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In this course, Aaron F. Ross covers all the features you'll need to start creating advanced 3D models and animation with 3ds Max 2015. Learn the most suitable techniques for modeling different types of objects, from splines and NURBS to polygonal and subdivision surface modeling. Then learn how to design 3D motion graphics, set up cameras, animate with keyframes, and assign constraints. Aaron also provides an overview of lighting scenes within a simple studio setup, and construction of materials with the Slate Material Editor. Finally, learn about your hardware and software rendering options, and make your projects more realistic with motion blur, indirect illumination, and depth of field.
With only one light in our shot, we've got a very contrasty image. It's almost like a film noir movie, in which the shadows are incredibly black like a value of zero. Let's add a little bit of fill light to this so we can fill in some of those dark shadows. You'll probably want to use Omni lights for fill because those are the least expensive. They are the fastest to render. I'm going to unpin my stack, go back to the Create panel, go back to Lights, and Standard and create some omnilights.
And I want to create those in the top view or the perspective view. Click to Create the omnilight. I'm going to create two of them out here, and then right click. And they need to be moved up because they have an elevation of zero. Bring those up. And not to the same elevation. Give them some variation. And then obviously as you can see, we need to adjust their intensity. The key light or spotlight here has an intensity of 1. Up at the top, we've got Intensity, Color, Attenuation, the multiplier is one. The fill lights I've just created, their purpose is to fill in the shadows, not to provide direct key illumination.
That means that their multiplier or intensity value needs to be lowered. The key light should always be the strongest light in the scene. Select one of these. And intensity color attenuation, maybe set that to a value of 0.3 or so. And likewise with this one, bring that down a bit, 0.3. All right, so you can see the difference already here, we're getting some fill, the shadows are not 100% black. One thing I do want to point out is that 3ds Max remembers the settings, for the last operation that you did, on a light or on many other objects.
So take a look at this, the omnilights that I created have this cream color because I create a spotlight and adjusted its color. And now these new lights have inherited that color, so don't let that bite you. I actually want to set these to be the compliment, which is blue. And that's going to give us a nice, pleasing effect. So, I'm going to click on that and just switch that hue over to a blue color, with not very much saturation. Just very desaturated. A saturation in the 20s.
And you can see how that's effecting this. And let's select the other light. Likewise change its hue to blue. Click OK. And now this has got a little more visual interest to it because the key light is slightly orange and the fill lights are slightly blue. And now we can kind of move these around. And kind of control the contrast level. So if I bring these over to the side, that's more side lighting. Bring 'em up towards the front, that's more fill lighting. So again it's just an artistic process of you trying to determine you know, what looks good.
You can also create fake bounce light, because light hitting the surface of the floor here should bounce up and strike the other objects here. So, we can create a fake bounce light for that purpose. All right? Let's create a new omni light. Just standard omni. And create it basically at the target or near the target. And then move it down underneath the floor. And because we're not casting shadows with this light it's going shine up onto the figure you can see it there.
So, maybe not at the target little bit in front we want to illuminate the figure more than anything. And we can bring it down, maybe a little bit. Again, just play with that. See what looks good. It doesn't need much intensity, and it should have the same color as the key light. Go back into its parameters. Set that color back to that cream color, and it should have a really low intensity, maybe like 0.1 or something like that because it's just providing a little bit of splash or fill. Maybe 0.15. Okay so that's a little bit of fake bounce light there.
All right, pretty cool. And then finally we can put some rim light to kind of accentuate the edges of the figure. You know, some backlight, so we could make some omnilights and put them back here. And actually, if we want to, we can duplicate the existing lights. We've already set the color and intensity for these, so I can select one of them and just hold down the shift key, and drag it back here and that'll make a clone. When I release the mouse I get a dialog asking me do I want to copy an instant or reference? A copy will be completely independent so I can control those parameters separately.
An instance would have shared parameters so if I change the multiplier of one instance it would effect both of the instances. And a reference is an instance in which you can add modifiers. But you can't add modifiers to lights, so reference wouldn't make any sense here. In this case, I want a copy so I have independent control. Click OK, and then this rim light, I want to examine the figure here and move the back light around so I can kind of put a little bit of rim in there. Right, if I put it back too far we won't see anything.
So,kind of over on the side a bit. And that looks pretty good. I can make a duplicate of that. Once again hold down shift and drag and bring it over to the other side. And now I've created some rim light. So, make another copy here. And you can see that we kind of differentiation the figure from the background. And that's a purpose of the rim light. Nice. All right, so now that we've got all those lights in the shot let's do a test render of that. You can see that it's a little bit maybe overexposed. Once I've added all of those lights in, I probably want to reduce their intensities.
We can do that from the light cistern. We'll do that in the next movie.
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