3 Dmaxbook 1

Welcome
Welcome
King Vega by Alessandro Baldasseroni
Welcome to the 3ds max User Reference.

This reference contains detailed information about all the features and capabilities of 3ds max.
3ds max brings 3D modeling and animation to your desktop system.
The reference is organized by functional areas. The User Interface chapter gives you a guide to
program controls and where to find them.
If you've already used previous versions of this program, you might want to start here: What's New
in 3ds max 6?
If you're new to this software, this would be a good place to start: Getting Started with 3ds max
Here's where you can get an overview of the entire documentation set: 3ds max Documentation Set
You can find a guide to using the electronic version of this reference here: Using the Reference Online
And here's a list of important introductory topics:
Getting Started with 3ds max
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Welcome
Viewing and Navigating 3D Space

Selecting Objects
Object Properties
Creating Geometry
Moving, Rotating, and Scaling Objects
Creating Copies and Arrays
Using Modifiers
Surface Modeling
Precision and Drawing Aids
Space Warps and Particle Systems
Creating Animation
Lights and Cameras
Advanced Lighting Panel
Material Editor, Materials, and Mapping
Rendering
Managing Scenes and Projects
List of Available Utilities
User Interface
Customizing the User Interface
Default Keyboard Shortcuts
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What's New in 3ds max 6?
Image by Michael McCarthy
The new features of 3ds max 6 are meant to improve the way you use our product, and to improve
the quality of work it helps you create. The following topics contain pointers to the reference sections
that describe new features:
Scene Management Improvements
User Interface Changes
New Modeling Features
New Material Features
New Animation Features
New Rendering Features
Retired Features
You can also find a lot of information about new features in the printed New Features Guide provided
with your copy of 3ds max 6. This guide is also available online by choosing New Features Guide on
the Help menu.
These topics don't comprehensively list all the changes that have been made to 3ds max. As you
proceed through the documentation, keep an eye out for the icon, which designates a new
feature. You can also identify topics containing information on new features in the program using the
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Index in this reference. For topics describing new program features, check the index entry "new
feature in v6." For existing topics that have changed, check the index entry "changed feature in v6."
Note: Because of some changes in the interface, especially to the Render Scene dialog, some
features remain substantially the same but are in a different location in the interface. These features
have an index entry that says, changed path in v6.
Major Additions to 3ds max 6
This version of 3ds max includes two large feature sets:
mental ray Rendering
The mental ray renderer from mental images is a versatile general-purpose renderer that can
generate physically correct simulations of lighting effects, including ray-traced reflections and
refractions, caustics, and global illumination.
Particle Flow
Particle Flow is a powerful event-driven particle system.
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A number of features improve your ability to manage scenes, and enhance the ability of 3ds max to
open scenes from other applications.
Schematic View has been enhanced to make it easier to use.

See Schematic View Window .
Layer Manager
The new Layer Manager lets you create or delete layers, and edit the settings of the layers in your
scene, as well as the objects associated with them.
Custom UI and Defaults Switcher

The Custom UI and Defaults Switcher lets you quickly change your defaults and user interface to
make it more useful for specific types of project.
Improved support for Autodesk VIZ 4 files

Although they share the same file type, Autodesk VIZ files have a number of differences from
3ds max files. 3ds max 6 provides improved support when you open a MAX file created using
Autodesk VIZ. See Working with MAX Files from Autodesk VIZ and Fix Ambient Utility.
Support for VIZ Render (DRF) files

You can open files created by VIZ Render, the visualization component of Autodesk Architectural
Desktop. See DRF Files and Working with DRF Files in 3ds max.
Improved support for AutoCAD DWG files .

3ds max 6 increases the number of AutoCAD DWG features that are supported when you import
a DWG file. See Importing AutoCAD DWG Files.
Lighting Data Exporter Utility

This utility lets you render to image files that include luminance and illuminance data that can be
used for lighting analysis by other applications.
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Schematic View Window
Menu bar > Graph Editors > New Schematic View
Menu bar > Graph Editors > Saved Schematic Views > Choose a saved schematic view.
Main toolbar > Schematic View button
The Schematic View is a node-based scene graph that gives you access to object properties, materials,
controllers, modifiers, hierarchy, and non-visible scene relationships such as wired parameters and instancing.
Here, you can view, create, and edit relationships between objects. You can create hierarchies, assign
controllers, materials, modifiers, or constraints.
You can use the Schematic View Display floater to control what entities and relationships you want to see and
work with. Use Schematic View to navigate complex hierarchies or scenes with large numbers of objects. Use
Schematic View to understand and explore the structure of files you didn't create yourself.
One of the most powerful new features are the list views. You can see the nodes in a text list which you can
sort by criteria. The list views can be used to navigate extremely complex scenes quickly. You can use the
relationship or instance viewer within Schematic View to see light inclusions or parameter wirings within the
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scene. You can control the display of instances or see a list of object occurrences.
Schematic View also allows for background image or grid, and automatic arrangement of nodes based on
physical scene placement. This makes arranging nodes for character rigs easier.
Choose between a variety of arrangement selections so you can auto-arrange, or work in a free mode. The
layout of the nodes is saved with the named Schematic View window. You can load a background image as a
template for laying out the nodes in the window.
Schematic View Features
Schematic View has been rewritten in this release with these improvements:
Layouts are saved with the named Schematic View file.
Text remains readable during window navigation.
Schematic View includes new tools for displaying and arranging nodes including a new free mode.
You can use a background image or grid in the Schematic View window.
You can see and edit wired parameters.
A new modeless display floater lets you turn on and off node display by category.
A new Relationship List Viewer has been added, for quick navigation and selection of nodes. Relationships
displayed includes Lights inclusion/exclusion, all parameter wires, constraints, controllers, and modifier
relationships such as path deform paths and morph targets
You can now copy and instance controllers.
You can assign new controller types.
Schematic View offers extensive MAXScript exposure.
Performance has been substantially improved.
Ability to drill down to more properties (such as static values and custom attributes).
View Components and Their Behavior
Everything displayed in the Schematic View window is shown as a box with a name. There are various
conventions to indicate different states regarding these objects.

Solid EndSignifies that the entity is arranged.
Open endSignifies that the entity is free.
Red BorderSignifies that the entity is animated.
End ArrowSignifies that the entity shares a relationship with another entity.
White FillSignifies that the entity is selected in the Schematic View window.
White Border Signifies that the entity is selected in the viewport.
Up ArrowCollapses the entity it springs from and all child entities thereof up into the parent entity
Down ArrowExpands the next child entity down from the entity that the arrow springs from.
OverlapSchematic View will prevent newly visible nodes from overlapping with existing nodes. This
applies to free mode: make an object, free it, make another object and it will fall on top but to the right of the
original object so both can be accessed and moved.
InstancesSchematic View will bold the text of instanced entities, for nodes this will show up on the base
object entity. In the example illustrated, Box02 and Box03 are instances.
Procedures
See Using Schematic View
Interface
See the following topics describing the Schematic View user interface.
Schematic View Menus
Schematic View List Views
Schematic View Preferences Dialog
Schematic View Toolbars
Schematic View Display Floater
See also

New Schematic View

Delete Schematic View
Delete Schematic View Dialog
Saved Schematic Views
Schematic View Selection Right-Click Menu
Comments

Using Schematic View

This topics includes procedures for using functionality in the Schematic View window.
To create hierarchies with Schematic View:
1. Select the objects you want to work with in the viewport.
2. Use Zoom Extents Selected to display these objects in the Schematic View window.
3. On the Schematic View toolbar, click the Connect button.
4. In the Schematic View window, drag from the child object to the parent. A dotted line follows
your cursor. Click to set the linkage.
If you are in Hierarchy mode, the children will arrange themselves into an indented list
under the parent as you create linkages.
To assign controllers with Schematic View:
1. On the Schematic View toolbar, click Display.

The Display floater appears. It lets you control what you see in the Schematic View window.
2. On the Display floater, in the Relationships group, click Controllers. In the Entities group, click
Controllers as well.
The buttons indent to show they are active. The Transforms now appear in the Schematic View
window.
3. In the Schematic View window, select the transform of the object you want to assign a
controller to.
4. Right-click the transform, from on the Tools quad, choose Assign Controller.
5. Choose the controller you want to apply from the list, then click OK.
To wire parameters with Schematic View:
1. Using the Display Floater, turn on Param Wires in the Relationships group.
2. In the Schematic View window, select one of the objects you want to wire.
3. Right-click the selected object and choose Wire Parameters.
4. In the pop up that appears select the component you want to wire, either a Transform or an
Object parameter, for instance.
5. Drag to the other object you want to wire to.
6. Again in the pop up that appears, select the component you need to wire to.
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7. The Wire Parameters dialog appears. Make the necessary selections and connect the wires.
8. Once the wiring is established you can edit the wiring by double-clicking the wire in Schematic
View.
To save a Schematic View layout:
1. When you have a layout you like, name the layout using the Schematic View name field in the
toolbar, just to the right of the Preferences button.
2. Close the Schematic View window.
3. To load the saved view, go to Graph Editors > Saved Schematic View and choose the schematic
view from the history list.
To add a background image:
1. On the Schematic View Options menu, choose Preferences.
2. In the Background Image group, click the File: button to launch the File Browser.
3. In the Browse Images for Input dialog, find and highlight the bitmap you want to use, then
click Open.
4. On the Schematic View Preferences dialog, in the Background group, turn on Show Image.
The Background bitmap show up in the Schematic View window.
Tip: Turn on Lock Zoom Pan, if you want to zoom in or pan the background image.
To navigate complex scenes:

Complex scenes can be navigated quickly by using the list viewer combined with the pan or zoom to
selected option. For example suppose you need to locate all the bones within a certain character.
1. Open Schematic View
2. Press H on the keyboard and enter the name of the object you're looking for in the Select
Objects field. Press Enter to select the object by name.
3. On the window navigation tools press Zoom Selected.

The Schematic View window now clearly shows the object node.
4. On the List Views menu, choose Show Occurrences.

The List viewer displays the Object Occurrences dialog.
This is a sortable list. You can click the header title to sort by it.
Note: Object Occurrence is being used as an example here. You can use any of the List View
menu choices to display a list of objects based on a certain relationship.

5. On the Options menu choose Pan to Selected. Now click through the nodes in the list.
The Schematic View window updates to display each node as you click.
This method makes navigation of very complex scenes much more convenient. Also when
working with lists such as relationships or instances you have the additional ability to detach
the relationship or make the instance unique.
To arrange the nodes in Schematic View to match the viewport:

It can be useful sometimes to arrange the nodes in the Schematic View the same as in the viewport.
There is a script that can do this for you. In this example we'll use the bones of a character rig.
1. Using Windows Explorer, copy \3dsmax6\scripts\maxscripttools\macro_schematicviewtools.mcr

into \3dsmax\ui\macroscripts.
2. Restart 3ds max.
3. On the Customize menu, choose Customize User Interface.
4. Click the Quads tab, then choose the Schematic View category from the drop-down list on the
right
5. Drag the action named Project into Schematic View in the Schematic View quad menu (any
quad you like).
6. Drag the Spacing Tool item into Schematic Views quad menu.
7. On the Graph Editors menu, choose New Schematic View.
8. In any viewport (other than Perspective or User), select the bones of the rig that you want to
arrange.
9. In the Schematic View window, right-click and choose Project Into Schematic View from the
quad menu.
A new Schematic View named Projection shows the selected bones arranged as in the viewport.
Tip: If the components appear on top of one another, right-click again and choose Spacing Tool
from the quad menu. Drag the spacing slider to the right to add space between the objects. If
necessary manually reposition components as needed.
Comments

Menu bar > Graph Editors > New Schematic View > Menu bar
Menu bar > Graph Editors > Saved Schematic Views > Choose a saved schematic view. > Menu bar
Main toolbar > Schematic View button > Menu bar
Edit Menu
ConnectActivates the connect tool. The connect tool in Schematic View can be used to create any
relationship or constraint, are can be used to assign modifiers.
UnlinkDisconnects the selected entities.
DeleteRemoves entities from Schematic View and from the scene. Disconnects selected
relationships.
Assign ControllersLet's you assign controllers to transform nodes. Only available when controller
entities are selected. Opens the standard assign controller dialog.
Wire ParametersLet's you wire parameters using Schematic View. This is active only when
entities are selected. This launches the standard Wire Parameters dialog.
Edit Object PropertiesDisplays the Object Properties dialog for selected nodes. This is
unavailable when no nodes are selected.
Select Menu
Select toolActivates the Select tool when in Always Arrange mode and Select and Move tool when
not.
Select allSelects all entities in the current Schematic View.
Select noneDeselects all entities in the current Schematic View.
Select invertDeselects selected entities and selects unselected entities in the current Schematic
View.
Select childrenSelects all children of currently selected entities.
Deselect childrenDeselects children of all selected entities. Parent and child must be selected for
child to become unselected.
Select to sceneSelects in viewport all nodes that are selected in Schematic View. This is
unavailable when Sync Selection is active
Select from sceneSelects in Schematic View all nodes that are selected in viewport. This is
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unavailable when Sync Selection is active.

Sync SelectionCreates a mode that lets you select objects in the Schematic View and have them
instantly selected in the viewport, as well as select them in the viewport and have them instantly
selected in the Schematic View. This menu selection toggles Sync Selection on and off.
View Menu
Pan ToolActivates the pan tool. Lets you move horizontally or vertically in the window.
Zoom ToolActivates the zoom tool. Lets you move closer to or further from the Schematic display.
Zoom Region ToolLets you draw a zoom window on the area of the Schematic view you want to
see up close.
Zoom ExtentsZooms the window back so all the nodes in the Schematic View are visible.
Zoom Extents Selected Zooms the window back so that all the selected nodes are visible in the
display.
Show GridDisplays a grid in the background of the Schematic View window.
Show BackgroundDisplays an image in the background of the Schematic View window.
Refresh ViewRedraws the contents of the Schematic View window with all changes made to it or
with changes made in the scene.
Layout Menu
Display FloaterDisplays or hides the Display Floater which controls what is displayed in the
Schematic View window.
AlignLets you define the following alignment options:
LeftAligns selected entities to the left edge of the selection, leaving vertical positioning intact.
RightAligns selected entities to the right edge of the selection, leaving vertical positioning
intact.
TopAligns selected entities to the top edge of the selection, leaving horizontal positioning intact.
BottomAligns selected entities to the bottom edge of the selection, leaving horizontal
positioning intact.
Center HorizontalAligns selected entities to the horizontal center of the selection, leaving
vertical positioning intact.
Center VerticalAligns selected entities to the vertical center of the selection, leaving horizontal
positioning intact.
Expand SelectedReveals the display of all child entities of selected entity.

Collapse SelectedHides the display of all children of selected entity, leaving the selected entity
visible.
Hide SelectedPerforms the action of hiding whatever is selected in the Schematic View window.
Show AllDisplays everything in the scene in the Schematic View window.
Arrange ChildrenArranges the display of children based on set arrangement rules (align options)
below the selected parent.
Arrange SelectedArranges the display of children based on set arrangement rules (align options)
Free SelectedFrees all selected entities from arrangement rules, tags them with a hole icon on
their left end and leaves them in place. Use this to freely arrange selected objects.
Free AllFrees all entities from arrangement rules, tags them with a hole icon on their left end and
leaves them in place. Use this to freely arrange all objects.
Shrink SelectedHides all selected entities boxes, keeps arrangement and relationships visible.
Unshrink SelectedMakes all selected shrunk entities visible.
Unshrink AllMakes all shrunk entities visible.
Toggle ShrinkChanges the state of entity shrinkage. Shrunk entities become unshrunk, and the
other way around.
Options Menu
Always ArrangeSets Schematic View to always arrange all entities based on the chosen
arrangement preference. Displays a pop-up warning before doing so. Choosing this activates the
toolbar button.
Hierarchy ModeSets Schematic View to display entities as a hierarchy instead of reference graph.
Children appear indented below the parent. Switching between Hierarchy and Reference mode is
nondestructive.
Reference ModeSets Schematic View to display entities as a reference graph instead of

hierarchy. Switching between Hierarchy and Reference mode is nondestructive.

Move ChildrenSets Schematic View to move all children of parent being moved. When this mode
is on, the toolbar button is activated.
PreferencesOpens the Schematic View Preferences Dialog. Here you control what displays in the
window by filtering for categories and setting display options.
Comments

Menu bar > Graph Editors > New Schematic View > Display > Filters
Menu bar > Graph Editors > Saved Schematic View > Open any existing Schematic View > toolbar
> Preferences button.
The Schematic View Preferences dialog controls what is shown and what is hidden based on
categories. You can filter the objects appearing in the Schematic View window, so you only see what
you need to.
You can add a grid or background image into your Schematic View window. Here you can also
choose the arrangement method and determine the synchronization between viewport selection and
Schematic view window selection. You can also set the style for the node connections. By selecting
the appropriate filters in this dialog you can make working with Schematic View more controllable.
Interface
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Include in Calculation:
Schematic View will traverse the entire scene including materials, maps, controllers, etc. The
Include in Calculation setting controls what Schematic View will know about. The Display Floater
then controls what is displayed. So, if you dont Include Materials, you cant display materials. If you
dont include controllers, you wont get controllers, constraints, or parameter wire relationships.
If you have a huge scene and are only interested in using Schematic View for selection, you can turn
everything off except nodes. If you are only interested in materials, you turn off all the controllers,
modifiers, etc.
Base ObjectsTurns on and off the display of the base objects. Use this to remove clutter in the
Schematic View window.
Modifier StackTurns on and off the display of modifier nodes.

Materials/MapsTurns on and off the display of material nodes in the Schematic View window.
Hide the materials when you are animating and dont need to see them, display them when you
want to select materials or make changes to the material of various objects.
Note: Schematic View does not support the ability to manipulate maps. You can not paste a map
from one material to another.
ControllersWhen this is turned on, controller data is included in the display. When this is turned
off Controllers, Constraints and Param Wires relationship and entity buttons are unavailable in the
Display floater. When this is on, you can assign controllers or wire parameters using the tools quad
of the Schematic View right-click menu.
Static ValuesWhen this is turned on, unanimated scene parameters are included in the Schematic
View display. Turn this off to prevent the window from filling up with everything seen in Track View.
Master Point Controller When this is on, sub-object animation controllers are included in the
Schematic View display. This button prevents the window from filling up with too many controllers in
cases in which subobject animation is present.
Skin DetailsWhen this is turned on four controllers for each bone in the Skin modifier are included
in the Schematic View display (when Modifiers and Controllers are also included). This button
prevents the window from stretching out around too many Skin controllers with normal use of the
Skin modifier.
Include Only:
Selected ObjectsFilters the display of selected objects. Check this box if you have a lot of objects
and only want Schematic View to display the viewport selection.
Visible ObjectsLimits the display in Schematic View to the visible objects. Hide objects you dont
need to display, then check this box to contain clutter in Schematic View.
Animated Objects When this is turned on, then only objects that have keys and their parents will
be included in the Schematic View display.
Hide By Category:
There are seven categories that let you toggle the display of objects and their children. The
categories are:
GeometryHides or displays geometric objects and their children.
ShapesHides or displays shape objects and their children.
LightsHides or displays lights and their children.
CamerasHides or displays cameras and their children.
HelpersHides or displays helper objects and their children.
Space WarpsHides or displays space warp objects and their children.
Bone ObjectsHides or displays bone objects and their children.

Be aware that if you have a hierarchy linked to a helper such as a dummy, and you hide the dummy,
youll also hide the children.
Link Style:
Bezier LinesDisplays the reference lines with arrowheads as Bezier curves.
Straight Lines Displays the reference lines as straight lines instead of Bezier curves.
Circuit LinesDisplays the reference lines as orthogonal lines instead of curves.
None When this is turned on, link relationships will not appear in the Schematic View display.
Grid:
This group controls the display and use of a grid in the Schematic View.
Show GridDisplays a grid in the background of the Schematic View window.
Snap to GridWhen this is on, all moved entities and children of those entities will snap their upper
left corners to the nearest grid point. Entities not snapped to a grid point when snap is enabled will
not snap until they are subsequently moved.
Grid Spacing:Sets the spacing units of the Schematic View grid. This uses the standard that
entities are 20 grid units high and 100 grid units long.
Arrange Method:
Arranging always takes place within the confines of the positive X and negative Y space which is
delineated by the darker grid lines.
StackedWhen this is turned on, arranging via Always Arrange, Arrange Children or Arrange

Selected will result in the hierarchies being stacked below a width that is determined by the extents
of the highest entities in the view.
HorizontalWhen this is turned on arranging using Always Arrange, Arrange Children or Arrange
Selected will result in the hierarchies being distributed along and below the y=0 line. Arranging
always takes place within the confines of the positive X and negative Y space.
VerticalWhen this is turned on arranging using Always Arrange, Arrange Children or Arrange
Selected will result in the hierarchies being distributed along and to the right of the x=0 line.
Arranging always takes place within the confines of the positive X and negative Y space.
Sync Selection
ViewportsWhen this is turned on, node entities selected in Schematic View will have their
corresponding nodes selected in the viewports. Likewise, nodes selected in the viewports will have
their corresponding entities selected in Schematic View.
Everythingwhen checked, all entities selected in Schematic View will have their corresponding
entities selected in the appropriate places in the interface, given that those places are open. For
instance, selecting a material in Schematic View will select it in the material editor if it is open and
the material is present, selecting a modifier in Schematic View will select it in the stack is the Modify
panel is open. Likewise, entities selected in the scene will have their corresponding entities selected
in Schematic View.
NoneWhen this is on, changes in the viewport selection do not affect the Schematic View display,
and selection changes in the Schematic View display do not affect the viewport selection.
Background Image:
Show Image Active only when an image is chosen, when check the given bitmap will display at
screen resolution at the current Zoom factor of Schematic View.
Lock Zoom/Pan When this is turned on, zooming and panning resizes the background image
accordingly. When turned off the bitmap will remain or revert to actual pixels at screen resolution.
File: Let's you browse for the image file for the background of Schematic View.
Preferences:
Double BufferAllows for double buffer display to control viewport performance.

Zoom About Mouse PointerWhen this is turned on you can zoom into wherever you place your
cursor. You can also zoom with the zoom wheel, or hold CTRL and press the middle mouse button.
Pan to Added NodesWhen this is turned on the Schematic View window will alter itself to
accommodate new objects or nodes as they are added to the scene. When this is turned off the view
is unchanged. Leave this off and turn off Auto arrange, and Schematic view will not disturb the
layout of the nodes.
Use Wireframe Color Uses the wireframe color to shade the node in the Schematic View window.
Display Layout WarningWhen this is on, Schematic View will show a layout warning when

Always Arrange is first turned on.

Only Update On Focus When this is turned on, Schematic View only updates with additions or
changes to the scene when it is given focus. This lets you avoid constant redraws when making
changes in the viewport to the scene objects.
Move Children When this is turned off you can move the parent without affecting the children.
When this is turned on, moving a parent also moves the children.
Show Tooltips Toggles the display of tooltips when the cursor is over the node in the Schematic
View window.
Snap Floaters Enables floating dialogs (Display and List) to snap to the edges of the Schematic
View window.
Relative Floaters Enables floating dialogs to move and resize as the Schematic View window is
moved and resized.
Comments

Menu bar > Graph Editors > New Schematic View > Menu bar
Menu bar > Graph Editors > Saved Schematic Views > Choose a saved schematic view. > Menu bar
Main toolbar > Schematic View button > Menu bar
Schematic View supports several list views that display objects and their relationships in a list. These
include list views for instances, object occurrences, and relationships. Use these lists to quickly edit
your parameter wiring, detach relationships, or make instances unique. Use the List options to
synchronize the list with the viewport or the node display in the Schematic View window.
Interface
List view displaying relationships
All RelationshipsOpens or redraws List View with all relationships of currently displayed
Schematic View entities.
Selected RelationshipsOpens or redraws List View with all relationships of currently selected
All InstancesOpens or redraws List View with all instances of currently displayed Schematic View
entities.
Selected InstancesOpens or redraws List View with all instances of currently selected Schematic
View entities.
Show Occurrences Opens or redraws List View with all entities that share a property or
relationship type with currently selected entities
All Animated ControllersOpens or redraws List View with all entities that have or share
animated controllers.
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Make UniqueIn the All Instances and Selected Instances views, this makes the selected entity a
copy and takes it out of the list.
DetachIn the All Relationships and Selected Relationships views, eliminates the selected
relationship and takes it out of the list.
Options Menu in the List View Dialogs
Options for list view let you synchronize the list selection with the viewport and the Schematic View
window.
Sync selectionWhen this is turned on, Schematic View selection corresponds to selections made
in the list.
Pan to SelectedWhen this is turned on, Schematic View pans to put the entity selected in the list
into the center of the Schematic View within the existing zoom factor. For Instances and Occurrences
this will be single entities, for Relationships it will be two entities.
Zoom to SelectedWhen this is turned on, Schematic View zooms extents around the entity
selected in the list. For Instances and Occurrences this will be single entities, for Relationships it will
be two entities
Respect displayWhen this is turned on, the List View will only show entities turned on for display
by the Display Floater.
Comments
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Menu bar > Graph Editors > New Schematic View > Top and bottom toolbars
Menu bar > Graph Editors > Saved Schematic Views > Choose a saved schematic view. > Top and
bottom toolbars
Main toolbar > Schematic View button > Top and bottom toolbars
The Schematic View toolbar at the top of the window contains the following buttons:
Display FloaterDisplays or hides the Display Floater. Active button means floater is open,
inactive button means its hidden.
SelectLets you select objects in the Schematic View window and in the viewport. Selecting
objects in the Schematic View window turns the node yellow. Selecting the objects in the viewport,
outlines their Schematic View representation box in white, but doesnt select it in the Schematic view
window. If you want to the selection in Schematic view passed into the viewport use the Sync
Selection button. Whatever is selected in Schematic view will become selected in the viewport as
well.
ConnectLets you create hierarchies. Just as you link objects in the viewports, you can create
linkages in Schematic View. Click the child and connect to the parent. You also use this to add
modifiers to objects, and to wire parameters.
Unlink SelectedUnlinks whatever is selected in the Schematic View window.
Delete ObjectsDeletes whatever is selected in Schematic View. The deleted selection

disappears in the viewport and the Schematic View window.
Hierarchy ModeShows the parent/child relationships in a cascading display. The parents are
to the left and up, the children are indented toward the right and down.
References ModeShows relationships based on instances and references rather than

hierarchy. Use this to view materials and modifiers.
Always ArrangeSets Schematic View to always arrange all entities based on arrangement
preference (alignment options). Displays a pop-up warning before doing so. When this mode is on it
activates the toolbar button.
Arrange ChildrenArranges the display of children based on set arrangement rules (align
options) below the selected parent.
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Arrange SelectedArranges the display of children based on set arrangement rules (align
options) below the selected parent.
Free AllFrees all entities from arrangement rules, tags them with a hole icon on their left
end and leaves them in place. Use this to freely arrange all objects.
Free SelectedFrees all selected entities from arrangement rules, tags them with a hole icon
on their left end and leaves them in place. Use this to freely arrange selected objects.
Move ChildrenSets Schematic View to move all children of parent being moved. When this
mode is on, the toolbar button is activated.
Collapse SelectedHides the display of all children of selected entity, leaving the selected
entity visible.
Preferences Displays the Schematic View Preferences dialog. This lets you control what is
displayed and hidden in the Schematic View window by category. Various options are here to filter
and control the display within the Schematic View window. See Schematic View Preferences Dialog.
Schematic View Name fieldUse this field to give the particular configuration of Schematic View a
name. Simply typing the name and hitting enter will add the named view to the list of Saved
Schematic View windows available from the Graph Editors menu.
Bookmark Name fieldLet's you define a selection of entities in the Schematic View window as a
bookmark, so you can easier return to them in a complex scene with many objects.
Go to BookmarkZooms and pans the Schematic View window so the bookmarked selection
is displayed.
Delete BookmarkRemoves the bookmark name that is displayed in the Bookmark name
field.
Buttons on the Lower Toolbar
Zoom Selected Viewport ObjectZooms in on whatever is selected in the viewport. You can
also type in the name in the text field next to this button.
Selected Object text entry windowLets you type in the name of the object you are looking for.
Then click the Zoom Selected Viewport Objects button and that object will appear in the Schematic
View window selected.
Prompt AreaProvides a one-line instruction to tell you how to use the highlighted tool or button
or provides you with details such as how many objects are currently selected.

PanLets you move horizontally or vertically in the window. You can also achieve the same
effect by using the scroll bars at the right and bottom of the Schematic View window, or by using the
middle mouse button.
ZoomLets you move closer to or further from the Schematic display. When you first open
your Schematic View window you will spend a moment zooming and panning to gain the appropriate
view of the objects in the display. The display of the nodes changes as you move in or out.
You can also zoom by holding CTRL and pressing the middle mouse button. To zoom at the cursor,
turn on Zoom About Mouse Point in the Schematic View Settings dialog, accessed by click the
Preferences button.
Region ZoomLets you draw a zoom window on the area of the Schematic view you want to
see up close.
Zoom ExtentsZooms the window back so all the nodes in the Schematic View are visible.
Zoom Extents SelectedZooms the window back so that all the selected nodes are visible in
the display.
Pan to SelectedPans the window to include the selected objects, within the same zoom
factor, so that all selected entities are visible within current extents of the window.
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The Display Floater controls by category what is displayed in the Schematic View window. The
Schematic View Preferences dialog also filters that display of the window. Use these to manage the
clutter of the window, and the performance speed. Note that unless you display the correct entity
and relationship, you will not be able to perform certain operations. If you want to wire parameters,
for instance, you must have Param Wires turned on. If you want to wire the parameters of a
material, you must also have Materials chosen.
Interface
Relationships group
Lets you choose which of the following relationships you want to display or create: Constraints,
Controllers, Parameter wiring, Light inclusion and Modifiers.
Entities group
Selects which types of entities are displayed or edited:

Base ObjectsWhen active, all base object entities will display as children of the node entities.
When Sync Selection is on and the Modifier stack is open, clicking on a base object will activate that
level of the objects stack.
Modifier StackWhen active, all modifiers in the objects stack will display as children, beginning
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with the Modified Object base entity. Modifiers can be copied, instanced or moved between objects
by using the Connect tool. For example, connecting XForm to Box01, will display the Attach Modifier
dialog where you can choose between Copy, Move or Instance. Deleting the modifier from the
Schematic View will also remove it from the objects stack in the Modify panel.
MaterialsWhen active, all materials and maps assigned to the objects will display as children of
the objects. Materials can be instanced between objects by using the Connect tool on the Schematic
View toolbar. For example, drag material Default1 to Box01 . Double clicking on a material will bring
up the Material editor if the Material is already in an sample material slot.
ControllersWhen this is active, all controllers other than position, rotation and scale will display
as children of the objects transform controller, which also displays. Controllers can be added to
objects only when this is active. Controllers can be copied or instanced between objects by using the
Connect tool. For example dragging PositionXYZ from Box01 to Position List for Box02, for instance,
will open the Attach Controller dialog, where you can choose to Copy, Move or Instance this
controller.
PRSLets you choose to display any combination of the three transform types (position, rotation or
scale).
ExpandWhen turned on, entities that are activated will be displayed in Schematic View. When
turned off, only the triangle child indicator on the bottom of the nodes will display. This toggle only
applies at activation time, it will not expand or contract entities that are already displayed.
FocusWhen this is turned on, only those entities that are related to others and have their
relationships displayed will be filled with their color, all others will be displayed unshaded.
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New Schematic View
New Schematic View
Menu bar > Graph Editors > New Schematic View
New Schematic View creates a new Schematic View window. You might want to create multiple
Schematic view windows filtered in different ways that you recall for quick access to multiple objects.
Name the new schematic view using the Schematic View name field.
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Menu bar > Graph Editors > Delete Schematic View
Delete Schematic View opens the Delete Schematic View dialog. This will allow you to delete a
schematic view.
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Select a schematic view. > Menu bar > Graph Editors > Schematic View > Delete Schematic View
This dialog displays all the saved schematic views. Choose the view to be deleted from the list, then
press the delete button.
For information on the Schematic View buttons and controls, see Schematic View Window .
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Menu bar > Graph Editors > Saved Schematic View
Saved Schematic View displays a list of schematic views by name that were previously created by
New Schematic View.
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Schematic View > Select any node. > Right-click.
The Schematic View right-click menu contains controls for selecting, displaying, and manipulating
selections of nodes. It gives you quick access to List Views, Display Floater and lets you switch
between Reference and Hierarchy Mode quickly.
Interface
Select quad
Select Tool Activates the Select tool when Always Arrange is turned on. Activates the Select and
Move tool when Always Arrange is off.
Select AllChoose Select All to select everything in the window.
Tip: Hold down the CTRL key to add to selections, and the ALT key to subtract from them.
Tip: Select None Choose Select None to deselect everything.
Tip: Select InvertDeselects selected entities and selects all other entities in the current
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Schematic View.
Tip: Select ChildrenSelects all children of the current selection.
Tip: Deselect ChildrenDeselects children of all selected entities. Parent and child must be
selected for child to become unselected.
Sync SelectionSynchronizes the selection in the Schematic View window with the viewport.
Whatever you have selected in the Schematic View window becomes selected in the viewport.
Whatever you select in the viewport becomes selected in Schematic View. Its a two-way street.
Layout quad
Free AllFrees all entities from arrangement rules, tags them with a hole icon on their left end and
leaves them in place. Use this to freely arrange all objects.
Free SelectedFrees all selected entities from arrangement rules, tags them with a hole icon on
their left end and leaves them in place. Use this to freely arrange selected objects.
Arrange Selected Arranges the display of the selection based on the arrangement preferences.
Arrange ChildrenArranges the display of children based on set arrangement rules (align options)
Unhide AllDisplays all the nodes in the scene. If the resulting Schematic View is too cluttered to
work with, try using Preferences to remove what you dont need to see. Or make individual
selections and hide upstream or downstream to unclutter the display.
Hide SelectedHides the selection in the Schematic View window.
Contract SelectedHides the display of all children of selected entity, leaving the selected entity
visible.
Edit quad
Connect ToolActivates the connect tool. This tool in Schematic View can be used to create many
Schematic View relationships such as parent, constraint, copy modifier, copy controller, or copy
material.
Unlink Selected Disconnects the selected entities
Delete SelectedDeletes entities from Schematic View and from the scene. This also can be used
to disconnect selected relationships.
Assign ControllerDisplays the Assign controller dialog. This is available only when controller
entities are selected.
Wire ParametersLet's you wire parameters using Schematic View. This is active only when
entities are selected. This launches the standard Wire Parameters dialog.
Edit PropertiesDisplays the Object Properties dialog for the selected objects.

Options quad
ShrinkHides all selected entities boxes, keeps arrangement and relationships visible.
Toggle ShrinkChanges the state of entity shrinkage. Shrunken entities become unshrunken, and
the other way around.
Unshrink AllMakes all shrunken entities visible.
Unshrink SelectedMakes all selected shrunken entities visible.
Shrink Selected Hides all selected entities boxes, keeps arrangement and relationships visible.
List Views
Selected Occurrences Opens or redraws List View with all entities that share a property or
relationship type with currently selected entities
Selected InstancesOpens or redraws List View with all instances of currently selected Schematic
View entities.
All InstancesOpens or redraws List View with all instances of currently displayed Schematic View
entities.
Selected RelationshipsOpens or redraws List View with all relationships of currently selected
Schematic Vie entities.
All RelationshipsOpens or redraws List View with all relationships of currently displayed
Display FloaterOpens the Display floater and activates the corresponding toolbar button.
Move Children Sets Schematic View to move all children of parent being moved. When this mode
is on, the toolbar button is activated.
Reference Mode Sets Schematic View to display entities as a reference graph instead of
hierarchy. Switching between Hierarchy and Reference mode is nondestructive.
Hierarchy Mode Sets Schematic View to display entities as a hierarchy instead of reference
graph. Children appear indented below the parent. Switching between Hierarchy and Reference
mode is nondestructive.
Always Arrange Sets Schematic View to always arrange all entities based on the chosen
arrangement preference. Displays a pop-up warning before doing so. Choosing this activates the
toolbar button.
Comments

Layer Manager
Layer Manager
Main toolbar > Layer Manager
Layers toolbar > Layer Manager
Tools menu > Layer Manager
The Layer Manager, available from the main toolbar, is a modeless dialog where you can create and
delete layers. You can also view and edit the settings for all of the layers in your scene, as well as
the objects associated with them. You can specify the name, visibility, renderability, color, and
objects' and layers' inclusion in the radiosity solution from this dialog.
Objects are organized by layer in the dialog, in an expandable list. By clicking + or -, you can
expand or collapse (respectively) the object list for each layer. You can also sort the layers by
clicking any of the column heads.
Another useful tool is the ability to open the Object Properties dialog or Layer Properties
dialog for one or more highlighted objects or layers directly from the Layer Manager by clicking the
corresponding icons.
Note: You can change the property settings for each layer or object by clicking the corresponding
icon in the dialog. The icons will toggle through the various states of the property, including Off ( )
andByLayer ( ). When any property is set to ByLayer, the object will inherit the property setting
from its associated layer.
Procedures
To create a new layer:

When you create new layers, 3ds max names them sequentially by default: Layer01, Layer02, and
so on. After creating a layer, you can rename it. 3ds max assigns a random color to all new layers.
You can accept the default settings or specify other colors.
1. On the main toolbar, click Layer Manager.
2. In the Layer Manager, click Create New Layer.

3ds max displays a new layer in the list with the temporary name Layer01.
3. Click the Layer to enter a new name.
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Layer Manager
4. To create more than one layer, click New again and enter the new layer name.
Tip: If an existing layer is highlighted when you create a new layer, the new layer inherits the
properties of the highlighted layer. You can modify the properties of the new layer, if
necessary, as illustrated in the following procedures.
To make a layer current:
2. In the Layer Properties dialog, click the second column next to the layer name.
A check box appears indicating that the layer is current.
Note: The current layer is also displayed in the title bar of the Layer Manager.
To make a layer current (alternate method):
On the Layers toolbar > Layer List, select a layer.

The highlighted layer becomes the current layer.
To hide a layer:
1. On the Layers toolbar, click Layer Manager.
2. In the Layer Manager, select the layers you want to hide.
3. In the Hide column, click Off to turn Hide on for the highlighted layer(s).
The hide icon displays.
Tip: You can hide all layers by clicking Hide/Unhide All Layers on the Layer Manager
toolbar.
To freeze a layer:
Freezing layers is useful when you want to edit objects associated with particular layers but also
want to view, without editing, objects on other layers. You can't edit or select objects on a frozen
layer; however, the objects are still visible if the layer is on. You can make a frozen layer current,
and you can add new objects to the frozen layer.
2. In the Layer Manager, select the layers you want to freeze.
3. In the Freeze column, click Off to turn Freeze on for the highlighted layer(s).

Layer Manager
The Freeze icon displays.
Tip: You can freeze all layers by clicking Freeze/Unfreeze All Layers on the Layer
Manager toolbar.
To assign a color to a layer:

You can assign a color to a layer using the Layer Properties dialog. For example, you can assign the
color red to a layer named HVAC to help you identify the mechanical equipment in your scene.
2. In the Layer Manager, select a layer and click the Color icon.
3. In the Layer Color dialog, select a color, and then click OK.
To rename a layer:
You might want to rename a layer to better define how it's used in your scene. You can rename a
layer at any time during a 3ds max session. However, you can't rename Layer 0.
2. In the Layer Manager, select a layer to rename.
3. Click the layers name again and enter a new name.
To delete a layer:
You can delete an empty layer at any time during a 3ds max session. However, you can't delete the
current layer, Layer 0, or a layer that contains objects.
2. In the Layer Manager, select one or more layers, and then click Delete Empty Layer.
To open the object properties dialog for an object selection:
2. Select one or more objects in the Layer Manager.
3. Click the Object Properties icon to open the Object Properties dialog for the highlighted

Layer Manager
objects.
To open the layer properties dialog for an layer selection:
2. Select one or more layers in the Layer Manager.
3. Click the Layer Properties icon to open the Layer Properties dialog for the highlighted
layers.
Interface
Title Bar
The title bar displays the word 'Layer', followed by the name of the current Layer. For example, if
Layer02 is the current layer, the title bar will read Layer: Layer02.

Layer Manager
Layer Manager toolbar
Create New LayerCreates a new layer containing the currently highlighted objects (if any).
The new layer's name is automatically generated ("Layer01", "Layer02", etc.) but may be changed
by clicking on the label.
Note: The new layer becomes the current layer.
Delete Highlighted Empty LayersDeletes highlighted layers if they are empty.

Note: This button is not available if any of the following items are in your selection set: nothing, the
current layer, objects, Layer 0, or non-empty layers.
Add Selected Objects to Highlighted LayerMoves currently selected objects into the
highlighted layer.
Note: This button is not available if nothing is selected or if more than one layer is highlighted.
Select Highlighted Objects and LayersSelects all of highlighted objects, as well as all
objects contained in any highlighted layers.
Note: This button is not available if nothing is highlighted.
Highlight Selected Objects' LayersHighlights layers containing the currently selected

objects and automatically scrolls so that highlighted layers are visible in the layer manager.
Note: This button is not available if nothing is highlighted.
Hide/Unhide All LayersToggles the display of all layers.

Tip: This is most useful if you hide all layers and then display only the layers you want to work on.
Freeze/Unfreeze All LayersToggles the frozen state of all layers.

Tip: This is most useful if you freeze all layers and then unfreeze only the layers you want to work
on.
List of layers
Displays layers, their associated objects, and their properties. To expand or collapse the object list
for each layer, click + or -, respectively. To modify a property, click its icon. To select all layers

Layer Manager
quickly, right-click and choose Highlight All. To open the Object/Layer Properties dialog, click on the
icon next to the layer or object.
Each property has a unique icon to indicate that it is turned On, however all properties share the
same icon for the Off ( ) and ByLayer ( ) states.
Tip: You can sort the layers by any of their properties by clicking the column name.
LayersDisplays the names of the layers/objects. Click a name to select the layer, or to rename the
layer.
Note: Clicking the layer icon opens the Layer Properties dialog for all highlighted layers.
Clicking the object icon opens the Object Properties dialog for all highlighted objects.
Current Layer ToggleThe unlabeled column to the right of the layer name indicates which
layer is the current layer.
There is a check mark next to the current layer. Click next to another layer name to make it
current.
HideHides and unhides layers. When a layer is hidden, it's invisible. You might want to hide
layers that contain construction or reference information.
FreezeFreezes layers. You can't select or edit objects on a frozen layer. Freezing a layer is
useful if you want to view information on a layer for reference but don't want to edit objects on that
layer.
RenderMakes objects on the highlighted layer appear or disappear from the rendered scene.
Nonrenderable objects don't cast shadows or affect the visual component of the rendered scene. Like
dummy objects, nonrenderable objects can manipulate other objects in the scene.
Shape objects have the Render option turned on by default. In addition, they have a Renderable
check box in their creation parameters. When both check boxes are on, the shape is renderable. If
either check boxes are off, the shape isnt renderable. If you apply a modifier that converts the
shape into a mesh object, such as a Lathe or Extrude modifier, the shape automatically becomes
renderable regardless of the state of its local Renderable check box.
For shapes, the Renderable toggle in the Object Properties dialog affects the main object, so it also
affects all instances of and references to the shape.
ColorChanges the color associated with the highlighted layers. You can select another color by
clicking the color swatch to display either the Object Color dialog (for objects), or the Layer Color
dialog (for layers).
You can set an objects color independently, or turn on ByLayer in the Object Color dialog to use the
associated layers color.
RadiosityWhen this is on, objects are included in the radiosity solution. Objects not included in
the radiosity solution do not contribute to indirect illumination. If these objects are lights, only their
direct contribution will be used for rendering.
Note: Removing objects from the radiosity solution can significantly decrease radiosity processing
and rendering time, however it does sacrifice some accuracy in the solution. It can be very useful for

Layer Manager
creating quick test renders.
Layer Manager Right-Click Menu
A standard popup menu is displayed over the Layer Manager by right-clicking anywhere in the Layer
Manager dialog. The menu contains a variety of layer management and focus operations.
Some of the operations involve highlighted items or selected objects in your scene. If the right-click
is on a non-highlighted row, the highlight switches to that row and the subsequent operation applies
to the newly highlighted item. If the right-click is on a highlighted row (or a group of highlighted
rows), all of the highlights are preserved and the subsequent operation applies to all of the
highlighted items.
Note: To apply an operation to a group of objects or layers, you must hold CTRL when you right-
click. If you have highlighted a group of objects and right-click on one of them (without holding
CTRL), the selection group is cleared and only that object will be highlighted.
RenameInitiates text editing mode for the highlighted layer's name. Unique names are enforced.
If a non-unique name is typed in, a modal dialog pops up, stating Invalid Layer Name. Layer names
must be unique.
Note: Rename is only available for layers; objects cannot be renamed in the Layer Manager.
Likewise, Rename is only available when a single layer is highlighted.
CutStores references to highlighted objects in memory so they can be pasted into another layer.
Cut is only available when objects are highlighted; if there are no objects highlighted or if a layer is
part of a multiple selection, it is not available.
Note: Objects are not actually cut from their assigned layer until they are pasted to another one.
Tip: If you 'cut' a highlighted layer, 3ds max cuts all of the objects in the layer.

Layer Manager
PasteMoves 'cut' objects into highlighted layer.

Paste is only available when a single layer is highlighted and one or more objects has been cut.
Collapse AllCloses all expanded layers, hiding the object lists.
Expand AllExpands all layers, displaying the objects within each.
Create New LayerCreates a new layer containing the currently selected objects (if any).
The new layer becomes the current layer. The new layer's name is automatically generated
("Layer01", "Layer02", etc.) but may be changed by clicking on the label.
DeleteDeletes any empty highlighted layer.
Note: This does not delete objects. Likewise, this command is not available when your selection
includes Layer0, any objects, or any layer containing objects.
Add Selected ObjectsAdds objects currently selected in your scene into the highlighted layer.
Note: This command is only available when a single layer is highlighted.
SelectSelects all of the currently highlighted objects or layers in the Layer Manager.
Note: If you use this command on a layer, all objects contained by that layer are highlighted.
Highlight Selected Objects' LayersHighlights all of the layers which contain objects in the
current scene selection.
Highlight All LayersHighlights all of the layers in your scene.
Note: This command does not highlight any objects.
Layer PropertiesOpens the Layer Properties dialog for the currently highlighted layers.
Object PropertiesOpens the Object Properties dialog for the currently highlighted objects.
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ByLayer
Glossary
ByLayer
ByLayer icon in the Layer Properties dialog
ByLayer is a property setting available to objects listed in the Layer Properties dialog. When ByLayer
is set, the object will inherit its setting for the selected property from its associated layer.
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Layer Properties Dialog
Main toolbar > Layer Manager > Select one or more layers. > Click Layer icon.
The Layer Properties dialog is similar to the Object Properties dialog. Here, you can change the
rendering, motion blur, and display settings of one or more selected layers. In addition, you can also
change the advanced lighting settings or hide/freeze one or more selected layers.
See also
Object Properties Dialog
Interface
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Layer Information group
Controls layer information for objects on the selected layer.

NameDisplays the selected layer name. You can edit the name. The name can have up to 255
characters, containing letters, digits, blank spaces, and the special characters dollar sign ($), hyphen
(-), and underscore (_).
Active ColorDisplays the color of the selected layer. You can select another color by clicking the
color to display the Layer Color dialog, which is identical to the Object Color dialog, except that it
doesn't have the ByLayer/By Object toggle.
DisplayControls the display of the objects on the selected layer.

ViewportDisplays the objects on the selected layer using the current settings under Views on the
Viewport Properties menu.
Bounding BoxDisplays the objects on the selected layer as a bounding box.
WireframeDisplays the objects on the selected layer in wireframe mode.
ShadedDisplays the objects on the selected layer in Smooth+Highlight mode.
General panel
Interactivity group
HideHides the selected layer.

FreezeFreezes the selected layer.
Display Properties group
Provides controls that alter the display of objects on the selected layer.
See-ThroughMakes objects on the selected layer translucent in viewports. This setting has no
effect on rendering, it simply lets you see what's behind an object in a crowded scene, and especially
to adjust the position of objects behind or inside the See-Through object.
Display As BoxToggles the display of objects on the selected layers, including 3D objects and 2D
shapes as bounding boxes. Produces minimum geometric complexity.

Backface CullFor objects on the selected layer, toggles the display of faces with normals pointing
away from view. When on, you see through the wireframe to the back faces. Applies only to
Wireframe viewport display.
Edges OnlyFor objects on the selected layer, toggles the display of face edges. When set, only
faces appear. When off, all mesh geometry appears. Applies only to Wireframe viewport display.
Vertex TicksDisplays the vertices in objects on the selected layer as tick marks.
If the current selection has no displayed tick marks, the check box is clear. If some of the vertices in
the current selection display tick marks, the check box contains a gray X. If all vertices in the
current selection display tick marks, the check box contains a black X.
TrajectoryToggles trajectory display for objects on the selected layer. You can display an object's
trajectory wherever you are in 3ds max.
Ignore ExtentsWhen turned on, objects on the selected layer are ignored when you use the
display control Zoom Extents.
Show Frozen in GrayWhen on, the object turns gray in viewports when you freeze it. When off,
viewports display the object with its usual color or texture even when it is frozen.
Vertex ColorsAffects editable mesh objects on the selected layer. Displays the assigned vertex
colors in the viewport. You assign vertex colors at the vertex or face sub-object levels.
ShadedAffects editable mesh objects on the selected layer. When on, if the editable mesh has
vertex colors, shaded viewports use vertex colors to shade the mesh. When off, colors are
unshaded.
Rendering Control group
Controls rendering settings for objects on the selected layer.

VisibilityControls the rendered visibility of the object. At 1.0, the object is fully visible. At 0.0, the
object is completely invisible when rendered. Default=1.0.
RenderableMakes objects on the selected layer appear or disappear from the rendered scene. For
more information, see Renderable.
Note: This has the same functionality as the Render toggle in the layer list.
Inherit VisibilityCauses objects on the selected layer to inherit the visibility of their parents (as
determined by the parent's Visibility track in Track View). When a group parent is assigned a
visibility track, Inherit Visibility is automatically turned on for all children in the group. Transparent
materials and hidden objects have no effect on this function.
Visible to CameraWhen on, the object is visible to cameras in the scene. When off, cameras do
not view this object.
Visible to Reflection/RefractionWhen on, the object is used in calculating reflections and
refractions. When off, the object does not appear in reflections or refractions.
Receive ShadowsWhen on, objects on the selected layer can receive shadows.
Cast ShadowsWhen on, objects on the selected layer can cast shadows.

Apply AtmosphericsWhen on, atmospheric effects are applied to the object. When off
atmospheric effects do not change the rendered appearance of this object.
Render Occluded ObjectsAllows special effects to affect objects in the scene that are occluded
by this object. The special effects, typically applied by plug-ins such as Glow, use G-Buffer layers to
access occluded objects. Turning on this control makes the object transparent for the purposes of
special effects. This makes no difference when you render to most image files. When you render to
either the RLA or RPF file format, however, occluded objects appear with the effect applied on their
designated G-buffer layer.
Motion Blur group
Controls motion blur for objects on the selected layer.

MultiplierAffects the length of the motion blur streak.
EnabledWhen on, enables motion blur for this object. When off, motion blur is disabled regardless
of the other blur settings. Default=on.
NoneTurns off the state of motion blur for objects on the selected layer.
ObjectObject motion blur provides a time-slice blur effect for objects on the selected layer.
ImageImage motion blur blurs the image of each object on the selected layer, based on the
velocity of each pixel.
Adv. Lighting panel
Radiosity Properties group
Exclude from Radiosity ProcessingWhen on, objects on a selected layer are included in the
radiosity solution. Objects not included in the radiosity solution do not contribute to indirect
illumination. If these objects are lights, their direct contribution will only be used for rendering.
Note: This has the same functionality as the Radiosity toggle in the Layer List.

Cast ShadowsDetermines whether objects on the selected layer will cast shadows.
Receive IlluminationDetermines whether objects on the selected layer will receive illumination.
Diffuse (reflective & translucent)When on, objects on the selected layer are treated as diffuse
(rough) in the radiosity process.
Specular (reflective & translucent)When on, objects on a selected layer are treated as specular
(smooth) in the radiosity process.
Exclude from RegatheringWhen on, objects on a selected layer are excluded from the
regathering process of the radiosity solution.
Use Global Subdivision SettingsWhen on, global subdivision settings are used for objects on a
selected layer. When off, you can change these settings for each layer.
SubdivideWhen on, a radiosity mesh is created for the objects on a selected layer.
Meshing SizeSets the size of the radiosity mesh in world units.
For more information on the Radiosity Properties group, see Radiosity Control Panel.
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Select object or objects. > Edit menu > Object Properties
Select object or objects. > Right-click a viewport. > Transform (lower-right) quadrant of the quad
menu > Properties
Layer Manager > Click the icon next to an object's name.
The Object Properties dialog lets you inspect an object's state, and set a variety of parameters that
relate to how the object behaves in viewports and how it behaves when you render it .
Although the Object Properties dialog lets you view the properties of any object, you cannot
necessarily edit all properties. Parameters that apply to renderable geometry are unavailable for
nonrenderable objects. However, parameters that apply to any object, such as Hide/Unhide, Freeze/
Unfreeze, Trajectory, and so on, remain available for these nonrenderable objects.
Through the Object Properties dialog you can toggle between object settings and those for ByLayer.
Object settings affect only the object or objects selected. When an object is set to ByLayer, it will
inherit its properties from the layer settings, which can be set in the Layer Properties dialog.
Interface
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General Panel (Object Properties Dialog)

Advanced Lighting Panel (Object Properties Dialog)
mental ray Panel (Object Properties Dialog)
User Defined Panel (Object Properties Dialog)

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Quad Menu
Quad Menu
When you click the right mouse button anywhere in an active viewport, except on the viewport label
(see Viewport Right-Click Menu), a quad menu is displayed at the location of the mouse cursor. The
quad menu can display up to four quadrant areas with various commands. These commands can be
customized in the Quads panel of the Customize User Interface dialog.
The quad menu allows you to find and activate most commands without having to travel back and
forth between the viewport and rollouts on the command panel.
The two right quadrants of the default quad menu display generic commands, which are shared
between all objects. The two left quadrants contain context-specific commands, such as mesh tools
and light commands. Each of these menus provides convenient access to functions found in the
command panel. You can also repeat your last quad menu command by clicking the title of the
quadrant.
The quad menu contents depend on what is selected, as well as any customization options you may
have selected in the Quads panel of the Customize UI dialog. The menus are set up to display only
the commands that are available for the current selection; therefore, selecting different types of
objects displays different commands in the quadrants. Consequently, if no object is selected, all of
the object-specific commands will be hidden. If all of the commands for one quadrant are hidden,
the quadrant will not be displayed.
Cascading menus display submenus in the same manner as a right-click menu. The menu item that
contains submenus is highlighted when expanded. The submenus are highlighted when you move
the mouse cursor over them.
Some of the selections in the quad menu have a small icon next to them in the quad menu. Clicking
this icon opens a dialog where you can set parameters for the command.
To close the menu, right-click anywhere on the screen or move the mouse cursor away from the
menu and click the left mouse button. To reselect the last selected command, click in the title of the
quadrant of the last menu item. The last menu item selected is highlighted when the quadrant is
displayed.
Additional, specialized quad menus become available when you are working in ActiveShade, the Edit
UVWs dialog, or when you press any combination of SHIFT, CTRL, or ALT while right-clicking in any
standard viewport. For more information, see Additional Quad Menus.
Interface
The following are the default commands for the right-click menu. You can add, edit, or remove any
of these commands in the Quads panel of the Customize User Interface dialog.
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Quad Menu
Default quad menu for an editable poly object in vertex sub-object mode
Transform quadrant
These options are available from the Transform quadrant:

MoveLets you move objects. This is the same as clicking the Select And Move on the main toolbar.
Tip: You can open the Transform Type-In by clicking the icon to the right of Move on this menu.
RotateLets you rotate objects. This is the same as clicking the Select And Rotate on the main
toolbar.
ScaleLets you scale objects. This is the same as clicking the Select And Scale button on the main
toolbar. If one of the other Select And Scale flyout buttons is active on the main toolbar, that tool
becomes active when you click Scale in the quad menu.
CloneLets you clone objects. This is the same as choosing Clone from the Edit menu.
PropertiesOpens the Object Properties dialog for a selected object. This command is available
only if an object is selected when you open the quad menu.
Curve EditorOpens and displays the selected object at the top of the Track View Hierarchy. This

Quad Menu
command is visible only if an object is selected when you open the quad menu.
Wire ParametersStarts a wire parameter from the selected object. This command is available
only if an object is selected when you open the quad menu.
Convert ToThis submenu lets you convert the selected object to an editable mesh, an editable
patch, an editable spline, a NURBS surface, or an editable poly. This command is available only if an
object is selected when you open the quad menu.
Display quadrant
These options are available from the Display quadrant:

Tip: You can use this successively to dig into a large selection set.
Isolate SelectionThe Isolate Selection tool lets you edit your selection while hiding the rest of the
scene.
Unfreeze AllUnfreezes all frozen objects.
Freeze SelectionFreezes the selected objects. Frozen objects are visible in the viewports, but
cannot be manipulated.
Unhide by NameDisplays a dialog you use to hide objects you choose from a list. See Select
Objects Dialog, which describes nearly identical controls.
Note: You cannot unhide an object on a hidden layer. If you select and object on a hidden layer, a
dialog will prompt you to unhide the layer first.
Unhide AllUnhides all hidden objects.
Hide UnselectedHides all visible objects that are not selected. Hidden objects still exist in the
scene, but do not appear in the viewports or in rendered images.
Hide SelectionHides the selected objects.
Context Hide/Unhide ToolsThe hide and unhide commands are context-specific for editable
meshes, polys, patches, and splines. They are visible only if there is a corresponding geometry
selected when the quad menu is opened.
Tools quadrants
The two quadrants on the left side of the default quad menu are called Tools 1 and Tools 2. These
quadrants contain commands specific to various geometries and modifiers such as: lights, editable
geometries, and cameras. These quadrants are not displayed unless one of the corresponding
geometries or modifiers are selected when the quad menu is opened.
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Viewport Right-Click Menu
Right-click any viewport label. > Viewport right-click menu
The viewport right-click menu, also referred to as the Viewport Properties menu, contains commands
that let you change what is shown in the active viewport. This is a shortcut menu. Some of the
options are also available on the Configuration dialog.
You can do the following from this menu:
Set the type of shading displayed in the viewport (for example, Wireframe, Smooth, or Edged
Faces).
Set how transparency is displayed in the viewport.
Change the view to any available viewport type (for example, Perspective, Top, Bottom, User,
Light, Camera, Grid, or Shape).
When your scene contains cameras or lights with targets, the viewport right-click menu gives you
selection options for the components. For example, when you right-click the label of a target
camera viewport, you see two new commands, Select Camera and Select Camera Target, that let
you select the camera or target used by that view.
Undo or redo a view change.
Turn on texture correction if your display is not Open GL.
Disable a viewport so it doesnt update when you work in other viewports.
Toggle the display of the grids, safe frame, and viewport background.
Note: A grid object must be active before you can select it from its viewport.
Display the Asset Browser, Schematic View or MAXScript Listener in a viewport.
Turn on Viewport Clipping. This interactively sets a near and far range for the viewport. Geometry
within the viewport clipping range is displayed. Faces outside the range are not displayed.
Tip: If the viewport right-click menu becomes disabled, you can restore it by refreshing the UI
scheme. Use Customize menu > Load Custom UI Scheme to load a different .cui file, then reload the
original .cui file again. The right-click viewport menu will become available after either the new or
original UI scheme is loaded.
Procedures
To hide or show the home grid, do one of the following:
Choose Views menu > Grids, and click Show Home Grid.
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Right-click a viewport label.

Click Show Grid to reverse the current display of the home grid in that viewport.
Keyboard > G (for single viewport);
To change a viewport to Camera view:

Note: This procedure requires at least one camera object in your scene.
1. Right-click a viewport label.
2. Click Views.
3. Choose one of the cameras in the Views list.

This assigns the camera to the viewport and changes the label to the camera name.
A camera viewport tracks the view through the perspective of that camera. As you move the
camera (or target) in another viewport, you see the scene swing accordingly. If you alter the
camera's field of view, you see the changes as they are applied.
Tip: You can also press C on the keyboard as a shortcut to change any active viewport to an
existing camera view.
To change a viewport to a shape view:

This procedure requires at least one shape object in your scene.
2. Choose Views > Shape from the menu.
To use viewport clipping:
2. Choose Viewport Clipping.

The viewport displays the viewport clipping controls.
3. Move the lower slider up until the geometry is clipped in the viewport by the near clipping
plane.
4. Adjust the upper slider to clip the geometry with the far clipping plane.
To display Schematic View in a viewport:
1. Right-click a viewport label to access the Viewport Properties menu.
2. Click Views > Schematic > New, or choose the name of the Schematic View you want to
display.

To display the Asset Browser or MAXScript Listener in a viewport:
1. Right-click any viewport label to access the Viewport Properties menu.
2. Click Extended > Asset Browser or MAXScript Listener.

The tool is displayed in a dedicated viewport.
To access the Layout panel, do one of the following:
Choose Customize menu > Viewport Configuration, then click the Layout tab.
Right-click a viewport label, and choose Configure, then click the Layout tab.
To turn on safe frame display, do one of the following:
Right-click a viewport label, and then choose Show Safe Frame.
Keyboard > SHIFT+F
Choose Customize menu > Viewport Configuration > Safe Frames panel, and turn on Show Safe
Frames In Active View.
See Safe Frames.
To fix texture display problems in a viewport:
Right-click a viewport label, and then choose Texture Correction.

Tip: If you have maps on materials that are not displaying in the viewport, you need to turn on
Show Map in Viewport in the Material Editor for each material that has this problem.
To change quickly between snap options:
1. With nothing selected, hold SHIFT and right-click anywhere in the viewport.
The Snaps shortcut menu is displayed.
2. Choose any of the Standard or NURBS snap options. You can also toggle whether snaps use
transform constraints.
Interface

Smooth+HighlightDisplays the smoothness and lighting of objects. You can also display maps on
the surface of objects. See Show Map in Viewport . This happens on a map-by-map basis, but you
can display as many maps as you want simultaneously in the viewport. Maps only display on objects
that have mapping coordinates. Also Show Map In Viewport must be turned on for each map
individually in the Material Editor.
Note: This and other shaded viewport options support self-illuminated materials and 32 lights
(depending on display mode and graphics card).
WireframeDisplays objects as edges only, as if they were made from wire. Wire color is
determined by object color (default).
OtherDisplays a cascading menu of other shading modes. These include:
SmoothDisplays smoothing, but doesnt show highlights.
Facets+HighlightsDisplays highlights, but doesnt show smoothing.
FacetsShades faces, but doesnt display smoothing or highlights.
Lit WireframeDisplays edges as wireframe, but shows lighting.
Bounding BoxDisplays objects as a bounding box only.
Edged FacesAvailable only when the current viewport is in a shaded mode. Displays the
wireframe edges of objects along with the shaded surfaces. This is helpful for when you want to edit
meshes in a shaded display.
Edges are displayed using the object wireframe color, while surfaces use material colors (if
assigned). This lets you create contrasting colors between the shaded surfaces and the wireframe

edges. You can switch these assignments in the Display Color rollout.
TransparencySets the quality of transparency display in the selected viewport:
Best: Highest quality transparency display; longer redraw time.
Simple: Less accurate transparency display, however viewport redraw is considerably faster with
Simple.
None: Transparency is not displayed in the viewport.
Note: The Transparency setting only affects viewport display, and does not affect renderings.
Show GridTurns on and off the display of the home grid. Does not affect other grid display.
Keyboard > G
Show BackgroundTurns on and off the display of any viewport background image (or animation).
To specify an image, choose Views menu > Viewport Background.
Tip: The keyboard shortcut for the Viewport Background dialog is ALT+B.
Show Safe FrameTurns on and off the display of safe frames. You define the safe frames in the
Viewport Configuration dialog (see Configure, below). The safe frame proportions conform to the
Width and Height of the output size of your rendering image output.
Viewport ClippingInteractively sets a near and far range for the viewport. Geometry within the
viewport clipping range is displayed. Faces outside the range are not displayed. This is useful in
complex scenes where you want to work on details that are obscured from view. Turning on viewport
clipping displays two yellow slider arrows on the edge of the viewport. Adjusting the lower arrow
sets the near range, and the upper arrow sets the far range. Tick marks indicate the extents of the
viewport. Viewport Clipping can also be turned on and off in the Viewport Configuration dialog.
Texture CorrectionAvailable only when the viewport is shaded and at least one object's map is
displayed. Redraws the viewport using pixel-interpolation (perspective corrected). This state remains
in effect until you force the viewport to redraw for any reason.
Note: This is only for the software display driver. If you are using the OpenGL or Direct3D display
mode, this option is always on.
Disable ViewDisables the active viewport. A disabled viewport behaves like any other viewport
while it is active. However, when you change the scene in another viewport, the view in the disabled
viewport does not change until you activate it. Use this function to speed up screen redraws when
you are working on complex geometry.
Keyboard > D
ViewsDisplays a secondary menu that allows you to choose another view to display in the
viewport (Front, Top, Back, etc.).
Available Views included are:
Perspective

User
Front
Back
Top
Bottom
Left
Right
Grid
ActiveShade
Schematic
Grid
Asset Browser
MAXScript Listener
Shape
Use Keyboard shorts for quicker viewport display change. Press V to open the Viewports quad menu.
You can then select from this menu or use the first letter of the viewport label as the keyboard
shortcut (F for Front, for example. The exception is K for back).
UndoUndoes the last viewport change.
RedoCancels the last viewport undo.
ConfigureDisplays the Viewport Configuration dialog, which contains many options for further
control of the viewports.
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Viewport Configuration
Customize menu > Viewport Configuration
Right-click any viewport label. > Configure
The Viewport Configuration command displays the Viewport Configuration dialog. You use controls
on this dialog to set options for viewport control.
All the configuration options are saved with the .max file. To configure startup settings for your file,
you can save a maxstart.max file. If this file exists, the software uses it for the programs default
settings.
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Viewport Configuration Dialog
Viewport Configuration Dialog
Customize menu > Viewport Configuration
Right-click any viewport label. > Configure
Viewport configuration options are available in a series of tabbed panels on the Viewport
Configuration dialog:
Rendering Method
Viewport Layout
Safe Frames
Adaptive Degradation Options
Regions
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Rendering Method
Rendering Method
Customize menu > Viewport Configuration > Viewport Configuration dialog > Rendering Method
tab
Right-click a viewport label. > Configure > Viewport Configuration dialog > Rendering Method tab
You set the rendering method for either the current viewport or all viewports on the Rendering
Method panel of the Viewport Configuration dialog.
Procedures
To set the viewport rendering method:
1. Choose Customize menu > Configure > Viewport Configuration dialog > Rendering Method tab.
2. Click to choose the desired rendering level and any options available for that level.
3. Choose how the rendering level is to be applied to viewports:
Active Viewport Only applies the rendering method to the active viewport. This choice is the
default.
All Viewports applies the rendering method to all configured viewports.
All But Active applies the rendering method to all viewports except the active one.
Tip: This option lets you work in full detail in the current view and easily set other views to
Wireframe or Bounding Box for quicker interactive display.
To enter an FOV value in a perspective view:
1. Activate a viewport with a Perspective view.
2. Right-click the viewport label and choose Configure to display the Viewport Configuration dialog
> Rendering Method tab.
3. Enter an angle in the Field Of View field.
Interface
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Rendering Method
When you open this dialog, the settings reflect the current viewport settings.
Rendering Level group
Determines how the software displays objects.

Smooth+HighlightsRenders objects with smooth shading and displays specular highlights.
SmoothRenders objects with smooth shading only.
Facets+HighlightsRenders objects with flat shading and displays specular highlights.
FacetsRenders objects with flat shading only.
Lit WireframesRenders objects as wireframes with flat shading.
WireframeDraws objects as wireframes with no shading applied.
Bounding BoxDraws objects as bounding boxes with no shading applied. A bounding box is
defined as the smallest box that completely encloses an object.
Edged FacesAvailable only when the current viewport is in a shaded mode, such as Smooth,
Smooth+Highlights, Facets+Highlights, or Facets. When Edged Faces is on in these modes, the
wireframe edges of objects appear along with the shaded surfaces. This is helpful for editing meshes
in a shaded display.

Rendering Method
Edges are displayed using the object wireframe color, while surfaces use material colors (if a
material is assigned). This lets you create contrasting colors between the shaded surfaces and the
wireframe edges. You can switch these around in the Display Color rollout in the Display panel.
Transparency group
NoneObjects with transparency assigned appear completely opaque, regardless of the

transparency settings.
SimpleObjects with transparency assigned are displayed with a screen door transparency effect.
BestObjects with transparency assigned are displayed with a two-pass transparency effect.
This option is smoother and closer to rendered transparency effects.
Apply To group
Applies the current settings to the active viewport only, to all viewports, or to all the viewports
except the active one.
Rendering Options group
These check boxes modify either the shading modes or the wireframe modes. They refer to the
viewport renderer only, not to the scanline renderer.
Disable ViewDisables the Apply To viewport selection. A disabled viewport behaves like any other
viewport while active. However, when you change the scene in another viewport, the view in the
disabled viewport does not change until you next activate it. Use this function to speed up screen
redraws when you are working on complex geometry.
Disable TexturesSelect to turn off display of texture maps assigned to objects. Turn off to show
the maps assigned to objects.
Texture CorrectionRedraws the viewport using pixel interpolation (perspective-corrected). The
redrawn image remains until you force the viewport to redraw for any reason. This command has an
effect only when the viewport is shaded and at least one object's map is displayed.
Z-Buffer Wireframe ObjectsDraws the wires ordered according to depth in the scene. Otherwise
wires may be drawn out of order to speed the viewport display. This option is generally needed only
when sub-object selections are "hidden" by lines drawn out of order. For example, you select the
front edges of a box, but they dont appear highlighted in red, because the white lines from the rear
may get drawn last. Activate this only if you find that selections are obscured or if you need the
viewport redrawn from back to front.
Force 2-SidedSet to render both sides of faces. See 2-Sided. Turn off to render only faces with
normals toward the viewer. Usually, you'll want to keep this option off to speed redraw time. You
might want to turn it on if you need to see the inside as well as the outside of objects, or if you've
imported complex geometry in which the face normals are not properly unified.
Default LightingTurn on to use default lighting. Turn off to use the lights created in the scene. If

Rendering Method
no lights exist in the scene, the default lighting is used automatically, even when this check box is
off. Default=on.
Sometimes the lighting you create in the scene makes the objects difficult to see in the viewport.
The default lighting displays the objects under an even illumination. You can select either 1 or 2
lights (default).
1 LightProvides an over-the-shoulder light with 20% faster redraws at the expense of less
natural illumination.
2 LightProvides more natural illumination, but slower viewport performance.
Shade Selected FacesFaces selected in the viewport are displayed in a red semitransparent state
when this is turned on, letting you see the faces youve selected when the Shading Mode is Smooth
+Highlighted.
Use Selection BracketsToggles the display of white selection brackets in the viewport display.
Turn this off in complex scenes when the display of multiple selection brackets obscures the required
view of selected objects.
Display Selected with Edged FacesToggles the display of highlighted edges for selected objects
when the viewport is in a shaded mode, such as Smooth, Smooth+Highlights, Facets+Highlights, or
Facets. When on in these modes, the wireframe edges of selected objects appear along with the
shaded surfaces. This is helpful when selecting multiple objects or small objects.
Viewport ClippingWhen turned on, interactively sets a near and far range for viewport display.
Two arrows at the edge of the viewport allow you to determine where the clipping will occur. Tick
marks correspond to the extents of the viewport, the lower tick is the near clipping plane, and the
upper tick sets the far clipping plane. This does not affect the rendering to output, only the viewport
display.
Fast View Nth FacesWhen turned on, speeds screen redraw by displaying fewer faces. The Nth
Faces spinner sets the number of faces that are displayed when the Fast View mode is active. For
example, a setting of 3 displays every third face.
Perspective User View group
Field Of ViewSets the field of view angle for a Perspective viewport. This spinner is not available
when any other viewport type is active. You can change the Camera field of view in the Modify
panel.
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Bounding Box
Glossary
Bounding Box
Bounding box shows the extents of the model boat.
The bounding box is the smallest box that encloses the maximum dimensions or extents of an
object.
You can display selected objects in the scene as bounding boxes to speed up screen redraw. Use the
Object Properties dialog.
The Align command uses the maximum and minimum extents of the object's bounding box to align
objects.
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Extents
Glossary
Extents
Bounding box shows the extents of the model boat.
An object's extents are its maximum dimensions in X, Y, and Z. These are the dimensions of the
rectangular bounding box that surrounds the object.
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Display Color Rollout
Display panel > Display Color rollout
The Display Color rollout specifies whether the software displays objects using their object colors or
their diffuse material colors. You can choose one method for wireframe display and a different one
for shaded display. In each shading mode you can specify whether the material or the object color is
used.
Interface
Wireframe Controls the color of objects when the viewport is in wireframe display mode.
Object ColorDisplays the wireframes in object color.
Material ColorDisplays the wireframes using the material color.
ShadedControls the color of the object when the viewport is in any shaded display mode.
Object ColorDisplays the shaded objects using the object color.
Material ColorDisplays the shaded objects using the material color.
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Diffuse Color
Glossary
Diffuse Color
Vase has a mapped diffuse color.
The diffuse color is the color that an object reflects when illuminated by "good lighting," that is, by
direct daylight or artificial light that makes the object easy to see.
When we describe an object's color in conversation, we usually mean its diffuse color.
The choice of an ambient color depends on the kind of lighting: for moderate indoor lighting it can be
a darker shade of the diffuse color, but for bright indoor lighting and for daylight, it should be the
complement of the primary (key) light source. The specular color should be either the same color as
the key light source, or a high-value low-saturation version of the diffuse color.
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Viewport (Interactive) Renderer
Glossary
Viewport (Interactive) Renderer

The interactive renderer, used for the viewports, is designed for speed so you can easily manipulate
your objects in a shaded environment. It's not the same as the production renderer, which is used
for your final images. Therefore, a number of effects that are available to the production renderer
will not show up in the viewports.
When you design your materials, for example, you have four levels of visual feedback. The lowest
level is the shaded viewport. The next level is an ActiveShade viewport (or floater). The next level is
the sample slot, which uses the production renderer to display the sample sphere. The highest level
is the rendered scene, which uses the production renderer to display the scene.
A single material can contain any number of maps.
Because viewing mapped materials slows the viewport display, it's up to you to decide which map (if
any) you want to display. To display a specific map, you go to that map's level in the Material Editor,
and then turn on its display. (If you later go to a different map in the same material, and turn its
display on, the other map is automatically turned off.)
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Scanline Renderer
Glossary
Scanline Renderer
The scanline renderer is the default renderer. By default, you use the scanline renderer when you
render a scene from the Render Scene dialog or from Video Post. The Material Editor also uses the
scanline renderer to display materials and maps.
The image produced by the scanline renderer displays in the rendered frame window, a separate
window with its own controls.
As the name implies, the scanline renderer renders the scene as a series of horizontal lines.
3ds max additionally provides the interactive viewport renderer to provide a quick and simple
rendered view of your scene as you work on it. You might also have other plug-in or third-party
renderers that you've installed to work with 3ds max.
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Default Scanline Renderer Rollout
Main toolbar > Render Scene > Render Scene dialog > Choose Default Scanline Renderer as the
active draft or production renderer. > Renderer panel > Default Scanline Renderer rollout
Rendering menu > Render > Render Scene dialog > Choose Default Scanline Renderer as the
active draft or production renderer. > Renderer panel > Default Scanline Renderer rollout
This rollout sets parameters for the default scanline renderer.

Note: If your scene includes animated bitmaps, including materials, projector lights, environments,
and so on, the animation file is reloaded once per frame. If your scene uses multiple animations, or
if the animations are themselves large files, this can slow down rendering performance.
Environment Alpha Toggle and Filtering
To control whether or not the renderer uses the environment map's alpha channel in creating the
alpha for the rendered image, choose Customize > Preferences > Rendering, and then turn on Use
Environment Alpha in the Background group. If Use Environment Alpha is off (the default), the
background receives an alpha value of 0 (completely transparent). If Use Environment Alpha is on,
the alpha of the resulting image is a combination of the scene and the background image's alpha
channel. Also, when you render to TGA files with pre-multiplied alpha turned off, turning on Use
Environment Alpha prevents incorrect results.
You can also control whether or not a background image is affected by the renderer's antialiasing
filter. Choose Customize > Preferences > Rendering, and then turn on Filter Background in the
Background group. Default=off.
Tip: If you plan to composite 3ds max objects in another program such as combustion or
Photoshop, render the objects against a black background. Otherwise, a fringe of environment or
background color can appear around the 3ds max objects.
Plate Match Filtering
This section describes the Plate Match/MAX R2 antialiasing filter (see Antialiasing group under
Interface, below, for descriptions of other filtering options.
In versions of 3ds max prior to R2.5, antialiasing affected only geometric edges, with the filtering
of bitmaps being controlled in the Bitmap Map parameters (pyramidal, summed area, or no
filtering). Current antialiasing filters affect every aspect of the object, filtering textures along with
geometric edges.
While the method used in R2.5 and subsequent versions provides superior results, this method also
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background, because the antialiasing filters do not affect the background by default
(FilterBackground=0 in the [Renderer] section of the 3dsmax.ini file or Customize menu >
Preferences > Rendering tab > Background group > Filter Background). In order to correctly match
an objects map to an unfiltered background image, you need to use the Plate Match/MAX R2 filter
so the texture is not affected by the antialiasing.
There are three ways you can render objects to blend seamlessly into a background environment:
Assign a matte/shadow material.
Assign a 100% self-illuminated diffuse texture to an object using Camera Mapping.
Assign a 100% self-illuminated diffuse texture using Environment/Screen projection (see

Coordinates Rollout (2D)).
Use Plate Match/MAX R2 antialiasing when you need to match foreground objects with an
unfiltered background, or when you need to match the antialiasing qualities of the 3ds max 2
renderer.
Procedures
To set up an object for motion blurring:
1. Select the object to blur.
2. Right-click the object, and then choose Properties from the quad menu.
3. In the Object Properties dialog's Motion Blur group, choose either Object or Image.
4. If you chose Image, you can adjust the Multiplier spinner. This increases or decreases the
length of the blurred object's streak.
5. Click OK.
To add motion blur when you render the animation:
1. Click Render Scene.

The Render Scene dialog appears.
2. In the Default Scanline A-Buffer rollout, turn on Apply in the Object Motion Blur group or the
Image Motion Blur group.
For Object Motion Blur, set Duration, Duration Subdivisions, and Samples.
Increase Duration to exaggerate the motion blur effect. Decrease it to make the blur more
subtle.
If Samples is less than Duration Subdivisions, the slices used are selected randomly, giving a
grainy look to the blur. If Samples equals Duration Subdivisions, the blur is smooth. The

smoothest blur results from larger, equal values of these two parameters, but be aware that
this can slow down rendering by a factor of three to four.
For Image Motion Blur, adjust Duration and Apply to Environment Map.
Increase Duration to exaggerate the streaking. Decrease it to make it more subtle.
3. Turn on Apply to Environment map to have camera orbit movement blur the environment map.
This works only with Spherical, Cylindrical, or Shrink-Wrapped environments.
4. Set other rendering parameters, and then click Render.
Interface

Options group
MappingTurn off to ignore all mapping information to speed up rendering for tests. Affects
automatic reflections and environment maps as well as material mapping. Default=on.
ShadowsWhen off, cast shadows aren't rendered. This can speed up rendering for tests.
Default=on.
Auto Reflect/Refract and MirrorsIgnores automatic reflection/refraction maps to speed up
rendering for tests.
Force WireframeSet to render all surfaces in the scene as wireframes. You can choose the
thickness of the wireframe in pixels. Default=1.
Enable SSEWhen on, rendering uses Streaming SIMD Extensions (SSE). (SIMD stands for Single
Instruction, Multiple Data.) Depending on the CPU (or CPUs) of your system, SSE can improve
render time. Default=off.
Antialiasing group
AntialiasingAntialiasing smooths the jagged edges that occur along the edges of diagonal and
curves lines when rendering. Turn off only when you are rendering test images and greater speed is
more important than image quality.
Turning off Antialiasing disables the Force Wireframe setting. Geometry renders according to the
material assigned it even if Force Wireframe is turned on.
Filter drop-down listLets you select a high-quality table-based filter to apply to your rendering.
Filters are the last step in antialiasing. They work at the sub-pixel level and allow you to sharpen or
soften your final output, depending on which filter you select. Below the controls in this group,
3ds max displays a box with a brief description of the filter and how it is applied to your image.
Tip: Render Region and Render Selected give reliable results only when rendered with the Area filter.
The following table describes the available antialiasing filters.
Name Description
Computes antialiasing using a variable-size area filter.

Area
This is the original 3ds max filter.

Blackman A 25-pixel filter that is sharp, but without edge enhancement.
Blend A blend between sharp area and Gaussian soften filters.
Catmull-Rom A 25-pixel reconstruction filter with a slight edge-enhancement effect.
A general-purpose filter. Values of 1 to 2.5 are sharp; higher values blur the
Cook Variable
image.
Cubic A 25-pixel blurring filter based on a cubic spline.
Two-parameter filter; a trade-off of blurring, ringing, and anisotropy. If the

Mitchell-Netravali ringing value is set higher than .5 it will impact the alpha channel of the
image.
Uses the 3ds max 2 method (no map filtering) to match camera and screen
maps or matte/shadow elements to an unfiltered background image.
Plate Match/MAX R2
See the section Plate Match Filtering, above, for a discussion of how and
why you might want to use this filter.
Quadratic A 9-pixel blurring filter based on a quadratic spline.
Sharp Quadratic A sharp nine-pixel reconstruction filter from Nelson Max.
Soften An adjustable Gaussian softening filter for mild blurring.
Video A 25-pixel blurring filter optimized for NTSC and PAL video applications.
Filter MapsTurns on or off the filtering of mapped materials. Default=on.

Tip: Leave Filter Maps turned on unless you are making test renderings and want to speed up
rendering time and save memory.
Filter SizeAllows you to increase or decrease the amount of blur applied to an image. This option
is available only when a Soften filter has been selected from the drop-down list. The spinner is
grayed out when any other filter has been selected.
Setting the Filter Size to 1.0 effectively disables the filter.
Note: Some filters show additional, filter-specific parameters below the Filter Size control.
When you render separate elements, you can explicitly enable or disable the active filter, on a per-
element basis.
Global SuperSampling group
Disable all SamplersDisables all supersampling. Default=off
Note: SuperSampling settings are ignored by the mental ray Renderer, which has its own
sampling method.
Enable Global SupersamplerWhen on, applies the same supersampler to all materials.
When turned off, materials set to use the global settings are controlled by the settings appearing in
rendering dialog. All other controls in the Global SuperSampling group of the rendering dialog will
become disabled, except for the Disable All Samplers. Default=on.

Supersample MapsTurns on or off supersampling for mapped materials. Default=on.

Tip: Leave Supersample Maps on unless you are making test renderings and want to speed up
rendering time and save memory.
Sampler drop-down listLets you choose which supersampling method to apply. Default=Max
2.5 Star.
The options for a supersampling method are the same as those that appear on the SuperSampling
rollout in the Material Editor. Some methods offer expanded options that let you better control the
quality of the supersampling and the number of samples taken during rendering.
Object Motion Blur group
You determine which objects have object motion blur applied to them by setting Object in the Motion
Blur group of the Properties dialog for that object. Object motion blur blurs the object by creating
multiple "time-slice" images of the object for each frame. It takes camera movement into account.
Object motion blur is applied during the scanline rendering process.
ApplyTurns object motion blur on or off globally for the entire scene. Any objects that have their
Object Motion Blur property set are rendered with motion blur.
DurationDetermines how long the "virtual shutter" is open. When this is set to 1.0, the virtual
shutter is open for the entire duration between one frame and the next. Longer values produce more
exaggerated effects.
The effect of changing duration.
SamplesDetermines how many Duration Subdivision copies are sampled. The maximum setting is
32.
When Samples is less than Duration, random sampling within the duration occurs (which is why
there might be a slight granular look to the motion blur). For example, if Duration Subdivision=12
and Samples=8, there are eight random samples out of 12 possible copies within each frame.
When Samples=Duration, there is no randomness (and if both numbers are at their maximum value
(32), you get a dense result (which costs between 34 times the normal rendering time for that

specific object).
If you want to obtain a smooth blur effect, use the maximum settings of 32/32. If you want to cut
down rendering time, values of 12/12 will give you much smoother results than 16/12.
Because sampling happens within the duration, the Duration value always has to be less than or
equal to Samples.
Duration SubdivisionsDetermines how many copies of each object are rendered within the
Duration.
Left: Same value for Samples and Subdivisions.

Right: Samples value is less than Subdivisions.
Image Motion Blur group
You determine which objects have image motion blur applied to them by setting Image in the Motion
Blur group of the Properties dialog for that object. Image motion blur blurs the object by creating a
smearing effect rather than multiple images. It takes camera movement into account. Image motion
blur is applied after scanline rendering is complete.

The coin on the right has Image Motion Blur applied
You cant put image motion blur on objects that change their topology.
Tip: When blurred objects overlap, blurring doesn't work correctly and there are gaps in the
rendering. Because image motion blur is applied after rendering, it can't account for object overlap.
To fix this problem, render each blurred object separately, to a different layer, and then composite
the two layers using the Alpha Compositor in Video Post.
Note: Image motion blur doesn't work for NURBS objects that are animated so their tessellation
(surface approximation) changes over time. This happens when sub-objects are animated
independently of the top-level NURBS model. Nor does image motion blur work on any of the
following:
Anything with an Optimize.
Any primitive with animated segments.
MeshSmooth of any type with a "Smoothness" value (under iterations) other than 1.
MeshSmooth on polygons with Keep Faces Convex on.
Anything with Displacement Material.
In general, if you have objects with changing topology, use scene or object motion blur rather than
image motion blur.
ApplyTurns image motion blur on or off globally for the entire scene. Any objects that have their
Image Motion Blur property set are rendered with motion blur.
DurationSpecifies how long the "virtual shutter" is open. When this is set to 1.0, the virtual

shutter is open for the entire duration between one frame and the next. The higher the value, the
greater the motion blur effect.
Apply to Environment MapWhen set, image motion blur is applied to the environment map as
well as to the objects in the scene. The effect is noticeable when the camera orbits.
The environment map should use Environment mapping: Spherical, Cylindrical, or Shrink-Wrap. The
image motion blur effect doesn't work with Screen-mapped environments.
Work with TransparencyWhen on, image motion blur works correctly with transparent objects
that overlap. Applying image motion blur to transparent objects can increase rendering time.
Default=off.
Auto Reflect/Refract Maps group
Rendering IterationsSets the number of inter-object reflections in non-flat automatic reflection

maps. Although increasing this value can sometimes enhance image quality, it also increases
rendering time for reflections.
Color Range Limiting group
Color Range Limiting allows you handle over-brightness by toggling between either Clamping or
Scaling color components (RGB) that are out of range (0 to 1). Typically, specular highlights can
cause color components to rise above range while using filters with negative lobes can cause color
components to be below range. You choose one of two options to control how the renderer handles
out of range color components.
ClampTo keep all color components in range Clamp will change any color with a value greater
than 1 down to 1 while any color below 0 will be clamped at 0. Any value between 0 and 1 will not
change. Very bright colors tend to render as white when using Clamp since hue information can be
lost in the process.
ScaleTo keep all color components in range Scale will preserve the hue of very bright colors by
scaling all three color components so that the maximum component has a value of 1. Be aware that
this will change the look of highlights.
Memory Management group
Conserve MemoryWhen on, rendering uses less memory at a slight cost of memory time.
Memory saved is in the range of 15 to 25 percent. The time cost is about four percent. Default=off.
Comments

Rendering Preferences
Customize menu > Preferences > Preference Settings dialog > Rendering tab
On the Rendering panel of the Preference Settings dialog, you set options for rendering, such as the
default color of ambient light in rendered scenes. The many choices available enable you to reassign
the renderers used for production and draft rendering.
Interface
Video Color Check group
Some pixel colors are beyond the safe NTSC or PAL threshold. You can choose to flag or modify
them to acceptable values.
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Flag with BlackFlags all illegal pixels with black to show you the illegality of your image. This
mode teaches you how to make correct colors, instead of depending on Scale options. Scale options
force a natural discontinuity in the color values. In some cases, that discontinuity can cause visible
aliasing.
Scale LumaScales the luminance to bring the color into range, and maintains saturation. This
generally makes the illegal areas appear darker than they should be.
Scale SaturationScales the chroma to bring the color into range, and maintains saturation.
Because this option keeps the brightness levels of the pixels fairly equal to the unscaled ones, this is
the more useful of the two scale methods.
NTSC/PALDetermines the standard for the video color check. See NTSC (Glossary) and PAL
(Glossary).
Output Dithering group
Sets output dithering for all file types.

True ColorTurns dithering on or off for any true color output device. For 24-bit work, you should
turn True Color on. For paletted work, you can turn it off.
PalettedTurns dithering on or off for any 8-bit paletted device.
Field Order group
Odd/EvenSelects the field order of rendered images when the Render to Fields option is turned
on in the render dialog. Some video devices require that the even field be first, other video devices
require that the odd field be first. Determine the correct field order for your video device. If the
video output of your device is strobing or appears jittery, it may be due to incorrect field order, try
changing this parameter and re-rendering your animation.
Super Black group
ThresholdKeeps the super black threshold above a certain level primarily for luminance keying.
HotSpot/Falloff group
Angle SeparationLocks the spotlight hotspot and falloff cones at the angle separation defined by
the spinner (degrees). This option constrains the hotspot angle so that it can't equal the falloff and
cause aliasing artifacts.
Background group
Don't Antialias Against BackgroundEnsures that the edges of rendered geometry aren't
antialiased against the background. The inside of the geometry is still antialiased. Keep this control
off unless you're creating sprites for game development, or require special compositing techniques
because the background will not be rendered. In these cases, turning on this option helps avoid
generating alpha antialiasing on the outlines of the geometry. Default=off.

Note: You must be rendering against a black background if Dont Antialias Against Background is
turned on.
Filter BackgroundControls whether or not a background image is affected by the Renderers
antialiasing Filter. See Plate Match /MAX R2.5 Filter Types in Default Scanline Renderer Rollout for
detailed information of filtering background and antialiasing.
Use Environment AlphaControls whether or not the renderer uses the environment maps alpha
channel in created the alpha for the rendered image. If Use Environment Alpha is turned off, the
background is completely transparent. If it is turned on, the alpha of the resulting image is a
combination of the scene and images alpha. Note that only background images with alpha channels
or black backgrounds are supported when compositing in other programs such as Photoshop.
Default Ambient Light Color group
Click the color swatch to change the default ambient light color for renderings. This color will be the
darkest color for rendered shadows in the scene.
Output File Sequencing group
Nth Serial NumberingSpecifies whether output frame files generated using a frame-step value
other than 1 are numbered sequentially (on) or according to their true frame numbers (off).
Render Termination Alert group
BeepBeeps when the rendering has finished. You can set the frequency and the duration.
Play SoundPlays a sound file when the rendering has finished.
Choose SoundOpens the Open Sound browser dialog, select a sound file using the browser. You
can test sound files with the Play button in the Open Sound dialog. Press ESC to turn off the sound.
GBuffer Layers group
Maximum NumberLimits the number of layers that are stored in the G-buffer during rendering.
Default=10; Range=1 to 1000.
Memory requirements may dictate that you limit the number of G-buffer layers. The RLA and RLF
image formats, used for compositing, can store many G-buffers for object Z buffer information,
material ID, transparency and so on.
Multi-threading group
OnCauses the software to treat the rendering task as separate threads. This option works with
multiprocessor systems. Each processor in your computer handles a different thread, which makes
full use of available processing power and speeds up rendering to its maximum level. When off,
3ds max treats a rendering task as a single processing task and won't divide it up.
Bitmap Pager group

The Bitmap Pager can help with the rendering of scenes that have very large textures, a large
number of textures, or when rendering a high-resolution image.
OnWhen turned on, the software creates a series of temporary page files on the drive where it is
installed for use in rendering bitmaps.
Page Size (kB)Sets the size of the bitmap page. If textures are smaller than the page size, the
system allocates only the memory required.
Bitmap Size Threshold (kB)Sets the minimum size (in kilobytes) that a bitmap must be in order
to be paged.
Memory Pool (kB)Controls the amount of memory used by the pager. All pages remain in
memory until this limit is reached. When the limit is reached, the pager begins saving pages to disk.
Pages that are not frequently used are paged out; more frequently used pages are kept in memory.
Comments

NTSC
Glossary
NTSC
NTSC (National Television Standards Committee) is the name of the video standard used in North
America, most of Central and South America, and Japan. The frame rate is 30 frames per second
(fps) or 60 fields per second, with each field accounting for half the interleaved scan lines on a
television screen.
Comments
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Fields
Glossary
Fields
Two fields combine to make a single frame.
Your animations might ultimately be viewed on television monitors. Standard video signals display
animation by breaking it down within time segments (frames). The image for each frame is split into
horizontal lines (scan lines). A special method for conveying frame information on a video signal has
been developed. This method is called field interlacing. Television monitors display a video signal by
separately scanning two portions of each frame called fields. One field contains the odd scan lines of
a frame, the other field contains the even scan lines. Television monitors scan and display the fields
of each frame separately. The fields are alternately cycled through every other horizontal line on the
screen so that they "layer" together to form a single interlaced image.
Render to Fields
On the Render Scene dialog, in the Common Parameters rollout, the Render To Fields check box sets
whether the renderer renders full frames at the specified frame rate, or renders fields at twice that
rate. When Render To Fields is on, the renderer renders an extra sub-frame image between every
two frames, and composites each frame and the following sub-frame into a single image with two
fields. The result is a 60 fields-per-second animation suitable for play on an NTSC television monitor.
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Fields
Field Order
When you render to fields, you also specify a field order to identify which field comes first. The Field
Order configuration setting is found in Preferences, on the Rendering page. A frame's scan lines are
numbered and each field contains either the odd or even scan lines. The video source (for example,
broadcast transmitter, video tape recorder, or digital video recorder) determines which group of scan
lines is in each field and which group is delivered to the display first. The fields are referred to as
Field 1 (F1) and Field 2 (F2); either could contain the odd numbered (1st, 3rd, 5th, and so on) scan
lines or the even numbered (2nd, 4th, 6th, and so on) scan lines in the frame.
Using the default setting of Odd as your Field Order preference, the software renders the first field
image (F1) to the odd scan lines. If the field order preference is set to Even, then the first field
image is rendered to the even scan lines. For an image to display properly, the field order and the
video device field order must match.
Some video systems require odd lines to be rendered first, and others require the even lines to be
recorded first. The Field Order parameter is set to Odd by default. If you observe incorrect strobing
in your video output, change the parameter to Even.
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Common Parameters Rollout (Render Scene Dialog)
Rendering menu > Render > Render Scene dialog > Common panel > Common Parameters rollout
The Common Parameters rollout sets parameters common to all renderers.
Procedures
To set the size of the image, do one of the following:
In the Output Size group, click one of the preset resolution buttons.
In the Output Size group, choose one of the pre-formatted film or video formats from the drop-
down list.
In the Output Size group, choose Custom from the drop-down list, and then adjust the Width,
Height, and Aspect Ratio values manually.
Tip: Smaller images render much more quickly. For example, you can use 320 x 240 to render
draft images, then change to a larger size for your final work.
To save the rendered still image in a file:
1. Click Files.
2. In the file dialog, specify a name and a type for the image file, and then click OK.
The Save File toggle turns on.
You can later turn off Save File if you want only to view the rendering on screen.
Note: The file dialog has a Setup button. This displays a subdialog that lets you choose options
specific to the file type you are saving to.
To alter the pixel aspect ratio:
In the Output Size group of the Render Scene dialog, adjust the Pixel Aspect Ratio to fit the
requirements of your output device.
The Image Aspect Ratio field updates to show what the aspect of the rendered image will be.
If you alter pixel aspect ratio but also render to a window or a file, the rendered image appears
distorted.
To speed up rendering time for the purpose of a test (or draft) rendering:
1. In the Options group of the Common Parameters panel, turn on Area Lights/Shadows As Points.
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2. Set any other parameters and click Render.

All area and linear lights in the scene are treated as point lights during the rendering. This
reduces rendering time, however some quality is lost. When you are ready to render at high
quality, you can simply turn off Area Lights/Shadows As Points and render again.
Note: Scenes with radiosity are not affected by the Area Lights/Shadows As Points toggle, as
area lights do not have a significant effect on the performance of a radiosity solution.
Interface

Time Output group
Select which frames you want to render.

SingleCurrent frame only.
Active Time SegmentThe Active Time Segment is the current range of frames as shown in the
time slider.
RangeAll the frames between and including the two numbers you specify.
FramesNonsequential frames separated by commas (for example, 2,5) or ranges of frames,
separated by hyphens (for example, 0-5).
File Number BaseSpecifies the base file number, from which the file name will increment.
Range= -99,999 to 99,999.
Every Nth frameRegular sample of frames. For example, type 8 to render every 8th frame.
Available only for active and range output.
For example, if the Range of frames is set to 0-3, Every Nth Frame is 1, and the File Number Base is
15, the output files are file0015, file0016, file0017, file0018.
You can specify a negative number base, as well. For example, if you're rendering frames 50-55,
and set the File Number Base to -50, the result is file-050, file-051, file-052, file-053, file-054, file-
055.
Note: If you begin render a range of frames, but haven't assigned a file in which to save the
animation (by using the File button, described below), an alert box appears to warn you about this.
Rendering animations can take a long time, and usually it doesn't make sense to render a range
without saving all frames to a file.
Output Size group
Select one of the predefined sizes or enter another size in the Width and Height fields (in pixels).
These controls affect the image's aspect ratio.
Drop-down listThe Output Size drop-down list lets you choose from several standard film and
video resolutions and aspect ratios. Choose one of these formats, or leave it set to Custom to use
the other controls in the Output Size group. These are the options you can choose from on the list:
Custom
35mm 1.316:1 Full Aperture (cine)
35mm 1.37:1 Academy (cine)

35mm 1.66:1 (cine)
35mm 1.75:1 (cine)
35mm 1.85:1 (cine)
35 MM Anamorphic (2.35:1)
35 MM Anamorphic (2.35:1) (Squeezed)
70mm Panavision (cine)
70mm IMAX (cine)
VistaVision
35mm (24mm X 36mm) (slide)
6cm X 6cm (2 1/4" X 2 1/4") (slide)
4" X 5" or 8" X 10" (slide)
NTSC D-1 (video)
NTSC DV (video)
PAL (video)
PAL DV (video)
HDTV (video)
Note: The values of the Image Aspect and resolution buttons can change, depending on which
output format you select from this list.
Aperture WidthLets you specify an aperture width for the camera that creates the rendered
output. Changing this value changes the camera's Lens value. This affects the relationship between
the Lens and the FOV values, but it doesn't change the camera's view of the scene.
For example, if you have a Lens setting of 43.0 mm, and you change the Aperture Width from 36 to
50, when you close the Render Scene dialog (or render), the camera Lens spinner has changed to
59.722, but the scene still looks the same in the viewport and the rendering. If you use one of the
preset formats rather than Custom, the aperture width is determined by the format, and this control
is replaced by a text display.
Width and HeightLet you set the resolution of the output image by specifying the width and the
height of the image, in pixels. With Custom format, you can set these two spinners independently.
With any other format, the two spinners are locked to the specified aspect ratio, so adjusting one
alters the other. The maximum width and height is 32,768 x 32,768 pixels.
Preset resolution buttons (320x240, 640x480, and so on)Click one of these six buttons to
choose a preset resolution. Right-click a button to display a subdialog that lets you change the
resolution specified by the button.

Image AspectLets you set the aspect ratio of the image. Changing this value changes the Height
value to maintain the correct dimensions for the active resolution. When you use a standard format
rather than Custom, you can't change the aspect ratio, and this control is replaced by a text display.
In 3ds max, the Image Aspect value is always expressed as a multiplier value. In written
descriptions of film and video, often aspect ratio is also described as a ratio. For example, 1.33333
(the default Custom aspect ratio) is often expressed as 4:3. This is the standard aspect ratio for
broadcast video (both NTSC and PAL) when letterboxing is not used. (Letterboxing shows the full
width of a wide-screen film format, framed by black regions above and below.)
When using a custom output size, the lock button to the left of Image Aspect locks the aspect
ratio. When it is on, the Image Aspect spinner is replaced by a label, and the Width and Height
spinners are locked to each other; adjusting one alters the other to maintain the aspect-ratio value.
In addition, when the aspect ratio is locked, altering the Pixel Aspect value alters the Height value to
maintain the aspect-ratio value.
Note: In viewports, the camera's cone changes to reflect the image aspect ratio you set in the
Render Scene dialog. This change takes place when you exit the Render Scene dialog.
Pixel AspectSets the aspect ratio of the pixels for display on another device. The image might
look squashed on your display but will display correctly on the device with differently shaped pixels.
If you use one of the standard formats rather than Custom, you can't change the pixel aspect ratio
and this control is disabled.
The lock button to the left of Pixel Aspect locks the pixel-aspect ratio. When it is on, the Pixel
Aspect spinner is replaced by a label, and you can't change the value. This button is available only
with the Custom format.

Images with different pixel aspects appear stretched or squashed on a monitor with square pixels.
Note: For standard NTSC, the pixel aspect ratio is 0.9. If you are creating 16:9 (0.778) anamorphic
images for NTSC, the pixel aspect ratio should be 1.184. (As in the previous discussion of Image
Aspect, this assumes the image is not letterboxed.)
Options group
AtmosphericsRenders any applied atmospheric effects, such as volume fog, when turned on.
EffectsRenders any applied rendering effects, such as Blur, when turned on.
DisplacementRenders any applied displacement mapping.
Video Color CheckChecks for pixel colors that are beyond the safe NTSC or PAL threshold and
flags them or modifies them to acceptable values.
By default, "unsafe" colors render as black pixels. You can change the color check display by using
the Rendering panel of the Preference Settings dialog.
Render to FieldsRenders to video fields rather than frames when creating animations for video.
Render Hidden GeometryRenders all geometric objects in the scene, even if they are hidden.
Area Lights/Shadows as PointsRenders all area lights or shadows as if they were emitted
from point objects, speeding up rendering time.
Tip: This is useful for draft renderings, as point lights render much faster than area lights.
Note: Scenes with radiosity are not affected by this toggle, as area lights do not have a significant
effect on the performance of a radiosity solution.

Force 2-Sided2-Sided rendering renders both sides of all faces. Usually, you'll want to keep this
option off to speed rendering time. You may want to turn it on if you need to render the inside as
well as the outside of objects, or if you've imported complex geometry in which the face normals are
not properly unified.
Super BlackSuper Black rendering limits the darkness of rendered geometry for video
compositing. Leave off unless you're sure you need it.
Advanced Lighting group
Use Advanced LightingWhen on, the software incorporates a radiosity solution or light tracing in
the rendering.
Compute Advanced Lighting When RequiredWhen on, the software computes radiosity when
required on a per-frame basis.
Normally, when rendering a series of frames, the software calculates radiosity only for the first
frame. If, in an animation, it might be necessary to recalculate the advanced lighting in subsequent
frames, turn this option on. For example, a brightly painted door might open and affect the coloring
of a nearby white wall, in which case the advanced lighting should be recalculated.
Save FileWhen on, the software saves the rendered image or animation to disk when you render.
Save File is available only after you specify the output file using the Files button.
FilesOpens the Render Output File dialog, which lets you specify the output file name, format, and
location.
You can render to any of the still or animated image file formats that are writeable.
If you render multiple frames to a still-image file format, the renderer renders individual frame files
and appends sequence numbers to each file name. You can control this with the File Number Base
setting.
Use DeviceSends the rendered output to a device such as a video recorder. First click the Devices
button to specify the device, for which an appropriate driver must already be installed.
Rendered Frame WindowDisplays the rendered output in the rendered frame window.
Net RenderEnables network rendering. If this is turned on, when you render you'll see the
Network Job Assignment dialog.
Skip Existing ImagesWhen activated and Save File is on, the renderer will skip images in a
sequence that have already been rendered to disk.
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Modeling Global Illumination with Radiosity

Radiosity is rendering technology that realistically simulates the way in which light interacts in an
environment.
This topic provides you with a conceptual overview of what radiosity is and how this global
illumination technique relates to other rendering techniques available in 3ds max. This information
will help you decide which technique is most suitable for the visualization task you want to perform.
By more accurately simulating the lighting in your scene, radiosity offers you significant benefits
over previous releases:
Improved Image Quality: The radiosity technology of 3ds max produces more accurate
photometric simulations of the lighting in your scenes. Effects such as indirect light, soft shadows,
and color bleeding between surfaces produce images of natural realism that are not attainable
with standard scanline rendering. These images give you a better, more predictable
representation of what your designs will look like under specific lighting conditions.
More Intuitive Lighting: In conjunction with the introduction of radiosity techniques, 3ds max also
provides a real-world lighting interface. Instead of specifying lighting intensity with arbitrary
values, lightLight intensity is specified using photometric units (lumens, candelas, and so on). In
addition, the characteristics of real-world lighting fixtures can be defined using industry-standard
Luminous Intensity Distribution files (such as IES, CIBSE, and LTLI), which are obtainable from
most lighting manufacturers. By being able to work with a real-world lighting interface, you can
intuitively set up the lighting in your scenes. You can focus more on your design exploration than
on the computer graphic techniques required to visualize them accurately.
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Top: A scene rendered without radiosity.

Bottom: The same scene rendered with radiosity.
Computer Graphics Rendering

The 3D models created in 3ds max contain geometric data defined in relationship to a 3D Cartesian
coordinate system, referred to as world space. The model also contains other information about the
material of each of the objects and the lighting in the scene. The image on a computer monitor is
made up of many illuminated dots, called pixels. The task in creating a computer graphics image of a
geometric model is to determine the color for each pixel based on the model information and a
specific viewpoint (camera).
The color of any specific point on a surface in a model is a function of the physical material
properties of that surface and the light that illuminates it. Two general shading algorithms: local
illumination and global illumination are used to describe how surfaces reflect and transmit light.
Local Illumination
Local illumination algorithms describe only how individual surfaces reflect or transmit light. Given a
description of light arriving at a surface, these mathematical algorithms, called shaders in 3ds max,
predict the intensity, color, and distribution of the light leaving that surface. In conjunction with a
material description, different shaders will determine, for example, if a surface will appear like plastic
or metal or if it will appear smooth or rough. 3ds max provides a robust interface for defining a
wide array of different surface materials.
After defining how an individual surface interacts with light at the local level, the next task is to
determine where the light arriving at the surface originates. With the standard scanline rendering
system of 3ds max, only the light coming directly from the light sources themselves is considered in
the shading.
For more accurate images, however, it is important to take into account not only the light sources,
but also how all the surfaces and objects in the environment interact with the light. For example,
some surfaces block light, casting shadows on other surfaces; some surfaces are shiny, in which
case we see in them the reflections of other surfaces; some surfaces are transparent, in which case
we see other surfaces through them; and some surfaces reflect light onto other surfaces.
Global Illumination
Rendering algorithms that take into account the ways in which light is transferred between surfaces
in the model are called global illumination algorithms. 3ds max offers two global illumination
algorithms as an integral part of its production rendering system: ray-tracing and radiosity.
Before an explanation of how ray-tracing and radiosity work, its useful to understand how light is
distributed in the physical world. Consider, for example, the room shown in the illustration below.

Kitchen lit by two lights
This kitchen above has two light sources. One theory of light considers the light in terms of discrete
particles called photons, that travel from the light source until they encounter some surface in the
kitchen. Depending on the surface material, some of these photons are absorbed and others are
scattered back out into the environment. The fact that photons traveling at a particular wavelength
are absorbed while others are not is what determines the color of the surface.
Surfaces that are very smooth reflect the photons in one direction, at an angle equal to the angle at
which they arrive at the surface, the angle of incidence. These surfaces are known as specular
surfaces, and this type of reflection is known as specular reflection. A mirror is an example of a
perfectly specular surface. Of course, many materials display some degree of both specular and
diffuse reflection.

Left: Specular reflection

Right: Diffuse reflection
The way in which the photons are reflected from a surface depends primarily on the smoothness of
the surface. Rough surfaces tend to reflect photons in all directions. These are known as diffuse
surfaces, and this type of reflection is known as diffuse reflection (shown above). A wall painted with
flat paint is a good example of a diffuse surface.
The final illumination of the kitchen is determined by the interaction between the surfaces and the
billions of photons emitted from the light source. At any given point on a surface, it is possible that
photons have arrived directly from the light source (direct illumination) or else indirectly through one
or more bounces off other surfaces (indirect illumination). If you were standing in the kitchen, a very
small number of the photons in the room would enter your eye and stimulate the rods and cones of
your retina. This stimulation would, in effect, form an image that is perceived by your brain.
In computer graphics we replace the rods and cones of a retina with the pixels of the computer
screen. One goal of a global illumination algorithm is to re-create, as accurately as possible, what
you would see if you were standing in a real environment. A second goal is to accomplish this task
as quickly as possible, ideally in real time (30 images per second). Currently, no single global
illumination algorithm can accomplish both goals.
Ray-Tracing
One of the first global illumination algorithms developed is known as ray-tracing. The ray-tracing
algorithm recognizes that although billions of photons may be traveling about the room, the photons
we primarily care about are the ones that enter the eye. The algorithm works by tracing rays

backward, from each pixel on the screen into the 3D model. In this way, we compute only the
information needed to construct the image. To create an image using ray-tracing, the following
procedure is performed for each pixel on the computer screen.
1. A ray is traced back from the eye position, through the pixel on the monitor, until it intersects
with a surface. We know the reflectivity of the surface from the material description, but we do
not yet know the amount of light reaching that surface.
2. To determine the total illumination, we trace a ray from the point of intersection to each light
source in the environment (shadow ray). If the ray to a light source is not blocked by another
object, the light contribution from that source is used to calculate the color of the surface.
3. If an intersected surface is shiny or transparent, we also have to determine what is seen in or

through the surface being processed. Steps 1 and 2 are repeated in the reflected (and, in the
case of transparency, transmitted) direction until another surface is encountered. The color at
the subsequent intersection point is calculated and factored into the original point.
4. If the second surface is also reflective or transparent, the ray-tracing process repeats, and so
on until a maximum number of iterations is reached or until no more surfaces are intersected.
Ray-tracing: Rays are traced from the camera through a pixel, to the geometry, then back to
their light sources.
The ray-tracing algorithm is very versatile because of the large range of lighting effects it can model.
It can accurately account for the global illumination characteristics of direct illumination, shadows,
specular reflections (for example, mirrors), and refraction through transparent materials. The main
disadvantage of ray-tracing is that it can be very slow for environments of even moderate
complexity. In 3ds max, ray-tracing is used selectively on objects with ray-trace materials that

specify ray-tracing as their shading option. Ray-tracing can also be specified for light sources as the
method for rendering the shadows they cast.
A significant disadvantage of both ray-tracing and scanline rendering is that these techniques do not
account for one very important characteristic of global illumination, diffuse inter-reflections. With
traditional ray-tracing and scanline rendering, only the light arriving directly from the light sources
themselves is accurately accounted for. But, as shown in the room example, not only does light
arrive at a surface from the light sources (direct lighting), it also arrives from other surfaces (indirect
lighting). If we were to ray-trace an image of the kitchen, for example, the areas in shadow would
appear black because they receive no direct light from the light sources. We know from experience,
however, that these areas would not be completely dark because of the light they would receive
from the surrounding walls and floor.
In scanline rendering and traditional ray-tracing (versions of 3ds max prior to v5), this indirect
illumination is usually accounted for simply by adding an arbitrary ambient light value that has no
correlation to the physical phenomena of indirect illumination and is constant throughout space. For
this reason, scanline and ray-traced images can often appear very flat, particularly renderings of
architectural environments, which typically contain mostly diffuse surfaces.
Radiosity
To address this issue, researchers began investigating alternative techniques for calculating global
illumination, drawing on thermal engineering research. In the early 1960s, engineers developed
methods for simulating the radiative heat transfer between surfaces to determine how their designs
would perform in applications such as furnaces and engines. In the mid-1980s, computer graphics
researchers began investigating the application of these techniques for simulating light propagation.
Radiosity, as this technique is called in the computer graphics world, differs fundamentally from ray-
tracing. Rather than determining the color for each pixel on a screen, radiosity calculates the
intensity for all surfaces in the environment. This is accomplished by first dividing the original
surfaces into a mesh of smaller surfaces known as elements. The radiosity algorithm calculates the
amount of light distributed from each mesh element to every other mesh element. The final radiosity
values are stored for each element of the mesh.

Radiosity: A ray of light that hits a surface is reflected by multiple diffuse rays, which can themselves
illuminate other surfaces. Surfaces are subdivided to increase accuracy of the solution.
In early versions of the radiosity algorithm, the distribution of light among mesh elements had to be
completely calculated before any useful results could be displayed on the screen. Even though the
result was view-independent, the preprocessing took a considerable amount of time. In 1988,
progressive refinement was invented. This technique displays immediate visual results that can
progressively improve in accuracy and visual quality. In 1999, the technique called stochastic
relaxation radiosity (SRR) was invented. The SRR algorithm forms the basis of the commercial
radiosity systems provided by Discreet.
An Integrated Solution
Although the ray-tracing and radiosity algorithms are very different, they are in many ways
complementary. Each technique has advantages and disadvantages.
Lighting Algorithm Advantages Disadvantages

Computationally expensive. The time

required to produce an image is greatly
Accurately renders direct
affected by the number of light
illumination, shadows, specular
sources.
Ray-Tracing reflections, and transparency
Process must be repeated for each
effects.
view (view dependent).
Memory Efficient
Doesnt account for diffuse
interreflections.
3D mesh requires more memory than

Calculates diffuse interreflections the original surfaces.
between surfaces. Surface sampling algorithm is more
Radiosity Provides view independent solutions susceptible to imaging artifacts than
for fast display of arbitrary views. ray-tracing.
Offers immediate visual results. Doesnt account for specular reflections
or transparency effects.
Neither radiosity nor ray-tracing offers a complete solution for simulating all global illumination
effects. Radiosity excels at rendering diffuse-to-diffuse inter-reflections, and ray-tracing excels at
rendering specular reflections. By integrating both techniques with a production quality scanline
rendering system, 3ds max offers the best of both worlds. After you create a radiosity solution, you
can render a two-dimensional view of it. In your 3ds max scene, ray-tracing adds effects in addition
to those that radiosity provides: lights can provide ray-traced shadows, and materials can provide
ray-traced reflections and refractions. The rendered scene combines both techniques, and appears
more realistic than either technique alone could provide.
By integrating ray-tracing and radiosity, 3ds max offers a full range of visualization possibilities,
from fast, interactive lighting studies to images of exceptional quality and realism.
See also
How Radiosity Works in 3ds max

Radiosity Workflows
Animation with Radiosity
Radiosity Controls
Lighting Analysis
Lighting Analysis Dialog
Advanced Lighting Override Material

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Photometry
Glossary
Photometry
3ds max provides physically based simulation of the propagation of light through an environment.
The results are not only highly realistic renderings, but also accurate measurements of the
distribution of light within the scene. In order to take full benefit of these capabilities a new interface
for defining and using real-world lights has also been introduced in 3ds max. This section introduces
the quantities used for defining and measuring light.
There are several theories that describe the nature of light. For this discussion, we define light as
radiant energy capable of producing a visual sensation in a human observer. When we design a
lighting system, were interested in evaluating its effect on the human visual response system. Thus
photometry was developed to measure light, taking into account the psychophysical aspects of the
human eye/brain system. Four photometric quantities are used in the lighting simulation system:
Luminous flux
Illuminance
Luminance
Luminous intensity
Luminous flux is the quantity of light energy per unit time arriving, leaving, or going through a
surface. The unit of luminous flux is the lumen (lm), which is used in both the International System
(SI) of Units and in the American System (AS) of Units. If we think of light as particles (photons)
moving through space, then the luminous flux of a light beam arriving at a surface is proportional to
the number of particles hitting the surface during a time interval of 1 second.
Illuminance is the luminous flux incident on a surface of unit area. This quantity is useful for
describing the level of illumination incident on a surface without making the measurement
dependent on the size of the surface itself. The SI unit of illuminance is the lux (lx), which is equal to
1 lumen per square meter. The corresponding AS unit is the footcandle (fc), equivalent to 1 lumen
per square foot.
Part of the light incident on a surface is reflected back into the environment. The light reflected off a
surface in a particular direction is called luminance, the quantity that is converted to display colors to
generate a realistic rendering of the scene. Luminance is measured in candelas per square meter or
candelas per square inch. The candela was originally defined as the luminous intensity emitted by a
single wax candle.
Finally, luminous intensity is the light energy per unit time emitted by a point source in a particular
direction. The unit of measure of luminous intensity is the candela. Luminous intensity is used to
describe the directional distribution of a light source, that is, to specify how the luminous intensity of
a light source varies as a function of the outgoing direction.
Because 3ds max works with these physically based photometric values, it can accurately simulate
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Photometry
real-world lighting and materials.
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IES Standard File Format

You can create a photometric data file in the IES format using the IES LM-63-1991 standard file
format for photometric data. (IES stands for Illuminating Engineering Society.) However, only the
information relevant to is described here. For a complete description of the IES standard file format,
see IES Standard File Format for Electronic Transfer of Photometric Data and Related Information,
prepared by the IES Computer Committee (http://www.iesna.org).
The luminous intensity distribution (LID) of a luminaire is measured at the nodes of a photometric
web for a fixed set of horizontal and vertical angles. The poles of the web lie along the vertical axis,
with the nadir corresponding to a vertical angle of zero degrees. The horizontal axis corresponds to a
horizontal angle of zero degrees and is oriented parallel to the length of the luminaire. This type of
photometric web is generated by a Type C goniometer and is the most popular in North America;
other types of goniometry are supported by the IES standard file format but are not discussed here.
The photometric data is stored in an ASCII file. Each line in the file must be less than 132 characters
long and must be terminated by a carriage return/line-feed character sequence. Longer lines can be
continued by inserting a carriage return/line-feed character sequence. Each field in the file must
begin on a new line and must appear exactly in the following sequence:
1. IESNA91
2. [TEST] the test report number of your data
3. [MANUFAC] the manufacturer of the luminaire
4. TILT=NONE
5. 1
6. The initial rated lumens for the lamp used in the test or -1 if absolute photometry is used and
the intensity values do not depend on different lamp ratings.
7. A multiplying factor for all the candela values in the file. This makes it possible to easily scale
all the candela values in the file when the measuring device operates in unusual unitsfor
example, when you obtain the photometric values from a catalog using a ruler on a goniometric
diagram. Normally the multiplying factor is 1.
8. The number of vertical angles in the photometric web.
9. The number of horizontal angles in the photometric web.
10. 1
11. The type of unit used to measure the dimensions of the luminous opening. Use 1 for feet or 2
for meters.
12. The width, length, and height of the luminous opening. Currently, Lightscape ignores these
dimensions because you can associate a given luminous intensity distribution with any of the
luminaire geometric entities supported by Lightscape. It is normally given as 0 0 0.
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13. 1.0 1.0 0.0
14. The set of vertical angles, listed in increasing order. If the distribution lies completely in the
bottom hemisphere, the first and last angles must be 0 and 90, respectively. If the
distribution lies completely in the top hemisphere, the first and last angles must be 90 and
180, respectively. Otherwise, they must be 0 and 180, respectively.
15. The set of horizontal angles, listed in increasing order. The first angle must be 0. The last
angle determines the degree of lateral symmetry displayed by the intensity distribution. If it is
0, the distribution is axially symmetric. If it is 90, the distribution is symmetric in each
quadrant. If it is 180, the distribution is symmetric about a vertical plane. If it is greater than
180 and less than or equal to 360, the distribution exhibits no lateral symmetries. All other
values are invalid.
16. The set of candela values. First all the candela values corresponding to the first horizontal angle
are listed, starting with the value corresponding to the smallest vertical angle and moving up
the associated vertical plane. Then the candela values corresponding to the vertical plane
through the second horizontal angle are listed, and so on until the last horizontal angle. Each
vertical slice of values must start on a new line. Long lines may be broken between values as
needed by following the instructions given earlier.
Here is an example of a photometric data file.
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Example of Photometric Data File

The following is an example of a photometric data file:
IESNA91
[TEST] Simple demo intensity distribution
[MANUFAC] Lightscape Technologies, Inc.
TILT=NONE
1
-1
1
8
1
1
2
0.0 0.0 0.0
1.0 1.0 0.0
0.0 5.0 10.0 20.0 30.0 45.0 65.0 90.0
0.0
1000.0 1100.0 1300.0 1150.0 930.0 650.0 350.0 0.0
See also
Comments
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CIBSE Files
Glossary
CIBSE Files
The CIBSE file type is the file format for photometric data adopted by the Chartered Institution of
Building Services Engineers. It is used primarily in Great Britain.
Comments
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LTLI Files
Glossary
LTLI Files
The LTLI file type is the file format for photometric data created by the Danish Illuminating
Laboratory. It is primarily used in Scandinavian countries.
Comments
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World Space
Glossary
World Space
A book in object space rests on a table in world space.
World space is the universal coordinate system used to track objects in the scene. When you look at
the home grid in the viewports, you see the world-space coordinate system. World space is constant
and immovable. By convention, world-space coordinates are always expressed as XYZ coordinates,
as opposed to the UVW coordinates of object space.
All objects in your scene are located in world space by their position, rotation, and scale (their
transforms).
Some modifiers operate in world space. See World-Space Modifiers (WSMs).
Space warps also operate in world space. A space warp defines an area in world space that is
affected by the space warps parameters. Any object that is bound to the space warp is affected as it
moves through the space warps area of world space.
Comments
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Object Space
Glossary
Object Space
A book in object space rests on a table in world space.
Object space is the coordinate system unique to each object in your scene. It tracks the location of
everything applied to an object. The location of object vertices, the placement of modifiers, mapping
coordinates, and materials are all defined in object space. By convention, especially in discussions of
texture mapping, object-space coordinates are expressed as UVW coordinates, as opposed to the
XYZ coordinates of world space.
Each object has its own local center and coordinate system as defined by the location and orientation
of the objects pivot point. The local center and coordinate system of an object combine to define its
object space.
When you choose Use Pivot Point Centers from the toolbar or Use Pivot Points from the Modifier List,
you are telling the program to use the Object Space origin of one or more selected objects as the
center of a transform or modifier effect.
When you choose Local from the Reference Coordinate System list (on the main toolbar), you tell
the program to use a selected objects object space for the orientation of the active coordinate axes.
Most modifiers operate in object space. See Object-Space Modifiers.
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Object Space
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Reference Coordinate System
Main toolbar > Reference Coordinate System list
The Reference Coordinate System list lets you specify the coordinate system used for a
transformation (Move, Rotate, and Scale). Options include View, Screen, World, Parent, Local,
Gimbal, Grid, and Pick.
In the Screen coordinate system, all views (including perspective views) use the viewport screen
coordinates.
View is a hybrid of World and Screen coordinate systems. Using View, all orthographic views use the
Screen coordinate system, while perspective views use the World coordinate system.
Note: The coordinate system is set on a transform-by-transform basis, so choose the transform
before you specify the coordinate system. If you do not want the coordinate system to change, turn
on Customize menu > Preferences > General tab > Reference Coordinate System group > Constant.
Interface
ViewIn the default View coordinate system, X, Y, and Z axes are the same in all viewports. When
you move an object using this coordinate system, you are moving it relative to the space of the
viewport.
X always points right.
Y always points up.
Z always points straight out of the screen toward you.
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Different orientations of the View coordinate system:

1. Top viewport.
2. Front viewport.
3. Left viewport.
4. Perspective viewport.
ScreenUses the active viewport screen as the coordinate system.
X is horizontal, running in a positive direction toward the right.
Y is vertical, running in a positive direction upward.
Z is depth, running in a positive direction toward you.

Since the Screen mode depends on the active viewport for its orientation, the X, Y, and Z labels
on an axis tripod in an inactive viewport show the orientation of the currently active viewport. The
labels on that tripod will change when you activate the viewport it is in.

The coordinate system in Screen mode is always relative to the point of view.
WorldUses the world coordinate system. Seen from the front:
X runs in a positive direction to the right.
Z runs in a positive direction upward.
Y runs in a positive direction away from you.

The World coordinate system is always fixed.
ParentUses the coordinate system of the parent of the selected object. If the object is not linked
to a specific object, it's a child of the world, and the parent coordinate system is the same as the
world coordinate system.
Example of a Parent object coordinate system.

LocalUses the coordinate system of the selected object. An object's local coordinate system is
carried by its pivot point. You can adjust the position and orientation of the local coordinate system,
relative to its object, using the options on the Hierarchy command panel.
When Local is active, the Use Transform Center button is inactive and all transforms use the local
axis as the center of transformation. In a selection set of several objects, each uses its own center
for the transform.
Local uses an individual coordinate system for each object.
GimbalThe Gimbal coordinate system is meant to be used with the Euler XYZ Rotation controller.
It is similar to Local, but its three rotation axes are not necessarily orthogonal to each other.
When you rotate about a single axis with the Local and Parent coordinate systems, this can change
two or three of the Euler XYZ tracks. The Gimbal coordinate system avoids this problem: Euler XYZ
rotation about one axis changes only that axis's track. This makes function curve editing easier.
Also, absolute transform type-in with Gimbal coordinates uses the same Euler angle values as the
animation tracks (as opposed to Euler angles relative to the World or Parent coordinate system, as
those coordinate systems require).
For move and scale transforms, Gimbal coordinates are the same as Parent coordinates. When the
object does not have an Euler XYZ Rotation controller assigned, Gimbal rotation is the same as
Parent rotation.
The Euler XYZ controller can be the active controller in a List controller, too.
GridUses the coordinate system of the active grid.

Using an active grid coordinate system.
PickUses the coordinate system of another object in the scene.

After you choose Pick, click to select the single object whose coordinate system the transforms will
use. The object's name appears in the Transform Coordinate System list.
The fact that an object's name is saved in the list lets you pick an object's coordinate system,
change the active coordinate system, and then use the object's coordinate system again at a later
time. The list saves the four most recently picked object names.
When using Pick to specify an object as a reference coordinate system, you can press H to display
the Select Objects dialog and pick the object from there.

