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Applying procedural textures

From: Creating Product Shots in 3ds Max

Video: Applying procedural textures

We're going to now create a leather material for the wristband. And we just pan in the view here a little bit with And, double-click it to load it into the Parameter Editor.

Applying procedural textures

We're going to now create a leather material for the wristband. And we'll learn about applying procedural textures along the way. Because we've got a default leather pattern that ships with the archon design material, but we want to customize it. Let's go into the Material Editor. And we just pan in the view here a little bit with the middle mouse button, get that environment material out of the way. We probably want to get back to that, so I'm not going to delete it, but we'll, just move it off so we don't see it just now. And we'll create a new archon design material, click and drag.

And, double-click it to load it into the Parameter Editor. And, we want to go ahead and rename it now. We'll call it Leather Black. And we want to choose a template over here. And you can see there's actually a leather template. And once we choose that, a lot of stuff happens, basically, a whole bunch of these parameters have changed, and additionally, some of these other nodes, these map nodes have been created, and so we can see that, I'm going to zoom out a little bit. And so that we can move all of these together, I'm actually going to turn on an option going to Options> Move children.

That means when I select this material node, then all the map nodes will move with it, so we can kind of keep that organized. All right. So, what it has done, is it has created a noise map, and fed that into the diffuse color channel. And it's created this daisy chain of maps feeding into each other, that's affecting the bump channel here. Let's go ahead and assign that leather to the object in the scene. We'll do that through the scene explorer. Tools> Save Scene Explorers. And we want to open up the hierarchy. And we want to scroll down to the bottom of the list.

There are four objects in that wristband. Wristband bottom, top, loop one and two. So I'll select all of those, and with this Material node selected, I'll click on Assign Material to Selection. And let's take a look at that now. We'll go and do a test render of it. Here's our testing render with the default leather applied, and we want to a black leather. And I don't actually want these big chips here, these big sort of, you know, areas in the bump. I want it to be more consistent like it's fine leather.

Let's go back into our Material Editor. I've got it minimized down here. Open that up. And the first thing I want to do, is just get rid of this noise map. Because I just want it to be flat black. This is actually making it different shade colors in different areas. So I'm going to delete that. And then, back over here, we want to change this up too. We don't actually need all of these. We've got several here. We've got a noise map, another noise map, and we've got a cellular map here. But actually the cellular will work fine, we can just use that. We don't actually need these noise maps.

I'll drag a rectangle around those two and press Delete, to delete them, and I want to reconnect this cellular map to the bump channel. So, move it close,r and then drag that over, connect that to the bump channel. Cool, all right, so back to our leather. Basically, what we want to do down here, is set this to Black or Near Black. You'll see it's already down very low, 0.02. I'm going to set it down to 0.01. I'll make sure saturation is zero, and then, we've got a whole bunch of attributes here, but let's just see what we get now.

Go back to our Render view, do another test render. That's a result of having changed a few parameters, and deleted those noise nodes. What we want to do is work a little bit more with that cellular texture. It's a procedural 3D texture. Which means we don't have to worry about the mapping on the surface, and that we additionally have some parameters that we can adjust, because it's not connected to any bitmap or anything. Let's go into the cellular parameters, double-click on that Cellular node, and the main thing is the size.

You can see we have very large pattern here. What I would like to do is to be able see this immediately, without having to do a render, and I can do a preview render of the material, I can. Right-click on that Material node and choose Open Preview Window, and this is what we get. However, as you can see if you look closely, this pattern is very small on that surface, and it's very large over here, and the issue is that the sample object, is very large.

And we need to change that sample object to be smaller in this preview window, so that it better corresponds to what we see in our rendering. And unfortunately, we cannot change that option from the slate material editor. We go to Options here, there's really nothing much in there. We go to Preferences, bu,t there's really no option for changing the size of the sample object. And to change that option, ironically, we have to go back to the old-school Compact Material Editor. Go up to Modes in the Slave Material Editor menu, and choose Compact Material Editor.

