From the course: 3ds Max: Tips, Tricks and Techniques
Resampling curves with Normalize Spline - 3ds Max Tutorial
From the course: 3ds Max: Tips, Tricks and Techniques
Resampling curves with Normalize Spline
- [Instructor] Last week we saw the optimized spline modifier and this week we'll look at a related modifier called normalized spline. It serves the function of giving an even spacing to the knots or an even length to each segment between the knots. That will make it a lot easier for us to edit this if we need to later. Currently, I've got it displayed in a see through mode in the object properties. And I've also got the knots enabled. Let's select it, go to the modify panel and I've got an optimized spline modifier from last week, and I've got show knots turned on. With this optimized spline modifier in effect, we can see that the spacing between the knots is highly variable and that's a good demonstration for the normalized spline modifier. Let's add that, go into the modifier list and scroll down to normalize spline. We see that it's kind of mangled our spline to start with, but let's play around with these parameters. Enable show knots so we can see those knots. The modifier has three modes here in the normalize by section. The default is segment length. We also have knot count, and insert. We'll take a look at them all, starting from the bottom. Let's go into insert mode. Insert is primarily for up sampling or increasing the level of detail of your spline. The insert spinner has an integer value. As we increase that value, we will see more knots added to the spline and we can see the results here in the statistics. If I bring insert up to a value of five, we go from about 1500 knots on the optimized spline up to almost 9000 knots on this new normalized version. The max knots parameter here doesn't really have a direct relationship to the number of knots you'll get. But basically, what it's going to do is call out the knots in straight areas. We won't see an effect unless we reduce that value. Let's bring the max knots down to 100, and now we can see that, in straight areas, the knots are not being created. That is normalize insert mode. Let's move on now to the knot count mode. Go in there and once again, we get too few knots to resolve our object. We can increase the knots value here. Let's bring it up to 90 and if for each spline is enabled, then we will get 90 knots on each spline. If it's disabled, we'll get 90 knots total. Also, a little gotcha here, this max knots parameter sets a limit on the knot count. The knot count cannot be higher than max knots. If I bring max knots down to 50, that automatically brings the knot count down to 50. And oddly, this is in effect even if the max knots checkbox is disabled. If I go back into the knot count and try to increase that to its maximum of 100, I will not be able to do so. I'll have to go back into max knots and set that to 100 and then I'll be able to bring knot count up to 100. That is knot count mode. My preference is actually segment length. I get best results from that. I'll go to segment length and with a high segment length default of 20, once again we're getting a low definition spline. In segment length mode, the max knots behaves differently once again. It sets a global limit on the total number of knots you can have in the current object. If I bring this up to a value of 1500, and then reduce the segment length, we will start to see more knots appear. I'll bring segment length down to 10 and now I've got 250-something knots. I'll bring segment length down to five and now I've got 500 and something knots. Keep bringing this down, let's bring it down to four. Three. Two. One. And if I bring it down below one to .5, I don't see any change. There's no need for me to have a segment length of less than one, if I have a max knots of 1500 because that's setting a limit. I'll set the segment length back up to one. There's a cool feature that you can use in either knot count or segment length mode, and that is retain knots within. It preserves the position of knots within a certain distance threshold. If we enable that, we'll see the curve try to conform better to the original. The value here allows us to set the threshold and at its minimum of one, no knots will be preserved. They will all be moved around. Let's set the retain knots to within a value of 30 and now we see a pretty faithful reproduction of our optimized spline. There's also a switch down here labeled retain tangents. It preserves the existing tangent angles. If you want to further smooth out kinks in the curve, then we can force 3ds Max to recalculate the tangent angles by disabling retain tangents. The effect of that is generally to soften up the curve or relax it. All right, let's see how this affected the final polygon object, because of course again, this is a renderable spline. I'll click in the view port to get it focused and enable edged faces with the F4 keyboard shortcut. Select that spline object once again and we can see the results as we enable or disable the normalized spline modifier, especially in areas that are highly optimized here. When we enable normalized spline, we see the new segments and knots are added. And the normalized spline with more control points is going to be easier for us to edit when we need to go down to the sub-object level and manipulate these points directly, a normalized spline is going to be a lot easier to work with, much more predictable. Let's disable see through mode for the selected spline object, right click in the quad menu, go to object properties, and disable see through, click OK. And once again, compare the normalized spline with the version before normalization. And the normalized spline has a consistent level of detail with polygons that are pretty much the same size everywhere. And because the spacing of the knots is much more even, it'll be easier for us to edit those. Now I'm ready to make the changes that I need to at the sub-object level to clean up this spline. Before converting it to editable, I want to back up the object that I have. I'll make a duplicate of this one, go to edit, clone, and the new copy will not be a freehand spline, it'll be an editable spline. And I'll name it vines, the object type is copy, click OK. This new vines object is selected automatically. The other one is still in the scenes, so we might want to hide that. We can go into the layer explorer and just hide freehand LO1. Vines is selected, just right click, and convert to, convert to editable spline. Now finally, we can go into vertex component or sub-object mode and start moving things around. Maybe go into wire frame F3 and select a knot or control vertex. Grab the move tool with the W key and start making our adjustments. Okay, that's how to use a normalized spline modifier to even out the blanks of segments and the distances between knots, and make it easier to edit in sub-object mode.
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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Shading a landscape with Arnold Curvature14m 59s
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Driving animation curves with the Reaction controller6m 56s
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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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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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