Week 6

In week 6, we started adding and effecting the lighting effect.

2.1 LIGHTING EXERCISE

4. Now rotate the PERSPECTIVE view 180° horizontally so you are looking at the opposite side of 

the dolphin. Note that this side of the dolphin is in complete darkness, because the light source is 

on the other side of the dolphin. You can verify this by checking the position of the light on the 

TOP, SIDE and LEFT viewports.

Exercise 1: Done

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4 SUNLIGHT 

Time: 12:00:00 

Date: 06/09/21 

Location: London. UK 

Time: 15:00:00 

Time: 17:00:00 

The shadow would change if I change the time of the sun. The sunlight would "shine" from a different angle.

Causing the shadow to be different too.

Exercise 2 : Done

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5.1 SELECTIVE LIGHTING EXERCISE

3. Using the EXCLUDE\INCLUDE option, set this light source illuminate ONLY THE 

SKYDOM

Original

 Only illuminate the sky dome.

If I only choose to illuminate the sky dome, the rest of the scene would be dark, this is first because there isn't any light source to illuminate other parts.

As default lighting would switch off automatically since I have added the first light in the scene.

4. Now add sunlight to the scene if it is not already present. Note how the skydome is evenly 

illuminated in those areas where the sunlight is not falling. If you remove the OMNI light which 

is illuminating the skydome, parts of the skydome will become dark

5. By having an OMNI light exclusively illuminating the skydome, and sunlight lighting the 

remainder of the scene, you can create a more realistic effect where the entire sky is illuminated 

evenly and does not rely on light from the sunlight source. You can also use this technique to 

add lighting effects to individual objects in order to gain more precise control over the lighting of 

individual objects.

6. Remove the sunlight and add another OMNI light within the skydome at approx a 45º angle to 

the scene. Change the colour of the light source to a bright red by expanding the 

INTESITY/COLOR/ATTENUTATION panel in the MODIFY tab while the new light source is 

selected. Then click the colour box next to the MULTIPLIER option and select a red colour.

Render the scene and note how the skydome is also coloured red. Try excluding the skydome 

from this new OMNI light source and note the effect. 

The red light would only affect the ground and house, but not the sky dome.

Exercise 3: Done

Week 4

Coming to Week 4, we started the learning of applying material/texture

2.3 EXERCISE

4. Adjust the specular colour to create a material which looks like a shiny metal

I edited the DIFFUSE and SPECULAR colour, also experimented with the specular level, glossiness and soften values to get the following effect.

=5. In a different slot, create a material which looks like wood

Without importing direct wood material, I had to reduce the specular level and glossiness, to try to make it look as matt effect as possible, trying to make it look more "wooden."

Exercise 1: Done

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2.5 EXERCISE: APPLYING ABITMAP

9. Repeat the above steps by applying the same bitmap to a SPHERE, CYLINDER, TEAPOT, 

CONE and PYRAMID

Exercise 2: Done

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2.6 EXERCISE: PROCEDURAL MAPS

a. CELLULAR

I experimented it a little, which could also look like below.

b. DENT

c. MARBLE

d. NOISE

e. PERLIN MARBLE

f. SMOKE

g. SPLAT

h. WAVE

Exercise 3: Done

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3 UVW MAP MODIFIER EXERCISE

4. For this example, select PLANAR in the PARAMETERS list under the MODIFIER STACK 

5. Now use the ROTATE, MOVE and SCALE tools to replicate the positions of the projection 

square in relation to the box the previous picture. Watch how the mapped image changes as you 

move the GIZMO

6. Now select the CYLINRICAL, SPHERICAL, BOX options in turn and experiment with the 
GIZMOS for each modifier

i. A sphere, using BOX mapping, can you describe how the image has been mapped onto the 
sphere? 

Box Mapping was basically projecting the 2D image through all the 6 directions like a box.

ii. Two spheres, one with SPHERICAL mapping and the other using SHRINK WRAP 
mapping, can you see the difference? Refer to the online help

Spherical

Surrounds the object by projecting the map from a sphere. You see a seam and mapping singularities at the top and bottom of the sphere where the bitmap edges meet at the sphere's poles. Spherical mapping is useful for objects that are roughly spherical in shape.

Shrink Wrap

Uses spherical mapping, but truncates the corners of the map and joins them all at a single pole, creating only one singularity. Shrink-wrap mapping is useful when you want to hide the mapping singularity.

