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Environment Lighting 3DSMax
Environment Lighting 3DSMax
Environment Lighting 3DSMax
Candlelight - Underwater
3D environment
lighting
‘3D Environment Lighting’ is a 6-part tutorial
series. Over the course of the six chapters, this
series will be detailing techniques on lighting
an environment under a number of different
conditions. Each chapter we will cover a
step-by-step guide to setting up lights, aimed
at portraying the scene in a specific manner.
The various chapters will be tailored to specific
software packages and each will aim to show
a comprehensive and effective way of lighting
an interior of a ship that includes both natural
and artificial light. These will include a sunny
afternoon, sunset, moonlight, electric light,
candle light, and finally a submerged submarine
light. The schedule is as follows:
Chapter 01
Natural Exterior Lighting
Sunny Afternoon
Chapter 02
Natural Exterior Lighting
Twilight
Chapter 03
Natural Exterior Lighting
Moonlight
Chapter 04
Artificial Interior Lighting
Electrical
Chapter 05
Artificial Interior Lighting
Candlelight
Chapter 06
Artificial Interior Lighting
Underwater
Chapter 01 Natural Exterior Lighting
Sunny Afternoon
Chapter 01 Sunny Afternoon
Fig 01
Natural Exterior Lighting
Sunny Afternoon
Chapter 01
Natural Exterior Lighting
Sunny Afternoon
Tutorial by:
Luciano Iurino
For more from this artist visit:
www.pmstudios.it
Or contact them:
iuri@pmstudios.it
Chapter 02 Twilight
Fig 02
2. First of all, let’s assign Mental Ray as our
renderer. Open the Rendering panel (you
can use the F10 shortcut key), switch to the
Common tab and go to the Assign Renderer
rollout (Fig02). Click on the button with the three
dots and select mental ray Renderer from the
list. Click OK to close the browser window.
Fig 03
3. Select the Walls and Ceiling objects and
hide everything else. This will help us achieve
a better visualisation whilst we create the lights
that we need for the scene (Fig03).
Fig 02
2. If you try to render the scene, you will get
something similar to Fig02, as there are still no
lights in the scene (Fig02).
Fig 03
3. First of all, let’s assign Mental Ray as the
renderer. Open the Rendering panel (F10) and
click on the button with the three dots in the
Assign Renderer roll-out. Select “mental ray
Renderer” in the window that appears, and click
OK (Fig03).
Tutorial by:
Luciano Iurino
For more from this artist visit:
www.pmstudios.it
Or contact them:
iuri@pmstudios.it
Chapter 04 Electrical
Fig 04 04. Now we can create the first Omni light which
will act as a light bulb. Create a mental ray Area
Omni light and position it as shown in Fig04.
Fig 09
09. The amount of light in the front is quite good,
but the back of the room is completely dark. We
therefore need to create another Omni light over
there (Fig09).
Fig 02
02. First of all, we need to create a soft, ambient
lighting for our scene, which will resemble a
night time situation. Create a polygonal sphere
which surrounds all the scene. Select the lowe
half of the sphere and delete it. Select all the
remaining polygons and flip them to make them
point inward. (Fig02)
Fig 03
03. Open the Mat. Editor and create a new,
self-illuminated blueish material. Assign it to the
sphere. (Fig03)
Fig 02
2. We need to set up a basic lighting, and
then we can concentrate on obtaining a nice
underwater scene. Open the Rendering panel
(F10) and in the Common tab scroll down to the
Assign Renderer rollout and assign mental ray
Renderer as shown in Fig02.
Fig 03
Tutorial by:
Luciano Iurino
For more from this artist visit:
www.pmstudios.it
Or contact them:
iuri@pmstudios.it
Introduction:
The aim of our training DVD’s is to provide the artist with the most comprehensive set of lessons available. This is
achieved by presenting the training material in the form of:
- step-by-step tuition.
- on-screen visual and audio instructions.
- ongoing forum support from the author.
- full-screen resolution flash movies.
All aspects of creating the finished projects are taught in a way that artist of all levels will be able to learn at their own
pace. Once these techniques have been learnt , they can be equally applied to all your future modelling and texturing
projects.
- Section 1: Modelling.
- Section 3: Mapping & Unwrapping.
- Section 4: Texturing.
- 8hrs 30mins of comprehensive training.
- Suitable for all levels of artist.
Part 1 - Modelling:
- Complete step by step modelling of the Eva Wild character.
- Teaches the importance of studying human anatomy.
- Provides clear diagrams showing muscle flow and bone structure.
- 14 hours of comprehensive training.
- Suitable for artist of all levels.
Introduction:
The original character of the Swordmaster
was created by Seong-wha Jeong and we
had 3DTotal’s in-house 3d artist Richard
Tilbury, re-create the character in 3dsmax
as well as create the textures in Photoshop,
in our new precise, step-by-step tutorial for
highly polished, low polygon game character
with detailed texturing for real-time render-
ing. We have also converted the tutorials into
Cinema 4D, Maya, Lightwave and Softimage
platforms. Even if you are not a user of one of
them, the principles should be easily followed
in nearly all other 3D applications.
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