IntroductionWelcome| 00:00 |
(music playing)
| | 00:04 |
Hi, I'm Randi Derakshani, I'm a digital
artist and have worked in the
| | 00:07 |
entertainment and game industries for
many years.
| | 00:10 |
I'm currently a faculty member at the Art
Institure of California, Los Angeles.
| | 00:14 |
Specializing in teaching 3D, and
composting.
| | 00:18 |
I'm a certified Autodesk instructor, and
a author of multiple 3DS Max books,
| | 00:23 |
including Autodesk 3DS Max 2013,
Essentials, and Introducing Autodesk 3DS Max.
| | 00:30 |
>> Hello, I'm Dari Derakhshani, a VFX
supervisor an adjunct faculty with the
| | 00:35 |
university Of Southern California, in Los
Angeles.
| | 00:40 |
I've recorded learning Maya for video to
brain, and I'm also the coauthor of
| | 00:44 |
Autodesk 3DS max book series, as well as
the author, for the best selling
| | 00:48 |
Introducing Maya series.
I'm delighted to help bring you this
| | 00:55 |
course on 3DS Max.
>> Getting started with Autodesk 3DS
| | 00:59 |
Max gets you familiar with many aspects
of the popular 3D program.
| | 01:04 |
And puts you well on your way to creating
models, animation, and rendered scenes.
| | 01:09 |
In this course we'll dive into getting
use to working in 3DS Max by getting you
| | 01:13 |
familiar with the 3DS Max interface and
its general workflow.
| | 01:18 |
We then will show you the four range of
abilities in 3DS Max modelling processes.
| | 01:23 |
Allowing you to start creating the models
and assets you would use in your own scenes.
| | 01:29 |
We'll use many of 3DS Max rich polygonal
tool sets, and show you how they operate,
| | 01:33 |
and how to best use them.
Enabling you to go forward with your own
| | 01:38 |
modeling needs.
>> Next, we'll jump into creating and
| | 01:42 |
manipulating objects within the UI.
Once you're comfortable getting around
| | 01:48 |
3DS max, we'll look at and use the many
tools to edit polygonal meshes to make
| | 01:52 |
models with 3D objects.
And finally, we'll start using 2D shapes
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and splines to create surfaces and
models, by using many of 3DS max's spline
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modeling tools.
Once you've completed these videos you'll
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be able to confidently use 3DS Max to
create your own models and scenes.
| | 02:16 |
>> We sincerely hope this course will
kick start a fantastic experience in 3DS
| | 02:20 |
Max for you, and kindle a love of
learning this fascinating software
| | 02:24 |
ecosystem in the pursuit of creating your
own art.
| | 02:28 |
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1. Exploring 3ds MaxWhat is 3ds Max?| 00:02 |
In this video, we'll be taking a look at
some of the things that, 3ds Max has to offer.
| | 00:06 |
Firstly, 3ds Max comes in two different
flavors.
| | 00:12 |
3ds Max, and 3ds Max Design.
The primary difference between the two is
| | 00:17 |
that 3ds Max Design caters more for
visualization, architects and engineer,
| | 00:22 |
while 3ds Max itself caters to
entertainment and gaming professionals.
| | 00:29 |
3ds Max itself, is a powerful program
that gives you access to 3D space.
| | 00:36 |
Allowing you to Create 3D objects from
which you can create models, that you
| | 00:41 |
will use.
Here, we see a simple box that can be
| | 00:45 |
molded into a dresser.
This, for example, you can use in a scene
| | 00:51 |
for a bedroom or as a visualization for a
furniture design.
| | 00:57 |
Furthermore, 3ds Max can be used to
create architectural spaces quite easily
| | 01:02 |
with some of the architectural elements
that are available to the Modeling
| | 01:06 |
toolbox within 3DS Max.
You can animate in Max.
| | 01:13 |
Any sort of animation that you create can
be easily edited through some curves and
| | 01:18 |
functions that, are easily accessible
through Max's Animation tools.
| | 01:25 |
You can Create, Textures that are put
onto your objects, to give them a more
| | 01:30 |
real look, for example, this soldier
character that was created.
| | 01:37 |
You can take characters and give them
biped movement, that's two-legged.
| | 01:44 |
You can also do more than two legs, of
course.
| | 01:47 |
But Character Studio, a part of 3ds Max,
makes biped animation quite a bit easier
| | 01:52 |
by giving you Presets and Rigs that are
ready to go.
| | 01:58 |
As a matter of fact, Character Studio has
some nice features, allowing you to
| | 02:03 |
create walk cycles quite easily, by just
placing footsteps, and also doing poses
| | 02:08 |
likes jumps very easily.
Once you're done with animation,
| | 02:15 |
typically you move into a Lighting Phase,
and 3ds Max's lighting is quite spectacular.
| | 02:20 |
You've got a lot of different options in
creating lighting for you're scenes with
| | 02:25 |
3DS Max's realistic feedback it makes
quite a bit easier to preview your work
| | 02:30 |
before rendering.
And of course, rendering is the art and
| | 02:36 |
science of turning your scene into images
that have texture, color and effects such as.
| | 02:45 |
Refractions through glass to make
materials look real.
| | 02:50 |
You take these objects that you've
created, you create a scene, you put
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textures and materials on them, you add
lights and then you render to get your
| | 02:59 |
final outcome.
And finally, within Max, you have access
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to a.
Powerful dynamics engine, which allows
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you to animate systems such as particles.
That allow you to have physical
| | 03:14 |
properties such as gravity, and
deflections off of solid objects, and so forth.
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All in all, 3ds Max is a wonderful tool,
that gives you a lot of access to
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creating objects, scenes, animations,
that help tell a story, or, give you
| | 03:33 |
concepts for designs.
In this video we took a very brief look
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at, some of the things that you can do in
3ds Max.
| | 03:47 |
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| How to use the project files| 00:02 |
This video will show you how to use the
project files that come with this course.
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In the videos, we may ask you to open
some of the basic files, which are
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coordinated into folders found under
project files.
| | 00:18 |
For example, under the basic objects
folder, you'll find a few of the
| | 00:21 |
projects, such as the biplane, which are
used in some of the lessons.
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If a lesson needs a particular model
assign, you'll see in the video the
| | 00:32 |
location for that file.
For example, let's open up 0505 render
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and take a look at how spline rendering
works.
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All these files are saved in a central
project files folder, with sub folders
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according to the lesson at hand.
You may use any of the files that come
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with these lessons, or you may create
your own and follow along with your own objects.
| | 01:07 |
In this video, we took a look at how to
use the project files that accompany this course.
| | 01:12 |
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2. The Interface and NavigationInterface overview| 00:02 |
In this video, we'll take a look at the
3DS max user interface.
| | 00:06 |
We'll look at the major parts of the
interface and give you an overall screen
| | 00:10 |
road map of where elements are onscreen.
Once you understand the overall layout of
| | 00:17 |
the interface you'll be better able to
move around and gain confidence, as well
| | 00:20 |
as be equippted with the terminology.
Of what the various UI elements are called.
| | 00:28 |
Starting at the top is the Caption bar.
This includes the Applications button
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which is on the left, the Quick Access
bar, Title bar, Info Center, and our
| | 00:40 |
Windows controls.
The Caption bar has some commonly used
| | 00:46 |
controls for managing files and for
finding information.
| | 00:51 |
The Applications button replaces the file
menu in many Autodesk products, and
| | 00:56 |
houses many of the same functions, such
as save and import.
| | 01:03 |
The main menu bar starts with the
Applications button.
| | 01:08 |
Going to the right we have the Edit menu,
tools, Groups, Views, Create, Modifiers,
| | 01:14 |
Animation, Graph Editor, Rendering,
Customize, Max Scripts and the Help menu.
| | 01:25 |
Below the menu, bar, is the Main toolbar.
The Main toolbar, is where you access
| | 01:32 |
important basic functions, like,
transform tools,Material Editor, and some
| | 01:39 |
of your rendering tools.
3DS Max has other toolbars for more
| | 01:46 |
advanced or in depth functions, and those
toolbars can be accessed by right
| | 01:51 |
clicking in an empty gray area of the
Main toolbar.
| | 01:57 |
These toolbars are floating toolbars.
toolbars in Max can be floating, or docked.
| | 02:09 |
To dock a toolbar, you just drag it to
where you would like it docked, on the
| | 02:14 |
left, right, top or bottom.
If you would like to tear off the
| | 02:20 |
floating toolbar, you just grab it, and
drag it out.
| | 02:26 |
To close, you just click on the X.
Below the Main toolbar is the Graphite
| | 02:35 |
Modeling tool.
It contains the tools, that you'll need
| | 02:38 |
for poly modeling.
These tools are only available when you
| | 02:43 |
have an editable polygon selected and are
in modify mode.
| | 02:49 |
Go up here to Poly Modelling, click
Modify Mode, and you can see we have some
| | 02:53 |
of the tabs that are available.
You can collapse and expand the ribbon
| | 03:02 |
using the arrow at the top of the ribbon.
Right-clicking in empty gray area of the
| | 03:10 |
ribbon to get further access to ribbon
configurations.
| | 03:15 |
Show tabs, hide tabs, hide tool tips and
so on.
| | 03:19 |
Like the Main toolbar the ribbon can also
be docked or float.
| | 03:24 |
On the right side of the screen is our
Command panel.
| | 03:30 |
This panel is where you can access most
of 3DS Max functions.
| | 03:34 |
Most of the commands and the pull down
menus, and the modeling ribbon can also
| | 03:38 |
be found in the Command panel.
There are six Command panels, Create,
| | 03:45 |
Modify, Hierarchy, Motion, Display and
Utilities.
| | 03:51 |
Each panel has its own set of features.
Let's take a look at the Create panel.
| | 03:57 |
By default, the Create panel is always
open to Geometry which are 3D objects.
| | 04:01 |
We also have Shapes, Lights and Cameras
in here.
| | 04:07 |
The view port here in the middle is our
working area.
| | 04:12 |
There are four equally size view ports
showing different parts of our scene.
| | 04:18 |
At the bottom of the screen we have our
Timeline Bar with our Animation slider
| | 04:24 |
Bar, animation and playback controls.
We also have down here the transform type ins.
| | 04:33 |
Used for entering precise position,
rotation, and scale values.
| | 04:39 |
Finally we have on the lower right corner
our navigation tools for the view ports.
| | 04:46 |
We have Zoom, Pan, and so on.
In this lesson, we saw an overview of
| | 04:51 |
different parts of the 3DS Max user
interface.
| | 04:54 |
We learned important names, and the
basics of how to get around in the UI.
| | 05:02 |
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| Exploring menus (part one)| 00:02 |
In this video, we're going to take a look
into the many menus available in the 3ds
| | 00:06 |
Max interface and get a feel for the kind
of tools you can find within each menu heading.
| | 00:13 |
While it's impossible to get into every
single menu item, you'll learn how the
| | 00:17 |
menus are laid out and where to look in
the menus for any particular function or
| | 00:21 |
workflow, to make it easier to work in
3ds Max.
| | 00:27 |
The menu bar is located directly under
the caption bar, which is this bar that
| | 00:33 |
has the title in it.
We're going to start with the button on
| | 00:38 |
the left, which is the Applications
button.
| | 00:41 |
This is where all your file handling
commands are.
| | 00:46 |
File handling commands are like creating
new files, resetting and opening, saving,
| | 00:52 |
save as, importing and exporting.
Now I am going to open a new file.
| | 00:58 |
This is a file that I was working on
before and I kind of change the interface.
| | 01:04 |
Now, one of the handy tools that you can
do if you just want to start a new file
| | 01:08 |
and you want all the viewports to be set
back to the way they are by default, is
| | 01:13 |
instead of using the new function use
Reset.
| | 01:19 |
Reste will allow you to close the file.
I'm going to say no on saving.
| | 01:24 |
And say do you really want to reset?
Yes.
| | 01:27 |
And it will reset all my viewports back
to their default.
| | 01:32 |
File open allows you to go out into your
computer and find a specific file to open.
| | 01:41 |
The next menu we're viewpoints look at is
the Edit menu.
| | 01:45 |
The Edit menu contains commands for
selecting an editing objects.
| | 01:50 |
There is the simple command like undo and
redo.
| | 01:53 |
We have a delete command and a clone
which is like making copies.
| | 01:58 |
Move, rotate and scale, which are your
transform tools and then some selecting
| | 02:03 |
tools, select all, select none and select
invert.
| | 02:09 |
On the right of the menus, you'll always
see a collection of shortcut keys.
| | 02:15 |
These are your hotkeys for doing certain
functions.
| | 02:18 |
The shortcut for move is W, the shortcut
for select all is Control A.
| | 02:24 |
The next menu we'll look at is the tools
menu.
| | 02:27 |
The tools menu has tools that help you
change or manage your objects.
| | 02:33 |
tool menu has many tools that also exist
in other areas of the program.
| | 02:37 |
An example of this is one of the tools
which is mirror.
| | 02:41 |
Mirror is also located in the main
toolbar.
| | 02:45 |
The main toolbar you'll locate directly
below the menu bar and Mirror tool is here.
| | 02:52 |
Toward the right of the main toolbar.
Some of the tools are, again like mirror
| | 03:00 |
and array, renaming object functions,
viewport canvas, grid and snap settings.
| | 03:11 |
The next tool is the Group tool.
The Group command allows you to combine
| | 03:15 |
multiple objects into a single group so
that you can transform and modify that
| | 03:20 |
object as a single object.
Now I have my clock here in the scene,
| | 03:26 |
and the clock has many different parts to
it.
| | 03:29 |
If I want to transform that clock, an
easier way to do that would be to group
| | 03:32 |
the object.
If I click and drag a selection box
| | 03:36 |
within any view port around the clock, it
will select all the objects.
| | 03:42 |
I can also use one of the Edit Select all
functions.
| | 03:47 |
So, click and drag.
Group, group.
| | 03:52 |
Name the object, hit okay, and now this
object is group.
| | 03:59 |
That means when I click on it, it will
select all the items within the group.
| | 04:05 |
If I want to release it from the group I
can go back up to group and say ungroup.
| | 04:12 |
The next menu is the Views menu.
The views menu contains commands for
| | 04:17 |
setting up and controlling viewports.
Some of the commands are also available
| | 04:23 |
in your viewport menu labels.
The view part menu labels are the
| | 04:28 |
bracketed areas in the upper left corner
of each view port.
| | 04:33 |
The View menus have functions like
configuring your view port, editing your
| | 04:40 |
view cube, which is this little guy in
the upper right corner and navigation tool.
| | 04:50 |
And also tools for hiding and unhiding,
the transform gizmo which is this
| | 04:59 |
colorful arrowed icon.
The next menu is our Create menu.
| | 05:07 |
The Create menu is just that.
It's an area to go and create objects
| | 05:12 |
like geometry, lights, cameras, helper
objects and it's organized into sub layers.
| | 05:23 |
If I would like to go in and create a
particular object, like a sphere, I could
| | 05:28 |
go to Create > Standard Primitive >
Sphere.
| | 05:33 |
Click and drag on my scene and there's my
sphere.
| | 05:36 |
There are other areas in the program that
also allow you to create objects and
| | 05:40 |
that's the command panel.
That's this panel on the right and this
| | 05:45 |
is the create and you can see right now,
sphere is highlighted in blue which means
| | 05:50 |
it's mirroring what I did in the create
menu.
| | 05:56 |
Create > Lights > Standard Light > Omni,
which is just like a little light bulb,
| | 06:02 |
and you can see we're in the Create panel
here, Lights > Omni.
| | 06:10 |
In this lesson we looked at some of the
menus in 3ds Max, allowing us to get more
| | 06:14 |
familiar with some of the tools and
commands within those menus, to help make
| | 06:17 |
our work more efficient.
| | 06:21 |
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| Exploring menus (part two)| 00:02 |
In this video, we're going to take a
look, into, more of the menus available
| | 00:06 |
in 3ds Max.
We'll be looking at some of the tools an
| | 00:10 |
commands you can find within each menu
heading.
| | 00:12 |
Getting to know these menus will make
your work flow smoother, an more efficient.
| | 00:17 |
The next menu is our Modify menu.
Modifiers are objects that control a base object.
| | 00:25 |
That base object could be a sphere, or it
could be my clock.
| | 00:30 |
The Modify menu is organized into
sub-menus.
| | 00:33 |
The submenu titles explain what that
functioning modifier does, cloth
| | 00:39 |
modifiers, free form deformers, surface
modiifiers, parametric modifieres and
| | 00:46 |
again modifiers jobs are just to control
objects.
| | 00:52 |
I'm going to go to the create panel.
Standard Primitive, Cylinder.
| | 00:57 |
Then I'm going to go to the modifiers,
Parametric Deformers, Taper.
| | 01:05 |
As you can see, the default for the taper
is a one-inch taper here under the mount.
| | 01:15 |
We're looking in the Command panel for
the functioning.
| | 01:18 |
Of this modifier.
And that is a modifier.
| | 01:23 |
I just right-clicked in the modify panel
to get rid of the modifier.
| | 01:32 |
The next menu over is our animation menu.
The animation menu provides a set of
| | 01:36 |
commands relating to animation.
There's constraints and controllers, and
| | 01:42 |
inverse kinematic solvers.
Also present are controls for custom
| | 01:46 |
attributes, and parameter wiring, as well
as for creating, viewing and renaming
| | 01:50 |
your animation previews.
Controllers which are the base of all
| | 01:55 |
animation, control animation tasks.
Constraints, there are a special type of
| | 02:01 |
controller that help you automate the
animation process.
| | 02:06 |
The next menu is a graphed editor.
The graphed editor is an animation editor.
| | 02:12 |
There are several types.
There's track view curve editor, track
| | 02:16 |
view dope sheet.
They are both used for animation purposes.
| | 02:21 |
One for general animation, one more for
specifically character animation.
| | 02:25 |
But there's also other graph editors..
There's a scimatic view for setting up
| | 02:31 |
hierarchies within your.
Seen.
| | 02:35 |
And specifically, characters or objects.
And there's also particle graft editors
| | 02:43 |
that set up your, particles.
The next menu over is our rendering menu.
| | 02:49 |
The rendering menu contains commands for
rendering scenes.
| | 02:53 |
Setting up environmental and render
effects.
| | 02:56 |
I can come into the Rendering menu and
click Render.
| | 02:59 |
I can also see there's a keyboard
shortcut, Shift-Q, and it will render
| | 03:04 |
whatever scene I have highlighted, which
is the perspective view right now.
| | 03:11 |
And a render is basically taking a
picture of our scene.
| | 03:15 |
(audio playing) a little better under there.
So we just take a 2D picture of our 3D
| | 03:21 |
scene, and we can save that picture out
or draw an animation.
| | 03:30 |
Here in the menu also has controls for
the environments and different effects.
| | 03:36 |
Another menu is our Customize menu.
We can load different UI schemes, which
| | 03:40 |
are interface schemes - changing the
color of the background within the scene.
| | 03:47 |
We can also edit different functions like
menu functions, and keyboard shortcuts,
| | 03:54 |
changing different panels and toolbars.
Show you eye will allow you to hide and
| | 04:02 |
unhide certain tool-bars or menus.
The next menu over is the Max Script menu.
| | 04:11 |
The Max Script menu gives you control
over creating more functionality within
| | 04:16 |
the program.
This is the script listener and we can
| | 04:20 |
type in a script to create a tool or
automate a function.
| | 04:27 |
The last menu is our Help menu.
The Help menu gives us access to the 3ds
| | 04:32 |
Max documentation under Autodesk 3ds Max
Help and this will give you a webpage
| | 04:37 |
that gives you all the different areas
within the program.
| | 04:43 |
And you can search for certain Functions
to get information about them.
| | 04:50 |
In this lesson we got a chance to look
into the different menus in the UI, and
| | 04:53 |
what kinds of tools and commands you can
find in those menus to give you more
| | 04:56 |
functionality, with how they are laid
out.
| | 05:00 |
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| Main toolbar| 00:02 |
In this lesson, we'll take a look into
3DS Max's main toolbar, which contains
| | 00:06 |
icons to access many important functions
such as Move, Rotate, and Scale.
| | 00:12 |
We'll identify the icons and functions
you'll find in the main toolbar, how to
| | 00:16 |
invoke them, and briefly cover the kinds
of things you can do with those functions
| | 00:21 |
and icons to get you even more familiar
with how the 3DS Max interface works.
| | 00:27 |
When we're in the toolbar, if you hover
your cursor over any of the tools you'll
| | 00:32 |
get a little tool tip.
It tells you the exact name of the tool.
| | 00:37 |
Here on the left we have the Select and
Link and Unlink Selection tools.
| | 00:42 |
These tools control how we can create and
remove hierarchies between two objects
| | 00:49 |
that are linked as parent and child.
The Bind To Space Warp allows us to bind
| | 00:56 |
space warps to objects, such as a
particle system to a gravity space warp.
| | 01:03 |
Then we have the Selection Filter List.
This is a very handy tool, when you have
| | 01:08 |
a large scene with many objects.
If I want to isolate a specific object,
| | 01:13 |
whether it's a light, or a camera, or
some sort of geometry, I can filter out
| | 01:17 |
everything but that.
So, if I click on Cameras, that means the
| | 01:23 |
only thing I'm able to select in my
scene, is a camera, and nothing else.
| | 01:32 |
Just make sure you put it back to All
when you're done.
| | 01:35 |
Now we have our selection tools.
Starting here, on the left is the icon
| | 01:40 |
that has a white box and a white arrow.
This is the Select tool, that's all it
| | 01:48 |
does, is select.
Now that may not seem very handy right
| | 01:51 |
now but when you get into selecting in
sub object, you don't want to have a
| | 01:54 |
Select and Move or Select and Rotate tool
that you can accidentally move or rotate
| | 01:58 |
an object or a sub object.
Next we have the Select by Name, it opens
| | 02:06 |
up a dialog box that allows you to
select specific items by their names.
| | 02:15 |
Click OK and the object is selected
within your scene.
| | 02:20 |
To the right of that tool, the Select by
Name tool, is the Selection Region.
| | 02:25 |
Now, this tool is specific in how you
would create a marquee for selection in
| | 02:30 |
your scene.
When I click and drag within my scene, it
| | 02:34 |
creates the rectangle, a dotted line
rectangle that allows me to select objects.
| | 02:40 |
By default it's always at the rectangle.
But you'll notice in the bottom right
| | 02:44 |
hand corner of that tool is a small
divot.
| | 02:48 |
If you click and hold down on any tool
that has that divot, it gives you a fly out.
| | 02:53 |
That means that this tool has more
options.
| | 02:55 |
So you can see we've got a rectangle, a
circle, something called a fence, which
| | 03:00 |
if you're familiar with Photoshop it's
like the Polygonal Lasso tool, and allows
| | 03:04 |
us to specifically draw selections.
This is our Lasso Selection, which allows
| | 03:11 |
us again, it's like the Lasso tool in
Photoshop if you're familiar with Photoshop.
| | 03:17 |
And then we have the last one, which is
Paint.
| | 03:21 |
I'm going to leave it on the rectangle
for now.
| | 03:25 |
This tool here, which is again, to the
right of the select region, is called
| | 03:29 |
Window Versus Crossing or Window
Crossing.
| | 03:34 |
This tool is very handy, the default is
always on crossing, and that's what this
| | 03:37 |
looks like.
That means any object that's touching
| | 03:41 |
these dotted selection lines will be
selected.
| | 03:47 |
If it's on window, that means the item
has to be entirely inside the selection
| | 03:53 |
box to be selected.
So if I do this, only the things that are
| | 03:58 |
inside that selection box will become
selected.
| | 04:02 |
Again, the default is crossing.
Then we have our Move, Rotate, and Scale tools.
| | 04:09 |
Move, rotate, and scale is a subject that
is very in-depth.
| | 04:15 |
We're going to cover it briefly here.
If I select an object with the Move tool,
| | 04:19 |
it allows me to do both.
I get a transform gizmo.
| | 04:25 |
You grab an arrow, you move the object in
the direction you want.
| | 04:31 |
I grab the object and I move it in the
direction I want.
| | 04:36 |
And you can see that the gizmo has an x
and a y and a z value.
| | 04:41 |
And you can choose which arrow.
Each tool has a specific gizmo.
| | 04:50 |
The Rotation tool has a circular gizmo
that allows you to highlight one of the
| | 04:54 |
wires and click and drag to rotate it.
And lastly here's the Scale.
| | 05:05 |
You can scale it, all three axises, which
is a uniform scale, or you can select a
| | 05:12 |
specific axis to scale it in that
direction.
| | 05:19 |
I'm going back to the Select tool.
Now, this drop down menu here which is
| | 05:28 |
next to the right of the Scale tool is
for choosing a coordinate system.
| | 05:34 |
The view coordinate system is the
default.
| | 05:37 |
When you're in a camera or perspective
view, the z axis is always up.
| | 05:44 |
When you're in a orthographic view, or
isometric, which is like a front view,
| | 05:51 |
it's always going to give you y is up.
The default is view but world is a very
| | 05:59 |
commonly used coordinate system.
To the right of the reference coordinates
| | 06:06 |
system is the fly out for defining your
pivot or your center for a selection.
| | 06:14 |
This works well if you have multiple
objects selected and you can choose where
| | 06:18 |
you want the center of those selected
objects to be.
| | 06:24 |
Moving to the right is our Select and
Manipulate tool.
| | 06:28 |
Again to the right, is the Keyboard
Shortcut Override toggle.
| | 06:34 |
Moving to the right again, are a
collection of Snap tools.
| | 06:39 |
You can identify the Snap tools because
they have small magnets in their icon.
| | 06:45 |
We have the object snaps, angle snaps for
rotations, percentage snaps for scale,
| | 06:51 |
and our spinner snaps.
Another tool that is a wonderful tool to
| | 06:57 |
use is in this area here.
