Join Aaron F. Ross for an in-depth discussion in this video Tinting with transparency depth, part of 3ds Max: Advanced Materials.
- [Instructor] To control the intensity of tinted glass we can adjust the transparency color, and or it's depth which is an absorption rate. With focus on the physical camera, once again do an active shade render. Of course open up the Material Editor. Here's our glass material that we previously experimented with. Let's make it physically accurate once again. Go back down to into Advanced Reflectance Parameters and set it to By IOR, and also lock the Transparency Roughness so that we'll match the reflection roughness.
Now we've got a pretty classic leaded glass material. To add tinting let's go into the Transparency Color, click on that and give it just a little bit of saturation. 0.2, and click OK. We can immediately see that we've got some red tinting. Notice that the color here is a bit more saturated than the color in our Transparency Swatch over here. There's never going to be a one to one correspondence between this color in the material and the color of the final rendering.
You can control the result by adjusting the Depth Parameter here. If depth is zero, then this color is absorbed from the light throughout the object's volume. In other words, the color absorption begins right at the most outermost polygon. If we give the depth a nonzero value we'll specify a distance from this outermost polygon, at which the absorption will achieve it's full intensity or strength.
That means if we have a high depth we're going to dim out the tinting. Because a ray will take a longer distance to achieve that color. The object is only 16 centimeters in radius. If I give it a depth amount of let's say 20, I would expect to see very little tinting. If we give it a greater depth, let's say 32 centimeters then we're pretty much achieving that pink color that we set in the Transparency Swatch.
If you want a more intense red then just reduce the depth amount. I'll take that down to let's say one centimeter. Now we have a very intense red to the tinting. Almost to the point of unrealistic. I think I can split the difference here a bit, maybe give it a depth of six centimeters. With a transparency depth of six we're getting a good saturation on the tinting. We're also not losing the color of the environment, as shown in the reflections and refractions.
I think this is a good place here. We've got a transparency saturation of .2 and a depth of six centimeters. For an object that's about 16 centimeters in radius. That's how we work with transparency depth to achieve tinted glass.
- 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