vy’s are designed to grow in scenes with real-world scale !! ivy’s don’t look that nice on a 500m tree…  so, try to use this max-feature… growing an ivy is actually as easy as writing a plugin ) it’s even more easy if you read what’s written below… 1) plant an IvyRoot 2) hit the “Grow” button 3) watch it growing in your viewport 4) stop growing by hitting the “Grow” button again 5) a Multi/Sub-Object Material is already assigned for mapping your ivy 6) want a grow-animation ? – set keyframes for the ivy age version 0.76b changes: - increased ranges for spinners (request) - 3ds Max 7/8 version (request) - better leaf-orientation algo, i think… version 0.8b changes: - load/save presets (requested) - variable vertex colors by leaf-age (requested) - fixed: when changing cs-distance branches were too thin version 0.81b changes: - increased ranges for spinners again (request) version 0.82b changes: - fixed: when using backburner ivys were moved to world center - fixed: crash when deleting a growing ivy version 0.9b changes: - fixed: non-visible deselected ivy at age=0 (since 3ds max 2009) - fixed: bug in preset-loader (leaf-size was never read) - fixed: bug in root-mesh creation (diameter of crossections was wrong for last 3 nodes of a branch) - fixed: branches had flipped uv’s - removed: “visible edges” option (produced too much confusion) - new: age can be adjusted beyond iterations of growth, age is shown in bold if above iterations - new: pickable leaf geometry (any geom. object, helpers or linked geometry with materials and multiple map-channels) - new: transform override for referenced leaves version 0.91b changes: - fixed: crash when clicking in viewport while ivy is growing version 0.92b changes: - fixed: when a leafmesh is crated before an ivy which is using it, 3ds max crashed on exit version 0.93b changes: - new: aspect for branch crossection - fixed: bad multithreading bug, now it should realy use all your cores, and should be faster too - no more support for 3ds max 7 and 8 !!
	ok, lets grow one… first you need to place an ivy-root into your scene, but where to find this thing ?

go to “Create” panel  - choose “Geometry”  - select “Guruware” from the list  - check “AutoGrid”  - select the “gwIvy” object  -
	add the object somewhere in your scene, the ground is a good place for an Ivy-Root, but you can put it anywhere you want, only make sure its not below a face (it won’t grow through backside of faces) you can move an exiting ivy in your scene, rotate and scale won’t work (as designed) if it should grow up, you need to place it near a wall, or it will mostly creep around on the ground (if there is one) if you have a real-world scaled scene, you don’t have to change any parameters in the “Grow-Params” Rollout this bunch of spinners are only for fine-tuning the grow-process – should be obvious what they do… if your scene is not scaled correct (real-world), you will have a hard time figuring out working values
	- max. grow-size per iteration - amount of growing up - amount of last grow-direction - random influence - gravity influence – usually down:) - adhesion strength (attraction to mesh) - max. distance to mesh where adhension will influence growth - branching probability - max. floating length of a branch before it will die - variation of max. length - max. number of parents (0 = just one branch without child-branches) - some seed for the randomizers - number of threads to use when growing – up to cpu’s/cores of your system - start/stop grow process - age of grown ivy (used iterations), the one and only aniamteable parameter - stop grow at specified age (when enabled), so you can go for a coffee while it grows - live branches of ivy, only live branches are growing - nice to see how long it took…
	now hit the “Grow” button and watch magic at work while it’s growing you can still navigate in your viewport (as long as you don’t deselect the growing ivy), or setup your materials, or whatever…