You can see that it's got a drop-down
| | 07:02 |
menu, and there's a small tool called the
Edit Name Selection Sets.
| | 07:07 |
Selection sets allow you to select
multiple objects or single objects.
| | 07:12 |
It could be cameras, lights, geometry,
and create selection sets.
| | 07:20 |
I'm going to select all the objects
within the clock.
| | 07:24 |
I'm going to move to a window selection,
so I only select the clock objects.
| | 07:31 |
I'm going to move up here and I'm
going to type in clock.
| | 07:35 |
When I hit enter, now if I deselect the
clock and I go into the list, I can
| | 07:38 |
choose clock from the drop down menu, and
it will automatically select the clock.
| | 07:46 |
Next, are two tools that are also
available in our tools drop down menu,
| | 07:51 |
Array and Mirror.
So this is Array.
| | 07:55 |
This is a line with two boxes next to it,
and Mirror which has two of these kind of
| | 07:59 |
curvy objects next to it.
And we have the Layer Manager which
| | 08:05 |
allows us to select objects within the
scene or entire scenes and create
| | 08:09 |
organized layers for hiding, and
freezing, and rendering objects.
| | 08:16 |
This is the toggle for the Graphite
Modeling tool.
| | 08:20 |
Allows us to open and close it.
These buttons are for opening and closing
| | 08:25 |
the curve editor and the schematic view,
which is a way to organize hierarchies.
| | 08:31 |
And we have the material editor, for
adding shaders and materials onto objects.
| | 08:39 |
And our render tools.
Render Setup, to set up the size and the
| | 08:43 |
length of a render.
The render view window or the render
| | 08:48 |
frame window.
And then a Quick Render button, which
| | 08:52 |
will quickly render the object within the
scene.
| | 08:58 |
In this video we identified the icons in
the main toolbar.
| | 09:02 |
Very basically we covered the functions
for the primary tools found there.
| | 09:06 |
We spent some time on how to use the
selections and transform tools as they're
| | 09:10 |
very important to the workflow.
We also covered how to change coordinate
| | 09:16 |
space using the pull down menu in the
main toolbar.
| | 09:20 |
| | Collapse this transcript |
| The Graphite Modeling tool ribbon| 00:02 |
In this video, we'll take a look at one
of the most powerful interface sections
| | 00:05 |
of 3DS Max user interface, the Graphite
Modeling tools ribbon.
| | 00:10 |
This part of the UI houses an impressive
array of tools and functions essential to
| | 00:14 |
the modeling work flow in 3DS Max.
We'll identify the major groups of
| | 00:20 |
functions and how to navigate and use the
ribbon interface.
| | 00:24 |
It's impossible for us to get to know
every single tool found in the ribbon in
| | 00:27 |
a single video.
However, we'll get comfortable with the
| | 00:31 |
overall layout of the Graphite Modeling
tool ribbon and how to use it in your work.
| | 00:36 |
The Graphite Modeling tool is located
directly below the main toolbar.
| | 00:42 |
It is also called the modeling ribbon.
Now, we can hide and unhide the modeling
| | 00:49 |
ribbon, using a tool within the main
toolbar.
| | 00:55 |
It's towards the right, and it's called
the modeling tool ribbon, hide and unhide.
| | 01:02 |
So if it isn't there you can try this
tool.
| | 01:06 |
We can also expand and contract the
modeling ribbon using this button, which
| | 01:11 |
is in the main part of the ribbon.
It's a circle with an arrow in it.
| | 01:17 |
We can contract and expand the modeling
ribbon by using the Show Full Ribbon
| | 01:23 |
button or contracting it to minimize that
panel.
| | 01:29 |
I'm going to keep it expanded.
The modeling tools are only available
| | 01:38 |
when you have an editable poly object
selected in RN modify mode.
| | 01:43 |
Here I have a cylinder primitive, I'm
going to select it.
| | 01:48 |
Go to the modeling ribbon, under the
Graphite Modeling tool tab click on Poly
| | 01:53 |
Modeling and in there I'm going to click
Convert to Poly.
| | 02:00 |
That converts the object to an editable
polygon and it automatically takes us
| | 02:03 |
into modify mode.
We have several new tabs that have shown up.
| | 02:09 |
The Poly Modelling Tab is specific for
selecting sub object modes.
| | 02:15 |
Next to that is the Edit tab and here are
tools that can be used whether you are in
| | 02:20 |
a specific component mode or out of sub
object mode.
| | 02:26 |
Next to that is the Geometry tab.
This tab also can be used out of sub
| | 02:31 |
object mode and the tools don't change
too much when you're in a sub object mode.
| | 02:37 |
So, I'm going to move into Vertex mode,
by clicking on the button with the three
| | 02:42 |
dots within the Poly Modelling tab.
It takes us into Vertex mode.
| | 02:48 |
I can select vertices by just moving over
and clicking directly on them.
| | 02:53 |
They turn red when they're selected.
I can click and drag a selection box
| | 02:57 |
around them, but there are specific tools
for helping you select at a sub object level.
| | 03:02 |
The Modify Selection tab has many tools
for that.
| | 03:06 |
There are too many for us to step into
now.
| | 03:08 |
We're going to look at some really useful
ones right now.
| | 03:11 |
I can select a single vertice.
If I wanted to select multiple vertices,
| | 03:18 |
let's say around here, I can come over
here and I can click on Grow or Shrink,
| | 03:24 |
and it will grow in a circular pattern
from that vertice out.
| | 03:32 |
This works in all sub object modes
generally the same.
| | 03:36 |
The next one is loop.
A loop is, well it's best to show you.
| | 03:42 |
Click on a vertice, click Loop.
And you can see that it's selected a loop
| | 03:45 |
going in the this direction, which is a
vertical and a horizontal direction
| | 03:48 |
around the cylinder.
Ring works if you have more than one
| | 03:53 |
vertices selected, so if I click these
guys and I'm doing that by holding
| | 03:58 |
control and clicking on each one.
And then I click Ring and you can see,
| | 04:05 |
how it does that.
Again, these tools work differently, in
| | 04:11 |
different modes.
I'm in Edge mode now.
| | 04:14 |
I click Ring, and it selects them that
way.
| | 04:17 |
I click that and click Loop, and it
selects it horizontally.
| | 04:24 |
The next tool I want to show you is the
Loop mode.
| | 04:29 |
There's a Loop mode and a Ring mode and
they both work in the same way.
| | 04:32 |
It allows you just to click specifically
on a single edge or vertice or border or poly.
| | 04:38 |
And it will look for any ring or loop and
automatically do that.
| | 04:42 |
Very helpful.
We're going to move on to the Edit Tab.
| | 04:49 |
This one has not changed in the different
sub-object modes.
| | 04:55 |
The tool that has changed, is the
Geometry tool.
| | 04:58 |
Very slightly, depending on the mode
we're in.
| | 05:02 |
Now this one is in a little drop down
tab.
| | 05:06 |
And you can see we have Attach and
Detach.
| | 05:08 |
We have Cap Poly if you have a deleted
polygon.
| | 05:14 |
And I'm in Polygon mode now, and you can
see the tools are the same.
| | 05:18 |
What changes is the tab, for specific
sub-object modes.
| | 05:23 |
We're in Polygon mode now so we have a
Polygon tab.
| | 05:27 |
If I'm in Vertex mode, that will turn
into a Vertex tab.
| | 05:29 |
And these are the tools that are specific
to that.
| | 05:35 |
The last three tabs I'm going to point
out are the Visibility, Align and Properties.
| | 05:40 |
These are tabs that are available in any
sub-object mode and they don't change
| | 05:45 |
their parameters.
Visibility, so you can hide and unhide
| | 05:50 |
specific sub-object modes.
Align is so that you can align up either
| | 05:55 |
edges, or vertices, or polygons along
certain axises.
| | 06:00 |
And properties help us change our shading
modes for specific polygons or coloring
| | 06:05 |
and illuminating specific vertices or
polygons.
| | 06:10 |
In this video, we took a look at how to
navigate and use the Graphite Modeling
| | 06:14 |
tool ribbon, focusing on how different
parts of the ribbon are available to you
| | 06:17 |
in different contexts of your work.
| | 06:21 |
| | Collapse this transcript |
| The Command panel| 00:02 |
In this video, we are taking a look into
3ds Max's Command panels, and all the
| | 00:06 |
different tabs that give you access to a
huge function set for all sorts of
| | 00:10 |
workflows, from modeling to animation.
We'll focus on how to use the Command
| | 00:16 |
panel, where to find certain types of
commands according to workflow, and what
| | 00:20 |
to expect when you're working in this
part of the interface.
| | 00:24 |
The Command panel is where you do most of
your creation and modifying in your
| | 00:28 |
scene, and is organized into different
tabs that correspond to a type of work flow.
| | 00:34 |
The Command panel comprises six user
interface panels, that give you access to
| | 00:40 |
most of the features of 3DS Max.
You can only see one panel at a time by
| | 00:46 |
clicking on their icon.
Moving from the left to the right, we
| | 00:51 |
have the Create panel, Modify panel,
Hierarchy, Motion, Display, and Utilities.
| | 00:57 |
3ds Max is always open by default to the
Create panel.
| | 01:02 |
And the Create panel always has the
Geometry tab open.
| | 01:06 |
Starting at the Geometry tab, the tools
that are available within the Create
| | 01:12 |
panel are Geometry, Shapes for 2D,
Lights, Cameras, Helper Objects, Space
| | 01:18 |
Warps, and Systems.
This is where you can find Biped,
| | 01:23 |
Daylight System, and Bones.
The Geometry button houses all of your
| | 01:29 |
predesigned 3D objects called Primitives.
We have a drop down menu with different
| | 01:35 |
types of Primitives, starting with the
Standard Primitives, going all the way
| | 01:40 |
down to Stairs, Windows and so on.
To create a Standard Primitive, we click
| | 01:46 |
on the button.
I'm going to click on its sphere.
| | 01:50 |
Move into the perspective view port,
click and drag.
| | 01:53 |
We can edit the parameters of that sphere
by changing its parameters here.
| | 02:00 |
We can type in a different value, or move
the slider up and down.
| | 02:07 |
And I'm doing this by clicking and
dragging directly on the arrows.
| | 02:13 |
The Command panel and all of its features
are sectioned off into different
| | 02:17 |
roll-outs, these gray bars that have
titles on them.
| | 02:22 |
Clicking them will roll them up, and
down.
| | 02:26 |
Preferably when we're working with a
primitive, an we want to edit the
| | 02:30 |
primitive's parameters, it's best to do
it in the Modify panel.
| | 02:36 |
The Modify panel is directly to the right
of the Create panel.
| | 02:40 |
The Modify panel gives us access to the
parameters for objects.
| | 02:45 |
We also have access to a modifier stack.
Modifiers are objects that actually
| | 02:51 |
deform your 3D primitive.
We can add them through the Modify list.
| | 02:56 |
Choosing them in alphabetical order.
I'm going to choose a Taper.
| | 03:04 |
You can see that the taper is sitting on
top of the sphere in the modifier stack.
| | 03:09 |
So it's giving us a history of that
object from the primitive to the taper.
| | 03:14 |
And you can go up and down.
We can change the taper amount.
| | 03:18 |
You can see the object in the scene
becomes a little bit more top-like, like
| | 03:23 |
a top.
Moving to the right of our Modify panel
| | 03:27 |
is the Hierarchy panel.
The Hierarchy panel has multiple functions.
| | 03:32 |
We have our roll outs, and by default,
the Hierarchy panel is open to pivot.
| | 03:38 |
This gives us control over the pivot,
which is the icon that we see here in
| | 03:42 |
gray and red that have the x, y, and z
arrows.
| | 03:46 |
To the right of the Hierarchy panel, is
the Motion panel.
| | 03:51 |
This gives us control over the parameters
for animation, Animation Controllers, and Trajectories.
| | 03:59 |
Again to the right is our Display panel.
The Display panel gives us control over
| | 04:05 |
hiding categories of objects like Lights,
Cameras, and Geometry, or specific
| | 04:11 |
objects hide by selection.
We can also freeze our objects, which
| | 04:17 |
makes them so they are visible in the
viewport but not selectable.
| | 04:24 |
And then lastly, we have our Utilities.
Utilities section contains miscellaneous
| | 04:29 |
utility programs, our Asset Browser,
Measuring tools, Functions for Motion Capture.
| | 04:37 |
The Command panel is also where we can go
to name our objects and assign specific
| | 04:42 |
colors to them.
I clicked on the Command panel, and you
| | 04:47 |
can see here at the bottom of the Command
panel, it says sphere001.
| | 04:53 |
I can call this Egg, and I can give it a
specific color by clicking on the color swatch.
| | 05:00 |
Let's just make it a yellow.
Name and Color is the roll out that this
| | 05:05 |
function is under it and you can find it
in any of the Command panels.
| | 05:12 |
Modify panel, it's at the top.
Display it's at the top.
| | 05:16 |
So we always know what name.
And we can identify colors also.
| | 05:21 |
In this video we learned to use the
Command panel.
| | 05:24 |
How to navigate and access its different
tabs, use its icons and buttons, and
| | 05:28 |
adjust spinners to enter values for
parameters.
| | 05:31 |
We also learn how functions and
parameters are organized into sections
| | 05:35 |
called roll outs, and how tabs are
organized.
| | 05:39 |
| | Collapse this transcript |
| Viewports| 00:02 |
In this lesson we'll take a look into 3ds
Max's viewports which are views into your
| | 00:06 |
3D space.
Viewports are the primary interface to
| | 00:11 |
your 3ds Max scene and allows you to work
easily within a 3D space.
| | 00:16 |
We'll look at how to use viewports in
their menus and display options to get
| | 00:20 |
the most out of your experience.
The view parts are your work area, simply put.
| | 00:28 |
By default the viewports are divided into
four equally sized windows.
| | 00:32 |
The highlight you see around the viewport
means that it's the active viewport.
| | 00:38 |
To switch, you just click.
It's also a good habit to get into to
| | 00:41 |
right-click to select the viewport.
That way you're not actually selecting
| | 00:45 |
something else within your scene.
Changing the viewport size is done with
| | 00:50 |
the minimum maximum viewport toggle
button.
| | 00:53 |
This is down in the viewport Navigation
tools at the bottom right hand corner of
| | 00:57 |
your interface.
The easier way to do that is to use the
| | 01:04 |
keyboard shortcut, which is Alt W.
To resize your viewports, you can drag
| | 01:10 |
the viewport intersect point, I like to
call them grout lines, you can drag those
| | 01:17 |
around to get different sized viewport.
If you'd like to reset, just right-click
| | 01:26 |
within that intersect area and click
Reset Layout.
| | 01:33 |
The viewport menus are within the
brackets in the upper left hand corner of
| | 01:37 |
each of your viewports.
There are three different viewport menus.
| | 01:43 |
We have the General viewport menu which
is the plus sign within the brackets.
| | 01:48 |
This gives us overall control of the
viewport displays.
| | 01:53 |
The middle one is our POV menu, or Point
of View, which is controlling the display
| | 01:59 |
within the viewport.
And then we have our Shading viewport menu.
| | 02:06 |
This is how objects are displayed within
the viewport.
| | 02:09 |
I'm going to open a scene up.
So we can get a really good idea of how
| | 02:15 |
the viewports work.
The default views show 3 isometric views.
| | 02:23 |
A front view, a top view, and a left
view.
| | 02:26 |
Isometric views are 2D representations of
3D.
| | 02:31 |
And then we also have a perspective view,
which is more like how you see through
| | 02:34 |
your eye.
You can change what viewports are
| | 02:38 |
assigned by either going into the POV
menu and choosing a different viewport.
| | 02:46 |
Back.
Front and so on.
| | 02:50 |
You can also hit the letter V which will
bring up a viewport menu.
| | 02:56 |
Viewport rendering types are how the
objects are shaded within your viewport.
| | 03:08 |
That is controlled by the Shading menu.
Now in the perspective view right now, it
| | 03:13 |
is setup to be a shaded viewport, with
the wireframe, which is the, skeletal
| | 03:18 |
structure of the model, showing only, a
wire mesh, over, a shaded view.
| | 03:25 |
The viewport rendering types are
realistic, shaded, consistent colors and
| | 03:31 |
edged faces.
There's also facets, hidden lines, wire
| | 03:36 |
frame, bounding box and clay.
By default the Perspective viewport is
| | 03:43 |
always set up to have realistic shading
without edged faces.
| | 03:49 |
Realistic rendering type textures
geometry realistically with high quality
| | 03:53 |
shading and lighting and that's what is
always assigned by default to the
| | 03:57 |
perspective viewport.
The iscometic views front top and left.
| | 04:03 |
Are assigned wireframe by default.
And again, we can change the rendering
| | 04:09 |
type by going into the Shading Viewport
menu, and choosing something else.
| | 04:16 |
I can click Shaded, and you'll see the
lighting goes away.
| | 04:21 |
Go back to realistic.
There's also a shortcut to toggle between
| | 04:26 |
realistic and wire frame and it's F3.
Now if you have shading assigned, it will
| | 04:34 |
toggle between shaded and wireframe.
And we can do that in any viewport.
| | 04:42 |
Realistic, changing all these to
realistic.
| | 04:45 |
And another popular way to view your
objects in your viewport, is to have
| | 04:49 |
edged faces.
This is particularly helpful when you're
| | 04:54 |
modeling, and that shortcut is F4.
You can also go into your Shading
| | 05:01 |
Viewport menu and choose Edge Faces.
In this lesson we learn the difference
| | 05:09 |
between the viewports as well as how to
switch between them, size them, and how
| | 05:12 |
to display your scene using different
rendering types.
| | 05:17 |
As well as how to adjust their appearance
within the 3D Max User Interface.
| | 05:22 |
We also looked at the Viewport menus and
how to use them.
| | 05:24 |
| | Collapse this transcript |
| Scene navigation| 00:02 |
In this video, we'll take a look at all
the important functions of navigating
| | 00:07 |
inside 3DS Max.
We'll cover how to move inside 3D space,
| | 00:11 |
and how to use the different navigation
tools and how they differ.
| | 00:15 |
We're going to start with the icon we see
in the upper-right hand corner of every viewport.
| | 00:22 |
This is known as the View Cube.
The View Cube is a navigation tool that
| | 00:26 |
allows you to click directly on it and
drag and it will give you some orbiting functionality.
| | 00:36 |
You'll notice on the Cube there are top,
front, right and so on, so that if you
| | 00:42 |
want to look at the top of a scene, you
can click there.
| | 00:53 |
You can do this in any viewport.
When I'm looking in a front view you can
| | 00:58 |
see how there's small arrows here, that
will allow me to shift and switch to
| | 01:04 |
different scenes.
The View Cube also has a compass that I
| | 01:11 |
can click and drag on and it will orbit
the scene.
| | 01:16 |
And also there's this little icon of a
house.
| | 01:22 |
That turns any viewport into a
perspective view at this angle.
| | 01:29 |
So if I come up here to this view, which
was a front view, and click on the home,
| | 01:34 |
it will give me that same angle.
This changes the viewport, from a front
| | 01:41 |
view or orthographic view to a
perspective view.
| | 01:45 |
These types of views are very different
from each other.
| | 01:47 |
The perspective view is designed to be
more like an eye.
| | 01:50 |
Where an orthographic view is a flat 2D
simulation.
| | 01:55 |
So, if you would like to get a front view
back, go into your viewport menu and
| | 02:01 |
choose Front.
The next thing I'd like to show you is
| | 02:08 |
the Steering Wheel.
I'm going to access the Steering Wheel by
| | 02:14 |
clicking on the short cut key for it,
which is Shift+W.
| | 02:19 |
The Steering Wheel follows your mouse or
cursor around the viewports.
| | 02:26 |
It has some functionality that the View
Cube does.
| | 02:32 |
Orbit, but it also allows you to zoom,
pan, has a tool that allows you to center
| | 02:41 |
your scene, move your scene up and down.
So it can be fairly handy.
| | 02:51 |
My preferred way is to use short cut keys
for some of the navigation tools.
| | 02:58 |
The navigation tools are found in the
lower right hand corner.
| | 03:04 |
We have Zoom, Zoom All, that's for all
four viewports.
| | 03:08 |
Zoom Extends, which is a frame or fit to
window function, and zoom extends all viewports.
| | 03:16 |
There's a Pan tool and an Orbit tool.
Here, I prefer using the shortcuts.
| | 03:22 |
Now, I'm going to go over those with you
now.
| | 03:25 |
The shortcut for Pan is, if you have a
mouse that has a middle mouse button, you
| | 03:30 |
can hold that down and it will give you
the Pan feature.
| | 03:36 |
This works in all viewports including
cameras.
| | 03:39 |
If you hold Alt down and use the middle
mouse, you get the Orbit feature and you
| | 03:49 |
can orbit in your orthographic views.
If you hold Ctrl+Alt and use the middle
| | 04:00 |
mouse, you will get another zoom
function.
| | 04:04 |
If you're using a mouse that has a wheel
on it, the wheel will also act as a zoom tool.
| | 04:12 |
You can use the wheel as a middle mouse
button.
| | 04:15 |
The navigation tools, as I pointed out
before, work also.
| | 04:20 |
There's a few that I didn't mention or
have shortcut keys for, one of those is
| | 04:23 |
the Zoom Region.
That's on the bottom row, to the left.
| | 04:30 |
That will allow you to click and drag a
marquee that's for zooming.
| | 04:38 |
Now, in the perspective view, that tool
turns into field of view.
| | 04:41 |
Field of view will allow you to zoom in
and out, but it does respect the camera
| | 04:46 |
lens-like curve that's in there, so you
can get some distortion if you're not
| | 04:51 |
careful, and you can see how I'm getting
some distortion in there.
| | 05:03 |
In the perspective view there also is the
region zoom for the perspective view.
| | 05:10 |
There's the Pan tool, also.
So if you have a camera set up, the
| | 05:13 |
camera has different tools also.
There's a Dolly Camera, which is a zoom
| | 05:17 |
in and out for the camera, and you can
see as I'm doing that, here in the top
| | 05:21 |
viewport, the camera actually is moving.
Next to that is a perspective.
| | 05:28 |
This will actually change.
You can see how you get some kind of
| | 05:32 |
weird distortion in there, so you got to
be careful with that tool also.
| | 05:38 |
We have Roll Camera, and so on.
In this lesson, we learned how to
| | 05:43 |
navigate in the 3D space, in 3DS Max,
using keyboard mouse combinations, as
| | 05:48 |
well as using the View Cube and Steering
Wheel functions.
| | 05:54 |
We also looked at the common keyboard
shortcuts you'll use when navigating in
| | 05:58 |
your scenes to make things easier and
faster.
| | 06:01 |
| | Collapse this transcript |
| Selecting objects| 00:02 |
In this lesson, we'll take a look at the
different ways that you can select and
| | 00:05 |
deselect objects.
3DS max has a rich tool set of ways to
| | 00:09 |
select objects to taylor your workflow to
what works best for you in any given situation.
| | 00:16 |
You'll learn how to select multiple
objects easily, adjust your selection by
| | 00:20 |
adding or removing objects, as well as
how to select objects by name.
| | 00:25 |
In the main toolbar, we start here at the
Select Object tool.
| | 00:29 |
The Select Object tool is very specific,
it selects objects.
| | 00:34 |
I can come in here to a scene.
Click on any object I want.
| | 00:41 |
Now, if I would like to select multiple
objects I can click and drag a selection
| | 00:45 |
box around those objects.
Any object that is touching, this,
| | 00:52 |
selection box, will be selected.
This is what we call a Crossing Selection.
| | 00:58 |
It's the default.
If we would like to change that, up here,
| | 01:02 |
is the, Window, Crossing, Button, or
Toggle.
| | 01:07 |
Crossing, is the one we had, and Window
means that, the object has to be entirely
| | 01:13 |
inside the scene, in order for it to be
selected.
| | 01:18 |
I'm going to maximize this view port, so
that we can see a little bit better.
| | 01:23 |
Alt+W is the shortcut.
This is a camera view, so I'm going to
| | 01:27 |
switch this to a perspective view so we
can kind of move around a little bit.
| | 01:32 |
This yellow border that we see here is
what we call Safe Frame, and it's showing
| | 01:35 |
the framing that the camera has.
I'm going to turn that off, Shift F.
| | 01:40 |
I'm going to do F4, which will turn on my
Edge Faces.
| | 01:47 |
So, back to selecting.
If I have all these items here, and all I
| | 01:55 |
want to do is select the clock, with
window on, I can click and drag, and
| | 01:59 |
you'll notice that I'm touching a lot of
different things, including the pill
| | 02:03 |
bottle and some of the pills that are on
the table, the camera, the table.
| | 02:10 |
When I let go, it only has selected the
clock, because that's the only thing that
| | 02:15 |
was entirely inside.
That's how the window crossing tool works.
| | 02:22 |
Now here, this is between the Select
object and the Window Crossing tool, this
| | 02:27 |
is how we decide what our selection box
looks like.
| | 02:33 |
The default is rectangle.
We can choose different styles.
| | 02:37 |
Circles, a fence, which allows you to
sort of draw straight line selection
| | 02:44 |
around it.
This one is a lasso.
| | 02:53 |
And then we have paint.
Paint works a little better when your in
| | 02:56 |
sub object mode.
That just allows you to choose selections
| | 03:00 |
by painting over them or clicking and
dragging your mouse.
| | 03:04 |
I'm going to put that back on a
rectangle.
| | 03:07 |
Another way we can select is using the
Select By Name tool.
| | 03:12 |
The Select By Name tool gives us a dialog
box with a list of all the objects that
| | 03:17 |
are in our scene, including lights,
cameras.
| | 03:24 |
So I can go in and select a specific
object, like the clock's foot, click OK,
| | 03:28 |
and it will select that clock's foot.
This is particularly helpful when you
| | 03:35 |
have a scene that's large with many
objects in it.
| | 03:40 |
Another tool that's very similar to the
Select By Name But I believe is a little
| | 03:44 |
bit more functional is called the Scene
Explorer.
| | 03:49 |
The Scene Explorer has many different
functions but one of the things it can do
| | 03:53 |
is allow you to select objects.
Go to the tool menu > New Scene Selector.
| | 04:00 |
So it looks very similar to the select to
name, except I can work in the scene with
| | 04:09 |
that open.
But it still works the same way.
| | 04:13 |
I can click on an object.
I'm going to hit Z, to see that it
| | 04:19 |
selected the proper thing.