(Ref:http://docs.autodesk.com/3DSMAX/13/ENU/Autodesk%203ds%20Max%202011%20Help/index.html?url=./files/WSf742dab04106313366400bf6112a1cea097-7ea6.htm,topicNumber=d0e94531)

iii. A CYLINDER, with and without the CAP option enable

Left - Without CAP,  Right with CAP enabled.

iv. A TEAPOT using FACE mapping

v. A TEAPOT, where there is one image of the moth on the whole teapot, which is mapped
over the top and down the sides, but DOES NOT go under the teapot, the image of the moth
lies over the top, see the screenshots below.

=SPHERICAL Mapping

vi. A box, so that the image only appears on opposite ends of the box and does not ‘bleed’ onto 

other sides. 

= PLANAR mapping

Exercise 4: Done

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4 COMBINING PROCEDURAL MAPS

Exercise 5: Done

Week 3

Week 3 on 3D Studio Max


2.2 LATHE EXERCISE 
Using the ‘ref-chess.jpg’ file create a set of 3D chess pieces. 
To do this you will need to add the above file as the background image to the FRONT viewport. To do 
this: 
1. Click the VIEWS menu, then VIEWPORT BACKGROUND | VIEWPORT BACKGROUND 
2. Using the FILES button select the above file and ensure MATCH BITMAP is selected in the 
ASPECT RATIO panel. 
3. Also ensure LOCK ZOOM/PAN is ticked so that the image reacts to those commands and 
moves with the viewport 
4. The image now appears as a background to the viewport 
5. Press G to disable the grid if required 
6. Now draw around the PAWN using straight lined SPLINES, draw a rough outline to start with, 
as you can refine it later. When complete add a LATHE modifier to create a 3D shape

=LATHE EXERCISE 

The first exercise was to model the chess set with the LATHE tool. 

 First started off with the easiest pawn.

I imported the chess set picture as the background, which helped a lot with the whole modelling process.

Pawn was really simple, only drew the outline along half of the its shape.

Then select LATHE in the modifier list. DONE!  

 Next I chose to do the bishop, which was also similar to the pawn, Outlined half of the shape then used the LATHE tool.

 Only I had to do one more process, which was to subtruct a little "cut" on the top.

It was simply done by the Boolean subtraction method.

 In the following, I moved forward to create the most complicated piece, the Knight.

First of all I outlined the shape roughly around the main part of the horse.

Then adjusted the vertexes with the move tool to fit the shape in a better way.

After that I had to add more vertexes within the shape, I did that by using the REFINE button in vertex tab.

connect vertexes together, then selected those inner vertexes and "pulled" them with the move tool on the top view mode. so it would become more "3D".

I couldn't capture many screen shot during the modelling process, because the camera was very awkward especially with the complicated vertexes.

After I had pull the inner vertexes, I selected them and used the tool called BEZIER CONNER in order to adjust the tone of the horse and the edges where the other half would connect.

Next was to use the SURFACE tool, so that the area formed by these vertexes would be created into the 3D shape.

But this step, I had only done half of the horse, the second half was to be done by another tool called SYMMETRY tool in the modifier list.

Last I ended up with a complete 3D shape of the horse.

Only without the "Horse's Hair", then I had to refine more vertexes close to the centre of its back, in order to form the polygon.

Last step, was to convert it into editable poly and extrude. Then I resulted with the top half of the knight.

The botton half was exactly the same technique I used with the pawn, so I wouldn't repeat myself again here.

The rook was the similar technique as the pawn, but only with addition of using the EXTRUDE tool to create the battlements

Bishop, Knight, Rook, Pawn DONE.

 The king was exactly the same as the pawn.

First outlined the base shape, then used LATHE tool to "spin" it around.

Last added the top cross with the 2Dto3D EXTRUDE method.

Queen was done with exactly same technique as the Rook.

Exercise 1: Done.

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4 VIRTUAL STUDIO EXERCISE


THREE-VIEW EDITING 
This is a very useful technique for creating 3D models from technical drawings or character sketches, 
and involves having a different view of the drawing in each viewport. These background images can 
then be used as a guide in defining the dimensions of your model. However, if you are using different 
images in different viewports they all need to be the same scale so may require some image 
manipulation in order to ensure this. 






