From the course: 3ds Max: Tips, Tricks and Techniques
Rendering motion blur in Arnold - 3ds Max Tutorial
From the course: 3ds Max: Tips, Tricks and Techniques
Rendering motion blur in Arnold
very interesting tools for controlling motion blur for both realistic renderings and special effects. I've got a very simple animation of a fast moving flying saucer that will be a good candidate for showing off the motion blur effects, especially, in this close up view here. Let's park the timeline on frame 14 Increasing the number of samples is the only way to remove grain from the motion blur, and in this case, because I'm doing some test renderings, I'm actually going to knock the number of samples down to two just to speed those test renders up. Let's do a render with no motion blur just for comparison. Click the Render button and here it is with very clearly defined edges. Let's enable motion blur, scroll down in the Arnold Renderer tab until you find the motion blur roll out. Here it is. The default is to respect the physical camera settings. You can control the motion blur effect from the physical camera itself and I cover that in a course called 3ds Max Cinematography for Visualization. Here, we want to explore the unique properties of Arnold and see what it can do that the physical camera cannot. One of these three general switches has to be enabled to get any motion blur. I want to use Transform Keys. So, disable Respect Physical Camera Settings and enable Transform Keys. Transform Keys or Deform Keys will set the number of time sub-samples during the period the virtual shutter is open, and this object isn't changing shape, so we don't need any deform keys at all. For simple motion, such as this, we only need two transform keys. One when the shutter opens and one when it closes. If the object were moving in a very obviously curved trajectory, we might need to increase the number of transform keys to better resolve that curvature, but here the object is moving in a nearly straight line. So, we only need two transform keys. Well, that is the Motion Blur Time Span and the default length is .5 frames. The default behavior is to center the samples on the current frame or precisely at the current frame. Let's do a render with just default parameters, see what that looks like. Here's the result with a physically plausible shutter time of half a frame. For demonstration purposes, to make these different options more obvious on the screen and also for a cool special effect, I'm going to set the length of the shutter to be two frames, and now we should see a much more exaggerated motion blur. Do another rendering. With that highly exaggerated motion blur length of two frames, we can better visualize these other options. Over here, we have a pull down list, and it's defaulted to Center on Frame. In the rendering, we can see that there is blurring both ahead and behind the current frame. So, if we compare that to the viewport, the saucer is right about here, and we're getting motion trails behind it and ahead of it. If we switch this over to Start on Frame and do another rendering, we'll see something a little bit different. We see blurring only ahead of the current frame, so here's the location of the saucer on frame 14 and we have trails kind of ahead, while preceding the current frame, and the third option over here is End on Frame, which is what I really want and that's going to cause motion blur only after the current frame. We've got our saucer right here in the center of the frame and some trails behind it. So, that's the most basic way to control the shutter, but that is just the beginning because the length of the shutter and where it begins and ends, are not the only factors 'cause in the Shutter Behavior section below it, there is a function curve here, and that 2D graph allows us to vary the density of samples for the motion blur over the course of time, With a start value of negative two and an end value of positive two, the samples are distributed with half of them before the current frame, and the negatives down here, and half of those samples after the current frame, in the positive zone, but our motion blur time span is set to End on Frame, and that means there are no transform keys after the current frame, and so, there is no motion between the current frame and the next one. So, the shutter stays open and half of the samples are concentrated on that period. The result is that the current frame dominates the rendering and the sub-sampled motion blur before the current frame is diminished in intensity. And we can change that balance by adjusting the end value here. We can set end to a lower value, like .05, and that will cause it to be a bit less distinct. If we want it to be very, very distinct in that leading edge there, we can set the end to a high value, like five frames, and now, we're concentrating the vast majority of the samples on frame 14, and the time period before frame 14 is not getting very much sampling. Okay, so that's one way to do this. There's another way, which is using the function curve itself. We'll set the shutter behavior back to Auto, so the extents of this function curve will match the parameters in the motion blur time span. Now, we can isolate the effects of the shutter function curve, itself, and by default, this curve is disabled or grayed out, and that's because the default shutter type here is box. Shutter type gives us another way to adjust the weighting of samples. So, by default, with the box filter here, samples are spread out equally over the shutter curve extents, and during the period defined by the shutter behavior, start, end, or the Auto mode here, the samples are all weighted equally, and the equal weighting of samples, called the box filter, gives us a technically physically correct result, but we can change this up. First of all, let's see what it looks like with just the box filter. The physically accurate box filter gives us pretty well defined edges here at the trailing and the leading edges. And we can soften that up by using a different filter. So, let's make a clone of this rendered frame window so we can compare it. Got this, set this off to the side, and switch the shutter type over here to triangle. Okay, and do another rendering, see what that looks like. see what that looks like. With the triangle filter, With the triangle filter, the weighting of samples is not constant the weighting of samples is not constant across the function curve or the shutter period. across the function curve or the shutter period. Samples will increase linearly Samples will increase linearly from the beginning of the period from the beginning of the period and reach the peak at the middle of the period, and reach the peak at the middle of the period, and then, decrease linearly and then, decrease linearly to the end of that period, to the end of that period, resulting in softer edges to the blur, resulting in softer edges to the blur, and you can kind