In the first portion of this tutorial, we'll be getting you familiar with some of the vocabulary and foundational skills that you'll need in order to begin moving around and working in 3ds Max. From there, we'll move into exploring some of the modeling features found in 3ds Max, and we'll begin building the mech that will be our central project for the remainder of this course. From there, we'll take you through the entire process of adding textures and materials to the mech, adding animated movement, animation controls, dynamics, and finally we'll learn how to add lights, shadows, and output our final animated sequence. Software required: 3ds Max 2015.
Introduction to 3ds Max 2015 Project files
In this 3DS Max 2015 training course, expert author Brian Mennenoh introduces you to the tools and functions found in this 3D software from Autodesk. This course is designed for the absolute beginner, meaning no prior experience of 3DS Max is required.You will start by touring the user interface, then jump into learning how to model a cave using a reference image for the cave layout. Brian will teach you how to model a character, including forming the character body, adding hair, and adding symmetry and making adjustments. This video tutorial will cover topics such as adding materials for the walls, floor, and room, setting pivot points, and adding lighting and environmental effects. Finally, you will learn how to animate and render the scene.Once you have completed this computer based training course, you will be fully capable of using this 3DS software to create your own models and animations. Working files are included, allowing you to follow along with the author throughout the lessons.
After Effects can also import baked camera data, including focallength, film size, and transformation data, from Maya project filesas a single composition or two compositions. (See Bakingand importing Maya data.)
After Effects imports camera data from Maya project files. Before importing Maya camera information, you need to bake it. Baking camera data makes it easier to animate with keyframes later in your project. Baking places a keyframe at each frame of the animation. You can have 0, 1, or a fixed number of keyframes for each camera or transform property. For example, if a property is not animated in Maya, either no keyframes are set for this property or one keyframe is set at the start of the animation. If a property has more than one keyframe, it must have the same number as all of the other animation properties with more than one keyframe.
Platform Toolset: After creating the project, make sure to change the setting Configuration Properties->General->Platform Toolset to Visual Studio 2015 (v140) at least for 3ds Max 2018 and 3ds Max 2019. The required Visual Studio versions for each 3ds Max version are listed on the help page here. To prevent this problem in the future, you could update the template by adding the following to \maxsdk\howto\3dsmaxPluginWizard\Templates\1033\root.vcxproj_template and replace v140 with the appropriate value as shown on the help page:
The Monitor submitters are already in place and ready to use, and are available for every Application Plugin that ships with Deadline. They can be found in the Submit menu in the Monitor, and they allow you to submit jobs using any scene or project files that you have access to. Note that these submitters can also be found in the Launcher menu. (Are they still technically Monitor submitters then? Oh well, moving on...)
At SIGGRAPH 2015 Autodesk announced its 2016 M&E extensions, designed to accelerate design, sharing, review and iteration of 3D content across every stage of the creative pipeline. The Maya 2016 extension is a new text tool for creating branding, flying logos, title sequences and other projects that require 3D text. The 3ds Max 2016 extension includes geodesic voxel and heat map solvers to help artists create better skin weighting faster. New Max Creation Graph (MCG) animation controls provide procedural animation capabilities.
Fourth, and perhaps most crucially, we discovered that team members must adapt themselves to different disciplinary expectations and research styles. In particular, the approaches used in computer science and history were quite different and led to some tension. Computer science professionals reduce a design problem into small, manageable components and then rapidly iterate through prototypes to find the most effective and efficient solution. In contrast, history professionals start with library and archival research to shape the research questions, then they produce a polished document with the conclusions about the subject of inquiry. Risking oversimplification, it was as if the computer science approach tried building a complex whole from smaller, simpler parts and the history approach tried contemplating a complex whole to extract a few smaller, concrete understandings. Puzzling over how to merge these distinctly different problem-solving approaches, we began implementing a new project workflow based loosely on Scrum with two-week sprints (Ashmore and Runyam 2015; Deemer et al. 2009; Rubin 2013). This process provided a common framework for approaching the problem by breaking the whole project into smaller chunks so the SME would have a more narrow issue to explore and the Unity Developers had more tangible components to start building.
Cambodia is a rapidly developing tourism spot and its major cities are also growing rapidly. Electricity pays a key role in this development. A major project initiated in 2015 was a 125km 230 kV transmission line from Kratie to Kampong Cham which required the construction of a new substation. This is in support of the 700MW Sesan Hydro Power Plant which is under Construction in the upper Mekong area. The first stage of the power plant is expected to be commissioned in December 2017 and the power will be transmitted to Phnom Penh, the Capital of Cambodia, through the Kampong Cham Kratie Transmission Line.
PESTECH was awarded its first build, operate and transmit (BOT) project in 2015 by Electrique Du Cambodge (EDC). This project is comprised of two stages. Stage 1 is to design, procure, construct and commission the transmission line and substation. Stage 2 is to operate and maintain the line and substattion for 25 years after the first stage which is scheduled for completion in November 2017. This is an important milestone for PESTECH because this is the first project where the company not only builds the facility but is also responsible for operating the power transmission system for a concession period of 25 years. During this period, the company will be accountable for the smooth operation and maintenance of the the power transmission system consistent with prudent utility practices.
The substation design tool integrates both 3D substation design, with 2D electrical protection and control schematics and panel design. Having everything unified in a single software application gave the entire engineering team a seamless view of the entire project starting with the substation layout, then allowing zooming into the control room and navigating individual panels. All of the software is geocoordinated (geospatially-enabled) which allows location to be used to index and organize project files, models, and documents.
At the SPAR3D 2017 conference in Houston, one of the interesting questions posed to a panel comprised of Greg Bentley (CEO of Bentley), Burkhard Boeckem (CTO of Hexagon Geosystems), and Shabtay Negry (Senior VP at Mantis Vision) is whether point clouds, whether from digital photography or LiDAR, will effectively disappear, being replaced by meshes for most reality modeling applications. Meshes are mathematical constructs, typically 3D triangular networks, that are smaller and much easier to manipulate than point clouds, which are typically huge and a challenge to edit. I blogged previously about a digital model comprised of meshes of downtown Philadelphia that was used to orchestrate and secure the Papal visit. All the data was collected as photographs which were then used to create a single reality mesh using Bentley ContextCapture. At SPAR3D there are presentations on two other projects which used a similar approach to create models of the city of Helsinki and the Cologne Cathedral. Another fascinating example is the USS Arizona digital project which combined underwater lidar, sonar, aerial imaging, and existing photography and surveys to produce a survey-grade 3D model of the USS Arizona in the form of a mesh using Autodesk Remake. Surveys were conducted in 2014 and 2016. Just recently the two digital mesh models of the ship were compared to create a difference mesh to show areas where there has been change in the two years since 2014.At SPAR3D there was a consensus among the panelists that meshes are replacing point clouds for most applications. Point clouds are just too big and have too little intelligence. They will remain as an intermediate data type because most scanners generate point clouds. Replacing point clouds for many applications meshes will grow in importance in the future. But realizing their full potential will require interactive, editable meshes that allow small bits to be changed or replaced without having to regenerate the entire mesh (which is often the case with triangulated surfaces). Easy to use analytic tools like those used to create the difference map of the Arizona will also be required. The panelists thought that with the appropriate edit and analytic tools people will be able to manipulate surfaces easily and may not even be aware of what the form of the underlying data structures is. Smaller files will also make cloud processing easier because in the future huge point cloud files won't have to be uploaded to the cloud. 2ff7e9595c
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