Using another object as the coordinate system
Comments

World Coordinate System
Glossary
A book in object space rests on a table in world space. The table uses the world coordinate system.
The coordinate system for world space or the model space as a whole.
World space is the universal coordinate system for all objects in the scene. When you look at the
home grid in the viewports, you see the World Space coordinate system. World space is constant
and immovable.
In the world coordinate system seen from the front, the X axis runs in a positive direction to the
right, the Z axis runs in a positive direction upward, and the Y axis runs in a positive direction away
from you.
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Local Coordinate System
Glossary
A book in object space rests on a table in world space. The book has its own local coordinate system.
The local coordinate system is the coordinate system that relates specifically to the selected object.
Each object has its own local center and coordinate system as defined by the location and orientation
of the object's pivot point. The local center and coordinate system of an object combine to define its
object space.
The direction of the object's X, Y, and Z axes depend on the current transforms of the object.
Contrast with the world coordinate system.
You can see the difference between the two coordinate systems when you unintentionally rotate an
object, such as the wheel on a car model, around the world axis instead of the object's local axis.
The wheel immediately flies off in a large arc because the center of the rotation is at the origin of the
world coordinates.
To rotate the wheel correctly, first change the coordinate system to Local, using the pop-up list in
the toolbar. The wheel then rotates around its own hub, which is the origin of its local coordinates.
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Comments
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Axis Tripod
Axis Tripod
An axis tripod appears in the viewports whenever you select one or more objects, to assist you
visually in your transforms.
The tripod consists of three lines, labeled X, Y, and Z, and shows you three things:
The orientation of the tripod reveals the orientation of your coordinate system.
The location of the junction of the three axis lines shows you where your transform center is.
The highlighted red axis lines show you the axis or axes to which the transform is constrained. For
example, if only the X axis line is red, you can move objects only along the X axis.
You can toggle the display of the axis tripod in all viewports by turning off Display World Axis, on the
Viewports panel of the Preferences Settings dialog.
See also
Using Transform Gizmos
Comments
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Viewport Preferences
Customize menu > Preferences > Preference Settings dialog > Viewports tab
On the Viewports panel of the Preference Settings dialog, you set options for viewport display and
behavior.
You can also set the current Display Driver.
See also
Strokes
Graphics Driver Setup Dialog
Configure Driver
Interface
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Viewport Parameters group
Use Dual PlanesUses the front/back plane system when redrawing the viewport. The selected
object is manipulated in the front plane and is redrawn, while other objects remain on the back
plane and are not redrawn. This default setting provides the fastest redraws under normal
circumstances. If your assigned display driver doesn't support dual planes, this option is not
available.
Turn off this setting to improve redraw speed if you are rotating the whole scene or moving a
camera through the scene (usually situations in which the whole viewport needs to be redrawn
anyway).
Show Vertices As DotsWhen on, the software displays vertices in mesh and patch objects as

small, solid-color squares, whose size you can set with the Size parameter. When off, the vertex
display is a tick mark.
SizeLets you specify the vertex size displayed in the viewports. Range=2 to 7. Default=2.
Handle SizeLets you specify the display size for handles attached to patch vertices and spline
vertices. Range=2 to 7. Default=3.
Draw Links as LinesDisplays the hierarchical links between parent and child objects as plain
lines, rather than shapes when Display panel > Link Display rollout > Display Link is turned on.
Backface Cull on Object CreationDetermines whether to display faces with normals pointing
away from view. When turned on, you see through the wireframe to the backfaces. This option
applies to wireframe viewport displays only. In most cases, you'll want this item turned on.
However, if you're modeling with NURBS surfaces, which consist of single-sided planes, it's easier to
view them from all angles when backface culling is turned off.
This control affects only the created objects, and you can reverse the effect on each object by
changing the Backface Cull setting in the Object Properties dialog for that object.You might turn
off Backface Cull On Object Creation before creating your NURBS, and then turn it on again when
your finished.
You can globally change the display of backface culling in the viewports by turning on Force 2-
Sided on the Rendering Method panel of the Viewport Configuration dialog.
Attenuate LightsTurns the display of attenuation effects on or off from start to end in the
interactive viewport renderer. When turned off, attenuated lights behave as though there was no
attenuation. Default=off.
Mask Viewport to Safe RegionBy default, the viewport area outside the outermost safe frame
displays the contents of the viewport. When this box is turned on, that area is left blank.
Update Background While PlayingTurns on the updating of bitmaps in the viewport background
when you play an animation. You need this capability to check your action against a 2D rotoscoped
background, even if your animation plays at 1 frame per second. When turned on, an IFL, FLC or,
AVI file updates on each frame when you click the Play button. Turn off the real-time switch in the
Time Configuration dialog to use this feature.
In 3ds max, the viewport updates not only when you click Play, but also when you drag the time
slider.
Filter Environment BackgroundsAffects the background displayed in the viewport only when
the Viewport Background parameter is turned on in the Viewport Background dialog.
When you turn on Filter Environment Backgrounds, the environment background is filtered in the
viewport, resulting in an antialiased image. When you turn it off, the background image is not
filtered, resulting in an aliased, pixelated image.
Filtering slows down the recalculation of the viewport background image about 30 to 40 percent.
Unless you really need that smooth display, it's best to leave the option turned off.
This option doesn't affect the rendered background image, and doesn't effect the viewport

backgrounds when you turn on Use Environment Background.
Low Res Environment BackgroundReduces the size of the environment background map by
half, and then magnifies it to the size needed for the viewport. This results in a chunkier, pixelated
appearance, but speeds the rendering in the viewport by four times (because it halves the width and
the height of the original image).
Tip: Unless you need fine detail in your environment background, it's best to leave this item turned
on.
Display World AxisDisplays a world axis in the lower-left corner of all viewports when turned on.
Default=on.
Grid Nudge DistanceSets the nudge distance for the Nudge Grid Down and Nudge Grid Up keys,
which you can use to move selected objects into position.
Non Scaling Object SizeSets the display size of cameras, lights, and other nonscaling objects.
Default=1.
Display Drivers group
Currently Installed DriverDisplays the name of the currently installed driver.

Choose DriverDisplays the Display Driver Setup dialog. Use this dialog to select a different
software display driver, or to switch drivers if you installed a hardware accelerator card.
Configure DriverDisplays the Configure Driver dialog, where you can change the driver options
for your currently selected driver.
Mouse Control group
Middle Button Pan/ZoomSets the middle mouse button to pan in the viewport if you have a
three-button mouse. If you have a Microsoft Intellimouse, you can also roll the middle wheel to
zoom the viewport.
To Zoom with a three button mouse, press CTRL+ALT and drag the center button.
Note: By default, the Intellimouse slows the speed of the mouse when you hold down the wheel
button. You can increase the mouse speed in the Mouse Properties dialog in the Windows Control
Panel. Choose the Wheel tab, click the Settings button in the Wheel Button group, and turn the slider
up to Fast.
StrokeAssigns command shortcuts to stroke patterns applied by dragging with the middle mouse
button.
See Strokes.
Zoom About Mouse Point (Orthographic)When this control is turned on, viewports zoom about
the point where you click the mouse. With it turned off, viewports zoom about the center of the
view. This applies to orthographic viewports only.
Zoom About Mouse Point (Perspective)When this control is turned on, viewports zoom about

the point where you click the mouse. With it turned off, viewports zoom about the center of the
view. This applies to perspective viewports only.
Right Click Menu Over Selected OnlyLimits the right-click menu display over a selected object
(as in 3ds max 2). Default=off.
When this option is turned off; you can right-click anywhere in the viewports to display a menu.
Comments

Strokes
Strokes
Customize menu > Preferences > Preference Settings dialog > Viewports tab > Mouse Control
group > Stroke
Strokes are a way to assign command shortcuts to mouse or tablet drag patterns. For many
operations, strokes are more convenient than keyboard shortcuts because they can select an object
and apply a command to it.
For example, you can assign Arc Rotate to a downward stroke. When you draw this stroke, the
software changes to Arc Rotate mode. You can assign a circular stroke to the Hide Selected
command so that it both selects the objects and then hides all the objects in the bounding extents of
the stroke pattern.
You can use strokes in two ways:
If you have a middle mouse button, you can define and use strokes by specifying the Stroke
option for the middle mouse button in the Viewports tab of the Customize menu > Preferences
dialog.
To define and use strokes with the left mouse button, use the Strokes utility and turn on Draw
Strokes.
Using the Keyboard with Strokes
The same stroke pattern can perform four different functions by holding the SHIFT, ALT, or SHIFT
+ALT keys when drawing the stroke:
Drawing a vertical line is one type of stroke.
Holding SHIFT while drawing the same line is another type.
Holding ALT while drawing it is a third type.
Holding both SHIFT and ALT while drawing the line is a fourth type.
Holding CTRL while drawing a stroke indicates that you want to define a new stroke, rather than
use an existing stroke.
Note: Changes you make to the set of strokes are saved with 3ds max and persist from session
to session.
See also
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Strokes
Defining Strokes
Reviewing and Editing Strokes
Stroke Preferences Dialog
Strokes Utility
Procedures
To define and use strokes with the middle mouse button:
1. Choose Customize menu > Preferences > Preference Settings dialog > Viewports tab.
2. In the Mouse Control group, turn on Stroke.

You must turn on this option for all Stroke functions to work with the middle mouse button.
3. Hold the middle mouse button and drag in a viewport to make a stroke. If the stroke hasn't
been defined, a dialog appears where you can click Define to define the stroke. If the stroke
has already been defined, the corresponding function is executed.
See Defining Strokes for information on defining and editing strokes.
To define and use strokes with the left mouse button:
1. Choose Utilities panel > Utilities rollout > More button > Utilities dialog > Strokes.
2. Turn on Draw Strokes.
3. Hold the left mouse button and drag in a viewport to make a stroke. If the stroke hasn't been
defined, a dialog appears where you can click Define to define the stroke. If the stroke has
already been defined, the corresponding function is executed.
See Defining Strokes for information on defining and editing strokes.
Example: To assign Object Properties to a stroke:
1. Use one of the first two procedures to activate strokes.
2. Hold down CTRL, and drag from top to bottom and then back up to the starting point.
3. The Define Stroke dialog appears, and the name of the stroke is "HKKH."
If an alert appears, you've either drawn the stroke incorrectly, or this stroke has already been
assigned. Continue with the following steps to replace the defined stroke.
4. Choose the Properties command from the Command To Execute list.
5. The option enabled is Single Object At Start Of Stroke, because that's the logical choice for the
Object Properties command.
6. Click OK.

Strokes
7. Drag vertically down and back up over any object in the scene to display the Object Properties
dialog for that object.
Example: To assign Hide Selection to a stroke:
1. Use one of the first two procedures to activate strokes.
2. Hold down CTRL, and drag an L shape (drag vertically from top to bottom, and then continue
from left to right).
3. In the alert that appears, click Yes to redefine the stroke and display the Define Stroke dialog.
The name of this stroke is GJEF.
4. Choose Hide Selection from the list.
5. Choose All Objects in Rectangular Extents, and then choose Crossing.
6. Click OK.
7. Load a scene containing several objects.
8. Drag an L shape that crosses and encloses some objects in the scene.
The stroked objects are all hidden.
Comments

Strokes Utility
Strokes Utility
Utilities panel > Utilities rollout > More button > Utilities dialog > Strokes
The Strokes utility lets you launch commands by dragging left-button mouse patterns in a viewport.
When you launch the Strokes utility, a modeless dialog appears containing a single Draw Strokes
button. When the Draw Strokes button is active, you can define and use strokes with the left mouse
button.
The Strokes system is also available as an option for the middle mouse button that doesn't require
the utility or the modeless dialog. This option can be found on the Viewports tab of the Preferences
dialog. For details, see Strokes.
Procedures
Example: To define a stroke pattern for Arc Rotate:
1. On the Utilities panel, click the More button, and choose Strokes from the list.
2. On the modeless dialog, click Draw Strokes.
3. Hold down the left mouse button and drag the mouse straight down from top to bottom, then
release the mouse button. The length of the stroke doesn't matter, but the direction does.
A dialog appears asking you to define the pattern or continue.
4. Click Define to display the Define Stroke dialog.
5. Choose Arc Rotate from the Command To Execute list and then click OK.
The pattern is now defined for Arc Rotate.
Example: To turn on Arc Rotate using the Strokes utility:
1. Turn on Draw Strokes in the modeless dialog.
2. In any viewport, hold down the left mouse button and drag the mouse straight down from top
to bottom. The length of the stroke doesn't matter, but the direction does.
As you drag the mouse, small X's appear, displaying your stroke. When you release the mouse,
a 3x3 grid appears briefly, and then the program switches to Arc Rotate mode.
If a Stroke Not Found message appears, click Continue, and then repeat step 2.
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Strokes Utility
Comments
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Defining Strokes
Defining Strokes
Hold down CTRL and the middle mouse button and drag in a viewport to create the shape of an
unused stroke. > Define Strokes dialog
Hold down the middle mouse button alone or with SHIFT, ALT, or both, and drag in a viewport to
create the shape of an unused stroke. > Define > Define Strokes dialog
Utilities panel > Utilities rollout > More button > Utilities dialog > Strokes > Draw Strokes > Hold
down the left mouse button alone or with SHIFT, ALT, or both, and drag in a viewport to create the
shape of an unused stroke. > Define > Define Strokes dialog
You define a stroke by creating the stroke in a viewport, then choosing the command that the stroke
defines. The next time you perform the stroke, the command will be executed. You can define
strokes to work in conjunction with the SHIFT key, the ALT key, or both SHIFT and ALT.
You can define strokes with either the left or middle mouse button. If you want to use your middle
mouse button to define and use strokes, you must first turn on Customize menu > Preferences >
Preference Settings dialog > Viewports tab > Mouse Control group > Stroke. To define and use
strokes with the left mouse button, choose Utilities panel > Utilities rollout > More button > Utilities
dialog > Strokes > Draw Strokes, then draw the strokes.
In the Define Stroke dialog, you can see how the strokes are analyzed by examining the grid under
Stroke to Define. When you complete the drawing of a stroke, a nine-square grid is centered around
the stroke and fit to its extents. The inner segments of the grid are assigned unique letters. Where
the stroke crosses a segment, the letter associated with that segment is added to the stroke name.
Thus, the direction and the shape of the stroke matter, but the size of the stroke has no effect.
The stroke is always centered within the grid. If you draw a stroke vertically from top to bottom, the
stroke is named HK because it crossed the segments labeled H and K, in that order. Had you drawn
the stroke from bottom to top, it would have been named KH.
Tip: You can define more than one stroke for the same command. For example, you might assign a
U-shape stroke to Undo, but find that you sometimes draw a J shape when attempting the U. By
assigning both the U and the J strokes to Undo, you don't have to worry about missing that stroke.
Tip: The Command Should Operate On group of options is important. If the command applies to
selections, leave this option set to Single Object at Start of Stroke, or change it to All Objects in the
Selection Set. However, if the command doesn't apply to selections, such as Arc Rotate or Activate
Grid Object, change it to No Objects Just Execute the Command.
See also
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Defining Strokes

Strokes Utility
Procedures
To define a stroke using the CTRL key:
1. Hold down the CTRL key while drawing a stroke.
2. If the stroke already exists, a message asks you if you want to replace the old stroke. Click
Yes.
3. In the Define Stroke dialog that appears, assign the stroke.
To define a stroke by example:
1. Draw a stroke that doesn't exist.
2. A Stroke Not Found message appears. Click Define.
3. In the Define Stroke dialog that appears, assign the stroke.
Interface

Defining Strokes
Stroke to Define group
Displays the name of the stroke and displays the stroke you just drew as a series of white Xs
connected by white lines. A green X represents the start of the stroke and a red X represents the
end. The labeled grid shows you how it recognizes the stroke. Where the stroke crosses the labeled
segments in the grid, a letter is added to the name of the stroke.
Command to Execute group
Lists all commands to which you can assign a stroke. Select a command and click OK to assign the
stroke displayed in the grid to the selected command. Depending on the type of command you
choose in this list, various options become available in the Command Should Operate On group.
Currently assigned to strokeDisplays the name of the stroke currently assigned to the selected
command. If you pressed SHIFT or ALT when the stroke was drawn, they're added to the name. For
example: "SHIFT + HK" or "ALT + HK."

Defining Strokes
Command Should Operate On group
Provides a number of options that specify which objects (if any) are affected by the command. These
options are enabled or disabled depending on the type of command you've selected in the list
window.
No Objects Just Execute the CommandThis text is displayed when you choose a command
that's not specific to selected objects (such as Arc Rotate). When you select a command that can be
applied to selected objects, the following options become enabled:
Single Object at Start of StrokeCauses the command to act on the object beneath the first
stroke point in the active viewport.
All Objects in the Selection SetCauses the command to act on all objects in the current
selection set.
Multiple Objects Based On The Stroke Boundary group
Choosing one of the options in this group lets you use the stroke itself to select multiple objects and
then apply the command.
All Objects in Rectangle ExtentsSelects all objects defined by the rectangular bounding of the
stroke.
All Objects in Circular ExtentsSelects all objects defined by the largest circle that fits within the
rectangular bounding of the stroke.
Window/CrossingWhen you choose either of the previous two options, these two options
become available. Window selects only those objects entirely within the rectangular or circular
region. Crossing selects all objects within or crossing the region.
Current Stroke Set groupDisplays the name of the current stroke set, so you can review the
strokes defined in that set. You can create and save a number of different stroke sets. See Stroke
Preferences.
ReviewClick to display the Review Strokes dialog, in which you can choose from a list of defined
strokes and then see the stroke itself. You cannot edit strokes this way. To view, change, and delete
strokes, draw the Review Strokes stroke (by default, a horizontal line from left to right).
Comments

Define Strokes dialog > Click Review.
Draw the Review Strokes stroke. By default, this is a horizontal line from left to right.
You can view defined strokes in the Review Strokes dialog. Depending on how you display this
dialog, you can also change or delete defined strokes:
Click the Review button in the Define Strokes dialog to view strokes, but not change or delete
them.
Draw the Review Strokes stroke (by default, a horizontal line from left to right) to view, change,
and delete strokes. You can redefine the Review Strokes stroke in the Review Strokes dialog.
Procedure
To change the command assigned to a stroke (or vice versa):
1. Select a command (or stroke) from the list.
2. Click Change. The Define Strokes dialog appears.
3. Select the new stroke to assign.
4. Click OK in the Define Strokes dialog to assign the selected stroke to the command currently
highlighted in the Review Strokes dialog.
Interface
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Defined Strokes
Displays a list of commands that currently have strokes assigned to them and the name of the
current stroke set.
Make Camera ActivePoint at a single camera (not the target), draw the stroke, and that camera
becomes active in the viewport in which you draw the stroke.
Change Light ColorYou can stroke this command over one or more lights. The color selector
appears, so you can change the color of the selected lights.
Light On/Off ToggleStroke over a light to toggle it on and off. If you stroke over two or more
lights, all the lights are set to a common state, either all on or all off.
Set ConstraintsDisplays a small dialog with the available axis constraints. Double-click to change
the axis constraints for the current transform mode.
Move Mode (Set Constraints)Switches to Move transform mode and displays a small dialog with
the available axis constraints. Double-click to change the axis constraints for the current transform
mode.
Rotate Mode (Set Constraints)Switches to Select and Rotate mode and displays a small dialog
with the available axis constraints. Double-click to change the axis constraints for the current
transform mode.

Scale Mode (Set Constraints)Switches to Select and Scale mode and displays a small dialog
with the available axis constraints. Double-click to change the axis constraints for the current
transform mode.
Review StrokesDisplays the Review Strokes dialog.
Stroke PreferencesDisplays the Stroke Preferences dialog.
Show As
Provides two options that specify how commands are displayed in the list.
Command NameDisplays the assigned strokes by command name (for example, Play Animation).
Stroke NameDisplays the assigned strokes by their stroke name (for example, HK).
ChangeAssigns a different stroke to the command, or vice versa, depending on whether
commands or strokes are displayed in the list.
DeleteRemoves the selected command (or stroke) from the list, and the command is no longer
assigned to the stroke.
Information on Selected Stroke
Displays the name and shape of the stroke selected in the list window.
Comments

Draw the Stroke Preferences stroke. By default, this is an inverse L, drawn vertically from bottom
to top, and then horizontally from left to right.
With the Stroke Preferences dialog you can save sets of strokes and set other stroke properties.
Note: This dialog is available only by drawing its stroke (by default, an inverse L, drawn vertically
from bottom to top, and then horizontally from left to right). You can redefine the Stroke
Preferences stroke in the Review Strokes dialog.
See also
Strokes
Defining Strokes
Strokes Utility
Interface
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Current Stroke Set group
Displays the name and number of strokes in the current set.
To create a new set, enter a new name in the field and click Save.
To choose a different set, choose it from the list and click OK.
SaveSaves the set displayed in the list.

DeleteDeletes the set displayed in the list.
Review Strokes Default Show As Order group
Specifies whether commands or strokes are initially listed in the Review Strokes dialog.
Show Grid Time (ms)
The time it takes, in milliseconds, for the stroke analysis grid to appear in the viewports when you
complete a stroke. Set it to 0 to hide the grid. Default=300 (about 1/3 of a second); Range=0 to
2000.
Show Extents Time (ms)
The time it takes, in milliseconds, for the extents of the stroke to appear in the viewports. Range = 0
to 2000. Set it to 0 to disable this feature. Default=300 (about 1/3 of a second).
Strokes that operate on the First Point display a small X. Strokes that operate on items in the
bounding box of the stroke display the bounding box. Strokes that operate on the circular extents
display a circle that fits inside the square bounding box of the stroke. Window selections appear
solid. Crossing selections appear dotted.
Stroke Point Size
The size, in pixels, of Xs drawn in the viewports that allow you to visualize the stroke shape.
Default=4; Range=3 to 20.
Comments
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Customize menu > Preferences > Preference Settings dialog > Viewports tab > Display Drivers
group > Choose Driver button
(With Direct3D active) Customize menu > Preferences > Preference Settings dialog > Viewports
tab > Display Drivers group > Choose Driver button > Direct3D Driver Setup dialog > Revert From
Direct3D button
You choose and configure graphic display drivers on the Viewports panel of the Preference Settings
dialog. This topic explains driver options available on the Display Driver Setup dialog and analyzes
trade-offs in performance.
See also
Configure Driver
Configure Software Display Driver Dialog
Configure OpenGL Dialog
Configure Direct3D Dialog
Direct3D Driver Setup Dialog
Interface
On the Display Driver Setup dialog, some options are unavailable if the corresponding driver is not
installed in the system. The currently installed driver is listed in the Display Driver group.
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Software Display Driver
Choose this if you're using software rather than hardware acceleration. This choice is always
available.
OpenGL
Choose this option if you're using any form of hardware acceleration. The software will use whatever
driver has been installed in your operating system.
The OpenGL driver supports geometry acceleration as well as rasterization acceleration. It offers the
optimum display performance for animated deforming meshes. It's tightly integrated into Windows
NT and Windows 2000, and many 3D display cards were specifically designed to accelerate OpenGL
operations. OpenGL implementations have all of the scene data necessary to optimize the entire 3D
display process.
Because OpenGL is most efficient when run on systems with at least rasterization acceleration, the
software display driver/SZB option may work best on systems with an ordinary 2D display card.
However, with a 3D-enabled card, you may see dramatic acceleration using the OpenGL driver.
The disadvantages of the Open GL driver are as follows:
All potentially visible scene data must be transferred to the driver, and this can cause a
communication bottleneck across the system bus. In particular, this slows down the display of
individual primitives (as opposed to strips or polylines, like wireframe displays).
Because the OpenGL design supports a wide variety of display systems, there is no guarantee that
either incremental scene update methods (partial window blits (Block Image Transfers) or dual
planes) will work with a particular implementation of OpenGL.
Because lighting and texturing are restricted to OpenGL-specified semantics, mismatches between
3ds max scene lighting and texturing and what appears in an OpenGL viewport can occur. This
applies especially to attenuated lights and non-tiled texture display.)
Direct 3D
Choose this if you have a Direct3D (D3D) driver installed on your system. If you don't have DirectX
8.1 or above installed, this option is unavailable.
To configure the Direct3D driver, click the Advanced Direct3D button. This button, which is available
only when Direct3D is the active option, opens the Configure Direct3D dialog.
To switch to a different display driver when Direct3D is the active driver, click the Choose Driver
button on the Viewports tab of the Preference Settings dialog to open the Direct3D Driver Setup
dialog, click Revert From Direct3D, and then choose the new driver from the Graphics Driver Setup
dialog.
The Microsoft Direct3D API supports both rasterization and 3D scene-level calls. It offers the
optimum display performance for large modeling tasks, and pixel and vertex shading. (3ds max
supports only D3D Version 8 or above, which is included in DirectX 8.1.) D3D calls are accelerated if

the display hardware supports this.

Many inexpensive 3D display cards can use this driver efficiently. This driver supports scene data
culling efficiently, accelerates texture display (depending on the specific display card), and performs
perspective correction.
The driver works with high-color displays, which provide a good trade-off between display quality
and memory overhead. Incremental display update works efficiently.
The disadvantages of the Direct3D driver are as follows:
The driver currently runs only under Windows 98, Windows Millennium, Windows 2000, and
Windows XP. (There is no multi-processor Windows NT support.)
Dual-plane operations are slow (if available), and there can be some additional overhead in
minimizing/maximizing viewports due to the way D3D allocates video memory.
You can download D3D drivers from this location: www.microsoft.com/windows/directx/.
Custom
Choose this if you have a custom driver installed on your system. Such custom drivers don't use the
software display driver (Heidi), OpenGL, or Direct3D. If you don't have such a driver installed, this
option is not available.
Comments

Configure Driver
Configure Driver
group > Configure Driver button
You configure the current display driver using the Viewports panel of the Preference Settings dialog.
Changes to a driver's configuration take effect immediately, and the configuration persists between
sessions. However, data downloaded to the graphics card is not regenerated. For example, if you
change the texture resolution, the hardware continues to use the previous resolution until you use
the Material Editor to reload the texture.
The options in the driver configuration dialog vary, depending on which driver is in use. This
reference describes the options for the software display driver, Direct3D driver, and Open GL driver.
If you use a custom driver, the options depend on what the driver's manufacturer provides. See the
manufacturer's documentation for further information.
See also

Comments
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group > Configure Driver button (when Software Display Driver is the current driver)
The software display driver does not require hardware acceleration.
Interface
Redraw Scene On Window ExposeRedraws the whole scene when a dialog over the viewports is
moved, resulting in smoother dragging of dialogs such as the Material Editor or Track View.
If your 3ds max display easily becomes messy or "corrupted," turn this option on and then redraw
viewports by choosing Views > Redraw All Views (the default keyboard shortcut for this is the `
(accent grave) key, on the left side of the 1 key).
Use Triangle StripsStrips the geometry, which can more than double the display speed. In some
cases, such as when topology is constantly changed, the time taken to strip the geometry can cause
a slowdown instead. In such cases, turn off this option. Otherwise, leave it on for speed.
Download Texture Size group
64, 128, 256, 512These buttons specify the size of the bitmaps used to map surfaces in the
viewports. The larger the size, the better the resolution but the slower the speed. High speed
produces jagged maps and slower speeds produce smooth maps.
Note: When Match Bitmap Size As Closely as Possible is on, these buttons are overridden, however
they are still available. The value is still used when procedural textures are converted to bitmaps for
viewport texture display.
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Match Bitmap Size as Closely as PossibleTo allow the viewport to show actual texture
resolutions, bitmaps are individually resized in the display. This means that small bitmaps dont get
overexpanded and large bitmaps retain their resolution (but potentially use a lot more video RAM).
Note: Bitmaps can be no larger than 4000 x 4000 pixels (or they will be scaled down to this size)
and no smaller than 32 x 32 (or they will be scaled up to this size). Default=off.
Comments
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group > Configure Driver button (when Direct3D is the current driver)
The Direct3D display driver provides options that support DirectX 8 drivers. You can download D3D
drivers from this location: www.microsoft.com/windows/directx/.
Interface
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Implementation-Specific Settings: Geometry group
Display All Triangle EdgesWhen on, all triangle edges are displayed in shaded viewports. When
off, triangle edges are not displayed. Default=on.
Turning off this option can improve viewport appearance, but at a cost of display performance.
Use Cached D3DXMeshesWhen on, enables 3ds max to use custom driver code to render
smoothly shaded objects. Typically this is much faster than using standard Direct3D code, but has
an effect only when the driver has hardware-specific custom code. Default=on.
Use Wireframe FacesWhen on, makes wireframe display accessible to hardware acceleration.
Default=on.
This option is intended to allow display card manufacturers to accelerate 3ds max wireframe
displays in a way that is specific to the underlying display hardware. Check with your display-card
manufacturer to see if enabling this option will yield faster wireframe rendering with your display
card.
Use Triangle StripsStrips all geometric data out before sending it to the driver. In some cases,
such as when topology is constantly changed, the time taken to strip the geometry can cause a
slowdown instead. In such cases, turn off this option. Otherwise, leave it on for speed. Default=on.
This option has one subordinate option:
For Wireframe ObjectsWhen on, uses triangle strips for wireframe objects. Default=off.
Implementation-Specific Settings: Window Updates group
However, redrawing takes some time. Default=on.
viewports by choosing Views > Redraw All Views (the default keyboard shortcut for this is the 1 key
on the numeric keypad).
This option has two subordinate options. How you should set them depends on how the display card
handles its back buffer, which is used for refreshing the screen. Turn on one or the other, as
appropriate.
Redraw In Maximized ViewportIf, after updating the screen, the display card destroys the
back buffer only when there's a single viewport, turn on this sub-option. The Direct3D driver
redraws the scene when a single viewport is visible, but doesn't have to redraw when multiple

viewports are visible. Default=off.
Redraw In UnMaximized ViewportsIf, after updating the screen, the display card destroys
the back buffer when multiple viewports are visible, turn on this sub-option. Default=off.
Allow Dual Plane SupportUses the front/back plane system when redrawing the viewport. The
selected object is manipulated in the front plane and is redrawn, while other objects remain on the
back plane and are not redrawn. This default setting provides the fastest redraws under normal
available.
anyway).
Use Incremental Scene UpdatesRedraws only those scene objects that have changed, or that
intersect a region changed by another moving object. When turned off, the entire scene is redrawn
for each new frame. Default=on.
If your 3ds max display becomes messy or "corrupted" as a result of incremental updates, turn this
option off and then redraw viewports by choosing Views > Redraw All Views (the default keyboard
shortcut for this is 1 on the numeric keypad).
Appearance Preferences group
Enable Anti-aliased Lines in Wireframe ViewsDraws lines slightly thicker and much smoother.
This is best used for wireframe-only views, and especially if you're making a preview of wireframe
objects.
Background Texture SizeUnlike the software display driver, which uses bitmaps to display
viewport backgrounds directly, the Direct3D driver uses a texture-mapped background rectangle.
This allows for smoother zooms and pans in orthographic views and can take less memory than the
direct bitmap method. However, background bitmap resolution may be lost. Increase the resolution
if you're using a maximized viewport to digitize.
Match Bitmap Size as Closely as PossibleDisplays background at full resolution. This allows the
viewport to behave like the rendered frame window, in regards to zoom and pan. Default=off.
Download Texture SizeLets you choose the size of the texture map that's downloaded to the
driver for texture-mapped scene objects. Larger maps look better, but use more display card
memory.
resolutions, bitmaps are individually resized before they are downloaded to the driver. This means
that small bitmaps dont get overexpanded and large bitmaps retain their resolution (but potentially
use a lot more video RAM).

Texel LookupSpecifies whether to use the nearest pixel, to linearly interpolate the pixel value
from the four closest texels, or to use anisotropic filtering. Using the nearest pixel is faster, but using
texels produces a higher-quality display. The Anisotropic filter compensates for the distortion caused
by the difference in angle between the texture polygon and the plane of the screen.
Default=Nearest.
MipMap LookupSpecifies whether to use one version of the texture map (None) or to interpolate
between a pyramid of progressively smaller maps. With Nearest chosen, the texel lookup is done on
the map level nearest the ideal one, and with Linear, the texel values from the two closest map
levels are interpolated. Default=None.
Note: When both Texel and MipMap lookup are set to Linear, a true trilinear weighting of 8 texel
values is used for a single pixel display. This is very accurate and helps eliminate aliasing, but it is
time consuming if the texture-mapping hardware is not accelerated.
Comments

Rendered Frame Window
Rendering menu > Render > Render Scene dialog > Render > Rendered Frame Window appears.
File menu > View Image File > Choose a file to view. > Open > Rendered Frame Window displays
the file.
The rendered frame window displays rendered output. It has controls to:
Save the image to a file.
Create a clone of the window. This displays a new window so you can create another rendering
and compare it with the previous one.
Display a new rendered frame window.
Enable or disable display of the red, green, and blue color channels.
Display the alpha channel.
Display only monochrome (gray scale).
Clear the image from the window.
3ds max also displays still images and image sequences in the rendered frame window when you
choose the View Image File command from the File menu. When you view sequentially numbered
image files or images in an IFL file, the rendered frame window displays navigation arrows that let
you step through the images.
Procedure
To zoom and pan in the rendered frame window:

You can zoom in and out and pan the image in the rendered frame window. You can even do this
while a scene is rendering.
Hold down CTRL and then click to zoom in, right-click to zoom out.
Hold down SHIFT and then drag to pan.
If you have a three-button mouse, you can use its third button or its wheel to zoom and pan:
Roll the wheel to zoom in or out.
Press the wheel, and drag to pan.

Note: You can use any third-button pointing device to pan the image. To enable this, open the
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Customize menu > Preferences dialog. Go to the Viewports panel, and in the Mouse Control group
choose the Pan/Zoom option.
Interface
Rendered Frame Window toolbar
Save BitmapAllows you to save the rendered image displayed in the rendered frame window.
Clone Rendered Frame WindowCreates another rendered frame window containing the
displayed image. This allows you to render another image to the rendered frame window and
compare it with the previous, cloned image. You can clone the rendered frame window any number
of times.
Enable Red ChannelDisplays the red channel of the rendered image. When turned off, the
red channel is not displayed.
Enable Green ChannelDisplays the green channel of the rendered image. When turned off,
the green channel is not displayed.
Enable Blue ChannelDisplays the blue channel of the rendered image. When turned off, the
blue channel is not displayed.

Display Alpha ChannelDisplays the alpha channel.
MonochromeDisplays an 8-bit grayscale of the rendered image.
ClearClears the image from the rendered frame window.

Channel Display ListLists any channel rendered with the image. When you choose a channel
from the list, it is displayed in the rendered frame window.
For most kinds of files, only the RGB and alpha channels are available. If you render an RPF file or
RLA file, additional channels can be present.
The rendered frame window displays nonvisual channels, such as Material Effects or the G-Buffer,
using colors it randomly assigns to distinct values.
LayerThis spinner appears on the rendered frame window toolbar when you render to the RPF or
RLA file format. It lets you see the information at different layers of the following channels:
Z-buffer
Normal
Non-Clamped Color
Coverage
Node Render ID
Color
Sub-Pixel Weight
Sub-Pixel Mask
Layer shows no additional information for other channels. It is useful primarily when the scene
contains objects that occlude each other, and you have turned on the Render Occluded Objects
toggle for these objects. (See Object Properties.) Be aware that rendering occluded objects increases
render time.
Tip: Rendering occluded objects can help you create 3D effects when you composite images with the
Discreet combustion product.
Color SwatchStores the color value of the last pixel you right-clicked. You can drag this color
swatch to other color swatches in the program. Clicking the color swatch displays the Color Selector,
which displays more information about the color.
You can leave the Color Selector displayed while you right-click over other pixels in the rendered
frame window. (Changing the current value in the Color Selector changes the color swatch on the
rendered frame window's toolbar, but it does not change the color of pixels in the rendered image.)
Frame-Steps (arrows)For sequentially numbered files (such as image0005.jpg) or IFL files, the
arrows display the next or the previous file in the sequence. Holding down CTRL and clicking an
arrow jumps to the first image or the last image in the sequence.

Available if the rendered frame window is invoked using View File in the File menu.
Pixel Data
When you right-click the rendered frame window, the color swatch is updated, and information about
the rendering and the pixel beneath the mouse is displayed.
If you hold the right mouse button down while dragging, the information changes with each new
pixel the mouse crosses.
The display includes the following information:

WidthThe width of the image in pixels.
HeightThe height of the image in pixels.
TypeThe type of image, based on color depth. For example, 24 bits (RGB) or Paletted Image (256
Colors).
AspectThe pixel aspect ratio.
GammaThe gamma value carried in the bitmap file.
RedThe red component value (0 to 255) and the percentage of red.
GreenThe green component value (0 to 255) and the percentage of green.
BlueThe blue component value (0 to 255) and the percentage of blue.
AlphaThe alpha component value (0 to 255).
MonoThe monochrome value of the pixel, using the same formula used by monochrome material
map channels such as bump and opacity maps.
Optional Pixel Data
If the rendering is in a format, such as an RPF file or RLA file, that contains additional channels, the
informational pop-up also displays a group called "Optional Pixel Data." This shows all the possible
channels. If a channel was not saved, its value is displayed as "N/A," for "not applicable."

ZDisplays Z-Buffer information in repeating gradients from white to black. The gradients indicate
relative depth of the object in the scene.
Material EffectsDisplays the Effects Channel used by a material assigned to an objects in the
scene. The Effects Channel is a material property set in the Material Editor.
ObjectDisplays the G-Buffer Object Channel ID assigned to objects using the Object Properties
dialog.
UV CoordinatesDisplays the range of UV mapping coordinates.
NormalDisplays the orientation of normal vectors.
Non-Clamped ColorDisplays the "real" color value delivered to the Renderer in Red, Blue, and
Green order. The Renderer uses a floating point range of 0 to 1 to represent the range of each color
channel. Thus, 1 is 100%, or 255 (color values can be greater than 1, but are clamped by the
renderer to 1).
CoverageDisplays the coverage of the surface fragment from which other G-Buffer values (Z
Depth, Normal, and so on) are obtained. Z-Coverage values range from 0 to 255.
Node Render IDDisplays an objects G-Buffer Object channel.
ColorDisplays the color returned by the material shader for the fragment.
TransparencyDisplays transparency returned by the material shader for the fragment.
VelocityDisplays the velocity vector of the fragment relative to the screen.
Sub-Pixel WeightDisplays the sub-pixel weight of a fragment. The channel contains the fractions
of the total pixel color contributed by the fragment. The sum of all the fragments gives the final pixel
color. The weight for a given fragment takes into account the coverage of the fragment and the
transparency of any fragments that are in front of a given fragment.
Sub-Pixel MaskDisplays the sub-pixel alpha mask. This channel provides a mask of 16 bits (4x4)
per pixel, used in antialiased alpha compositing.

Comments

Alpha Channel
Glossary
Alpha Channel
Alpha channel shown in black, on the right
Alpha is a type of data, found in 32-bit bitmap files, that assigns transparency to the pixels in the
image.
A 24-bit, true color file contains three channels (parts) of color information: red, green, and blue, or
RGB. Each channel has a particular intensity or value at each pixel. The intensity of each channel
determines the color of the pixel in the image.
By adding a fourth, alpha channel, the file can specify the transparency, or opacity of each of the
pixels. An alpha value of 0 is transparent, an alpha value of 255 is opaque, and values in between
are semi-transparent. Transparency is important for compositing operations, such as those in Video
Post, where several images are blended together in layers.
An alpha channel is particularly useful for the partly transparent pixels around the aliased edge of an
object in a rendered image. These pixels are used for compositing. An image such as the one shown
above can be composited smoothly onto a different background if an alpha channel is produced and
saved with the image.
Each channel of a true color bitmap file is defined by 8 bits, providing 256 levels of intensity. Thus,
an RGB file is 24-bit with 256 levels each of red, green, and blue. An RGBA file (red, green, blue,
alpha) is 32-bit, with the extra 8 bits of alpha providing 256 levels of transparency.
Bitmaps saved to the TGA and TIF file formats can contain an alpha channel, but only if specified
upon saving. The only file format that 3ds max can render with an alpha channel is the TIF format.
Comments
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Red, Green, Blue / Hue, Saturation, Value
Glossary

There are two sets of color sliders in the Color Selector: the red/green/blue (RGB) set and the hue/
saturation/value (HSV) set. You can use either set or both to mix a particular color. As you adjust
the color sliders, their RGB and HSV numeric values appear in the spinners.
There are separate RGB and HSV spinners as light parameters.
RGB Sliders
Each of the RGB sliders is a band of red, green, or blue (the primary light colors) shaded from black
to the full intensity of the color. When you move any slider, it mixes with the values of the other
two, and the result appears in the swatch beneath the sliders.
For example, if you move the Red slider all the way to the right (value 255) and leave the other two
at the left (0), the active swatch turns red. If you then move the Green slider all the way to the
right, the swatch turns yellow. If you move all three sliders to 0, the result is black; if all three are at
255, the result is white; and all three at any point of equal value produce shades of gray.
HSV Sliders
If you prefer the hue/saturation/value color system, you can use the HSV sliders to mix color. First
move the Hue slider to the color band you want (if the Value and Saturation sliders are set to low
values, you don't see an immediate result in the swatch). Move the Value slider to set the
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brightness, or intensity of the color. Move the Saturation slider to determine the purity of the color.
The higher the saturation, the less gray the color.
Comments
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Color Selector Dialog
Any command panel> Name and Color fields > Click color swatch. > Object Color dialog > Add
Custom Colors button or Current Color swatch.
Material Editor > Click any color swatch.
Create panel or Modify panel > Create or select light object. > General Parameters rollout > Click
light color swatch.
Rendering menu > Environment > Environment and Effects dialog > Click color swatch for
Background, Tint, and Ambient components of Global Lighting, and various components of various
atmospheric effects such as Fire, Fog, and so on.
You use the Color Selector whenever you specify a custom color parameter in 3ds max. You can
work simultaneously with three different color models to help you zero in on the exact color you
want.
The Color Selector is used to specify many color parameters, such as light colors, material colors,
background colors, and custom object colors. (Another way to choose an object's viewport color is to
use the predefined colors in the Object Color dialog.)
In most contexts, the Color Selector is modeless; that is, it remains on the screen until you dismiss
it, and you can use other 3ds max controls or work in a viewport while the dialog is still visible. In
other contexts, the Color Selector is modal, and you must click OK or Cancel before proceeding.
The dialog is divided into three different color selection models. You can use the controls for any
model to define a color. The three color models are:
Hue/Blackness/Whiteness (HBW)
The most prominently displayed and intuitive color model is the HBW model. This model
represents a natural, pigment-based way of mixing color by starting with a pure color (hue) and
then making it darker by adding black, or lighter by adding white.
The main feature of the HBW model is a large square box displaying the color spectrum. Across
the top of this box you have the spectrum of pure colors, or hue. Down the side of the box you
see increasing levels of blackness, making the color dark as you approach the bottom.
To the right of the color spectrum box is the Whiteness box, which controls the amount of white in
the color. Use higher positions to decrease the whiteness, or lower positions to increase the
whiteness.
Red/Blue/Green (RGB)
The RGB model adjusts the mix of Red, Green, and Blue to define a color. This model represents
the way colored light can be mixed. This is additive color mixing, as opposed to the subtractive
color mixing for paint and other pigments. You can adjust values using the color sliders, the
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numeric fields to their right (via the keyboard), or the spinners to the right of the numeric fields.
Hue/Saturation/Value (HSV)
The HSV color model adjusts Hue, Saturation, and Value. Hue sets the color; Saturation (labeled
"Sat") sets the color's purity; and Value sets the color's brightness, or intensity. You can adjust
values using the color sliders, the numeric fields to their right (via the keyboard), or the spinners
to the right of the numeric fields.
As you adjust the controls of one color model, the controls of the other two models change to match.
The color defined by the color model is displayed in the right half of the Color Output box. The
original color, before you began making changes, is displayed in the left half.
Procedures
To display the Color Selector:
1. Click the color swatch of a color parameter such as the color of a light or of a material
component.
Note: The object color displayed by an object's name in command panels use a different,
Object Color dialog. In the Object Color dialog, clicking the Current Color swatch or the Add
Custom Colors button displays a Color Selector.
2. Make a color selection and click Close.
3. To keep the original color, click Reset.
To choose the hue of a color, do one of the following:
Click the Hue rainbow.
Drag the Hue slider at the top of the rainbow.
Drag the Red, Green, and Blue sliders.
Drag the Hue slider.
Use the Red, Green, Blue, or Hue spinners.
To make a color lighter, do one of the following:
Drag the vertical Whiteness slider (at the right of the Hue rainbow) downward.
Drag the vertical Blackness slider (at the left of the Hue rainbow) upward.
Drag the Saturation (Sat.) slider to the left.
Use the Saturation spinner to decrease saturation.
Drag the Value (Val.) slider to the right.

Use the Value spinner to increase the value.
To make a color darker, do one of the following:
Drag the vertical Whiteness slider (at the right of the Hue rainbow) upward.
Drag the vertical Blackness slider (at the left of the Hue rainbow) downward.
Drag the Saturation (Sat.) slider to the right.
Use the Saturation spinner to increase saturation.
Drag the Value (Val.) slider to the left.
Use the Value spinner to decrease the value.
To return to the original color:
Click Reset.
The new color is replaced by the original color, and all parameter values are reset.
To dismiss the Color Selector, do one of the following:
Click Close.
Click the dialog's Close (X) button.
Interface
HueDefine a pure color by dragging the hue pointer across the top of the box.
BlacknessDrag the blackness pointer down the side to darken the pure color by adding black. You

can also click or drag inside the box to change hue and blackness at the same time.
WhitenessThe vertical bar to the right controls the amount of whiteness. The color set by the hue
and blackness pointers is displayed at the top of the bar and pure white at the bottom. Drag the
whiteness pointer down to lighten the color by adding white.
Red, Green, and BlueWhen a red, green, or blue slider is all the way to the left, its field reads 0.
None of the color controlled by that slider is used. If the slider is all the way to the right, the field
reads 255. The maximum amount of that color is being used.
The spinners to the right of each slider are another way of setting the red, blue, or green
component.
The colors in the sliders change to show an approximation of what the color result will be if you
move the slider to that location, without adjusting any other color parameter.
HueSets the pure color. Locating the slider all the way to the left gives you pure red. As you drag
the slider to the right you move through the spectrum of Red, Yellow, Green, Cyan, Blue, Magenta,
and back to Red again. Hue is more accurately represented as a color wheel rather than a linear
slider. That is why the Hue slider is red at both ends. Think of the hue range from 0 to 255 as being
points on a circle where the numbers 0 and 255 are right next to each other.
Saturation ("Sat")Sets the purity or strength of the color. A weak color, with a saturation near
0, is dull and gray. A strong color, with a saturation near 255 is very bright and pure.
ValueSets the lightness or darkness of a color. Low values darken the color toward black. High
values lighten the color toward white. A value in the middle, at a setting of 127, gives you the color
defined only by hue and saturation.
Color OutputThis pair of color swatches, below the Value slider, lets you compare the new color,
shown on the right, to the original color, shown on the left.
ResetClick to restore color settings to the original color.
Color Selector for mental ray Materials and Shaders
When you click a color swatch in the interface for a mental ray material or mental ray shader, you
see a variation of the Color Selector.

This dialog differs from the standard Color Selector in two ways:
The RGB and HSV values appear as normalized values between 0.0 and 1.0, rather than as 8-bit
integers (0255).
An additional Alpha slider and spinner let you explicitly set the alpha value for this color. This
value is also normalized, where 0.0 represents fully transparent, and 1.0 represents fully opaque.
This version of the Color Selector also appears when you use the DirectX 9 Shader material and the
mental ray renderer's Sampling Quality rollout.
Comments

Object Color Dialog
Object Color Dialog
Click the color swatch by the object's name in any command panel.
The Object Color dialog contains two preset palettes of colors that you use to set an objects
wireframe color. This is also the surface color you see in a shaded viewport.
Using Random Color Assignment
By default, 3ds max assigns colors randomly as objects are created. The colors are chosen from the
current palette in the Object Color dialog. If you turn on Customize > Preferences > General tab >
Default to By Layer for new nodes, objects are assigned the color set by layer.
Defining Custom Colors
The Object Color dialog contains a palette of 16 custom color swatches. You can define any color for
each of the 16 color swatches by selecting a swatch from the Custom Colors group, then clicking Add
Custom Colors.
Switching Between Palettes
You can alternate between two versions of the Object Color dialog at any time by clicking the
appropriate Basic Colors toggle:
Default palette: Contains a fixed palette of 64 colors, plus a custom palette of 16 user-defined
custom colors.
Use this version when you want to work with a smaller palette of colors or when you want to
define custom object wireframe colors.
AutoCAD-compatible version: Contains a fixed palette of 256 colors matching the colors in the
AutoCAD Color Index (ACI).
Use this version when you want to assign object colors that match the AutoCAD Color Index.
Using ACI colors is useful if you plan to export objects to AutoCAD and want to organize them by
object color. Or use thiswhen you want a wide selection of colors to choose from.
Procedures
To set object color:
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Object Color Dialog
This is the general procedure for selecting object color.
1. Select one or more objects.
2. In any command panel, click the color swatch to the right of the Object Name field to display
the Object Color dialog.
3. Click a color swatch from the palette and click OK to apply the color to the selection.
To create objects of the same color:
Choose the color you want to use and turn off Use Random Colors.
Newly created objects appear in this color until you change the setting.
To define a custom color:
1. On the Default palette of the Object Color dialog, click one of the 16 custom color swatches.
2. Click Add Custom Colors to display the Color Selector.
3. Define a custom color and click Add Color.

The custom color is stored in the selected color swatch of the Object Color dialog and is set as
the current color.
To copy a custom color from an object in your scene to one of your custom color swatches:
Drag the Current Color swatch up to one of the custom color swatches.
The Current Color swatch is in the Object Color dialog, to the left of the OK button.
To select objects by color:
Click Select By Color. This displays the Select Objects dialog. All objects that have the same
color as the current object are highlighted in the list. Click Select.
Interface

Object Color Dialog
Basic ColorsChoose the Default palette or the AutoCAD ACI palette.

Custom ColorsDisplays 16 custom colors. To select a custom color, click its swatch. To redefine a
custom color, click its swatch, and then click Add Custom Colors. Available only with the Default
palette.
Add Custom ColorsDisplays the Color Selector, which allows you to modify the current custom
color. If you click Add Custom Colors with a basic color chosen, the dialog switches to the first
custom color before opening the Color Selector. Available only with the Default palette.
Select by ColorDisplays a Select Objects dialog, with all objects that have the Current Color
highlighted in the list.
Note: This button is available only if at least one object in the scene has the Current Color as its
color.
Assign Random ColorsWhen on, 3ds max assigns a random color to each object created. When
off, 3ds max assigns the same color to every object created until the color swatch is changed.
Current ColorDisplays the active color. When you click the color swatch, this displays the Color
Selector.
Comments

General Preferences
General Preferences
Customize menu > Preferences > Preferences dialog > General tab
On the General panel of the Preference Settings dialog, you set options for the user interface and for
interactivity.
Interface
Procedures
To set and toggle spinner snap:
1. Do one of the following:
Choose Customize menu > Preferences > Preference Settings dialog > General tab.
Right-click the Spinner Snap button on the main toolbar. Either method brings up the
General tab. The two controls for spinner snap are in the Spinners area of this panel.
2. Enter a value in the Spinner Snap field.
3. Turn on Use Spinner Snap.

When you exit the dialog, Spinner Snap is on.
4. As you work, use the Spinner Snap button to toggle between the alternate setting.
To set the Undo level:
1. Open the Customize menu > Preferences > Preference Settings dialog > General panel.
2. Change the value of Scene Undo Levels.

The higher the value of Undo Levels, the more system resources are required. The default
value of Undo Levels is 20.
Interface
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General Preferences
Scene Undo group
LevelsSets the number of operations you can undo. You can see the operation that will be undone
by looking at Undo on the Edit menu.
Reference Coordinate System group
ConstantSets one coordinate system for Move, Rotate, and Scale on the Main toolbar. The
coordinate system displayed in the coordinate dropdown list on the Main toolbar is used.
Normally, each transform switches to the coordinate system used the last time the transform was
active.
Plug-In Loading group
Load Plug-Ins When UsedWhen turned on, loads plug-ins on demand, when they are needed.

General Preferences
Sub-Materials group
EnableAllows you to drag materials to a Sub-Object selection of faces in an editable mesh.

Default=on.
See also Drag and Drop Sub-Object Material Assignment.
Scene Selection group
Auto Window/Crossing by DirectionWhen this is enabled, the direction that you drag a
selection area determines whether it is a window or crossing selection. This works for any selection
area (rectangle, circle, fence, or lasso).
You can select which direction causes a window selection and which causes a crossing selection in
the Scene Selection group. When you drag a window selection, the selection region is displayed with
a solid line, however when you drag a crossing selection, the selection region is displayed with
dashed lines.
Right-> Left => CrossingWhen you drag a selection region from right-to-left, it is a crossing
selection. Conversely, when you drag left-to-right, it is a window selection.
Left-> Right => CrossingWhen you drag a selection region from left-to-right, it is a crossing
selection. Conversely, when you drag right-to-left, it is a window selection.
UI Display group
Enable Viewport TooltipsDisplays a tooltip when the cursor pauses over a non-selected object in
the viewports if you are not in sub-object mode. Tooltips show the names of objects.
AutoPlay Preview FileStarts the Media Player automatically at the end of a Make Preview.
Display Cross Hair CursorDisplays the mouse cursor as full-viewport cross hairs, vertical and
horizontal lines extending the full extent of the active viewport.
Each movement of the mouse is redrawn, so the cross hairs are relatively slow. If you want to create
a keyboard shortcut, find Cross Hair Cursor toggle in Customize menu > Customize User Interface >
Keyboard panel and specify the keys to use for the shortcut. If you want to change the color of the
cross-hairs cursor, Customize menu > Customize User Interface > Colors panel > Viewports > Cross
Hair Cursor and use the color selector to change the cursor color.
Display Topology Dependence WarningTurns of the topology dependence warning. A warning
is displayed if an object has modifiers and sub-object selections, and you choose to edit a modifier or
the base object at the bottom of the modifier stack, which can adversely affect the objects topology.
You can also turn off the warning in the warning dialog. Default=on.
Display Stack Collapse WarningTurns off the stack collapse warning. A warning is displayed if
an object has modifiers and sub-object selections, and you choose to delete a modifier, which can
adversely affect the object's topology. You can also turn off the warning in the warning dialog.
Default=on.
Save UI Configuration on ExitRestores panels and toolbars to the positions they were in the last

General Preferences
time you used the software. Turn this off to restore panels to the state they were in prior to turning
on this option.
Use Large Toolbar ButtonsToggles between large and small toolbar buttons.
Fixed Width Text ButtonSpecifies the maximum width of text buttons.
A dialog notifies you to close and restart 3ds max.
Horizontal Text in Vertical ToolbarEnsures text buttons are displayed horizontally.
If you create a custom toolbar positioned vertically, and you're using text rather than image buttons,
you can choose to display either horizontal or vertical text with this option.
Fixed Width Text ButtonSpecifies the maximum width of text buttons.
You must turn on the Horizontal Text in Vertical Toolbar option, turn this option on, and then set a
maximum display size for the text button in pixels. For custom vertical toolbars with text buttons,
this option will limit the size of the text display.
Flyout TimeSets the pause, in milliseconds, between the mouse click and the flyout popping up
from the button. Increase this setting only if you need an extra-long delay. Don't decrease the
setting much or you may not be able to execute button commands before the flyout takes over.
Color SelectorChoose the default color selector, or a third-party plug-in color selector in the list.
The color selector you choose here is used throughout 3ds max whenever you specify a color.
Spinners group
PrecisionSets the number of decimal places displayed in a spinner's edit field. Range=0 to 10
(where 0 is no decimal places).
SnapSets the click increment and decrement values for all of the spinners in 3ds max.
Use SnapToggles spinner snap on and off.
Wrap Cursor Near SpinnerLimits cursor wrapping to an area close to the spinner when you drag
to adjust spinner value.
Command Panel group
Rollup ThresholdDetermines how many pixels of a rollout should be scrollable in the command
panel before the rollout is shifted into a separate command panel column.
This option is only applicable when there are multiple columns displayed in the command panel.
Layer Defaults group
Default to By Layer for New NodesWhen on, all new objects will have their rendering, motion
blur, and display properties set to ByLayer.
New Lights Renderable By LayerWhen on, the Renderable setting (found on the Object
Properties dialog) of new lights is determined by the setting of the layer they are created on.

General Preferences
Vertex Normal Style group
Use Legacy R4 Vertex Normals3ds max 5 uses a new, more accurate method for computing
vertex normals from smoothing groups, which improves the way geometry displays in viewports and
in rendered output. To use the method from previous versions of the software, for compatibility, turn
on this check box.
Comments

Drag and Drop Sub-Object Material Assignment

You can apply a material to a selection of renderable sub-objects, such as faces in a mesh. In the
Material Editor, you can use Assign Material to Selection. You can also drag the material from the
Material Editor or the Material/Map Browser to the selected faces. This can create a new multi/sub-
object material on the fly.
You can disable drag-and-drop of materials to sub-objects. To do so, go to the General tab of the
Preferences dialog, and in the Sub-Materials group, turn off Assign Automatically. This check box is
on by default.
Procedure
To drag materials onto sub-object selections:
1. In the Modify panel > Modifier Stack rollout, choose Face as the sub-object level.
2. Select faces of an editable mesh object.
3. Drag a material from a Material Editor sample slot to the selected faces.
4. In the Modifier Stack rollout, click to turn off Sub-Object and return to the object level.
5. In the Material Editor, click Pick Material From Object, then use the eyedropper to get the
material from the sphere.
The new multi/sub-object material appears in the active sample slot.
How the Multi/Sub-Object Material Is Created
The multi/sub-object material is created in one of three ways, depending on what material is already
applied to the selected sub-objects:
No material applied
If the selected faces have no material applied, a new multi/sub-object material is created. The
dragged material becomes a sub-material in the new material. If material IDs already exist, they
are preserved.
Existing material applied (other than multi/sub-object material)

A new multi/sub-object material is created and applied to the selected faces. The existing material
is moved into the multi/sub-object material and becomes the first sub-material. Unselected faces
get material ID #1, the selected faces get material ID #2, and the dragged material becomes part
of the multi/sub-object material. Existing material IDs are not preserved.
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Multi/sub-object material applied

If the existing multi/sub-object material is already applied more than once in the scene, the
material is copied and the new copy is applied to the selected faces.
If the multi/sub-object material is only applied once in the scene, then the existing material is
used. The dragged material is added to the existing multi/sub-object material.
If the dragged material already is a part of the multi/sub-object material, then the selected faces
receive the corresponding material ID number. If the selected faces all have the same material ID
number, and no unselected faces are already using this number, then this number is used and the
new material replaces the old sub-material at this ID. Otherwise, a new material ID number is
assigned to the faces, and used for the dragged material. In this case, any existing material IDs
are preserved.
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Assign Material to Selection
Material Editor > Assign Material to Selection
Material Editor menu > Material menu > Assign to Selection
Assign Material to Selection applies the material in the active sample slot to the currently selected
object or objects in the scene. At the same time, the sample slot becomes hot.
If you apply a mapped material to a parametric object whose Generate Mapping Coords option is off,
the software automatically turns on mapping coordinates at render time. In addition, if you apply a
mapped material with Show Map In Viewport active to a parametric object, that object's Generate
Mapping Coords option is turned on if necessary.
The Show Map In Viewport flag is saved with individual materials, so when you drag mapped
materials from the modeless Browser onto objects in your scene, the mapping appears in the
viewports.
The Undo command works for material assignment.
Procedure
To apply a material to objects in a scene:
1. Select the sample slot that contains the material you want to apply.
2. Select the objects you want to apply the material to.
3. Drag from the sample slot to the objects. If more than one object is selected, you are asked
whether you want to apply to the single object or to the whole selection.
You can also apply materials by clicking Assign Material To Selection on the Material Editor
toolbar.
Warning: When you apply a material to an object or selection, that material becomes a hot
material. When you change the material's properties, the scene immediately updates to
reflect those changes. Any object with that material will change its appearance, not just
the objects in the current selection. When a material is hot, its sample slot is displayed
with white corner brackets.
To make a material no longer hot so it doesn't change the current scene, click Make Material
Copy.
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Hot
Glossary
Hot
A hot material is one that is instanced in both the scene and the Material Editor. When you get a
material from an object, that material is hot. Any changes you make to the hot material are reflected
in the scene wherever that material is applied.
To edit a material without changing the scene, you can get the hot material from an object, then
make a copy of it. The copy will not be hot.
White triangles around the Material Editor sample slots show that the materials in those slots are
hot.
In the Material Editor, the only time you need to select an object is when you're assigning a material
to an object. When you're adjusting a material, object selection doesn't matter.
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Sample Slots
Sample Slots
Material Editor > Sample slots display
The sample slots let you maintain and preview materials and maps. Each slot previews a single
material or map. You can change the material by using the Material Editor controls, and you can
apply the material to objects in the scene. The easiest way to do this is to drag the material from the
sample slot to objects in viewports. See Dragging and Dropping Maps and Materials.
Important: While the Material Editor can edit no more than 24 materials at a time, a scene
can contain an unlimited number of materials. When you are through editing one material,
and have applied it to objects in the scene, you can use that sample slot to get a different
material from the scene (or create a new one) and then edit it.
You can display a sample slot in a window of its own. This magnifies the sample slot, which can
make it easier to preview the material. You can resize the magnified window to make it even larger.
To magnify a sample slot, double-click it, or right-click and choose Magnify from the pop-up menu.
See Sample Slot Right-Click Menu.
The Material Editor has 24 sample slots. You can view them all at once, six at a time (the default), or
15 at a time. When you view fewer than 24 slots at once, scroll bars let you move among them. See
Material Editor Options and Sample Slot Right-Click Menu.
A material in a slot is shown on a sample object. By default, the object is a sphere. Use the Sample
Type flyout to change the sample object.
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Sample Slots
Sample slot showing a material
By default, a standalone map in a slot fills the whole slot. This is when the slot shows only a
standalone map at the top of a tree; when the map is assigned to a material, the slot shows it as
part of the material, mapped to the sample object. See Get Material and Material Editor Options
Dialog.
Sample slot showing a map
The Material Editor renders only the active sample sphere for the current frame.
If the \matlibs subdirectory contains a material library called medit.mat, the sample slots show the
first 24 materials in this library file. If the library contains fewer than 24 materials, the remaining
slots contain Standard materials of various colors, as they do if an medit.mat library is not found.
Hot and Cool Materials
A sample slot is "hot" when the material in the slot is assigned to one or more surfaces in the scene.
When you use the Material Editor to adjust a hot sample slot, the material in the scene changes at
the same time.
The corners of a sample slot indicate whether the material is a hot material:
No triangle: The material is not used in the scene.
Outlined white triangle: The material is hot. In other words, it's instanced in the scene. Changes
you make to the material in the sample slot will change the material displayed in the scene.
Solid white triangle: The material is not only hot, but is applied to the currently selected object.

Sample Slots
Right: "Cool" material: active but not assigned to scene.
A material is "cool" if it is not applied to any object in the scene.

To make a hot sample slot cool, click Make Material Copy. This copies the material in the sample slot
on top of itself so that it's no longer used in the scene.
You can have the same material (with the same name) in more than one sample slot, but only one
slot containing that material can be hot. You can have more than one hot sample slot, as long as
each has a different material.
If you drag to copy a material from a hot slot to another slot, the destination slot is cool, and the
original slot remains hot.
See also
Sample Slot Right-Click Menu

Dragging and Dropping Maps and Materials
Creating a Custom Sample Object
Procedures
To use a sample slot:
Click the sample slot to make it active.

The active sample slot is displayed with a white border around it.
The sample slot shows a sample object shaded with a material. (By default, the sample object is a
sphere.) The sample object is lit by a light source above it and slightly toward the viewer. For the
sphere, the highlight is in the upper-left quadrant. The diffuse color shows most clearly above and
to the left of the highlight, shading toward the ambient color at the sphere's lower right.
To change the preview shape:
1. Make sure the sample slot of the material you want to view is active.
2. Use the Sample Type flyout to choose the shape you want to view. The flyout gives you three
options: sphere (the default), cylinder, or box.

Sample Slots
The new shape is displayed in the sample slot, with the material mapped to it.
To render the current mapping level:
1. Move to the level of the map hierarchy that you want to render.
2. Right-click in the sample slot, and choose Render Map from the pop-up menu.
The Render Map dialog is displayed.
3. Choose Single or the range of frames you want to render.
4. In the Dimensions group box, specify the pixel resolution of the map.
5. Click the Files button, and specify a path and file name for the file. Make sure Save To File is
turned on unless you want to see the image only in a rendered frame window.
6. Click Render.
A rendered frame window appears displaying the map. If Save To File is turned on, the image
is also saved to disk.
Comments

Materials
Glossary
Materials
Spheres with variations of the standard material type (no maps used):
Green sphere: High Glossiness
Red sphere: Constant shading
Blue sphere: 60% opacity
Yellow sphere: Wireframe mode, slight self-illumination
A material is data that you assign to the surface or faces of an object so that it appears a certain
way when rendered. Materials affect the color of objects, their glossiness, their opacity, and so on.
A standard material consists of ambient, diffuse, and specular components. You can assign maps to
the various components of astandard material.
The standard material is the default material in the six sample slots of the Material Editor. However,
you can change the type of material you're working on by clicking the button labeled Type below the
sample slots. This displays the Material/Map Browser, and lets you select from a list of alternative
material types.
You can also change the type of material you're working on by clicking the Get Material button below
the sample slots. This displays the Material/Map Browser, and lets you select from a list of
alternative material types.
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Maps
Glossary
Maps
Front left sphere: Marble bitmap

Front right sphere: Clouds bitmap
Back left sphere: Noise procedural map
Back right sphere: Marble procedural map
The images you assign to materials are called maps. The software provides several different map
types. They include standard bitmaps (such as .bmp, .jpg, or .tga files), procedural maps, such as
Checker or Marble, and image-processing systems such as compositors and masking systems.
You can assign maps to most of the components that make up a material. Materials that contain one
or more images are called mapped materials. By assigning maps to different attributes of the
materials, you can affect the color, the opacity, the smoothness of the surface, and much more.
Maps offer the level of realism you look for in materials. The different types of maps you can use
range from the common bitmap, to the flexible procedural map.
For many map types, the renderer needs instructions telling it where the map should appear on the
geometry. These instructions are called mapping coordinates.
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You can move materials from sample slots to objects using a drag-and-drop operation. You can also
drag to and from map and material buttons. See the following lists to determine where in the
interface you can drag from and drag to.
When dragging materials, use the Undo command to cancel material assignments.
Where You Can Drag From
Sample Slots
The content you drag from a sample slot is always at the top level of the sample slot, regardless
of which level is currently displayed. If the sample slot contains a material, you can't drag from
the sample slot to a map button, even if you're at the map level of the material.
The Material Editor Type button
Material/Map Browser lists (text or icon lists)

You can't drag from the modal version of the Browser (when OK and Cancel buttons are present).
The sample slot in the Browser
Material map buttons (see below)
A projector light map button (see Advanced Effects Rollout)
The Environment Background map button
Fog Color and Opacity map buttons
Displace modifier map buttons
Material Map Buttons
The material map buttons you can drag from include:
The buttons in the Maps rollout
The small shortcut map buttons on the Basic Parameters rollouts.
Any map buttons at any level.
Sub-material buttons, such as those found in the multi/sub-object material.
Where You Can Drag To
Objects in viewports.
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Drag from a material button, sample slot, or Browser listing into the viewport and over an object.
When you release the mouse, the material is applied.
If you drag a material over two or more selected objects, an alert message asks if you want to
apply the material to the object or to the selection. Choose the option you want, and click OK.
The Material Editor Type button.

You can drag to the Type button only from the Browser. If the Type button shows a standalone
map, you can drag only a map to it. If it shows a material type, you can drag only a material to it.
All of the items in the previous list, except that you can drag to the Browser only when it displays
a material library.
When the Browser is set to browse from a Material Library, dragging materials and maps into the
Browser adds them to the library.
A Face, Polygon, Patch, or Element sub-object selection of an editable surfacemesh object (mesh,
patch, or poly).
A Face, Polygon, Patch, or Element sub-object selection created by the Edit Mesh modifier or Edit
Patch; or by one of these selection modifiers: Mesh Select, Patch Select, or Poly Select.
See also
Applying a Material to an Object

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Undo/Redo
Undo/Redo
Edit menu > Undo or Redo
Toolbar > Undo or Redo
Keyboard > CTRL+Z (Undo) or CTRL+Y (Redo)
The Undo command reverses the last operation performed on any selected object(s). Redo reverses
the last operation performed by the Undo command.
When you create an object, the Create operation is recorded by the software and displayed next to
the activated Undo command in the Edit menu. When you undo the Create operation, the Redo
Create operation is displayed next to the activated Redo command in the Edit menu. The Undo and
Redo commands in the Edit menu are unavailable when no valid operation was performed or
recorded.
By default, there are 20 levels of Undo. You can change the number of levels in Customize >
Preferences > General tab > Scene Undo group.
Some actions cannot be undone (for example, applying modifiers, deleting modifiers, and changing
parameters in the command panels). When you know something cannot be undone, use Hold first.
Then if you want to undo it, use Fetch. Hold and Fetch are also commands on the Edit menu.
Undo and Redo are also available as buttons on the Main toolbar. When you right-click the Undo or
Redo button, a History list box opens, listing the last operations performed. One or more of these
operations can be highlighted and reversed by the respective Undo or Redo command.
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Hold
Hold
Edit menu > Hold
Use Hold before performing any operation that is either new or unfamiliar to you. You should also
use Save before performing an operation that can not be undone, for example, when you are
applying and deleting modifiers, and changing parameters in the command panel.
The Fetch command restores the contents of the Hold buffer containing the saved scene and its
settings. If you experience an unexpected end of operation or crash after you perform Hold, you can
retrieve your scene from the buffer with the Fetch command after you restart the software.
Additional Details
The Hold buffer is a temporary file (maxhold.mx) under the directory specified as the AutoBackup
path in the Configure Paths dialog.
Fetch also deletes all recorded operations in the Undo and Redo History lists.
See also
Fetch
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Fetch
Fetch
Edit menu > Fetch
Fetch restores the scene and settings previously stored by the Hold command. Information stored
includes all geometry, lights, cameras, viewport configuration, and selection sets.
Use Hold before you undertake an operation that may not work as expected or any operation that
cannot be undone. The Fetch command restores the contents of the Hold buffer, allowing you to get
back to a particular point if you need to.
See also
Hold
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Configure Paths
Configure Paths
Customize menu > Configure Paths
3ds max uses paths to locate different kinds of files, including scenes, defaults, images, DX9 effects
(FX), photometric, and MAXScript files. You use the Configure Paths command to display the
Configure Paths dialog and customize these paths. This command is useful when you add new
subdirectories to help you organize your scenes, images, plug-ins, backups, and so on.
3ds max saves the paths that the Configure Paths command manages in the 3dsmax.ini file.
Procedure
To use the Configure Paths dialog:
1. Choose Customize menu > Configure Paths.

The Configure Paths dialog is displayed.
2. Click one of the tabs on the dialog.
3. Highlight a directory name, and click Modify.

A Choose Directory dialog is displayed.
Tip: You can also double-click the directory name to display the Choose Directory dialog.
4. In the Choose Directory dialog, navigate to a directory, and then click Use Path.
5. On the Configure Paths dialog, click OK.

The new setting, written to the 3dsmax.ini file, is effective immediately.
Interface
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Configure Paths
General file paths page
The General panel specifies paths for the standard support files. You can specify one path for each of
the following file types.
File Type Function
AutoBackup Saves automatic backup scenes
Defaults Loads market specific defaults
Export Exports scenes to other file formats
Expressions Loads and saves text files used by expression controllers
Fonts Loads font files
Heidi Drivers Sets location of display drivers for the software
Help Loads online help files
Images Loads and saves image files
Import Imports files from other programs
Materials Loads and saves material libraries

Configure Paths
Loads maxstart.max, which specifies initial 3ds max scene

MaxStart
settings
PlugCFG Loads plug-in configuration files
Previews Loads and saves preview renders
RenderPresets Loads and saves Render Presets.
Scenes Loads and saves MAX scene files
Scripts Loads and saves MAXScript scripts
Sounds Loads sound files
Startup Scripts Auto-loads MAXScript scripts
Video Post Loads and saves Video Post queues
Plug-In File Paths
The Plug-Ins panel specifies paths for 3ds max and third-party plug-ins. You can change and extend
the functionality of the software by adding new plug-ins. You can set two plug-in path entries in the
software:
File Type Function
Standard plug-ins Sets the default plug-in path
Additional plug-ins Sets the default third-party plug-in path
For most configurations you should not change the Standard and Additional plug-in paths.
Tip: If you place all of your plug-ins in a single directory, plug-in file management can become
disorganized. To organize plug-ins, create a new directory for a plug-in or a small group of plug-ins,
and add a path entry for those plug-in files.
The External Files panel contains path entries in which the software searches for image and
photometric files. The software uses image files for many purposes, such as material and map
definitions, spotlight projections, and environment effects. A 3ds max scene often uses many image
files.
External File Paths
The External Files panel contains path entries in which 3ds max searches for image files,
photometric files, and DX9 effects (FX) files. 3ds max uses image files for many purposes, such as
material and map definitions, spotlight projections, and environment effects. A 3ds max scene often
uses many image files.
Photometric files are used to define various characteristics of photometric lights.
When you load an image, photometric, or FX file, 3ds max saves the full path name of the file.
When 3ds max needs to reload the file, it searches for it in the following order:

Configure Paths
1. The full path saved with the file
2. The directory of the current scene
3. All subdirectories below the current scene
4. The paths listed in the External Files panel, starting at the top of the list
The default External path is called Maps. If you save image or photometric files in directories other
than Maps, add a path to the Bitmaps path list.
External Reference File Paths (XREFs)
The XRefs panel specifies directory paths for externally referenced files.
You can add, modify, and delete the directories containing XRef files. Move Up and Move Down
moves the selected entry up and down the list, which sets the search order.
The default search order is:
1. The path specified in the XRef object's parameters.
2. The directory where the current scene was opened from.
3. The paths specified in the Configure Paths dialog. Paths are checked in the order they appear in
the list.
Changing Font Paths
If you change your font paths, you will need to restart 3ds max before the change can occur. Since
fonts are loaded only at first use, changing the font path later in the program has no effect, if the
font manager has been used by the program.
Comments

General Path Configuration
Customize menu > Configure Paths > Configure Paths dialog > General panel
The General panel of the Configure Paths dialog contains most of the file directories used by the
software.
Procedure
To modify a file path:
1. On the Configure Paths dialog, click General, and then choose a path entry.
2. Click Modify.
3. In the Choose Directory dialog, do one of the following:
Enter a path in the Path field.
Navigate to locate a path.
4. Click Use Path.

The new path takes effect immediately.
Interface
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AutoBackupSets a default path for automatic backup files. If you use the Auto Backup feature,
use either the \autoback directory, which is specific to each running version of the software, or a
directory that's not shared by any other machine.
DefaultsSets a path for the defaults INI file. There are several sets of market-specific defaults
included with 3ds max, and you can also create your own. For more information, see Market-
Specific Defaults.
ExportExports to other file formats.
ExpressionsLoads and saves text files used by expression controllers.
FontsLoads font files.
Software Display Drivers (HEIDI Drivers)Sets a path for the software display drivers. If you
have a network of machines, each using a different software display-driven display board, you can
point all machines to a single directory. This lets you upgrade your drivers in a single directory for all
machines on your network.
HelpLoads help files.
ImagesSaves and loads image files.
ImportImports files from other programs.
MaterialsSets a path for a material library .mat files.
MaxStartLoads maxstart.max, which provides initial 3ds max scene settings.

PlugCFGLoads plug-in configuration files.
RenderPresetsLoads and saves Render Presets.

PreviewsLoads and saves preview renders.
ScenesLoads and saves .max scene files.
ScriptsLoads and saves MAXScripts.
SoundsLoads sound files.
Startup ScriptsAutomatically loads MAXScripts.
Video PostLoads and saves Video Post queues.
Comments

File Preferences
File Preferences
Customize menu > Preferences > Preference Settings dialog > Files tab
On the Files panel of the Preference Settings dialog, you set options relating to file handling. You
also select the program used for archiving. This is where you control the options for log file
maintenance. You enable Auto Backup in this dialog to save your work automatically at defined
intervals.
Interface
Auto Backup group
Auto Backup saves your work periodically. In the event of a power failure, if you have not saved
your work, you can load in an auto backup (autoback) file from the 3dsmax/autoback directory and
continue working with little lost work.
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File Preferences
Auto Backup creates auto backup files based on a time interval. The name of an auto backup file is
autobakn.mx, where autobak is the main part of the name (autobak is the default), and n is an
integer from 1 to 9.
For example, if you've set Auto Backup to create three auto backup files at one-minute intervals,
Auto Backup will create autobak1.mx, and then a minute later autobak2.mx, and then autobak3.mx.
At the fourth minute, the system overwrites autobak1.mx, and so on.
EnableEnables Auto Backup.
Number of Autobak FilesDetermines how many backup files to write before overwriting the first
one. Range=1 to 9.
Backup Interval (minutes)Determines the number of minutes between backup file generation.
Auto Backup File NameLets you enter an alternative name for the auto backup file. Auto backup
files with a different name still have the filename extension .mx. Default="Autobak".
Log File Maintenance group
The following controls affect the max.log file.

Never Delete LogDetermines how long the log file is maintained. When you choose Never Delete,
the max.log file remains on the hard disk and continues to grow.
Maintain Only...DaysResets the file to zero bytes after it reaches the number of days specified in
this field.
Maintain Only... KbytesResets the file to zero bytes after it reaches the number of kilobytes
specified in this field.
ErrorsWrites fatal errors to the max.log file instead of generating Alert dialogs. Alerts halt network
rendering for one or more servers.
WarningsWrites warning messages to the max.log file instead of generating Alert dialogs.
InfoWrites general information to the max.log file instead of generating Alert dialogs.
DebugWrites debug messages to the max.log file instead of generating Alert dialogs.
The type of errors covered by these four categories include maps that can't be found, missing UV
coordinates, missing output directories, full disks, missing DLLs, disks to which you don't have
access, invalid meshes, and obsolete MAX files
Import Options group
Zoom Extents on ImportZooms all viewports to scene extents after importing a file. If this is
turned off, zoom extents isn't performed.
Archive System group
ProgramSpecifies the name and location of the program to use for archiving. The program must
be independently installed on your system. You can add command-line arguments to follow the

File Preferences
executable file name. For example, for the PKZIP program, the arguments might be:
project1.zip c:proj0?.max -o
File Handling group
Creates a backup file if a file of the same name already exists. The existing file is renamed "maxback.
bak" and placed in the 3dsmax/autoback directory before the save occurs. The automatic backup
settings are edited in the Auto Backup group.
Increment on SaveCreates a new copy of the file in the same directory whenever you save the
file. The name of the new file is incremented by 1 (filename01.max, filename02.max, and so on).
Compress on SaveSaves the 3ds max file in a compressed format. Depending on the details of
the file, the compressed file can be as small as 1/5th the size of its uncompressed equivalent.
You can determine whether a 3ds max file is compressed or not by bringing up Properties for the
file in Windows Explorer. On the Contents panel, under General, you'll see whether the file is
compressed or uncompressed. For versions of MAX files prior to version 3, no information is listed on
the Contents panel, which indicates the file is uncompressed.
Versions prior to version 3 of 3ds max can't read compressed MAX files.
Save Viewport Thumbnail ImageSaves a 64-pixel thumbnail of the active viewport when
you save each MAX file. The Asset Browser reads thumbnails. Saving thumbnails adds about 9K to
each MAX file. Default=on.
Note: Turning this off can reduce file loading/saving time.
Save Schematic ViewSaves the Schematic View of the scene. Default=on.

Note: Turning off Save Schematic View can reduce file loading/saving time, as well as the size of the
saved scene.
Display Obsolete File MessageTurns off the Obsolete data format found - Please resave file
alert that is displayed when you load a MAX file created in a version earlier than 3ds max 4.
There is a matching Do not display this message check box in the alert itself; you can also turn off
the alert from there.
Reload textures on changeWhen on, bitmaps are reloaded whenever they have been
changed and resaved by a graphics editing program. When off, they are not reloaded. Default=on.
Tip: When Reload Textures On Change is off, for bitmaps used as texture maps, you can still use the
Reload button on the Bitmap Parameters rollout.
Recent Files in Files MenuSpecifies the number of recently opened files to display at the bottom
of the File menu. Range=0 to 9
Comments

File Preferences

Asset Browser Utility
Utilities panel > Utilities rollout > Asset Browser button
The Asset Browser provides access from your desktop to design content on the World Wide Web.
From within the Browser you can browse the Internet for texture samples and product models. This
includes bitmap textures (BMP, JPG, GIF, TIF, and TGA), or geometry files (MAX, DWG, and so on).
You can drag these samples and models into your scene for immediate visualization and
presentation. You can use the CTRL key to drag geometry into predefined locations. You can also use
the Asset Browser to browse thumbnail displays of bitmap textures and geometry files on your hard
disk or shared network drives. Then you can either view them or drag them into your scene or into
valid map buttons or slots.
Note: The thumbnail display of a geometry file is a bitmap representation of a view of the geometry.
Since the thumbnail display is not a vector-based representation, you can't rotate it or perform
zooms on it.
You can drag most graphic images that are embedded in a Web page into your scene. The exception
is images or regions of a Web page that are tagged as hyperlinks or other HTML controls (such as
when a bitmap is tagged as a button with hypertext links).
Important: Downloaded content might be subject to use restrictions or license of site
owner. User is responsible for obtaining all content license rights.
Drag and Drop
You can assign files represented by the thumbnail images by dragging the thumbnails over various
parts of the Asset Browser or the 3ds max user interface. There are three basic methods of using
drag in the Asset Browser :
Local Drag and Drop: You can drag thumbnails to the directory tree, and you can copy or move
files from one directory to another. As the default, when you drag to a folder within the same
partition or device, you perform a move. If you drag beyond the current partition or device (to
another drive, for example), you perform a copy. If you hold down the CTRL key, you perform a
copy regardless of the destination. If you hold down the SHIFT key, you perform a move. You can
manipulate bitmap and scene thumbnails in this way.
Bitmap Drag and Drop: You can drag the thumbnails that represent bitmap files to any bitmap or
map slot in the interface or onto any object in a viewport. You can also drag the thumbnails into the
viewport background. When you drag a bitmap onto an object, the program creates a new standard
material with the bitmap as the diffuse map and assigns the material to that object.
Scene Drag and Drop: You can drag the thumbnails representing .max scene files directly over an
active viewport to merge the scene with the current scene. When you drag the thumbnail over the
active viewport and release the mouse, the objects in the file appear attached to the mouse. Place
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them where you want them, and then click the mouse. Choose from the menu whether you want to
open the file, merge the file to the current scene, or XRef the file. To cancel, you can select from the
menu, or right-click. If you hold down the CTRL key, and drag the thumbnail over the active
viewport, when you release the mouse button the objects in the dragged file will snap into their old
location in their original file.
Tip: When you drop scene files into your scene, you can use AutoGrid to position the geometry file
on an object.
Procedures
To drag scene files from the World Wide Web:
1. In the Address bar, enter the URL of the scene files on the World Wide Web.
2. Select the thumbnail of the scene file with your mouse and drag it over the active viewport.
The Internet Download dialog appears.
3. If you want objects placed in the viewport automatically, then in the Options group, turn off
Place Objects When Download Completes.
4. If you skipped step 3 (that is, if Place Objects When Download Completes is still on), then when
you release the mouse, the objects in the file appear attached to the mouse. Place them where
you want them, and then click the mouse. Choose from the menu whether you want to open
the file, merge the file to the current scene, or XRef the file. To cancel, you can select from the
menu, or right-click. If you hold down the CTRL key when you drag the thumbnail, the objects
in the file are placed at the world space origin of the current scene.
To drag thumbnails to the directory tree:
1. In the Asset Browser directory tree, make sure the place you want to copy or move the
thumbnail to is visible.
2. Select the thumbnail with your mouse and drag it to the directory tree destination.
3. As a default, if you drag to a folder within the same partition or device, a move is performed. If
you drag beyond the current partition or device (to another drive, for example), a copy is
performed. If you hold the CTRL key down, a copy is performed, regardless of the destination.
If you hold the SHIFT key down, a move is performed.
To drag bitmaps onto a map slot in the Material Editor:
1. Open the Material Editor and click the Maps rollout.
2. Open the Asset Browser and select the thumbnail of a bitmap with your mouse.
3. Drag the thumbnail to the map button of your choice on the Material Editor Maps rollout.

This assigns the bitmap as a map type for use in the Material Editor.
To drag a bitmap onto an object in a viewport:
1. Select a thumbnail of the bitmap with your mouse and drag it onto an object in a viewport.
Note: If you miss the object, the bitmap becomes the viewport background image.
Note: The Bitmap Viewport Drop dialog is displayed:
Note: A viewport backgroundPuts the bitmap into the viewport as a background.

Note: An environment mapIncludes the bitmap when you render the viewport.
2. A new standard material is created. The bitmap is assigned to its diffuse component, and the
new material is applied to that object.
To drag scene files from a local or shared disk:
1. From the Asset Browser's menu bar, choose Filter and then a geometry filter such as All
Geometry, Importable Files, or 3ds max Files.
2. Select the thumbnail of the geometry file with your mouse and drag it over a viewport.
3. When you drag the thumbnail over the active viewport and release the mouse, the merged
objects appear attached to the mouse. Place them where you want them, and then click the
mouse. Choose from the menu whether you want to open the file, merge the file to the current
scene, or XRef the file. To cancel, you can select from the menu, or right-click. If you hold
down the CTRL key when you drag the thumbnail, the objects in the file are placed at the world
space origin of the current scene.
Interface
When you first start the Asset Browser, a window appears displaying the home page that is installed
locally on your computer system.
Note: You can't change the home page for the Asset Browser.

Each subsequent time that you start the Asset Browser, it displays what was displayed last in the
previous Asset Browser session.
The Asset Browser window contains:
A menu bar.
A toolbar.
An address bar.
A pane on the left displaying your computer system's directory hierarchy.
A pane on the right displaying a Web page, thumbnails, or an Explorer view of file names.
At the bottom of the window, there is also a tabbed favorites bar (by default, it first contains a
Startup button) and a status bar.
Asset Browser menu bar
Contains the menus for the Asset Browser.
File menu
Contains commands for managing files.

PreferencesDisplays the Preferences dialog, with which you can manage the cache directory and
control drag-and-drop operations.
PropertiesDisplays information about the file of the selected thumbnail.
Show ImageDisplays the currently selected bitmap thumbnail in a rendered frame window. You
can also double-click a thumbnail. This does not work for geometry thumbnails.
PrintPrints the page displayed in the Web pane. Print is available only when a Web page is
displayed.
ExitCloses the Asset Browser window.
Filter menu
Filters the display of thumbnails according to the category or file type you select.
All imagesDisplays thumbnails of all supported bitmap files, such as BMP, JPG, GIF, TIF, and TGA.
All geometryDisplays thumbnails of all supported geometry files, such as DWG and MAX.
All in cacheDisplays thumbnails of all images stored in your cache directory. When turned on, the
left pane displaying the directory tree goes away, and the thumbnails you see might be in various
directories. Because the thumbnails point to the correct directories, you can still use them to access
the files and display or drag them to areas in the 3ds max user interface.
Important: If a file has been subsequently renamed, deleted, or moved from the directory
it was in when its thumbnail was first created, then the thumbnail represents only the

thumbnail bitmap itself. If you assign that image to a map slot in the software, you'll be
assigning the thumbnail bitmap rather than the original image.
All files (*.*)Displays thumbnails for all files.
See the following topics for information on the file types listed on the Filter menu:
AutoCAD DWG Files
IGES Files
AVI Animation File
BMP Image File
Kodak Cineon
Autodesk FLIC Animation File
GIF Image File
IFL Image File
JPEG File
PNG Image File
Adobe PSD File Reader
MOV QuickTime File
SGI's Image File Format
RLA Image File
RPF Image File
Targa Image File
TIF Image File
YUV Image File
Thumbnails menu
Sorts and sets the size of the displayed thumbnails.

Create ThumbnailsCreates thumbnails for bitmap and geometry files.
Sort by NameSorts by file names.
Sort by TypeSorts by file extensions.
Sort by SizeSorts by file size.
Sort by DateSorts by file creation date.
Large (200X200)Sets the size to large (200 by 200 pixels).
Medium (100X100)Sets the size to medium (100 by 100 pixels).
Small (50X50)Sets the size to small (50 by 50 pixels).

Display menu
Controls the display of:
The left pane, where the directory tree displays your computer system's folders.
The right pane, which can display files as thumbnails (a Thumbnail pane), or Web pages (a Web
pane).
The Favorites and status bars located at the bottom of the Asset Browser window.
Directory TreeTurns the directory tree in the left pane on or off. The directory tree displays the
available directories on your system. You can navigate and select the directories where you want to
view images. When you select and enter a directory containing valid bitmaps, the Browser displays
their thumbnails in the Thumbnail pane to the right. Right-clicking in the directory tree pane displays
a menu allowing you to change directories, delete directories, and add a directory to your Favorites
list.
Tip: To refresh the contents of the directory tree, press SHIFT+F5.
Favorites BarTurns the Favorites bar on or off. The Favorites bar is located at the bottom of the
Asset Browser window.
Status BarTurns the status bar on or off. The status bar is located at the bottom of the Asset
Browser window.
Thumbnail PaneDisplays valid bitmaps and geometry files of a selected directory as thumbnails
in the right pane.
Thumbnail bitmaps for MAXScript files (.ms, .mcr, and .mse), dropScript files (.ds), and zipped script
files (.mzp) display in the Thumbnail pane. By right-clicking the thumbnail, you can view the file,
look at its properties, run the script, or open it in the Web Pane. By double-clicking the thumbnails
for .ms, .mcr, and .ds files, you can open them in the MAXScript editor window. Double-clicking .mzp
files will open them in the associated zip utility.
Explorer PaneDisplays valid bitmaps and geometry files of a selected directory as file name icons
in the right pane. This is similar to how Windows displays file name icons in the Explorer.
Web PaneIf there's a file named maxindex.htm in the selected directory, the program displays it
as a Web page in the right pane. You can use the .htm file to display selected bitmaps as a Web
page. Also if you enter a URL in the address bar, the program displays the page in this pane.
Favorites menu
Adds and deletes Web sites and path names to the Favorites menu and the Favorites bar.
Add to FavoritesDisplays the Favorite Location dialog.
Delete All FavoritesRemoves all Web site and path name shortcuts from the Favorites menu and
the Favorites bar.
Browse menu

Allows you to refresh thumbnails and Web pages, to move forward and backward between recently
viewed Web pages, to return to your home page, and to stop loading a Web page.
RefreshFor a Thumbnail pane, rereads the directory and redraws the thumbnails. For a Web pane,
rereads the URL and redisplays the Web page.
ForwardFor a Web pane, displays a Web page you viewed before clicking the Back button.
BackReturns to the last Web page viewed in the Web pane.
HomeReturns to the local copy of the home page that is installed on your computer system. This
is the page that displays when you first start the Asset Browser.
StopStops loading a Web page. Use this button when a page you're trying to view takes too long
to load.
Toolbar
The buttons on the toolbar provide some of the same functions as the menu items on the menu bar.
Back to previous pageReturns to the last Web page viewed in the Web pane.
Forward to next pageDisplays a Web page you viewed before clicking Back to previous
page.
StopStops loading a Web page. Use this button when a page you're trying to view takes too
long to load.
Refresh contentFor a Thumbnail pane, rereads the directory and redraws the thumbnails.
For a Web pane, rereads the URL and redisplays the Web page.
HomepageReturns to local copy of the Browser home page that is installed on your
computer system. This is the page that displays when you first start the Asset Browser.
Add to Favorites BarDisplays the Favorite Location dialog that allows you to add Web sites
and path names to the Favorites menu and the Favorites bar. When you want to open that page or
view the files from a path name, you can click the appropriate shortcut button from the Favorites
bar, or click the appropriate menu item from the Favorites menu
AddressDisplays the current path name or URL. Clicking the history arrow at the right end of the
address bar displays a list of recently viewed sites. You can select one of these to return to that site.
Favorites Bar
The Favorites bar is at the bottom of the Asset Browser window. It displays tabbed buttons for the
startup page and for any shortcuts to directories and Web pages that you added to your favorites
list. Right-clicking over a favorites tab that you've added displays a menu that you can use to modify
or delete the favorites.

StartupReturns to the directory or Web page where the Asset Browser started in the current
session.
Status Bar
The status bar is under the Favorites bar at the bottom of the Asset Browser window. The bar is
divided into three sections. The first section displays a progress meter when the program loads
thumbnails. The second section displays the current filter selection (such as "All in cache"). The third
section displays messages, file names, or Web page shortcut labels when you move your cursor over
such items.
Comments

AutoGrid
AutoGrid
Create panel > Any object category > Object Type rollout
Extras toolbar > AutoGrid
AutoGrid used to position the second block on top of the first
AutoGrid lets you automatically create, merge or import objects on the surface of other objects by
generating and activating a temporary construction plane based on normals of the face that you
click. This serves as a more efficient way of stacking objects as you create them, rather than
building objects and then aligning them.
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AutoGrid
Note: If the Smooth check box is turned on in the Parameters rollout of a parametric object, the
construction plane is placed tangent to the face of the surface implied by any smoothing present on
the surface, not the actual face of the surface.
See also
Grid Helper
Grid and Snap Settings
Snap Settings
Activate Grid Object
Procedure
Example: To create a box aligned to another object using a temporary construction grid:
1. Create or load a scene containing an object to which you want to align a new box object.
2. Choose Create panel > Standard Primitives > Object Type rollout > Box.
3. Turn on AutoGrid .
4. Move your cursor over the object to which you want to orient the box.
The cursor includes an X,Y,Z tripod to help you orient the position of the new object. As you
move over the object, the cursor aligns the Z axis to the surface normal.
5. When the orientation is as you want it, click and then use the standard drag-release-move-click
method to create the box.
When you click, a temporary, automatic grid is created, and the newly created object is aligned
to that grid.
Tip: To create a permanent grid, hold down the ALT key before making the object. The grid will
remain displayed in the viewport. The grid becomes active and 3ds max turns AutoGrid off.
This method applies only to the first click when you create objects that require multiple clicks.
If you're drawing a spline, the grid won't move with each new click. So, for instance, if you
want to create a Line shape that snaps to the faces of a sphere, turn on Face in the Grid And
Snap Settings dialog.
Interface

AutoGrid
Object Type rollout
AutoGridAutoGrid is available only after you select an object button (such as Box). When you turn
AutoGrid on, the cursor includes an axis tripod to help you orient the grid. Before clicking and as you
position the cursor over a visible mesh object, the cursor jumps to the nearest point on that surface.
The tripod's X and Y axes form a plane tangent to the object surface (forming an implied
construction grid), and the Z axis is perpendicular to the plane.
After creating the object, 3ds max places it on the temporary construction grid. When creating an
object, if the cursor isn't over another object, 3ds max places the object on the current active grid.
Tip: If you want to make the grid permanent, hold down the ALT key before you click. The grid
becomes active and 3ds max turns AutoGrid off. This method applies only to the first click when you
create objects that require multiple clicks. So, for instance, if you want to create a Line shape that
snaps to the faces of a sphere, turn on Face in the Grid And Snap Settings dialog.
Comments

Grid Helper
Grid Helper
Create panel > Helpers > Standard > Object Type rollout > Grid
Create menu > Helpers > Grid
Procedures Interface
The grid, also called "User Grid" or "Custom Grid", is a 2D parametric object with adjustments for
overall size and grid spacing. You can move and orient user grids anywhere in world space.
You can create any number of grid objects in your scene. You name them when you create them and
save them with the scene. You can delete them at any time.
Like other objects you create in any object you merge into the software, grid objects are placed on
the grid of the current viewport. By default, this is a plane of the home grid, but it can also be
another activated grid object.
Note: You can use AutoGrid to create a temporary or permanent user grid off the surface of any
object.
Using the Grid Object
You can use the grid object as a construction plane on all three orthographic planes in both
directions. Here's how it works:
In the Parameters rollout of each grid object is a Display group box with three option buttons: XY
Plane, YZ Plane, and ZX Plane. These determine which of the three planes of the grid object is
displayed in the viewport.
When you activate a grid object, the displayed plane is the construction plane for all viewports.
When you create a grid viewport, you can choose from one of six orthographic views (Front, Top,
Left, and so on), or you can choose a special "Display Planes" grid viewport. (When you press the
"G" key to create a grid viewport, the Display Planes type becomes the default.) The Display Planes
type of grid viewport always displays the plane chosen by the three option buttons under Display.
Thus, as you switch between XY Plane, YZ Plane, and ZX Plane, the view through the grid viewport
switches accordingly, and objects created in that viewport are created on the displayed plane.
When you right-click a viewport label (or go to the Layout tab of the Viewport Configuration dialog),
you can choose six additional types of grid viewports, based on the six orthographic views. These
are available by a cascading Grid menu that provides Left, Right, Front, Back, Top, Bottom, and
Display Planes. Each of the orthographic directions is local to the grid object, regardless of its
orientation in the scene.
When you choose a specific orthographic grid viewport (as opposed to the Display Planes viewport),
the construction of objects in that viewport is on the plane specified in the viewport title regardless
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Grid Helper
of the displayed plane of the grid object.

You can create more than one viewport based on the same grid object, with each using a different
plane. For example, you can have a Grid (Front) viewport and a Grid (Top) viewport, as well as a
Grid (Display Planes) viewport.
When you deactivate a grid object, its remaining viewports show the assigned orthographic view.
Thus, a Grid (Front) viewport becomes a Front viewport, for example. A Grid (Display Planes)
viewport always reverts to a Top view, regardless of the currently displayed plane.
Scaling Not Advised
As a rule, don't use scaling to resize a grid object. Scaling enlarges or reduces the apparent size of
the grid object but has no effect on grid spacing. A sphere 20 units in radius created on a grid object
appears smaller than another 20-unit sphere created on a scaled-up version of the same grid.
If you want to change the actual size of the grid object, select it and go to the Modify panel >
Parameters rollout > Grid Size group, and change the Length and Width settings.
Locating Grid Tools
Grid tools are spread throughout the interface of the software.
In the Views menu, under Grids, are the commands to activate home and user grids.
The same tools are available with a right-click anywhere in the viewport.
Choose Customize menu > Grid and Snap Settings to display the Grid and Snap Settings dialog.
Two tabs are devoted to Grid tools, one for home, another for user grids. You can change
parameters of any active grid using the Modify panel.
Procedures
To create a grid object:
1. Click Create panel > Helpers > Standard > Object Type rollout > Grid.
A Parameters rollout appears on the Create panel.
2. In a viewport, drag a rectangle and release the mouse button. This creates and selects a grid
object, which appears in white wireframe, divided into four quadrants with coordinate axes at
the center.
While the newly created grid object is still selected, you can change its settings on the Parameters
rollout.

Grid Helper
You can also create a grid object during object creation. Turn on AutoGrid, then press ALT during
object creation. A grid is created at the same time as the object and remains displayed and active.
See AutoGrid for more information.
To activate a grid object:

A grid object requires activation before use. Standard selection doesn't activate it unless you turn on
the option to do so (see User Grids).
Only one grid can be active for construction at a time, whether it's the home grid or a grid object.
Activating a user grid "deactivates" the home grid.
Activating a grid object enables options to reactivate the home grid on the Views menu > Grids
submenu and the Quad menu.
If you have more than one grid object in your scene, you have to activate each one separately.
Select the grid object you want to make active and follow the same procedure. Activating another
grid object deactivates the current one.
1. Select a grid object.
From the Views menu, choose Grids > Activate Grid Object.
Right-click the selected grid object and choose Activate Grid from the quad menu.
The grid object changes to show its internal grid structure. Except for its main axes, the
home grid disappears in all viewports.
To return to the home grid, do one of the following:
From the Views menu, choose Grids > Activate Home Grid.
Right-click the selected grid object and choose Activate Home Grid from the quad menu.
This deactivates the grid object and returns the home grid in all views.
If you delete an activated grid object, the home grid also reactivates.
You can assign a keyboard shortcut to Activate Home Grid in the Keyboard panel of the Customize
User Interface dialog. This is useful if you need to move back and forth between different grids.
To use a grid object as construction plane:

When activated, a grid object replaces the home grid as the frame of reference for creating objects.
An activated grid object creates a true plane in 3D space. No matter how small an activated grid
object appears on screen, its XY plane is effectively infinite, just as if it were the XY plane of the
home grid.
1. Activate the grid object.
2. Create any category of object from the Create panel.

Grid Helper
The software creates the object directly on the plane of the grid object, with the object's Z axis
perpendicular to the plane.
See Align for details on aligning objects and grids.

Like other objects in the software, you can move and rotate grid objects freely using standard
transformation methods. These transforms, along with alignment, are essential in positioning a
construction plane in 3D space.
To nudge a grid object up or down:
1. Activate the grid object.
2. Press the + or keys on the numeric keypad to move the grid object up or down.
The Grid Nudge Distance is controlled in the Viewports panel of the Preferences dialog.
Interface
Grid Size group
Sets the overall size of the grid object. This size determines the extents of a viewport set to the grid
object. It doesn't affect the useful limits of the grid, which extend infinitely.

Grid Helper
Length/WidthSpecifies the length and width of the grid.
Grid Spacing group
GridSpecifies the size of the smallest square in the visible grid. This setting appears on the status
line when the grid is activated.
Note: You can set Grid Spacing when a grid is selected, but you won't see the grid spacing until the
grid is activated.
Active Color group
Determines the color used to draw the grid in viewports when it's not selected.
GrayThe active grid object is two shades of gray.
Object ColorThe main grid lines use the assigned object color, while the secondary lines use a
lighter intensity.
Home ColorThe grid object uses the custom color that has been assigned to the home grid in the
Customize User Interface dialog.
Home IntensityThe grid object uses the grid intensity settings assigned to the home grid in the
Display group
XY Plane, YZ Plane, ZX PlaneDetermines which of the three planes of the grid object are
displayed in the viewport.
Comments

Customize menu > Grid and Snap Settings
This command displays the Customize Grid and Snap Settings dialog. Use this dialog to choose snap
settings when the 3D snap toggle is on.
Comments
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Grid and Snap Settings Dialog
Grid and Snap Settings Dialog
Customize menu > Grid And Snap Settings
Status bar > Right-click 3D Snap Toggle.
This modeless dialog establishes settings and options for snaps, the home grid, and user-defined
grids.
Controls on the Grid And Snap Settings dialog determine which snap settings are used when you
activate snaps by clicking 3D Snap Toggle. Adjusting any of these snap settings does not
automatically turn on snaps.
The Grid And Snap Settings dialog contains tabs for:
Snap Settings
Snap Options
Home Grid Settings
User Grids Settings
Procedure
To change grid and snap settings:
1. Choose Customize > Grid And Snap Settings and click the appropriate tab.
2. Choose the type of snap you want (Standard or NURBS).
3. Select the snaps settings.
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Home Grid
Glossary
Home Grid
Using the home grid to position houses
Grids are two-dimensional arrays of lines similar to graph paper, except that you can adjust the
spacing and other features of the grid to the needs of your work.
Grids have these primary uses:
As an aid in visualizing space, scale, and distance
As a construction plane where you create and align objects in your scene
As a reference system for using snap
The home grid is the basic reference system, defined by three fixed planes on the world coordinate
axes. The home grid is visible by default when you start the software, but can be turned off with an
option in the right-click viewport menu. You can use any view of the home grid as a construction
plane or you can create a grid object and use that as a construction plane instead.
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Home Grid
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Grid Object
Glossary
Grid Object
One grid establishes the pitch of the boat, another the pitch of the ship.
A grid object is a type of helper object you can create whenever you need a local reference grid or
construction plane somewhere other than the home grid.
You can have any number of grid objects in your scene, but only one can be active at a time. When
active, a grid object replaces the home grid in all viewports.
You can freely move and rotate grid objects, placing them at any angle in space, or attach them to
objects and surfaces. You can also change viewports to display a plan or top view of any active grid
object.
Grid objects can be named and saved like other objects, or used once and deleted.
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Snap Settings
Snap Settings
Customize menu > Grid And Snap Settings > Grid And Snap Settings dialog > Snaps tab
Status bar > Right-click 3D Snap Toggle.
Keyboard > Hold SHIFT+right-click > Snaps quadrant
Keyboard > S (toggles snaps on and off)
Snaps give you control when creating, moving, rotating, and scaling objects, because they let you
snap to specific portions of existing geometry during creation and transformation of objects or sub-
objects. The controls in this dialog set the snap strength and other characteristics such as the snap
target.
You can specify the portion of the geometry where you will snap. For example, when Vertex is
active, creation and transforms snap to the vertices of existing geometry. You can select any
combination to provide multiple snap points. If Vertex and Midpoint are active, snaps occur both at
vertices and at midpoints. Grid Points is the default snap type.
Note: Snaps are not on by default. Turn snaps on and off with the S key in the middle of a
transform. You can use snaps with free positioning this way.
Snaps work at sub-object levels. For example, you can use snaps to position a gizmo to the object
on which you're working, or snap it to other objects in the scene.
You must activate a viewport in order to use snaps. Also, the Z-axis constraints don't apply to the
home grid or grid objects, since grids don't have a Z axis.
Settings are stored in the 3dsmax.ini file. The state of the snap settings persists from session to
session. (Prior to version 3, snap settings were stored in the maxstart.max file.)
Snaps and Axis Constraints
Snaps take precedence over axis constraints. If you highlight an axis constraint, such as Restrict to
X, you can only move the object in X. But if you then turn on snaps, Restrict to X is suspended and
not used.
Snaps: Relative and Absolute
The software offers two different types of snap behavior. You can use snaps to move a selection to a
snap point, an absolute snap. You can also use snaps to move a selection a relative distance from a
snap point. This is called a relative snap.
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Snap Settings
Procedures
To set grid and snap settings:
1. Turn on the 3D Snap Toggle button to activate snaps.
2. Choose Customize > Grid And Snap Settings to display the Grid and Snap Settings dialog.
3. In the Snaps tab, select one or more of the types of snaps you want active.
4. Create an object or transform an object.

Snap markers appear when the mouse cursor is over existing geometry or on a grid, depending
on the active snap types. Each snap type has a different display; clicking when the snap-
specific display is visible snaps to that spot.
To display the Snaps shortcut menu:
Hold SHIFT and right-click anywhere in any viewport. The Snap quadrant in the quad menu that
appears gives you access to Transform Constraints, Snap To Frozen, and snap settings.
To use absolute snaps:
Click the object with snaps on.
To use relative snaps:
Click in the viewport.

The distance from your cursor to the selection set is used as the relative snap distance. The object
snaps that relative distance away from the snap point.
To use both constraint and snaps, do one of the following:
In the Grid and Snap Settings dialog > Options tab > Translation group, turn on Use Axis
Constraints.
Hold SHIFT and right-click in the viewport, and then choose Options > Transform Constraints from
the Snap quadrant.
Example: To use 3D snaps and rotation transformations together:
1. Create a box.
2. Select the box and choose Lock Selection.
3. Turn on 3D Snaps and click Rotate on the toolbar.
4. Activate the Perspective viewport and move the cursor over the grid.
A blue icon displays when the cursor passes over a grid point.

Snap Settings
5. When the blue icon displays, click and drag to rotate the box around the selected grid point.
You can rotate around anything you can snap to.
To turn snaps on and off during an operation:
Use the S keyboard shortcut to turn snap on and off.

Tip: You can select something with snap off, and then turn snap on to snap it to a snap target.
Alternately you might want to snap to something, then position it freely wherever you want.
Interface
Use these check boxes on the Snaps tab to turn on any combination of snap settings.
After setting snaps, close the dialog using the Close button in the dialog's upper-right corner. Do not
click the Clear All button, or you'll turn off all the snaps.
OverrideThis label changes to display the temporary snap type used by the Override system. For
more information, see Snap Override.
Clear AllClears all of the snaps.
Note: The the layout of the Grid And Snap Settings dialog is generated at runtime. Because of this, it
might appear slightly different than the illustrations shown here.
Standard snaps
These are the standard snap types used for grids, mesh, and shape objects. Nongrid snap types,
when active, take priority over Grid Points and Grid Lines snaps: if the mouse is equally near a grid
point and some other snap type, it will choose the other snap type.
Grid PointsSnaps to grid intersections. This snap type is on by default.
Grid LinesSnaps to any point on a grid line.

Snap Settings
PivotSnaps to pivot points of objects.

Bounding BoxSnaps to one of the eight corners of an object's bounding box.
PerpendicularSnaps to the perpendicular point on a spline, relative to the previous point.
TangentSnaps to a tangent point on a spline, relative to the previous point.
VertexSnaps to vertices of mesh objects or objects that can be converted to editable meshes.
Snaps to segments on splines.
EndpointSnaps to the end points of edges on meshes or spline vertices.
EdgeSnaps anywhere along edges (visible or invisible).
MidpointSnaps to the middle of edges on meshes and spline segments.
FaceSnaps anywhere on the surface of a face. Back faces are culled, so they have no effect.
Center FaceSnaps to the center of triangular faces.
NURBS Snaps
These options snap to objects or sub-objects in a NURBS model.

The NURBS snaps settings are aids for creating and transforming objects, and are not constraints.
The software does not maintain the relationship between the NURBS object and other objects you
create or transform.
CVSnaps to a CV sub-object in a NURBS curve or NURBS surface.
PointSnaps to a point sub-object in a NURBS model.
Curve CenterSnaps to the center of a NURBS curve.
The center of a NURBS curve is calculated parametrically, and might not be the same as the curve's
apparent visual center.
Curve NormalSnaps to a point normal to a NURBS curve.
This snap operates only while you are creating a new object that requires two or more clicks to
create.
Curve TangentSnaps to a point tangent to a NURBS curve.
This snap operates only while you are creating a new object that requires two or more clicks to
create.

Snap Settings
Curve EdgeSnaps to the edge of a NURBS curve (the current object moves or is created to lie
along the curve).
Curve EndSnaps to the end of a NURBS curve.
Surf CenterSnaps to the center of a NURBS surface.
The center of a NURBS curve is calculated parametrically, and might not be the same as the curve's
apparent visual center.
Surf NormalSnaps to a point on a NURBS surface normal to previous point.
This snap operates only while you are creating a new object.
Surf EdgeSnaps to the edge of a NURBS surface.
Comments

Snap Override
Snap Override
Any viewport > Hold SHIFT and right-click. > Standard > Choose snaps type.
Customize menu > Grid and Snap Settings > Snaps tab
Snap Override lets you supersede all the currently selected snap types and temporarily use only one,
or none, of the snap types currently selected on the Grid and Snap Settings dialog. For example, you
might be creating a spline while snapping to Grid Points, but then need to snap one of its vertices to
the midpoint of an object.
Procedures
To use Snap Override:
1. Hold down SHIFT and right-click in a viewport.
2. Select one of the snap types from the menus in the Snap quadrant to make it the only active
snap type.
If the Grid and Snap dialog is displayed, the "Override OFF" label changes to display the
selected snap type. When you complete the mouse action, "Override OFF" is again displayed in
the dialog, and the previously active snap types are active again.
To use Snap Override during a drag operation:
1. Left-click, press SHIFT, and then right-click to display the menu.
2. Release the left mouse button, and then left-click to select the snap you want.
3. Release the SHIFT key, right-click, and continue the drag operation (the geometry remains
locked to the mouse).
4. Left-click to complete the operation.
Interface
In addition to the available snap types, the snap quadrant contains these items:
Options Sub-menuLets you set the following options:
Transform Constraints: Turn this off to ignore the current transform constraints. For example, if
you're moving a vertex with Restrict to XY Plane on and want to snap the vertex to a point
removed on the Z axis, turn this off. Default=on.
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Snap Override
Snap To Frozen: Turn this on to enable snap to frozen objects. Default=off.
LastDisplays the last snap type you chose, letting you easily reselect that snap type and use it
again. (This item is disabled if no previous snap type was chosen.)
NoneTurns off all snap types for the next mouse action. (This item is disabled if the Snap Toggle
is off.)
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NURBS Model
Glossary
NURBS Model
Fountain modeled using NURBS surfaces
A NURBS object consisting of one or more sub-objects. The software documentation uses "NURBS
model" to emphasize the final result of NURBS modeling using a variety of sub-objects and
techniques.
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NURBS
Glossary
NURBS
Fountain basin modeled as a NURBS surface
NURBS (Non-Uniform Rational B-Splines) are a technique for interactively modeling 3D curves and
surfaces.
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CV
Glossary
CV
CVs (control vertices) in the lattice surrounding a NURBS surface
Short for control vertex.

In NURBS modeling, a vertex that controls a CV Curve or CV Surface. The 3D location of each CV
affects the shape of the curve or surface. CVs aren't constrained to lie on the curve or surface. Each
CV has a rational weight that can be used to adjust the influence of the CV on the curve's or
surface's shape.
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NURBS Curve
Glossary
NURBS Curve
A curve object created by NURBS modeling. NURBS Curves can be either Point Curves or CV Curves.
You can use them as you do spline curves in Shape objects.
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NURBS Surface
Glossary
NURBS Surface
A surface object created by NURBS modeling. NURBS Surfaces can be either Point surfaces or CV
Surfaces.
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Point
Glossary
Point
A point in three-space, created when you use NURBS modeling to create a Point Curve or Point
Surface, or when you create an individual point sub-object. Points that are part of a Point Curve or
Point Surface are constrained to lie on the curve or surface.
Points behave somewhat like vertices for spline objects, but their behavior is not identical and they
are a distinct object type. Helper object points are also a distinct object type. You can't use spline
vertices or helper points as NURBS points.
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Splines
Splines
Create panel > Shapes > Splines
Splines include the following object types:

Line Spline
Rectangle Spline
Circle Spline
Ellipse Spline
Arc Spline
Donut Spline
NGon Spline
Star Spline
Text Spline
Helix Spline
Section Spline
This topic covers aspects of spline creation that are common to all spline object types, including the
parameters available in the General rollout. For parameters unique to a particular spline type, see its
section by clicking the appropriate link, above.
Procedures
To control starting new shapes manually:
1. On the Create panel, turn off the check box next to the Start New Shape button.
2. Click the Start New Shape button.
3. Begin creating splines.

Each spline is added to the compound shape. You can tell you are creating a compound shape
because all the splines remain selected.
4. Click Start New Shape to complete the current shape and prepare to start another.
Issues to remember about creating shapes:
You can go back and change the parameters of a shape containing a single spline after the shape
is created.
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Splines
You cannot change the parameters of a compound shape. For example, create a compound shape
by creating a circle and then adding an arc. Once you create the arc, you cannot change the circle
parameters.
You can add splines to a shape by selecting the shape and then creating splines with the Start
New Shape check box off.
To create a spline using keyboard entry:
1. Click a spline creation button.
2. Expand the Keyboard Entry rollout.
3. Enter X, Y, and Z values for the first point.
4. Enter values in any remaining parameter fields.
5. Click Create.
Interface
Object Type rollout
AutoGridLets you automatically create objects on the surface of other objects by generating and
activating a temporary construction plane based on normals of the face that you click.
For more information, see AutoGrid.
Start New ShapeA shape can contain a single spline or it can be a compound shape containing
multiple splines. You control how many splines are in a shape using the Start New Shape button and
check box on the Object Type rollout. The check box next to the Start New Shape button determines
when new shapes are created. When the box is on, the program creates a new shape object for
every spline you create. When the box is off, splines are added to the current shape until you click
the Start New Shape button.
Shape Selection buttonsLet you specify the type of shape to create.

Splines
Name and Color rollout
Lets you name an object and assign it a viewport color. For details, see Name and Color rollout.
Rendering rollout
Lets you turn on and off the renderability of the spline, specify its thickness in the rendered scene,
and apply mapping coordinates.
You can animate render parameters, such as the number of sides.
You can also convert the displayed mesh into a mesh object by applying an Edit Mesh modifier or
converting to an Editable Mesh. The system will use the Viewport settings for this mesh conversion if
Use Viewport Settings is checked; otherwise it will use the Renderer settings. This gives maximum
flexibility, and will always give the conversion of the mesh displayed in the viewports.
ViewportChoose to set viewport thickness, sides, and angles. Available only when Use Viewport
Settings is turned on.
RendererChoose to set renderer thickness, sides, and angles.
ThicknessSpecifies the diameter of the viewport or rendered spline. Default=1.0. Range=0.0 to
100,000,000.0.
Splines rendered at thickness of 1.0 and 5.0, respectively
SidesSets the number of sides for the spline mesh in the viewports or renderer. For example, a
value of 4 will give you a square cross section.

Splines
AngleAdjusts the rotational position of the cross-section in the viewports or renderer. For
example, if you have a square cross section you can use Angle to position a "flat" side down.
RenderableWhen on, the shape is rendered using the specified parameters.
Generate Mapping CoordsTurn this on to apply mapping coordinates. Default=off.
The U coordinate wraps once around the thickness of the spline; the V coordinate is mapped once
along the length of the spline. Tiling is achieved using the Tiling parameters in the material itself.
Display Render MeshDisplays the mesh generated by the spline.
Use Viewport SettingsLets you set different rendering parameters for the viewports and displays
the mesh generated by the Viewport settings. Available only when Display Render Mesh is turned on.
Interpolation rollout
These settings control how a spline is generated. All spline curves are divided into small straight
lines that approximate the true curve. The number of divisions between each vertex on the spline
are called steps. The more steps used, the smoother the curve appears.
StepsSpline steps can be either adaptive (that is, set automatically by turning on Adaptive) or
specified manually.
When Adaptive is off, use the Steps field/spinner to set the number of divisions between each
vertex. Splines with tight curves require many steps to look smooth while gentle curves require
fewer steps. Range=0 to 100.
OptimizeWhen on, removes unneeded steps from straight segments in the spline. Optimize is not
available when Adaptive is on. Default=on.
AdaptiveWhen off, enables manual interpolation control using Optimize and Steps. Default=off.
When on, Adaptive sets the number of steps for each spline to produce a smooth curve. Straight
segments always receive 0 steps.

Splines
Optimized spline left and adaptive spline right. Resulting wireframe view of each, respectively, on the
right.
The main use for manual interpolation of splines is in morphing or other operations where you must
have exact control over the number of vertices created.
Creation Method rollout
Many spline tools use the Creation Methods rollout. On this rollout you choose to define splines by
either their center point or their diagonal.
EdgeYour first mouse press defines a point on the side or at a corner of the shape and you drag a
diameter or the diagonal corner.
CenterYour first mouse press defines the center of the shape and you drag a radius or corner
point.
Text and Star do not have a Creation Methods rollout.
Line and Arc have unique Creation Methods rollouts that are discussed in their respective topics.
Keyboard Entry rollout
You can create most splines using keyboard entry. The process is generally the same for all splines
and the parameters are found under the Keyboard Entry rollout. Keyboard entry varies primarily in
the number of optional parameters. The image above shows a sample Keyboard Entry rollout for the

Splines
Circle shape.
The Keyboard Entry rollout contains three fields for the X, Y, and Z coordinates of the initial creation
point, plus a variable number of parameters to complete the spline. Enter values in each field and
click the Create button to create the spline.
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Line Spline
Line Spline
Create panel > Shapes > Splines > Object Type rollout > Line
Create menu > Shapes > Line
Use Line to create a free-form spline made of multiple segments.
Example of line
Procedures
To create a line:
1. Go to the Create panel and choose Shapes.
2. In the Object Type rollout, click the Line button.
3. Choose a creation method.
4. Click or drag the start point.

Clicking creates a corner vertex; dragging creates a Bezier vertex.
5. Click or drag additional points.

Clicking creates a corner vertex; dragging creates a Bezier vertex.
Right-click to create an open spline.
Click the first vertex and click Yes in the "Close spline?" dialog to create a closed spline.
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Line Spline
To create a line using rectilinear and angle-snap options:

These two options aid in creating regular shapes:
While creating a spline with the mouse, press and hold SHIFT to constrain new points to 90-
degree-angle increments from previous points. Use the default Initial type setting of Corner and
click all subsequent points to create fully rectilinear shapes.
While creating a spline with the mouse, press and hold CTRL to constrain new points to angle
increments determined by the current Angle Snap setting. To set this angle, go to Customize
menu > Grid and Snap Settings, click the Options tab in the Grid and Snap Settings dialog, and
change the value in the Angle (deg) field.
The angle for each new segment relates to the previous segment, so the angle snap works only after
you've placed the first two spline vertices (that is, the first segment). Angle Snap need not be
enabled for this feature to work.
To create a line from the keyboard:
1. Enter values in the X, Y, and Z fields to specify a vertex coordinate.
2. Click Add Point to add a vertex to the current line at the specified coordinate.
3. Repeat steps 1 and 2 for each additional vertex.
Click Finish to create an open spline.
Click Close to connect the current vertex to the first vertex and create a closed spline.
Interface
Automatic Conversion to an Editable Spline
Because the Line tool has no dimension parameters to be carried over to the Modify panel, it
converts to an editable spline when you move from the Create panel to the Modify panel. While you
are creating the line, the Create panel displays the original controls, such as Interpolation,
Rendering, Creation Method, and Keyboard Entry. After creating the line, when you go to the Modify
panel you have immediate access to the Selection and Geometry rollouts to edit the vertices or any
part of the shape.
Rendering and Interpolation rollouts
All spline-based shapes share these parameters. See Splines for an explanation of these parameters.

Line Spline
Creation method options for lines are different from other spline tools. You choose options to control
the type of vertex created when you click or drag vertices.
You can preset the default types of spline vertices during line creation with these settings:
Initial Type group
Sets the type of vertex you create when you click a vertex location.
CornerProduces a sharp point. The spline is linear to either side of the vertex.
SmoothProduces a smooth, nonadjustable curve through the vertex. The amount of curvature is
set by the spacing of the vertices.
Drag Type group
Sets the type of vertex you create when you drag a vertex location. The vertex is located at the
cursor position where you first press the mouse button. The direction and distance that you drag are
used only when creating Bezier vertices.
CornerProduces a sharp point. The spline is linear to either side of the vertex.
SmoothProduces a smooth, nonadjustable curve through the vertex. The amount of curvature are
set by the spacing of the vertices.
BezierProduces a smooth, adjustable curve through the vertex. The amount of curvature and
direction of the curve are set by dragging the mouse at each vertex.
Keyboard entry for lines is different from keyboard entry for other splines. Entering keyboard values
continues to add vertices to the existing line until you click Close or Finish.
Add PointAdds a new point to the line at the current X/Y/Z coordinates.
CloseCloses the shape, adding a final spline segment between the most recent vertex and the
first.
FinishFinishes the spline without closing it.

Line Spline
Comments

Setting Snap Options

You can access a number of snap features from the Options tab of the Grid and Snap Settings
dialog. Right-click any of the snap buttons on the main toolbar to display the Grid And Snap Settings
dialog or choose Customize menu > Grid and Snap Settings, then click the Options tab.
Marker settingsDetermine the color and size of the snap cursor. Turn off Display to turn off the
snap cursor entirely.
Snap StrengthDetermines how close the cursor needs to approach a snap point before the snap
takes place. This is a global setting, affecting all snap interactions. Possible values range from 1 to
20, representing the pixels in a "search region" around the active point of the cursor. Default=8.
Snap to Frozen ObjectsNormally, if an object is frozen you can't snap to it; this option lets you
snap to frozen objects.
Settings for Angle and Percent Snap
The following Options settings are for two snap buttons that operate independently of standard
snaps.
Angle (deg)A global setting, in degrees, that determines the angle of rotation for a number of
features in the program, including the standard Rotate transform. As you rotate an object (or group
of objects), the object moves around a given axis in the increment you set. Angle snap also affects
the following:
Pan/Orbit camera controls
FOV and Roll camera settings
Hotspot and Falloff light angles
For more information, see Angle Snap.
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PercentSets a percentage increment during a scaling operation.

For more information, see Percent Snap.
Rotating and Scaling with Snaps
The effect of rotating and scaling with snaps depends on whether the Auto Key button is turned on
or off.
Animate OffRotations and scales occur around the snap point. For example, using Vertex snap,
you can rotate a box about any of its corners.
Animate OnSnap toggles are disabled, while Angle and Percent snaps remain active. Rotation and
scaling occur around the pivot point of the object.
Translation Option
By default, the Use Axis Constraints option is off. The current toolbar setting for axis constraint (XY,
for example) has no effect. Setting this option lets you use snaps in conjunction with axis
constraints.
Settings for Spinner Snap
You set the spinner snap on the General panel of the Preferences dialog. Right-click the Spinner
Snap button to display this panel.
Spinner snapSets a numerical increment for spinner fields. If youre using generic units of 1
inch, a setting of 12 would let you resize objects by one foot with every click, or add 12 segments to
a sphere.
The same setting applies to all spinner fields. Since spinner snap is a toggle, you can easily turn it on
when needed and use the default at other times. Spinner snap has no effect on dragging a spinner,
only on single clicks.
For more information, see Spinner Snap.
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Angle Snap
Angle Snap
Main toolbar > Angle Snap
Angle snap determines the incremental rotation for a number of features, including the standard
Rotate transform. As you rotate an object (or group of objects), the object moves around a given
axis in the increment you set.
Angle snap also affects Pan/Orbit camera controls, FOV and Roll camera settings, and Hotspot/Falloff
spotlight angles.
Procedures
To turn angle snap on:
Click Angle Snap on the Main toolbar. When turned on, angle snap affects all rotational
transforms.
To rotate an object an even number of degrees:
Turn on Angle Snap and rotate the object.

The rotations take place in 5-degree increments as a default.
To rotate an object a precise degree of rotation, do one of the following:
Click Select And Rotate, then right-click it to display the Transform Type-In dialog.Enter the exact
rotation you want.
Right-click Angle Snap and open the Options panel in the dialog that is displayed. Set the Angle
snap in the General group to the precise degree of rotation you need, then rotate the object. It
snaps to the angle youve entered.
Interface
The angle increment is set on the Options panel of the Grid and Snap Settings dialog. Right-click the
Angle Snap button to display the Options panel of the Grid and Snap Settings dialog. The default is 5
degrees.
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Angle Snap
Comments
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Field of View
Glossary
Field of View
Above: Narrow field of view

Below: Wide field of view
Field of View defines the width of your view as an angle with its apex at your viewpoint and the ends
at the sides of the view. The effect of changing FOV is similar to changing the lens on a camera. As
the FOV gets larger you see more of your scene and the perspective becomes distorted, similar to
using a wide-angle lens. As the FOV gets smaller you see less of your scene and the perspective
flattens, similar to using a telephoto lens.
A Perspective view uses an imaginary camera with only one setting, FOV. The FOV angle for the
active Perspective view is displayed in the Rendering Methods panel of the Viewport Configuration
dialog. You can type a value in the FOV field of the dialog to precisely set FOV for the active
Perspective view.
Use Field of View (FOV) to change the amount of the scene visible and the amount of perspective
flare applied to a Perspective or Camera view. The Field of View button appears in the viewport
navigation control panel when a Perspective or Camera view is active.
Comments
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Hotspot/Falloff
Glossary
Hotspot/Falloff
Hotspot and falloff cones, highlighted in red.
You've seen how a flashlight or a theater follow spot casts a circle of light. Depending on the quality
of the flashlight, or the adjustment of the follow spot, the edge of the cast pool of light is either
blurred or sharp.
In the case of a blurred pool of light, the bright circle in the center is the hotspot, which has an even
intensity. The outer extremity of the light, where it meets the darkness, is the falloff. The difference
in circumference between the hotspot and the falloff determines the relative sharpness of the pool of
light. For example, if the hotspot and falloff are nearly the same size, the pool of light has a sharp
edge.
The hotspot angle of a spotlight must always be smaller than the falloff angle. Put another way, the
hotspot must always be inside the falloff.
You can hold down the SHIFT key to have the hotspot and falloff values affect each other. If you
increase the hotspot to be larger than the falloff, the falloff is increased as well. Likewise, if you
reduce the falloff to be smaller than the hotspot, the hotspot is also reduced.
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Hotspot/Falloff
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Transform Type-In
Transform Type-In
Status bar > Transform Type-In
Tools menu > Transform Type-In
Main toolbar > Right-click Select and Move, Select and Rotate, or one of the Select and Scale
buttons.
Transform Type-In allows you to enter precise values for move, rotate, and scale transforms. You
can use Transform Type-In with anything that can display an axis tripod or Transform gizmo.
You can also use the Transform Type-In boxes on the status bar. To use the Transform Type-In
boxes on the status bar, simply enter the appropriate values in the boxes and press ENTER to apply
the transformation. You can alternate between entering absolute transform values or offset values
by clicking the Relative/Absolute Transform Type-In button to the left of the transform boxes.
If you choose Transform Type-In from the Tools menu or right-click one of the toolbar buttons, the
Transform Type-In pops up as a dialog. The title of the dialog reflects the currently selected
transform. If Rotate is active, the dialog's title is Rotate and its controls affect rotation. If Scale is
active, its title is Scale, and so on. You can enter either absolute transform values or offset values in
the Transform Type-In dialog.
In most cases, both Absolute and Offset transforms use the currently chosen reference coordinate
system. The exceptions are View, which uses the World coordinate system, and Screen, which uses
World for Absolute moves and rotations. Also, scaling always uses the Local coordinate system for
Absolute. In the dialog, labels change to show the reference coordinate system being used.
When you use the Transform Type-In at a sub-object level, you transform the transform gizmo of
the sub-object selection. So, for example, the absolute position values represent the absolute world
position of the transform gizmo. If you've selected a single vertex, it's the absolute world position of
the vertex.
If multiple vertices are selected, the Transform gizmo is placed at the center of the selection, so the
position you specify in the Transform Type-In sets the absolute position of the center of the selected
vertices.
When multiple vertices are selected in Local transform mode, you end up with multiple transform
gizmos. In this case, only the Offset control is available.
Because the axis tripods are not scaled, the Absolute Scale control is not available in sub-object
mode. Only Offset is available.
When you use the Transform Type-In for Absolute rotation, the state of the Center flyout is
respected. You can perform absolute rotations about the pivot point of the object, the selection
center, or transform coordinate center. See Choosing a Transform Center.
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Transform Type-In
Procedure
To use transform type-in:
1. Select an object or a group of objects.
2. Choose a transform to perform on the objects (Move, Rotate, or Scale).
3. You can do any of the following, switching from one to another as required:
Type a value in an axis field and press ENTER to apply the transform change to the object in
the viewport.
Drag a spinner in an axis field to update the object in the viewport.
Drag the object to apply the transform and read the resulting change in the axis fields.
For example, if Move is active, the fields read out both the absolute positions of the selected
object in world space. If no object is selected, the fields turn gray.
Interface
Status bar
Relative/Absolute Transform Type-InWhen this is on, the values entered into the X, Y,
and Z text boxes are relative transform values. When this is off, they are absolute values.
X, Y, and ZDisplay and accept entry for absolute values of position, rotation, and scale along all
three axes.
Absolute group (Dialog)
X, Y, and ZDisplay and accept entry for absolute values of position, rotation, and scale along all
three axes. Position and rotation are always displayed, as world scale is always local.
Offset group (Dialog)

Transform Type-In
X, Y, and ZDisplay and accept entry for offsets of the position, rotation, and scale values along all
three axes.
Offset values revert to zero after each operation. If you enter 45 degrees in the Offset field, when
you press ENTER, the object is rotated 45 degrees from its previous position, the Absolute field is
increased by 45 degrees, and the Offset field reverts to zero.
Offset labels reflect the selected reference coordinate system. The Offset can be Offset: Local,
Offset: Parent, and so on. If you use pick to select the reference coordinate system of a particular
object, the Offset will be named with that object.
Comments

Transforms
Glossary
Transforms
Moving, rotating, and scaling a figure
When you create any object, 3ds max records its position, rotation, and scale information in an
internal table called a transformation matrix. Subsequent position, rotation, and scale adjustments
are called transforms.
An object's actual position within the world coordinate system is always calculated in relation to its
internal, or local coordinate system, which is based on the object's transformation matrix. The origin
of the local coordinate system is the center of the object's bounding box.
An object can carry any number of modifiers, but only one set of transforms. Although you can
change transform values from frame to frame, each object always has only one position, one
rotation, and one scale transform.
You can animate your transforms by turning on the Auto Key button and then performing the
transform at any frame other than frame 0. This creates a key for that transform at the current
frame.
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Status Bar Controls
Status Bar Controls

The 3ds max window contains an area at the bottom for prompt and status information about your scene
and the active command. There is a coordinate display area in which you can type transform values, and
on the left, a two-line interface to the MAXScript Listener.
See also
Animation and Time Controls

Viewport Controls
Time Slider and Track Bar
Time Slider
Show Curves Click to display a version of the Track View Curve Editor in place of the time slider
and track bar.
When curves are displayed, you can click the Close button at upper left to return to a view of the time
slider and track bar.
Track Bar
Status Bar
MAXScript Mini Listener

Status Line
Selection Lock Toggle
Relative/Absolute Transform Type-In

Coordinate Display
Grid Setting Display
Prompt Line
Time Tag
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Status Bar Controls
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Between the status bar and the viewport navigation controls are the animation controls, along with
the time controls for animation playback within viewports.
Animation Controls
Auto Key Animation Mode and Set Key Animation Mode
Go To Start
Previous Frame
Play/Stop
Next Frame
Go To End
Time Controls
Key Mode
Time Configuration
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Auto Key Animation Mode
Status bar > Time controls > Auto Key (Toggle Auto Key Mode)
Keyboard > N
The Auto Key button turns the keyframing mode called Auto Key on or off. All movement, rotation,
and scale changes are keyframed while the Auto key button is on. When it's off, these changes are
applied to frame 0.
You can also keyframe by using Set Key mode, which allows you to selectively add keyframes using
the Set Keys button.
The Auto Key button is red when its on. The active viewport is also outlined in red when the Auto
Key mode is on; the time slider turns red as well. All this to remind you that you are in Animate
mode, and that you are setting keyframes with your actions. This serves to remind you that you are
in Animate mode, and that you are setting keyframes with your actions.
Warning: Be sure to turn off Auto Key after keyframing, or you will inadvertently create
unwanted animation. Use Undo to remove the unwanted animation. Be careful; its easy to
forget.
Within an existing animation, you can create keyframes for transforms without the use of the Auto
Key button by right-clicking the time slider and then setting the source and destination time. For
example, you can use this function to copy an existing Move key to a later frame, so an object
pauses its motion momentarily (to keep the object still, you must use linear or step interpolation).
You can also set keyframes for other animatable parameters in Track View and the Motion panel
without using Auto Key.
See also
Using Auto Key Mode

Set Key Animation
Using Set Key Mode
Procedures
To animate an object using Auto Key:
1. Turn on the Auto Key button.
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The Auto Key button and the highlight border around the active viewport both turn red.
2. Drag the time slider to a time other than 0.
Move, scale, or rotate an object.
Change an animatable parameter.