of see that here. and you can kind of see that here. This is a little bit softer This is a little bit softer than in the box filter version, than in the box filter version, and of course, higher camera samples and of course, higher camera samples will help resolve that even better. will help resolve that even better. And then finally, we have the ability And then finally, we have the ability to create a custom curve and concentrate those samples to create a custom curve and concentrate those samples anywhere we want. anywhere we want. So, let's close the rated frame window, So, let's close the rated frame window, go over to the shutter behavior go over to the shutter behavior and set the shutter type to Curve, and set the shutter type to Curve, and now, we have an editable function curve. and now, we have an editable function curve. I'm going to change this up a little bit I'm going to change this up a little bit using the default move to, I'll take this last point using the default move to, I'll take this last point and bring it up to its maximum of one. and bring it up to its maximum of one. This third point over here, This third point over here, I'll bring that a little bit closer, I'll bring that a little bit closer, and then, this second point here I'll bring and then, this second point here I'll bring to create this kind of tail. to create this kind of tail. So, what I'm doing here is I'm saying I want lots of samples here. So, what I'm doing here is I'm saying I want lots of samples here. The number of samples or the weighting of samples The number of samples or the weighting of samples is the vertical dimension, is the vertical dimension, and the time is the horizontal dimension, and the time is the horizontal dimension, and what we're doing here and what we're doing here is we're steadily increasing the number of samples is we're steadily increasing the number of samples across nearly two frames in this case. across nearly two frames in this case. And then, just before this shutter closes, And then, just before this shutter closes, we're going to take a lot more samples. we're going to take a lot more samples. Alright, so let's see what that looks like, click Render. Alright, so let's see what that looks like, click Render. Alright, very cool. Alright, very cool. Well, you've concentrated most of the samples here, Well, you've concentrated most of the samples here, and the leading edge are just before the current frame. and the leading edge are just before the current frame. That's how to use the Arnold motion blur tools, That's how to use the Arnold motion blur tools, both for physically plausible results both for physically plausible results and special effects, such as, trails behind objects. and special effects, such as, trails behind objects.
Practice while you learn with exercise files
Download the files the instructor uses to teach the course. Follow along and learn by watching, listening and practicing.
- Ex_Files_3DSMax_Q1_2018.zip
- Ex_Files_3DSMax_Q1_2019.zip
- Ex_Files_3DSMax_Q2_2018.zip
- Ex_Files_3DSMax_Q2_2019.zip
- Ex_Files_3DSMax_Q3_2017.zip
- Ex_Files_3DSMax_Q3_2018.zip
- Ex_Files_3DSMax_Q4_2017.zip
- Ex_Files_3DSMax_Q4_2018.zip
- Ex_Files_3DSMax_Q3_2019.zip
- Ex_Files_3DSMax_Q4_2019.zip
- Ex_Files_3DSMax_Q1_2020.zip
- Ex_Files_3DSMax_Q2_2020.zip
- Ex_Files_3DSMax_Q3_2020.zip
- Ex_Files_3DSMax_Q4_2020.zip
Contents
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Modeling a floor plan from a 2D drafting document13m 36s
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Modeling terrain with Displace space warp11m 18s
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Projecting UVs with the Camera Map world-space modifier7m 46s
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Capturing shadows with Arnold Shadow Matte map10m 43s
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Rendering compositing passes with Arnold AOVs9m 6s
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Mechanical rigging with IK and the LookAt controller9m 16s
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Modulating animation with Multiply and Ease Curves13m 9s
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Working with audio and the AudioFloat controller12m 8s
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Automating with Expression controllers10m 13s
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Real-time animation with the Motion Capture utility10m 17s
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Stylized rendering with Scanline Ink 'n Paint8m 16s
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Getting started with the Max Creation Graph13m 25s
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Modifying a Max Creation Graph tool12m 27s
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Sculpting a terrain with Texture Object Mask9m 33s
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Building a road with Conform space warp11m 12s
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Shading a landscape with Arnold Curvature14m 59s
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Creating custom attributes with the Parameter Editor9m 1s
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Driving animation curves with the Reaction controller6m 56s
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Rigging a camera-facing matte painting10m 41s
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Aligning a camera to a background with Perspective Match10m 32s
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Projecting a photo to proxy geometry with Camera Map11m 49s
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Automation with wire parameters and manipulators8m 18s
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Converting scenes for different renderers10m 52s
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Rendering light groups with Arnold AOVs10m 11s
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Graphing scene conditions with State Sets Compositor9m 34s
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Introduction to 3ds Max Fluids10m 18s
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Modeling with the Motion Field Space Warp9m 55s
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Non-destructive model adjustment with Linked Xform9m 23s
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Animating sub-objects with Linked Xform10m 11s
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Customize and cycle Path Constraint animation5m 54s
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Generate complex motion with Waveform Controllers10m 56s
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Illuminate a scene with an Arnold Mesh Light5m 49s
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Shading with Maya maps in 3ds Max4m 32s
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Varying shader properties by object with Arnold Color Jitter5m 26s