after growing you might want to adjust some mesh parameters to give it the look you want
	size of an ivy branch (radius) - random seed - (for leaf distribution/orientation) size of leaves - - number of branch-sides - aspect for crossection - distance of crossections (to reduce face-count) - add some chaos to the leaf-orientation - density of leaves on a branch
	here you set visibility of ivy-branches and leaves for viewport AND rendering
	- Main Branch: the first branch having no parents - Old Branches: branches with parent- and child-branches - Young Branches: branches with parent-branches only - smooth branch-mesh
	when you create an ivy a Multi/Sub-Object Material is already assigned to it gwIvy01 has material IvyMaterial01 asigned, gwIvy02 has material IvyMaterial02, etc… open the material-editor and pick the material from the ivy using the eye-dropper ivy-textures can be found at Thomas Luft’s Ivy Generator page the used images for such leaves are “pointing down”, most textures for leaves are pointing up for me leaves are hanging down from plants… and Z is up – but that’s another story
	you get a material with one slot for the branches and 12 slots for leaves (you don’t need to use all of them) each leaf-material got a RGB Multiply map, with the diffuse leaf texture and a Vertex Color map on creation of an ivy 2 maps are generated for you (_ivy_d.tga and _ivy_o.tga) this textures are put into the first foud map directory (usually maxRoot/maps), they will be your standard textures for each new created ivy this 2 maps are not overwritten when they are already available, so you can exchange them with your own default leaf textures in the ivy’s texture-rollout you set how to apply the branch texture, number of the leaf-materials, the amount of each leaf-material to use, and vertex colors for each leaf material
	- usage of vertexcolors on/off - defines the height of the used texture, tiled along a branch - rotation of branchtexture (in degrees) - number of texture-twists along a branch - random seed for leaf-material distribution - number of leaf-materials to use - amount of leaf-material #1 and vertex colors - amount of leaf-material #2 and vertex colors - amount of leaf-material #3 (last used leaf-material is calculated) and vertex colors - amounts for old branches and vertex colors - amounts for young branches and vertex colors - update leaves after adjustments uncheck auto-update below if you have a heavy ivy-mesh and things get slow - auto-update leaves when adjusting spinners
	you can copy vertex color settings between leaf materials by drag/drop from one vertex-color button to another or swap settings by holding down CTRL while doing this drag/drop (without an annoying dialog asking you what to do)
	this dialog appears when clicking on one of the vertex-color buttons next to the ammount spinners
	- tells you which leaf-material you are working on - Color variation (different for each color below) - Color space where variation takes place (RGB or HSV) - R or H – variation - G or S – variation - B or V – variation - Color setting by leaf-age, again… leaf-age, NOT ivy age !!! this way you can have the leaves change color while the ivy grows older the possibilities are… … not endless, but there are some - on: tuns usage of this color setting on/off - age: the leaf-age when this color is to be used the color is interpolated between the prev. color and this one - color: well… the color - pL: use this color per leaf when off, each vertex of a leaf will get a different color
	some notes on usage: to make this work, turn on “Use Vertex Colors” in Texture-Rollout open material-editor and disable all maps in viewport (can be found in mat-edits menu) now you should see the colors change on the leaf quads if you want to see you leaf with opacity in viewports, you have to uncheck the corresponding diffuse-map in material-editor – a “global-diffuse-off-switch” in texture-roolout would turn off all diffuse-maps in your scene, that’s why there is no such switch in the ivy-rollouts variations and colorspace for each color can be different (except for Hue) try to avoid using Hue-variations when animating when turning off the pL-switch for a vertex color, do this for all used colors make sure “Redraw Scene On Window Expose” is ON, or you get no viewport-response when changing colors
	here it is, the highly demanded custom leaf geometry… happy now ?
	- on/off using this geometry (if not, internal leafquad is used again) - pick-button to pick your custom leaf geometry - on/off transform override – double-click opens “transform dialog”
	pick any geometry object or helper in your scene to use as leaves (including linked children), nurbs also if you wish… the current ivy-material is updated, including all used map-channels on references this references can be animated, eq. you can add growing bananas onto your ivy, or bipeds… or add some animated noise to a leaf geometry to simulate wind… leaf-size in mesh-rollout will have no effect on leaf-references, also vertexcolors from texture-rollout are not used, vertexcolors have to be set on the used reference (if needed) you can copy transform settings between references by drag/drop from one transform button to another or swap settings by holding down CTRL while doing this drag/drop (without an annoying dialog asking you what to do) take care what you do… using a 10.000 poly mesh as a leaf for 50.000 leaves on the ivy is not working so good
	this dialog appears when double-clicking on one of the tranform buttons in LeafMeshes rollout
	- tells you which leaf-reference you are working on - tanslation and variations for a reference - use local leaf-space or word space - rotation and variations for a reference - relative or absolute rotation - scale and variations for a reference - use local leaf-space or word space
	should be obvious what this one does…
	- Load and Save of Presets
	each and every value is stored in such a preset, including vertexcolor settings and transform overrides
	additional notes: ivy’s shouldn’t grow on windows, correct ? to inform the ivy of such situations you have to freeze your window-meshes this way such a frozen mesh will still be used for collision-detection, but the branches will die there faster than on unfrozen meshes if you have a modifier applied to an ivy you won’t see it growing in viewports (no mesh is generated while growing) to speed-up growing: - turn off “Use Selection Brackets” - hide all objects where it won’t grow anyway, too much faces in your scene will slow down the grow-process - whenever possible split big meshes into some smaler ones, but having 10.000 objects also doesn’t help much - disable all modifiers you might have on top of an ivy-object if the ivy isn’t growing the way you want, you can stop growing any time, adjust age and/or grow-params and start growing again having any questions ? – feel free to ask (you will see my e-mail addr. when clicking on the donate-button) you don’t have to donate at this point, it just keeps me from geting spamed… and now… have fun!