For example, assume you start with a cylinder that has not been animated yet and therefore
has no keys. You then turn on the Auto Key button, and on frame 20 you rotate the cylinder 90
degrees about its Y axis. This action creates Rotation keys at frames 0 and 20. The key at
frame 0 stores the original orientation of the cylinder, while the key at frame 20 stores the
animated rotation of 90 degrees. When you play the animation in the viewport, the cylinder
rotates 90 degrees about its Y axis over 20 frames.
4. Turn off the Auto Key button when you are done.
Example: To animate an object between three points using Auto Key:
2. Drag the time slider (to frame 25, for example).
3. Move the object from point A to point B.

A Move key is created at frames 0 and 25. The establishing key at frame 0 describes the
object's position at point A. The key at frame 25 describes the object's position at point B.
4. Drag the time slider (to frame 50, for example).
5. Move the object from point B to point C.

A Move key is created at frame 50 that describes the object's position at point C.
6. Click the Playback button.
7. The object moves from point A to point B over frames 0 to 25, then proceeds to point C over
frames 26 to 50.
8. The Playback button turns into a Stop button. Click it to stop playback.
The position of the object in between the keyframes is determined by the interpolation type
used by the controller. Right-click the keys in the track bar and select the transform key to see
the controls for adjusting the timing of the in-betweens.
9. Turn off the Auto Key button.
To remove the animation from a scene and start again:

1. Choose File menu > New.

If the scene has been modified, you are asked if you want to save it. After you make that
decision, a New Scene dialog is displayed.
2. In the New Scene dialog, turn on Keep Objects And Hierarchy.

All the objects remain in the scene but all keyframes have been removed.
3. To remove the animation from just certain objects, delete their keys in Track View.
Example: To animate a deformation curve of a loft object:
2. Set a current frame with the time slider.
3. Select one or more control points in the deformation curve of a loft object.
4. Use the Move Control Point or Scale Control Point buttons to transform the control points.
To animate a hierarchy with IK interactively:
1. Select any hierarchy that does not already have an IK Solver applied.
2. Click IK on the Hierarchy panel.
4. On the Inverse Kinematics rollout, turn on Interactive IK.
5. Select and move objects in the IK structure on different frames.

Note: This will work on linked hierarchies and bones that do not already have an HI, HD, or
Limb Solver applied. This technique allows you to animate hierarchies using IK methods
without applying any IK solver.
Comments

Keyframes/Keys
Glossary
Keyframes/Keys
The red boxes indicate keyframes, the dotted line shows the interpolated trajectory.
Keyframes record the beginning and end of each transformation of an object or element in the
scene. The values at these keyframes are called keys.
For example, if you have a box that has not been animated, no keyframes (or keys) exist for it. If
you turn on the Auto Key button, move to frame 20, and rotate the box 90 degrees, Rotate keys are
created at frames 0 and 20.
The key at frame 0 represents the orientation of the box before it was rotated, while the key at
frame 20 represents the orientation of the box after it was rotated 90 degrees. When you play the
animation, the box rotates from 0 to 90 degrees over 20 frames.
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Set Key Animation Mode

Set Key Animation Mode allows you to create keys for selected objects individual tracks using a
combination of the Set Keys button and Key Filters. Unlike the traditional method of 3ds max
animation, Set Key mode gives you control over what you key and when. It allows you to pose a
character (or transform any object) and then if you like it, use that pose to create keys. If you move
to another point in time without keying, your pose is discarded. It also works with object
parameters.
You can try out different values and then when you have what you like use it to create keys.
Combine this with keyable tracks in the Curve Editor to create keys on just the object parameters
you want to key.
Set Key Workflow
To animate something using Set Key mode, you first turn on Set Key Mode. You can then select the
object you want to animate and use the Key Filters button to set which tracks you want to keyframe.
You can also use Show Keyable icons in Track View edit windows to make individual tracks keyable
or not. With all this setup work completed you can create keys by clicking the Set Key button (the
large button with the key) or using Keyboard shortcut (K). Move ahead in time, then make changes
to your character (transforms or parameter changes) and click Set Keys to use those changes to
create keys.
If you do not click the Set Keys button and move to another frame the object changes will be lost, as
if you had never made them. This is fundamentally different behavior from Auto Key mode, where
you would need to use undo to lose the changes you made. Use the right mouse button on the time
slider to press and drag a pose to a different point in time.
For faster workflow you can define keyboard shortcuts for the Key Filters and Show Keyable tools by
going to Customize menu > Customize User Interface and assigning keystroke combinations in the
Main UI group.
Procedures
To animate using Set Key mode:
1. Turn on Set Key mode.
2. Select the objects you want to keyframe, right-click and choose Curve Editor.
3. Click Show Keyable icons, then use the keyable icons in the controller window to define
which tracks will be keyed.
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A red key means the track will be keyed.
4. Click Key Filters and then turn on the tracks you want to keyframe. By
default, Position Rotation, Scale and IK Parameters are turned on. In this example, turn off
Rotation and Scale.
5. Select the objects in the viewport you want to animate.
6. Move to the frame you want to set a key on.
7. Move the objects as desired.
8. Click the Set Keys button.

A key will appear in the track bar.
The Set Key button will flash red to show that it has set a key.
Repeat this process, moving the time slider and setting keys.
To keyframe all parameters using Set Key mode
2. In the viewport, select the objects to which you want to add keyframes.
3. Click Key Filters and then turn on the Key All.
4. Move the time slider to the frame where you wish to set keys

Keys will be added to all keyable parameters.
To move a pose in time without update:
1. Turn on Set Key.
2. Move to a particular frame (let's say frame 20).
3. Pose your character.
4. Move your cursor over the time slider, then press the right mouse button down and drag.
The time slider moves, but the pose does not jump. The pose is maintained and transferred to
the new point in time.
5. When you are at the appropriate frame, press Set Keys to set the pose keys.

Interface
Set KeyTurns on Set Key Mode.
Set KeysClick this to set a key. This button will create a key on tracks for the selection
set. It checks that the tracks are keyable, and that Key filters allow the tracks to be keyed. If both
these are satisfied, a key is set. Set Keys also sets keys in Auto Key mode, and in Layout mode (the
mode when neither Auto Key nor Set Key is turned on). Keyboard shortcut default for this command
is K.
Key FiltersDisplays the Set Key Filters dialog where you can define which
type of tracks will be allowed or disallowed keys.
Selection ListGives quick access to named selection sets while working with Set Key. Let's you
easily change from one selection set to the next.
Set Key Filters dialogTurn on the tracks you want to key. Default=Position, Rotation, Scale and
IK Parameters.
The following options are available:
All allows for a quick way to key all tracks. When All is turned on, everything else is
unavailable. Clicking Set Keys with the All filter turned on will result in a key placed on all keyable
tracks.
Position allows for position keys to be created.
Rotation allows for rotation keys to be created.

Scale allows scale keys to be created.
IK Parameters allows inverse kinematic parameters to be keyframed.
Object Parameters allows object parameters to be keyframed.
Custom Attributes allows custom attributes to be keyframed.
Modifiers allows modifiers to be keyframed. Note that you should turn on Object parameters
when you turn on modifiers, so you can keyframe gizmos.
Materials allows material properties to be keyframed.
Otherallows for other parameters that don't fall in the above categories to be keyframed using
Set Key technique. This includes such things as helper properties and lookat controller tracks for
target cameras and lights.
Warning: If you turn on Object Parameters, all the object parameters of an object will
then receive keys, unless you have turned off the tracks using Keyable on the Controller
menu of Track View Curve Editor. The same advice applies to Materials.
Tip: You can also set keys on spinners by holding down the SHIFT key and right-clicking a spinner.
Comments

Using Auto Key Mode
Using Auto Key Mode

Start creating an animation by turning on the Auto Key button, setting a current time, and then
changing something in your scene. You can change the position, rotation, or scale of an object, or
change almost any setting or parameter.
When you make a change, a key storing the new value for the changed parameter is created at the
current time. If that key was the first animation key created for the parameter, a second animation
key is also created at time 0 to hold the parameters original value.
Keys are not created at time 0 until you create at least one key at another time. After that, you can
move, delete, and re-create keys at time 0.
Turning Auto Key on has the following effect:
The Auto Key button, the time slider and the border of the active viewport turn red to indicate you
are in animation mode.
Keys are created whenever you transform an object or change an animatable parameter.
The time slider sets the time where keys are created.
To begin animating an object:
1. Click Auto Key to turn it on.
2. Drag the time slider to a time other than 0.
Transform an object.
Change an animatable parameter.
For example, if you have a cylinder that has not been animated yet, it has no keys. If you turn Auto
Key on, and at frame 20 you rotate the cylinder 90 degrees about its Y axis, Rotate keys are created
at frames 0 and 20. The key at frame 0 stores the original orientation of the cylinder, while the key
at frame 20 stores the animated rotation of 90 degrees. When you play the animation, the cylinder
rotates 90 degrees about its Y axis over 20 frames.
Modeling Without Animating
Just as you can animate at any time by turning Auto Key on, you can also model at any time in your
animation without creating animation keys.
The results of changing an object or any other parameters with Auto Key off varies according to
whether or not the object or parameters have been animated yet.
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Using Auto Key Mode
If you create a new object, or change an object parameter that has not been animated yet, you
can work at any time with Auto Key off. The changes you make are constant through the entire
animation.
For example, you might animate an object bouncing around your scene and then decide to create
pads for the object to land on. To do that, you drag the time slider to a time when the bouncing
object hits the ground, and make sure Animate is off before you proceed. You can then create a
pad under the bouncing object and repeat the process at the next time where it hits the ground.
Because Auto Key was off, it does not matter at what time the pad objects were created. They
remain inanimate through the entire animation.
If you change an object or parameter that is already animated, while Auto Key is off, the amount
of change is applied equally across all the animation keys.
For example, you might animate a spheres radius to be 15 at frame 0, 30 at frame 10, and 50 at
frame 20. If you drag the time slider to frame 10, turn Auto Key off, and increase the spheres
radius from 30 to 40, the change in the radius is applied to the other two keys as well. Because
you increased the radius by 10 units with Auto Key off, all radius keys are increased by 10 units.
The spheres radius is now 25 at frame 0, 40 at frame 10, and 60 at frame 20.
If Auto Key had been on when you changed the radius, it would have been an animated change
applied only to the key at frame 10.
Identifying What Can Be Animated
Because most parameters in 3ds max can be animated, the easiest way to find out if something can
be animated is just to try it. Usually, if you want to animate a parameter, it can be animated.
Sometimes you need to know in advance if you can animate a parameter. If so, you can use Track
View. The Track View Hierarchy list displays every parameter that can be animated. You might also
need to add a controller to a track before it can be animated. See Track View and Animation
Controllers.
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Track View
Track View
Main toolbar > Curve Editor (Open)
Graph Editors menu > New Track View
Graph Editors menu > Track View - Curve Editor
Graph Editors menu > Track View - Dope Sheet
With Track View, you can view and edit all the keys that you create. You can also assign animation controllers to interpolate or control all the keys and
parameters for the objects in your scene.
Track View uses two different modes, Curve Editor and Dope Sheet. Curve Editor mode lets you display the animation as function curves. Dope Sheet mode
displays the animation as a spreadsheet of keys and ranges. Keys are color-coded for easy identification. Some of the functions in Track View, such as moving
and deleting keys, are also available on the track bar near the time slider, which can be expanded to show curves as well. You can dock the Curve Editor and
Dope Sheet windows beneath the viewports at the bottom of the interface, or use them as floating windows. Track View layouts can be named and stored in
the Track View buffer and reused. Track View layouts are stored with the .max file.
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Track View
Track View Curve Editor
Track View Dope Sheet (Edit Keys)
Typical Uses for Track View
Track View can perform a variety of scene management and animation control tasks. Use Track View to:
Display a list of objects in your scene and their parameters.
Change key values.
Change key timing.
Change controller ranges (see procedure).
Change interpolation between keys.
Edit ranges of multiple keys.
Edit blocks of time.
Add sound to your scene.

Track View
Create and manage notes about the scene.
Change the behavior of the animation outside the range of keys.
Change controllers for animated parameters
Select objects, vertices, and hierarchies.
Navigate the modifier stack in the Modify panel by clicking the modifier items in the Track View Hierarchy.
Note: Tracks are created for animated vertices in Track View. A Bezier Point3 controller is the default vertex interpolation controller.
Procedures
To change the frames in which a controller takes effect:

When you apply a controller or constraint to an object's motion, the frame range over which controller takes effect is determined by the current active time
segment. If you then change the active time segment or the animation length, the duration of the controller's influence doesn't change. Sometimes applying a
controller (such as Path Constraint) automatically sets keys that you can use to change this range. But others, such as Noise controllers, don't set keys. In
such cases, follow this procedure:
1. Select the object, and then right-click it and choose Curve Editor from the menu.
2. Expand the object hierarchy to find the track or tracks to adjust.
3. From the Modes menu, choose Dope Sheet.
4. On the Dope Sheet, click the Edit Ranges button.
5. Adjust the range duration by dragging its endpoints, or its position in the animation by dragging between endpoints.
For more information, see Dope Sheet.
To select keys in Track View (either mode), do any of the following:
Click the key to select an individual key.
Drag a selection rectangle around keys to select multiple keys.
Hold down the CTRL key and click to create discontinuous multiple key selections.
Note: If you are in Dope Sheet Edit Ranges mode, you can use Select Time to select multiple keys.
To delete keys in Track View (either mode):
1. Select keys on the curve, or on the dope sheet.
2. Press the Delete key on the keyboard to delete the selected keys.
Track View
To force Track View to always display on a second monitor:

If you are running a dual monitor setup, you can force Track View to display on the right-hand monitor by editing a script.
1. Right-click the Curve Editor (open) icon in the main toolbar, then choose Edit Macro Script.
The MAXScript script that opens the Track View Function Curve Editor appears.
2. Locate the line that reads:

if (trackviews.open "Track View - Curve Editor" layoutName:"Function Curve Layout") == true then
3. Replace that line with this one:

max_window = getMaxWindowSize() --get Desktop size if (trackviews.open "Track View - Curve Editor" layoutName:"Function Curve Layout" pos:
[max_window.x/2,0] height:max_window.y width:(max_window.x/2) ) == true then
4. Save the script and restart 3ds max.
This should open the Track View in a new session over the right half of the desktop. Assuming that a dual monitor setup reports twice the width, this will force
the Track View on the second monitor. On a single monitor, it opens it over the right half of the only monitor. Of course, you could enter your own numbers
like pos:[1024,0] height:768 width:1024 in case you are running two monitors at 1024x768.
See also
Track View Redesign

Track View Menu Bar
Curve Editor
Dope Sheet
Track View Key Window
Time Ruler
Filters
Assign Controller
Copy Controller
Paste Controller
Make Controller Unique
Parameter Curve Out-of-Range Types
Add Note Track
Delete Note Track
Edit Keys
Track View Utilities
Track View
Select Time
Edit Ranges
Function Curves
Status Bar / View Controls
Track View Controller Window
Animation Controllers
Explicit Axis Keys
Comments

Active Time Segment
Glossary
Active Time Segment

The active time segment is the total range of frames that you can access using the time slider.
By default, the active time segment runs from frames 0 to 100, but you can set it to any range from
the Time Configuration dialog. In addition, the active time segment can include negative frame
numbers, so you can create keys before frame 0 and work in negative time.
You can change the active time segment whenever you want without affecting the keys you've
already created. You might think of it as a window in time, specifying only that portion of your
animation in which you want to work. Thus, if you have keys scattered over a range of 1000 frames,
you can narrow your active time segment to work on only frames 200300 without affecting the
keys outside of the segment.
Comments
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Time Slider
Time Slider
Status line > Time Slider
The time slider shows the current frame and lets you move to any frame in the active time segment.
Right-clicking the slider bar opens the Create Key dialog, which lets you create position, rotation, or
scale keys without using the Auto Key button.
When you are in Auto Key mode, you can right-click and drag the time slider to create a key that
has the source at the initial time slider position, and the destination at the subsequent time slider
position.
In Set Key mode, holding down the right mouse button and dragging the time slider allows you to
move a pose in time without losing it in the viewport.
You can use the arrows on the time slider to advance a frame ahead or behind. Or simply place your
cursor anywhere on the time line, click and the time slider will jump to your cursor position. In Key
Mode the arrows will jump to the next key.
The Track View Key window displays a time slider as well. The movement of the two time slider is
synchronized. Moving the time slider in the Track View window will move the time slider beneath the
viewports, and visa versa.
Procedures
To move to any exact frame in the animation, do one of the following:
Move the time slider right or left until the frame number is displayed on the time slider.
Enter the frame number into the current frame field in the time controls,
then press ENTER.
To move ahead or back a frame at a time, do one of the following:
Click the increment arrows at either end of the time slider
Press the < or > keys on the keyboard to advance one frame forward or backward.
Use the Next frame / Previous frame buttons in the time controls.
To move ahead or back many frames at a time:
Click in the empty track to either side of the time slider. The time slider will jump to your cursor
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Time Slider
position. This is a faster way of moving in time than dragging the time slider.
To move to the first or last frame of the active time segment:
Use the time control buttons Go To Start or Go To End.
To display SMPTE time code on the time slider:
Click Time Configuration in the time controls, and then under Time Display, choose SMPTE.
To display subframes on the time slider:
Click Time Configuration in the time controls, and then under Time Display choose Frames:
TICKS or MM:SS:TICKS.
Each frame is divided into subframes.
To create keys using the time slider, do one of the following:
1. In Auto Key mode, right click the time slider and drag to a new location.
The Create Key dialog appears with the Source set to the frame you were on when you right-
clicked, and the Destination set to the frame you have moved the time slider to. Click OK to
create the key.
2. In Set Key mode, if you have posed your character on the wrong frame, right-click and drag
the time slider. The pose will be moved in time to your new time slider position. Click the Set
Keys button to set the keys.
3. In Layout mode (when neither Auto Key nor Set Key are turned on), right-click the time slider.
The Create Key dialog appears with the Source and Destination based on the current frame.
Select the source and destination you want, as well as the type of transform you want to key,
then click OK to create keys.
Interface
By default, the active time segment is from frame 0 to frame 100. The slider displays time in frames,
SMPTE numbers, or other measurements, depending on the current setting in the Time Configuration
dialog.
The slider bar displays the current frame, followed by a slash (/), followed by the total frames in the
active time segment. For example 25/100 means frame 25 of 100 frames. The current frame also
appears in the current frame field. If animation exists in the scene, it's played back as you drag the
time slider.

Time Slider
The buttons on either side of the time slider bar move one frame to the left and one frame to the
right, like the Previous Frame and Next Frame buttons in the time controls. If Key Mode is on, these
buttons duplicate the Previous Key and Next Key buttons.
Key Mode can jump to all the keys or only the transform keys, depending on the Key steps setting in
the Time Configuration dialog.
Tip: Right-click the slider bar to open the Create Key dialog. This lets you create Position, Rotation,
or Scale keys without using the Auto Key button. It also lets you copy keys easily from one frame to
another.
Comments

Viewing and Copying Transform Keys

The viewports display white brackets around objects that have transform keys at the current time.
These key brackets only appear in viewports using the wireframe rendering method.
Use the Track View to view all key types. You can also see all keys for the current selection in the
track bar.
For example, suppose you animate a sphere by moving it at frame 20, and scale and rotate it at
frame 50. When you drag the time slider, white brackets appear around the sphere at frames 50,
20, and 0, and keys appear at the same frames in the track bar.
If you then apply a modifier such as Bend, and animate its Angle setting at frame 40, you won't see
a white bracket around the sphere at frame 40, but track bar displays a key for the Bend animation.
Controlling Key Bracket Display
Animation panel of the Preference Settings dialog
You can control the display of key brackets using options in the Preference Settings dialog >
Animation panel.
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Creating Transform Keys with the Time Slider
You can use the time slider to create transform keys by copying transform values from one time to
another. To specify the type of key to create and the source and destination time for the key values,
right-click the time slider to display the Create Key dialog.
You set parameters in the Create Key dialog:

Source TimeSpecifies the time from which transform values will be copied.
Destination TimeSpecifies the time where the key will be created.
Position, Rotation, ScaleDetermine which transform key values will be copied to the destination
time.
When you click OK, new keys for the specified transforms are created at the destination time, using
values from the source time. Keys do not have to exist at the source frame, because the interpolated
values at the frame are used.
You might find it easier to create and manipulate keys with the track bar.
When Auto Key mode is turned on, you can right-click and drag the time slider at the same time.
When you do this, the Source time uses the frame number that you were on when you pressed the
mouse button, and the Destination time accepts the frame number that you move the time slider to.
When Set Key mode is on, you can right-click and drag the time slider to move to another frame in
time, without losing your character pose. If you find you have posed your character on the wrong
frame, simply right-click and drag the time slider, and the pose will be copied to the new frame.
Click Set keys to set keys for the pose on the new frame.
Creating Position Lock Keys and Rotation Lock Keys
Creating a lock key creates a key with Linear interpolation. If you create the lock key while an
existing key is selected, it changes that key's interpolation from Smooth to Linear. (Different types
of interpolation are described in Bezier Controllers.)
You can create a lock key for position or for rotation.
Lock keys are useful when you want an object to be stationary, but smooth interpolation is causing it
to "wobble" on its stationary spot.

To create a lock key:
1. On the Customize menu, choose Customize User Interface.
2. On the Customize User Interface dialog, click the Quads tab, then choose the Animation Quad
from the drop-down list at the upper right of the dialog.
3. Activate the upperlower left quadrant of the four gray squares that define the quad menus.
Theupper left quad turns yellow.
4. In the Action list to the left, find Create Position Lock Key. Drag it to the window on the right
below any menu item. Choose Save and click OK to apply this and close the dialog.
5. (Optional.) Select a key.
6. ALT+right-click the object you're animating.

Note: The Auto Key button doesn't have to be turned on.
7. In the quad menu that appears, choose Set Position Lock Key .
You can also create keyboard shortcuts for these two commands. Create Position Lock Key and
Create Rotation Lock Key are main user interface shortcuts.
Comments

Track Bar
Track Bar
The track bar is located between the time slider and the status bar.
The track bar provides a timeline showing the frame numbers (or appropriate display units). It
provides a quick alternative to Track View for moving, copying, and deleting keys, and changing key
properties. Select an object to view its animation keys on the track bar. The track bar also displays
keys for multiple selected objects.
The keys are displayed using color coding, so you can easily determine what kind of key exists at
that frame. Position Rotation and Scale are represented as Red, Green and Yellow. The color can be
customized in the Customize User Interface dialog, and depends on the selected/unselected state of
the key. The frame indicator is a similar bar displayed in blue.
A key on the track bar can represent any number of animated parameters for the selected object(s).
Transformations, modifiers, and animated material parameters can all have keys at a particular
frame.
Right-click a key on the track bar to display a list of all keys in the selected frame for the object
selection in the track bar pop-up menu. Select a key type in the track bar menu to display its key
properties dialog. Delete keys and filter the track bar display using options on the track bar menu.
The track bar right-click menu contains a submenu that lists any procedural controllers (list
controllers, expression, reactors, springs, noise, and so on) assigned to the current object selection.
If you select one of the controllers from the submenu, the properties dialog for that controller
displays in a modeless dialog.
The track bar can display a waveform (.wav file) that has already been assigned to the sound object
in Track View. To display this feature, right-click the track bar, and choose Show Sound Track from
the Configure submenu. If there is no waveform currently assigned to the sound object or if you are
using a third-party sound object plug-in that is not compatible with the waveform display, this part
of the track bar will be grayed out.
The animation range can be modified by pressing CTRL and ALT while dragging the track bar. Hold
the left mouse button to slide the start of the range, the right mouse button to slide the end of the
range, and the middle mouse button to change both the start and end frames together. A tooltip at
the cursor and a status bar message will indicate the range you are setting.
Note: While the Auto Key button is pressed, the time silder is highlighted red, to indicate that
3ds max is in automatic keyframing mode.
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Track Bar
The Track bar can be expanded to show curves. Click the Show Curves button at the left corner
of the track bar. The track bar will display a menu and the controller and key windows, just like
Track View. You can resize the track bar window by pressing and dragging the border between the
menu bar and the toolbars.
Track bar displays curves
Procedures
To select keys on the track bar:
1. Click a key to select it.
2. Drag a window around a selection of keys to region-select multiple keys.

If the track bar right-click menu > Configure > Show Selection Range option is on, when you
select multiple keys, the range of the selected keys is shown in the selection range bar at the
bottom of the track bar. You can then scale the selected keys proportionally by dragging either
end of the selection range bar, or move the keys by dragging the center of the bar.
To move or clone keys on the track bar:

Track Bar
While keys are moved or cloned, small lines on the track bar mark the original position of the keys.
All keys at a particular frame are moved simultaneously using the following procedures.
1. Drag a key selection to move it in time.
2. Hold down SHIFT, then drag a key(s) to clone keys.
3. Right-click to abort a move or clone operation.
To move a single key from a frame with multiple keys:

If, for example, a frame has both a transform key and a material key for the selected object, and
only the transform key must move, display the Transform Properties dialog and use the Time
parameter to move the transform key.
1. Right-click a key on the track bar and choose a key on the pop-up window key list.
A Key Properties dialog is displayed.
2. Change the Time parameter in the Key Properties dialog.

The key slides along the track bar to a new location.
To delete keys on the track bar:
1. Make a key selection on the track bar and press DELETE.

All selected keys are deleted.
2. Make a key selection on the track bar, right-click anywhere on the track bar to display the track
bar menu, and then choose Delete Selected Keys on the pop-up window.
All selected keys are deleted.
To delete a single key type on a frame with multiple keys:

An object can have many keys for different animated parameters at a particular frame. Use this
procedure to delete a key for a single parameter.
1. Right-click over a selected or unselected key on the track bar.

A pop-up window displays.
2. Move the mouse over Delete Key, then choose a key to delete in the submenu.
To change the length of the active time segment:

You can change the animation length using track bar.
Hold CTRL+ALT and drag on the track bar:

- With the left mouse button to change the active time segment's start frame.
- With the right mouse button to change the active time segment end frame.
- With the center mouse button to change the active time segment start and end frames

Track Bar
simultaneously.
To hide or show the track bar:
Choose Customize > Show UI > Show Track Bar .

This menu item is a toggle: a check mark shows that the track bar is currently displayed.
To show curves on the track bar:
Press the Show Curves button at the left hand side of the track bar.
The track bar keys are replaced with a menu bar, toolbars and the controller and key windows.
Interface
Track Bar
Make an object selection in the viewports to display the objects keys on the track bar.
Selected transformation keys are white; unselected keys are red.
Drag from an empty area of the track bar to region-select keys.
Drag a key to move it in time.
Hold SHIFT and drag a key to clone it.
Hold CTRL+ALT and drag on the track bar to change the active time segment, that is, the
animation range displayed on the track bar.
Dragging with the left mouse button will change the start of the range, dragging with the right
mouse button will change the end of the range, and dragging with the middle mouse button will
change both the start and the end of the range.
Right-click to abort a move or clone operation.
During a move or clone operation, small lines represent the original key locations.
The cursor changes to a cross over unselected keys.
The cursor changes to a two-sided arrow over selected keys, signifying a move operation is
possible.

Track Bar
Right-click over a key to display the track bar menu.

Some commands are unavailable in the track bar menu if you right-click over an empty part of
the track bar.
Click the Show Curves button to expand the track bar. When the track bar is expanded it
displays the Track View menu, toolbars, controller and key windows. You can hide or unhide UI
Elements such as scroll bars as well when this is expanded.
Track bar menu
Right-click a key on the track bar to display the track bar menu.
ListDisplays the object name and key type for all keys at the current position. Choose any of the
keys in the list at the top of the track bar menu to display a key properties dialog. For more
information on this dialog, see Key Info (Basic) and Key Info (Advanced).
A key with a check next to the name indicates the key is shared with other instances in the list.
Two selected objects might share the same Twist modifier, for example.
The list displays keys for all selected objects. If there are more than 10 keys, then the list turns to
a submenu under Key Properties in the track bar menu.
If there is no key properties dialog for a key type, the key is unavailable.
Controller PropertiesDisplays a submenu that contains a list of all of the procedural controllers
(list controllers, expression controllers, reactors, springs, noise, and so on) assigned to the object
selection.
If you choose one of the controllers from the submenu, the properties dialog for that controller
displays in a modeless dialog.
Delete KeyDisplays a submenu identical to the key properties list at the top of the track bar
menu. Choose a key type or choose All to delete one or all of the keys.
AllDeletes all keys at the current position.
Keys do not need to be selected on the track bar in order to use Delete Key. Keys are deleted from

Track Bar
the track bar key over which you right-clicked.

Delete selected keysDeletes the keys selected on the track bar. If no keys are selected, this
option is unavailable.
FilterDisplays a Filter submenu. Choose a filter to filter the track bar display; showing only
transformation keys, for example.
Right-click anywhere on the track bar, place the cursor over Filter in the track bar menu to display
the Filter submenu, then choose a filter. According to the filters set, keys will disappear on the track
bar.
All KeysDisplays all keys.

All Transform KeysDisplays only keys for position, rotation and scale.
Current TransformDisplays only keys that use the currently selected transform-position, rotation
or scale.
ObjectDisplays object modifier keys. Excludes transformation and material keys.
MaterialDisplays material keys for the material assigned to the selected object(s).
ConfigureDisplays a Configure submenu, which lets you change the track bar display.
Show Frame NumbersDisplays frame numbers in the track bar.
Show Selection RangeDisplays a selection range bar below the track bar, whenever multiple
keys are selected.
You can scale all selected keys by dragging either end of the selection range. This lets you change
the length of an animation segment while maintaining the relative distance between animation
keys. You can also move the selected keys in time by dragging the selection range bar.
Show Sound TrackDisplays the waveform (.wav file) that is assigned to the sound object in
Track View.
Snap to FramesKeys snap to frame numbers when moved. If turned off, you can place keys
between frames.
Go to TimeMoves the time slider to the cursor position.

Track Bar
Right-click anywhere on the track bar, then click Go to Time.
Comments

Customize User Interface Dialog
Customize menu > Customize User Interface
The Customize User Interface dialog lets you create an entirely customized user interface, including
shortcuts, quad menus, menus, toolbars, and colors. You can also add commands and macro scripts
by selecting either a text or icon button to represent the command or script on the toolbar.
Most commands in the 3ds max user interface appear in this dialog as action items. An action item
is simply a command that you can assign to a keyboard shortcut, toolbar, quad menu, or menu. The
Keyboard, Toolbars, Quads, and Menus panels of this dialog show tables of action items that you can
assign. (Tables in the Colors panel list UI elements, instead.)
Note: A few action items don't correspond to any elements in the default user interface. See
Additional Keyboard Commands.
Keyboard Panel
Toolbars Panel
Quads Panel
Menus Panel
Colors Panel
See Also

Saving and Loading Custom User Interfaces
Comments
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Additional Keyboard Commands

This topic describes some commands that are provided only as customizable actions. You can assign
them to a keyboard shortcut, a menu, or a button by using the Customize User Interface dialog.
See also

Unwrap UVW Shortcuts
Keyable Property
Keyable Property Toggle
Default key: None

In Track View, if you select any track or group of tracks, this command turns the keyable property
on or off. If a selected track is not keyable, its children (sub-animations), if any, are toggled. For
example, if you select a transform controller track, this command toggles the keyable property of all
position, rotation, and scale tracks. If you select an object's track, its transform, parameter, and
material tracks are all toggled. If the object is part of a hierarchy, all its child objects' tracks are also
toggled.
This action can be undone.
Set Key
Clear Set Key Mode Buffer
Default key: None

While in Set Key mode, if you transform an object but haven't yet clicked Set Key, this shortcut
undoes the transformation and restores the viewport to show the animation that existed before the
change.
Another way to accomplish this is to move the time slider or to turn on Play.
Transforms
Create Position Lock Key and Create Rotation Lock Key
Default keys: None
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A lock key is a key with Linear interpolation. If you create the lock key while an existing key is
selected, it changes that key's interpolation from Smooth to Linear. (Different types of interpolation
are described in Bezier Controllers.) You can create a lock key for position or for rotation.
Lock keys are useful when you want an object to be stationary, but smooth interpolation is causing it
to "wobble" on its stationary spot.
Position to Zero
Default key: None

Like its counterparts on the Animation quad menu, this shortcut restores the object's position to the
initial frozen pose (0,0,0).
Note: Position To Zero works only if you have previously invoked Freeze Transform or Freeze
Rotation from the Animation quad menu.
Viewport Navigation
Pan Viewport
Default key: I (the letter i)

Pans the active viewport, centering it on the current location of the cursor.
You can use this shortcut while another command, such as Move, is active.
This action can be undone, using SHIFT+Z.
Comments
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Keyboard shortcuts are keyboard alternatives you can use to initiate actions (commands or tools)
normally accessed with the mouse. For example, to open the Select Objects dialog, you can press
the H key or to change the Top viewport to a view from the Bottom, you can press B. Keyboard
shortcuts offer a means to let you work faster and more efficiently.
Many keyboard shortcuts are already set for the most commonly used actions in 3ds max. If you
want to modify or add new shortcuts, you can do this from the Keyboard panel of the Customize
User Interface dialog. Keyboard shortcuts are separated by Groups or Categories of groups and they
organize Actions.
Groupsorganize the Actions for which you can set shortcuts. Default=Main UI.
Categoriesoffer a further breakdown of the Actions in a Group to specific categories. This lets you
quickly find an Action so you can assign or adjust a shortcut.
Actionsare commands or tools.
The tables in these topics show the default keyboard shortcuts. Only shortcuts which are defined by
default are listed in these tables, however you can create a shortcut for almost every command
available in the software.
As the tables show, the keyboard shortcut system has been expanded in version 6 of the software.
Note: If you want to see a list of shortcuts, you can create a text, TXT file, of all the actions and
their shortcuts by clicking Write Keyboard Chart on the Keyboard panel of the Customize User
Interface dialog. All actions that can have a shortcut assigned to them are listed. For actions with no
shortcut assignments, you will see a blank entry in the shortcut column.
Default keyboard shortcuts exist in these feature areas:
ActiveShade Shortcuts
Edit Normals Shortcuts
Edit/Editable Mesh Shortcuts
Edit/Editable Patch Shortcuts
Edit/Editable Spline Shortcuts
Editable Poly Shortcuts
Free-Form Deformation (FFD) Shortcuts
Main User Interface Shortcuts
Material Editor Shortcuts
NURBS Shortcuts
Particle Flow Shortcuts

Reactor Controller Shortcuts
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Schematic View Shortcuts

Track View Shortcuts
Video Post Shortcuts
WeightTable Shortcuts
Procedure
To create a keyboard shortcut:
1. Choose Customize menu > Customize User Interface > Keyboard panel.
2. Use the Group and Category lists to find the action for which you want to create a shortcut.
3. Click an action in the Action list to highlight it.
4. In the Hotkey field, enter the keyboard shortcut you want to assign to the action.
Note: If the keyboard shortcut you enter is already assigned to an Action, it will show up in the
Assigned To field.
5. Click Assign.
Note: To use keyboard shortcuts other than the Main User Interface shortcuts, the Keyboard
Shortcut Override Toggle on the status bar must be turned on.
Comments
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Keyboard Panel
Keyboard Panel
Customize menu > Customize User Interface > Keyboard tab
The Keyboard panel lets you create your own keyboard shortcuts. You can assign shortcuts to most
commands available in the software.
The same shortcuts can be assigned to multiple commands, as long as they occur in different
contexts. For example, in Video Post, CTRL+S is assigned to Add Scene Event; however, in the Main
UI, it is assigned to Save File.
In versions of the software prior to 3ds max 4, Main UI keyboard shortcuts were not available while
you were working in other contexts. For example, while in Track View, only the Track View keyboard
shortcuts were active; the Main UI keyboard shortcuts were unavailable. As of version 4, if you use a
keyboard shortcut, the software will look for a context-specific shortcut first, and if none is found it
will look for the appropriate command in the Main UI shortcuts.
The Keyboard Shortcut Override toggle must be turned on (the default) for the context-specific
shortcuts to work properly. If it is turned off, only the Main UI keyboard shortcuts will be available.
See also
Procedure
To create a keyboard shortcut:
1. Choose Customize menu > Customize User Interface > Keyboard panel.
2. Use the Group and Category lists to find the action for which you want to create a shortcut.
3. Click action in the Action list to highlight it.
4. In the Hotkey field, enter the keyboard shortcut you want to assign to the action.
5. Click Assign.
Interface
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Keyboard Panel

Keyboard Panel
GroupDisplays a drop-down list that lets you select the context you want to customize, such as
Main UI, Track View, Material Editor, and so on.
ActiveToggles availability of context-specific keyboard shortcuts. When this is turned on, you can
use duplicate shortcut keys between contexts within the overall user interface. For example, A can
be the shortcut for Angle Snap toggle within the Main UI, and also a shortcut for Assign Material to
Selection when you are working in the Material Editor. When this is turned off, the shortcuts defined
for the appropriate context will not be available. Default=on.
CategoryDisplays a drop-down list of all the available categories of user interface actions for the
selected context.
Action listDisplays all the available actions and shortcuts, if defined, for the selected group
(context) and category.

Keyboard Panel
HotkeyAllows you to enter a keyboard shortcut. Once the shortcut is entered, the Assign Button is
active.
Assigned ToDisplays the action a shortcut is assigned to if the shortcut you've entered is already
assigned.
AssignActivates when you enter a keyboard shortcut in the Hotkey field. When you click Assign, it
transfers the shortcut information to the Action list on the left side of the dialog.
RemoveRemoves all shortcuts for the selected action in the Action list on the left side of the
dialog.
Write Keyboard ChartDisplays the Save File As dialog. Allows you to save any changes youve
made to keyboard shortcuts to a TXT file that you can print.
LoadDisplays the Load Shortcut File dialog. Allows you to load custom shortcuts, from a KBD file
into your scene.
SaveDisplays the Save Shortcut File As dialog. Allows you to save any changes youve made to
the shortcuts to a KBD file.
ResetResets any changes youve made to the shortcuts to the default setup (defaultui.kbd).
Comments

Keyboard Shortcut Override Toggle
Extras Toolbar (hidden by default) > Keyboard Shortcut Override Toggle
The Keyboard Shortcut Override Toggle lets you toggle between using only the "Main User Interface"
shortcut keys and using both the main shortcuts and shortcut keys for functional areas such as
Editable Meshes, Track View, NURBS, and so on.
When the Override toggle is off, only the Main User Interface shortcuts are recognized. When
Override is on, both Main UI and functional area shortcuts are recognized; however, if there is a
conflict between a shortcut assigned to a feature and one assigned to the Main UI, when Override is
on, the feature's shortcut takes precedence.
You can customize keyboard shortcuts on the Keyboard panel of the Customize User Interface
dialog. The lists in the keyboard panel show which shortcuts have been assigned to which command
or feature.
See also
Comments
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You can quickly access a majority of the user interface functionality via a combination of keystrokes
and mouse button clicks. The table below shows the functions for which you can create a shortcut.
Where a function has a default keyboard shortcut, the shortcut is listed in the second column.
See also

Keyboard Panel
Note: In the table below, "RMB" stands for "right mouse button": in other words, a right-click.
Noncustomizable Keyboard Shortcut Function Keyboard Shortcut
Numeric Expression Evaluator CTRL+N while the cursor is in a numeric field
The following list shows all action items for which you can create a keyboard shortcut. For those
action items with a default keyboard shortcut, the shortcut is shown in the right column.
User Interface Function Default Keyboard Shortcut
100W Bulb
4ft Cove Fluorescent (web)
4ft Pendant Fluorescent (web)
60W Bulb
75W Bulb
About Reactor
Activate All Maps
Activate Grid (Context)
Activate Grid Object
Activate Home Grid
Activate Home Grid (Context)
ActiveShade Floater
ActiveShade Quad
ActiveShade Viewport
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Adaptive Degradation Toggle O (letter "o")
Adaptive Perspective Grid Toggle
Add Custom Attribute
Add a Pop-up Note
Add Bones (Skin)
Add Cross Section (Skin)
Add Default Lights to Scene
Add Quad (Patch)
Add Selection to Current Layer
Add Toolbar
Add Tri (Patch)
Additional Help
Advanced Lighting Panel 9
Advanced Quad Option Menu
Affect Diffuse Toggle
Affect Region Modifier
Affect Specular Toggle
Align Bottom
Align Camera
Align Grid to View
Align Horizontal Center
Align Left
Align Right
Align to View
Align Top
Align Vertical Center
Angle Snap Toggle A
Animation ALT+RMB
Apply Camera Correction Modifier (Context)
Apply Cloth Modifier
Apply Inverse Kinematics

Apply Rope Modifier
Apply Soft Body Modifier
Arc Shape
Archive
Arrange Selected
Array
Assemble Objects
Assembly Attach
Assembly Close
Assembly Detach
Assembly Explode
Assembly Open
Asset Browser
Assign Controller
Assign Vertex Colors
Assume Pref Angles
Assume Skin Pose
Attach (Mesh)
Attach (Patch)
Attach (Poly)
Attach (Spline)
Attach Multiple (Spline)
Attachment Constraint
Audio Position Controller
Audio Rotation Controller
Audio Scale Controller
Authorize 3ds max
Auto Expand Base Objects
Auto Expand Materials
Auto Expand Modifiers
Auto Expand Selected Only

Auto Expand Transforms
Auto Expand XYZ Components
Auto Scroll to Root
Auto Scroll to Selected
Auto Select Animated
Auto Select Position
Auto Select Rotation
Auto Select Scale
Auto Select XYZ Components
Auto Smooth (Poly)
AutoGrid
AutoKey Mode Toggle N
Awning Window
Backup Time One Unit , (comma)
Bend Modifier
Bend Space Warp
Bevel (Poly)
Bevel Element (Patch)
Bevel Face (Mesh)
Bevel Face (Poly)
Bevel Modifier
Bevel Patch (Patch)
Bevel Polygon (Mesh)
Bevel Profile Modifier
Bezier Position Controller
Bezier Scale Controller
BiFold Door
Bind (Patch)
Bind (Spline)
Bind Space Warp Mode
Blizzard Particle System

BlobMesh Compound Object
Bomb Space Warp
Bone Options
Bone Tools
Bones IK Chain
Boolean Compound Object
Bottom View B
Box
Box Gizmo (Atmospheres)
Box Mode Selected Toggle
Break (Poly)
Break Vertex (Patch)
Break Vertex (Poly)
Break Vertices (Mesh)
Break Vertices (Spline)
Camera Correction Modifier
Camera Map (WSM)
Camera Map Modifier
Camera Match
Camera Point
Cap (Poly) ALT+P
Cap Border (Poly)
Cap Holes Modifier
Camera View C
Close (Spline)
CloseUnwrapUI
Collapse (Mesh)
Collapse (Poly) ALT+CTRL+C
Collapse Controller
Collapse Stack
Color Clipboard

Compass
Cone
Configure Paths
Conform Compound Object
Conform Space Warp
Connect (no dialog) (Poly)
Connect (Spline)
Connect (with dialog) (Poly)
Connect Compound Object
Connect Edge (Poly)
Connect Vertex (Poly)
Controller Defaults Dialog
Controller Range Editor (Open)
Controller Ranges (Switch to)
Convert Raytrace to Standard
Convert to Area Light
Convert to Edge (Poly)
Convert to Editable Mesh
Convert to Editable Patch
Convert to Editable Polygon
Convert to Editable Spline
Convert to Face (Poly)
Convert to NURBS Surface
Convert to Patch Modifier
Convert to Vertex (Poly)
Convexity Test
Cut (Poly) ALT+C
Cut Edge (Mesh)
Cut Faces (Mesh)
Cut Polygons (Mesh)
CV Curve

CV Surface
Cycle Selection Method CTRL+F
Cycle Vertices
Cylinder
Cylinder Gizmo (Atmospheres)
Damper
Daylight System
Deactivate All Maps
Default Lighting Toggle CTRL+L
Default Viewport Quad
Deflector Space Warp
Delete Keys (All)
Delete Keys (Selection)
Delete Mesh Modifier
Delete Objects DELETE
Delete Patch (Patch)
Delete Patch Edge (Patch)
Delete Patch Element (Patch)
Delete Patch Modifier
Delete Patch Vertex
Delete Segment (Spline)
Delete Spline (Spline)
Delete Spline Modifier
Delete the Pop-up Note
Delete Toolbar
Delete Track View
Delete Vertex (Spline)
Destroy Character
Detach (Mesh)
Detach (Poly)

Detach Element (Patch)
Detach Segment (Spline)
Detach Spline (Spline)
Disable Scene Redraw Toggle
Disable Viewport D
Disassemble Objects
Disp Approx Modifier (WSM)
Displace Modifier
Displace Space Warp
Display As See-Through Toggle ALT+X
Display Command Mode
Display Edges Only Toggle
Display First Tab
Display Floater
Display Selected Edges with Edged Faces
Display Vertex Ticks Toggle
Divide (Spline)
Divide Edges (Mesh)
Divide Faces (Mesh)
Divide Polygons (Mesh)
Dolly Mode
Donut Shape
Dope Sheet (Switch To)
Dope Sheet (Open)
Drag Space Warp
Draw CrossSections on Top (Skin)
Draw Envelope on Top (Skin)
Dual Planes Toggle
Dummy
DX Effect Toggle Display
DX Effect Toggle Display Selected

Edge Constraint Toggle (Poly)
Edit Mesh Modifier
Edit Modifier Stack
Edit Named Selection Sets
Edit Named Selections
Edit Normals Modifier
Edit Patch Modifier
Edit Spline Modifier
Edit Triangulation (Poly)
Ellipse Shape
Environment Dialog 8
Euler XYZ Controller
Exclude Verts (Skin)
Exit 3ds max
Expert Mode Toggle CTRL+X
Explode (Spline)
Export File
Export Selected
Exposure Control
Extend (Spline)
Extrude (Poly)
Extrude along Spline (Poly)
Extrude Edge (Mesh)
Extrude Edge (Patch)
Extrude Edge (Poly)
Extrude Element (Patch)
Extrude Face (Mesh)
Extrude Face (Poly) ALT+E
Extrude Face along Spline (Poly)
Extrude Modifier
Extrude Patch (Patch)

Extrude Polygons (Mesh)
Extrude Vertex (Poly)
Face Constraint Toggle (Poly)
Face Extrude Modifier
Fence Selection Region
Fetch ALT+CTRL+F
FFD 2x2x2 Modifier
FFD 3x3x3 Modifier
FFD 4x4x4 Modifier
FFD Box Modifier
FFD Cylinder Modifier
FFD Select Modifier
FFD(Box) Space Warp
FFD(Cyl) Space Warp
Field-of-View Mode
File Properties
File Replace
Fillet (Spline)
Fillet/Chamfer Modifier
Filter Cross Sections (Skin)
Filter Envelopes (Skin)
Filter Vertices (Skin)
Fix Ambient All
Fix Ambient Selected
Fixed Window
Flex Modifier
Flip Face Normals (Poly)
Flip Faces (Mesh)
Flip Normals (Poly)
Flip Normals Mode (Patch)
Flip Normals Selected (Mesh)

Flip Polygon (Mesh)
Foliage
Forward Time One Unit . (period)
Free Area Photometric
Free Camera
Free Directional
Free Linear Photometric
Free Rotate
Free Spotlight
Freeze
Freeze by Hit
Freeze by Name
Freeze Nonselected Curves
Freeze Position
Freeze Rotation
Freeze Selection
Freeze Transform
Freeze Unselected
Flip Polygon (Mesh)
Front View F
Gengon
GeoSphere
Gimbal Coordinate System
Gizmo Reset Reset Rotation Plane (Skin)
Global Raytracing exclude list
Global Raytracing Parameters
Go to End Frame END
Go to Start Frame HOME
Grab Viewport
Gravity Space Warp
Grid

Grid Align (Mesh)
Grid Align (Poly)
Grid Coordinate System
Grid View
Group
Group Attach
Group Close
Group Detach
Group Explode
Group Open
Grow Selection (Poly)
Halogen Spotlight
Hedra
Helix Shape
Help Menu About Box
Hide
Hide (Mesh)
Hide (Patch)
Hide (Poly)
Hide (Spline)
Hide All Toolbars
Hide by Hit
Hide by Name
Hide Cameras Toggle SHIFT+C
Hide Frozen Objects Toggle
Hide Geometry Toggle SHIFT+G
Hide Grids Toggle G
Hide Helpers Toggle SHIFT+H
Hide Lights Toggle SHIFT+L
Hide Nonselected Curves

Hide Particle Systems Toggle SHIFT+P
Hide Selection
Hide Shapes Toggle SHIFT+S
Hide Space Warps Toggle SHIFT+W
Hide Tangents
Hide Unselected
Hide Unselected (Poly)
Hierarchy Command Mode
Hinge Face from Edge (Poly)
Hinge from Edge (Poly)
History-Dependent IK Solver
History-Independent IK Solver
Hold ALT+CTRL+H
Hose
Hotkey Flash Movie
HSDS Modifier
Ignore Backfacing Toggle (Poly)
Ignore Extents Toggle
IK Chain FK Snap
IK Chain IK Snap
IK Chain Snap Action
IK Limb Solver
IK Solver Toggle
IK Terminator Toggle
Import File
Include Verts (Skin)
Insert a Character
Insert Selection (Spline)
Insert Vertex (Poly)
Insert Vertex in Edge (Poly)
Insert Vertex in Face (Poly)

Inset (Poly)
Inset Face (Poly)
Inset Selection (Poly)
Interactive Update
Introduction and New Features Guide
Inverse Kinematics Mode Toggle
Invisible Edge (Mesh)
Isolate Selection ALT+Q
Isolate Unselected
Isometric User View U
Key All
Key Position
Key Position X
Key Position Y
Key Position Z
Key Position, Rotation, Scale
Key Rotation
Key Rotation X
Key Rotation Y
Key Rotation Z
Key Scale
Key Scale X
Key Scale Y
Key Scale Z
Lasso Selection Region
Last File 1
Last File 2
Last File 3
Last File 4
Last File 5

Last File 6
Last File 7
Last File 8
Last File 9
Lathe Modifier
Lattice Modifier
Layer Manager
Left View L
L-Extrusion
Light Include/Exclude Tool
Light Lister Tool
Light On/Off Toggle
Light Tracer
Lighting | Render CTRL+ALT+RMB
Lighting Analysis
Line Shape
Linear Position Controller
Linear Rotation Controller
Linear Scale Controller
Link Constraint
Link Mode
Linked XForm Modifier
List View Animated Controllers
Load Controller Quad Menu
Load Custom UI
Load Custom UI Scheme
Load Key Quad Menu
Load Layout
Load Menu Bar
Load Menu File
Load Coordinate System

Lock a Character
Lock User Interface Toggle ALT+0 (zero)
Loft Compound Object
LookAt Constraint
L-Type Stair
Macro Recorder Toggle
Make First (Spline)
Make Planar (Mesh)
Make Planar (Poly)
Make Preview
Manipulator Cone Angle
Manipulator Plane Angle
Manipulator Slider
Manual Navigation
Map/Photometric Path Editor
MapScaler Modifier (WSM)
Match Camera to View
Material By Element Modifier
Material Editor M
Material Modifier
Material/Map Browser
Maximize Viewport Toggle ALT+W
MAXScript Listener F11
MAXScript Reference
Measure Distance
Melt Modifier
mental ray Area Omni
mental ray Area Spot
mental ray Message Window
Merge Animation
Merge File

Mesh Select Modifier
Mesher Compound Object
Meshsmooth (Poly) CTRL+M
MeshSmooth Modifier
Middle Mouse Button Toggle
Mirror Both H&V (Spline)
Mirror Horizontally (Spline)
Mirror Modifier
Mirror Tool
Mirror Vertically (Spline)
Modeling CTRL+RMB
Modify Child Keys
Modify Command Mode
Modify Mode
Morph Compound Object
Morpher Modifier
Motion Command Mode
Motor Space Warp
Move
Move Mode W
Pan View CTRL+P
Pan Viewport I (letter "i")
Perspective User View P
Pitch Viewport Down Big
Pitch Viewport Down Small
Pitch Viewport Up Big
Pitch Viewport Up Small
Pivot Door
Pivoted Window
Place Highlight CTRL+H
Plane

Play Animation / (forward slash)
Plug-in Manager
Point
Point Cache Modifier
Point Cache Modifier (WSM)
Point Curve
Point Surface
Poly Select Modifier
Polygon Counter 7
POmniFlect Space Warp
Position Constraint
Position Expression Controller
Position Motion Capture Controller
Position To Zero
Preferences
Preserve Modifier
Preview Animation
Preview Depth of Field in Viewport
Previous Modifier
Print Size Wizard
Prism
Projected Window
Properties
Protractor
PRS Controller
Push Modifier
Push Space Warp
Pyramid
Quad Patch
Quad Swap to Animation
Quad Swap to Default

Quad Swap to Modeling
Quad Swap to Rendering
Quick Render SHIFT+Q
Quickslice (Poly)
Radiosity
Railing
RAM Player
Reactor SHIFT+ALT+RMB
Reactor Position Controller
Reactor Rotation Controller
Reactor Scale Controller
Reads the Pop-up Note
Recessed 250W Wallwash (web)
Recessed 75W Lamp (web)
Recessed 75W Wallwash (web)
Rectangle Shape
Rectangular Selection Region
Redo Scene Operation CTRL+Y
Redo Viewport Operation SHIFT+Y
Redraw All Views ` (accent grave)
Reduce Keys (All)
Reduce Keys (Selection)
Refine (Spline)
Refine Connect (Spline)
Refresh View
Relationship Viewer All
Relationship Viewer Selected
Relax Modifier
Remove (Poly)
Remove Cross Section (Skin)
Remove Edge (Poly)

Remove Isolated Vertices (Mesh)
Remove Isolated Vertices (Poly)
Remove Multiple Bones (Skin)
Remove Unused Map Vertices (Poly)
Remove Vertex (Poly)
Rename Objects
Rename Preview
Render Effects
Render Last F9
Render Scene F10
Render Selected
Render To Texture 0 (zero)
RenderElements to combustion(tm)
Repeat Last (Poly)
Reset Background Transform
Reset File
Reset Plane (Poly)
Reset Raytrace globals
Resource Collector
Restore Active View
Restrict Direction Cycle
Restrict Plane Cycle F8
Restrict to X F5
Restrict to Y F6
Restrict to Z F7
Save File CTRL+S
Scale Cycle CTRL+E
Section Shape
Select All CTRL+A
Select Ancestor PAGE UP
Select and Manipulate

Select By Channel Modifier
Select By Color
Select by Crossing
Select By Layer
Select by Material ID (Patch)
Select by Window
Select Camera
Select Child PAGE DOWN
Select Children
Select End Point (Skin)
Select Excluded Verts (Skin)
Select Invert CTRL+I (letter i)
Select Light
Select Loop (Poly)
Select Luminaire Target
Select Mode
Select Next Bone (Skin)
Select None CTRL+D
Select Object From Target
Select Objects in Current Layer
Select Open Edges (Mesh)
Select Open Edges (Patch)
Select Previous Bone (Skin)
Select Ring (Poly)
Select Start Point (Skin)
Select Target (Cameras)
Select Target (Lights)
Select-By-Name Dialog H
Selected by Smoothing Group
Selection Floater
Select Lock Toggle SPACEBAR

Separator
Set Current Layer to Selection
Set Key All Filter
Set Key Custom Attributes Filter
Set Key IK Parameters Filter
Set Key Materials Filter
Set Key Mode '
Set Key Modifiers Filter
Set Key Object Params Filter
Set Key Other Filter
Set Key Position Filter
Set Key Rotation Filter
Set Key Scale Filter
Set Key Selected
Set Keys K
Set Pref Angles
Set Skin Pose
Set View to Selected Camera
Set View to Selected Light
Set View to Selected Luminaire
Shade Selected Faces Toggle F2
Show Safeframes Toggle SHIFT+F
Show Selection Bracket Toggle J
Smart Scale R
Smart Select Q
Snap Percent Toggle SHIFT+CTRL+P
Snap Toggle S
Snaps Cycle ALT+S
Sound Toggle \ (backslash)
Spacing Tool SHIFT+I (letter "i")
Spot/Directional Light View SHIFT+4

Sub-Object Level 1 1
Sub-object Level Cycle INSERT
Sub-object Selection Toggle CTRL+B
Track View Key Quad
Transform Gizmo Center Toggle
Transform Gizmo Size Down - (minus)
Transform Gizmo Size Up =
Transform Gizmo Toggle X
Transform Script
Transform To Zero
Transform Type-In Dialog F12
Tube
Twist Modifier
Unbind (Patch)
Unbind (Spline)
Undo Scene Operation CTRL+Z
Undo Viewport Operation SHIFT+Z
Unfreeze All
Unfreeze by Hit
Unfreeze by Name
Ungroup
Unhide All
Unhide All (Mesh)
Unhide All (Patch)
Unhide All (Poly)
Unhide All (Splines)
Unhide by Name

Uniform Planar Scale
Unify Normals (Mesh)
Unify Normals (Patch)
Unit Setup
Unlink Mode
Unlock a Character
UnShrink All
UnShrink Selected
Unwrap UVW Modifier
Unwrap UVW Quad
UOmniFlect Space Warp
Update Background Image ALT+SHIFT+CTRL+B
Use Soft Select
User Reference
Utility Command Mode
U-Type Stair
UVW Map Modifier
UVW Mapping Add Modifier
UVW Mapping Clear Modifier
UVW XForm Modifier
Vertex Paint Modifier
Vertex Weld Modifier
Video Post
View Align (Mesh)
View Align (Poly)
View Coordinate System
View Edged Faces Toggle F4
XForm Modifier
XRef Objects
XRef Scenes

XYZ Position Controller
XYZ Scale Controller
Yaw Viewport CCW Big
Yaw Viewport CCW Small
Yaw Viewport CW Big
Yaw Viewport CW Small
Zoom All Mode
Zoom Extents ALT+CTRL+Z
Zoom Extents All SHIFT+CTRL+Z
Zoom Extents Selected
Zoom Extents Selected All Z
Zoom In 2X
Zoom In 2X All
Zoom Mode ALT+Z
Zoom Out 2X
Zoom Out 2X All
Zoom Region Mode CTRL+W
Zoom To Selected Bone (Skin)
Zoom To Selected Gizmo (Skin)
Zoom Viewport In [ (open square bracket)
Zoom Viewport Out ] (closed square bracket)
Comments

To use ActiveShade keyboard shortcuts, the Keyboard Shortcut Override Toggle on the status bar
must be turned on.
See also
ActiveShade
Keyboard Panel
ActiveShade Function Default Keyboard Shortcut
Act Only on Mouse Up
Close Q
Draw Region D
Render R
Select Object S
Toggle Toolbar (Docked) SPACEBAR
Comments
file:///C|/3dmax/3dsmax/ActiveShade_Shortcuts.html19/02/2004 11:10:53
ActiveShade
ActiveShade
Rendering menu > ActiveShade Floater or ActiveShade Viewport
Main toolbar > ActiveShade Floater or Quick Render (ActiveShade)
Right-click viewport label. > Views > ActiveShade
ActiveShade gives you a preview rendering that can help you see the effects of changing lighting or
materials in your scene. When you adjust lights or materials, the ActiveShade window interactively
updates the rendering.
ActiveShade preview of material changes

Above left: Before the update
Above right: After changing the material for the fabric to a mapped material and increasing the
highlights on the material for the wood
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ActiveShade
ActiveShade preview of lighting changes

Above left: Before moving a light in a viewport
Above right: After moving the light
There are two ActiveShade options:
ViewportThe ActiveShade rendering appears in the active viewport.
FloaterThe ActiveShade rendering appears in its own window.
Only one ActiveShade window can be active at a time. If you choose one of the ActiveShade
commands while an ActiveShade window is already active, you get an alert that asks whether you
want to close the previous one. If the previous ActiveShade window was docked in a viewport, the
viewport reverts to the view it previously showed.
Tip: You can drag and drop materials from the Material Editor to ActiveShade windows and
viewports, as you can with other viewports.
Note: You can't make a maximized viewport an ActiveShade window, or maximize an

ActiveShade window.

ActiveShade
ActiveShade Commands
When you right-click an ActiveShade window, the quad menu displays an ActiveShade menu. This
menu contains a number of ActiveShade commands.
ActiveShade and Object Selection
If you select an object before you invoke ActiveShade, ActiveShade is done only for that object. This
can greatly increase the speed of ActiveShade.
Similarly, once the ActiveShade window is open, the initialize and update steps (whether automatic
or manual) are done only for the selected object.
In a "docked" ActiveShade viewport, you can select objects by right-clicking, turning on Select
Object in the Tools (lower-right) quadrant of the quad menu, then clicking the object you want to
select. In an ActiveShade viewport, only one object at a time can be selected.
Tip: When an object in an ActiveShade window has a mapped material, select it before you change a
map or adjust its parameters.
What ActiveShade Does and Doesn't Do
For the sake of interactivity, the ActiveShade window is limited in what it will and won't update
interactively. An ActiveShade rendering is not necessarily the same, and in general is less precise,
than a final production rendering.
Tip: When you change geometry by transforming it or modifying it, right-click the ActiveShade
window and choose Tools > Initialize from the quad menu (lower-right quadrant). This updates the
ActiveShade rendering.
Moving an object does not update the ActiveShade window.
Applying a modifier or otherwise changing object geometry does not interactively update the
ActiveShade window.
Reflections are rendered only in the Initialize pass.
Materials are displayed as RGBA data with 8 bits per channel.
Multiple changes to a material might lead to deterioration in image quality.

If you see this happening, right-click the ActiveShade window and choose Tools > Initialize from
the quad menu (lower-right quadrant).
Masks are reduced from 8x8 to 4x4 subdivisions per pixel. The mask is corrected to 6-bit opacity
(0 to 63 rather than 0 to 255). This might result in some visual noise around object edges.
Because of the preceding item, filters are coarser than in full-scale renderings, but they still have

ActiveShade
significant subpixel information.
There is a limitation of 16 subdivisions per pixel. Because of this, any objects behind the sixteenth
occluding object for a given pixel will be ignored. Rendered back faces count as separate objects.
Reshading uses compressed normals and other direction vectors. This should have no visible
effect.
ActiveShade does not render atmospheric effects, rendering effects, or ray-traced shadows (the
only shadows it can render are shadow-mapped shadows).
Procedures
To display an ActiveShade window in a viewport, do one of the following:
Choose Rendering menu > ActiveShade Viewport.
Right-click the viewport label, choose Views, and then ActiveShade.
Note: You can't make a maximized viewport an ActiveShade window, or maximize an

ActiveShade window.
To display a free-floating ActiveShade window, do one of the following:
Choose Rendering menu > ActiveShade Floater.
Choose Quick Render (ActiveShade) from the Quick Render flyout.
Note: As with Quick Render, the ActiveShade window respects the Output Size setting in the Render
Scene dialog. To use a different render size, set it first in Render Scene, and then open the
ActiveShade window.
To update an ActiveShade window after moving an object or changing object geometry:
1. Right-click the ActiveShade window.
2. In the Tools (lower-right) quadrant of the quad menu, choose Initialize.
To see the toolbar in an ActiveShade viewport:
1. Click the viewport to make it active.
2. Press the spacebar to display the toolbar.

Pressing spacebar again toggles the toolbar off, and so on.
You can also turn toolbar display on or off by right-clicking and using the quad menu.

ActiveShade
To change an ActiveShade viewport to another kind of viewport:
1. Turn on the toolbar in the ActiveShade viewport.
2. Right-click the toolbar.
3. In the pop-up menu, choose the type of view to display.

You can also restore the viewport to its previous status by right-clicking the viewport and
choosing View (upper-left) quad > Close.
To zoom and pan in an ActiveShade window:

You can zoom in and out and pan the image in the ActiveShade window. You can even do this while
a scene is rendering.
1. Hold down CTRL and then click to zoom in, right-click to zoom out.
2. Hold down SHIFT and then drag to pan. (The window must be zoomed in.)
If you have a three-button mouse, you can use its third button or wheel to zoom and pan:
1. Roll the wheel to zoom in or out.
2. Press the wheel, and drag to pan.

Note: You can use any third-button pointing device to pan the image. To enable this, choose
the Pan/Zoom option on the Viewports panel of the Preferences dialog
Interface
Both the viewport and floating versions of the ActiveShade window have the same controls as a
rendered frame window. In an ActiveShade viewport, the toolbar is off by default. In a floating
ActiveShade window, the toolbar is always visible.
Tip: In an active ActiveShade viewport, you can toggle toolbar display by pressing the spacebar.
(This is a main user interface shortcut, so the Keyboard Shortcut Override Toggle can be either on or
off.)

ActiveShade
Tip: If you clear the image, you can redisplay it by right-clicking the ActiveShade window and
choosing Tools > Initialize or Tools > Update Shading from the lower-right quadrant of the quad
menu.
Comments

Material Editor
Material Editor
Main toolbar > Material Editor
Rendering menu > Material Editor
Keyboard > M
The Material Editor provides functions to create and edit materials and maps.
Materials create greater realism in a scene. A material describes how an object reflects or transmits
light. Material properties work hand-in-hand with light properties; shading or rendering combine the
two, simulating how the object would look in a real-world setting.
You apply materials to individual objects or selection sets; a single scene can contain many different
materials.
Note: Creating a new material clears the Undo/Redo lists.
Procedures
To view the Material Editor:
Click the Material Editor button on the main toolbar.

The Material Editor dialog has sample slots for viewing previews of materials. When you first view
the Material Editor, the material previews have a uniform default color.
To give a material a different name:
Edit the name field that appears below the Material Editor toolbar.
The name of the active material appears in the title bar of the Material Editor dialog. The name of
the material is not a file name: it can contain spaces, numbers, and special characters.
The name field displays only 16 characters, but a material name can be longer than that.
To make a copy of a preview material:
On the Material Editor toolbar, click Make Material Copy.
To get a material from a scene:

If a material that you want to change has been saved in the scene, but not in the Material Editor,
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Material Editor
you can load the material by getting it from the scene.
1. Click a sample slot to make it active.

Be careful not to click the sample slot of a material you want to use later.
2. On the Material Editor toolbar, click Get Material.

A modeless Material/Map Browser is displayed.
3. In the Browse From group box at the upper left, make sure that either Selected or Scene is
chosen.
The Selected option lists only materials in the current selection. If no objects are selected, the
list of materials is blank.
The Scene option lists all the materials currently in the scene.
4. In the list of materials, double-click the name of the material you want.
You can also drag the material name to the sample slot.
The material you chose replaces the previous material in the active sample slot.
Warning: When you get a material from a scene, it is initially a hot material.
To apply a material to objects in a scene:
1. Select the sample slot that contains the material you want to apply.
2. Select the object you want to apply the material to.
3. Drag from the sample slot to the object. If you selected more than one object, you are asked if
you want to apply to the single object only, or to the whole selection.
You can also apply materials by clicking Assign Material to Selection on the Material Editor
toolbar.
Warning: When you apply a material to an object or selection, that material becomes a hot
material (its sample slot is displayed with white corner brackets). When you change the
properties of a hot material, the scene immediately updates to reflect those changes. Any
object with that material will change its appearance, not just the objects in the current
selection.
To make a material no longer hot so it doesn't change the current scene, click Make Material
Copy.
To put a material back into a scene:
On the Material Editor toolbar, click Put Material to Scene.

Material Editor
The material in the active sample slot is now a hot material.

The Put Material button is available only when (1) the material in the active sample slot has the
same name as a material in a scene, and (2) the material in the active sample slot is not hot. In
other words, this command is meant to fit into the following overall sequence of handling
materials:
You create a hot material either by applying it to objects in the scene or by getting it from the
scene.
You make a copy of the material.
You make changes to the copy of the material.
You update the scene by putting the changed material back into the scene.
These steps are not as immediate as changing a material while it is hot, but they help you
avoid changing the scene's materials unintentionally or in unexpected ways.
When a material in the Material Editor is applied to objects in the scene, you can select the
objects from the Material Editor.
To select objects that have the same material applied:

When a material in the Material Editor is applied to objects in the scene, you can select the objects
from the Material Editor.
1. Click a sample slot that contains a material in the scene.

White corner brackets indicate materials that are in the scene.
2. Click Select by Material.

This button is unavailable unless the active sample slot contains a material in the scene.
A Select Objects dialog is displayed. The names of objects with the active material applied are
highlighted when the dialog appears.
3. Click Select to select objects that have the active material applied to them.
You can also change the selection by choosing other objects. If you change the selection, you
must then click Assign Material to Selection to apply the active material to newly selected
objects.
To get a material from a library:

2. In the Browse From group box at the upper left, make sure that Material Library is chosen.
If you have opened a library, the list of materials shows the contents of the library.

Material Editor
If you haven't opened a library, click Open in the file area of the Browser. In the file dialog that
is displayed, you can choose a material library to open. After you open the library, the list of
materials updates to show the library's contents.
3. In the list of materials, double-click the name of the material you want.
You can also drag the name of the material to the sample slot.
To save a material in a library:
1. Click to select the sample slot that has the material you want to save.
2. On the Material Editor toolbar, click Put to Library.
3. A Put to Library dialog appears.
4. Either change the material name or leave it as is, and then click OK.
The material is saved in the currently open library. If no library is open, a new library is
created. You can save the new library as a file using the Material/Map Browser file controls.
Interface

Material Editor
For choosing materials, see Material/Map Browser. For applying materials using drag and drop
techniques, see Dragging and Dropping Maps and Materials.
For an overview of how to use the Material Editor, see Designing Materials.
For the user interface elements in Material Editor and the different materials and map types, see the
following topics:
Material Editor Menu Bar
Sample Slots
Material Editor Tools
Types of Materials
Types of Maps
For information about how to animate materials, see Animating Materials.

Material Editor
Comments

Undo
Undo
Main toolbar > Undo
Edit menu > Undo
Keyboard > CTRL+Z
Undo reverses the effect of the last action.

Right-click the Undo button to display a list of recent actions, where you can choose the level of
Undo.
On the Edit menu, the name of the function to undo is also displayed. By default, there are 20 levels
of Undo. You can change the number of levels in Customize menu > Preferences > General tab >
Scene Undo group.
Some actions cannot be undone (for example, applying modifiers, deleting modifiers, and changing
parameters in the command panels). When you know something cannot be undone, use Hold first.
Then if you want to undo it, use Fetch. Hold and Fetch are also commands on the Edit menu.
Procedures
To undo the most recent action:
Click Undo (or press CTRL+Z). You can also choose Edit menu > Undo (or press CTRL+Z).
To undo several actions:
1. Right-click Undo.
2. From the list, select the level where you want to return. You must choose a continuous
selection, you cant skip over items in the list.
3. Click the Undo button.

To exit the list without performing an action, click the Cancel button, or click somewhere
outside of the list.
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Undo
Comments
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Redo
Redo
Main toolbar > Redo
Edit menu > Redo
Keyboard > CTRL+Y
Use Redo to cancel the last undo.

On the Edit menu, the name of the function to be redone is displayed.
Right-clicking the Redo button displays a list of the last actions where you can choose the level of
Redo. You must select a continuous selection; you cannot skip over any items in the list.
Procedure
To redo an action, do one of the following:
Click Redo.
Edit menu > Redo.
Press CTRL+Y.
To redo several actions:
1. Right-click Redo.
2. From the list, select the action to return to.
3. Click the Redo button.

To exit the list without performing an action, click the Cancel button or click somewhere outside
of the list.
Comments
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Type Button (Materials and Maps)
Type Button (Materials and Maps)
Material Editor > Type button
Material Editor menu > Material menu > Change Material/Map Type
Click the Type button to display the Material/Map Browser and choose which material type or map
type to use.
When changing a material's type, the original material type is replaced unless you choose a
compound material, in which case a Replace Material dialog is displayed. The Replace Material dialog
lets you choose between discarding the original material or using it as a sub-material within the new
material.
For a standalone map (a map at the top level), clicking the Type button lets you change the map
type instead of the material type. However, you can't use this button to make a map standalone. To
make a standalone map, you have to click Get Material and choose a map from the Browser it
displays.
When you change the type of a standalone map, a Replace Map dialog is displayed. The Replace Map
dialog lets you choose between discarding the original map or using it as a sub-map within the new
map.
Comments
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Main toolbar > Material Editor > Get Material > Material/Map Browser
Rendering menu > Material/Map Browser
Material Editor > Click Material Type button or Map Type button. > Material/Map Browser
Procedure Interface
The Material/Map Browser lets you choose a material, map, or mental ray shader.
When you click Get Material, the Browser that is displayed is modeless (you can leave it displayed
while you do other work). However, when you display the Browser by clicking the Type button, a
map assignment button in the Environment dialog, or from a projector light (see Advanced Effects
Rollout), it appears as a modal dialog with OK and Cancel buttons.
You can leave the modeless Browser displayed, and drag materials from its listings to material or
map sample slots and buttons in the user interface. When the Browser displays a Material Library,
you can also add materials to the library by dragging them from the Material Editor sample slots.
When you double-click a material, map, or shader in the Browser, it places that material, map, or
shader in the Material Editor's active sample slot. It automatically chooses between an instance or a
copy, as follows:
Browsing New Materials: Creates a new material.
Browsing a Library: Makes a copy.
Browsing the Material Editor, Scene, or Selected: Depends on the status of the map or material.
When you browse the Material Editor, the Scene, or Selected objects, the choice between making a
copy or an instance depends on the status of the material, as follows:
If the material or map is already in the active slot, the Browser does nothing.
If the material or map is in some other sample slot, the Browser puts a copy in the active slot.
In all other cases, the Browser makes an instance of the material or map.
Browsing mental ray Materials and Maps
When you use the mental ray renderer, you might want to use the materials and shaders that
provide effects for this renderer only. (The default scanline renderer renders these materials and
shaders only as black or white, or it simply ignores their effects.) The Material/Map Browser can list
mental ray maps and materials. First, you must enable mental ray extensions by using the mental
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ray Preferences panel. In addition, you must assign the mental ray renderer as the currently active
renderer.
Once you have enabled the extensions and the renderer, when you use the Browser, it shows mental
ray materials and shaders. Materials are displayed with a yellow sphere, rather than blue for
standard materials, and shaders are displayed with a yellow parallelogram, rather than green for
standard maps.
mental ray maps in the browser's list are shown with yellow icons.
When you use the mental ray Connection rollout, or other shader buttons specific to mental ray
materials and shaders, the shaders that appear in the Browser's list are restricted to those that the
mental ray renderer allows for that particular shader component. By default, only shaders that ship
with 3ds max are listed. If you have acquired other shader libraries, you might see the names of
shaders that are not mentioned in this reference.
Note: You can see the listing of materials, maps, or shaders that are incompatible with the current
renderer, if you turn on the Incompatible toggle in the Show group, as described under Interface,
below.
See also
Material/Map Navigator
Procedures
To navigate materials with the Browser:

Tip: Use the Browser primarily in Root Only mode, to see only the top levels of the materials. This
provides a simpler view of your materials, and speeds redraws when you're using any of the icon

display modes. (You can also create thumbnails to speed up redraws, as described below.)
1. In the Material Editor, choose any sample slot you want that contains a complex, multi-level
material.
2. In the Browser > Browse From group, choose Active Slot mode to display all levels of the active
sample slot.
3. Click any of the items in the Browser's material/map list to move to that level of the current
material.
4. When you want to switch to a different material, select its sample slot in the Material Editor,
and its hierarchy will appear in the Browser.
5. Again, click the items in the Browser to change levels.
To delete an assigned map:
1. While viewing the map parameters, click the Map Type button.
2. In the Material/Map Browser, choose NONE as the new map type.

Tip: You can also remove a material or map by dragging the NONE item from the Browser over
to the object or map button.
To merge material libraries:
1. In the Browse From group, choose Mtl Library, and then click the Merge button.
2. In the Merge Material Library dialog, select a material library other than the current library, or
select a 3ds max or VIZ Render (DRF) scene.
A Merge dialog is displayed, listing all materials in the specified library, or all materials assigned
to the 3ds max or VIZ Render file. Below the list are All and None buttons to help in the
selection.
3. Select the materials in the list that you want to merge, and then click OK.
The selected materials are merged into the current material library.
4. Save the library to save your changes.
To save the sample spheres as thumbnail images:
1. Open the Browser. In the Browse From group, choose Mtl Library.
2. Choose View Small Icons.
3. Display all of the icons in the library by either scrolling through all of them, or by enlarging the
Browser so that all of the icons have been displayed at least once.
The action of displaying the icons automatically creates thumbnails in memory.

Important: If you want to include thumbnails of the sub-materials and maps, be sure
to turn off Root Only.
4. Save the library.

When you save the library, you save the thumbnail images of the samples as they appeared in
the Browser at that time. If you change any of the materials or maps later, you must re-save
the library in order to update the thumbnails. If you do not re-save the library after altering or
adding a materials, the icon of the material will still appear correctly, but it will be rerendered
when it first appears in the Browser, while all the other icons will appear immediately.
Interface

The Material/Map Browser contains the following controls:

Material/Map listThe main part of the Material/Map Browser dialog is a scrollable list of materials
and maps. The list indicates a material with a blue sphere, and indicates a map with a green
parallelogram. When you list both materials and maps, the materials are listed first.
Text entryAs you enter a material name in this field, the first matching text item is selected in the
list. Press ENTER to select the next matching name, and so on.
For example, if you enter ch when the list includes the material names Cherry Red, Chrome Blue,
and Chrome Zinc, Cherry Red is selected first. Press ENTER, and the Chrome Blue is selected. Press
ENTER again, and Chrome Zinc is selected.
The search is not case-sensitive.
Sample slotBelow the text-entry field is a single sample slot. This displays a sample of the
current selection. You can drag the sample to any other sample slot or material button. The sample
slot display is interruptable, so you can quickly click from one list item to the next without waiting.
In addition, if you complete the display of one sample, then move on to another sample, when you
return to the first sample, it displays instantly.
Tool buttons
The first part of this row of buttons controls how you view the list. The second part is for managing
material libraries.
To speed up the display of the sample spheres in the Browser, the smaller of the sample spheres
(those displayed when you choose View Small Icons or View List + Icons) can be saved as thumbnail
images in the material library file. (See the Procedures for this topic, above.)
Keep in mind that the saved thumbnails increase the size of the material library file.
View ListDisplays the materials and maps in list format. Blue spheres are materials. Green
parallelograms are maps. The green parallelograms turn red if Show Map in Viewport is on for a
material.
View List + IconsDisplays the materials and maps in a list with small icons.
View Small IconsDisplays the materials and maps as small icons. As you move the mouse
over the icons, tooltip labels pop up, showing you the name of the material or map.
View Large IconsDisplays the materials and maps as large icons.

The large icons are labeled with the name of the material or map and are displayed using
progressive refinementsamples are rendered quickly, with large pixels, then rendered a second
time in greater detail.
Update Scene Materials from LibraryUpdates materials in the scene with the materials of
the same name stored in the library.
When you click Update Scene Materials from Library, the Update Scene Materials dialog is displayed.
This dialog lists materials in the library that have the same name as materials in the scene. In the
list, select the materials you want to update in the scene, and then click OK.
If no materials exist in the scene that match the names in the library, an alert informs you of this.
This button is available only when the Browser is viewing a library.
Delete from LibraryRemoves the selected material or map from the library display. The
library on disk is not affected until you save it. Use Open to reload the original library from disk. This
button is only active when you select a named material that exists in the current library.
Clear Material LibraryRemoves all materials from the library display. The library on disk is
not affected until you save it. Use Open to reload the original library from disk.
Browse From group
The controls in this group choose the source of the materials displayed in the material/map list.
Material LibraryDisplays the contents of a material library file from disk. When you set this
option, the buttons under File become active (see below).
You can also load a library from a MAX file. When browsing from the Material Library in the Material/
Map Browser, choose Open, and then choose 3ds max (*.max) from Files of type. Select and load
a .max file. All materials assigned in that scene are listed in the Browser. To convert the collection of
materials to a library file, click Save, and save it as a MAT (.mat) file.
Material EditorDisplays the contents of the sample slots.
Active SlotDisplays the contents of the currently active sample slot.
This option is unavailable in the modal version of the Browser.
When you choose this mode, all check boxes in the Show group box are made available. The entire
material and map tree of the active material is displayed, regardless of the state of these check
boxes in other Browse From modes.
You can also use Active Slot mode to navigate the hierarchy of the active material. When Active Slot
is chosen, clicking an item in the material/map list moves Material Editor controls to that level of the
material.
SelectedDisplays the material applied to the selected objects.

SceneDisplays all materials applied to objects in the scene.

All maps assigned to the scene, including Environment Background or spotlight projector maps, are
displayed in the Browser list.
NewDisplays the set of material/map types for you to create a new material.
Show group
These options filter what is displayed in the list. Either Materials or Maps is always on, and both can
be on at the same time. The first two options can be unavailable, depending on the active Browse
From and View settings.
MaterialsTurns display of materials and sub-materials on or off.
This is always unavailable in the modal version of the Browser.
MapsTurns display of maps on or off.
This is always unavailable in the modal version of the Browser.
IncompatibleWhen on, displays materials or maps and shaders that are incompatible with
the currently active renderer. The incompatible materials are displayed in a grayed-out style. You
can still assign incompatible materials, maps, or shaders to buttons where they would be legal, but if
you use the current renderer, the results might not be correct. Default=off.
Root OnlyWhen on, the material/map list displays only the root of the material hierarchy. When
off, the list displays the full hierarchy.
The default state of Root Only depends on how you display the Browser. Generally, when you display
the modeless Browser, you're selecting materials rather than maps (to begin with), so Root Only is
on. However, when you display the modal Browser (by clicking a map button anywhere in the user
interface), Root Only is off so you can see all the maps.
By ObjectThis is available only when you're browsing from either Scene or Selected. When on, the
list displays materials by their object assignment in the scene. At the left are the names of the
objects arranged alphabetically, with a yellow cube icons as in Track View. Applied materials are
shown as children of the objects. When off, the list displays only material names.
File group

This button group is displayed when you've chosen Material Library, Material Editor, Selected, or
Scene in the Browse From group. All four buttons are displayed only when browsing from the
Material LibraryFile in the Browse From group..
OpenOpens a material library.
MergeMerges materials from another material library or scene. When you click Merge, the Merge
Material Library dialog is displayed. This file dialog lets you choose a material library or a scene.
When you choose a library or scene to merge, the Merge dialog is displayed. This lets you select
which materials to merge. If there are duplicate names among the materials you're merging, the
Duplicate Name dialog is displayed so you can resolve the name conflicts.
SaveSaves the open material library.
Save AsSaves the open material library under another name.
Display group
This group of radio buttons is displayed only when you've chosen New under Browse From. It
controls what types of maps the Browser displays in the material/map list. (The Browser displays
materials regardless of this setting.)
2D MapsLists only 2D map types.
3D MapsLists only 3D (procedural) map types.
CompositorsLists only compositor map types.
Color ModsLists only color modifier map types.
OtherLists reflection and refraction map types.
All(The default.) Lists all map types.

Comments

mental ray Shaders
mental ray Shaders

In mental ray, a shader is a function that calculates light effects. There can be shaders for lights,
cameras (lens shaders), materials, shadows, and so on.
Note: In 3D modeling, the more common use of shader is an algorithm that specifies how a
surface responds to light. (The shaders for standard 3ds max fall into this category.) With the
mental ray renderer, shader has a more general sense of any algorithm used in rendering.
The mental ray renderer can render most types of 3ds max materials and maps. See 3ds max
Materials in mental ray Renderings. In addition, if you have enabled mental ray extensions (see
mental ray Preferences), you can apply a variety of shaders to materials. Materials designed for use
with the mental ray renderer have specific components to which you can assign a shader. And for
standard 3ds max material types, the mental ray Connection rollout lets you add mental ray
shading.
Warning: When you use the scanline renderer, mental ray shaders typically appear as
black or white surfaces, or they are ignored entirely.
You assign a mental ray shader the same way you do a map. In the Material/Map Browser, mental
ray shaders appear with a yellow icon, instead of the green icon used for maps.
The shaders listed in the Browser depend on which type of shader component you have chosen in
the Material Editor. For example, when you assign a Surface shader, the Browser lists a variety of
shaders and standard 3ds max maps. But when you assign a more special-purpose Contour shader,
the Browser lists only those shaders that generate contour lines.
Note: Other kinds of special-purpose shaders include shaders for cameras and lights. Buttons to
assign camera shaders are found on the Render Scene dialog's Camera Effects rollout, and the
buttons to assign light shaders are on a light object's mental ray Light Shader rollout (which appears
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mental ray Shaders
only on the Modify panel, not the Create panel).

The shaders listed in the Browser come from several libraries that are provided with 3ds max.
Shaders created specifically for 3ds max are described in this User Reference. Shaders provided
with the mental images or lume shader libraries have their own online documentation. The following
topics link to the descriptions of specific shaders:
Custom Shaders for 3ds max links to descriptions of the shaders provided in the product-specific
library, 3dsmax.mi.
mental images Shader Libraries links to descriptions of the shaders provided in the three standard
mental ray libraries from mental images: base.mi, contour.mi, and physics.mi.
Shaders in the LumeTools Collection links to descriptions of shaders in the lume library, lume.mi.
If your installation includes shader libraries other than those listed here (whether obtained from a
third-party source, or custom written), then the Browser might list those shaders as well.
Documentation for third-party or custom shaders should come from the shader's provider.
Note: When you wire the parameters of an object whose material has mental ray shaders assigned,
names of shader parameters might differ from those in the Material Editor interface. Also,
parameters not supported by 3ds max might appear as blanks in the wiring menu.
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mental ray Renderer
mental ray Renderer

The mental ray renderer from mental images is a general-purpose renderer that can generate
physically correct simulations of lighting effects, including ray-traced reflections and refractions,
caustics, and global illumination.
Note: mental images and mental ray are registered trademarks, and photon map is a trademark of
mental images GmbH & Co. KG, Berlin, Germany.
Scene rendered with the default 3ds max scanline renderer
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mental ray Renderer
Same scene rendered with the mental ray renderer

The second rendering, done with the mental ray renderer, shows caustics cast by refraction through
the martini glass. Caustics are also visible in the reflection on the cocktail shaker.
The mental ray renderer in 3ds max supports the mental ray version 2 (mi2) and version 3 (mi3)
formats. It does not support the mental ray version 1 (mi1) format.
Differences Between the mental ray Renderer and the Default Scanline Renderer
Compared to the default 3ds max scanline renderer, the mental ray renderer relieves you of the
need to simulate complex lighting effects "by hand" or by generating a radiosity solution. The mental
ray renderer is optimized to use multiple processors and to take advantage of incremental changes
for efficient rendering of animations.
Unlike the default 3ds max renderer, which renders scanlines from the top of the image downward,
the mental ray renderer renders rectangular blocks called buckets. The order in which the buckets
are rendered can vary, depending on the method you choose. By default, mental ray uses the Hilbert
method, which picks the next bucket to render based on the cost of switching to the next one.
Because objects can be discarded from the memory to render other objects, its important to avoid
having to reload the same object multiple times. This is especially important when you have enabled
placeholder objects (see the Processing panel > Translator Options rollout).
If you use distributed rendering to render a scene, it might be hard to understand the logic behind
the rendering order. In this case, the order has been optimized to avoid sending lots of data over the
network. Each CPU is assigned a bucket as the bucket becomes available, so different buckets can
appear in the rendered image at different times. See the Renderer panel > Sampling Quality rollout.

mental ray Renderer
Note: The mental ray renderer can also be run in a standalone fashion, using a command-line
interface based on the mi2 or mi3 scene description format. This is described in the manual mental
ray Programming, which is written for programmers writing custom shaders.
See also
Getting Good Results with mental ray Rendering

3ds max Materials in mental ray Renderings
mental ray Concepts
Enhancements to Standard Features
Procedure
To use the mental ray renderer:
1. Choose Rendering menu > Render. The Render Scene dialog displays.
2. On the Common panel, open the Assign Renderer rollout, then click the ... button for the
Production renderer.
A Choose Renderer dialog is displayed.
3. On the Choose Renderer dialog, click to select mental ray Renderer, and then click OK.
Tip: After you make the mental ray renderer the active production renderer, you can click Save
As Defaults to make the mental ray renderer the default renderer for all new scenes. This can
be a convenient way to avoid extra setup time.
Now when you render, the Render Scene dialog appears with the mental ray controls. You can
choose to render the scene with the built-in mental ray renderer, or simply to translate the scene
and save it in a .mi file that you can render later, perhaps on a different system. Controls for
choosing whether to render, save to a .mi file, or both, are on the Translator Options rollout.
Comments

Ray-Traced Reflections and Refractions with the mental ray Renderer
Ray-Traced Reflections and Refractions with the mental ray

Renderer
The mental ray renderer can generate reflections and refractions by ray tracing. Ray tracing traces
the path of rays sampled from the light source. Reflections and refractions generated this way are
physically accurate.
Ray-traced reflections and Refractions
To reduce the time required to generate reflections and shadows, rays are limited by trace depth.
Trace depth limits the number of times a ray can be reflected, refracted, or both.
You can turn off ray tracing. In this case, the mental ray renderer uses scanline rendering only.
Turning off ray tracing makes the controls for all the effects that are specific to mental ray
unavailable in the Renderer's rollouts.
Ray tracing uses one of two ray-trace acceleration methods.
You enable ray tracing and set trace depth in the Render Scene dialog > Renderer panel >
Rendering Algorithms rollout.
Comments
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Ray-Trace Acceleration (mental ray Renderer)
Glossary
Ray-Trace Acceleration (mental ray Renderer)

The mental ray renderer provides three different ray-tracing methods of accelerating the process of
ray tracing. The methods are:
BSP (Binary Space Partitioning). This method (the default) performs best for most purposes.
Grid. This method can perform better on multiprocessor systems.
Large BSP. This method can perform better with large scenes and with distributed bucket
rendering.
You set the raytrace acceleration method on the Render Scene Dialog > Renderer panel > Rendering
Algorithms rollout.
Comments
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Rendering Algorithms Rollout (mental ray Renderer)
Rendering menu > Render > Render Scene dialog > Renderer panel > Rendering Algorithms rollout
Main toolbar > Render Scene > Render Scene dialog > Renderer panel > Rendering Algorithms
rollout
Note: The Renderer panel appears only when the mental ray renderer is the currently active
renderer.
The controls in this rollout let you choose whether to render using ray-tracing, scanline rendering, or
both. You can also choose the method used to accelerate ray-tracing.
The controls labeled Max Trace Depth limit the number of times each ray can be reflected, refracted,
or both.
Procedure
To set trace depth for reflections and refractions:
1. Count the number of times you want an object to be reflected or refracted in the scene.
2. On the mental ray: Rendering Algorithms rollout, set Reflections to the number of reflections
you want, and Refractions to the number of refractions you want.
3. Set Sum to equal the value you chose for Reflections plus the value you chose for Refractions.
The greater the number of reflections and refractions, the more slowly your scene will render.
On the other hand, too low a value for Reflections or Refractions (or Sum, controlling both) can
make your rendering look unrealistic.
Interface
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Algorithm group
By default, both Ray Trace and Scanline are on, which lets the mental ray renderer use a
combination of ray tracing and scanline rendering to render the scene. Scanline rendering is used for
direct illumination (primary rays) only; ray tracing is used for indirect illumination (caustics and
global illumination) as well as reflections, refractions, and lens effects.
You can turn off one or the other option, but not both. For instance, if only Ray Trace is on and you
turn it off, 3ds max turns on Scanline.
Ray TraceWhen on, mental ray uses ray tracing to render reflections, refractions, lens effects
(motion blur and depth of field), and indirect lighting (caustics and global illumination). When off,
the renderer uses the scanline method only. Ray tracing is slower but more accurate and more
realistic. Default=on.
You must turn on Ray Trace to render reflections, refractions, lens effects (motion blur and depth of
field), and indirect lighting (caustics and global illumination).
ScanlineWhen on, the renderer can use scanline rendering. When off, the renderer uses the ray-
tracing method only. Scanline rendering is faster than ray tracing, but cannot generate reflections,
refractions, shadows, lens effects, or indirect lighting. Default=on.
Scanline MethodLets you choose the scanline rendering method. The options are Normal or
Rapid. Normal (the default) gives the highest quality. Rapid is a quicker method that can be useful
when you render previews and drafts.
AutovolumeWhen on, uses the mental ray autovolume mode. When Autovolume is on, you can
render nested or overlapping volumes such as the intersection of two spotlight beams. It also
enables a camera to move through the nested or overlapping volumes. Default=off.
To use Autovolume, Ray Trace must be turned on, Scanline must be turned off, and the shadow
mode must be set to Segments. (You set the shadow mode on the Shadows and Displacement
rollout.) If these conditions aren't met when you click to turn on Autovolume, an alert warns you
about this, and gives you the option of making the appropriate setting changes.

Maximum Trace Depth group
Trace depth controls the number of times a light ray can be reflected or refracted. At 0, no reflection
or refraction occurs. Increasing these values can increase the complexity and realism of a scene, at
a cost of greater rendering time.
ReflectionsSets the number of times a ray can be reflected. At 0, no reflection occurs. At 1, the
ray can be reflected once only. At 2, the ray can be reflected twice, and so on. Default=2.
RefractionsSets the number of times a ray can be refracted. At 0, no refraction occurs. At 1, the
ray can be refracted once only. At 2, the ray can be refracted twice, and so on. Default=2.
SumLimits the combination of reflection and refraction. Tracing of a ray stops when the total
number of reflections and refractions reaches the Sum. For example, if Sum equals 3 and the two
trace depths each equal the default value of 2, a ray can be reflected twice and refracted once, or
vice versa, but it cant be reflected and refracted four times. Default=4.
Raytrace Acceleration group
MethodThe drop-down list sets which algorithm to use for raytrace acceleration. The other
controls in this group box change, depending on which acceleration method you choose. These are
the alternatives:
BSP (the default)

The BSP method has Size, Depth, and Memory controls. See Ray-Trace Acceleration: Parameters
for the BSP Methods.
This method is the fastest on a single-processor system. Use it for small-to-medium size scenes
on a single processor. BSP is also the best method to use when ray tracing is turned off.
Grid
The Grid method has a Size control only. See Ray-Trace Acceleration: Parameters for the Grid
Method.
This method uses less memory than BSP. It is also faster than BSP on multiprocessor systems.
Large BSP
The Large BSP method has the same controls as BSP. See Ray-Trace Acceleration: Parameters for
the BSP Methods.
This method is a variant of the BSP method. Portions of the partitioning tree it uses can be
swapped in and out of memory. This enables mental to render very large scenes, at a cost of ray-
tracing time. Use this method for very large ray-traced scenes, and also when Use Placeholder
Objects is turned on (see Translator Options Rollout (mental ray Renderer)). Use Placeholder
Objects is recommended when you are doing distributed rendering.

Comments

Shadows and Displacement Rollout (mental ray Renderer)
Rendering menu > Render > Render Scene dialog > Renderer panel > Shadows & Displacement
rollout
Main toolbar > Render Scene > Render Scene dialog > Renderer panel > Shadows & Displacement
rollout
renderer.
The controls in this rollout affect shadows and displacement.

Note: You can globally disable displacement by using the Displacement toggle in the Options group
on the Common Parameters rollout.
Interface
Shadows group
EnableWhen on, the mental ray renderer renders shadows. When off, no shadows are rendered.
Default=on.
When Enabled is off, the other shadow controls are unavailable.
ModeThe shadow mode can be Simple, Sort, or Segments. Default=Simple.
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SimpleCauses the mental ray renderer to call shadow shaders in a random order.
SortCauses the mental ray renderer to call shadow shaders in order, from the object to the
light. Sort applies to third-party, external shadow shaders.
SegmentsCauses the mental ray renderer to call shadow shaders in order along the light ray
from the volume shaders to the segments of the light ray between the object and the light.
Tip: Choose Simple for regular shadows, Segments for volume shadows.
Shadow Maps group
These controls specify a shadow map used to render shadows. When you specify a shadow map file,
the mental ray renderer uses the shadow map instead of ray-traced shadows.
To stop using a shadow map and use ray-traced shadows, delete the map's name from the file name
field.
EnableWhen on, the mental ray renderer renders shadow-mapped shadows. When off, all
shadows are ray-traced. Default=on.
When Enabled is off, the other controls in this group are unavailable.
If shadows are enabled but shadow maps are not enabled, then shadows for all lights are generated
using the mental ray ray-tracing algorithm. If shadow maps are enabled, then shadow generation is
based on each lights choice of shadow generator:
mental ray Shadow MapShadows are generated using the mental ray shadow-map algorithm.
Shadow MapSettings on the Shadow Parameters rollout are translated into a mental ray
equivalent before shadows are generated. The quality of shadows generated this way might not
always meet expectations.
Area Shadows, Advanced Ray Traced Shadows, or Ray Traced ShadowsShadows are
generated using the mental ray ray-tracing algorithm.
Motion BlurWhen on, the mental ray renderer applies motion blur to shadow maps. Default=on.
Warning: Turning on Motion Blur for both cameras and shadows can cause shadows to
shift position. To avoid this effect, turn on motion blur for cameras only.
RenderWhen chosen, the mental ray renderer recalculates a shadow map, even if it is already
saved on disk.
SaveWhen chosen, the mental ray renderer calculates a shadow map (.zt) file for the scene,
and saves it to a file. This option is unavailable unless you click Browse (...) to provide a name
for the shadow map (.zt) file.
Browse (...)Click to display a file selector dialog, which lets you specify a name for the
shadow map (.zt) file, and the folder where it is saved.
File nameWhen you have used the Save button to specify a shadow map file, this field displays

its name and path.
LoadWhen chosen, the mental ray renderer uses the shadow map on disk, with no
recalculation. This option is unavailable unless you click Browse (...) to provide a name for the
shadow map (.zt) file.
shadow map (.zt) file, and the folder where it is saved.
File nameWhen you have used the Files button to specify a shadow map file, this field displays
its name and path.
Displacement group
ViewDefines the space for displacement. When View is on, the Edge Length specifies the length in
pixels. When off, the Edge Length is specified in world space units.
Edge LengthDefines the smallest edge length. The mental ray renderer will stop subdividing an
edge once it reaches this size.
Max. LevelControls how many times a triangle can be subdivided.
Max. DisplaceControls the maximum offset, in world units, that can be given to a vertex when
displacing it. This value can affect the bounding box of an object.
Note: When using placeholders (see the Translator Options rollout), if this value is larger than it
needs to be, it can reduce performance. If you experience slow times while displaced objects when
Use Placeholder Objects is on, try lowering the Max. Displace value.
Comments

Shadows with the mental ray Renderer

The mental ray renderer can generate shadows by ray tracing. Ray tracing traces the path of rays
sampled from the light source. Shadows appear where rays have been blocked by objects. Ray-
traced shadows have sharp edges.
Ray-traced shadows
Turning off caustics makes the outlines of shadows in this scene easier to see.
You can tell the mental ray renderer to use shadow maps instead of ray-traced shadows. This can
improve performance at a cost of accuracy.
Shadow controls are on the Render Scene Dialog > Renderer panel > Shadows & Displacement
rollout.
Shadow Generators and the mental ray Renderer
Light objects in 3ds max let you choose a shadow generator: Ray Traced, Advanced Ray Traced,
Shadow Map, and so on. Because the mental ray renderer supports only two kinds of shadow
generation, ray tracing and shadow maps, some of the 3ds max shadow generators aren't fully
supported.
In 3ds max 6, a new shadow generator type, mental ray Shadow Map, is provided to support the
mental ray renderer. If shadows are enabled (on the Shadows & Displacement rollout of the Render
Scene dialog) but shadow maps are not enabled, then shadows for all lights are generated using the
mental ray ray-tracing algorithm. If shadow maps are enabled, then shadow generation is based on
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each lights choice of shadow generator:
mental ray Shadow MapShadows are generated using the mental ray shadow-map algorithm.
Shadow MapSettings on the Shadow Parameters rollout are translated into a mental ray
equivalent before shadows are generated. The quality of shadows generated this way might not
always meet expectations.
Area Shadows, Advanced Ray Traced Shadows, or Ray Traced ShadowsShadows are
generated using the mental ray ray-tracing algorithm.
Comments
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Shadow Map (mental ray Renderer)
Glossary
Shadow Map (mental ray Renderer)

A shadow map is a bitmap that the mental ray renderer generates during a pre-rendering pass of
the scene. Shadow maps can require less calculation time than ray-traced shadows, but the shadows
they generate can be less accurate.
The mental ray renderer saves shadow maps as ZT files. Shadow map controls are on the Render
Scene dialog > Renderer panel > Shadows & Displacement rollout.
Comments
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ZT File
Glossary
ZT File
A ZT (.zt) file is a mental ray shadow map file. This is a binary file that the mental ray renderer uses
to accelerate the generation of shadows. You specify a name and location for the .zt file on the
Render Scene dialog > Renderer panel > Shadows & Displacement rollout.
Comments
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mental ray Displacement

Displacement shading with the mental ray renderer is similar to displacement mapping of standard
materials. One advantage of using mental ray displacement is that the additional polygons of
displaced surfaces are stored only in the mental ray scene database, not in your 3ds max scene, so
they do not increase the memory requirements of your scene, except at render time. This can be a
big improvement in performance over displacement mapping with standard materials and the
scanline renderer.
Procedure
To add displacement to a mental ray rendering:
1. Choose Customize > Preferences. Go to the mental ray panel, and turn on Enable Mental Ray
Extensions.
2. On the Render toolbar, click Render Scene.

If the active renderer is not already the mental ray renderer, go to the Common panel, and on
the Assign Renderer rollout, click the ... button for the Production renderer. A Choose
Renderer dialog is displayed. Highlight mental ray Renderer in the list, and then click OK.
Leave the Render Scene dialog open, or minimize it.
3. Open the Material Editor. For the materials of objects you want to render with
displacement, use the mental ray Connection rollout to assign a shader to the Displacement
component.
Another technique would be to use the mental ray material, and assign shaders to both the
Surface and Displacement components.
Tip: The Simple contour shader renders uniform lines whose color and width you can control.
The other contour shaders provide variant contour styles with more direct user controls.
4. Open the Material Editor.
5. On the mental ray Connection rollout, click to unlock the Displacement component. Click
the button and use the Browser to assign a displacement shader to the surface.
Warning: This overrides any displacement assigned to the base material as a
standard map.
Another technique would be to use the mental ray material, and assign a shader to the
Displacement component. (If you are using the mental ray material, you don't need to first
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unlock the Displacement component.)
6. Apply the material to objects you wish to show the displacement.
Comments
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Displacement Mapping
Material Editor > Standard material > Maps rollout > Displacement button
Using displacement mapping to alter a surface
A displacement map displaces the geometry of surfaces. The effect is similar to using the Displace
modifier. Unlike bump mapping, displacement mapping actually changes the geometry of the surface
or patch tessellation. Displacement maps apply the gray scale of the map to generate the
displacement. Lighter colors in the 2D image push outward more strongly than darker colors,
resulting in a 3D displacement of the geometry.
Warning: A displacement map generates many triangular faces per surface, sometimes
over 1M faces per surface. While displacement mapping can create good effects, there is a
large cost in terms of time and memory.
The displacement Amount is measured as a percentage of the diagonal of the bounding box for the
object that contains the patch or surface. This makes the displacement effect consistent for all
surfaces in an object, and it also means that when you scale the object, the displacement is scaled
with it.
You can apply a displacement map directly to the following kinds of objects:
Bezier patches
Editable meshes
Editable polymeshes
NURBS surfaces
For other kinds of geometry such as primitives, extended primitives, compound objects, and so on,
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you can't apply displacement mapping directly. To use displacement mapping with these kinds of
objects, apply a Disp Approx (Displacement Approximation) modifier. This makes the object's
surface displaceable. Disp Approx works with any kind of object that you can convert to an editable
mesh.
Displacement mapping isn't visible in viewports unless you apply a modifier to make it so.
For NURBS surfaces, you can make displacement mapping visible in viewports and editable as a
mesh object by using the Displace NURBS world space modifier.
For editable meshes and objects with Disp Approx applied to them, use the Displace Mesh
modifier to obtain the same effect.
Note: If you apply a UVW Map modifier to the surface, all maps obtain their coordinates from the
modifier except for the displacement map, which always obtains its coordinates from the original
surface or the Disp Approx modifier.
Under certain circumstances, such as when the underlying mesh is fairly simple, displacement
mapping of an editable mesh can cause problems because of the way the underlying mesh is
tessellated. (These problems don't occur when you apply displacement mapping to a NURBS
surface.) When this happens, smoothing does not work properly and you can see the underlying
wireframe mesh in the surface itself. To correct this problem, use these techniques:
Avoid applying displacement mapping to large areas of a single color. Map the diffuse color and
use a small amount of variation, such as slight amount of noise, in the map you use for the
diffuse color.
Add a small amount of noise to the map you use for displacement. This can complicate the
tessellation enough to ease the problem.
Add detail to the mesh. The more initial faces, and the smoother the mesh curvature, the more
even the displacement mapping will be.
Procedures
To apply a displacement map to a NURBS surface, editable mesh, or patch:
1. In a material's Maps rollout, click the map button for Displacement.

The Material/Map Browser is displayed.
2. Choose from the list of map types, and then click OK.
The Material Editor is now at the map level, and displays controls for the map parameters.
3. Use the map controls to set up the map.
To apply a displacement map to other kinds of objects:

1. Select the object. Go to the Modify panel and choose Disp Approx from the Modifiers
drop-down list.
You can adjust the Disp Approx modifiers parameters, or you can leave them at their default
settings.
2. Go to the Material Editor.
3. In a material's Maps rollout, click the map button for Displacement.


For example, if you chose Bitmap as the map type, you now need to select the bitmap file to
use.
Comments

Displace Modifier
Displace Modifier
Modify panel > Make a selection. > Modifier List > Object-Space Modifiers > Displace
Make a selection. > Modifiers menu > Parametric Deformers > Displace
Displace used to change the surface in the container
The Displace modifier acts as a force field to push and reshape an object's geometry. You can apply
its variable force directly from the modifier gizmo, or from a bitmapped image. There are two basic
ways to use this modifier:
Apply displacement effects directly by setting Strength and Decay values.
Apply the grayscale component of a bitmapped image to generate the displacement. Lighter
colors in the 2D image push outward more strongly than darker colors, resulting in a 3D
displacement of the geometry.
The Displace space warp has similar features. It's useful for applying effects to a large number of
objects or a particle system.
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Displace Modifier
Top: Bitmap displacement on a patch and the bitmap used.

Bottom: Terrain effects using Displace
Force Distribution
Displace distributes its force through four different gizmos: Planar, Cylindrical, Spherical, and Shrink
Wrap. Gizmos are also used as mapping coordinates for applying bitmaps. Sphere and Shrink Wrap
have the same effect when modeling, but differ in the way they map.
The Spherical and Shrink Wrap gizmos begin with a uniform field around them. The Cylinder and
Planar gizmos are both directional. Cylinder pushes at right angles to its axis, and Planar pushes at
right angles to its surface.
By default, gizmos are centered on the object. However, you can transform any of these shapes and
use it directly as a tool to deform the geometry of an object.
Modeling Options
Displace is a versatile modifier with many possible applications. Here are some options:
Produce interior modeling effects by scaling down the gizmo and moving it inside the object. The
outward force shapes the geometry from within.
Animate the modeling process. One result is a roving, magnetic-like field that pushes and pulls on
a surface.
Add additional Displace modifiers to an object, using each one to create a different modeling
effect.

Displace Modifier
Collapse a finished model into a plain mesh. This reduces the object's complexity and removes all
modifiers, but keeps the modeled surface intact.
Procedures
To displace an object:
1. Select an object and apply the Displace modifier.
2. In the Parameters rollout > Map group, select one of the four gizmo types.
3. In the Displacement group, set values for Strength and Decay. Vary these settings to see the
effect of the displacement on the object.
Depending on the object and the complexity of the bitmap, you might need to use dense geometry
to see the effect clearly. Try a test run and, if necessary, add tessellation in the areas of greatest
detail.
To apply a bitmap as a displacement map:
1. In the Parameters rollout > Displacement group, click the Bitmap button (which is labeled
"None" until a map has been chosen). Use the file dialog to choose a bitmap.
2. Adjust the Strength value. Vary the strength of the field to see the effect of the bitmap
displacing the object's geometry.
After you get the image you want from bitmapped displacement, you can apply an Optimize modifier
to reduce the complexity of the geometry.
To model with the displace modifier:
1. Apply Displace to the object you want to model. Choose a gizmo from the Map group.
2. Increase the Strength setting until you begin to see a change in the object.
3. Scale, rotate, and move the gizmo to concentrate the effect. As you do this, adjust the
Strength and Decay settings to fine-tune the effect.
Interface
Displacement group

Displace Modifier
StrengthWhen set to 0.0, Displace has no effect. Values greater than 0.0 displace object
geometry or particles away from the position of the gizmo. Values less than 0.0 displace geometry
toward the gizmo. Default=0.0.
DecayVaries the displacement strength with distance.
By default, Displace has the same strength throughout world space. Increasing Decay causes the
displacement strength to diminish as distance increases from the position of the Displace gizmo. This
has the effect of concentrating the force field near the gizmo, similar to the field around a magnet
repelling its opposite charge. Default=0.0.
Luminance CenterDetermines which level of gray Displace uses as the zero displacement value.
By default, Displace centers the luminance by using medium (50 percent) gray as the zero
displacement value. Gray values greater than 128 displace in the outward direction (away from the
Displace gizmo) and gray values less than 128 displace in the inward direction (toward the Displace
gizmo). Use the Center spinner to adjust the default. With a Planar projection, the displaced
geometry is repositioned above or below the Planar gizmo. Default=0.5. Range=0-1.0.
Image group
Lets you choose a bitmap and map to use for displacement. Both are assigned and removed in the
same way.
Bitmap buttonAssigns a bitmap or map from a selection dialog. After you make a valid choice,
these buttons display the name of the bitmap or map.
This button is labeled "None" until you choose a map.
Remove Bitmap/MapRemoves the bitmap or map assignment.

Displace Modifier
BlurIncrease this value to blur or soften the effect of the bitmapped displacement.
Map group
Contains mapping parameters for bitmapped displacement. See UVW Map modifier.
The four mapping modes control how Displace projects its displacement. The type of Displace gizmo
and its location in the scene determine the final effect.
Displace gizmos: Planar, Cylindrical, Spherical, and Shrink Wrap
PlanarProjects the map from a single plane.

CylindricalProjects the map as if it were wrapped around the cylinder. Turn on Cap to project a
copy of the map from the ends of the cylinder.

Displace Modifier
SphericalProjects the map from a sphere, with singularities at the top and bottom of the sphere
where the bitmap edges meet at the sphere's poles.
Shrink WrapProjects the map from a sphere, as Spherical does, but truncates the corners of the
map and joins them all at a single pole, creating only one singularity at the bottom.
Length, Width, HeightSpecifies the dimensions of the Displace gizmo's bounding box. Height has
no effect on Planar mapping.
U/V/W TileSets the number of times the bitmap repeats along the specified dimension. The
default value of 1.0 maps the bitmap exactly once; a value of 2.0 maps the bitmap twice, and so on.
Fractional values map a fractional portion of the bitmap in addition to copies of the whole map. For
example, a value of 2.5 maps the bitmap two and a half times.
FlipReverses the orientation of the map along the corresponding U, V, or W axis.
Use Existing MappingHas Displace use mapping set earlier in the stack. This has no effect if the
object is not mapped.
Apply MappingApplies the Displace UV mapping to the bound object. This lets you apply material
maps to the object using the same mapping coordinates as the modifier.
Channel group
Specifies whether to apply the displacement projection to a mapping channel or a vertex color
channel, and which channel to use. For more information on these channels, see UVW Map modifier.
Map ChannelChoose this to specify a UVW channel to use for the mapping, and use the spinner to
its right to set the channel number.
Vertex Color ChannelChoose this to use the vertex color channel for the mapping.
Alignment group
Contains controls for adjusting the mapping gizmo's size, position, and orientation.
X, Y, ZFlips the alignment of the mapping gizmo along its three axes.
FitScales the gizmo to fit the object's bounding box.
CenterCenters the gizmo relative to the object's center.
Bitmap FitDisplays a Select Bitmap dialog. The gizmo is scaled to fit the aspect ratio of the

Displace Modifier
bitmap you select.

Normal AlignTurns on Pick mode to let you select a surface. The gizmo is aligned to the normal of
that surface.
View AlignOrients the gizmo in the same direction as the view.
Region FitTurns on Pick mode to let you drag two points. The gizmo is scaled to fit the specified
area.
ResetReturns the gizmo to its defaults.
AcquireTurns on Pick mode to let you choose another object and acquire its Displace gizmo
settings.
Comments

Displace Space Warp
Displace Space Warp
Create panel > Space Warps > Geometric/Deformable > Object Type rollout > Displace
Displace used to change the surface in the container
The Displace space warp acts as a force field to push and reshape an object's geometry. Displace
affects both geometry (deformable objects) and particle systems. There are two basic ways to use
the Displace space warp:
Apply the gray scale of a bitmap to generate the displacement amount. Black areas of the 2D
image are not displaced. Whiter areas push outward, causing a 3D displacement of geometry.
Apply displacement directly by setting displacement Strength and Decay values.
The Displace space warp works similarly to the Displace modifier, except that, like all space warps, it
affects world space rather than object space. Use the Displace modifier when you need to create
detailed displacement of a small number of objects. Use the Displace space warp to displace particle
systems, a large number of geometric objects at once, or an object relative to its position in world
space.
For geometry, the detail of the displacement depends on the number of vertices. Use the Tessellate
modifier to tessellate faces you want to show in greater detail.
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Displace Space Warp
Displace space warp on a patch and the bitmap it uses
Procedures
To create a Displace space warp:
1. On the Create panel, click Space Warps. Choose Geometric/Deformable from the
list, and then on the Object Type rollout, click Displace.
2. Drag in a viewport to create the Displace warp object, which appears as a wireframe. Its shape
depends on the active mapping parameter settings. Regardless of the mapping, a single drag
creates the space warp.
3. Bind the space warp to an appropriate object.
To assign a bitmap to a displace space warp:
1. Select the Displace warp object.
2. In the Parameters rollout > Displacement group, click the Bitmap button (labeled "None" by
default). Use the selection dialog to choose a bitmap.
3. Set the Strength value. Vary the strength of the field to see how the bitmap displaces the
object's geometry.
Interface

Displace Space Warp
Displacement group
These are the basic controls for Displace space warps.

StrengthWhen set to 0.0, the Displace warp has no effect. Values greater than 0.0 displace object
geometry or particles away from the position of the Displace space warp object. Values less than 0.0
displace geometry toward the warp. Default=0.0
DecayBy default, the Displace warp has the same strength throughout world space. Increasing
Decay causes displacement strength to diminish as distance increases from the position of the
Displace warp object. Default=0.0

Displace Space Warp
Luminance CenterBy default, the Displace space warp centers the luminance by using medium
(50%) gray as the zero displacement value. Gray values greater than 128 displace in the outward
direction (away from the Displace warp object) and gray values less than 128 displace in the inward
direction (toward the Displace warp object). You can adjust the default using the Center spinner.
With a Planar projection, the displaced geometry is repositioned above or below the Planar gizmo.
Default=0.5. Range=0 to 1.0.
Image group
These options let you choose a bitmap and map to use for displacement.
Bitmap(Labeled "None" by default.) Click to assign a bitmap or map from a selection dialog. After
you choose a bitmap or map, this button displays the bitmap's name.
Remove BitmapClick to remove the bitmap or map assignment.
BlurIncrease this value to blur or soften the effect of the bitmapped displacement.
Map group
This area contains mapping parameters for a bitmapped Displace warp. The mapping options are
comparable to those options used with mapped materials. The four mapping modes control how the
Displace warp object projects its displacement. The warp object's orientation controls where in the
scene the displacement effect will appear on bound objects.
PlanarProjects the map from a single plane.
CylindricalProjects the map as if it were wrapped around the cylinder.
SphericalProjects the map from a sphere, with singularities at the top and bottom of the sphere,
where the bitmap edges meet at the sphere's poles.
Shrink WrapTruncates the corners of the map and joins them all at a single pole, creating one
singularity.
Length, Width, HeightSpecify the dimensions of the bounding box of the space warp gizmo.
Height has no effect on planar mapping.
U/V/W TileThe number of times the bitmap repeats along the specified dimension. The default
value of 1.0 maps the bitmap once; a value of 2.0 maps the bitmap twice, and so on. Fractional
values map a fractional portion of the bitmap in addition to copies of the whole map. For example, a
value of 2.5 maps the bitmap two and one-half times.
FlipReverses the orientation of the map along the corresponding U, V, or W axis.
Comments

Optimize Modifier
Optimize Modifier
Select an object. > Modify panel > Modifier List > Optimize
Select an object. > Modifiers menu > Mesh Editing > Optimize
The Optimize modifier lets you reduce the number of faces and vertices in an object. This simplifies
the geometry and speeds up rendering while maintaining an acceptable image. A Before/After
readout gives you exact feedback on the reduction as you make each change.
Optimize simplifies a smooth model with a high number of faces without greatly changing the models
appearance.
Tip: Because Optimize makes decisions based on angles between faces, it's sometimes best to apply
it to selected face sub-objects rather than to an entire object. Avoid applying Optimize to areas
where you want to preserve geometric detail.
Applying Optimize
When you first apply Optimize, you might not see any change in the viewports. Adjust the Face
Threshold setting to obtain the best optimization. In the Last Optimize Status group, you can see
how the object or faces were optimized. Watch these values while you adjust the Optimize
parameters, until you have the best possible result.
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Optimize Modifier
Setting Level of Detail
Optimize lets you maintain two levels of optimization detail. You might set a lower optimization level,
with fewer faces, to speed up your viewport work, and a higher level for final output in the renderer.
However, you can render at either level. You can also switch to the higher level in a viewport to get
an idea of what the rendered image will look like.
Procedures
To optimize manually:
1. Set up two viewports: one wireframe, one smooth shaded.
2. Select an object and apply the Optimize modifier.

The Parameters rollout for this modifier appears.
3. Turn off Manual Update and then adjust the Face Thresh value. Observe the result in the
viewports.
You can also choose to view the results of the Optimize operation manually by leaving the
Manual Update check box turned on and pressing the Update button every time you wish to
view a result.
4. In the Parameters rollout > Last Optimize Status group, notice the Before/After count for
vertices and faces.
5. In the Optimize group, vary parameters to continue reducing geometry.

Compare the result in the two viewports against the Before/After count.
To set the level of detail:
1. In the Parameters rollout > Level of Detail group, choose Viewports L1.
2. Adjust parameters in the Optimize and Preserve groups.

This sets the L1 level of optimization for both the viewport and the renderer.
3. Repeat steps 1 and 2 for Viewports L2, adjusting parameters for a different optimization.
To use level of detail:
Switch between L1 and L2 for either Viewports or Renderer.

You see the effect immediately in a smooth shaded viewport. Do a test rendering to see the effect
on the renderer.
The following parameters are stored for each level: Face Threshold, Edge Threshold, Bias, Max Edge
Len, Material Boundaries, and Smooth Boundaries.

Optimize Modifier
Interface
Level of Detail group
Renderer L1, L2Set the level of display for the default scanline renderer. Use Viewports L1 and
L2 to change the stored optimization level. Default=L1.
Viewports L1, L2Set the optimization level for both viewport and renderer. Also toggles the level
of display for the viewport. Default=L1.
Optimize group
Adjusts the degree of optimization.

Optimize Modifier
Face ThreshSets the threshold angle used to determine which faces are collapsed. Low values
produce less optimization but better approximations of the original shape. Higher values improve
optimization, but are more likely to result in faces that render poorly (see Bias). Default=4.0.
Edge ThreshSets a different threshold angle for open edges (those that bound only one face). A
low value preserves open edges. At the same time you can apply a high face threshold to get good
optimization. Default=1.0.
BiasHelps eliminate the skinny or degenerate triangles that occur during optimization, which can
cause rendering artifacts. Higher values keeps triangles from becoming degenerate. The default of
0.1 is enough to eliminate the skinniest triangles. Range=0.0 to 1.0 (a 0 value turns Bias off).
Max Edge LenSpecifies the maximum length, beyond which an edge cannot be stretched when
optimized. When Max Edge Len is 0, it has no effect. Any value greater than 0 specifies the
maximum length of the edges. Default=0.0.
Along with Bias, this control helps you avoid creating long skinny faces while optimizing.
Auto EdgeTurns edges on and off following optimization. Turns on any open edges. Turns off any
edges between faces whose normals are within the face threshold; such edges beyond the threshold
are not turned on. Default=off.
Preserve group
Maintains clean separation at the face level between material and smoothness boundaries.
Material BoundariesPrevents face collapse across material boundaries. Default=off.
Smooth BoundariesOptimizes an object and maintain its smoothing. When turned on, allows
only faces that share at least one smoothing group to collapse. Default=off.
Update group
UpdateUpdates the viewports with the current optimization settings. Available only when Manual
Update is turned on.
Manual UpdateEnables the Update button. When turned off, Optimize works as it does by default,
updating the viewport display dynamically.
Note: When using Manual Update, if you make any changes that cause the reevaluation of the stack,
the existing optimization display disappears. Click the Update button again to restore it.
The Renderer ignores the optimization display in the viewport, using the Optimize settings,
regardless of the state of the Manual Update.
Last Optimize Status group
Displays numerical results of optimization with exact before-and-after counts for vertices and faces.

Optimize Modifier
Comments

Bitmap
Glossary
Bitmap
A bitmap is a still image produced by a fixed matrix of colored pixels, like a mosaic. You can use
bitmaps as textures for materials, as backgrounds to viewports, and as rendered environments.
You can use an animation or video file as a bitmap, in which case the material or background
changes over time.
Bitmaps can be reloaded automatically after they have been changed and resaved by a graphic
editing program. See the Reload Textures On Change toggle in Files Preferences Settings.
3ds max can use the following image file formats as bitmaps:
Autodesk animation formats (flc, fli, cel)
avi
bmp
cin
cws
flc
dds
gif
ifl
jpg
mov
png
psd
rgb
rla
rpf
tga
tif
yuv
Note: 3ds max can also render to some of these formats, but not to all of them. See the topic for
the individual image format for details.
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Bitmap
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Pixel
Glossary
Pixel
A pixel (short for Picture Element) is a single point in a graphic image. Graphics monitors display
pictures by dividing the screen into thousands (or millions) of pixels, arranged in rows and columns.
Comments
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FLC Files
FLC Files
The FLC (flic) file format is an Autodesk format for digital animations.
There are two slight variations of this format. Animations created by the earlier Autodesk Animator
program have the .fli file name extension; the later Animator Pro and 3D Studio R4 products
create animation files with a .flc file-name extension. Flic files can also have a .cel file name
extension.
Flic files are restricted to a maximum of 256 colors (8-bit).
Interface
Clicking Render or Setup in the Render Output File dialog displays the FLC Image Control dialog.
Palette MethodSelect the method to use to create the 256-color palette for the file. Low builds
the palette based on the first frame. Medium builds a 256-color palette for every frame and then
optimizes them into a single palette. Custom uses the palette of another file that you specify.
Uniform uses a generic set of colors for cases in which you want to use a set of flic files to all have
the same standard colors.
Number of Palette ColorsSet the number of colors up to 256. If you specify a number less than
256, the remaining slots in the palette are filled with black.
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Render Output File Dialog
Rendering menu > Render > Render dialog > Common panel > Common Parameters rollout >
Render Output group > Click the ... button by Save File. > Render Output File
The Render Output File dialog lets you assign a name to the file that the rendering will output. You
can also determine the type of file to render. Depending on your choice of file type, you can also set
up options such as compression, and color depth and quality.
See also
Image File Formats
Procedures
To name the render output file:
1. Choose Rendering > Render and then in the Render Output group of the Common Parameters
rollout, click the ... button next to Save As.
The Render Output File dialog is displayed.
2. In the File Name field, enter the name for the file to be rendered.
3. Navigate the Save In field to choose the directory where you want the rendered file to be
saved.
4. Choose the type of file you want to render from the Save As Type drop-down list.
5. Click Save to close the Render Output File dialog.

A dialog is displayed that lets you set the options for the file format you chose. Adjust these
settings (or leave them at their defaults), and then click OK.
6. On the Render Scene dialog, click Render to render and save the file.
To set up options for the render output file:
1. Choose Rendering > Render and then in the Render Output group of the Common Parameters
rollout, click the ... button next to Save As.
The Render Output File dialog is displayed.
2. In the File Name field, enter the name for the file to be rendered.
3. Navigate the Save In field to choose the directory where you want the rendered file to be
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saved.
4. Choose the type of file you want to render from the Save As Type drop-down list, then click
Save.
A dialog is displayed that lets you set the options for the file format you chose. Adjust these
settings (or leave them at their defaults), and then click OK.
Note: You can also view the setup dialog by clicking Setup, if this button is available.
Warning: Make sure the file name extension in the File Name field matches the file
type in the Save As Type field. Changing the file type does not update the file name
automatically. The file options dialog depends on the type indicated by the file name,
not the type indicated by Save As Type.
5. If the Render Output File dialog is still open, click Save.
Interface

HistoryDisplays a list of the most recent directories searched. Whenever an image is selected, the
path used is added to the top of the history list as the most recently used path.
The history information is saved in the 3dsmax.ini file.
Save InOpens a navigation window to browse other directories or drives.
Up One LevelMoves you up a level in the directory structure.
Create New FolderLets you create a new folder while in this dialog.
ListDisplays the contents of a directory without the details.
DetailsDisplays the contents of a directory with all the details.

