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Converting foliage materials for mental ray

From: Rendering Exteriors in 3ds Max

Video: Converting foliage materials for mental ray

When we make our plants using our AEC objects Now I'll rename this to Exterior Wall Entry.

Converting foliage materials for mental ray

When we make our plants using our AEC objects here in 3ds Max, they come in with their own materials, and we need to tune these up for Mental Ray, so they'll look right in a rendering. Before I look at the plant materials though, I need to fix a few things here in the house. I've gone around, and put materials on all the objects I can find. We can see right above the entry door, there's a chunk of the wall that's just a color, instead of showing the siding. What I've done is to get the siding on. But it needs mapping. I'll select my Exterior Wall Front, right-click on the UVW Map Modifier and Copy it.

Then I'll pick this wall piece and Paste an instance modifier on. So it shares the same mapping. Now I'll rename this to Exterior Wall Entry. There's also a little sliver of wall above the low roof. I'll press P to go into a perspective and spin around. And we can see it looks like a gap in the house. In reality, the normals are flipped because of the way it was made. With it selected, I'll press 4 for polygon and Ctrl+A to select all. Right-click and choose Flip Normals. And now it's facing the right way. And I've already put the siding material on.

So I just need to get the mapping onto it. I'll deselect and press 6 for top level. Then I'll paste that mapping on. Right-clicking and choosing Paste. I'll press 1 for the gizmo, E to rotate, zoom in where I can see what's going on and spin it 90 degrees. I've spun around 90 degrees, and now on the blue z axis, I'll rotate it 45, and that mapping flows around. It's stretching a little bit, but it's so high up and so small, we're not going to see it. Now I'm ready to get my dirt going.

What I'll do is to zoom out, pick those dirt objects, and assign a new material. I'll select all three pieces of dirt, press M for the Slate, and make a new arc in design. I'll double-click on it, name it Dirt, and give it a Matt Finish Template. Now I'll go into the Diffused Color, clicking on the Diffuse Color Map, choosing Bitmap. And in the Bitmaps, I'll choose mulchC, a nice even, brown mulch I've made, as if the landscaper have just been there prior to this photo shoot. I'll click Open, and make sure I check Show Shaded Material in Viewport.

Now I'll assign this mulch and with the materials selected press H to hide the unused maps. Now look at my plants. We can see here in the materials, that in the scene materials there's a basic yucca and basic society garlic. I'll pan over where I have some space, double-click on the basic yucca, and you can see it's a multi sub-object material. What this does then, is assign material by polygon based on the polygon ID. So I've got trunk, fronds and canopy. Each of these is just really a standard material.

So I'm going to leave the multisub object and just replace the different sub materials. We can see also in here when we double-click on the trunk, for example, that it's just a solid color. And there's not really any attention paid to the gloss. So I'm going to borrow the colors and fine-tune the material a bit. I'll go into my materials, into the Arc and Design. Drag it over, and I'll rename this one Trunk. With it selected, I'll press H to minimize the unused maps, and now I'll borrow the color. On my trunk then, double-click in the material. I'm going to take this color, and drag it onto that Arc and Design, right onto the main color.

Alternately, you can right-click and copy it, go into that trunk material, and right-click and paste in that color. I'm going to make this a matte finish, and then give it a little bit of reflection, 0.2. A little bit of Gloss, and check Highlights Plus Final Gather Only. Now replace the original trunk, dragging my new trunk right into the basic yucca, one. And there's an update to the material. I'll repeat this with the other two. Fronds and canopy, and show what it looks like when I'm done. I've gone through and replaced the standard materials with my Arc and Design.

And I can custom tune the color as needed. But now on this basic yucca, I've got my proper materials. I can take it and assign it if I need, although it should update automatically. I'll verify it by just checking and eye droppering the material. What I'll do, is click on the eyedropper, picking the material from the object, picking one of the yuccas, and we can see in here it's updated. There's my multi-sub object with my Arc and Design materials. I'll do the same thing with my society garlic, making sure that I select it from the scene materials.

Double-clicking on it to view it, pulling things out of the way a little bit so I can see what's going on and altering its materials. It's got the same kind of a thing. Like here in the flower standard for example they're just, pink. We can see in here also, that there is a map in the opacity and so this needs to go into the transparency, or cut out in my Arc and Design. I'll do a little bit of organizing and show how this looks. What I've done is to select all my materials, hit H to hide the unused maps and L for layout.

