Autodesk 2012 update to 3d studio Max brings big modifies and improvements both under the hood and in the cockpit. 3D World takes a look at the highlights
The Nitrous Graphics method provides a detailed preview of even the most complex scenes in near-real-time
Central features
- Rewritten view-port graphics engine
- Photometric rendering engine
- Nvidia PhysX-based rigid-body dynamics
- Stylised display of scenes in view-port
- Library of procedural real-world textures
Autodesk is continuing its Excalibur (XBR) re-write of 3d studio Max, and the 2012 release benefits from a few of the fruits of this ongoing project.
Finally, you can feel a real difference from earlier versions.
Two immediately noticeable developments are that the program startup time has been reduced and the default UI, while still the same easy-on-your-eyes dark grey as 2011, now has colored buttons and icons, creation them much easier to read.
Feature-wise, this release has a big list, at the top of which is the Nitrous Graphics Core, so that’s where I started exploring in depth.
I dusted off an old scene using Particle Flow to make grass. Then I used the Mesher to convert the particle system grass to polys and instanced those around the scene, which weighs in at about 3.5 million polys.
Even with realistic shading, scene shadows and lights turned on, there was no lag at every when panning and tumbling around the scene.
Textures, specular highlights… it’s each there. The shadows took about 1-2 seconds to resolve over the grass, but there was none of the geometry dropping out and then refreshing like in 2011.
You can add as a lot of lights as you want and adjust your lighting setup without endless render tests to get shadows to fall just so.
Stylistic rendering
When presenting a design idea to clients, you’ve no doubt had ones who get caught up on the fact that all is grey, or they see real textures and think they aren’t going to have every input. Stylistic Rendering addresses this problem.
Color Pencil lets you communicate the color palettes to the client without having to invest the time to set up photo real renders or physically accurate materials.
Now you can express the general feel of your design intent without them getting stuck on which brick or stone example you’ve used; or you can load carpet patterns to show a little more detail but avoid the time-heavy displacement when rendering.
To avoid getting into colors, Graphite is excellent for showing easy massing and layout, while Color Ink offers richer and more accurate color than Color Pencil.
The results can be saved via Tools & Grab View-port or rendered out for superior shadows.
Try combining Color Ink with Graphite in a compositing package for even more custom looks.
The just downside is you have little control over the parameters of the filter. It also works with Scanline and Quicksilver renderers.
The new range of Substance Procedural Textures will enable FX and game artists to rapidly and efficiently texture scenes without the need for massive texture files.
Also, there are several procedural noise maps that will enable those equal artists to blend and create layered textures in a few latest ways.
high-class non-repeating wood grain has always been difficult, but it’s quite straightforward in 3ds Max 2012.
Even wood plank flooring with randomised contrast and saturation is rapidly generated.
However, if you’re trying to do something specific with wood planks or bricks, you may find these to be limited.
extra procedurals and an editor to turn photos into fresh tileable textures are available to buy online, and a free exporter will let you generate texture maps from the existing procedural library.