List of filesLists the contents of the directory, in the format specified by the View menu.
Tip: When Details is the active display format, the contents of the directory are displayed with

Name, Size, Type, Date Modified, and Attributes. You can sort the list according to one column's
contents by clicking that column's label.
File nameDisplays the file name of the file selected in the list.
Save as typeDisplays all the file types that can be saved. This serves as a filter for the list.
Note: The choice in this field determines the file type saved, regardless of the file name extension
entered in the File Name field.
SaveSaves to the file you named, and closes the dialog.
CancelCancels the file save, and closes the dialog.
DevicesLets you choose the hardware output device, for example, a digital video recorder. To use
the device, the device, its driver, and its 3ds max plug-in must all be installed on your system.
SetupDisplays controls for the selected file type. These vary with each different file format.
Warning: The file setup dialog displayed corresponds to the type indicated by the file
name extension in the File Name field, not to the type indicated by the Save As Type field.
InfoIf you highlight an existing file in the list, clicking Info displays expanded information about
the file such as frame rate, compression quality, file size, and resolution. The information here
depends on the type of information saved with the file type.
ViewIf you highlight an existing file in the list, clicking View displays the file at its actual
resolution. If the file is a movie, the Media Player is opened so the file can be played.
Gamma group
To set up Gamma options for the output file, Enable Gamma Correction must be turned on in the
Gamma panel of the Preferences dialog (Customize > Preferences > Gamma). Otherwise, the
Gamma controls are unavailable in the Render Output File dialog.
GammaSelects the type of gamma to be used for the selected file. This is unavailable unless
Enable Gamma Correction is turned on in the Gamma panel of the Preferences dialog.
Use Images Own GammaThis is not available in the render output file dialog.
Use System Default GammaIgnores the images own gamma and uses the system default
gamma instead, as set in the Gamma panel of the Preferences dialog.
OverrideDefines a new gamma for the bitmap that is neither the images own, nor the system
default.
SequenceThis is not available in the Render Output File dialog.

Note: To render a sequence of still images, choose the Active Time Segment or define a range of
frames in the Common Parameters rollout of the Render Scene dialog. If you have selected a still
image file type, each frame will append a four-digit number to the name you have selected,
incremented with each frame.
PreviewWhen on, enables display of the image as a thumbnail.
Image thumbnailDisplays a thumbnail of the selected file. Preview must be turned on.
StatisticsDisplays the resolution, color depth, file type, and number of frames of the selected file.
LocationDisplays the full path for the file.
Comments

Image File Formats
Image File Formats

Image files, also known as bitmaps, have a variety of uses in 3ds max scenes. You can use bitmaps
as textures for materials, as backgrounds to viewports, as environment maps, or as Image Input
events in Video Post, or as images projected from a light.
An image file can be a single still image, or a sequence of images that form a video sequence or
animation. When you assign an animation for use as a bitmap, then the image changes over time
when you render the 3ds max scene.
Note: Bitmaps are reloaded automatically after they have been changed and resaved by a graphic
editing program. See the Reload Textures On Change toggle in File Preferences.
When you render a scene, you can render a still image or an animation. You can render to most of
the formats listed below. Some of the formats support various options. If there are output options,
these appear in a dialog that is described along with the image file's format.
These are the image file formats supported by 3ds max:
AVI Files
BMP Files
CWS (combustion Workspace) Files
DDS Files
EPS and PS (Encapsulated PostScript) Files
FLC Files
GIF Files
HDR Files
IFL Files
JPEG Files
CIN (Kodak Cineon) Files
PNG Files
PSD Files
MOV (QuickTime Movie) Files
RLA Files
RPF Files
RGB (SGI Image) Files
Targa Files
TIFF Files
YUV Files
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Image File Formats
Note: To save loading time, if a map with the same name is in two different locations (in two
different paths), it is loaded only once. This poses a problem only if your scene includes two maps
that have different content but the same name. In this case, only the first map encountered will
appear in the scene.
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AVI Files
AVI Files
The AVI (Audio-Video Interleaved) format is the Windows standard for movie files. The .avi file-
name extension indicates a Windows AVI movie file.
The software creates an AVI created when you make a preview animation. You can also render your
final output to an AVI file. Although 3ds max produces its highest-quality output by rendering single-
frame TGA files or rendering directly to a digital disk recorder, you can still get good results
rendering AVI files.
AVI files are used as input to 3ds max in several ways, for example:
As animated materials in the Material Editor
As viewport backgrounds for rotoscoping
As input images for compositing in Video Post
Interface
Clicking Render or Setup in the Render Output File dialog displays the Video Compression dialog.
CompressorUse the drop-down list to choose the codec (compressor/decompressor) you want to
use to compress the file. You can use any codec that's installed in your system.
Alternatively, you can render uncompressed frames and then use an external application to
compress the animation. Video-file compression is a complex area, with many aspects to consider.
Compression QualityWhen available, use the slider to specify the quality you want. The higher
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AVI Files
you set the quality, the larger the file size will be.
Keyframe RateWhen available, use this setting to specify the interval between the Delta
keyframes used to compare one frame with another and generate in-between frames. Too large an
interval will create loss of quality in the AVI file as a whole. This option is available only with certain
codecs.
SetupClick this button to see any additional options specific to the codec. These are vendor
specific and vary from codec to codec. This option is available only with certain codecs.
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Make Preview
Make Preview
Animation menu > Make Preview
Make Preview displays the Make Preview dialog, enabling you to create an AVI file or custom file
type preview of the animation in the current viewport. You can also render a preview to a specified
device.
When the preview is complete, the software starts the Media Player with the preview _scene.avi file
ready to play. (If you don't want the Media Player to start, choose File > Preferences > General and,
in the UI Display group, turn off Autoplay Preview File.)
Note: Do not open up any other program windows that cover up the viewport while rendering a
preview. Anything that covers up the viewport will be rendered into the preview AVI file.
Procedure
To create a preview:
1. Choose Animation menu > Make Preview.

The Make Preview dialog appears.
2. Change the preview parameters or accept the defaults, and then click OK.
If AVI is selected as the output type, the software renders the preview and saves it in a file
called _scene.avi. Immediately after it renders the preview, it starts the Media Player with this
animation loaded.
3. View the preview by clicking Play in the Media Player.

If you dismiss the Media Player but want to view the preview again, choose Animation > View
Preview. This restarts the Media Player with _scene.avi.
You can save the preview under a different name, so it won't be overwritten the next time you
make a preview. To do so, use Animation > Rename Preview.
Comments
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Make Preview Dialog
Make Preview Dialog
Animation menu > Make Preview > Make Preview dialog
The Make Preview dialog enables you to create an AVI file preview of the animation in the current
viewport.
Interface
Preview range groupSpecifies the frames to be included in the preview, either the active time
segment or a custom range of frames.
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Make Preview Dialog
Frame Rate groupSpecifies the playback frame rate in frames per second. Use Every Nth Frame
to preview a regular sampling of the animation. For example, a value of 8 includes only every eighth
frame in the preview.
Image Size groupSets the resolution of your preview as a percentage of the current output
resolution. The output resolution is set in the Render Scene dialog. For example, if the rendering
output resolution is 640x480, and you set the Percent of Output spinner to 50, the preview
resolution is 320x240.
Note: The size of the preview image is limited by the size of the viewpanel region (the region that
contains the viewports). The spinner is clamped to the maximum value that allows the preview
image to still fit in the viewpanel region.
Camera View groupSpecifies whether the preview should include multi-pass rendering effects.
Display in Preview groupSpecifies the types of objects to include in the preview. Frame
numbers prints a frame number in the upper-left corner of each frame of the AVI file. Background
includes the assigned viewport background in the preview.
Rendering Level drop-down listSpecifies the type of viewport rendering for the preview.
Output group
Specifies the preview output format.

AVIWhen chosen, the preview is output as an AVI file. The button to the right displays the current
AVI codec. Click it to adjust the assigned codec, or choose a different codec. The quality of your
output AVI file depends on the type of codec you use and the codec settings, which vary. For the
highest visual quality, choose the highest compression quality. The higher the compression quality,
the lower the compression, and the larger the resultant file.
Custom File TypeOutputs the preview to the specified file format. When this option is chosen,
and the Create button is clicked, a file selector appears, where you name the file and specify the
output file type. For example, you can output the preview as a flic by specifying a file name with a .
flc extension. If you specify a single-image format, such as .tga, the preview is output as a series of
sequentially numbered files.
Use DeviceLets you output the preview to an external device, such as a digital recorder. The
button at right displays the name of the currently assigned device. Click it to either change the
settings of the device, or assign a different device.
Render Viewport listDisplays the names of the currently visible viewports, letting you choose
which viewport to render from within the Render Scene dialog. Default=name of the active viewport.
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Frame Rate
Glossary
Frame Rate
The frame rate of an animation is generally expressed in frames per second (fps). This is the number
of frames displayed for every second of real time.
Different recording devices output different frame rates, but the standard rates are as follows:
NTSC video30 frames per second
PAL video25 frames per second
Film24 frames per second
You can change the frame rate for your output at any time, outputting the correct number of frames
to maintain the correct playback speed for your animation.
For example, if you create a 90-frame animation for video, using an NTSC frame rate of 30 frames
per second, the result will be three seconds of animation.
If you later discover you need to output to PAL video (at 25 frames per second), you can switch to
the PAL frame rate. The 90 frames are automatically converted to 75, producing the same total
animation time with a different number of frames. You can later switch back to NTSC frame rate to
restore the original 90 frames of animation.
You can switch back and forth between frame rates at any time without losing animation data.
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Using Multi-Pass Rendering Effects
Create panel > Cameras > Target button or Free button > Parameters rollout > Multi-Pass Effect
group
Multi-pass rendering effects use multiple renderings of the same frame, with slight camera
movement between each rendering. The multiple passes simulate the blurring that film in a camera
would register under certain conditions. Two multi-pass effects are provided:
Depth of field
Multi-pass depth of field

Top: Focus is in the middle distance, near and far objects are blurred.
Bottom left: Focus on near objects, far objects are blurred.
Bottom right: Focus on far objects, near objects are blurred.
Motion blur
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Above: Motion blur applied to wings of the flying dragon

Below: Multiple passes appear in successive refreshes of the rendered frame window.
Tip: These effects are for the default scanline renderer. The mental ray renderer has its own depth-
of-field and motion blur effect. See Motion Blur with the mental ray Renderer and Depth of Field with
the mental ray Renderer.
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Multi-Pass Depth of Field Parameters for Cameras
group > Choose Depth Of Field effect. > Depth of Field Parameters rollout
Multi-pass depth of field

Top: Focus is in the middle distance, near and far objects are blurred.
Bottom left: Focus on near objects, far objects are blurred.
Bottom right: Focus on far objects, near objects are blurred.
Cameras can generate depth-of-field effects. Depth of field is a multi-pass effect. You turn it on in
the Parameters rollout for cameras. Depth of field simulates a camera's depth of field by blurring
areas of the frame at a distance from the camera's focal point (that is, its target or target distance).
You can preview depth of field in viewports.
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Previewing multi-pass depth of field in a shaded and a wireframe viewport
Important: This effect is for the default scanline renderer. The mental ray renderer has its
own depth-of-field effect. See Depth of Field Parameter (mental ray Renderer).
Tip: To reduce the visible effect of multiple camera passes, try setting the antialiasing filter to Blend,
with a Width value in the range 4.0 to 5.0, and a Blend value in the neighborhood of 0.1. (You
choose the antialiasing filter and adjust its settings in the Default Scanline Renderer rollout.) Also,
try reducing the Dither Strength value, in the effect's Pass Blending group, to the neighborhood of
0.2.
Note: There is also a depth-of-field rendering effect.
See also
Multi-Pass Motion Blur Parameters for Cameras
Interface

Note: The multi-pass depth-of-field parameters are animatable.
Focal Depth group
Use Target DistanceWhen on, uses the camera's target distance as the point about which to
offset the camera for each pass. When off, uses the Focal Depth value to offset the camera.
Default=on.
Focal DepthWhen Use Target Distance is off, sets the depth from which the camera is offset. Can
range from 0.0 to 100.0, where 0.0 is at the camera's location and 100.0 is in the extreme distance
(effectively, infinity). Default=100.0.
Low values of the Focal Depth give wildly blurry results. High Focal Depth values blur the distant
portions of the scene. In general, using Focal Depth instead of the camera's Target Distance tends to
blur the entire scene.
Sampling group
Display PassesWhen on, the rendered frame window displays the multiple rendering passes.
When off, the frame window displays only the final result. This control has no effect on previewing
depth of field in camera viewports. Default=on.
Use Original LocationWhen on, the first rendering pass is in the camera's original location. When

off, the first rendering pass is offset like all subsequent passes. Default=on.
Total PassesThe number of passes used to generate the effect. Increasing this value can increase
the effect's accuracy, but at a cost of rendering time. Default=12.
Sample RadiusThe radius by which the scene is shifted to generate blurriness. Increasing this
value increases the overall blurriness of the effect. Decreasing it reduces the blurriness. Default=1.0.
Sample BiasWeights the blurring toward or away from the Sample Radius. Increasing this value
increases the magnitude of depth-of-field blurring, giving a more even effect. Decreasing it
decreases the magnitude, giving a more random effect. Can range from 0.0 to 1.0. Default=0.5.
Pass Blending group
The multiple depth-of-field passes are blended by dithering, which you can control by the
parameters in this group.
These controls apply only to renderings of the depth-of-field effect, not to previews in viewports.
Normalize WeightsPasses are blended with random weighting to avoid artifacts such as
streaking. When Normalize Weights is on, the weights are normalized, giving a smoother result.
When off, the effect is a bit sharper but usually grainier. Default=on.
Dither StrengthControls how much dithering is applied to the rendered passes. Increasing this
value increases the amount of dithering, and can make the effect grainier, especially at the edges of
objects. Default=0.4.
Tile SizeSets the size of the pattern used in dithering. This value is a percentage, where 0 is the
smallest tile, and 100 is the largest. Default=32.
Scanline Renderer Params group
These controls let you disable antialiasing or antialias filtering when you render the multi-pass
scene. Disabling these rendering passes can improve render time.
These controls apply only to renderings of the depth-of-field effect, not to previews in viewports.
Disable FilteringWhen on, disables the filtering pass. Default=off.
Disable AntialiasingWhen on, disables antialiasing. Default=off.
Comments

Common Camera Parameters
Create panel > Cameras > Target button or Free button > Parameters rollout
Most of the camera controls are common to both kinds of cameras. This topic describes those
controls.
Procedures
To view a wider area, do either of the following:
Use the FOV spinner to increase the camera's field of view.
Click a button with a shorter focal length. Use the Lens spinner to give the focal length a value
other than the preset "stock" values on the buttons.
To view a narrower area, do either of the following:
Change the FOV parameter to decrease the camera's field of view.
Click a button with a longer focal length. Use the Lens parameter to give the focal length a value
other than the preset "stock" values on the buttons.
In a camera viewport, the FOV button lets you adjust the field of view interactively.
The camera viewport Perspective button also changes the FOV in conjunction with dollying the
camera.
Note: Only the FOV value is saved with the camera. The focal length value is merely an
alternative way to express and select the FOV.
To set the camera lens size:
1. In the Stock Lenses group, click a button to choose a stock focal length.
2. Set the Lens spinner to a custom focal length.

Tip: If you want to maintain the same lens, avoid using the FOV or Perspective controls among
the navigation icon buttons, and don't change the FOV spinner.
Important: When a camera viewport is active, changing the Output Size or (custom)
Aperture Width in the Render Scene dialog will change the camera's Lens setting.
To match a camera to a film or video format:
1. In the Render Scene dialog, choose the type of output you want.
If it's a preset, choose the preset from the Output Size drop-down list. The Aperture Width
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will be locked to the preset's values.
If it's Custom, you can set your own Aperture Width, and should do so at this point. (You can
adjust the other output values at any later time. They have no affect on the camera lens
settings, although they do affect the cropping of the scene.)
2. Once the Aperture Width is set, set the Lens spinner to the type of camera lens you want to
emulate (for example, 50mm).
If you want to maintain the same lens, avoid using the FOV or Perspective controls among the
navigation icon buttons.
To find a lens's focal length:
To find the focal length of a lens based on changes in aperture width, display the Render Scene
dialog, choose Custom from the Output Size drop-down list, and specify a value in the Aperture
Width spinner. The new value of the camera's Lens spinner is based on the new Aperture Width
value.
To display a camera's cone:
Turn on Show Cone.

The camera's field-of-view cone appears outlined in light blue.
Note: A camera's cone is always visible while the camera object is selected, regardless of the
Show Cone setting.
To display a camera's horizon line:
Turn on Show Horizon.

A dark gray line appears at the level of the horizon in the camera's viewport.

The horizon line shown in the viewport.

The horizon line might not be visible if the horizon is beyond the camera's field of view, or if the
camera is tilted very high or low.
To change the environment range:
Adjust the value of Near Range or Far Range.

By default, the Near Range=0.0 and the Far Range equals the Far clipping plane value.
Environment ranges determine the near and far range limits for atmospheric effects you set in the
Environment dialog.
To see the environment ranges in viewports:
Turn on Show.
The environment range displays as two planes. The plane closest to the camera is the near range
and the one farthest from the camera is the far range.
To set clipping planes:
1. Turn on Clip Manually.

When Clip Manually is off, the camera ignores the location of the Near and Far clipping planes,
and their controls are grayed out. The camera renders all geometry within its field of view.
2. Set the Near Clip value to position the near clipping plane.
Objects closer to the camera than the Near distance are not visible to the camera and aren't
rendered.

3. Set the Far Clip value to position the far clipping plane.
Objects farther from the camera than the Far distance are not visible to the camera and aren't
rendered.
You can set the Near clipping plane close to the camera so that it doesn't exclude any
geometry, and still use the Far plane to exclude objects. Similarly, you can set the Far clipping
plane far enough from the camera that it doesn't exclude any geometry, and still use the Near
plane to exclude objects.
The Near value is constrained to be less than the Far value.
If the clipping plane intersects an object, it cuts through that object, creating a cutaway view.
The effect of clipping planes
To apply a multi-pass rendering effect to a scene:
1. In the Multi-Pass Effect group, turn on Enable and choose either Depth of Field or Motion Blur.
2. Use the Depth of Field Parameters rollout or the Motion Blur Parameters rollout to set the
values for the effect you chose.
3. Activate a camera viewport.
4. In the Multi-Pass Effect group, click Preview to preview the effect in the camera viewport.
The Preview button has no effect if a camera viewport isn't active.
5. Render the scene or animation.

Interface
LensSets the camera's focal length in millimeters. Use the Lens spinner to give the focal length a
value other than the preset "stock" values on the buttons in the Stock Lenses group box.
When you change the Aperture Width value in the Render Scene dialog, you also change the value in
the Lens spinner field. This doesn't change the view through the camera, but it does change the
relationship between the Lens value and the FOV value, as well as the aspect ratio of the camera's

cone.
FOV Direction flyoutLets you choose how to apply the field of view (FOV) value:
Horizontal(The default.) Applies the FOV horizontally. This is the standard way to set and
measure the FOV.
VerticalApplies the FOV vertically.
DiagonalApplies the FOV diagonally, from one corner of the viewport to the other.
FOVDetermines how wide an area the camera views (field of view). When FOV Direction is
horizontal (the default), the FOV parameter directly sets the arc of the camera's horizon, measured
in degrees. You can also set the FOV Direction to measure FOV vertically or diagonally.
You can also adjust the field of view interactively in a camera viewport by using the FOV button.
Orthographic ProjectionWhen on, the camera view looks just like a User view. When off, the
camera view is the standard perspective-like view. While Orthographic Projection is in effect, the
viewport navigation buttons behave as they ordinarily do, except for Perspective. Perspective
function still moves the camera and changes the FOV, but the Orthographic Projection cancels the
two out, so you don't see any change until you turn off Orthographic Projection.
Stock Lenses group
15mm, 20mm, 24mm, 28mm, 35mm, 50mm, 85mm, 135mm, 200mmThese preset values
set the camera's focal length in millimeters.
TypeChanges the camera's type from a Target camera to a Free camera, and vice versa.
Note: When you switch from a target camera to a free camera, any animation applied to the
camera's target is lost, because the target object goes away.
Show ConeDisplays the cone (actually a pyramid) defined by a camera's field of view. The cone
appears in the other viewports but does not appear in a camera viewport.
Show HorizonDisplays the horizon line. A dark gray line appears at the level of the horizon in the
camera's viewport.
Environment Ranges group
Near Range and Far RangeDetermine the near and far range limits for the atmospheric effects
set on the Environment panel. Objects between the two limits fade between the Far % and Near %
values.
ShowDisplays rectangles within the camera's cone to show the Near and Far range settings.

Top: Conceptual image of the Near and Far ranges.

Bottom: Result after rendering.
Clipping Planes group
Sets options to define clipping planes. In viewports, clipping planes are displayed as red rectangles
(with diagonals) within the camera's cone.

Clip ManuallyTurn on to define clipping planes.

When Clip Manually is off, geometry closer to the camera than 3 units is not displayed. To override
this, use Clip Manually.
Near Clip and Far ClipSets near and far planes. Objects closer than the near clipping plane or
farther than the far clipping plane are invisible to the camera. The limit of the Far Clip value is 10 to
the power of 32.
With manual clipping on, the near clipping plane can be as close to the camera as 0.1 unit.
Warning: Extremely large Far Clip values can produce floating-point error, which can
cause Z-buffer problems in the viewport, such as objects appearing in front of other
objects when they shouldn't.
Conceptual image of Near and Far clipping planes.
Multi-Pass Effect group
These controls let you assign a depth-of-field or motion blur effect to the camera. When generated
by a camera, these effects generate blurring by rendering the scene in multiple passes, with offsets.
They increase rendering time.
Tip: The depth-of-field and motion blur effects are mutually exclusive. Because they rely on multiple
rendering passes, applying both to the same camera could be prohibitively slow. If you want to use
both depth-of-field and motion blurring in the same scene, use multi-pass depth-of-field (using these
camera parameters) and combine it with object motion blur.
EnableWhen on, previewing or rendering uses the effect. When off, the effect is not rendered.
PreviewClick to preview the effect in an active camera viewport. This button has no effect if the

active viewport is not a camera view.

Effect drop-down listLets you choose which multi-pass effect to generate, Depth Of Field or
Motion Blur. These effects are mutually exclusive. Default=Depth Of Field.
This list also lets you choose Depth of Field (mental ray), which lets you use the mental ray
renderer's depth of field effect.
Note: The rollout for the chosen effect appears, by default, after the Parameters rollout.
Render Effects Per PassWhen on, applies rendering effects, if any are assigned, to each pass of
the multi-pass effect (depth of field or motion blur). When off, applies rendering effects only after
the passes that generate the multi-pass effect. Default=off.
Turning off Render Effects Per Pass can improve the render time for multi-pass effects.
Target DistanceWith a free camera, sets a point to use as an invisible target so that you can
orbit a camera around that point. With a target camera, indicates the distance between the camera
and its target.
Comments

Render Scene Dialog
Render Scene Dialog
Rendering menu > Render
Main toolbar > Render Scene button
Rendering creates a 2D image or animation based on your 3D scene. It shades the scene's geometry
using the lighting you've set up, the materials you've applied, and environment settings such as
background and atmosphere.
The Render scene dialog has multiple panels. The number and name of the panels can change,
depending on the active renderer. These panels are always present:
Common panel
Contains the main controls for any renderer, such as whether to render a still image or an
animation, setting the resolution of rendered output, and so on.
Renderer panel
Contains the main controls for the current renderer.
Render Elements panel

Contains the controls for rendering various image information into individual image files. This can
be useful when you work with compositing, image-processing, or special-effects software.
At the bottom of the Render Scene dialog are controls that, like those in the Common Parameters
rollout, apply to all renderers. These are described in this topic's Interface section, below.
Tip: When you render a very large image, you might get a message that says Error Creating
Bitmap, or that says you are out of RAM. If this happens, turn on the Bitmap Pager. You turn on the
Bitmap Pager in Rendering Preferences. The Bitmap Pager prevents a rendering from hanging
because of overuse of memory. On the other hand, it slows down the rendering process.
Choice of a Renderer
Three renderers are provided with 3ds max. Additional renderers might be available as third-party
plug-in components. The renderers provided with 3ds max are:
Default scanline renderer

The scanline renderer is active by default. It renders the scene in a series of horizontal lines.
Global illumination options available for the scanline renderer include light tracing and radiosity.
The scanline renderer can also render to textures (bake textures), which is especially useful
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Render Scene Dialog
when preparing scenes for game engines.
mental ray renderer

The mental ray renderer created by mental images is also available. It renders the scene in a
series of square buckets.
The mental ray renderer provides its own method of global illumination, and can also generate
caustic lighting effects.
In the Material Editor, a variety of mental ray shaders provide effects that only the mental ray
renderer can display.
VUE file renderer

The VUE file renderer is a special-purpose renderer that generates an ASCII text description of the
scene. A view file can include multiple frames, and specify transforms, lighting, and changes of
view.
Production and ActiveShade Renderers
In 3ds max, there are two different types of renderings. One, called Production rendering, is
active by default, and is typically the one you use for finished renderings. Production renderings can
use any of the three aforementioned renderers. The second type of rendering is called ActiveShade.
An ActiveShade rendering uses the default scanline renderer to create a preview rendering that can
help you see the effects of changing lighting or materials; the rendering interactively updates as you
change your scene. ActiveShade renderings are, in general, less precise than production renderings.
Another advantage of production renderings is that you can use different renderers, such as the
mental ray or VUE file renderer.
To choose between production or ActiveShade renderings, use the radio buttons described in the
Interface section below. To change the renderer assigned to production rendering, use the Assign
Renderer rollout.
See also
Render Scene
Procedures
To render a still image:
1. Activate the viewport to render.

Render Scene Dialog

The Render Scene dialog appears, with the Common panel active.
3. Make sure Single is turned on in the Time Output group of the Common Parameters rollout.
4. In the Output Size group, set other rendering parameters or use the defaults.
5. Click Render.
By default, the rendering appears in a rendered frame window.
Tip: To render a view without using the dialog, click Quick Render.
To render an animation:
1. Activate the viewport to render.

The Render Scene dialog appears, with the Common panel active.
3. Open the Common Parameters rollout. In the Time Output group, choose a time range.
4. In the Output Size group, set other rendering parameters or use the defaults.
5. In the Render Output group, click the ... button next to Save File.
6. On the Render Output File dialog, specify a location, name, and a type for the animation file,
and then click Save.
Typically, a dialog appears that lets you configure options for the chosen file format. Change
settings or accept the defaults, and then click OK to continue.
The Save File check box turns on.
7. Click Render.
Note: If you set a time range and do not specify a file to save to, the animation is rendered
only to the window. This can be a time-consuming mistake, so an alert warns you about it.
Tip: Once you have rendered the animation this way, you can render it again without using
the dialog by clicking Quick Render.
Interface

Render Scene Dialog
ProductionDisplays parameters for production rendering. Typically these settings are used
when you render a scenes final rendered output.
ActiveShadeDisplays parameters for ActiveShade rendering, which helps you preview the
effects of changes to lighting and materials.
Note: Global SuperSampling controls are disabled when using Activeshade.
Render Presets drop-down listLets you choose from among a set of preset rendering
parameters, or load or save rendering parameter settings. See Preset Rendering Options.
ViewportChooses the viewport to render. By default, this is the active viewport. You can use this
drop-down list to choose a different one. Only currently displayed viewports are available in the list.
Lock ViewWhen on, locks the view to the one shown in the Viewport list. This enables you to
adjust the scene in other viewports (which become active as you use them), and then click Render
to render the viewport you originally chose. When off, Render always renders the active viewport.
RenderRenders the scene.
When ActiveShade is chosen, the name of this button changes to ActiveShade, and clicking it opens
a floating ActiveShade window.
If the scene you're rendering contains bitmaps that cannot be located, a Missing External Files dialog
appears. This dialog lets you browse for the missing maps, or continue to render the scene without
loading them.
Rendering Progress dialog

Render Scene Dialog
When you click Render, a rendering progress dialog shows the parameters being used, and a
progress bar. The rendering dialog has a Pause button to the left of the Cancel button. When you
click Pause, the rendering pauses, and the button's label changes to Resume. Click Resume to
continue with the rendering.

Render Scene Dialog
Comments

Common Panel (Render Scene Dialog)
Common Panel (Render Scene Dialog)
Rendering menu > Render > Render Scene dialog > Common panel
Main toolbar > Render Scene > Render Scene dialog > Common panel
The Render Scene dialog's Common panel contains controls that apply to any rendering, regardless
of which renderer you have chosen, and that lets you choose renderers.
Interface

Email Notifications Rollout
Assign Renderer Rollout
Comments
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Raytrace Material
Raytrace Material
Material Editor > Type button > Material/Map Browser > Raytrace
Balls using raytrace material to reflect each other
Raytrace material is an advanced surface shading material. It supports the same kinds of diffuse
surface shading that a standard material does. It can also create fully raytraced reflections and
refractions. It also supports fog, color density, translucency, fluorescence, and other special effects.
The reflections and refractions Raytrace material generates are more accurate than those produced
by the Reflect/Refract map. Rendering raytraced objects can be slower than using Reflect/Refract.
On the other hand, Raytrace is optimized for rendering 3ds max scenes. You can further optimize it
for your scene by excluding specific objects from raytracing.
Note: If you want accurate, raytraced reflections or refractions in a standard material you can use
the Raytrace map, which uses the same raytracer. The Raytrace map and material share global
parameter settings.
Important: Raytrace map and Raytrace material use a surface's normal to decide whether
a ray is entering or exiting a surface. If you flip the normals of an object, you can get
unexpected results. Making the material 2-Sided doesn't correct the problem as it often
does with reflections and refractions in Standard materials.
In some cases, the colors in the Basic Parameters rollout of Raytrace material behave differently
from colors in standard materials. Standard material has a diffuse shading model that does an
excellent job of rendering solid, nonreflective objects such as plastic, ceramic, and so on. In effect,
this model applies color to the object. The color components in Raytrace material, on the other hand,
attempt to model their physical counterparts in nature.
In Raytrace material, the surface reflects its Diffuse color component without specular reflection,
while the Reflect color component controls the amount of specular reflection. These two material
components are layered together. The results you see depend on the layering effect. For example, if
the material is not transparent and completely reflective, no diffuse color is visible. If the material is
not transparent and completely nonreflective, only the diffuse color is visible.
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Raytrace Material
The Dynamics Properties rollout for the Raytrace material contains the same controls as the
dynamics properties for a standard material.
Raytrace material has a large user interface with a lot of controls. In general, if you are using
Raytrace to create reflections and refractions, the controls in the Basic Parameters rollout are the
only ones you need to adjust. The Extended Parameters rollout for Raytrace has controls for special
effects. The Raytracer Controls rollout affects the raytracer itself. Use the Raytracer Controls to turn
the raytracer on or off, and to toggle other options. Use the Global Raytracer Settings dialog
(Rendering > Raytrace Globals) to set options globally (for all Raytrace materials and maps in the
scene), including recursion depth.
Interface
Raytrace material has the following rollouts, which are described in these topics:
Raytrace Basic Parameters Rollout
Raytrace Extended Parameters Rollout
Raytracer Controls Rollout
SuperSampling Rollout
Raytrace Maps Rollout
Raytrace Dynamics Properties Rollout
The following dialogs are also part of the Raytrace materials interface:
Raytracer Global Parameters Rollout
Raytracing Acceleration Parameters Dialog
Raytrace Exclude/Include Dialog
Raytrace Antialiaser Dialog: Fast Adaptive Antialiaser
Raytrace Antialiaser Dialog: Multiresolution Adaptive Antialiaser
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Translucency
Glossary
Translucency
Glass on the right has a light green translucency.
A translucent material transmits light, but unlike a transparent material, it also scatters the light so
those objects behind the material cannot be seen clearly.
Raytrace materials can simulate translucency. A Raytrace material's Translucency color component
ignores surface normal directions, giving the effect of light scattering.
You can also obtain translucency effects using the Standard Material's new Translucent shader.
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Standard Material
Standard Material
Material Editor > Type button > Material/Map Browser > Standard
Scooter rendered with the default standard material
Standard material is the default material in the Material Editor sample slots. There are several other
kinds of material types.
The Standard material type provides a fairly straightforward way to model surfaces. In the real
world, the appearance of a surface depends on how it reflects light. In 3ds max, a standard material
simulates a surface's reflective properties. If you don't use maps, a standard material gives an
object a single, uniform color.
This topic introduces the controls for Standard material, exclusive of mapping.
Standard Color Components
A surface of a "single" color usually reflects many colors. Standard materials typically use a four-
color model to simulate this. (There are some variations depending on which shader you use.)
Ambient is the color of the object in shadow.
Diffuse is the color of the object in direct, "good" lighting.
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Standard Material
Specular is the color of shiny highlights.
Filter is the color transmitted by light shining through the object.

The filter color component isn't visible unless the material's Opacity is less than 100%.
When we describe an object's color in conversation, usually we mean its diffuse color. The choice of
an ambient color depends on the kind of lighting. For moderate indoor lighting, it can be a darker
shade of the diffuse color, but for bright indoor lighting and for daylight, it should be the
complement of the primary (key) light source. The specular color should be either the same color as
the key light source, or a high-value, low-saturation version of the diffuse color.
For more tips on choosing color components, see Choosing Colors for Realism.
Other Standard Material Components
A standard material's specular color appears in highlights. You can control the size and shape of the
highlight. A polished surface has a small and strong highlight. A matte surface has a large, weak
highlight, or no highlight at all.
Standard materials also have controls for making the object appear transparent, and for making it
self-illuminating so that it appears to glow.
Along with the material's color components, components also refers to the parameters that control
highlights, transparency, self-illumination, and so on.
Interface
The interface for a standard material is organized into several rollouts:

Shader Basic Parameters Rollout
Basic Parameters Rollout (Standard Material)
Extended Parameters Rollout (Standard Material)
Maps Rollout (Standard Material)
Dynamics Properties Rollout
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Types of Materials
Types of Materials
Rendering menu > Material Editor > Type button > Material/Map Browser > In Show group, turn
off Maps. > Material types are listed.
Materials create greater realism in a scene. A material describes how an object reflects or transmits
light. You assign materials to individual objects or selection sets; a single scene can contain many
different materials.
Different materials have different uses.
Standard material is the default material. This is a versatile surface model with a large number of
options.
Raytrace material can create fully raytraced reflections and refractions. It also supports fog, color
density, translucency, fluorescence, and other special effects.
Architectural material provides a physically accurate material. It is especially intended for use with
the default scanline renderer and radiosity.
mental ray materials are provided for use with the mental ray renderer.
Matte/Shadow material is specifically for making an object into a matte object that reveals the
current environment map. A matte object is effectively invisible in the scene, but it can receive
shadows cast onto it from other objects.
Shell material is for storing and viewing rendered textures.
Advanced Lighting Override material is used to fine-tune the effects of a material on radiosity
solutions or the Light Tracer. This material is not required for calculating advanced lighting, but it
can help improve the result.
Lightscape material helps support import and export of data from the Lightscape product.
Ink 'n Paint material gives a cartoon appearance to objects.
The DirectX 9 Shader material enables you to shade objects in viewports using DirectX 9 (DX9)
shaders. To use this material, you must have a display driver that supports DirectX 9, and you
must be using the Direct3D display driver.
Other material types fall into the category of Compound materials.
Compound Materials
Compound materials combine other materials in some way.
Blend material mixes two materials on a single side of a surface.
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Types of Materials
Composite material mixes up to 10 materials, using additive colors, subtractive colors, or opacity
mixing.
Double-Sided material lets you assign different materials to the front and back faces of an object.
Morpher material uses the Morpher modifier to manage multiple materials over time.
Multi/Sub-Object material uses the sub-object level to assign multiple materials to a single object,
based on material ID values.
Shellac material superimposes one material on another using additive composition.
Top/Bottom material lets you assign different materials to the top and bottom of faces of an
object.
Procedures
To get a material:
1. Click Get Material on the Material Editor toolbar.

2. Double-click a material type (not a map type) in the list, or drag the material to a sample slot.
The Material Editor replaces the original material.
To change a material type:
1. At the level of a material, click the Type button below the Material Editor toolbar.
A modal Material/Map Browser is displayed. If you were at a material when you clicked Type,
the Browser lists only materials (if you were at a map, it lists only maps).
2. Choose a material from the list, and then click OK.

If you choose a compound material, a Replace Material dialog is displayed. This dialog lets you
choose whether to keep or discard the original material.
The Material Editor now displays controls for the new material.
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Architectural Material
The settings for an Architectural material are physical properties, so it provides the greatest possible
realism when used with photometric lights and radiosity With this combination of features, you can
create lighting studies with a high degree of accuracy.
It is not recommended that you use the Architectural material with standard 3ds max lights in the
scene, or with the Light Tracer. The point of this material is to provide accurate modeling. Use it with
photometric lights and radiosity. The mental ray renderer, on the other hand, can render the
Architectural material, with some limitations described below.
Tip: If you don't need the degree of realism that the Architectural material provides, you can use a
standard material or other material type.
Material Templates
When you create a new material, you can choose from a variety of templates. A template is simply a
set of preset material parameters, which approximates the kind of material you want to create, and
gives you a starting point. See Templates Rollout.
Rendering Architectural Materials with the mental ray Renderer
The mental ray Renderer can render Architectural materials. There are some limitations, as follows:
Emit Energy (Based on Luminance): This setting is ignored. The Architectural material does not
contribute to the scene's lighting.
Sampling Parameters: These settings are ignored, as the mental ray renderer uses its own
sampling.
Interface
Templates Rollout
Physical Qualities Rollout
Special Effects Rollout
Advanced Lighting Override Rollout
mental ray Connection Rollout
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Photometric Lights
Photometric Lights
Photometric lights use photometric (light energy) values that enable you to more accurately define
lights as they would be in the real world. You can create lights with various distribution and color
characteristics, or import specific photometric files available from lighting manufacturers.
Note: Photometric lights always attenuate using an inverse-square falloff, and rely on your scene
using realistic units.
There are eight types of photometric light objects:
Target Point Light (Photometric)
Free Point Light (Photometric)
Target Linear Light (Photometric)
Free Linear Light (Photometric)
Target Area Light (Photometric)
Free Area Light (Photometric)
IES Sun Light (Photometric)
IES Sky Light (Photometric)
Distribution Capabilities of Photometric Lights
Each type of photometric light supports two or three different light distribution options.
The point light sources (target and free) support these distributions:
Isotropic
Spotlight
Web
The linear and area light sources (target and free) support these distributions:
Diffuse
Web
Parameters for Photometric Lights
Most of the photometric light parameters are common to all photometric light types, and are
described in the following topics:
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Photometric Lights
Intensity/Color/Distribution Rollout
Photometric Linear and Area Lights have rollouts specific to them:
Linear Light Parameters Rollout
Area Light Parameters Rollout
The remaining photometric light parameters are shared with standard lights, and are described in
the following topics:
Name and Color Rollout (Lights)
General Lighting Parameters
Shadow Parameters
Advanced Effects Rollout
Other photometric-specific topics include:
Common Lamp Values for Photometric Lights
Notes
A scene's lighting can also be affected by the Ambient Light setting on the Environment panel.
You can use the Place Highlight command to change a light's position.
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Create panel > Lights > Photometric Lights > Target Point button
Create menu > Lights > Target Point Light
A Target Point light, like a standard omni light, emits light from a geometric point. You can set the
light distribution; this light has three types of distribution, with corresponding icons. You use a target
object to aim the light.
Note: When you add a Target Point light, 3ds max automatically assigns a Look At controller to it,
with the the light's target object assigned as the Look At target. You can use the controller settings
on the Motion panel to assign any other object in the scene as the Look At target.
Note: When you rename a Target Point light, the target is automatically renamed to match. For
example, renaming Point01 to Klieg causes Point01.Target to become Klieg.Target. The target's
name must have the extension .Target. Renaming the target object does not rename the light
object.
Icons for Target Point light with isotropic, spotlight and web distribution
See also
Lights
Isotropic Light Distribution (Photometric Lights)
Spotlight Distribution (Photometric Lights)
Web Distribution (Photometric Lights)
Shadow Parameters
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Procedures
To create a Target Point light:
1. On the Create panel, click Lights.
2. Choose Photometric from the drop-down list. (The default is Standard.)
3. In the Object Type rollout, click Target Point.
4. Drag in a viewport. The initial point of the drag is the location of the light, and the point where
you release the mouse is the location of the target.
The light is now part of the scene.
5. Set the creation parameters.

You can use the Move transform to adjust the light.
To select the target:

The target, displayed as a small square, is often in the same area as objects that you want to
illuminate. It can be difficult to select it by clicking.
1. First select the target point light.
2. Right-click the light and choose Select Target from the quad menu.
You can also choose Lights from the Selection Filters list on the toolbar, and then click the
target. Clicking the line that connects the light and its target selects both objects.
To adjust the light and target:
1. Select the light or target or both.
2. On the Main toolbar, click Move. Drag the selection to adjust the light.
Because the light is always aimed at its target, you can't rotate it about its local X or Y axes.
However, you can select and move the target object as well as the light itself. When you move
either the light or the target, the light's orientation changes so it always points at the target.
For target point lights with spotlight distributions, you can also adjust the light using a Light
viewport.
To change a viewport to a light view:

Note: The viewport can only be set to a light view when the target point lights distribution is
spotlight.
1. Right-click the viewport label.

The viewport right-click menu is displayed.
2. Choose Views.
The name of each light is displayed in the Views list. By default, Target Point lights are named
Point01, Point02, and so on.
3. Choose the name of the light you want.

The viewport now shows the light's point of view. You can use the Light viewport controls to
adjust the light.
Tip: The default keyboard shortcut for Light viewports is $.
Comments

Look At Controller
Look At Controller
Create or select an object that contains a Target component, such as a target spotlight or camera.
> Motion panel > Look At Parameters rollout
The Look At controller is automatically assigned as a transform animation controller upon creation of
objects that contain targets, including Target Camera, targeted lights (including IES Sun/Sky) and
the Tape helper. It cannot be assigned by the user. To assign the equivalent of a Look At controller
to an object, use a LookAt constraint.
Note: A targeted object's pitch and heading are adjusted by moving the target, so the only
orientation setting that can be controlled directly by the user is Roll, or bank.
Note: There is a LookAt rotation controller that can be assigned to objects. This is different from the
transform Look At controller that is automatically assigned to targeted objects,
Example: To prevent flipping of targeted objects during rotation:
1. Add a Target Camera object.
2. Activate the Move tool and use the coordinate display to position the camera and target at
0,0,0 and 80,0,0, respectively.
3. Add a Dummy object and position it at 0,0,0.
4. Use Select And Link to link the camera to the dummy, and then link the camera target to the
dummy. At this point, the dummy is parent to both the camera and its target.
5. Rotate the dummy about its Y axis, and watch the camera.
As the target passes through the zenith and nadir of its orbit, the camera flips.
6. Select the camera and go to the Motion panel. On the Look At Parameters rollout, turn on Use
Target As Up Node.
7. Again rotate the dummy about its Y axis.

The camera no longer flips.
Interface
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Look At Controller
After you create or select an object that contains a Target component, you can access the object's
Look At properties on the Motion panel. In this rollout you can change the target, create and delete
animation keys, set the axis, and adjust other, related parameters.
Create KeySets a position, roll (orientation), or scale key at the current frame, depending on
which button you click.
Delete KeyDeletes a position, roll (orientation), or scale key at the current frame, depending on
which button you click.
Pick TargetLets you set a target other than the default Target object. Click this button, and then
select the new object to use as a target.
Thereafter, the new target controls the object's orientation. The original target remains in the scene,
and can be deleted or used as a Dummy helper.
AxisSpecifies the local axis that looks at the target. The Flip check box is used to flip the directions
of the axis.
Use Target as Up NodeWhen turned on, the controller forces the object on which it acts (source
node) to keep one of its local axes aligned with the look-at direction (the vector between the source
node and the target node). it also prevents the source node from rotating around the look-at
direction, to avoid flipping about the object's local Z axis.
The flipping behavior is most commonly seen when the line between a targeted object and its target
is close to vertical; that is, their positions on the World Z axis are nearly the same.
The option works by aligning one of the source node's local axes with one of the target node's local
axes. These axes are picked automatically by the software.
Note: This feature lets you properly manipulate Luminaire assemblies . It also provides for trouble-
free operation when you i-drop manufacturer luminaire assemblies.

Look At Controller
Tip: In some cases, the object will flip 90 or 180 degrees even when the Use Target As Up Node
option is turned on. This behavior occurs due to the fact that the axis alignment is automatic. To
resolve this, apply a roll angle to the object with the coordinate display.
Position/Roll/ScaleThese three buttons let you specify the other rollouts that appear for this
controller. In all three cases, the Key Info (Basic) and Key Info (Advanced) rollouts appear. When
Position is active, an additional Position XYZ Parameters rollout lets you specify the position axis.
Comments

Target Camera
Target Camera
Create panel > Cameras > Target
Create menu > Cameras > Target Camera
A target camera views the area around the target icon that you place when you create the camera.
A target camera is easier to aim than a free camera because you simply position the target object at
the center of interest.
You can animate both the target camera and its target to create interesting effects. To animate both
the target and camera along a path, it is best to link them both to a dummy object, then animate
the dummy.
Note: When you add a target camera, the software automatically assigns a Look At controller to it,
with the camera's target object assigned as the Look At target. You can use the controller settings
Target cameras always face their target.
Procedure
To create a target camera:
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Target Camera
Click Cameras on the Create panel, then click Target in the Object Type rollout.
Choose Create menu > Cameras > Target Camera.
2. Drag in a Top or Perspective viewport. The initial point of the drag is the location of the
camera, and the point where you release the mouse is the location of the target.
The camera is now part of the scene. It is aimed at the target, which is a separate object.
Interface
See Common Camera Parameters for a description of the common camera parameters.
The distance from the camera to the target is displayed at the bottom of the Parameters rollout. You
can animate this parameter, or directly animate the target object's location.
When you rename a target camera, the target is automatically renamed to match. For example,
renaming Camera01 to Rolli causes Camera01.Target to become Rolli.Target. The target's name
must have the extension .Target. Renaming the target object does not rename the camera object.
Clicking the line that connects the camera and its target selects both objects. However, region
selection doesn't recognize the link line.
If a target camera is already selected, you add its target to the selection by right-clicking the
camera, and then choosing Select Target from the quad menu > Tools1 quadrant. Or you can hold
down the CTRL key and click the target to add it to the selection set.
Comments
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Rendering menu > Render Scene dialog > Common panel > Email Notifications rollout
Main toolbar > Render Scene button > Render Scene dialog > Common panel > Email Notifications
rollout
This rollout lets a rendering job send email notifications, as network rendering does. Such
notifications can be useful when you launch a lengthy render, such as an animation, and don't care
to spend all your time near the system doing the rendering.
Interface
Enable NotificationsWhen on, the renderer sends an email notification when certain events
happen. Default=off.
Categories group
Notify ProgressSends emails to indicate rendering progress. An email is sent every time the
number of frames specified in Every Nth Frame has completed rendering. Default=off.
Every Nth FrameThe number of frames used by Notify Progress. Default=1.

Tip: If you turn on Notify Progress, almost certainly you want this value to be greater than the
default!
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Notify FailuresSends an email notification only if something occurs to prevent the completion of a
rendering. Default=on.
Notify CompletionSends an email notification when a rendering job is complete. Default=off.
Email Options group
FromEnter the email address of the person who initiates the rendering job.
ToEnter the email address of the person who needs to know the rendering status.
SMTP ServerEnter the numeric IP address of the system you use as a mail server.
Comments
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Main toolbar > Render Scene button > Render Scene dialog > Common panel > Assign Renderer
rollout
Rendering menu > Render > Render Scene dialog > Common panel > Assign Renderer rollout
The Assign Renderer rollout displays which renderers are assigned to the production and
ActiveShade categories, as well as the sample slots in the Material Editor.
The Quick Render flyout on the toolbar also chooses which renderer to use:
The Quick Render (Production) button uses the production renderer.
The Quick Render (ActiveShade) button uses the ActiveShade renderer.
These are the renderers that ship with 3ds max:

mental ray Renderer (not available for ActiveShade)
VUE File Renderer (not available for ActiveShade)
Additional renderers might be available if you've installed them as plug-ins.
Note: In versions prior to v4, you selected the production and draft renderers in the Rendering tab
of the Preferences dialog.
Interface
For each rendering category, the rollout shows the name of the renderer currently assigned, and a
button that lets you change the assignment.
Choose Renderer (...)Click the button with the ellipsis to change the renderer assignment. The
button displays a Choose Renderer dialog.
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ProductionChooses the renderer used to render graphic output.
Material EditorChooses the renderer used to render sample slots in the Material Editor.
By default, the sample slot renderer is locked to be the same as the production renderer. You
can turn off the lock button to assign a different renderer for sample slots.
ActiveShadeChooses the ActiveShade renderer used to preview the effects of lighting and
material changes in the scene.
The only ActiveShade renderer that ships with 3ds max is the default scanline renderer.
Save as DefaultsClick to save the current renderer assignments as defaults, so they will be
active the next time you restart 3ds max.
Comments
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VUE File Renderer
VUE File Renderer
Rendering menu > Render > Render Scene dialog > Choose VUE File Renderer as the active
production renderer. > Renderer panel > VUE File Renderer rollout
The VUE File Renderer creates VUE (.vue) files. VUE files use an editable ASCII format.
The VUE file contains the same data you'd find in a VUE file rendered in 3D Studio DOS, except for
morphing objects. The 3DS DOS VUE files listed morph target names and percentages, but that's
now impossible because the 3ds max 3DS exporter doesn't export morph targets.
Procedure
To create a .vue file:
1. Use the Render Scene dialog's Current Renderer rollout to assign the VUE File Renderer as the
Production or Draft renderer.
You can't assign the VUE File Renderer to be the ActiveShade renderer.
2. Activate a camera viewport.

Note: You must render from a camera viewport in order to include the coordinates for the
camera itself.
3. Choose the rendering configuration (Production or Draft) to which you assigned VUE File
Renderer, and use the VUE File Renderer's rollout to specify a file name.
4. Render the scene.

The VUE file is written to disk. The rendered frame window is displayed, but it doesn't display
an image.
Interface
Browse (...)Click to display a file selector dialog and choose a name for the VUE file to create
File nameThe text field displays the name of the file.
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VUE File Renderer
Comments
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VUE File
Glossary
VUE File
A VUE (.vue) file is an editable ASCII file. You create a VUE file using the VUE file renderer instead of
the default scanline renderer.
A VUE file contains a sequence of frames to render. Each frame is described by a sequence of
commands, beginning with a "frame" command, which specifies the frame number, and ending with
a viewport command, which specifies the view to render (such as "top" or "camera"). Between these
two commands, there can be any number of "transform", "light", and "spotlight" commands.
Note: VUE files created with 3DS DOS could also contain "morph" commands. This is not supported
in 3ds max because the 3ds max exporter doesn't export morph targets.
The VUE file commands are as follows:
frame <n>
transform <object name> <transform matrix>
light <light name> <x> <y> <z> <r> <g> <b>
spotlight <light name> <x> <y> <z> <tox> <toy> <toz> <r> <g> <b> <hot angle> <falloff
angle> <shadow flag>
top <x> <y> <z> <width>
bottom <x> <y> <z> <width>
left <x> <y> <z> <width>
right <x> <y> <z> <width>
front <x> <y> <z> <width>
back <x> <y> <z> <width>
user <x> <y> <z> <horiz> <vert> <roll> <width>
camera <x> <y> <z> <tox> <toy> <toz> <roll> <focal>
Frame Command
Begins each frame description. Has a single parameter: the frame number.
Transform Command
Transforms the specified object.

The first parameter is the name of the object. This is the name as it appears when you use
3ds max, but enclosed in double quotes.
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VUE File
The second parameter is a transform matrix. This consists of 12 real numbers:

T1 T2 T3 T4 T5 T6 T7 T8 T9 T10 T11 T12
The VUE file treats these as if they were arranged in a 4 x 4 matrix (M):
T1 T2 T3 0
T4 T5 T6 0
T7 T8 T9 0
T10 T11 T12 1
The first nine values, T1T9, describe rotation and scaling. The last three, T10T12, describe a
move, in world coordinates.
The VUE file renderer transforms the points of the object by post-multiplication:| X' Y' Z' 1| = | X Y
Z1|*M
Omni Light Command
Controls the location and color of an Omni light.

The first parameter is the name of the light. This is the name as it appears when you use 3ds max,
but enclosed in double quotes.
The next three parameters, <x>, <y>, <z>, are the light's location.
The next three parameters, <r>, <g>, <b>, are the light's color. The color values are normalized to
range between 0.0 and 1.0.
The last parameter, <shadow flag>, parameter is 1 if the light casts shadows, 0 otherwise.
Spotlight Command
Controls the location, color, and other characteristics of a target spotlight.

The first parameter is the name of the light. This is the name as it appears when you use 3ds max,
but enclosed in double quotes.
The next three parameters, <x>, <y>, <z>, are the light's location.
The next three parameters, <tox>, <toy>, <toz>, are the location of the light's target.
The next three parameters, <r>, <g>, <b>, are the light's color. The color values are normalized to
range between 0.0 and 1.0.
The <hot angle> parameter is the angle of the light's hot spot, in degrees.
The <falloff angle> parameter is the falloff angle, in degrees
The <shadow flag> parameter is 1 if the light casts shadows, 0 otherwise.

VUE File
Orthogonal Viewport Commands
These commands render a particular viewtop, bottom, left, right, front, or back.
The <x>, <y>, <z> parameters are the coordinates of the center of the view.
The <width> parameter is the width of the rendered image, in world units.
User Viewport Command
Renders the user view.

The <x>, <y>, <z> parameters are the coordinates of the center of the view.
The <horiz> parameter is the horizontal angle, in degrees.
The <vert> parameter is the vertical angle, in degrees.
The <roll> parameter is a placeholder for the roll anglebut this is an "empty," unused parameter
that must always be zero. To use roll in a VUE file, use a camera view instead of a user view.
The <width> parameter is the width of the rendered image, in world units.
Camera View Command
Renders a camera view.

The <x>, <y>, <z> parameters are the camera's location.
The <tox>, <toy>, <toz> parameters are the location of the camera's target.
The <roll> parameter is the camera roll angle, in degrees.
The <focal> parameter is the camera's focal length, in millimeters.
Comments

Exporting to 3DS
Exporting to 3DS
File menu > Export > Select File To Export dialog > Save As Type > 3D Studio (*.3DS)
3DS is the 3D Studio (DOS) mesh file format. You can export 3ds max files to this format.
When you export a 3DS file, the following information is exported:
Position, Rotation and Scale animation. If the controller is a TCB controller, the TCB, Ease In, and
Ease Out values are also saved. If the controller is any other type of key controller, the keys are
saved but the tangent information is lost. If the controller is not a key controller, only the object's
transformation at frame 0 is saved.
Basic material color/parameters from the Standard material.
Single maps with their amount, offsets, scales, etc.
Auto-cubics and Mirrors.
Target cameras, target spotlights and omni lights.
Most "static" parameters for cameras and lights, and animation tracks for Roll, Falloff, Hotspot,
and FOV.
When you export a 3DS file, the following information is not exported:
Composite and procedural maps.
Grouped object transformations. There's no concept of group hierarchy in the 3D Editor. Groups
export to the Keyframer because the Keyframer understands hierarchies.
Global shadow parameters.
When you export a 3DS file, the following occur:
All non-mesh geometry, such as procedural primitives and patches, are collapsed to meshes
before export.
Objects are exported as they exist on the frame 3ds max displays at export time.
If you want to output morph targets, go to each frame and export the target to a different file
name.
Meshes are saved with edge display information and smoothing groups.
3ds max instances are saved as Keyframer instances.
Modifier and morph animation is frozen at the current frame, collapsed, and exported as a simple
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Exporting to 3DS
mesh.
Interface
When you choose 3DS as the export file format, enter a file name, and click Save, an Export Scene
to .3DS File dialog is displayed. This dialog has a single option:
Preserve MAX's Texture CoordinatesWhen on, preserves mapping coordinates. When off,
mapping information is discarded. Default=on.
Comments
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Select Objects Dialog
Main toolbar > Select By Name > Select Objects dialog
Edit menu > Select By > Name
Keyboard > H
The Select Objects dialog allows you to select objects by choosing them from a list of all objects in
the scene.
Warning: The Select By Name button and Select Objects dialog are context dependent.
When one of the transforms (such as Select and Move or Select and Manipulate) is active,
the dialog lets you choose from all objects in the scene. But when certain modes are
active, the choices in the dialog are more limited. For example, when Select and Link is
active, the dialog is entitled Select Parent, and shows linkable objects but not the child
object already selected. Similarly, if Group > Attach is active, the dialog lists groups but
not solitary objects.
Procedure
To select objects by name:
Click the Select By Name button on the toolbar.
Choose Edit menu > Select By > Name.
Press H.
The Select Objects dialog appears. By default, it lists all objects in the scene. Currently
selected objects are highlighted in the list.
2. Choose one or more objects in the list.

Drag, or click and then SHIFT+click to select a continuous range of objects and CTRL+click to
select noncontinuous objects.
In the field above the list, you can type a name to select that object. You can use the asterisk
(*) and the question mark (?) as wildcards to select multiple names.
3. Click Select.
The selection is made as the dialog disappears.
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Interface
Select Objects list
Objects are listed according to the current Sort and List Types selections.
All, None, and InvertThese buttons alter the pattern of selection in the list window.
Display SubtreeDisplays each item in the list so that its hierarchical branch is included (for
example, Thigh/Shin/Foot). Hierarchical branches are indented.
Case SensitiveWhen on, the software considers the case of the characters for each item in the
list. Uppercase letters are listed above lowercase letters. In addition, the field above the list becomes
case-sensitive.
Select SubtreeWhen this is on and you select an item in the list window, all of its hierarchical
children are selected as well.
Select DependentsWhen this is on and you select an item in the list, all of its dependent objects

are selected as well. Dependents include instances, references, and objects sharing a common
modifier (the same objects that appear green when Show Dependencies is on in the View menu).
When both Select Subtree and Select Dependents are on, the subtree of any newly selected node is
selected, and then the dependents are selected. (Dependents of the subtree are selected, but not
the subtrees of all dependents.)
If you click Select By Name while Select and Link is active, Select Subtree and Select Dependents
are not available.
Sort group
Specifies the sort order of the items displayed in the list.

AlphabeticalSorts from numeric characters at the top, then A to Z at the bottom.
By TypeSorts by category, using the same order as the check boxes in the List Types group.
By ColorSorts by object wireframe color. The sorting order is arbitrary; the value of this option is
that objects of the same color are grouped together.
By SizeSorts based on the number of faces in each object. The object with the least number of
faces is listed first, followed by objects with successively greater number of faces.
List Types group
Determines the types of objects to display in the list.

All, None, and InvertThese buttons alter the pattern of selection in the list window.
Selection Sets group
Lists any named selection sets that you have defined in the scene. When you select a selection set
from the list, the software highlights its component objects in the main list.
Comments

Hierarchical Linkage
Glossary
Hierarchical Linkage
3ds max uses a family-tree analogy to describe the relationship between objects linked together in
a hierarchy.
ParentAn object that controls one or more children. A parent object is often controlled by another
superior parent object.
ChildAn object controlled by its parent. A child object can also be a parent to other children. An
object that doesn't have any parent is by default a child of the world. (The "world" is an imaginary
object that acts as the root of all other objects in the scene.)
AncestorsThe parent and all of the parent's parents of a child object.
DescendentsThe children and all of the children's children of a parent object.
HierarchyThe collection of all parents and children linked together in a single structure.
RootThe single parent object that is superior to all other objects in the hierarchy. All other objects
are descendents of the root object.
SubtreeAll of the descendents of a selected parent.
BranchA path through the hierarchy from a parent to a single descendent.
LeafA child object that has no children of its own. The lowest object in a branch.
LinkThe invisible connection between a parent and its child. The link is a conduit for transmitting
position, rotation, and scale information from parent to child.
PivotDefines the local center and coordinate system for each object. You can think of links as
connecting the pivot of a child object to the pivot of its parent.
Comments
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Modal/Modeless
Glossary
Modal/Modeless
Modal is a command state or dialog that affects all operations. You must change the mode or dismiss
the dialog before doing any operations that don't pertain to that mode.
Modeless means a nonexclusive command state or dialog. You can do other operations and
commands without changing the mode or dismissing the dialog.
For example, the Track View and Material Editor dialogs are modeless, while the Open File dialog is
modal.
Comments
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Materials for Use with the mental ray Renderer
Materials for Use with the mental ray Renderer

A few materials are provided specifically for use with the mental ray renderer. These materials are
visible in the Material/Map Browser when the mental ray renderer is the active renderer, and when
the mental ray Preferences panel has enabled the mental ray extensions.
mental ray
The mental ray material has components for the surface shader, and for the other nine optional
shaders that make up a material in mental ray.
DGS
DGS stands for Diffuse, Glossy, and Specular. This material behaves in a physically realistic way.
Glass
The Glass material simulates both the surface properties and the light-transmitting (photon)
properties of glass.
Note: When you wire the parameters of an object with a mental ray material assigned, names of
material parameters might differ from those in the Material Editor interface. Also, parameters not
supported by 3ds max might appear as blanks in the wiring menu.
Comments
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mental ray Preferences
Customize menu > Preferences > mental ray panel
Interface
General group
Enable mental ray ExtensionsWhen on, enables certain features that provide additional support
for the mental ray renderer. When off, these features do not appear in the interface. Default=off.
These are the features enabled as mental ray extensions to 3ds max:
mental ray Connection rollout for materials (Material Editor)
mental ray Indirect Illumination rollout (Modify panel for lights)
mental ray Light Shader rollout (Modify panel for lights)
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Rendering group
Show Brackets on Current BucketsDisplays white selection brackets at the corners of the
bucket currently being rendered. Default=on.
Clear Frame Window Before RenderWhen on, the rendered frame window is grayed out by
clearing every other scanline. This makes it easier to see the progress of rendering. On the other
hand, it can make it harder to see the effect of small changes to the model or the view. Default=on.
Messages group
Open Message WindowClick to display the mental ray Messages Window.

Note: You won't be able to move or resize the Messages Window, or use any of its controls, until you
close the Preferences dialog.
Open Message Window on ErrorWhenever the mental ray renderer detects an error, it
generates an error message. When this option is on, the Messages Window is displayed and the
error message appears in it. Default=off.
Show/Log Information MessagesWhen on, displays informational messages in the Messages
Window. Default=off.
Show/Log Progress MessagesWhen on, displays progress messages in the Messages Window.
Default=off.
Log Debug Messages (to file)When on, writes debug messages to the log file, if one has been
specified. Default=off.
Debug messages are never displayed in the Messages Window. The mental ray renderer generates a
large number of them, which would make the window hard to read.
Write Messages to FileWhen on, generates a mental ray log file. Default=off.
The other log file options are unavailable unless you turn on Write Messages To File:
Append to FileWhen on, appends messages to the existing file. When off (or if the named file
is not found), only new messages are written to the file. Default=off.
FileClick to display a file dialog that lets you choose the name and location of the .log file.
File name fieldWhen you have specified a .log file, this field shows its name and its path.
Comments
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Material Editor > Click a sample slot that contains a material other than a Multi/Sub-Object or a
mental ray material. > mental ray Connection rollout
The mental ray Connection rollout is available for all types of materials except the multi/sub-object
material and the mental ray materials themselves (for which it would be redundant). With this
rollout you can add mental ray shading to conventional 3ds max materials. These effects are visible
only when you use the mental ray renderer.
Important: The mental ray Connection rollout does not appear unless you have enabled
the mental ray extensions by using the mental ray Preferences panel. In addition, you
can't assign shaders to the options in this rollout unless the mental ray renderer is the
currently active renderer.
Interface
For each kind of shader on this rollout, there is a toggle and a button.
The toggle controls whether the assigned shader is active or not.

If no shader is assigned, the toggle has no effect.
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The button lets you assign a shader to the component type. Clicking it displays the Material/Map
Browser: assigning a shader is just like assigning a map to a component of a standard material.
While a shader is assigned, its name appears on the button.
In addition to the toggle and button, some of the shader types have a lock button to the
right. When button is on, the compenent is inherited from the base material, and you can't assign
a shader. For example, by default the Surface component is locked, and the surface is shaded
using the settings of the 3ds max material (basic parameters, maps, and so on). Turn off this
button to replace the base material's settings with a mental ray shader.
Note: Using a shader for the Surface component can result in a material whose appearance in
mental ray renderings is completely different from the appearance it has in the sample slot,
viewports, and scanline renderings.
Basic Shaders group
SurfaceShades the surface of objects that have this material. Default=locked to parent material.
In addition to any of the usual 3ds max materials, the surface component can be assigned the
following mental ray materials or shaders:
Shader Library
Bump 3ds max
DGS Material 3ds max
Dielectric base
Dielectric Material 3ds max
Edge lume
Facade lume
Glass lume
Glow lume
Landscape lume
Material to Shader 3ds max
Metal lume
Ocean lume
Opacity base
Reflect base
Refract base
Shader List 3ds max

Stain lume
Translucency lume
Transmat physics
Transparency base
Two Sided base
UV Generator 3ds max
Water Surface lume
Wet-Dry Mixer lume
XYZ Generator 3ds max
Note: Unlike a standard 3ds max material, if you assign the Surface component a bitmap with tiling
turned off, the original surface color does not show through. In renderings, you see only the
untiled map, and none of the rest of the object.
ShadowAssigns a shadow shader. Default=locked to parent material.
The shadow component can be assigned the following shaders:
Shader Library
Edge Shadow lume
Facade lume
Glass lume
Glow lume
Metal lume
Shader List 3ds max
Shadow Transparency base
Translucency lume
Transmat physics
Water Surface Shadow lume
Caustics and GI group
PhotonAssigns a photon shader. Photon shaders affect how object surfaces respond to photons;
that is, they control how the surfaces behave when generating caustics and global illumination.
Default=locked to parent material.
The photon component can be assigned the following shaders:

Shader Library
Dielectric Material Photon 3ds max
Edge lume
Glow lume
Metal lume
Photon Basic base
Translucency lume
Transmat physics
Photon VolumeAssigns a photon volume shader. Photon volume shaders affect how an object's
volume responds to photons; that is, they control how the volume behaves when generating caustics
and global illumination.
The photon volume component can be assigned the following shaders:
Shader Library
Parti Volume Photon physics
Shader List 3ds max
Extended Shaders group
DisplacementAssigns a displacement shader. Default=locked to parent material.

The displacement component can be assigned the following shaders:
Shader Library
3D Displacement 3ds max
Ocean lume
VolumeAssigns a volume shader.

The volume component can be assigned the following shaders:
Shader Library
Beam lume

Mist lume
Shader List 3ds max
Submerge lume
EnvironmentAssigns an environment shader. The environment shader provides an environment

local to the material. It is visible if the material is reflective or transparent.
The environment component can be assigned the following shaders:
Shader Library
Environment 3ds max
Shader List 3ds max
Advanced Shaders group
ContourAssigns a contour shader.

The contour component can be assigned the following shaders:
Shader Library
Combi contour
Curvature contour
Depth Fade contour
Factor Color contour
Layer Thinner contour
Simple contour
Width From Color contour
Width From Light contour
Width From Light Dir contour
Light MapAssigns a light map shader.

Warning: No light map shaders are provided with 3ds max. This option is for users who
have access to light map shaders via other shader libraries or custom shader code.
Optimization group

Flag Material as OpaqueWhen on, indicates that the material is fully opaque. This tells the
mental ray renderer that it doesn't need to process transparency for this material, or to use the
shadow shader. This can improve rendering time. Default=off.
Comments

Bump Shader (mental ray)
Material Editor > mental ray material > Click the button for the Surface or Bump component. >
Material/Map Browser > Bump (3dsmax)
Note: Shaders do not appear in the Browser unless you have enabled the mental ray extensions by
using the mental ray Preferences panel. In addition, shaders don't appear unless the mental ray
renderer is the currently active renderer.
The Bump shader provides bump mapping for the mental ray renderer. Bumps are created by
perturbing face normals before the object is rendered, using the same method as bump mapping for
the scanline renderer.
Warning: Although you can assign a Bump shader to the Surface component, if you assign
only a Bump shader, the surface will render as black. For the Surface component, use the
Bump shader in a Shader List, or for the mental ray material, use the Bump component
itself.
Interface
Bump (3dsmax) Parameters rollout
MultiplierAdjust the bump effect by multiplying the map values. Negative Multiplier values
reverse the bump effect: hollow areas now protrude, and raised areas become hollow. Default=1.0.
MapClick to display the Material/Map Browser and choose a map to use for generating bumps.
Bump mapping uses the intensity of the map to affect the surface of the material. The intensity
affects the apparent bumpiness of the surface: white areas protrude, and black areas recede.
Shaders rollout
The controls on this rollout let you assign a map or shader to the Multiplier parameter. Click the
button for a component to display the Material/Map Browser and assign the map or shader. Use the
toggle at the left to turn the effect of the map off or on.
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The button to the right of the main shader button is for shaders that can return multiple
parameters. If a shader that returns multiple parameters is assigned to the component, the button's
tooltip shows the parameter name. Clicking the button displays a Connect Parameter To Shader
dialog, which lets you change which parameter is being used.
Important: UV Coordinate and XYZ Coordinate are the only shaders with multiple return
values provided with 3ds max. You might encounter multiple return values in shaders
provided with other shader libraries or custom shader code.
Comments
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Bump Mapping
Bump Mapping
Material Editor > Standard material > Maps rollout > Bump button
An object with two different bump maps.
You can select a bitmap file or procedural map to use for bump mapping. Bump mapping makes an
object appear to have a bumpy or irregular surface. When you render an object with a bump-
mapped material, lighter (whiter) areas of the map appear to be raised, and darker (blacker) areas
appear to be low.
Note: The effect of a bump map is not previewed in viewports. You must render the scene to see the
bump effect.
Bump mapping uses the intensity of the map to affect the surface of the material. In this case, the
intensity affects the apparent bumpiness of the surface: white areas protrude, and black areas
recede.
Use bump maps when you want to take the smoothness off a surface, or to create an embossed
look. Keep in mind, however, that the depth effect of a bump map is limited. If you want extreme
depth in a surface, you should use modeling techniques instead. For example, the Displace modifier
pushes surfaces or faces in and out based on the intensity of a bitmap image. (Displacement
mapping is another way to do emboss a surface.)
Grayscale images can make effective bump maps. Maps that shade between white and black
generally work better than maps with hard edges between the white and black areas.
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Bump Mapping
The bump map Amount adjusts the degree of bumpiness. Higher values render as higher relief; low
values render as low relief.
The bumps are a simulation created by perturbing face normals before the object is rendered.
Because of this, bumps don't appear on the silhouette of bump-mapped objects.
Tip: If you render a bump-mapped material and notice aliasing in the highlights, try turning on
supersampling and rendering again.
Procedure
To assign a bump map:
1. Click the Map button labeled Bump.

(If you choose Bitmap as the map type, you first see a file dialog that lets you choose the
image file.)

Tip: To avoid aliasing caused by a 2D bump map, go to the bump map's Coordinates rollout.
Set Blur to be in the range 0.3 to 0.6, and increase Blur Offset to be greater than 0.0. The
default Blur and Blur Offset values work well for mapping other material components, but for
bump mapping, lower Blur and higher Blur Offset values give better results.
To remove a bump map from a material:

Tip: You can disable the map without removing it. Simply turn off the toggle immediately to the left
of the map button on the Special Effects rollout.
1. If the Material Editor is displaying the map controls, click the Type button to display the
Material/Map Browser. If the map controls aren't visible, click the Bump map button to display
them, and then click the Type button.
2. In the Browser, choose NONE as the map type, and then click OK.
The map is removed.
Comments
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Procedural Maps
Glossary
Procedural Maps
Unlike a bitmap, which is an image produced by a fixed matrix of colored pixels like a mosaic, a
procedural map is generated by a mathematical algorithm. Consequently, the types of controls you
might find for a procedural map will vary depending on the capabilities of the procedure.
Three procedural maps (bricks, Perlin marble, and splat), with variations
3D procedural maps are patterns generated procedurally in three dimensions. For example, Marble
has a grain that goes through the assigned geometry. If you cut away part of an object with marble
assigned as its texture, the grain in the cutaway portion matches the grain on the object's exterior:
it is all generated by the same program.
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Procedural Maps
Comments
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BMP Files
BMP Files
BMP files are still-image bitmap files in the Windows bitmap (.bmp) format.
Interface
Clicking Render or Setup in the Render Output File dialog displays the BMP Compression dialog.
8 Bit Optimized palette (256 Colors)Choose to render a smaller, 8-bit color file.
RGB 24 bit (16.7 Million Colors)Choose to render a larger, true color (24-bit) file.
Comments
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The file format for the combustion product from Discreet. CWS is a resolution-independent,
vector/raster file format.
You can use CWS files in conjunction with the Combustion map. You can't use a CWS file as a
general-purpose bitmap. You can also generate a CWS file by using the Render Elements option
when you render a scene.
Important: Only combustion 2.1 and 3 formats are supported. Maps in the combustion
1 format are not supported in 3ds max 6.
Comments
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Combustion Map
Combustion Map
Material Editor > Maps rollout > Click a Map button. > Material/Map Browser > Combustion
With the Combustion map, you can create maps interactively using the Discreet combustion product
and 3ds max at the same time. You use combustion software to paint on a bitmap, and the
material updates automatically in the Material Editor and in shaded viewports.
Important: The combustion map works only if Discreet combustion is installed on your
system.
Important: Only combustion 2.1 and 3 formats are supported. Maps in the combustion 1
format are not supported in 3ds max 6.
Important: The mental ray renderer does not support the Combustion map.
See also

Noise Rollout (2D)
About the 3ds max and combustion Integration
You can use combustion as a material map in 3ds max. With a Combustion map, you can create a
material from a Paint or composite operator, and in turn apply that material to objects in a 3ds max
scene. The Combustion map can include combustion effects, and it can be animated.
In addition, with combustion you can import 3ds max scenes that have been rendered to a rich
pixel file (RPF or RLA file). The imported rich pixel rendering becomes an element of your composite.
You can adjust its 3D position relative to video elements of the composite, and you can apply
combustion 3D Post effects to objects within it. See the combustion Users Guide for more
information.
Note: Because 3ds max runs only on Windows, you cannot use combustion to create material maps
on a Macintosh.
Note: The environmental atmospheric effect known as "Combustion" in versions of 3ds max prior to
v4 is now known as the Fire effect.
3ds max Materials and the Combustion Map
In 3ds max, a material is data that you assign to the surface or faces of an object so that it appears
a certain way when rendered. Materials affect the color of objects, their shininess, their opacity, and
so on.
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Combustion Map
The Material Editor is the portion of 3ds max that creates and manages materials. In the Material
Editor, you can assign maps to a material's color components and to its numeric components such as
opacity. Maps add images, patterns, color adjustments, and other effects to the visual properties of
the material.
In the 3ds max Material Editor, you assign a map by clicking the map button for a component color
or other component. This displays the Material/Map Browser, which lets you choose the map type.
3ds max provides several types of maps. The most basic is a 2D map, a two-dimensional image that
is typically mapped onto the surface of geometric objects.
Other uses of 2D maps are as environments to create a background for the scene, as projections from
lights, and as displacements to "emboss" geometry.
A Combustion map is a 2D map. It is a combustion project used by the 3ds max Material Editor, so
like any combustion project, it is vector-based, animatable, and fully editable. From within the
Material Editor, you can have combustion create a new project from scratch, or use an existing
composite or Paint branch. You can synchronize the combustion Timeline with the 3ds max time
slider so animated materials synchronize with your 3D scene.
With a Combustion map, you can paint in either program: that is, you can paint either in the
combustion viewport or on 3ds max objects. Both programs update the paint display. You also have
the option of using combustion to paint on an "unwrapped" projection of 3ds max object geometry.
Tips for Working with a Combustion Map in 3ds max
If you have a dual-screen configuration, you can set it up so you can see both the 3ds max and
the combustion windows at the same time. Otherwise, you need to use ALT+TAB to switch
between the two windows.
To work with combustion, the 3ds max object must have mapping coordinates. Primitive objects
have a Generate Mapping Coordinates toggle, which is automatically enabled when you assign a
mapped material to the object. Some objects, such as editable meshes, do not have a Generate
Mapping Coordinates toggle. For these kinds of objects, go to the Modify panel and apply a UVW
Map modifier.
Sometimes it can be hard to see how the combustion operator is oriented to the 3ds max
object's mapping coordinates. It can help to paint some temporary strokes in combustion to see
how they are aligned in 3ds max viewports. Displaying the mapping coordinates in combustion
can help. See the procedure, "To display an unwrapped mesh." It can also help to paint directly on
the object in a 3ds max viewport. See the procedure, "To paint directly on the 3D object."
Procedures
To create a new combustion map:

Combustion Map
2. Drag an unused sample slot from the Material Editor to the object you want to paint.
3. In the Material Editor, click the map button for the Diffuse Color component. This button is on
the materials Basic Parameters rollout.
All standard materials have a Basic Parameters rollout, whose controls vary depending on the
chosen shader. The Strauss shader has only one color component, labeled Color.
The Material/Map Browser appears.
4. In the Material/Map Browser, choose Combustion, and click OK.

A Combustion map is assigned to the Diffuse Color, and a black material map appears in the
active sample slot.
5. Click to turn on Show Map In Viewport.

In the scene, the object turns black in shaded viewports.
6. In the Parameters rollout, click Edit.

Combustion Map
This launches combustion, which displays the New Workspace dialog.
7. Set up the new project.

The composite or Paint branch that you create in combustion appears on the object in
3ds max viewports, as well as in the sample slot for the material with the Combustion map. The
workspace name and path are assigned to the material, and appear on the Project button in the
materials Combustion Parameters rollout.
For example, you can use the Paint operator in combustion. When you release the mouse, the
stroke appears on the 3ds max object.

Combustion Map
Paint operator in combustion
Painted object in 3ds max
To display an unwrapped mesh:

In the 3ds max Material Editor, you can use the Unwrap Mesh feature to display your 3D object as a
2D mesh in combustion. You can adjust the color and size of the mesh.
The mesh display is only an overlay to help you orient paint strokes and other combustion effects. It
is displayed in combustion but is not a part of the composite or the map.
1. Create a Combustion map.
2. In the 3ds max Material Editor, enable Unwrap Selected in the Live Edit group.

Combustion Map
In combustion, a mesh appears. This is an "unwrapped" projection of the 3D object.
3D object in 3ds max
Corresponding mesh in combustion
To set the mesh parameters:

Combustion Map
In combustion, choose File > Preferences > Mesh.
Use To
Anti-Alias Mesh Remove jaggies from the mesh.
Display During Playback Display the mesh when you play back the animation.
Color Click the color box to set the color of the mesh using a color picker.
To paint directly on the 3D object:
2. In combustion, select one of the following drawing tools:
Freehand
Straight Line
Rectangle
Ellipse
3. In the 3ds max Material Editor, enable Paint in the Live Edit group of the Combustion
Parameters rollout.
In the 3ds max viewport, a pen cursor appears. Drag the cursor over the object to paint on it.

Combustion Map
When you release the cursor, the Paint object also appears in combustion.
To animate combustion Paint strokes:
2. In combustion, set the time scale to start at frame number 0. Choose File > Preferences. In
the Preferences dialog select General, set Display Time As to Frames (From 0), and then click
OK.
3. In the 3ds max Material Editor, enable Track Time in the Live Edit group of the Combustion
Parameters rollout.
Now the time slider in 3ds max controls the Timeline indicator in combustion.
4. In 3ds max, move the time slider to a frame and create a Paint object.
The Paint object appears on that frame in both combustion and 3ds max.
5. Move to another frame and use combustion to modify the Paint object. combustion uses
interpolation to determine the appearance of the Paint object between keyframes. If you add a
new Paint object, that object simply appears, starting on the frame where you created it.
6. Continue advancing in the clip, adding and modifying Paint strokes and effects to create your
animated material. For more information on animating objects in combustion, refer to the
combustion Users Guide.
You can add Paint strokes in either program, but to modify them you must use combustion.
Note: Remember, combustion tracks the time slider in 3ds max, but 3ds max does not track
the Timeline indicator in combustion. If the 3ds max viewport does not appear to be updating
as you paint in combustion, you might be painting on a different frame than the one displayed
in 3ds max. To find your Paint objects, move to the correct frame in 3ds max.

Combustion Map
To use an existing combustion workspace as a material map in 3ds max:
1. Open the Material Editor and select an unused sample slot.
2. In the Material Editor, expand the Maps rollout, and click the Map button next to the Diffuse
Color component.
3. In the Material/Map Browser, choose Combustion, and click OK.

A Combustion map is assigned to the Diffuse Color, and a black material map appears in the
active sample slot.
4. In the Combustion Parameters rollout, click the Project bar.
The Open Project dialog appears.
5. Browse for the workspace file (.cws) that you want to use as a map, and click the Open button.
The combustion workspace name and path appear in the Project button.

Combustion Map
To apply the map to an object, drag the sample slot from the Material Editor to the object in a
3ds max viewport.
To edit the map, click the Edit button in the Parameters rollout. In combustion, the workspace
corresponding to the selected map opens, and you can edit the image.
To paint geometry with a bitmapped material already assigned to it:
1. In 3ds max, select the object that you want to paint.
2. In the Material Editor, select an unused sample slot.
3. Click the Pick Material From Object button, then click the object in the viewport to put the
object's material in the selected sample slot.
4. Open the Maps rollout and note the name of the bitmap file. Click Map to go to the bitmap level
of the material.
5. Click the map's Type button.

6. In the Material/Map Browser, choose Combustion to change the type from Bitmap to a
combustion map.
7. On the Paint Parameters rollout, click the blank Project button, and then choose the same
bitmap.
8. Click Edit.
combustion is launched and the Import Footage dialog appears. Import the same bitmap.
To paint on the bitmap, select Paint. You can also key or color correct the bitmap, or use it to
build a composite. For more information, see the combustion User's Guide.
9. In the 3ds max Material Editor, click Show Map In Viewport.

In the scene, the object is mapped in shaded viewports.

Combustion Map
Object with original bitmap
Object with painted bitmap
To paint selected faces:

Use a multi/sub-object material to control the location of your painting. Any sub-material can have a
Combustion map, so you can use combustion to affect only the selected faces.
1. In 3ds max, select the object you want to paint.
2. In the Modify panel, apply an Edit Mesh modifier to the object. (Choose Edit Mesh from the
Modifier drop-down list.)
If you are working with an editable mesh object, or a patch or NURBS surface, skip step 2. For
geometry primitives, an option is to convert the object to a mesh, patch, or NURBS surface
before step 3. However, you then lose the ability to adjust object parameters (for example, the
radius of a sphere, the height of a box).
3. Choose Face as the sub-object selection level. Select the faces on which you want to paint.

Combustion Map
4. Drag a material from a sample slot in the Material Editor onto the selected faces.
5. In the modifier stack display, choose the object again, to disable sub-object selection.
6. In the Material Editor, use Pick Material From Object to grab the material from the geometry.
You now have a new multi/sub-object material. The original material appears as a sub-material
applied to the selected faces.
7. In the multi/sub-object material, go to the material assigned to the faces you want to paint.
A multi/sub-object material is simply a container for multiple sub-materials assigned to different
faces of the same object. Click a Sub-Material button to go to a sub-material.

Combustion Map
8. Assign a Combustion map to the Diffuse component of the sub-material applied to the selected
faces.
9. Click Edit to launch combustion.
10. Use the tools in combustion to modify the material.
To modify a combustion map:
1. In the Material Editor, select the material you want to modify.

Material maps created in combustion are vector-based and fully modifiable.
2. In the Combustion Parameters rollout, click the Edit button.

The workspace corresponding to the combustion map opens in combustion. As you modify the
workspace in combustion, the map is updated in 3ds max.
3. In combustion, save the workspace before you disable the Edit button in 3ds max.
To create a displacement map:

In 3ds max, the Displace modifier acts as a force field to push and reshape an object's geometry.
You can apply its variable force directly from the modifier gizmo, from a bitmap image, or from a
combustion workspace.

Combustion Map
The grayscale component of the image is used to generate the displacement. Lighter colors in the
image push outward more strongly than darker colors, resulting in a 3D displacement of the
geometry.
1. In 3ds max, select the object to which you want to apply the displacement map.
In this example, the displacement is applied to a box primitive.
In the object's Parameters rollout, increase the number of Length and Width Segments. The
closer the number of segments approaches the resolution of the displacement map, the more
accurate is the result.
In the example, 150 by 150 gives good results.
2. Apply a Displace modifier: in the Modify panel, choose Displace from the Modifier drop-down list.
3. In the Parameters rollout, Image group, click the Map button.

Combustion Map
4. The Material/Map Browser appears. Select Combustion and click OK.

The Map button now reads Map #1 (Combustion).
5. Open the Material Editor, and then click and drag the Map #1 (Combustion) button to an unused
sample slot in the Material Editor.
An Instance (Copy) Map dialog is displayed.
6. Select Instance and click OK.
7. In the Material Editor, Combustion Parameters rollout, click Edit.

This launches combustion. In the New dialog, set the Type To Paint, and create a grayscale
image to use as a displacement map. For more information, see the combustion User's Guide.

Combustion Map
8. In 3ds max, increase the Displacement strength in the modifier Parameters rollout.
As you increase the strength, you can see the result of the displacement map on the selected
object.
9. In combustion, save your project, then in 3ds max, disable Edit in the Combustion Parameters
rollout to exit Edit mode.
Interface
2D Mapping Coordinates

Combustion Map
Like any 2D map in 3ds max, mapping coordinates control how a Combustion map is positioned on
objects.
For geometric primitives, mapping coordinates are usually provided automatically. For some kinds of
geometry, such as meshes, patches, and NURBS surfaces, you must apply a UVW Map modifier to
provide mapping coordinates.
Controls in a 2D map's Coordinates rollout affect how the map is positioned.
When you work with a Combustion map, these are the important points to remember:
When you apply a Combustion map to an object, leave mapping set to the default values of
Texture and Explicit Map Channel.
When you use a Combustion map as an environment map, set mapping to Environ and then choose
the mapping shape from the Mapping drop-down list.
The offset, tiling, mirror, and angle controls are useful especially when the size of the projected
Combustion map is smaller than the geometry.
You can choose between UV, VW, and WU projections. (You can also do this from the Combustion
Parameters rollout, as described below.) UV projects onto the surface of geometry like a slide
projector. VW and WU project the map at right angles to the geometry. With a Combustion map,
UV is almost always the most useful choice.
Combustion Parameters rollout
The Combustion Parameters rollout appears when you assign a Combustion map to a material.

Combustion Map
ProjectLoads the file to use in combustion. You can load only file types supported by Discreet
combustion, such as combustion workspace files (cws), or footage and image file formats
supported by combustion (see the combustion User's Guide for information on supported footage
formats).
EditLaunches combustion from the 3ds max Material Editor. If a project is loaded, it is opened in
combustion. If no project is loaded, combustion displays the New dialog. This dialog lets you
specify a project type, name, video format, duration, and background color.
Live Edit group
These controls affect how you use combustion with 3ds max.
OperatorSwitches control to combustion, where you can select an operator. The results of the
operator appear as the image in the Combustion map. The operator does not have to be the last
operator in the pipe.
While combustion is active, you can also adjust the operator. The Combustion map updates to show
the results.
Unwrap SelectedTakes the current UVW mapping coordinates of the currently selected 3D object
(or the current Face sub-object selection), and displays them in combustion. This can help you
coordinate the map and the mesh as you paint. The Unwrap display is only an overlay. It is displayed
in combustion but is not a part of the composite or the map.

Combustion Map
UV ListChanges the mapping coordinate system (the direction in which the map is projected) from
UV to VW or UW. UV projects onto the surface of geometry like a slide projector. VW and WU project
the map at right angles to the geometry. With a combustion map, UV is almost always the most
useful choice.
UVSpecifies which mapping channel to unwrap and paint. Range=1 to 99.
Track TimeLinks the Timeline in combustion to the time slider in 3ds max. When Track Time is
enabled, you can use the time slider in 3ds max to navigate between frames in combustion.
Note: This control is not bidirectional; changing the frame in combustion does not change the frame
in 3ds max.
PaintWhen enabled, displays a paint cursor in 3ds max viewports. You can then paint directly on
the 3D geometry. Dragging the cursor in the viewport over the geometry in 3ds max creates paint
strokes inside combustion.
Constrain To UVWhen enabled, constrains paint strokes to remain within the edges of the UV
mapping coordinates. When paint strokes are unconstrained on an object such as a box, they can
jump to the other side of the map when you cross a maps edge. This can give erratic results. To
prevent this, enable Constrain To UV.
In general, use the Constrain To UV option when you paint on boxes and other objects with planar
maps. Disable this option when you want to paint on spherical maps or anywhere else the mapping
has a singularity (where the edges of the map converge to a single point).
Selected FacesConstrains the combustion image to only the faces selected. This gives additional
control or masking based on faces rather than UV mapping.
Project Info group
These readouts display the format of the combustion Paint or composite operator. They are active
when a combustion workspace is loaded or Edit mode is active.
WidthSets horizontal resolution of the frame in pixels.
HeightSets vertical resolution of the frame in pixels.
FramesSets number of frames in the combustion workspace.
RateSets playback speed in frames per second.
Custom Resolution group
With these controls, you can customize the resolution of the Combustion map.
EnableEnables the Width and Height controls.
Width and HeightWidth changes the horizontal resolution of the map. Height changes the vertical
resolution of the map.
Time group
These controls relate frames in the combustion workspace to frames in the Combustion map. See

Combustion Map
the controls under "End Condition Group" for how to handle the map when it contains fewer frames
than the 3ds max scene.
Start FrameDetermines which frame of the combustion sequence is used as the first frame of the
Combustion map in 3ds max.
DurationSets how many frames of the combustion file sequence are used by the Combustion map
in 3ds max.
Filtering group
These controls determine the method for calculating antialiasing:

PyramidalSets the default antialiasing method. This method is faster than Summed Area filtering.
Summed AreaImplements a better method of antialiasing. Summed Area filtering uses more
memory than Pyramidal. If it has to use virtual memory, it can dramatically increase rendering time.
NonePerforms no antialiasing. This option takes the least time to render, but yields the lowest
quality results.
End Condition group
These controls define what the 3ds max renderer should do when the duration of the combustion
project (or the range of frames used in the Combustion map) is shorter than the rendering sequence
in 3ds max.
LoopPlays the combustion project animation repeatedly until the rendering sequence ends.
Ping PongPlays the animation forward, then backward, and repeatedly plays forward and backward
until the rendering sequence is completed.
HoldPlays the animation once, then repeatedly displays the last frame of the project until the
rendering sequence is completed.
Comments

Noise Rollout (2D)
Noise Rollout (2D)
Material Editor > Select sample slot. > Get Material > Material/Map Browser > Turn on 2D Maps. >
Select a map type. > Drag map from Browser thumbnail to sample slot. > Noise rollout is
displayed in Material Editor.
You can add a random noise to the appearance of your material. Noise perturbs the UV mapping of
pixels by applying a fractal noise function.
Noise patterns can be very complex and are a versatile way to create apparently random patterns.
They are also good for simulating surfaces found in nature, as is characteristic of fractal images.
Noise parameters interact closely with each other. Slight variations in each can create noticeably
different effects.
Note: Noise settings aren't displayed in viewports.
Above: A checker map and a bitmap

Below: The same maps with noise applied
Procedures
To add noise to a material:
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Noise Rollout (2D)
1. In the Noise rollout, select On.
2. Adjust the three noise parameters to get an effect you like.
To remove noise from a material:
In the Noise rollout, turn off On.

Noise is no longer applied to the map.
To animate the noise effect:
2. Move to a non-zero frame.
3. In the Noise rollout, turn on Animate.

By default, animation keys are set at either end of the active frame range.
4. Change the Phase value at different keyframes.
Interface
These controls appear on the Noise rollout for many 2D maps:

OnDetermines whether the Noise parameters affect the map.
AmountSets the strength of the fractal function, expressed as a percentage. If the amount is 0
there is no noise. If the amount is 100 the map becomes pure noise. Default=1.0.
LevelsOr iterations: the number of times the function is applied. The effect of the level is
dependent on the Amount value. The stronger the amount, the greater the effect of increasing the
Levels value. Range=1 to 10; Default=1.
SizeSets the scale of the noise function relative to geometry. At very small values, the noise effect
becomes white noise. At large values, the scale can exceed the scale of the geometry, in which case
it has little or no effect. Range=0.001 to 100; Default=1.0.
AnimateDetermines whether animation is on the noise effect. This parameter must be turned on if
you intend to animate the noise.
PhaseControls the speed of the animation of the noise function.

Noise Rollout (2D)
Comments

RPF Files
RPF Files
RPF (Rich Pixel Format) is the format that supports the ability to include arbitrary image channels.
While setting up a file for output, if you select RPF Image File from the list, you'll go to the RPF setup
dialog. Once there, you can specify what channels you want to write out to the file.
RPF files replace RLA files as the format of choice for rendering animations requiring further post-
production or effects work. Many channels available in RPF files are exclusive to this format.
Tip: When you create a scene you plan to render as an RPF file for use with the Discreet
combustion product, turn on Render Occlude Objects (in the Object Properties Dialog ) for
objects in the scene. This is important if you want to use the combustion G-Buffer Extract feature.
When Render Occluded Objects is enabled and you extract an object in combustion, the objects
behind it are drawn correctly. If Render Occluded Objects is disabled (the default), objects behind
the extracted object appear with black holes where they were occluded.
Interface
Clicking Render or Setup in the Render Output File dialog displays the RPF Image File Format dialog.
Standard Channels group
The standard channels are RGB color and the alpha (transparency) channel.
Bits per ChannelChoose 8, 16, or 32 Floating Point as the number of bits per channel. Default=8.
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RPF Files
The 32-bit floating-point option has been added in 3ds max 5.1
Store Alpha ChannelChoose whether to save the alpha channel. Default=on.
Premultiply AlphaWhen on, premultiplies the alpha channel. Default=on.
Premultiplying saves computation time if you later use this image in compositing. See Premultiplied
Alpha for more information.
Optional Channels group
For output RPF files, there are additional channels that you can generate (and view in the rendered
frame window):
ZSaves Z-Buffer information in repeating gradients from white to black. The gradients indicate
relative depth of the object in the scene.
Material EffectsSaves the Effects Channel used by materials assigned to objects in the scene.
The Effects Channel is a material property set in the Material Editor and used during Video Post
compositing. Each Effects Channel ID is displayed using a different random color.
ObjectSaves the G-Buffer Object Channel ID assigned to objects using the Object Properties
dialog. The G-Buffer ID is used during Video Post compositing. Each G-Buffer ID is displayed using a
different random color.
UV CoordinatesSaves the range of UV mapping coordinates as a color gradient. This channel
shows where mapping seams might occur.
Note: UV Coordinates will not be displayed on objects that have the UVW Map Modifier applied
unless a map has been applied that uses the coordinates.
NormalSaves the orientation of normal vectors as a grayscale gradient. Light gray surfaces have
normals pointing toward the view. Dark gray surfaces have normals pointing away from the view.
Non Clamped ColorSaves areas in the image where colors exceeded the valid color range and
were corrected. The areas appear as bright saturated colors usually around specular highlights.
CoverageSaves the coverage of the surface fragment from which other G-buffer values (Z Depth,
Normal, and so on) are obtained. Z-Coverage values range from 0 to 255. To see Z Coverage,
render to an RLA file after first checking Z Coverage in the Setup subdialog, then choose Z-Coverage
in the rendered frame window's Viewing Channel drop-down list.
The Z-Coverage feature is provided primarily for developers, and should aid in the antialiasing of Z-
buffers.
Node Render IDSaves each object as a solid color according to its G-Buffer Object channel
(found under Object Properties).
ColorSaves the color returned by the material shader for the fragment. This channel displays any
transparent fragment as a solid color.
TransparencySaves transparency returned by the material shader for the fragment. Any
fragment with any degree of transparency will be rendered as a solid gray object.
VelocitySaves the velocity vector of the fragment relative to the screen in screen coordinates.

RPF Files
Sub-Pixel weightSaves the sub-pixel weight of a fragment. The channel contains the fractions of
the total pixel color contributed by the fragment. The sum of all the fragments gives the final pixel
color. The weight for a given fragment takes into account the coverage of the fragment and the
transparency of any fragments that are in front of a given fragment.
Sub-Pixel MaskSaves the sub-pixel alpha mask. This channel provides a mask of 16 bits (4x4)
per pixel, used in antialiased alpha compositing. This mask is especially useful with the combustion
compositing product.
Descriptive Information group
This information is saved with the file.

DescriptionYou can enter descriptive text here.
AuthorYou can enter your name here.
Comments

Premultiplied Alpha
Glossary
Premultiplied Alpha
There are two methods of storing alpha in a bitmap: premultiplied and nonpremultiplied.
To composite an image that is in nonpremultiplied format, the alpha must be multiplied by each of
the R, G, and B channels before adding it to the color of the background image. This provides the
correct transparency effect, but it must be done each time you composite. With premultiplied alpha,
you store the R, G, and B components with the alpha already multiplied in, so compositing is more
efficient.
This is not the only reason that the software stores images in the premultiplied format. When you
render an image, you typically want the edges of the objects to be antialiased. This effect is
achieved by determining the fractional coverage of pixels on the edge of the object, and then
adjusting the alpha of the pixel to reflect this. For example, a pixel that is 30% covered by the
object will have an alpha of .30.
To antialias the edges, the alpha must be premultiplied to darken these edge pixels. (This is
equivalent to compositing the image over a black image). So it is natural, in a sense, for rendered
images to have premultiplied alpha. If you do not premultiply the alpha of a rendered image, then
just looking at the RGB you will see jaggies on the edges of objects. You would need to composite it
against black using the alpha channel whenever you wanted to display it.
Note: To control whether or not the renderer uses the environment map's alpha channel in creating
the alpha for the rendered image, choose Customize > Preferences > Rendering, and then turn on
Use Environment Alpha in the Background Antialiasing group.
If Use Environment Alpha is turned off (the default), the background receives an alpha value of 0
(completely transparent). If Use Environment Alpha is turned on, the alpha of the resulting image is
a combination of the scene and background image's alpha channel. Also, when you render to TGA
files with Pre-Multiplied Alpha set to off, turning on Use Environment Alpha prevents incorrect
results.
Tip: If you plan to composite objects in another program such as combustion or Photoshop, render
the objects against a black background. Otherwise, a fringe of environment or background color can
appear around the objects.
Comments
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Targa Files
Targa Files
The Targa (TGA) format was developed by Truevision for their video boards. The format supports 32-
bit true color; that is, 24-bit color plus an alpha channel, and is typically used as a true color format.
Targa files are widely used to render still images and to render sequences of still images to video
tape.
Some Targa files created by other applications have different file-name extensions. 3ds max can
render the .vda, .icb, and .vst variants as well as .tga.
Interface
Clicking Render or Setup in the Render Output File dialog displays the Targa Image Control dialog.
When you render to a Targa file, you have the following options:
Image Attributes group
Bits-Per-PixelChoose the color depth: 16-bit, 24-bit, or 32-bit.

CompressApplies lossless compression to the file.
Alpha SplitCreates a separate file for the alpha channel. The file name created for the alpha-
channel file starts with a_ and then appends the full file name. For example, if you check this box
and render the file greek004.tga, 3ds max creates the file a_greek004.tga for the alpha channel.
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Targa Files
(Sometimes the name will be longer than 8 characters.)

Pre-Multiplied Alpha.When on, pre-multiplies the alpha channel. Pre-multiplying saves
computation time if you later use this image in compositing.
Additional Information group
Author Name, Job Name/ID, CommentsThese fields are available for you to add information
about the file.
the alpha for the rendered image, choose Customize > Preferences > Rendering, and then turn on
Use Environment Alpha in the Background Antialiasing group.
If Use Environment Alpha is turned off (the default) the background receives an alpha of 0
a combination of the scene and background image's alpha. Also, when writing TGA files with Pre-
Multiplied Alpha set to off, turning on Use Environment Alpha prevents incorrect results. Note that
only background images with alpha channels or black backgrounds are supported when compositing
in other programs such as Photoshop.
Comments
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G-Buffer
Glossary
G-Buffer
G-Buffer (graphics buffer) is a type of rendering channel. Two file formats output by 3ds max, RLA
and RPF, can incorporate masks that are based on graphics buffer (G-Buffer) channels instead of the
more widely used RGB and alpha channels. In addition, some kinds of Filter and Layer events as well
as certain rendering effects can post-process objects or materials designated by the G-Buffer.
Main image: G-buffer used to apply a glow to lighting in a scene

Upper left: The same scene with no glow applied
Middle left: Objects selected using the G-buffer
Lower left: Glow applied to the G-buffer objects
You can set two kinds of these channels in the scene to identify and group objects or materials for a
particular post-processing effect.
You set an object's G-Buffer Object Channel value (see Object Properties Dialog) to identify that
object to receive a particular post-processing effect.
You set a material's Material Effects Channel value to identify that material to receive a particular
post-processing effect.
You create object-specific or material-specific post-processing by following this general procedure:
1. Assign a particular Object Channel ID or Material Effects Channel ID to the objects or the
materials you want to be post-processed or affected by rendering effects.
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G-Buffer
2. In the Image Filter or Image Layer event or in each rendering effect's Options tab, choose the
channel ID that associates the event with the ID value you assigned in the scene.
3. When you render the scene or execute the Video Post queue, 3ds max singles out objects or
materials that have the designated ID, and performs its post-processing only on those objects
or materials.
Warning: The mental ray renderer does not recognize Z-depth with G-buffers. G-buffer
data is saved on a single layer. Also, the mental ray renderer does not support the
following effects:
Glow lens effect (rendering effect)
Ring lens effect (rendering effect)
Lens effect Focus filter (Video Post)
Comments
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RLA Files
RLA Files
The RLA format is a popular SGI format that supports the ability to include arbitrary image channels.
While setting up a file for output, if you select RLA Image File from the list and click the Setup
button, you'll go to the RLA setup dialog. Once there, you can specify what channels (and what
format) you want to write out to the file.
See also
RPF Files
Interface
Clicking Render or Setup in the Render Output File dialog displays the RLA Image File Format dialog.
Standard Channels group
The standard channels are RGB color and the alpha (transparency) channel.
Bits per ChannelChoose 8, 16, or 32 Floating Point as the number of bits per channel. Default=8.
Store Alpha ChannelChoose whether to save the alpha channel. Default=on.
Premultiply AlphaWhen on, premultiplies the alpha channel. Default=on.
Premultiplying saves computation time if you later use this image in compositing. For more
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RLA Files
information, see Premultiplied Alpha.
Optional Channels group
For output RLA files, there are eight additional channels that you can generate (and view in the
rendered frame window):
Z DepthDisplays Z-Buffer information in repeating gradients from white to black. The gradients
indicate relative depth of the object in the scene.
Material EffectsDisplays the Effects Channel used by materials assigned to objects in the scene.
The Effects Channel is a material property set in the Material Editor and used during Video Post
compositing. Each Effects Channel ID is displayed using a different random color.
ObjectDisplays the G-Buffer Object Channel ID assigned to objects using the Object Properties
dialog. The G-Buffer ID is used during Video Post compositing. Each G-Buffer ID is displayed using a
different random color.
UV CoordinatesDisplays the range of UV mapping coordinates as a color gradient. This channel
shows where mapping seams might occur.
Note: UV Coordinates will not be displayed on objects that have the UVW Map Modifier applied
unless a map has been applied that uses the coordinates.
NormalDisplays the orientation of normal vectors as a grayscale gradient. Light gray surfaces
have normals pointing toward the view. Dark gray surfaces have normals pointing away from the
view.
Non Clamped ColorDisplays areas in the image where colors exceeded the valid color range and
were corrected. The areas appear as bright saturated colors usually around specular highlights.
CoverageThis saves the coverage of the surface fragment from which other G-buffer values (Z
Depth, Normal, and so on) are obtained. Z-Coverage values range from 0 to 255. To see Z
Coverage, render to an RLA file after first checking Z Coverage in the Setup subdialog, then choose
Z-Coverage in the rendered frame window's Viewing Channel drop-down list.
The Z-Coverage feature is provided primarily for developers, and should aid in the antialiasing of Z-
buffers.
Descriptive Information group
This information is saved with the file.

DescriptionYou can enter descriptive text here.
AuthorYou can enter your name here.
Comments
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Introduction to Rendering Effects
Introduction to Rendering Effects

Rendering Effects enable you to add post-production effects without having to render the scene to
see the results. Through the Effects panel on the Environment And Effects dialog, you can add
various effects and view them prior to final rendering of an image or animation.
Render Effects let you work interactively. As you adjust an effect's parameters, the rendered frame
window is updated with the final output image of both the scene geometry and the applied effects.
You can also choose to continually work with an effect and then update the effect manually.
The following topics explain each Render Effect in detail.
Lens Effects Rendering Effects
Blur Rendering Effect
Brightness and Contrast Rendering Effect
Color Balance Rendering Effect
Depth of Field Rendering Effect
File Output Rendering Effect
Film Grain Rendering Effect
Motion Blur Rendering Effect
Comments
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Effects Panel and Rollout
Rendering menu > Effects > Environment and Effects dialog > Effects panel
Rendering menu > Render > Environment and Effects dialog > Effects panel
You can use the Effects panel to:
Assign a Render Effects plug-in.
Apply image processing without using Video Post.
Adjust and view effects interactively.
Animate parameters and references to scene objects.
Interface
The Effects panel has one main rollout, Effects, with the following options:
EffectsDisplays a list of selected effects.
NameDisplays the name of the selected effect. Edit this field to rename the effect.
AddDisplays a dialog listing all available rendering effects. Select the effect you want added to the
window list, and then click OK.
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DeleteRemoves a highlighted effect from the window and from the scene.
ActiveSpecifies whether the selected effect is active in the scene. On by default; you can
deactivate an effect without actually removing it by selecting it in the window and turning off Active.
Move UpMoves the highlighted effect up in the window list.
Move DownMoves the highlighted effect down in the window list.
MergeMerges rendering effects from scene (.max) files. Clicking Merge displays a file dialog from
which you can choose a .max file. A dialog then appears listing all rendering effects in that scene.
Preview group
EffectsWhen All is chosen, all of the active effects are applied to the preview. When Current is
chosen, only the highlighted effects are applied to the preview.
InteractiveWhen on, changes occur interactively in the rendered frame window as you adjust the
parameters of an effect. When Interactive is not activated, you can click one of the update buttons
to preview the effect.
Show Original/Show Effects toggleClick Show Original to display the original rendered image
without any of the effects applied. Click Show Effects to display the rendered image with the effects.
Update SceneUpdates the rendered frame window with all changes made in Rendering Effects as
well as any changes made to the scene itself.
Update EffectManually updates the preview rendered frame window when Interactive is not on.
What is shown in the rendered frame window is only an update of any changes made in Rendering
Effects. Any changes made to the scene itself will not be rendered.
Comments
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Rendering menu > Effects > Environment and Effects dialog > Effects panel > Add > Add Effect
dialog > Lens Effects
Lens flares added as lens effects
Lens Effects is a system used to create real-life effects commonly associated with a camera. These
effects include Glow, Ring, Ray, Auto Secondary, Manual Secondary, Star, and Streak.
Procedures
To add an effect:
1. Select the desired effect from the list on the left side of the Lens Effects Parameters rollout.
2. Click the (>) arrow button to move it into the column on the right.
To delete an applied effect:
1. Select the effect from the list on the right side of the Lens Effects Parameters rollout.
2. Click the (<) arrow button to remove it from the list.
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Interface
Lens Effects Parameters rollout
The Lens Effects system allows you to apply effects to your rendered image by choosing a particular
effect from the list on the left and adding it to the list on the right. Each effect has its own rollout of
parameters but they share two panels of global parameters.
Lens Effects Globals rollout, Parameters tab
LoadDisplays the Load Lens Effects file dialog that enables you to open an LZV file. The LZV file
format contains information saved from a previous configuration of Lens Effects. This allows you to
load and use Lens Effects that have been saved from previous sessions of the software.
SaveDisplays the Save Lens Effects file dialog that enables you to save an LZV file. The LZV file
format contains information saved from a previous configuration of Lens Effects. This allows you to
save several types of Lens Effects and use them in multiple 3ds max scenes.
Note: Saving an effect as an LZV file will only save the attributes of the effect on the frame that it is
saved at. The LZV file format doesnt save the animation keys of an animated parameter.

SizeAffects the size of the overall Lens Effect. This value is a percentage of the size of the
rendered frame.
IntensityControls the overall brightness and opacity of the Lens Effect. Higher values produce a
bright, more opaque effect, and lower values produces a dim, transparent effect.
SeedGives the random number generator in Lens Effects a different starting point, which creates a
slightly different Lens Effect without changing any settings. Using Seed guarantees a different Lens
Effect, even if the differences are very small. For example, if you set up a Ray effect, you will get
slightly different rays in the lens flare if you adjust the seed value.
AngleAffects the amount that the Lens Effect rotates from its default position, as the position of
the effect changes relative to the camera.
SqueezeSqueezes the size of the overall Lens Effect, either horizontally or vertically to
compensate for different frame aspect ratios. Positive values stretch the effect horizontally, and
negative values stretch it vertically. The value is a percentage of the size of the flare. Range=100 to -
100.
Lights group
Allows you to choose lights to apply Lens Effects to.

Pick LightEnables you to select a light directly through the viewports. You can also select a light
by pressing H to display the Select Object dialog.
Remove LightRemoves a selected light.
Drop-down listProvides quick access to lights that you have added to the Lens Effect.
Lens Effects Globals rollout, Scene tab
Affect AlphaSpecifies whether or not the Lens Effect affects the alpha channel of an image when
the image is rendered in a 32-bit file format. The alpha channel is an extra 8 bits of color (256
colors) that indicate transparency in an image. Alpha channels are used to composite one image

seamlessly over the top of another. If you want to composite a Lens Effect, or an image that
contains a Lens Effect, over the top of another image, enable this option. If you are not rendering to
a 32-bit file, do not enable this option.
Affect Z BufferStores an object's distance from the camera. The Z-Buffer is useful for optical
effects. When this option is enabled, the linear distance of the Lens Effect is recorded, and can be
used in special effects that make use of the Z-Buffer.
Distance AffectsAllows distance from the camera or viewport to affect the size and/or the
intensity of the effect.
Off-Center AffectsAllows an effect that is off-center from the camera or viewport to affect the
size and/or the intensity of the effect.
Direction AffectsAllows direction of spot lights with respect to the camera or viewport to affect
the size and/or the intensity of the effect.
The size and intensity of the effect are at a maximum when the light is pointed at the camera (or
viewport).
Occlusion group
Occlusion is used to determine when a Lens Effect will be affected by an object that comes between
the effect and the camera. By using two spinners to determine occlusion you can have scene objects
realistically affect the look of your effect. The outer radius will determine when another scene object
will begin to occlude and the inner radius will determine when the scene object will cause the effect
to reach maximum occlusion.
Inner RadiusSets the inner radius around the effect that another scene object must intersect in
order to completely occlude the effect.
Outer RadiusSets the outer radius around the effect that another scene object must intersect in
order to begin to occlude the effect.
SizeDecreases the size of the effect when being occluded.
IntensityDecreases the intensity of the effect when being occluded.
Affected by AtmospheresAllows Atmospheric Effects to occlude Lens Effects.
Comments

Glow Lens Effect
Glow Lens Effect
dialog > Lens Effects > Choose Glow, and click the (>) arrow button.
Adding glow to the light
Glow lets you add a glowing aura around any assigned object. For example, for an exploding particle
system, adding a glow to the particles makes them seem as though they are brighter and hotter.
Warning: This effect is not supported by the mental ray renderer.
Interface
Glow Element rollout, Parameters tab
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Glow Lens Effect
NameDisplays the name of the effect. With Lens Effects you can have many different effects under
one instance of Lens Effects. To keep them in order, it is often necessary to name them to make
sure that when you change parameters you are changing the parameters to the correct effect.
OnApplies the effect to the rendered image when activated.
SizeDetermines the size of the effect.
IntensityControls the overall brightness and opacity of the individual effect. Higher values
produce a bright, more opaque effect, and lower values produces a dim, transparent effect.
Glow BehindGives the effect the ability to be displayed behind objects in your scene.
OcclusionDetermines how much the Lens Effects Scene Occlusion parameters will affect the
particular effect. The value entered determines what percentage of occlusion set in the Lens Effects
Globals panel will be applied.
SqueezeDetermines whether the effect will be squeezed. When activated the effect will be
squeezed according to Lens Effects Globals under the Parameters panel in the Squeeze spinner.
Use Source ColorMixes the source color of the light or object you are applying the effect to and

Glow Lens Effect
the color or mapping set in the Radial Color or Circular Color parameters. A value of 0 uses only the
values set in the Radial Color and Circular Color parameters while a value of 100 uses only the light
or objects source color. Any value between 0 and 100 will render a mix between the source color
and the effects color parameters.
Radial Color group
The Radial Color settings affect the inner and outer colors of the effect. You can set the color
swatches to set the inner and outer colors of the Lens Effect. You can also use bitmaps such as
Gradient or Cellular to determine the radial color.
Falloff CurveDisplays the Falloff Curve dialog in which you can set weights for the colors used in
Radial Color. By manipulating the Falloff Curve you can make the effect use more of one color or
map than the other. You can also use a map to determine the falloff when a light is used as a Lens
Effects source.
Circular Color group
Circular Color determines the color of the effect by using four different color swatches that are
matched to the four quadrants of the effect. A map can also be used to determine circular color.
MixMixes colors set in Radial Color and colors set in Circular Color. Setting the spinner at 0 will
only use values set in Radial Color while setting the spinner at 100 will only use values set in Circular
Color. Any value between 0 and 100 will mix between the two values.
FalloffDisplays the Falloff Curve dialog in which you can set weights for the colors used in Circular
Color. By manipulating the Falloff Curve you can make the effect use more of one color or map than
another. You can also use a map to determine the falloff when a light is used as a Lens Effects
source.
Radial Size group
Determines the radial size around the particular Lens Effect. Clicking the Size Curve button displays
the Radial Size dialog. Using the Radial Size dialog you can create points on a line and move those
points along a graph to determine where the effect should be placed around the light or object. You
can also use a map to determine where the effect should be placed. A check box is used to activate
the map.
Glow Element rollout, Options tab

Glow Lens Effect
Apply Element To group
LightsApplies the effect to lights picked in Lens Effects Globals under the Parameters tab in the
Lights group box.
ImageApplies the effect to the rendered image using parameters set in Image Sources.
Image CentersApplies to the center of an object or to portions of an object as determined by the
Image Filters.
Image Sources group
Object IDApplies the Lens Effect to particular objects in your scene that have a corresponding G-
Buffer (or Object) ID. The G-Buffer is a geometry buffer and can be defined when you right-click any
object and select Properties from the menu. Then, set the Object Channel ID under the G-Buffer ID
controls.
Effects IDApplies the Lens Effect to an object or part of an object with a specific Effects ID
assigned to it. Effects ID's are applied in the materials editor by assigning the material one of the
Material Effects channels that are available. The Lens Effect will only be applied to areas of the
geometry where that particular ID is present.
Note: In many instances, you may want to apply different Lens Effects settings to different pieces of
geometry or ID's. To accomplish this, add additional Lens Effects entries to the Lens Effects

Glow Lens Effect
Parameters list. Then set each different Lens Effect entry to affect a different Effect or Object ID and
proceed.
UnclampedAn unclamped color is brighter than pure white (255,255,255). The software keeps
track of these "hot" areas which tend to show up when your scene contains bright metallic highlights
or explosions. This spinner lets you determine the lowest pixel value that the Lens Effect is applied
to. Pure white has a pixel value of 1. When this spinner is set to 1, any pixels with a value above
255 will be glowed. You can invert this value by clicking the I button to the right of the spinner.
Surf NormApplies the Lens Effect to part of an object, based on the angle of the surface normal to
the camera. A value of 0 is coplanar, or parallel to the screen. A value of 90 is normal, or
perpendicular to the screen. If you set Surf Norm to 45, only surfaces with normal angles greater
than 45 degrees will be glowed. You can invert this value by clicking the I button to the right of the
spinner. This parameter can be animated.
WholeApplies the Lens Effect to the whole scene, not just a particular piece of geometry. This, in
effect, makes each pixel in the scene a potential Lens Effect source. The areas of the scene that
have the Lens Effect applied to them are determined by the settings in the Image Filters group box.
AlphaApplies the Lens Effect to the alpha channel of an image. The transparency of an alpha
channel is interpreted opposite that of the Mask channel. Range=0 to 255.
Z Buffer Hi and LoHighlights objects based on their distance (Z-Buffer distance) from the
camera. The Hi value is the maximum distance and the Lo value is the minimum. Any objects
between these two Z-Buffer distances will be highlighted.
Image Filters group
Filters the Image Sources selections to let you control how the Lens Effect is applied. For example,
you can have ten spheres in your scene, each with the same Object ID, but different colors. If you
set the Image Source as the Object ID of the spheres, which selects all of the spheres, these will be
the only objects in the scene that Lens Effects will apply an effect to.
However, now that Lens Effects knows where the pixels are that effects can be applied, it needs to
know which ones to actually apply the effect to. Lens Effects uses the filter controls to find out which
source pixels to apply the effect to.
AllSelects all source pixels in the scene and applies the Lens Effect to them.
EdgeSelects all source pixels along a boundary edge and applies the Lens Effect to them. Applying
a Lens Effect along the edges of objects produces a soft halo that exists on both inside and outside
edges of your object.
Perim(eter) AlphaApplies the Lens Effect only to the perimeter of an object based on its alpha
channel. Selecting this option applies the effect only on the outside of an object without any spill on
the interior. Whereas filtering by Edge produces a spill onto the object, Perimeter Alpha keeps all of
the edges clean because it relies on the scene alpha channel to derive its effect.
Perim(eter)Applies the Lens Effect only to the perimeter of an object based on Edge interference.
Although not as precise as Perimeter Alpha, you might need to use the Perimeter option at times

Glow Lens Effect
when the alpha channel is unavailable.

BrightFilters the source objects based on their brightness values. The effect is only applied to
objects with a brightness above the spinner setting This option can be inverted by clicking the I
button next to the spinner
HueFilters the source objects by their hue. Select the hue by clicking the color swatch next to the
spinner. You can choose hue values from 0 to 255. The spinner beside the Hue color swatch lets you
enter a variance level so that the glow can find several different hues in the same range as the
chosen color
Additional Effects group
Additional Effects allows you to apply maps such as Noise to your Lens Effect. You can display the
Material/Map browser by clicking the long button next to the Apply check box.
ApplyApplies the selected map when activated.
Radial DensityDetermines where and how much you would like the additional effects applied.
Clicking the Radial Density button displays the Radial Density dialog. Using the Radial Density dialog
you can create points on a line and move those points along a graph to determine where the
additional effect should be placed around the light. You can also use a map to determine where the
additional effect should be placed.
Comments

Radial Falloff Dialog (Lens Effects)
Rendering menu > Effects > Environment and Effects dialog > Effects panel > Add > Add Effect dialog
> Lens Effects > Choose any effect, and click the (>) arrow button. > Parameters tab of the rollout
for that effect > Falloff Curve (under the Radial Color group)
The Radial Falloff dialog allows you to add weight to a particular color applied to your Lens Effect. By
weighting the colors that you apply you can choose to display more of one color than another. You can
also make the transition of colors gradual from one color to the next or you can create a sharp edge to
the transition.
Rings with different Radial Falloff settings
The Radial Falloff graph has controls at the top for creating and moving Points on a curve on the graph
below. The curve represents the range of colors you have selected in the Radial Color group box to
apply to the current Lens Effect. When you open the dialog you will notice that there is already a line
with a Point on each end which represents the linear transition from one color to the next. The default
falloff is a fade from one color at a value of one to the other color which ends at a value of zero. This
produces an effect with more intensity on the first color and a considerable fading out of the second
color. By placing Points along the curve, you can drag these points to increase or decrease a colors
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intensity or to eliminate it altogether.

Buttons are available at the bottom of the dialog that allow you to change the display of the dialog. You
can also manually enter a horizontal or vertical position by entering a value into the two entry boxes.
Interface
MoveMoves selected points in any direction. Click and hold the Move button to display the flyout
where you can select a button to move in any direction, move only in the horizontal direction, or move
only in the vertical direction. The Move function remains active until you click another button. The
button is yellow while it is active.
Scale PointVertically scales a point up or down. Click once to enable Scale Point. The Scale Point
function remains active until you click another button. The button is yellow while it is active.
Add PointAllows you to add points anywhere along the Circular Falloff curve. Click and hold the Add
Point button to display the flyout where you can select a button to add either a Corner Point or a Bezier
Point. Click once to enable Add Point. The Add Point function remains active until you click another
button. The button is yellow while it is active.
Delete PointDeletes selected points.
Horizontal PositionAllows you to manually enter a horizontal position value for a selected point.
Vertical PositionAllows you to manually enter a vertical position value for a selected point.
PanAllows you to click and drag the Radial Falloff graph to move it left and right or up and down.
Click once to enable panning. Pan remains active until you click another button. The button is yellow
while it is active.
Zoom ExtentsFits the curve within the dialog window both vertically and horizontally so that the
entire curve is visible.

Zoom Horizontal ExtentsFits the curve horizontally within the dialog window so that the full length
of the curve is visible.
Zoom Vertical ExtentsFits the curve vertically within the Radial Falloff graph so that the full height
Zoom HorizontallyScales the width of the Radial Falloff graph.
Zoom VerticallyScales the length of the Radial Falloff graph.
ZoomZooms in and out of the entire Radial Falloff graph.
Zoom RegionAllows you to drag a region in the Radial Falloff graph and scale that region to fill the
window.
Comments

Circular Falloff Graph (Lens Effects)
Rendering menu > Effects > Environment and Effects dialog > Effecs panel > Add > Add Effect dialog
for that effect > Falloff Curve (under the Circular or Section Color group)
The Circular Falloff graph allows you to add weight to a particular color applied to your Lens Effect. By
weighting the colors that you apply you can choose to display more of one color than another. You can
also make the transition of colors gradual from one color to the next or you can create a sharp edge to
the transition.
Rings with different Circular Falloff settings
The Circular Falloff graph has controls at the top for creating and moving Points on a curve on the
graph below. The curve represents the range of colors you have selected in the Circular Color group box
to apply to the current Lens Effect. When you open the graph you will notice that there is already a line
with a Point on each end which represents the linear transition from one color to the next. By placing
Points along the curve, you can drag these points to increase or decrease a colors intensity or to
eliminate it altogether.
Buttons are available at the bottom of the graph that allow you to change the display of the graph. You
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Interface
PanAllows you to click and drag the Circular Falloff graph window to move it left and right or up and
down. Click once to enable panning. Pan remains active until you click another button. The button is
yellow while it is active.
Zoom ExtentsFits the curve within the graph window both vertically and horizontally so that the
Zoom Horizontal ExtentsFits the curve horizontally within the graph window so that the full length

Zoom Vertical ExtentsFits the curve vertically within the Circular Falloff graph window so that the
full height of the curve is visible.
Zoom HorizontallyScales the width of the Circular Falloff graph window.
Zoom VerticallyScales the length of the Circular Falloff graph window.
ZoomZooms in and out of the entire Circular Falloff graph window.
Zoom RegionAllows you to drag a region in the Circular Falloff graph window and scale that region to
fill the window.
Comments

Radial Size Dialog (Lens Effects)
for that effect > Falloff Curve (under the Radial Size group)
The Radial Size dialog gives you the ability to determine the size of your Lens Effect. The Radial Size
dialog displays a curve with a point on each end which represents the Radial Size of your Lens Effect.
The default position of the curve is one which means the Lens Effect will have the same radius around
the center of the effect.
Objects with different Radial Sizes settings applied to Glow
By adding and moving points along the curve you can make areas of the effect extend further by
moving a point above a value of one on the graph. You can also diminish areas of the effect by moving
a point between one and zero on the graph. Finally, you can eliminate areas of the effect by moving a
point below zero on the graph.
can also manually enter a horizontal or vertical position by entering a value in the two entry boxes.
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Interface
Add PointAllows you to add points anywhere along the Radial Size curve. Click and hold the Add
PanAllows you to click and drag the Radial Size graph to move it left and right or up and down. Click
once to enable panning. Pan remains active until you click another button. The button is yellow while it
is active.
Zoom Vertical ExtentsFits the curve vertically within the Radial Size graph so that the full height of
the curve is visible.

Zoom HorizontallyScales the width of the Radial Size graph.

Zoom VerticallyScales the length of the Radial Size graph.
ZoomZooms in and out of the entire Radial Size graph.
Zoom RegionAllows you to drag a region in the Radial Size graph and scale that region to fill the
window.
Comments

Radial Density Dialog (Lens Effects)
> Lens Effects > Choose any effect, and click the (>) arrow button. > Options tab of the rollout for
that effect > Radial Density (under the Additional Effects group)
The Radial Density dialog allows you to add weight to any additional effect applied to the Lens Effect.
By weighting the density of the additional effect that you apply you can choose particular areas in the
effect to display more of the additional effect or to eliminate it altogether. You can also use Radial
Density to gradually fade the additional effect from maximum density down to zero or you can create a
sharp edge to the transition.
Object with different Ray effects due to different Radial Density settings
The Radial Density dialog has controls at the top for creating and moving Points on a curve on the
graph below. The curve represents the density of the additional effect being applied to the Lens Effect.
When you open the dialog you will notice that there is already a line with a Point on each end which
represents the density of the effect. The default falloff is a fade from a density value of 1 starting from
the center of the effect toward the outer edges which has a value of 0. This produces an effect with
more density being rendered at the center of the effect and a gradual fading out to no density at the
edges. By placing Points along the curve, you can drag these points to increase or decrease the density
of an additional effect or eliminate it in some areas altogether.
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Interface
Add PointAllows you to add points anywhere along the Radial Density curve. Click and hold the Add
PanAllows you to click and drag the Radial Density dialog window to move it left and right or up and
down. Click once to enable panning. Pan remains active until you click another button. The button is
yellow while it is active.
Zoom Vertical ExtentsFits the curve vertically within the Radial Density dialog window so that the
full height of the curve is visible.

Zoom HorizontallyScales the width of the Radial Density dialog window.

Zoom VerticallyScales the length of the Radial Density dialog window.
ZoomZooms in and out of the entire Radial Density dialog window.
Zoom RegionAllows you to drag a region in the Radial Density dialog window and scale that region
to fill the window.
Comments

Ring Lens Effect
Ring Lens Effect
dialog > Lens Effects > Choose Ring, and click the (>) arrow button.
Adding a ring to the light
The ring is a circular color band that surrounds the center of the source object.
Warning: This effect is not supported by the mental ray renderer.
Interface
Ring Element rollout, Parameters tab
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Ring Lens Effect
OnApplies the effect to the rendered image when activated. Default = on.
PlaneSets the location of the effect along the axis of the effect which extends from the center of
the effect through the center of the screen.
ThicknessDetermines the thickness, in pixels, of the effect.
Glow BehindGives the effect the ability to be displayed behind objects in your 3ds max scene.

Ring Lens Effect
SqueezeDetermines whether the effect will be squeezed. When activated the effect will be
Use Source ColorMixes the source color of the light or object you are applying the effect to with
Radial Color group
gradient or cellular to determine the radial color.
Ring using radial colors as seen in lower left inset
map than the other. You can also use a map to determine the falloff.

Ring Lens Effect
Ring using circular colors as seen in lower right inset
Ring using radial and circular colors mixed 50/50
source.
Radial Size group

Ring Lens Effect
the map.
Ring Element rollout, Options tab
Apply Element To
Lights group box.
Image Filters.
Image Sources group
controls.

Ring Lens Effect

proceed.
spinner.
Image Filters group

Ring Lens Effect
chosen color
Comments

Ray Lens Effect
Ray Lens Effect
dialog > Lens Effects > Choose Ray, and click the (>) arrow button.
Adding rays to the light
Rays are bright single-pixel lines that radiate from the center of the source object, providing the
illusion of extreme brightness for the object. Rays let you emulate scratches in the lens elements of
a camera.
Interface
Ray Element rollout, Parameters tab
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Ray Lens Effect
NumSpecifies the overall number of rays that appear in the lens flare. Rays are randomly spaced
around the radius.
AngleSpecifies the angle for the rays. You can enter both positive and negative values so, when
animated, the rays rotate in a clockwise or counter-clockwise direction.

Ray Lens Effect
SharpSpecifies the overall sharpness of the rays. Higher numbers produce crisp, clean, and clear
rays. Lower numbers produce more of a secondary glow look. Range=0 to 10.
SqueezeDetermines whether the effect will be squeezed. When activated, the effect will be
Radial Color group
Gradient or Cellular to determine the radial color.
Effects source.
MixAllows you to mix between colors set in Radial Color and colors set in Circular Color. Setting
the spinner at 0 will only use values set in Radial Color while setting the spinner at 100 will only use
values set in Circular Color. Any value between 0 and 100 will mix between the two values.
source.
Radial Size group
the map.

Ray Lens Effect
Ray Element rollout, Options tab
Lights group box.
Image Filters.
Image Sources group
controls.

Ray Lens Effect

proceed.
spinner.
have the Lens Effect applied to them are determined by the settings in the Image Filters groupbox.
Image Filters group

Ray Lens Effect
Edge filter applied to rays emanating from object
chosen color
Comments

Auto Secondary Lens Effect
dialog > Lens Effects > Choose Auto Secondary, and click the (>) arrow button.
Adding secondary flares to the light
Secondary flares are the small circles you would normally see coming out from the source of the lens
flare along an axis relative to the camera position. These are caused by light refracting off the
different lens elements in the camera. As the camera position changes relative to the source object,
the secondary flares move.
Interface
Auto Secondary Element rollout, Parameters tab
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one instance of Lens Effects. To keep them in order, it is necessary to name them to make sure that
when you change parameters you are changing the parameters to the correct effect.
MinControls the minimum size of secondary flares in the current set. This number is defined as a
percentage of the overall image.
MaxControls the maximum size of secondary flares in the current set. This number is defined as a
percentage of the overall image.

