| Preface |
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xi | |
| Acknowledgments |
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xiii | |
| The Authors |
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xv | |
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Section 1 Introduction to mental ray |
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3 | (92) |
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3 | (2) |
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5 | (16) |
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5 | (1) |
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Preparing the Units in the Scene |
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5 | (1) |
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6 | (1) |
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Configuring Modifier Sets |
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6 | (1) |
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7 | (14) |
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21 | (32) |
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21 | (1) |
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ProMaterials and Arch & Design Materials |
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21 | (1) |
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22 | (1) |
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23 | (1) |
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24 | (1) |
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25 | (1) |
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26 | (1) |
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27 | (1) |
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ProMaterial Metallic Paint |
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28 | (1) |
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29 | (1) |
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ProMaterial Plastic/Vinyl |
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29 | (1) |
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30 | (1) |
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31 | (1) |
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32 | (1) |
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33 | (1) |
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33 | (5) |
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38 | (10) |
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38 | (1) |
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39 | (5) |
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44 | (1) |
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45 | (1) |
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Advanced Rendering Options |
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45 | (2) |
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Fast Glossy Interpolation |
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47 | (1) |
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47 | (1) |
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48 | (1) |
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Ambient/Reflective Occlusion Map |
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49 | (1) |
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50 | (3) |
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53 | (20) |
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53 | (1) |
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Interior Lighting Concepts with mental ray |
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53 | (3) |
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Parameters in Final Gather |
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56 | (6) |
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56 | (6) |
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62 | (1) |
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Parameters in Global Illumination |
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62 | (2) |
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64 | (1) |
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64 | (2) |
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Exterior Lighting Concepts with mental ray |
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66 | (1) |
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67 | (2) |
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69 | (4) |
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73 | (22) |
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73 | (1) |
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73 | (1) |
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74 | (1) |
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75 | (1) |
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76 | (3) |
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Network and Distributed Bucket Rendering |
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79 | (1) |
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79 | (5) |
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84 | (1) |
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Distributed Bucket Rendering |
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84 | (4) |
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88 | (1) |
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88 | (7) |
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Section 2 The living Room |
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95 | (38) |
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95 | (2) |
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Preparing Materials for an Interior Space |
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97 | (20) |
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97 | (1) |
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Preparing the Units in the Scene |
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97 | (1) |
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97 | (2) |
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Working on the First Material |
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99 | (4) |
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Working on the Sofa Material |
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103 | (3) |
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Working on the Floor Material |
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106 | (3) |
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Working on the Glass Material |
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109 | (4) |
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Working on the Metal Material |
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113 | (4) |
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Artificial Lighting in an Interior Space |
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117 | (16) |
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117 | (1) |
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Preparing the Units in the Scene |
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117 | (1) |
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Adding Lights to the Night Scene |
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117 | (3) |
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Using Material Override to Quickly Analyze Lighting |
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120 | (3) |
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Creating a Glow Material to Illuminate the Scene |
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123 | (5) |
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Adjusting the Effect of Indirect Illumination on a Material |
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128 | (1) |
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Creating a Material for the Ceiling Lights |
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128 | (1) |
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Creating a Final Render of the Scene |
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129 | (4) |
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Section 3 The Photomontage |
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133 | (66) |
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133 | (2) |
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135 | (16) |
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135 | (1) |
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136 | (1) |
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Enhancing the Initial File |
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136 | (1) |
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136 | (5) |
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Creating a Satined Metal Material for the Window and Door Frames |
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141 | (1) |
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Creating a Glass Material for Windows and Doors |
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142 | (1) |
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Creating a Sky Material for Reflective Planes |
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143 | (2) |
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Creating a Material for the Ceiling Lights in the Office Building |
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145 | (2) |
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Creating a Metallic Material for the Stone Wall Details |
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147 | (4) |
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151 | (38) |
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151 | (1) |
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151 | (1) |
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151 | (1) |
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Adding the Viewport Background |
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152 | (1) |
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Matching the Sun Direction |
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153 | (3) |
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Matching the Sun's Intensity |
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156 | (1) |
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Matching Material Brightness |
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157 | (2) |
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Creating the FG Map File to Save Render Time |
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159 | (2) |
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Working on the Stone Material |
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161 | (1) |
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Changing the Material for the Door and Window Frames |
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162 | (3) |
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Adjusting the Building Reflection Materials |
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165 | (1) |
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Adjusting the Reflective Glass |
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166 | (1) |
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Adjusting the Tree Material |
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167 | (1) |
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Adjusting the mr Physical Sky |
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168 | (2) |
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Setting up the Rendering Settings |
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170 | (2) |
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Beginning the Photoshop Process |
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172 | (3) |
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Adding Additional Masks for Foreground Elements |
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175 | (3) |
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Modifying the Image to See the Entire Building |
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178 | (11) |
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189 | (10) |
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189 | (1) |
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Gathering Data for the Views |
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189 | (2) |
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Working with the Survey Data in 3ds Max Design |
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191 | (5) |
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Accurate Visual Representations |
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196 | (3) |
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199 | (42) |
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199 | (2) |
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Materials in the Atrium Scene |
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201 | (16) |
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201 | (1) |
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201 | (1) |
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Working on the Floor Material |
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201 | (5) |
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Working on the Marble Material |
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206 | (2) |
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Working on the Metal Material |
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208 | (2) |
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Creating the Glass Material |
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210 | (1) |
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Creating a Glow Material for Light Lenses |
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211 | (3) |
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Materials and mr Proxy Objects |
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214 | (3) |
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Lighting the Atrium Scene |
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217 | (24) |
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217 | (1) |
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217 | (1) |
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217 | (1) |
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Creating the Daylight System |
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218 | (4) |
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Adding Sky Portals to Brighten the Scene |
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222 | (3) |
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Adding Interior Artificial Lights |
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225 | (5) |
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Controlling the Brightness of the Image with Exposure Control |
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230 | (1) |
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Adding Clouds to the Sky Background |
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231 | (3) |
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Creating a Final Gather Map File |
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234 | (2) |
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236 | (1) |
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237 | (4) |
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Section 5 mr Physical Sky |
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241 | (24) |
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241 | (2) |
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Working with the mr Physical Sky Shader |
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243 | (22) |
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243 | (1) |
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Controlling the Daylight System |
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243 | (3) |
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Mr Physical Sky and the Sun Disk |
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246 | (2) |
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Moving the Sun to a Desired Location |
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246 | (2) |
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The mr Physical Sky Shader |
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248 | (10) |
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Sun Disk Appearance Group |
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249 | (3) |
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252 | (3) |
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255 | (1) |
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Non-Physical Tuning Group |
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255 | (3) |
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Aerial Perspective (When Used as Lens/Volume Shader Only) Group |
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258 | (1) |
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258 | (2) |
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Using a Bitmap Background in mr Physical Sky |
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260 | (3) |
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Daylight Object and the mr Physical Sky |
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263 | (2) |
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263 | (1) |
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263 | (1) |
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264 | (1) |
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264 | (1) |
| Index |
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265 | |