I'll click on one of the capsules,
| | 04:23 |
hitting Z, that's one of the capsules
inside.
| | 04:26 |
And you can see, that works very nicely.
This tool also allows us to setup
| | 04:31 |
hierarchies, sort into single columns,
hide, unhide, freeze objects it's a very
| | 04:37 |
functional tool.
In this lesson we learn different ways to
| | 04:44 |
select and deselect objects in your
scene, including different ways of region
| | 04:48 |
selection, search by name, as well as
taking a look at the scene explorer and
| | 04:52 |
how to use it effectively in your work
flow.
| | 04:57 |
| | Collapse this transcript |
| Scene units| 00:02 |
In this video, we will learn how units of
measurement work in 3ds Max, and how to
| | 00:06 |
set your scene units to what you need for
your scene, such as using inches, feet,
| | 00:10 |
centimeters and so on.
In this 3ds Max scene I've created a box.
| | 00:18 |
Selecting the box and going to the Modify
panel, I can take a look at what the size
| | 00:22 |
or the parameters of the box are.
It says here that the length is ten, the
| | 00:28 |
width is ten, and the height is ten.
What is this number represent.
| | 00:34 |
Inches, centimeters?
Some mystery generic unit?
| | 00:38 |
Well in Max, all the units are set up as
inches, that is the default.
| | 00:45 |
Now, what if I'm not working in inches?
If I'm in Europe and I'm doing some 3D
| | 00:50 |
work for a film.
It's pretty common in Europe to work in
| | 00:55 |
centimeters, so I need to be able to
adjust my units of measurement.
| | 01:03 |
I going to go up to the Customize menu,
go to the Unit Setup.
| | 01:08 |
In the Unit Setup, this area here is
where we adjust the Display Unit Setup.
| | 01:17 |
The Display Unit is what we see here,
like in the Modify panel.
| | 01:20 |
Does it tell us just that it's a generic
number here, or does it say centimeter
| | 01:24 |
after it, or inches, or feet and inches?
That's what this area does.
| | 01:31 |
The area that actually sets the scene
unit setup is under system unit setup.
| | 01:37 |
This kind of shy little button up here.
So I click on that and it tells me that
| | 01:44 |
one unit equals one inch.
If I'm in Europe and I'm working on a
| | 01:48 |
film, I'm going to want that to be
centimeters.
| | 01:52 |
Now, that means that this box now is ten
centimeters.
| | 01:59 |
Now, what I set in the Display area is
what the value will show in the View port.
| | 02:08 |
So if I click OK, and leave it at generic
units It will say the same, ten, ten, and ten.
| | 02:16 |
I'm going to go back to the Customize
menu.
| | 02:17 |
If I wanted to actually say centimeters,
I have to set it up that way.
| | 02:22 |
So, I'm going to click up here where it
says Metric.
| | 02:24 |
Make sure it says centimeters and click
OK.
| | 02:27 |
So now it says ten centimeters.
In this lesson we learned how to set the
| | 02:33 |
units in 3ds Max by using the Units Setup
dialog window from the Customize menu.
| | 02:42 |
| | Collapse this transcript |
| Using the Layer Manager| 00:02 |
In this video, we will see how the layer
manager is useful in the 3ds Max work flow.
| | 00:07 |
Using the layer manager allows you to
better organize your scenes by allowing
| | 00:10 |
you to place different objects into
different layers.
| | 00:15 |
The layer manager allows you to hide and
freeze your objects and other useful
| | 00:19 |
tools to manage your scene better.
In this max file I'm going to open the
| | 00:24 |
Layer Manager by going to the main tool
bar.
| | 00:29 |
The Layer Manager is here in the main
tool bar and it opens up the layer
| | 00:31 |
manager dialog box.
To add something to the layer manager,
| | 00:36 |
the best way to do that is to have it
selected.
| | 00:42 |
So I'm going to click and drag around the
lamp.
| | 00:46 |
I'm using the, this has the window.
I'm going to change that back to crossing.
| | 00:57 |
And there, you can see all the objects
are selected.
| | 01:00 |
In the layer manager, I'm going to click
this button here.
| | 01:02 |
This is creating the layer containing
selected objects.
| | 01:06 |
So, we'll add those objects into the new
layer.
| | 01:10 |
By default it gives us a general layer
with zero zero one name.
| | 01:14 |
I'm going to click here and name it lamp.
Now in that layer, I click on the little
| | 01:21 |
plus sign to the left of the name, and it
gives me all the objects that are a part
| | 01:26 |
of that lamp.
In order for me to see that it's working
| | 01:32 |
properly, I'm going to hide that layer.
Hiding the layer is in this column here
| | 01:39 |
and I can hide individual objects within
that layer.
| | 01:44 |
I'm going to go here to the perspective
view.
| | 01:49 |
Let's get a better view.
Make it bigger, Alt W.
| | 01:53 |
There we go.
So, I can hide certain objects like let's
| | 01:57 |
hide the lamp shade, click on it, or if I
go to the actual layer and click hide it
| | 02:03 |
will hide the whole object.
Freezing an object can be very handy too.
| | 02:10 |
That means you'll see it in the viewport
but it won't be selectable.
| | 02:14 |
It turns gray to represent that it is
frozen.
| | 02:22 |
Now, let's create another layer.
I'm going to select the clock.
| | 02:33 |
Now, Create New Layer, Clock.
Now you'll notice this check box here
| | 02:40 |
that tells me that that's the active
layer.
| | 02:43 |
If I create anything new in my scene it
will be dropped into the layer that has
| | 02:47 |
this check box next to it.
When I know I'm going to be creating new
| | 02:53 |
objects or merging in new objects into my
scene I make sure and check the box next
| | 02:56 |
to the layer I want that object to be in.
Now I notice that when I created that
| | 03:03 |
layer, I actually added this table to
that layer.
| | 03:07 |
If I don't want that table in the layer,
I can select the table, move to the layer
| | 03:11 |
I want it to be in, which I'm going to
put it in this default layer, Highlight
| | 03:16 |
it, go up to the plus sign and click.
That will take that from the clock layer
| | 03:24 |
and put it into the default layer.
Just so you can see that that worked, I'm
| | 03:28 |
going to hide the clock.
You can see by hiding the clock the table
| | 03:33 |
is still visible.
If I hide the default layer, which
| | 03:37 |
everything in the scene that's remaining
is in there.
| | 03:40 |
If I want to delete a layer, I can just
select the layer.
| | 03:46 |
If I go up to the x here, that's delete.
You'll notice that it's grayed out.
| | 03:50 |
It won't allow me to delete a layer with
objects still into it.
| | 03:54 |
I actually have to empty the objects out.
So, if I select the clock, this button
| | 04:00 |
here allows me to highlight objects.
And just like we did with the table,
| | 04:07 |
select the layer you want to put those
objects in, I'm going to put them in the
| | 04:10 |
default, click on the plus sign.
Now the clock is empty and I know that
| | 04:16 |
because there is no plus sign next to it
now.
| | 04:19 |
I can highlight that layer and delete.
This is the layer manager.
| | 04:27 |
In this lesson we learned when and how to
use the layer manager to better organize
| | 04:32 |
or manipulate your scene.
We learned how to create and delete
| | 04:37 |
layers as well as how to place objects
into and remove objects from layers.
| | 04:42 |
We also saw how to freeze, hide and
unhide objects and how that could be
| | 04:46 |
useful to your workflow.
| | 04:49 |
| | Collapse this transcript |
| Customizing the interface, for beginners| 00:02 |
Customizing the user interface is
integral to personalizing how you work
| | 00:06 |
with 3ds Max.
The more time you spend in 3ds Max the
| | 00:09 |
better you'll identify how best to tailor
the interface for yourself.
| | 00:15 |
In this video we'll take a look at a few
options for you to customize the
| | 00:18 |
interface, as a beginner.
While it's best to keep your interface
| | 00:22 |
set, at its defaults while you're still
learning the package, these customizing
| | 00:26 |
tips will help you tailor a few things
right off the bat, should you desire it.
| | 00:31 |
We're going to start in the Customize
menu and go down to Load Custom UI Scheme.
| | 00:39 |
When we're looking at Max, we're looking
what is called the default UI.
| | 00:43 |
It's the darker look that we see here.
There's another one that's quite
| | 00:49 |
different, and it's the AME Light.
Some people prefer this, find it little
| | 00:56 |
easier on their eyes, and that's one
thing that you can do to personalize your
| | 01:01 |
3ds Max scene.
And I'll leave it on the Light, it's kind
| | 01:07 |
of a pretty.
The next thing I wanted to show you is
| | 01:11 |
the Customize > Customize User Interface.
Now this dialog box is very in depth, it
| | 01:18 |
touches on everything in the entire
program.
| | 01:23 |
We're only going to look here at the
keyboard.
| | 01:25 |
Feel free at your own pace, to take a
look at some of these other menus.
| | 01:29 |
The keyboard allows us to identify, and
create, our own hotkeys, or, keyboard shortcuts.
| | 01:39 |
If I'd like to know what the shortcut key
for a particular tool or function is, I
| | 01:43 |
can find it in here.
So, let's see what we can do.
| | 01:48 |
I want to find a hotkey for the selected
Move tool.
| | 01:51 |
It's important when you're doing this
that you know what the exact name is,
| | 01:56 |
that's when your tooltips will really
come in handy, so Select and Move is the
| | 02:01 |
name of this tool, the exact name.
So I'm going to come in here, and I'm
| | 02:07 |
going to highlight, just any name.
And then I'm going to type in Select.
| | 02:11 |
because all of the tools are in
alphabetical order, I can come down here
| | 02:14 |
and see where it says Select and Move.
It says, the shortcut for that is W.
| | 02:21 |
Below that is Select and Rotate.
A shortcut for that is E.
| | 02:24 |
This can be very nice.
A lot of people who have worked in other
| | 02:29 |
3D software packages are accustomed to
those hotkeys and like those hotkeys to
| | 02:33 |
work in the program.
I've worked in Maya somewhat, and I like
| | 02:38 |
to set up a few hotkeys that Maya uses.
One of those is the Viewport, minimum
| | 02:45 |
maximum toggle, which we use as Alt+W.
I'd like to change it so it's something else.
| | 02:53 |
Now, I'm going to first find it, so I'm
going to find max, max, the actual name
| | 02:58 |
of that tool is Maximize Viewport Toggle.
And again, you can find the names by
| | 03:04 |
putting your cursor over the tool, and
looking at the tool's tooltip.
| | 03:09 |
So it says the shortcut is Alt+W, it
already has a shortcut assigned to it,
| | 03:13 |
but I can replace it.
So what I'm going to do is I'm going to
| | 03:18 |
come up and I'm going to hit G.
So it says hotkey G assigned to.
| | 03:24 |
Hide Grid Toggle, so that means the grid
that we see in the interface G is the
| | 03:29 |
hotkey for that.
Okay can't be used, because I don't
| | 03:33 |
want to replace that.
So I'm going to highlight under, hotkey
| | 03:36 |
again and choose something else.
I'm going to choose Y, now it says Y is
| | 03:40 |
not assigned, so I can assign it to
Maximize Viewport Toggle.
| | 03:46 |
And now it says that it will use both,
I'd actually like it to just use Y, so
| | 03:52 |
I'm going to say Remove, do Y again,
Assign.
| | 03:57 |
And now Assign, it's the only one there.
And you can do this for any tool that
| | 04:03 |
you'd like.
(audio playing) It's a pretty nice little feature.
| | 04:07 |
So now I'm going to hit Y, and it
automatically maximizes.
| | 04:11 |
So really, it's just a personal
preference.
| | 04:13 |
Now, in this lesson we learned how you
can customize the interface and what
| | 04:18 |
sorts of options you have in
personalizing your interface to fit your
| | 04:22 |
needs as a beginner should you choose to.
| | 04:27 |
| | Collapse this transcript |
| Animation tools and controls| 00:02 |
In this lesson we'll take a look at 3ds
Max Animation tools and controls.
| | 00:06 |
Animation in 3D is the process of
recording changes, in parameters or
| | 00:10 |
movements of an object over time.
Keyframes are functions in 3ds Max, that
| | 00:16 |
hold those changes.
You as the animator make the decisions of
| | 00:22 |
where an when to place those keyframes
and 3ds Max creates the frames, in
| | 00:26 |
between those keyframes.
Many of the Animation Controls, are at
| | 00:32 |
the bottom, of the 3ds Max interface.I
Starting here, at the time slider You use
| | 00:38 |
this animation control to move to any
point in time.
| | 00:44 |
And it allows you to play your animations
by clicking and dragging on this bar and
| | 00:50 |
dragging or scrubbing through the
timeline.
| | 00:56 |
Below that is the Track bar, the track
bar is a visual timeline, it shows frames.
| | 01:02 |
The track bar also allows you to edit
your animations.
| | 01:06 |
If you have an object that has animation
on it, when you select it, you will see
| | 01:11 |
the keyframes that are associated with
the animation.
| | 01:15 |
These keyframes are green, which
represents a rotational keyframe.
| | 01:22 |
Now over here to the Auto key button,
it's this button here.
| | 01:30 |
When that is clicked or selected, you see
the timeline bar turns red.
| | 01:37 |
And the highlight around the frame turns
red.
| | 01:39 |
That means that this is in Animation
Mode, and anything I do now will be animated.
| | 01:48 |
If I move that object at a frame other
than 0, it will create a keyframe.
| | 01:53 |
This keyframe is a Transform keyframe
which is represented in red and you can
| | 01:57 |
see that here in the track bar.
It creates one keyframe for the frame you
| | 02:03 |
were on, and one keyframe for the
original position.
| | 02:08 |
I'm going to delete that keyframe by
Clicking and Dragging a selection box
| | 02:12 |
around it and hitting Delete on my
keyboard.
| | 02:15 |
You can see the bell moves back into its
original position.
| | 02:19 |
The Animation Playback Controls are here.
They do resemble a dvd player with play
| | 02:27 |
which plays through your animation.
You click Play to stop.
| | 02:35 |
We have Next frame and Go to End,
Previous frame and Go to Start.
| | 02:41 |
This is Key Mode toggle, which means that
if you have a keyframe, it will jump
| | 02:46 |
between keyframes, when you click Next
key.
| | 02:52 |
So if I select the hammer, I have three
keyframes.
| | 02:58 |
So if I click next key, it's going to
jump to the first,second and third, very
| | 03:02 |
handy tool.
To the right of that is the Current Frame Field.
| | 03:09 |
This just means we can type in what frame
we want to go on.
| | 03:11 |
Frame 50, hit Enter and your timeline
will jump to that.
| | 03:16 |
To the right of that is a small button
known as Time Configuration.
| | 03:20 |
Time configuration is where you Change
and Edit the time in your scene.
| | 03:27 |
Right now by default, all Mac scenes come
with 100 frames.
| | 03:31 |
If we are working at a standard video
speed, which is 30 frames per second,
| | 03:36 |
that's a little over three seconds.
If you're working in PAL, which is what
| | 03:42 |
they might use in Japan Or in Europe,
it's 25 frames per second, film is
| | 03:46 |
typically 24.
So you can see the timeline changes
| | 03:51 |
whenever I click that.
We're going to leave this at the Default.
| | 03:55 |
But we can also change how many frames
start and end the length.
| | 04:00 |
Like, I may want 300 frames and it will
add more frames.
| | 04:04 |
I'm going to go ahead and cancel that.
Lastly, any animation that is on an
| | 04:10 |
object can be edited through the menu
bar, Graph Editor > Track view > Curved Editor.
| | 04:21 |
The Curve Editor provides detailed
animation editing capabilities, in
| | 04:26 |
several, floating, or you can dock these
also.
| | 04:32 |
An you can see all the keyframes, an
curves that are associated with the
| | 04:36 |
animation we have on, the, object.
In this area here, it shows all of the
| | 04:44 |
functions, the minute hand and it's
rotation, the handle.
| | 04:54 |
We can filter these to show only
animatible parameters also.
| | 05:00 |
In this lesson, we looked at the
Animation tools and Controls in 3ds Max.
| | 05:04 |
We looked at the timeline and track bar
as an easy way of viewing and editing our
| | 05:08 |
keyframes, along with the Animation
Playback Controls.
| | 05:12 |
With 3D Max you can create 3D computer
animation for a variety of applications.
| | 05:18 |
Whatever reason you have for producing
animation, you'll find 3dS Max a capable
| | 05:22 |
environment for those goals.
| | 05:24 |
| | Collapse this transcript |
|
|
3. Creating and Manipulating ObjectsWhat are primitives?| 00:02 |
In this video we'll be taking a look at
the question, what are primitives?
| | 00:06 |
Primitives in a 3D package refer to basic
objects and shapes that are created, that
| | 00:10 |
you can use as a basis for creating your
own models.
| | 00:15 |
For example, in the create panel we're
going to Click on Box and very easily
| | 00:22 |
stake out a volume like this, hitting Alt
W to maximize my view.
| | 00:30 |
I'm going to take a look at this box,
it's very simply done, but this box can
| | 00:34 |
turn into any sort of model that you can
think of.
| | 00:39 |
For example, you can see how easily we
can create a sofa by using lots of
| | 00:44 |
different boxes and shapes to block out
the overall shape.
| | 00:50 |
Furthermore, you can use the primitives
to create details such as this piping for
| | 00:55 |
this cushion, quite easily, all based off
of the single primitive by using any of
| | 01:00 |
the tools in the rich polygonal tool set
to achieve your final goal.
| | 01:08 |
3DS Max has a wide arrangement of
different types of primitives, all the
| | 01:13 |
way from simple shapes such as boxes and
spheres, all the way up to the whimsical
| | 01:20 |
teapot which is often used for rendering
tests and checking your lighting.
| | 01:30 |
Because it has such a unique shape, it
gives you a lot more feedback about how
| | 01:35 |
your scene is doing.
But that's not all, there's quite a few
| | 01:41 |
different types of primitives that you
can create in Max, from standard
| | 01:44 |
primitives, to extended primitives.
These include the shapes that are a
| | 01:50 |
little bit more custom, such as an oil
tank which can be turned into a capsule,
| | 01:57 |
or perhaps a torus knot, which gives you
some pretty complex shapes.
| | 02:06 |
From here you can take these 3D objects
and turn them into measures which are
| | 02:13 |
then editable at a component level or you
can select points on these objects to
| | 02:19 |
change their shapes.
For example, once this object is
| | 02:27 |
converted, you'll be able to move any of
its points around, to be able to change
| | 02:33 |
its shape.
And thus, a sculpture is born.
| | 02:43 |
In this video, we took a look at what
primitives are in 3DS Max and a very
| | 02:49 |
general look at how they could be useful
for you in your workflow.
| | 02:56 |
| | Collapse this transcript |
| Creating primitives| 00:02 |
In this video we'll be taking a look at
how to create primitives in 3ds Max.
| | 00:08 |
In the Create panel, which is this tab in
the Command panel.
| | 00:12 |
You have by default a selection of
standard primitives under the object type
| | 00:17 |
roll out.
With this drop down menu you are able to
| | 00:21 |
select all sorts of different objects
that you can create and by default it
| | 00:25 |
sets a standard primitives.
To create a primitive simply select the
| | 00:31 |
object type, for example we will go ahead
and create a box in the perspective view
| | 00:36 |
by clicking on the grid and dragging to
create the footprint of the box.
| | 00:42 |
When I release the mouse I'll be able to
drag up and down to create the height for
| | 00:47 |
the box.
And when I click and release that will
| | 00:51 |
create the box for me.
Now this object is in my scene, is able
| | 00:57 |
to be moved around.
To edit the parameters of this primitives
| | 01:04 |
I'll go to the modify panel and I'll have
access to.
| | 01:12 |
Length, width and height adjustments.
Which I can adjust by using the spinners
| | 01:18 |
or by typing in values directly into the
parameters box.
| | 01:24 |
I can also increase or decrease the
number of segments for any selected primitive.
| | 01:33 |
If I go into my perspective view, I have
realistic rendering mode selected.
| | 01:38 |
If I click on realistic, I'm going to go
ahead and select edged faces and this
| | 01:43 |
will allow me to see the segmentation of
that object while its still shaded.
| | 01:50 |
I'll press Alt+w.
To maximize my perspective view port, so
| | 01:54 |
I can see, how this segmentation happens.
Now segments give you more vertices,
| | 02:01 |
edges, and polygons.
On your object which gives you the
| | 02:06 |
ability to have more detail in your
model.
| | 02:10 |
I'm going to go ahead and delete this
object by pressing delete on my keyboard.
| | 02:15 |
And I'm going to go to the create panel
and this time I'm going to create.
| | 02:20 |
A cone.
We'll go ahead and click that cone.
| | 02:24 |
I'll click and drag and that will give be
the base footprint.
| | 02:29 |
And then I will move my mouse up to set
it's height.
| | 02:33 |
And then when I move back and forth or up
and down that will set the taper.
| | 02:39 |
For the cone and then we'll make that a
perfect point right there.
| | 02:42 |
Now, we have a cone in the scene and as
you can see it already has a good number
| | 02:48 |
of segments.
Again, I'll be able to adjust the number
| | 02:54 |
of segments by going into the modify
panel and I can adjust any of the
| | 02:57 |
creation parameters.
At any time.
| | 03:06 |
Now I'll go ahead an delete my cone, and
let's take a look in the Create panel at
| | 03:11 |
some of the other, primitive types that
we have available.
| | 03:17 |
Extended Primitives gives you access to
some more complex shapes.
| | 03:22 |
For example, let's try to create a
spindle.
| | 03:26 |
With any primitive that you create in 3D
Studio Max, when you click and drag,
| | 03:31 |
you'll get it's profile, and then when
you release, you'll be able to set it's height.
| | 03:40 |
You click again to set its height, and
then use the mouse, left or right,
| | 03:45 |
sometimes up and down, to set the other
parameters for that particular shape.
| | 03:53 |
Well, we get our spindle to about the
right shape, click again, and we're all done.
| | 03:58 |
I'll press w for the Move tool, so I can
take a look at it.
| | 04:02 |
I can certainly orbit around the object
so I can see it, and again, in the modify
| | 04:07 |
panel, I can adjust any of its creation
parameters at any time.
| | 04:12 |
One of the parameters I have that I can
adjust in the Modify panel is to turn on Slice.
| | 04:22 |
When I turn on Slice, I'm able to set a
from and to angle which allows me to cut
| | 04:29 |
that object, or slice that object, so I
have a sort of a, a pizza pie sort of cut
| | 04:35 |
or slice of that object.
Now, this works with any primitive that
| | 04:46 |
has a radius.
Let's go ahead and delete our spindle, go
| | 04:50 |
back into Create, and we'll create this
time, a simple standard sphere.
| | 04:56 |
Again, click and drag, and that sets the
radius.
| | 05:00 |
And if we go into the Modify panel, we'll
see that it has a slice option, as well.
| | 05:09 |
Now there are multiple ways to create a
primitive, we've gone through the Create
| | 05:15 |
panel to do so.
Let's delete our sphere and let's take a
| | 05:20 |
look at creating a primitive through the.
Main menu bar.
| | 05:25 |
Now you can see under the Create menu, we
have access to our Standard and Extended Primitives.
| | 05:33 |
Go ahead and take a look at what a
capsule looks like.
| | 05:36 |
We'll click and drag and that will create
the base radius.
| | 05:41 |
When I release the button, I'll be able
to draw that capsule up and now we have a
| | 05:46 |
familiar shape.
Now I'll create another one, so now we
| | 05:51 |
have two capsules in place.
We'll go to the Move tool and we see our
| | 05:57 |
two objects.
Now when you create a primitive, 3ds Max
| | 06:02 |
automatically assigns a color to that
object.
| | 06:08 |
You can change that color in the Modify
panel, by simply, changing, the swatch by
| | 06:13 |
clicking it here, an selecting a new
color for that object.
| | 06:18 |
This helps you organize an see your scene
better.
| | 06:22 |
An one habit, to get into, early on in
your 3ds Max career, is to name your objects.
| | 06:32 |
So with the pink capsule selected you can
see that its been automatically named
| | 06:38 |
capsule 2, go ahead and type in a new
name called pink pill and hit Enter and
| | 06:44 |
now this object is named pink pill.
I will do that with the first capsule as
| | 06:54 |
well and call that green pill.
It's a good habit to get into, to keep
| | 07:00 |
your scene organized.
And that makes things easier for you
| | 07:03 |
later on down the line.
Especially when you have a lot of objects
| | 07:07 |
and your scene.
You'll see that with the capsule, you
| | 07:11 |
have the Slice option available as well.
Again, any primitive that has a radius
| | 07:16 |
will allow you to slice it in the Modify
panel.
| | 07:21 |
We'll go ahead and select both of these
objects and delete them, and we'll take a
| | 07:25 |
look at one more way to create an object.
I'll go in the, Create panel, and we'll
| | 07:30 |
go into a standard primitive.
This time, I'm going to create a sphere.
| | 07:36 |
However, instead of clicking and dragging
in the view port, I'm going to use
| | 07:41 |
keyboard entry.
This will give me the option to create a
| | 07:48 |
sphere with a.
The predetermined size, lets say I want a
| | 07:55 |
sphere with a radius of 4.5.
I can simply type it into the keyboard
| | 08:01 |
entry and click Create and I'll have that
sphere.
| | 08:06 |
Go ahead, move that guy out of the way,
and this time lets go to a cylinder.
| | 08:13 |
And go into keyboard entry and now we've
got two parameters we can type in.
| | 08:18 |
Let's put in a radius of 8.25, and a
height of 16, and we'll be able to also
| | 08:26 |
set its segments.