AxisDefines the overall length of the axis the automatic secondary flares will be distributed along.
Increasing the value creates more space between the flares, while decreasing the value creates less
space between the flares. You can set the axis from 0 to 10 degrees.
QtyControls the number of secondary flares that appear in the current set of flares.
Use Source ColorMixes the source color of the light or object you are applying the effect to with
SidesControls the shape of the secondary flares for the current set. The default is circular, but you
can choose from 3- to 8-sided secondary flares.
Presets (drop-down list)Displays a list of preset values that can be selected and applied to the
rendered scene.
Radial Color group
swatches to set the inner and outer colors of the Lens Effect. Each color swatch has a percentage
spinner that determines at what point that color should stop and the next should start. You can also
use bitmaps such as gradient or cellular to determine the radial color.
Effects source.
MixAllows you to mix between colors set in Radial Color and colors set in Circular Color. Setting
the spinner at 0 will only use values set in Radial Color while setting the spinner at 100 will only use
values set in Circular Color. Any value between 0 and 100 will mix between the two values.

source.
Radial Size group
the map.
Auto Secondary rollout, Options tab
Lights group box.
Image Filters.

Image Sources group
controls.
proceed.
spinner.
Image Filters group

chosen color
Comments

Manual Secondary Lens Effect
dialog > Lens Effects > Choose Manual Secondary, and click the (>) arrow button.
Manual secondary flares are additional secondary flares that are individually added to the lens flare.
These can be used in addition to, or in place of automatic secondary flares.
You use Manual Secondary flares when you want to add unique flares that you don't want repeated.
Interface
Manual Secondary Element rollout, Parameters panel
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one instance of Lens Effects. To keep them in order, it is necessary to name them to make sure that
when you change parameters you are changing the parameters to the correct effect.
PlaneControls the distance, in degrees, between the flare source and the manual secondary flare.
By default, the flare plane exists at the center of the chosen node source. Positive values place the
flare in front of the source, while negative values place the flare behind the flare source.
SidesControls the shape of the secondary flares for the current set. The default is circular, but you
can choose from 3- to 8-sided secondary flares.
Presets (drop-down list)Displays a list of preset values that can be selected and applied to the
rendered scene.
Radial Color group
Effects source.

source.
Radial Size group
the map.
Manual Secondary Element rollout, Options panel

Lights group box.
Image Filters.
Image Sources group
controls.

proceed.
spinner.
Image Filters group

chosen color
Comments

Star Lens Effect
Star Lens Effect
dialog > Lens Effects > Choose Star, and click the (>) arrow button.
Adding a star to the light
A Star is larger than a Ray effect and is composed of 0 to 30 spokes, instead of hundreds like a ray.
Interface
Star Element rollout, Parameters tab
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Star Lens Effect
NameDisplays the name of the effect. With Lens Effects, you can have many different effects
under one instance of Lens Effects. To keep them in order, it is necessary to name them to make
WidthSpecifies the width of the individual spokes, as a percentage of the overall frame.
AngleSets the starting angle in degrees in which the star spokes point. You can enter both
positive and negative values so, when animated, the star spokes rotate in a clockwise or counter-
clockwise direction.

Star Lens Effect
TaperControls the taper of the individual spokes of the star. Taper widens or narrows the tips of
the individual star points. Low numbers create a sharp point, while high numbers flare the points.
SharpSpecifies the overall sharpness of the star. Higher numbers produce crisp, clean, and clear
stars. Lower numbers produce more of a secondary glow look. Range=0 to 10.
QtySpecifies the number of spokes in the star effect. The default is 6. Spokes are spaced at
equidistant points about the center of the flare.
Radial Color group
Effects source.
Section Color group
Selection Color determines the color of the effect by using three different color swatches that are
matched to the three sections of the effect. A map can also be used to determine section color.
MixMixes colors set in Radial Color and colors set in Section Color. Setting the spinner at 0 will
only use values set in Radial Color while setting the spinner at 100 will only use values set in Section
FalloffDisplays the Falloff Curve dialog in which you can set weights for the colors used in Section
source.
Radial Size group

Star Lens Effect
the map.
Star Element rollout, Options tab
Lights group box.
Image Filters.
Image Sources group

Star Lens Effect
controls.
proceed.
spinner.
Image Filters group

Star Lens Effect
the edges clean because it relies on the alpha channel to derive its effect.
chosen color
Comments

Streak Lens Effect
Streak Lens Effect
dialog > Lens Effects > Choose Streak, and click the (>) arrow button.
Adding a streak to the light
A streak is a wide horizontal band that runs through the center of the source object. In real camera
work, it is produced when using anamorphic lenses to film a scene.
Interface
Streak Element rollout, Parameters tab
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Streak Lens Effect
NameDisplays the name of the effect. With Lens Effects, you can have many different effects
under one instance of Lens Effects. To keep them in order, it is necessary to name them to make
WidthSpecifies the width of the streak, as a percentage of the frame.
AngleSpecifies the angle for the streak. You can enter both positive and negative values so, when
animated, the streak rotates in a clockwise or counter-clockwise direction.
TaperControls the taper of the individual spokes of the streak. Taper widens or narrows the tips of
the individual streak points. Low numbers create a sharp point, while high numbers flare the points.

Streak Lens Effect
SharpSpecifies the overall sharpness of the streak. Higher numbers produce crisp, clean, and
clear streaks. Lower numbers produce more of a secondary glow look. Range=0 to 10.
Radial Color group
Effects source.
Section Color group
Section Color determines the color of the effect by using three different color swatches that are
matched to the three sections of the effect. A map can also be used to determine section color.
MixMixes colors set in Radial Color and colors set in Section Color. Setting the spinner at 0 will
only use values set in Radial Color while setting the spinner at 100 will only use values set in Section
FalloffDisplays the Falloff Curve dialog in which you can set weights for the colors used in Section
source.
Radial Size group
the map.
Streak Element rollout, Options tab

Streak Lens Effect
Lights group box.
ImageApplies the effect to objects that have a corresponding Object ID channel.
Image Filters.
Image Sources group
controls.

Streak Lens Effect
proceed.
spinner.
Image Filters group

Streak Lens Effect
chosen color
Comments

dialog > Blur
The Blur effect allows you to blur your image in three different methods: Uniform, Directional, and
Radial. Blur works on individual pixels according to selections made in the Pixel Selections panel. You
can blur an entire image, non-background scene elements, by luminance value, or by using a map
mask. Blur can give your animation added realism by rendering the illusion of object or camera
movement.
Object before and after adding midrange Blur effect.
Interface
Blur Parameters rollout, Blur Type tab
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UniformApplies the Blur effect evenly across the entire rendered image.
Pixel RadiusDetermines the intensity of the Blur effect. Increasing the value increases the
number of surrounding pixels that each pixel will use to compute its blur. The more pixels used
means a greater blur for the image.
Affect AlphaApplies the Uniform Blur effect to the alpha channel when turned on.
DirectionalApplies the Blur effect in any direction according to the Directional parameters. The U
Pixel Radius and Trail blur the pixels horizontally while the V Pixel Radius and Trail blur the pixels
vertically. Rotation is used to rotate the axis of the horizontal and vertical blurring.
U Pixel RadiusDetermines the horizontal intensity of the Blur effect. Increasing the value
increases the number of surrounding pixels that each pixel will use to compute its blur. The more
pixels used means a greater horizontal blur for the image.
U TrailAdds direction to your blur by weighting more blur to either side of the U axis. This adds
a streaking effect and creates the illusion that your objects or your camera are rapidly moving in a
particular direction.
V Pixel RadiusDetermines the vertical intensity of the Blur effect. Increasing the value increases
the number of surrounding pixels that each pixel will use to compute its blur, and creates a greater
vertical blur for the image.
V TrailAdds direction to your blur by weighting more blur to either side of the V axis. This adds a
streaking effect and creates the illusion that your objects or your camera are rapidly moving in a
particular direction.

RotationRotates the axis of the U and V pixels that will be blurred by the U and V Pixel Radius
spinners. By using Rotation with the U and V Pixel Radius spinners you can have the Blur effect
applied to any direction in your rendered image. When rotation is 0, U corresponds to the images X
axis and V corresponds to the images Y axis.
Affect AlphaApplies the Directional Blur effect to the Alpha channel when turned on.
RadialApplies the Blur effect radially. Using the Radial parameters you can define a point within
your rendered image to use as the center of the Radial Blur. You can use an object as the center or
an arbitrary location set by the X and Y Origin spinners. The Blur effect will apply the least amount of
blur to the center origin of the effect and gradually increase the blur to the pixels further away from
the center. This can be used to simulate motion blur caused by camera zoom.
Pixel RadiusDetermines the intensity of the Radius Blur effect. Increasing the value increases the
number of surrounding pixels that each pixel will use to compute its blur. The more pixels used
means a greater blur for the image.
TrailAdds direction to your blur by weighting more or less blur toward the center of the Blur
effect. This adds a streaking effect and creates the illusion that your objects or your camera are
rapidly moving in a particular direction.
Affect AlphaApplies the Radial Blur effect to the Alpha channel when turned on.
Blur Parameters rollout, Pixel Selections tab

Whole ImageAffects the entire rendered image when chosen. This is useful when the Blur effect
dims your rendered image. By using Brighten and Blend you can maintain the original colors of the
scene.
BrightenBrightens the entire image.
BlendBlends the Blur effect and the Whole Image parameters with the original rendered image.
This can be used to create a soft-focus effect.

Non-BackgroundAffects everything but the background image or animation when chosen. This is
useful when the Blur effect has dimmed your scene objects but not the background. By Using
Brighten, Blend, and Feather Radius, you can maintain the original colors of the scene.
BrightenBrightens the rendered image except for the background image or animation.
BlendBlends the Blur effect and the Non-Background parameters with the original rendered
image.
Feather RadiusFeathers the Blur effect applied to the Non-Background elements of your scene.
When using Non-Background as a Pixel Selection you will notice that the scene objects have a hard
edge to their blur since the objects are being blurred but the background is not. Use the spinner to
feather the blur and eliminate the hard edge of the effect.
LuminanceAffects any pixels that have luminance values that fall between its Min and Max
spinners.
BrightenBrightens pixels that fall between the Minimum and Maximum luminance values.
BlendBlends the Blur effect and the Luminance parameters with the original rendered image.
MinSets the minimum luminance value necessary for each pixel in order for the Blur effect to be
applied to the pixel.
MaxSets the maximum luminance value a pixel can have in order for the Blur effect to be applied
to the pixel.
Feather RadiusFeathers the Blur effect applied to pixels that fall between the Minimum and
Maximum luminance values. When using Luminance as a Pixel Selection the Blur effect can create a
hard edge on the effect. Use the spinner to feather the blur and eliminate the hard edge of the
effect.
Map MaskApplies the Blur effect according to the channel selected and mask applied through the
Material/Map Browser. After selecting a mask you must select a channel from the Channel list. Blur
then examines the mask and channel according to the values set in the Minimum and Maximum
spinners. Any pixels in the mask that are of the selected channel and between the Min and Max
values will have the Blur effect applied. This is useful for blurring selected portions of a scene such
as a winter morning as seen through a frost covered window.
ChannelSelects a channel that the Blur effect will be applied to. After selecting a particular
channel, use the minimum and maximum spinners to determine the value a mask pixel must have in
order to have the effect applied to it.
BrightenBrightens the portions of the image that the Blur effect is applied to.
BlendBlends the Map Mask Blur effect with the original rendered image.
MinThe minimum value (RGB, Alpha, or Luminance) a pixel must have in order to have the Blur
effect applied to it.
MaxThe maximum value (RGB, Alpha, or Luminance) a pixel can have for the Blur effect to be
applied to it.
Feather RadiusFeathers the Blur effect applied to pixels that fall between the Minimum and

Maximum channel values. When using map mask as a Pixel Selection, the Blur effect can create a
hard edge on the effect. Use the spinner to feather the blur and eliminate the hard edge of the
effect.
Object IDApplies the Blur effect to an object or part of an object with a specific Object ID (in the
G-Buffer), if the object matches the Filter settings. To add or replace an Object ID, use the spinners
or enter a value in the ID text box and press the appropriate button.
Min LumThe minimum luminance value a pixel must have in order to have the Blur effect applied
to it.
Max LumThe maximum luminance value a pixel can have for the Blur effect to be applied to it.
BrightenBrightens the portion of the image that the Blur effect is applied to.
BlendBlends the Object ID Blur effect with the original rendered image.
F. RadiusFeathers the Blur effect applied to pixels that fall between the Minimum and Maximum
luminance values. When using Luminance as a Pixel Selection, the Blur effect can create a hard edge
on the effect. Use the spinner to feather the blur and eliminate the hard edge of the effect.
MaterialApplies the Blur effect to a material or part of a material with a specific Material Effects
Channel, if the material matches the Filter settings. To add or replace a Material Effects channel, use
the spinners or enter a value in the ID text box and press the appropriate button.
Min LumThe minimum luminance value a pixel must have in order to have the Blur effect applied
to it.
Max LumThe maximum luminance value a pixel can have for the Blur effect to be applied to it.
BrightenBrightens the portion of the image that the Blur effect is applied to.
BlendBlends the Material Blur effect with the original rendered image.
F. RadiusFeathers the Blur effect applied to pixels that fall between the Minimum and Maximum
luminance values. When using Luminance as a Pixel Selection, the Blur effect can create a hard edge
on the effect. Use the spinner to feather the blur and eliminate the hard edge of the effect.
General Settings group

Feather Falloff control curve
The Feather falloff curve allows you to determine the feather falloff off the Blur effect based on a
graph. You can add points to the graph to create a falloff curve, and adjust the interpolation in those
points.
MoveLets you move the points on the graph. This button is a flyout, providing free movement (the
default), horizontal, and vertical movement.
Scale PointLets you scale the points on the graph. This also moves the points, but in relationship
to each other. Click the points you want to scale, or draw a selection rectangle around them to select
them. Then turn on Scale Point, and press any point in the selection to scale them all.
Add PointLets you create additional points on the falloff curve. This button is a flyout, providing
linear points (the default) and Bezier points with handle.
Delete PointRemoves points from the graph.
BrighteningThese radio buttons let you select additive or multiplicative brightening. Additive
brightening is brighter and more distinct than multiplicative brightening. Additive brightening is
useful when you use blur in combination with a Glow effect. Multiplicative brightening provides a soft
highlight to the Blur effect.
Brighten CurveLets you edit the brightening curve in the Feather Falloff curve graph.
Blend CurveLets you edit the blend curve in the Feather Falloff curve graph.
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Material Effects Channel
Material Editor > Material Effects Channel
The buttons on the Material Effects Channel flyout tag a material as a target for a Video Post effect
or a rendering effect, or forstoring with a rendered image saved in RLA or RPF file format (so that
the channel value can be used in a post-processing application). The material effects value is the
counterpart of a G-buffer value for objects.
Zero (0), the default, indicates that no material effects channel is assigned.
A value from 1 to 15 says to apply a Video Post or rendering effect that uses this channel ID to this
material.
For example, you might want a material to glow wherever it appears in the scene. The material is in
the Material Editor and the glow comes from a rendering effect. First, you add a Glow rendering
effect and set it up so that it operates on effects ID 1. Use Material Effects Channel to give the
material an ID number of 1, then apply the material to objects in the scene in the usual way.
To save the channel data with the rendering, use the .rla or .rpf format.
following effects:
Procedure
To assign a material effects channel ID to a material:
Choose a channel number from the Material Effects Channel flyout.

Note: Giving a material a nonzero effects channel number tells the renderer to generate a
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material effects channel containing such numbers. This information is stored in images only if you
save the rendered scene in RLA or RPF format. However, the effects channel data is available to
rendering effects at render time.
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Video Post
Video Post
Rendering menu > Video Post
Video Post provides composited rendered output of various types of events, including the current
scene, bitmap images, image processing functions, and so on.
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Video Post
A video post queue can include scene geometry, background images, effects, and masks for
compositing them.
The result of video post: a composited frame
Video Post is a self-contained, modeless dialog, similar in appearance to Track View. The edit
window of the dialog shows when each event occurs in the finished video. Each event is associated
with a track that has a range bar.
The Video Post dialog contains the following window components:
Video Post Queue: Shows the sequence of post-production events.
Video Post Status Bar/View Controls: Shows information about the active Video Post controls and
lets you control the display of tracks in the event tracks area.
Video Post Toolbar: Provides Video Post commands.
Procedure
To use the Video Post dialog:
1. Choose Rendering > Video Post.

This displays the Video Post dialog.
2. Create a new Video Post sequence by adding events to the queue, or open an existing Video
Post file in order to edit it.

Video Post
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Video Post Queue
Video Post Queue
Rendering menu > Video Post > Video Post window > Video Post Queue
Video Post Queue provides a hierarchical list of the images, scenes, and events to be composited.
The Video Post queue in the Video Post dialog is similar to other hierarchical lists in the Track View
and Material Editor. In Video Post, the list items are images, scenes, animations, or external
processes that together make up the queue. The items in the queue are called events.
The order that the events appear in the queue is the order in which they are executed, from top to
bottom. Consequently, to correctly composite an image, the background bitmap must appear before,
or above, the image that is to overlay it.
There is always at least one item in the queue (a placeholder labeled Queue). It is the queue's
parent event.
The queue can be linear, but some kinds of events, such as Image Layer, combine other events and
become their parent.
Procedures
To add an event to the queue:
Click an event button.
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Video Post Queue
When you add an event, a dialog displays where you can specify settings for that event. The
settings offered on the dialog depend on the type of event; some events have different kinds of
subtypes.
In general, the new event appears at the end of the queue - but some kinds of events require that
you first select one or more events in the queue. An event button is grayed out if the selection in
the queue (or the absence of one) is not legal input to the button's type of event.
To highlight an event already in the queue, click its icon, label, or range-bar area.
To delete any event in the queue:
Select the event and press the Delete key.

You can delete both enabled and disabled events, which are grayed out.
To switch the positions of two events in the queue:
1. Highlight both events.
2. Click Swap.
This operation might not be allowed if the result would be impossible to execute. At the top
level of the queue, you can almost always swap events; at lower levels, an event's output must
be legal input to its parent event.
To edit an event in the queue, do one of the following:
Select the event and click Edit Current Event.
Double-click the event name.
Double-click the event's range-bar area in the edit window.

Use one of the second two methods for disabled events.
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Animation
Glossary
Animation
Animation is based on a principle of human vision. If you view a series of related still images in quick
succession, your brain perceives them as continuous motion. Each image is called a frame.
Historically, the major difficulty in creating animations has been that the animator must produce a
large number of frames. Depending on the quality you want, one minute of animation might require
between 720 and 1800 separate still images. Creating images by hand is a big job. That's where
keyframing comes in.
Most of the frames in an animation are routine, incremental changes from the previous frame
directed toward some predefined goal. Early animation studios quickly realized they could increase
the productivity of their master artists by having them draw only the important frames, called
keyframes. Assistants could then figure out the frames that were required in between the
keyframes. These frames were (and still are) called tweens.
Use the software as your animation assistant. As the master animator, you create the keyframes
that record the beginning and end of each transformation. The values at these keyframes are called
keys. The software calculates the interpolated values between each key value, resulting in tweened
animation.
3ds max is not limited to animating transformations (such as position, rotation, and scale). It can
animate just about any parameter you can access. Thus, you can animate modifier parameters, such
as a Bend or a Taper angle, material parameters, such as the color or transparency of an object, and
much more.
Early animation studios also had to employ artists to add the ink and color to each frame. Even
today, production of a cartoon usually requires hundreds of crafts people and artists to generate the
thousands of images. With 3ds max, the renderer takes over the job of shading and rendering each
frame and storing it as you direct. The end result is a high-quality finished animation.
The quickest way to animate is to turn on Auto-Key and start transforming objects at different
frames. Each time you transform an object, you set a key. Then you can play the animation
onscreen, or render it to a file.
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Dope Sheet
Dope Sheet
Menu bar > Graph Editors > Track View - Dope Sheet
Menu bar > Graph Editors > New Track View > Modes > Dope Sheet
Main toolbar > Curve Editor (Open) > Modes menu > Dope Sheet
Right-click the selected object in the viewport > Curve Editor > Modes > Dope Sheet
The Track View - Dope Sheet editor displays keyframes over time on a horizontal graph. This graphical display simplifies the process of
adjusting animation timing because you can see all keys at once in a spreadsheet-like format.
Classical animation technique included the use of an exposure sheet, called an X sheet or a Dope Sheet. The Dope Sheet was a vertical chart
that served as instructions to the camera operator. Dialogue and camera actions were indicated over a numbered list that represented each
shot, which became a single photographed frame of the animated movie. The classical exposure sheet also included instructions for
compositing the cel drawings of animated characters over backgrounds. This device serves as inspiration for the Dope Sheet tool in 3ds max
6.
The 3ds max Dope Sheet editor is similar to the classic X sheet. It displays keyframes over time, only using a horizontal graph (rather than
vertical). This provides tools for adjusting the timing of your animation. Here, you can see all the keys in a spreadsheet-type interface. You
can select any or all of the keys in a scene, scale them, move them, copy and paste them, or otherwise work directly here, rather than in the
viewport. You can choose to select the keys for children, or subtree, or both, so you can make simple changes that affect many objects and
their keys at once.
A common use of Dope Sheet is to stagger the movement of a character's limbs so they don't all move simultaneously. If you have a crowd of
characters, you could use Dope Sheet to shift movements so they don't all move in unison.
Dope Sheet Menus and Tools
In the Dope Sheet, you can select any or all of the keys in a scene, scale them, move them, copy and paste them, or otherwise work directly,
rather than working with objects in viewports. You can choose to select the keys for children, or subtree or both, so you can make simple
changes that affect many objects and their keys at once.
Dope Sheet allows for soft-selection of keys which is very useful when working with motion capture data that has keys on every frame.
Dope Sheet provides tools for working directly with time. You can select, cut, copy, paste, and insert and reverse time using the tools on the
Time menu.
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Dope Sheet
Like the Curve Editor, Dope Sheet has both a menu bar and toolbars to provide you quick access to tools.
Dope Sheet menu bar
Unlike Curve Editor, Dope Sheet has two modes: Edit Keys and Edit Ranges. These modes change the display in the Key window.
Edit Keys Mode
When Edit Keys is turned on, the keyframes are displayed as boxes within rectangles on a grid. The keys are color-coded to show what has
been keyframed (position is red, scale is yellow, rotation is green, and so on.)
Colored keys
Dope Sheet keys are now displayed as rectangles within boxes so you can easily spot sub-frame keys, keys that fall in-between frames. Keys
that fill the boxes are on the frame, keys that are small rectangles are sub-frame.
Sub-frame keys
Dope Sheet, just like the Curve Editor, allows you to use soft selection on keys. This is extremely useful when you are dealing with massive
quantities of keys, such as in motion-capture data files. Combine this with scaling keys for a means to manipulate motion data.
Soft selection of Dope Sheet keys

Dope Sheet
Edit Ranges Mode
When Edit Ranges is turned on, the animation tracks are displayed as range bars; no individual keys are visible. Use Ranges when you only
want to change how long something happens, or when it starts and ends, rather than when you need to manipulate particular keys within an
action.
Edit Ranges mode
Modify Subtree and Modify Child Keys
When working in Dope Sheet, you can turn on or off Modify Subtree and Modify Child Keys. These let you automatically move the keys for the
children, and/or the tracks for the subtree. If you experience a slowdown while working with Dope Sheet, try turning these off, and moving the
keys manually instead. Modify Subtree is on by default in Dope Sheet, but off in Curve Editor.
Time Editing
Dope Sheet offers you a variety of tools for working directly with time. You can select a period of time, which includes all the keys within that
period, and then perform different operations on that time segment. You can copy and paste time to loop animations, or reverse time so the
animation plays backward. You can insert time to add a space to an animation, or delete time to shorten a motion.
Note: For Dope Sheet procedures, see the individual tools and menu choices within the links below.
Dope Sheet Speed Improvements
In 3ds max 6, only tracks displayed in the current field of view are computed, optimizing the responsiveness of the Dope Sheet editor.
Dope Sheet now temporarily retains the key caches so tracks that have already been computed as a result of the parent being computed
needn't be recomputed. The cache is used instead.
The default auto-navigation settings for the Dope Sheet editor now only auto-expand to the node track for the currently selected object. This
reduces the number of tracks whose keys need to be displayed and also helps enforce the top-down workflow the Dope Sheet editor is
designed for.
See also
Track View Menu Bar

Dope Sheet Toolbars

Dope Sheet
Select Time
Edit Ranges
Edit Keys
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Curve Editor
Curve Editor
Menu bar > Graph Editors > Curve Editor
Menu bar > Graph Editors > New Track View > Modes > Curve Editor
Main toolbar > Curve Editor (Open)
Right-click the selected object in the viewport. > Curve Editor
The Track View - Curve Editor is a Track View mode that allows you to work with motion expressed as function curves on a graph. It lets you
visualize the interpolation of the motion, the object transformations that the software creates between the keyframes. You can easily see and
control the motion and animation of the objects in the scene using tangent handles on the keys found on the curves.
The Curve Editor interface consists of a menu bar, a toolbar, a Controller window, and a Key window. There is also a time ruler, and navigation
and status tools at the bottom of the interface.
You can loop or cycle your animation beyond its range by adding Parameter Curve Out-Of-Range Types from the Curve Editor, as well as by
adding Multiplier or Ease Curve onto other animated tracks for added control.
Tip: You can also click Show Curves in the track bar to display function curves.
See also
Track View Menu Bar

Curve Editor Toolbars
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Track View Menu Bar
Track View Menu Bar
Main toolbar > Curve Editor (Open) > Menu bar
Graph Editors menu > Track View - Curve Editor > Menu bar
A menu bar appears at the top of the Function Curve editor, the Dope Sheet, and the expanded
track bar layout. These menus make it easier to locate tools; they also make features accessible that
were formerly found on Track view flyouts and only available during certain modes of operation. The
Track View menu bar is contextual; it changes between Curve Editor and Dope Sheet modes.
The same tools available through the Track View menu bar can also be accessed using the Curve
Editor and Dope Sheet toolbars. There are, however, some tools that can only be found on the
toolbars, and do not appear in the menus.
Interface
ModesLets you choose between Curve Editor and Dope Sheet. See Modes Menu.
SettingsControls the expansion of the hierarchy list window. Also contains controls that allow for
better performance. See Settings Menu.
DisplayAffects curve, icon, and tangent display. See Display Menu.
ControllerAssigns, copies, and pastes controllers, and makes them unique. Here you also add
looping. See Controller Menu.
TracksAdds Note and Visibility tracks. See Tracks Menu.
KeysAdds, removes, slides, and scales keys. Also includes soft selection, align to cursor, and snap
frame. See Keys Menu.
CurvesApplies or removes Ease and Multiplier curves. See Curves Menu.
UtilitiesRandomizes or creates out-of-range keys. Also selects keys by time and current value
editor. See Utilities Menu.
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Modes Menu
Modes Menu
Graph Editors menu > Track View - Curve Editor > Modes menu
Graph Editors menu > Track View - Dope Sheet > Modes menu
Main toolbar > Curve Editor (Open) > Modes
The Modes menu lets you switch between the Curve Editor and Dope Sheet when working in Track
View.
Curve EditorDisplays and allows for editing of animation function curves.
Dope SheetDisplays animation as a spreadsheet of keys available for editing.
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Settings Menu
Settings Menu
Graph Editors menu > Track View - Curve Editor > Settings menu
Graph Editors menu > Track View - Dope Sheet > Settings menu
Main toolbar > Curve Editor (Open) > Settings menu
The Settings menu contains a series of toggles and switches that control how items are handled in
the Track View window.
Interactive Update
Sync Time To Cursor
Manual Navigation
Auto Expand
Auto Select
Auto Scroll
Modify Subtree
Modify Child Keys
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Interactive Update
Interactive Update
Main toolbar > Curve Editor (Open) > Settings > Interactive Update
Interactive Update controls whether changes are displayed in the Curve Editor or Dope Sheet
window as you work.
Interactive UpdateTurns on and off the interactive update of the the Curve Editor or Dope Sheet
as you work. When this is on, changes are displayed in the window while your mouse button is
down. When this is off, changes are displayed when you release the mouse button. Default=Off.
Use this combined with Sync Cursor to Time to edit keys by clicking directly on them. The time slider
will jump to the correct point in time and the viewport will display your changes interactively. Upon
mouse button release the time slider will toggle back it its previous position.
Keep this turned off when you are working in big files and moving large numbers of keys.
Default=Off.
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Sync Time To Cursor
Sync Time To Cursor
Main toolbar > Curve Editor (Open) > Settings > Interactive Update
Provides the option for the time slider snapping to the cursor position. When this is turned on, the
clicking the cursor in the Key window will move the time slider to that spot in time. When this is
turned off, the time slider will not jump to position; you need to click the time slider and move it by
hand. Default = Off.
Use this combined with Interactive Update to edit keys by clicking directly on them. The time slider
will jump to the correct point in time and the viewport will display your changes interactively. When
the mouse button is released, the time slider will toggle back it its previous position.
Use this to jump between two poses quickly.
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Manual Navigation
Manual Navigation
Main toolbar > Curve Editor (Open) > Display menu > Manual Navigation
Graph Editor > Track View - Curve Editor > Right-click the controller window. > Manual
Navigation.
Manual Navigation turns off the Auto Scroll features of the controller window and allows you to select
which tracks will display on an individual basis.
The default behavior of the Controller window is to automatically display the selected object
animated tracks, and to hide them when the object is not selected in the viewport. Turning on
Manual Navigation changes this behavior so that deselecting the object will not make the curves
disappear from view.
When Manual Navigation is engaged, buttons appear in the Controller window next to the tracks,
that allow you to expand or collapse individual containers such as objects or materials.
Tip: Use ALT+right-click to quickly access tools for expanding and collapsing selected tracks.
To collapse individual components in the Controller window:
1. On the Graph Editors menu choose Track View - Curve Editor.
2. Right-click the controller window and turn on Manual Navigation.
3. Click any item label in the controller window.

An small minus sign within a circle appears to the left of the entry.
4. Click the minus sign in the circle.

The tracks collapse. A plus sign within a circle appears.
When Manual Navigation is turned off, tracks expand based on Auto-Expand choices made on
the Settings > Auto Expand menu.
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Auto Expand
Auto Expand
Graph Editors menu > Track View - Curve Editor > Settings menu > Auto Expand submenu
Main toolbar > Curve Editor (Open) > Right-click the controller window. > Auto Expand submenu
Auto Expand determines the behavior of the controller window display based on choices made from
a submenu. To turn Auto Expand off in a single click, choose Manual Navigation and the Auto Expand
settings will be disregarded.
When you are working on a specific animation task, turn off the unnecessary options to focus the
controller window on what you need to see.
The default auto-navigation settings for the Dope Sheet editor now only auto-expand to the
node track for the currently selected object. This reduces the number of tracks whose keys need to
be displayed and also helps enforce the top-down workflow for which the Dope Sheet editor is
designed.
Interface
Selected Objects OnlyWhen this is on, the controller window displays the tracks for selected
objects only. Default=On.
TransformsExpands the hierarchy list to display the Transforms. Default=On.
XYZ ComponentsExpands the transforms in the hierarchy list to display individual XYZ
components
Base ObjectsExpands the hierarchy list to display Base Object parameters (such as Height/Width/
Length).
ModifiersExpands the hierarchy list to automatically display Modifiers applied to objects.
MaterialsExpands the hierarchy list to automatically display Materials.
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Auto Select
Auto Select
Main toolbar > Curve Editor (Open) > Track View Settings > Auto Select
Provides options to determine which types of tracks are selected when a track view is opened, or
node selection changes. Options include Animated, with submenu choices of Position, Rotation and
Scale.
When this is turned on, Animated curves are automatically selected when opening the controller
window, using the submenu choices as well.
Additional filtering of the controller window can be accomplished by using Filters, such as combining
only selected tracks with only animated tracks.
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Auto Scroll
Auto Scroll
Main toolbar > Curve Editor (Open) > Settings menu > Auto Scroll submenu
Provides options to control the automatic scrolling of the controller window in Dope Sheet and Curve
Editor. When these are chosen, the choice is displayed at the top of the controller window.
Options include Selected and Objects.
Interface
SelectedWhen this is on, the controller window automatically scrolls to move the viewport
selection to the top of the controller window.
ObjectsWhen this is turned on, the controller window automatically scrolls to show all the objects
in the scene in the controller window.
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Modify Subtree
Modify Subtree
Graph Editor > Track View Dope Sheet > Dope Sheet toolbar > Modify Subtree
Main toolbar > Curve Editor (Open) > Modify Subtree
Graph Editors menu > Track View > Open Track View > Modify Subtree
Modify Subtree has these modes: Edit Keys, and Edit Ranges. Modify Subtree will allow you to move,
scale, edit time, etc. on all sub-tracks for any/all tracks on a node.
Modify Subtree is on by default when you are in the Dope Sheet Editor.
Procedure
To drag the ranges and linked descendants of an object:
1. In the Dope Sheet Editor, click Edit Ranges.
Modify Subtree is on by default.
2. Drag the World range bar or the Object range bar.

With Modify Subtree on, a range bar is displayed in the Objects branch. The Objects branch is
the default parent of all named objects in the scene.
Dragging a parent Object range bar, with Modify Subtree on, affects all tracks subordinate to
the object and all tracks of its linked descendants.
Dragging the World range bar, with Modify Subtree on, affects all tracks in the scene, including
Sounds, Materials, and all tracks of all objects.
3. Turn Modify Subtree off.

The World range bar and the Object range bar are no longer available. In this mode you can
affect the range of an individual object or track without affecting its descendants.
Interface
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Modify Subtree
Modify Subtree (Edit Keys)Edits (cuts, pastes, or moves) keys in the parent track.
Anything you do to the keys in the parental track affects the child keys as well.
Note: Adding keys only affects the current track.
Modify Subtree (Edit Range)Affects the tracks of an object and all of its descendent
objects. When you edit the range of a parent object, the child objects are also affected.
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Modify Child Keys
Modify Child Keys
Main toolbar > Curve Editor (Open) > Settings > Modify Child Keys
Graph Editors menu > Track View - Dope Sheet > Settings > Modifiy Child Keys
Graph Editors menu > Track View - Dope Sheet > Track View toolbar > Modify Child Key button
Provides the ability to turn changes on and off down the hierarchy when working in Dope Sheet
mode. Changes that you have made to a parent object can be added to the children by clicking this
toolbar button. Similarly, if you have made changes with Modify Subtree on, and you want to
remove the changes from the children, clicking Modify Child Keys will remove those changes from
the children that you previously made to the parent.
This tool is primarily designed for use in Dope Sheet Edit Ranges mode.
Modify Sub-tree allows you to move, scale, edit time, and so on, on all sub-tracks for any or all
tracks on a node. Modify Child Keys does the same thing, but also extends to child nodes as well.
Modify Sub-tree lets you edit timing for an object of subset of tracks on an object, while modify child
keys lets you edit the timing of an entire linked structure, group, or character.
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Display Menu
Display Menu
Graph Editors menu > Track View Curve Editor > Display menu
Main toolbar > Curve Editor (Open) > Display menu
Display is only available when Track View is in Curve Editor mode. The toggles in the Display menu
let you adjust and customize how the items in the Curve Editor appear.
Selected Key StatsDisplays the statistics for the selected keys in the function curve window. This
is useful because you only see the stats you are working on. See Show Selected Key Statistics
All TangentsDisplays all the tangent handles for all keys in the Curve Editor.
Custom IconsChanges the display of the icons in the hierarchy list from 2D to 3D shaded.
Keyable IconsDisplays a keyable icon that lets you define if a track is keyable or not. Red icons
are keyable tracks, Black icons are not. Click the icon to toggle between these or use Keyable on the
Controllers menu. See Keyable Icons .
Hide Non-Selected Curves When this is on, if you deselect the object in the viewport, the
function curve will also disappear from view in the Curve Editor. Default is on. See Hide/Show Non-
Selected Curves.
Show Non-Selected CurvesTurn this on so you can deselect an object in the viewport and still
see its curves. Default is off. See Hide/Show Non-Selected Curves
Freeze Non-Selected CurvesDisplays non-selected curves, but doesn't allow you to edit them.
Only available when Show Non-Selected Curves is on. Default is on. See Freeze Nonselected
Curves .
Filtersprovides controls to filter the display in Curve Editor. There are a wide range of options to
show, hide and display. See Filters .
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Show Selected Key Statistics
Show Selected Key Statistics
Main toolbar > Curve Editor (Open) > Key Stats: Track View toolbar >Show Selected Key Statistics
Show Selected Key Statistics displays the statistics represented by the currently selected keys in the
Key Window of the Curve Editor.
The frame number and value are displayed to the right of the key in the Key window. For example,
68,40.620 (frame=68, value=40.620).
Procedure
To show selected key statistics:
1. On the Keys window of the Curve Editor, select any key or set of keys.
2. On the Track View Key Stats toolbar, click Key Stats.

The key statistics are displayed next to the key on the curve.
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Keyable Icons
Keyable Icons
Main toolbar > Curve Editor (Open) > Display menu > Keyable Icons
Menu bar > Graph Editors > Track View - Curve Editor > Track View toolbar > Show Keyable Icons
Keyable icons provide a method to tag a track so that it can receive keyframes or be exempted from
keyframes. An icon is displayed in the Hierarchy window next to the name of track to indicate
whether or not the track is keyable. You can toggle the state of the icon to define the keyable
property.
You can also use the Track View Controller menu > Keyable command to make tracks keyable in
a single operation.
You can define keyboard shortcuts for making tracks keyable. By combining the use of keyable icons
with key filters, you can use Set Key animation mode to add keyframes to just the tracks you want
to work with, and avoid keyframing other tracks.
Red key icon means a track is keyable.
When the keyable icons are visible, click the red icon to turn off the track.
Black key in a circle indicates a track is not keyable.
Warning: When you are working with Set Key animation and you have used key filters to
select object parameters or materials, all of the parameters will be keyed unless you turn
off the track's keyable property.
Tip: You can assign a keyboard shortcut for making tracks keyable, by choosing Keyable Property
Toggle in the Track View group, on the Keyboard panel of the Customize User Interface dialog.
Additional Keyboard Commands.
Procedures
To make an individual track keyable:
1. Select the object in the viewport.
2. Right-click and choose Curve Editor.

The Function Curve Editor opens, with the selected object tracks visible.
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Keyable Icons
3. On the Track View toolbar, click Show Keyable Icons.
4. Click the red keyable icons for the tracks for which you want to prevent animation.
The tracks are changed, now marked with a black key in a circle. These tracks will not receive
keyframes. Only the tracks marked with red keyable icons will.
Note: Keyable tracks work with both Auto Key and Set Key animation modes.
To make multiple tracks keyable:
1. In Track View, with the object selected, hold down the CTRL key and click each track to create
a selection set of tracks for which you want to prevent animation . This can be for one or
multiple objects
Tip: You can hold down the SHIFT key to select a group of sequential tracks at once.
Alternately you can hold down the ALT key to select all tracks at the same level as a given
track at once.
Note: If you select just a parent track such as Position, Controller > Keyable will toggle all of its
sub-tracks, even if theyre not selected.
2. From the Controller menu, choose Keyable.

The selected tracks are now defined as keyable.
3. From the Display menu, choose Keyable Icons.

The keyable icon appears next to the tracks. The icon appears red for the tracks that are
keyable, and black for the ones that are not.
Tip: Use the same procedure to make multiple tracks not keyable. The Controller > Keyable
command toggles the keyability of the tracks.
Note: If you have a mixed keyable situation it will toggle the state of the first track and then
set all remaining tracks to match the value of the first track
Comments
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Hide/Show Non-Selected Curves
Hide/Show Non-Selected Curves
Main toolbar > Curve Editor (Open) > Display > Hide Non-Selected Curves or Show Non-Selected
Curves
These commands either hide or show function curves that are not selected in the controller window.
When Hide Non-Selected Curves is on (the default), the curve will disappear when another track is
chosen.
When Show Non-Selected Curves is on, the curve will still be visible in the Key window when another
track is chosen.
If you turn on Show Non-Selected Curves, then you can also use Freeze Non-Selected Curves. This
allows you to see the other curve but not edit it inadvertently.
Comments
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Main toolbar > Curve Editor (Open) > Settings menu > Freeze Nonselected Curves
Graph Editors menu > Track View > Open Track View > Track View toolbar > Function Curves >
LockFreeze Nonselected Curves
Freeze Nonselected Curves makes all nonselected curves uneditable. Default=On. Freeze
Nonselected Curves is a selection modifier and has the following properties:
Nonselected curves display as dotted lines.
You can only select vertices from selected curves in the Edit window.
You select other curves by clicking their icons in the Hierarchy list.
Turn Freeze nonselected Curves off when you want to be able to edit multiple curves without
having to select them all. Turn Freeze Nonselected Curves On when you have multiple vertices on
multiple curves all in the same place.
Procedure
To Freeze nonselected curves:
1. Animate two objects.
2. On the Graph Editors menu choose Track View Curve Editor.
3. In the Hierarchy list, hold CTRL and select the Position tracks of both objects.
Freeze Nonselected Curves is on by default causing the selection of both the track label and
controller). Function curves and keys for both objects are displayed.
4. On the Track View Display menu, turn off Freeze Nonselected Curves.
5. On the Track View Display menu, turn off Hide Non-Selected Curves.
6. On the Settings menu, turn on Manual Navigation.

Now you can see the effect of turning on and off Freeze NonSelected Curves. If you deselect a
curve in the controller window you can still see it in the Keys window, and with Freeze off you
can also select and edit its keys.
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Comments
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Filters
Filters
Main toolbar > New Track View > Track View toolbar > Filters
Graph Editors menu > Track View Curve Editor or Track View Dope Sheet > Track View menu
> Display > Filters
Graph Editors menu > Track View Curve Editor or Track View Dope Sheet> Track View toolbar
> Filters
With Filters, you display or limit items in the Controller window, and function curves in the Key
window. When you click the Filters button, Track View's Filters dialog is displayed.
You can also right-click Filters for quick selection of items.
Tip: You can set up a default filter configuration. Open a single Track View, set the filters the way
you want them to come up, and close the Track View. Save the (empty) scene as maxstart.max.
Procedures
To place a selected object at the top of the Track View Hierarchy:
1. In the viewports, right-click over a selected object.
2. Choose Curve Editor in the dialog.

Track View opens and displays the selected object at the top of the Track View Hierarchy.
To display the animated transform tracks for an object in Track View:
1. Select an object, then open a Track View window.
2. Right-click Filters.
3. Choose Animated Tracks only in the right-click menu.
4. Right-click Filters again.
5. Choose Selected Object from the right-click menu.
Interface
See Filters Dialog.
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Filters
Comments
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Filters Dialog (Track View)
Main toolbar > Curve Editor (Open) > Toolbar > Filters.
Graph Editors menu > Track Bar - Curve Editor > Display menu > Filters
You use the Track View Filters dialog to choose what to display in Track View. For example, you can view
only animated tracks, or tracks for selected objects. This dialog also controls function curve display and
transform display for Position, Rotation, Scale, and X, Y, and Z axes individually.
Procedure
To select filter options quickly, do one of the following:
On the Track View toolbar, right-click Filters.
Choose any of the filter options from the right-click menu.
Interface
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Show group
The Show group has options to display any of the following in the Hierarchy list window:
Hierarchy
Objects
Space Warp Bindings
Transforms (Position, Rotation, Scale, XYZ axes in any combination)
Modified Objects
Base Objects
Controller Types (off by default)
Note Tracks
Visibility Tracks
Sound

Materials/Maps
Material/Parameters
Static Values
AllSets all Show check boxes to on.

NoneSets all Show check boxes to off.
InvertReverses the state of all Show check boxes.
Hide by Controller Type group
Hide By Controller Type contains a window displaying a list of all controllers in the program. Choose one or
more controllers in the list to hide its display in the Hierarchy window. You can use the standard multiple-
selection methods of CTRL+click, SHIFT+click, or drag.
All/None/InvertSelects either all items in the list, none of the items in the list, or inverts the current
selection.
Note: When you hide a controller, its subcontrollers (if any) are hidden as well. For example, if you hide a
PRS Transform controller, its Position, Rotation, and Scale controllers are also hidden.
Hide by Category group
Contains a list of check boxes that let you hide tracks based on categories similar to those found in the
Display panel. Checking one of these hides the entire node and all of its subcomponents.
Show Only group

Animated TracksDisplays only items that contain animation. When a parameter is animated, that
parameter and items on all levels above it are considered to contain animation.
Selected ObjectsDisplays only items for objects selected in the scene. As you select objects in the scene,
the display in the Hierarchy list changes to show the current selection. The display of sound and materials
branches are not affected by this filter.
Selected TracksDisplays only items that you select prior to setting this filter. All of the displayed items
are left-justified in the Hierarchy list regardless of their level in the hierarchy.
Visible ObjectsDetermines whether objects that are hidden in the viewports will appear in the Track View
Hierarchy. This does not consider objects with tracks, but only objects that have been hidden. Default=on.
Keyable TracksDisplays only tracks that can receive keys. This property is toggled using the Keyable
property available on the Track View Controller menu, or by clicking the keyable icon displayed using Show
Keyable Icon. Default=off.
Function Curve Display group
Check boxes in this group, when active, specify which transforms are suppressed, for which axis, and which
RGB color values are suppressed.
Comments

Controller Menu
Controller Menu
Graph Editors menu > Track View Curve Editor > Controller menu
Graph Editors menu > Track View Dope Sheet > Controller menu
Main toolbar > Curve Editor (Open) > Controller menu
The Controller menu gives you tools for working with controllers that are assigned to objects or
tracks when in the Curve Editor or Dope Sheet.
AssignLets you select tracks and then assign a controller to that selection. See Assign Controller .
Delete ControllerLets you delete certain controllers, that can't otherwise be replaced (Visibility
tracks, Image Motion Blur Multiplier, Object Motion Blur On/Off). See Delete Controller .
KeyableToggles the ability to be keyed of selected controller tracks. Use this with the Show
Keyable button on the toolbar to see whether a track is keyable.
CopyPuts a copy of the selected controller track into the Track View buffer. See Copy Controller .
PasteCopies the controller track in the Track View buffer onto the selected track of another object
or objects. You have the option of pasting as a copy or as an instance. See Paste Controller .
Collapse Controller Converts procedural animation tracks to Bezier, Euler, Linear, or TCB
keyframe controller tracks. Can also be used to convert any controller to these type of controllers.
Allows for key reduction by using a Samples parameter. See Collapse Controller
Make UniqueLets you turn an instanced controller into a unique controller. If a controller is
instanced, making changes to it will affect where ever it is copied. If the controller is unique, then
changes to it will not affect anything else. See Make Controller Unique .
Out of Range TypesLets you extend the animation beyond the existing keyframes. Used
primarily to loop and otherwise cycle your animation without having to copy keys. See Parameter
Curve Out-of-Range Types .
PropertiesDisplays the Properties dialog, which gives access to the key interpolation types.
Different controller types will offer individual options here. For example a Position XYZ controller will
offer Fast, Slow, Linear, Smooth, Step, Bezier and Auto Tangent as key options, while a TCB
controller will not show any of those controls. For some controllers this is the primary gateway to the
animation parameters. See Properties (Track View Key Window).
Comments
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Assign Controller
Assign Controller
Main toolbar > Curve Editor (Open) > Select the controller track in the controller window. >
Controller menu > Assign
Keyboard > C
Use Assign Controller to assign animation controllers to any parameter or track in Track View.
Animation controllers provide powerful alternatives for animating all the objects and materials in a
scene. For example, rather than keyframing the position of an object in your scene, the object can
follow a spline using the Path constraint, move to the beat of music using the Audio controller, or
react to any animated parameter using a Reactor controller. Controllers can be combined using a List
Controller. A single vertex or control point on a complex object can be driven by a variety of
controllers.
You can also assign controllers using the right-click menu in the Track View Controller window. Or
you can assign controllers in Schematic View, the Motion panel, and by using the Animation menu.
Constraints and Controllers
There is really no difference between a controller and a constraint. All constraints are controllers that
require the use of a second object. For example a Path constraint is a controller that requires a
spline object for a path.
Special-Case Controllers
Special-case controllers are not assigned manually with the Assign Controller command. They are
applied automatically during certain procedures.
Barycentric Morph Controller is applied by selecting an object and clicking Command panel >
Geometry > Compound Objects > Morph.
A Master Point Controller is assigned when animating vertices, control points, or vectors in the sub-
object mode of an Editable Mesh, Editable Spline, Editable Patch, NURBS surface, or FFD modifier.
Slave Controllers can be assigned manually, but is also automatically applied to selected tracks when
a Block controller is created in Track View Global Tracks. A Slave controller transfers key data to a
Block controller. Slave controllers are described in the Block controller topic.
Available Animation Controllers and Constraints
Attachment Constraint: A Position controller that attaches an object's position to a face on another
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Assign Controller
object. The target object doesn't have to be a mesh, but must be able to convert itself to a mesh.
Audio Controller: Animates a parameter or object using a sound file.
Bezier Controller: Smooths function curves between transform keys, giving the effect of continuous,
natural movement. The Bezier controller is the default controller for position and scale.
Barycentric Morph Controller: Applied during the creation of a morph object. Each morph key
represents a series of weights for all morph targets.
Block Controller: Group tracks from multiple objects into Blocks. Blocks can be copied, pasted,
scaled and saved. Use Blocks to quickly re-create a complex motion anywhere in an animation.
Color RGB Controller (Point 3 XYZ Controller): Creates separate tracks for red, green, and blue.
Euler XYZ Rotation Controller: Combines separate, single-value float controllers to specify an angle
of rotation about each of the X, Y, and Z axes. You can specify the order the axes are rotated.
Expression Controller: Mathematical expressions control object parameters such as length, width,
and height, or transform and modifier values, such as position coordinates.
IK Controller: Assigned to a hierarchy through the use of IK Solvers. Can be automatically assigned
to bones at the time of creation by using Assign to Children.
Linear Controller: Makes the function curves between each of the keyframes into straight lines.
List Controller: Combines controllers.
Link Constraint: Animates the transfer of hierarchical links from one object to another. You can, for
example, have the same object passed from object to object.
Look-At Constraint: Forces that object to constantly look at another. Formerly a Transform
controller, this is now a rotation controller.
Master Point Controller: Automatically assigned when animating vertices, control points, or vectors
in sub-object mode. This controller simplifies managing potentially hundreds of tracks in Track View.
Motion Capture Controller: Controls and records an object's motion or parameter using an external
device. Supported devices are mouse, keyboard, MIDI device, and joystick.
Noise Controller: Generates random values, which you can see as peaks and valleys in the function
curve.
On/Off Controller: Provides on and off control.
Boolean Controller: An improved version of the On/Off Controller that allows for adding keys without
disrupting the existing keyframing.
Path Constraint: Assigns a spline as a trajectory (path) for an object so that the object follows the
path.
Position XYZ Controller: Splits the X, Y, and Z components into three separate tracks.
PRS Transform Controller: Creates subcontrollers for position, rotation, and scale.
Reactor Controller: Allows an object or parameter to react to another object or parameter. For
example, you can change the scale of one object based on the Z position of another object.

Assign Controller
Scale XYZ Controller: Provides separate scale tracks for the X, Y, and Z axes.
Script Controller: Controls objects and parameters with the 3ds max scripting language.
Spring Controller: Adds secondary dynamics effects to any point or object position.
Smooth Rotation Controller: Creates smooth rotations.
Surface Constraint: Positions an object along the surface of another object.
TCB Controller: Provides Tension, Continuity, and Bias controls for the function curves between keys.
Transform Script Controller: Provides scripted PRS control for objects.
Waveform Controller: A float controller that provides regular, periodic waveforms. For example,
blinking lights and rhythmic object motion.
Procedure
To assign an animation controller in Track View:
1. In the Track View Hierarchy, select one or more parameter items of the same type.
2. On the Controller menu choose Assign.
3. Choose a controller type from the Assign Controller dialog.

If a parameter has already been animated, then assigning a new controller has one of the
following effects:
The existing animation values are recalculated to produce a similar animation with the new
controller. For example, replacing TCB Position with Smooth Position closely preserves the
animation.
The existing animation values are discarded. For example, replacing Smooth Rotation with
Noise Rotation discards the Smooth Rotation animation values.
Interface

Assign Controller
Assign ControllerChoose a controller type from the Assign Controllers dialog. Depending on the
type of track you have selected, the Choose Controller dialog displays a subset of the different types
of controllers.
Comments

Animation menu > Constraints > Attachment Constraint
Attachment constraints keep the cylinders on the surface.
The Attachment constraint is a position constraint that attaches an object's position to a face on
another object (the target object doesn't have to be a mesh, but must be convertable to a mesh).
By keying different attachments over time, you can animate the position of an object over the
irregular surface of another object, even if that surface is changing over time.
Procedures
Example: To attach a cone to a bending cylinder:
1. In the Perspective viewport, create a cylinder with a radius of 20, a height of 30, and 10
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height segments.
2. In the Perspective viewport, create a cone with a radius 1 of 15, a radius 2 of 5, and a height
of 30.
3. Select the cylinder, apply a Bend modifier, and set the bend angle to -70 degrees.
4. Turn on Auto Key, move to frame 100, and set the bend angle to 70 degrees.
The cylinder bends from one direction to the other over 100 frames.
5. Turn off Auto Key.
Example continued: To assign the Attachment constraint and adjust the cone:
1. Select the cone.
2. On the Motion panel, open the Assign Controller rollout, click the Position track, click Assign
Controller, and choose Attachment.
The cone moves to the origin of the scene, and the Attachment Parameters rollout is displayed.
3. Click the Pick object, and then click the cylinder.

The name of the cylinder is displayed above the Pick Object button.
Go to frame 0. Arc Rotate the Perspective viewport so you can see the top surface of the
cylinder.
4. Click Set Position, and click and drag over the faces on the top surface of the cylinder.
The cone jumps to the top of the cylinder. As you drag the mouse, it jumps to whichever face
you drag over.
5. Release the mouse when the cone is on the top surface of the cylinder.
Example continued: To adjust the position of the cone relative to the face:
1. Drag in the face display window to position the red x relative to the triangle representing the
face. (Because of the radial arrangement of cap faces in a cylinder, the upper-left corner of the
displayed triangle is the center of the cylinder cap. You can turn off Edges Only for the cylinder
to see this.)
2. Adjust the A and B spinners to move the cone across the surface of the face.
3. Drag the time slider to various frames.

As the cylinder bends back and forth, the cone remains attached to its upper surface. Continue
adjusting the A and B spinners and dragging in the face display window to adjust the cone's
position.
4. Remember the number in the Face spinner, and then lower the spinner value until the cone
leaves the cylinder cap and begins jumping around various areas of the cylinder.
The Face spinner specifies which face the cone is attached to. As you change its values, the

cone moves to different faces on the cylinder.
5. Re-enter the original value in the Face spinner to return the cone to the top of the cylinder.
6. Play the animation.

The cylinder bends back and forth with a cone attached to its upper cap.
Interface
Parameters for this constraint are available on the Motion panel after the controller has been
assigned.
Attach To group
Object Name textSpecifies the target object to which the source object is attached.
Pick ObjectSelects and picks the target object in the viewports for the attachment.
Align to SurfaceFixes the orientation of the attached object to the face where it's assigned. When
this is turned off, the orientation of the attached object is not affected by the orientation of the face
on the target object.
Update group
UpdateUpdates the display.

Manual UpdateEnable Update.
Key Info group

Current KeyDisplays the current key number and lets you move to another key.
TimeDisplays the current frame, and lets you move the current key to a different frame.
Position group
FaceProvides the index of the face to which the object is attached. Range=0 to 268435455.
A and BContains the barycentric coordinates defining the position of the attached object on the
face. Range=-999,999 to 999,999.
Display windowShows the position of the source object within the attachment face. You can drag
within this window to adjust the position of the object relative to the face.
Set PositionAdjusts the placement of the source object on the target object. Drag over the target
object to specify a face and a position within the face. The source object moves accordingly over the
target object.
TCB group

All of the items in this group are the same as in other TCB controllers. The orientation of the source
object is also interpolated and affected by these settings.
TensionRange=0 to 50
ContinuityRange=0 to 50
BiasRange=0 to 50
Ease ToRange=0 to 50
Ease FromRange=0 to 50
Comments

TCB Controllers
TCB Controllers
Main toolbar > Curve Editor (Open) > Select a track in the Track View hierarchy. > Track View
menubar > Controller menu > Assign > TCB
Graph Editors > Track View Curve Editor > Select a track in the Track View hierarchy. > Track
View toolbar > Controller menu > Assign > TCB
Animation menu > Position, Rotation, or Scale > Quaternion (TCB)
TCB Controllers produce curve-based animation much like Bezier controllers. However, TCB
controllers do not use tangent types or adjustable tangent handles. They use fields to adjust the
Tension, Continuity, and Bias of the animation.
This controller works well as a Position controller in conjunction with the Motion panel > Trajectories
display of an object. With sub-object keys turned on and the Key Info dialog for a key displayed
(right-click and select Key Info on the selected key to display Key Info properties), you can change
the parameters in the Key Info dialog and see the trajectory path change. This allows for very
precise control of an object's trajectory with visual feedback.
Euler XYZ is the default rotation controller in 3ds max6.The TCB Rotation controller was the default
rotation controller for files created in versions 4 and earlier.
Tip: Euler XYZ behaves very differently than TCB rotations. Users upgrading from versions 4 or
earlier might have difficulty adapting to the differences between these controllers. If you are used to
working with TCB rotations, you can reassign it to be the default rotation controller.
Procedure
To change an Euler XYZ Rotation controller into a TCB Rotation controller:
1. Select an object animated with an Euler XYZ rotation controller.
2. In Motion panel > Parameters > Assign Controller rollout, select the Rotation track in the list
window.
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TCB Controllers
3. Click Assign Controller, and then select Quaternion (TCB).

You can also assign this controller in Track View or from the Animation menu.
Interface
TCB controllers display their properties in a Key Info dialog in Track View and a single Key Info
rollout in the Motion panel.
Time fieldSpecifies when in time the key occurs.
Time LockPrevents horizontal key motion in Track View edit modes.
Key Value fieldsStores the animation values for the key. The number and meaning of the fields
vary with different parameter data types. Some typical field arrangements are:
XYZ fields for Position and Point3 keys
XYZ percentage fields for Scale keys
A single value field for Float keys
TCB GraphCharts the effect that changing the controller properties will have on the animation.
The red mark at the top of the curve represents the key. The marks to the left and right of the curve
represent an even division of time to either side of the key.
The TCB graph is a stylized representation of the animation around a single key. If you want to view
the effect of changing TCB properties on the true animation curve, use the Function Curves mode of
Track View (works only with position and scale).
The following descriptions refer to both the TCB graph and the function curve as the animation
curve.
Note: When you are changing the properties of a selection of multiple keys, the TCB graph is blank

TCB Controllers
unless all properties are equal.

Ease ToSlows the velocity of the animation curve as it approaches the key. Default=0.
High Ease To causes the animation to decelerate as it approaches the key.
The default setting causes no extra deceleration.
Ease FromSlows the velocity of the animation curve as it leaves the key. Default=0.
High Ease From causes the animation to start slow and accelerate as it leaves the key.
The default setting causes no change of the animation curve.
TensionControls the amount of curvature in the animation curve.
High Tension produces a linear curve. It also has a slight Ease To and Ease From effect.
Low Tension produces a very wide, rounded, curve. It also has a slight negative Ease To and Ease
From effect.
The default value of 25 produces an even amount of curvature through the key.
ContinuityControls the tangential property of the curve at the key. The default setting is the only
value that produces a smooth animation curve through the key. All other values produce a
discontinuity in the animation curve causing an abrupt change in the animation. Default=25.
High Continuity values create curved overshoot on both sides of the key.
Low Continuity values create a linear animation curve. Low continuity creates a linear curve similar
to high tension except without the Ease To and Ease From side effect.
The default setting creates a smooth continuous curve at the key.
BiasControls where the animation curve occurs with respect to the key. Default=25.
High Bias pushes the curve beyond the key. This produces a linear curve coming into the key and an
exaggerated curve leaving the key.
Low Bias pulls the curve before the key. This produces an exaggerated curve coming into the key
and a linear curve leaving the key.
The default setting distributes the curve evenly to both sides of the key.
Rotation Windup (TCB rotation only)When on, rotation keys can be greater than 180 degrees.
When off, rotation keys are always less than 180 degrees. This is useful if you want to set a single
rotation key to create multiple revolutions of an object. Default=off.
Warning: If you have Rotation Windup on and you insert a rotation key between two
previously created rotation keys, you might get unexpected directional shifts. Rotation
Windup works best if you set keys using a straight-ahead workflow.
Comments

Audio Controller
Audio Controller
menubar > Controller menu > Assign > Audio
View menubar > Controller menu > Assign > Audio
Use the Audio controller to drive the animation of almost any parameter in the software. The Audio
controller converts the amplitude of a recorded sound file or real-time sound wave into values that
can animate an object or parameter.
With the Audio controller, you have full control over sound channel selection, base threshold,
oversampling, and parameter range.
The Audio controller works with most parameters in Track View, including:
Transforms
Float values
Point3 values (color)
Audio controller assigned to the scale track of this object
Procedure
To animate the Z axis scale of a box using a sound file:
1. Create a box.
2. In the Track View hierarchy, select the Scale track.
3. On the Track View menu, click Controller > Assign, and choose the AudioScale controller.
The Audio Controller dialog appears.
4. Select Choose Sound, and select a .wav file.
5. In the Base Scale group, set the Z field to 0.
6. In the Target Scale group, set the Z field to 600.
7. Close the Audio Controller dialog and play the animation.
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Audio Controller
The box scale is animated along the Z axis.

Tip: If you want to hear the sound as the animation plays, include the same audio file in the
Sound Track. (Sound Track in the Track View hierarchy)
In the Time Configuration dialog, turn on Real Time.
Interface
See Audio Controller Dialog
Comments
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Sound Options Dialog
Main toolbar > Curve Editor Open > Select an item in the Track View Hierarchy and right-click. >
Hierarchy right-click menu > Properties
Graph Editors menu > Track View > Open Track View > Right-click a Sound track in the Track View
Hierarchy. > Properties > Sound Options dialog
The Sound track in the Track View Hierarchy contains two sound options. Use the Metronome to
generate a series of beeps, or load a sound file to play back.
Sound is one way to provide the timing for your animation. You can scrub the time slider to locate a
particular sound, and coordinate your visuals around it.
You can display this dialog by right-clicking the Sound item in the Track View controller window, or
by right-clicking a sound track in the Key window.
Procedure
To add a sound track:
1. In the Track View Hierarchy Controller window, right-click a sound item and choose Properties.
The Sound Options dialog is displayed.
2. Click Choose Sound, select a sound file, and then click OK.
A Wave Form branch appears in the Track View Hierarchy. A waveform appears in the Track
View Key window.
3. Turn on Real Time in the Time Configuration dialog to hear the sound track when you play your
animation.
Interface
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Audio group
Choose SoundDisplays a file selector where you choose a sound file.

Remove SoundDeletes the waveform from Track View.
Reload SoundReloads the last loaded file. This allows the sound file to be reloaded when it has
been changed by another program.
ActivePlays the waveform during animation play back.
Metronome group
The Metronome track produces a regular beat using two tones. You specify three settings in the
Sound Options dialog to control the Metronome:
Beats per minuteSets the frequency of beats. The beats display in the Metronome tracks as black
vertical bars. Default=60.
Beats per measureSets which beat is emphasized with a higher pitch tone. Emphasized beats
display in the Metronome track as black pluses. For example, a setting of 4 generates a higher
pitched tone every fourth beat. Default=4.
ActivePlays the beats during animation playback.
Comments
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Audio Controller Dialog
Main toolbar > Curve Editor (Open) > Select a track using the Audio controller in the Track View
hierarchy. > Right-click the track in the Track View Key window. > Properties
Graph Editors > Track View Curve Editor > Select a track using the Audio controller in the Track
View hierarchy. > Right-click the track in the Track View Key window. > Properties
Animation menu > Track View > Open Track View > Select a track using the Audio controller in
the Track View hierarchy. > Right-click the track in the Track View Key window. > Audio
Controller dialog
Adding a sound track to your animation allows you to synchronize animation to sound. Add a sound
track to lip synch a character speaking for example.
Interface
Audio File group
Use this group to add and remove sound files from the controller, and to adjust amplitude.
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Choose SoundDisplays a standard file selector dialog. You can choose .wav and .avi files.
Remove SoundRemoves any sound file associated with a controller.
Absolute ValueControls the interpretation of sound amplitude. The value returned by the Audio
controller is sample amplitude divided by maximum amplitude.
Value=(sample amp.)/(maximum amp.)
When Absolute Value is turned on, the maximum amplitude equals the maximum sampled amplitude
from the waveform. This ensures that potential for the output value reaches the target value.
When off, the maximum amplitude equals the maximum potential amplitude of the waveform.
Output reaches the target value only if the waveform reaches its maximum potential amplitude.
The maximum potential amplitude for an 8-bit file is 128; for a 16-bit file, it's 32768.
Real Time Control group
Use this group to create interactive animation that's driven by sound captured from an external
audio source, such as a microphone. Use these options only for interactive presentations. You can't
save the real-time sound or save the animation produced by the controller.
Enable Real Time DeviceSets whether sound is captured from an external audio source. This
option is inactive if a sound capture device is not installed in your system.
When on, any selected audio file is ignored, and the controller uses sound captured by the selected
device.
When off, the controller uses the selected audio file.
Real Time device listDisplays all available real-time sound devices installed in your system.
Select the device you want to use for real time sound capture.
Sample group
This group contains controls to filter out background noise, smooth out the waveform, and control
display in Track View.
ThresholdSets the bottom cut-out level as a percentage of total amplitude. Any amplitude below
the threshold drops to 0.0.
Threshold range is from 0.0 to 1.0.
A Threshold of 0.0 has no effect on amplitude output values.
A Threshold of 1.0 drops all amplitude output values to 0.0.
You can use low threshold values to filter out background noise from the controller.
OversamplingSmoothes the waveform. Multiple samples are averaged to remove peaks and
valleys. Enter a number in the Oversampling field to calculate the average
Fast Track ViewControls the display of oversampling.
When turned on, oversampling is ignored for the Track View display.

When turned off, oversampling is applied to the Track View display. High oversampling values can
slow the display of the waveform.
Base & Target Scale groups
Here you enter minimum and maximum parameter values returned by the controller. The fields you
see vary by the type of parameter using the Audio controller.
Float parameters are displayed in the Controller Range group with Min. and Max. fields.
Vector parameters (3 components), such as Transforms, display Base and Target groups with fields
for X, Y, and Z values.
Base ScaleDefines the float value or X, Y, and Z values returned for an amplitude of 0.0.
Target ScaleDefines the float value or X, Y, and Z values returned for maximum amplitude.
Channel group
With this group you select which channel drives the controller output value. These options are only
available if you have chosen a stereo sound file.
LeftUses the left channel amplitude.
RightUses the right channel amplitude.
MixCombines the two channels so that the returned amplitude is the greater value of either
channel.
Comments

Bezier Controllers
Bezier Controllers
menu bar > Controller menu > Assign > Bezier
View menu bar > Controller menu > Assign > Bezier
The Bezier controller is the most versatile controller available in the program. Bezier controllers
interpolate between keys using an adjustable spline curve. They are the default controller for most
parameters.
Use Bezier controllers whenever you want fully adjustable interpolation between keys. Bezier is the
only controller that supports the following:
Dragging tangent handles
Step tangents for abrupt changes from one key to the next
Constant velocity controls
Procedures
To set the tangent type for a key:
1. Select an object that has some animation keys and open the Key Info (Basic) rollout in the
Motion panel.
2. Use the arrows to select a key.
3. Choose a tangent type from the In or Out tangent flyouts.
To normalize time for a key:
1. Select an object, and then choose a key to normalize.

You can use the arrows in the Key Info (Basic) rollout to step through keyframes.
2. On the Motion panel, in the Key Info (Advanced) rollout, click Normalize Time.
The key is moved in time to average the velocity through the key.
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Bezier Controllers
Interface
Motion panel > Parameters > Key Info (Basic) rollout
A Key Info dialog with identical parameters to this rollout is available by right-clicking a key in Track
View or the track bar.
Key numberShows the current key number. Click the right or left arrows to go to the next or
previous key.
TimeSpecifies when in time the key occurs.
Time LockControls dragging the key horizontally in Track View edit modes.
X/Y/ZAdjusts the position of the selected object at the current key.
Key TangentTwo flyouts set the interpolation properties of the in tangent and out tangent of the
key.
Choosing Bezier Tangent TypesSets the tangent types for one or more keys in the same track
using the In and Out tangent flyouts.
See Tangent Types for detailed information on each of the available tangent choices.
Tangent CopyCopies the tangent type between the tangents of the current key or between the
tangents of the previous and next key. Use the arrow buttons on either side of the Key Tangent
flyouts.
The left arrow of the In tangent copies to the Out tangent of the previous key.
The right arrow of the In tangent copies to the Out tangent of the current key.
The left arrow of the Out tangent copies to the In tangent of the current key.
The right arrow of the Out tangent copies to the In tangent of the next key.
Choosing Bezier Tangent TypesSets the tangent types for one or more keys in the same track
using the In and Out tangent flyouts.

Bezier Controllers
Bezier Scale Controller (Lock X)Causes the X value to affect all three axes of scale. The Y and
Z values are ignored and their function curves are not displayed.
When X is locked, the Y and Z values are not affected by changes in the X value. If you lock X when
all three axes are at identical values, alter the X value, and then unlock X, the Y and Z values remain
where they were while X retains its new value.
Motion panel > Parameters > Key Info (Advanced) rollout
Controls in the rollout affect velocity in three ways:
Control the absolute velocity at a key using the In/Out values
Average velocity over a specified amount of time using Normalize Time
Force constant velocity from one component key to the next using Constant Velocity
In/OutThe In field displays the rate of change as the parameter approaches the key. The Out field
displays the rate of change as the parameter leaves the key.
These fields are active only for keys using the Custom tangent type.
The number in the field is the rate of change expressed as parameter units per Tick. By changing the
two values for X, Y, and Z you are changing the length and angle of the tangent handle.
Lock buttonWhen on, changing one Custom tangent changes the other by equal but opposite
amount. For example, if the Lock button is on and the In value is 0.85, then the Out value is -0.85.
Normalize TimeAverages the position of the keys in time and is applicable to any consecutive
blocks of selected keys. Useful if you want to smooth out the motion and have an object that speeds
up, slows down, speeds up, and slows down.
Constant VelocityInterpolates values between a key and the next one in a way that makes the
object move at a constant velocity across that curve segment.

Bezier Controllers
Free HandleUsed for automatically updating the length of the tangent handle. When this is turned
off, the length of the tangent is at a fixed percentage from its neighboring key. As you move a key,
the handles adjust to stay the same percentage away from the neighboring keys. When this is
turned on, the handle lengths are based on time lengths.
Create Position Lock Key / Create Rotation Lock KeyMakes the incoming handle of the
current key linear, and the out going handle of the previous key linear. This is to prevent overshoot
from the spline interpolation.
To use these two features, you must first create a keyboard shortcut in Customize > Customize User
Interface. Look for Create Position Lock Key and Create Rotation Lock Key in the keyboard shortcut
list and assign a key. Or you can also add these commands to the quad menu.
Comments

Tangent Types
Tangent Types
Select an animated object in the viewport. > Right-click any key in track bar > choose the name of
the controller track such as Sphere01: Z Position > In the Key Info dialog, choose a Tangent type
by pressing the visible tangent type icon and picking from the flyout.
Select an animated object in the viewport. > On the Motion panel choose a Tangent type from the
flyout on the Key Info (Basic) rollout.
Select an animated object in the viewport. > Right-click and choose Curve Editor.> In the Keys
window right-click any click > Choose a Tangent type from the flyout.
You can adjust the tangent type of the Bezier transforms. This means you can adjust the
interpolation between keyframes to create particular motion affects. Making something hesitate,
speed up, slow down or even standstill are all accomplished through manipulation of tangent types.
Each key has two tangent types, one defining the interpolation before the key, another for the in-
betweens following the key.
SmoothCreates smooth interpolation through the key.
LinearCreates linear interpolation at the key.

A linear tangent affects only the curve near the key. Full linear interpolation between two keys
occurs only when the Out tangent of the first key and the In tangent of the next key both use a
linear tangent.
StepCreates binary interpolation from one key to the next. Step tangents require a
matched set between the Out tangent of one key and the In tangent of the next key.
Choosing Step for the In tangent of the current key also changes the Out tangent of the previous
key. Choosing step for the Out tangent of the current key also changes the In tangent of the next
key.
Using Step tangents, the outgoing value of a key is held constant until the time of the next key is
reached. The value then abruptly jumps to the value of the next key. Use this tangent when you
want to animate On/Off switching or instantaneous changes from one value to the next.
SlowCauses the interpolated rate of change to slow down around the key. A slow In
tangent decelerates as it approaches the key. A slow Out tangent begins slow and accelerates as it
leaves the key.
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Tangent Types
FastCauses the interpolated rate of change to speed up around the key. The effect is the
opposite of using slow. A fast In tangent accelerates as it approaches the key. A fast Out tangent
begins fast and decelerates as it leaves the key.
CustomDisplays adjustable tangent handles at the key in Function Curves mode in 3ds
max.
Flat Tangent Displays a smooth interpolation type designed to eliminate overshoot with
no editable handles. Tangent slopes automatically take the most direct route to the next key value.
Comments
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Barycentric Morph Controller
Select an object. > Create panel > Geometry > Compound Objects > Morph
The Barycentric Morph controller is automatically applied when a morph object is created in Create >
Geometry > Compound Objects > Morph. Morph targets are selected and keys are created at
different times to morph the original object into the shape of the Morph Targets.
Note: The Morpher modifier provides an alternative to the Morph controller to morph objects.
See also

Morpher Modifier
The Barycentric Morph controller represents each key as a series of weights for all targets. One
barycentric key represents a new object which is a blending of all targets.
You can adjust each morph key to various percentages of the available morph targets. This lets you
create subtle adjustments in the animation.
You can add keys between existing morph keys. The added keys contain interpolated values for all
targets.
To access the key properties dialog, select the Morph track, select one of its keys, and click
Properties to display the Key Info dialog.
Procedures
See Morph Compound Object and Barycentric Morph Controller Key Info Dialog
Interface
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After assigning the Barycentric Morph controller in Create panel > Compound Objects > Morph, then
morph parameters for the controller display in the Modify panel and in the Barycentric Controller Key
Info dialog, which is displayed by right-clicking over a morph key in Track View Dope Sheet or the
track bar.
See Morph Compound Object for Morph parameters.
Comments
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Barycentric Coordinates
Glossary
Barycentric Coordinates
Given a triangle between points A, B, and C, each point X on the surface of the triangle can be
represented by a weighted sum of the corners:
X = a*A + b*B + c*C
where a, b, and c are numbers between 0 and 1 and a+b+c = 1.
These numbers are called the barycentric coordinates of the point X. There is one unique set of
barycentric coordinates for each point on the triangle.
Examples
The center of gravity of the triangle is given by the barycentric coordinates (1/3, 1/3, 1/3): X = 1/3
A + 1/3 B + 1/3 C = (A+B+C)/3.
If one of the barycentric coordinates is zero, the point X must lie on the opposite edge. For instance:
if a=0, X = b*B + c*C
where b+c=1
This means that X is on the line segment BC.
If a=1, on the other hand, then b=c=0, and X must be exactly the point A.
Comments
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Select an object. > Create panel > Geometry > Compound Objects > Object Type rollout > Morph
Select an object. > Create menu > Compound > Morph
Seed or base object, and the target objects at specific frames
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The resulting animation
Morphing is an animation technique similar to tweening in 2D animation. A Morph object combines

two or more objects by interpolating the vertices of the first object to match the vertex positions of
another object. When this interpolation occurs over time, a morphing animation results.
The original object is known as the seed or base object. The object into which the seed object
morphs is known as the target object.
You can morph one seed into multiple targets; the seed object's form changes successively to match
the forms of the target objects as the animation plays.
Before you can create a morph, the seed and target objects must meet these conditions:
Both objects must be mesh, patch, or poly objects.
Both objects must have an equal number of vertices.
If these conditions don't apply, the Morph button is unavailable.

You can use any kind of object as a morph target, including an animated object or another morph
object, as long as the target is a mesh that has the same number of vertices as the seed object.
Creating a morph involves the following steps:
Model the base object and target objects.
Select the base object.
Click Create panel > Geometry > Compound Objects > Morph.
Add the target objects.

Animate.
Setting Up the Morph Geometry
Make sure that the objects you want to use as the seed and targets have the same number of
vertices.
Tip: When you create Loft objects that you want to use as morph seeds and targets, make sure that
Morph Capping is on and Adaptive Path Steps and Optimize are turned off. All shapes in the Loft
object must have the same number of vertices.
Tip: You should also turn off Adaptive and Optimize for other shape-based objects that you want to
use with Morph, such as those with Extrude or Lathe modifiers.
Warning: The selected object is permanently converted to a morph object as soon as you
click Morph, whether or not you proceed to select a target object. The only way to restore
the original object is to undo the Morph click.
Morph Object and Morpher Modifier
There are two ways to set up morphing animations: the Morph compound object and the Morpher
modifier.
The Morpher modifier is more flexible because you can add it multiple times at any place in an
object's modifier stack display. This flexibility lets you animate the base object or the morph targets
before reaching the Morpher modifier, for example with a noise modifier. The Morpher modifier
works hand in hand with the Morpher material. The Morpher modifier is the ideal way to morph
characters.
The Barycentric Morph controller can be simpler to use in Track View. The Track View display for
Compound Morph has only one animation track regardless of the number of targets. Each key on the
track represents a morph result based on a percentage of all the targets. For basic morphing needs,
Compound Morph may be preferable to the Morpher modifier.
Lastly, you can add the Morpher modifier to the stack of a Compound Morph object.
Procedures
Example: To create a basic morph:
1. On the Create panel > Geometry > Patch Grids > Object Type rollout, click Quad Patch.
2. In the Top viewport, click and drag to create a patch on the left side of the viewport.
3. Right-click the modifier stack display in the Modify panel and select Convert To Editable Patch
from the pop-up menu.

4. Right-click the patch, and then click Move in the Transform quadrant of the quad menu.
5. In the Top viewport, hold SHIFT and drag with the patch to create a copy on the right side of
the viewport.
6. On the Modify panel > Selection rollout, go to the Vertex sub-object level.
7. In the Front viewport, select and move vertices on the selected patch to alter its shape.
8. On the Modify panel, in the stack display, click Editable Patch again to return to the top level.
9. Select the original patch in the viewports.
10. On the Create panel > Geometry > Compound Objects > Objects Type rollout, click Morph.
11. On the Pick Targets rollout, click Pick Target.
12. In the viewports, click the second patch object.

Both patch objects are listed in the Morph Targets list.
13. Click Modify panel.

Morph displays above the Editable Patch in the modifier stack.
14. Move the time slider to frame 10.
15. In the Morph Targets list, click M_QuadPatch01.
16. On the Current Targets rollout, click Create Morph Key.

On the track bar, a key is displayed at frame 10.
17. On the track bar, right-click the key at frame 10 and click QuadPatch01:Morph in the menu.
A Key Info dialog displays.
18. On the Key Info dialog, select M_QuadPatch01 from the list.
19. On the Key Info dialog, drag the percentage spinner.

The base object changes shape.
20. Close the Key Info dialog and drag the time slider back and forth. The patch morphs its shape.
To select the targets for a morph:
1. Select the seed object.
2. On the Create panel > Geometry > Compound Objects, click Morph.
The name of the seed object is displayed at the top of the Morph Targets list on the Current
Targets rollout.
3. On the Pick Targets rollout, choose the method for creating targets: Reference, Move, Copy, or
Instance.
4. Click Pick Target.

5. Select one or more target objects in the viewports.

As you select each target, its name is added to the Morph Targets list. If an object can't be a
target (for example, if it has a different number of vertices than the morph seed), you can't
select it.
If you select a target object while you are not at frame 0, creating the target also creates a
morph key. You can create additional morph keys from targets you've already selected, as
described in the following procedure.
To create morph keys from existing targets:
1. Drag the time slider to the frame where you want to place the morph key.
Note: The Auto Key button does not need to be on to set morph keys.
2. Highlight the name of a target object on the Morph Targets list.

The Create Morph Key button is available only when a target object name is selected.
3. Click Create Morph Key.

The software places a morph key at the active frame.
4. To preview the effect of the morph, drag the time slider back and forth. You can view and edit
the morph keys in Track View, which also lets you view the morph's target object parameters.
Interface
Pick Targets rollout
When you pick target objects, you designate each target as a Reference, Move (the object itself),
Copy, or Instance. Base your selection on how you want to use the scene geometry after you create
the morph.
Pick TargetUse this button to designate the target object or objects.
Reference/Copy/Move/InstanceLets you specify how the target is transferred to the
compound object. It can be transferred either as a reference, a copy, an instance, or it can be
moved, in which case the original shape is not left behind.
Use Copy when you want to reuse the target geometry for other purposes in the scene.

Use Instance to synchronize morphing with animated changes to the original target object.
Use Move if you've created the target geometry to be only a morph target, and have no other use
for it.
You can use an animated object or another morph as the target of a morph.
Current Targets rollout
Morph TargetsDisplays a list of the current morph targets.

Morph Target NameUse this field to change the name of the selected morph target in the Morph
Targets list.
Create Morph KeyAdds a morph key for the selected target at the current frame.
Delete Morph TargetDeletes the currently highlighted morph target. If morph keys reference the
deleted target, then those keys are deleted as well.
Comments

Morpher Modifier
Morpher Modifier
Select a mesh, patch, or NURBS object. > Modify panel > Modifier List > Morpher
Select a mesh, patch, or NURBS object. > Modifiers menu > Animation Modifiers > Morpher
On this patch model, morph targets are created by moving control vertices and tangent handles in an
Editable Patch.
Use the Morpher modifier to change the shape of a mesh, patch, or NURBS model. You can also
morph shapes (splines), and World Space FFDs. As well as morphing from one shape to another, the
Morpher modifier also supports material morphing.
Morphing is commonly used for lip sync and facial expression on a 3D character, but can be used to
change the shape of any 3D model. There are 100 channels available for morph targets and
materials. Channel percentages can be mixed, and the result of the mix can be used to create a new
target.
On a mesh object, vertex count on the base object and targets must be the same. On a patch or
NURBS object, the Morpher modifier works on control points only. This means that the resolution of
patches or NURBS surfaces can be increased on the base object to increase detail at render time.
A Flex modifier above the Morpher modifier is aware of vertex/control point motion in the Morpher
modifier. If, for example, a jaw is morphed to slam shut, then the Flex modifier placed above the
Morpher modifier in the modifier stack can be used to make the lips quiver to simulate soft tissue.
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Morpher Modifier
For an in-depth look at the Morpher modifier, see the tutorial "Lip Sync and Facial Expression with
the Morpher Modifier."
See also
Morpher Material
Lip Sync and Facial Animation
For lip sync and facial animation, create a character's head in an "at rest" pose. The head can be a
mesh, patch, or NURBS model. Copy and modify the original head to create the lip-sync and facial-
expression targets. Select the original or "at rest" head and apply the Morpher modifier. Assign each
lip-sync and facial-expression target to a channel in the Morpher modifier. Load an audio file in the
Track View sound track, turn on the Auto Key button, scrub the time slider, and view the audio
waveform in Track View to locate frames for lip sync. Then set the channel spinners on the Morpher
modifier to create key frames for lip position and facial expression.
Teeth can either be a part of the model or animated separately. If the teeth and head are two
different objects, model the teeth in an open position, and then apply the Morpher modifier, and
create one target with the teeth closed. Eyes and head motion can be animated after the morph
keys are created.
Morph Targets for Speech
Nine mouth shape targets are commonly used for speech. If your character speaks an alien dialect,
don't hesitate to create extra morph targets to cover these mouth shapes.
Include cheek, nostril, and chin-jaw movement when creating mouth position targets. Examine your
own face in a mirror or put a finger on your face while mouthing the phonemes, if necessary, to
establish the direction and extent of cheek motion.
Set lip-sync keys by viewing the audio waveform as well as listening to the sound as you scrub the
time slider. Many mouth-position keys benefit from being set a frame early. Often the mouth must
assume a shape before the appropriate sound is uttered. For the word "kilo", the "K" mouth shape
precedes the actual sound, for example.
A, I

Morpher Modifier
F,V
C, D, G, J, K, N, S, T, Y, Z
L,T

Morpher Modifier
W,Q
M,B,P (This target can be the same shape as the "at rest" base object)
Morph Targets for Expression
Create as many expression targets as necessary for the character. Joy, sadness, surprise, evil can all
have their own targets. Depending on the personality of the character, certain targets, like a terror
target, may not be necessary. Targets like nostril flare, jaw-muscle bunching, temple twitching can
be effective to give a character an edge. Each morph channel can contain a material as well: as you
morph the brows up, a bump map can crease the forehead, for example.
Save time and create targets as the need arises; if the audio file or scene you are working on
requires a look of surprise, create the "surprise" target while the mood of the scene is with you.
If the character has teeth, copy the teeth and the base head to create a new target. The teeth act as
a guide to shape and position the lips.

Morpher Modifier
Blink
Brows up
A blend of the Pain, Blink, and Brows targets
Procedure
Example: To add the morpher modifier to an object and assign a morph target to a
channel:
1. On the Create panel, click Geometry.
2. On the drop-down list, choose Patch Grids.
3. On the Object Type rollout, click Quad Patch.
4. In the Top viewport, click and drag to create a patch grid.
5. On the Modify panel, on the modifier stack display, right-click Quad Patch and choose
Convert To: Editable Patch from the right-click menu.
The base object is now an Editable Patch.

Morpher Modifier
6. In the Top viewport, use SHIFT+Move to create a copy of the patch object.
7. On the Modify panel, on the Selection rollout, click Vertex.
8. In the Front viewport, move patch vertices to deform the patch surface.
9. In the stack display, choose Editable Patch to go to the object (top) level. (The highlight
should change from yellow to gray, and the Vertex sub-object icon is no longer displayed at the
right of the stack.)
10. Select the first patch object.
11. On the Modify panel, choose Morpher from the Modifier List.
The Morpher modifier is added to the modifier stack.
12. On the Morpher modifier, on the Channel List rollout, right-click the first channel (over the word
"empty").
A right-click menu displays.
13. Choose Pick from Scene on the right-click menu, and click the deformed patch grid in the
viewports.
QuadPatch02 is listed in the channel as a morph target.
14. Drag the Channel spinner, to the right of QuadPatch02, up and down.
The flat patch grid "morphs" to the shape of the target.
Interface
Whatever is assigned as the default float controller in the software will be assigned as the float
controller on the morph channels as well. Float controllers handle the interpolation between keys;
Bezier is the default float controller. You can assign the TCB float controller to the morph channels in
Track View, if you prefer.
For morphing, the Bezier controller allows you to use function curves with vector handles on the
keys for smoothing and easing control of interpolation in Track View. Default parameters of the TCB
controller, however, handles morph interpolation with less overshoot. Try using both controllers, to
decide which one you prefer.

Morpher Modifier
GrayThe channel is empty, and has not been edited.

OrangeThe channel has been changed in some way but contains no morph data.
An artist may wish to name a channel and set up its parameters before actually assigning a morph
target.
GreenThe channel is live. The channel contains morph data and the target object still exists in
scene (the target is available for refresh).
BlueThe channel contains morph data but the target has been deleted from the scene.
Dark GrayThe channel is disabled.
There is a problem with the morph, the topology of the base object, or targets, have changed and
are no longer valid; for example, the vertex count might have changed. The channel cannot be
used.
The channel is not active. This is controlled by the Channel is Active toggle in the Channel
Parameters rollout.
Disabled channels are not included in the morph result.
Global Parameters rollout

Morpher Modifier
Global Settings group
Use LimitsUse the minimum and maximum limits for all channels.
You can turn off limits to double purpose a target. The target for a smile can be used to turn the
corners of the mouth down using negative values for example.
MinimumSets the minimum limit.
MaximumSets the maximum limit.
Use Vertex SelectionTurn on to limit morphing to vertices selected in a modifier below the
Morpher modifier in the modifier stack.
If your are using Character Studio Physique, limit morph animation on the base object to just the
head and exclude the neck, for example. Place the Physique modifier above the Morpher modifier
and assign the head vertices as rigid (green) in the Physique modifier.
Channel Activation group
Set AllClick to activate all channels.

Set NoneClick to deactivate all channels.
Morph Material group
Assign New MaterialClick to assign the Morpher material to the base object (the object to which
the Morpher modifier is applied).
Open the Material Editor to view and edit the Morpher material. There is a direct correlation between
the Channel Material Maps and the Channel list in the Morpher modifier (100 channels and 100

Morpher Modifier
maps). For example, if channel 1 contains a brows up target and the Morpher material has a
material assigned to map 1, then, as the brows are morphed so is the material.
In the Morpher material, if a material is assigned to a map or channel that has no morph target in
the Morpher modifier, then the channel spinner in the Morpher modifier can be used to simply morph
the material on a static object. See Morpher Material.
Channel List rollout
The upper section of the Channel List rollout contains controls for managing markers, which
designate different locations in the list of morph targets. For example, channels 15 through 24 might
contain all the emotion targets. Rather than scrolling to display these tracks, you can choose a
marker from the list to display those channels.
[marker drop-down list]Choose a previously saved marker in the list, or enter a new name in
the text field and click Save Marker to create a new marker.
For example, channel 15 through 24 might contain all the emotion targets. Rather than scrolling to
display these tracks, you can choose a marker from the list to display these channels in the list.

Morpher Modifier
Save MarkerMove the scroll bar to frame a particular set of 10 channels, enter a name in the text
field, and then click Save Marker to store the channel selection.
Delete MarkerChoose a marker name to delete from the drop-down list, and then click Delete
Marker to delete it.
Channel ListThe Morpher modifier provides up to 100 morph channels. Scroll through the
channels using the slider. Once you've assigned a morph target to a channel, the target's name
appears in the channel list. Each channel has a percentage value field and a spinner to change the
value.
You can change channel names and order in the Channel Parameters rollout.
Right-click a morph channel to display a right-click menu:
Pick from SceneChoose this command and select an object in the viewports to assign a morph
target to the channel.
Delete ChannelDeletes the morph data, name and parameters from the channel. Displays only if
the channel has data.
Reload TargetRetrieves morph data from the target. Use this after editing a target.
List RangeDisplays the range of visible channels in the channel list.

Load Multiple TargetsLoad multiple morph targets into empty channels by selecting object
names in the selection dialog and clicking Load.
If there are more targets than empty channels, a warning displays and the channels are not
assigned.
Reload All Morph TargetsReloads all the morph targets.
If the targets have been edited, the channels are updated to reflect the changes. If a morph target
has been deleted from the scene, then the morpher updates using the stored data in the channel,
functions using the last stored morph data.

Morpher Modifier
Zero Active Channel ValuesClick to create keys with a value of 0 for all active morph channels,
if the Auto Key is on.
This is handy to prevent key interpolation from distorting the model. First click Zero Active Channel
Values, and then set a particular channel to the value you want; only the altered channel affect the
model.
Automatically reload targetsTurn this on to allow animated targets to be updated dynamically
by the Morpher modifier. There is a performance penalty when using this option.
Channel Parameters rollout
The channel number button and channel name field at the top of this rollout reflect the current
active channel in the channel list.

Morpher Modifier
[channel number]Click the number next to the channel name to display a menu. Use commands
on the menu to group and organize channels, or to locate a channel.
Move ToDisplays the Channel Operations dialog. To move the current channel to the selected
channel, choose a channel from the list, and click Move To.
Swap WithDisplays the Channel Operations dialog. To swap the current channel with the selected
channel, choose a channel from the list, and click Swap With.
Used ChannelsDisplays a list of active channels. Choose a channel to place it at the top of the
channel list display in the Channel List rollout.
Channel NameDisplays the name of the current target.Change the name of the target in the text
field if necessary. Parameter changes in the Channel Parameters rollout affect the current target.
Channel is ActiveToggles a channel on and off. Inactive channels do not affect the morph result.
Use this control to turn off certain channels to focus on animating other channels.
Create Morph Target group
Pick Object from SceneTurn on and click an object in the viewports to assign a morph target to
the current channel.
Capture Current StateChoose an empty channel to activate this function. Click to create a target
using the current channel values.
The captured channel is always blue because there is morph data but no specific geometry. Use
Extract to create a mesh copy of the captured state.
DeleteDeletes the target assignment for the current channel.
ExtractChoose a blue channel and click this option to create an object from the morph data.
If you have used Capture Current State to take a snapshot of a group of channel values, but then
want to edit it, use Extract to make a new object, pick it as the channel's target, and then start
editing.
Channel Settings group
Use LimitsTurn on to use limits on the current channel if Use Limits is turned off in the Global
Parameters rollout.
MinimumSets the lower limit.
MaximumSets the upper limit.
Use Vertex SelectionMorphs only selected vertices on the current channel.

Morpher Modifier
Progressive Morph group
Progressive morphing performs a tension-based interpolation, similar to the TCB animation

controller, that creates smooth interpolation through each intermediary targets. This provides the
artist with an unprecedented amount of control over the morph transformation.
Morphed object using multiple, intermediary targets

Morpher Modifier
Morphed object using a single target
Target ListLists all intermediary morph targets associated with the current channel.
Move UpMoves the selected intermediary morph target up in the list.
Move DownMoves the selected intermediary morph target down in the list.
Target %Specifies how much the selected intermediary morph target contributes to the overall
morph solution.
TensionSpecifies the overall linearity of the vertex transformation between intermediary morph
targets. A value of 1.0 creates a loose transition, causing the interpolation to overshoot each
target slightly. A value of 0.0 creates a direct, linear transformation between each intermediary
target.
Delete TargetDeletes the selected intermediary morph target from the target list.
Reload Morph TargetReloads data from the current target into the channel. Reload a target if it
has been adjusted or edited.
If the active morph target entry in the channel list is empty, this button is unavailable, and displays
the text No Target to Reload.

Morpher Modifier
Advanced Parameters rollout
Spinner IncrementsSpecify fine or coarse spinner increments. 5.0 is coarse and 0.1 is fine.
Default=1.0
Compact Channel ListCompact the channel list by filling in any empty channels in between
assigned channels. The status window displays how many channels were moved.
Approximate Memory UsageDisplays an approximation of the current memory usage.
Comments

Morpher Material
Morpher Material
Material Editor > Type button (labeled Standard by default) > Material/Map Browser > Morpher
material
The Morpher material works hand-in-hand with the Morpher modifier. It can be used to make the
cheeks of a character blush, or to wrinkle a character's forehead when the eyebrows are raised.
Using the channel spinners in a Morpher modifier, materials can be blended just as the geometry is
blended or morphed by the Morpher modifier.
There are 100 material channels in the Morpher material that map directly to the 100 channels in the
Morpher modifier. Once you apply the Morpher material to an object and bind to the Morpher
modifier, then you use the channel spinners in the Morpher modifier to morph materials and
geometry. Empty channels in the Morpher modifier, with no geometry morph data, can be used to
morph materials only.
Important: The mental ray renderer does not support the Morpher material.
See also
Morpher Modifier
Applying the Morpher Material
An object must have at least one Morpher modifier in its modifier stack. The material can be
assigned to an object and bound to the object's Morpher modifier in either of two ways.
After the Morpher modifier is applied to an object, use the Assign New Material command in the
Global Parameter rollout of the Morpher modifier. This is the simplest way, and applies the
Morpher Material to the object and binds the material to the Morpher modifier at the same time.
Open the Material Editor, select the Morpher material, and click Choose Morph Object in the
Parameters rollout, then click the object in the viewports. After clicking the object, a dialog
displays in the viewports, select the Morpher modifier from the dialog (an object may have
multiple Morpher modifiers). This binds the Morpher material to the Morpher modifier.
A Morpher material can be bound to only one Morpher modifier.
Procedures
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Morpher Material
Example: To apply and use the Morpher material:
1. Create a sphere in the Top viewport.
2. On the Modify panel, right-click the sphere's entry in the modifier stack display, and
choose Convert To: Editable Mesh.
3. Choose Animation Modifiers > Morpher from the Modifier List.

The Morpher modifier is applied to the sphere.
4. On the Morpher modifier's Global Parameters rollout, click Assign New Material.
The Morpher material is now applied to the object and bound to the Morpher modifier.
5. Open the Material Editor, and click Pick Material from Object (the eyedropper), then
click the sphere in the viewports.
The Material Editor displays the Morpher material parameters.
6. On the Morpher Material Parameters rollout, click the Map 1 slot.
7. On the Material/Map Browser choose Standard.
8. On the Basic Parameters rollout, click the Diffuse color swatch.
9. On the Color Selector, choose a bright yellow, and close the color selector. Leave the Material
Editor open.
10. Turn on the Auto Key button, then move the time slider to frame 50.
11. Select the sphere, and then open the Modify panel.
12. On the Morpher modifier's Channel List rollout, set the channel 1 spinner to 100.
In the Material Editor, the color of the sample sphere changes to yellow.
13. On the main toolbar, click Render.

The sphere is yellow. If you render an animation the sphere changes from a grey color to
yellow.
Interface
The Morpher material interface is on a Parameters rollout in the Material Editor.

Morpher Material
Modifier Connection group
Choose Morph ObjectClick this option, then select an object in the viewports that has a Morpher
modifier applied to it. Clicking an object in the viewports displays the Choose Morpher modifier
dialog. Choose a Morpher modifier, and click Bind.

Morpher Material
Name FieldDisplays the name of object to which the Morpher material is applied. If no object has
been specified, the field displays "No Target".
RefreshUpdates the channel data.
Marker ListThis list is identical to the marker list in the Morpher modifier. Markers you save in the
Morpher modifier appear here.
Base Material group
Base material buttonClick to apply a base material to the object. The base material represents
what the model looks like before any channel blending takes place.
Channel Material Setup group
Map #100 material channels are available. The scroll bar allows you to scroll through all the
channels. Double-click a channel to jump to the material parameters for that channel.
There is a one-to-one correspondence between the channels in the Morpher material and the
Morpher modifier. A material in channel 1 of the Morpher material is controlled by the channel 1
spinner in the Morpher modifier.
Material on/off toggleTurns a channel on and off. Channels that are off do not affect the morph
result.
Mixing Calculation Options group
The system can slow down if there are many active materials being blended. Options in this group
allow you to control when the morph result will be computed.
ConstantlyChoose to compute the material morph result all the time.
When RenderingChoose to compute the material morph result at render time.
Never CalculateChoose to bypass material blending.

Morpher Material
Comments

Reference
Glossary
Reference
References are like "one-way" instances. Referenced objects are based on the original object, as are
instances, and can have their own unique modifiers. Any modification made to the original object is
passed on to its references, but any modification made to a reference is not passed back to the
original.
The one-way effect is useful, since you can maintain an original that will affect all its references,
while the references themselves can take on individual characteristics.
If you are modeling heads, for example, you might want to keep a family resemblance in your
characters. You could model basic features on the original, then model specifics on each reference.
In the modifier stack, a solid line separates the reference from its parent object, so you can see that
the effect of modifiers on the reference will not affect the parent object or other references to it.
Comments
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Instance
Glossary
Instance
An instance is an interchangeable clone of the original. Modifying an instanced object is the same as
modifying the original.
Instances are not only alike in geometry, but also share modifiers, materials and maps, and
animation controllers. When you change one instance by applying a modifier, for example, all the
other instances change with it.
Each instance has its own set of transforms, object properties and space warp bindings; these are
not shared among instances.
Within the program, instances derive from the same master object. What you're doing is applying a
single modifier to a single master object. In the viewport, what you see as multiple objects are
multiple instances of the same definition.
If you wanted to create a school of swimming fish, you might begin by making many instanced
copies of a single fish. You could then animate the swimming motion by applying a ripple modifier to
any fish in the school. The whole school would swim with exactly the same motions.
Comments
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Barycentric Morph Controller Key Info Dialog
Select a Morph object > Main toolbar > Curve Editor (Open) > Right-click over a Morph key in the
Dope Sheet. > Barycentric Morph Controller Key Info dialog
Graph Editors > Track View Curve Editor > Open Track View > Right-click over a Morph key in
the Dope Sheet. > Barycentric Morph Controller Key Info dialog
You can change morph target weighting using controls in the Barycentric Morph Controller Key Info
dialog.
Interface
Current KeySpecifies the current key that you're adjusting.

TimeSpecifies where, in time, the current key is placed.
Tension/Continuity/BiasAdjusts the TCB parameters of the key spline interpolation.
TCB SplineDisplays the key interpolation spline.
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TargetsLists all morph targets for the object, along with the percentage of their influence at the
current key. The total percentage of all targets is displayed below the window. You can select any
target in this window, and then adjust its percentage of influence using the spinner at right.
PercentageSets the percentage of influence for the target selected in the list window. Percentage
values can be negative as well as greater than 100 percent.
Constrain to 100%Limits total weight of all targets to 100 percent. As you increase or decrease
the percentage of a selected target, the other targets adjust accordingly. The adjustment takes the
form of balancing all of the target percentages so that their relative weights remain the same.
When this check box is turned off, you can adjust the weight of each target without affecting the
others, and create a total that's greater or less than 100 percent. Totals greater than 100 percent
cause the morph object to scale up in size, while totals less than 100 percent cause the morph
object to scale down. Note that this check box is global, and not confined to a single key or track.
Comments
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Block Controller
Block Controller
Main toolbar > Curve Editor (Open) > Expand Global Tracks in the Track View hierarchy. > Block
Control
Graph Editors > Track View Curve Editor > Expand Global Tracks in the Track View hierarchy. >
Block Control
A Block controller is a global List controller that allows you to combine several tracks from multiple
objects over a range of time, and group them as "Blocks." These Blocks are then used to re-create
the animation anywhere in time. Blocks can be added, removed, scaled, moved graphically in Track
View, and saved. Blocks can represent either absolute or relative animation.
For example to animate a hand forming a guitar chord, all the rotations of the fingers and hand can
be saved as a block. This block can then be used to recreate the hand and finger position, rotation,
and animation whenever the chord is played in an animation.
Essentially, block controllers allow you to build up libraries of animations and apply them to objects
as you choose.
Tip: Euler Rotations will give you better results than TCB Rotation controllers when you are working
with blocks. Block controllers blend clips in a relative repeat manor. If your motions do not loop
exactly, your rotations start to drift. Also note that block controllers only work with Keyframe
controllers (non-procedural).
Master Block Parameters dialog
After assigning a Master Block, right-click the MasterBlock track to display the Master Block
Parameters dialog. This is the first step in creating a block.
With this dialog, you can save blocks and then load them later. Blocks are saved as BLK files.
Track View Pick dialog
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Block Controller
The Track View Pick dialog is displayed when track selection is necessary; for example, when you
click Add in the Master Block Parameters dialog. Select tracks in the dialog to include in a block.
Valid tracks are shown as darker.
Block Parameters dialog
After you create a block by clicking Add in the Master Block Parameters dialog and then selecting
tracks in the Track View Pick dialog, clicking OK in the Track View Pick dialog displays the Block
Parameters dialog.
Attach Controls dialog (Loading Blocks)
The Attach Controls dialog is displayed when you click Load in the Master Block Parameters dialog.
Tracks in blocks saved previously can be mapped to tracks in the current scene.
Slave Parameters dialog (Slave Controller)
Every time a block is created, all tracks within the block are assigned a slave controller, which allows
the MasterBlock to transfer key data. The slave controller tracks appear with the original tracks you
used to create the block. See Slave Parameters dialog.
Procedures
Example: To create a block:
1. Animate two objects moving in the viewports. Make the final keyframe for the objects frame
10.
2. Open Track View Dope Sheet.
3. On the Track View hierarchy, expand Global Tracks, expand Block Control, and then select
Available.
Available is the track below the Block Control track.
4. From the Track View toolbar, choose Controller menu > Assign, select Master Block in the
dialog, and then click OK.
The Master Block Parameters dialog automatically displays.
5. Click Add on the Master Block Parameters dialog.
6. On the Track View Pick dialog, expand the tracks for the two animated objects.
7. While hodling down CTRL, click the X,Y,Z Position tracks for both objects, and then click OK.

Block Controller
8. On the Block Parameters dialog, type a name in the name field.

Choose a name that will remind you of the animation in this block.
9. Set the End value to 10, and then click OK.

The Block will contain animation between frame 0 and frame 10.
10. Click OK to close the Master Block Parameters dialog.

The block has been created, and you can now use it.
Once a block is added, a slave controller is added to the controllers on the original tracks.
This enables communication between the track and the Block controller.
With the Blend track (below the MasterBlock track in the Track View hierarchy) you can
animate how much of the block animation will be in effect. Negative values reverse the
animation.
Controllers that each block uses are listed under the block name. This allows you to adjust
the data for a particular block.
Example continued: To use a block:
1. In the Dope Sheet Key window, right-click the MasterBlock track.

A pop-up menu displays the name of blocks already created.
2. Select the name of the block you created earlier.

The Block is displayed in the Key window.
3. Drag the Block to start at frame 20, and click Play.

The animation repeats at frame 20.
You can create a number of blocks for different periods of an object's animation, and use them
at different locations in the MasterBlock track.
To move an inserted block:
In the key window, select the block and then drag it left or right.
To scale (resize) an inserted block:
Select the key at the lower left or right corner of the block, and then drag left or right.
To create a copy of a block:
Hold down SHIFT, and draft the block.

This creates a new instance of the block, which you can place at a different time.
To remove an inserted block:

Block Controller
Click to select the block, then press DELETE.
Interface
Inserted blocks appear in the Key window to the right of the MasterBlock controller in the hierarchy
under Global Tracks.
Block Control trackDisplays in Track View under Global Tracks.

To create a MasterBlock Control, expand Block Control, select Available, and choose Controller >
Assign.
MasterBlock TrackDisplays in Track View after you assign a Master Block controller to an
available track.
You can right-click the track in the Key window. This displays a pop-up menu that shows the name
of blocks that have been created. Choosing a block inserts the block into the MasterBlock track. The
dialog also has an entry, Properties, that displays the Master Block Parameters dialog.
In the MasterBlock track, inserted blocks display as colored rectangles. The name of the block
appears at the center. In the lower left and right corners are keys that indicate the beginning and
end of the block's animation. Below the name of the block is the letter R for relative, or A for
absolute. Click and drag the center of a block to move it in time. Select a key in the corner of a
Block to move one edge of the block (scale time).
Right-click an inserted lock to display the Block Key Properties dialog (described below).
MasterBlock Subtracks
Below the main MasterBlock track are subtracks. The first of these is always Blend. The remaining
subtracks are initially copies of the tracks used to create the block.

Block Controller
Blend trackLets you animate the influence of the block. You can reduce the block's influence by
creating Blend keys with values less than 1.0. Default=1.0.
Block-specific subtracksDisplay the block name and its associated tracks. Initially these are
copies of the tracks used to create the block. You can edit keys on these tracks to change the block's
behavior.
Block Key Properties Dialog
Relative MotionToggles between relative and absolute motion.

Start, EndSet the first and last frames for this instance of the block (this scales the block
instance).
Comments

List Controller
List Controller
menubar > Controller menu > Assign > List
View toolbar > Controller menu > Assign > List
Select an object in the viewport > Motion panel > Assign Controller rollout > Highlight either
Position, Rotation or Scale controller > Assign Controller button > choose Position List, Rotation
List or Scale List.
The List controller combines multiple controllers into a single effect. It is a compound controller with
tools for managing the order in which its internal controllers are calculated. Controllers are evaluated
in a top to bottom order. The Weight setting is also taken into account during the evaluation of the
controllers.
When you assign a List controller to a parameter, the current controller is moved one level below the
List controller; it becomes the first controller in the list. A second parameter is added below the List
controller and is named Available. This is an empty placeholder for the next controller you add to the
list.
By default, the Weight setting for a controller is set to 100. This setting can be increased or
decreased to exaggerate or minimize the effect a controller has on an object.
When you assign any controller using the Animation menu, a list controller is automatically assigned
as a default, with the chosen controller placed first in the list. This behavior differs from when you
assign a controller in the Motion Panel or Track View.
You can use weighted list controllers to achieve the equivalent of a non-linear animation system.
Each list controller track can hold different animation values which you can turn on or off, or blend
between by animating the weights.
Procedure
Example: To use the List controller to combine two controllers:
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List Controller
1. Create a box, and then turn Auto Key on.
2. Create a simple animation containing three position keys.
3. In the Motion panel > Parameters > Assign Controller rollout, select the position track.
4. Highlight the Position transform and click Assign Controller.
5. Choose the Position List in the Assign Position Controller dialog. Click OK.
6. Click the plus sign in the Position track to expand the track.
A Position XYZ track and a track labeled Available are now visible.
7. Select the track named Available and click the Assign Controller button.
8. Select Noise Position in the Assign Controller dialog, and then click OK.
The Noise Controller dialog automatically appears.

The box follows the original animated path but vibrates randomly.
Experiment with different Weight settings for each controller and see the results.
Interface
Motion panel > Parameters > List rollout
List WindowDisplays all the controllers in a list, with evaluation order from top to bottom. The
controller at the top of the list is evaluated first; lower controllers are layered onto the result of
higher controllers.

List Controller
Set ActiveDetermines which controller is affected by interactive changes in the viewport. The
current active controller is marked with an arrow in the list.
For example, you have an object using a Position List, with Noise Position and Bezier Position in the
list. The Bezier Position controller handles the general motion path of the object, while the Noise
Position controller adds a random shake to the motion.
If Bezier Position is the active controller, you can freely move the object in the scene.
If Noise Position is the active controller, you cannot move the object because Noise is not an
interactive controller.
DeleteDeletes the selected controller.

CutRemoves the selected controller and stores it in a temporary clipboard. The clipboard contents
are only held until you paste the controller, close the List Controller dialog, or exit the Motion panel.
PastePuts the contents of the controller clipboard in the position above the selected controller.
The clipboard is empty after pasting.
WeightExaggerate or minimize the effects of a controller by increasing or decreasing its weight
value. Default=100.
Average WeightsWhen turned on, the weight values of all the controllers in the list are averaged.
Default=off.
Editable Name FieldSelect one of the controllers in the list window of the Controller list, and then
enter a descriptive name in this field. This field lets you rename the controller so it's easier to
identify.
Comments

Master Block Parameters Dialog (Block Controller)
Main toolbar > Curve Editor (Open) > Global Tracks > Block Control > Master Block > Right-click
the Master Block track in the Track View Controller window. > Master Block Parameters dialog
Graph Editors > Track View Curve Editor > Global Tracks > Block Control > Master Block > Right-
click the Master Block track in the Track View Controller window. > Master Block Parameters
dialog
After assigning a Master Block, right-click the Master Block track to display the Master Block
Parameters dialog. This is the first step in creating a block.
Interface
AddDisplays the Track View Pick dialog. In the Track View Pick dialog, select tracks to include in a
Block. Valid tracks are displayed in darker text.
Add SelectedCreates a block using the tracks already selected in the Track View hierarchy. Any
invalid tracks are ignored.
Select the tracks (include the Master Block track), and then right-click Master Block in the Track
View hierarchy.
ReplaceReplaces the currently selected block.
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RemoveRemove the selected block from the list.

LoadLoads a block from disk. Displays the Attach Controls dialog.
Map incoming tracks to tracks in your scene using controls in the Attach Controls dialog.
SaveSaves the current block to disk.
Comments
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Track View Pick Dialog (Block Controller)
Main toolbar > Curve Editor (Open) > Global Tracks > Master Block > Right-Click master block
track. > Properties > Master Block Parameters dialog > Add > Track View Pick dialog
Graph Editors > Track View Curve Editor > Global Tracks > Master Block > Right-Click master
block track. > Properties > Master Block Parameters dialog > Add > Track View Pick dialog
This dialog is displayed when track selection is necessary, by clicking Add in the Master Block
Parameters dialog, for example. Select tracks in the dialog that you want to include in a Block. Valid
tracks are darker.
Interface
CancelExits the Track View Pick dialog with no changes.

If tracks are selected in the hierarchy list, then the Block Parameters dialog is displayed when you
click OK, to allow you to set the duration for the Block.
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Comments
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Block Parameters Dialog (Block Controller)
Block Parameters Dialog (Block Controller)
Main toolbar > Curve Editor (Open) > Global Tracks > Master Block > Right-click Master Block
track. > Properties > Master Block Parameters dialog > Click Add. > Choose tracks in Track View
Pick dialog > Click OK. > Block Parameters dialog
Graph Editors > Track View Curve Editor > Global Tracks > Master Block > Right-click Master
Block track. > Properties > Master Block Parameters dialog > Click Add. > Choose tracks in Track
View Pick dialog. > Click OK. > Block Parameters dialog
After clicking Add in the Master Block Parameter dialog and selecting tracks in the Track View Pick
dialog to create a Block, clicking OK in the Track View Pick dialog displays the Block Parameters
dialog.
Interface
Name FieldNames the block.

Start, EndSet the range of the block in frames.
ColorSelects a color for the Block. Displays a color selection dialog.
OKSaves the parameters and closes the dialog.
CancelCloses the dialog without saving the parameters.
Comments
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Attach Controls Dialog (Block Controller)
Main toolbar > Curve Editor (Open) > Global Tracks > Master Block > Right-click master block
track. > Properties > Load > Select a file. > OK > Attach Controls dialog
Graph Editors > Track View Curve Editor > Global Tracks > Master Block > Right-click master
block track. > Properties > Load > Select a file. > OK > Attach Controls dialog
This dialog is displayed when you click Load in the Master Block Parameters dialog. Tracks in blocks
previously saved can be mapped to tracks in the current scene.
The Incoming Controls list on the left contains all the incoming tracks. The Copy To list on the right
contains all the tracks in the current scene that you will attach to.
Interface
AddSelects tracks in the current scene in the Track View Pick dialog.
Add NullAllows a space to be taken if you dont want to use a particular track.
Match by NodeSelect tracks on the left that you want to match. Click Match By Node. Then select
a group of tracks that you want to match to. The system attempts to match the controls based on
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their names.
DeleteDeletes a track from the list.
Move Up, Move DownMove tracks up and down to align them before attaching them.
OKImports the tracks and closes the dialog.
CancelCancels the Load operation.
Comments
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Slave Parameters Dialog (Block Controller)
Main toolbar > Curve Editor (Open) > Right-click an object with Slave Track in the Track View
hierarchy. > Slave Parameters dialog
Graph Editors > Track View Curve Editor > Right-click an object with Slave Track in the Track
View hierarchy. > Slave Parameters dialog
Every time you create a block, all tracks within the block are assigned a Slave controller, which
allows the Master Block to transfer key data.
The Slave controller can be assigned without being connected to a Master Block controller. Controls
in the Slave Parameters dialog allow you to attach the slave to a master. If the slave is not attached
to a master, a dialog is displayed listing the available master controls you can attach to. The Track
View Pick dialog is displayed, listing the tracks you can add.
Right-click a Slave controller in the Track View hierarchy to display the Slave Parameters dialog. The
list window displays any assigned tracks.
Interface
Add New LinkAdds a link. Displays a New Link dialog.

Remove LinkRemoves a selected link.
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Collapse ControlCollapses the Slave controller to a standard controller.

Existing keys are copied to the new controller.
OKCloses the dialog.
Comments
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Color RGB Controller (Point3 XYZ Controller)
Main toolbar > Curve Editor (Open) > Select a material color track in the Track View hierarchy. >
Track View menubar > Controller menu > Assign > Color RGB
Graph Editors > Track View Curve Editor > Select a material color track in the Track View
hierarchy. > Track View menubar > Controller menu > Assign > Color RGB
The Color RGB controller splits the R, G, and B components into three separate tracks. You can use
this controller with color tracks. By default, each track is assigned a Bezier Float controller. The
Bezier Float controller is a single parameter controller.
Note: The Color RGB and the Point3 XYZ controllers are identical in function, except that the labels
of their tracks are RGB and XYZ respectively. Point3 XYZ controllers can be used for functions such
as Noise Strength, and the FFD modifier.
Procedure
Example: To animate the background color of a rendered animation:
1. Open Track View Curve Editor.
2. In the Track View hierarchy, expand the Environment track and then select Background Color.
3. On the Track View menu, click Controller > Assign and select the Color RGB controller.
4. Expand the Background Color track.
5. On the Track View toolbar, click Add Keys.
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6. Add three keys along the red track at frames 0, 50, 100.
7. Right-click one of the keys to display the Bezier Float dialog. Change the key values to 0, 400,
and 0, respectively.
To see the background color change, move the time slider to the same frame as the key that is
being adjusted and render the scene. To see the color change in an animated fashion, you
must render the animation.
Although you can set values over 255 in the value field, the actual color value stops at 255.
Interface
Bezier Float controller properties.
See Bezier Controller for a description of these parameters.
Comments
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Euler XYZ Rotation Controller
Main toolbar > Curve Editor (Open) > Select a rotation track in the Track View hierarchy. > Track
View menubar > Controller menu > Assign > Euler XYZ
Graph Editors > Track View Curve Editor > Select a rotation track in the Track View hierarchy. >
Track View menubar > Controller menu > Assign > Euler XYZ
Select an object in the viewport > Motion Panel > Assign Controller rollout > Select the rotation
track. Euler XYZ is assigned as the default controller.
The Euler XYZ Rotation controller is a compound controller that combines separate, single-value float
controllers to specify an angle of rotation about each of the X, Y, and Z axes. Euler XYZ is not as
smooth as Quaternion rotation, but it is the only rotation type that you can use to edit rotation
function curves.
The Euler XYZ Rotation controller assigns an individual track to the X, Y, and Z components of the
position, rotation, or scale of an object. However, the controller assigns three keys (one for each
axis), by default.
There are actions available from the Customize User Interface dialog that let you create explicit axis
keys.
The Gimbal reference coordinate system is meant for use with this controller. With other coordinate
systems, rotating about one axis always changes at least two tracks. With Gimbal rotation, rotating
about one axis changes only one track, making it easier to edit function curves.
Euler versus TCB Rotation
Euler rotation offers several advantages over the TCB rotation controller, which was the default
rotation controller in versions 4 and earlier. Euler rotations provide function curves, while TCB do
not. Euler rotations allow for 3 separate curves that can be manipulated in the Curve Editor. TCB
rotations can only be controlled using tension continuity and bias settings, making it difficult to
keyframe or manipulate x, y or z rotations independently.
On the other hand, TCB rotations allow for rotations greater than 180 degrees on a given keyframe.
If you turn on the Rotation Windup function, you can get rotation values greater than 360 degrees
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using TCB.
Tip: Customers who are used to working with TCB rotations might find difficulty in adapting to Euler
workflow. For these users, it is advised that you reassign TCB as the default rotation controller. See
Specifying Default Controllers.
Euler Rotation and the Waveform Float Controller
Because the Euler Rotation controller uses radians, unit adjustments should be made when other
controllers are applied to Euler axes. For example, the Waveform Float controller has a default
amplitude of 100 in the Characteristic Graph. When the Waveform Float controller is applied to an
Euler axis, the default amplitude is 100 radians. This sets the Amplitude setting to 5729.598 (the
number of degrees in 100 radians).
Euler Rotation and the Noise Float Controller
When a Noise Float controller is applied to an Euler axis, the default Strength setting is 2864.789 or
50 percent of 100 radians in degrees (maximum deflection).
Euler Rotation and the MIDI Motion Capture Controller
When a MIDI Motion Capture controller is applied, the Parameter Scaling is taken in radians so that
the Max. default setting of 1.0 results in an upper boundary of 57.2958 degrees.
Procedures
Example: To use Euler XYZ Rotation:
1. Create a box, and then select the rotation track in Motion panel > Parameters > Assign
Controller rollout.
2. Click Assign Controller, and then select Euler XYZ in the Assign Controller dialog list. Click OK.
3. Turn on Auto Key.
4. Select Rotation at the bottom of the PRS Parameters rollout.
5. In the Euler Parameters rollout, select the X axis.
6. In the Create Key group of the PRS Parameters rollout, click Rotation.
A rotational key is created.
8. Again, in the Create Key group of the PRS Parameters rollout, click Rotation.

9. In the Key Info (Basic) rollout, enter 500 in the value field.
10. Select the Z axis in the Euler Parameters rollout, and then enter 90 in the value field of the Key
Info (Basic) rollout.
Play the animation. The box rotates 500 degrees around the X axis and 90 degrees around the
Z axis. In this case the X axis is rotated first, then Z.
To use Euler XYZ with List controllers for local rotation control:
You can mimic the local Euler rotation controller (available in earlier versions of the software) by
combining a list controller with an Euler XYZ rotation controller.
1. Select the object for which you want to have local rotational control. For example, create a
teapot and a dummy.
2. Animate the dummy.
3. Open the Motion Panel.
4. In the Assign Controller rollout, select the Rotation transform, then assign a Look-at controller
to teapot, with the dummy assigned as the LookAt Target.
You now have an object with rotation controlled through the dummy.
5. With the Rotation: LookAt controller selected in the window, again choose Assign Controller and
pick Rotation List.
Now there is a list controller, with the LookAt Constraint applied as the first rotation controller
in the list.
6. Scroll down in the window and select the entry labelled Available, then again click Assign
Controller.
7. Choose Euler XYZ.

You now have a list controller with a LookAt Rotation as the first controller and an Euler XYZ as
the second controller.
8. In the Rotation List rollout, highlight Euler XYZ in the Layers window, then click Set Active.
9. In the Euler Parameters rollout, change the Axis Order to ZYX.

Now you can animate the rotation independent of the LookAt rotation control. It should now
behave the same as the Local Euler controller that was available in versions 4 and earlier.
Interface
Euler parameters are displayed in the Motion panel.

The Euler parameters rollout is displayed when Rotation is selected in the PRS Parameters rollout.

Axis OrderSelects the order that rotations are calculated. The default is X,Y,Z order, where the X
axis is rotated first.
XDisplays controller properties for X axis rotation angle.
YDisplays controller properties for Y axis rotation angle.
ZDisplays controller properties for Z axis rotation angle.
Each axis uses its own independent controller using the float data type. For example, the X and Y
Rotation axes could use Bezier Float controllers, while the Z rotation axis uses a Noise Float
controller.
Comments

Explicit Axis Keys
Explicit Axis Keys

The XYZ controllers assign an individual track to the X, Y, and Z components of the position,
rotation, or scale of an object. However, the controllers always assign three keys (one for each axis),
by default.
In previous versions of the software, you had to manually edit the keys in order to create explicit
axis keys. However, there are now actions available from the Customize User Interface dialog that
let you create or delete explicit or non-explicit keys with the touch of a button.
When an explicit key is created on an axis, any keys on the two remaining axes (at the selected
time) will be deleted. Non-explicit keys do not affect the other axes.
An explicit or non-explicit axis key can only be assigned to objects that already have an XYZ
controller assigned to their position, scale, or rotation tracks.
You can also use Keyable Icons to turn on or off tracks for editing. This allows you to set keys on
only specificed PRS X, Y or Z axes as well. See Keyable Icons .
Interface
Note: These commands are not available in the default user interface. You can use the Customize
User Interface dialog to assign a keyboard shortcut to them or add them to your toolbars or menus if
you want to use them.
Create Explicit Key Position X, Y, or ZCreates an explicit key on the designated position axis.
Create Explicit Key Rotation X, Y, or ZCreates an explicit key on the designated rotation axis.
Create Explicit Key Scale X, Y, or ZCreates an explicit key on the designated scale axis.
Create a Position Key on X, Y, or ZCreates a non-explicit key on the designated position axis.
Create a Rotation Key on X, Y, or ZCreates a non-explicit key on the designated rotation axis.
Create a Scale Key on X, Y, or ZCreates a non-explicit key on the designated scale axis.
Deletes a Position Key on X, Y, or ZDeletes any key on the designated position axis.
Deletes a Rotation Key on X, Y, or ZDeletes any key on the designated rotation axis.
Deletes a Scale Key on X, Y, or ZDeletes any key on the designated scale axis.
See also
Position XYZ Controller

General-Purpose Controllers
Scale XYZ Controller
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Explicit Axis Keys
Comments
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Main toolbar > Curve Editor (Open) > Select a position track in the Track View hierarchy. > Track
View menubar > Controller menu > Assign > Position XYZ
The Position XYZ controller splits the X, Y, and Z components into three separate tracks (similarly to
the Euler XYZ Rotation controller). This provides separate control of the three tracks when
referenced from Expression controllers.
The Position XYZ controller assigns three keys (one for each axis), by default.
In previous versions of the software, you had to edit the keys manually in order to create explicit
axis keys. However, there are now actions available from the Customize User Interface dialog that
let you create explicit axis keys.
Procedure
Example: To use the Position XYZ and Noise controller together:
1. Create a sphere.
2. In the Motion panel > Parameters > Assign Controller rollout, select the Position track of the
sphere.
3. Click Assign Controller and choose Position XYZ.
4. Turn on Auto Key and create three keys that move the sphere on the XY plane.
5. In the Assign Controller rollout, expand the position track and select Z Position.
6. Click Assign Controller, and then select Noise Float.
7. Play the animation. The sphere moves around the keys that were created earlier. The random
up and down movement in the Z axis is generated by the noise controller on the Z track.
This effect can also be created using the List Controller to combine controllers.
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Interface
Motion panel > Parameters > Position XYZ Parameters rollout
XDisplays controller properties for X axis transformation.

