Join Aaron F. Ross for an in-depth discussion in this video Stretching highlights with Anisotropy, part of 3ds Max: Advanced Materials.
- [Narrator] To see the effect of Anisotrophy, or streaked highlights. Let's go back to our physical camera. Right click to give that view port focus. And do another active-shade rendering. Once that render has reached some level of quality we can see that there are some very bright highlights here. Those are the spotlights in the museum ceiling. We can give the effect of stretched highlights as if this were a brushed metal surface. In the Material Editor.
Selecting the sculpture Physical Material. Double-click on that. And let's give this some streaked highlights. I'll set the metalness down to 0.9 just to give it a bit more diffused component. And we need to have some amount of roughness. Let's give it a value of 0.1, just a little bit of roughness. And with a small amount of roughness, if we look at those highlights, they look spread out. But they're not really stretched. If we want them to be stretched, or Anisotrophic, then scroll down in the Physical Material, and open up Anisotrophy.
The default value of 1.0 means round highlights. So this should really be Isotrophy, in a way. With a value of 1.0 the UNV dimensions are equal. So there is no stretching. It's a perfectly round highlight. Lowering the Anisotrophy value will stretch the highlights. I'll set it to a value of 0.1. Press enter. And now we can see pretty clearly, in our rendering, that we're getting some very exaggerating streaked highlights. Especially in the most curved areas of the model.
Well, 0.1 is a pretty extreme value. Maybe I'll give it a value of 0.5 instead. The stretching of the highlights is determined by the surface itself, because we're in Auto mode and we're not dealing with any UVs or map channels.
- 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