=VIRTUAL STUDIO EXERCISE


This week the second exercise is practicing the technique of using 2D images to assist the 3D modelling.
I have watched a few 3Ds max tutorial on youtube before, and this technique was one of my favourite that I watched. Only that in the tutorial, there were only the side and top view images, and the side view image was put in the centre of the top view, which was forming a cross instead of a box.

This week exercise, I decided to try out and use this technique on modelling one of my assignment choice, so that I could spend extra time to reach perfection on this model.

Because they were all planes this week, so I chose to start with the X-wing from star war.

I found the graphical design image from the below website.
Reference:
http://www.obh.snafu.de/~madley/starwars/Tech.html

After I had cut and re-sized the image, I resulted with the three directions images, therefore I put them in a box as below.

Next I started modelling, but on this step, I had failed couple of times because the number of polygons.
I first started with a box with relatively high polygons and started to move vertexes to fit the shape of the plane.
I first expected with high polygons, I could fit the shape easier, as there would be more vertexes.

But then I realised, if moving vertexes just by "free hand", they could hardly be kept as straight lines and shape corners, which ended up like the below image. So that it was something I experienced, but at the same time, perhaps this "error" could be used in some other "wobbly situation" ?After that

After that I modeled it with minimum polygon shapes, and decided to break complicated shapes into several simpler shapes instead of one with high polygon. 

In this part, convert shapes into editable poly was important, therefore I could drag vertexes around to fit any shape.

I also used massive amount of Boolean subtraction technique to create the "machine patterns".
Even though patterns could be added by the materials, but creating them in this step would give a more solid and realistic effect especial there would be a difference in close-up shots.

Cutting on a non-flatten surface was much more difficult, but I figured out my way of modelling them, which was to copy the same shape and re-sized it into a little larger or smaller, then I would cut on the larger shape, and the smaller shape would become its core/base shape.

On this model, I also used methods such as extrude, outline, chamfer etc.
Eg: extrude, outline on the end of below engine.

Next I carried on to the upper surface of the wing.

Not all the patterns were created by Boolean-subtraction, half of them were also created by adding the direct shapes on the surface.

Also there was another way to add patterns, such as adding the air vents, I didn't have to create the exact shapes, but by Boolean-subtraction method, I could have shapes of three rectangles patterns for example.

Then just by pulling the vertexes out, I could make them look like below.

And pulled the other end of the vertexes, they would look like air vents without adding extra primitives.

Then I copied and rotated the wind to the other side to become the other wing, as this one faced upside down, I had to create more patterns for this area.

(Note that I did not follow exactly as the 2D images, because on the design, wings were quite small and shorts for the long front of x-wing, but it was used when started all the basic with the images.

Also it helped me when I had to adjust the angles of the wings.)

Next I used the mirror technique to mirror the wings on the other side.

Instead of using the mirror tools directly, I chose to use the mirror option from the modifier list, this gave me a more freely option, as they were editable, I could remove or edit this effect anytime later.

After all the above, the front of the plane was too simple and plain, so I moved on to add patterns for it.

In fact this step was the hardest in the whole modelling process, because the front of the x-wing had angles in every directions, it did not have any perfect 90 degrees angles,so creating patterns was the hardest on such surface.

I had to keep using the move tool to edit vertexes even on the shapes I use to subtract with (like the blue boxes below, they were not a perfect rectangular boxes. Not 90 degrees on every corners.)

Last was the body of the x-wing.

One of the point I would like to mention was, I first started to view the model with the edged faces and Shaded options, but then it started to get too complicated to be viewed, so that I could only view it with realistic option.

Last, the basic modelling of the x-wing was finished.

Note that the R2-D2 type robot was missing on the x-wing, as it would be my second model on the assignment, plus I would need them to be separated in the animation.

Front

Pilot seat area, I might need to add the exact details later on if it would be needed in my story line.

Body of x-wing, with R2-D2 type robot insert place.

The back of the x-wing

Engine

Upper face of the wing

Part of the wing, next to the engine

Lower face of the wing

Gun

Complete model

The Incom T-65 Starfighter - X-wing !

Overall, I was very please with the final model of the x-wing.
I spent a lot more extra time on this model, as it was both the week exercise and assignment.
I had concerned about the adding material step for this model, but then I believed, it would need much materials on, as it already had all the patterns etc on.

File will be attached in the Week 6 assignment disk.

Exercise 2: Done