Let's go ahead and create lots of segments.
| | 08:34 |
12 in height, let's do a cap segment of
4, and let's do sides of 36.
| | 08:42 |
Once you type all these in, you can click
Create and you'll get your object exactly
| | 08:48 |
as you've specified in the keyboard
entry.
| | 08:53 |
Now, to adjust these parameters, you
won't be doing it in this panel.
| | 08:59 |
You'll need to switch to the Modify
panel.
| | 09:02 |
In this video, we took a look at how to
create primitives in 3DS Max.
| | 09:07 |
And modify some of their creation
parameters.
| | 09:10 |
We can look at standard and extended
primitives.
| | 09:14 |
As well as three different methods of
creating them.
| | 09:17 |
| | Collapse this transcript |
| Transforming objects and gizmos| 00:02 |
In this video, we'll be taking a look at
how to transform objects in 3ds Max.
| | 00:08 |
Transform is just the super special,
fancy way of saying moving or adjusting
| | 00:11 |
position, rotation, or scale of an
object.
| | 00:14 |
Here I have three different objects, a
cube, a sphere and a cone.
| | 00:24 |
And my current tool is on select objects,
which allows me to select the object.
| | 00:31 |
I have three tools here, select and move,
select and rotate, select and uniform
| | 00:36 |
scale from which I can draw my
transformations.
| | 00:41 |
I'll click on select and move.
Which will allow me to select, and then
| | 00:46 |
move any object.
When that tool is invoked, and I have an
| | 00:51 |
object selected, I get to see what's
called a gizmo.
| | 00:55 |
This gizmo will allow me to move the
object in any one of the axes or planes.
| | 01:04 |
So, when I select the cube, I'm able to
move that object by highlighting it's
| | 01:10 |
axis in x, and now it will, when I click
and drag, only move in the X axis.
| | 01:20 |
Similarly I can move it just in the Y or
just in the Z.
| | 01:26 |
But I can also move in a plane, this is
the ZY plane and I'm moving the box
| | 01:31 |
around it.
Or the X Z plane that I'm moving the box
| | 01:38 |
freely in.
This gives me great control over how to
| | 01:44 |
move the box to suit my needs.
We'll select this sphere move that back
| | 01:49 |
in Y.
Select the cone move that a little bit
| | 01:52 |
closer to the box and a little bit closer
to our view.
| | 01:58 |
Now, I'll try the rotation gizmo.
Looks like this.
| | 02:02 |
I've got x, y, and z axes, about which I
can rotate.
| | 02:09 |
And you'll see a little readout pop up as
you're rotating the object that gives you
| | 02:15 |
the rotation as you're making the
transformation.
| | 02:21 |
This is a relative rotation and not an
absolute rotation.
| | 02:25 |
It gives you a readout of how much you're
rotating in that one time.
| | 02:32 |
We can freely rotate the object if we
click outside of any of those axes lines
| | 02:37 |
in the gizmo.
Lastly, let's take a look at the sphere.
| | 02:43 |
We'll go to the move, and we'll move it a
little bit closer.
| | 02:49 |
And this time I'll click to the scale.
This will allow me to scale up the
| | 02:56 |
sphere, uniformly, when I click on the
triangle, or I should say, the pyramid in
| | 03:02 |
the middle of that gizmo or I can
non-uniformly scale it on any one of the
| | 03:07 |
three x, y, z axes.
Additionally, I can scale it on any one
| | 03:17 |
of the planes, for example this is the x,
z plane.
| | 03:26 |
I can scale it there.
Let's go ahead and Select the Cone and
| | 03:30 |
move it out of the way.
However, instead of going up here to the
| | 03:37 |
Select and Move Icon, I'll simply press W
on my keyboard and then I'll have access
| | 03:42 |
to the Move tool.
I can hit E for Rotate.
| | 03:50 |
Then R for scale.
That's W for move, E for rotate, and R
| | 03:56 |
for scale.
We'll go to the rotate and I'd like to
| | 04:00 |
get the cone to be perfectly straight up
and down like it was before I rotated it.
| | 04:07 |
For me to enter in values for the
rotation instead of just trying to
| | 04:12 |
eyeball its rotation, I can go into the
transforms type in boxes at the bottom
| | 04:17 |
middle of the user interface and type in
exactly or use the spinners to get the
| | 04:22 |
rotations I'm looking for.
Here I am in the X axis trying to get to
| | 04:31 |
zero or I can simply type in zero into
the three axes to get the perfectly
| | 04:37 |
oriented position that I had before.
You can do that with any of the
| | 04:47 |
transformation tools, so I'll switch to
the Move tool by pressing W.
| | 04:55 |
I'll be able to move it, obviously, but I
also have its position information in the
| | 05:00 |
type-ins, that I can type into.
Let's go ahead and put this back to the
| | 05:06 |
origin by typing in 000 and we'll see now
it's inside our little egg shape here.
| | 05:14 |
Let's select that egg shape and let's
move that out of the way.
| | 05:17 |
Let's add as, as a matter of fact, return
that to its sphere shape by going into
| | 05:23 |
the scale tool by pressing R and typing
in 0, 0, 0 all the way around.
| | 05:30 |
We will see that that's fair now has a
scale of zero effectively making it not
| | 05:36 |
there any more.
Of course that's not what we want, so
| | 05:41 |
we'll use the spinner to get some high
backup.
| | 05:46 |
You'll see that the sphere is uniformly
scaling as we type in or use the spinners
| | 05:51 |
for that number.
So in this video, we took a look at how
| | 05:58 |
to transform objects using the Move,
Rotate and Scale tools that are available
| | 06:04 |
through the keyboard shortcuts or through
the icons above.
| | 06:12 |
| | Collapse this transcript |
| Understanding coordinate space| 00:02 |
In this video we'll be taking a look at
what coordinate space is and how it works
| | 00:06 |
in 3ds Max.
In this scene I have a cone in the center
| | 00:11 |
at the origin of my scene.
When I select that object I can see I
| | 00:16 |
have the Move tool selected so I can see
the gizmo with its XYZ axis.
| | 00:23 |
If I look in the perspective view, in the
lower left hand corner, I can see the
| | 00:28 |
axis is set.
If I go to the rotate tool and I rotate
| | 00:35 |
the cone around my axis, when I return to
the move tool, is still aligned with the
| | 00:43 |
axis I see down here.
This is called the world coordinate space.
| | 00:54 |
The world coordinate space never ever
changes.
| | 00:57 |
Z is always this way.
Y is always that way.
| | 01:00 |
And X is always this way.
This is so you have a fundamental space.
| | 01:10 |
When you look at the cone its coordinate
space, at least the gizmo, is set to the
| | 01:15 |
same as this view.
I can change the coordinate space.
| | 01:21 |
If I go to world you can see there is no
net difference because the world and the
| | 01:26 |
view are the same.
But if I change the coordinate space of
| | 01:32 |
the selected object, and I go to Local,
you'll see that my gizmo snaps to a
| | 01:37 |
different orientation.
This orientation on the cone corresponds
| | 01:43 |
to the position of the cone and the
orientation of the cone.
| | 01:50 |
We can see that the orientation of the
cone with its point is along the Z axis.
| | 01:57 |
To be able to move the cone along its Z
axis, along its point, you have to be in
| | 02:01 |
local co-ordinate space.
I can move the cone along its lengthwise
| | 02:09 |
point by just switching to its local,
sometimes known as its object, axis.
| | 02:20 |
The two axis are slightly different.
But you'll, see that, the world axis in
| | 02:25 |
my view has not changed, and that's good.
If you want to move the cone straight up
| | 02:32 |
an down, in the world space, just simply
switch back to the world coordinate and
| | 02:36 |
you'll be able to move it up an down.
An then you can of course, set it back to
| | 02:43 |
local to get it to zip along its own
axis.
| | 02:50 |
Understanding coordinate space is
important for many different reasons, but
| | 02:55 |
rest assured that world space will never
change and that object space, its
| | 03:00 |
coordinates, its orientation, will always
follow, no matter how you rotate or
| | 03:05 |
orient that object.
We'll see that my rotation is still set
| | 03:11 |
to the view.
I can change that to the local and you'll
| | 03:15 |
see that it follows along with the
orientation.
| | 03:20 |
Same thing with scale, we'll set that to
its local and you'll see that I can scale
| | 03:27 |
the object in its local space quite
easily.
| | 03:34 |
Local and World space are the two Spaces
you'll use most often.
| | 03:39 |
In this video we took a look at
Coordinate Space and the differences
| | 03:44 |
primarily between the Local and the World
Space and how you can change your gizmo's
| | 03:50 |
coordinate space.
| | 03:54 |
| | Collapse this transcript |
| Using snaps| 00:01 |
In this lesson we'll be taking a look at
snaps or snapping in Max.
| | 00:07 |
Snapping allows you to transform objects
and have that transformation, which you
| | 00:15 |
can see is, free right now.
Nice and free and open.
| | 00:21 |
Snaps allow you to literally snap the
object to different parts of the scene
| | 00:27 |
such as, grid intersections.
Found up here, you're able to turn on
| | 00:34 |
snaps through any of these icons.
The most used snaps are, the 3D snaps,
| | 00:40 |
turned on by the snaps toggle.
There are different types of snaps that
| | 00:47 |
allow you to snap the object to different
things such as, like I mentioned,
| | 00:51 |
intersections of the grid or or faces or
vertices.
| | 00:57 |
To access those different types of snaps,
simply right-click on an empty part of
| | 01:04 |
the toolbar, and open up the snaps tools.
This free floating window can be docked
| | 01:14 |
anywhere in your user interface, wherever
you feel it works the best for you.
| | 01:22 |
We'll go ahead and dock it on the inside
here of the interface, next to the
| | 01:27 |
command panel.
And we will, we've already turned on 3-D
| | 01:34 |
snaps, we're going to go ahead and turn
on the snap to grid points.
| | 01:39 |
We'll toggle that on, and you can see
what kind of snap I have enabled by the
| | 01:45 |
Manipulator by the gizmo that pops up.
You can also notice that the move gizmo
| | 01:54 |
has a o at the center.
If I grab that o, I can start seeing how
| | 01:59 |
this object will snap with a little bit
of a rubber band from the origin to the
| | 02:05 |
snap point.
I don't necessarily have to snap it, but
| | 02:11 |
there's a tolerance.
As soon as you get close to a snap
| | 02:16 |
target, your object snaps.
You can snap in one axis at a time, or in
| | 02:23 |
a plane.
Let's go ahead and snap that guy back.
| | 02:30 |
You can have angle snaps, which have to
deal mostly with rotation.
| | 02:37 |
And if you'll notice, this object, this
box will snap and rotate only in
| | 02:43 |
increments of five degrees.
You can change the amount of, degree in
| | 02:51 |
your snap by simply right-clicking on the
Angle Snap Toggle Icon, and choosing the
| | 02:57 |
number of degrees you want.
Let's go ahead and set that to 15
| | 03:03 |
degrees, and you'll see that now your
snapping happens at 15 degree increments.
| | 03:10 |
The same can hold true for Scale, which
right now is free.
| | 03:16 |
For that we will turn on the percent snap
toggle.
| | 03:20 |
Let's turn off the angle snap, and do the
percent snap.
| | 03:25 |
And you can watch the percentages here
will be in increments of 10.
| | 03:31 |
10 percentage points.
Again, that is customizable by
| | 03:38 |
right-clicking on the percent snap toggle
icon and choosing your percent increments
| | 03:45 |
in that window.
You can keep the window open, if you wish.
| | 03:50 |
Now I've got 20 degree increments for my
percentage.
| | 03:56 |
Let's go ahead and close this out, we'll
toggle off our snaps.
| | 04:02 |
We'll go to the 3D snap for some
transformations.
| | 04:05 |
We'll take a look at some of the other
types of snaps that we have in our arsenal.
| | 04:14 |
I'm going to go ahead and create a second
object, and we'll be snapping this object
| | 04:20 |
to the cube.
Now take a look at the cube.
| | 04:25 |
We'll go to edge mode by pressing F4, so
we can see the wire frame on top of the
| | 04:30 |
shaded, and for that cube I'm going to
turn up its Segments, so I have a few
| | 04:34 |
more segments.
Let's go ahead and do four faces all the
| | 04:41 |
way around.
And we'll be snapping this.
| | 04:46 |
Let's go to vertex snap, and you'll be
able to see that this ball is snapping to
| | 04:52 |
the vertices of that Cube.
We can go to the endpoint, snap, and
| | 05:01 |
you'll see that it will snap to the
endpoint of any one of these edges.
| | 05:08 |
Go ahead and turn these both off.
So, you can see you can have more than
| | 05:15 |
one snap toggle enabled at any one time.
This allows you to snap the object to the
| | 05:22 |
pivot point of another object.
Well, you can see the object highlight as
| | 05:28 |
soon as you hover your mouse above it.
When you get close enough to the pivot of
| | 05:33 |
that object, you'll snap.
Let's go ahead and move our object out
| | 05:39 |
and let's try the snap to edge or segment
will allow you to snap the object across
| | 05:46 |
any edge of that object.
And lastly, we'll go ahead and take a
| | 05:55 |
look at snap to face, will allow you to
place the sphere anywhere on top of the
| | 06:01 |
face that is highlighted when you hover
your mouse.
| | 06:08 |
Now let's go ahead and take a look at a
practical application of this.
| | 06:14 |
We'll go ahead and open up in the basic
objects folder found in your project files.
| | 06:22 |
We're going to open up Biplane Snaps.
This file has our little toy biplane with
| | 06:30 |
it's propeller disassembled.
We'll want to move the propeller exactly
| | 06:37 |
to the center of the engine which you can
see has a point right here.
| | 06:44 |
We'll want to use a vertex snap.
So we'll engage the move tool with W,
| | 06:50 |
we'll turn on 3D snaps, and we'll make
sure that vertex snap is toggled on.
| | 06:58 |
Or go ahead and grab our O and try to
find the exact spot for our snap.
| | 07:10 |
There you'll have to get in there a
little bit close and boom, there we go.
| | 07:15 |
Perfectly centered on our engine.
Now what remains is our little plug here.
| | 07:23 |
We'll need to snap to the pivot point of
our propeller.
| | 07:28 |
We'll turn the vertex snap off, we'll
turn the pivot point on, and this time
| | 07:33 |
I'm just going to drag in the y until I
find the snap point.
| | 07:39 |
That doesn't quite work, so I'll grab the
O, find the snap point of the propeller.
| | 07:44 |
And there we are, our finished propeller.
In this video, we took a look at the
| | 07:51 |
snaps function which allow you to easily
transform an object in relation to
| | 07:56 |
another object or to the grid.
And also how to incrementally rotate or
| | 08:03 |
scale objects using these snap icons.
| | 08:07 |
| | Collapse this transcript |
| Cloning objects| 00:02 |
In this video, we'll be taking a look at
how to clone objects.
| | 00:06 |
In this scene I have a teapot primitive
created and a torus, or a doughnut.
| | 00:14 |
I've got my doughnut selected right now,
I'd like to make a clone of my doughnut.
| | 00:19 |
I can go into the Move tool and holding
down the Shift key on my keyboard, I will
| | 00:25 |
move the doughnut on the x axis, and in
doing so, because I"m holding down the
| | 00:30 |
Shift key, 3ds Max will create a clone of
that object.
| | 00:38 |
When I release the mouse button, I will
get my Clone Options.
| | 00:42 |
And here you can see, I have three
different types of clones I can create.
| | 00:48 |
A copy, which is default, an instances,
or a reference.
| | 00:53 |
It also allows me to type in the new name
for that object.
| | 00:58 |
It automatically creates the name by
appending a number to the name of the
| | 01:03 |
original object.
That was called Torus 1, so this will be
| | 01:07 |
called Torus 2.
I will change that name, and call that
| | 01:11 |
New Doughnut.
And I will leave it, at a copy, and I
| | 01:15 |
will click Okay.
You'll see I've got my original object,
| | 01:20 |
which is Torus 1, and there is my new
doughnut object.
| | 01:25 |
I'll change its color really quick, so I
can create a little bit of a difference
| | 01:29 |
in the view here.
So these two objects are now copies, and
| | 01:33 |
are completely independent of each other.
If I adjust the parameters in the Modify
| | 01:40 |
panel of the original, it changes.
And I can change the parameters of the
| | 01:47 |
copy quite easily.
Now let's try a different copy type.
| | 01:54 |
I will hold down the Shift key and I will
move Shift Move to create a clone over on
| | 02:00 |
this side of the original.
This time I will call this Other
| | 02:06 |
Doughnut, and this time I will create an
instance.
| | 02:12 |
Click Okay and now we have an instanced
clone of our original doughnut.
| | 02:21 |
Now the instance has independent
transformations.
| | 02:25 |
I can move and rotate and scale this
object independently of its original.
| | 02:35 |
When I go to the Modify panel for my
original doughnut, Torus 1, if I change
| | 02:40 |
the creation parameters of that original
object, its instance and any other
| | 02:46 |
instances I may have created at any time
in this scene, will also mirror those changes.
| | 02:57 |
So if I change the radius parameter,
either of those to make a fatter, or a
| | 03:03 |
low calorie thin doughnut, the instance
copy will also follow suit.
| | 03:12 |
I can go to the Modify panel and change
the color of my instance.
| | 03:18 |
Let's go to a blue.
I can do that with the original doughnut.
| | 03:27 |
Let's pick a green color and click Okay,
and that does not effect the instance.
| | 03:33 |
Nor does moving or rotating or scaling
the original.
| | 03:38 |
Only the parameters involved with that
original object will change the instance.
| | 03:44 |
Let's go ahead and, and make that a bit
of a fatter doughnut.
| | 03:48 |
A little bit smaller for the original.
And I'll make a small doughnut of the original.
| | 03:53 |
And this time, I'll switch to the Move
tool by pressing W.
| | 03:58 |
I'll hold Shift, and I'll move the
doughnut out in the y axis.
| | 04:03 |
Except this time, I will create a
reference of that doughnut.
| | 04:07 |
And I will call this Reference Doughnut,
and click Okay.
| | 04:13 |
This will create a reference clone of my
original doughnut.
| | 04:18 |
And again, my transformations are
independent, so I can move or rotate the
| | 04:22 |
objects independently of each other.
If I go into the original parameters in
| | 04:29 |
the Modify panel, for the original
doughnut, I can adjust the radius and
| | 04:33 |
that will change both the instance and
the reference clone.
| | 04:43 |
Go ahead and make our low calorie, thin
doughnut.
| | 04:47 |
But if I go on the reference, you'll see
that I don't have any access to its
| | 04:53 |
parameters, like I do with the instance.
If I change the instance, it will change
| | 05:02 |
the original as well.
Let's make our fat doughnut here, and
| | 05:08 |
you'll see that the original changes, as
well as the reference.
| | 05:15 |
However, the reference has no ability to
change its original parameters.
| | 05:21 |
Let's do that on the teapot.
We'll move to the Move tool.
| | 05:25 |
I'll Shift move the teapot over and I'll
make an instance.
| | 05:32 |
Again, changing any of the parameters of
an instance will change both the instance
| | 05:40 |
and the original.
I'll make a reference of the teapot, and
| | 05:47 |
you'll see again, I have no access to its
original parameters.
| | 05:55 |
I can change its parameters by adjusting
the original.
| | 06:02 |
I can adjust the instance as well, but I
cannot adjust the reference itself.
| | 06:08 |
This is very useful for having multiple
objects in your scene that all are linked together.
| | 06:16 |
So you can change the creation
parameters, and have them follow suit.
| | 06:25 |
In this video, we took a look at how to
clone objects and the different clone
| | 06:32 |
options we have, between referencing,
instancing, and the truly independent copying.
| | 06:43 |
| | Collapse this transcript |
| Mirroring and aligning objects| 00:02 |
In this lesson, we'll be taking a look at
the Mirror and Align functions.
| | 00:08 |
We're going to go ahead and open a scene
that we have, this is found in the
| | 00:13 |
project files under the clock project.
Within the clock project, you'll find a
| | 00:21 |
scenes folder where you'll be able to
find Clock Scene 05.
| | 00:28 |
In this scene we have a clock, a pill
bottle, glass, and lamp, all set up for us.
| | 00:37 |
And we'll want to align up these three
pills so that they're oriented in the
| | 00:42 |
same manner.
It's going to actually take this pill and
| | 00:48 |
make it quite a bit bigger.
The idea of using Align is to allow you
| | 00:55 |
take one object and to line it up with
another one.
| | 01:01 |
Quite simply put, you select the object
you wish to align and invoke the Align command.
| | 01:08 |
Once you select the target of your
alignment, you get your aligned selection
| | 01:13 |
dialog window, that allows you all the
different options.
| | 01:18 |
We see here that our Match Scale
Alignment was all turned on, which forces
| | 01:25 |
that capsule to align to the target's
scale, in any one or in all of the three axes.
| | 01:36 |
We can also align the rotation so that
the objects take the same orientation.
| | 01:43 |
We'll go ahead and choose y axis for our
orientation.
| | 01:48 |
Now the current and the target object,
these allow you to set the point at which
| | 01:54 |
these objects are aligned.
For example, by default these will align
| | 02:00 |
at the pivot point.
This is why the capsules are right on top
| | 02:04 |
of each other, is because they're both
aligned at the pivot point.
| | 02:08 |
However, I can ask the current object to
align at the center, or perhaps at a
| | 02:13 |
minimum amount, or even a maximum amount,
to get the type of look I'm looking for.
| | 02:23 |
We'll go ahead and set that to minimum,
so it's right next to it, and we'll hit Apply.
| | 02:30 |
Hitting Apply keeps the window open,
hitting OK applies the action, but also
| | 02:35 |
closes the window.
We see we've aligned these two objects.
| | 02:42 |
Now, let's go ahead and take a look at
our clock.
| | 02:47 |
This clock face looks just fine the way
it is.
| | 02:52 |
But let's say we want to mirror it, so
it's exactly the opposite of where it is now.
| | 02:58 |
By selecting the object and selecting the
Mirror function, you can see that the
| | 03:03 |
clock has flipped along its x-axis.
You can set different axes for the
| | 03:11 |
different flip.
See the z-axis turns the clock upside
| | 03:17 |
down and mirrors it this way.
You can also choose to have it mirror on
| | 03:25 |
a plane, meaning two axes at once.
You can create an offset.
| | 03:31 |
Let's go ahead and put this in the x-axis
and use the offset spinner to move it in
| | 03:37 |
the x-axis in one direction or another.
The clone selection options allows you to
| | 03:48 |
make a copy instance or reference or
simply just mirror the existing object
| | 03:52 |
with the no clone option.
With the copy option, I'll have my
| | 03:58 |
original non-mirrored, as well as the
mirrored object as a copy, or perhaps as
| | 04:05 |
an instance, or as a reference.
Simply hit OK to commit.
| | 04:13 |
Let's go ahead and make a copy.
We'll hit OK, and now I have a new object
| | 04:18 |
that is an exact mirror of the existing
object.
| | 04:24 |
This workflow is quite powerful and that
allows you to only model half of an
| | 04:30 |
object, and mirror the other side.
For example, in creating a character, you
| | 04:38 |
can model half of the character, as long
as it's symmetrical, and mirror the other
| | 04:45 |
side, by simply selecting the mirror.
Selecting your axis, and creating an
| | 04:56 |
appropriate offset.
So that, now you have a full character.
| | 05:07 |
This is one of the many useful features
of the Mirror function.
| | 05:12 |
In this video we took a look at the Align
and Mirror functions.
| | 05:18 |
| | Collapse this transcript |
| Grouping objects| 00:00 |
In this lesson, we'll take a look at
grouping objects.
| | 00:05 |
Go ahead and load up, in our project
files, in the basic objects folder, we'll
| | 00:13 |
open up the Biped.max file.
This biplane is made up of several
| | 00:23 |
different parts.
This object may be moved as one by
| | 00:27 |
selecting all the pieces and then moving
them all together or scaling them all together.
| | 00:35 |
Let's go ahead and scale this guy up.
You may also rotate the object together,
| | 00:44 |
but you're still having to select all
these different pieces.
| | 00:50 |
To create one object out of this plane,
we'll want to group that object.
| | 00:57 |
Say, for example, we want to create one
object out of both of these wheels.
| | 01:03 |
I'll go ahead and select the first wheel.
We'll go straight to the Select Object
| | 01:08 |
tool to get the gizmo out of the way.
Then I'll hold Control, and select the
| | 01:13 |
second wheel.
I'll go to Group and I will select Group.
| | 01:20 |
It will give me a chance to enter a name.
I will type in wheel group.
| | 01:25 |
And now my wheels are one object.
If I enable Edged Faces.
| | 01:37 |
And I select the one wheel, you can see
that both wheels are selected.
| | 01:41 |
If I press E for rotate, I'll be able to
rotate them both as if they were one object.
| | 01:49 |
Let's go ahead and select the wheels.
We get rid of the rotate gizmo.
| | 01:56 |
We'll Control, Select the bottom of the
biplane and we'll group that together as well.
| | 02:04 |
Call that bottom and now we have one
object for the bottom of the plane.
| | 02:16 |
What I have here now is a nested group.
To ungroup, these three items, I simply,
| | 02:24 |
go to the Group menu, and Ungroup.
And I am back to the original group of
| | 02:31 |
the two wheels, and the bottom of the
airplane.
| | 02:37 |
Let's go ahead an group the wheels and
the bottom together again.
| | 02:41 |
Give that a name of bottom group, and
then let's go ahead and select the entire
| | 02:48 |
plane, and group that together.
And we'll call that biplane group.
| | 03:00 |
Now this object is singular.
We can move and rotate and scale this object.
| | 03:12 |
And it only takes one click to select the
entire object.
| | 03:21 |
If I want to go back to the very
beginning where all these objects were
| | 03:26 |
individual, I can simply go to Group and
Explode.
| | 03:32 |
That will take me back all the way to
before the wheels were grouped together.
| | 03:39 |
All the objects become separate again.
Grouping is very useful for organizing
| | 03:46 |
your scene and making things easier to
select and transform.
| | 03:53 |
In this video, we took a look at grouping
in 3ds Max, and how to create a single
| | 03:57 |
group of objects that is easier to select
and move.
| | 04:01 |
| | Collapse this transcript |
| ProBooleans| 00:02 |
In this video, we'll be taking a look at
how to use the ProBoolean inside of 3DS Max.
| | 00:10 |
A boolean, simply put, is the
intersection, the subtraction, or the
| | 00:15 |
addition of two or more objects together.
For example, I'm going to go ahead and
| | 00:21 |
create a couple of primitives.
There we go, take a look at these primitives.
| | 00:29 |
Now what I'm going to do is, I'm going to
intersect the sphere with the cube.
| | 00:36 |
Right at the corner, here.
