Join Brian Bradley for an in-depth discussion in this video How scenes are set up, part of 3ds Max: Substance to Arnold.
- [Instructor] When working through any kind of render engine-based training, it is generally good to know a little bit about how either the models and are the scenes being used in the presentations have been set up, given that this can oftentimes help our understanding of how things are working in the rendering pipeline. Although, I would have to say that our set up here is for the most part, pretty simple and straight forward. For scene lighting we are working with a standard 3ds Max and positioner and physicals guide. In the camera view we essentially have three untextured objects that we will be working to dress up as we progress through the course.
These being our ground, wall, and robot geometries. Now the robot itself is a modeled object that was created here in Max by my fellow Lynda author, Joel Bradley. Whereas the ground and wall objects that we see are just simple plain primitives, although the ground has been collapsed, subdivided, and had a nice modifier applied to it in order to create a little undulation or unevenness in the ground plain. The tree geometries, which were added to cast some shadows into the rendered frame, giving the impression of a larger world existing off-screen are again just 3ds Max primitives, taken this time from the ac extended and foliage sections in the green top.
These don't have anything like a complete material applied as all we really need from them are some basic colors. Again, just to throw a little color into the scene and an alpha map so as to give us a bit of a leaf shape in the shadows. The rock objects were also created here in Max and have a 3ds Max physical material applied to them. As regards render settings, if I just hit the f10 key we can take a look at the sampling values that we are using in Arnold, which are fairly lowish in terms of quality settings.
So we have camera, diffuse, and specular samples of three, two, and two, respectively. And we have a ray depth or number of bounces for the diffuse and specular aspects of the render set at five and two. Our physical camera has been set up to use a 40 millimeter lens with an EV target setting of 13.5 so as to give us the exposure that we want. Now of course you can feel free to change any and all of these settings if you want and do some experimentation with the look of the scene.
Just bear in mind that if you do that then your visual results will no longer match up to those seen in the videos as you work through the presentation. With all of that covered then, we are almost ready to move into the body of our course and give ourselves an overview of just what we mean when we talk about working with Allegorithmics physically-based, substance rendering tool set. First though we just need to take a quick look at one or two Max bugs that we may encounter as we work through this material.
- Why should we use substances?
- Choosing a substance workflow
- Using Bitmap2Material in 3ds Max
- Building up your material
- Working with substances and maps from the Designer application
- Using a substance with Arnold
- Improving your substance results
- Exporting your map types