Mapping Textures 3ds max Restoring links with Asset Tracking

Mapping Textures 3ds max Restoring links with Asset Tracking  And now that path is displayed down here, and we can see in fact that the logo file, and the wood file are both in here. So, with scene assets images being displayed in the path down here I'll click use path, and then click okay, and the files are now found, and their status is logged as okay, and they're displayed in the view port. Notice that we have an absolute path up here, it's displaying the drive letter. Usually we don't want that, we want to see just a relative path so that the projects will be portable. And actually, if you save this scene and reopen it, then the path will be displayed as relative if you have convert local file paths to relative enabled in the customize preference, which we did at the beginning of the course. Well, if this bothers you, you can actually just explicitly put in a relative path. We can select these two once again, right click and go back to set path, and just erase everything before scene assets images. Just hit the backspace button. And I could have just typed that in originally, I could have just typed in scene assets slash images slash, and then the files would have been found. So I'll click okay here, now we have a proper relative path, the files are found, and we can save this scene knowing that we've healed up the broken links. That's how to fix a problem with missing assets using asset tracking, and it wraps up our chapter on texture mapping.

Mapping Textures 3ds max Mapping with vector art

Mapping Textures 3ds max Mapping with vector art we could even set it to an infinite resolution, meaning that we could literally keep zooming in here forever and it would rasterize the text according to screen space. So I'm in there very, very close. I can do another rendering and we can see, that it's still as sharp as can be. All right, I'm going to set that finite resolution back to 10,000, because I really don't need infinite resolution. Well there you go, that's how to apply vector art as a texture in 3ds Max.

Mapping Textures 3ds max Using Real-World Map Size

Mapping Textures 3ds max Using Real-World Map Size So if you want to get that closer, we can go into gizmo sub-object mode, and just grab that and move it, and just place it closer to the current point of view, just so that we can see what it is. It's a one centimeter on a side box, that's one cubic centimeter. All right, so that's just what happens when you enable Real-World Map Size. The gizmo will be displayed at the size of the current working unit, or the display unit. Okay, so I'll exit out of gizmo sub-object mode, and go back to shaded view with F3, and go into the material editor. And I've got my bitmaps for base-color and bump. Currently the bump is what's being displayed in the view ports here. And again I know that because it's highlighted in red. Double click on that bump node, and then enable Use Real-World Scale in the coordinates roll-out. And then we need to specify a size for this texture. And if we want it to be the same as we saw a few moments ago, we can set the width and height both to 200 centimeters. So, go to the width size, put in 200, and then press the tab key. And for the height put in a value of 200 as well.

Mapping Textures 3ds max Projecting UVs with UVW Map

go back into shaded mode with F3 so we can see how the sizing and movement of this gizmo will affect the actual textured placement. And get in a little bit closer again, and if we move the gizmo in the X axis, we can see that we're able to move the texture on that wall. And if we orbit around to the other side here, we can see once again we're getting some texture stretching, and once again, that's because we're mapping in a planar space and the texture pixels are projecting orthogonally to this plane indicated by the gizmo. So we're getting single pixels stretching along this wall, which is exactly parallel to the lines of projection. We'll address that in a moment, but first I want to change the scaling of the gizmo, and I don't recommend that you use the actual scale tool from the main toolbar to do that. It's a much better idea to use the actual parameters over here. Now, I know that the wall is exactly 400 centimeters in height. If I want the texture to fit the wall perfectly, I can change the length of the value over here to 400 centimeters and press Enter, and because I know that my texture is a square and I don't want any stretching, I can also set the width to 400 centimeters. And now that gizmo is exactly sized up so that it fits on that wall. Say I wanted it to be smaller. I could set the length and width to 200 centimeters. 200, press Tab, type in 200, and press Enter. Those are the UV coordinates for this particular object, because as I said before, the Material Editor parameters will affect the tiling here as well. Let's say I go back to the Material Editor, which I have minimized down here, and back in the bump and bitmap parameters, I can change up the tiling. For example, let's say I set the U tiling to a value of 0.5, and now we're only getting half of that texture stretching across one unit of the UVW map modifier. All right, I'll set that tiling value back to one.

And finally, of course, we want to deal with the issue here where we're seeing the pixel stretching along one dimension, because the UVW map modifier is projecting in a planar projection orthogonally. Well, we have different projection methods over here, a UVW map modifier, and for this wall, the best mode would be box projection. So I'll activate that, and box mode gives us six planar projections from the sides of a box. And now I've got two different mappings for the two sides of the interior wall, and once we've chosen the box mode, now this height parameter is exposed, and I want that to be equal to the length and width, so I'll set the height to be 200 centimeters as well. And now as I move that gizmo around, you can see how that's going to change the placement on the wall, and of course I want the paneling to line up vertically here, and to do that, I can rotate the gizmo up to the Rotate tool, and to constrain to even increments, I can turn on angle snaps and then just rotate around the X axis exactly 90 degrees, and once I've done that, now I've got the alignment I want, and of course now I probably want to turn off sub object gizmo so that I can select other objects. So just click on Gizmo, and now I've set it up just the way I need it to be. That's how to add a UVW map modifier to apply basic UV coordinates to an object.