Then I'll zoom in and look at my garlic. There's the basic garlic, and what we can see in here is there's four different materials, modulated by two bitmaps. I'll do the same replacement, and I'll bring in those Bitmaps to show where those flowers are. I'll start out with the flowers, making an Arc and Design, minimizing the maps, naming this Flowers. And then I'll take this Bitmap, right here, and I'll take a look at it first. Where it's just a simple flower, with a solid alpha. And I'll bring this flower into this flower's material.

What I'll do. It to put it into, the Cutout Map. A Cutout Map is fairly magic in the Arc and Design. I'll double-click on those flowers, and we can see here, although it's glossy, the black and white in the Cutout is making that material exactly disappear where it's black. Now I'll take that color in. Again, borrowing the color by copying, going into that Flowers material, matte finishing it and pasting in the diffuse. I'll put in a little bit of reflection, a little bit of Gloss and make it Final Gather Only.

Then I'll take this, and pipe that material into slot three. I'll do the same bringing in that Bitmap this straight gradient here, my garlic, into the Frond's material, update the stocks and finally the canopy. And then I'll make sure these are applied and I'll have my plants in my scene.

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This video is part of

Image for Rendering Exteriors in 3ds Max
Rendering Exteriors in 3ds Max

45 video lessons · 912 viewers

Adam Crespi
Author

 
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  1. 3m 52s
    1. Welcome
      55s
    2. What you should know before watching this course
      24s
    3. Using the exercise files
      2m 33s
  2. 43m 37s
    1. Assessing the design possibilities
      4m 3s
    2. Forming paint colors and sheen levels
      7m 15s
    3. Making brick and concrete sparkle
      4m 7s
    4. Adding subtle detail to wood and siding
      8m 50s
    5. Polishing metals
      8m 13s
    6. Adding luster to glasses
      4m 33s
    7. Converting foliage materials for mental ray
      6m 36s
  3. 25m 9s
    1. Creating the Daylight system and positioning the sun
      4m 23s
    2. Softening the sun and shadows
      4m 46s
    3. Adjusting the Photographic Exposure for stylized imagery
      5m 56s
    4. Lighting using HDR imagery in the Daylight system
      5m 48s
    5. Adding extra lights for glossy surfaces
      4m 16s
  4. 26m 30s
    1. Using the Daylight system for sunsets
      3m 18s
    2. Casting light from exterior fixtures
      8m 13s
    3. Lighting interior spaces for night
      7m 14s
    4. Adjusting luminous and lit surfaces
      4m 7s
    5. Fine-tuning the Photographic Exposure
      3m 38s
  5. 20m 35s
    1. Rendering and optimizing rendering
      4m 49s
    2. Fine-tuning Final Gather for speed
      4m 49s
    3. Pushing Global Illumination values for visual impact
      4m 47s
    4. Stylizing the bounced lighting
      6m 10s
  6. 32m 24s
    1. Creating an ambient-occlusion override material
      5m 56s
    2. Creating an ambient-occlusion rendering pass with custom materials
      8m 33s
    3. Lighting a custom specular pass for sparkle
      7m 15s
    4. Setting up custom masks for compositing flexibility
      6m 51s
    5. Rendering the image passes
      3m 49s
  7. 39m 12s
    1. Importing the imagery and arranging the layers
      3m 28s
    2. Setting blending modes and adjusting opacity
      3m 13s
    3. Fine-tuning color using rendered masks
      5m 57s
    4. Adding depth of field
      6m 47s
    5. Putting on the final polish with glinting highlights and glow
      5m 1s
    6. Adding quick clouds and sky
      10m 14s
    7. Rendering the composited images
      4m 32s
  8. 31m 25s
    1. Importing the imagery and arranging the layers
      2m 49s
    2. Setting blending modes and adjusting opacity
      3m 28s
    3. Fine-tuning color using rendered masks
      5m 47s
    4. Adding depth of field
      5m 19s
    5. Putting on the final polish with glinting highlights and glow
      3m 56s
    6. Adding quick clouds and sky
      6m 9s
    7. Rendering the composited animation
      3m 15s
    8. Rendered movies
      42s
  9. 42s
    1. Next steps
      42s

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