Copy from http://www.guruware.at/main/

In this tutorial, we will create many basic materials very useful explaining step by step what to do. This materials are plastic, wood, chromed metal, glass, metallic paint, water and velvet.
We will use VRay, but this tutorial can be followed by another render engine users, as finalRender, Brazil or MentalRay.

To get advanced of this tutorial, we must know many concepts:

• Color: chromatic shade of an object. We can use a only color, or a bitmap.
• Specular highlights: bounce of the light come from a luminous emitter. The rougher (surface) the refracter (light over it). The most used are the Blinn (plastic, wood, almost every material), Anisotropic (CDs, or similar) and Multi-Layer (more attractive).
• Opacity: level of transparency of an object. It can be configured with a value (%) or with a bitmap.
• Reflexion: feature of many object to reflect the light. It can be set up with a percentage, and the glossiness.
• Refraction: feature of the transparent materials or translucent to change the trajectory of the photons which pass through it, distorting the image seen through them. The amount of variation of the trajectory is determined by the Index of Refraction (IOR).

Once explained this concepts, and before to start the “nice” part, we are going to see how to do a very useful effect which we will use in almost all the materials: the “Fresnel reflection”.

The “Fresnel reflection” is a kind of bounce of the light which only works in the perpendicular parts of the objects (with the camera). Is the realest for plastics, glasses, porcelain, etc.

To do this effect is more or less easy:

1. Add to the “Reflection” a “Falloff” map.

2. Select as kind of “Falloff” the “Fresnel” one.

3. Do “clic” on the “NONE” button of white color, and add there “VRayMap”. If we use another render engine we will use the respective raytrace map, or the “Raytrace” for the scanline render.

4. The “Fresnel” reflect is done. If we want to blur the reflect, we only need to turn the “Glossy” check box on, and try with differents values of the Glossiness.

Once seen this, we are prepared to begin with our materials.

• Matte plastic (Standard Material)

1.      Assign a color simple (Diffuse) or a picture (Bitmap). This will be the color of our object.

2.      Use a white specular color, with a low intensity (Specular Level = 20 – 30) and diffuse enough (Glossiness = 10 – 20).

3.      To improve the final look we can use a “Fresnel” reflect very blurred.

• Polish plastic (Standard Material)

1.      Assign a color simple (Diffuse) or a picture (Bitmap). This will be the color of our object, as in the matte plastic

2.      Use a white specular color, with a high intensity (Specular Level = 200 – 500) and very sharp (Glossiness = 85 – 95).

3.      Apply a clear “Fresnel” reflect.

• Wood (Standard Material)

1.      Use a picture (Bitmap) as the image of the wood we wanted, or the procedural material of the MAX called “Wood”. Is adviced to use a bitmap because of the realism of this one (though if we get a good procedural we won’t need to add a mapping to the wooden objects. In both cases, is used to be needed a desaturation (use as “Diffuse” a grey color (128,128,128) and change the percentage of the bitmap (or procedural) to 80 – 90%).

2.      Change the color of the specular to amber or similar, of low intensity (Specular Level = 20 – 30) and very  widespread (Glossiness = 10 – 20). It can be improved with a “Multi-Layer” specular, as in the example.

3.      We can simulate the bump copying the “Diffuse” map to the “Bump” box. The intensity will be changed depending on the contrast of the “Diffuse” map. Try different levels of bump until it works.

4.      If the wood is recent varnished, we will use a sharp “Fresnel” reflect with a 70 – 90% of intensity. If the wood is matte or if the object is old, we can use the “Glossiness” option in a “Fresnel” reflect with a  50 – 70 % of intensity.

• Chromed metal (Standard Material)

1.      To get a not too bright reflect, we must use a dark “Diffuse” color (dark grey or black).

2.      The specular will be white and very sharp (Glossiness = 85 – 95) and with a huge intensity (Specular Level = 200 – 500). It can be enhanced with the “Multi-Layer” specular, as it is in the example.

