Join Aaron F. Ross for an in-depth discussion in this video Color adjustment with a color correction map, part of 3ds Max: Advanced Materials.
- [Narrator] Very commonly you will want to adjust the color of a map, or maps, in a shading network. And in 3ds Max we have a handy tool for that which is called the Color Correction map. It allows us to make non-destructive changes to the color of a map. And this is very useful for a number of reasons. First, it saves us a trip to our paint program, like Photoshop. And because it's non-destructive we have immediate feedback in the 3D scene.
Either in the view port or the production renderer. And if we don't like what we see we can always change it back. And finally, if we are using color correction and other color adjustment nodes intelligently in a shading network, we can, for example, set it up so that certain bitmaps are being used multiple times with different color settings. And that would make it easier for us to version our bitmaps. And also, would save memory at render time.
Let's use a Color Correction map to make adjustments to our egg shading network. Open up the Material Editor. Once again, we've got a Physical Material. It's base color is coming from a composite map. And that composite map has two color layers. The top, or layer two, is this colorful bitmap. The bottom, or layer one, is a blue color map. And then the mask for layer two is this ink image.
Let's add a color correction map to adjust the paint. In the Material Map Browser open up Maps, General. You'll find Color Correction. Drag that over into the view. And pipe the egg paint bitmap through this Color Correction node. Click and drag to make those connections. The Color Correction node will go into top layer two. All right, that's passed through here now. Double-click on the Color Correction node, and re-name it. We'll call it diffuse correct.
Now we got the ability to change out these channels. For example, make it a Monochrome. Now we have no saturation there. We can invert and do crazy colors. Or we could map different channels onto one another using this Custom mode. But really, I'm gonna leave it at normal. And, instead, play around with the fun stuff such as the Hue Shift. Click and drag on that slider. And we can see the preview here. And also, we can see a larger preview on our Composite.
Just double-click on that image. Now we can see that Hue Shift a bit more clearly. Very nice. And, of course, we have saturation here as well. I'll set that back to it's default of 0.0. And we can also tint the entire image. Let's say I set my Hue Shift back to 0.0. We've got a Hue Tint down here. I can click on that. And let's give it a bright magenta. I'll set the red to 1.0 and the blue to 1.0.
Click OK. Then increase the Strength slider here. Click and drag on that. And we can see that's going to eventually override the colors that are there. Once we get up to 100% we've effectively made the image into a Monochrome, and then applied a magenta hue. All right, I'll turn that back down to 0.0. And then we got our controls for the luminance, or Lightness. And in standard mode we have Brightness and Contrast.
At the top is a reference. That's a gradient that has no transforms applied. Below that is what we get as an output. So Brightness is, of course, changing out the black point. Crushing the blacks or lifting the blacks. Set that to 0.0 once again. And Contrast is the gain. We can turn that up a bit. We can see now we're getting greater contrast, which leads to greater saturation. Bring that back down to 0.0.
I actually prefer to use Advanced mode for Lightness. Click on Advanced. And now we have the ability to adjust Gamma. I'll set the Gamma, or Contrast curve, for all RGB channels to 0.45. Press enter. And now I've got a richer color. This Pivot is the center of the Gamma operation. You can click that down a few times and see what happens. It's starting to, sort of, lighten up a bit here. Let's bring it down to a value of 0.45 also and press enter.
Now we've changed the Gamma curve but we haven't clipped any of the values. We're still preserving all the values. All right, so that's the basic idea of what we can do. Let's do another one for this ink. Drag this over again. We'll do Color Correction node for the ink. Once again, feed that ink into the new Color Correction node. Then, from that new Color Correction node, into the top layer two mask. Double-click on it and we'll rename it ink correct.
Once again, go into Advanced mode. And once again, I'm going to set the Gamma to 0.45 for all RGB channels. And with a Gamma value of 0.45 we're getting a little bit more detail on that mask, as well. We'll do a rendering then, with focus on that physical camera. Click on Render Production. Here's our draft-quality production render using the Color Correction map to enhance the brightness and saturation of a bitmap.
- Streamlining material editor workflow
- Managing XREFs and materials
- Laying out a scene for material testing
- Using the Physical Material
- Controlling highlights with Roughness
- Directing reflections and refractions
- Simulating translucency and scattering
- Building a shading network
- Combining and color correcting maps
- Baking maps such as ambient occlusion
- Procedural mapping with Substance
- Using relief maps: bump, normal, and displacement