Prelims-K80912.qxd 3/7/07 7:59 PM Page i Realistic Architectural Visualization with 3ds Max and mental ray® Prelims-K80912.qxd 3/7/07 7:59 PM Page ii Roger Cusson Caught the AutoCAD bug in 1985.After learning and applying the software to his profession,he became a con- sultant to architectural firms implementing AutoCAD into their work process.Roger has been an active educator for years in the professional and academic communities.He has worked as a full time professor at Vanier College, and a training manager at Autodesk.He was lead author for two Autodesk VIZ books and was a significant con- tributor to the 3ds Max 8 and 3ds Max 9 Essentials books. Jamie Cardoso Is a 3D artist who has been producing 3D graphics for professional organizations and companies since 1994.He has been involved in numerous multimillion-dollar projects ranging from graphic design work to 3D visualiza- tions.Jamie has worked for 4 years as a senior 3D artist/special effects designer for a multinational company called Carillion plc and is currently working for GMJ Design Ltd. Prelims-K80912.qxd 3/7/07 7:59 PM Page iii Realistic Architectural Visualization ® with 3ds Max and mental ray Roger Cusson and Jamie Cardoso AMSTERDAM • BOSTON • HEIDELBERG • LONDON • NEW YORK • OXFORD PARIS • SAN DIEGO • SAN FRANCISCO • SINGAPORE • SYDNEY • TOKYO Focal Press is an imprint of Elsevier This eBook does not include ancillary media that was packaged with the printed version of the book. 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ISBN: 978-0-240-80912-0 For information on all Focal Press publications visit our website at www.books.elsevier.com 07 08 09 10 11 10 9 8 7 6 5 4 3 2 1 Printed in Canada Prelims-K80912.qxd 3/7/07 7:59 PM Page v Contents Acknowledgments ix Preface xi Project Files: Exercise Disk xiii The Living Room:Introduction 1 Chapter 1 Preparing Materials for an Interior Space 3 1.1 Introduction 3 1.2 Starting the Scene 4 1.3 The Arch & Design Material 8 1.3.1 BRDF 13 1.3.2 Advanced Rendering Options 13 1.4 Working on the First Material 16 1.5 Working on the Sofa Material 25 1.6 Working on the Floor Material 30 1.7 Working on the Glass Material 35 1.8 Working on the Metal Material 39 1.9 Conclusion 41 Chapter 2 Day Lighting for an Interior Space 43 2.1 Introduction 43 2.2 Interior Lighting Concepts with mental ray 44 2.3 Parameters in Final Gather 46 2.3.1 Basic Group 47 2.3.2 Final Gather Map Group 51 2.4 Parameters in Global Illumination 52 2.5 Starting the Scene 55 2.6 Establishing Basic Lighting Parameters 58 2.7 Adding Lights 61 2.8 Adding an Omni Light to Simulate Scattered Light 67 2.9 Modifying the Spot Light 73 2.10 Making Changes to Materials Due to Light Effects 75 2.11 Exposure Control 76 2.12 Adjusting the Exposure of the Living Room Scene 78 2.13 mental ray Parameters for the Final Render 80 2.13.1 Samples per Pixel Group 80 2.13.2 Filter Group 81 v Prelims-K80912.qxd 3/7/07 7:59 PM Page vi Contents 2.14 Finalizing the Living Room Render 83 2.15 Conclusion 85 Chapter 3 Artificial Lighting for the Interior Space 87 3.1 Introduction 87 3.2 Starting the Scene 88 3.3 Establishing Basic Lighting Parameters 90 3.4 Adding the Artificial Lights 94 3.5 Adding More Lights to the Scene 100 3.6 Adding a Lume Shader to the Lights 106 3.7 Adding Exposure Controls to Improve the Image and Final Render 114 3.8 Conclusion 119 The Harbor:Introduction 121 Chapter 4 Preparing Materials for an Exterior Scene 123 4.1 Introduction 123 4.2 Starting the Scene 123 4.3 Applying Materials to the Background Buildings 128 4.4 Creating a Material for the Wooden Chair 134 4.5 Creating a Material for the Pavement 141 4.6 Using the Ocean (Lume) Shader for Water 145 4.7 Creating the Water Material in the Harbor Scene 149 4.8 Conclusion 159 Chapter 5 Lighting for an Exterior Scene 161 5.1 Introduction 161 5.2 Exterior Lighting Concepts with mental ray 162 5.2.1 mr Sun Parameters 164 5.2.2 mr Sky Parameters 169 5.3 Starting the Scene 172 5.4 Establishing