3.      Apply a common reflection (not “Fresnel”) set to 100%.

NOTE: the “quality” of the chromed depends COMPLETELY on the environment that surrounds the object. The richer environment (a finished 360º complete and full scene), the better result.

• Glass (VRayMtl Material)

We are going to create this material using the “VRayMat” of the VRay render engine. Doing that we will see the facility of using this new material.

1.      In the “Diffuse” color select a very dark color (better black), to avoid the bright reflecfts.

2.      Change the black color of the “Reflect” (no reflect) with white (maximun reflection). Activate the “Fresnel reflections”  (easier than standard way seen before).

3.      The refraction works exactly the same way of reflection. Change the black color (no refraction) with white (maximun refraction).

VERY IMPORTANT: to get a “real” glass, we must use the specific Index Of Refraction (IOR) of the glass (1,52 more os less). If we use another value the effect will be wrong.

Also, we can do variations of this glass as the following ones:

Tinted glass: the glass can be tinted with the color we want. We only need to do some test to get the exactly tint effect, due to the thickness of the object. To get this, change the white color of the “Fog color” with the desired and change the “Fog multiplier” until we get the wanted tint amount.

* Not flat glass: this is a very interesting glass, and can be used in screens, windows, etc. We only need to use a bump map. In this case, it’s made with a noise map in the “Bump” button.

* Acid glass: it could be a variation of the last material, but with a very small size of noise. To do this we don’t need a bump map, because the VRayMat has an option to get this effect. We only need to activate the “Glossiness” value from 1 (perfect glass with no distortions) to the value we want (0,8 is the value of the example). The smoothness of this effect depends on the “Subdivs” value: the higher the smoother (but it increase the render time).

• Metallic paint (Standard Material)

1.      In the “Diffuse” color button add a “Falloff” map (due to the effect of the real metallic paint) not a basic color. Once into the “Falloff” options, change the first color with the desired color of the object (blue, red…) and the second one with a very darker version of the first color, or even black.

2.      To enhance the specular shine use a “Multi-Layer” one (it is a mix of two specular shines). The first specular must be a white one, very intense (Specular Level = 300 – 500) and very sharp (Glossiness = 90 – 95). The second specular must be of the color of the object, but brighter, and diffuse enough (Glossiness = 15 – 30), and its intensity will be controlled by a “Celullar”, “Noise” or similar map, but always using a very small size. This way we can get the “grease” effect.

3.      Apply a “Fresnel” reflect (in the metallic paint case, we can use a 20% common reflect).

• Water

At the begining, we must think about wwhat kind of water we need, transparent water (if we are going to see what is under the sea), or opaque one (if we only want it refrecl). If we need transparent water we will use a “VRayMtl” material due to the possible problems with the shadows if we use a “Standard” one.

• • Transparent water (VRayMtl Material)

1.      To avoid the bright “Fresnel” reflects we will use the black as the “Diffuse” color.

2.      Change the black of the “Reflect” box to white and check the “Fresnel reflection” on.

3.      Also, modify the black box of the “Refract” to white (total refraction). The Index Of Refraction (IOR) must be 1,33.

4.      We get the relief using a “Noise” map (“Regular” or “Fractal” as we want).

NOTE: is very important to activate the “Affect Shadows” checkbox of the “VRayMtl” material to process correctly the color.

(changing the size of the “Noise” map)

• • Opaque water (Standard Material)

1.      The “Diffuse” color will be a lightly desaturated blue (relatively next to grey) and dark enough (the blue of the example is RGB: 28, 48, 58).

2.      A nice specular shine is made using the “Multi-Layer” one. The primary specular will be a white one, of a high intensity (Specular Level = 200 – 500) and very sharp (Glossiness = 85 – 95). The secondary specular will be light blue, with not too much intensity (Specular Level = 20 – 35) and very diffuse (Glossiness = 20 – 30).

3.      Use a “Fresnel” (remember the “Falloff” technic) reflect in the “Reflect” button.

VERY IMPORTANT: similar to the chromed effect, the water quality depends directly on the environment. If we can’t get a nice reflect, we could use a bitmap to get a reflect different to the real one. You can get this with the “Reflection/refraction etc environment” – “Override MAX’s” VRay’s option in the render engine configuration window.

• Velvet (Standard Material)

1.      The key of this material is it’s color, because the lack of specular shine, reflect or similar. The appropiate effect is produced by the “Falloff” material applied to the “Diffuse” button. The upper color of the “Falloff” material will be garnet (in this case), and the lower one pink (not pastel pink).

