In the last movie, you learned how to turn mesh object into 3ds Max primitives using Primitive Maker by Garp; but the workflow you learned about is session-based. Here, you learn how to make those newly-defined primitives a permanent feature in 3ds Max.
In this movie, you turn urban design components into 3ds Max primitive using a free script called Primitive Maker by Garp. This way, you will be able to duplicate and place components in your cityscape in a very flexible and intuitive approach.
In this movie, you finalize the duplication and placement of light poles around the city blocks using two different cloning methods: Array and Spacing Tool.
In this movie, you merge a traffic light assembly that includes a traffic light, a light post and a trash can. You then duplicate and place this assembly around the major intersections using simple Transform tools.
In this movie, you add urban design components to make the city block look more believable. Some of the components you add include traffic lights, fire hydrants and mailboxes, among others.
In this movie, you use the Daylight System to light the scene. The Daylight System has been shown in many a tutorial on this channel, so the explanation will be brief. You will however replace the background gradient with a custom bitmap to simulate clouds
In this movie, you use the sidewalks you created in the last movie to extract surfaces for building lots. You will also treat the building lots so that they have different textures to introduce more variety.
In this movie, you extract spline paths using the existing infrastructure to add sidewalks to the road works. To do so, you use the Sweep modifier to block out the sidewalks. You then work at an editable poly level to fine-tune the results.
In this movie, you create variations for the inner roads. In order to tile the city blocks, you need the perimeter and the center cross roads to remain constant, but you can have variations with the smaller inner roads.
In this movie, you finalize the road works by connecting the inner intersections. In so, you will use the same techniques you learned about earlier, using the sweep modifier to create the two-lane roads.
In this movie, you use the geometry you have already created to extract the intersections for the inner roads. You also add materials to the existing material definition and clean up the connections between existing and new roads.
In this movie, you create the roads that connect the intersections together. You will explore a couple of different approaches and settle on one that yields an easier mapping workflow.
In this movie, you use the cross intersections you created in the last movie to extract T and L junctions. Doing that, you also learn to edit the new intersections and add to the material created earlier to accommodate more street markings.
In this movie, you work on road intersections.You start with the cross intersection at the center of the city block, and then you use that intersection as a template to create others.
In this movie, you work on the roads that make up your first city block. You learn how to subdivide the roads to ensure you are using different road markings that include lane dividers and pedestrian crossings.
In this movie, you lay the foundation for the first city block. This includes working with reference images, deciding on the project scale and setting up 3ds Max accordingly.
This tutorial series shows you how to build tileable city blocks that include road works, street elements and low-poly buildings to create cityscapes. The tutorial is divided in three sections: Roads, Urban Design Components and Low-Poly Buildings.
This tutorial shows how the trailer that precedes every movie on this channel was done. In this first movie, you set the basis for the bouncing arrow. Later, you fine-tune the animation and the look by adding ripples, materials and proper scene lighting.
In this movie, you create the arrow that travels and deforms along a the path. With the help of a simple sphere, you get the illusion that the arrow bounces are causing the water ripples.
In this movie, you create the ripple effect using the Flex modifier. The Flex modifier uses a dynamic simulation to create the effect, which is easier than manually animating ripples using other options like the Ripple modifier.
In this movie, you add materials to the various objects to bring the scene to life. You mostly make use of mental ray material as this is what works best with the mental ray rendering engine, especially when it comes to reflections and refractions.
In this movie, you add lights to improve the final render. You will use simple mr lights as they are easy to set up and to work with in many non-physically accurate circumstances.
In this movie, you animate rings to appear under the ripples. You will synchronize the animation to coincide with each arrow bounce. In a later movie, you'll also need to animate "connectors" going from one ring to another.
In this movie, you animate the lines that connect the rings together. There are different ways you can go about that, some more complex than others, but you will use a simple approach as it works well enough in this scene.
This last movie is an addendum, and shows that the flex modifier used in the trailer can be used equally well to create other interesting effects. Here, you will use flex to create wake effects like those created by boats or other marine vehicles.
In this tutorial, you learn to integrate 3D objects into real-world imagery. You learn to match the perspective of your 3D camera to that of the background picture used as an environment map.
In this movie, you add a lighting scenario that works with the Scanline Renderer.
In this movie, you use the Mental Ray renderer to render the same scene you used previously. Mental Ray is the renderer of choice for many 3D artists and you will set it up to use the same Daylight System you used earlier.
With the mental ray-based lighting in place, you now turn your attention to materials. To make the most of the mental ray engine, you will use mr materials accordingly.
In this movie, you learn to dissociate the image rendered in the background from one that is used for reflections.