Basic Lighting Parameters 174 5.5 Refining the Lighting and Creating a Rendered Image 183 5.6 Conclusion 187 Chapter 6 Working with the mr Physical Sky Shader 189 6.1 Introduction 189 6.2 mr Physical Sky and the Sun Disk 190 6.3 Moving the Sun to a Desired Location 190 6.4 The mr Physical Sky Shader 192 6.4.1 Sun Disk Appearance Group 192 6.4.2 Inherit from mr Sky Group 194 vi Prelims-K80912.qxd 3/7/07 7:59 PM Page vii Contents 6.4.3 Horizon and Ground Group 196 6.4.4 After Dark Group 198 6.4.5 Non-Physical Tuning Group 198 6.4.6 Aerial Perspective (When Used as Lens/Volume Shader Only) Group 200 6.5 Creating Camera Haze 200 6.6 Using a Bitmap Background in mr Physical Sky 202 6.7 Some Notes About mr Physical Sky 206 6.7 Conclusion 208 Conclusion and Further Study 209 Appendix 1 CAD Transfer 211 A1.1 Introduction 211 A1.2 Overview 211 A1.2.1 Importing 3D Geometry 211 A1.2.2 Linking AutoCAD Files 212 A1.2.3 Why Transfer Files? 213 A1.3 An Approach to CAD Transfer 213 A1.3.1 A Generalized Approach to Modeling and Rendering with Linked Files 213 A1.3.2 Exceptions to the Generalized Approach 214 A1.4 Process of Linking Files 214 A1.5 Linking Files from AutoCAD 215 A1.5.1 Layers 215 A1.5.2 File Link Manager Parameters 216 A1.5.3 AutoCAD Layers,3ds Max Layers and 3ds Max Objects 218 A1.5.4 Applying Materials 220 A1.5.5 More Complex Material Assignments 220 A1.5.6 Mapping 221 A1.5.7 Reloading Linked Files 221 A1.6 Linking Files from Revit 223 A1.6.1 Revit Object Database 223 A1.6.2 Exporting 3D Model to AutoCAD 224 A1.6.3 Linking an AutoCAD File Exported by Revit 225 A1.6.4 Reloading a Revit Model Linked through a .dwg File 226 A1.6.5 Materials in Revit 226 A1.6.6 Accessing Revit Materials in 3ds Max 227 A1.6.7 Caution About Using Revit Materials 229 A1.7 Conclusion 229 Appendix 2 Caustics 231 A2.1 Introduction 232 A2.2 Caustics 232 A2.3 Creating Caustics in a Wine Glass 232 vii Prelims-K80912.qxd 3/7/07 7:59 PM Page viii Contents A2.4 Creating the Lights and the Caustics Effect 241 A2.5 Final Adjustments to the Image 251 A2.6 Conclusion 254 Appendix 3 Camera Effects 255 A3.1 Introduction 255 A3.2 Flash Effect and Depth of Field 256 A3.3 Creating the Flash Effect 256 A3.4 Depth of Field 263 Appendix 4 HDRI 269 A4.1 Introduction 269 A4.2 Assigning a HDRI image to a light source 270 A4.3 Light Point (base) Parameters 277 A4.4 Adding the HDRI image to the light 277 Appendix 5 Rendering Large Complex Scenes 289 A5.1 Introduction 289 A5.2 Render Passes 290 A5.2.1 Render Passes Parameters 300 A5.3 Distributed Bucket Rendering 300 A5.3.1 Distributed Bucket Rendering Parameters 301 A5.4 Network Rendering 305 Appendix 6 Common Errors 309 A6.1 Introduction 309 A6.2 The mental ray Message Window 309 A6.3 Photon Errors 310 A6.4 Final Gather Errors 315 Appendix 7 The Cover Image 317 A7.1 Introduction 318 A7.2 Adjusting Final Gather Settings 318 A7.3 Image Size 319 A7.4 Sampling Quality 319 A7.5 Rendering 319 A7.6 Lights and Materials 320 A7.7 Exposure Control 321 Index 323 viii Prelims-K80912.qxd 3/7/07 7:59 PM Page ix Acknowledgments I would like to acknowledge and thank two individuals.I would like to thank Pia Maffei for her constant support. She may not have seen any of this book yet,but she has provided moral support throughout this project.I would also like to thank Amer Yassine for his help as a friend,reviewer and general “man these images are nice”support. Roger Cusson I would like to acknowledge and thank a number of people.The “old”Object Technology team:Nadeem Bhatti for being very supportive throughout this project,Steve Jolley,Phil Mutter,Geoffrey Chilvers,Paul King,Robin Anjan, Brian Napper and Adrian Hughes. From the mental ray team: Alf and Mr. “Zap” Andersson, you were really fantastic.Also for the constant feedback from John Cheong,Andreas Alexiou,my brother Martins Cardoso, Nina Suwala,Shawn Khan,Sharron Pomells,Olivier Ladeuix and Richard Bobb. Finally,I would like to dedicate this book to my father. Jamie Cardoso ix