YDisplays controller properties for Y axis transformation.
ZDisplays controller properties for Z axis transformation.
When you select an axis, a Key Info (Basic) and Key Info (Advanced) rollout is available to change
values.
A Bezier Float Controller is assigned to each track by default. Use Key Info (Basic) and Key Info
(Advanced) to control how the keys behave. See Bezier Controller.
Comments
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The following controllers are general purpose in that you can apply them to parameters of different
data types, yet they behave in essentially the same way for those different parameters.
Within certain general-purpose controllers there might be variations according to the data type used
by a parameter.
See Animation Controllers for detailed descriptions of controller properties.
Bezier Controllers
Bezier controllers interpolate between keys using an adjustable spline curve; they are the default
controller for most parameters.
Use Bezier controllers to provide fully adjustable interpolation between keys. Bezier controllers
support the following options:
Adjustable tangent handles.
Step tangents for abrupt changes from one key to the next.
Constant velocity control.
You can adjust the key interpolation by choosing among different tangent types in the Key Info
dialog. .
TCB Controllers
TCB controllers produce curve-based animation like Bezier controllers. However, TCB controllers use
fields to adjust the Tension, Continuity, and Bias of the animation.
Use TCB controllers when you want adjustable, curved interpolation between keys, and you want to
use TCB style controls. TCB rotation controllers were the default controller type in 3ds max versions
4 and earlier.
Linear Controllers
Linear controllers interpolate between animation keys by evenly dividing the change from one key
value to the next by the amount of time between the keys.
Use Linear controllers when you want motion to have a rigid, mechanical look.
Noise Controllers
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Noise controllers produce random, fractal-based animation over a range of frames. Noise controllers
are parametric; they do not use keys.
Noise controllers have many possible uses; as in the following examples:
Use Noise whenever you need completely random animation around a given value. For example,
use a Noise Rotation controller when you want an object to wobble in place. A common use for a
noise controller is the creation of camera shake.
Use Noise in a List controller to apply variations to the result of another controller. For example,
use a List controller to combine Noise Position with Bezier Position. The Bezier controller moves
the object while the Noise controller makes the object shake and stray a little from the trajectory.
XYZ Controllers
XYZ controllers such as Euler XYZ and Position XYZ are specifically designed so that you have three
separate curves, one for each axis. This allows you to independently view and control the curves
individually. This has advantages over rotation controllers like TCB that do not display function
curves at all. XYZ controllers are now the default for rotation animation.
You can adjust the interpolation between keys using the Key Info dialog.
Audio Controllers
The Audio controller converts the amplitude of a recorded sound file or real-time sound wave into
values that can be used by an animated parameter.
Use the Audio controller to synchronize parameter values with a sound file. For example, use an
Audio controller for a Multiplier Curve to scale a parameter in sync with a sound.
Comments
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menubar > Controller menu > Assign > > Choose a controller in the dialog.
View menubar > Controller menu > Assign > > Choose a controller in the dialog.
Select an object. > Motion panel > Assign Controller rollout > Select a track. > Assign Controller >
Choose a controller in the dialog.
Controllers, like constraints, handle the animation tasks in a scene, including:
Storing animation key values
Storing procedural animation settings
Interpolating between animation key values
Objects and parameters don't receive a controller until you animate them. As soon as you change a
parameter with Auto Key on, or click in its track in Track View Dope Sheet to add keys, the
software assigns a controller to the parameter. The software chooses a default type for the
controller, depending on the animation. You can change the default controller to some other type.
The animation controllers are organized in the following categories:
Float controllers: for animating floating-point values
Point3 controllers: for animating three-component values such as colors or 3D points
Position controllers: for animating positions of objects and selection sets
Rotation controllers: for animating rotation of objects and selection sets
Scale controllers: for animating the scale of objects and selection sets
Transform controllers: for animating general transforms (position, rotation, and scale) of
objects and selection sets
To change an assigned controller, use Controller > Assign in Track View or in the Motion panel.
The controllers and constraints are:
Audio Controller
Bezier Controllers
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Block Controller
Boolean Controller
Expression Controller
Inverse Kinematics (IK)
Linear Controller
List Controller
Link Constraint
Look-At Constraint
Motion Capture Controller
Master Point Controller
Noise Controller
On/Off Controller
Orientation Constraint
Path Constraint
Position Constraint
PRS Controller
Reactor Controllers
Script Controller
Smooth Rotation Controller
Spring Controller
Surface Constraint
TCB Controllers
Transform Script Controller
Waveform Controller
See also
Working with Controllers

Animation Constraints

Comments

Animation constraints are used to help automate the animation process. They can be used to control
an objects position, rotation, or scale through a binding relationship with another object.
A constraint requires one object and at least one target object. The target imposes specific limits on
the constrained object.
For example, if you want to quickly animate an airplane flying a predefined path, you could use a
path constraint to restrict the airplanes motion to a spline path.
The constraints binding relationship with its targets can be animated on or off over a period of time.
Common uses for constraints:
Linking one object to another over a period of time, such as a characters hand picking up a
baseball bat
Linking an objects position or rotation to one or several objects
Keeping an objects position between two or more objects
Constraining an object along a path or between multiple paths
Constraining an object along a surface
Making an object point toward another objects pivot point
Controlling the look at direction of a characters eyes
Keeping an objects orientation in relation to another
There are seven types of constraints:
Attachment constraint attaches an objects position to a face on another object
Surface constraint restricts an objects position along the surface of another object
Path constraint restricts an objects movement along a path
Position constraint causes the constrained object to follow the position of another object
Link constraint links the constrained object from one object to another
Look-At constraint constrains an objects orientation so that its always looking at another object
Orientation constraint causes the rotation of the constrained object to follow the rotation of
another object
Tip: You can use Schematic View to see all the Constraint relationships in a scene.
Using Constraints with Bones
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Constraints can be applied to bones as long as an IK controller is not controlling the bones. If the
bones have an assigned IK controller, you can only constrain the root of the hierarchy or chain.
Comments
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Surface Constraint
Surface Constraint
Animation menu > Constraints > Surface Constraint
> Track View > New/Open Track View > Select a position track in Track View Hierarchy. > Track
View toolbar > Assign Controller > Surface
Surface constraints position the weather symbols on the globe.
The Surface constraint positions an object along the surface of another object.
The type of object that can be used as the surface object is limited to those whose surfaces can be
represented parametrically. Use the Surface constraint with the following types of objects:
Sphere
Cone
Cylinder
Torus
Quad Patches (single quad patches)
Loft object
NURBS object
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Surface Constraint
The surface used is a "virtual" parametric surface, and not the actual mesh surface. Objects with a
low number of segments might have a mesh surface quite different than the parametric surface.
The parametric surface ignores Slice and Hemisphere options. So if the object is sliced, for example,
the controlled object will position itself as if the missing portion were still there.
Since the Surface constraint only works on parametric surfaces, if you apply a modifier that converts
the object to a mesh, the constraint will no longer work. For example, you can't use it with a cylinder
with a bend modifier applied.
Procedure
Example: To animate a sphere over the surface of a cylinder:
1. In the Top viewport, create a cylinder and a sphere.
2. Select the sphere, open the Motion panel, expand the Assign Controller rollout, and then
expand the Transform heading in the list.
3. In the list window, click the Position item and then click Assign Controller.
4. In the Assign Position Controller dialog, choose Surface and then click OK.
The Surface Controller Parameters rollout replaces the Key Info rollout.
5. Click Pick Surface, and then select the cylinder.
6. Turn on Auto Key, and place the time slider at frame 0.
7. Use the V Position spinner to move the sphere to a starting position at the bottom of the
cylinder.
8. Place the Time Slider at frame 100.
9. Use the V Position spinner to place the sphere at the top of the cylinder.
10. Set U Position to 300.

Turn off Auto Key and play the animation. The sphere moves over the surface of the cylinder in
a helical path.
Interface
The Surface Constraint Parameters rollout is on the Motion panel.

Surface Constraint
Current Surface Object group
This group provides a method for selecting and then displaying the selected surface object.
TextDisplays the name of the selected object.
Pick SurfaceSelects the object you want used as a surface.
Surface Options group
This group provides controls for adjusting the position and orientation of the object along the
surface.
U PositionAdjusts the position of the controlled object along the U coordinates of the surface
object.
V PositionAdjusts the position of the controlled object along the V coordinates of the surface
object.
No AlignmentWhen on, the controlled object is not reoriented, regardless of its position on the
surface object.
Align to UAligns the local Z axis of the controlled object with the surface normal of the surface
object, and the X axis with the U axis of the surface object.
Align to VAligns the local Z axis of the controlled object with the surface normal of the surface
object, and the X axis is aligned with the V axis of the surface object.
FlipFlips the alignment of the local Z axis of the controlled object. This check box is not available if
No Alignment is turned on.

Surface Constraint
Comments

Path Constraint
Path Constraint
Animation menu > Constraints > Path Constraint
Path constraint positions the service platform along the side of the bridge.
A path constraint restricts an object's movement along a spline or at an averaged distance between
multiple splines.
A path target can be any type of spline. The spline curve (target) defines a path of motion for the
constrained object. Targets can be animated using any of the standard translation, rotation, scale
tools. Setting keys on the paths sub object level, such as vertex, or segment will animate the path
while affecting the constrained object.
Multiple Targets and Weighting
A constrained object can be influenced by several target objects. When using multiple targets, each
target has a weight value that defines the degree by which it influences the constrained object,
relative to other targets.
Using Weight is meaningful (and available) only with multiple targets. A value of 0 means the target
has no influence. Any value greater than 0 causes the target to influence the constrained object
relative to other targets' Weight settings. For example, a target with a Weight value of 80 will have
twice the influence of a target with a Weight value of 40.
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Path Constraint
Procedures
To assign a Path constraint:
1. Create a Sphere with a radius of 10 and a Circle with a radius of 60.
2. With the Sphere selected, choose Animation menu > Constraints > Path Constraint.
You are now in select target mode.
3. In the viewport, select the Circle shape.
To access the Path constraints parameters through the Motion panel:
1. Select the Sphere.
2. Open the Motion panel.
3. In the PRS Parameters rollout, click the Position button.

The Path constraint's settings are located in the Path Parameters rollout.
To assign a Path constraint through the Motion panel:
1. Create a Sphere with a radius of 10 and a Circle with a radius of 60.
3. On the Motion panel and click Parameters.
4. Open the Assign Controller rollout and select the Position controller.
5. Click the Assign Controller button.
6. Choose Path Constraint from the Assign Position Controller dialog.
7. On the Motion panel, click Parameters.
8. In the Path Parameters rollout, click Add Path.
9. In the viewport, select the Circle.
To edit weight values:
1. Open the Create > Shapes panel and create a Line that is about 120 units long.
Tip: Use the diameter of the Circle to gauge the length of the Line.
3. On the Motion panel, open the Path Parameters rollout.
4. Click the Add Path button and select the line.

Path Constraint
The Sphere is now affected equally by both paths since the path weighting defaults to 50
5. Adjust the Weight spinner or enter a numerical value for the weight value.
To animate weight values:
2. On the Motion panel, open the Path Parameters rollout.
4. Select the Line01 from the Path list.
5. Place the Time Slider at frame 50 and change the Weight of Line01 to 75.
6. Move the Time Slider at frame 100 and change the Weight of Line01 to 10.
7. Select the Circle01 path and change its Weighting to 25.
8. Turn off Auto Key and play the animation.
To correct path constrained object flipping:

When an object is assigned a path constraint and the follow box is turned on, the object will rotate
as it moves along the path. Sometimes the object is subject to unwanted flipping.
1. Select the object that is flipping.
2. On the Animation menu choose Constraints > Orientation constraint, then constrain the object
to another object's orientation.
3. Use the control object to adjust the flipping. Animate the orientation of the control object, while
watching the flipped object at the problematic frames.
Interface

Path Constraint
Once you assign a Path constraint, you can access its properties on the Path Parameters rollout in
the Motion panel. In this rollout you can add or delete targets, assign weighting, and animate each
target's weight value.
Note: When you assign a Path constraint via the Animation menu, the software assigns a Position
List controller to your object. In the Position List rollout list you will find Path Constraint. This is the
actual path constraint controller. To view the Path Parameters rollout with the constraint settings,
double-click Path Constraint in the list.
Add PathAdds a new spline path that influences the constrained object.
Delete pathRemoves a path from the target list. Once removing the path target, it will no longer
influence the constrained object
WeightAssigns and animates weight values for each target.
% Along PathSets the percent that the object is positioned along the path. This duplicates the
Value spinner in the track Properties dialog for the Percent track in Track View. If you want to set

Path Constraint
keys to place an object at a certain percent along the path, turn on Animate, move to the frame
where you want the key set, and adjust the % Along Path spinner to move the object.
Note: The % Along Path value is based on the parameterization of the spline paths U value. A
NURBS curve might not have an evenly spaced U value, so a value of 50 % Along Path might not
translate visually to 50 per cent of the NURBS curves length.
FollowAligns the object to the trajectory as it follows the contour.
BankAllows the object to bank (roll) as it negotiates the curves of the spline.
Bank AmountAdjusts the amount of the banking to one side or the other, depending on whether
the value is positive or negative.
SmoothnessControls how rapidly the roll angle changes as the object moves through bends in the
trajectory. Smaller values will make the object more responsive to subtle changes in the curve, while
larger values smooth out jerking. The default value is a good value for general damping along the
curve. Values below 2 tend to make the action jerky, but values around 3 can be very useful for
simulating a certain degree of realistic instability.
Allow Upside DownTurn on to avoid the situation in which an object flips when going around a
vertically oriented path.
Constant VelocityProvides a constant velocity along the path. When off, the velocity of the object
along the path varies depending on the distance between the vertices on the path.
LoopBy default, when the constrained object reaches the end of a path it can no longer move past
the end point. The loop option changes this behavior so that when the constrained object reaches
the end of the path it loops back to the starting point.
RelativeTurn on to maintain the original position of the constrained object. The object will follow
the path with an offset distance based on its original world space position.
AxisDefines which axis of the object is aligned to the trajectory of the path.
FlipTurn on to flip the direction of the axis.
Comments

Position Constraint
Position Constraint
Animation menu > Constraints > Position Constraint
Position constraints align the elements of the robot assembly.
A position constraint causes an object to follow the position of an object or the weighted average
position of several objects.
In order to activate, a position constraint requires an object and a target object. Once assigned the
object becomes constrained to the target objects position. Animating the targets position causes
the constrained object to follow.
Each target has a weight value defining its influence. A value of 0 is equal to off. Any value greater
than 0 will cause the target to influence the constrained object. Weight values can be animated to
create effects such as a ball being picked up from a table.
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Position Constraint
For example, if a sphere is Position-constrained between two targets and each targets weight value
is 100, the sphere will maintain an equal distance between both targets even when they are in
motion. If one of the weight values is 0 and the other is 50, then the sphere is influenced only by the
target with the higher value.
Procedures
To assign a Position constraint:
1. Select the object you want to constrain.
2. Choose Animation menu > Constraints > Position Constraint.
3. Select the target object.
To access the Position constraints parameters through the Motion panel:
1. Select the Position-constrained object.
2. On the Motion panel, on the Position list, double-click Position Constraint.

The Position constraint parameters are located under the Position Constraint rollout.
1. Select the constrained object.

3. Click a target from the list.


Position Constraint
Example: To assign a Position constraint with two targets and editing weights:
1. In the Top viewport, create a sphere, a box, and a cylinder so that the box is between the
sphere and the cylinder.
2. Click to select the box, assign a Position constraint, and select the sphere as the target.
3. Click to select the box, assign a Position constraint, and select the cylinder as the target.
The box is now position-constrained between the two targets.
4. In the Top viewport, move the sphere around.

As the sphere moves, the box maintains an equal distance between the sphere and the
cylinder. This is because the weight values for both targets are equal. By default the values are
1.00. If the sphere had a higher weight value than the cylinder, the sphere would influence the
box more than the cylinder.
5. To edit the weight values, select the box.
6. Open the Motion panel and view the Position Constraint rollout.
7. Click the Cylinders name in list of targets.
8. Using the Weight spinner, change the value from 50 to 20.

As the value decreases, the box moves closer to the sphere.
9. In the Top viewport. select the cylinder and move it around.
10. In the Top viewport, select the sphere and move it around.
The sphere has more influence over the boxs movement than the cylinder.
Interface

Position Constraint
Once you assign a Position constraint, you can access its properties on the Position Constraint rollout
in the Motion panel. In this rollout you can add or delete targets, assign weighting, and animate
each target's weight value.
Note: When you assign a Position constraint via the Animation menu, the software assigns a Position
List controller to your object. In the Position List rollout list you will find Position Constraint. This is
the actual Position Constraint controller. To view the Position Constraint rollout, double-click Position
Constraint in the list.
Add position targetAdds new target objects that influence the position constrained object.
Delete position targetRemoves targets. Once a target is removed, it will no longer influence the
constrained object.
Keep Initial OffsetUse Keep Initial Offset to preserve the original distance between the
constrained object and the target object. This prevents the constrained object from snapping to the
target objects pivot. The default is Off.
Comments

Link Constraint
Link Constraint
Animation menu > Constraints > Link Constraint
A link constraint enables the robot arms to pass a ball.
A Link constraint is used to animate an object linking from one target object to another.
The Link constraint causes an object to inherit the position, rotation, and scale of its target object.
An example of using a link constraint is to pass a ball from one hand to another. Assume that at
frame 0 the ball is in the right hand. The hands are animated to meet at frame 50, where the ball is
passed to the left hand, and then spread apart until frame 100.
Procedures
Example: To assign a Link constraint:
1. In the Top viewport, create a sphere and a box.
2. Select the sphere.
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Link Constraint
4. Expand > Assign Controller rollout.
5. Select the Transform: Position/Rotation/Scale controller.
6. Click Assign Controller.
7. Choose Link Constraint.

It is recommended that you add a Link To World before linking to any target objects. This will
allow you to animate the object on its own, before the first link to a target object takes place.
You can also assign Link Constraints through the Animation > Constraints sub-menu.
To access the Link constraints parameters through the Motion panel:
1. Select the Link-constrained object.
2. Choose Motion panel > Link Params rollout.
Example: To assign the Link constraint and animate links:
2. In the Top viewport, create a sphere, a cylinder and a box.
5. Expand the Assign Controller rollout.
6. Select the Transform: Position/Rotation/Scale controller.
8. Choose Link Constraint.
9. In the Link Params rollout, click Link To World.
11. Click Add Link and select the cylinder.

It now becomes a target. The Link Constraint relationship is now active between the sphere
and the cylinder.
13. Turn on the Auto Key button and move the cylinder a good distance away from where it is.
14. Play back the animation.

The sphere follows the cylinder as it moves. The sphere is link-constrained.

Link Constraint
17. On the Motion panel > Link Param rollout, click Add link and select the box.
You have now added another target that becomes active at frame 25.
18. Turn off the Auto Key button and play back the animation. The sphere is linked to the cylinder
from frame 0 to 24. It follows the cylinder until frame 25 where it links to the box.
Interface
Once you assign a Link constraint, you can access its properties on the Link Params rollout in the
Motion panel. In this rollout you can add and delete targets and animate the time at which each
target becomes the active parent of the constrained object.
Add LinkAdds a new link target.
Link to WorldLinks the object to the world (the scene as a whole). We recommend this be the
first target in the list. This prevents the object from reverting to its independent creation or
animation transforms if other targets are deleted from the list.

Link Constraint
Delete LinkRemoves a link target. Once a link target is removed, it will no longer influence the
constrained object.
Start TimeThe start time spinner is used to assign or edit the frame value of a target. Select one
of the target object names in the list window and see the frame where the object becomes a parent.
You can adjust the value to change when the link transfer takes place.
Key Mode group
Note: The options Key Nodes and Key Entire Hierarchy have no effect unless the object you are
constraining is already part of a hierarchy. If you add objects to the hierarchy after you apply the
Link constraint, you have to reapply the Link constraint using the key options you desire.
No KeyWhen used, no keyframes are written to the constrained object or its targets. The link
control happens without inserting any keys. This is similar to how the Link Controller worked in 3ds
max 3.1 and earlier versions.
Key NodesWhen used, keyframes are written to the specified option. There are two options:
Child and Parents. Child sets a keyframe only on the constrained object. Parents sets keyframes
for the constrained object and all of its targets.
Key Entire HierarchySets keyframes up the hierarchy for the specified option. There are two
options: Child and Parents. Child sets a keyframe only on the constrained object and its parents.
Parents sets keyframes for the constrained object, its targets, and their upper hierarchy.
Comments

Look-At Constraint
Look-At Constraint
Animation menu > Constraints > look-at Constraint
Look-at constraints enable the antenna dishes to track the satellite.
Look-At Constraint constrains an objects orientation so that its always looking at another object.
The Look-At constraint locks an objects rotation so that one of its axes points toward the target
object. The Look-At axis points toward the target, while the Upnode axis defines which axis points
upward. If the two coincide, a flipping behavior may result. This is similar to pointing a target
camera straight up.
An example of a Look-At constraints use would be to constrain the eyeballs of a character to a point
helper. The eyes will then always look at the point helper. Animate the point helper, and the eyes
follow. Rotate the characters head and the eyes maintain their lock on the point helper.
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Look-At Constraint
Procedures
To assign a Look-At constraint:
1. Select the object you want to constrain. This is the object that will be always looking at its
target.
2. Choose Animation menu > Constraints > Look-At Constraint.
3. Select the target object.
To access the Look-At constraints parameters through the Motion panel:
1. Select the Look-At Constrained object.
2. On the Motion panel > Rotation list, double-click Look-At Constraint.

The Look-At constraint parameters are located under the Look-At Constraint rollout.
2. On the Motion panel > Rotation list, double-click Look-At Constraint.

The Look-At constraint parameters are located under the Look-At Constraint rollout.
5. Use the Weight spinner or enter a numerical value to adjust the weight value.
Interface

Look-At Constraint
Once you assign a Look-At constraint, you can access its properties on the Position Constraint rollout
in the Motion panel. In this rollout you can add or delete targets, assign weighting, assign and
animate target weight values, and adjust other, related parameters.
Note: When you assign a Look-At constraint via the Animation menu, the software assigns a
Rotation List controller to your object. In the Rotation List rollout list you will find Look-At Constraint,

Look-At Constraint
which is the constraint you assigned. To view the look-at Constraint rollout, double-click look-at
Constraint entry in the list.
Add look-at TargetUse to add new targets that influence the constrained object.
Delete look-at TargetUse to remove target objects that influence the constrained object.
WeightUse to assign and animate weight values for each target. Available only when multiple
targets are used.
Keep Initial OffsetMaintains the constrained objects original orientation as an offset to its
constrained orientation.
Viewline LengthDefines the length of the viewline drawn from the pivot of the constrained object
to the pivot of its target. A negative value draws the line from the constrained object in the opposite
direction of the target.
Note: The viewlines drawn from the constrained object to each target inherit the color of their
respective target object. When multiple targets are assigned, another viewline indicates the actual,
calculated orientation. The color of this line is defined by the Target Line element in the Gizmos
category of the Colors panel in the Customize > Customize User Interface dialog.
Keep Viewline Length AbsoluteWhen on, the Viewline Length setting is ignored and the
viewline is always drawn between the constrained object and the target object.
Set OrientationUse to manually define the offset orientation of the constrained object. When
turned on, you can use the Rotation tool to set the constrained objects orientation. This orientation
is then maintained as the constrained object looks at its target.
Reset OrientationUse to reset the orientation of the constrained object. This is useful if you want
to reset the constrained objects orientation after having set the orientation manually.
Select look-at AxisUse to define the axis that looks at the target. The X,Y,Z check boxes reflect
the constrained object's local axis. The Flip check box is used to flip the directions of the local axis.
Select UpnodeThe default Upnode is the World. Uncheck world to manually select an object that
defines the Upnode plane. This plane is drawn from the constrained object to the Upnode object. If
the look at Axis and the Upnode axis coincide, the constrained object will flip. Animating the position
of the upnode object will move the upnode plane.
Upnode Control group:
Lets you quickly flip between look-at Upnode Control and Axis Alignment.
look-atWhen selected the Upnode matches the look-at target.
Axis AlignmentWhen this is selected the Upnode Aligns to the object axis. Choose which axis (X,
Y or Z) in the Source Upnode Alignment group directly below Upnode Control.
Source/Upnode Alignment group
Source AxisChooses the constrained objects axis that is to be oriented along a certain upnode
axis that is specified by the Aligned to Upnode Axis option. The Source Axis reflects the constrained

Look-At Constraint
objects Local Axis. The Source Axis and look-at Axis work together therefore the Axis used to define
the look-at Axis will be unavailable.
Aligned to Upnode AxisChooses the Upnode axis that the selected Source Axis aligns to. Note
that the selected Source axis may or may not be able to completely align to the Upnode Axis.
Comments

Colors Panel
Colors Panel
Customize menu > Customize User Interface > Colors tab
The Colors panel allows you to customize the look of the software interface. You can adjust the
colors for almost every element in the interface, giving you the freedom to design your own unique
style.
The quad menu colors cannot be customized from the Color panel. To customize quad menu colors,
use the Advanced Quad Menu Options dialog.
Interface
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Colors Panel
ElementsDisplays a drop-down list that lets you select from the following high-level groupings:
Track bar, Geometry, Viewports, Gizmos, Objects, Schematic View, Rollouts, ActiveShade, Track
View, Manipulators, and Grids.
UI Elements ListDisplays a list of the available elements for the selected user interface category.
ColorDisplays the color for the selected category and element. Click to display the Color Selector
where you can change the color. After selecting a new color, click Apply Colors Now to make the
change in the interface.
ResetResets the color to the default value.
IntensitySets a grayscale value for the display of the grid lines. 0 is black and 255 is white.
This control is available only when you select the Set By Intensity element from the Grids element.
This affects the intensity of the grid lines in the viewports.
InvertInverts the grayscale value for the display of grid lines. Dark gray becomes light gray and
vice versa.
This control is available only when you select the Set By Intensity element from the Grids element.
SchemeAllows you to select whether the main UI colors are set to the default Windows colors or
whether they can be customized. If Use Standard Windows Colors is selected, all of the elements in
the UI Appearance list are disabled, and you are unable to customize the UI colors.
UI Appearance ListDisplays all the elements in the user interface that can be changed.
ColorDisplays the color for the selected UI appearance item. Click to display the Color Selector
where you can change the color. After selecting a new color, click Apply to make the change in the
interface.
ResetResets the selected UI appearance item.
SaturationSets a saturation scale of enabled or disabled icons in the UI. The higher the
saturation, the less gray the color. See Red, Green, Blue / Hue, Saturation, Value.
This control is only available when Icons: Enabled or Icons: Disabled is selected in the UI
Appearance list.
ValueSets the value scale of enabled or disabled icons in the UI. The higher the value, the
brighter the color. See Red, Green, Blue / Hue, Saturation, Value.
Appearance list.
TransparencySets the transparency value scale of enabled or disabled icons in the UI. The higher
the value, the more opaque the icon will be.
Appearance list.
InvertInverts the RGB value for the display of enabled or disabled icons in the UI.

Colors Panel
Appearance list.
Apply Colors NowMakes any change you have entered using this dialog active in the user
interface.
LoadDisplays the Load Color File dialog. Allows you to load custom color files into your scene.
SaveDisplays the Save Color File As dialog. Allows you to save any changes youve made to the
user interface colors to a CLR file.
ResetResets any changes youve made to the colors to the default setup (defaultui.clr).
Comments

Advanced Quad Menu Options
Customize menu > Customize User Interface > Quads panel > Advanced Options
The Advanced Quad Menu Options dialog lets you customize the size and colors of your quad menus.
You can also customize other quad menu behaviors such as repositioning, type font, and cursor
behavior.
Interface
Save group
LoadLets you load a quad options (.qop) file.

SaveSaves your settings to a .qop file.
Save as StartupSaves your current settings as the startup settings.
Reset to StartupResets options to default settings (defaultui.qop).
Colors group
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The colors group allows you to customize the colors of your quad menus.
Starting QuadrantLets you select which quadrant your cursor starts in when you open the quad
menu.
Color listThe customizable elements of the quad menu are listed and separated by quadrant. Click
the color swatch to open a color selection dialog.
If the colors for a quad menu element are locked (indicated by a pressed L button), each of the
separate quadrants will share the same color; when you change the color in one quadrant, it will
change all of the quadrants colors.
You can customize each quadrant separately by turning off the lock button for the selected quad
menu element.
Display group
Uniform Quad WidthWhen turned on, all displayed quadrants will be the same width. The width
is determined by the widest quadrant.

Mirror QuadsWhen turned on, text in the quad menus is justified to the inside edge of the menu;
the text in the right quadrants is left-justified, and text in the left-quadrants is right-justified.
When turned off, all text in the quad menu is left-justified.
Vertical MarginsSets the vertical spacing between commands in the quad menu.
Opacity AmountSets the opacity of the quad menu.
Opacity is not available in systems running on Windows NT.
Positioning group
Reposition Quad When Off ScreenAutomatically repositions the quad menu when you open it
with part of the menu off the edge of the screen. The menu is moved so that the entire menu is
displayed on the screen.
Move Cursor When RepositionedMoves your cursor to the new location of the quad menu when
it is repositioned.
When this is turned off, you must hold down the mouse button when you right-click to display the
quad menu. Once you move the cursor over the menu, you can release the mouse button.
Return Cursor After RepositionedAfter you have selected an action from the quad menu, the
cursor is returned to the location on the screen where the original right-click was made.
Fonts group
Title FontSets the font of the quadrant titles.

SizeSets the font size of the quadrant titles.
Menu FontSets the font of the text inside the quadrants.
SizeSets the font size of the text inside the quadrants.
Animation group

TypeSets the animation type for the quad menu from the following options:
NoneQuad menus display immediately upon right-clicking.
StretchQuad menus open by expanding one quadrant at a time, in a clockwise manner. They
close similarly; contracting one quadrant at a time, in a counterclockwise manner.
FadeQuad menus open by fading in from transparent to opaque, and close by fading out from
opaque to transparent.
StepsThe number of frames used to complete the animated display of the quad menu.
As this value becomes larger, the transition (small to large, transparent to opaque, etc.) becomes
more gradual.
PauseThe time between frames during the animated display of the quad menu.
As this value becomes larger, the animated display of the quad menu slows down.
Comments

Animation menu > Constraints > Orientation Constraint
Orientation constraints align the awning vanes to the supporting rod.
An Orientation constraint causes an objects orientation to follow the orientation of an object or

averaged orientation of several objects.
An Orientation Constrained object can be any rotatable object. When constrained it will inherit its
rotation from a target object. Once constrained you can not rotate the object manually. You may
move or scale the object as long as its not constrained in a manner that effects the objects position
or scale controller.
The target object can be any type of object. The rotation of a target object drives the constrained
object. Targets can be animated using any of the standard translation, rotation, and scale tools.
target has a weight value that defines how it influences the constrained object. A value of 0 is equal
to off. Any value greater than 0 will cause the target to influence the constrained object. If multiple
targets are used, the weight values of each target influence the constrained object in an averaged
manner.
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Procedures
To assign an Orientation constraint:
1. Select the object you want to constrain.
2. Choose Animation menu > Constraints > Orientation Constraint.
3. Select target object.
To access the Orientation constraints parameters through the Motion panel:
1. Select the Orientation-constrained object.
2. On the Motion panel > Rotation list, double-click Orientation Controller.

The Orientation constraint parameters are located on the Orientation Constraint rollout.
2. Open the Motion panel > Orientation Constraint rollout.
4. Use the Weight spinner or enter a numerical value to set the weight value.
2. Open the Motion panel > Orientation Constraint rollout, and choose a target from the list.
4. Use the Weight spinner or enter a numerical value to set the weight value.

Interface
Once you assign an Orientation constraint, you can access its properties on the Position Constraint
rollout in the Motion panel. In this rollout you can add or delete targets, assign weighting, assign
and animate target weight values, and adjust other, related parameters.
Note: When you assign an Orientation constraint via the Animation menu, the software assigns a
Rotation List controller to your object. In the Rotation List rollout list you will find Orientation
Constraint, which is the constraint you assigned. To view the Orientation Constraint rollout, double-
click Orientation Constraint entry in the list.
Add Orientation TargetAdds new target objects that influence the constrained object.
Add World as TargetAligns the constrained object to the world axis. You can weight the amount
of influence that the world target has on the constrained object as you would any other target
object.
Delete Orientation TargetRemove targets. Once removing the target, it will no longer influence
the constrained object.
Keep Initial OffsetPreserves the original orientation of the constrained object. When you turn off
Keep Initial Offset, the object adjusts itself to match the orientation of its target or targets.
Default=off.

Transform RuleWhen an orientation constraint is applied to an object that is part of a hierarchy,

this determines whether the local node transform or the parent transform will be used for the
orientation constraint.
Local >LocalWhen selected, the local node transform is used for the orientation constraint
World >WorldWhen selected, the parent or world transform will be applied, rather than the
local node transform.
Comments

Add Keys (Dope Sheet)
Main toolbar > Track View Curve Editor or Track View Dope Sheet > Track View toolbar > Add
Keys
Graph Editors menu > Track View Curve Editor or Track View Dope Sheet > Keys menu > Add
keys
Add Keys inserts a key at the point where you click a curve or a track.
Add Keys is a mode that remains active until you activate another mode. While Add Keys is on, you
click in any animation track to add a key at that location in time.
Procedure
To add keys in Track View:
1. On the Track View toolbar, click Add Keys.
2. Click in an animation track to add a key.

The location where you click sets the time of the key as measured on the time ruler.
The value of the new key is set by one of the following conditions:
Keys added before the first key of a track receive the same value as the former first key.
Keys added between two keys receive an interpolated value based on the values of the
original keys.
Keys added after the last key in the track receive the same value as the former last key.
If you are unable to add keys to a track, check the following conditions:
Only animated tracks can accept keys. If you want to add a key to a track, such as an object
parameter, you need to animate it first.
The animation controller must be a type that uses keys. Not all controllers use keys.
Examples of controllers that do not use keys include Expression controllers, List controllers,
and Parametric controllers.
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Comments
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menubar > Controller menu > Assign > Expression
View menubar > Controller menu > Assign > Expression
Animation menu > Position or Scale controller > Expression
Interface Procedures
With the Expression controller you can use mathematical expressions to control the following
animation aspects:
Object parameters, such as length, width, and height
Transform and modifier values, such as an object's position coordinates
You can constrain values by basing them on the controller values of other objects in the scene
An expression is a mathematical function that returns a value. 3ds max evaluates the expression
once for each frame of an animation, generating values that can change from frame to frame.
You create and manage expression controllers in Track View Dope Sheet. You can assign
expressions to the following kinds of scene elements:
Scene element Controller
Creation parameters Any numeric creation parameter
Position [X, Y, Z]
X Rotation
Transforms Y Rotation
Z Rotation
Scale [X%, Y%, Z%]
Modifiers Any numeric modifier parameter (including creation parameters)
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Colors [R, G, B]
Materials
Any numeric material parameter
Note: Expression controllers can work only with the individual XYZ components of Euler rotation. You
can't assign an expression to TCB rotation or other kinds of rotation controllers.
See also
Expression Techniques
Expression Controller Techniques
Trigonometric Functions
Vectors
Procedures
To assign a constant value to a variable:
1. Highlight the variable name in the Scalars or Vectors list.
2. Click Assign to Constant.
3. In the dialog, enter the new value of the constant, and then click OK.
To assign a controller to a variable:
1. Highlight the variable name in the Scalars or Vectors list.
2. Click Assign to Controller.

The Track View Pick subdialog is displayed, showing the track hierarchy. The display in the
dialog is similar to the Track View hierarchy.
3. Select the track for the variable to use, and then click OK.
Example: To create an expression that moves a sphere in a precise circle:
1. Create a sphere 30 units in diameter.

Use Track View to create the Expression controller.
2. In the Hierarchy list, expand Objects/Sphere01 so the sphere's Position track is visible. Select
this track by clicking the Position label once to highlight it.
3. In the Hierarchy list, right-click the track then chooseAssign Controller

The Assign Controller dialog is displayed.
4. Select Position Expression from the list of controller types, and then click OK.

The Expression Controller dialog is displayed.

Note: You can also open the Expression Controller dialog from the Controller > Properties menu
in the Track View-Dope Sheet.
5. In the Expression Controller dialog, create the expression.

Replace the default expression by typing the following position expression in the Expression
field:
[100*cos(360*NT), 100*sin(360*NT), 0]
6. Click Evaluate.
7. Play the animation. The sphere moves in a circle about the world origin (0,0,0). The radius of
the circular path is 100 units.
You've now specified a circular path for the sphere. NT is a variable that means normalized
time. Movement based on NT happens exactly once per the active time segment, regardless of
how many frames are in the animation.
Example continued: To change the radius of the circle:

The two 100s in the position expression from the previous procedure specify the radius. To adjust
the radius of the circle's path, create a symbolic variable to represent the radius. The variable has a
constant value that is easy to edit.
1. Make Track ViewDope Sheet visible again.
2. In the Expression Controller dialog, type radius in the Name field. Click Scalar, and then click
Create.
"radius" is displayed in the Scalars list in the lower-left of the dialog.
3. Click Assign to Constant.

A dialog titled "radius" is displayed.
4. Type 150 in the value field, and then click OK.

The radius variable is now 150.
Now use the new variable in the expression.
Example continued: To replace the literal value with the variable name:
1. In the Expression field, change 100 to radius in both places. The expression should now look
like this:
[ radius*cos(360*NT), radius*sin(360*NT), 0]
2. Click Evaluate.
3. Play the animation. The sphere moves in a circle about the world origin (0,0,0). The radius of
the circular path is 150 units.

Example continued: To make the sphere rotate about a box:
1. Create a box about 40 units square, and animate its position over three or four keyframes.
3. In the Expression Controller dialog, type boxposn in the Name field. Click Vector, and then
click Create.
The name "boxposn" is displayed in the Vectors list in the lower-left part of the dialog.
Variable names are case sensitive; the variable name should be lower case.
4. Click Assign to Controller.

The Track View Pick dialog is displayed. It shows the object hierarchy as it appears in the left
side of Track View-Dope Sheet.
5. In the Hierarchy list, highlight the Position controller for Box01 and then click OK.
6. In the Expression field, add boxposn as an offset:

[radius * cos(360*NT), radius * sin(360*NT), 0]+boxposn.
7. Click Evaluate, and then click Close.

Play the animation again. The sphere moves in a circle around the box and follows the box
wherever it moves.
Interface

Create Variables group
NameContains the variable.

ScalarSelects the type of variable to create.
VectorSelects the type of variable to create.
CreateCreates the variable.
You must enter a name and specify a type before clicking Create.
DeleteSelect a variable in the Scalar or Vector list, then click to delete it.
Variable Parameters group
Tick OffsetContains an offset value.

A tick is 1/4800 of a second. If a variable has a non-zero tick offset, that value is added to the
current time.
Expression group
Type an expression in the Expression box.

The expression must be a valid mathematical expression. The result is either a three-value vector for
a vector expression (position, scale, or point3) or a scalar value for a float expression.

Description group
Type text in this group to document an expression. For example, you can describe user-defined
variables.
Function listDisplays a list of Expression controller functions.
In the list, p, q, and r represent scalar values or scalar expressions; V and W represent vector values
or vector expressions.
SaveSaves an expression. Expressions are saved as files with a .xpr file name extension.
LoadLoads an expression.
A saved expression does not save variable definitions or values. After loading the expression, you
need to redefine them.
DebugDisplays the Expression Debug window.
This window shows the values of all variables, and the value of the expression. When you change the
variables or move the time slider, the Debug window automatically updates so you can interactively
view what's happening with the expression. The values for frames (F), normalized time (NT), secs
(S), and ticks (T) are also displayed.
EvaluateEvaluate the expression for each frame in the animation.
There is no explicit assignment (= or := operator) as in a conventional programming language; the
assignment is implicit and takes place over time.
If the expression has a syntax error, an error message is displayed. The error message is the first
part of the expression itself. The last character in the error message is the point of the error. This is
usually where the error actually is, unless the problem is that opening and closing parentheses (or
the braces for vectors) don't match. In this case, evaluation can proceed further before the error is
detected.
CloseCloses the Expression Controller dialog.
Comments

Delete Controller
Delete Controller
Main toolbar > Curve Editor (Open) > Select a deletable track in the Controller Window. > Right-
click the toolbar > Show Toolbars > Controllers: Track View > Delete Controller
Main toolbar > Open Track View > Select a deletable track in the Track View Hierarchy. > Track
View toolbar > Delete Controller
Some node subcontrollers can be deleted. Visibility tracks, Image Motion Blur Multiplier, Object
Motion Blur On/Off are examples of controllers that can be deleted.
You can also delete a Visibility track by using Tracks > Visiblity Tracks > Remove.
Procedure
To delete a deletable controller:
1. In the Controller window, select a deletable controller.
2. On the Track View Controllers menu, choose Delete Controller.

The controller is deleted.
Note: Most controllers can not be deleted, only replaced. The Delete Controller menu item will
only be available if the controller track selected is an applicable type.
Comments
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Copy Controller
Copy Controller
Main toolbar > Curve Editor (Open) > Select the controller track in the controller window. >
Controller menu > Copy
Main toolbar > Curve Editor (Open) > Select the controller track in the controller window. > Right-
click any blank space on the Track View toolbar > Show Toolbars > Controllers: Track View toolbar
> Copy Controller
Graph Editors menu > Track View > Open Track View > Select controller or item in the Track View
Hierarchy. > Track View toolbar > Copy Controller
Copy Controller copies the selected item to the Track View clipboard.
You can use Copy and Paste to copy object and modifier tracks, controllers, objects, and containers,
depending on what you are working on.
The Controller tools are also available as buttons on the Controllers: Track View toolbar. This toolbar
is hidden by default; to unhide right-click the toolbar and choose Show Toolbars > Controllers: Track
View.
Not all tracks can be copied and pasted. The basic restrictions for using Copy and Paste in Track
View are:
Only a single selected item can be copied.
A copied item can only be pasted into another item of the same type.
A copied item can be pasted into a selection of multiple items only if all of the items are of the
same type.
Procedures
To copy and paste a modifier:
1. In the Track View Hierarchy, select a modifier track.
2. On the Controller menu, choose Copy.
3. Select the object track for an object in the Track View Hierarchy.
4. On the Controllers menu, choose Paste.

The Paste dialog is displayed.
5. Set the options in the Paste dialog, and click OK.
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Copy Controller
The pasted modifier is inserted above the object track you selected. Note that it does not
replace any of the tracks in the target object.
To copy and paste a controller:
1. In the Track View Hierarchy, select a controller track.
2. On the Track View Controllers menu , click Copy Controller.
3. Select the controller track for an object in the Track View Hierarchy.
Make sure you choose the same type of transform that you copied.
4. On the Controllers menu choose Paste.

The Paste dialog is displayed.
5. Set the options in the Paste dialog, and click OK.

The controller is pasted onto the selected object.
Comments
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Paste Controller
Paste Controller
Main toolbar > Curve Editor (Open) > Select the track you want to paste to. > Controller menu >
Paste.
Keyboard > CTRL+V
The Paste controller pastes the contents of the Copy Controller buffer. You can use the Copy and
Paste buttons to copy tracks, controllers, objects, and containers.
All the Controller tools can also be found on the Controllers: Track View toolbar which is hidden by
default. Right-click the toolbar, then choose Show Toolbars > Controllers: Track View to display the
icons for Assign, Copy, Paste. Delete Controller and Make Controller Unique.
Procedures
See Copy Controller.
Interface
Paste ControllerPastes an item from the Track View clipboard.

The Paste dialog contains the following options:
Copy/InstanceDetermines whether the cloned item is a simple copy or an instance of the
original.
Replace All InstancesWhen you paste to any track that contains an instanced object, replaces all
instances of the object with the object on the clipboard. If off, only the object in the selected track
will be replaced. Any instanced objects will remain as they are.
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Paste Controller
Comments
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Collapse Controller
Collapse Controller
Track View > Track View menu > Controllers > Collapse Controllers
The Collapse Controller tool allows you to convert procedural animation tracks into tracks with
keyframes. A procedural track is an expression track, wired parameter, noise controller, or even
something like a list controller.
You can also use this tool to convert any controller track to a simple keyframed track. You can
convert rotation tracks to either Euler or TCB, and collapse Position and Scale tracks to either Bezier
or Linear controllers.
You can collapse an entire track, or collapse a range of frames within a track by setting the Start and
End frames. A Samples parameter lets you define how many frames will be placed between keys.
Collapse Controller can be used to collapse any number of selected tracks at once.
This functionality is similar to the Collapse button found in the Collapse Transform group of the
Motion panel > Trajectories rollout.
Warning: If you are using a Path constraint with the Follow option, using Collapse
Controller to collapse the position and rotation tracks will not preserve rotation properly,
because additional rotation is applied by the Path constraint. If you want to collapse this
kind of track, use Collapse in the Collapse Transform group of the Motion panel >
Trajectories rollout instead.
Note: This tool is actually a MAXScript macro script. If you want to modify it, you can find it in
\3dsmax5\ui\macroscripts\macro_collapsecontrollers.mcr.
Procedure
To collapse a procedural controller track:
1. In a viewport, select an object with a procedural controller, then right-click and choose Curve
Editor from the quad menu.
The Track View Curve Editor is displayed.
2. In the Curve Editor's Controllers window, select the track you want to collapse. Then choose
Controller > Collapse Controller from the Track View menu.
The Collapse Controller dialog appears.
3. Change the Samples to specify the number of frames between keys.

The default value of 1.0 creates a key for every other frame, which might be more than you
want to work with.
4. Select the type of controller that you want the keys to use after collapsing.
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Collapse Controller
Position and Scale tracks collapse to either Bezier or Linear. Rotation tracks collapse to either
Euler or TCB.
Note: TCB controllers will not display function curves.
5. Click OK.
The Keys window displays the curves for the collapsed animation. The track bar displays the
keys, as does the Track View Dope Sheet.
Tip: If you want to collapse the controller into a weighted list controller, turn on Add To New
Layer. The original controller will be stored on a layer with a weight of 0.0. It will have no
effect, but will be available for future use, if need be.
Interface
Start FrameSets the first frame of the range of animation to be collapsed. Default=The first
frame of the original controller's active range.
End FrameSets the last frame of the range of animation to be collapsed. Default=The last frame
of the original controller's active range.
Warning: If you choose a range of frames smaller than the original range, the animation
within the range will be collapsed, and the remaining motion will be discarded unless Add
to New Layer is on.
SamplesSets the granularity of the collapse operation. This value defines the number of frames
between keys. Default=1.0.
Collapse toSets the type of controller the procedural track will become:
Bezier or Euler Controller When this is chosen, Position, Scale, and scalar parameter tracks
will be assigned Bezier controllers. Rotation tracks will be assigned Euler controllers.
Linear or TCB ControllerWhen this is chosen, Position, Scale, and scalar parameter tracks will
be assigned Linear controllers. Rotation tracks will be assigned TCB controllers.

Collapse Controller
Note: TCB controllers will not display function curves.
Add to New LayerWhen this is turned on, the collapsed controller is added as a new layer in a
weighted list controller. Default=off.
This option is useful because it keeps the old controller on another layer with a weight of 0.0. This
lets you restore the original animation easily if you need to.
Comments

Trajectories
Trajectories
Select an object > Motion panel > Trajectories
Scooter following a trajectory
The Trajectories rollout displays the path an object travels over time. Controls to convert splines into
trajectories, trajectories into splines, and to collapse any transform controller into editable keys are
also available by choosing Motion panel > Trajectories.
Note: The state of the Trajectory check box under Display in the Object Properties dialog (and on the
Display panel > Display Properties rollout) controls whether trajectories will be visible for an object.
Using trajectories, you can do the following:
Insert and delete keys from the path.
Move, rotate, and scale keys on the path.
Convert the path to a spline object.
Derive a new path from a spline object.
Collapse transforms.
Values under Sample Range are used in the Spline Conversion and Collapse Transform functions.
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Trajectories
Procedures
To display an objects trajectory:
1. Select an animated object that moves over time.
2. Right-click the object and choose Properties.

Trajectory is not available
3. In the Display Properties group, click By Layer to change this button to By Object. Skip this
step if By Object is already displayed.
Trajectory becomes available.
4. Turn on Trajectory, then click OK.

The Trajectory is displayed as a red line with white squares and dots. The white squares are
keys, the white dots are inbetweens.
To add a key to a trajectory:
1. Select an object.
2. Display the trajectory by following the previous steps.
3. In the Motion panel, click Trajectories.
4. Click Sub-Object to activate Keys and enable editing.
5. Click Add Key.

The button highlights.
6. Click the trajectory.

Wherever you click the trajectory a key will be added.
7. Right-click the key and select Key Info from the right-click menu.
In the Key Info dialog, you can change the In and Out values for the inbetweens on either side
of the key. This allows you to use the trajectory key to create the illusion of hesitation or
acceleration.
You can click repeatedly to add many keys in this mode.
To delete a key from a trajectory:
1. Select a key on a trajectory. You can click it, or use window selection.
2. Be sure Add Key is turned off in the Trajectories rollout of the Motion panel.
3. Click Delete Key in the Trajectories rollout of the Motion panel.

The key is deleted.

Trajectories
To transform keys on a trajectory:
2. On the Motion panel, click Trajectories.
3. Click Sub-Object to activate Keys and enable editing.
4. Select one or more keys and use the transform tools on the Main toolbar to move, rotate, or
scale the selected keys.
Interface
Sub-ObjectEnables key addition or deletion.Enables key editing. Use the Move, Rotate, and Scale
transforms to change the location of a key(s) displayed on a trajectory.
Trajectories rollout
Delete KeyDeletes the selected key(s) from the trajectory.

Add KeyAdds key(s) to the trajectory. This is a modeless tool. When you click this button once,
you can add several keys in succession. Click the button again to turn off Add Key mode.
Sample Range group
Start Time/End TimeSpecifies the interval for the conversion. If you're converting from position
keyframes to a spline object, this is the time interval for which the trajectory will be sampled. If
you're converting from a spline object to position keys, this is the interval over which the new keys
will be placed.
SamplesSets the number of samples for the conversion. When converting in either direction, the
source is sampled at regular intervals, and keys or control points are created on the target object.

Trajectories
Spline Conversion group
Convert To/Convert FromConverts keyframe position tracks to and from spline objects. This
enables you to create a spline trajectory for an object and then convert that spline to keyframes for
that object's position track in order to do various keyframe-specific functions (such as applying
constant velocity to the keys and normalizing the time). Or, you can convert an object's position
keyframes into a spline object.
Tip: Convert To and Convert From can be used to move an object along a path without using a path
constraint.
Collapse Transform group
Generates keys based on the current transformation of the selected object. You can apply this for
any type of transform controller assigned to an object, but the main purpose of this function is to
"collapse" a parametric transform effect, such as one generated by a Path constraint, into standard,
editable keys.
CollapseCollapses the transform of the selected object.
Position, Rotation, ScaleSpecifies which transforms you want to collapse.
You must choose at least one check box to activate the Collapse button.
Comments

Main toolbar > Curve Editor (Open) > Select an instanced Controller track > Controller menu >
Make Controller Unique.
Keyboard: U
Make Controller Unique converts an instanced clone of a controller to a copy that's unique to the
current object. Objects and modifiers can also be made unique.
The result depends on whether or not the data flow branches at the selected container:
If the data flow does not branch anywhere below the selected container, nothing happens.
If the data flow does branch at or below the selected container, the data flow above the branch is
split from the current data flow as a unique object. The data flow from the selected container to
the master object is copied and attached to the new unique object.
All the Controller tools can also be found on the Controllers: Track View toolbar which is hidden by
default. Right-click the toolbar, then choose Show Toolbars > Controllers: Track View to display the
buttons for Assign, Copy, Paste. Delete Controller and Make Controller Unique.
Procedure
To convert an instance or a reference to a unique object:
1. Select a Modified Object container or an Object container.
2. On the Controllers menu choose Make Unique, or press U on the keyboard.
Comments
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Main toolbar > Curve Editor (Open) > Controller menu > Out-of-Range Types
Graph Editor > Track View - Curve Editor > Curves: Track View Toolbar > Parameter Curve Out-of-
Range Types
With Parameter Curve Out-of-Range Types you can specify how an object is to behave outside the
range of the keys you've defined.
Use Parameters Curve Out-of-Range Types to create loops and cycles. The idea is to create a short
pattern of keys that produce an animated effect, and then loop or cycle through those keys
throughout the animation.
Using the Parameter Curve Out-of-Range Types dialog, you select from four ways for repeating your
animation and two ways for applying a linear value.
Tip: Use the Create Out of Range Keys utility, found in Track View Utilities, to turn the parameter
out-of-range animation into editable keyframes.
Typical Steps for Using Parameter Out-of-Range Types
1. Animate an object to loop or cycle.
2. In the Curve Editor select the track you want to loop.
3. Click Parameter Out-of-Range Types to select how your animation behaves outside the
time covered by the range bar.
4. Choose the type of out of range type you want in the dialog then close it and play the
animation. The Curve editor will display the loop or cycle with a dotted line.
Tip: You can create keys from the out of range type by using the Track View Utilities > Create
Out of Range Keys.
Procedure
To use Parameter Out-of-Range Types to create a loop:
1. On the Create panel, click Geometry, then click Box.
2. On the left side of the Front viewport create a small box.
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3. Turn on Auto Key and move the time slider to frame 10.
4. Turn on Toolbar/Select and move the box to the right side of the Front viewport.
5. Open Track View, right-click Filters, and then select Animated Tracks Only.
6. Choose the Position track for the box in the Track View Hierarchy, and then click Parameter
Curve Out-of-Range types.
7. In the Parameter Curve Out-of-Range Types dialog, select Ping Pong and click OK.
8. Click Play in the Viewport Controls.

The box moves back and forth repeatedly.
While the animation is playing, experiment by turning on Position Ranges on the Track View
toolbar and moving the ends and middle of the Position track bar back and forth in the Track
View Key window. You can adjust the range bar independent of its keys and change the nature
of the loop.
Interface
Select from the options for repeating your animation and options for applying a linear value.
ConstantHolds the value of the end key of the range for all frames. Use constant when you want
no animated effect before the first key of the range or after the last key. Constant is the default out-
of-range type.
CycleRepeats the same animation as within the range. If the first and last keys in the range have
different values, the animation will show an abrupt "jump" from the last key to the first. Use Cycle
when you want an animation to repeat, but do not need the ends to match.
LoopRepeats the same animation as within the range, but interpolates between the last key and
first key in the range to create a smooth loop. If the first and last key are both at the extreme ends

of the range, Loop will behave exactly like Cycle. If you use Position Ranges to extend the range bar
beyond the keys, the added length determines the amount of time used to interpolate between the
last key and the first key. Use loop with an extended range bar to produce smoothly repeating
animation.
Ping PongAlternates between a forward and backward repeat of the animation within the range.
Use Ping Pong when you want your animation to alternate back and forth.
LinearProjects the animation value along a line tangent to the function curve at the end of the
range. Use Linear when you want the animation to enter and leave the range at a constant velocity.
Relative RepeatRepeats the same animation as within the range but offsets each repetition by
the value at the end of the range. Use Relative Repeat to create animations that build on each other
as they repeat.
Comments

Create Out of Range Keys Utility
Main toolbar > Curve Editor (Open) > Utilities menu > Track View Utilities > Create Out of Range
Keys utility.
Graph Editors menu > Track View Dope Sheet > Utilities menu > Track View Utilities > Create
Out of Range Keys utility
Create Out of Range Keys creates keys in the out-of-range time of a track when the out of range
type is something other than Constant. It converts the specified out-of-range area to a keyed area
that you can edit and adjust.
This utility works both in Curve Editor and Dope Sheet modes.
Procedure
To use Create Out of Range Keys:
1. In the Track View Controller window, select the Position track of an animated object.
2. On the Track View toolbar, click Parameter Curve Out-of-Range Types button to apply an
out-of-range type curve to the selected track.
Use any curve type except Constant (the default).
3. Click Utilities menu > Track View Utilities. In the dialog box that appears choose Create Out of
Range Keys.
4. Set the desired parameters in the Create Out of Range Keys dialog.
5. Click Apply.
Keys are created in the out-of-range areas of the position track. The track bar expands to the
boundaries of the newly created keys.
Interface
Click Track View Utilities to access the Create Out of Range Keys dialog.
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Time Range group
Sets the time after the range for generating keys. For example, if your range of keyed animation is
from frame 31 to 54, the out-of-range animation might be from 0 to 30 and from 55 to 100.
BeforeSpecifies the number of frames before the range for generating keys. In the previous
example, if you set this option to 20, it would generate keys over frames 10 to 30. When you set
this option to 0, no keys are generated before the range.
AfterSpecifies the number of frames after the range for generating keys. In the first example, if
you set this option to 40, it would generate keys over frames 55 to 95. When you set this to option
to 0, no keys are generated after the range.
SamplesSpecifies the number of keys to be generated for both the before and after time range,
based on the settings in Before and After. In the example above, if Samples is set to 20, 20 new
keys would be generated over frames 10 to 30, and another 20 new keys would be generated over
frames 55 to 95.
ApplyGenerates the keys.
Note: Keys are generated only for non-constant out-of-range types. If the area before or after the
range is the default, Constant type, no keys are generated in that area.
Comments
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Properties (Track View Key Window)
Main toolbar > Curve Editor ( Open) > Right-click a track that uses Properties > choose Properties
on the Controllers quad.
Graph Editor > Track View Curve Editor > Select a track that uses Properties > Controllers menu
> Properties
Graph Editors menu > Track View > Open Track View > Select an item in the Track View Hierarchy
or Key window. > Track View toolbar > Properties
Properties displays a dialog to change animation values. The type of dialog displayed depends on the
type of Animation controller the selected track is using. If the controller properties are unavailable
from the quad menu or the Controller menu, the selected track controller does not use properties, or
the track selection set is incorrect.
Selected keys display a Key Info dialog. You can change the values in the Key Info fields to
change the animation value, time, and interpolation methods of one or more selected keys.
Tracks with Parametric controllers, such as Noise, display a Properties dialog. You change the
values in the Properties dialog to change the behavior of the controller over its entire range.
Access the Properties dialog through the controllers quad of the right-click menu, or on the
Controllers menu > Properties. The same dialog is also accessible through the Motion panel.
You can also display the Key Info dialog by right-clicking a key in the Key window. Parametric
controller dialogs can also be displayed by right-clicking their range bars.
The Properties button is grayed out in ambiguous case, for example, when a key and a Parametric
controller item are both selected.
Procedures
To display properties for a controller, do one of the following:
Select the track then on the Controller menu choose Properties.
Right-click the track, then on the Controllers quad choose Properties.
To display the Key Info dialog for a key:
1. Right-click the key in the Curve Editor Key Window.

The Key Info dialog is displayed.
2. Change key properties in the dialog.
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Comments
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Key Info (Basic) Rollout
Select an object > Motion panel > Parameters > Key Info (Basic) rollout
Select an animated object > Right-click a key on the track bar. > Choose a controller track.
The Key Info (Basic) rollout changes the animation value, time, and interpolation methods of one or
more selected keys.
The following parameters are available with the Bezier controller, which is the default position
controller. The Key Info controls for a TCB position controller are different.
Procedure
To set the tangent type for a key:
1. Select an object and open the Key Info (Basic) rollout.
2. Use the arrows to select a key.
3. Choose a tangent type from the In or Out tangent flyouts.
Interface
Key numberShows the current key number. Click the right or left arrows to go to the next or
previous key.
TimeSpecifies at what time the key occurs.
Time LockPrevents horizontal key movement in Track View Edit modes.
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ValueAdjusts the position of the selected object at the current key.
Note: In the Key Info dialog for the Bezier Scale controller, a Lock button is displayed beside the X
Scale spinner. If you click Lock X, only the X value affects all three axes of scale. The Y and Z values
are ignored and their function curves are not displayed. When X is locked, the Y and Z values aren't
affected by changes in the X value. If you click Lock X when all three axes are at identical values,
alter the X value, and then unlock X. The Y and Z values remain where they were while X retains its
new value.
Key Tangent FlyoutsSets the interpolation properties of the In tangent and Out tangent of the
key.
Tangent Copy buttonsUse the arrow buttons at either side of the Key Tangent flyouts to copy
the tangent type between the tangents of the current key or between the tangents of the previous
and next key.
The left arrow of the In tangent copies to the Out tangent of the previous key.
The right arrow of the In tangent copies to the Out tangent of the current key.
The left arrow of the Out tangent copies to the In tangent of the current key.
The right arrow of the Out tangent copies to the In tangent of the next key.
Comments
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Tracks Menu
Tracks Menu
Graph Editors menu > Track View Curve Editor > Tracks menu
Graph Editors menu >Track View Dope Sheet > Tracks menu
Main toolbar > Curve Editor (Open) > Tracks menu
There are two types of special tracks that can be accessed from the Tracks menu.
Note TracksLets you add or remove note tracks to your scene. Note tracks can be used for
variety of purposes to add information to any track in Track View. See Add Note Track .
Visibility TracksLets you add or remove visiblity tracks to objects your scene. You can also
keyframe visibility by changing the visibility parameter in the Object Properties dialog when Auto
Key is on. See Add Visibility Track .
Comments
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Add Note Track
Add Note Track
Main toolbar > Curve Editor (Open) > Modes > Dope Sheet > Edit Keys > Tracks menu > Note
Tracks > Add.
With Add Note Track, you can insert a note track below the selected track in the Track View
Hierarchy. You can make note keys and notes at certain time locations to keep track of keys do. Do
this by adding keys in Dope Sheet Edit keys mode, then right-click the note keys to see the Note
Tracks dialog. The information you enter will appear in the Key window under the keys.
Any item in the Hierarchy list can have a note track added as a branch below it. You can add a note
track to an item in any of the Track View modes.
Note tracks are inserted as branches directly below the selected items.
Once you have created a note track for an item, use Add Keys to insert note keys. Use the Notes
dialog to edit the notes.
You can have toolbar access to the Note Tracks by unhiding the Tools: TrackView toolbar.
Procedures
To add a note track:
1. On the Track View Dope Sheet toolbar, click Edit Keys.
2. Select one or more item labels in the Hierarchy list.
3. On the Tracks menu choose Note Tracks > Add.

Note tracks are inserted as branches directly below the selected items.
To add a note key to a note track:
1. Select the Note track (in Dope Sheet Edit Keys mode).
2. Click Add Keys.
3. Click a note track to place a note at that location.
To edit notes:
1. Right-click a note key to display the Notes dialog.
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Add Note Track
2. Enter your note in the edit box.

The first line of your note appears as a label to the right of the note key. You should type a
short one- or two-word description as the first line of your note. Press ENTER to enter the body
of the note.
Interface
Add Note TrackInserts a note track directly below the selected items in the Hierarchy list. This is
available from the Tracks menu or from the Tools: Track View toolbar.
Notes dialog
Adds or edits notes on the animation in Track View. The first line of your note appears as a label to
the right of the note key. You should type a short one- or two-word description as the first line of
your note. Press ENTER to start the body of the note.
Note NumberIndicates which note key you are working with. Click the left arrow to move back to
the previous note or the right arrow to move forward to the next note.
TimeSets the time position for the note key. Change the value to move the note to a new time.
Lock KeyLocks the key to the Time field. When set, the key ignores all operations performed with
Move, Slide, and Scale. The only way to change the key's time is to use the Time field in the Notes
dialog.
Comments
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Add Visibility Track
Right-click the object in the viewport. > Curve Editor > Tracks menu > Visibility Track > Add
Graph Editors menu > Track View - Dope Sheet > Select the object whose visibility you want to
key. > Tracks menu > Visibility Track > Add
Add Visibility Track controls when you can see an object. Visibility tracks can only be added to
objects. You can create a visibility track by either animating the Visibility parameter in the Object
Properties dialog or by selecting an object in the Track View Hierarchy and clicking Tracks menu >
Visibility Tracks > Add. In both cases a visibility track, using a Bezier float controller, is created in
Track View. The visibility track displays as a child of the object in the Track View Hierarchy.
Note: Right-click over an object in the viewports and select Properties to display the Object
Properties dialog.
Warning: An object without mapping coordinates that is invisible at frame 0 will not ask
for UVW Map coordinates at render time. The warning will display at the frame that the
object becomes visible. This can stop a render midway, so make sure invisible objects at
the beginning of your animation have mapping coordinates if necessary.
On and Off Visibility
When you first assign a visibility track to an object, a Bezier float controller is automatically
assigned, this allows gradual visibility. You can make an object appear or disappear suddenly by
changing the interpolation of the visibility keys to Step tangency.
Variable opacity is supported in the shaded viewports. For ease of use, the object never completely
disappears from the viewports.
Visibility Inheritance
An object can inherit the visibility of its parent (as determined by the parent's Visibility track in the
Track View). Use the Object Properties/Inherit Visibility check box to determine the visibility
inheritance of an object.
Groups and Visibility
All members of a Group inherit the visibility of the parent when a visibility controller is assigned to
the parent. Transparent materials and hidden objects have no effect on this function.
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Level of Detail Utility and Visibility
The Level of Detail utility lets you construct an object that alters its geometric complexity or level of
detail based on its size in the rendered image. You create several versions of the same object each
with different levels of detail; you group them as one, and then assign the Level of Detail utility. This
automatically creates a special LOD controller as a Visibility track.
Procedures
To add a visibility track to objects:
1. In Track View Curve Editor or Dope Sheet Edit Keys mode select the object you want to affect
in the hierarchy list on the controller window.
2. On the Track View Tracks menu, choose Visibility Tracks > Add.
3. Select the keys then use Controller > Properties to adjust the key values and interpolation.
A value of 0 creates an invisible object, a value of 1.0 creates a fully visible object. Change the
interpolation to step for sudden visibility, rather than gradual fades.
A visibility track appears below the selected object(s). Add and Edit keys in the visibility track to
control the objects visibility.
To add visibility keys:
1. Once you have a visibility track assign to the object, select the track.
2. On the toolbar, click Add Keys.
3. On the Track View Key window, click in a visibility track to add a key at that time location.
Example: To create and animate a visibility track using the Object Properties dialog:
1. Create a box.
2. Turn on Auto Key.
3. Move the time slider to frame 10, where the box will disappear.
4. Right-click the object and choose Properties from the shortcut menu.
5. In the General tab, set Visibility to 0, and then click OK.
6. Scrub the time slider.

The box fades. This creates a visibility track in Track View and adds a key with a value of 0 to
the track.

Comments

Level of Detail Utility
Utilities panel > Utilities rollout > More button > Utilities dialog > Level of Detail
The Level Of Detail utility lets you construct an object that alters its geometric complexity or level of
detail based on its size in the rendered image. You create several versions of the same object each
with different levels of detail, group them as one, and then run the Level Of Detail utility, which
automatically creates a special LOD controller as a Visibility track. The LOD controller then hides and
unhides the objects in the group, depending on their size in the rendered scene.
The main purpose of this utility is to save time in rendering complex objects and in manipulating
objects in the viewports. Since a portion of rendering speed is directly related to the number of faces
that must be rendered in a scene, using the Level Of Detail utility lets you reduce the number of
rendered faces as an object reduces its apparent size. In addition, you can use this utility to display
a simple stand-in for a more complex object in the viewports. Since the stack is not calculated for
objects hidden in the viewports, you can speed up viewport manipulation by using this utility to
substitute complex stack objects with simple stand-ins.
Procedures
To set up an object for the Level Of Detail utility:
1. Create two or more objects that are identical except for their complexity.
Note: It's best to assign materials and mapping coordinates, as well as all modifiers while the
objects are still separate.
2. Select all of the objects, and use the Align tool to center all of them about a common center.
3. Group the objects.
4. Choose the Level Of Detail utility.
5. While the grouped object is selected, click the Create New Set button.
The name of the objects within the group appear in the Level Of Detail list, in order of
complexity; only the least complex object in the group is displayed in the viewports, while all
other objects are made invisible.
6. Use the controls in the Level Of Detail rollout to adjust when the objects will switch their
display in the rendered scene.
To access an object's stack:
1. Select the Level Of Detail object, and then choose Modify menu > Group menu > Open.
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2. In the Level Of Detail utility, choose the object you want to access from the list window, and
then turn on Display In Viewports (or double-click the object's name in the list window).
3. Select the object in the viewport.
4. Open the Modify panel to access that object's parameters.
5. When finished, choose Group menu > Close.
To assign materials within the group:
1. Select the grouped object.
2. Use Display In Viewports in the Level Of Detail utility to display the grouped object you want to
assign the material to.
3. Drag the material from the Material Editor (or the Browser) over to the object in the viewport.
4. Choose Assign To Object in the Assign Material alert, and then click OK.
Note: Be sure and choose Assign To Object. If you choose the default Assign To Selection, all
objects in the group will be assigned the same material.
To dismantle a Level Of Detail object:

If you look at a Level Of Detail object in Track View, you'll see only the tracks for the sub-object
that's currently displayed in the viewports. To see all sub-objects in Track View, you need to turn off
Visible Objects.
If you need to dismantle a grouped Level Of Detail object, and restore its sub-objects to their
independent states, follow these steps:
1. Open the Filters dialog in Track View, and turn off Visible Objects in the Show Only group box.
2. The tracks for all of the sub-objects in the Level Of Detail object are now visible.
3. Open the hierarchy of each of the sub-objects, and then select each of their Visibility tracks.
4. On the Track View toolbar, click the Delete Controller button.
5. If you also want to remove the grouping, select the grouped objects, and then choose Explode
in the Group menu.
Interface

Level of Detail Set group
Lets you create a new set, and add or remove objects from the current set.
Create New SetCreates a new Level of Detail set based on a currently selected group object.
Add To SetAdds an object to the Level of Detail set. You must first attach the object you want to
add to the group object. To add an object to the set, use Align to center the object with the group
object. Select the object you want to add, and then choose Attach from the Group menu, and then
click the group object. Finally, click the Add to Set button, and then click the object you want added.

Remove from SetRemoves the object highlighted in the list window from the current set. Note
that the object then becomes visible in the viewports, but is still part of the group. To remove the
object from the group, choose Group menu > Open, select the object you want removed, and
choose Group menu > Detach. Select the group object again, and choose Group menu > Close.
Image Output Size group
Width/HeightThe Width and Height spinners in this area are set to the current rendering output
size each time you enter the Level of Detail utility. Using the spinners, you can change this to any
resolution. If the percent of Target Image option is selected, as you change the Target Image Size,
the threshold values change as well.
Reset to CurrentResets both spinners to the current rendering output size.
List windowLists all of the objects in the group by complexity, with the least complex at the top
of the list. The numbers at the left of each object name are the threshold values that indicate at
what size the object will be displayed in the rendered scene. The numbers can be one of two types of
units, pixels, or percentage of the target image. You set the type of unit in the Threshold Units
group.
Display in ViewportsDisplays in the viewport the object highlighted in the list window. Only one
object in the group is displayed in the viewports at any time. As a default, the least complex object
is displayed, but you can look at the other objects by highlighting them in the list and selecting this
item. Double-clicking the object name in the list performs the same function.
Threshold Units group
The options in this group box let you choose between two types of threshold units. Switching
between these two options does not alter the effect; it alters the method by which you set the
thresholds.
PixelsThe thresholds are determined by specifying the maximum pixel size of the image
(measured diagonally). Use when you want to set the transfer thresholds using absolute rather than
relative values.
% of Target ImageSets the thresholds based on the percentage of the size of the image
(measured diagonally) relative to the size of the rendered output.
Thresholds group
Min Size/Max SizeSets the minimum size of the object before it's replaced by the less complex
object, and the maximum size of the object before it's replaced by the more complex object. The
values vary depending on the current type of Threshold Unit. The default threshold values are
initialized so that the most complex object is 100 percent of the image output size. The remaining
thresholds are set using an algorithm based on a ratio of the number of faces between each object.
It assumes that all faces are the same size, and then picks thresholds so that the faces would
remain a constant size as displayed on the screen. Usually, this will provide the type of smooth
transition you need, but you can customize the threshold values. The threshold values are

interrelated between the objects, so altering the minimum size of one object, for example, will also
alter the maximum size of the next object.
Reset AllResets all thresholds for all objects in the list, using the previously described algorithm.
Tip: You can use the Level of Detail utility to create objects that display very simple geometry in the
viewports, while displaying complex geometry in the rendered scene. Create a grouped Level of
Detail object consisting of only two objects, the complex object and the simple object. Select the
simple object in the list window and, in the Thresholds are, set its Min Size and its Max Size to 0.
This will display the simple object in the viewports, but the complex object will always appear in the
rendered scene, regardless of its apparent size.
Close button
CloseCloses the utility.
Comments

Keys Menu
Keys Menu
Graph Editors menu > Track View Curve Editor > Keys menu
Graph Editors menu > Track View Dope Sheet > Keys menu
Main toolbar > Curve Editor (Open) > Keys
The commands on the Keys menu give you control over keys when working in either the Curve
Editor or the Dope Sheet.
Add KeysAdds keys in the Curve Editor or Dope Sheet. See Add Keys (Dope Sheet) .
Reduce KeysReduces the amount of keys on curves, or in edit keys mode in Dope Sheet. See
Reduce Keys .
Move KeysMoves keys either vertically (in value) or horizontally (in time). See Move Keys (Dope
Sheet) .
Slide KeysMoves keys, and adjacent keys slide away to make room for the move. See Slide
Keys .
Use Soft SelectWhen turned on, affects keys adjacent to a selection set of keys according to a
falloff threshold. Works on Curves and Dope Sheet edit keys mode. See Use Soft Select.
Soft Select SettingsUse Soft Select Settings to display the dialog that lets you controll the falloff
range of the soft selection. Select some keys, then watch the Track View Key window while you
adjust the range value. See Soft Select Settings.
Scale ValuesProportionally increase or decrease the key values (in space, not time). Use in
combination with the Scale Value Origin Slider. See Scale Values .
Scale Keys-TimeProportionally increase or decrease the key values (in space, not time). Use in
combination with the Scale Value Origin Slider. See Scale Keys - Time .
Align to CursorProportionally increases or decreases the key values (in space, not time). Use in
combination with the Scale Value Origin Slider. See Align to Cursor .
Snap FramesWhen this is turned on, keys always snap to frames. When this is turned off you can
move keys to sub-frame postions. See Snap Frames .
Comments
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Reduce Keys
Reduce Keys
Graph Editors menu > Track View Curve Editor or Track View Dope Sheet > Select the keys
you want to reduce in the Keys window > Keys menu >Reduce Keys
Use Reduce Keys to reduce key density. Using inverse kinematics, or when creating any complex
animation, can result in many keys. In the case of applied inverse kinematics, the software
generates a key on nearly every frame. Often, the same animation can be produced with fewer keys.
Having fewer keys in a track makes it easier to change your animation.
Use Reduce Keys to analyze the pattern of keys in a block of time and create a new pattern of fewer
keys that produces nearly the same animation. You specify how closely the new animation matches
the original.
Procedure
To reduce keys:
1. Select the animated object in the viewport.
2. Right-click and choose Curve Editor from the quad menu.
3. In the Keys window, drag a selection rectangle around the keys you want to reduce.
You can reduce keys in either the Curve Editor or the Dope Sheet.
4. On the Keys menu, choose Reduce Keys.

The Reduce Keys dialog appears. This dialog has a single Threshold parameter.
Increasing the threshold parameter will change the number of keys that are reduced. The
higher the threshold, the more the reduction.
5. Click OK to reduce the keys.

Observe the results. If you are left with too few keys, press CTRL+Z to undo, then lower the
threshold and reduce the keys again. If there too many keys remain, increase the threshold
and reduce keys again.
Tip: It will take repeated experimentation to find exactly the right threshold for your particular
animation.
Interface
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Reduce Keys
Reduce KeysDisplays the Reduce Keys dialog.

ThresholdSets a threshold value. Higher values will result in fewer keys.
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Move Keys (Dope Sheet)
Move Keys (Dope Sheet)
Main toolbar > Curve Editor (Open) > Mode > Dope Sheet > Select keys in Key window. > Keys:
Dope Sheet toolbar > Move Keys
Graph Editor > Track View - Dope Sheet > Select keys in Key window. > Keys: Dope Sheet toolbar
> Move Keys
Move Keys moves selected keys in time.

While the move key is active, you can move the selected keys by clicking and dragging them. You
can clone keys by moving them while holding down the SHIFT key. You can move one or more keys
horizontally in their track to change when the keys occur.
Procedure
To move a selection of keys:
1. On the Keys: Dope Sheet toolbar, click Move Keys if it isn't already highlighted. It should
be on by default.
2. Select the keys you want to move in the Keys window by dragging a selection rectangle around
the keys.
3. Move your cursor over one of the selected keys then press and drag anywhere in the viewport
to move the keys. Moving them vertically moves them in space; moving them horizontally
moves them in time.
Tip: To constrain the movement of the keys, use Move Keys Horizontal or Move Keys Vertical,
found on the Move Keys flyout.
Tip: Press SPACEBAR to lock the key selection. Then you don't have to press over the selected
key, you can press anywhere in the viewport and move the keys. This is useful when you have
a complex selection set of keys.
Comments
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Slide Keys
Slide Keys
Main toolbar > Curve Editor (Open) > Select keys in the Track View Key window. > Track View
toolbar > Slide Keys
Graph Editors > Track View Dope Sheet or Track View Curve Editor > Track View Toolbar >
Slide Keys
Use Slide Keys to move a group of keys (your selected keys plus all the keys to one end of the
animation). The direction that you drag determines which group of keys moves:
Dragging to the right moves the selected keys, plus all keys to the last key of the animation,
forward in time.
Dragging to the left moves the selected keys, plus all keys to the first key of the animation,
backward in time.
Slide Keys is a way to split the animation at the selected keys and spread the ends apart. Slide Keys
is available in Edit Keys mode.
Procedure
To slide a selection of keys:
1. Click Slide Keys on the Track View toolbar.

2. Select one or more keys.
3. Drag to slide the keys to a new location.
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Use Soft Select
Use Soft Select
Track View menu bar > Keys > Use Soft Select
When turned on, Use Soft Select affects keys adjacent to a selection set of keys according to a falloff
threshold. It works in both Curve Editor keys and Dope Sheet Edit Keys modes.
To adjust the Soft Selection range and falloff, choose Soft Select Settings on the Keys menu.
Tip: Keys are soft-selected across time only (horizontally).
Procedure
To soft select keys in Track View:
1. In either Dope Sheet Edit keys mode or in the Function Curve Editor, select a single key in the
middle of the animation curve or graph.
2. From the Keys menu, choose Use Soft Select.
3. From the Keys menu, choose Soft Select Settings

The Soft Selection Settings dialog appears.
4. Change the Range and observe the soft selection display in the keys window.
See also
Soft Select Settings
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Track View menu bar > Keys > Use Soft Select
Track View menu bar > Utilities > Track View Utilites > Soft Selection Settings Manager
Displays a dialog with controls to adjust the range and falloff of the soft selection of keys in the Dope
Sheet and Curve Editor.
Interface
SoftTurns on or off the use of the soft selection. When this is off, only the selected keys are used,
the soft selection is not.
RangeDetermines the range of keys affected by the soft selection.
FalloffDetermines the distribution of the strength of the soft selection over the range of keys.
Comments
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Scale Values
Scale Values
Main toolbar > Curve Editor (Open) > Select keys in Key window > Track View toolbar > Scale
Values.
Graph Editor menu > Track View Curve Editor > Keys menu> Scale Values
Scale Values is used to proportionally increase or decrease the vertical distance between selected
keys on the function curves in Curve Editor. Uses the Scale Origin Line as a movable reference point
for the scale operation. Practically speaking Scale values always create spatial adjustments, rather
than temporal. To Scale in time, use Scale Keys Time, instead.
Note: Scale Values is not available in Dope Sheet mode.
Procedure
To Scale key values
1. Select the object in the viewport, then right-click and choose Curve Editor.
2. Select the keys on the curve you want to scale.
3. On the Curve Editor toolbar click Scale Values.

Notice the appearance of the orange Scale Values Origin line.
4. Move the Scale Value Origin line to where you want the scale operation to scale from or to.
5. Move your cursor over one of the selected keys, then press and drag to scale.
Tip: Use Lock Selection once you have selected the keys, then you can press and drag
anywhere in the viewport to create the scale operation.
Comments
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Scale Keys - Time
Scale Keys - Time
Main toolbar > Curve Editor (Open) > Select keys in Key window > Track View toolbar > Scale
Keys.
Graph Editor menu > Track View Dope Sheet or Track View Curve Editor > Keys menu> Scale
Keys Time
Scale Keys Time moves all selected keys proportionally toward or away from the current frame.
Use the Scale Keys button in either mode to change the location and amount of time covered by one
or more selected keys.
The scale center is defined by the current time set by the time slider. You can scale keys about any
moment in time by dragging the time slider before you use Scale Keys.
Procedure
To use Scale Keys:
1. Select an animated object in the viewport, then right-click and choose Curve Editor.
The following steps work in either Curve Editor or Dope Sheet modes.
2. Drag the time slider to the time you want to use as the scale center.
3. Click Scale Keys or on the Keys menu choose Scale Keys Time.
4. Select one or more keys.
5. Drag to scale the selected keys or press SHIFT and drag to add scaled copies of the selected
keys.
Drag away from or toward the current time line for the following results:
Dragging away expands the keys from the current time. Expanding the selection increases
time between the selected keys and slows that part of the animation.
Dragging shrinks the keys toward the current time. Shrinking the selection reduces time
between the selected keys and accelerates that part of the animation.
Dragging through the current time reverses the keys and expands the keys away from the
current time.
Tip: You can type-in the Scale Value using the first field in the Key Stats: Track View toolbar.
The scale percentage is displayed in the Show Selected Key Stats field as you drag the
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Scale Keys - Time
selection.
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Align to Cursor
Align to Cursor
In either Dope Sheet or Curve Editor select keys to align to current frame > Keys menu > Align to
Cursor
Use Align to Cursor to move selected keys to the current time. Select the keys to align using Move,
Slide, or Scale.
Align to Cursor is useful for taking a group of scattered keys and moving them to the same time
location.
Align to Cursor is available in Dope Sheet and Curve Editor modes.
Align to Cursor ignores the state of Snap Frames, and always uses the exact time set by the time
slider.
Procedure
To move all selected keys to the current frame:
1. Open either Curve Editor or Dope Sheet Edit Keys mode.
2. Drag the time slider to the time where you want the keys aligned.
3. On the Keys menu choose Align to Cursor.

The leftmost selected key in each track is moved to the current time. Multiple selected keys on
the same track maintain their relative distance from the leftmost key.
Comments
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Snap Frames
Snap Frames
Main toolbar > Curve Editor (Open) > Keys menu > Snap Frames
Graph Editor > Track View - Dope Sheet > Keys menu > Snap Frames
With Snap Frames, all key and range bar positions that are changed, are forced to absolute frame
increments. This includes selection sets of multiple keys. When Snap Frames is on, each key in a
selection set will snap to the nearest frame when the selection is moved or scaled.
When you use the Time Display Format of MM:SS:Ticks (which does not use frames), Snap Frames
snaps to time values that match frame boundaries.
In the Dope Sheet Edit Keys mode, keys are displayed as a box grid. Keys that are snapped to
frames are displayed as filled boxes. Keys that have been moved with snap frames off are displayed
as narrow rectangles within the grid. Default = On.
Subframe keys moved with snap frame off
Warning: Don't turn off Snap Frames unless you have a reason to. If you do turn off Snap
Frames and move keys in Curve Editor you will create sub-frame keys, but they won't be
noticably different in Curve Editor.
Procedure
To use Snap Frames:

Snap Frames is on by default, so the following procedure only applies if you have turned off snap
frames previously.
1. On the Track View Dope Sheet toolbar, click Edit Keys.
2. On the Track View toolbar, turn on Snap Frames.
3. In the Track View Key window, select one or more keys.
4. Use Move Keys or Scale Keys to move keys.
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Snap Frames
With Snap Frames on, each key in a selection set snaps to the nearest frame when the
selection is moved or scaled.
Comments
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Curves Menu
Curves Menu
Graphic Editors menu > Track View - Curve Editor > Curves menu
Main toolbar > Curve Editor (Open) > Curves menu
The Curves menu is only available when working in Track View's Curve Editor mode. The tools on
this menu facilitate curve adjustments.
Apply Ease CurveApplies curves to selected tracks that allow you to effect the timing of the
animation. See Apply Ease Curve / Apply Multiplier Curve .
Apply Multiplier CurveApplies curves to selected tracks that allow you to effect the strength of
the animation. See Apply Ease Curve / Apply Multiplier Curve .
RemoveRemoves Ease and Multiplier Curves. See Remove Ease/Multiplier Curve .
On/OffTurns Ease and Multiplier Curves on or off. See On/Off (Curves).
Ease Curve Out of Range TypesApplies Eases to Parameter Out of Range keys. See Ease Out-of-
Range Types .
Multiplier Curve Out of Range TypesApplies multiplier curves to Parameter Out of Range keys.
See Multiplier Out-of-Range Types .
Comments
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Apply Ease Curve / Apply Multiplier Curve
Main toolbar > Curve Editor (Open) > Select the tracks you want in the Controller window. >
Curves menu > Apply Ease Curve or Apply Multiplier Curve
Apply Ease Curve or Multiplier Curve (available from the Curves menu in the Curve Editor) creates
an ease curve or multiplier curve track. A multiplier or ease curve lets you modify or intensify an
existing animation track without changing the original track.
A multiplier curve shifts the value of the original track up or down.

Adjusting the multiplier curve increases or decreases the intensity of the original track.
An ease curve shifts the time of the original track left or right.
Adjusting the ease curve changes time. The value of the ease curve at a particular frame is a
frame value from the original track. For example, if the ease curve is 0 at frame 0 and 10 at
frame 10, the original track plays at its original speed. If the ease curve value at frame 10
increases to 20, the original track plays to frame 20 by frame 10: it has been sped up by a factor
of two.
Once you apply an ease or multiplier curve, you can edit its keys, ranges, and properties just like
any other animation track.
One use of ease and multiplier curves is to blend between the effects of different controllers. This
can be an aid to nonlinear editing.
Procedure
To apply an ease curve or a multiplier curve:
1. In the Curve Editor controller window, select the tracks you wish to ease or intensify.
Not all controller items can receive ease or multiplier curves. For example, the Path constraint
position controller cannot receive an ease or multiplier curve, but its subordinate Percent
controller can. If the selected controller is incapable of receiving ease or multiplier curves, the
buttons are grayed out.
2. On the Curves menu choose Apply Ease Curve or Apply Multiplier Curve.
3. In the Controller window expand the selected tracks to view the ease curve.
4. Hold down the CTRL key and click the ease curve and the controller track.
5. Adjust the keys on the ease curve and watch the result in the controller curve.
Use a Multiplier curve to intensify an effect, use an ease curve to make less of an effect.
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Tip: Use Step interpolation to use the ease curve to turn tracks on and off.
6. Add or move keys in the Edit window to vary the effect.
Interface
Apply Ease CurveApplies a curve to alter time of the selected function curve. Ease curves vary
the timing of a superior function curve. A normal function curve charts an animated parameter value
over time. An ease curve charts changes to the time of a function curve over time.
Apply Multiplier CurveApplies a curve to scale the value of the selected function curve. The
value of a multiplier curve is a scale factor applied to the value of its superior function curve.
You apply ease and multiplier curves in Curve Editor mode. Once you apply an ease or multiplier
curve, you can edit its keys, ranges, and properties just like any other animation track.
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Remove Ease/Multiplier Curve
Remove Ease/Multiplier Curve
Main toolbar > Curve Editor (Open) > Select and expand any animated track with an ease or
mulitplier curve > Select the ease or multiplier track in the controller window > Curves menu >
Remove
With Remove Ease/Multiplier Curve, you can remove an ease or multiplier curve at any time.
Procedure
To remove an ease or multiplier curve:
1. In the Controller window, select one or more ease or multiplier curve tracks.
2. On the Track View menu bar, choose Curves > Remove.

The selected Ease or Multiplier curve is removed.
Tip: You can use On/Off to turn off the ease or multiplier affect without removing the curve.
Comments
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On/Off (Curves)
On/Off (Curves)
Curve Editor > Select an Ease or Multiplier Curve track > Curves menu > On/Off
Use On/Off when you want to work with the original function curve rather than a curve altered by
ease and multiplier curves. A disabled curve has no effect on its assigned track, but can be enabled
to restore the effect.
Procedure
To toggle the active state of an ease or multiplier curve:
1. In the Hierarchy list, select one or more ease or multiplier curves.
2. On the Curves menu choose On/Off.

If you also have the parent track selected (the transform that has the ease applied), you will
see the difference in the curve when you turn the ease or multiplier off.
Comments
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Ease Out-of-Range Types
Ease Out-of-Range Types
Curve Editor > Select an ease curve >Select the keys in the ease curve > Curves > Ease Out-of
Range Types.
Ease Out-of-Range Types displays a dialog where you can assign out-of-range types for the current
ease curve.
Ease and multiplier curves use the same out-of-range types as other controller tracks.
You will usually want to use the same out-of-range type for ease and multiplier curves that you use
for their superior function curve.
Procedure
To set the out-of-range type for an ease or multiplier curve:
1. Select one or more ease or multiplier curve items in the controller window .
2. On the Curves menu choose Ease Out-of-range Types.
3. Do one of the following.
Click an out-of-range type image to apply that type to both the incoming and outgoing
curves of the selected ease or multiplier curves.
Click the Left Arrow button below an out-of-range type image to apply it to only the
incoming curve of the selected ease or multiplier curves.
Click the right arrow button below an out-of-range type to apply it to only the outgoing curve
of the selected ease or multiplier curves.
Interface
See Ease Out-of-Range Types Dialog.
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Ease Out-of-Range Types Dialog
Main toolbar > Curve Editor (Open) > Select a controller track. > Curves menu > Ease Out-of-
Range Types > Ease Out-of-Range Types dialog
Use the Ease Out-of-Range Types dialog to assign out-of-range types for the current ease curve.
Interface
Identity for an ease curve produces an effect similar to constant for other types of curves. Identity is
not available for multiplier curves; it is the default Out-of-Range type for Ease curves.
ConstantHolds the value at the ends of the range for all frames. Use Constant when you want no
animated effect before or after ends of the range. The time value at the end of the range is held for
all frames before or after the range. Constant is the default out-of-range type for multiplier curves.
LinearProjects the animation value along a line tangent to the ease or multiplier curve at the end
of the range. use linear when you want the animation to enter and leave the range at a constant
velocity.
CycleRepeats the same animation as within the range. Use Cycle when you want an animation to
repeat exactly.
LoopRepeats the same animation as within the range but interpolates between the last key and
the first key of the range to create a smooth loop. Use Loop with an extended range bar to produce
smoothly repeating animation.
Use Ping Pong when you want your animation to alternate back and forth.
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as they repeat.
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Ease Curve
Glossary
Ease Curve
Ease curves vary the timing of a function curve. An unaltered function curve charts the value of an
animated parameter over time. An ease curve charts changes to the timing of the function curve.
Changing ease curve values shifts the time of the original track left or right.
The horizontal scale of an ease curve represents normal time, just as it does for all function curves.
The vertical scale of an ease curve represents the time scale of the function curve the ease curve is
applied to. Changing the shape of an ease curve changes the way time is interpreted by the affected
function curve.
The value of the ease curve at a particular frame is a frame value from the original track. For
example, if the ease curve is 0 at frame 0 and 10 at frame 10, the original track plays at its original
speed. If the ease curve value at frame 10 increases to 20, the original track plays to frame 20 by
frame 10: it has been sped up by a factor of two.
An Ease Curve Example
Imagine you have animated a bird flying around the sky. After viewing the animation you decide
that you want to change the position of the bird so it moves quickly at the beginning of the
animation and then slows to a leisurely pace toward the end.
You could accomplish this change by editing position keys, ranges, and function curves but it would
require more work than using an Ease curve. Applying an Ease curve to the Position track provides a
quick and easy solution.
Dragging the Ease curve causes time to compress near the beginning of the animation and stretch
out near the end. You can tell that the bird's motion starts out fast and then slows down by looking
at the effect the Ease curve has on the Position function curves.
See also
Multiplier Curve
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Multiplier Curve
Glossary
Multiplier Curve
Multiplier curves are special function curves that you use to apply animated value displacements to
other function curves.
When you edit keys and function curves, you apply localized changes to your animation at specific
times. By applying a multiplier curve to the original track, you affect the entire range of the original
animation.
A multiplier curve shifts the value of the original track up or down. At a given frame, the value of a
multiplier curve is a scale factor applied to the value of the original function curve.
The default value of a Multiplier curve is a horizontal line with a value of 1.0.
Values greater than 1.0 increase the value of the function curve.
Values below 1.0 decrease the value of the function curve.
Values less than 0.0 negatively scale the value of the function curve.
See also
Ease Curve
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Multiplier Out-of-Range Types
Select an object with a multiplier curve already applied > Curve Editor > Select the multiplier
curve > Select the keys in the curve you want to affect > Curves > Multiplier Out-of Range Types.
Graph Editors menu > Track View > Open Track View > Track View toolbar > Function Curves >
Select a Multiplier Curve track in the Track View Hierarchy. > Multiplier Out-of-Range Types
Multiplier Out-of-Range Types displays a dialog where you can assign out-of-range types for the
current multiplier curve.
Ease and multiplier curves use the same out-of-range types as other function curves.
You will usually want to use the same out-of-range type for Ease and Multiplier curves that you use
for their superior function curve.
Interface
ConstantHolds the value at the ends of the range for all frames. Use Constant when you want no
animated effect before or after ends of the range. The time value at the end of the range is held for
all frames before or after the range. Constant is the default Out-of-Range type for Multiplier curves.
CycleRepeats the same animation as within the range. Use Cycle when you want an animation to
repeat exactly.
LoopRepeats the same animation as within the range but interpolates between the last key and
the first key of the range to create a smooth loop. Use Loop with an extended range bar to produce
smoothly repeating animation.
Use Ping Pong when you want your animation to alternate back and forth..
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LinearProjects the animation value along a line tangent to the ease or multiplier curve at the end
of the range. Use Linear when you want the animation to enter and leave the range at a constant
velocity.
as they repeat.
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Utilities Menu
Utilities Menu
Graph Editors menu > Track View - Curve Editor > Utilities menu
Graph Editors menu > Track View - Dope Sheet > Utilities menu
Main toolbar > Curve Editor (Open) > Utilities menu
The Utilities menu gives you access to the Track View Utilities dialog. The dialog shows a list of tools
you can use when working with keys.
Randomize KeysChanges the values of selected keys randomly based on range thresholds. Use
this on either values or time.
Create Out of Range KeysCreates new keys for selected tracks based on Out-of-Range
Parameters. Adjust the samples value to change the granularity of the key creation.
Select Keys by TimeAllows you to select the keys within a time range. Turn off Clear Previous
Selection to create discontinuous selection sets.
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Utilities Menu
Soft Selection Settings ManagerDisplays a soft selection dialog at the bottom of the Track View
window. See Soft Select Settings.
Current Value EditorProvides transform type-in capability from within the Track View modes.
Allows you to choose between absolute and relative value editing. The name of the controller
appears above the axis choices.
This utility starts a floating Current Value window that works for either Dope Sheet Edit keys mode
or Curve Editor. It doesn't work for Edit Ranges. Not for use with object parameters, the current
value editor is intended for use primarily with Transform controllers.
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Main toolbar > Curve Editor (Open) > Curve Editor toolbar
Track View - Dope Sheet > Modes menu > Curve Editor > Curve Editor toolbar
The Function Curve Editor toolbar displays tools that are also available using the Track View menu
bar. The toolbars can be floated, docked or rearranged as you like. These include the Keys toolbar,
The Key Tangents toolbar, and the Curves toolbar, all of which are displayed by default. In addition,
other toolbars can be displayed to give quick access to other tools. To show the hidden toolbars,
right-click a blank section of the toolbar, then choose Show Toolbars > and pick the toolbar you
want to display.
Key Tools Toolbar
FilterUse this to determine what is displayed in the Controller window and the Key window.
See Filters .
Move KeysMoves keys freely both horizontally and vertically on the function curve graph.
See Move Keys.
Move KeysHorizontalMoves keys only horizontally on the function curve graph. See
Move Keys.
Move Keys VerticalMoves keys constrained vertically on the function curve graph. See
Move Keys.
Slide KeysUse Slide Keys in the Curve Editor to move a group of keys and slide adjacent
keys away as you move. See Slide Keys.
Scale KeysUse Scale Keys to compress or expand the amount of time between keyframes.
Works both in Curve Editor and Dope Sheet modes. See Scale Keys - Time .
Scale ValuesProportionally increases or decreases the values of the keys, rather than
moving the keys in time. See Scale Values .
Add KeysCreates keys on existing curves on the function curve graph or Dope Sheet. See
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Add Keys (Dope Sheet) .
Draw CurvesUse this to draw new curves, or revise existing ones by sketching directly on
the function curve graph. See Draw Curves .
Reduce KeysUse this to reduce the amount of keys in a track. See Reduce Keys .
Key Tangency Toolbar
Set Tangents to AutoLocated on the Key Tangents Track View toolbar, select keys then
click this button to set tangents to Auto Tangent automatically. A flyout also lets you set in tangents
and out tangents individually to Auto. Selecting the handles of an Auto tangent changes them to
custom, and makes them available for editing.
Set Tangents to CustomSets keys to custom tangents. Select the key then click this
button to make the key handles available for editing. Set in and out tangents individually using the
flyout. Use the SHIFT key to break continuity when using handles.
Set Tangents to FastSets key tangency to fast in, fast out, or both in and out, depending
on your choice from the flyout.
Set Tangents to SlowSets key tangency to slow in, slow out, or both in and out, depending
on your choice from the flyout.
Set Tangents to StepSets key tangency to step in, step out, or both in and out, depending
on your choice from the flyout. Use step to freeze motion from one key to the next.
Set Tangents to LinearSets key tangency to linear in, linear out, or both in and out,
depending on your choice from the flyout.
Set Tangents to SmoothSets key tangency to smooth. Use this to even up discontinuous
motion.
Curves Toolbar
Lock SelectionLocks the key selection. Once you have created a selection, turn this on and
you can't inadvertently select something else. See Lock Selection .

Snap FramesRestricts key movement to frames. Keys that are moved will always snap to
frames when this is on. When this is off, you can move a key so it falls between frames and becomes
a sub-frame key. Default=on. See Snap Frames .
Parameter Out-of-Range CurvesUse this to repeat keyframed motion beyond the range
of the keys. Includes options for Loop, Ping Pong, Cycle, or Repeat relatively, as well as constant and
linear. If you use Parameter Out-of-Range types, you can later create keys using Track View >
Utilities > Create Out-of-Range Keys. See Parameter Curve Out-of-Range Types and Create Out of
Range Keys Utility.
Show Keyable IconsDisplays an icon that defines a track as keyable or not. Use this to set
keys only on the tracks you want to keyframe. Turning off a track in Track View also restricts the
movement in the viewport. Red keys indicate keyable tracks, black keys are not keyable. See
Keyable Icons .
Show TangentsHides or displays tangent handles on the curves. Use this to hide the
handles on individual curves. See Show Tangents .
Show All TangentsHides or displays all tangent handles on the curves. Use this to hide the
handles quickly when many keys are selected. See Show All Tangents .
Lock TangentsLocks the selection of multiple tangent handles, so you can then manipulate
several handles at once. When Lock Tangents is off, you can only manipulate one key tangency at a
time. See Lock Tangents .
Name: Track View Toolbar
NameTrack View lets you name the Track View. By entering a

name in this field, you create a named Track View that you can recall using the Graph Editors menu
> Saved Track View submenu. Also available in Dope Sheet mode.
Track Selection Toolbar

Track SelectionTrack View gives you tools to select tracks

by entering the name of an object. Also available in Dope Sheet mode.
Navigation Toolbar
NavigationTrack View provides tools to pan and zoom the Key

window. You can zoom to the extents of the time or the values. Also available in Dope Sheet mode.
Key Stats Toolbar
Key StatsTrack View provides tools for the display and type-
in transform of key values. Also available in Dope Sheet mode.
Comments

Draw Curves
Draw Curves
Main toolbar > Track View - Curve Editor > Keys: Track View toolbar > Draw Curves button
Use this tool to draw new curves, or revise existing ones by sketching directly on the function curve
in the Curve Editor Key window.
The speed with which you draw determines how many keys are added to the curve. If there are too
many keys, use Reduce Keys to make fewer keys on the curve.
Procedure
To draw a curve:
1. On the Curve Editor toolbar, click Draw Curves.
2. Select the track of the curve you want to draw on.
3. Move your cursor onto the curve and draw.

You might want to use delete or reduce keys after drawing curves.
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Lock Selection
Lock Selection
Select an object > Right-click and choose Curve Editor > Select keys in the Keys window > Track
View toolbar > Lock Selection
Graph Editor > Track View Dope Sheet > Select keys in the Keys window > Dope Sheet toolbar
> Lock Selection.
Keyboard > SPACEBAR
Lock Selection toggles selection locking on and off. When a selection is locked you can't
inadvertently deselect or select anything else. When a selection is locked you don't have to click it to
move the keys, you can click anywhere in the window to more or scale the keys.
Procedure
To use Lock Selection in Track View:
1. In either Dope Sheet or Curve Editor Keys window, select one or more keys.
2. On the Track View toolbar, turn on Lock Selection, and then click and drag inside the
Track View Key window.
All the selected keys move regardless of where inside the Track View Key window you click and
drag.
Comments
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Show Tangents
Show Tangents
Main toolbar > Curve Editor (open) > Select keys on the curve > Curves: Track View Toolbar >
Show Tangents
With Show Tangents you can adjust the tangents of the selected vertices in Curve Editor
Custom Tangent
You can assign the Custom Tangent type to any controller that displays keys on the curve. Select the
key on the curve then use the Set Tangents to Custom icon on the KeyTangents: Track View toolbar
to display the handle controls.
The tangent handles can be either continuous or discontinuous. Hold down the SHIFT key when you
move the handles, and they will become discontinuous.
Continuous handles behave like a single lever with its pivot point at the key location. Moving
either end of the handle also moves the opposite end, maintaining the continuity of the tangent.
The function curve, and the animation it represents, moves smoothly through a key with
continuous tangent handles.
Discontinuous handles behave like leaves on a hinge, with the hinge pin at the key location. Either
end moves independently of the other.
Converting a discontinuous tangent to a continuous tangent requires changing the tangent type from
Custom to Smooth and back to Custom again. This technique is performed at the key level and can
affect unselected vertices if they belong to the same key as one of the selected vertices.
Procedures
To assign a Custom tangent type:
1. Open the Curve Editor.
2. In the Hierarchy list, select a track that uses any controller that displays keys on the curve.
3. Select one or more keys on the curve.
4. On the Key Tangency: Track View toolbar, click Set Tangents to Custom.
The handles are now all custom and available for editing.
Tip: If a selected key has Auto Tangency set, you can just move the handle to instantly convert
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Show Tangents
the key to Custom. For selections of multiple keys, choose Lock Tangents, then move any
handle to convert all the keys to Custom tangency.
To edit the horizontal length of a Bezier handle:
1. Assign a Custom Tangent type to the key you want to edit on the function curve, or choose a
key that already has one.
2. Make sure Show Tangents is turned on. The toggle is located on the Track View toolbar.
3. Select the key on the function curve. Tangent handles are displayed on the selected key frame.
4. Select one of the handles and move it horizontally away from its vertex (Key frame).
Interface
Show TangentsAdjusts the tangents of the selected vertices.

By holding down the SHIFT key, you can edit the tangents of a vertex separately.
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Show All Tangents
Show All Tangents
Main toolbar > Curve Editor (Open) > Display > All Tangents
Selecting this feature will show all tangent handles on any displayed curves.
You can make changes to multiple tangent handles by using Show All Tangents in combination with
Lock Tangents.
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Lock Tangents
Lock Tangents
Main toolbar > Curve Editor (open) > Select keys on curves > Curves: Track View Toolbar > Lock
Tangents
When Lock Tangents is active, dragging a tangent handle affects the handles of all selected keys.
When Lock Tangents is inactive, dragging a tangent handle affects only the single key displaying the
handle.
Procedure
To drag discontinuous tangent handles:
1. Select one or more keys in the Curve Editor. Hold down the CTRL key to add to the selection
set.
2. Click Lock Tangents to set one of the following modes:
Off: Dragging a tangent handle affects only the single key displaying the handle.
On: Dragging a tangent handle affects both handles of all selected keys.
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Dope Sheet Toolbars
Dope Sheet Toolbars
Main toolbar > Curve Editor (Open) > Modes menu > Dope Sheet > Dope Sheet toolbar
These are the default toolbars that are visible when you open the Dope Sheet.
Keys: Dope Sheet Toolbar
Edit KeysDisplays a Dope Sheet Editor mode that shows the keys as boxes on a graph. Use
this to mode to insert, cut, and paste time. See Edit Keys .
Edit RangesDisplays a Dope Sheet Editor mode that shows the keyed tracks as range bars.
See Edit Ranges .
FilterUse this to determine what is displayed in the Controller window and the Dope Sheet -
Key window. See Filters .
Slide KeysUse Slide Keys in the Dope Sheet to move a group of keys and slide adjacent
keys away as you move. Only slides keys on the same controller track. See Slide Keys.
Add KeysCreates keys on existing tracks on the Dope Sheet grid. Combine this tool with
Current Value editor to adjust the key values numerically. See Add Keys (Dope Sheet) .
Scale KeysUse Scale Keys to compress or expand the amount of time between keyframes.
Works both in Curve Editor and Dope Sheet modes. Uses the time slider as an origin point to or from
which to scale. See Scale Keys - Time .
Time: Dope Sheet Toolbar
Select TimeLets you select a time range. Time selections include any keys that might be
included within the time range. Use Insert Time, then Select Time to choose the time range. See
Select Time .
Delete TimeRemoves selected time from the selected tracks. Cannot be applied globally to
shorten the time segment. This removes keys but leaves blank frames behind. See Delete Time .
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Dope Sheet Toolbars
Reverse TimeReverses the keys on selected tracks within a selected time segment. See
Reverse Time .
Scale TimeScales the keys within a selected time segment for selected tracks. See Scale
Time
Insert TimeAllows you to insert a range of frames as a time insertion. Existing keys slide
out of the way to make room for inserted time. Once you have made a time selection with Insert
Time, you can then use all the other time tools. See Insert Time .
Cut TimeDeletes time selections from the selected tracks. See Cut Time .
Copy TimeDuplicates the selected time selection so it will be available for pasting. See Copy
Time .
Paste TimeAdds cut or copied time selections into the selected tracks. See Paste Time .
Display: Dope Sheet Toolbar
Lock SelectionLocks the key selection. Once you have created a selection, turn this on so
that you cannot inadvertently select something else. See Lock Selection .
Snap FramesRestricts key movement to frames. Keys that are moved will always snap to
frames when this is on. When this is off you can move a key so it falls between frames and become
a sub-frame key. Default=on. See Snap Frames .
Show Keyable IconsShows an icon that defines a track as keyable or not. Use this to set
keys only on the tracks you desire to keyframe. Turning off a track in Track View will also restrict the
movement in the viewport. Red keys show keyable tracks, black keys are not keyable. See Keyable
Icons .
Modify SubtreeWhen this is on, allows key manipulations to parent tracks to affect the
tracks down the hierarchy. On by default in Dope Sheet mode. See Modify Subtree .
Modify Child KeysIf you modify the parent without Modify Subtree on, click Modify Child
Keys to apply the change to the child keys. Similarly, if you modify the parent with Modify Subtree
on, Modify Child Keys toggles those changes off. See Modify Child Keys .

Dope Sheet Toolbars
Name: Track View Toolbar
NameLets you name the Track View. By entering a name in this

field, you create a named Track View window that you can later recall using the Graph Editors menu
> Saved Track View submenu. Also available in Dope Sheet mode.
Track Selection Toolbar
Track SelectionTrack View gives you tools to select tracks

by entering the name of an object. Also available in Dope Sheet mode.
Navigation Toolbar
NavigationTrack View provides tools to pan and zoom the Key

window. You can zoom to the extents of the time or the values. Also available in Dope Sheet mode.
Key Stats Toolbar
Key StatsTrack View provides tools for the display and type-
in transform of key values. Also available in Dope Sheet mode.
Comments

Edit Keys
Edit Keys
Graph Editors menu > Track View - Dope Sheet > Edit Keys
Main toolbar > Curve Editor (Open) > Modes > Dope Sheet > Edit Keys
Edit Keys displays your animation as a series of keys as boxes on a grid in the Key window. Dope
Sheet Editor turns on Edit Keys by default.
Edit Keys is useful for getting a global view of your animation because it displays animation timing
for all tracks. Use this mode for key and range editing when you want to view your changes in the
context of the total animation.
Procedure
To turn on Edit Keys mode, do one of the following:
If you are in Curve Editor, choose Modes > Dope Sheet.
If you are in Dope Sheet > Ranges, click Edit Keys on the Track View toolbar.
To delete keys in Edit Keys mode:
1. Select the keys in the Key window.
2. Press DEL on the keyboard to delete the selected keys.
Comments
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Edit Ranges
Edit Ranges
Graph Editors menu > Track View Dope Sheet > Track View Toolbar > Edit Ranges
Main Toolbar > Curve Editor (Open) > Modes > Dope Sheet > Edit Ranges
Keyboard > F3
Edit Ranges displays all tracks as range bars. This mode is useful for quickly scaling and sliding
complete animation tracks.
Drag the range bar of an animation track to change all animation in that track.
Drag range bars in higher-level tracks to change all animation in multiple tracks.
Note: You cannot access individual key values in this mode.

The Ranges: The Track View toolbar contains tools for working with Ranges. Right-click the Dope
Sheet toolbar and choose Show Toolbars > Ranges: Dope Sheet to display the toolbar. Save your
layout after you do.
The Ranges: Dope Sheet toolbar shows the following buttons:
Position Ranges
Recouple Ranges
Procedure
To drag the ranges of an object and all of its linked descendants:
1. On the Track View toolbar, click Edit Ranges.
2. On the Track View toolbar, click Modify Subtree.
3. In the Track View Key window, drag an Object range bar or the World range bar.
With Modify Subtree on, a range bar displays in the Objects track. The Objects branch is the
default parent of all named objects in the scene.
Dragging a parent object range bar, with Modify Subtree on, affects all tracks subordinate to
the object and all tracks of all of its linked descendants.
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Edit Ranges
Comments
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Position Ranges
Position Ranges
Graph Editors menu > Track View - Dope Sheet > Right-click the blank area of the toolbar to the
right of Modify Child Keys. > Show Toolbars > Ranges: Track View > Position Ranges
Position Ranges mode allows you to position range bars independently from their associated keys
and produce special effects.
The process of adjusting a range bar independent of its keys is called decoupling the range.
Positioning a range bar so it matches the first to last keys of a track is called recoupling the range.
Decouple a Range Bar
You decouple a range bar for two reasons:
You want some keys at the start or end of an animation range to be ignored.
Keys outside of the range bar are ignored during animation playback. The keys outside the range
still affect interpolated values inside the range, but the applied Out-of-Range type is used to
animate time outside the range bar.
You want to add extra time before the first key or after the last key that is not affected by the
applied Out-of-Range type.
Time beyond the first or last key of the track, but still within the range, uses the constant value of
the nearest key within the range.
Procedure
To decouple a range bar from its keys:
1. On the Track View toolbar, click Position Ranges.
2. In the Track View Key window, drag the entire range bar left or right of the keys, or drag either
end of the range bar to make it longer or shorter than the keys.
Using Out-of-Range types in conjunction with this procedure allows you to change the behavior
of an animated loop. Positioning either end of a range bar changes the loop.
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Position Ranges
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Recouple Ranges
Recouple Ranges
Graph Editors menu > Track View - Dope Sheet > Right-click the blank area of the toolbar to the
right of Modify Child Keys. > Show Toolbars > Ranges: Track View > Recouple Ranges.
Recouple Ranges resizes the range bar so that the beginning and end of the range matches the first
and last keys in the track. This is useful to quickly realign the range and the keys after editing.
Procedure
To recouple a range:
1. On the Track View toolbar, click Position Ranges.
2. Select one or more item labels in the Hierarchy list to select tracks to be recoupled.
3. On the Track View toolbar, click Recouple Ranges.

The range bars for the selected tracks are positioned to match up with the first and last keys in
their track.
Position Ranges mode allows you to decouple the range bar from the animation keys. Recouple
Ranges is a quick way to realign the range bars.
Comments
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Select Time
Select Time
Graph Editor > Track View Dope Sheet > Time menu > Select Time
Graph Editor > Track View Dope Sheet > Time: Track View toolbar > Select Time button.
With Select Time you can select a block of time by clicking and dragging without changing the
selection.
First you select the block of time you want to work with. You can use one of two options to select
time in the Dope Sheet Edit Keys or Edit Time window:
Select Time without changing the selection.
Scale Time to begin scaling the selection immediately.
See also
Scale Time
Insert Time
Cut Time
Copy Time
Paste Time
Reverse Time
Delete Time
Exclude Left End Point
Exclude Right End Point
Procedure
To select time:
1. In Dope Sheet mode, select one or more item labels in the Controller window to select tracks
for time editing.
2. On the toolbar, click the Select Time button.
3. Drag in the keys window to select time from the selected tracks.
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Select Time
A beige bar between two yellow lines appears as you drag across the box grid of the Dope
Sheet Keys window.
If a selected track does not support time operations, time selection in that track is ignored.
Once you have selected time, then you can perform all the other time operations.
Comments
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Scale Time
Scale Time
Graph Editor > Track View Dope Sheet > Time menu > Select Time > Select a time range in the
Track View Key window. > Time menu > Scale Time
Scale Time scales a block of time. You can scale down to fit into less time, or expand it to fill more
time. Scale Time doesn't use the Track View time slider as the scale origin reference, it always
scaled from the first frame of the key selection.
Procedure
To scale time:
1. In the Dope Sheet Editor, on the Time: Track view toolbar, click Scale Time.
2. In the controller window, click item labels to select tracks for time editing.
3. Move your cursor over the time selection in the Keys window. The cursor changes to show you
when you can scale.
Drag to the right within the selection to expand time from the left edge of the selection. All
keys to the right of the selection slide right as the selection expands.
Drag to the left within the selection to reduce time towards the left edge of the selection. All
keys to the right of the selection slide left as the selection shrinks.
Drag past the left edge of the selection to reverse time and expand it with a negative scale
factor. Keys inside the selection, and keys to the right of the selection, can overlap keys to
the left of the selection.
Comments
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Insert Time
Insert Time
Graph Editors > Track View - Dope Sheet > Toolbar > Insert Time > Click and drag in the keys
window to insert time
Use Insert Time to insert time into selected tracks. Inserting time adds time at a selected point in
your animation, making the keys slide out of the way.
Procedure
To insert time into tracks
1. On the Graph Editors menu, choose Track View - Dope Sheet.
2. On the Dope Sheet toolbar, click the Insert Time button.
3. Click and drag in the Keys window to insert time into the tracks.
Tip: To insert time globally, select the World track, turn on the Modify Child Keys button, then
insert time into the World track.
Comments
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Cut Time
Cut Time
Graph Editor > Track View Dope Sheet > Time menu > Select Time > select time in the Track
View Key window. > Time menu > Cut Time
Graph Editors menu > Track View > Open Track View > Track View toolbar > Edit Time > Select
Time in the Track View Key window. > Cut Time
Use Cut Time to cut a block of time out of one or more tracks. Before you can paste time in a track,
you must have time in the clipboard. After selecting a block of time, place it in the clipboard with
either Cut Time or Copy Time.
Procedure
To cut time from tracks:
1. In Dope Sheet, on the Time menu choose Select Time.
2. Drag a selection rectangle in the Keys window to select time.
3. On the Time menu, choose Cut Time.

The block of time, along with any keys within that time range are deleted. They are copied to
the time clipboard and are available for use with Copy or Paste Time commands. Keys to the
right of the deleted time slide are left.
4. Select a block of time in the Track View Key window.
5. Click Cut Time.

The block of time is deleted from the selected tracks and stored in the time clipboard. Keys to
the right of the deleted time slide are left.
Comments
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Copy Time
Copy Time
Graph Editors menu > Track View - Dope Sheet > Time menu > Select > Select a time range in the
Track View Key window. > Time menu > Copy
Main toolbar > Open Track View > Track View toolbar > Edit Time > Select a time range in the
Track View Key window. > Copy Time
Graph Editors menu > Track View > Open Track View > Track View toolbar > Edit Time > Select
Time in the Track View Key window. > Copy Time
Use Copy Time to copy time from one or more tracks. After selecting a block of time, you can cut or
copy the block to the clipboard, and then paste it to selected tracks.
You can use the clipboard to copy time, with keys, to different places in the same track or from one
track to another. For example, you can copy the position track from one object to another.
Tools for Time editing are available on the Time menu.
Procedure
To copy time from tracks:
1. In the Hierarchy list, select item labels to select tracks for time editing.
2. Select a block of time.
3. Click Copy Time.

The selected block of time is copied to the time clipboard. The original block remains
unchanged.
Comments
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Paste Time
Paste Time
Track View Key window. > Time menu > Cut or Copy Time > Select a new time range in Track
View Keys window. > Time menu > Paste Time
Use Paste Time to paste a block of time from the clipboard into one or more tracks.
The conditions for pasting time into a track are:
If the block of time on the clipboard is from a single track, you can paste it into any track using
the same type of controller.
If the block of time on the clipboard is from multiple tracks, you can paste it into a selection of
multiple tracks as long as the controllers for the selected tracks include valid track types. For
example, position tracks in the clipboard are pasted to position tracks in the selection.
If the above conditions are not met, the Paste Time button is not available.
Time editing is only available in Dope Sheet mode, it is not available in the Function Curve Editor.
In Edit Time mode, you can copy and paste controller tracks that have no animation keys. When a
track has no key, its value at frame 0 is used. You must select a block of time before cutting or
pasting; otherwise the time is ignored.
Relative and Absolute Pasting
The values of all the pasted keys are adjusted so that the first pasted key has a value equal to the
value at the time of the insertion point. For example, the value of the controller at frame 50 is 10.
The clipboard holds three keys spanning 50 frames with values 20, 30, and 40. When you paste the
three keys at frame 50, the first key has a value of 20, but the insertion point has a value of 10.
3ds max subtracts 10 from the pasted key to maintain the value at the insertion point. 3ds max
then subtracts 10 from the remaining pasted keys, resulting in three pasted keys valued at 10, 20,
and 30. In addition, any keys after the insertion range are also adjusted by the net change over the
range being pasted. The net change is the value of the last key pasted minus the value of the first
key pasted. In this case 40-20=20. Every key after the insertion point is increased by 20.
Procedure
To paste time into tracks:
1. Select tracks in the controller window
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Paste Time
2. On the Time menu choose Select Time, then in the Keys window drag to select a block of time,
or click to define an insertion point.
3. Click the Paste Time button on the Time: Track View toolbar.
The Paste Track dialog opens.
4. In the Paste Track dialog, choose Paste Absolute or Paste Relative and click OK.
Interface
Options on the Paste Track dialog are as follows:

Paste AbsoluteReplaces the current animation values with the values in the clipboard. Use this
method when you want to replace one animated effect with another.
Paste RelativeAdds the animation values in the clipboard to the current animation values. Use
this method when you want to layer animation on to an existing effect.
Comments
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Reverse Time
Reverse Time
Track View Key window. > Time menu > Reverse Time
Reverse Time flips the order of keys within the selected time. You can reverse time by scaling a
selection past its left edge, but this also changes the position of the selection and the remaining keys
around it. Use the Reverse Time button to reverse within a selected block of time.
Procedure
To reverse time:
1. In Dope Sheet mode, select the tracks you want to reverse.
2. On the Time menu choose Select Time.
3. In the keys window select a block of time.
4. Click Reverse Time on the Time toolbar.

The position of the selected block of time does not change, but keys within the selection are
mirrored in reverse order.
Comments
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Delete Time
Delete Time
Graph Editor > Track View Dope Sheet > Time: Track View toolbar > Delete Time button.
Use Delete Time to delete a selected block of time and any keys inside the selected block. Keys to
the right of the deleted time slide to the left.
Note: The deleted block is not copied to the clipboard.
Procedure
To delete a block of time:
1. Select item labels in the Hierarchy list to select tracks for time editing.
2. Click the Select Time button on the toolbar, then drag in the Keys window to select a
block of time.
3. Click Delete Time.
Comments
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Graph Editor > Track View Dope Sheet > Right-click the blank area of the toolbar to the right of
Modify Child Keys. > Show Toolbars > Extras: Dope Sheet: > Exclude Left End Point
Use Exclude Left End Point to exclude the beginning key in a selected block of time.
If you paste the same block of time repeatedly, one block following the other, you can create a
looping segment in your animation. To create a smooth looping animation, you need to exclude
either the first or last key of the copied block to prevent keys from doubling up at the ends.
The key to be excluded must be at the exact start or end time of the selected block of time.
Procedure
To animate a loop by copying and pasting keys:
1. In Dope Sheet Edit Keys mode, select the tracks you want to affect.
2. Right-click the toolbar and choose Show Toolbars > All.

The Exclude Right End Point and Exclude Left End Point buttons appear.
3. On the Track View toolbar, click Exclude Left End Point.
4. In the Track View Hierarchy list, select the Position item label for the animated object.

For a smooth loop, the first and last frame of the selection should be the same.
6. On the Track View toolbar, click Copy Time.

The selection is copied to the clipboard (minus the first frame).
7. Click to define an insertion point in the keys window.

The last position key should be your insert point.
8. Click Paste Time.

The Paste Time dialog appears.
9. In the dialog choose Paste Absolute or Paste Relative. For an animated loop choose Absolute,
then click OK.
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The time including keys are pasted.
10. Play your animation to observe the effect.
Comments
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Graph Editor > Track View Dope Sheet > Right-click the blank area of the toolbar to the right of
Modify Child Keys. > Show Toolbars > Extras: Dope Sheet: > Exclude Right End Point
If you paste the same block of time repeatedly, one block following the other, you can create a
looping segment in your animation. To create a smooth looping animation, you need to exclude
either the first or last key of the copied block to prevent keys from doubling up at the ends.
Use the Exclude End Point buttons to exclude the beginning or end key in a selected block of time.
Procedure
To animate a loop by copying and pasting keys:
1. In Dope Sheet Edit Keys mode, select the tracks you want to affect.
2. Right-click the blank are of the toolbar to the right of Modify Child Keys and choose Show
Toolbars > All.
The Exclude Right End Point and Exclude Left End Point buttons appear.
3. On the Track View toolbar, click Exclude Right End Point.
4. In the Track View Hierarchy list, select the Position item label for the animated object.

For a smooth loop, the first and last frame of the selection should be the same.
6. On the Track View toolbar, click Copy Time.

The selection is copied to the clipboard (minus the first frame).
7. Click to define an insertion point in the keys window.

The last position key should be your insert point.
8. Click Paste Time.

The Paste Time dialog appears
9. In the dialog choose Paste Absolute or Paste Relative. For an animated loop choose Absolute,
then click OK.
The time including keys are pasted.
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10. Play your animation to observe the effect.
Comments
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The expression controller, parameter wiring, and the numerical expression evaluator all use
expressions, which are described in this topic.
An expression is a mathematical function that returns a value. You can use expressions to control
the following scene elements:
Scene element Calculatable property
Creation parameters Any numeric creation parameter
Position [X, Y, Z]
X Rotation
Transforms Y Rotation
Z Rotation
Scale [X%, Y%, Z%]
Modifiers Any numeric modifier parameter (including creation parameters)
Colors [R, G, B]
Materials
Any numeric material parameter
Note: Expressions only work with the individual XYZ components of Euler rotation. You can't assign
an expression to TCB rotation or other kinds of rotation controllers.
Note: The links below are to the sections that follow in this topic.
Expression Return Types
Operators
Variables
Functions
See also
Vectors
Expression Return Types
The type of value returned by an expression depends on the kind of controller:
Float expressions return a floating-point scalar value (For example, 5.617). Scalars are used in
the animation controllers of numeric parameters.
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If the parameter has an integer value, the expression rounds the float value to the nearest
integer.
Position, Scale, and Point3 expressions return a three-component vector. For example, [5, 18,
24]. The vector can represent an object's X,Y,Z location, percent scaling in X, Y, and Z, or a color
(RGB values) in a material.
Operators
In the following tables, p and q are any scalar value or expression, V and W are any vector value or
expression. (The character "x" is used as the vector cross-product operator.)
Scalar Operators
These are the arithmetic operators for scalar values:
Operator Use Meaning
+ p+q Addition
- p-q Subtraction
- -p Additive inverse
* p*q Multiplication
/ p/q Division
^ p^q power (p to the power of q)
** p**q ^ and ** are the same operation
You can also use logical (Boolean) operators with scalar values. These operators all return 1 if true,
0 otherwise:
= p=q equal to
< p<q less than
> p>q Greater than
<= p<=q less than or equal to
>= p>=q Greater than or equal to
| p|q Logical OR, returns 1 if either p or q is nonzero; otherwise, returns 0
& p&q Logical AND, returns 1 if p and q are both nonzero; otherwise, returns 0

Tip: Logical operators are useful with the "if" function.
Vector Operators
For vectors that have a variable name, you can use a special component operator (.) to refer to the
three scalar components of the vector:
Use Meaning
V.x first component (X)
V.y second component (Y)
V.z third component (Z)
These are the operators for vector arithmetic:
+ V+W Addition
- V-W subtraction
* p*V scalar multiplication
* V*p scalar multiplication
* V*W dot product
X VxW cross product
/ V/p scalar division
Operator Precedence
Expressions have eight levels of precedence. The higher the operator is on the list, the earlier it is
evaluated.
Operator Level of Precedence
-+ as unary operators, as in -8, +25
. the component operator, as in V.x
** ^
X cross product
*/
+-
= < > <= >=
|&

Parentheses are a special case. They are a grouping or subexpression operator that is provided so
you can override the precedence order of the other operators.
Variables
In expressions, variables are represented by symbolic names. You create them to contain constant
or variable values in your expressions. Several predefined variables are also provided. Some of thes
have a constant value, others can vary.
Note: In the numerical expression evaluator, you can't use the predefined variables, but you can use
the predefined constants.
Predefined Variables with Constant Values
These are the predefined variables that have a constant value (variable names are case-sensitive):
Variable Name Constant Value Use
pi 3.14159 Ratio of a circle's circumference to its diameter.
e 2.71828 Base of natural logarithms.
Ticks per second; the basic time unit of 3ds max

TPS 4800
animation.
Predefined Variables with Variable Values
These are the predefined variables that have a variable, time-based value (variable names are case-
sensitive).
Variable Name Meaning
Frame number. For each frame, F equals the current frame number, counting
F from zero. The range of frames can vary depending on the number of frames in
the active time segment.
Normalized time. By definition, normalized time (NT) ranges from 0 to 1 over the
active time segment, regardless of how many frames are in the segment. If you
base an expression on NT, its effect happens exactly once over the range. You
NT can also multiply NT by a factor for the expression's effect to occur a certain
number of times (for example, 2*NT causes the expression's effect to occur
twice). Expressions based on NT speed up or slow down if you change the length
of the time segment.
Seconds (elapsed time in seconds). Elapsed time is measured from the first frame
S to the current frame. The range of seconds can vary depending on the total time
of the active time segment.

Ticks (elapsed time in ticks). There are 4800 ticks per second. Elapsed time is
T measured from the first frame to the current frame. The range of ticks can vary
depending on the total time of the active time segment.
Rules for Variable Names
Variable names can contain as many alphanumeric characters as you like. Their length is not
limited.
Variable names cannot contain spaces.
The variable name must begin with a letter. Numbers are valid within a variable name (as in
"Pos1" or "M23").
Variable names are case-sensitive. For example, "pos", "Pos", and "POS" designate three different
variables.
You can't create a variable with a name that duplicates another name, including the variable
names that are predefined.
Functions
Following is a list of the functions provided for expressions. In this list, p, q, and r represent scalar
values or scalar expressions. V and W represent vector values or vector expressions.
To use a function in an expression, enter the name of the function and appropriate arguments to it.
The sine, cosine, and tangent functions take an angle in degrees and return a floating-point value.
The arc functions take a floating-point value and return a value in degrees.
Function Meaning
sin(p) sine
cos(p) cosine
tan(p) tangent
asin(p) arc sine
acos(p) arc cosine
atan(p) arc tangent
Hyperbolic Functions
Hyperbolic functions take a floating-point value and return a floating-point value.

Function Meaning
sinh(p) hyperbolic sine
cosh(p) hyperbolic cosine
tanh(p) hyperbolic tangent
Conversion Between Radians and Degrees
Function Meaning
radToDeg(p) takes p in radians and returns the same angle in degrees
degToRad(p) takes p in degrees and returns the same angle in radians
Rounding Functions
Function Meaning
ceil(p) smallest integer greater than or equal to p
floor(p) largest integer less than or equal to p
Standard Calculations
Function Meaning
ln(p) natural (base e) logarithm
log(p) common (base 10) logarithm
exp(p) exponential function exp(p)=e^p
pow(p,q) p to the power of q (p^q)
sqrt(p) square root
abs(p) absolute value
min(p,q) minimum returns p or q, depending on which is smaller
max(p,
maximum returns p or q, depending on which is greater
q)
mod(p,q) remainder of p divided by q
Conditional Functions
Function Meaning

works like the common spreadsheet "if" (If p is nonzero then "if" returns q, otherwise
if(p,q,r)
"if" returns r.)
vif(c,V1,V2) "Vector If" (Value is V1 if c is true, else V2.)
Vector Handling Functions
Function Meaning
length(V) length of V
comp(V,i) i'th component (I=0,1,2): comp([5,6,7],1)=6
unit(V) returns a unit vector in the same direction as V
Note: The comp function is an alternative to the notation V.x, V.y, V.z.
Special Animation Function
Function Meaning
noise(p,q,r) 3D noise: returns a randomly generated position
The arbitrary values p, q and r, are used as a random-generation seed. You can reuse these values
to ensure that noise() returns the same value.
Comments

Wire Parameters
Wire Parameters
Select an object. > Animation menu > Wire Parameters > Wire Parameters
Select an object. > Right-click quad menu > Transform (lower-right) quadrant > Wire Parameters
Wire Parameters allow you to link any animatable parameters from one object to another in the
viewport. This enables you to set up two-way links between specified object parameters, or to
control one or more objects with a dummy object containing the desired parameters. Using wire
parameters lets you set up object constraints directly without having to go to Track View and assign
controllers.
Parameter wiring is accessed from the Animation menu or the quad menus. The Wire Parameters
command is only available if there is a singly selected node in the viewport. Selecting the Wire
Parameters command displays a hierarchical pop-up menu with levels and items corresponding to
the animatable tracks that would be visible for that object in Track View.
When a parameter selection is made, a dashed line, similar to that displayed in the Select and Link
mode, is drawn from the selected object. The cursor changes from an arrow to a cross whenever it is
over a valid destination object. You can right-click at any time to cancel the parameter wiring.
You can either click empty space in the viewport (while the rubber-band connector is still being
displayed) or on a destination node to display the Parameter Wiring dialog, which allows you to
customize the relationship between two wired parameters. If you click empty space, the Parameter
Wiring dialog will open showing the selected parameter in the left Tree View and a full scene in the
right tree. Selecting a destination node (which can be the same as the originating node) displays a
hierarchical pop-up menu for the destination object, allowing the user to choose the destination
parameter. When a parameter is selected, the Parameter Wiring dialog is displayed.
Wire Parameters can be made either one-way or two-way between parameters. For one-way wires,
one parameter is effectively slaved to the other and its value will change as the controlling
parameter changes, according to a user-defined transfer expression. The controlling parameter can
be animated and adjusted as needed using all the animating tools in 3ds max. Note that this
includes making it a controlled parameter in another parameter-wiring set-up, so that you could
potentially set up a chain of controlled parameters.
For two-way wiring, Wire controllers of the appropriate kind are assigned to each of the parameters
and they are cross-linked so that changes to either parameter cause linked changes in the other.
Note: You should establish all object hierarchies before wiring parameters in a scene. If you change
the hierarchy of an object that has a wired parameter, it will take on new parameters, which may
introduce undesired results in your wired parameters.
Note: Use Schematic View to see all the wired parameter relationships in a scene. You can also
use Schematic view to wire parameters as well.
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Wire Parameters
Procedure
To attach wire parameters:
1. Select the first object you want to use.
2. Choose Animation menu > Wire Parameters > Wire Parameters.

