Join Aaron F. Ross for an in-depth discussion in this video Subsurface scattering for physical translucency, part of 3ds Max: Advanced Materials.
- [Narrator] For a translucent material on a solid, 3-D object such as the sculpture, let's use subsurface scattering. I'll do a rendering with no subsurface scattering first. Give focus to PhysCamera 002, and go into the render setup just to make sure that we're rendering to active shade mode with the ART renderer. And it's PhysCamera 002, and let's make sure that's locked. And in the ART renderer tab, we've got a target quality of 28 decibels.
Let's do render of PhysCamera 002. Once that render's completed, let's close the render's setup dialogue, and also clone the rendered frame window so we can compare this version to other versions. Okay, here's the clone, and now open up the material editor, and go into the sculpture physical material, and so that we can see the effect of subsurface scattering very clearly, let's turn the base color down to zero. We'll have no diffuse component now.
Okay, let's turn up subsurface scattering to its maximum of one. And it will start to look pretty strange. We're getting this very intense blue color. And that's kind of an artifact because we have a very high depth of 25 centimeters. This is the depth to which light is able to penetrate into the medium. And when it reaches that distance, we will start seeing this scatter color. But we've got a kind of illegal distance here.
Let's bring this to something reasonable like 0.5 centimeters. And now it's as if we've got a candle-wax effect. I can bring that depth down even more. Let's make it 0.1 centimeters. And this is a bit more realistic because with marble the light would really only be able to penetrate about a millimeter in. The helmet up here is showing up in orange, and that's because, unlike a real marble sculpture, the helmet is hollow.
So it's as if we've done a 3-D printing in marble. Okay, we've got this scatter color here in orange. Let's make that scatter color also white, and click okay, and bring this subsurface scattering amount down, 0.8 should be fine. And at this point, we've got a pretty good idea of what the subsurface scattering is going to achieve for us. Let's compare it to our original rendering. On the left we have subsurface scattering in which the light is able to penetrate into a surface.
And on the right we have no subsurface scattering. To add a little bit our diffuse shading back into the mix, let's set our base color to a value of 0.2. It's a good idea that the base color and subsurface scattering add up to a value of one because if they go above one, the values will be normalized to one. Alright, so now we've got a pretty good effect. On the left, we've got subsurface scattering and diffuse shading. And on the right, just the diffuse shading.
That's how to add subsurface scattering using the physical material.
- 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