What a Boolean will do, will give you
| | 00:41 |
three different options, generally, of
what operation you need.
| | 00:50 |
I can take a sphere shape out of the box
for example, or I can take a box shape
| | 00:56 |
out of this sphere.
Let's go ahead and try one of those operations.
| | 01:03 |
The first thing you need to decide is
which of the objects you need to take
| | 01:07 |
away or to add to.
In this case, we're going to be
| | 01:11 |
subtracting from this sphere.
So, I'll select this sphere, and I'll
| | 01:15 |
need to go into Compound Objects to be
able to access ProBoolean.
| | 01:22 |
Without an object selected, you'll see
you don't have access to it.
| | 01:26 |
Now, ProBoolean is a better
implementation over regular Boolean, that
| | 01:31 |
is the preferred way to go.
Go ahead and select ProBoolean, and we'll
| | 01:36 |
scroll down in the Command panel, let's
see some of the options that we've got here.
| | 01:43 |
Here is the Operation, we've got it set
to subtraction.
| | 01:46 |
Now all we need to do is pick the box, as
the subtractive object.
| | 01:52 |
I'll click on Start Picking, and pick the
box.
| | 01:57 |
And that will take the box's part out of
the sphere.
| | 02:02 |
I'll hit Undo, so we can take a look at
another operation.
| | 02:07 |
We'll take a look at the intersection
operation.
| | 02:11 |
We're still in the start picking, so I'll
pick that, and that leaves us with the
| | 02:16 |
volume that the two objects had in
common, the intersection.
| | 02:21 |
We'll undo that and we will try a union.
We're already on star picking, so I'll
| | 02:29 |
select the box.
And we now have a single object, that is
| | 02:34 |
comprised of both those parts.
When we go inside, you'll see that this
| | 02:42 |
is now a hollowed out object, if I hit
Undo the sphere returns.
| | 02:50 |
I'll go on back outside.
So the union created one mesh out of
| | 02:56 |
these two objects, and took away the
geometry that was inside, that is, superfluous.
| | 03:04 |
Here you can see a wireframe of that
union.
| | 03:08 |
You can see where the excess geometry has
been taken out, and there I go, I undid
| | 03:13 |
that action.
Similarly, I can do an attach operation,
| | 03:20 |
go ahead and select the box, now you see
that the two have become one object but
| | 03:27 |
yet the inside geometry has been left in
tact.
| | 03:38 |
Go ahead an undo that so we're back to
the two objects.
| | 03:42 |
And we'll try it on a more sophisticated
model.
| | 03:46 |
Go ahead and open a new scene, this is
found in the Basic Objects folder found
| | 03:51 |
in the project files that come with this
video series.
| | 03:58 |
We'll be opening up the biplane.max file.
Is a simple, biplane, wooden toy, that
| | 04:07 |
fits on, the stem of the lamp.
So it requires a hole, right in the
| | 04:16 |
middle of its, fuselage.
So what we'll want to do is, create a
| | 04:22 |
hole that fits, from, edge to edge
through the fuselage.
| | 04:28 |
In addition as a starter, we'll want to
create a cockpit that fits the style of
| | 04:35 |
the airplane.
And you can see that right here, it's a
| | 04:41 |
simple little cylindrical divit.
We'll start with that Boolean first.
| | 04:48 |
And what I'll want to do is create a
cylinder to fit over here, to create that cutout.
| | 04:57 |
We'll go ahead and create that cylinder.
And standard primitives, now just like
| | 05:02 |
any other object that you would create.
You want to size and position your
| | 05:10 |
cylinder to fit where that cut out's
going to be.
| | 05:16 |
I've already done that, so let me go
ahead and turn that cylinder on, and
| | 05:19 |
we'll get rid of this one.
So this cylinder is in the place where we
| | 05:25 |
want the cockpit.
Go ahead and select the fuselage of our object.
| | 05:31 |
Go into the Select tool, select the
fuselage, we'll go into Compound Objects,
| | 05:37 |
and select ProBoolean.
Go ahead and make sure that our operation
| | 05:45 |
is set to subtraction.
And we'll start picking, and we'll pick
| | 05:53 |
the cylinder, and, there you have it, we
have our cockpit.
| | 06:00 |
Now let's talk about the hole for the
stem.
| | 06:02 |
We'll need another cylinder that we'll
place through the fuselage.
| | 06:07 |
Here's our cylinder, we just need to go
ahead and move it into place, in our fuselage.
| | 06:19 |
And create the right orientation, now
what's important here is the relative
| | 06:26 |
position of the object to what you're
cutting out.
| | 06:33 |
Let's say this is right about where we
want to put our hole, there we go.
| | 06:41 |
And this is how it would fit into the
lamp.
| | 06:47 |
Once we're satisfied with where this is,
we can go ahead and begin the Boolean process.
| | 06:53 |
We'll select the fuselage, we'll go into
Compound Object, Select ProBoolean, make
| | 06:59 |
sure we're in subtraction, and start
picking.
| | 07:04 |
Once we've done that, we have our stem.
Now let's take a look at this hole, it
| | 07:12 |
seems like, a little bit too small, the
radius is a little bit too small.
| | 07:17 |
Well, what we can do is having the
fuselage already selected.
| | 07:23 |
We're going to go into the Modify panel,
and you'll see in the Modifier stack that
| | 07:26 |
there's a ProBoolean operation in the
stack.
| | 07:30 |
And when you select ProBoolean, scrolling
down, you'll be able to see a list of
| | 07:36 |
objects that are involved in that
Boolean.
| | 07:41 |
Since we know we'll be using the
cylinder, we can see that's the original
| | 07:47 |
place we had the cylinder.
We can go ahead and move that and have
| | 07:54 |
the ProBoolean update automatically.
We'll go ahead and create a little bit
| | 08:00 |
more of an angle, so that we get both the
corners.
| | 08:06 |
And we'll also need to increase the
diameter of that hole, just a little bit.
| | 08:13 |
We can do that simply by scaling the
original cylinder.
| | 08:19 |
There we have it.
We're able to go in and after the fact,
| | 08:23 |
adjust the ProBoolean by going into it's
modifier stack.
| | 08:31 |
Once you're happy with the object, you
can go back to your modeling tasks.
| | 08:36 |
But you can come back to that modifier
anytime you want to adjust some of the
| | 08:42 |
original parameters of the last, Boolean
on that object.
| | 08:50 |
In this video we took a look at, the
ProBoolean operation in 3DS Max, and how
| | 08:56 |
it can be used to create, new shapes, and
to edit and create holes, and divots in
| | 09:02 |
existing models.
| | 09:07 |
| | Collapse this transcript |
|
|
4. Working with ModifiersIntroducing modifiers and the modifier stack| 00:02 |
In this video we will taking look at what
the Modifier Stack is in 3Dx Max.
| | 00:08 |
Here I have a well tessellated cube or
tower and I will switch to the Modify
| | 00:13 |
menu where I will find the modifier stack
here.
| | 00:19 |
You will see the modifier list above it.
And the stack below it.
| | 00:24 |
What the modifier stack is, the workflow
is very simple.
| | 00:28 |
It allows you to add modifiers or ways of
changing or adjusting your object.
| | 00:37 |
And it keeps a track of it, these
procedures, these modifiers, in the
| | 00:41 |
stack, in a procedural way.
I'm going to go ahead and add a couple of
| | 00:47 |
modifiers, which I can do through the
modifier list.
| | 00:51 |
We'll go ahead and add a bend modifier.
And then I will go ahead and add a twist
| | 00:58 |
modifier, which is a little bit off the
screen, that you can see, at the bottom
| | 01:03 |
of that.
menu.
| | 01:07 |
Now I've got a twist and a bend.
And clicking on the Modifier gives me
| | 01:13 |
access to the parameters of that
modifier.
| | 01:19 |
And in short, I can change these
parameters quite easily.
| | 01:25 |
By selecting them in the stack and
adjusting them in their parameters.
| | 01:32 |
Here I can see I've bent and twisted my
object.
| | 01:37 |
And you'll notice that the bend goes on
the box first, so the procedure of the
| | 01:44 |
bend happens first and then the procedure
of the twist happens next.
| | 01:53 |
To reorder the procedures, the modifiers
I can simply select and move by clicking
| | 02:02 |
and dragging.
So now the twist is happening first and
| | 02:08 |
the bend is happening next.
In the Modifier Stack, I can remove
| | 02:14 |
either of the Modifiers by selecting them
and clicking on the little Trash Icon to
| | 02:21 |
remove that modifier entirely.
I'll go ahead and I'll undo that action
| | 02:29 |
so I get my modifier back.
And let's try removing the twist.
| | 02:35 |
And let's get my twist back.
An I can get rid of the bend.
| | 02:45 |
Let's undo an get those, modifiers back
there.
| | 02:49 |
Now to commit this shape.
Let's say I'm happy with this shape and I
| | 02:56 |
no longer want the modifiers in my stack.
All I need to do is right-click in the
| | 03:02 |
modifier stack and select, Collapse All.
What this will do, is change that object
| | 03:11 |
to having no modifiers.
It gives me a warning because it's a
| | 03:16 |
serious affair if you get rid of your
modifiers, you won't have access to
| | 03:20 |
changing them at a later time.
I'll go ahead and click Yes, and I will
| | 03:26 |
see that this object now no longer has
any modifiers.
| | 03:31 |
As a matter of fact, when I collapse the
modifiers to create this twisted and bent
| | 03:37 |
shape, it has created an editable mesh
automatically.
| | 03:43 |
And the editable mesh, it's different
selection modes, from vertices all the
| | 03:50 |
way to element and polygon, is also
selectable and viewable in the Modifier
| | 03:57 |
Stack itself.
So you'll be doing quite a bit of your
| | 04:03 |
work in the Modifier Stack, and it's a
part of the UI and the workflow that
| | 04:07 |
you'll get used to.
Very quickly.
| | 04:12 |
In this video we took a quick look at
what the Modifier Stack is and what it
| | 04:17 |
does in your 3DS Max experience.
| | 04:21 |
| | Collapse this transcript |
| Basic modifiers: Using the Bend, Taper, and Twist modifiers| 00:02 |
In this video we'll be taking a look at
often used modifiers the bend, the taper,
| | 00:06 |
and the twist, and how they work in the
modifier stack.
| | 00:10 |
I have a well-segmented box here, and I'm
going to add a bend modifier to it, by
| | 00:16 |
selecting it from the modifier list.
You'll see the bend is in my modifier
| | 00:23 |
stack and I've got Angle, which allows me
to adjust how much of a bend I have, as
| | 00:27 |
well as the direction.
I'm going to type in an even 45 degrees
| | 00:34 |
for the direction of my bend.
An even angle of 90 degrees.
| | 00:42 |
Now, I'm going to add a limit to the
effect.
| | 00:47 |
If I turn on limit effect, you'll see
that things get a little bit weird.
| | 00:54 |
That's because my limits are set to 0.
If I increase my upper limit, you can see
| | 00:59 |
the orange gizmo, that is the bend
modifier.
| | 01:04 |
You can see how it is being effected by
the limit.
| | 01:09 |
This way I can set a limit so that the
top of my box is not effected by the bend.
| | 01:16 |
Also set a lower limit, which effects how
the bend works as well.
| | 01:22 |
Let's keep the top square and the bend at
the bottom.
| | 01:27 |
Let's add a twist modifier, except this
time instead of using the modifier list,
| | 01:32 |
I will choose to use.
The modifier menu.
| | 01:37 |
And the twist may be found under the
parametric deformers.
| | 01:41 |
And I realize this is beyond the bottom
of your video, but the twist modifier,
| | 01:47 |
this is alphabetical, the twist appears 2
entries right below spherify.
| | 01:54 |
I'll select it and I'll get my twist
modifier.
| | 01:57 |
You'll notice that twist is added in the
modifier stack.
| | 02:01 |
I'll set an angle for it, and you'll see
that it's twisting my box.
| | 02:06 |
And it's a very strange result.
That's because the twist is happening
| | 02:12 |
after the bend.
If I want to see what the twist looks
| | 02:15 |
like on it's own, I can temporarily
disable the bend by turning off the
| | 02:19 |
little light bulb icon in the stack, and
I can see my twist on just the box.
| | 02:28 |
I turn my bend back on, I'll get this
result.
| | 02:33 |
If I select my twist and I drag it with
the left mouse button, down below the
| | 02:37 |
bend, I'll be able to reorder.
And have the twisting happening on the
| | 02:45 |
box, before the bend.
And there is turning off the twist
| | 02:51 |
temporarily so I can see just the bend.
Now with both of these selected.
| | 02:58 |
I've got my twist selected, I should say.
If I go and add another modifier, and I
| | 03:04 |
will do the taper modifier through
parametric deformers.
| | 03:09 |
Taper again, alphabetically is about 3
entries just south of the sphereify.
| | 03:18 |
Turn on taper.
We'll see the taper automatically.
| | 03:22 |
Is created above the twist.
That's because I have the twist modifier
| | 03:28 |
selected when I created the taper.
Let's go ahead and move the taper all the
| | 03:32 |
way to the top, so it's at the end of the
chain.
| | 03:36 |
And the taper happens.
After the other 2.
| | 03:40 |
I have an amount for the taper.
0 means there's really nothing going on,
| | 03:46 |
and here's a negative taper.
And that's what I'm looking for.
| | 03:49 |
I want to create a little bit of a, a pin
top at the top of my box.
| | 03:55 |
Unfortunately, this is happening after my
other 2 modifiers.
| | 03:59 |
So, I'll select the taper.
Turn off the bend and the twist and
| | 04:03 |
you'll see this is the desired shaped I
want for the box but, I don't want it to
| | 04:07 |
happen after the other modifiers.
So, I will click and drag it and place it
| | 04:13 |
under the twist.
So, now the box Is tapering.
| | 04:19 |
Then it is twisting, and then it is
bending.
| | 04:24 |
Let's go back on my twist.
Take a look at its parameters.
| | 04:32 |
Let's go back on the bend.
And on the bend, let's turn off limit
| | 04:36 |
effects so we have a nice smooth bend all
the way down.
| | 04:40 |
If I'm happy with this result, and this
is the sort of mesh I now want to start
| | 04:45 |
editing, by moving or affecting its
sub-objects, such as vertices and edges
| | 04:50 |
and so forth.
I can simply, select by right-clicking.
| | 04:59 |
On the modifier stack and selecting
collapse all.
| | 05:04 |
And that will remove all of the modifiers
when I click yes.
| | 05:10 |
And give me just a plain mesh.
That allows me to edit any of the
| | 05:16 |
sub-object modes at that point.
Now, I can continue to add modifiers to this.
| | 05:22 |
Let's go ahead and add another bend
modifier, and that will adjust my new
| | 05:31 |
found mesh accordingly.
In this video, we took a look at the
| | 05:38 |
bend, the twist, and the taper modifiers
and how they work in the modifier stack.
| | 05:45 |
And we also learned how to collapse the
modifiers, which removes the modifiers
| | 05:51 |
from the object and creates an editable
mesh.
| | 05:56 |
| | Collapse this transcript |
| Using an FFD modifier| 00:02 |
In this video we'll be taking a look at
how to use the FFD modifier which is also
| | 00:06 |
known as a lattice.
An FFD modifier or a lattice allows you
| | 00:12 |
to change the shape of an object without
affecting the actual vertices of that
| | 00:18 |
object directly.
Now, we'll take a look at a hand that
| | 00:24 |
we've created.
And if you go into the basic objects
| | 00:28 |
folder, in your project file that comes
with this video series, you'll see a hand model.
| | 00:36 |
We'll go ahead and open that up.
And this is our hand.
| | 00:41 |
Now the advantage of using a lattice or
an FFD to edit this hand is that we don't
| | 00:46 |
have to go in and edit the many, many
vertices in the hand directly.
| | 00:55 |
Let's say, for example, we want to create
a bit of an alien hand by elongating the
| | 00:59 |
fingers and making the ends quite a bit
fatter.
| | 01:05 |
Again we don't need to go in and move the
actual vertices or even the edges of the
| | 01:10 |
object, what we can do is apply an FFD
modifier.
| | 01:17 |
By simply going to the modifier list and
scrolling down, you'll see a few
| | 01:21 |
different entries for an FFD, you'll also
see an entry for lattice.
| | 01:26 |
Now lattice is not quite the same as it's
used in other 3D packages.
| | 01:33 |
We won't be covering that, however, I'll
just undo out of that, we will be
| | 01:37 |
covering the FFD, which again, in some
other packages is called lattice.
| | 01:44 |
Let's start with an FFD two by two by two.
This gives us a box.
| | 01:50 |
A cage, so to speak, around the model to
which it's applied.
| | 01:55 |
The lattice points allow you to affect
the overall shape of the underlying geometry.
| | 02:04 |
Go ahead an expand down in the modifier
stack, and select the control points for
| | 02:09 |
the lattice.
And we'll go to the Move tool, and we'll
| | 02:14 |
select one of these points and start
moving it.
| | 02:18 |
As you can see, it's affecting the whole
geometry, in creating that new shape.
| | 02:28 |
To commit that change, you'll want to
collapse your shape.
| | 02:37 |
Of course, we don't really want to do
that, so I'll just Ctrl+Z to undo.
| | 02:42 |
A two by two by two lattice won't be
enough for this hand.
| | 02:48 |
So let's take a look at some of the other
FFDs.
| | 02:52 |
We'll go ahead and we'll trash can that
modifier.
| | 02:56 |
And let's take a look at the four by
four.
| | 03:01 |
Here you can see we'll have a lot more
control over the different parts of the
| | 03:06 |
hand because we have more, control points
for the lattice itself.
| | 03:13 |
So simply moving these will begin
elongating these fingers and not
| | 03:17 |
affecting the whole of the geometry.
The amount of deformation is controlled
| | 03:24 |
within this volume.
Now let's go ahead and get rid of this
| | 03:35 |
FFD because what's going on here is, we
don't have explicit control over the
| | 03:40 |
fingers, because all we want to do is
lengthen the fingers and make the tips a
| | 03:45 |
little bit more fat to make them sort of
alieny.
| | 03:52 |
Even with a four by four by four, we're
going to find it a little bit difficult
| | 03:55 |
to isolate to those pieces.
So let's get rid of this lattice.
| | 04:00 |
I'm going to trash can that, we'll go
back to the regular hand shape.
| | 04:05 |
Now instead of selecting and applying an
FFD to the entire hand, I'm going to go
| | 04:10 |
ahead into vertex mode.
I'm going to select the vertices on just
| | 04:16 |
this finger and then I will go ahead and
apply a lattice, let's do a three by
| | 04:22 |
three this time.
And you'll see that it only applies to
| | 04:29 |
that part of the model where I've
selected those vertices.
| | 04:34 |
Now you'll notice that the lattice is not
lined up to the finger.
| | 04:40 |
We can do that fairly easily by going
into the lattice part of the FFD and
| | 04:46 |
orienting the lattice structure of the
FFD to fit around our finger.
| | 04:55 |
We'll want to go into the local, so we
can go ahead and stretch that out.
| | 05:03 |
We want to make sure that the lattice
part of the FFD fits snugly around, and
| | 05:08 |
again we'll go into local, fits snugly
around the selection.
| | 05:15 |
It doesn't have to be exactly
formfitting.
| | 05:20 |
Just want to make sure that the FFD and
the lattice fit around the object or the
| | 05:26 |
area of the object that you want to edit.
We'll go ahead and do the control points
| | 05:34 |
and go ahead and grab these guys and
start elongating our finger.
| | 05:42 |
We can go into the Scale tool and fatten
them up as well.
| | 05:47 |
Let's go ahead and bring the fingers out
just a little bit more and there we have
| | 05:52 |
an alien finger.
Again, to commit this change, you'll want
| | 05:59 |
to right-click on the FFD modifier and
select collapse to.
| | 06:05 |
Once you do that your model is now
modified.
| | 06:10 |
And we'll go ahead and do the middle
finger now by selecting just the vertices
| | 06:17 |
that we wan.
We'll go ahead and hold down Alt so we
| | 06:23 |
can deselect these vertices, go ahead and
deselect these guys and we'll go ahead
| | 06:30 |
and do a, an FFD three by three.
Now if you want a little bit more control
| | 06:38 |
you can do an FFD box or FFD cylinder.
We'll go ahead and do an FFD box and what
| | 06:45 |
that does is right off the bat gives you
a four by four FFD.
| | 06:51 |
But you can change that by setting a new
number of points.
| | 06:58 |
Let's say we want, for our length, we
only want three.
| | 07:02 |
And four or width, we only want, let's
say, six.
| | 07:06 |
For our height we only want two.
Let's see how that shapes up.
| | 07:12 |
So we have a FFD that's much more
suitable to what we potentially are
| | 07:17 |
looking for.
Go ahead and switch over to the control
| | 07:22 |
points and I can start making my
modifications from here.
| | 07:30 |
And because I have an FFD that's based on
more points, I have more control over how
| | 07:36 |
my points react.
So, I can create a much more bulbous fingertip.
| | 07:46 |
And furthermore, I can create a bit of a
bulbous middle by just expanding these
| | 07:54 |
out and moving them.
Again, we'll go ahead and take a look at
| | 08:01 |
the before and after by turning on and
off the little light bulb icon.
| | 08:08 |
And here we have it.
We'll commit the change by collapsing to,
| | 08:15 |
yes, and there we have it.
We have a completed mesh.
| | 08:22 |
In this video we took a look at how to
use an FFD modifier, in other packages
| | 08:26 |
known as a lattice.
This FFD allows you to change the overall
| | 08:33 |
shape of a model without having to use
all the different little points of that
| | 08:38 |
model, by using an easier outside cage to
affect the overall shape.
| | 08:45 |
| | Collapse this transcript |
|
|
5. Poly ModelingWhat is poly modeling?| 00:02 |
Polygon modelling dives into the world of
manipulating meshes and creating objects
| | 00:05 |
for use in your work.
Polygons are basically made up of
| | 00:09 |
components called Sub Objects in 3DS Max.
With access to this sub object level, you
| | 00:16 |
can create any sort of shape you need.
In this video, we'll take a look at the
| | 00:20 |
concepts behind poly modelling as well as
get an understanding of how polygons and
| | 00:24 |
their components work together.
A single point in 3D space is a vertex.
| | 00:33 |
The plural of vertex is vertices.
A line that connects two vertices is
| | 00:40 |
called an Edge.
Three intersecting edges comprised of
| | 00:46 |
three vertices is known as a face.
Two faces makes up a polygon.
| | 00:55 |
A polygon is the building blocks of a 3D
mesh.
| | 00:59 |
Polygons are flat.
No matter how the vertices are placed, a
| | 01:05 |
polygon is flat.
3DS Max objects are made up of these four
| | 01:10 |
components called sub-objects: Vertex,
Edge, Face, and Polygon.
| | 01:15 |
In 3DS Max, there are two other
sub-object modes.
| | 01:30 |
Where a polygon has a hole in it.
This is a 3D mesh box with a polygon
| | 01:35 |
deleted from the mesh where that hole
exists, that is known as a Border.
| | 01:43 |
That edge in that deleted polygon, is a
border.
| | 01:48 |
Individual meshes, like this cylinder and
sphere is called an Element and elements
| | 01:54 |
are the ability to select them
individually is an element.
| | 02:00 |
Keyboard shortcuts to access the
individuals of object modes in 3DS Max
| | 02:08 |
are 1 for vertex, 2 for Edge, 3 for
Border, 4 for Polygon and 5 for Element.
| | 02:18 |
You can hit 6 to Exit Sub Object mode.
In this lesson, we learn how polygons and
| | 02:27 |
their sub-objects such as vertices, edges
and faces, work to create surfaces and
| | 02:31 |
objects that you can manipulate.
We also looked at, how to access the
| | 02:37 |
sub-object level, by converting objects
to polys.
| | 02:43 |
| | Collapse this transcript |
| Convert to Editable Poly vs. Edit Poly Modifier| 00:02 |
As with many things in 3DS Max and
computer graphics in general, there's
| | 00:06 |
always more than one way to perform a
task.
| | 00:09 |
In this lesson, we'll take a look at the
difference between two ways of accessing
| | 00:13 |
an object's sub-object components; to be
able to edit and manipulate its shape.
| | 00:19 |
And why you would use one over the other.
Convert to Poly and the Edit Poly
| | 00:24 |
Modifier are two of those methods to
access a 3D object's components.
| | 00:30 |
Their functionality, is almost the same.
They share many of the same tools within
| | 00:36 |
the graphite modeling tool ribbon.
There's just a few differences.
| | 00:42 |
The ability to convert those to those
different modes are also available here
| | 00:47 |
in the Graphite Modeling tool.
Convert to Poly is performed by going
| | 00:54 |
into the Poly on Modeling tab and
clicking on the Convert to Poly button.
| | 01:01 |
Once you click the button, all the tools
that are available at that component
| | 01:05 |
level will show.
Or at object level, we also have vertex,
| | 01:11 |
edge, border, polygon and element mode.
When you use the convert to poly method
| | 01:19 |
for accessing the components, you have
access to a powerful set of tools within
| | 01:22 |
the graphite modeling tool ribbon.
Basic modeling tools, like a specific
| | 01:30 |
one, extrude, NURMS, which is a form of
smoothing a model, but yet maintaining
| | 01:37 |
its original shape, and more advanced
polygon modeling tools.
| | 01:47 |
There's also the ability to be able to
animate at a component level.
| | 01:51 |
I'm going to turn of the NURMS.
I move my time slider to frame 50, and
| | 01:59 |
just took the polygon that I extruded and
moved it.
| | 02:03 |
And now if I scrub back and forth, you
can see that I've animated that.
| | 02:12 |
The Edit Poly Modifier is created in the
same way.
| | 02:15 |
I have just a box here.