A pop-up menu displays the parameters you can link.
Note: Wire Parameters only works for parameters that can be animated. The menu options
displayed depend upon the selected object and are the same options you would see for the
selected object in Track View.
3. Choose the parameter you want to link to another object from the displayed menu.
A dashed line is displayed.
4. Drag the dashed line to the second object you want to use. When the cursor changes from an
arrow to a selection cross, you are over a valid destination object. Click to select the
destination object.
A pop-up menu displays the parameters to which you can link.
5. Choose the parameter you want to link from the displayed menu.
The Parameter Wiring dialog displays.
6. Choose the desired parameters in the dialog, and click the direction buttons between the two
panels to determine the control direction: one way or both directions (changes to either
objects selected parameters affect the other object).
7. Click Connect to complete the wiring.
Comments
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Select and Link
Select and Link
Main toolbar > Select and Link
Use the Select and Link button to define the hierarchical relationship between two objects by linking
them as child and parent.
You link from the currently selected object (child) to any other object (parent).
You can link an object to a closed group. When you do, the object becomes a child of the group
parent rather than any member of the group. The entire group flashes to show that you've linked to
the group.
A child inherits the transformations (move, rotate, scale) applied to the parent, but the child's
transformations have no effect on the parent. If you want the child not to inherit the transforms, use
the Link Inheritance (Selected) Utility or use the controls found in Link Info in the Hierarchy panel.
You can also create hierarchical linkages using Schematic View. Use the Connect button on the
Schematic View toolbar to create hierarchical linkages between nodes.
Procedure
To link two objects:
1. Click Select and Link.
2. Drag a line from an object (the child) to any other object (the parent).
Note: You do not need to select the child object first.
Comments
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Link Inheritance (Selected) Utility
Utilities panel > Utilities rollout > More button > Utilities dialog > Link Inheritance (Selected)
The Link Inheritance (Selected) utility constrains the links between multiple objects in a selection set
for any axis of position, rotation, or scale.
This utility works exactly the same as the Inherit rollout in the Link Info group box in the Hierarchy
panel, except that it lets you adjust link inheritance for multiple objects in a selection set, while the
functions in the Hierarchy panel work only on single objects.
Procedure
To prevent the inheritance of X rotation in a hierarchy:
Select one or more objects, and then turn off X in the Rotate group of the Inherit rollout.
Interface
XYZTurn off any axis in the Move, Rotate, or Scale groups to prevent inheritance.
When a box is turned on, transform information from the parent is passed on to the selected objects
for the selected axis. When a box is turned off, transform information on that axis is ignored by the
selected objects.
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Comments
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Inherit Rollout
Inherit Rollout
Make a selection. > Hierarchy panel > Link Info button > Inherit rollout
The Inherit rollout constrains the links between a selected object and its parent for any axis of
position, rotation, or scale.
See also
Locks Rollout
Procedure
To prevent inheritance of X rotation in a hierarchy:
Select an object, then turn off X in the Rotate group on the Inherit rollout.
Interface
X, Y, ZTurn off any axis in the Move, Rotate, or Scale group boxes to prevent inheritance.
When you turn on an axis, transform information passes from the parent to the child for that axis.
When you turn off an axis, transform information on that axis is ignored by the child.
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Inherit Rollout
Comments
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Locks Rollout
Locks Rollout
Make a selection. > Hierarchy panel > Link Info button > Locks rollout
The Locks rollout contains controls that prevent transforms along particular axes.
See also
Inherit Rollout
Procedure
To lock all move transforms:
1. Select an object in the viewports.
2. In the Locks rollout, turn on Move group > X, Y, and Z.

Only rotate and scale transforms will work.
The object does not need to be part of a hierarchy.
Interface
X, Y, ZTurn on any axis in the Move, Rotate, or Scale group box to lock the axis. For example, if
Rotate > X and Y are turned on, you'll be able to rotate the object only around the Z axis. All locks
are relative to an object's local coordinate system.
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Locks Rollout
Comments
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Hierarchy Panel
Hierarchy Panel
Command panels > Hierarchy panel
The Hierarchy panel provides access to tools to adjust the hierarchical linkage between objects.
By linking one object to another, you create a parent-child relationship. Transformations applied to
the parent are also transmitted to the child. By linking more objects to both parent and child objects
you can create complex hierarchies.
Common uses of linking are:
Creating complex motions.
Simulating jointed structures.
Providing the basis for inverse kinematics.
Setting rotational and sliding parameters for Bones.
Robot leg assembled as a hierarchy.
The Hierarchy panel is divided into three areas:

Pivot
IK
Link Info
Note: For important background information on hierarchies and kinematics, see Animating with
Forward Kinematics and Inverse Kinematics (IK).
Comments
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Pivot
Pivot
Make a selection in the viewport. > Hierarchy panel > Pivot button
All objects have a pivot point. You can think of the pivot point as representing an object's local
center and local coordinate system. The pivot point of an object is used for the following:
Functions as the center for rotation and scaling when you select the Pivot Point transform center.
Sets the default location of a modifier center.
Defines the transform relationship for the object's linked children.
Defines the joint location for inverse kinematics (IK).
You can adjust the position and orientation of an object's pivot point at any time using the buttons in
the Adjust Pivot rollout in the Hierarchy panel. Adjusting an object's pivot has no effect on any
children linked to that object.
Note: You cannot animate the functions under the Adjust Pivot rollout. Adjusting an object's pivot on
any frame changes it for the entire animation. Use caution when adjusting the pivot of an animated
object. Adjusting the pivot on one frame might produce unexpected results in another part of the
animation. You should adjust the pivot point to the location you want, before you start to animate, if
possible.
The Pivot panel has two rollouts:
Adjust Pivot Rollout
Adjust Transform Rollout
Comments
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Using IK to animate a leg
Inverse kinematics (IK) is a method of animating that reverses the direction of the chain
manipulation. Rather than work from the root of the tree, it works from the leaves.
Let's take the example of an arm. To animate an arm using forward kinematics, you rotate the upper
arm away from the shoulder, then rotate the forearm, the hand from the wrist and so, on adding
rotation keys for each child object.
To animate the arm using inverse kinematics, you move a goal that positions the wrist. The upper
and lower arms are rotated by the IK solution which moves the pivot point of the wrist, called an end
effector, toward the goal.
In the case of a leg, for example, the foot is constrained to the floor by the goal. If you move the
pelvis, the foot stays put since the goal has not moved, and this causes the knees to bend. The
entire animation is contained in keyframes for the goal and the root, without keys being applied to
the individual chain objects.
With inverse kinematics you can quickly set up and animate complex motions. The basic procedure
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involves these tasks:
Building a model. It could be a jointed structure or many pieces or a single continuous surface.
Linking the jointed model together and defining pivot points, as described in Hierarchies.
For a continuous surface model, create a Bone structure to animate the skin of the character.
Applying IK solvers to either the jointed hierarchy or to the bones. You will probably create
several IK chains throughout the hierarchy, rather than just one. You might also create several
independent hierarchies, rather than linking everything together in one large hierarchy.
Defining joint behavior at the pivot points, setting limits or preferred angles, depending on the
type of IK solvers you are using. Here you can set up sliding joints or rotating joints.
You might also need to move the root of the hierarchy, as well. You might also want to add
control objects such as dummies at this point.
Animating the goal (in the case of an HI Solver or IK Limb solver) or the end effector (in the case
of the HD Solver). This animates all the components of the IK chain.
You can apply constraints to the goals or control objects or to the root of a chain.
Control Objects to Assist IK
You can link a goal or an end effector to points, splines, or dummy objects that serve as quick
controls to translate or rotate the end of the chain. These control objects can be linked together as
well, or they can be controlled with constraints. You can also use parameter wiring to build
relationships between these control objects.
You can wire control objects to manipulator helpers or to custom attributes, creating an easily
accessible interface for your animatable model.
You can add further controls to manipulate the elements in the middle of the chain.
Note: In the HI Solver, the swivel angle has its own manipulator, which can be animated or linked to
another target object.
Differences Between Forward and Inverse Kinematics
Forward kinematics uses a top-down method, where you begin by positioning and rotating parent
objects and work down the hierarchy positioning and rotating each child object.
Basic principles of forward kinematics include:
Hierarchical linking from parent to child.
Pivot points defining joints between objects.
Children inheriting the transforms of their parents.

These principles are fairly forgiving. As long as everything is linked together and the pivots are
located at joint locations, you can successfully animate the structure.
Inverse kinematics (IK) uses a goal-directed method, where you position a goal object and the
program calculates the position and orientation of the end of the chain. The final position of the
hierarchy, after all of the calculations have been solved, is called the IK solution. There are a variety
of IK solvers that can be applied to a hierarchy.
Inverse kinematics starts with linking and pivot placement as its foundation and then adds the
following principles:
Joints can be limited with specific positional and rotational properties.
Position and orientation of parent objects are determined by the position and orientation of child
objects.
Because of these additions, IK requires greater thought about how you link your objects and place
pivots. Where many different solutions for linking objects may be suitable for forward kinematics,
there are usually just a few good solutions for any given IK approach.
Inverse kinematics is often easier to use than forward kinematics, and you can quickly create
complex motions. If you need to edit those motions later, it can be simpler to revise the animation if
you are using IK. It also is the best way to simulate weight in an animation.
See also
Inverse Kinematics Methods

IK Solvers
IK Terminology
Bones System
Using Objects as Bones
Comments

Inverse Kinematics
Glossary
Inverse Kinematics
Inverse kinematics (IK) is a positioning and animation method that is built on top of the concepts of
hierarchical linking. To understand how IK works you must first understand the principles of
hierarchical linking and forward kinematics.
Inverse kinematics starts with linking and pivot placement as its foundation and then adds the
following principles:
Joints are constrained with specific positional and rotational properties.
Position and orientation of parent objects is determined by the position and orientation of child
objects.
Because of these added constraints, IK requires greater thought about how you link your objects and
place pivots. Where many different solutions for linking objects might be suitable for forward
kinematics, there are usually just a few good solutions for any given IK approach. The best solution
depends on consideration of both the nature of the hierarchy, and how that hierarchy will be
animated.
Inverse kinematics is often easier to use than forward kinematics and you can quickly create
complex motions. However, you sacrifice some of your control to the automation of the IK functions.
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End Effector
Glossary
End Effector
In history-dependent inverse kinematics (HD IK), the end effector is the pivot point of the selected
child object at the end of a kinematic chain.
The kinematic chain is a single branch of a hierarchy used for animation with inverse kinematics
(IK). The chain starts with the selected child object and travels up through ancestors until it reaches
the start of the chain. When you move the end effector, the HD IK solver then uses IK calculations
to move and rotate all other objects in the kinematic chain to react to the object you moved.
The end effector has two transforms: one that connects it to its parent, and another that connects it
to the End Effector Parent. By default, the End Effector Parent is none (equivalent to World); you can
assign this in the Motion panel.
Note: You can move the end effector away from the child object, which causes the IK chain to
straighten out. When you move the end effector back toward the child object, joints in the IK chain
will bend again.
See also
IK Goal
Comments
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Animating with the HD IK Solver
Select a node of hierarchy or bone chain. > Animation menu > IK Solvers > HD Solver > Click a
second node of chain
Animating with the HD Solver lets you use sliding joints combined with inverse kinematics. It has
controls for spring back, damping, and precedence not found in the HI Solver. It also has quick tools
for viewing the initial state of the IK chain. Use it for animations of machines. Since this is history
dependent, performance is slower at the end of long animations. For lengthy scenes, use HI Solvers,
if possible.
Animating the End Effectors
You animate a hierarchy of objects or bone structure using HD Solvers by animating special end
effectors located at the bone joints. There are two types of end effectors: Position and Rotation.
They are displayed as three intersecting blue lines at the joint.
When you select and transform a joint that carries either end effector, only the end effector itself is
transformed. The objects or bones in the chain then use IK to calculate the IK solution.
Animating these end effectors is much like animating with Interactive IK except interpolation
between keyframes uses correct IK solutions.
Linking End Effectors to a Parent
You can link HD IK end effectors to a parent to achieve results similar to using bound follow objects
with Interactive and Applied IK. To link a HD IK end effector, you click Link on the Motion panel.
There are two reasons to link an end effector to a parent:
You can rescale your entire hierarchy. If you animate a character, and then later decide you want
to scale the entire character and its animation, link the character's root object to a dummy, link
all of the character's end effectors to the same dummy, and then scale the dummy to scale all of
the hierarchical objects as well as the animation of the end effectors.
You can use linked end effectors for things like feet or hands. End-effectors are automatically
bound to the world, so when you move a root object in your hierarchy, the end effectors remain
behind. This is good for keeping feet on the ground, but not very good for hands, where you want
them to move along with the character. To have hands follow the root object, link the end
effectors of the hands to the root object.
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Linking Bones to Follow Objects
You can also use follow objects instead of end effectors and bind bones to any number of follow
objects using Interactive IK.
If you use follow objects with HD IK, you do not need to click Apply IK. The IK solver takes care of
everything automatically.
See also
Inverse Kinematics Rollout
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Make a selection. > Hierarchy panel > IK > Inverse Kinematics rollout
The Inverse Kinematics rollout displays different controls based on IK Solvers applied to the selected
hierarchy. IK Solvers are applied to the hierarchies using the Animation menu.
When an HD IK Solver is applied to an IK chain the Inverse Kinematics rollout displays the controls
described below.
The Inverse Kinematics rollout provides controls for interactive and applied IK, as well as the
controls for the HD Solver (history dependent). Use Apply IK to calculate an IK solution and generate
Transform keys (move, rotate) for all objects in an IK chain (the IK chain must include a follow
object). By default, keys are created at every frame.
Applied IK requires that one or more parts of your IK structure be bound to animated follow
objects. Once bound, you can select any object in your kinematic chain and click the Apply IK
button.
The Apply IK method of animation works best when you want objects in the kinematic chain to
match the motions of other objects exactly. An example of this would be a mechanical connection
that should always appear to be attached to the follow object.
Procedures
To use interactive IK:
1. Build a hierarchy of objects.

If you want to use Bones, be sure Assign to Children is not active when you create the Bones.
2. Select the end of the chain.
3. Go to the Hierarchy panel > IK button.
4. Scroll up to the Inverse Kinematics Rollout
5. Click Interactive IK.
6. Advance the time slider and move the end of the chain.
7. Turn off Interactive IK when you want to do forward kinematics.
To use applied IK:
1. Add an HD Solver to your hierarchy.
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2. Bind objects in your IK structure to follow objects.
3. Animate the follow objects.
4. Select any object in the IK structure.
5. Click IK in the Hierarchy panel and expand the Inverse Kinematics rollout.
6. Click Apply IK.

Tip: Be sure your Start Frame and End frames match the length of your animation.
Interface
Apply IKCalculates the IK solution for each frame of the animation and creates transform keys for
every object in the IK chain. A bar graph appears on the prompt line to indicate progress of the
calculations.
Apply Only To KeysSolves the IK solution for keyframes that already exist for one of the end
effectors.
Update ViewportsViews the progress of Apply IK frame by frame in the viewports.
Clear KeysRemoves all move and rotate keys from the selected IK chain before applying IK.
Start/EndSets the range of frames to calculate the applied IK solution. The default settings for
Apply IK calculates the IK solution for every frame of the active time segment.
Comments
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IK Goal
Glossary
IK Goal
In history-independent inverse kinematics (HI IK) and the IK Limb Solver, the IK goal is the object
associated with the end joint of a kinematic chain. By default, its name is IK Chain01.
The kinematic chain is a single branch of a hierarchy used for animation with inverse kinematics
(IK). The chain starts with the end joint and travels up through ancestors until it reaches the start
joint. When you move the IK goal, the IK solver then uses IK calculations to move and rotate all
other objects in the kinematic chain to react to the object you moved.
Note: You can move the IK goal away from the end joint, which causes the IK chain to straighten
out. When you move the goal back toward the end joint, joints in the IK chain will bend again.
See also
End Effector
Comments
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Animating with the HI IK Solver

The HI (History-Independent) Solver does not rely on IK solutions calculated in previous keyframes
in the timeline, so it is just as fast to use at frame 2000 as it is at frame 20.
The HI Solver uses a goal to animate a chain. You animate the goal and the IK solver attempts to
move the end effector (the pivot point of the last joint of the chain) to match the position of the
goal. Often the goal is parented to other control objects such as points or dummies, splines or
bones, and these control objects in turn are wired to viewport or rollout sliders.
The IK solution takes place in a plane, known as the solver plane. The angle of the solver plane in
world space is controlled by a parameter called the swivel angle. The swivel angle is animatable. You
can adjust it directly, or with a manipulator.
The HI Solver allows for the creation of multiple or overlapping chains. This allows you to create
multiple goals for additional controls. By linking the goals to points, splines, bones or dummies, you
can create simple controls to animate complex chains or hierarchies. You can also use constraints on
these goals or control objects, as another animation tool.
Applying an HI Solver
To apply an HI Solver to any part of a hierarchy select the bone or object where you want to the
solver to start. Then choose Animation menu > IK Solvers > HI Solver. In the active viewport move
your cursor to the bone where you want the chain to end. When you click to select that bone, the
goal is drawn at the pivot point of that bone. If you want a goal at the far end of the bone, refine the
bone where you want to goal to be placed. An extra bone will be added, and then choosing that bone
allows you place the goal at the end.
When you create bones, a small "nub" bone is automatically created at the end of the chain to assist
in this process.
Setting Up Multiple Chains
To rig a skeleton for a human leg you could use three chains in one leg, as follows:
The first chain is created from the hip to the ankle. This chain controls the overall leg motion
including bending of the knee.
The second chain is created from the ankle to the ball of the foot. This chain controls the heel's up
and down motion.
The third chain is created from the ball of the foot to the toe.
When the three chains work together they help to maintain the foots position in space. This means
it will keep the foot planted on the ground as the characters body moves. All three IK chains in this
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hip-to-toe setup place goals at key positions in the foot that mimic natural foot behavior. In real life,
the toe, ball of the foot, and heel can be planted on the ground or raised.
Each chain has an goal that drives motion on the heel, ball of foot, and toe. Use the IK goals to raise
the heel, bend the toe, move and rotate the entire foot, and maintain the foot's position in space.
Overlapping Chains
The IK solver system allows you to create overlapping IK chains in a single hierarchy. In a human
leg, for example, you could create a chain running from the hip to the ankle, then a second chain
from the knee to the ball of the foot, and a third from the ankle to the toes. Use overlapping chains,
when you want to apply goals to sequential bones, but you don't want to refine the bones.
Another good use for overlapping HI IK chains is to keep the goals at the bottom of the hierarchy
firmly rooted in place. In the case of the leg example, the ankle, ball and toe of the foot would not
move until the upper portion of the hierarchy had reached its full stretch.

Overlapping chains make the toe stick to the ground
Don't try to overlap chains with different kinds of IK solvers or you might get unpredictable results.
Creating Control Objects
To create control objects to animate the goals, create dummies, points, splines or other objects near
the goal, then link the goal to the control object. For example in a human leg, you might have a goal
at the ankle, ball of the foot, and the toe. You then create three splines under the foot, one for the
heel, one for the ball and one for the toe. Link each goal to each spline, then you can animate the
goals using these splines. You could also link the splines together, so that the rotation of the toe is
controlled by the movement of the heel.
Besides hierarchical linkage, you can now use the new Constraint system in conjunction with IK
solvers. You could apply any of the constraints to create a relationship between the goals or bones
and other objects. The goal could be position constrained to a dummy which is moved. Or you could
create three bone chains that are all in the same place, and constrain one bone chain to another,
then weight the constraints.

Bone chains constrained together
Using control objects gives you something bigger to select in the viewport. You can also use control
objects to separate chains, for example in a human arm one chain could end at the wrist and
another separate chain be created for the hand and fingers. The control object at the wrist serves as
the root node for the hand chain, yet that chain would remain disconnected (hierarchically speaking)
from the arm chain.
You can create viewport sliders using the manipulator helper, and then use the viewport sliders to
control the transforms of the control objects. Use wire parameters to hook up the sliders with the
control objects. You can also create Custom Attributes to add these sliders to the object rollouts.
Mixing Forward Kinematics with Inverse Kinematics
The HI IK solver provides a tool for mixing FK and IK in a single animation track. There is an FK sub-
controller beneath the IK controller assigned by this solver.
When the Enabled button is on, the FK sub-controller values are preserved but ignored. When
Enabled is turned off, the FK sub-controller values apply. To access the Enabled button, select the
goal and go to the Motion panel, then turn off the Enabled button. This will allow you to animate
using FK rotations of the bones or hierarchy objects.
IK for FK pose allows one to turn on IK in middle of FK manipulation. When the Enabled button is
turned off, and IK for FK Pose is on, then selecting and moving the goal lets you use IK to create the
forward kinematic keyframes. Moving the goal poses the skeleton and add rotation keys to all the
objects in the chain when the Auto Key button is on.
When working with IK and FK together it is possible to create a situation where the goal has moved
away from the end of the chain. Use the IK/FK snap button to reposition the goal, snapping it back
to the end of the chain. When AutoSnap is on, the snap happens automatically; when you touch the
goal, you don't have to press the IK/FK snap button.

Controlling HI IK Precision
When you are animating with HI Solvers, if you find the animation of the limbs is not smooth, you
should try doubling the Iterations in the Solutions group of the HI Solver Properties rollout. You can
also try reduce the Thresholds value to smooth the animation.
See also
IK Solver Rollout (HI Solver)
Comments

Whitepaper: Swivel Angle of the HI IK Solver

The fundamental requirement of HI Solver is that the solution be history-independent: the solution
has to be based on the goal and other incidental parameters solely at their current states.
Swivel Angle Degree of Freedom
When the positional goal is given for a single chain, there remains an obvious degree of freedom:
the rotation about the End Effector Axis (EE Axis). The swivel angle is used to describe this degree of
freedom quantitatively.
1. Start joint
2. End effector
3. EE axis
Solver Plane
Lets call the plane passing all the joints the Solver Plane. When joints do not lie on a plane, we will
define it to be the plane that (A) passes the Start Joint and End Joint and (B) is closest to the
remaining joint in a certain sense.
The Swivel Angle describes the degree of freedom of the Solver Plane and it constrains only the Start
Joint.
Zero Plane Map
In order to describe the solver plane in terms of a numerical quantity, we have to agree to what 0
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means. Given the end-effector position, where is the Zero (Solver) Plane? The Zero Plane Map takes
as the argument EE Axis and produces the normal to the zero plane.
The IK system allows individual solver plug-ins to define their own Zero Plane Maps. When not
defined, the IK system provides a default one.
The argument to the Zero Plane Map is a unit vector to give the direction of the EE axis.
Equivalently, when the EE slides along the EE axis, the solver plane should be fixed. Therefore, the
Zero Plane Map defines a vector field on a sphere. Given a point on the sphere, it produces a
tangential unit vector to be interpreted as the normal to the zero plane.
1. Normal to the zero plane
Solver Plane Flipping
It is a mathematical fact that there does not exist a continuous vector field on a sphere. No matter
how hard you try, there will always be a point on the sphere where neighboring vectors change
dramatically. This is where the solver plane will flip when the end effector axis approaches to it.
This is because, on one hand, the history independent requirement demands us to assign a fixed
vector to the singular point. On the other hand, no matter what vector is assigned, it will be
dramatically different from some vectors assigned to the neighboring points.
Intrinsic Reference Frame for the Sphere
In order to define the Zero Plane Map, we need to define a reference frame for the sphere. This
reference frame is intrinsic to the joint chain itself.
A sphere can be defined by the center, the horizontal plane, and the meridian (zero longitude). The
center is assigned to the start joint.

The pose when all the joint angles assume preferred angles is particularly important. Lets call it the
preferred pose.
We use the solver plane at the preferred pose as the horizontal plane. Since the swivel angle is used
to control the start joint, the preferred angles at the start joint are not so intrinsic. It is also
reasonable to define the horizontal plane with the solver plane that is derived by assigning zeroes to
the start joint and preferred angles to the other joints.
The EE axis defines the meridian. The sphere is now defined as shown in the following figure:
1. EE axis
All the joints assume preferred angles. The Zero Plane Map is to be defined on this sphere.
The API for the plug-in solver to define its own Zero Plane Map in fact takes the EE axis and the
normal to the solver plane at the preferred pose:
virtual const IKSys::ZeroPlaneMap*
GetZeroPlaneMap(const Point3& a0,

const Point3& n0) const
where a0 and n0 are the EE axis and solver plane at the preferred pose, respectively. Object of
ZeroPlaneMap is a function that assigns a plane normal to each point on the sphere.
Default Zero Plane Map
When not provided by plug-in solvers, (the IK Solver itself is implemented as a plug-in solver) the IK
system will provide a default one. This map is defined by the following rules:
A: For each point on the equator, the intersection of the horizontal plane and the sphere, the
normal vector is defined as the vertical vector, pointing to the same direction as the normal of the

solver plane at the preferred pose.
B: For any point on the sphere other than the north or south poles, there is a great circle that
passes the point and the north, south poles. This circle hits the equator at two points. One point is
closer to the given point. The normal vector at the given point is defined as derived from moving
tangentially the normal at the closer point on the equator along the great circle to the point.
Deriving the default normal to the zero plane
Obviously, this method wont extend to the north or south poles. They are the singular points. When
the EE axis moves across the poles, the normal will suddenly change direction: it flips from the
users viewpoint.
Normally, the preferred pose is the one when the solver is first assigned. So, the plane on which one
lays the joints corresponds to the horizontal plane here. Rule A makes sure that the chain will stay
on the plane if one moves the goal on the plane.
Rule B means that, when you move the goal along the great circle vertical to the equator, the chain
will stay vertical, except when it passes through the poles, which are the singular points of this map.
Parent Space
So far, we have described things as if the whole world comprises only IK elements. In practice, the
IK chain and goal might sit at points of separate transformation hierarchies. Ultimately, we need to
map the position of the end effector that is described in the world to a point on the sphere.
Depending how the sphere is mounted relative to the end effector position, the readings of latitude
and longitude are different. The parent transformation space that this sphere is to be placed in is
called the Swivel Angle Parent Space, or Parent Space when the context is clear.
The parent space has to be invariant with regard to the IK parameters. Right now, we provide two
choices:

Start JointThe Swivel Angle Parent Space is the same as the parent space of the Start Joint.
IK GoalThe Swivel Angle Parent Space is the parent space of the IK Goal.
Example 1
If both the start joint and the goal are rooted directly at the world, the choice of Parent Space does
not give rise to any difference. In the following example, the start joint is parented to object A.
The IK chain is parented (via the start joint) at object A.
Assume this is the pose when the IK solver is assigned. So, this is the preferred pose. The plane on
that the joints are laid out is the horizontal plane of the (Zero Plane Map) sphere.
A: Parent Space is Start Joint. In this case, the sphere is parented to A. If A is rotated about the
drawn axis, the sphere is rotated together with it. The goal is in a separate transformation
hierarchy. It stays in place, and the end effector sticks to it because of the IK solution. Since the
(plane) normal is fixed to the sphere, it rotates with A, too. Therefore, the whole chain appears to
be rotated together with the parent object.
B: Parent Space is IK Goal. Suppose that the goal is parented to the world. In this case, the
sphere is parented to the world and, hence, stays fixed. Since the normal is fixed to the sphere,
the chain will appear stationary when A is rotated.
Example 2
In the following example, we look at a case where there exists a rotation in the parent space when

the IK solver is assigned.
The parent space of the IK chain contains a rotation when the IK solver is assigned.
Parent A contains a rotation of 90 degrees. This is an abstraction of the case when a user creates
four bones without an IK solver and later assigns an IK solver from Bone2 to Bone4. If we parent the
chain directly to world, it would appear as shown in the right figure: the solver plane becomes
horizontal.
A: Parent Space is Start Joint. The sphere is mounted after the rotation of A and therefore the
horizontal plane coincides with the chain plane as shown in the viewport. The singular points are
perpendicular to the Start Joint with regard to the plane. When the goal/end effector is moved on
the plane, it will never hit the singular points and flip.
B: Parent Space is IK Goal. Again, we assume that the parent space of the goal is the world. The
horizontal plane of the sphere becomes horizontal, as shown in the right figure. The singular
points, the poles, are on the plane that joints are laid out. Therefore, when users move the goal/
end effector left to right, or the other around, the end effector will move across the singular point
and flip.
A problem of B is that the figure on the right is never shown to the user. They have to envision it in
order to understand the flipping.
Example 3
This example describes what happened when Start Joint is reassigned. Suppose we have an IK chain
of four bone nodes.

1. Bone01
2. Bone02
3. Bone03
4. Bone04
The Start and End Joints are Bone01 and Bone04, respectively. Suppose the pose shown in the
figure is the preferred pose and Bone01 contains a rotation. If we parent Bone02 directly to the
world, the hierarchy from Bone02 will appear as in the right figure.
When we re-assign Start Joint to Bone02, the Zero Plane Map sphere will be based on the
configuration on the right.
A: Parent Space is Start Joint. In this case, the sphere that is fixed to the right configuration is to
be parented to Bone01 together. This will be the same as the one based on Bone01 to Bone04.
Therefore, we get the same normal and chain stays stationary.
B: Parent Space is IK Goal. In this case, the sphere stays in the world while Bone02 is parented to
Bone01. When Bone04 is moved to where it is shown on the left due to the transformation of
Bone01, the observer who is fixed to the sphere that is fixed to the world will see that Bone4
moves away from the neutral position defined by the preferred pose. The algorithm then applies
the Zero Plane Map to find the normal at the displaced position. It generally is not perpendicular
to the viewport. Therefore, we will see a flip once it takes a new Start Joint.
If you delete the solver/goal and assigned a new one from Bone02 to Bone04, you will find that the
chain wont flip. Why? Assignment of Start Joint is different from creating a new IK chain/goal. Start
Joint is one of many IK parameters. Re-assigning it is simply the same as modifying any parameter.
The rest parameters are intact. In particular, the Swivel Angle is not changed as a result of this re-
assignment.
Creating a new IK chain/goal is different. Effort is made to ensure that the joint chain stay fixed by
adjusting parameters appropriately. In particular, the Swivel Angle will be set to a value so that the
solver plane keeps stationary in the viewport.

Comments

IK Solver Properties Rollout (HI Solver)
Select end effector of an HI IK chain. > Motion panel > Parameters button > IK Solver Properties
rollout
Here are the additional controls for the HI IK solver. The IK Solver Plane is controlled here through
the Swivel Angle, which can be animated directly or using a target object.
In the Parent Space group you can choose to whether the IK goal or the start joint will be used as
the parent space for the swivel angle. If IK Goal is selected (which is the default), then the Swivel
Angle of the chain is defined in the parent space of its goal. If Start Joint is chosen, then the Swivel
Angle will be relative to the parent space of the start joint. These two options allow a much better
control of the swivel angle on a chain with two HI IK solvers. For example, the first solver on the
upper part of a chain can use a Swivel Angle in the Parent Space of the Start Joint, while the second
IK solver on the lower part of the chain uses the Parent Space of the IK Goal. In this case, the
change of the Swivel Angle for one chain wont change the orientation of the other one.
In the Thresholds and Solutions group you can refine the IK solution. The Position Threshold sets a
limit in units of how far the goal can be moved from the end effector, the Rotation does the same in
angle degrees.
The Solutions group Iterations is the maximum number of attempts the IK solution will perform
before giving up.
If your IK animation seems to jitter, try increasing the Iterations to 200. Increasing the Iterations
will slow down the computational time, but should produce better results.
Manipulator for the Swivel Angle
You can adjust the swivel angle with the spinner in this rollout, or you can adjust it with a
manipulator. To do so, turn on Select and Manipulate. The swivel angle manipulator is displayed as a
handle in the viewports.
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Swivel angle manipulator.
When you move the mouse over the manipulator, it turns red. At this point, you can drag the
manipulator to change the swivel angle. The Auto Key button can be active while you do this.
You can also animate the swivel angle by using a target object. Pick an object for the target, then
animating the object will animate the swivel angle.
The swivel angle manipulator is a standard plane angle manipulator. The HI Solver has its own
controls for displaying this manipulator. These are on the IK Display Options rollout.
Procedure
To increase the precision of an IK solution:
1. Select the goal in an HI IK chain.
2. In the IK Solver Properties rollout increase the Iterations to 200 in the solutions group.
3. Play or render the animation.
4. You can also adjust the Position and Rotation Thresholds to a smaller value.

Interface
IK Solver Plane group
Swivel AngleControls the Solver Plane which determines the direction of the knee or elbow in a
human limb. The Swivel Angle can be manipulated in the viewport by turning on Swivel Angle
Display in the Display Options rollout, and then turning on Manipulate Mode. When the swivel angle
manipulator is displayed in the viewport, you can interactively animate the handle to animate the
solver plane.
Pick TargetLets you select another object to use to animate the Swivel Angle.
UseTurns the use of the Target on and off.
Parent SpaceDefines what space the Swivel Angle is relative to. Use this on chains with multiple
solvers, so the swivel angle manipulations on one chain will not affect the second. See the Swivel
Angle Whitepaper for more information
IK GoalDefines the Swivel Angle parent space relative to the IK Goal.
Start JointDefines the Swivel Angle Parent Space relative to the Start Joint.
Thresholds group
Use to define the tolerances the system uses for its calculations.
PositionSets a limit in units of how far the goal can be moved from the end effector. Keep these
numbers low.

RotationSets a limit in degrees of how far the goal can be rotated away from the end effector
rotation. Keep these numbers low for best results.
Note that adjusting the Rotation threshold on the HI Solver and IK Limb Solver has no effect. It is up
to the plug-in solvers discretion as to whether or not they will support a rotation component in the
IK solution.
Solutions group
Use to control the precision of the animation. Increase the iterations when the IK solution produces
an animation that appears rough or jittered.
IterationsThe number of attempts an IK solution will make to find the best match between the
goal and the end effector positions. Increase this number if you are seeing jumpy animation.
Comments

Select And Manipulate
Main Toolbar > Select And Manipulate button
The Select And Manipulate command lets you edit the parameters of certain objects, modifiers, and
controllers by dragging "manipulators" in viewports.
Note: Unlike Select And Move and the other transforms, this button's state is nonexclusive. As long
as Select mode or one of the transform modes is active, and Select And Manipulate is turned on, you
can manipulate objects. However, you must turn off Select And Manipulate before you can select a
manipulator helper.
You can add these custom manipulators to your scene:
Cone Angle Manipulator
Plane Angle Manipulator
Slider Manipulator
These features have manipulators built in, which you can use to change parameters on the objects:
Reactor Controllers
Target Spotlight
Free Spotlight
Spotlight Parameters
UVW Map Modifier
Primitives with a Radius parameter have a built-in manipulator for the radius.
Comments
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Create panel > Helpers > Manipulators > Object Type rollout > Cone Angle button
Create menu > Helpers > Manipulators > Cone Angle
The Cone Angle manipulator is a cone whose base you can adjust. By wiring its Angle value to a
parameter of another object, you can create a custom control, with visual feedback, within a scene.
Cone angle manipulator
Cone angle manipulators are used by a spotlight's Hotspot and Falloff controls.
Procedures
To create a cone angle manipulator:
1. In the Create panel, go to Helpers and choose Manipulators from the drop-down
list.
2. Click to turn on Cone Angle.
3. Drag in a viewport, and then release the mouse.

The cone angle manipulator is created along the negative Z axis of the viewport in which you
drag. In other words, its initial position points away from you.
To change the angle of a cone angle manipulator:
1. Turn on Select And Manipulate.
Tip: If you are still in the Create panel, turn on Select Object before using the
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manipulator. Otherwise, it is too easy to create a new one.
2. In a viewport, move the mouse over the manipulator.

The manipulator turns red when the mouse is over it and it is available to be manipulated. Also,
a tooltip appears, showing the name of the manipulator and its current value.
3. Drag the base of the cone angle manipulator's cone.

The Angle value changes as you drag the manipulator. This value can range between 0.0 and
360.0.
To select a cone angle manipulator:
1. Turn on Select Object.
You can also use Select And Move, Select And Rotate, and the scale options on a
cone angle manipulator.
2. Turn off Select And Manipulate.

If you don't turn off Select And Manipulate, you adjust the manipulator's Angle value without
affecting its properties.
3. Adjust the properties of the selected manipulator.
To connect a cone angle manipulator so it controls another object:
1. Select the cone angle manipulator.
Note: Select And Manipulate must be off before you can select the manipulator.
2. Choose Animation > Wire Parameters > Wire Parameters.

You can also right-click the manipulator and choose Wire Parameters from the Transform
(lower-right) quadrant of the quad menu.
A pop-up menu appears over the manipulator.
3. In the pop-up menu, choose Object > Angle.
4. Drag to the object you want to manipulate, and click it.

A pop-up menu appears over the object.
5. In the pop-up menu, choose Object, then the name of the parameter you want to manipulate.
The Parameter Wiring dialog appears.
6. In the Parameter Wiring dialog, make sure the direction goes from the manipulator to the

object (or both directions), and then click Connect.
7. Close the Parameter Wiring dialog.

Now when you turn on Select And Manipulate and use the manipulator, the object updates
under the manipulator's control.
Interface
AngleThe initial angle of the manipulator.

DistanceThe length of the manipulator, in 3ds max units. Default=the distance of mouse drag
when the manipulator was created.
Use SquareWhen on, the base of the cone is square or rectangular, rather than circular.
Default=off.
AspectWhen Use Square is on, adjusts the aspect ratio of the rectangular cone base. Default=1.0.
Comments

Parameter Wiring Dialog
Animation menu > Wire Parameters > Parameter Wiring dialog
Select an object. > Right-click quad menu > Transform (lower-right) quadrant > Wire Parameters
> Select parameters to wire.
Select an object. > Modify panel > Right-click text box portion of animatable parameter spinner. >
choose Show in Parameter Wire dialog.
Select an object with a wired parameter. > Modify panel > Right-click text box portion of wired
parameter spinner. > Edit Wire
The Parameter Wiring dialog allows you to define the relationships for Wire Parameters. In this
dialog, you can create new one and two-way control relationships between object parameters, edit
existing relationships, and create or edit expressions which define the parameter relationships.
Only parameters that can be animated can be wired. Sub-objects, such as vertices, must be
animated before they can be wired.
Parameter wires can be used to establish connections from Manipulators and Custom Attributes to
objects, materials, and modifiers.
Note: Parameter Wiring is a modeless dialog, and you can have several dialogs open at the same
time.
Procedures
To use an expression with wire parameters:
1. Create a box and a sphere in your scene.
2. Right-click the box, and from the quad menu choose Transform quadrant > Wire Parameters.
3. From the pop-up menu, choose Object (Box) > Length.
4. Click the sphere and choose Transform > Position > Z Position from the pop-up menu.
The position of the sphere and the length of the box are now wired.
5. In the Parameter Wiring dialog, create a one-way wire by selecting the arrow pointing toward
the boxs Tree View.
6. Type abs( before Z_position, followed by a closing parenthesis, ), in the expression text box
for Box01, so that the entire expressions is abs(Z_Position).
7. Click Connect.
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8. Move the sphere upward along the Z axis in the viewport.

Note that as the sphere moves in the viewport, the length of the box changes. Using abs()
ensures that the box never has a negative length.
To control several slave parameters from one master parameter:
1. Open the Parameter Wiring dialog.
2. Choose the master parameter in the Tree View.
3. Choose the first slave parameter in the other Tree View.
4. Click the arrow pointing toward the slave parameter.
5. Enter the desired relationship expression in the expression text box.
6. Click Connect.
7. Keeping the master parameter selected, choose another slave parameter from the Tree View.
10. Click Connect.

You can repeat this cycle to set up as many slaves as you want. The result is a fan of
parameter wires, so that you can control all of the slave parameters at once as you change the
master parameter.
To create a chain of wired parameters:
1. Open the Parameter Wiring dialog.
2. Choose the first controlling parameter in one Tree View.
3. Choose the first slave parameter in the other Tree View.
6. Click Connect.
7. Keeping the original slave parameter selected, choose the next slave parameter from the Tree
View.
8. Click the arrow pointing toward the new slave parameter.
10. Click Connect.

You can repeat this cycle, continuing to alternate slaves to masters as many times as you like.
The result is a daisy chain of parameter wires, so that as you modify the original master

parameter, each slave parameter maintains a constant relationship with the next in a line of
parameters.
Interface
Tree Views
There are two Tree Views, which display the animatable parameters of all of the visible objects in the
scene. The names of the currently selected objects appear at the top. The Tree Views display the
objects in the scene and allow you to select and wire all of the animatable parameters of the objects
in the scene and the scene itself.
The Tree Views are color-coded to show existing wiring. A parameter with a wire controller assigned
to it (either as the member of a two-way pair or as the slave in a one-way wire) displays in red.
When a wire-controlled parameter is selected, all of the parameters wired directly to it are displayed
in green text in the other Tree View. In either case, if the parameter is inside a track that is not
expanded, the enclosing track will display in red or green, so you can expand the tracks to find the
wires.
Note: If you open the Parameter Wiring dialog by wiring two parameters, the Tree Views will initially
only display the selected objects, highlighting the parameters that were selected in the pop-up

menus during the wiring procedure. If you want to expand the trees, to include all other animatable
parameters in the scene, click Up To World.
There are two buttons above the Tree Views:
Show All TracksBrings you to the top of the scene object list.
Find Next ParameterFinds the next wired parameter in the scene, expanding the tree if
necessary to show and select it. You can browse through all existing wires by successively pressing
this button.
Note: If you select a wired parameter, its connections are shown in green on the other Tree View.
While the wired parameter is selected, the Show Next Wire button on the other tree will cycle
through the green connections only, so you can quickly find the selected wires connections.
Control DirectionThere are three direction control buttons between the Tree Views. You can only
select one of these at a time. These buttons determine the direction of control, either one-way or
two-way:
Bi-directional ArrowWhen this is selected, both parameters are linked, and changes to
either parameter affect the other.
Left ArrowWhen this is selected, the right parameter controls the left parameter.
Right ArrowWhen this is selected, the left parameter controls the right parameter.
Note: You can change the direction of a wire at any time by clicking the desired direction button and
clicking Connect or Update.
Connect/UpdateThe Connect/Update button changes its label depending on

whether clicking it would add a new wire to previously unwired parameters (Connect) or change an
existing wires expressions or direction (Update). Changes to existing wires are only applied when
you click Update.
DisconnectThe Disconnect button is enabled when youve selected parameters

with an existing wire between them. It will remove the wire controller(s) and replace them with the
Master parameters animation track (if two-way) or with default controllers (if one-way).
Master parameters
The Parameter Wire system provides a way for the pair of wired parameters to be animated as a
single system. It does this by setting up a sub-controller on one of the parameters; any animation
on this controller drives the Wire Controller pair. The animation sub-controller is always assigned to
the master parameter of the wired pair. By default, this is the parameter that is clicked first in the
wiring interaction. The master parameter can also be designated with the Master radio buttons
beneath the Tree Views.

The animation sub-controller appears as a nested track inside the master parameters track in Track
View and its values directly drive and match the master parameter values. If the sub-controller is
keyframeable (which is the default when a two-way wiring is first established) it can be keyframed
by adjustments of either of the wired parameters. This means that if you keyframe the wired pair by
adjusting the non-master parameter, the values keyframed into the animation sub-controller are
derived from the master parameter transfer expresssion. Since the wired pair can be animated
through either parameter, the choice of master parameter is essentially just a convention.
Transfer Expression boxes
Underneath the parameter trees are the transfer expression text boxes. These expressions
determine how changes to each parameter affect the other and are usually inverses of one another.
For more information on expression syntax and scale, see Expression Techniques.
When the parameters are first wired, the default expressions are simple 1-to-1 links between the
parameters. These expressions can be edited into any valid script fragment that will yield a result of
the correct type for its parameter. For example, if you link a parameter such as height (which
contains a float value) to a parameter such as position (which contains a point3 value), your
expressions must include conversions that produce the same output value type.
For one-way wires, the Expression box for the controlling parameter is unavailable, since there is no
Wire controller assigned to it.
For two-way wiring, both transfer expression text boxes will be enabled. It is possible for the user to
supply transfer expressions for the two parameters that are not inverses of one another, but this is
of course discouraged, since the relationship of the parameters will be different depending on which
one is changed first.
Comments

Manipulator Helper Objects
Manipulator Helper Objects
Create panel > Helpers > Manipulators > Object Type rollout
Create menu > Helpers > Manipulators
Manipulator helpers are objects you can create to manipulate other objects. They let you add
customized controls to your scene that provide visual feedback in viewports. To control other
objects, manipulators use the parameter wiring feature.
Manipulators can be especially useful when you create a scene that will be used by more than one
animator.
There are three kinds of manipulator helpers:
Slider Manipulator
See also
Wire Parameters
Comments
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Create panel > Helpers > Manipulators > Object Type rollout > Plane Angle button
Create menu > Helpers > Manipulators > Plane Angle
The Plane Angle manipulator looks like a lever or joystick. By wiring its Angle value to a parameter
of another object, you can create a custom control, with visual feedback, within a scene.
Plane angle manipulator at different angles
Procedures
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To create a plane angle manipulator:
list.
2. Click to turn on Plane Angle.
3. Drag in a viewport, and then release the mouse.

The plane angle manipulator is always created vertically, along the Y axis of the viewport in
which you drag.
To change the angle of a plane angle manipulator:
2. In a viewport, move the mouse over the manipulator.

The manipulator turns red when the mouse is over it and it is available to be manipulated. Also,
a tooltip appears, showing the name of the manipulator and its current value.
3. Drag the handle of the plane angle manipulator.

The Angle value changes as you drag the manipulator. This value can range between 0.0 and
360.0.
To select a plane angle manipulator:
1. Turn on Select Object.
You can also use Select And Move, Select And Rotate, and the scale options on a
plane angle manipulator.
2. Turn off Select And Manipulate.

If you don't turn off Select And Manipulate, you adjust the manipulator's Angle value without
affecting its properties.
3. Adjust the properties of the selected manipulator.
To connect a plane angle manipulator so it controls another object:

1. Select the plane angle manipulator.
Note: Select And Manipulate must be off before you can select the manipulator.

3. In the pop-up menu, choose Object > Angle.

6. In the Parameter Wiring dialog, make sure the direction goes from the manipulator to the
object (or both directions), and then click Connect.

Now when you turn on Select And Manipulate and use the manipulator, the object updates
under the manipulator's control.
Interface
AngleThe angle of the manipulator, from 0.0 to 360.0 (both values are perpendicular in the Y axis
of the viewport where you created the manipulator, unless you have rotated the manipulator
object). Default=0.0.
DistanceThe length of the manipulator, in 3ds max units. Default=the distance of mouse drag
when the manipulator was created.
SizeThe size of the manipulator's handle, in 3ds max units. Default=1.0.

Comments

Slider Manipulator
Slider Manipulator
Create panel > Helpers > Manipulators > Object Type rollout > Slider button
Create menu > Helpers > Manipulators > Slider
The Slider manipulator is a graphic control that appears in the active viewport. By wiring its Value to
a parameter of another object, you can create a custom control, with visual feedback, within a
scene.
Note: Because the slider manipulator is a custom control, its Value has no inherent unit. It takes on
the unit of the parameter to which it is wired. When the minimum is 0.0 and the maximum is 100.0,
the slider Value can represent a percentage.
Slider manipulator
Using a Slider Manipulator
Slider manipulator components:

1. Label
2. Value
3. Move
4. Show/hide
5. Slider bar
6. Adjust value
7. Change width
The slider appears in the same location in whichever viewport is active.

You can adjust the slider's value by dragging the triangle below the slider bar. The triangle turns red
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Slider Manipulator
when you move the mouse over it. It represents the slider's value, and the value changes as the
triangle is dragged. You can also make the following changes without going into the Modify panel:
Dragging the small square at the left moves the slider.
Dragging the diamond at the right changes the width of the slider.
Clicking the plus sign (next to the move icon at the left) hides all of the slider except for the label
and the move icon.
Like the Value triangle, these components also turn red when you move the mouse over them.
Procedures
To create a slider manipulator:
list.
2. Click to turn on Slider.
3. Click a viewport.
The slider manipulator is created with its default width of 100 units. It will appear at the same
viewport location in whichever viewport is active.
To change the value of a slider manipulator:
1. Turn on Select and Manipulate.

The slider turns green.
2. In a viewport, move the mouse over the triangle below the slider bar.
The triangle turns red when the mouse is over it and it is available to be dragged.
3. Drag the value triangle of the slider manipulator.

The slider's value display changes as you drag the triangle.
To move a slider manipulator:

Slider Manipulator
2. In the active viewport, move the mouse over the move icon, which is the small square at the
left of the slider, below the sliders label (if there is one) and value display.
The square turns red when the mouse is over it and it is able to be dragged.
3. Drag the box to move the slider.

Unlike angle manipulators, transforms have no effect on sliders.
To connect a slider manipulator so it controls another object:
1. Select the slider.
Note: Select And Manipulate must be off before you can select the slider.

3. In the pop-up menu, choose Object > Value.

6. In the Parameter Wiring dialog, make sure the direction goes from the slider to the object (or
both directions), and then click Connect.

Now when you turn on Select And Manipulate and use the slider, the object updates under the
slider's control.
Interface

Slider Manipulator
NameThe slider label that appears in viewports. Default=none.

ValueThe value of the slider, based on the position of the slidable triangle. Default=0.0.
MinThe minimum possible value of the slider. Default=0.0.
MaxThe maximum possible value of the slider. Default=100.0.
When the minimum is 0.0 and the maximum is 100.0, the slider Value can represent a percentage.
X PositionThe slider's X location in the active viewport. Default=Viewport X location you clicked
when you created the slider.
Y PositionThe slider's Y location in the active viewport. Default=Viewport Y location you clicked
when you created the slider.
WidthThe slider's width, in 3ds max units. Default=100.0.
SnapWhen on, the slider "snaps" to incremental values delegated by the Snap Value setting.
Default=on.
Snap ValueThe increment used by the slider when Snap is on. Default=0.01.
HideWhen on, hides all of the slider except for the label and the move and show/hide components.
Default=off.
Comments

IK Display Options Rollout (HI Solver)
Create a bone chain > Add an HI Solver. > Motion panel
Here are the controls to turn on and off a variety of gizmos in the viewport. The Goal and End
effectors, the vector handle of the swivel angle manipulator, and the IK solver display itself, are all
located in this rollout.
Procedure
To see multiple IK solvers in a single chain:
1. In a chain with multiple IK solvers, select a goal in the viewport.
2. In the IK Display Options rollout, turn on IK Solver Display Enabled.
3. Select a second goal and repeat the process.

Each goal's display remains on whether it is selected or not.
Interface
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End Effector Display group
Controls the appearance of the end effectors in the IK chain. Off by default.
EnabledTurns the end effectors display on or off.
SizeControls the size of the end effector gizmo in the viewport.
Goal Display group
Controls the appearance of the goals in the IK chain. On by default.

EnabledTurns the goals display on or off.
SizeControls the size of the goal gizmo in the viewport.
Swivel Angle Manipulator group
Controls the display of the swivel angle manipulator in the IK chain. Default = on. Turn this on, then
turn on Manipulate mode to see the swivel angle manipulator.
EnabledTurns the swivel angle manipulators on or off.
SizeControls the size of the manipulator's handle in viewports.
LengthControls the length of the manipulator in viewports.
IK Solver Display group
Controls the appearance of the IK Solver display, the line drawn between the start and end joints.
Turn this on when you have multiple chains that you want to see at the same time.
EnabledTurns on or off the IK Solver display.
Comments
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Reactor Controllers
Reactor Controllers
menubar > Controller menu > Assign > Reactor
View menubar > Controller menu > Assign > Reactor
The Reactor controller is a procedural controller that reacts to changes in any other controller within
the software. Reactor comes in five different forms: Position Reactor, Rotation Reactor, Point3
Reactor, Scale Reactor, and Float Reactor. Any animatable parameter in the software can react to
changes in any other animatable parameter. Reactor is not based on time, but is based on other
variables in your scene.
You can use a reactor controller to turn on a light as an object nears a given point. Muscles can
bulge as an arm bone rotates. A ball can automatically squash as the ball's Z position nears the
ground plane. Feet can rotate as their heels are lifted from the floor.
A particle system can be triggered by any given event. Morph target percentages can be controlled
by events.
Procedures
Example: To make the position of a sphere react to the position of a box:
1. On the left side of the Top viewport, create a box.
2. Turn on Auto Key, and then drag the time slider to frame 100.
3. In the Top viewport move the box to the right side of the viewport.
4. Move the Time Slider to frame 0, and turn off Auto Key.
5. In the Front viewport, create a sphere slightly above the box.
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Reactor Controllers
6. Open Curve Editor.
7. Select Modes > Dope Sheet from the Track View toolbar, expand the sphere's tracks in the
Track View heirarchy, and select the Position track.
8. From the Track View menus, choose Controller > Assign, and select Position Reactor in the
dialog. Click OK to close the dialog.
A range bar appears in the Track View Key window for the sphere's position track. The Reactor
Parameters dialog is displayed.
9. Click the React To button in the dialog.
10. In a viewport, click the box (Box01).

A pop-up menu appears.
11. In the pop-up menu, choose Transform > Position.

Tip: Just choosing the object name, "Box01," in the top-level pop-up is a shortcut for the
object's position.
Box01\Position is displayed in the React To text. The first reaction (Reaction01) is created and
appears in the list. This is the sphere over the box.

The box moves half-way along its path.
13. On the Reactor Parameters dialog, click Create Reaction.

Reaction02 is displayed in the list window.
14. Turn on Edit Reaction State.
15. In the Front viewport, move the sphere high above and over the box.
16. Turn off Edit Reaction State.
18. Click Create Reaction.

Reaction03 is displayed in the list window.
19. Turn on Edit Reaction State.
20. In the Front viewport, move the sphere just above the box.
21. Turn off Edit Reaction State.
22. Scrub the time slider back and forth.

The sphere, without any position keys, reacts to the motion of the box and moves back and
forth. To smooth out the motion of the sphere, select Reaction02 in the list and set Influence to
400. Multiple reactions affect each other according to their Influence, Strength, and Falloff.

Reactor Controllers
23. Move the box around in the viewports. The sphere reacts as you move the box around.
You can also turn on Auto Key and change the box's animation. The sphere's reaction to the
box is preserved, and the path the sphere follows changes relative to the box's new positions.
To use manipulators for a position or rotation reactor controller:

(Point3, scale, and float reactors don't have manipulators.)
1. Select the object that has the reactor controller assigned to it.
2. On the default Main toolbar, click to turn on Select and Manipulate.

The manipulators appear in viewports.
3. In the active viewport, drag or click manipulators to adjust the reaction parameters.
When you move the mouse over a manipulator, the manipulator turns red to show that
dragging or clicking it will have an effect.
Tip: Use the reactor manipulators in a wireframe viewport. (See Viewport Right-Click Menu.)
Also, for the position reactor, you might have to change viewports to see a particular
manipulator clearly.
The specific manipulators and their use are described at the end of this topic.
Manipulators for Reactor Controllers
Reactors for position and rotation tracks have graphic manipulators to help you adjust their settings.
Other reactors, such as point3, scale, and float, do not have manipulators.
Manipulators are visible and usable while the Select and Manipulate button is turned on. This
button is on the default main toolbar. When you move the mouse over a manipulator, the
manipulator turns red to show that dragging or clicking it will have an effect.
Tip: Use the reactor manipulators in a wireframe viewport. (See Viewport Right-Click Menu.) Also,
for the position reactor, you might have to change viewports to see a particular manipulator clearly.
Position reactors have a set of manipulators to control (or simply display) different reactor values.
Reaction cycle manipulator: Click this to cycle among the various reactions in the Reaction List.
The display of the manipulators and indicators changes to show their settings for the active reaction.
This manipulator is a small yellow circle that appears in the lower-left corner of the active viewport,
near the icon for coordinate axes.
Influence manipulator: Drag in a viewport to change the manipulator's size, which changes the

Reactor Controllers
reactor's range of influence.

This manipulator is a yellow sphere that turns red when you can drag it. At the center of the
Influence manipulator is the Reaction Value manipulator.
Reaction Value manipulator: Drag in a viewport to change the reaction value, which for a position
track is an XYZ location.
This manipulator is a light blue sphere that appears at the center of the Influence manipulator.
Object Pivot indicator: Shows the pivot point location of the React To object.
This indicator is a dark blue sphere. You can't manipulate it.
Reaction State manipulator: Drag to adjust the reaction state. For position reactions, the reaction
state is an XYZ location that the reacting object approaches, depending on the animation of the
React To object and the Influence value.
This manipulator is a small green square.
Reaction State indicator: Shows the reaction state value. This indicator is independent of the
square green Reaction State manipulator, which you can drag in viewports. As you drag the green
square, the indicator follows it.
This indicator is a small dark-blue dot.
Rotation reactors have a single manipulator, which controls the reactor's Influence parameter.
Influence manipulator: Drag in a viewport to change the manipulator angle, which changes the
reactor's range of influence.
Interface

Reactor Controllers
After assigning the Reactor Controller, right-click the track to display the Reactor Parameters dialog.
Comments

Reactor Parameters Dialog (Reactor Controller)
Main toolbar > Curve Editor (Open) > Right-click a track bar in the Track View hierarchy that is
assigned the Reactor controller. > Reactor Parameters dialog
Graph Editors > Track View Curve Editor > Right-click a track bar in the Track View hierarchy that
is assigned the Reactor controller. > Reactor Parameters dialog
After assigning the Reactor controller, right-click the reactor controller track in the Track View hierarchy
to display the Reactor Parameters dialog. If you're using the Motion panel, right-click the transform
item to which the Reactor controller is assigned (for example, Position: Position Reactor) and then
choose Properties from the menu.
Interface
React ToClick, then select an object in the scene or use Select by Name on the main toolbar.
Choose a position, rotation, scale, or float track. Changes in the selected track will effect the parameter
you are controlling.
A default reaction is created after selecting a track. The Reaction Value is set to the current value at the
time the track was picked. The Reaction State is set to its current state. Both of these can be changed
at any time.
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React To Name fieldDisplays the name of the track you are reacting to.
(Current React-To Object value)This unlabeled field displays the current value of the parameter
being reacted to.
Reaction ListDisplays all the reactions.
Select a reaction from the list and edit its value, state, influence, strength, and falloff.
Name Edit fieldChanges the name of the selected reaction.
Create ReactionCreates a new Reaction.
The Reaction Value is set to the current value at the time you picked the track. The Reaction State is
set to the current state. Both of these can be changed at any time.
Delete ReactionDeletes the selected reaction.
Set Reaction ValueChanges the selected Reaction Value to equal the current value.
Setting this value causes the reaction's state to be reached as the current value reaches the newly set
value.
Edit Reaction StateAdjusts the reaction's stored state.
Move, scale or change the object (with the Reactor controller) in the viewports to edit its state for the
current reaction.
The Reaction State, is the position, rotation, scale, or floating point value the controlled track will reach
as the current value reaches the reaction value.
Float controllerWhen assigned, the state parameter becomes a spinner instead of a button.
Adjusting the spinner at any time will adjust the selected reaction's state.
InfluenceSet a range of influence around the reaction value. Position=world units,
Rotation=degrees, Float=number range.
When the current value is within the given influence range surrounding the reaction value, the
controlled parameter will approach the reaction state. If two reactions have overlapping influences, the
parameter is blended between the two reaction states.
StrengthSets a strength for each reaction.
When multiple reactions have overlapping influence, the strength value will weight the reactions in
comparison to one another. This can make a reaction stronger or weaker within the same range of
influence.
Falloff group
FalloffWhen Use Curve is off, the numeric Falloff setting specifies the ease-in and ease-out speed as
the current value travels from the reaction value to the outer limits of the influence range.
The Falloff setting uses an exponential function (1/(x^falloff)). Falloff values greater than 1.0 will cause
the controlled parameter to start off slowly and speed up. Values less than 1.0 will cause values to start
off fast and then slow down.
Use CurveWhen Use Curve is on, click the Curve button to open the Reactor Falloff Curve dialog, to
create a custom curve graph for the falloff. See the dialog description at the end of this topic.

Reaction Value fieldDisplays the value of the highlighted reaction.

As the Current React-To Object value reaches the Reaction Value, the controlled value approaches the
Reaction State.
This value can either be a float, a Point3, or a quaternion, depending on the track selected to react to.
Current Output fieldDisplays the current value of the client track.
This value is updated as the client track value changes.
Falloff and Reaction Curve Dialogs
You can use curves to control reactions. The type of control the curve dialog gives you depends on they
type of controller being reacted to.
When reacting to a position, rotation, scale, or point3 controller, the curve editor contains multiple
falloff curves. There are as many curves as there are reactions in the reaction list. Each curve
represents the falloff rate for its corresponding reaction.
When reacting to a float controller, the curves you see don't represent falloff. Instead, they are reaction
curves that control the combined motion of all reactions.
Falloff Curve Dialog
The falloff curve dialog appears for reactions to a position, rotation, scale, or point3 controller. The
curves it displays are ease curves that control the falloff for each reaction. Three-dimensional reactions
use a volumetric influence approach, where the falloff is the speed at which the reaction's influence
over the controller's value diminishes as it gets farther away from the reaction value and approaches
the outer influence range. The falloff curves give you more control then you get using a falloff spinner
with exponential falloff.
Reaction Curve Dialog
The reaction curve dialog appears for reactions to a float controller. The curve or curves represent the
reactor controller's output for different reaction values. The number of curves depends on the current
type of reactor controller. If it is a float reactor, there is only one curve. If it is a position, rotation,
scale, or point3 controller, there are three curves that correspond to the X, Y, and Z axes. They are
shown in red, green, and blue, respectively.
Then number of keys on the curve corresponds to the number of reactions. For example, if you have
three reactions, your curve contains three keys. The horizontal position of the keys represents the value
of the float controller the controller is reacting to. The vertical position of the keys represents the state
the controller is in when the given value is reached. You can move keys horizontally and vertically to
change the reaction's value and state. Inserting keys on the curve creates new reactions. Deleting keys
deletes reactions.
When reacting to a float controller, the curve entirely describes the motion of the reactor-controlled
object. For each reaction in the list, there is a corresponding key on the curve. The vertical value of the
key represents the reaction's state (the reactor's output value). The horizontal value of the key

represents the reaction value (the value the object you are reacting to). A vertical gray line represents
the current value of the object you are reacting to. The reactor current value is the value of the curve
at that line. With this model, there is no influence or falloff, just the slope and value of the curve, and
the distance between keys.
Procedures
To use a curve to control falloff for three-dimensional reactions:
1. If more than one curve is available, use the visibility buttons to choose the one you want to edit.
2. Add control points to the curve. You can set the values to be between 0 and 1.
3. Select a point and right-click it to change the type of interpolation.

A point can be a Corner, Bezier-Smooth, or Bezier-Corner. Bezier points display handles you can
adjust.
4. Move the control points to shape the curve.

Corner and Bezier-Corner points create discontinuities in the curve, for sudden changes in the
falloff rate.
To use a curve to edit reactions when reacting to a float controller:
1. Select control points on the curve.

The corresponding reaction becomes selected in the list.
2. Move control points on the curve to change the reactions:
Move the points left and right to change the reaction value.The reaction state will be reached
when the controller you are reacting to reaches the new value.
Move the points up and down to change the reaction state.The reactor's output value will
correspond to the new vertical value when that reaction is reached.
3. Change the value of the controller you are reacting to, or drag the time slider if the controller is
animated.
The gray vertical line indicates the current value. The value of the curve at that line is the
reactor's current value.
4. Insert a new point on the curve to create a new reaction that can be used to further define the
controller's value.
5. Delete points on the curve to remove reactions and simplify the overall motion of the controller.
Interface

Toolbar
These buttons and flyouts appear above the curve display.

Visibility On/Off TogglesIf there is more than one falloff curve, an On/Off Toggle appears for each
curve. The toggles are identified by number.
Status bar
These controls appear below the curve display.

PanAllows you to click and drag the curve display to move it left and right or up and down. Click once
to enable panning. Pan remains active until you click another button.
Zoom ExtentsFits the curve within the curve display both vertically and horizontally so that the


Zoom Horizontal ExtentsFits the curve horizontally within the curve display so that the full length
Zoom Vertical ExtentsFits the curve vertically within the curve display so that the full height of the
curve is visible.
Zoom HorizontallyScales the width of the curve display.
Zoom VerticallyScales the length of the curve display.
ZoomZooms in and out of the entire curve display.
Zoom RegionAllows you to drag a region in the curve display, and scales that region to fill the
display.
Comments

3ds max Toolbars
3ds max Toolbars

Many of the commands in 3ds max are available as buttons on a toolbar. By default, there are two
toolbars displayed: the main toolbar and the reactor toolbar. By default, the main toolbar is docked
at the top of the interface and the reactor toolbar is docked on the left side of the interface. You can,
however, place them wherever you want. See Customizing the User Interface for more information.
There are three more toolbars (Axis Constraints, Layers, and Extras) which are hidden by default. To
turn any of them on, right-click the main toolbar and choose the toolbar's name from the list. You
can use this method to turn any toolbar on or off.
See Customize Display Right-Click Menu for more information.
See also
Main Toolbar
Axis Constraints Toolbar
Layers Toolbar
reactor Toolbar
Extras Toolbar
Comments
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Main Toolbar
Main Toolbar
The main toolbar provides quick access to tools and dialogs for many of the most common tasks in
3ds max.
Note: Right-clicking the move, rotate, or scale buttons opens the Transform Type-In dialog.
Undo
Redo
Select and Link
Unlink Selection
Bind to Space Warp
Selection Filters List
Select Object
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Main Toolbar
Select By Name Button
Selection Region Flyout
Window/Crossing Selection Toggle
Select and Move
Select and Rotate
Select and Scale Flyout
Use Center Flyout
2D Snap, 2.5D Snap, 3D Snap

Main Toolbar
Angle Snap
Percent Snap
Spinner Snap
Named Selection Sets Dialog
Named Selection Sets
Mirror Selected Objects
Align Flyout
Layer Manager
Curve Editor
Schematic View
Material Editor
Render Scene Dialog

Render Type

Main Toolbar
Comments

Using Set Key Mode
Using Set Key Mode

The Set Key animation system is designed for the professional character animator who wants be able to
try out poses and then commit those poses to keyframes intentionally. It is a way of working that allows
more control than the Auto Key method, since it gives you the chance to try out ideas and discard them
quickly without having to undo work. It lets you pose your character, and selectively key certain tracks
on certain objects through the use of Key Filters and Keyable tracks in Track View.
Straight-Ahead and Pose-to-Pose
Traditional animation is created one of two ways, either straight-ahead animation or pose-to-pose
animation. Straight-ahead animation is drawn starting from the beginning and then additional frames
are drawn sequentially thereafter, moving straight ahead in time. Pose-to-pose animation is created by
drawing the important frames first, (extremes and breakdowns), and then the frames in-between are
filled in later.
Once a character has been correctly drawn for a specific frame, pose-to-pose animation requires that all
the keyable tracks needs to be keyframed. This creates a pose of the character that will not be affected
if animation for the character is edited at other points in time. If all the animatable tracks are keyed in
the extremes, the in-betweening work will not destroy any of those poses.
Set Key and Pose-to-Pose Animation
The number of objects and tracks that require keying for a character, even a simple character, is not
something that can be easily handled manually. Set Key makes this process easier by listing all the
tracks that are parts of the character that have to be keyed when you want to fix a pose and create a
snapshot in time. Keyable tracks let you determine which tracks can be keyed, then Key filters let you
work on them selectively, placing keys on only the tracks you want.
Differences Between Set Key and Auto Key Modes
Set Key mode differs from Auto Key in a number of ways.
In Auto Key mode, the workflow is to turn on Auto Key, move to a point in time, then
transform objects or change their parameters. All changes register as keyframes. When you turn off
Auto Key mode, you no longer are creating keys. Changes made to objects when Auto Key mode is off
are applied globally to the animation. This is referred to as Layout mode.
In Set Key mode, the workflow is similar, but the behavior is fundamentally different. Turn on
Set Key mode, then move to a point in time. Before you transform or change object parameters, you
determine the tracks you want to set keys on using Keyable icons in Track View and Filters. Once you
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Using Set Key Mode
know what you plan to key, you try out poses in the viewport (transform the objects, change
parameters, and so forth).
When you like what you see, click the large Set Keys button or press K on the keyboard to set
a key. If you don't do this, no keys are set.
If you move to another point in time, your changes are lost and have no effect on your animation. For
example, if you find that you have a posed character, but at the wrong frame in time, you can hold
down SHIFT and the right-mouse button and drag the time slider to the correct frame without losing
your pose.
Using Set Key with Inverse Kinematics
Choosing IK Parameters in Key Filters allows you to use Set Key to keyframe inverse kinematics. This
lets you set keys for IK goals using Set Key as well as other IK parameters such as Swivel Angle or
Twist.
As always, when using Set Key, you can selectively keyframe tracks by combining Keyable icons in
Track View with Key Filters.
Set Key doesn't currently support IK/FK Enabling, so don't try to keyframe the Enable button using the
Set Key button or the keyboard shortcut. Use the Auto Key method when you want to work with IK/FK
blending.
Using Set Key with Materials
If you select Materials in Key Filters, you can use Set Key to create keys for materials. Be forewarned
that you need to use Keyable Icons to limit the tracks which get keyed. If you simply turn on Materials
and set a key, you will place keys on every Material track, something you probably don't want to have
happen.
Using Set Key with Modifiers and Object Parameters
When you want to set a key on an object's parameters, and you have the Object parameters Key Filter
selected, every parameter will receive a key, unless you have turned off the parameter track in the
Controller window of Track View using Keyable icons. It might be easier to simply SHIFT+right-click the
parameter spinner to set the key.
Also make sure both Modifiers and Object Parameters are turned on in the Filters dialog when you are
keyframing a modifier gizmo.
Additional Set Key Tools
Additional Set Key tools are found in the Customize User Interface dialog. On the Keyboard panel,

Using Set Key Mode
choose Set Key tools from the Category field. Here, you can set keyboard shortcuts to clear the set key
buffer, as well as create keys on just a single axis for a transform.
Using Set Key with Sub-Object Animation
When using Set Key with sub-object animation, you must first assign a controller before creating a key.
Sub-objects do not have a default controller assigned upon creation. The controller is assigned by
animating at the sub-object level.
Other Methods to Set Keys
You can also set position, rotation, and scale keys by right-clicking the Frame Indicator of the time
slider. To set keys on parameters that have spinners, hold down the SHIFT key and right-click to set a
key using the existing parameter value.
Procedures
To use Set Key animation:
1. Turn on the Set Key button.
When the button is red you are now in Set Key mode.
This is a mode where you can try out ideas before you commit to them.
2. Open Track View (either Curve Editor or Dope Sheet).
3. Click the Show Keyable button on the Track View toolbar.

4. Turn off all the other tracks you don't want to keyframe.
The red key means the track will be keyed. If you click the red key, it turns to a gray key,
which means that track will not be keyed.
Tip: You can toggle multiple tracks as keyable by using the Controller menu > Keyable command.
When you are finished, minimize or close Track View.
5. Click the Key Filters button, and turn on the Filters to choose the tracks you
want keyframed.
Position, Rotation, and Scale are on by default.
You can use the Key Filters button to work on individual tracks selectively. For example, if you are
in Track View and the Rotation and Position tracks of a character's arm are keyable, you can use
the key filters to turn off the Position filter and only work on the Rotation tracks.
6. Move the time slider to another point in time, transform your objects or adjust parameters in the

Using Set Key Mode
command panels to create animation.

This does not yet create keyframes.
7. Click the Set Keys button or press K on the keyboard to set a key.
When the button turns red, it sets a key which appears on the time ruler. The keys are
color coded to reflect which tracks are being keyed.
If you don't click Set Keys and you move to another point in time, the pose is lost.
Tip: To move the pose to another point in time, use the right mouse button to press and drag the
time slider. This lets you move to another frame number without losing the pose.
To animate a vertex using set key:
1. Create an editable spline.
2. Select a vertex.
4. Move the selected vertex.

Now a controller has been assigned to the vertex. From this point forward, you can animate.
To set a key on every keyable track of an object:
1. Select the object for which you need to set keys.
2. On the Key Filters dialog, click All.
3. Click the Set Keys button or press K on the keyboard.
Comments

IK Solvers
IK Solvers
Select an object in a hierarchy where you want IK to start > Animation menu > IK Solver > Apply
an IK solver > Click the object in the hierarchy where you want the IK chain to end
An IK solver creates an inverse kinematic solution to rotate and position links in a chain. It applies
an IK Controller to govern the transforms of the children in a linkage. You can apply an IK solver to
any hierarchy of objects. You apply an IK solver to a hierarchy or part of a hierarchy using
commands on the Animation menu. Select an object in the hierarchy, choose an IK solver, and then
click another object in the hierarchy to define the end of the IK chain.
Bones system with HI IK solver applied
Each type of IK solver has its own behavior and workflow, as well as its own specialized controls and
tools that display in the Hierarchy and Motion panels. IK solvers are plug-ins, so programmers can
expand the software's capabilities by customizing or writing their own IK solvers.
3ds max ships with four different IK Solvers
How Does an IK Solver Work?
An IK solver generally operates in this way: an inverse kinematic chain is defined on part of the
hierarchy, say from the hip to the heel, or the shoulder to the wrist of a character. At the end of the
IK chain is a gizmo, called the goal. The goal can be repositioned or animated over time in a variety
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IK Solvers
of ways, often using linkage, parameter wiring or constraints. No matter how the goal is moved, the
IK solver attempts to move the pivot of the last joint in the chain (also called the end effector) to
meet the goal. The IK solver rotates the parts of the chain to stretch out and reposition the end
effector to coincide with the goal.
Using an IK solver to animate an arm
Frequently, the end effector is constrained to the ground plane. For example, you might "pin" the
toes as the heels lift in a character walk cycle. Then the movement of the root of the chain poses the
legs up from the toes.
Four plug-in IK solvers ship with 3ds max 6:
HI (History-Independent) Solver
The HI Solver is the preferred method for character animation, and for any IK animation in long
sequences. With HI Solvers, you can set up multiple chains in a hierarchy. For example, a
character's leg might have one chain from hip to ankle, and another from heel to toe.
Because this solver's algorithm is history-independent, it is fast to use regardless of how many
frames of animation are involved. Its speed is the same on frame 2000 as it is on frame 10. It is
stable and jitter-free in viewports. This solver creates a goal and an end effector (although the
display of end effector is off by default). It uses a swivel angle to adjust the solver plane to
position the elbow or the knee. You can display the swivel angle manipulator as a handle in the
viewport, and adjust it. HI IK also uses a preferred angle to define a direction for rotation, so the
elbow or knees bend correctly.
HD (History-Dependent) Solver
The HD Solver is the best solver to use for short sequences only. It is good for animating

IK Solvers
machines, especially ones with sliding parts.

Because this solver's algorithm is history dependent, it works best for short animation sequences.
The later in the sequence it is solving, the longer it takes to calculate a solution. It allows you to
bind the end effector to a follow object, and it uses a system of precedence and damping to define
the joint parameters. It allows for sliding joint limits combined with IK animation, unlike the HI IK
solver, which only allows for sliding joint limits when using FK movement.
IK Limb Solver
The IK Limb solver operates on only two bones in a chain. It is an analytical solver that is fast in
viewports, and can animate the arms and legs of a character.
The IK Limb solver can be used for export to game engines. Its code is a component delivered as
part of the Discreet Open Source initiative.
Spline IK Solver
The Spline IK solver uses a spline to determine the curvature of a series of bones or other linked
objects.
Vertices on a Spline IK spline are called nodes. Like vertices, the nodes can be moved and
animated to change the curvature of the spline.
The number of spline nodes can be fewer than the number of bones. This provides the ease of
posing or animating a long multiple-bone structure with just a few nodes, as opposed to
animating each bone individually.
Spline IK provides a more flexible animation system than other IK solvers. Nodes can be moved
anywhere in 3D space, so the linked structure can be intricately shaped.
A helper object is automatically placed at each node when Spline IK is assigned. Each node is
linked to its corresponding helper, so a node can be moved by moving the helper. Unlike the HI
Solver, the Spline IK system does not use a goal. The positions of nodes in 3D space is the only
factor that determines the shape of the linked structure. Rotating or scaling nodes has no effect
on the spline or structure.
Note: 3ds max also provides two other methods of inverse kinematic manipulation of hierarchies,
which don't depend on a solver: Interactive IK and Applied IK.
IK with Bones
While you can apply an IK solver to any hierarchy of objects, a system of Bones combined with an IK
solver is a good way to animate a character.
A bones system is a jointed, hierarchical linkage of bone objects. Bones are used as an armature on
to which objects are linked. If you use the skin modifier, you can "skin" an object to the bones, so
the animation of the bones deforms the mesh that models a character. If you have a jointed
character, you can use linkage or constraints so the bones animate the mesh.

IK Solvers
Animating bones with skin causes the skin to stretch or shrink.
Turning Other Objects into Bones
Any object can be displayed as a bone object. Select any object and open Bone Tools from the
Character menu. In the Object Properties rollout, choose Bone On. Then go to the Display panel, in
the Link Display rollout turn on Display Links and Link Replaces Object to display the bones instead
of the object. This can be useful if you have a geometrically intensive hierarchy to animate. The
interactive viewport response will be much quicker when the geometry is hidden and displayed only
at links.

IK Solvers
Any object hierarchy can be displayed as bones.
Bones can scale, squash and stretch over time. See Using Objects as Bones.
Link Display
You can use Display Links and Link Replaces Object to display the links instead of the object. These
settings are found in the Link Display rollout on the Display panel. This can be useful if you have a
geometrically intensive hierarchy to animate. The interactive viewport response will be much quicker
when the geometry is hidden and displayed only at links.
Advantages of Animating Bones with IK
It is possible to animate a character's motion through forward kinematics, rotating each limb into
position from the shoulder to the fingers, and the hips to the toes. But it's a lot quicker and more
realistic to use inverse kinematics to simulate the foot interacting with the ground. And it is a lot
easier to control when you need to make changes to the animation. Rather than having keyframes
on every bone in the chain, you have to make changes to only one node, to change the animation of
the entire chain.
On the other hand, it is common for animators to use IK for the legs and FK for the torso and the
arms. FK offers a bit more control for posing the upper body. It is not necessary to use IK for every
character animation task. Using the HI IK solver allows you to jump back and forth easily between
FK and IK.

IK Solvers
How to Apply an IK Solver
You can apply an IK solver when you create a Bones system, or from the Animation menu:
Bones creation
When you create bones, turning on the Assign to Children option lets you apply an IK solver
immediately. Default=Off.
Animation menu
You can apply the IK solver to a part of the skeleton using Animation menu > IK Solver. You must
select the node where you want the IK chain to start, then choose Animation menu > IK Solvers
and select the solver. Then click the node where you want the chain to end. The chain will be
created between the pivot points of the two nodes. If you are using an IK Limb Solver, the IK goal
will be placed two bones down from the highest node you've selected in the chain.
Where to Adjust the IK Solver
You adjust IK solver settings in the Motion and Hierarchy panels:
Motion panel
When the goal of an IK chain is selected, the motion panel displays the rollouts for the individual
IK solver.
HI SolverMotion panel parameters adjust the swivel angle of the solver plane, to point the
knees and elbows. Also, the controls in the IK Solver rollout let you mix periods of IK with FK
(forward kinematics) through the Enabled button and the IK button.
HD SolverMotion panel parameters assign, remove, and edit the end effector for the currently
selected joint. You can parent the end effector to another object, and return the skeleton to an
initial pose. Changing IK controller parameters in the Motion panel affects the entire HD IK chain,
even when you've selected only a single bone.
IK Limb SolverMotion panel parameters for the IK Limb solver are the same as for the HI
Solver.
Spline IK SolverMotion panel parameters allow you to activate/de-activate the solver, adjust
the bones assigned to the start and end joints, adjust start and end twist angles and make twist
handle display settings.
Hierarchy panel
HI SolverWhen a bone is selected, the IK panel displays controls to activate and limit the
rotational joints, and set a preferred angle for the joints. The preferred-angle poses of all the
joints help control the direction of rotation of the limbs. When a goal is selected, the IK panel is
blank.
HD SolverSelect the end effector of an HD IK chain. In the Hierarchy panel, click IK. The

IK Solvers
controls that appear affect the HD Solver. You will also find the tools to bind to follow objects, and
set precedence and joint limits, damping and spring back.
IK Limb SolverWhen a bone is selected, the IK panel displays controls to activate and limit the
rotational joints, and set a preferred angle for the joints. The preferred-angle poses of all the
joints help control the direction of rotation of the limbs. When a goal is selected, the IK panel is
blank. If you select a bone before applying an IK Solver, a different set of sliding and rotational
joint parameters will be displayed, but these will be replaced once an IK Solver is applied.
Spline IK SolverSelect the spline of an Spline IK chain. In the Hierarchy panel, click IK. The
controls that appear affect the Spline IK Solver. You will also find the tools to bind to follow
objects, and set precedence and joint limits, damping and spring back. The controls in the IK
panel are similar to the HD Solver.
Procedures
To add an IK solver to a hierarchy or bones system:
1. Create a bones system or any other linked hierarchy of objects.
2. Select a bone or an object where you'd like the IK chain to start.
3. Choose Animation menu > IK Solver, and choose the IK solver:
HI Solver for character animation
HD Solver for mechanical assemblages with sliding joints
IK Limb Solver for two-bone chains
Spline IK Solver for improved control of intricate, multiple-bone structures
4. Click where you want the IK chain to end.

If you are using the IK Limb Solver, you must apply the IK Solver to control only two bones.
The IK solver appears in the viewport.
To create a bones hierarchy that uses an IK solver:
1. Go to the Create panel, choose Systems, and click Bones.
2. In the IK Chain Assignment rollout, select an IK solver from the list.
3. Turn on Assign To Children.
4. Click and drag in a viewport to create the bones. Right-click to stop bone creation.
The bones are drawn with the IK solver already applied.
Note: If you use the Spline IK Solver, a Spline IK Solver dialog will appear where you can make

IK Solvers
special settings for the spline and helpers used by the Spline IK solver.
To display a hierarchy of objects as bones:
1. Select the hierarchy of objects in the viewport.
2. On the Character menu choose Bone Tools.
3. Expand the Object properties rollout.
4. In the Bone properties group, turn on Bone On.
5. On the Display Panel, scroll down to Link Display and expand it.
6. On the Link Display rollout, turn on Display Links, and Link Replaces Object.
The objects disappear and the links are displayed as bones.
Comments

Animating with the IK Limb Solver

The IK Limb solver is specifically meant for animating the limbs of human characters; for example,
the hip to the ankle, or the shoulder to the wrist. Each IK Limb solver affects only two bones in a
chain, but multiple solvers can be applied to different parts of the same chain. It is an analytical
solver that is very fast and accurate in viewports.
To use the IK Limb solver, a bones system must have at least three bones in the chain. The goal is
placed at the pivot point of the bone that is two bones away from the first selected bone.
The IK Limb solver works not only with bone hierarchies, but with any linked hierarchy that has at
least three elements, and is set up to model a human limb. The additional requirements are:
The first joint is "spherical." That is, it has three degrees of freedom.
The second joint is "revolute," a robotics term that means it is based on a pin and has one degree
of freedom.
The IK Limb solver uses the same controls as the HI Solver, so it allows for mixing periods of
forward and inverse kinematics in the same animation period. It does not use the HD Solver
methods of damping, precedence, and setting joint limits, instead it has a preferred angle
parameter, swivel plane and IK/FK Enabling.
The IK Limb solver is provided as part of the Discreet Open Source initiative, so it can be exported
directly to a game engine.
Procedures
To apply a IK limb solver:
1. Create a chain that has three bones.
2. Select the root of the chain.
3. From the Animation menu, choose IK Solvers > IK Limb Solver.
4. In the viewport, move the mouse. You will see a dotted line attached to the cursor as you move
the mouse.
5. Click the third bone in the chain, or any bone after the third bone.
The IK Limb solver displays on the bone chain. The IK Limb solver only affects two bones in the
chain, but you need to select the third bone to put it on the other two bones.
To animate an IK limb solver chain:
1. Apply the IK Limb solver to a two bone chain, with joint limits as described above.
2. Select the goal.
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3. Move or rotate the goal.
Interface
The Interface for the IK Limb solver is identical to that of the HI Solver.
Select the goal at the end of the chain, and open the Motion panel. Here you will see the
controls for the IK Limb solver. (The fourth is available from the Hierarchy > IK panel when a bone
is selected.)
See also

Sliding and Rotational Joints (HI Solver)
Comments
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Select an HI or IK Limb Solver IK Chain control (the blue cross at the end of the chain.) > Motion
panel > Parameters button > IK Solver rollout
The HI Solver is a history-independent solver that doesn't rely on the calculations from previous
frames for the IK solution, so it is fast to use no matter the length of your animation. The history-
independent solver uses a goal to manipulate the end of the chain. It uses a preferred angle that
specifies a preference regarding which direction the link will rotate: positive or negative. The
preferred angle can also be considered as the initial angle; that is, the angle at which the link was
rotated at the time the solver was applied.
The IK solution takes place in a plane, known as the solver plane. The angle of the solver plane is
controlled by a parameter called the swivel angle.
Changing the swivel angle
The angle of the solver plane is actually calculated in one of two coordinate systems: the Start Joint
Parent space or the IK Goal Parent space. World space is not an explicit option; however, you can
easily configure the IK chain to work in world space by choosing the IK Goal Parent option and
making sure that the IK goal is unlinked (i.e., has no hierarchical parent). In this case, the IK goals
parent is the world, and therefore, the solver plane will be computed in world space.
The swivel angle is animatable. You can adjust it directly, or with a manipulator. Or you can target
the swivel angle to a object and animate that to affect the swivel angle. These parameters are on
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the IK Solver Properties rollout.

The HI Solver is designed to let the animator jump back and forth between forward and inverse
kinematics quickly and conveniently, with tools to automatically enable IK and snap the goal to the
end effector.
Procedures
To turn off IK on a chain:
1. Select the goal of a chain with an HI Solver.
2. In the Motion panel IK Solver rollout, turn off Enabled.

IK is now off, so you can select and rotate any of the objects in the chain. Turning IK on and off
is animatable using the Auto Key button.
To mix IK and forward kinematics (FK) in a single animation track:
1. Apply an HI IK Solver to a hierarchy or bone system.
2. Turn on the Auto Key button and move the time slider ahead in time.
3. Select the goal of the IK Chain, and open the Motion panel.
4. Select and move the goal to animate the IK chain with Inverse Kinematics.
5. Advance the time slider again.
6. In the IK Solver Rollout, turn off Enabled and IK for FK Pose.
7. Select and rotate the root. The entire hierarchy rotates freely. You are now adding keyframes
using forward kinematics.
To match the goal and the end effector positions:
1. If the goal and end effector become separated, click IK/FK Snap and the goal will move to
match the end link of the chain.
2. If AutoSnap is turned on, clicking the goal will automatically perform the snap action, matching
the goal and end effector positions.
Interface

IK Solver group
The items in this group provide the ability to set the start and end points of the selected HI IK solver
chain. There are also controls in this rollout that allow you to use IK manipulation to create forward
kinematic rotational keyframes on the hierarchy objects, and there are buttons to align the goal and
the end effector.
Solver fieldAllows selection of IK Solver. Choose between the HI IK Solver and the IK Limb Solver
here. Any HI IK plug-in solver present at startup will appear in this list, as well.
EnabledTurns IK control of the chain on and off.
The HI IK Controller has an FK sub controller. When Enabled is selected, the FK subcontroller values
are overwritten by the IK controller. When Enabled is turned off, the FK values are used. You can
animate Enabled On and Off.
Use this to turn off the chain control by the goal, when you want to do forward rotations.
IK for FK PoseLets you turn on IK in middle of FK manipulation. When Enabled is off and IK for
FK Pose is on, moving the goal will turn on IK automatically in the middle of an FK manipulation. The
result of this is that all the FK subcontrollers receive values from the IK solution. Keys are placed on
the hierarchy objects or the bones, not on the goal. When both Enabled and IK for FK Pose are
turned off, moving the goal does not affect the chain at all.
IK/FK SnapPressing this button performs an IK snap when in FK mode, and an FK snap in IK
mode.

IK SnapIf the goal has moved away from the end of the chain, pressing IK/FK Snap moves the
goal to coincide with the end link position.
FK SnapThe values of FK subcontrollers are suppressed by the solution of IK when IK is on
(Enabled is on). Their values don't always correspond to the current pose of the chain. If you turn off
Enabled, the values of FK subcontrollers will suddenly take over. This can cause the chain to jump.
FK Snap, before Enabled is turned on, forces the FK subcontrollers to assume values from the
current pose (which is determined by the IK.) This eliminates the jump in the chain's animation.
Auto SnapWhen Auto Snap is turned on, an IK/FK snap will automatically be applied before you
turn Enabled on or off. If Auto Snap is not turned on, you will have to press IK/FK Snap before
changing Enabled, otherwise the chain will jump.
Preferred Angles group
Set As Pref AnglesSets the preferred angle for each bone in the HI IK chain. The current parent-
space rotation of each bone is placed into its X, Y, and Z Preferred Angle rotation channels as seen in
the Rotational Joint rollout of the Hierarchy|IK panel. This is useful for esablishing a perfect match
frame when transitioning between forward and inverse kinematics.
Assume Pref AnglesCopies the X, Y, and Z preferred angle channels of each bone and places
them into its FK rotation sub-controller. This essentially performs the inverse operation of the Set As
Pref Angles function.
Bone Joints group
Allows you to change the ends of the IK chain.

Pick Start JointDefines one end of the IK chain. Select from the viewport or by name (press H).
Pick End JointDefines the other end of the IK chain. The direction of the chain is defined by the
hierarchy, not by Start and End Joint. Select from the viewport or by name (press H).
Warning: If you change the Start or End Joints so the IK Limb Solver so there are more
than two bones between the start and end, the solver will not work. Moving the IK goal
will not affect the bones.
Tip: The Order of the Hierarchy determines the direction of the chain. You cannot reverse the
direction of the chain by picking Bone 10 as the start and Bone 1 as the end.
Comments

Create a bone chain. > Apply an HI Solver > Select any bone in the chain. >Open Hierarchy panel.
> IK button
Here are the controls for setting the joint limits when using the HI Solver. You can turn X, Y, or Z
axes on or off, limit them, and set those limits here. This is also where the preferred angle is
defined, and adjusted. The preferred angle defines the direction a chain will bend, which angle a
chain will tend to rotate toward.
Note: Sliding joints are implemented in the HI Solver, but they do not take part in an IK solution.
They do, however, take part during FK interactive manipulation.
Use the HD Solver if you need to animate sliding joints with inverse kinematics.
Procedures
Example: To set the direction an IK chain will bend (preferred angle):

To understand setting the preferred angle it helps to use a simple example.
1. Go to Create panel > System and turn on Bones.
2. Turn on Assign to Children and make sure the HI Solver is displayed in the Solver name field.
3. In the Top viewport, create a bone chain of four bones in a straight line .
4. Turn on the Auto Key button, and move the time slider to frame 50.
5. Select and move the goal so it is close to the root node.
6. Select any bone in the chain.
7. On the Hierarchy panel > IK panel, open the Rotational Joint rollout.
8. There are three axes. Find the one with the preferred angle that is not zero.
9. Change the preferred angle. If it is negative make it a positive one.
10. Play the animation, see how changing the preferred angle can redefine the direction of the
rotation.
To set rotational joint limits on a hierarchy of objects or a bone chain:
1. Create a bone chain or a hierarchy of objects.
2. Select any object in the chain.
3. On the Hierarchy panel > IK panel, open the Rotational Joint rollout.
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4. If you want to limit an axis, turn on Active and Limited, and set the values of From and To. The
hierarchy will rotate in the viewport.
Tip: Pressing the From and To labels instantly rotates the bone to those angles.
Interface
Sliding Joints rollout
X, Y, Z Axis groups
ActiveActivates an axis (X/Y/Z). Allows the selected object to slide on the activated axis.
LimitedLimits the range of motion allowed on an active axis. Use in conjunction with the From and
To spinners. Most joints are limited in their range of motion along an active axis. For example, a
piston slides only within the length of its cylinder.
From and To spinnersDetermine for position limits. Use in conjunction with the Limited function.
Clicking the labels From and To moves the object to its limit position. Use this to check the sliding
limits on an object.
Rotational Joints rollout

X, Y, Z Axis groups
ActiveActivates an axis (X/Y/Z). Allows the selected object to rotate about the activated axis.
LimitedLimits the range of rotation allowed on an active axis. Use in conjunction with the From
and To spinners. Most joints are limited in their range of rotation along an active axis. For example,
a wheel rotating around an axle could be limited to rotate around only one axis.
From and To SpinnersDetermine for rotation limits. Use in conjunction with the Limited function.
Clicking the labels From and To rotates the object to its limit rotation. Use this to check the rotation
limits on an object.
Preferred Angle Used by the HI Solver to set the initial pose for internal calculations. Determines
the direction of rotation preferred by a bone.
Comments

Animating with the Spline IK Solver
Animation menu > IK Solvers > Spline IK Solver
Create panel > Systems > Bones > Choose SplineIKSolver from the IK Solver list.
The Spline IK solver uses a spline to determine the curvature of a series of bones or other linked
objects.
The spline vertices can be moved and animated to change the curvature of the spline. Usually, a
helper is placed at each vertex to assist in animating the spline. The spline curvature is then passed
on to the entire linked structure. The bones themselves do not change shape.
The number of spline vertices can be fewer than the number of bones. This provides the ease of
posing or animating a long multiple-bone structure with just a few nodes, as opposed to animating
each bone individually.
Spline IK provides a more flexible animation system than other IK solvers. Vertices/helpers can be
moved anywhere in 3D space, so the linked structure can be shaped in any way.
A helper object is automatically placed at each vertex when Spline IK is assigned. Each vertex is
linked to its corresponding helper, so a vertex can be moved by moving the helper.
Unlike the HI Solver, the Spline IK system does not use a goal. The positions of helpers/vertices in
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3D space is the only factor that determines the shape of the linked structure.
Note: Moving the Spline IK helpers to curl the spline can sometimes cause bones to rotate or flip
unexpectedly. If this happens, you can try choosing a different upnode object with the IK chain's
Pick Upnode option in the IK Solver Properties rollout (see Spline IK Solver Rollouts), or use a
different IK method for your hierarchy.
Applying a Spline IK Solver
The Spline IK solver can be applied at the time bones are created, or after the bone structure has
already been made.
To apply a spline IK solver when bones are created:
1. Choose Create panel > Systems > Bones.
2. In the IK Chain Assignment rollout, choose SplineIKSolver, and check Assign to Children and
Assign to Root.
3. Draw the bone structure as usual. When you right-click to end the bone creation process, the
Spline IK Solver dialog appears. Set parameters and click OK.

This procedure automatically draws the spline based on your dialog selections and sets up the
Spline IK system to work with the spline. A position constraint is automatically assigned to the
root bone to constraint it to the helper/vertex at that end of the spline.
To apply a Spline IK solver to an existing bone structure:
1. Create a bone structure without an IK chain.
2. Draw a spline or NURBS curve to be used by the bones. The spline can have any length or
shape, and does not have to match the length or shape of the bone structure. You can also
apply a Spline IK Control modifier to the spline to create a helper at each vertex, which makes
the spline easier to control.
3. Select the bone or object where you want to the solver to start.
4. Choose Animation menu > IK Solvers > Spline IK Solver. In the viewport, move the cursor to
the bone or object where you want the chain to end and click that bone. Then move the cursor
to the spline and click it.

The bone structure jumps to the spline and takes its shape, and a helper is created on the
spline at each vertex. A position constraint is automatically assigned to the root bone to
constraint it to the helper/vertex at that end of the spline.

To specify a spline after the spline IK solver is applied:

You can also apply a Spline IK solver to an existing bone structure without selecting a spline, then
choose the spline later.
1. Create a bone structure without an IK chain.
2. Select the bone or object where you want to the solver to start.
3. Choose Animation menu > IK Solvers > Spline IK Solver. In the viewport, move the cursor to
the bone or object where you want the chain to end and click that bone. Then right-click in the
viewport to end the IK solver creation without choosing a spline.
4. Create a spline or NURBS curve to be used with the Spline IK system. It is recommended that
you apply the Spline IK Control modifier to it to place helpers at each vertex and make the
spline easier to control.
5. Select the IK chain cross hairs and access the Motion panel. In the Spline IK Solver rollout,
click Pick Shape and click the spline.
With this method, the position constraint is not automatically assigned to the root bone, so it
must be assigned manually.
6. Select the root bone. Choose Animation menu > Constraints > Position Constraint, and click
the helper at the end of the spline that you want the root bone to follow.
On the Motion panel's Position Constraint rollout you will see the constraint assignment to the
helper/vertex.

To make the bones follow a path:
1. Follow steps 15 in the previous procedure.
2. Select the root bone. Choose Animation menu > Constraints > Path Constraint, and click the
spline.
3. With the root bone selected, go to the Motion panel. On the Path Parameters rollout, animate
the % Along Path parameter to make the bones move along the spline path.
Working with the Spline IK Solver
To use the Spline IK Solver, move the helpers to shape the spline. Do not move the spline. The
shape of the spline is determined by the positions of the vertices, so moving the spline itself has no
effect on the bone structure. If the spline is moved, it will snap back to the helpers the next time a
helper is moved. However, it is recommended that you not move the spline at all.
Once you have finished setting up the spline IK solver, it can be helpful to freeze the spline to avoid
accidentally moving it.
Moving helpers changes the shape of the spline. To twist the spline, select the spline IK chain object
and go to the Motion panel to change twist angles in the IK Solver Properties rollout.

See also
Spline IK Solver Rollouts
Comments

Select a Spline IK Solver control (the blue cross at the end of the chain) > Motion panel >
Parameters button
When a Spline IK chain is selected, the options on the Motion panel can be used to change the
starting and ending bones, and twist angles for the entire linked structure.
To create a Spline IK Solver, see Animating with the Spline IK Solver.
Interface
Spline IK Solver rollout
The options on this rollout allow you to pick a new spline for the spline IK chain, or pick new start
and end joints for the chain.
Spline IK Solver group
Spline IK SolverDisplays the name of the solver. The only available solver is Spline IK Solver.
EnabledTurns control of the solver on and off.
Bone Joints group
Pick Start JointPicks the start joint for the Spline IK Solver and displays the object name.
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Pick End JointPicks the end joint for the Spline IK Solver and displays the object name.
IK Solver Properties rollout
The options on this rollout set the start and end twist angles for the spline IK chain. The twist
manipulators on each end of the chain show the degree of twist.
Twist Start AngleSets the twist angle for the entire chain, rotating all bones in the chain.
Twist End AngleSets the twist angle for the end joint relative to the start joint, creating a gradual
twist over the entire chain.
Pick UpnodeWhen Spline IK is assigned to a bone chain, the IK system attempts to determine the
up direction for bones, which is the direction in which the bones' back fins should point. The Spline
IK Solver might interpret this direction incorrectly, causing bones to flip to one side or the other.
Picking an upnode causes the up direction to point along the picked object's local Z axis. By
default, the upnode is set to the first helper/knot on the spline, which usually causes the up
direction to be interpreted correctly..
UseUse the picked node to specify the up direction for the root bone.
IK Display Options rollout
The options on this rollout set the display of twist manipulators and the IK chain object.

Twist Start group
EnabledTurns on the display of the start twist manipulator. Default=on.

SizeSets the size of the start twist manipulator. Default=1.0.
LengthSets the length of the start twist manipulator. Default=75.0
Twist End group
EnabledTurns on the display of the end twist manipulator. Default=on.

SizeSets the size of the end twist manipulator. Default=1.0.
LengthSets the length of the end twist manipulator. Default=75.0.
Goal Display group
EnabledTurns on the display of the IK goal. Default=on.

SizeSets the size of the IK goal. Default=30.0.
IK Solver Display group
EnabledTurns on the display of the IK chain object. Default=off.
See also

Comments

Spline IK Solver Dialog
Create menu > Systems > Bones > Choose SplineIKSolver as IK Solver and check Assign to
Children > Create bone structure
The Spline IK Solver dialog appears after bone creation if the Spline IK Solver has been selected as
the IK solver and Assign to Children is turned on.
This dialog sets parameters for the spline that will be created to control the bone structure. The
spline, in turn, is shaped by the positions of helper objects at each knot (control point).
Interface
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Spline Options group
IK NameSets the name of the IK chain object. This object appears as a set of blue cross hairs at
the end of the chain after OK is clicked.
Auto Create SplineAutomatically creates the spline used for the Spline IK solver based on the
parameters on this dialog. When this option is not turned on, no spline is created and a spline must
be manually created and assigned to the spline IK solver in order to use the solver. See Animating
with the Spline IK Solver for this procedure. Default=On.
BezierCreates a Bezier spline, similar to a spline create with the Create > Shapes > Line tool.
NURBS PointCreates a NURBS Point Curve, where all knots (control nodes) lie on the curve.
NURBS CVCreates a NURBS CV Curve, where knots (control nodes) do not necessarily lie on the
curve.
Number of Spline KnotsSpline knots are similar to vertices on a spline, or control points and CVs
on a NURBS curve. The spline or curve is altered by moving and animating the knots. The number of
knots sets the degree of refinement on the curve as well as the number of points that can be
selected and moved to change the shape of the curve.
The Number of Spline Knots defaults to the number of bones in the Spline IK chain. Since the
purpose of a Spline IK solver is to reduce the number of objects that require animation, you would
ordinarily set the Number of Spline Knots to a lower number, such as half the number of bones.
Helper Options group

When creating the spline for Spline IK, helper objects can be placed at each knot, making it easier to
move and animate the knots. More than one type of display can be enabled..
Center MarkerDisplays a small X marker at each knot.
Axis TripodDisplays a tripod axis at each knot. The axis remains visible when the helper is no
longer selected.
CrossDisplays a cross at each knot.
BoxDisplays a small at each knot.
SizeSets the size for helpers.
Constant Screen SizeKeeps the sizes of helpers constant regardless of how much viewports are
zoom in or out.
Draw On TopDisplays the helpers on top of all other objects in the scene.
See also
Comments

Spline IK Control Modifier
Select a spline or NURBS curve > Modify panel > Modifier List > Spline IK Control
When the Spline IK Control modifier is applied to a spline, you can select and transform its vertices
without having to access the vertex sub-object level. It can also place helpers at each vertex
location to aid in moving vertices.
The Spline IK Control modifier works by placing knots (control points) at each vertex. The knots can
then be used to control vertices, which in turn reshape the spline.
This modifier also works on NURBS curves, placing a knot at each control point or control vertex
(CV).
Use the Spline IK Control modifier to prepare a spline or NURBS curve for use with the Spline IK
Solver.
See also
Interface
Control ObjectsWhen helpers are created, knot numbers and their corresponding names appear
here. Knot #1 is placed at the first vertex on the spline, and additional knots are numbered in
sequence.
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Create HelpersPlaces a helper at each knot, and displays knot numbers and helper names in the
Control Objects area. Helper display is based on selections in the Helper Display group. Helpers are
linked upon creation if a linking option is selected in the Link Types group.
Note: Click Create Helpers only once. Clicking this option more than once will create extra helpers at
each knot, making it difficult to control the spline.
Link Types group
These options cause helpers to be linked upon creation.

Link All in HierarchyLinks each helper to its immediately previous helper. For example, the
helper at knot #3 is linked to the helper at knot #2, while the helper at knot #2 is linked to the
helper at knot #1.
Link All to RootLinks each helper to the helper at knot #1.
No LinkingHelpers are not linked.
Helper Display
When Create Helpers is clicked, helper objects are placed at each knot, making it easier to move and
animate the knots. More than one type of display can be enabled.
Center MarkerDisplays a small X marker at each knot.
Axis TripodDisplays a tripod axis at each knot. The axis remains visible when the helper is no
longer selected.
CrossDisplays a cross at each knot.
BoxDisplays a small at each knot.
Helper SizeSets the size for helpers.
Constant Screen SizeKeeps the sizes of helpers constant regardless of how much viewports are

zoom in or out.
Draw On TopDisplays the helpers on top of all other objects in the scene.
Note: To change the display of helpers after creation, select each helper and change selections on
the Modify panel.
Comments

First Vertex
Glossary
First Vertex
First vertex of a spline
When you create a spline object, the software numbers the vertices from 1 to the total number of
vertices in the spline, according to the order of creation. When the spline is displayed in viewports,
the first vertex has a box around it.
The first vertex is commonly used as an alignment marker when you place two or more shapes on
different path levels when lofting. If you place different shapes on different path levels and you don't
align their first vertices, the resulting mesh object is twisted.
To avoid twisting, you can align the first vertices by rotating the splines as necessary. Alternatively,
you can change the position of a spline's first vertex by using the Make First button in the Edit Spline
modifier (at the Vertex sub-object level).
Comments
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Animating with Interactive IK
Select the end of a hierarchy > Hierarchy panel > IK > Interactive IK
With Interactive IK and the Auto Key button turned on, you position your model on keyframes, and
the IK solution is interpolated between those keyframes. Because the IK solution accounts for
multiple objects and the joints between objects, the interpolated animation of an IK object is usually
different from the animation of objects without IK.
Tip: Interactive IK is a feature carried over from the earliest version of the software. It is
recommended that you explore the IK Solver methods first, and only use Interactive IK if you find
the IK Solvers will not satisfy your needs.
Example of Interactive IK
The following example demonstrates how an interactive IK animation works and how it might differ
from what you expect. The figure shows an IK structure with its end effector resting on top of a box.
The box moves in a straight line over 100 frames.
Turn the Auto Key button on and then in the Hierarchy panel > IK tab, turn on Interactive IK. Move
the end effector of the bone structure to rest on top of the box at frame 100. The interpolated
animation of the end effector follows a natural looking curved path.
You might have expected the IK bone structure to follow the same path as the box. However, the IK
solution is only calculated at the keyframes. The positions and rotations of all the objects in the
kinematic chain are interpolated between the keyframes to produce the curved result.
To make the end effector closely follow the path of the box, you would have to add more keyframes.
You can also use binding and standard applied IK. For information about making the end effector
precisely follow the motion of the box, see Animating with Applied IK.
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IK structure
Results of animating the box and IK structure
Behavior of Objects in IK Mode
As you move and rotate objects using interactive IK you notice that some objects might not be able
to move or rotate about all axes. This is because the objects are constrained by the joint parameters
you have set. If the joint parameters specify that motion cannot occur in a certain axis, the end of
the chain will not move.
Behavior of Root Objects in IK Mode

An option on the Inverse Kinematics panel of the Preferences Settings dialog enables the special
case of moving and rotating root objects when IK mode is on. The name of this control is Always
Transform Children Of The World.
While you are transforming an end effector using IK mode, the settings for the root objects joint
parameters are used and the root object does not move with respect to the World. If you select the
root object, its joint parameters are released and you can transform the root object.
If you decide you want root objects to always use their joint parameters, you can turn off the Always
Transform Children Of The World option.
Single, unlinked objects are hierarchies of one. An unlinked object is its own root and is also a child
of the World. Turning Always Transform Children of the World will prevent you from transforming
single objects in IK mode.
Comments

Animating with Applied IK
Select the end of a hierarchy > Hierarchy panel > IK > Set object parameters such as Bind to
Follow Object > Apply IK
Applied IK requires you bind one or more parts of your IK structure to animated follow objects. Once
bound, you can select any object in your kinematic chain and click Apply IK. This calculates the IK
solution for each frame of the animation and places transform keys for every object in the IK chain.
The Apply IK method of animation works best when you want objects in the kinematic chain to
match the motions of other objects exactly.
Tip: Applied IK is a feature carried over from the earliest version of the software. It is recommended
that you explore the IK Solver methods first, and only use Applied IK if you find the IK Solvers won't
satisfy your needs.
Example of Applied IK
IK structure
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Animating the lamp with applied IK
The illustration demonstrates how an applied IK animation works. Just as in the example in
Animating with Interactive IK, the figure shows an IK lamp structure with its head positioned over a
spider. To maintain the offset distance between the lamp head and spider, the actual end effector is
an invisible Dummy helper object, placed within the spider and linked to the lamp head as a child.
The spider moves in a straight line over 100 frames.
To bind the end effector to the spider, click Bind, and then drag a line between the two. Once the
end effector is bound to the spider, it will try to match the location of its pivot point with the pivot
point of the spider.
Select the end effector and click Apply IK. The software matches the end effector with the box and
calculates the IK solution for every frame. Playback of the animation shows that the end effector
perfectly follows the box.
Note: In the above example, the end effector is an invisible Dummy helper object, which is used to
maintain the offset distance between the lamp head and the spider.
Clearing Keys from Previous Animation
If you have animated any members of the IK chain interactively, or run Apply IK previously, the
existing animation keys will affect the new IK solution. Sometimes that is exactly what you want.
You can use manual animation to subtly nudge the IK solution toward a particular result. However, it
is more likely that you want to remove old keys in order to begin the IK calculations with a clean
slate.
The Clear Keys option in the Inverse Kinematics rollout controls whether or not old move and rotate
animation keys are removed.
Constraining the IK Solution to Specific Frames

You use the Start and End fields in the Inverse Kinematics rollout to set the range of frames used to
calculate the applied IK solution. Using these fields, you can restrict IK solutions to specific frames
and solve for different solutions in different time segments.
You can set the Start and End fields to include frames outside of the active time segment.
You can also constrain an IK solution to frames where a key exists for an end effector. This is useful
if you want to animate a hierarchy using end effectors but do not want keys generated on every
frame.
Turn on Apply Only To Keys to constrain the IK solution to frames with end effector keys.
Watching Progress of the IK Solution
Normally, Apply IK calculates all frames before updating the viewports. To watch the progress of
Apply IK frame by frame, turn on Update Viewports on the Inverse Kinematics rollout.
Updating the viewports greatly slows down the Apply IK process but it can help you troubleshoot
complex animations.
Comments

Inverse Kinematics Preferences
Customize menu > Preferences > Preference Settings dialog > Inverse Kinematics tab
On the Inverse Kinematics panel of the Preference Settings dialog, you set options for both applied
and interactive inverse kinematics.
Procedure
To prevent transforming unlinked objects while working in IK mode:
1. Choose Customize menu > Preferences > Preference Settings dialog > Inverse Kinematics tab.
2. On the Inverse Kinematics panel, turn off the option labeled Always Transform Children Of The
World.
Single, unlinked objects are hierarchies of one object. An unlinked object is its own root and
also a child of the world, so turning off Always Transform Children Of The World prevents you
from transforming single objects in IK mode.
Interface
Applied IK/Interactive IK group
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The threshold and iterations settings are a trade-off between accuracy and speed. With the two
groups of settings you can individually tune the behavior of Interactive IK and Applied IK. Interactive
IK provides fast, real-time response, so you should set Interactive IK preferences for speed. Applied
IK provides the IK solution to match the follow objects very closely. You should set applied IK
preferences for accuracy.
PositionSets how close the end effector has to get to the follow object or cursor position for the
object to be considered a valid solution. The value represents a distance in the current display unit
system. Small values increase accuracy but take longer to solve.
RotationSets how accurately the end effector has to match the orientation of the follow object to
be considered a valid solution. The value represents a rotation angle in degrees. Small values
increase accuracy but take longer to solve.
IterationsSets the maximum number of times 3ds max repeats the IK calculations to find a valid
solution. A high iterations value increases the chance that 3ds max can calculate a valid IK solution,
but the calculation takes longer to complete.
Ungrouped controls
Use Secondary ThresholdCompares the second derivative of the end effector to a very small
threshold. If the derivative is within the threshold, IK is terminated.
Always Transform Children Of The WorldApplies when IK is turned on in both move and rotate
mode. It affects only an object that's a direct child of the world when the object is selected.
For example, if the root of an IK chain is a child of the world, and you're manipulating an object at
the end of the chain (the root object itself isn't selected), any constraints set for the root object will
be observed. However, if you select the root object and try to move it, its constraints will be ignored.
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IK Solution
Glossary
IK Solution
Inverse kinematics (IK) uses a goal-directed method where the animator positions a child object and
the program calculates the position and orientation of the parent objects. The final position of the
hierarchy after all of the calculations have been solved is referred to as the IK solution.
Applied IK requires that one or more parts of your IK structure be pinned to animated follow objects.
Once pinned, you select any object in your kinematic chain and click the Apply IK button. The
software then calculates the IK solution for each frame of the animation and places transform keys
for every object in the IK chain.
Comments
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Follow Object
Glossary
Follow Object
You can bind an object in your hierarchy to any other object (often an object not in the same
hierarchy). This other object is called the follow object.
The bound object tries to match the position and orientation of its pivot point to the position and
orientation of the follow object's pivot point.
For example, you might want to animate a figure that always points to another object. Bind the hand
of the figure to the other object. Turn IK on and as you move the object the hand and arm of the
figure move to point at it.
Comments
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Bones System
Bones System
Create panel > Systems > Bones button
Character menu > Bone Tools > Create Bones
A Bones system is a jointed, hierarchical linkage of bone objects that can be used to animate other
objects or hierarchies. Bones are especially useful for animating character models that have a
continuous skin mesh. Bones can be animated with forward or inverse kinematics. For inverse
kinematics, bones can use any of the available IK solvers, or through Interactive or Applied IK.
Dinosaur character modeled using bones
Bones are renderable objects. They have several parameters, such as taper and fins, that can be
used to define the shape the bone represents. The fins make it easier to see how the bone is
rotating.
For animation, it is very important that you understand the structure of a bone object. The bone's
geometry is distinct from its link. Each link has a pivot point at its base. The bone can rotate about
this pivot point. When you move a child bone, you are really rotating its parent bone.
It might be useful to think of bones as joints, because it is their pivot placements that matter, more
than the actual bone geometry. Think of the geometry as a visual aid that is drawn lengthwise from
the pivot point to the bone's child object. The child object is usually another bone.
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Bones System
Bones system seen alone and inside a wireframe model
Any hierarchy can display itself as a bone structure (see Using Objects as Bones), by simply turning
on Bone On in the Bone Editing Tools rollout.
See also
Bone Tools
Creating Bones
You can create bones by clicking Create Bones, located in the Bone Editing Tools rollout, or by
accessing the Systems rollout on the Create panel.
To create bones, do the following.
1. Your first click in a viewport defines the start joint of the first bone.
2. The second click in a viewport defines the start joint of the next bone. Visually only one bone is
drawn at this point because bones are visual aids drawn between two pivot points. It is the
actual pivot points placement that is important.
3. Each subsequent click defines a new bone as a child of the previous bone. The result of multiple
clicks is a single chain of bones.
4. Right-click to exit bone creation. This will create a small nub bone at the end of the hierarchy.
This bone is used when assigning an IK chain. If you are not going to assign an IK chain to the
hierarchy, you can delete the small nub bone.
5.

Bones System
Creating a simple chain of three bones
3ds max lets you create a branching hierarchy of bones. To create a branching hierarchy, such as
legs branching from a pelvis, do the following:
1. Create a chain of bones, then right-click to exit bone creation.
2. Click Bones again, then click the bone where you want to begin branching. The new chain of
bones branches from the bone you click.
Warning: The behavior of a branching bone hierarchy is not always intuitive.
Note: You can also use Select And Link to connect one bone hierarchy to its branches. However,
except for this one special case, using Select And Link with bones is not recommended. To edit an
existing bone structure, whether branching or not, use the Bone Tools instead.
Assigning IK Controllers to Bones
By default, bones are not assigned inverse kinematics (IK). Assigning an IK solver can be done in
one of two ways. Typically, you create a bone hierarchy, then manually assign an IK solver. This
allows for very precise control over where IK chains are defined.
The other way to assign an IK solver is more automatic. When you create bones, choose IK solver
from the list in the IK Chain Assignment rollout, and then turn on Assign To Children. When you exit
bone creation, the chosen IK solver is automatically applied to the hierarchy. The solver extends
from the first bone in the hierarchy to the last.
For more information about IK, see Introduction to Inverse Kinematics.
Setting the Initial Position of Bones
When you first create a bones system, the position of the bones is the initial state. Before you assign
an IK solver or method, you can change the initial state of the bones by moving, rotating, or
stretching the bones individually.

Bones System
Bone Color
By default, bones are assigned the color specified for Bones in the Colors panel of the Customize
User Interface dialog. Choose Object as the Element and then choose Bones in the list. You can
change the color of individual bones by selecting the bone, clicking the active color swatch next to
the bones name in the Create panel or Modify panel, and then selecting a color in the Object Color
dialog.
You can also use the Bone Tools to assign bone colors, or to assign a color gradient to a bone
hierarchy.
Bone Fins
Fins are visual aids that help you clearly see a bones orientation. Fins can also be used to
approximate a character's shape. Bones have three sets of fins: side, front, and back. By default,
fins are turned off.
Bones can have fins.

Bones System
Bones with fins
Renderable Bones
Bones can be renderable, though by default, they are not. To make a bone renderable, turn on the
Renderable check box in the bones Object Properties dialog.

Bones System
Bones can be renderable.
Object Properties for Bones
In addition to visual properties, bones have behavioral properties. The controls for these are located
on the Bone Tools floater.
You can use these controls to turn other kinds of objects into bones.
Using Constraints with Bones
You can apply constraints to bones as long as an IK solver or method is not controlling the bones. If
the bones have an assigned IK controller, you can constrain only the root of the hierarchy or chain.
However, applying position controllers or constraints to a linked bone can cause undesirable effects,
such as breaking of the bone chain.

Bones System
The nub bone at the end of the chain has a Spring controller applied to it. The Spring controller is
connected to an animated sphere.
Right: The sphere's movement breaks the bone chain.
To avoid this problem, don't apply position controllers directly to child bones. Instead, create an IK
chain and apply the controller to the IK chain's end effector.
A IK chain has been applied, connecting the end nub to its parent bone. The IK chain's end effector is
connected to the ball by a Spring controller.
Right: Now when the sphere moves, the IK chain prevents the bones from breaking.
Constraints and controllers that affect orientation only, such as Orientation or Look At, do not
present this problem when applied to child bones.

Bones System
Procedures
To create a bones system:
1. On the Create panel, click Systems, and then click Bones.

You can also access Create Bones through the Bone Tools rollout.
2. Click in a viewport.
This creates a joint that is the base of the bone's hierarchy.
3. Drag to define the length of the second bone.
4. Click to set the length of the second bone, and then drag to create the third bone. Drag and
click to continue creating new bones.
5. Right-click to end creation.

3ds max creates a small nub bone at the end of the hierarchy. This bone is used when
assigning an IK chain.
The first bone you create is at the top of the hierarchy. The last bone you create is at the
bottom. For more about linked objects, see the Hierarchy Panel.
To create a bones hierarchy with an IK solver automatically applied:
1. In the Create panel, click Systems, and then click Bones.
2. In the IK Chain Assignment rollout, select an IK solver from the list.
3. Turn on Assign To Children.
4. In a viewport, click and drag to create the bones. Right-click to end bone creation.
After the bones are created, the chosen IK solver is applied to them.
To edit the appearance of a bone:
1. Select a bone.
2. Click the Modify tab on the command panel.
3. Change settings in the Bone Parameters rollout.
To change the length of bones after theyve been created:

Important: Repositioning a bone affects its length visually. More importantly, it affects the
bones pivot position. The length of the bone is only a visual aid drawn between each
bones pivot point. A bone has only one pivot. The bone you see visually is connecting its
pivot point to the next bones pivot point.

Bones System
1. Choose Character menu > Bone Tools.
2. On the Bone Tools dialog, click Bone Edit Mode.
3. Move the child of the bone you want to change. The length of its immediate parent changes to
reach the child bone.
4. Turn off Bone Edit Mode when you are finished editing the bones.
To add fins to bones:
1. Select the bone.
2. Choose Character menu > Bone Tools.
3. Select the bones to which you want to add fins.
4. In the Fin Adjustment Tools rollout, turn on Side Fins, Front Fin or Back Fin.
5. Adjust the size and appearance of the fins with the appropriate spinners.
Note: You can also add fins to an individual bone on the Modify panel.
Interface
IK Chain Assignment rollout (creation time only)
Provides the tools to quickly create a bone chain with an IK solver automatically applied. Also allows
for bone creation with no IK solver.
IK Solver drop-down listSpecifies the type of IK solver to be automatically applied if Assign To
Children is turned on.
Assign To ChildrenWhen on, assigns the IK solver named in the IK solver list to all the newly
created bones except the first (root) bone. When off, assigns a standard PRS Transform controller to
the bones. Default=off.
Note: Choosing the SplineIKSolver and turning on Assign To Children causes the Spline IK Solver
dialog to appear after bones have been created.
Assign To RootWhen on, assigns an IK solver to all the newly created bones including the first

Bones System
(root) bone.
Turning on Assign To Children also automatically turns on Assign To Root.
Bone Parameters rollout (creation and modification time)
These controls change the appearance of the bones.
Bone Object group
WidthSets the width of the bone to be made.

HeightSets the height of the bone to be made.
TaperAdjusts the taper of the bone shape. A Taper of 0 produces a box-shaped bone.
Bone Fins group
Side FinsLets you add a set of fins to the sides of the bones you create.

Bones System
SizeControls the size of the fin.
Start TaperControls the start taper of the fin.
End TaperControls the end taper of the fin.
Front FinLets you add a fin to the front of the bone you create.
Back FinLets you add a fin to the back of the bone you create.
Generate Mapping CoordsCreates mapping coordinates on the bones. Since the bones are
renderable, they can also have materials applied, which can use these mapping coordinates.
Comments

Select a linked object or multiple objects linked to each other. > Character menu > Bone Tools >
Object Properties rollout > Bone On toggle
You can use arbitrary objects as bones, controlling their animation as if they were bones in a bones
system. You can apply an IK solver to the boned objects.
To use objects as bones, turn on the Bone On toggle in the Object Properties rollout of the Bone
Tools dialog.
Warning: When you turn on Freeze Length, this has no visible effect unless you transform
the child of the object to which Freeze Length is applied.
Once the objects have been boned, applying an IK solution behaves as it does for standard bone
objects. The geometry of the boned objects can stretch or squash during animation.
Procedure
To use objects as bones:
1. Link the objects you want to display as bones.
2. Select all of these objects.

Note: You can turn on Bone for a single object, but this doesn't have much use.
3. Choose Character > Bone Tools.

The floating Bone Tools dialog is displayed.
4. On the Object Properties rollout, turn on Bone On.

3ds max now treats the selected objects as bones.
5. Select the object to use as the start of the IK chain.
6. Choose Animation > IK Solvers > HI Solver.

You can choose a different IK solver, but the HI Solver is the preferred choice.
7. Click to select the end of the IK chain.

Now when you transform the boned objects, their movement is governed by the IK solver.
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Comments
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Bone Tools
Bone Tools
Character menu > Bone Tools
This command displays the Bone Tools floater, which provides functions for working with bones. The
floater contains three rollouts, described in these topics:
Bone Editing Tools Rollout
Fin Adjustment Tools Rollout
Object Properties Rollout (Bone Tools)
Comments
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Character menu > Bone Tools > Bone Tools floater > Bone Editing Tools rollout
Controls on the Bone Editing Tools rollout are for creating and changing bone geometry, and setting
bone color for one or more bones.
Interface
Bone Pivot Position group
Bone Edit ModeTurn on to change the lengths of bones and their positions relative to one
another. When this button is turned on, you can change the length of a bone by moving its child
bone. In effect, you can scale or stretch a bone by moving its child bone while in this mode. You can
use this mode both before and after assigning an IK chain to the bone structure. Turn off this mode
when animating bones.
Note: Be aware that moving a bone in Bone Edit mode affects the length of both the child and its
parent. If the bones aren't spatially aligned in the usual way (for example, if you are using other
objects as bones), this might have unexpected results.
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Bone Tools group
Create BonesBegins the bone-creation process. Clicking this button is the same as clicking Create
panel > Systems > Bones.
Create EndCreates a nub bone at the end of the currently selected bone. If the selected bone is
not at the end of a chain, the nub is linked in sequence between the currently selected bone and the
next bone in the chain.
Remove BoneRemoves the currently selected bone. The bones parent bone is stretched to reach
the removed bones pivot point, and any children of the removed bone are linked to its parent. Any
IK chains that included the removed bone will remain intact.
Connect BonesCreates a connecting bone between the currently selected bone and another bone.
When you click this button, a dotted line appears in the active viewport from the first selected bone.
Move the cursor to another bone to create a new connecting bone. The first selected bone will
become a parent to the connecting bone, which is in turn a parent to the second selected bone.
Delete BoneDeletes the currently selected bone, removing all its parent/child associations. A nub
is placed at the end of the deleted bones parent. Any IK chains that included this bone become
invalid.
Reassign RootMakes the currently selected bone the root (parent) of the bone structure.
If the current bone is the root, clicking this has no effect. If the current bone is the end of the chain,
the chain is completely reversed. If the current bone is in the middle of the chain, the chain becomes
a branching hierarchy.
RefineSplits a bone into two bones. Click Refine, then click a bone where you want it to split.
Bone Coloring group
Selected Bone ColorSets the color for selected bones.

Apply GradientApplies a gradient color across several bones based on the Start Color and End
Color values. This option is available only when two or more bones are selected. The Start Color is
applied to the highest parent bone in the selected chain, while the End Color is applied to the last
child object in the selected chain. Intermediate colors in the gradient are applied to bones in
between.
Start ColorSets the starting color for the gradient.
End ColorSets the ending color for the gradient.
See also
Bones System

Comments

Character menu > Bone Tools > Bone Tools floater > Fin Adjustment Tools rollout
Controls on the Fin Adjustment Tools rollout are for adjusting some aspects of bone geometry,
including fins.
Interface
AbsoluteSets the fin parameters as absolute values. Use this option to set the same fin values for
all selected bones.
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RelativeSets the fin parameters relative to their current values. Use this option to retain size
relationships between bones with different-sized fins.
Copy Copies the bone and fin settings for the currently selected bone, in preparation for pasting to
another bone.
PastePastes the copied bone and fin settings to the currently selected bone.
Bone Objects group
WidthSets the width of the bone.

HeightSets the height of the bone.
TaperAdjusts the taper of the bone shape. A Taper with a 0 value produces a box-shaped bone.
Higher values pinch the bone where it joins its child bone, while lower values expand that end of the
bone.
Fins group
Side FinsAdds side fins to selected bones.
Front FinAdds front fins to selected bones.
Back FinAdds a fin to the back of selected bones.
Comments
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Character menu > Bone Tools > Bone Tools floater > Object Properties rollout
Controls on the Object Properties rollout for bones let you turn other objects into bones. They also
control bone rigidity and alignment.
In 3ds max 6, the scale of bones can be reset with the Reset Scale option.
Interface
Bone On/OffWhen turned on, the selected bone or object behaves as a bone. Turning this option
off causes the object to stop behaving like a bone: there is no auto alignment or stretching.
Default=on for bone objects, off for other kinds of objects.
Note: Turning this option on doesn't immediately cause objects to align or stretch. However, future
transforms of children can cause rotation and stretching.
Freeze LengthWhen turned on, the bone maintains its length. When turned off, the bone's length
is based on the translation of its child bone. This option is available only if Bone On is on.
Default=on.
Warning: When you turn on Freeze Length, this has no visible effect unless you transform
the child of the object to which Freeze Length is applied.
Auto-AlignWhen turned off, the bone's pivot point doesn't align to its child object. The translation
of a child bone will not be converted into rotation of the parent. Instead, the child is allowed to move
away from the parent's X axis. This option is available only if Bone On is on. Default=on.
Note: Changing the Auto-Align state does not have an immediate visual effect on the skeleton. It
affects future behavior when bones are moved.
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Correct Negative StretchWhen turned on, any stretching of the bone that results in a negative
scale factor will be corrected to a positive number. This option is available only if Bone On is on.
Default=on.
StretchDetermines what kind of stretch takes place when the child bone is transformed and
Freeze Length is off. Default=Scale.
NoneNo stretch takes place.
ScaleLets the bone scale. The stretch happens along one axis.
SquashLets the bone squash. The bone gets fatter as it gets shorter, and thinner as it gets
longer.
AxisDetermines the axis used for the stretch.
X/Y/ZChoose the axis for scaling or squashing.
FlipFlips the stretch along the selected axis.
RealignCauses the bone's X axis to realign and point at the child bone (or the average pivot of
multiple children). Normally this alignment is maintained, and there is no need to use this option.
However, it is possible for the bones to come out of alignment by turning off Auto-Align and moving
a child bone. Use Realign to align the bone back to its child. This option is available only if Bone On
is on.
Reset StretchStretches the bone to reach its child object if the child has been moved away from
the bone. This option is available only if Bone On is on.
Reset ScaleResets a stretched bone's internally calculated scale to 100% on each axis. Using this
option avoids unexpected behavior due to objects which are both linked and scaled. This option has
no visual effect on the bone. This option is available only if Bone On is on.
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PRS Controller
PRS Controller
Main toolbar > Curve Editor (Open) > Select a transform track in the Track View hierarchy. >
Track View menubar > Controller menu > Assign > Position/Rotation/Scale
Graph Editors > Track View Curve Editor > Select a transform track in the Track View hierarchy.
> Track View menubar > Controller menu > Assign > Position/Rotation/Scale
The Position/Rotation/Scale (PRS) controller is the default Transform controller for most objects. Use
it for all general-purpose transforms.
Procedure
To create PRS Transform keys:
2. Select Motion panel > Parameters.
3. Drag the time slider to the frame where you want to place a key.
4. On the PRS Parameters rollout, in the Create Key group, click one of the following:
Click Position to create a Position key.
Click Rotation to create a Rotation key.
Click Scale to create a Scale key.