And we want to go to the Options here. Click on that. And what we need to change is the render sample size. I going bring that down to a very low value, so that we can see really clearly what we're doing. I'm going to set that to 0.1 centimeters, and click OK. Then go back to the Slate Material Editor. We want to update this. So I can select and right-click here, Update Preview. And now, it's rendering at the same size as this, in fact it's rendering at an even smaller size, as if we'd zoomed in on one tiny little area here, It's only like a millimeter.

All right, so now, having done that, we can play around with the size parameter, for the cellular map. If I bring that down from 0.2 to let's say 0.01. Now you can see we're getting a much smaller pattern. Okay, so that's approximately the right size that we want for this, and having done that, we can go back and do another test rendering. Okay, now that's a pretty subtle effect. And really, it almost just looks like the grain from the shadows. But we do have a bump effect that's very small, fine leather.

And it's actually looking pretty good. We can increase the bump amount, and that'll exaggerate the height of those bumps a bit. And in the next movie, we'll adjust their reflectivity parameters, to make it a lot more shiny. Let's go back to our Archon Design material. Double-click on that. And, we want to scroll down and find the bump map. It's under special purpose maps. And we have the bump amount here. I'm going to turn that up a little bit from 0.1 to 0.15, and you can see, that increased. If I turn it up to 1.0, then we'd have a really extreme effect, and that would not look good.

But, a value of 0.15, looks pretty good, and we'll do a final test render of that before moving on to, the reflectivity parameters. Now I've got a little bit more bump height, and that's going to show up better in our product rendering.

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This video is part of

Image for Creating Product Shots in 3ds Max
Creating Product Shots in 3ds Max

42 video lessons · 1317 viewers

Aaron F. Ross
Author

 
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  1. 5m 50s
    1. Welcome
      1m 1s
    2. Using the exercise files
      4m 49s
  2. 32m 32s
    1. Setting the Customize UI and Defaults Switcher
      1m 43s
    2. Choosing units and grid options
      1m 13s
    3. Importing a CAD file
      5m 12s
    4. Managing the scene hierarchy
      7m 46s
    5. Managing display layers
      3m 52s
    6. Working with Body objects
      2m 53s
    7. Modeling an environment sphere
      4m 17s
    8. Creating a camera
      2m 44s
    9. Framing the shot
      2m 52s
  3. 16m 46s
    1. Creating mental ray area spot lights
      4m 31s
    2. Creating photometric spot lights
      5m 9s
    3. Setting exposure for studio lighting
      3m 9s
    4. Controlling Final Gather
      3m 57s
  4. 1h 1m
    1. Creating Arch & Design materials
      7m 26s
    2. Creating an environment material
      6m 14s
    3. Enabling self-illumination
      5m 33s
    4. Applying procedural textures
      7m 20s
    5. Working with reflectivity
      7m 10s
    6. Creating a metal material
      4m 33s
    7. Adjusting highlights
      5m 4s
    8. Varying highlights with a bump map
      6m 43s
    9. Working with transparency
      4m 44s
    10. Adding ambient-occlusion nodes
      6m 40s
  5. 37m 47s
    1. Understanding image-based lighting
      2m 42s
    2. Creating a skylight
      2m 10s
    3. Adding a spherical environment map
      2m 51s
    4. Controlling bitmap coordinates
      4m 5s
    5. Setting exposure for image-based lighting
      7m 36s
    6. Adjusting materials
      5m 38s
    7. Modeling environment geometry
      5m 42s
    8. Self-illuminated image-based lighting
      7m 3s
  6. 50m 6s
    1. Controlling mental ray Sampling Quality
      5m 18s
    2. Rendering to the high-dynamic-range EXR format
      5m 52s
    3. Defining After Effects color settings
      4m 0s
    4. Adjusting the image
      10m 4s
    5. Setting up render elements
      7m 51s
    6. Creating ambient-occlusion materials
      6m 9s
    7. Layering specularity and reflections
      3m 47s
    8. Adding all render-element layers
      7m 5s
  7. 49s
    1. Goodbye
      49s

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