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Render a mesh object with Arnold Standard Volume9m 47s
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Render a Point Cloud object8m 21s
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Setting track value boundaries with a limit controller4m 5s
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Drawing curves with Freehand Spline8m 41s
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Correcting intersections with Spline Overlap4m 38s
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Reducing curve detail with Optimize Spline6m 42s
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Resampling curves with Normalize Spline8m 44s
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Soft-selecting curves with Spline Influence7m 42s
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Blending curves with Spline Morph12m 15s
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Combining splines with shape Booleans10m 51s
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Approximating global illumination in Arnold13m 10s
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Rendering proxies with Arnold procedurals10m 25s
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Introduction to the Open Shading Language map11m 16s
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Basic syntax of Open Shading Language8m 24s
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Declaring OSL input and output parameters12m 53s
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Generating a fractal noise pattern in OSL9m 25s
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Iterating a for loop in OSL10m 16s
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Using the if… else conditional statement in OSL10m 9s
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Managing OSL file assets and paths10m 8s
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Accelerate Arnold rendering with adaptive sampling5m 59s
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Texturing with the Advanced Wood procedural map11m 2s
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Art directing the Advanced Wood texture map5m 16s
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Setting a fluid initial state9m 19s
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In-camera compositing with Camera Map modifier7m 8s
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Creating animation layers14m 33s
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Collaborate online with shared views6m 14s
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Rendering iridescence with Arnold Thin Film8m 17s
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Loading and saving fluid presets7m 36s
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Introduction to 3ds Max Interactive9m 15s
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Building a motion graphics rig with Data Channel10m 18s
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Creating custom project folder structures8m 28s
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Open Shading Language code editor tips and tricks8m 21s
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Spawning particles from a 3D map11m 18s
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Rendering a starfield10m 21s
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Faking GI with an Arnold ambient occlusion filter9m 4s
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Modeling with the animation Snapshot tool6m 30s
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Rendering particles with Arnold Standard Volume11m 23s
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Render Arnold volume with physical values6m 38s
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Volume indirect global illumination in Arnold7m 56s
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Removing polygon detail with Freeform Optimize6m 26s
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Transform and retime a cache with Fluid Loader7m 25s
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Rendering motion blur in Arnold10m 46s
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Drawing splines on an editable poly2m 48s
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Sketching freeform topology over a polygon mesh6m 17s
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Animating effects with Data Channel Decay6m 54s
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Animating controllers in the Material Editor7m 17s
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Painting a vertex color mask with VertexPaint9m 25s
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Drawing polygon freeform strips5m 17s
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Extruding polygon freeform branches2m 41s
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Interactive ActiveShade in a viewport4m 35s
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Fluid data channels5m 50s
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Displaying fluid data channels9m 56s
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Assigning UVW coordinates in an OSL network8m 52s
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Using named coordinate spaces in Open Shading Language (OSL)11m 27s
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Shadow group exclusion with Arnold properties5m 59s
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Erasing materials with MAXScript or UVW Remove3m 3s
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Understanding Fluid Churn and Vorticity channels6m 13s
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Rendering Fluid channels with Arnold User Data5m 56s
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Keyframe quantization and sub-frame editing with Snap Keys8m 37s
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Importing a CAD solid model as a Body Object8m 38s
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Solid model subtraction and intersection with Body Cutter4m 58s
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Solid model union with Join Bodies6m 54s
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Denoising an Arnold rendering7m 50s
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Interactive Update in the animation Curve Editor2m 54s
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Curve Editor view menu: Tips and tricks5m 33s
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Editing animation curves with the Region Keys tool4m 56s
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Combining data channels of Fluids7m 13s
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Shading per object with OSL Random by Index7m 15s
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Layering materials of Fluids6m 51s
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Render particles as Arnold primitives3m 37s
