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LightWave 10 Essential Training

Creating a reflective surface


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LightWave 10 Essential Training

with Dan Ablan

Video: Creating a reflective surface

Bump maps, displacement maps, specularity maps, glossy maps, kind of starts building up to a more complex surface. But what's really going to set this ocean apart is a reflection map, and in order to do that, we need to change two things. We need to change the Surface Properties for the ocean to give it some reflections and tell the ocean to be reflective, but then we need something for it to reflect. So let's do this first. Our background right here is just black, so I am going to go to the Windows dropdown and choose Backdrop Options.
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  1. 4m 22s
    1. Welcome
      49s
    2. Using the exercise files
      1m 30s
    3. Working with projects and setting the content directory
      2m 3s
  2. 46m 20s
    1. Understanding the LightWave 3D interfaces
      1m 50s
    2. Exploring the Hub
      1m 54s
    3. Understanding 3D space
      1m 13s
    4. Working in Modeler
      6m 49s
    5. Working in Layout
      4m 48s
    6. Selecting elements
      5m 31s
    7. Identifying the elements of a 3D model
      5m 26s
    8. Using the Numeric panel
      3m 10s
    9. Using layers
      8m 38s
    10. Using the Statistics panel
      2m 52s
    11. Working with menu and keyboard configurations
      4m 9s
  3. 22m 49s
    1. Working with geometric shapes
      4m 21s
    2. Using Extrude
      5m 11s
    3. Building with Bevel
      3m 47s
    4. Working with Polygon Bevel
      6m 4s
    5. Editing polygons
      3m 26s
  4. 34m 37s
    1. Understanding subdivisional surfaces in LightWave
      3m 20s
    2. Comparing Subpatch with Catmull-Clark subdivisions
      2m 18s
    3. Creating a basic model
      4m 27s
    4. Beveling with subdivisions
      3m 50s
    5. Adding detail to models
      6m 39s
    6. Deforming and shaping objects
      7m 13s
    7. Recapping subdivisions
      6m 50s
  5. 48m 42s
    1. Working with EPS files
      3m 24s
    2. Correcting EPS errors
      6m 13s
    3. Creating 3D text objects
      8m 1s
    4. Building objects with curves
      10m 6s
    5. Exploring Rail Clone methods and uses
      5m 13s
    6. Exploring Rail Extrude methods and uses
      2m 49s
    7. Modeling with Array
      4m 42s
    8. Using Symmetry
      8m 14s
  6. 56m 24s
    1. Understanding the Surface Editor
      10m 56s
    2. Comparing the Surface Editor and the Node Editor
      5m 12s
    3. Creating surfaces for polygons
      5m 11s
    4. Editing surfaces
      4m 39s
    5. Understanding the Texture Editor
      6m 22s
    6. Looking at image map textures
      4m 29s
    7. Using procedural texture options
      7m 40s
    8. Adding bump maps for realism
      4m 39s
    9. Enhancing surfaces with specularity and glossiness maps
      2m 43s
    10. Creating a reflective surface
      4m 33s
  7. 42m 2s
    1. Building 3D scenes
      1m 26s
    2. Importing, loading, and working with objects
      8m 29s
    3. Organizing a 3D scene
      8m 48s
    4. Working with different light types
      9m 25s
    5. Lighting a 3D scene
      6m 39s
    6. Employing environmental lighting
      7m 15s
  8. 22m 27s
    1. Understanding LightWave cameras
      8m 25s
    2. Setting up a camera in a scene
      7m 6s
    3. Placing multiple cameras
      3m 27s
    4. Animating cameras and camera elements
      3m 29s
  9. 38m 23s
    1. Understanding the Timeline
      3m 9s
    2. Adding and controlling keyframes
      6m 9s
    3. Fine-tuning keyframes in the Graph Editor
      8m 44s
    4. Using motion plug-ins to enhance keyframes
      5m 15s
    5. Animating textures
      7m 37s
    6. Enhancing scene animation with displacement maps
      7m 29s
  10. 36m 58s
    1. Introducing particles
      7m 29s
    2. Creating a particle animation
      7m 21s
    3. Working with Hypervoxels
      9m 6s
    4. Going a step beyond with particle animation
      8m 8s
    5. Replacing particles with items
      4m 54s
  11. 21m 58s
    1. Understanding dynamics in LightWave
      1m 27s
    2. Setting up a dynamic scene
      4m 21s
    3. Animating cloth
      2m 39s
    4. Building collisions
      6m 16s
    5. Creating a hard dynamic scene
      7m 15s
  12. 27m 30s
    1. Understanding bones
      3m 14s
    2. Understanding skelegons and when to use both skelegons and bones
      4m 4s
    3. Placing bones in an object
      6m 10s
    4. Fine-tuning bone placement and activating bones
      3m 51s
    5. Setting up Inverse Kinematics
      6m 37s
    6. Working with rigged characters
      3m 34s
  13. 21m 32s
    1. Understanding resolutions and rendering
      2m 21s
    2. Setting up a render project
      6m 50s
    3. Determining the proper anti-aliasing filter
      4m 24s
    4. Rendering to movie files vs. image sequences
      7m 57s
  14. 4m 8s
    1. Exporting an object
      2m 13s
    2. Exporting a full scene for backup
      1m 55s
  15. 1m 0s
    1. Final thoughts
      1m 0s

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LightWave 10 Essential Training
7h 9m Beginner Mar 21, 2011

Viewers: in countries Watching now:

In LightWave 10 Essential Training, author Dan Ablan provides thorough, step-by-step instructions on building 3D models, scenes, and animations in LightWave 10. Beginning with a tour of the interface and LightWave's two main programs, Modeler and Layout, the course covers key concepts such as building models from basic polygonal shapes, assigning textures, and employing lights and 3D cameras to build real world scenes. Also included are tutorials explaining particle animation, dynamics, and bones. Exercise files accompany the course.