Go into the Graphite Modeling tool, click
| | 02:20 |
on Poly Modeling, and click on Apply Edit
Poly Mod.
| | 02:24 |
If we look here in the command panel, to
the right of the interface, in the modify
| | 02:29 |
panel, you'll see that the box we
originally have has a layer above it.
| | 02:36 |
That layer is giving us access to the
components through a modifier.
| | 02:42 |
We have Vertex, Edge, Border, Polygon,
and Element.
| | 02:48 |
Just like we do in the Convert to Poly
method.
| | 02:51 |
The Edit Poly Modifier includes most of
the same capabilities, the ability to
| | 02:57 |
select individual components, the ability
to perform certain tasks, basic modeling
| | 03:03 |
tools, and more advanced modeling tools.
The only differences, we don't have
| | 03:11 |
access to that NURMS tool.
NURMS is grayed out in the edit tab
| | 03:16 |
within the modelling ribbon.
The reason for that is you have to apply
| | 03:23 |
it as a modifier when you use the Edit
Poly Modifier technique.
| | 03:28 |
You go into the modifier list, there are
two main ones, Mesh Smooth and Turbo Smooth.
| | 03:35 |
I'm going to apply Turbo Smooth.
It has the same functions.
| | 03:38 |
It still smooths just like it does in the
convert method.
| | 03:42 |
Which you can see here.
But one is a modifier that can be
| | 03:48 |
removed and not affect what's going on in
the model below it.
| | 03:53 |
Where on this one, you turn it on and off
through the Graphite Modeling tool.
| | 03:58 |
You also have control over animation
within the Edit Poly Modifier.
| | 04:04 |
I'm going to remove that turbo smooth by
right-clicking over it and clicking delete.
| | 04:07 |
By selecting the component, turning on
your Auto Key tool, and moving, the
| | 04:14 |
difference is with the Edit Poly
Modifier, you must be in what they call
| | 04:21 |
Animate Mode.
Here in the Edit Poly Mode rollout, in
| | 04:28 |
the command panel, there's Model Mode and
Animate Mode.
| | 04:32 |
Click on Animate and now with the Auto
Key on, now it's animating.
| | 04:42 |
Where the editable poly converted
doesn't, you don't have to do that, you
| | 04:46 |
can just perform your animation without
going into Animate Mode.
| | 04:52 |
In this video we took a look at why you
would want to use Convert to Editable
| | 04:56 |
Poly, versus using the Edit Poly
Modifier.
| | 05:00 |
We saw some of the main differences and
what each one will bring to your
| | 05:03 |
modelling task.
| | 05:04 |
| | Collapse this transcript |
| Vertex editing| 00:00 |
Vertices are the points between edges and
when in shapes of three or more, create
| | 00:05 |
the polygons that define our surfaces.
In this video, we'll take a look at the
| | 00:11 |
rich tool set available in the Graphite
Modelling tool ribbon when working
| | 00:15 |
directly with vertices, to edit our
object shape.
| | 00:19 |
We're going to start off with a very
simple tool called Weld.
| | 00:23 |
I'm going to hit one, which is the
shortcut to take me into vertex mode.
| | 00:27 |
The Weld tool is located in the Vertices
tab.
| | 00:28 |
The Weld tool has a button, that I can
click on to activate or, I can go into
| | 00:37 |
the weld settings dialog box.
This brings up the caddy.
| | 00:46 |
Now right now I don't have any vertices
selected so nothing was getting welded.
| | 00:50 |
I'm going to control-click these two
vertices, and you can see that they
| | 00:54 |
automatically become welded.
That is because of the threshold.
| | 00:59 |
This specifies the maximum distance the
vertices to be welded.
| | 01:04 |
So if I bring that number down it will
unweld them.
| | 01:07 |
When I have them welded and I'm happy
with the results, I can click the
| | 01:10 |
checkbox, which allows me to OK the
function.
| | 01:15 |
The next tool I want to show you is
called Target Weld.
| | 01:18 |
Target Weld works in the same exact way,
but its functionality is slightly different.
| | 01:24 |
It has a button that is active and then
you click from one vertice and drag to
| | 01:29 |
the next, and those two will become
welded.
| | 01:36 |
The next tool we'll look at is called the
Connect tool.
| | 01:38 |
It allows me to select two vertices, I'm
control-clicking to select them both.
| | 01:44 |
And in the Loops tab, I'm going to click
Connect.
| | 01:52 |
Now we can use that in a lot of different
ways.
| | 01:54 |
I can come down here to the bottom,
select that one and that one, Loop > Connect.
| | 02:03 |
That one and that one, Loop > Connect.
This allows me to create some extra edges
| | 02:12 |
and can also help the topology of my
object.
| | 02:17 |
Connect.
Another tool that we're going to take a
| | 02:22 |
look at, I'm going to switch to a
different object.
| | 02:26 |
I have to leave sub-object mode and I can
do that by hitting one again or just
| | 02:29 |
clicking on the Component Mode in the
Graphite Modeling tool.
| | 02:34 |
We're going to take a look at a tool
called Chamfer.
| | 02:39 |
For vertices, Chamfer allows you to take
a single vertice and split it to create
| | 02:46 |
new faces, or polygons.
Again in the Graphite Modeling tool,
| | 02:53 |
we're going to go here to Chamfer >
Chamfer Settings.
| | 02:57 |
And then we're going to just move that up
and you can see it split the single
| | 03:00 |
vertice into four.
When I'm happy with the size, I can OK that.
| | 03:08 |
In this chapter, we explored various
important vertex editing techniques and
| | 03:12 |
tools such as the Chamfer and Weld and
how and why we would use them.
| | 03:17 |
| | Collapse this transcript |
| Edge and border editing| 00:02 |
Edges are the common line between two
connected faces.
| | 00:06 |
They run from one vertex to another and
are an important part of polygonal modeling.
| | 00:11 |
Borders are all the edges running around
the outside of a hole in a mesh.
| | 00:16 |
In this lesson we'll explore the
difference and most often used tools in
| | 00:20 |
editing edges and borders and how they
work to shape your models.
| | 00:25 |
We'll be looking at the edges tools and
the border tools together, because much
| | 00:29 |
of their functionality is the same.
We're going to start by looking at a very
| | 00:35 |
useful tool for modeling in edge mode and
in border mode, and this is chamfer.
| | 00:41 |
We're going to hit two on our keyboard,
which will take us into Edge mode.
| | 00:46 |
In the edge's tab, we're looking for
Chamfer.
| | 00:53 |
Now, we don't have any edges selected,
but we can select them now that we have
| | 00:57 |
the little caddy open.
So, I'm going to select the edges all
| | 01:02 |
around the outside corner of this
cylinder.
| | 01:06 |
In the Modify panel there is a very
useful Tab called Modify Selection.
| | 01:11 |
And the tool that I want to use is called
Loop.
| | 01:15 |
Loop selects any edge that is lying, I
don't want to see horizontal, let's say
| | 01:19 |
head to foot.
I click on one, I click Loop.
| | 01:25 |
There is a shortcut for that, select one,
hold shift and click and that will
| | 01:29 |
quickly loop.
Now lets go back into the Chamfer tool.
| | 01:33 |
Now right now the Chamfer tool had some
settings already in, and you can see
| | 01:38 |
that, the first setting, which is the
chamfer amount, takes a single edge and
| | 01:42 |
splits it into two edges.
Let's get in here a little closer so you
| | 01:50 |
can either use the sliders, you can type
in a value.
| | 01:58 |
Hit Enter.
A single Enter will okay the parameter.
| | 02:04 |
Clicking Enter twice on your keyboard
will actually okay the dialog box.
| | 02:09 |
Now, the second one is adding segments.
And you can do this to give yourself a
| | 02:17 |
nice soft rounded edge.
The more segments we have, the more
| | 02:22 |
smooth it will be.
And this last one here allows us to open
| | 02:28 |
or close our chamfer, which we don't want
to do right now.
| | 02:33 |
I'm going to hit okay.
The next tool I'm going to show you is
| | 02:40 |
the Extrude tool.
The extrude tool is a very common tool to
| | 02:45 |
use in edge mode and in border mode.
Now I use the technique to select the
| | 02:51 |
inside edge by clicking on a single edge
holing shift and clicking.
| | 02:56 |
You can also come up and click on the
Loop tool in the Modify Selection tab.
| | 03:02 |
We're going to go to
Edges>Extrude>Extrude Settings.
| | 03:07 |
I almost always use the caddy, as apposed
to using the button.
| | 03:13 |
This caddy is set pretty high.
I'm going to bring that value down.
| | 03:16 |
So, you can see there.
Now, this has an open edge to it, meaning
| | 03:21 |
the polygon that was on the inside was
deleted.
| | 03:26 |
So, we could also use this method in
border mode.
| | 03:29 |
So, Extrude, that is the height.
We also have this, which is the width,
| | 03:36 |
how wide, so we can expand that extrude
out a bit.
| | 03:40 |
Hit Enter to okay it.
I'm going to undo that.
| | 03:46 |
Now let's take a look at a the border.
Now the nice thing about a border is if
| | 03:50 |
it's an open edge like this, if you click
it or just select the whole thing, but
| | 03:54 |
the functionality is basically the same,
Border>Extrude.
| | 04:00 |
Now I am going to use the extrude button.
Click on that.
| | 04:04 |
See how it gets highlighted in blue.
Come up here and automatically I can,
| | 04:08 |
it's a little squirly to control but
there, that is and you do that just by
| | 04:12 |
clicking and dragging within your
viewport.
| | 04:17 |
The next tool I'm going to show you is
called Bridge, very handy tool.
| | 04:24 |
Now there's a couple of ways that we can
use this.
| | 04:29 |
In Edge mode.
I'm going to Control Click a few points
| | 04:34 |
at the top of this.
Now I'm going to Control Click a few of
| | 04:40 |
these at the bottom.
Let's get in a little closer.
| | 04:47 |
In the Edges tab here's Bridge>Bridge
Settings.
| | 04:54 |
Now you can see that it literally bridges
between edges.
| | 04:57 |
You have many different parameters.
You can edit its segments, add a few
| | 05:02 |
segments in there.
You can adjust the edges, you can add
| | 05:08 |
triangulation, which is sort of
irrelevant at this point.
| | 05:17 |
There are a couple of parameters in here
that I can't really show you, based on
| | 05:19 |
what I did here, we'll look at another
example though.
| | 05:23 |
I'm going to okay that so you can see
what it does.
| | 05:27 |
Now that doesn't seem like a very useful
thing unless I wanted to close the whole
| | 05:31 |
top up.
But there's an easier way to do that too.
| | 05:35 |
So I'm going to undo that, and show you
bridge on another example.
| | 05:38 |
Here are two boxes.
Now these boxes are attached together,
| | 05:43 |
meaning they are a part of the same
editable poly.
| | 05:48 |
I'm going to go into Border mode this
time.
| | 05:50 |
Clicking on the border here, which is
just a chamfered vertex, where I deleted
| | 05:55 |
the polygon.
And I have the same one over here, and
| | 05:59 |
I'm going to do a bridge to that.
There's that bridge.
| | 06:06 |
Now, I can show you a few of those
settings.
| | 06:09 |
Let's add some segments.
This is a little taper to it, we could
| | 06:15 |
even twist it.
I don't want to do too much.
| | 06:19 |
See how it does a little twist in there?
If I add a few more segments, I'll smooth
| | 06:22 |
it out.
So it's kind of a fun little tool.
| | 06:29 |
Seems a bit of a sophisticated little
piece for these two boring boxes, but
| | 06:32 |
that's the, bridge tool.
Now the last thing I am going to show you
| | 06:38 |
in this video is the Remove tool.
The Remove tool is a very useful tool if
| | 06:43 |
you have an edge that you don't want in
the wrong place.
| | 06:49 |
If you select that edge, I'm going to
click Shift and click on another to do a
| | 06:55 |
loop here.
I can go into Remove, right here, and
| | 07:01 |
it'll remove that edge, very nice little
tool.
| | 07:08 |
In this video, we learned how edge
editing tools such as Extrude and Chamfer
| | 07:12 |
work, as well as exploring how you can
use borders to edit your mesh easily.
| | 07:18 |
| | Collapse this transcript |
| Poly editing| 00:00 |
Polygons make up the surfaces of the
objects we're working with.
| | 00:06 |
They're at the heart of what you see at
your work.
| | 00:07 |
With this lesson we'll discuss how to use
3DS Max editing tools for polygons.
| | 00:13 |
The graphite modeling tool ribbon is
where we'll find them.
| | 00:16 |
We will focus on five of these tools now.
This is just an example of what, we're
| | 00:20 |
going to create a very rough version of
what you see in the view port now.
| | 00:29 |
Starting with just a box, the first tool
we're going to take a look at, is we're
| | 00:32 |
going to take a look at the, Extrude
tool.
| | 00:36 |
If we hit number four on our keyboard
that will allow us to access, polygons.
| | 00:41 |
Select a polygon, we're going to select
this middle polygon, here, on this front face.
| | 00:47 |
Go to the Polygon tab.
Extrude.
| | 00:50 |
Click the little arrow on the right side.
Extrude settings.
| | 00:56 |
This will allow us to click and drag on
the sliders to move that value in and out.
| | 01:02 |
This is going to end up being the
character's nose, so, you know, we don't
| | 01:06 |
want a huge nose.
He's sort of like a weird, I don't know,
| | 01:10 |
cow beast, I don't know.
I just sort of played around with some
| | 01:13 |
stuff until I got that.
So I'm going to do 1.25, and then I'm
| | 01:17 |
going to hit the Okay button.
Sometimes if you hit it and it doesn't
| | 01:23 |
happen, it's because this dialog here,
the extruded polygons needed to be
| | 01:27 |
okayed, so if you enter and then enter
again on your keyboard, that will allow
| | 01:31 |
you to do that.
The next tool we're going to look at is
| | 01:36 |
going to do the eyes.
Polygons bevel, it's our bevel tool.
| | 01:43 |
And we go into the bevel settings.
This is just a, a value that was in there previously.
| | 01:51 |
We're going to start off by changing the
actual height amount to zero and I'm
| | 01:55 |
going to do that easily by right-clicking
on one of these arrows, that just zeros
| | 02:00 |
it out.
Then this value I'm going to turn it to
| | 02:06 |
let's see 0.2, sounds about right.
Hit enter, then before we actually move
| | 02:14 |
forward, we're going to click the plus.
The plus allows us to apply and continue
| | 02:20 |
that value.
Now it looks like it just did another
| | 02:24 |
bevel, but it did not.
Now we're going to zero out the outline
| | 02:28 |
amount, which is the second bubble and
turn the height, but we're going to go in
| | 02:32 |
the negatives so we can bring that value
down.
| | 02:36 |
And you can see the extrude happens,
going in.
| | 02:40 |
I'm going to do about 0.2 for that also.
I Entered, to okay it, an then Enter
| | 02:46 |
again, to close the dialog box.
Now this doesn't look anything like what
| | 02:52 |
you saw, previously, but we'll get there.
To get the mouth, I perform the same function.
| | 02:59 |
You can do that one on your own.
The third thing we're going to look at,
| | 03:04 |
is we're going to look at a tool called
Hinge.
| | 03:08 |
Select a polygon on the side where the
ears might be, Polygon, Hinge, Hinge settings.
| | 03:15 |
Now this one is a little bit more
complicated, has a few different values.
| | 03:24 |
We have our angle, the angle of the
hinge, segments.
| | 03:27 |
But the important one is this here, pick
hinge.
| | 03:30 |
Which side do you want the polygon to
hinge from?
| | 03:33 |
It's going to hinge like a door.
So I'm going to click here and then I'm
| | 03:38 |
going to click on that point.
And now, if I swivel over this way, you
| | 03:43 |
can see it's giving me a hinge.
I'm going to do like a 60 degree.
| | 03:49 |
And you can just make that judgement.
I'm going to put a few segments in there.
| | 03:57 |
Let's do three.
And then okay it, now you perform the
| | 04:02 |
same function on the opposite side.
The third tool we are going to look at is
| | 04:14 |
called Extrude on Spline.
We need splines for that.
| | 04:19 |
Splines are two D lines that are in 3DS
Max.
| | 04:23 |
I'm going to just right-click in my view
port and click Unhide All from the Quad
| | 04:26 |
menu here, cause I got a couple of guys
hidden.
| | 04:30 |
These are the splines that I'm going to
do, trying to get some fancy horns for them.
| | 04:35 |
I'm going to perform at the one on this
side.
| | 04:38 |
If you do the one on that side.
Again, number four to get back into
| | 04:44 |
polygon mode.
I apologize for not mentioning before, I
| | 04:48 |
hit four to exit poly mode so that I
could unhide my forms.
| | 04:53 |
I didn't have to do that by the way.
I could've just stayed in.
| | 04:56 |
You could still access on hide all.
Select the polygon that you want,
| | 05:01 |
Polygons, Extrude on Spline, Extrude on
Spline dialog box.
| | 05:07 |
This tool has a lot of fun tools within
it.
| | 05:12 |
So what we have to do here is first we're
going to click Picks Blind, which is that bubble.
| | 05:17 |
Click it.
Then click on your spline, and you can
| | 05:22 |
see it's extruding that out, trying to
get the same shape.
| | 05:27 |
It looks a little funky so let's play
around with some of these other parameters.
| | 05:33 |
Directly across from these segments, it
has six by now, we'll take a look at
| | 05:37 |
editing that later.
We have taper amount.
| | 05:42 |
That's what I want to do, I want to taper
this a bit.
| | 05:45 |
Whoa, little too much.
Think I'm just going to type in a value
| | 05:49 |
minus 0.2, not enough.
Minus 0.6, better.
| | 05:55 |
Maybe minus 0.8, alright good enough.
And then we can come down here and we can
| | 06:05 |
edit the curve, make it a little
skinnier, I think I'm going to do 0.9,
| | 06:09 |
something like that, add some more
segments, smooth it out, if you want.
| | 06:17 |
I probably don't need to.
This also has twist.
| | 06:24 |
That doesn't look so good, yeah well,
that's probably not going to look so good.
| | 06:32 |
Okay, I'm going to okay that, and again
you can perform that on the other side,
| | 06:37 |
to both sides.
Lastly, we are going to take a look at
| | 06:42 |
another function that's called Bridge.
You can bridge between polygons.
| | 06:48 |
Now to do this I have to unhide an
element that I attached to this previously.
| | 06:55 |
So I'm going to go into the Visibility
tab, and I'm going to click Unhide All.
| | 07:01 |
Now this is different than unhiding,
within the quad menu.
| | 07:04 |
That unhides based on objects, this
unhides based on polygons or vertices or
| | 07:08 |
edges, whatever mode you're in.
Unhide All.
| | 07:12 |
So it's just a box, just like we had
before and I want to create a neck, so
| | 07:16 |
I'm going to click that polygon and that
polygon.
| | 07:23 |
I did a control click on both of those
polygons.
| | 07:28 |
Bridge.
And you can see there it is.
| | 07:39 |
We also have some more functions in here.
Same with the extrude, we have a taper
| | 07:44 |
but we have to add some segments in there
for it.
| | 07:47 |
So we could go a little in, like that or
maybe go out, if we want to give him a
| | 07:53 |
little beefy neck.
I like it a little bit.
| | 08:01 |
I don't need a lot of segments, three or
four is probably fine.
| | 08:04 |
This one here is a biased.
You could see all the kind of, shifts the
| | 08:09 |
weight of the curve from the middle, to
the top, to the bottom, I'm just going to
| | 08:13 |
leave it at zero.
With twist, again, just a little twist,
| | 08:18 |
whoa, a little goes a long way with that
twist.
| | 08:23 |
We don't need a twist.
All right, I'm going to okay that, to
| | 08:27 |
connect these two.
Now, some of the other tools, that I used
| | 08:31 |
to create the final product were just
combinations of what I've already shown
| | 08:36 |
you; Bevel, Extrude, Bridge, Hinge, and
so on.
| | 08:42 |
Just a last look here.
I'm going to go back into the final one
| | 08:45 |
that I built, so you can see sort of the
end results.
| | 08:50 |
You can see he's all smoothed out there,
and he's kind of goofy looking.
| | 08:55 |
In this video we looked at how to use the
various polygon modelling tools.
| | 08:59 |
Extrude, Bevel, Hinge, Extrude on Spline
and Bridge.
| | 09:03 |
These functions allowed us to create this
rough basic character.
| | 09:08 |
| | Collapse this transcript |
| Working in Element mode| 00:02 |
As you model, you'll find yourself
combining different objects into single meshes.
| | 00:06 |
This way you can build up your model with
parts that ultimately become part of the
| | 00:10 |
unified whole.
But even then, you need access to those
| | 00:14 |
original parts in case you need to edit
or change them as you model.
| | 00:18 |
This brings us in this video to element
mode.
| | 00:22 |
And how it works, in your modeling
workflow.
| | 00:25 |
To explain, an element is one of two or
more individual 3D objects or primitives,
| | 00:30 |
combined together into one larger object.
I'm going to open, in our scene, the
| | 00:37 |
Scene Explorer.
By going under the tools menu and
| | 00:41 |
clicking on New Scene Explorer.
This gives me a list of all the different
| | 00:45 |
objects that are in this scene.
I'm going to select the clock body.
| | 00:53 |
The clock body has already been edited.
And it's an editable poly in the graphite
| | 00:59 |
modelling tool.
You can see there's a Tap called Geometry.
| | 01:04 |
We're going to look at attaching objects
together.
| | 01:08 |
This can be done in a what we call object
mode.
| | 01:12 |
Meaning we are not in one of the specific
components.
| | 01:17 |
I'm going to click Attach, and I'm
going to click on the bell.
| | 01:23 |
When I do that, an attach option comes
up.
| | 01:26 |
I'm going to leave it at the default,
which is match material IDs to material,
| | 01:29 |
and click okay.
That object now, has become a part of the
| | 01:34 |
clock body.
I'm going to continue attaching and
| | 01:38 |
okaying the material dialog box that
keeps coming up.
| | 01:46 |
Until all the objects I want to be a part
of this clock body, combine together, are attached.
| | 01:53 |
And as you can see it's a pretty quick
process if I know what I want to attach.
| | 01:57 |
And one more, so I attached everything,
and you can see here in the scenics blurb
| | 02:03 |
all the objects that I included, not the
hour or minute hand, or the center piece,
| | 02:08 |
or the glass.
Now that I've attached those objects to
| | 02:14 |
the other, I'm going to right-click in my
view port which will deselect the attach function.
| | 02:22 |
Now we're going to take a look at the
Element mode.
| | 02:25 |
Element mode is functional when you have
objects that are attached to an overall hole.
| | 02:32 |
Element mode can be reached by clicking
in the graphite modeling tool on this
| | 02:35 |
little icon.
I can come over here, and when I click on
| | 02:40 |
each individual element it becomes
selected.
| | 02:45 |
Now you can see that it is selected
because it turns this red color that
| | 02:48 |
means that particular element is
selected.
| | 02:52 |
That is if I need to edit something,
change something about it, I can go into
| | 02:57 |
Element Mode to do that.
Another function in Element Mode that we
| | 03:02 |
can perform is a Detach.
So if I have something attached and I
| | 03:07 |
realize after I want it to be detached, I
can do that.
| | 03:11 |
What you do is in Element Mode, select
the object, the Geometry tab, and click, Detach.
| | 03:21 |
It brings up this dialog box asking me
to name it.
| | 03:25 |
I'm going to name it bell, and click
okay.
| | 03:29 |
Here in the Scene Explorer, now, a bell
object has shown up.
| | 03:34 |
Select the object you want detached, go
to the Geometry tab, and click Detach.
| | 03:39 |
I'm going to type in Bell, we'll call
this right, and now you can see.
| | 03:46 |
So I can go in and attach and detach.
In this lesson, we looked into Element
| | 03:51 |
Mode, and how the Attach and Detach
functions work.
| | 03:56 |
Attaching allows us to combine many
separate meshes together into one
| | 04:01 |
cohesive object for ease in texturing,
rigging and animating.
| | 04:07 |
| | Collapse this transcript |
| The Graphite Modeling interface: The Visibility, Align, and Properties menus| 00:02 |
The Graphite Modeling Interface gives you
access to a variety of tools.
| | 00:05 |
In this video, we'll take a look at how
some of these tools work to help you
| | 00:08 |
organize your meshes while modeling.
We'll take a look at the Visibility,
| | 00:14 |
Align and Property menus to see their
tools and what they are used for.
| | 00:22 |
We're going to start with the Visibility
menu.
| | 00:24 |
Visibility, when you're in Subobject
mode, deals with hiding and unhiding
| | 00:31 |
specific components.
I'm going to start by going into this
| | 00:37 |
spherical object's polygons, and I'm
going to select a group of these polygons.
| | 00:46 |
They are red, that means they're
selected.
| | 00:49 |
In the Visibility menu, it's a very
simple menu.
| | 00:51 |
We have Hide Selected, Hide Unselected,
and Unhide All.
| | 00:57 |
If I click on Hide Selected, you can see
that it's hidden those selected polygons.
| | 01:05 |
Then if I go into Unhide All it will
unhide those selected ones.
| | 01:11 |
Now this only works in that specific
component mode.
| | 01:16 |
So if I am in poly mode, and I hide those
polygons.
| | 01:23 |
If I go into vertex mode, and I want
those vertices back, I can't say Unhide
| | 01:28 |
All and get those polygons back.
Notice how it just unhid the vertices.
| | 01:36 |
So, I have to go back to Poly Mode >
Visibility > Unhide All.
| | 01:42 |
Align works in the Vertex Polygon Mode
and also Element Mode, but not the edge
| | 01:50 |
or border.
The next one we're going to look at is Align.
| | 01:58 |
The Align panel provides tools for
aligning subobject selections with views,
| | 02:03 |
grids, or simply just to flatten the
mesh, and it's available in all component levels.
| | 02:11 |
We're going to take a look at it with
this object.
| | 02:15 |
If I am in Object mode, which is no
subobject is selected, you can see the
| | 02:20 |
Align menu, here.
I can say, Make Plainer.
| | 02:25 |
Whoop!
That's what it does.
| | 02:26 |
You can see, totally flattens the model.
I just clicked Ctrl+Z to undo that.
| | 02:34 |
To view, that means flatten it to the
view we were on, I can undo that.
| | 02:38 |
And if I, let's say, go over here, and
say to view, again, it's going to flatten
| | 02:42 |
it to view.
To grid, and it flattens it to the grid.
| | 02:49 |
X Y Z.
