From the course: 3ds Max: Tips, Tricks and Techniques
Faking GI with an Arnold ambient occlusion filter - 3ds Max Tutorial
From the course: 3ds Max: Tips, Tricks and Techniques
Faking GI with an Arnold ambient occlusion filter
- [Instructor] Previously in this weekly series, I demonstrated how to save render time by disabling global illumination diffuse rays in the Arnold renderer. Instead I used an Arnold sky dome to provide an even, ambient light. That movie was titled Approximating Global Illumination in Arnold. This week I'll build on that technique by adding an ambient occlusion light filter. Here's the image rendered without the light filter and here it is with the light filter applied. So I'll switch bath and forth between those two images a few times so you can see the difference. This is actually the original use case for ambient occlusion way back in the 90s. A flat even wash of illumination is added to the scene and the distance between surfaces determines how much of that ambient light is blocked or occluded. The result is darker shading in the corners of rooms, the crevices in and between objects and anywhere the ambient light would be blocked. The rendering is not as realistic as global illumination, but it's much faster. If you're rendering high resolution images or animation, you may not want to wait for many hours to render a single frame. Now here's an image that was rendered with two diffuse rays or two bounces. It looks good but is fairly grainy. I had to decrease the diffuse sampling up to six to get this level of quality, which resulted in a render time of over 40 minutes. Now again, take a look at the same scene rendered with no diffuse rays and the scene wide ambient occlusion effect. Again, this doesn't look as realistic, but it rendered in five minutes instead of 40. I was able to use the default value for diffuse samples which is only two, so the trade off is clear. Disabling diffuse bounces and using ambient occlusion makes the image less realistic, but it renders an order of magnitude more quickly. This technique relies on an ambient occlusion light filter for Arnold which is not part of the standard MAXtoA installation. Mike Farnsworth at Solid Angle kindly developed this light filter for Arnold 5 and Mads Drischler complied it for MAXtoA, so thank you Mike and thank you Mads. We need to install the light filter in the program file directory, so let's go to Windows Explorer. In the exercise files I provided for this weekly series, I've created a custom folder called plugins. Inside there is a descriptive folder, ambient occlusion light filter for Arnold 5. Go inside there and there is a plugin DLL file, AO light filter dot DLL. Select it, right click, and copy it. Now go into your program files. It'll be on your system drive, program files, Autodesk, 3ds Max version number, plugins. Inside plugins you'll find MAXtoA. Go in there and paste the file in here. Right click and paste. You may need to click trough a prompt or even provide a password. Now we've saved into the program files directory. We also need to create a Windows environment variable. One way to get there is to right click on the computer icon in my case labeled this PC and then go to its properties. Click on advanced system settings and then click environment variables. We need to create a new environment variable. Click the new button and type it in just exactly as you see it here in all capitals, Arnold underscore plugin underscore path. The variable value will be the path to the file we just copied. We can go back to the Windows Explorer window and if that path is displayed, we can just right click at the end of it and choose copy address as text and go back to our environment variables, paste that into the variable value, click there, and then right click, choose paste. Now the path is pasted in. We can click okay, click okay to exit the environment variables. Click okay to exit system properties and now with the file in the right place and the environment variable created for the current user, we can now launch 3ds Max. In this scene, I've got all lights turned off so that we can most clearly see the effect of the ambient occlusion light filter. Let's create an Arnold sky dome. To create it most cleanly, we'll turn on 3D snaps, go to the create panel, lights, from the pull down list, choose Arnold, click the Arnold light button, and in the front view port, click and drag from top to bottom to create the light and its target. Release the mouse, right click to exit creation mode, go to the modify panel and change the type over to sky dome. Let's take a look at this in an active shade rendering. I've got that set up already. Click active shade on the main toolbar and it's overexposed. We can go into the light parameters. Under color intensity, reduce the exposure down to its minimum of negative five. Now we have light coming through the windows. We actually don't want this. We want an overall wash, so let's turn off cast shadows. Scroll down a little bit more. In shadow, disable cast shadows. Now we have an even flat wash over the entire shot. This is exactly the condition we want for a true ambient light. We can fine tune this a little bit by changing its color temperature. Scroll back up a little bit. In color intensity, change the color over to the type of texture and we need to supply a map. Click the no map button. In the material map browser, go into the maps OSL section and you'll see black body. Select that and click okay. Now we need to adjust the parameters, so let's open up the material editor and drag that map over into the materiel editor view, choose instance, double click it, and rename the node. We'll call it sky dome color. We just need to change the minimum and maximum values here for the color temperature. Let's set them both to a value of 4,800 degrees Kelvin. That's giving us a little warmer color because the camera is currently set to 5,000. Now we're ready to add the Arnold light filter. With the light still selected, go back to the modify panel. From the modifier list, choose Arnold light filter. We need to assign a map. We see that it actually appears in the list here under maps, Arnold, AO light filter. So one way we could create this would be to simply open that up and drag it into the material editor view and then click on its output, hold down the mouse, drag it over to the modify panel and drop it on the no map button and then in the instance copy map dialogue, choose instance, click okay. Then double click on that node and rename it ambient occlusion. Let's see what this looks like. Here is our active shade rendering still running and all we need to do to enable or disable it is turn this modifier on or off. So with it turned off, we have the flat illumination and then turn it back on again, we can see the ambient occlusion blocking some of the light. Let's change the far clip value to a value of 10 and now we can see that we're only seeing the occlusion effect where surfaces are close to one another. Okay, that looks pretty good. We can turn on our ceiling lights. Close the material editor, select one of those lights, and turn it on in its light properties and our active shade updates and we can see the effect of global illumination being faked. Now we can render an animation in 1/10 of the time and have less grain, although we would be sacrificing some realism. That's how to use an ambient occlusion Arnold light filter to fake diffuse global illumination in Arnold 5.
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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