Mapping Textures 3ds max Mapping bitmap image files

. Click Open and that assignment's been made and if we select these nodes here eventually we'll be able to refresh and we see that we've got a gray scale image here. Let's connect that bump node to the bump map input on the physical material. And then finally we want to increase the bump amount because it's probably not enough. Double click on the wood paneling physical material to load its parameters and that also loads it in the sample because we have Follow Current Selection enabled. And in the special maps section here we have a Bump Map amount and it's set to low value of zero point three. Just to make it very clear in this sample I'm going to set an exaggerated value here of 10 and once that refreshes we can see that we're getting some grooves here. If you don't see that well enough you can expand the size of that sample. Wait for a moment for that to render and here we've got some pretty exaggerated grooves. Now I've only done that so that we can see that in the sample very clearly. In the final rendering we won't want a Bump Map amount of 10. I'll bring that down to something more reasonable such as a value of two and once that refreshes we can still see that there are some subtle bumps in here and that's exactly what we wanted. So that's the process of adding bitmaps to drive material parameters and those bitmaps are inside the current project Scene Assets Images. Automatic Gamma Correction is enabled for the color map and I've applied a gamma override of one point oh to the bump map so that it is interpreted as linear data.

Mapping Textures 3ds max Designing 3D procedural maps

Mapping Textures 3ds max Designing 3D procedural maps But 3D procedural maps don't need UVs and that's helpful in many situations. Here we'll use a 3D map to create a noise pattern on the floor. There's also a noise in the OSL maps, that is three dimensional in space but doesn't have three separate outputs. It's just a standard OSL noise. Let's drag that over into the view and connect it's output the base color of the physical material. And we don't actually need this noise 3D map so we can just select that and press delete to remove it. And this new noise map has some parameters we can play with but in order to see the results on an objects, we of course want to assign a material to the object. I'll go over to the physical material and double click it to load its parameters. And it currently has a roughness of zero which would give us a perfect mirror reflection. Since this is going to be the floor, I don't want that so I'll set the roughness to a value of 0.5. And we can see that update in our sample that we have set to follow the current selection. And then we want to assign it to the floor. Just click and drag on its output and drag over to the floor object in the viewport and release the mouse. And that actually got assigned but we didn't see any change here. And that's because 3DS Max does not display maps on object by default. 

We need to enable that. If we want all the maps for a certain material to be displayed in the viewport, then we can select that material node or root level of the shader tree. And then in the slate material toolbar, there's a mysterious button up here. It's just a square with a little green circle in it and the tool tip says, "show shaded material in viewport". And if this were a simple bitmap or maybe a 3DS Max legacy map then we could just enable that and we'd see our map displayed in the viewport. But for an OSL map, we need to enable a hidden option and that's to show realistic materials in the viewport. Hold down that button and you get a fly out. At the bottom is a black icon. Activate that and now we have displayed realistic materials and if we look at the name of that shader node, we can see that it's got a red strike through it and that indicates that we're displaying that material either in realistic or shaded mode in viewport. Now of course, we can make adjustments to the procedural noise and we can see that update in the viewport. So double click on that noise and we've loaded its parameters. Up at the top of those parameters is the scale and that of course is the size where we can also conceptualize that as the wavelength. I'll increase that to a value of 50, making that pattern twice as large. Then below that we have the type and that is the fractal algorithm. We have have numerous ones from which to choose and the default is uperlin which means an unsigned perlin noise. That gives us output values from zero to one which is what 3DS Max wants to see. But there are some other options in here such as cell, C E L L. And that's a kind of fun one because it give us this quasi-regular grid pattern. There's also the simplex noise which is going to calculate faster than uperlin and also gives us a different look. I'm going to switch this back to uperlin and then let's move on. Below that we have the octaves. Octaves is the number of noise patterns that are superimposed.

Mapping Textures 3ds max Controlling material sample size

Mapping Textures 3ds max Controlling material sample size Let's drag over a Noise 3D. So I'll drag Noise 3D over and drop it onto the input for the base color map on that physical material. When I release the mouse, I get a pop-up asking, do I want to connect the output or one of the X, Y, or Z outputs? So we have multiple outputs on these OSL maps. I'm going to choose X and that's a simple grayscale. If I had connected the output it would have been a sort of prismatic effect. If I click on the OSL map and my preview is showing the current selection then we can see that it's three different red, green, and blue noises superimposed. And I'm just taking the first channel of that and using it as a grayscale. Now the question comes up, what is the size of this sample? If I go back over to the Material node, it'll update. We really don't have any idea of what the scale of this is and we actually can't even check that or change it in the Slate Material Editor.