Now, I've actually never used that
| | 02:52 |
particular tool before, but what tool I
do use quite a lot is the Subobject Mode Align.
| | 03:00 |
If I go into Vertex mode and let's see, I
want to take a few of these vertices.
| | 03:07 |
I'm going to select this little group
right over here, those guys, and I want
| | 03:14 |
them to be straight along a particular
axis.
| | 03:20 |
I can go into the Align menu, and I can
click, align it along the x, the y, or
| | 03:26 |
the z.
For me it would be z if I want those
| | 03:30 |
vertices to be straight, like we see
here.
| | 03:36 |
I can also do this in other modes, edge,
I'm going to select a few of these edges.
| | 03:42 |
I'm clicking on the single edge going up
to Modify Selection and clicking Loop.
| | 03:48 |
And then align along y.
That didn't do anything.
| | 03:55 |
(audio playing) x or z.
If I just select a few of those edges by
| | 04:03 |
Ctrl clicking on them, align along z.
Let's see what it does.
| | 04:15 |
So this can be a very handy tool to use
during Subobject mode.
| | 04:20 |
The last one I want to show you is the
Properties.
| | 04:22 |
I'm just going to undo a few times so I
can get back to before I did the align.
| | 04:28 |
Properties gives us a few different
options and it has to do with Surface Smoothing.
| | 04:34 |
Surface Smoothing is specifically for the
shading that we see along the surface of
| | 04:40 |
the model, it has nothing to do with how
many polygons the model has.
| | 04:46 |
So you can see a few of these polygons
that we see on this box shape here.
| | 04:51 |
Some of them are darker.
And some of them are lighter.
| | 04:54 |
And it kind of depends on the angle to
the lights in the scene.
| | 04:59 |
Sometimes this is known and grout shading
or in Macs we call it mesh smoothing.
| | 05:07 |
I just usually say shading, but you can
see in properties here, it says, Hard,
| | 05:12 |
Smooth and Smooth 30.
Hard means, that all of the polygons are
| | 05:17 |
going to be flat to the surface, there's
no smoothing.
| | 05:22 |
If I say Smooth suddenly it tries to
smooth the transition between these hard
| | 05:26 |
corners that we see here.
If I do Smooth 30, it's only going to
| | 05:32 |
smooth the edges that are 30% angled.
It's kind of an interesting look, I'm
| | 05:38 |
going to click Hard now.
So that's Hard and that's Smooth and
| | 05:43 |
that's Smooth 30.
You can do it to specific subobject modes also.
| | 05:50 |
Now depending on which subobject mode
you're in you can also have some other
| | 05:54 |
parameters within here.
These are smoothing groups, where you can
| | 06:00 |
set smoothing groups for different groups
of polygons or vertices.
| | 06:07 |
We have a couple of other parameters in
there for, for smoothing, using vertexes
| | 06:13 |
or material IDs.
In this video, we saw how to use the
| | 06:18 |
Align function to arrange our components.
We also dove into the Properties and
| | 06:23 |
Visibility menus to see how their
functions are useful in managing and
| | 06:26 |
laying out our meshes during the modeling
process.
| | 06:30 |
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| Subdivision surfaces: Creating NURMS| 00:02 |
Even though you may be modeling polygons
that look angular and faceted 3DS max is
| | 00:06 |
great for modeling organic models, such
as characters by using geometry
| | 00:09 |
techniques that help your models become
smooth.
| | 00:15 |
In this lesson, we'll take a look at how
smoothing techniques work in 3DS Max when
| | 00:20 |
we explore subdivision surfaces and
NURMS.
| | 00:24 |
NURMS as it's called in 3DS Max means,
Non Uniform Rational Mesh Smooth or
| | 00:29 |
subdivision surfaces.
It allows you to take a low density model
| | 00:34 |
and smooth the surface into a high
polygon model.
| | 00:39 |
It isn't a lighting trick, like
smoothing, but it actually changes the
| | 00:43 |
geometry of the model by increasing the
polygon count of the model.
| | 00:48 |
Every level of subdivision increases the
number of polygons by a factor of four.
| | 00:54 |
To get started, I'm going to take this
box and convert it into an edible poly.
| | 00:59 |
Up in the graphite modeling tool I'm
going to click on Poly Modeling > Convert
| | 01:03 |
to Polygon.
We access the NURMS function in the edit tab.
| | 01:11 |
If I click NURMS now it collapses the box
into a spherical shape.
| | 01:17 |
I'm going to undo that.
What we're going to do is we're going to
| | 01:20 |
access polygons on this model.
And do a little modeling so we can get an
| | 01:24 |
idea of what NURMS looks like.
Select the top model, hold Control, click
| | 01:29 |
on the side and then the other side.
In the Polygons tab, click on the Extrude
| | 01:36 |
settings and in the caddy, the top
bubble, click and go to By Polygon.
| | 01:45 |
And as you can see when I zoom out a
little bit here, it just extrudes each
| | 01:50 |
polygon on its own axis or normal.
I'm going to click OK.
| | 01:56 |
Now delete the faces.
Just click delete on your keyboard.
| | 02:03 |
Now, this simple model will give us a
better example, or a better idea, of what
| | 02:08 |
NURMS does.
Each of these extruded elements has one
| | 02:13 |
large polygon on four sides.
When I click NURMS, the default is to
| | 02:19 |
subdivide each one of those surfaces,
into four smoothed surfaces.
| | 02:26 |
Meaning this orange cage called a control
cage around the model, sort of sucks the
| | 02:31 |
model in towards the center to round it
out.
| | 02:35 |
NURMS has a tab once you activate it, and
in the tab it has iterations.
| | 02:43 |
Which means, how much we subdivide.
Now I said earlier, for every iteration,
| | 02:49 |
it increases the polygon by a factor of
four.
| | 02:53 |
So one iteration, takes each one of these
polygons and divides it by four.
| | 02:59 |
To see that, there's a button here.
This will allow us to see that subdivision.
| | 03:05 |
We call it isoline display, so you can
see those actual four subdivisions.
| | 03:15 |
If I turn the iteration up again, it
doesn't just add four more subdivisions,
| | 03:19 |
it takes the four subdivisions we have
and divides each one of them into four.
| | 03:25 |
And again, and again, and again.
Gotta to be careful with this technique,
| | 03:33 |
because you see you see how quickly we
turn a very low poly model into an
| | 03:36 |
incredibly high poly model.
In so much you can even crash your
| | 03:42 |
computer, for how much data that you've
added.
| | 03:45 |
I think two is sufficient for what we
need.
| | 03:50 |
Some of the parameters are the
iterations, which we've looked at.
| | 03:54 |
Smoothness just dials back the iterations
as you can see here.
| | 03:59 |
I usually keep that up fully.
We've already looked at what the isoline
| | 04:03 |
display is, turning that on shows us
those subdivisions and then this one,
| | 04:07 |
this button here, allows us to turn on
and off that control cage.
| | 04:14 |
We can also change it so that we only see
the iterations.
| | 04:18 |
We could have our iterations set low, and
we could turn on the iterations for
| | 04:23 |
rendering to a higher amount.
So I'm going to set these to let's say,
| | 04:28 |
zero, and then this one to three.
When I render that, it will show it
| | 04:34 |
already subdivided.
Keeps me a little more efficient in the viewport.
| | 04:41 |
In this exercise, we explained what
subdivision surface are and how NURMS
| | 04:45 |
workflow progresses to help you create a
high poly 3D mesh.
| | 04:50 |
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| Editable polys and NURMS| 00:02 |
In this lesson we'll be using an edible
poly and NURMS to create the bell of an
| | 00:06 |
old fashion alarm clock to get the feel
for the workflow when using NURMS.
| | 00:14 |
This is an image of the alarm clock and
that's the bell that we are going to create.
| | 00:20 |
In the Create panel, on the right of the
interface, we're going to go to Geometry
| | 00:25 |
> Cylinder.
Click and drag in your perspective
| | 00:29 |
viewport to create the cylinder.
Don't worry about what size it is.
| | 00:33 |
Then move to your Modify panel.
Change the radius to a radius of four,
| | 00:43 |
the height to a height of two, your
height segments change to one, cap
| | 00:51 |
segments to two and sides to eight.
With NURMS the base model or perimative
| | 01:03 |
can be a very low poly object.
In the graphite modeling tools in the
| | 01:08 |
Poly Modeling tab we're going to click
Convert to Poly.
| | 01:13 |
I'm going to start by clicking on NURMS
in the edit tab.
| | 01:18 |
You can see that NURMS has smoothed the
surface.
| | 01:22 |
It doesn't look quite like our bell, but
you can see it's got this rounded look.
| | 01:27 |
We're going to do a couple of things to
help it along.
| | 01:29 |
In vertex mode, I'm going to select the
vertex right in the center, and with the
| | 01:35 |
Move tool I can try and move that up or
down.
| | 01:40 |
You can see how that's kind of pulling
those.
| | 01:43 |
I need to move a few more of them though.
So I'm going to go into the Modify
| | 01:49 |
Selection and click Grow, you can see it
selected the ring directly out from the center.
| | 01:58 |
And now I can move that up slightly, just
trying to get a little bit more of a
| | 02:02 |
rounded look on that top.
That looks good, now the bottom part.
| | 02:12 |
Because it's curving between this edge
here and all the way towards the bottom.
| | 02:18 |
That edge is too curvy.
A very simple way to cure that, is go
| | 02:22 |
into poly mode, select the polygons on
the bottom.
| | 02:27 |
I'm Control clicking.
And delete.
| | 02:41 |
By deleting those polygons there's
nothing for them to smooth to so it
| | 02:44 |
become a very flat edge right there.
I'm going to go into the NURMS tab in the
| | 02:50 |
Graphite Modeling tool and turn the
iterations up to two.
| | 02:56 |
This will give me twice as many
subdivisions and more smoothness.
| | 03:01 |
I'm going to exit Polygon mode now, so we
can see our final results.
| | 03:08 |
In this video we made the bell of an old
fashion alarm clock using edible poly on
| | 03:15 |
a cylinder and NURMS.
| | 03:19 |
| | Collapse this transcript |
| Using the TurboSmooth modifier| 00:00 |
In this video we'll be creating the bell
of an old fashioned alarm clock using a
| | 00:06 |
cylinder with an Edit Poly Modifier and a
Mesh Smooth Modifier.
| | 00:14 |
This will help us get the feel of the
modifier work flow in edit poly modeling.
| | 00:20 |
Let's start in the Create panel by
creating a cylinder of any size.
| | 00:25 |
Move to your Modify panel and in the
parameters change the radius to four, the
| | 00:32 |
height to two, the height segments to
one.
| | 00:39 |
Cap segments to two and sides to eight.
This will give us a very low-poly
| | 00:45 |
primitive as our base object.
The Mesh Smooth Modifier will subdivide
| | 00:51 |
all these polygons to give us a higher
poly result.
| | 00:55 |
In the Modifier panel, there's the
modifier stack, which shows our base
| | 01:00 |
model of a cylinder.
Above that is the modifier list.
| | 01:06 |
In that list, we can choose Edit Poly
Modifier.
| | 01:11 |
Another place that we can add our
modifier is in the Graphite Modelling tool.
| | 01:17 |
Go under Polygon Modelling and apply Edit
Poly Mod, short for modifier.
| | 01:23 |
In the modifier stack, you can see the
Edit Poly Modifier has been added above
| | 01:28 |
the cylinder in the modifier stack.
Now, we're going to go back into the
| | 01:34 |
modifier list and add the Mesh Smooth
Modifier.
| | 01:37 |
Without changing any parameters, we're
already getting some roundness.
| | 01:44 |
Now in the modifiers stack in order to
continue editing this model we're
| | 01:49 |
going to go back into edit poly mode,.
So I am going to go into the little plus
| | 01:55 |
sign within the black box next to Edit
Poly and I am going to click Vertex.
| | 02:02 |
I want to add a little more height to the
bell so I've selected the center vertex.
| | 02:09 |
I'm going to go up to the modify
selection and click Grow Once.
| | 02:14 |
That will grow that selection so that it
includes the outside ring of vertices and
| | 02:20 |
then I'm going to use the Move tool and
move it up slightly.
| | 02:26 |
Now, I'm going to go into the polygon
mode.
| | 02:32 |
And at the bottom, I'm going to hold Ctrl
and click on the polygons at the bottom
| | 02:39 |
of this cylinder.
And then delete.
| | 02:45 |
You can see that I get smoothness, but
where those polygons are deleted, it goes straight.
| | 02:53 |
Now, back up to the mesh smooth.
I'm going to click once on Edit Poly to
| | 03:00 |
get out of polygon mode.
And then once again I'm going to click on
| | 03:04 |
Mesh Smooth.
There are quite a few parameters in the
| | 03:07 |
mesh smooth.
The one we're going to be focusing on is
| | 03:10 |
under subdivision amount, iterations.
The more iterations, the more subdividing
| | 03:17 |
you'll get.
If we look down into our controls,
| | 03:20 |
there's a check-box next to this isoline
display.
| | 03:25 |
I'm going to uncheck that, this shows us
all the subdivisions that the iterations
| | 03:31 |
give us.
If I take that iterations under
| | 03:35 |
subdivision amount down to zero, that's
the original base, one subdivides by
| | 03:41 |
four, each polygon, two subdivides each
of those new polygons into four and so on.
| | 03:49 |
I think a subdivision of two is
sufficient to look like the bell.
| | 03:56 |
In this video we made the bell of an old
fashioned alarm clock to show the
| | 04:01 |
workflow of using the Edit Poly Modifier
and the Mesh Smooth Modifier.
| | 04:09 |
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|
|
6. Spline ModelingCreating 3D shapes from 2D shapes| 00:02 |
When we begin the process of modeling its
common to begin with a 3D Primitive or object.
| | 00:08 |
In this video however we'll look at tools
that allow us to create 3D objects from
| | 00:12 |
2D shapes.
This allows us to create simple or highly
| | 00:16 |
detailed models very easily.
A Shape is an object made from one or
| | 00:21 |
more curved or straight lines.
Shapes in 3d Max are non rendering 2D
| | 00:25 |
objects, that you typically create in an
orthographic view port.
| | 00:31 |
Here we're going to take a look at the,
shapes that we have available.
| | 00:35 |
In the create panel, here on the right
side of the interface, we're going to go
| | 00:39 |
into create, an next to the Geometry
button is shapes.
| | 00:44 |
These are Shape Perimatives and they are
very simple Circle, Rectangle, Ellipse,
| | 00:58 |
an Arc.
And they each have their own set of
| | 01:07 |
parameters that can be edited to suit
your needs.
| | 01:11 |
I'm creating one of each of them so you
can get an idea what they look like.
| | 01:19 |
And I'm clicking and dragging within the
viewport on most of these.
| | 01:23 |
(audio playing)
So these are some of the 2D shapes that
| | 01:29 |
are available.
There are a few more, but these are some
| | 01:35 |
of the basic ones.
By selecting them, and looking at their
| | 01:40 |
parameters in the modify panel.
You'll see that they all have very
| | 01:43 |
specific parameters.
Each of them have a Rendering Rollout, an
| | 01:47 |
Interpolation Rollout, and a Parameters
Rollout.
| | 01:50 |
Some of their Parameters are very simple
like the Circle which is just Radius that
| | 01:55 |
I can make bigger or smaller.
Or the Rectangle which has Length and
| | 02:02 |
Width that I can change.
And also something called the Corner Radius.
| | 02:07 |
Which will give us rounded corners on our
rectangle.
| | 02:17 |
This Star shape has two radiuses for the
inside and the outside of the star.
| | 02:27 |
How many points you want, if you want to
distort, the star, or fill it, which will
| | 02:36 |
add a curve, to one end and, to the tip,
and, this area here.
| | 02:46 |
Most of the parameters are pretty simple.
This is what we call the Egg, it's a new edition.
| | 02:54 |
You've got your length and width, but you
can also decide if you want to have this
| | 02:59 |
outline in the center.
If I turn that off, it just gives me a
| | 03:06 |
solid I can also angle it like that if I
want that smaller area to be on the top
| | 03:12 |
or on the bottom.
There are a few shapes that I haven't
| | 03:20 |
discussed and we'll take a look at those
now.
| | 03:23 |
One of those is the Text tool.
If I just click in my view port it
| | 03:30 |
creates a default text called MAX Text.
And the parameters in the Modify panel
| | 03:38 |
are, I have a typing area that I can type
in.
| | 03:44 |
I can change the size, (audio playing), change
the font, (audio playing) and depending on what
| | 03:50 |
fonts you have set in your computer.
You'll get, that list, the fonts that is
| | 03:59 |
by default is usually Arial font, that's
the one I usually see.
| | 04:06 |
We have Kerning, which changes the space
in between, Letting for lines of text.
| | 04:16 |
Another shape that is rather interesting.
Two of them, I'm going to show you in a
| | 04:21 |
perspective view port, cause they so have
a little bit of a 3D aspect to them.
| | 04:28 |
Helix, s just what it says.
It creates a helix.i That's the click and
| | 04:34 |
drag in the view port method.
Usually what I do is just create the helix.
| | 04:39 |
Go into the Modify panel and then change
the parameters.
| | 04:43 |
I'm going to add a few more turns, so you
can see what it looks like.
| | 04:48 |
If I make the Radius one, ten.
And Radius two, five, it'll look like that.
| | 04:56 |
The Height, add more turns.
Bias, just pushes it up or down, up or down.
| | 05:03 |
(audio playing)
And the other one is called Section.
| | 05:08 |
This one is kind of an unusual shape.
Its not very interesting looking, just
| | 05:14 |
looks like that.
But it has a bigger purpose.
| | 05:19 |
I'm going to create a 3D pyramid, just
one of these teapots.
| | 05:26 |
And then I'm going to line up this
section, so that, it's on its side here.
| | 05:33 |
And as I pass that section over this tea
pot, you'll notice on the tea pot.
| | 05:44 |
Change the color of the tea pot, so that
it's not yellow also, there we go.
| | 05:50 |
You could see where ever I move this
section shape, I get an outline of where
| | 05:55 |
that section is.
I can actually extract that outline
| | 06:06 |
through this shape.
Then I do that in the Modify panel, you
| | 06:17 |
can see here, it says create shape.
Just going to call it shape and there it
| | 06:28 |
is, right there.
It's kind of an unusual tool.
| | 06:35 |
We can also take these shapes and we can
turn them into edible shapes, meaning we
| | 06:39 |
can edit them at a basic level.
Here is the circle, in the Modify panel.
| | 06:49 |
In the modify stack here, I'm going to
right-click over it.
| | 06:52 |
And go down here and choose Edible
Spline.
| | 06:57 |
This gives me a sub object access to this
object, at a vertex level or vertex,
| | 07:03 |
which is a single point in space that I
can change and move that around.
| | 07:14 |
(audio playing)
A segment, which is the area connecting
| | 07:17 |
two vertices together, and the overall
spline.
| | 07:22 |
Those are the three component levels of a
Spline.
| | 07:25 |
In this video, we took a look at some of
the shapes and their parameters.
| | 07:29 |
We saw how shapes could be converted into
edible spline objects and further edited
| | 07:33 |
to meet your modeling needs.
We also looked at some of the more
| | 07:39 |
unusual shapes like the text shape,
section shape, and the helix.
| | 07:48 |
| | Collapse this transcript |
| Using the Line tool| 00:02 |
In this video we will look at a powerful
tool for creating 2D objects from
| | 00:05 |
scratch, the line tool.
Similar to the pen tool and many graphics
| | 00:10 |
programs, the line tool gives you the
ability to draw a shape.
| | 00:14 |
This can be very useful in creating
specific shapes to eventually use in modelling.
| | 00:19 |
The line tool creates a free form spline,
made of many different segments.
| | 00:25 |
Now, we find the line tool in the create
panel under shapes.
| | 00:31 |
When you click on it, you can see some of
the parameters available.
| | 00:36 |
The one that's open is called creation
method.
| | 00:38 |
And this can be changed.
The default is initial type corner, drag
| | 00:43 |
type bezzier.
Initial type means when you first click,
| | 00:50 |
and let go.
That's going to be a corner point, which
| | 00:54 |
means the line going into that point, and
out of that point, is going to be straight.
| | 01:00 |
A drag type means when I click, and drag.
And that's going to be a bezier which
| | 01:08 |
means the line going in and out, of that
point will be curved.
| | 01:14 |
We're going to learn the line tool by
creating this leaf.
| | 01:18 |
Click on the line tool in your Create
panel.
| | 01:22 |
I'm going to start right on the tip.
I'm going to click and let go, to create,
| | 01:27 |
my first vertex.
I'm going to start here, at the top.
| | 01:34 |
One of the things that you want to try
not to do, is create too many points.
| | 01:40 |
You have 2 different types of vertices,
the curve or the straight line.
| | 01:45 |
So when you know you're going to have a
curve, utilize that.
| | 01:48 |
So I'm going to go here, probably about
right there, and then Click and Drag.
| | 01:55 |
The only part of this line I care about
is the part between those two points, not
| | 01:58 |
the part attached to my cursor.
I want to make that line so it follows.
| | 02:04 |
The side of the leaf.
When I let go, then I can drag to a
| | 02:07 |
different part of the leaf, let's say
right there.
| | 02:11 |
Click and drag until that area between
the two points is the way I want it to look.
| | 02:18 |
Then I can let go.
Now this point here, if I click and drag,
| | 02:22 |
may not be perfect, but know also that
you can go back in and edit this after
| | 02:27 |
the fact, if it isn't perfect.
Now here, I want to actually turn.
| | 02:35 |
And go in this direction, but if I do
that it makes the other part of the line
| | 02:38 |
look very strange.
So once I get the line to look good
| | 02:42 |
between these 2 points, I'm going to hold
Alt down, on my keyboard, and that will
| | 02:47 |
allow me, it will free my cursor up so
that I can come up in this direction.
| | 02:54 |
We call that breaking it.
We broke it.
| | 02:57 |
Now I'm going to let go and then Click
and Drag here to create a curved Line.
| | 03:05 |
Click and Drag there to get a little
Curve.
| | 03:08 |
Up there, down here on this part of the
stem, coming back in this area.
| | 03:17 |
This one I'm going to click and drag a
little bit.
| | 03:22 |
And then I'm going to hold Alt to turn
that corner.
| | 03:25 |
And then come probably about right there.
(INAUDIBLE) can drag.
| | 03:32 |
Oh, that doesn't look so good.
Well, we're going to leave it looking yucky.
| | 03:35 |
because we're going to go back in and
edit it later.
| | 03:38 |
I did that on purpose.
I'm going to let go and move about right there.
| | 03:45 |
Click and drag, again, until that area
between the points looks good, about
| | 03:50 |
right there.
I have a choice now of either closing
| | 03:54 |
this shape or keeping it open.
Keeping it open will give me a different
| | 03:59 |
type of end result when I model, when I
actually turn this into a 3-d object.
| | 04:06 |
I'm going to close this shape because I
want it to be a solid object.
| | 04:11 |
I click on the first point I created
which is right here at the tip, and then
| | 04:14 |
this little dialog box comes up asking
me do I want to close.
| | 04:18 |
Yes.
Now I'm going to go to the Modify panel.
| | 04:23 |
In the Modify panel, this area here is
the Modify Stack.
| | 04:29 |
Down here under the selection roll-out
are the 3 component levels of a line.
| | 04:35 |
Vertex, which are these points.
Segments, which are the areas between the
| | 04:42 |
vertices, and the spline mode is the
entire spline.
| | 04:49 |
In vertex mode, I'm going to select that
vertex.
| | 04:52 |
actually that one.
You see that, Bézier handle, right there.
| | 04:57 |
And that's a little crazy, got a little
big.
| | 05:01 |
I'm going to get the move tool, grab that
guy.
| | 05:07 |
Move it back so it looks a little better.
I can go in and add a few of these guys,
| | 05:11 |
by just clicking on their handles.
The handles are known as bezzier handles,
| | 05:19 |
or tangent handles.
And they are controlled.
| | 05:23 |
Their movement are controlled by your
transform gizmo.
| | 05:32 |
In this video we learned about the line
tool that (UNKNOWN) to create shapes.
| | 05:36 |
The line tool can be used for many
purposes like creating shapes hence
| | 05:40 |
points for 3D models.
We created this.
| | 05:44 |
Leaf shape that eventually we could turn
into a 3-D model.
| | 05:48 |
| | Collapse this transcript |
| Vertex subobject editing for splines| 00:02 |
A vertex is a single point whose sole
property is it's position in 3D space
| | 00:06 |
which is defined by the X, Y and Z axes.
Vertices form the basic structure for 3D
| | 00:12 |
objects and in this video we'll be
looking at working with the vertex level,
| | 00:17 |
in an editable poly spline object, which
is the core of editing 2D shapes, to be
| | 00:22 |
used in 3D modeling.
Editable spline mode gives you access to
| | 00:28 |
the vertex level.
Here's a circle that I created by going
| | 00:34 |
into, create shapes, clicked on circle
and in the front view port I clicked and
| | 00:39 |
dragged to create it.
To convert this into an editable spline,
| | 00:47 |
I am going to right-click over the circle
in the modifiers stack and go to editable
| | 00:54 |
spline, this gives us access to the three
component levels within this circle.
| | 01:04 |
The vertex mode are these points, once we
select them we can move them around, we
| | 01:11 |
can edit the (UNKNOWN) handle, now the
(UNKNOWN) handle's movement depends on
| | 01:18 |
the transform gizmo of the move tool, if
I want to move it lets say up and down.
| | 01:29 |
It's letting me because the Y axis in the
gizmo is active.
| | 01:33 |
What if I want to move it this way to
make it a tighter, a more linear curve?
| | 01:38 |
I have to activate the X axis to go in
that direction.
| | 01:44 |
Usually what I do when I'm working with
Beziers, is I center my cursor over this
| | 01:47 |
corner which activates both the X and the
Y.
| | 01:52 |
And that way I can move in both.
Vertices can also be changed, aside from
| | 01:58 |
their location you can also change their
type.
| | 02:06 |
The circle by default has all Beziers.