Topics include:
  • Understanding and navigating 3D space
  • Configuring menu and keyboard settings
  • Molding basic geometric shapes
  • Creating detail using subdivisions
  • Casting reflections and creating surface textures
  • Building and lighting a 3D scene
  • Incorporating and animating cameras
  • Simulating collisions using dynamics
  • Determining the proper anti-aliasing filter for renders
  • Rendering a project as movie files and image sequences
  • Exporting a full scene
Subject:
3D + Animation
Software:
LightWave
Author:
Dan Ablan

Creating a reflective surface

Bump maps, displacement maps, specularity maps, glossy maps, kind of starts building up to a more complex surface. But what's really going to set this ocean apart is a reflection map, and in order to do that, we need to change two things. We need to change the Surface Properties for the ocean to give it some reflections and tell the ocean to be reflective, but then we need something for it to reflect. So let's do this first. Our background right here is just black, so I am going to go to the Windows dropdown and choose Backdrop Options.

Here in this Effects panel there are four tabs: Backdrop, Volumetrics, Compositing, and Processing. For right now, we are going to use Backdrop Color. You can set this to any color you want, such as a bright green, and you'll see that change. Or click the Gradients and the gradient essentially works with the 3D sphere that encompasses your scene. Now it's an invisible sphere, but think of it as a little world around your virtual TV studio. So the zenith is the very top part of that sphere, the sky, and of course, you can see right there, and then there's just somewhat fake horizon line.

That's what a ground plane is. Well in order to get rid of that, what you need to do is make the ground color the same as the sky color. So what I'll do is I'll click the little blue icon here, click the color swatch for the sky, and I'll just copy that right there. If you are on a PC, you can do that the same way you can copy your surface. I'll close that and then for the ground color, I'll select that same. Close that out, click into the Layout to update it, and you can see that that ground plane now disappears. The nadir is the very bottom of the little virtual sphere that encompasses the world, so I'll just make it a little orange.

Now what you can do is you can actually squeeze that up if you want, just increase that value, and what happens you can see, see it just coming up there? Sort of like a little sunset value, and you can do that with the top or the bottom, pull that down. It squeezes that, gives it more of a nice appearance. Sometimes I like to make this top part all white and give it kind of a foggy look. But for the first part here we'll just keep this just a nice dark blue. So we've got our backdrop. That's one aspect. Let's open the Surface Editor again for the ocean.

Now let's tell the ocean to be reflective. How much? Well, that depends on your taste. I am going to say 30%. And what's it reflecting? Well, the environment. It suddenly got much brighter, but let's take a look at the environment. So I'll go to the Environment tab. It's set to Ray Tracing and Backdrop. Well ray tracing means it's going to reflect anything around it. So if we had a boat on the water, for instance, you'd see a reflection of the boat. The backdrop, we just made to this backdrop color. The other options in here are Spherical map, Ray Tracing, and Spherical map.

So now I can say if unless I didn't want that color backdrop, I can do this. I could say Load Image and from the Chapter 05 folder, I've got some clouds in there. You can open that up and now your backdrop is actually reflecting those clouds, and it's picking up that color. So I can come in here, and I'll bring my Diffuse value down to about 70%. It has a whole different appearance to it. I can come back to Environment, change it to Spherical map only, or I can change it to Backdrop Only, or a combination. So the choice is yours.

You can use either one of those. Another option, just to take this step further, is to actually take the Luminosity channel and apply texture map. So you've used texture maps for specularity, glossiness, bump. How would it affect luminosity? Click the T button. Again the same Texture Editor panel opens. Place an image map flat, which is planar-- the image being those same clouds. We'll map them on the y axis and click Automatic Sizing and click Use Texture, and look what happens.

Now you get this really neat-looking cloud picture mapped within this surface. If you reopen the Luminosity texture, you can bring this value down, say maybe 30%, and now you've got a very nice- looking reflection in there. It almost looks like patterns in the water that you'd see in the real world. So while the cloud image you might think would be strong clouds, it actually can be used for other things. I always want you to think about any kind of image map you used. Don't think of it literally. Think of it how it can be used for something else. And in this case, our cloud image is used on the water, and it creates just another surface variation.

It changes the Luminosity values of the water. So some parts are little brighter than others, giving it a completely different look, and helping that ocean with it's realism. So specularity maps, glossy maps, reflection maps, luminosity maps, all of them can be put together to create one great-looking surface.

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