Max's Reactor dynamic simulation system for simulating rigid body aniamtion.
In this video we show you one of the key ways to access Reactor's settings and controls, found within the Utilities panel of the Max UI.
Rigid bodies are non-yeilding surfaces that can have various forces applied to them and can collide dynamically with other objects in your scene.
Here we talk about ways in which you can create animations using rigid body simulations and keyframe animation in 3ds Max.
You can't just leave everything up to mass and gravity! In this video we show you various constraint methods to control your rigid bodies.
Cloth objects allow for simplified simulations of cloth in 3ds Max. While not as powerful as the actual Cloth system, it can still yield nice results!
This video introduces you to some of the other objects that can be created with Reactor, such as rope and softbody objects.
Particle Flow is 3ds Max's powerful particle simulation system, which allows for visual node-based control over particle setup and behavior.
Particle View is the primary window in which you will create the various networks that will drive your particle systems for Particle Flow.
This demonstration gets your hands dirty showing you how you can create some simple particle effects quickly by connecting a few operators.
We now continue our exploration of events and operators inside of particle flow, making way for a more practical example coming up.
This video overviews the next particle example in which we create the base effects for a sentry gun similar to the one seen in Aliens.
First we need to create the actual bullets that will fire from our sentry gun. Here we establish the necessary events in Particle Flow.
Once the bullets are in place, we need to create the resulting effects. Here we create sparks from impact and the resulting bullet holes.
You can't fire a machine gun of any sort without having some sort of barrel smoke at the end! In this video we set this effect up.
In this video we take a look at creating the thruster effect for our F-14's afterburners during takeoff and throughout its flight.
Once the effect is completed, we need to connect it to the ject so that it can follow along with the animation of the object.
This video contains the setup for a simple particle system that will simulate a wake for our aircraft carrier as it powers through the ocean.
With our particles in place, we now need to create the material that will be spread across them during the aniamtion.
Through some animation of the textures in the material, we can give the effect that our ocean's surface is actually moving through the scene.
One of the effects of a naval jet's takeoff is the steam produced by the catapult. We set up that effect within this video.
Missiles just don't look right if you don't have that smoke trail extending out behind them. In this video we establish the base effect for this.
Our last scene shows the missiles pounding into the target, and we still need the contrails to be visible. These trails are reestablished here.
At the point of impact we want a big pleasing explosion from the target as our missiles strike. We set up the particle behavior for this here.
In this video we generate the necessary material to be applied to our fireball particles at the moment of the initial explosion.
Our first stage of smoke will come as a result of the initial fireball, in the form of a large puff of deep black smoke eminating from the target.
We're going to add in some corrective effects to help make sure that the effect remains relatively pleasing during the course of the shot.
We now add in some shrapnel pieces that fire out from the explosion, leaving inky smoke trails behind them and land in the surrounding ocean.
We can't blow up the target and then let the audience see that the effects had nothing to do with the destruction! Swap the models in this video!
Just for fun, we create some text that can be seen in the corner of the render to give the shots a much more cinematic feel.
Our renders will look far more realistic with depth of field applied, though it will end up costing us significant time during the render.
In this video we apply the depth of field effect to the necessary scenes, helping the shots to look like there is a camera worker trying to focus the shot.
Sometimes rendering on a single computer will just take too long. With Autodesk Backburner, the process of using multiple machines is easy!
In this video we handle a few last minute adjustments that will be needed to get the kind of rendering we want, and get everything completed!