There are different types, the bezier is
| | 02:14 |
the vertex type that has the handles
associated.
| | 02:20 |
The handles allow me to move and edit the
curve within the line.
| | 02:26 |
If I would like to change, the vertex
type, I right-click directly over that
| | 02:31 |
vertex, and in the quad menu, we have a
choice between a bezier, a bezier corner,
| | 02:36 |
which gives me a bezier with, handles
that are, broken, or move independently
| | 02:40 |
of each other.
Right-click again, I have a corner point
| | 02:50 |
which has no bezier and it goes straight
in and straight out in a linear fashion
| | 02:55 |
from that vertex, smooth which gives me a
smooth transition between in and out of
| | 03:00 |
that point but no bezier handles to edit.
Some of the tools within the editable
| | 03:10 |
spline are, that's the, under the
Geometry roll out, some of the more
| | 03:14 |
common ones to be used are Refine, which
allows me to position my cursor over a
| | 03:20 |
point within the segment, which is the
area between the two vertices, to create
| | 03:25 |
a new vertex.
I can assign what type of new vertex it
| | 03:34 |
is or change it by right-clicking, I am
changing it to whatever type I want.
| | 03:45 |
Another tool is the weld tool.
The weld tool allows me to take two vertices.
| | 04:02 |
Selecting them both.
Clicking weld, and that will turn two
| | 04:07 |
vertices into a single vertices.
Now it's not welding these because the
| | 04:12 |
distance between them is too far.
This is called a threshold.
| | 04:16 |
I have to turn that threshold amount up.
Let me go up a couple notches there,
| | 04:21 |
click weld and boom, now that turns it
into a single vertex.
| | 04:27 |
And it's combining the type of point
bezier it has.
| | 04:35 |
Now I'm going to come over here and we're
going to create the minute hand for the
| | 04:40 |
retro, or old fashion, alarm clock.
I'm going to do it by starting with a rectangle.
| | 04:47 |
I'm going to click and drag to create
that about the height of this.
| | 04:55 |
Then in the modify panel, I'm going to
right-click over rectangle, convert it to
| | 04:59 |
an editable spline.
In vertex mode, I'm going to select and
| | 05:05 |
move these vertices at the corner so they
line up with those points at the top.
| | 05:14 |
By default, the rectangle's vertexes are
all set to bezier corner.
| | 05:19 |
I'm going to select both of them.
Right Click.
| | 05:23 |
And convert them to corner, I don't need
the bezier there and it's kind of getting
| | 05:25 |
in my way.
I'm also going to add two points which is
| | 05:31 |
done by using refine.
I'm going to add one here and one there
| | 05:36 |
and with the move tool I'm going to
select those points and move them in.
| | 05:41 |
Again those two are beziers, I'm going to
right-click over them and turn them into corner.
| | 05:48 |
Notice how I'm able to do that with
multiple vertices.
| | 05:52 |
That there.
That there.
| | 05:55 |
These guys are also beziers, right-click
corner, move that in, and move that in.
| | 06:07 |
And that gives me this shape.
So I'm able to take a rectangle and turn
| | 06:12 |
it into this, the top part.
For the bottom part, I'm just going to
| | 06:17 |
create a circle.
In this video, we worked at the vertex
| | 06:25 |
level in the edit poly spline object.
We learned some of the tools used to
| | 06:30 |
refine the 2D shape like we, learned how
to refine by adding points.
| | 06:36 |
We also learned the different vertex
types that we can change our model to and
| | 06:41 |
in the end we were able to create a
simple shape that eventually might become
| | 06:45 |
the minute hand on our clock.
| | 06:50 |
| | Collapse this transcript |
| Spline subobject editing| 00:02 |
In this lesson, we'll look at working in
spline mode, which exists in an edible
| | 00:06 |
spline object.
Spline mode has many useful tools to
| | 00:10 |
enhance your 2D shape.
Edible spline level works similar to
| | 00:14 |
element mode and edible poly mode.
In that you can select component splines
| | 00:20 |
within a larger spline object, move,
rotate and scale them within the whole
| | 00:24 |
spline object.
We're going to start here with this
| | 00:28 |
shape, which started as a circle and in
vertex mode I just did a couple little
| | 00:32 |
edits to make it this sort of crescent
shape.
| | 00:36 |
In the modify panel I can select Spline
here.
| | 00:42 |
Or, I can go into the selection, roll-out
and click Spline there.
| | 00:50 |
One of the first tools I'm going to show
you, is the ability to be able to copy a
| | 00:56 |
spline, within sub-object mode.
In Max we call copies clones.
| | 01:04 |
But the ability to be able to copy them
is very nice.
| | 01:07 |
I use the shortcut, by holding Shift, and
moving this object.
| | 01:14 |
These objects are now a part of the same
edible spline, but they are attached to
| | 01:19 |
each other and their splines are elements
of each other.
| | 01:25 |
I'm going to undo that.
Another tool that we're going to take a
| | 01:31 |
look at is Mirror.
In the geometry roll out, if you roll
| | 01:37 |
down towards the bottom you're going to
see Mirror.
| | 01:42 |
You have three different types,
horizontal, vertical and mirror both.
| | 01:48 |
So I'm just going to click on horizontal
and then click on the object in spline
| | 01:54 |
mode and click mirror.
Now you notice how it flips it.
| | 02:00 |
If I would like it to make a copy, I can
click down here, Copy > Mirror.
| | 02:06 |
And now it gives me a mirrored copy.
Another tool that we can use in spline
| | 02:13 |
mode, let's leave that mirror up, is
called Outline.
| | 02:19 |
Outline is when I turn this shape into a
3D object, depending on the tools that I
| | 02:25 |
use, I can get a solid object.
But if I want an object that has a hole
| | 02:32 |
in it, I need a hole inside of these
shapes.
| | 02:36 |
I can achieve that by using Outline.
I'm just going to select this shape.
| | 02:41 |
Click Outline.
And then click and drag to create a copy,
| | 02:49 |
either out or in.
Now you can also just type in a value 2.5.
| | 02:56 |
And it's going to give me an outline.
That's an awfully big one, though.
| | 03:00 |
So I'm going to undo that.
That's Outline.
| | 03:01 |
Another tool we're going to look at is
Attach and Detach.
| | 03:04 |
And I'm going to look at that here on
this object, which is the, eventually
| | 03:15 |
going to be the minute hand of an
old-fashioned alarm clock.
| | 03:29 |
Here's a picture of it, this guy right
here.
| | 03:35 |
Now these two shapes, one was created
starting with a rectangle and I just
| | 03:39 |
moved vertices to get the right shape,
and that's just a circle.
| | 03:44 |
Now if I try to turn these into 3D
objects, they will be individual objects.
| | 03:51 |
That'll be a circle extruded, which will
be a cylinder.
| | 03:53 |
And this'll be this shape, extruded into
a 3D object.
| | 03:57 |
I need them actually to be together, so
I'm going to use spline mode to attach them.
| | 04:05 |
So, I just went into spline mode on the
minute hand part, and at the top of the
| | 04:12 |
geometry dialog, see attach, click on
that.
| | 04:18 |
I'm going to come over here to the circle
and click once.
| | 04:20 |
Now these two are elements within that
spline.
| | 04:29 |
When you're not in spline mode, they're
going to be as if they are the same object.
| | 04:36 |
Now, this is great, but it would be
better If they were one object.
| | 04:42 |
Right now, they are still two splines
within that spline.
| | 04:50 |
So I'm going to use another technique
called a Boolean.
| | 04:53 |
A 2D Boolean, I'm going to find that
directly above where the mirror was, Boolean.
| | 05:00 |
There are three types, Union, Subtract
and Intersect.
| | 05:05 |
And the way it works is select one of the
splines, in spline mode, click on
| | 05:11 |
Boolean, the button, and then select the
second spline.
| | 05:18 |
The default is union, so automatically
the two splines will become a single
| | 05:24 |
consistent spline.
In this video, we learned about working
| | 05:28 |
in spline mode, with edible splines.
Spline mode gives you access to overall
| | 05:33 |
shape within the edible spline, allowing
greater control over your ability to
| | 05:38 |
create 3D models.
We looked at taking these two different
| | 05:43 |
shapes and turning them into single shape
using Boolean.
| | 05:49 |
| | Collapse this transcript |
| Rendering lines| 00:00 |
2D shapes are non-rendering objects that
are turned from 2D to 3D through certain methods.
| | 00:09 |
In this video, we'll look at one of those
methods, Spline Rendering.
| | 00:14 |
This allows you to make any shape
renderable by adding a 3D mesh along that spline.
| | 00:20 |
Here we're looking at a circle shape.
In the parameters, one of the parameters
| | 00:26 |
is called rendering.
Spline Rendering is when you activate or
| | 00:31 |
enable the rendering.
I'm going to check these two boxes at the top.
| | 00:38 |
One you check so that you can see the
rendering in the view port, an the other
| | 00:42 |
is so you can see the rendering, within
the render window after you render.
| | 00:48 |
There are two options for Spline
Rendering.
| | 00:51 |
Radial, which takes a circle object.
Let's get in here.
| | 00:59 |
And creates a 3d mesh along the path of
the circle.
| | 01:08 |
I can change the thickness, the sides to
make it a little smoother.
| | 01:16 |
The other option is a rectangle.
This is the default rectangle.
| | 01:30 |
I can change, length, width.
I can add different angles, so it'll
| | 01:40 |
allow me to, turn that.
I can turn on and off this autosmooth to
| | 01:51 |
add smoothing.
Looks a little funky.
| | 02:00 |
All 2D shapes have a rendering parameter.
Whether it's a circle, a rectangle all of
| | 02:09 |
them do.
There's also a modifier that performs the
| | 02:13 |
same function.
In the modifier list it is a called
| | 02:19 |
renderable spline, same exact parameters.
Now we're going to take a look at the old
| | 02:30 |
fashion alarm clock, this is a spline
that I created that will represent the
| | 02:36 |
handle and I am going to use spline
rendering to create that, in the line
| | 02:43 |
since it was a line it's already editable
And like all two D, it has spline rendering.
| | 02:56 |
I'm going to enable it in view port and
enable it in render, keep it radial, I'm
| | 03:01 |
going to add some more sides to it, just
to make it a little smoother.
| | 03:06 |
I'll go from eight to ten.
And then if I look here in the front view
| | 03:11 |
port I can change the thickness so it
suits the thickness of the handle.
| | 03:18 |
In this video we learned how to use
rendering controls in the shape
| | 03:23 |
parameters, this allows you to add a 3D
mesh along your 2D shapes like what we
| | 03:29 |
did here for the clock handle.
| | 03:35 |
| | Collapse this transcript |
| Sweep lines| 00:02 |
In this video we'll be looking at the
sweep modifier, which extrudes a
| | 00:06 |
cross-section shape along an underlining
spline to make a new 3D object.
| | 00:12 |
This is a simple way to create 3D objects
from your 2D shapes.
| | 00:17 |
Here in our scene we have a rectangle,
just a simple rectangle.
| | 00:21 |
And then in the modify panel I am
going to add from the modifier list the
| | 00:28 |
sweep modifier.
Now initially, when we add it it's going
| | 00:34 |
to apply by default a shape called an
angle.
| | 00:40 |
These are pre-made cross-sections that we
can choose a variety.
| | 00:47 |
This is a bar, and I can show you many of
them.
| | 00:52 |
Some of the ones that I particularly like
are half round, and quarter round, which
| | 00:59 |
are the shapes that you would use if you
were making a molding for the floor of an interior.
| | 01:13 |
This is called a wide flange, and it's
kind of like an I shape.
| | 01:20 |
And you can see here, it gives you a
cross section of what each look like.
| | 01:26 |
Now, along with being able to choose the
built-in cross-sections, you can also
| | 01:30 |
create your own.
I've created one here, this little guy.
| | 01:35 |
And in the Sweep modifier, I'm going to
click on the Use Custom section.
| | 01:47 |
Click on Pick (audio playing) and then click on
that shape and it has given me that shape.
| | 01:58 |
And again it's something I could use
possibly like for some crown molding or a
| | 02:03 |
chair rail or floor molding in an
interior space.
| | 02:08 |
This modifier is, can be very useful to
create picture frames, or like I said the
| | 02:12 |
floor moldings.
In this video, we looked at the sweep modifier.
| | 02:19 |
We used the sweep modifier on this
rectangle to create something that
| | 02:26 |
resembles a type of floor molding.
| | 02:32 |
| | Collapse this transcript |
| Beveling and extruding splines| 00:02 |
In this video, we will look at the Bevel
and Extrude modifiers.
| | 00:06 |
These modifiers add depth to all 3D
splines.
| | 00:09 |
The Bevel modifier has more extensive
properties than the Extrude modifier,
| | 00:13 |
allowing you to curve the sides of the 3D
extruded model.
| | 00:18 |
We're going to use this Max text, to,
show how these modifiers work.
| | 00:26 |
Once you create the Max text you can type
in, whatever you want.
| | 00:30 |
I just put in 3ds Max.
And you can change it to whatever font
| | 00:36 |
you want from the list or supply of
whatever you have on your own computer.
| | 00:41 |
I have Garamond and the size is 25.
From the modifier list I'm going to
| | 00:48 |
choose Extrude.
By default, the Extrude modifier has no
| | 00:55 |
amount applied.
You can add the amount, and add segments
| | 01:03 |
will give you subdivisions along the
sides of the model.
| | 01:08 |
You can turn off the caps at the start
and end.
| | 01:14 |
Which are like the top and the bottom.
It's a little strange.
| | 01:20 |
The Extrude modifier is limited in that
way that it just gives you straight sides.
| | 01:26 |
But it's a very easy way to turn a 2D
object into a 3D object.
| | 01:31 |
I'm going to remove the Extrude modifier
by right-clicking over the Extrude
| | 01:35 |
modifier and clicking Delete.
And then from the list, the modifier
| | 01:41 |
list, I'm going to choose our next
modifier called Bevel.
| | 01:46 |
Again, there's no amount set.
And the first thing we see is the
| | 01:52 |
parameters roll out.
Let's click on that to close it, because
| | 01:56 |
I want to start in Bevel Values.
Level one in Bevel is just like Extrude.
| | 02:04 |
But you can see that we have three
levels.
| | 02:08 |
Level one, level two and level three.
We're going to use all of them.
| | 02:12 |
So check the box next to level two, and
check the box next to level three.
| | 02:20 |
Change the height of level one to one
inch.
| | 02:25 |
Change the outline to 0.2.
Let's do 0.4.
| | 02:31 |
Level two, we're going to do a height of
one inch and leave the outline at zero.
| | 02:37 |
Level three, we're going to do a height
of an inch and an outline of minus 0.4.
| | 02:49 |
You can see that we get a nice rounded
side.
| | 02:53 |
Well, I guess this would be considered
more of a chamfered side, because all of
| | 02:59 |
the levels are straight.
But if we go into the parameters now, we
| | 03:04 |
can play around with some of the
parameters.
| | 03:06 |
In Surface, change a linear sides to
curves.
| | 03:10 |
Add two segments, three segments, and
then below here check this box that says
| | 03:16 |
Smooth Across Levels, and that makes it
nice and smooth.
| | 03:23 |
That's another option.
Sometimes what can happen when you have
| | 03:30 |
certain types, how close together a
certain type is, you can get intersecting.
| | 03:37 |
Down here it says intersections keep
lines from crossing.
| | 03:42 |
I always like to keep that checked,
because that's going to keep from getting
| | 03:47 |
some weird crossing.
Sometimes that can look worse than it
| | 03:52 |
does, you can see here in this section
it's doing that.
| | 03:56 |
If I turn that off, see how it does that?
So you can play around with how much of a
| | 04:01 |
separation there is.
I can turn that value down, it's pretty
| | 04:06 |
slow right now.
Just make that like 0.5, so the distance
| | 04:11 |
isn't quite so much.
I'm going to keep that off for now.
| | 04:18 |
In this video we learned how to use the
Extrude and Bevel modifiers.
| | 04:23 |
These modifiers give you the ability to
add depth to your 2D shapes.
| | 04:27 |
The Extrude modifier is a more simple
modifier and gives your model straight
| | 04:32 |
sides, where the Bevel modifier allows
you to curve or chamfer the sides to get
| | 04:36 |
a more sophisticated look.
| | 04:40 |
| | Collapse this transcript |
| Lathing splines| 00:02 |
In this video, we'll take a look at the
laif modifier.
| | 00:05 |
This modifier takes a spline profile
shape and revolves it 360 degrees around
| | 00:11 |
an access to create a 3D object.
This powerful tool allows you to create a
| | 00:18 |
highly detailed 3D models with very
little effort.
| | 00:22 |
For this example, we're going to create
the bell of the old-fashioned alarm clock.
| | 00:30 |
Now, I've drawn in green the profile that
we are going to create to use for the lathe.
| | 00:39 |
Now, when I say profile, I mean we're
creating basically half of a profile.
| | 00:45 |
We're going to use the line tool, from
the shapes to begin with.
| | 00:51 |
I'm going to start right up here at the
top.
| | 00:55 |
Click to create the shape to begin.
And then I'm going to just make my way
| | 01:04 |
down, creating curved and corner points.
Now, with a Lathe, you can either close
| | 01:21 |
the shape or leave it open.
I'm going to leave it open.
| | 01:29 |
So I'm going to right-click to exit.
Just so we can see the shape that I created.
| | 01:37 |
There it is.
In the modify panel, I'm going to add the
| | 01:44 |
lathe modifier.
Initially the lathe is going to look
| | 01:49 |
pretty strange.
because what it's doing, is it's rotating
| | 01:55 |
360 degrees around a central point.
The default in the lathe modifier always
| | 02:03 |
gives you 360 degree rotation.
And that's showing you kind of what it does.
| | 02:09 |
But it's rotating around the wrong part,
it's rotating basically around this part
| | 02:16 |
of our.
Profile, not the edge here.
| | 02:21 |
So, we need to move that and you can see
here if I get in a little closer, this
| | 02:27 |
blue line right here is that access
point.
| | 02:32 |
Now, there's a couple of ways we can
change that.
| | 02:34 |
I can go into the modifier, click on the
little plus sign in the black box,
| | 02:39 |
access, move that over.
So when it, does its 360 rotation, it
| | 02:48 |
will look more appropriate.
(NOISE) I can also change it, by clicking
| | 02:55 |
on a line.
There's minimum, center, which is what it
| | 02:59 |
was on before, or maximum.
Minimum is clearly the one that we want,
| | 03:05 |
now if we look at these two side by side,
I am going to get out of that axis I am
| | 03:10 |
going to click that up here on (UNKNOWN)
you can see this doesn't quite look like
| | 03:15 |
the bell, its got some issues I can go
back and then edit it for (UNKNOWN) solid
| | 03:20 |
down here at the bottom Second off, it
needs a little work.
| | 03:29 |
I can go back and forth between the
shape, or my line, and the lathe.
| | 03:37 |
If I go down here to line, you can see
that the (UNKNOWN) modifier and its solid
| | 03:43 |
part disappears.
I can come in here, go back to line, Edit
| | 03:49 |
the vertices to change a few things, make
it look more appropriate.
| | 03:56 |
i can also click.
In the modify panel there's this row of
| | 03:59 |
icons here.
This guy here says, show end result.
| | 04:03 |
If I turn it on, it will allow me to edit
the spline, with the 3D object, updating
| | 04:10 |
as I do it.
The area that I think looks a little
| | 04:15 |
strange is this area here.
I think that needs to go in a bit.
| | 04:19 |
This is supposed to be like a spherical
part, so it's gotta look a little more spherical.
| | 04:29 |
That's better.
And this is.
| | 04:33 |
Supposed to be like a bolt or a nut or
something.
| | 04:38 |
That.
Now this part here, because it's supposed
| | 04:41 |
to be hollow, looks a little strange, but
I think for now we get the idea of what
| | 04:48 |
the lathe modifier does.
Very common things that you would use a
| | 04:55 |
lathe for would be, like drinking
glasses, plates, bowls, you know wine glasses.
| | 05:00 |
Anything that has the same profile, 360
degrees around.
| | 05:06 |
In this video, we learned how to use the
lathe modifier to create the bell for an
| | 05:09 |
old alarm clock.
We used the pental to create the profile
| | 05:14 |
and saw how the lathe revolved around The
shape's access.
| | 05:20 |
| | Collapse this transcript |
| Lofting splines| 00:00 |
Lofting is another method for 3D object
creation.
| | 00:05 |
Starting with a shape that serves as a
path, then adding any number of cross
| | 00:10 |
section shapes that form a complex
complete 3D object.
| | 00:16 |
In this video we'll look at lofting to
create the handle of this old alarm clock.
| | 00:20 |
In itself, the handle is fairly simple.
But this area here has a totally
| | 00:25 |
different shape than the area up towards
where your hand goes.
| | 00:30 |
So this area down here underneath these
bolts is flat, where this area up here is round.
| | 00:37 |
I'm going to switch over here to a
perspective view and unhide some splines
| | 00:42 |
that I created.
This spline here follows the shape seen
| | 00:48 |
from the front view of the handle and
these two shapes represent the different
| | 00:54 |
cross sections that the loft will have.
The rounded portion for this part and the
| | 01:03 |
area that's slightly squished, sorry
that's not a very technical term, but
| | 01:09 |
it'll do.
And that's the area that's going to come
| | 01:13 |
down here.
When you begin a loft, you start with the
| | 01:17 |
path, the object that represents the
path.
| | 01:20 |
Move up to the menu bar.
Create panel > Compound > Loft.
| | 01:31 |
It converts the Path into a Loft Object.
In the Parameters to the right, you'll
| | 01:38 |
see under the Creation Method Roll Out
Get Path, Get Shape.
| | 01:44 |
We already had the path selected when we
went into the loft, now we just have to
| | 01:47 |
add shapes.
I'm going to click on the first shape
| | 01:52 |
which is the one that's more squashed.
Squash circle.
| | 01:56 |
When I add that, you can see that it's
extruded that shape along that path.
| | 02:07 |
Now we only really want that shape to go
to about here and then it, for it to
| | 02:12 |
transition into the circular shape.
So now we're going to move to the Modify panel.
| | 02:19 |
In the Modify panel, we're going to focus
on these Path Parameters.
| | 02:27 |
I'm going to switch my view port to a
wider frame so I can see now towards the
| | 02:33 |
end of this.
I don't know if you see that right there,
| | 02:39 |
it's a yellow x.
Then if I move this value here where it
| | 02:44 |
says path that x starts to move.
I'm going to visually line up that little
| | 02:50 |
x so that it goes somewhere about right
here.
| | 02:55 |
Sometimes it's hard to know the exact
number to move this path parameter.
| | 03:04 |
looks like its about eight units.
Then I am going to click Get Path again
| | 03:11 |
under creation method and I am going to
add that ellipse.
| | 03:17 |
We're not going to see any significant
change but what it does it is just sets
| | 03:21 |
up that between those two shapes that
I've added.
| | 03:27 |
It's going to have that ellipse shape.
In order for us to be able to see this a
| | 03:32 |
little bit better, I'm going to turn out,
turn down how many subdivisions under
| | 03:37 |
skin parameters.
See, this is shape steps and pass steps.
| | 03:43 |
I'm going to turn the shape steps down a
little bit.
| | 03:48 |
That's too low.
That means our shape is going to be a
| | 03:51 |
little bit choppy looking.
But we can turn it up later when we're
| | 03:55 |
done with the creation part.
I'm going to turn the path down slightly,
| | 03:59 |
just so we can see things a little bit
better.
| | 04:02 |
So there's the x.
Now I'm going to move that x so it's up
| | 04:06 |
here to that point.
Back into the Path Parameters, I pretty
| | 04:11 |
much know its about 50% along the path.
because 0% along the path is this end, a
| | 04:17 |
100% is here and were looking at about
half way.
| | 04:25 |
Actually it's like 50.5.
I'm going to click get shape again and
| | 04:30 |
this time I'm going to click the blue
shape which is a circular shape.
| | 04:36 |
Now, let's go back into solid mode.
I hit F3 and you can see it's
| | 04:43 |
transitioning from the ellipse or
squished circle into the circle.
| | 04:52 |
Let's change that to shaded, so that we
don't get that.
| | 04:58 |
Now it makes me think that I need to have
a circle shape a little lower along a
| | 05:02 |
cross section, a little lower so it stays
more thick in this area.
| | 05:08 |
So I'm going to move back down, let's go
to like, 20.
| | 05:13 |
Get Shape and click on the circle again.
And you can see that how it's done that.
| | 05:26 |
Now, I can actually edit the location of
the shapes that are already On, by going
| | 05:31 |
into Loft>shape.
That allows me to be able to select the
| | 05:38 |
shape, and move up and down, along the
path.
| | 05:49 |
Now one thing I am noticing here is that
part is looking a little strange.
| | 05:54 |
If I hit F4 to turn on my edged faces
you'll notice there is a little bit of
| | 05:59 |
twisting going on here.
It's another thing that we are able to do
| | 06:04 |
in shape mode, as I'm able to select a
shape and rotate it.
| | 06:10 |
Now again, you see how these lines are
starting to twist?
| | 06:14 |
I'm going to get that shape with my
rotate tool and rotate the shape until we
| | 06:19 |
don't have that twisting going on.
A little bit more, there we go.
| | 06:26 |
And then I can edit and move that, you
know, up or down until it looks appropriate.
| | 06:36 |
I can even go in and delete shapes.
Let's say I decide that shape there, I
| | 06:40 |
either don't like it's location or I just
don't like it, I can hit delete.
| | 06:45 |
And it'll delete it.
I actually think it looks better without it.
| | 06:52 |
Now, what I would do now is go in and
repeat the same thing on the other side.
| | 06:59 |
I would go down.
There we go.
| | 07:03 |
Go to the other side.
I just moved in the wrong direction.
| | 07:12 |
Let's get that back in play.
There we go.
| | 07:20 |
So, the final result of this will look
like this.
| | 07:28 |
In this video we looked at lofting as a
method for creating a 3D object.
| | 07:38 |
We used the handle of the old fashion
alarm clock to build, using the path and
| | 07:47 |
the cross sections, a complex shape, that
matches almost perfectly, with the real object.
| | 08:03 |
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