2.      Though the effect would be almost achieved, we could improve it adding a little “Noise” to the “Bump”. It must be very little and fractal.

Selection of the original table of Jon Reynolds about Reflect and Refract values

Download

ivy_generator_Win32.rar (4,259 KB) ivy_generator_Win32_1.3.rar (4,259 KB)

ivy_generator_MacOSX.zip (10,565 KB) ivy_generator_MacOSX_1.2.zip (10,565 KB) ivy_generator_MacOSX_1.3.zip (8,797 KB)

ivy_generator_Linux_qt4_1.3.tar.gz (2,873 KB)

ivy_generator_Textures.zip (7,006 KB) set of textures including normal maps etc., kindly provided by Tim Ellis (sonix(at)btconnect.com)

Ivy Generator tutorial explains first steps using the Ivy Generator, kindly provided by Mark Dunakin (MD arts)

Ivy Generator & Blender tutorial (at 4shared.com) explains how to use the Ivy Generator in combination with Blender, kindly provided by Tim Ellis (sonix(at)btconnect.com)

More images about Ivy Generator

Vào bảng render (phím tắt F10) Bạn set thông số theo bảng ở dưới nhé.Bạn nhớ là thông số min,max càng lớn thì render càng chậm nhé.bạn nên thử thông số nhỏ trước rồi hãy tăng theo ý thích .

Một số bạn muốn tạo ra chất liệu trong suốt trong vray nhưng không hiểu hết về những thông số cơ bản trong vray nên không làm được,để làm được chất liệu nào đó bạn phải hiểu những đặc tính của chất liệu rồi sau đó hiệu chỉnh thông số cho phù hợp,ví dụ: bạn muốn tạo ra chất liệu thủy tinh bạn phải hiệu chỉnh về thông số Reflection và reflaction,chất liệu nhưa thì phải chỉnh thông số deffuse,thông số Refl.Glossines v.v…,và hôm nay mình sẽ chỉ cho các bạn các tạo ra chất liệu “kính” trong vray với những thông số cơ bản,Có rất nhiều loại chất liệu kính,nhưng hôm nay mình sẽ chỉ cho bạn làm ra 3 loai chất liệu kính thường sử dụng là: kính trong suốt (dùng trong cửa sổ,mặt bàn), kính trong suốt có màu(dùng trong chén,bình hoa v.v…) và kính đục mờ (dùng trong cửa sổ phòng tắm.),trong thời gian tới mình sẽ hướng dẫn các bạn tìm hiểu căn bản về nhưng thông số trong bản chất liệu,còn hôm nay mình chỉ hướng dẫn các bạn hiệu chỉnh những thông số cơ bản trong bảng chất liệu,bạn chỉ cần làm theo thông số đó là sẽ ra.Bây giờ ta bắt đầu làm
1.Chất liệu kính trong suốt.(bạn quan tâm tới thông số Reflection(phản xạ),Reflaction(khúc xạ)),bạn mở bản chất liệu (phím tắt M)và chọn cục chất liệu VrayMtl

tiếp tục bạn kéo xuống dưới và chọn:
- diffuse color là đen hoàn toàn (RGB 0,0,0)
-Reflection color và Reflaction color là trắng hoàn toàn (RGB 255,255,255)
-tiếp tục bạn check vào thông số Fresnel reflection,và chỉnh thông số IOR là 1.52

như vậy bạn đã có chất liệu kính trong suốt,
*Chú ý: bạn phải chỉnh thông số IOR là 1.52 thì mới có thể tạo ra chất liệu kính trong suốt và render mới có thể trông như thật được.

2.Chất liệu kính màu
Bạn tương tự như kính trong suốt nhưng chuyển màu Fog color sang màu bạn yêu thích ở đây mình chọn màu vàng
xem hình dưới

3.Chất liệu kính đục mờ
-làm cũng tương tự như kính trong suốt nhưng bạn thêm map noise vào trong bump xem hình dưới

( Theo blog Ha The Duc)

Share thêm cho ai muốn tự học 3dmax nè ^^!!!

	dung hình voi polygon 1.rar (729.8 KB, 763 lần tải)
	dung hình voi polygon2.rar (935.6 KB, 700 lần tải)
	dung hình voi polygon3.rar (840.0 KB, 636 lần tải)
	dung hình voi polygon4.rar (980.1 KB, 611 lần tải)
	dung hình voi polygon5.rar (919.3 KB, 658 lần tải)

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