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Render PFlow particles with Arnold Shape4m 34s
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Remapping colors with Arnold Ramp RGB7m 36s
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Rendering contours with Arnold Toon7m 31s
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Mapping Arnold Toon base color8m 55s
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Controlling preview quality6m 2s
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Adding information overlays to a preview with MAXScript7m 49s
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Modeling with the updated Chamfer modifier9m 7s
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Applying a chamfer using edge weight and depth5m 4s
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Baking a map to a mesh with Assign Vertex Color9m 59s
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Generating cavity and occlusion maps with Render Surface Map6m 48s
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Baking multiple vertex color channels with VertexPaint9m 4s
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Compositing vertex color in a shading network7m 29s
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Optimizing geometry with the MultiRes modifier8m 33s
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Improving viewport performance with the Substitute modifier2m 57s
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Constructing a lighting assembly5m 24s
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Wiring parameters in a lighting assembly8m 24s
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Measuring with tape helper, the Measure Distance tool, and the Measure utility6m 39s
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Display panel tips and tricks5m 12s
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Quickly adjusting transforms and pivot point with the Transform Toolbox8m 39s
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Stacking objects with Select and Place5m 13s
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Managing objects and sub-objects with selection sets8m 17s
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Referencing scenes with containers8m 51s
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Changing inherited container content with Edit in Place8m 13s
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Locking and unlocking container parameters9m 14s
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Editing unlocked container parameters7m 16s
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Projecting splines onto surfaces with ShapeMerge6m 31s
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Analyzing and correcting mesh geometry with xView7m 29s
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Keyframing sub-objects with the Master Point controller9m 38s
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Managing scene materials with Material Explorer8m 36s
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Defining a temporary transform center with working pivot8m 23s
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Customizing keyboard shortcuts with Hotkey editor6m 56s
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Stylized rendering with OSL Halftone Dots map4m 44s
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Incorporating scene lighting in a shading network5m 20s
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Incorporating render resolution in a shading network7m 32s
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Situating geometry within an OSL HDRI environment6m 9s
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Studio lighting with HDRI lights map8m 9s
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White balance and exposure with an Arnold camera filtermap5m 11s
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Rasterizing maps with bake to texture9m 45s
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Advanced baking with bake to texture8m 26s
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Baking to physically based renderer (PBR) materials for export7m 35s
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Production rendering with Quicksilver hardware12m 11s
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Varying textures with OSL Randomized Bitmaps11m 29s
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Deforming a particle system with the Mesher compound object4m 49s
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Set up Arnold render passes with AOV Manager8m 19s
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Animating multiple tracks with Parameter Collector6m 45s
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Improving edge smoothing with Weighted Normals modifier7m 35s
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Rendering a cutaway with the Arnold Clip Geo material4m 14s
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Advanced procedural noise with Uber Noise map13m 14s
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Rendering polygon edges with OSL Wireframe map7m 32s
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Art directing the OSL Wireframe map5m 55s
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Introduction to MassFX Rigid Body dynamics7m 30s
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Setting up a MassFX Rigid Body simulation5m 14s
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Controlling a MassFX Rigid Body simulation7m 40s
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Fine-tuning a MassFX Rigid Body simulation7m 42s
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Automating secondary animation with the Flex modifier7m 2s
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Keyframing modeling commands with the Edit Poly Animate mode4m 44s
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Generating UVs with OSL projection maps5m 33s
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Retiming all keyframes in a scene with the world track6m 53s
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Snapping surfaces dynamically with MCG Ray Constraint6m 1s
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Complex sub-object selections with the Selection ribbon7m 30s
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Adding polygon edges with Paint Connect4m 33s
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Manipulating sub-objects without changing mapping with Preserve UVs3m 41s
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Hiding geometry based on distance with Viewport Clipping2m 53s
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Navigating a scene with walkthrough mode3m 55s
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Parametric soft transforms with Affect Region4m 1s
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