If a particular Position, Rotation, or Scale controller does not use keys, then that button is not
available in the Create Key group. For example, you cannot create Position Keys if a Noise
Position controller is being used.
Interface
Motion panel > PRS Parameters rollout
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PRS Controller
Create Key/Delete KeyThe six buttons in the PRS Parameters rollout let you create or delete a
transform key at the current frame. These buttons become active or inactive depending on the
existence of a key type at the current frame.
For example, if you're on a frame containing a Scale key, the Scale button is inactive in the Create
column, because a key already exists. At the same time, the Position and Rotation buttons are
inactive in the Delete column because there are no keys of that type to delete.
Position/Rotation/ScaleDetermines the contents of the Key Info rollouts that appear below the
PRS Parameters rollout in the Motion panel.
Comments
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Skin Modifier
Skin Modifier
Select a mesh, patch, or NURBS object. > Modify panel > Modifier List > Object-Space Modifiers >
Skin
Select a mesh, patch, or NURBS object. > Modifiers menu > Animation Modifiers > Skin
The Skin modifier is a skeletal deformation tool. It allows you to deform one object with another
object. Mesh, patch, or NURBS objects can be deformed by bones, splines, or even another object.
After applying the Skin modifier and assigning bones, each bone has a capsule-shaped "envelope."
Vertices within these envelopes move with the bones. Where envelopes overlap, vertex motion is a
blend between the envelopes.
The initial envelope shape and position depends on the type of bone object. Bones create a linear
envelope that extends along the longest axis of the bone geometry. Spline objects create envelopes
that follow the curve of the spline. Primitive objects create an envelope that follows the longest axis
of the object.
You can also deform the mesh based on the angle of the bones. There are three deformers that
allow you to shape the mesh based on bone angles. The Joint and Bulge Angle deformers use a
lattice similar to the FFD lattice to shape the mesh at a specific angle. The Morph Angle Deformer
morphs the mesh at specified angles. Morph targets are created by using modifiers above the Skin
modifier in the stack, or by using the Snapshot command on the Main toolbar to create a copy of the
mesh and deforming the mesh using standard tools.
You can apply the Skin modifier to several objects at the same time.
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Skin Modifier
Jacket object deformed using the skin modifier.
In 3ds max 6, you can mirror envelope and vertex assignments from one side of the mesh to
the other with commands on the Mirror Parameters rollout.
Procedures
To use the skin modifier:
1. Prepare the skin (mesh or patch object) and skeleton (bones or other objects). Carefully place
the skeleton inside the mesh or patch object so that its elements are be able to influence the
polygons or patches in their immediate vicinity.
2. Select the mesh or patch object and apply the Skin modifier.
3. In the Parameters rollout, click Add and choose the skeleton objects.
4. Click Edit Envelopes and select an envelope to modify the volume in which each bone can
influence the surrounding geometry.
To weight vertices manually:
1. Turn on Vertices in the Parameters rollout.
2. On the mesh, select the vertices you would like to weight manually.
Each selected vertex is surrounded by a small white rectangle.
3. In the Parameters rollout, highlight the name of the bone for which you want to change the

Skin Modifier
vertex weights.
4. In the Weight Properties group, change the Abs. Effect parameter to the new vertex weight.
To mirror envelope or vertex weight settings:
1. Adjust envelopes and vertex weights on one side of the mesh.
2. In the Mirror Parameters rollout, click Mirror Mode.

The mirror plane appears at the position and orientation of the mesh's pivot point.
3. If the mirror plane is not at the center of the mesh, change the Mirror Offset parameter to
move the plane to the center.
4. If some vertices in the left or right side of the mesh are red rather than blue or green, increase
the Mirror Thresh value until all vertices are blue or green.
5. In the Mirror Parameters rollout, click the appropriate Paste button to paste green or blue
envelopes or vertex weights to the other side of the mesh.
To adjust the skin and/or bones without affecting the envelopes:
1. Save the scene.

This is a potentially destructive operation, so it's best not to take any chances with your data.
2. Select the object to which the Skin modifier is applied.
3. In the Advanced Parameters rollout, turn off Always Deform.
4. Apply any necessary transforms to the mesh/patch object or bones objects.
5. Turn Always Deform back on.

To adjust the bones only, you can also use skin pose.
To apply the skin modifier to a cylinder with a bones skeleton:
1. On the Create panel, under Standard Primitives, click Cylinder.
2. In the middle of the Top viewport, click and drag 20 units to create the base of the cylinder.
3. Release the mouse button and drag up 130 units to establish the height of the cylinder.
4. On the parameters rollout, set Height Segments to 20.

This provides mesh detail for a smooth surface deformation.
5. On the Create panel, under Systems, click Bones.

Make sure an IK Solver is chosen in the IK Solver list. Turn on Assign To Children. (This should
turn on Assign To Root as well.)

Skin Modifier
6. In the Front viewport, click successively three times: below the cylinder, in the middle of the
cylinder, and above the top of the cylinder.
7. Right-click to end Bones creation.

Three bones display. Two of them are within the middle of the cylinder.
8. Select the cylinder.
9. On the Modify panel, choose Skin from the Modifier List.
10. On the Skin modifier's Parameters rollout, click Add, and use the Select Bones dialog to select
the three bones.
The names of the bones are now displayed in the list.
11. In the Front viewport, select the bone end effector (IK Chain01) and move it around.
The cylinder deforms to follow the bones. You may have to enlarge the envelopes to
encompass all of the cylinder. To adjust envelopes to refine the surface deformation, choose
the Skin modifier's Envelope sub-object level, and use the Edit Envelopes controls to resize
envelopes and change vertex weights.
To use a morph angle deformer:

Create the cylinder and bones from the procedure above before you continue with this procedure.
1. At frame 50, animate bone 2 so that bones 1 and 2 represent a 90-degree angle.
2. At frame 0, the bones should be straight at about a 180-degree angle.
3. Move to frame 0.
4. Turn on Edit Envelopes in the Parameters rollout.
5. Select the child bone (bone 2) in the modifiers list of bones.
6. In the Filters area, turn on Vertices.
7. In the viewports, region-window select a good portion of the vertices that are controlled by
both bones.
8. In the Gizmos rollout, select the Morph Angle Deformer in the drop-down list and click Add
Gizmo.
The Deformer Parameters rollout displays. A base morph target is the first and only target in
the list.
Tip: if the Deformer doesn't assign, make sure that bone 2 and not bone 1 is selected in the
list.
9. Scrub the Time Slider to frame 50.

Skin Modifier
10. Add an Edit Mesh modifier above the Skin modifier in the modifier stack.
11. Turn on Vertex and Soft Selection in the Edit Mesh modifier.
12. Edit the mesh to the shape you want.
13. Go back down in the stack to the Skin modifier. If the topology warning dialog appears, click
Yes.
14. In the Deformer Parameters rollout, click Add From Stack.

A new morph target is added at about 90 degrees.
15. Delete the Edit Mesh modifier from the stack.

There is a doubling effect of the morph if you dont delete or deactivate the Edit Mesh modifier.
16. Scrub the time slider. The mesh morphs as the bone angle changes.
Interface
Tip: Some of the Skin modifier commands are also available from the quad menu.
Modifier Stack
EnvelopeTurn on this sub-object level to work on envelopes and vertex weights.

Tip: You can use the quad menu to choose this sub-object level.
Parameters rollout

Skin Modifier

Skin Modifier
Edit EnvelopesTurn on this sub-object level to work on envelopes and vertex weights.
Select groupSelection filters that help you work on a particular task, by preventing you from
accidentally selecting the wrong item in the viewports.
VerticesTurn on for vertex selection.
EnvelopesTurn on for envelope selection.
Cross SectionsTurn on for cross-section selection.
AddClick to add one or more bones from the Select Bones dialog. This is the first step, after
applying the Skin modifier to an object.
RemoveChoose a bone in the list, and then click Remove to remove it.
List WindowLists all the bones in the system. Selecting a bone in the list displays that bones
envelope and the vertices influenced by the envelope.
Cross Section groupBy default, each envelope has two round, lateral cross sections, one at each
end of the envelope. These options add and remove cross sections from envelopes.
AddChoose a bone in the list, click Add, and click a position on the bone in a viewport to add a
cross section.
RemoveSelect an envelope cross section and click Remove to delete it.

Before you can select a cross section, the Cross Sections option in the Select group must be
checked.
You cannot delete the default cross sections. Only additional cross sections that you have added
can be deleted.
Envelope Properties group
RadiusSelect an envelope cross section, and use Radius to resize it. In order to select a cross
section, the Cross Sections option in the Select group must be checked.
You can also click and drag a cross section control point in a viewport to resize it.
SquashA squash multiplier for bones that stretch. This is a single value that reduces or increases
the amount of squash applied to a bone when it is stretched with Freeze Length off, and Squash on.
Note: You can set Freeze Length and Squash in the Bone Tools dialog.
Absolute/RelativeThis toggle determines how vertex weights are calculated for vertices between
inner and outer envelopes.
AbsoluteA vertex must merely fall inside the brown outer envelope to have 100%
assignment weight to that particular bone. A vertex falling inside more than one outer envelope
will be assigned multiple weights summing to 100% based on where it falls in the gradients of
each envelope.

Skin Modifier
RelativeA vertex falling only within an outer envelope will not receive 100% weighting. A
vertex must either fall inside two or more outer envelopes whose gradients sum to 100% or
greater or the vertex must fall within a red inner envelope to have 100% weight. Any points
within a red inner envelope will be 100% locked to that bone. Vertices falling within multiple inner
envelopes will receive weighting distributed over those bones.
Envelope VisibilityDetermines the visibility of non-selected envelopes. Choose a bone

in the list and click Envelope Visibility, then choose another bone in the list. The first bone selected
remains visible. Use this to work on two or three envelopes.
Falloff FlyoutsSelect a falloff curve for the displayed envelopes. Weight falls off in the area
between the inner and outer envelope boundaries if envelopes overlap and Absolute is turned on.
Controls here allow you to specify how the falloff is handled.
Falloff Fast OutWeight falls of quickly.
Falloff Slow OutWeight falls off slowly.
Falloff LinearWeight falls off in a linear way.
Falloff SinualWeight falls off in a sinual way.
CopyCopies the currently selected envelope size and shape to memory. Turn on sub-object
Envelopes, choose one bone in the list, click Copy, then choose another bone in the list and click
Paste to copy an envelope from one bone to another.
Paste commands are on a flyout with the following options:
PastePaste the copy buffer to the current selected bone.
Paste to All BonesPastes the copy buffer to all bones in the modifier.
Paste to Multiple BonesPastes the copy buffer to selected bones. A dialog allows you to
choose the bones to paste to.
Weight Properties group
Abs. EffectEnter an absolute weight for the selected bone to selected vertices.
Choose the Envelope sub-object level, turn on Vertices in the Filters group, select a vertex or
vertices, and then use the Abs. Effect spinner to assign weight. Selected vertices move in the
viewports as their weight changes.
RigidCauses selected vertices to be influenced only by one bone, the one with the most influence.
Rigid HandlesCauses the handles of selected patch vertices to be influenced by only one bone,

Skin Modifier
the one with the most influence.

NormalizeForces the total weights of each selected vertex to add up to 1.0.
Exclude VertsTakes the currently selected vertices and adds them to the exclusion list for the
currently selected bone. Any vertices in this exclusion list will not be affected by this bone.
Include VertsTakes the selected vertices out of the exclusion list for the selected bone. The bone
can then affect these vertices.
Select Exclude VertsTakes the currently excluded vertices and selects them.
Weight TableDisplays a table for viewing and changing weights for all bones in the skeletal
structure. See Weight Table.
Bake Selected VertsClick to bake the current vertex weights. Baked weights are not affected by
envelope changes, only by changes to Abs. Effect or weights in the Weight Table.
Paint WeightsClick and drag the cursor over vertices in the viewports to brush on weights for the
selected bone.
Painter OptionsClick this button to display the Painter Options dialog, where parameters
for weight painting can be set. See Painter Options dialog.
Mirror Parameters rollout

Skin Modifier
Mirror ModeTurns on Mirror mode. This mode allows you to mirror the envelopes and vertex
assignments from one side of the mesh to the other. This mode is available only when at the
Envelope sub-object level.
Mirror mode uses the Mirror Plane setting to determine the left side and right side of the mesh.
When you turn on Mirror Mode, the vertices on the left side of the mirror plane turn blue, while the
vertices on the right turn green. Vertices that are neither left nor right turn red, including vertices at
the mirror plane. If vertices don't change color appropriately, you might have to increase the Mirror
Thresh value to expand the range used to determine the left and right sides.
If you select vertices or bones, the selected vertices or bones turn yellow, and the corresponding
match on the other side of the mesh turns a brighter blue or green. This can help you check for
matches.
Mirror PastePastes selected envelope and vertex assignments to the opposite side of the body.
Paste Green to Blue BonesPastes the envelope settings from green bones to blue.
Paste Blue to Green BonesPastes the envelope settings from blue bones to green.
Paste Green to Blue VertsPastes the individual vertex assignments from all green vertices to the
corresponding blue vertices.
Paste Blue to Green VertsPastes the individual vertex assignments from all blue vertices to the
corresponding green vertices.
Mirror PlaneDetermines the plane that will be used to determine the left and right sides. The
plane appears in the viewport at the mesh's pivot point when you turn on Mirror mode. The selected
mesh's local axes are used as the basis for the plane. If several objects are selected, one object's
local axes are used. Default=X.
Tip: For the easiest workflow with mirroring tools for the Skin modifier, set the pivot points for
character meshes to align with the World before applying Skin.
Mirror OffsetShifts the mirror plane along the Mirror Plane axis.
Mirror ThreshSets the relative distance the mirroring tools will look when setting vertices as left
or right. If some vertices in the mesh (other than those at the mirror plane) are not colored blue or
green when you turn on Mirror mode, increase the Mirror Thresh value to include a larger area of the
character. You can also increase this value to compensate for lack of symmetry in asymmetrical
models.
Display ProjectionWhen Display Projection is set to Default Display, selecting vertices on one
side of the mirror plane will automatically project the selection to the opposite side. The Positive and
Negative options allow selection of vertices on one side of the character only. The None option does
not project selected vertices to either side. Default=Default Display.
Tip: You can use the Positive and Negative options to temporarily project the display of one side's
vertices to the other side so you can see how the vertices align. This can be helpful when
determining the correct Mirror Plane settings for an asymmetrical mesh.
Manual UpdateTurn on this option to update the display manually rather than after each mouse-
up.

Skin Modifier
UpdateWhen Manual Update is turned on, use this button to update the display with your new
settings.
Display rollout
Show Colored VerticesColors vertices in viewports according to their weights.

Show Colored FacesColors faces in viewports according to their weights.
Show All EnvelopesDisplays all envelopes at the same time.
Show All VerticesDraws a small tick at every vertex. On a patch surface, it will also draw all the
handles.
Show No EnvelopesCauses no envelopes to be displayed even when an envelope is selected.
Show All GizmosDisplays all the gizmos in addition to the currently selected gizmo.
Draw on Top groupThese options determine which elements will be drawn on top of all other
objects in viewports.
Cross SectionsForces cross sections to be drawn on top.
EnvelopesForces envelopes to be drawn on top.
Advanced Parameters rollout

Skin Modifier
Always DeformA toggle useful for editing the transformation relationship between bones and the
controlled points. This relationship is initially set when Skin is applied. To change the relationship the
user can deactivate Always Deform, move the object or the bones and reactivate. The new
transformation relationship is now used.
Ref. FrameSets the frame where the bones and the mesh are in a reference position.
Normally this is frame 0. Start your animation at frame 1 or later if frame 0 is the reference frame.
If bones need to be adjusted relative to the mesh, move the time slider to frame 0; turn off Always
Deform, move the bones into the correct position and turn on Always Deform.
Back Transform VerticesAllows you to link the mesh to the bone structure. Ordinarily, when you
do this, any movement of the bones causes the mesh to move twice as far as it should, because it
moves once with the bones and once with the link. Checking this option prevents the mesh from
moving twice under these circumstances.
Rigid Vertices (All)Causes vertices to have assignments to only one bone as if weighted 100% to
the bone whose envelope has the most influence. Vertices will not have weight distributed over more
than one bone and the deformation of the skinned object is rigid. This is mainly used for games that
do not support weighted point transformation.
Rigid Patch Handles (All)On a patch model, forces patch handle weights to equal the knots
weights.
Bone Affect LimitLimits the number of bones that can affect one vertex.

Skin Modifier
Reset Selected VerticesResets the weight of selected vertices to the envelope defaults. After
manually changing vertex weight, use this to reset weights if necessary.
Reset Selected BoneResets associated vertex weights back to the original weights calculated for
the selected bone's envelope.
Reset All BonesResets all vertex weights back to the original weights calculated for all bone's
envelopes.
Save/LoadAllows you to save the envelope position and shape. If you load envelopes onto a
different system of bones, a Load Envelopes dialog prompts you to match the incoming bones to the
current bones.
Update on mouse upWhen the mouse button is pressed down, no updates will take place. When
the mouse button is released, updates will occur. This option helps keep workflow moving quickly by
avoiding unnecessary updates.
Fast UpdatesTurns off viewport display of weighted deformation and gizmos and uses rigid
deformation when not rendering.
Gizmos rollout
Controls in the Gizmos rollout allow you to deform the mesh according to the angle of the joint, and
to add gizmos to selected points on the object. The rollout consists of a list box containing all the
gizmos for this modifier, a drop-down list of the current types of gizmos, and four buttons (Add,
Remove, Copy and Paste).
The workflow for adding a gizmo is to select the vertices that you want to affect, select the bones
that will drive the deformation, and then click the Add button.
There are three deformers available:
The Joint Angle deformer has a lattice that can deform vertices on the parent and child bones.

Skin Modifier
The Bulge Angle deformer has a lattice that only works on vertices on the parent bone.
The Morph Angle deformer works on vertices of the parent and child bones.
Keep these distinctions in mind when you select vertices to deform. For example, if you want to
use the Joint Angle deformer, then select vertices close to the joint that will drive the
deformation. If you want the parent bone vertices to deform like a biceps muscle, then select
vertices that are only assigned to the parent bone before adding the Bulge Angle deformer. If all
the vertices of the parent and child bone must deform, then select all of the vertices and add the
Morph Angle deformer.
Bending the arm without the Morph Angle deformer causes the sleeve to crumple.

Skin Modifier
Using the Morph Angle deformer creates a smooth bend in the sleeve.
Gizmo List WindowLists the current Angle Deformers.

The Deformer Parameters rollout changes depending on the type of gizmo selected.
Deformer drop-down listLists the available deformers.
Add GizmoAdds the current Gizmo to the selected vertices.
To add a gizmo, you must first select the child bone for the joint you want to deform. Then you must
select the vertices that you want to deform. You can then add a gizmo.
After a gizmo is added, a Deformer Parameters rollout displays that contains gizmo parameters that
you can adjust.
Remove GizmoRemove the selected gizmo from the list.
CopyCopy the selected gizmo.
PastePaste the gizmo.
The Paste button pastes the current copy buffer into the currently selected gizmo. You can only
paste to like gizmos. For instance, you cannot paste from a bulge gizmo to a joint gizmo.
Deformer Parameters rollout

Skin Modifier
The following parameters are for the Morph Angle deformer. One way to create morph targets, after
the morph gizmo is added, is to add an Edit Mesh modifier to the stack above the Skin modifier. Use
the vertex controls in the Edit Mesh modifier to shape the geometry. Then go back in the stack to
the Skin modifier and click Add From Stack. You can then delete the Edit Mesh modifier. Add From
Stack looks at the last modifier in the stack to get the morph target. Note that when you go back
down to the Skin modifier, the morph effect is doubled; this is rectified by deleting or inactivating
the Edit Mesh modifier.
Joint FieldDisplays the type of Deformer and the associated bone.
List WindowContains the current morph targets and associated bone angles.
Naming FieldSelect a morph target and rename it in this field.
Add from stackUses the current state of the stack to get the morph target. Ideally, you have put
an Edit Mesh modifier on top of the stack and done your edits before you click Add From Stack.
Add from nodeUses another object as your morph target for this angle. This is like a regular
morph target, but instead of being driven by a field, it is driven by the joint angle.
Tip: You can use Snap Shot on the main toolbar to create a new target for morphing.
Tip: DeleteDeletes the currently selected morph target from the list.
Tip: Enable gizmoToggles the effect of the gizmo on and off.

Skin Modifier
Joint Angle and Bulge Angle parameters
The following parameters are for the Joint Angle and Bulge Angle deformers. These two deformers
are almost identical in the way they operate. The difference is that the Bulge Angle deformer only
works on vertices of the parent bone, while the Joint Angle deformer works on vertices on both the
child and parent bone.
To apply either of these deformers, first select the child link, then select vertices on the mesh, and
then apply the deformer. Remember to turn on Vertices in the Filters group before trying to region-
select vertices in the viewports.
Once the deformer is applied, turn on Edit Lattice and move the lattice control points in the
viewports to deform the mesh at different bone angles.
Name FieldAllows you to change the name of the deformer.
TwistAllows you to spin the gizmo around the mesh to place control points appropriately.
Use Bounding VolumeTurn this on if you plan to change the geometry, like increasing segments
on a cylinder. If the geometry changes, the mesh will still deform inside the lattice if this is turned
on.
Enable GizmoToggles the effect of the gizmo on and off.
Edit LatticeAllows you to move the lattice control points in the viewports.
Edit Angle Keys CurvesBrings up a curve editor that lets you manipulate the shape of the lattice
at a particular angle. This curve is position vs. angle. It will show you the curves of the current
selected points. The red curves are X, green curves are Y, and blue curves are Z.

Skin Modifier
Comments

Skin Pose Commands
Skin Pose Commands
Character menu > Set Skin Pose
Character menu > Assume Skin Pose
Character menu > Skin Pose Mode
When the Skin modifier is first applied to a mesh, the bone structure's current pose is used as the
skin pose. Subsequent animation of the bone structure on frame 0 can cause the skin pose to be
altered. The skin pose commands allow you to change and set the skin pose either before or after
you apply the Skin modifier.
The skin pose stores a specific position, rotation and scale for an object. Its intended use is for
storing a character assembly's pose for the Skin modifier. However, a skin pose can be used for any
object to store its current transforms for later retrieval.
These commands work on any object, regardless of whether the structure is part of a character
assembly, or whether the bones have been assigned to a mesh with the Skin modifier.
Set Skin PoseStores the selected objects' current position, rotation and scale as the skin pose. If
the selected objects are assigned as bones for the Skin modifier, the envelopes and vertex weighting
are automatically recalculated to work with the new pose.
Assume Skin PoseCauses the selected objects to take on the stored skin pose. This feature can
be useful during the animation phase. For example, if you have animated the character on various
keyframes and want the character to animate back to its skin pose at frame 50, you can turn on
Auto Key at frame 50 and click Assume Skin Pose.
Skin Pose ModePoses the character in its skin pose and allows the skin pose to be refined.
Changes to the objects when Skin Pose Mode is on will affect only the skin pose and not the
animation. When Skin Pose Mode is turned off, the structure returns to its pose at the current frame.
See also
Character Assembly
Comments
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Character Assembly
Character Assembly
A character assembly is a special type of group for objects particular to a character setup: the
character mesh, bones, IK chains, helper objects, controllers, and other objects used to animate
characters. Once the objects are grouped (assembled), you can perform various functions on the
group as a whole, such as saving and loading animation for the entire bone/mesh set.
The objects that make up a typical character assembly
Unlike an ordinary group, there is no need to open a character assembly to work with its individual
members.
When a character assembly is created, it is designated by a placeholder object called a node, placed
near the bottom of the character assembly. Selecting the node gives access to special tools for
working with character models and animation.
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Character Assembly
Character assembly node
A character assembly will not create a character mesh or bone structure for you. The character
assembly tool is designed for use on character structures that have already been set up using other
tools.
Although the character assembly feature was designed for use with character structures, it will work
equally well with any type of hierarchy or related set of objects.
Creating a Character Assembly
To create a character assembly, select the objects that will make up the assembly. Choose Character
menu > Create Character.
All selected objects become members of the assembly, and the character assembly node is created.
Other objects can be manually added to the assembly after it has been created.
Once the character assembly has been created, you can work with it in a variety of ways. For
information about the Modify panel options available after a character assembly is created, see
Create Character.
Linked Objects in Character Assemblies
Any or all members of the character assembly can be linked to a single object outside the assembly,
but no more than one. For example, ThighLeft and ThighRight, which are both part of the assembly,
can both be linked to Pelvis which is not part of the assembly. However, if ThighLeft and ThighRight

Character Assembly
are each linked to different objects outside the assembly, the creation of the assembly will fail, and
will show the following error message:
Parameter Wiring and Animation
If you plan to wire parameters between two objects, create the assembly first, then set up the
wiring. Be sure to include both objects in the assembly.
Because wiring should be done after the assembly is created, you will probably find it easiest to
create the character assembly before animating the character.
See also
Create Character
Destroy Character
Lock / Unlock
Save Character
Merge Animation
Comments

Character Assembly

Create Character
Create Character
Character menu > Create Character
This command creates a character assembly.
Procedure
To create a character assembly:
1. Create a linked structure of bones or other objects. The structure can have several chains. You
can also use the linked structure with the Skin modifier, and/or set up character rigs and
controllers as needed.
2. Select all objects that will become members of the assembly.
3. Choose Character menu > Create Character.

The character assembly node is created at the bottom of the entire selection, as viewed in the
Front viewport.
4. On the Modify panel, use the character assembly tools to work with the character structure.
The character assembly is given the default name of Character01, which can be changed. All
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Create Character
members of the assembly are listed in the Character Members rollout.
Interface
To work with the character assembly, select the character assembly node and work with the
parameters on the Modify panel.
Character Assembly rollout
Skin Pose group
The Skin pose is the bone structure pose used by the Skin modifier for associating bones with the
mesh. When the Skin modifier is first applied, the current bone structure pose is used as the Skin
pose. The Skin pose can sometimes be accidentally altered by animating the bone structure on
frame 0. If this occurs, you can use these options to fix the Skin pose.

Create Character
These options can be used either before or after the Skin modifier is applied. You can also choose
these options directly from the Character menu when any member of the character assembly is
selected.
Set as Skin PoseSets the Skin pose to the current bone structure's pose. The Skin modifiers
envelopes and vertex weighting are automatically recalculated to work with the new pose.
Assume Skin PoseCauses the bone structure to take on the Skin pose. This feature can be useful
during the animation phase. For example, if you have animated the character on various keyframes
and want the character to animate back to its Skin pose at frame 50, you can turn on Auto-Key at
frame 50 and click Assume Skin Pose.
Skin Pose ModePoses the character in its Skin pose and allows the Skin pose to be refined.
Changes to the bone structure when Skin Pose Mode is on will affect only the Skin pose and not the
animation. When Skin Pose Mode is turned off, the bone structure returns to its pose at the current
frame.
Display group
When a high resolution character model is animated, redraw time can slow the animation process.
To speed up your work, a low resolution version of the model can be used for the animation process,
then switched for the full resolution version at render time. Character assembly objects can be
designated as Full Res or Low Res on the Character Members rollout.
Low Res ObjectsDisplays only the objects checked in the Low Res display in the Character
Members rollout.
Full Res ObjectsDisplays only the objects not checked in the Low Res display in the Character
Members rollout.
All ObjectsDisplays all objects in the character assembly.
Animation group
Animation for the character assembly can be saved or reset in this group. Previously saved
animation from another character can also be inserted to the current character assembly.
Insert AnimationDisplays the Merge Animation dialog, and prompts for a previously saved
animation file.
Save AnimationSaves the character assembly animation in an .anm or .xml file. Both file types
contain the character assembly and its animation. An .anm file is a proprietary format that can be
read and saved only by 3ds max. An .xml file formats the information as XML code, and can be
edited with a text editor.
Animation saved as an .anm file loads and saves faster than an .xml file. Saving and editing an .xml
animation file is recommended only for users who are familiar with the XML language, and who have
a specific need for editing the file.
Reset All AnimationRemoves all animation from the character assembly.

Create Character
Character Members rollout
AddAllows you to select individual objects to add to the character assembly.

Add ListDisplays the Pick Character Members dialog, where you can select multiple objects from a
list and add them to the character assembly.
RemoveRemoves highlighted object(s) from the assembly. Bones and objects upon which other
assembly objects depend, cannot be removed.
Low ResAll members of the character assembly are displayed on this list. By default, all members
are designated as Full Res objects. To designate a member as Low Res, check the object on the list.
The Full Res and Low Res designations are used in conjunction with the Display group selection in
the Character Assembly rollout.
See also
Destroy Character
Lock / Unlock
Save Character
Merge Animation
Comments

Merge Animation
Merge Animation
Select an object, group, or hierarchy > File menu > Merge Animation
Select a character assembly node > Modify panel > Character Assembly Rollout > Animation group >
Insert Animation
Merge Animation merges (transfers) animation data from one object to another. Animation data can be
transferred from one scene to another, or between objects in the same scene. Animation data from several
objects can be merged at the same time.
Within the Merge Animation dialog, objects eligible for transferring or receiving animation data are called
nodes. Source nodes refer to objects from which animation data can be transferred, while current nodes can
receive animation data. Merge nodes are source nodes that have been mapped to (matched up with) current
nodes in the Merge Animation dialog in preparation for merging.
In order for a particular attribute's animation data to be transferred from a merge node, the corresponding
current node must have the same attribute. For example, if a merge node has an animated Bend modifier
applied to it, the current node must also have a Bend modifier applied to it for the animation data to transfer
successfully.
The Merge Animation feature is ideal for transferring animation data between similar hierarchies, such as
character structures. In character creation, it is a common practice to name bones for different characters
with the character name plus a suffix or prefix that describes the bone. For example, you might have one
character called Alien with bones named Alien_Pelvis, Alien_LeftHand, etc. Another character called Chef
would have bones named Chef_Pelvis, Chef_LeftHand, etc. The Merge Animation dialog can automatically
filter prefixes and suffixes so you can quickly map the merge nodes for complex hierarchies.
Note: If you plan to merge animation data to and from characters, the process will be much easier if you use
the same bone-name prefixes or suffixes for each character.
See also
Merge
Merging Effects
Replace
Procedure
To replace the animation in the current scene with the animation from another scene:
1. Load the scene that will receive the merged animation data.
2. Choose File menu > Merge Animation.
3. In the Merge Animation dialog, click Source File to choose the file from which to merge animation data.
The objects appear under Source Nodes in the Object Mapping rollout.
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Merge Animation
4. On the Object Mapping rollout, drag and drop the source nodes to the Merge Nodes column, matching
them with the appropriate current nodes.
5. In the Source Time Range group, choose Replace Animation.
6. Specify the source node attributes that will be merged.
7. Click Merge Animation to merge the animation data from the merge nodes to the current nodes.
To insert animation data from one character to another:

The Source Objects and Current Objects entry fields allow you to enter wildcard expressions to filter prefixes
and suffixes of node names. The filtered text is ignored by the Auto Name Mapping tool, so complex
structures of similarly-named nodes can be mapped quickly. This feature is handy for transferring an
animation between character structures, providing the source and current nodes have been named with the
same conventions.
1. Load the file with the character to which animation data will be merged.
3. Click Source File and choose the animation source file.
4. In the Merge Animation dialog, under Source Objects, use a wildcard expression to specify multiple
items that share a set of characters in their names. For example, if the character bones are named
Skater_Head, Skater_RFoot, and so on, enter Skater* under Source Objects.
5. Click Refresh for Source Objects.
6. Under Current Objects, use a wildcard expression to filter the current nodes' prefix or suffix. Click
Refresh.
7. Click Auto Name Mapping.

Source nodes are placed in the Merge Nodes column, corresponding with current nodes with the same
prefix or suffix.
8. Specify whether to replace or paste animation data from the source file. If pasting animation data, the
frame times for the merge nodes are added to the current nodes.
10. Click Merge Animation to merge animation data from merge nodes to corresponding current nodes.
To insert animation from one character assembly to another:

For character assemblies, the Insert Animation feature can be used to merge animation data.
1. Load the file into which the animation data will be merged.
2. Select the character assembly node.
3. On the Modify panel, click Insert Animation. Select the source file from which animation data will be
merged.
4. Follow the previous procedure from step 4.

Merge Animation
To merge animation data from objects in the same scene:
2. Click Source Object, and choose the object from which animation data will be transferred. This object
and its hierarchy appear under Source Nodes in the Object Mapping rollout.
3. In the Object Mapping rollout, drag and drop source nodes to the Merge Nodes column, matching them
with the appropriate current nodes.
4. Specify whether to replace or paste animation data from the source file. If pasting animation data, the
frame times for the merge nodes are added to the current nodes.
6. Click Merge Animation to merge the animation data from the merge nodes to the current nodes.
Interface
The Merge Animation dialog has the following controls.
Source Objects group
Source FileClick to select a source file containing the animation data. Animation data from this file will be
merged into the current scene. All objects in the scene are displayed under Source Nodes in the Object
Mapping rollout.
Source ObjectSelects a source object from within the current scene. If a source object is selected, the
Source File selection is ignored.
Merge AnimationMerges the animation data based on settings on this dialog. Before animation data can
be merged, Merge Nodes must be listed for their corresponding Current Nodes on the Object Mapping
rollout. The progress bar at the bottom of the dialog shows the progress of the merge operation. After

Merge Animation
merging, this dialog remains on-screen so you can check whether the merge was performed properly before
closing the dialog.
Undo Last MergeUndoes the last merge. If the merge was not performed properly, you can change
settings and try again.
Source Time Range group
Replace AnimationCompletely replaces existing animation data in the current scene with the animation
data from the source file.
Paste to Existing AnimationAppends the source file animation data to the existing animation data based
on the following time parameters.
Match Source File TimeSets the source time range to match the active time segment in the source file.
Start TimeStart Time and End Time set the frame range to merge from the source file. Start Time sets
the first frame in the range.
End TimeSets the end frame number to merge from the source file.
Insert Animation to FrameSets the start time in the current scene. Animation data will be pasted into
the current scene starting at this frame. Any existing animation data in the current scene prior to this frame
will remain the same.
RelativeAnimation data pasted into the scene will change the current scene objects relative to their
current status. For example, if an object in the source file is animated to move from the XYZ position 0,0,0
to 12,0,0, the object receiving the animation data in the current scene will start at its current position and
move 12 units along the X axis.
AbsoluteAnimation data pasted into the scene will replace the current animation data. For example, if an
object in the source file is animated to move from the XYZ position 0,0,0 to 12,0,0, the object receiving the
animation data in the current scene will start at exactly 0,0,0 and animate to 12,0,0.
Main Attributes group
Specify the source file attributes whose animation data will be merged. Current nodes must have the same
attributes as merge nodes for the attribute animation data to be merged.
TransformEnables selection of Position, Rotation and Scale animation data for merging.
IKMerges animation data of IK chains created with IK solvers.
PositionMerges Position transform animation data.
RotationMerges Rotation transform animation data.
ScaleMerges Scale transform animation data.
ModifiersMerges animation data of modifiers. In order for animation data of a modifier to be transferred,
the current object must already have the same modifier applied to it.
More Attributes group
Selects additional attributes to be merged from the source file.

Custom AttributesMerges animation data of any custom attributes on source objects.
Add New DefsAdds custom attribute definitions to the current object if it doesn't have the same

Merge Animation
definitions as the source object.

Base ObjectsMerges animation data of parameters at the object base level. For example, if a sphere's
Radius parameter is animated, checking this option will merge the Radius animation data. This option will
also merge animation data at an object's sub-object level, such as the animation of vertices on a spline or
Editable Mesh object.
Materials/MapsMerges animation data of materials and/or maps.
Visibility TracksMerges animation data of visibility tracks.
Object Mapping rollout
Sets up a one-to-one correspondence (mapping) between source objects and current objects. Animation
data on objects in the Merge Nodes column will be merged to the corresponding object in the Current Nodes
column.
To move objects to the Merge Nodes column, drag them from the Source Nodes column, or use Auto Name
Mapping to automatically map objects with the same names or partial names.
Source ObjectsAllows you to specify wildcard expressions for filtering source objects. Click Refresh to
view objects specified by the wildcard expression.
RefreshRefreshes the display based on wildcard expressions entered in the Source Objects field.
Source NodesDisplays the object selected with the Source Object option, and all its children. Objects with

Merge Animation
keyframed animation are listed in red, and objects with procedural controllers (such as a Noise or Expression
controller) are listed in green. The display can be limited with wildcard expressions entered in the Source
Objects field.
Current ObjectsAllows you to specify wildcard expressions for filtering current objects. Click Refresh to
view objects selected by the wildcard expression.
RefreshRefreshes the display based on wildcard expressions entered in the Current Objects field.
Current NodesDisplays objects in the current scene. Animated objects are listed in red. Display can be
limited by wildcard expressions in the Current Objects field.
Merge NodesLists the current objects that will receive animation data from the corresponding object
under Current Nodes. To place an object in the Merge Nodes column, drag and drop the item from Source
Nodes, or use Auto Name Mapping to automatically map objects with the same or similar names.
Move UpMoves the selected Merge Node up one row.
Clear SelectedClears selected entries under Merge Nodes.
Move DownMoves the selected Merge Node down one row.
Auto Name MappingAutomatically maps source objects to the Merge Nodes column, matching names
with current objects. The mapping process filters any wildcard expressions entered in the Source Objects and
Current Objects fields. If no wildcard expressions are entered, source objects are mapped only to current
objects with identical names.
Display Options group
Show Animated OnlyDisplays animated objects only.

IndentSets the number of characters by which child objects are indented in the display.
Load MappingLoads a previously saved .mnm file. This type of file can be loaded and saved only on the
Merge Animation dialog.
Save MappingSaves the current mapping in an .mnm file. The name of the source file and the mapping of
source and current objects are saved. This type of file can be loaded only with the Load Mapping option on
the Merge Animation dialog.
Comments

Merge
Merge
File menu > Merge
Merge allows you to bring objects from other scene files into the current scene. You can also use
merge if you want to combine an entire scene with another.
Automatic Unit Conversion
When Respect System Units in Files is turned on in the System Unit Setup dialog, in the System Unit
Scale group, merged objects from a file with a different scene unit scale are scaled to maintain their
correct size in the new scene. No conversion is done when merging files created in 3ds max 1.x.
If Respect System Units is off, a 100-unit radius sphere that was created in a 1=1 foot system
becomes a 100-inch sphere in a 1=1 inch system with a 100-unit radius.
Resolving Conflicts When Merged Objects Have the Same Name
When one or more incoming objects have the same name as objects in the scene, an alert gives you
the following options:
MergeMerges the incoming object using the name in the field at the right. To avoid having two
objects with the same name, type a new name before proceeding.
SkipDoes not merge the incoming object.
Delete OldDeletes the existing object before merging the incoming one.
Apply to All DuplicatesTreats all subsequent incoming objects with duplicate names the same
way you specified for the current object. No further alerts will appear. This option is not available if
you renamed the current object.
CancelCancels the merge operation.
When one or more materials assigned to incoming objects have the same name as materials in the
scene, an alert gives you the following options:
Rename Merged MaterialDefines the name for incoming material.
Use Merged MaterialAssigns the characteristics of the incoming materials to the same-named
scene materials.
Use Scene MaterialAssigns the characteristics of the scene materials to the same-named
incoming materials.
Note: Only top-level material names (not sub-materials) are checked for duplicates.
Auto Rename Merged MaterialAutomatically renames the incoming materials to new names.
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Merge
Uses Material number names based on the next available Material number.
Apply to All DuplicatesTreats all subsequent incoming Materials with duplicate names the same
way you specified for the current object.
See also
Merge Animation
Merging Effects
Open
Replace
Procedures
To merge items:
This is the general procedure. Detailed steps follow.
1. Choose File > Merge.
2. Select a file from which to merge items.
3. Choose a group or an item to merge.
To specify object types to list, do any of the following:
Display or hide the subtree. If the subtree is not displayed, you can sort items in the list
alphabetically or by type or color.
Select the object types that you want displayed in the list box.
Click All or None to select or clear all of the object types.
To select objects to merge, do any of the following:
Enter the name of an item, or use wildcard characters to specify multiple items that share a set of
characters in their names.
Click to select single objects.
Press CTRL and click to add and remove single objects from the selection.
Press SHIFT and click to select all objects between the previously selected object and the current
object.
Click All or None to select or deselect the entire list.
Click and drag to select items to merge from the list on the left.

Merge
Interface
In the standard file selector dialog, select the scene file to merge. To see more than one file type at
a time, choose the All Files file type.
After you select a file, select the objects to merge in the Merge dialog. Either enter the object name
or select the object from the Object List.
All/NoneSelects all list items or no items.
InvertReverses the current list selection.
Display SubtreeDisplays the objects in the list in an indented format. Turn off this option to
activate the Sort group options.
Select SubtreeWhen this option is turned on, all items indented below the selected one are also
selected.
Case SensitiveDistinguishes between uppercase and lowercase for item names.
Sort group
Options allow you to sort the list on the left. If the Display Subtree check box is on, these options

Merge
are not available.

AlphabeticalSorts from A at the top to Z at the bottom.
By TypeSorts by category, using the same order as the check boxes in List Types.
By ColorSorts by object wireframe color.
List Types group
Determines which components in the scene are displayed in the list on the left: geometry, shapes,
lights, cameras, helpers, space warps, groups/assemblies. Groupand bone objects names appear in
brackets.
All/NoneTurns all check boxes on or off.
InvertReverses the current status of check boxes.
Comments

Units Setup Dialog
Units Setup Dialog
Customize menu > Units Setup > Units Setup dialog
The Units Setup dialog establishes the unit display method, giving you the choice between generic
units and standard units (feet and inches, or metric). You can also create custom units, which are
used whenever you create an object.
The units that you set up are used to measure geometry in your scene. In addition to these units,
the software also uses system units as an internal mechanism. System units should only be changed
before you create your scene or import a unitless file. Do not change the system unit in an existing
scene.
You can also set the lighting units using this dialog.
System vs. Display Units
It is important to note the distance between System and Display units. Display units only affect how
geometry is displayed in the viewports. System units determine the actual scale of geometry. For
example, if you import a DXF file (unitless) containing a 1 x 1 x 1 Box, 3ds max may import the
boxs dimensions in inches or miles, depending on the System unit. This can have a significant
impact on your scene, which is why you should always set up the system unit before you import or
create geometry.
Procedures
To change units to feet and inches:
1. In Units Setup, choose US Standard.
2. For Default Units, choose Feet or Inches.
3. Select from among the choices on the drop-down list.
If you want feet, choose how the inches will appear, as fractions or decimal.
If you choose Fractional Feet or Feet w/ Fractional Inches, choose the fraction on the drop-
down list to the right.
To enter fractions in numeric fields:
When you enter fractions in numeric fields, they are converted to the correct units. For example,
if units are set to Feet w/ Decimal Inches, and Default Units is set to Feet, type 37/45 and press
ENTER for the result 0'9.867", or 37/45'.
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Units Setup Dialog
To enter a fraction and a units specifier, place the specifier after the divisor. For example, type
17/5', but not 17'/5.
To convert between unit types:
You can convert between unit types by entering any valid unit specifier, along with the number,
and then pressing ENTER.
The number is converted to the current unit display type. For example, if units are set to Meters,
type 1/2 to get the result 0.5M. However, if you type 1/2' or 6" the result is 0.152M.
Interface
System Unit SetupClick to display the System Unit Setup dialog and change the system unit
scale.
Warning: You should only change the system unit value before importing or creating
geometry. Do not change the system unit in an existing scene.

Units Setup Dialog
Display Unit Scale group
Click one of the option buttons (Metric, US Standard, Custom, or Generic) to activate its settings.
MetricClick the list and choose a metric unit: Millimeters, Centimeters, Meters, Kilometers
US StandardClick the list and choose a US Standard unit. If you choose a fractional unit, the
adjoining list activates to let you select the fractional component. The decimal units require no
additional specification.
The US Standards are as follows:
Fractional Inches
Decimal Inches
Fractional Feet
Decimal Feet
Feet w/ Fractional Inches
Feet w/ Decimal Inches
For the last two items, you can specify which unit is assumed when you enter a value in a numeric
field and press ENTER without including a units specifier, such as ' for feet or " for inches.
For example, if Feet is the default, typing 5 followed by ENTER results in 5 feet. Typing 5" followed
by ENTER results in 0'5". If Inches is the default, typing 5 followed by ENTER results in 0'5". Typing
5' followed by ENTER results in 5 feet.
CustomFill in the fields to define a custom unit of measurement.
GenericThis is the default option (one inch) and is equal to the system unit used by the software.
Lighting Units group
The Lighting Units group lets you choose whether light values are displayed in American or
International units.
Comments

System Unit Setup Dialog
Customize > Units Setup > Click System Unit Setup.
This dialog appears when you click System Unit Setup in the Units Setup dialog.
Warning: You should only change the system unit value before importing or creating
Because of the nature of digital floating-point calculations, distances that are extremely large or
extremely small can cause roundoff error. Symptoms of roundoff error include trouble navigating
(zooming and panning become too fast or too slow), unwanted viewport clipping, and unexpected
flipping of normals. Here are some general guidelines to avoid these problems:
Make sure your scene is roughly centered around the origin (0,0,0).
Roundoff error increases at large distances from the origin.
Make sure no significant detail in the scene is smaller than one generic 3ds max unit.
Note: The Rescale World Units utility alters the scale of world units throughout the entire scene, or
selected objects.
Procedure
To change the system unit:
1. Choose Customize menu > Units Setup.
2. Click System Unit Setup.
3. Change the System Unit Scale value, and click OK.

The system unit is immediately reset. This setting remains in effect until you change it.
Interface
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Unit and Measurement fieldsChange the scale of the 3ds max unit. The system unit is the
standard measurement throughout 3ds max. You should only change the system unit value before
importing or creating geometry.
Respect System Units in FilesWhen on, if you open, merge, XRef, or drag and drop geometry
from file that has different system unit settings, a File Load: Units Mismatch dialog is displayed. This
dialog gives you the choice of rescaling the geometry to match the current system units, or adopting
the units used in the file. When off, the dialog is not displayed, and the file is assumed to have the
same units as the current 3ds max session. Default=on.
Origin Slider, Distance from Origin, Accuracy
These controls provide a system unit calculator to help you determine the unit scale for your project.
The resolution of measurement diminishes as the distance to the origin of space increases, so you
need to consider space granularity when you choose a scale for your project. If you're modeling an
island, for example, this calculator can help you determine the smallest object you should model on
the island. In other words, don't use a unit scale of millimeters if you plan on modeling an island
that's many miles across.
When you use the slider or the text field to enter a distance from the origin, the Resulting Accuracy
changes to show what the roundoff error will be at that distance.
These controls don't change the unit settings in 3ds max. They don't reflect the extents of the
current scene, either.
Origin SliderMove the slider for interactive feedback of distance and accuracy. Right-click the
scale to reset the slider to 0. Dragging the slider displays the last slider position as a small square on
the scale markings.
The slider covers distances from 0 to the maximum distance that's accurate to one system unit.
Distance from OriginEnter the maximum distance you want to use in your project to determine
the maximum accuracy, which is displayed in the Accuracy field. Values consider current settings for

system scale and unit.

Note: When you type a distance, you must press ENTER to update the Resulting Accuracy field.
Pressing TAB simply moves focus to Resulting Accuracy, without doing the calculation.
Resulting AccuracyEnter the minimum resolution you will use to determine the maximum size or
distance that is most practical. Values consider current settings for system scale and unit.
For example, if units are in feet and decimal inches in Customize menu > Units Setup, and you type
(1', 1 foot) in the Accuracy field, a value of 22369620'0.0" is displayed in the Distance From Origin
field. If you move an object that's one foot across, at this distance away from the origin of space, a
roundoff error will occur, and the shape of the object will be compromised.
Comments

Rescale World Units Utility
Utilities panel > Utilities rollout > More button > Utilities dialog > Rescale World Units
This utility rescales the world units of either the entire scene or selected objects in the scene.
Interface
RescaleAfter selecting the objects you want to rescale, click this to start the Rescale utility,
implemented using the Rescale World Units dialog.
Comments
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Rescale World Units Dialog
Utilities panel > Utilities rollout > More button > Utilities dialog > Rescale World Units > Rescale
World Units rollout > Rescale button
The Rescale dialog implements the Rescale World Units utility, controlling scale factor and whether it
is applied to the entire scene or the current selection.
Procedure
To rescale an object:
1. Select an object in the viewport.
2. On the Utilities panel, click the More button, and choose Rescale World Units from the list.
3. Set the Scale Factor to the desired scale. For example, setting the scale to a value of 2.0
doubles the size of the object that its applied to.
4. In the Affect group, choose the Selection option.
5. Click OK to apply the scale.
Interface
Scale FactorSpecifies the scaling factor.

OKApplies the scale.
CancelCancels the operation.
Affect group
SceneApplies the scale to the entire scene.
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SelectionApplies the scale only to the current selection.
Comments
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File Load: Units Mismatch Dialog
File Load: Units Mismatch Dialog
Change the system unit scale. > Open, Merge, XRef, or drag and drop geometry from a file with a
different unit scale.
This dialog appears when your current session is using a different system unit scale than geometry
from a file that has a different scale. It appears only if Respect System Units In Files is turned on in
the System Unit Setup dialog.
Interface
Rescale the File Objects to the System Unit Scale(The default.) Objects from the file are
rescaled to the current session's system unit scale.
Adopt the File's Unit ScaleThe current session's system unit scale is changed to match that of
the other file.
Comments
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Merging Effects
Merging Effects
Rendering menu > Effects > Environment and Effects dialog > Effects panel > Merge
The Merge button on the Effects panel lets you merge effects from other 3ds max (.max) scene
files.
See also
Merge
Replace
Merge Animation
Procedures
To merge an atmospheric effect:
1. Choose Rendering menu > Effects to display the Effects panel.
2. On the Effects rollout, click Merge.

A Merge Effect dialog appears for file selection.
3. Select a .max scene.

A Merge Atmospheric Effects dialog lists the effects in the specified file.
4. Select one or more of the effects, and then click OK to merge them into the scene.
Only atmospheric effects appear in the merge list, but when an effect is merged, any lights or
gizmos bound to the effect are merged as well.
To resolve conflicts when merged effects have the same name:
If an effect of the same type and name already exists in the scene, an alert appears. Choose from
among these options:
Name fieldAllows you to rename the incoming effect.
MergeResults in two effects in the scene with the same name.
Delete OldRemoves the existing effect in the scene.
Apply To All DuplicatesPerforms the same action on all subsequent matching effects.
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Merging Effects
Comments
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Replace
Replace
File menu > Replace
Replace lets you substitute the geometry of one or more objects in a scene by merging objects with
duplicate names. Use Replace when you want to work with less complex geometry to set up your
scene and animation, and then replace it with more detailed geometry before rendering.
When you replace an object in your scene, you replace its geometry, including its modifiers, but
not its transforms, space warps, hierarchy, or materials.
To replace the object with all its characteristics, use Merge.
If the object that you're replacing has instances in the scene, all of the instances are replaced with
the new object.
All objects in the scene with the same name as the incoming object are replaced by that object. If
you have more than one object in the scene with the same name as the incoming object, all of
those objects are replaced.
See also
Merging Effects
Merge
Merge Animation
Procedures
To replace items:
1. Choose File > Replace to display the Replace File dialog.

To see more than one file type at a time, choose the All Files file type.
2. Select a file from which to choose replacement items.
3. On the Replace dialog for that file, choose a group or a replacement item. (See the following
procedure.)
An alert asks if you want to replace the materials along with the objects.
If yes, the materials from the incoming objects replace the current materials.
If no, only the geometry is replaced, while the material assigned to the original object is
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Replace
retained.
To select objects to replace, do one of the following:
Enter the name of an item, or use wildcard characters to specify multiple items that share a set of
characters in their names.
Click to select single objects.
Press CTRL and click to add and remove single objects from the selection.
Press SHIFT and click to select all objects between the previously selected object and the current
object.
Click All or None to select or deselect the entire list.
Interface
In the standard file selector dialog, select the scene file to replace, whereupon the Replace dialog,
depicted above, appears. To see more than one file type at a time, choose the All Files file type.
After you select a file, select the objects to replace in the Replace dialog. Either enter the object

Replace
name or select the object from the Object List.

All/NoneSelects all list items or no items.
InvertReverses the current list selection.
Display SubtreeDisplays the objects in the list in an indented format. Clear this option and the
Sort group is enable.
Select SubtreeWhen this option is selected, all items indented below the selected one are also
selected.
Case SensitiveDistinguishes between upper and lowercase for item names.
Sort group
Options allow you to sort the list on the left. If the Display Subtree check box is on, these options
are not available.
AlphabeticalSorts from A at the top to Z at the bottom.
By TypeSorts by category, using the same order as the check boxes in List Types.
By ColorSorts by object wireframe color.
List Types group
Determines which components in the scene are displayed in the list on the left: geometry, shapes,
lights, cameras, helpers, space warps and bone objects.
All/NoneTurns all check boxes on or off.
InvertReverses the current status of check boxes.
Comments

Open
Open
File menu > Open
Keyboard > CTRL+O
Open loads a scene file (MAX file), character file (CHR file), or VIZ Render file (DRF File) from an
Open File dialog. You can also choose a previously opened file and use command-line options.
The MAX file type is a complete scene file.
A CHR file is a character file saved with Character menu > Save Character. For more information on
the CHR file format, see Character Assembly and Save Character.
A DRF file is a scene file from VIZ Render, a rendering tool included with Autodesk Architectural
Desktop 2004. The DRF file type is very similar to MAX files from previous versions of Autodesk VIZ.
If the file you're loading was created using plug-ins that are not installed, a dialog lists them. You
can still load the file, but any entities in the scene that were created by the missing plug-ins are
replaced with stand-ins; non-rendering boxes or placeholder modifiers. Feel free to delete these
from the scene.
If the file you are loading contains bitmaps that cannot be located, a Missing Map Files dialog
appears. This dialog lets you browse for the missing maps, or continue opening the file without
loading them.
Automatic Unit Conversion
When Respect System Units in Files is turned on in the System Unit Setup dialog, in the System Unit
Scale group, loaded files that have a different scene unit scale display a dialog that lets you rescale
the loaded scene to the current scene unit scale or change the current scene unit scale to match the
one in the loaded file. No conversion is done when loading files created in 3ds max 1.x.
If you rescale the file objects, the objects are scaled as if they had been created using the current
scene unit scale. For example, if the current system unit scale is set to 1 unit=1 inch, and the
incoming file was set to 1 unit=1 foot, a sphere with a radius of 100 feet becomes 1200 inches in
radius (if the unit display is set to generic units), or 100 feet.
If you change the current system unit scale to match the one in the loaded file, the same sphere
remains 100 feet in radius, the System Unit Scale setting in the System Unit Setup dialog is reset
to 1 unit=1 foot.
If Respect System Units in Files is off, a 100-unit radius sphere that was created in a 1=1 foot
system becomes a 100-inch sphere in a 1=1 inch system with a 100-unit radius.
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Open
Procedures
To reopen a previously opened file:
From the bottom of the File menu, choose the file name.
You set the number of files listed by changing the Recent Files in File Menu field on the Files panel
of the Customize > Preferences dialog.
To start 3ds max and open a specific file:
In a command prompt window, specify the file name after the executable name. For example:
c:\3dsmax\3dsmax.exe myproject.max
To start 3ds max and open the last file you worked on:
In a command prompt window, type -L after the executable name:

c:\3dsmax\3dsmax.exe l
Interface
The Open File dialog has standard Windows file open controls. At the right, the Thumbnail area
shows a preview of the scene whose file name is highlighted in the list on the left.

Open
Clicking the plus button appends a sequence number to the file name you entered, or
increments the sequence number if the name already has one, and then opens the file of that name,
if it is present.
For example, if you have highlighted a file named test00.max, clicking the plus button changes the
name to test01.max and then opens test01.max.
Opening an Obsolete File
When opening a scene created in an earlier version of 3ds max, you will see an Obsolete File dialog.
If you resave the scene, you will overwrite the file. You can still edit it using 3ds max 6, but you will
no longer be able to edit it in earlier versions of the software.
Don't display this messageWhen turned on, you will not see the Obsolete File dialog. The dialog
is also controlled by the Display Obsolete File Message switch on the Customize > Preferences >
Files panel.
Note: If you need to open the scene using an earlier version of 3ds max, use File > Save As and
save the file using a different name.
Comments

DRF Files
DRF Files
The Discreet Render Format (DRF) is the file format for VIZ Render, a rendering tool included with
Autodesk Architectural Desktop 2004. The DRF file type is very similar to MAX files from previous
versions of Autodesk VIZ.
This file format is only available when you use the File menu command, Open. All DRF files must be
saved as MAX files in 3ds max. Likewise, DRF files cannot be imported or merged into 3ds max
scenes.
Note: You can open DRF files using drag and drop functionality.
For more information, see Working with DRF Files in 3ds max.
Comments
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Working with DRF Files in 3ds max
Saving DRF Files
DRF files must be saved as MAX files in 3ds max.

Important: Once you save a DRF file in 3ds max, it becomes a MAX file and you can no
longer open it in VIZ Render.
Defaults
3ds max ships with several market-specific defaults sets. If you are working on design visualization
types of files, you should load the DesignVIZ default settings. For more information on how to do
this, see Market-Specific Defaults.
Units
In VIZ Render, you can only use meters as your system unit. However, 3ds max lets you define
your own system unit, and how units are displayed. For more information on units, see Using Units
and Units Setup Dialog.
Missing Maps
Many times, when you open a DRF file, you will be presented with the Missing External Files dialog.
To locate the missing files, use the Configure Paths dialog to add the appropriate VIZ Render
directories to the External Files tab of the dialog.
Handling Linked Geometry in 3ds max
Linked objects show up as Linked Geometry objects on the Modify panel. These objects don't allow
access to sub-object levels where minor editing can occur. If a linked geometry object is moved,
rotated or scaled you do have the option to Reset Position.
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Linked Geometry user interface on the Modify panel.
3ds max recognizes Linked Geometry objects when you open a MAX file created in VIZ Render.
Since linked geometry objects offer no parameters on the Modify panel, you must first add an Edit
Mesh modifier to the object or collapse the linked geometry object to an Editable Mesh in order to
access sub-object levels. If you add a modifier to linked geometry, the modifier is applied to all
instances of that object.
Linked Geometry objects are assigned a special LinkTM controller. If a the object is converted to an
Editable Mesh, Poly, NURBS or Editable Spline, the LinkTM controller is replaced with a PRS
controller.
Note: The File Link Manager is not included in 3ds max 6. If you open a VIZ Render file, you cannot
Reload or Bind geometry from the original DWG file.
Substituted Objects
There is no substitution modifier in 3ds max. However, if you open a DRF file with substituted
objects, 3ds max will recognize the substitutions and will add the substituted objects into the scene.
User Interface Changes
Some of the user interface elements in 3ds max are not where you would expect them if you are
coming from VIZ Render. For example, the viewport controls are in the bottom-right corner, instead
of the top-left.
For more information on the user interface, see User Interface.

Render Presets
The Render Presets in 3ds max are very different from the presets in VIZ Render. For more
information on using them, see Preset Rendering Options.
Comments

Market-Specific Defaults
3ds max is used in many different professional markets, including film, design visualization, and
games. The workflow and performance requirements for users from these markets vary
tremendously. As a result, different default settings are ideal for different types of scenes.
For example, a typical animation scene has a small number of lights; shadow maps provide a fast,
accurate solution to generating shadows. On the other hand, a typical design visualization scene can
contain hundreds of lights, in which case shadow maps will cause memory issues. For this type of
scene, ray-traced shadows are much more appropriate.
In order to provide an efficient working environment for both project types, 3ds max offers four sets
of market-specific defaults, tailored specifically for general animation scenes and for design
visualization projects (both with and without the use of the mental ray renderer. The sets are each
located in their own sub-directories of the \defaults directory. These sub-directories each contain an
INI file (currentdefaults.ini), which contains the global parameter defaults, a default material library
(medit.mat), which populates the Material Editor at startup, and a startup file (maxstart.max), which
is the file that opens when 3ds max is started or when you reset. You can edit any of these files,
and you can also create your own sets, however each set must be in a separate sub-directory of
\defaults. in addition, each file in the directory should have the same names (currentdefaults.ini,
medit.mat, and maxstart.max). If one of these files is not present in a custom defaults directory that
you have created, 3ds max uses the corresponding file from the \defaults\max directory in its place.
Note: For your protection, both of the preset default directories have a sub-directory named
\factorydefaults, which contains the original files for each set. These can be used in the event that
you have changed your defaults and are unhappy with the results. They are also a useful starting
point for creating your own set; copy them to a new directory and edit them. It is highly
recommended that you do not edit the files in the \factorydefaults directories.
Default sets are assigned through the Custom UI and Defaults Switcher.
Procedure
To change the current set of defaults:
1. Choose Customize menu > Customize UI And Defaults Switcher.
2. Select one of the default sets from the Initial settings for tool options list and click Set.
3. Restart 3ds max to load the new default parameters.
Interface
The following files should be included in your default directory. If one or more of these files is not
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present in the current Default directory, 3ds max will use the corresponding file from \defaults\max
in its place.
CurrentDefaults.ini
The following table describes all of the sections that can be set in a default INI file. Any parameter
with a blank or invalid value will use the hard coded default.
Table 1.
Default Description [ini file Hard Coded DesignVIZ

Valid Values MAX Default
section name] Default Default
Advanced Raytrace Shadows

[10D0 20016D4E 58AB60F8]
<= 0 =
Simple No
antialiasing
shadow_mode (integer): The mode 1 = 1-pass 2-pass 2-pass
Simple
used to antialias shadows. antialiasing antialias antialias
>= 2 = 2-
pass
antialiasing
<0=0
ray_bias (float): The minimum 0 to
distance between faces that the 9999999.0 0.25 0.25 0.25
shadow generator can resolve. > 9999999.0
= 9999999.0
0=
Backfaces do
not cast
twoSidedShadows (integer): This Backfaces do Backfaces do
shadows Backfaces do
controls whether backfaces cast not cast not cast
Any other cast shadows
shadows. shadows shadows
value =
Backfaces do
cast shadows

0=
Transparent
faces are
shadow_transparent (integer):
opaque Transparent Transparent Transparent
This controls whether correct
Any other faces are faces are faces are
shadows for transparent face are
value = opaque opaque transparent
calculated.
Transparent
faces are
transparent.
Render Environment
[1010 EE448B23 0]
0 0 = No
advanced
lighting
AdvancedLighting (class id): This is 0x795c4168
No advanced No advanced
the class id of the advanced lighting 0x669a1835 Radiosity
lighting lighting
plugin that is assigned by default. = Radiosity
0x39ff19ec
0x772d5bff =
Light Tracer
0 0 = No
exposure
control
0x58b4684b
0x507f76e9
=
Logarithmic
Exposure
Control
0x786c6aaa
0x449349db
ExposureControl (class id): This is = Adaptive Logarithmic
No exposure No exposure
the class id of the exposure control Exposure Exposure
Control Control
assigned by default. Control Control
0x55897318
0x34db21ac
= Linear
Exposure
Control
0x575e3dff
0x60e13d9a
= Pseudo

color
Exposure
Control
0= Don't
simplify
SimplifyAreaShadows (integer): shadows.
Don't simplify Don't simplify Don't simplify
The deault setting for Simplify Area/ Any other
shadows shadows shadows
Linear Shadows. value = Don't
simplify
shadows
Scene
[100 2222 0]
0x100 0 =
Shadow Map
; Ray Traced
Shadows =
0x200 0
0x1721305e
0x689452a1
GlobalShadowGenerator (class id):
= Area
This is the class id of the default Advanced
Shadows
shadow generator that is used when Shadow Map Shadow Map Ray Trace
0x20016d4e
Use Global Shadows Settings is set in Shadows
0x58ab60f8
a light.
= Advanced
Ray Trace
Shadows
0x50c0a72e
0x3e2be365
= Mental Ray
Shadow Map
Standard Max Lights

[30 1011 0]
Omni, Target Spot, Free Spot, Target Directional and Free Directional lights use these defaults.
0 Do not
cast shadows
castShadows (integer): Controls Do not cast Do not cast Cast
Any other
whether the light casts shadows. Shadows Shadows Shadows
value Cast
shadows

0 Use the
lights
shadow
useGlobalShadowSettings Use the
generator. Use the Use the
(integer): Controls whether the scenes
Any other lights lights
scenes global shadow generator or global
value Use shadow shadow
the lights shadow generator is used shadow
the scenes generator generator
for shadows. generator
global
shadow
generator.
0x100 0 =
Shadow Map
; Ray Traced
Shadows =
0x200 0
0x1721305e
0x689452a1
= Area
ShadowGenerator (class id): This is Advanced
Shadows
the class id of the default shadow Shadow Map Shadow Map Ray Trace
0x20016d4e
generator assigned to a light. Shadows
0x58ab60f8
= Advanced
Ray Trace
Shadows
0x50c0a72e
0x3e2be365
= Mental Ray
Shadow Map
Target Point Light

[30 658d4f97 72cd4259]
The Free Point, Target Linear, Free Linear, Target Area and Free Area lights use these default
values for castShadows, useGlobalShadowSettings and ShadowGenerator.
0 Do not
cast shadows
Any other
value Cast
shadows

0 Use the
lights
shadow
global
shadow
generator.
0x100 0 =
Shadow Map
; Ray Traced
Shadows =
0x200 0
0x1721305e
0x689452a1
= Area
Shadows
0x20016d4e
0x58ab60f8
= Advanced
Ray Trace
Shadows
0x50c0a72e
0x3e2be365
= Mental Ray
Shadow Map
0 The light
illuminates
directly
storeDirectIllumination (integer):
Any other The light The light The light
Determines whether the radiosity
value The illuminates illuminates illuminates
solution supplies the illumination for a
radiosity directly directly directly
light or the light illuminates directly.
solution
supplies the
illumination.
Free Point Light

[30 32375fcc b025cf0]

0 The light
illuminates
directly
storeDirectIllumination (integer):
Any other The light The light The light
Determines whether the radiosity
value The illuminates illuminates illuminates
solution supplies the illumination for a
radiosity directly directly directly
light or the light illuminates directly.
solution
supplies the
illumination.
Target Linear Light

[30 45076885 40791449]
0 The light
illuminates
directly
storeDirectIllumination (integer): The radiosity
Any other The light The light
Determines whether the radiosity solution
value The illuminates illuminates
solution supplies the illumination for a supplies the
radiosity directly directly
light or the light illuminates directly. illumination.
solution
supplies the
illumination.
Free Linear Light

[30 78207401 357f1d58]
0 The light
illuminates
directly
solution
supplies the
illumination.
Target Area Light

[30 71794f9d 70ae52f2]

0 The light
illuminates
directly
solution
supplies the
illumination.
Free Area Light

[30 36507d92 105a1a47]
0 The light
illuminates
directly
solution
supplies the
illumination.
IES Sunlight
[30 23fe7f4f 6cf2fe9]
0 Do not
cast shadows
Any other
value Cast
shadows
0 Use the
lights
shadow
global
shadow
generator.

0x100 0 =
Shadow Map
; Ray Traced
Shadows =
0x200 0
0x1721305e
0x689452a1
= Area
Shadows
0x20016d4e
0x58ab60f8
= Advanced
Ray Trace
Shadows
0x50c0a72e
0x3e2be365
= Mental Ray
Shadow Map
IES Skylight
[30 4b241b11 64e8527d]
0 Do not
cast shadows
castShadows (integer): Controls Do not cast Do not cast Do not cast
Any other
value Cast
shadows
0 The light
illuminates
directly
storeDirectIllumination (integer): The radiosity The radiosity The radiosity
Any other
Determines whether the radiosity solution solution solution
value The
solution supplies the illumination for a supplies the supplies the supplies the
radiosity
light or the light illuminates directly. illumination. illumination. illumination.
solution
supplies the
illumination.
Skylight
[30 7bf61478 522e4705]
0 Do not
cast shadows
castShadows (integer): Controls Do not cast Do not cast Do not cast
Any other
value Cast
shadows

0 The light
illuminates
directly
storeDirectIllumination (integer): The radiosity The radiosity The radiosity
Any other
Determines whether the radiosity solution solution solution
value The
solution supplies the illumination for a supplies the supplies the supplies the
radiosity
light or the light illuminates directly. illumination. illumination. illumination.
solution
supplies the
illumination.
Daylight System
[50 4a1e6deb 31c77d57]
0 0 = No Sun
0x1013 0 =
sun (class id): The class id for the Standard Sun
Standard Sun Standard Sun IES Sun
default sun in the daylight system. 0x23fe7f4f
0x06cf2fe9 =
IES Sun
0 0 = No Sky
0x7bf61478
0x522e4705
Sky (class id): The class id for the
= Skylight Skylight Skylight IES Sky
default sky in the daylight system.
0x4b241b11
0x64e8527d
= IES Sky
0x100 0 =
Shadow Map
; Ray Traced
If the default
Shadows =
shadow
0x200 0
generator is
0x1721305e
missing or
0x689452a1
invalid in the
= Area
SunShadowGenerator (class id): default set, Advanced
Shadows Ray Traced
The class id for the shadow generator the shadow Ray Traced
0x20016d4e Shadows
assigned to the sun. generator Shadows
0x58ab60f8
defaults to
= Advanced
the shadow
Ray Trace
generator for
Shadows
the sun in
0x50c0a72e
use.
0x3e2be365
= Mental Ray
Shadow Map

0 Do not
SunCastShadows (integer): cast shadows
Determines whether the sun casts Any other Cast shadows Cast shadows Cast shadows
shadows. value Cast
shadows
0 Use the
lights
shadow
SunUseGlobalShadowSettings generator. Use the Use the Use the
(integer): Determines whether the Any other lights lights lights
sun uses the local or global shadow value Use shadow shadow shadow
generator the scenes generator generator generator
global
shadow
generator.
0 = The sun
is restricted
to its defined
SunOvershoot (integer) Determines
area
whether the sun illuminates beyond
1 = The sun
its specified area. This is only The sun is The sun is The sun is
is not
applicable to sun objects that define not restricted not restricted not restricted
restricted to
an area of illumination and to its defined to its defined to its defined
its defined
shadowing, for example the Standard area area area
area, but will
Sun. This value is not applicable to
only cast
the IES Sun.
shadows
within the
defined area.
0 0 0 = black
to
255 255 255
= white
Values less
SunColor (3 floats): The color of the 255 242.25 255 242.25 255 242.25
that 0 or
sunlight. 229.5 229.5 229.5
greater than
255 are
clamped to 0
and 255
respectively.
Sunlight System
[60 5897670e 61b5008d]

0x100 0 =
Shadow Map
; Ray Traced
Shadows =
0x200 0
0x1721305e
0x689452a1
= Area
SunShadowGenerator (class id):
Shadows Ray Traced Ray Traced Ray Traced
The class id for the shadow generator
0x20016d4e Shadows Shadows Shadows
assigned to the sun.
0x58ab60f8
= Advanced
Ray Trace
Shadows
0x50c0a72e
0x3e2be365
= Mental Ray
Shadow Map
0 Do not
SunCastShadows (integer): cast shadows
Determines whether the sun casts Any other Cast shadows Cast shadows Cast shadows
shadows. value Cast
shadows
0 Use the
lights
shadow
SunUseGlobalShadowSettings generator. Use the Use the Use the
(integer): Determines whether the Any other lights lights lights
sun uses the local or global shadow value Use shadow shadow shadow
generator the scenes generator generator generator
global
shadow
generator.

0 = The sun
is restricted
to its defined
SunOvershoot (integer) Determines
area
whether the sun illuminates beyond
1 = The sun
its specified area. This is only The sun is The sun is The sun is
is not
applicable to sun objects that define not restricted not restricted not restricted
restricted to
an area of illumination and to its defined to its defined to its defined
its defined
shadowing, for example the Standard area area area
area, but will
Sun. This value is not applicable to
only cast
the IES Sun.
shadows
within the
defined area.
0 0 0 = black
to
255 255 255
= white
Values less
SunColor (3 floats): The color of the
that 0 or 225 225 225 225 225 225 225 225 225
sunlight.
greater than
255 are
clamped to 0
and 255
respectively.
Material Editor
[100 C80 0]
20=
Standard
Material
0x13d11bbe
materialType (class id): The class id 0x691e3037
of the material that the material = Standard Standard Architectural
editor uses to populate the slots not Architectural Material Material Material
overridden by medit.mat. Material
0x27190ff4
0x329b106e
= Raytrace
Material
RadiosityPerferences
[RadiosityPreferences]

DisplayReflectanceInMEditor 0 = Do not
(integer): Determines whether the display
reflectance and transmittance fields reflectance
are displayed in the material editor. and Do not Do not
Display
This value is only used the first time transmittance display display
reflectance
MAX is run. After that the value is set Any other reflectance reflectance
and
in the Radiosity tab of the preference value = and and
transmittance
dialog. Display transmittance transmittance
This value is kept in 3dsmax.ini: reflectance
[RadiosityPreferences] and
DisplayReflectanceInMEditor=n transmittance
UpdateDataWhenRequiredOnStart
(integer): Determines whether the 0 = Do not
radiosity engine will default to update the
updating the solution or not when the solution Do not Do not
Update the
model has changed. Any other update the update the
solution
This value is changed in the current value = solution solution
defaults to reflect the last setting the Update the
user selected in the Preferences solution
dialog.
[C00 13d11bbe 691e3037]
0x25773211
0 = R2.5 Star
0x25773214
0=
sampler (class id): The class id of Hammersley
Adaptive
the default sampler used by the 0x25773216 R2.5 Star R2.5 Star
Halton
architectural material. 0 = Adaptive
Halton
0x25773217
0 = Adaptive
Uniform
0 = Sampler
is not
SamplerEnable (integer): enabled
Sampler is Sampler is Sampler is
Determines whether the sampler is Any other
not enabled not enabled enabled
enabled or not. value =
Sampler is
enabled

Raytrace Material
[C00 27190ff4 329b106e]
0x25773211
0 = R2.5 Star
0x25773214
0=
Adaptive
Halton
Halton
0x25773217
0 = Adaptive
Uniform
0 = Sampler
is not
Sampler is
enabled
Ink n Paint material

[C00 1a8169a 4d3960a5]
0x25773211
0 = R2.5 Star
0x25773214
0=
Adaptive
Halton
Halton
0x25773217
0 = Adaptive
Uniform
0 = Sampler
is not
Sampler is
enabled

0= Local
Sampler is
samplerUseGlobal (integer): used.
Global Global
Determines whether the global Any other Local sampler
sampler is sampler is
sampler in the renderer is to be used value = is used
used used
for this material or not. Global
sampler is
used.
Standard Material
[C00 2 0]
0x25773211
0 = R2.5 Star
0x25773214
0=
Adaptive
Halton
Halton
0x25773217
0 = Adaptive
Uniform
0 = Sampler
is not
Sampler is
enabled
0= Local
Sampler is
samplerUseGlobal (integer): used.
Global Global
Determines whether the global Any other Local sampler
sampler is sampler is
sampler in the renderer is to be used value = is used
used used
for this material or not. Global
sampler is
used.
Default MAX Scanline Renderer

[F00 1 0]

0x25773211
0 = R2.5 Star
0x25773214
0=
Adaptive
Halton
Halton
0x25773217
0 = Adaptive
Uniform
0 = Sampler
is not
Sampler is
enabled
Inverse Kinematics
[IK]
0 = HDIK
solver does
not solve the
same as the HDIK solver HDIK solver
HDIK solves
HDIKSolvesLikeInteractiveIK interactive does not does not
the same as
(integer): Determines whether the solver solve the solve the
the
History-dependent IK solver will solve Any other same as the same as the
interactive
similarly to the Interactive IK Solver. value = HDIK interactive interactive
solver
solves the solver solver
same as the
interactive
solver
I-drop
[DragAndDrop]

0 = I-
dropped files
are not
always I-dropped I-dropped I-dropped
AlwaysDownloadIDroppedFiles
downloaded. files are not files are not files are
(integer): Determines whether I-
Any other always always always
dropped files are always downloaded.
value = I- downloaded. downloaded. downloaded.
dropped files
are always
downloaded.
Instance Manager
[InstanceMgr]
AutoMtlPropagation (integer): 0 = Material

Determines whether the instance assignments
manager will propagate material are not
assignments to instances. propagated Material Material Material
This default is only used the first time Any other assignments assignments assignments
MAX is run. The value is then value = are not are not are
adjusted by the user in the Material propagated propagated propagated
preference dialog. assignments
This value is kept in 3dsmax.ini: are
[InstanceMgr] AutoMtlPropagation=n propagated
Select By Name
[SelectByName]
DisplaySubtree (integer):
Determines whether the Select By
Name dialog or the Select By Name
floater display subtrees in the name 0 = Do not
list. display
This default is only use the first time subtrees Do not Do not
Display
the Select By Name dialog or Select Any other display display
subtrees
By Name floater is executed. After value = subtrees subtrees
that the last value used by either the Display
dialog or floater will be used the next subtrees
time the dialog or floater is executed.
This value is kept in 3dsmax.ini:
[SelectByName] DisplaySubtree=n
Layer Defaults [Layer]

0 = New light
NewLightsRenderableByLayer nodes
(integer): Determines whether new Rendering
light objects rendering node properties
properties are set to ByLayer or are set to
ByObject. Default is FALSE, and its ByObject.
only used if this setting cannot be Any other ByObject ByObject ByLayer
found in any of the market default value = New
configuration files or in 3dsmax.ini. light nodes
This value is kept in 3dsmax.ini Rendering
[Layer] properties
NewLightsRenderableByLayer=n are set to
ByLayer.
0 = New
nodes'
properties
are set to
LayerDefault (integer): Determines
ByObject.
whether new objects' rendering
Any other ByObject ByObject ByLayer
properties are set to ByLayer or
value = New
ByObject.
nodes'
properties
are set to
ByLayer.
Viewport Defaults
[Viewport]
0=
Viewports will
not use
DefaultLighting (integer): default
Determines whether viewports at lighting. No default No default Default
startup and after File > Reset will use Any other lighting lighting lighting
default lighting. value =
Viewports will
use default
lighting.
SingleDefaultLight (integer): 0 = Use two

Determines whether viewports at lights Use two
Use one light Use one light
startup and after File > Reset will use 1 = Use one lights
one or two lights for default lighting. light

Transform Tool defaults

[TransformTool]
0 = Copy
ObjectCloneType (integer): Object
Determines the default action taken 1 = Instance Instance
Copy object Copy object
when pressing the Shift key with a Object object
transform tool. 2= Reference
Object
medit.mat is the default material library in your scene.
The maxstart.max file is loaded when you start or reset 3ds max.
Comments

Shadow Maps (Light Objects)
Glossary
Example of shadow-mapped shadows
A shadow map is a bitmap that the renderer generates during a pre-rendering pass of the scene.
Shadow maps don't show the color cast by transparent or translucent objects. On the other hand,
shadow maps can have soft-edged shadows, which ray-traced shadows cannot.
A shadow-map is projected from the direction of the spotlight. This method provides a softer edge
and can require less calculation time than ray-traced shadows, but it's less accurate.
You can adjust the shadow map settings to achieve a sharper shadow. This involves changing the
resolution and the pixel sampling of the shadow's bitmap. Because shadow-map shadows are only
bitmaps, you need to keep in mind their resolution in relation to your distance from the shadow, and
the detail required by the shadow. If the resolution is too low, and the camera too close, the shadow
might look more like sooty smudges.
If shadows appear too coarse when you render them, increase the map size. The size can range
from 0 to 10,000. However, be aware that greater size requires more memory and can take longer
to generate. A 4096-line shadow map occupies 64 MB of memory (4096 x 4096 x 4).
If you have enough RAM to hold the entire scene including shadow maps, shadows don't affect
performance, but if the renderer has to use a virtual memory swap file, rendering time can slow
considerably.
The default shadow map size is 256.
The bitmap used by shadow maps must fill the area covered by the falloff of the spotlight. The wider
the falloff, the coarser the shadow appears. Keep the falloff as tight as possible given the
requirements of your scene.
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Ray-Traced Shadows
Glossary
Ray-Traced Shadows
Example of ray-traced shadows
Ray-traced shadows are generated by tracing the path of rays sampled from a light source. Ray-
traced shadows are more accurate than shadow-mapped shadows. They always produce a hard
edge.
Ray-traced shadows are more realistic for transparent and translucent objects. Also, only ray-tracing
can generate shadows for wireframe objects.
Because ray-traced shadows are calculated without a map, you don't have to adjust resolution as
you do for shadow-mapped shadows. The parameters for ray-traced shadows adjust the shadow's
position (known as ray-trace bias) and the depth of the quadtree used to calculate ray tracing.
Advanced ray-traced shadows are the same as ray-traced shadows, however they provide
antialiasing control, letting you fine-tune how ray-traced shadows are generated.
Comments
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Ray-Trace Bias
Glossary
Ray-Trace Bias
On the right, increased map bias makes the dog appear to float.
A single parameter, Ray-Trace Bias, affects the generation of ray-traced shadows. You set this
parameter in the Shadow Parameters rollout.
The Ray-Traced bias control in the Shadow Parameters rollout moves the shadow toward or away
from the shadow-casting object (or objects). By default, this value is 1 unit.
Increasing the bias moves the shadow away from the object, and decreasing the bias moves the
shadow closer to the object. The Ray-Trace Bias value can be any positive floating-point number.
For example, if a shadow-casting object intersects another object but its shadow doesn't meet
properly at the intersection, the bias is too high. This effect varies with the angle of the spotlight to
the object. Extremely shallow spotlight angles usually require higher bias values.
Another purpose of bias is to avoid problems with objects that cast shadows onto themselves. If you
see streaks or moir patterns on the surface of the object, the bias value is too low.
Comments
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Quadtree
Glossary
Quadtree
A quadtree is a data structure used to calculate ray-traced shadows.
The quadtree represents the scene from the point of view of the light. The root node of the quadtree
lists all objects that are visible in that view. If too many objects are visible, the node generates four
other nodes, each representing a quarter of the view, each with a list of objects in that portion. This
process continues adaptively, until each node has only a small number of objects, or the quadtree's
depth limit (which can be set for each light) is reached.
Each shadow-casting light ray needs to test intersection with the objects in only one of the leaf
nodes of the quadtree. This helps speed up the ray-tracing process. In general, increasing the
maximum quadtree depth can speed up ray-tracing at a cost of memory.
The maximum size of a quadtree is the square of two to the power of the maximum quadtree depth.
At a depth of 7, the largest quadtree has 128 x 128 leaf nodes; at a depth of 10, the largest
quadtree has a size of 1028 x 1028 leaf nodes, and so on. (On the other hand, because each
successive node contains fewer objects, the size of a node's record decreases the deeper it is in the
tree.)
Note: An omni light can generate up to ten quadtrees, so omni lights that cast ray-traced shadows
use more memory at render time than spotlights do.
Comments
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Aliasing/Antialiasing
Glossary
Aliasing/Antialiasing
Pyramid is aliased on left, antialiased on right.
Aliasing is the staircase effect at the edge of a line or area of color when it's displayed by an array of
discrete pixels.
Antialiasing smooths the staircase effect that occurs when diagonal or curved lines or borders are
drawn on raster displays consisting of square or rectangular pixels. Antialiasing can be either on or
off. Turn this off only when you're rendering test images and want greater speed. Leave it on at all
other times.
You can also turn antialiasing off for the Material Editor sample slots to speed up redraw of the
sample objects.
Note: To control whether or not a background image is affected by the renderer's antialiasing filter,
choose Customize > Preferences > Rendering and then turn on Filter Background in the Background
Antialiasing group. Default=off.
Comments
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Customize menu > Custom UI and Defaults Switcher
Artists and designers in different industries use 3ds max in different ways. The Custom UI and Defaults Switcher lets you
quickly change your program defaults and UI scheme to more closely match the type of work you are doing.
The Initial settings for tool options control the default settings for various features in 3ds max, while the UI Schemes control
how the 3ds max interface will look.
The dialog displays a detailed explanation for each of the four default sets and two UI Schemes that ship with 3ds max. If
you create your own defaults or UI Scheme, they will also appear in the list, however you cannot edit the general description
of custom default sets or UI schemes.
See Also
Interface
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Initial settings for tool optionsThis list contains different sets of default settings for various tools in 3ds max. Highlight
the set that corresponds to the tools you are using.
3ds max ships with four default sets:
Max contains the set of default settings for general animation use without the mental ray renderer.
Max.mentalray contains the set for general animation use with the mental ray renderer.
DesignVIZ contains the set for design visualization use without the mental ray renderer.
DesignVIZ.mentalray contains the set for design visualization use with the mental ray renderer.
Highlight any of these sets to see detailed explanations of the affected settings.
For information on creating or editing defaults sets, see Market-Specific Defaults.
Note: You must restart 3ds max before new defaults are applied.
UI SchemesThis list contains all of the UI schemes defined in the \UI folder. 3ds max ships with two UI schemes:
DefaultUI, and ModularToolbarsUI, which has the main toolbar broken up into smaller toolbars. Highlight either of these to
see a description (and image) of the interface.
This list also contains any UI schemes you have saved with the Save Custom UI Scheme dialog. However, no description or
image is displayed for these schemes.
SetApplies the selected default settings and UI scheme to 3ds max.
Note: You must restart 3ds max before your defaults are applied.
CancelCloses the dialog without applying any changes.
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Unlink Selection
Unlink Selection
Main toolbar > Unlink Selection
Use the Unlink Selection button to remove the hierarchical relationship between two objects.
Unlink Selection detaches a child object from its parent object.
You can also link and unlink hierarchies in Schematic View.
Procedure
To unlink a child object from a parent object:
1. Select the child object you want to unlink.
2. Click Unlink Selection.
Comments
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Bind to Space Warp
Bind to Space Warp
Main toolbar > Bind to Space Warp
Use the Bind to Space Warp button to attach the current selection to a space warp or vice versa.
Procedure
To bind the current selection to a space warp:
1. Select an object
2. Click Bind to Space Warp.
3. Drag a line from the selected object to the space warp object. You can also press H to select
the space warp by name.
The space warp object flashes for a moment to show that the bind was successful.
Comments
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Space Warps
Glossary
Space Warps
Space warps are objects that provide a variety of "force field" effects on other objects in the scene.
Space warps themselves are not renderable. You use them to affect the appearance of other objects,
sometimes a large number of objects at the same time. Some space warps deform object geometry
by generating ripples, waves, or explosions. Other space warps are meant specifically for use with
particle systems, and simulate natural effects such as wind blowing snow or rain about, or a rock in
the path of a waterfall.
Space warps behave somewhat like modifiers, except that a space warp influences world space,
rather than object space as geometric modifiers do.
When you create a space warp object, viewports show a representation of it. You can transform the
space warp as you do other 3ds max objects. The position, rotation, and scale of the space warp
affect its operation.
To have an object or selection set be affected by a space warp, you bind the object to the space
warp. A space warp has no effect on objects unless the objects are bound to it. When an object is
bound to a space warp, the warp binding appears at the top of the object's modifier stack. A space
warp is always applied after any transforms or modifiers.
When you bind a space warp to multiple objects, the space warp's set of parameters affects all the
objects equally. However, each object's distance from the space warp or spatial orientation to the
warp can change the warp's effect. Because of this spatial effect, simply moving an object through
warped space can change the warp's effect.
You can also use multiple space warps on a single object or objects. Multiple space warps appear in
an object's stack in the order you apply them.
Comments
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Space Warp Objects
Space Warp Objects
Create panel > Space Warps
Space warps are nonrenderable objects that affect the appearance of other objects. Space warps
create force fields that deform other objects, creating the effect of ripples, waves, blowing wind, and
so on.
Space warps behave somewhat like modifiers, except that space warps influence world space, rather
than object space, as geometric modifiers do.
When you create a space warp object, viewports show a wireframe representation of it. You can
transform the space warp as you do other 3ds max objects. The position, rotation, and scale of the
space warp affect its operation.
Surfaces deformed by space warps

Left: Bomb
Right: Ripple
Rear: Wave
A space warp affects objects only when the objects are bound to it. The warp binding appears at the
top of the object's modifier stack. A space warp is always applied after any transforms or modifiers.
When you bind multiple objects to a space warp, the space warp's parameters affect all the objects
equally. However, each object's distance from the space warp or spatial orientation to the warp can
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Space Warp Objects
change the warp's effect. Because of this spatial effect, simply moving an object through warped
space can change the warp's effect.
You can also use multiple space warps on one or more objects. Multiple space warps appear in an
object's stack in the order you apply them.
Note: You can take advantage of the AutoGrid feature to orient and position new space warps with
respect to existing objects. See AutoGrid for details.
Space Warps and Supported Objects
Some types of space warps are designed to work on deformable objects, such as geometric
primitives, meshes, patches, and splines. Other types of warps work on particle systems such as
Spray and Snow.
Five space warps (Gravity, PBomb, Wind, Motor, and Push) can work on particle systems and also
serve special purposes in a dynamics simulation. In the latter case, you do not bind the warps to
objects, but rather assign them as effects in the simulation.
On the Create panel, each space warp has a rollout labeled Supports Objects Of Type. This rollout
lists the kind of objects you can bind to the warp.
Basics of Using Space Warps
Follow these general steps to use space warps:
1. Create the space warp.
2. Bind objects to the space warp.
Click Bind To Space Warp on the main toolbar (available from the Select And Link flyout),
and then drag between the space warp and the object.
The space warp has no visible effect on your scene until you bind an object, system, or
selection set to it.
3. Adjust the space warp's parameters.
4. Transform the space warp with Move, Rotate, or Scale. The transforms often directly affect the
bound object.
You can animate space warp parameters and transforms. You can also animate space warp effects
by animating transforms of an object bound to the warp.
Particle Leakage and Deflector Space Warps
A deflector is a space warp that acts as a barrier to particles in particle systems. Occasionally stray

Space Warp Objects
particles can leak through a deflector under the following circumstances:
When a particle happens to hit the deflector too near the end or beginning of a time interval, and
numerical error in the solution doesn't report a hit
When a particle hits too near the edge of a face referenced by a UDeflector, and neither face finds
it
When a particle is moving quickly and first appears too close to the deflector, so the very first
update cycle within the particle system takes it past the deflector without the deflector ever
seeing it
Often this isn't a problem because the particles bounce off solid objects, so you don't see the errant
particles. When it does cause problems, you can use a planar deflector instead of a UDeflector, a
collection of planars to approximate the mesh, or a simple mesh to replace the planar. The solutions
vary, so where one has a glitch the other might work just fine.
If particles are moving fast and the deflector is in a particular position (for example, it might be too
close to the emitter) many particles can leak through defectors. Sometimes you can fix this leakage
by changing the particle system's Subframe Sampling setting or the particle speed. Other times you
must reposition the deflector farther away from the emitter.
In addition, particles imbued with bubble motion can leak through deflectors, particularly when set
to high amplitudes. To avoid this, use alternative methods of implementing bubble-like motion, such
as varying speed (see Particle Generation Rollout), setting a higher angle for the stream spread with
spray systems (see Spray Particle System, Super Spray Particle System), or using larger particles
with an animated texture map.
Space Warp Categories
There are four categories of space warps, available via the list on the Create panel's Space Warps
category.
Forces
These space warps are used to affect particle systems and dynamics systems. All of them can be
used with particles, and some can be used with dynamics. The Supports Objects of Type rollout
indications which systems each space warp supports.

Space Warp Objects
Motor Space Warp

Push Space Warp
Vortex Space Warp
Drag Space Warp
Path Follow Space Warp
PBomb Space Warp
Displace Space Warp
Gravity Space Warp
Wind Space Warp
Deflectors
These space warps are used to deflect particles or to affect dynamics systems. All of them can be
used with particles and with dynamics. The Supports Objects of Type rollout indicates which systems
each space warp supports.
PDynaFlect Space Warp
SDynaFlect Space Warp
SOmniFlect Space Warp
UDynaFlect Space Warp
SDeflector Space Warp
UDeflector Space Warp
Geometric/Deformable
These space warps are used to deform geometry.

FFD(Box) Space Warp

Space Warp Objects
FFD(Cyl) Space Warp

Wave Space Warp
Ripple Space Warp
Displace Space Warp
Conform Space Warp
Bomb Space Warp
Modifier-Based
These are space-warp versions of object modifiers (see Modify Panel ). Read more about these in
Modifier-Based Space Warps.
Bend Modifier
Noise Modifier
Skew Modifier
Taper Modifier
Twist Modifier
Stretch Modifier
Procedure
To create a space warp:
1. On the Create panel, click Space Warps.

The Space Warps panel is displayed.
2. Choose a category of space warp from the list.
3. On the Object Type rollout, click a space warp button.

Tip: You can take advantage of the AutoGrid feature to orient and position new space warps
with respect to existing objects. For details, see AutoGrid.
4. Drag in a viewport to create the space warp.

See the topics for the various space warps for further details.
Comments

Bubble Motion Rollout
Create panel > Geometry button > Choose Particle Systems from the drop-down list. > Object
Type rollout > SuperSpray/Parray/PCloud > Bubble Motion rollout
Select a SuperSpray/Parray/PCloud emitter. > Modify panel > Bubble Motion rollout
Bubble motion provides the wobbling effect you see in bubbles rising underwater. Typically, it's used
when the particles are set to rise in thin streams. Bubble motion is similar to a waveform, and the
Bubble Motion parameters let you adjust the amplitude, period, and phase of the bubble "wave."
Note: The bubble motion is not affected by space warps, so you can use a space warp to control the
direction of the particle flow without altering the local, wobbling bubble effect.
Tip: InterParticle Collisions, Deflector Binding, and Bubble Noise do not get along well together.
Particles may leak through the deflector when these three are used together. Instead of bubble
motion, use animated mapping. Use facing particles with an animated map of a bubble, where the
bubble is smaller than the map size. The bubble is animated moving around the map. This simulates
bubble motion at the map level.
Interface
AmplitudeThe distance the particle moves off its usual velocity vector as it travels.
VariationThe percent of Amplitude variation applied to each particle.
PeriodThe cycle time for one complete oscillation of a particle through the bubble "wave." A
recommended value might be 20 to 30 intervals.
Note: Bubble motion is measured in time, not in rate, so a very large Period value means the motion
takes a long time to complete. Thus, there is no motion, effectively. Period is therefore set to a very
large default value so that the default motion of this type is none.
VariationThe percent of Period variation for each particle.
PhaseThe initial displacement of the bubble pattern along the vector.
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VariationThe percent of Phase variation for each particle.
Comments
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Particle Generation Rollout
Type rollout > SuperSpray/Blizzard/Parray/PCloud > Particle Generation rollout
Select a SuperSpray/Blizzard/Parray/PCloud emitter. > Modify panel > Particle Generation rollout
Items on this rollout control when and how quickly particles form, how particles move, and the size
of the particles over time.
Interface
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Particle Quantity group
In this group, you can choose one of two methods by which the number of particles is determined
over time. These settings are unavailable if you set Particle Type (in the Particle Type rollout) to
Object Fragments.
Use RateSpecifies a fixed number of particles emitted per frame. Use the spinner to set the
number of particles formed per frame.
Use TotalSpecifies a total number of particles formed over the life of the system. Use the spinner
to set the number of particles formed per frame.
The life of the system, in frames, is specified by the Life spinner in the Particle Timing group,
described later in this topic.
Tip: Generally, Use Rate is best for a continuous flow of particles, like a trail of pixie dust, while Use
Total is better for bursts of particles over a short period of time.
Particle Motion group
These spinners control the initial particle velocity, which is directed along the surface, edge, or
vertex normals (interpolated for each emitter point).
SpeedThe velocity of the particle at birth, along the normal, in units traveled per frame.
VariationApplies a percentage of variation to the speed of emission for each particle.
DivergenceApplies an angular degree of variation by which each particle's velocity can vary from
the emitter normal.
Note: The initial direction for a fragment cluster is the normal of the cluster's seed face. Clusters are
created by choosing a single face (the seed face), and then creating a cluster outward from that
face, depending on the method chosen in the Object Fragment Controls group on the Particle Type
rollout.
Particle Timing group
These options specify when particle emission starts and stops, and the lifespan of the individual
particles.
Emit StartSets the frame at which particles begin to exist in the scene.
Emit StopSets the last frame at which particles are emitted. This setting has no effect if you
choose the Object Fragments particle type.
Display UntilSpecifies the frame at which all particles will disappear, regardless of other settings.
LifeSets the lifespan in number of frames of each particle from the frame of creation.

VariationSpecifies the number of frames by which the life of each particle can vary from the
norm.
Subframe SamplingTurning on any of the three check boxes below helps avoid particle "puffing"
by sampling particles at a much higher subframe resolution, instead of the relatively coarse frame
resolution. Depending on your needs, you can do this over time, over motion, or over rotation.
"Puffing" is the effect of emitting separate "puffs" or clusters of particles, rather than a continuous
stream. This effect is especially noticeable when the emitter is animated.
Creation TimeEnables the addition of a time offset to the equations of motion that prevents
puffing in time. This setting has no effect with the Object Fragments particle type. Default=on.
Emitter TranslationIf the object-based emitter is moving in space, particles are created at
integral times at positions along the geometry's path between renderable positions. This prevents
puffing in space. This setting has no effect if Object Fragment particle type is on. Default=on.
Emitter RotationIf the emitter is rotating, turn this on to avoid puffing and produce smooth
spiral effects. Default=off.
Important: Each additional subframe sampling check box that you turn on progressively
increases the necessary computation. In addition, the methods are listed in order of
least amount of computation to most. Thus, Emitter Rotation is more costly than Emitter
Translation, which is more costly than Creation Time.
Particle Size group
These spinners specify the size of the particles.

SizeThis animatable parameter specifies the target size for all particles in the system, depending
on the type of particle:
Standard ParticlesThe major dimension of the particle.
ConstantThe dimension, in rendered pixels, of a Constant type of particle.
Object FragmentsNo effect.
VariationThe percentage by which the size of each particle may vary from the norm. This is
applied to the Size value. Use this parameter to get a realistic mix of large and small particles.
Grow ForThe number of frames over which the particle grows from being very small to the Size
value. The result is subject to the Size/Variation value, since Grow For is applied after Variation. Use
this parameter to simulate natural effects such as bubbles growing as they reach the surface.
Fade ForThe number of frames over which the particle will shrink to 1/10th its Size setting prior
to its death. This is also applied after Variation. Use this parameter to simulate natural effects such
as sparks fading to ash.
Uniqueness group
By changing the Seed value in this spinner, you achieve different results using otherwise identical

particle settings.
NewRandomly generates a new seed value.
SeedSets a specific seed value.
Comments

Particle Type Rollout
Type rollout > SuperSpray/Blizzard/Parray/PCloud > Particle Type rollout
Select a SuperSpray/Blizzard/Parray/PCloud emitter. > Modify panel > Particle Type rollout
Left: A stream from a fountain

Right: The same stream with various types of particles
The controls on this rollout let you specify the type of particle used and the type of mapping
performed on the particles.
Interface
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Particle Types group
These options specify one of four categories of particle type. Depending on which option you choose,
different controls become available in the lower portion of the Particle Type rollout.
Standard ParticlesUses one of several standard particle types, such as triangle, cube, tetra, and
so on.
MetaParticlesUses Metaball particles. These are particle systems in which the individual particles
blend together in blobs or streams.

Object FragmentsCreates particles out of fragments of an object.

Object Fragments is available only with Particle Array. Choose it when you want to fracture the
particle emitter object and use the pieces as particles. This option is useful for animating explosions
and shattering collisions.
The fragments are created at the Emit Start frame. The Use Rate, Use Total, Emit Stop, and Particle
Size parameters are unavailable.
Instanced GeometryGenerates particles that are instances of either an object, a linked hierarchy
of objects, or a group. The object is selected in the Instancing Parameters group on the Particle Type
rollout.
Choose Instanced Geometry when you want particles to be identical instances of another object in
your scene. Instanced geometry particles are extremely effective for creating crowds, flocks, or flows
of very detailed objects. Here are a few examples:
Instance a red blood cell and use Super Spray to animate blood flowing in an artery.
Instance a bird and use Particle Cloud to animate a flock of birds flying.
Instance a rock and use Particle Cloud to animate an asteroid field.

Note: Only one type of particle can be used for the particle system. However, you can have more
than one particle array bound to a single object, and each particle array can emit a different type
of particle.
Tip: Image motion blur, described in Object Properties > Motion Blur group, is known not to work
properly with instanced particles. Use object motion blur with instanced particles, or use image
motion blur with standard particles.
Standard Particles group
When you choose Standard Particles in the Particle Types group, the options in this group become
available. Choose one of the following options to specify the particle type:
TriangleRenders each particle as a triangle. Use Triangle particles with noise opacity for steam or
smoke.
CubeRenders each particle as a cube.
SpecialEach particle consists of three intersecting 2D squares. These are effective when you use a
face-map material, described in Shader Basic Parameters Rollout, optionally along with an opacity
map, to create the effect of a three-dimensional particle.
FacingRenders each particle as a square that always faces the view. Use with an appropriate
opacity map for bubbles or snowflakes.
ConstantProvides a particle that remains the same size, in pixels, specified in the Size spinner.
This size never changes, regardless of its distance from the camera.
Important: You must render either a camera or a perspective view for Constant particles
to render correctly.

TetraRenders each particle as a mapped tetrahedron. Use Tetra particles for raindrops or sparks.
The default alignment of the tetra particles depends on the particle system type and emitter setup.
To specify an alignment, use controls in the Rotation and Collision rollout.
SixPointRenders each particle as a six-pointed, two-dimensional star.
SphereRenders each particle as a sphere.
MetaParticle Parameters group
When you choose the MetaParticles option in the Particle Types group, the options in this group
become available, and metaballs are used as particles. Metaparticles take extra time to render but
are very effective for spraying and flowing liquid effects.
TensionDetermines the tightness of the particles, with regard to their tendency to blend with
other particles. The higher the Tension, the harder the blobs, and the harder it is for them to merge.
VariationSpecifies the percent of variation of the Tension effect.
Evaluation CoarsenessSpecifies how accurately the metaparticle solution is calculated. The
higher the coarseness values, the less calculation. However, if the coarseness is too high, there may
be little or no metaparticle effect at all. Conversely, if the coarseness is set too low, the time for
calculation can become extremely long.
RenderSets the coarseness for metaparticles in the rendered scene. This option is unavailable
when Automatic Coarseness is on.
ViewportSets the coarseness for the viewport display. This option is unavailable when Automatic
Coarseness is on.
Automatic CoarsenessA general rule is to set the Coarseness value between 1/4 and 1/2 the
size of the particles. When this item is on, the rendering coarseness is automatically set, based on
the size of the particles, and the viewport coarseness is set to about twice that of the rendering
coarseness.
One Connected BlobWhen off (the default), all particles are calculated; when on, a shortcut
algorithm is used that calculates and displays only those particles that are adjoining or contiguous to
each other.
Note: One Connected Blob mode speeds particle calculations, but you should use it only when your
metaparticles form one connected blob, as the label indicates. That is, all particles' blobs must be
touching. For example, if you were to use One Connected Blob on a stream of particles containing a
mass of 10 contiguous particles followed by a space, then 12 contiguous particles followed by
another space, and finally 20 contiguous particles, one of the particles will be chosen, and only the
mass connected to that particle will be displayed and rendered.
Tip: When in doubt, leave this option off. If you think all your particles are contiguous and want to
save time, turn on One Connected Blob, and then display various frames to see if everything
appears.
Object Fragment Controls group

With a particle array, when you choose the Object Fragments particle type, the items in this group
become available, and the object-based emitter is exploded into fragments, rather than being used
to distribute particles.
Note: To see the fragments in the viewports, choose Mesh in the Viewport Display group near the
bottom of the Basic Parameters rollout.
The items in this group include a Thickness spinner, along with three option buttons that determine
how the fragments are formed.
Tip: There is no automatic way to hide the distribution object that explodes into fragments. To
create the illusion that an object is exploding, you must either set the original object to be invisible
at the start of the explosion, as described in Add Visibility Track , or move or scale the original object
so it doesn't remain in view.
ThicknessSets the thickness of the fragments. At 0, the fragments are single-sided with no
thickness. When greater than 0, the fragments are extruded, at fragmentation time, by the amount
specified. The outer and inner surfaces of the fragment use identical smoothing, which is picked up
from the object-based emitter. The edges of the fragments are not smoothed.
The three options that follow specify how the object fragments.
All FacesEach face of the object becomes a particle. This results in triangular particles.
Number of ChunksThe object breaks into irregular fragments. The Minimum spinner, below,
specifies the minimum number of fragments that will appear. The method of calculating the chunks
may result in more fragments than specified.
MinimumDetermines a number of "seed" faces in the geometry. Each seed face collects
connecting faces surrounding it until all available faces are exhausted. Any leftover faces become
unique particles, thus increasing the minimum number of fragments.
Smoothing AngleThe fragments are broken based on the angles between face normals, as
specified in the Angle spinner. Generally, the higher the Angle value, the fewer the number of
fragments.
AngleSets the amount of smoothing angle.
Instancing Parameters group

These options are used when you specify Instanced Geometry in the Particle Types group. They let
you generate each particle as an instance of either an object, a linked hierarchy of objects, or a
group.
Note: Instanced objects can be animated, providing the animation incorporates one or more of the
following types:
Animation of object geometry parameters, such as a sphere's Radius setting.
Animation of object-space modifiers, such as the Angle setting of a Bend modifier.
Transform animation of a hierarchical object's children. Transform animation of the top-level

parent and non-hierarchical objects is not supported. For example, if you use the toolbar Select
and Rotate function to animate a box rotating, and then use the box as instanced geometry with a
particle system, the system will not use instanced box's keyframed animation.
ObjectDisplays the name of the picked object.

Pick ObjectClick this, and then select an object in the viewport to be used as a particle. If you
select an object that's part of a hierarchy and Use Subtree Also is on, then the picked object and its
children become a particle.
If you pick a group, all objects in the group are used as a particle.
Use Subtree AlsoTurn this on when you want to include the linked children of the picked object in
the particle. If the picked object is a group, all children of the group are included. Note that you can
turn this on or off at any time to alter the particles.
Animation Offset KeyingBecause the instanced objects can be animated, the options here let
you specify the timing of the animations for the particles.
NoneEach particle duplicates the timing of the original object. As a result, the animation of all
particles will be identically timed.
BirthThe firstborn particle is an instance of the current animation of the source object at the
moment of that particle's birth. Each subsequent particle then uses the same start time for the
animation. For example, if the animation of the source object is a bend from 0 to 180 degrees, and
the first particle is born at frame 30, when the object is at 45 degrees, then that particle, and all
subsequent particles will be born starting at a bend of 45 degrees.
RandomThis option is the same as None when Frame Offset is set to 0. Otherwise, each particle is
born using the same animation as the source object at the time of birth, but with a random offset of
frames, based on the value in the Frame Offset spinner.
Frame OffsetSpecifies an offset value from the current timing of the source object.
Mat'l Mapping and Source group
Specifies how a mapped material affects the particles, and lets you specify the source of the material
assigned to the particles. A detailed description of how materials affect particles is in the topic Using
Mapped Materials with Particle Systems.
TimeSpecifies the number of frames from the birth of the particle that it takes to complete one
mapping of the particle.
DistanceSpecifies the distance, in units, from the birth of the particle that it takes to complete
one mapping of the particle.
Note: Tetra particles are an exception. They always have their own local mapping from head to tail,
as described in the following section.
Get Material FromUpdates the material carried by the particle system, using the source specified
by the option buttons below this button.
Important: Remember to click Get Material From whenever you choose a different source
option button, or whenever you assign a new material to the specified source. Only a
single material (or multi/sub-object material) is carried by the particle-system object at
any time. Thus, when you change sources, you actually overwrite the currently assigned
material with an instance of the source material.

IconThe particles use the material currently assigned to the particle system icon.
Note: The Time and Distance options are available only when you choose this option.
Picked EmitterThe particles use the material assigned to the distribution object.
Instanced GeometryThe particles use the material assigned to the instanced geometry. This
option is available only when you choose Instanced Geometry in the Particle Types group.
Important: When you turn on either Picked Emitter or Instanced Geometry, an instance of
the material from the chosen source is copied to the emitter icon, overwriting the material
originally assigned to the icon. Thus, if you've assigned a material to the particle emitter,
and then switch to Picked Emitter, the material originally assigned to the icon is replaced
by an instance of the material carried by the picked object. If you then return to the Icon
option, the particle system does not revert to the material that was assigned the icon, but
retains the material taken from the picked object.
Fragment Materials group
These spinners let you assign different material ID numbers to outside surfaces, the edges and the
back sides of fragment particles. You can then assign different materials to the front, edge and back
of the fragments by using a multi/sub-object material.
Outside IDSpecifies which face ID number is assigned to the outside faces of the fragments. This
spinner defaults to 0, which is not a valid ID number, forcing the outside of the particle fragments to
use whatever material is currently assigned to the associated faces. Thus, if your distribution object
already has several submaterials assigned to its outer faces, these materials are retained by using
ID 0. If you want a single, specific submaterial, you can assign it by changing the Outside ID
number.
Edge IDSpecifies which submaterial ID number is assigned to the edges of the fragments.
Backside IDSpecifies which submaterial ID number is assigned to the back sides of the
fragments.
Comments

Object Properties
Object Properties
Select object or objects. > Edit menu > Object Properties
Select object or objects. > Right-click a viewport. > Transform (lower-right) quadrant of the quad
menu > Properties
Properties displays the Object Properties dialog, which lets you view and edit the properties of
selected objects.
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Material Editor > Standard material > Shader Basic Parameters rollout > Choose shader from drop-
down list.
The Shader Basic Parameters rollout lets you choose the type of shader to use with a Standard
material. Some additional controls affect how the material appears.
There are seven different shaders. Some are named for what they do; others are named for their
creators. These are the basic material shaders:
Anisotropic: For surfaces with elliptical, "anisotropic" highlights. These highlights are good for
modeling hair, glass, or brushed metal.
Blinn: For rounder, softer highlights than Phong shading
Metal: For metallic surfaces
Multi-Layer: For surfaces with more complex highlights than Anisotropic
Oren-Nayar-Blinn: For matte surfaces such as fabric or terra-cotta
Phong: For surfaces with strong, circular highlights
Strauss: For metallic and nonmetallic surfaces. The Strauss shader has a simpler interface than
other shaders.
Translucent: Similar to Blinn shading, the Translucent shader also lets you specify translucency,
where light is scattered as it passes through the material.
Procedures
To select a material's shading type:
1. In the Material Editor, click an unused sample slot to make it active.
2. In the Shader Basic Parameters rollout, open the Shading drop-down list.
3. Click the name of the shading type to use for the active material.
To use Wire mode:
In the Shader Basic Parameters rollout, turn on Wire.

The material is now shaded as a wireframe mesh. The wire portions of the geometry do not
change; color components, shininess, and so on, remain the same.
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Tip: For a wireframe material, turn on the 2-Sided option as well.

Tip: You have two choices for how wireframe materials are rendered. The controls for tuning
wireframe shading are on the Extended Parameters rollout.
If you choose Pixels, the thickness of the wires maintains the same apparent thickness
regardless of the scale of the geometry or how near or far the object is positioned. In other
words, pixel wires have a constant display size as if the wires were traced over an image.
If you choose Units, the wires behave as if they were modeled in the geometry. They appear
thinner at a distance and thicker at close range. Scaling a wireframe object does scale wire
width.
Interface
Shader drop-down listChooses a shader. Depending on the shader you choose, the material's
Basic Parameters rollout can change to show the controls for that shader.
Blinn is the default shading type.
WireRenders the material in wireframe mode. You can set the size of the wire in Extended
Parameters.
2-SidedMakes the material 2-sided. Applies the material to both sides of selected faces.
Face MapApplies the material to the faces of the geometry. If the material is a mapped material,
it requires no mapping coordinates. The map is automatically applied to each facet of the object.
FacetedRenders each face of a surface as if it were flat.
The Faceted option replaces the Constant shader used to achieve this effect prior to 3ds max 3.
Constant-shaded materials created prior to 3ds max 3 are converted to Phong shading with Faceted
turned on.
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Anisotropic Shader
Anisotropic Shader
Material Editor > Standard material > Shader Basic Parameters rollout > Anisotropic shader >
Anisotropic Basic Parameters rollout
The Anisotropic shader creates surfaces with elliptical, "anisotropic" highlights. These highlights are
good for modeling hair, glass, or brushed metal. The basic parameters are similar to those for Blinn
or Phong shading, except for the Specular Highlight parameters, and Diffuse Level controls such as
those for Oren-Nayar-Blinn shading.
Anisotropic highlights are elliptical, with differing U and V dimensions.
Anisotropy measures the difference between sizes of the highlight as seen from two perpendicular
directions. When anisotropy is 0, there is no difference at all. The highlight is circular, as in Blinn or
Phong shading. When anisotropy is 100, the difference is at its maximum. In one direction the
highlight is very sharp; in the other direction it is controlled solely by Glossiness.
For more complex highlights, see the Multi-Layer shader.
See also

Anisotropic Highlights
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Anisotropic Shader
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Blinn Shader
Blinn Shader
Material Editor > Standard material > Shader Basic Parameters rollout > Blinn shader > Blinn
Basic Parameters rollout
Blinn shading is a subtle variation on Phong shading. The most noticeable difference is that
highlights appear rounder. In general, you don't need to use the Soften parameter (described in
Blinn, Oren-Nayar-Blinn, and Phong Highlights) as often as you do with Phong shading.
Blinn shading tends to have soft, round highlights.
With Blinn shading, you can obtain highlights produced by light glancing off the surface at low
angles. These highlights are lost when you increase the value of Soften using Phong shading.
The Blinn and Phong shaders have the same basic parameters.
See also

Blinn, Oren-Nayar-Blinn, and Phong Highlights
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Material Editor > Standard material > Blinn, Oren-Nayar-Blinn, or Phong Basic Parameters rollout
> Specular Highlight group
Material Editor > Raytrace material > Raytrace Basic Parameters rollout > Shading: Blinn, Oren-
Nayar-Blinn, or Phong > Specular Highlight group
The Blinn, Oren-Nayar-Blinn, and Phong shaders all have circular highlights and share the same
highlight controls. Blinn and Oren-Nayar-Blinn highlights are somewhat softer and rounder than
Phong highlights.
Note: For the Raytrace material, the Specular Color component appears in the Specular Highlight
group. Also, highlight controls that dont pertain to the current shader are labeled N/A.
Procedures
To increase or decrease the strength of a highlight:
Change the value of Specular Level.

The intensity of the Highlight curve and the highlight in the preview change. At 0% specular level,
there is no highlight. At 100% specular level, the curve is at its maximum height with no
overloading. At values greater than 100%, the curve is overloaded: it grows wider, and a wider
area is at the maximum highlight intensity.
The shape of the Highlight curve affects the blending between the specular and diffuse color
regions of the material. The steeper the curve, the less blending there is and the sharper the edge
of the specular highlight.
To increase or decrease the size of a highlight:
Change the Glossiness value.

The width of the Highlight curve and the highlight in the preview change. At 0% glossiness, the
curve is at its maximum width. At 100% glossiness, the curve is extremely narrow.
Interface
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Specular LevelAffects the intensity of the specular highlight. As you increase the value, the
highlight grows brighter. Default=5.
Click the map button to assign a map to the specular level component. See Specular Level Mapping.
This button is a shortcut: you can also assign specular level mapping in the Maps rollout.
GlossinessAffects the size of the specular highlight. As you increase the value, the highlight gets
smaller and the material appears shinier. Default=25.
Click the map button to assign a map to the glossiness component. See Glossiness Mapping. This
button is a shortcut: you can also assign specular level mapping in the Maps rollout.
SoftenSoftens the effect of specular highlights, especially those formed by glancing light. When
Specular Level is high and Glossiness is low, you can get harsh backlights on surfaces. Increase the
value of Soften to mitigate this effect. At 0, there is no softening. At 1.0, the maximum amount of
softening is applied. Default=0.1.
Note: The Soften control was a check box in releases prior to 3ds max 2. When you load a material
created in an earlier version of 3ds max, if Soften was originally off, the new Soften value is 0.0. If
Soften was originally on, the new Soften value is 0.6.
Highlight graphThis curve shows the effect of adjusting the values of Specular Level and
Glossiness. As you decrease Glossiness, the curve grows wider; as you increase Specular Level, the
curve grows taller.
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Oren-Nayar-Blinn Shader
Oren-Nayar-Blinn Shader
Material Editor > Standard material > Shader Basic Parameters rollout > Blinn shader > Oren-
Nayar-Blinn shader > Oren-Nayar-Blinn Basic Parameters rollout
The Oren-Nayar-Blinn shader is a variant of the Blinn shader. It contains additional "advanced
diffuse" controls, Diffuse Level and Roughness, that you can use to give the material a matte effect.
This shader is good for matte surfaces such as fabric, terra-cotta, and so on.
Oren-Nayar-Blinn shading typically has a matte appearance.
See also

Comments
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Material Editor > Standard material > Basic Parameters rollout for the shader you've chosen
The Basic Parameters rollouts for Standard materials contain controls that let you set the color of
your material, the shininess, the transparency, and so on, and specify maps to use for the various
components of the material.
Example: The Basic Parameters rollout for the Anisotropic shader.

Basic Parameters rollouts vary depending on which shader is chosen.
The Basic Parameters rollout changes depending on which kind of shader you choose in the Shader
Basic Parameters.
Note: The Strauss shaders Basic Parameters rollout is simpler than those for other shaders. See
Strauss Shader for a description.
Component Controls
The first part of the Basic Parameters rollout contains controls for overall material components. They
are described in the following topics:
Color Controls let you choose the materials color components, or replace them with maps.
Self-Illumination makes a material appear lit from within.

Self-illumination is not available for the Strauss shader.
Opacity controls how opaque or transparent a material is.
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Diffuse Level controls the brightness of the diffuse color component.

Diffuse Level is available only for the Anisotropic, Multi-Layer, and Oren-Nayar-Blinn shaders.
Roughness controls how quickly the diffuse component blends into the ambient component.
Roughness is available only for the Multi-Layer and Oren-Nayar-Blinn shaders.
Highlight Controls
The second part of the Basic Parameters rollout contains controls for specular highlights, which in
some ways are the greatest difference between the various shaders. See these topics for a
description:
Metal Highlights
Multi-Layer Highlights
For information on highlights with the Strauss shader, see Strauss Shader.
Translucency Controls
For the Translucent shader, an additional group on the Basic Parameters rollout contains controls for
translucency.
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Strauss Shader
Strauss Shader
Material Editor > Standard material > Shader Basic Parameters rollout > Strauss shader > Strauss
The Strauss shader is for modeling metallic surfaces. It uses a simpler model and has a simpler
interface than the Metal shader.
Sample of Strauss shading.
Note: The Strauss shaders Basic Parameters rollout differs a great deal from the Basic Parameters
rollouts for other shaders, and is described in this topic.
See also
Procedures
To change the color of a Strauss material:
1. Click the Color swatch.

The Color Selector is displayed.
Right-clicking the color swatch also displays the Color Selector.
2. In the Color Selector, change the values of the color.
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Strauss Shader
As you change color values, the color also changes in the sample in the sample slot.
To reduce a material's opacity:
Change Opacity to a value less than 100%.

The material becomes more transparent. An object that is fully transparent (0% Opacity) is nearly
invisible except for the light it reflects (the specular highlights).
To preview transparency in the sample slots, view the sample object against a background. Click
the checkered Background button to the right of the sample slots.
Transparent materials render more realistically when you turn on 2-Sided in the material's Shader
Basic Parameters.
To increase or decrease the size and intensity of highlights:

The width of the Highlight curve and the highlights in the preview change. At 0% glossiness, the
Increasing Glossiness also dims the diffuse color.
To make the material appear more metallic:
1. Increase the Glossiness value.

The metallic effect requires visible highlights.
2. Increase the value of Metalness.

Highlights become more focused, and the (diffuse) color component is dimmed.
Interface
ColorControls the color of the material. This corresponds to the diffuse color you specify for other
kinds of shaders. With the Strauss shader, you control only this color. The shader calculates the
ambient and specular color components.
Click the map button to assign a map to the color component. See Diffuse Mapping. This button is a

Strauss Shader
shortcut: you can also assign color mapping in the Maps rollout.
GlossinessAffects the size and intensity of the specular highlight. As you increase the value, the
highlight gets smaller and the material appears shinier. Default=25.
Glossiness also controls the strength of reflection maps assigned to a Strauss material.
button is a shortcut: you can also assign glossiness mapping in the Maps rollout.
MetalnessChanges the metallic appearance of a material. Increasing the Metalness value
increases the metallic appearance, with glancing as well as primary highlights. Because a metallic
appearance principally depends on highlights, the Metalness value has little effect unless you also
increase the Glossiness value. Default=0.
Tip: When you create a metal material, make sure the backlight is on in the sample slot.
OpacitySets the opacity/transparency of the material as a percentage. The effect is best
previewed against a pattern background in the sample slot. You can control opacity falloff in the
Extended Parameters. Default=100.
Click the map button to assign a map to the opacity component. See Opacity Mapping. This button is
a shortcut: you can also assign opacity mapping in the Maps rollout.
Highlight graphThis curve shows the effect of adjusting the value of Glossiness. As you decrease
Glossiness, the curve grows shorter; as you increase it, the curve grows taller.
Comments

Metal Shader
Metal Shader
Material Editor > Standard material > Shader Basic Parameters rollout > Metal shader > Metal
Metal shading provides realistic-looking metallic surfaces and a variety of organic-looking materials.
Metal shading has a distinct curve for specular highlights. Metal surfaces also have glancing
highlights. Metal materials calculate their own specular color, which can vary between the material's
diffuse color and the color of the light. You can't set a metal material's specular color.
Metal shading has distinctive highlights.
Because there's no separate specular highlight, the two specular highlight spinners behave
differently than the spinners for Blinn and Phong shading. The Specular Level spinner still controls
intensity, but the Glossiness spinner affects both the intensity and size of the specular areas.
Tip: When you create a metal material, make sure the backlight is on in the sample slot.
See also

Metal Highlights
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Metal Shader
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Backlight
Backlight
Material Editor > Backlight
Material Editor menu > Options menu > Backlight
Left: Backlight on
Right: Backlight off
Turning on Backlight adds a backlight to the active sample slot. This button is on by default.
The effect is most easily seen with the sample spheres, where the backlight highlights the lower-
right edge of the sphere.
Backlight is especially useful whenever you're creating metal and Strauss materials. Backlight lets
you see and adjust the specular highlight created by glancing light, which is much brighter on
metals.
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Sample Slot Background
Sample Slot Background
Material Editor > Background
Material Editor menu > Options menu > Background
Left: Background on
Right: Background off
Turning on Background adds a multi-colored checkered background to the active sample slot. The
pattern background is helpful when you want to see effects of opacity and transparency.
The Material Editor Options dialog also lets you assign a bitmap to use as a custom background.
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Material Editor Options Dialog
Material Editor > Material Editor Options > Material Editor Options dialog
Material Editor menu > Options menu > Options
The Material Editor Options dialog controls how materials and maps are displayed in the sample
slots.
Note: In 3ds max 6, the controls to assign a renderer for the sample slots have been moved to
the Assign Renderer rollout.
Interface
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Manual UpdateWhen on, the sample slots don't update their contents until you click them. This
option affects only the updating of the sample slots; it doesn't affect the icon displays in the
Browser. Default=off.
Don't AnimateWhen on, animated maps are not updated in the sample slots while you play an
animation or drag the time slider. However, the animation is updated to the current frame when you
stop the animation or release the time slider. An animated map can use an AVI file or IFL file as a
source. Default=off.
Animate Active OnlyWhen on, only the active sample slot is animated when you play an
animation or drag the time slider. This option is good for situations where you have multiple
animated materials in the Material Editor, but you only need to see one at a time. This check box is
unavailable when Dont Animate is turned on. Default=off.
Update Active OnlyWhen on, sample slots do not load or generate maps until you make one
sample slot active. This can save time while you use the Material Editor, especially when your scene
uses a lot of materials with maps. Default=off.
AntialiasTurns on antialiasing in the sample slots. Default=off.
If the mental ray renderer is used to render sample slots, this setting is disregarded. The mental ray
renderer's sampling values control antialiasing.
Progressive RefinementTurns on progressive refinement in the sample slots. When on, samples
are rendered quickly, with large pixels, then rendered a second time in greater detail. Default=off.
Simple Multi Display Below Top LevelWhen on, the sample sphere for a multi/sub-object
material displays the multiple patches only at the top level of the multi/sub-object material. The sub-
materials are displayed over the entire sphere. When you use nested multi/sub-object materials, the
multiple patches again appear at the top level of the nested multi/sub-object material, but the
sample sphere is again whole when displaying any of the sub-materials. Default=on.
Display Maps as 2DWhen on, sample slots display maps, including standalone maps, in 2D. The
map fills the entire slot. When off, maps are displayed on the sample object, as materials are.
Default=on.
Custom BackgroundLets you specify a custom background for the sample slots, instead of the
default checkers background. Click the file-assignment button to display a file dialog from which you
can select the custom background. This can be any bitmap format supported by 3ds max. Turn on
the Custom Background check box to use the new background in place of the checkered background.
The custom background is stored in the 3dsmax.ini file, so it is available from session to session.
Default=off.
Display Multi/Sub-object Material Propagation WarningToggles display of warning dialog
when you apply a multi/sub-object material to an instanced ADT style-based object.

Top Light color and Back Light colorAdjust the two lights used in the sample slots. Click the
color swatch to alter the color of either light. Adjust the Multiplier spinners to multiply the values
(intensity) of the lights.
Use the Default buttons to return to the initial settings.
(In earlier releases, these lights were labeled Light #1 and Light #2.)
Ambient Light IntensitySets the ambient light intensity in the sample slots. The range is from 0
to 1. Default=0.197.
Use the Default button to return to the initial setting.
Background IntensitySets the background intensity in the sample slots. The range is from 0
(black) to 1 (white). Default=0.2.
3D Map Sample ScaleSets the scale of the sample sphere to any size, making it consistent with
the object or objects in the scene that have the texture on them. (This option changes the scale of
all the sample slots.) It allows you to preview the scale of 3D procedural maps, such as Noise,
without having to render. For example, if you have an object that is about 50 units across, set this
parameter to 50 to see the noise map correctly scaled on the sample sphere. Default=100.
DirectX Shader group
These options affect the viewport behavior of the DirectX 9 Shader material.
Force Software RenderingWhen on, forces DirectX 9 Shader materials to use the selected
software render style for viewports. When off, the FX file specified in the DirectX 9 Shader is used
unless the material's local Force Software Rendering toggle is on. Default=off.
Shade SelectedWhen Force Software Rendering is on, selected objects, and only selected objects,
are shaded by the DirectX 9 Shader material. This toggle is unavailable unless Force Software
Rendering is on. Default=off.
Custom Sample Object group
Controls in this group let you specify a custom sample object to use in the sample slots.
File NameSelects the MAX scene file.
The scene should contain a single unlinked object that fits in an imaginary cube 100 units on a side.
The object must be either a primitive with a Generate Mapping Coords. check box, or have a UVW
Map modifier applied to it. The scene can contain a camera and lights.
Load Camera and/or LightsTurn on to have sample slots use the camera and lights in the
scene, instead of the default sample slot lighting.
Slots group

These options let you choose how many sample slots to display at a time.
The Material Editor always has 24 sample slots available. You can choose to display fewer sample
slots at a larger size. When you do, scroll bars let you move around among the sample slots.
3 X 2Specifies a 3 x 2 array of sample slots. (The default: 6 windows.)
5 X 3Specifies a 5 X 3 array of sample slots. (15 windows.)
6 X 4Specifies a 6 X 4 array of sample slots. (24 windows.)
ApplyApplies the current settings, except for changes to the Slots group, without leaving the
Material Editor Options dialog. This is useful when you adjust lighting values for the sample slots.
OKCloses the dialog and applies any changes you made.
CancelCloses the dialog and cancels any changes you made, including changes you applied with
the Apply button.
Comments

Choose Renderer Dialog
Main toolbar > Render Scene button > Render Scene dialog > Common panel > Assign Renderer
rollout > Click a Choose Renderer (...) button.
Rendering menu > Render > Render Scene dialog > Common panel > Assign Renderer rollout >
Click a Choose Renderer (...) button.
This dialog appears when you click one of the Choose Renderer (...) buttons on the Assign
Renderer rollout.
Procedure
To change the renderer assigned to the category you picked, do one of the following:
Click to highlight another renderer's name in the list, and then click OK.
Double-click another renderer's name in the list
Interface
The scrollable list shows the names of renderers that you can assign, exclusive of the renderer that
is currently assigned to the rendering category you are reassigning.
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Make Material Copy
Make Material Copy
Material Editor > Make Material Copy
Material Editor menu > Material menu > Make Material Copy
Make Material Copy "cools" the current hot sample slot by copying the material to itself.
The sample slot is no longer hot, but the material retains its properties and name. You can adjust
the material without affecting it in the scene. Once you've got what you want, you can click Put
Material to Scene to update the material in the scene and change the sample slot to hot again.
Comments
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Cool
Glossary
Cool
It's useful to be able to edit a material in the Material Editor and have it immediately updated in the
scene. Sometimes you want to work on a material without affecting the scene. You want to adjust a
material until you're sure that it's what you want, and then reassign it. In other words, you want to
cool a hot material.
You cool a material by copying it in the Material Editor sample slots. You can copy a material in two
ways:
Use the Copy Material button.
Drag and drop to copy the material.
When you drag to copy a sample, you end up with two materials with the same name, but one is
cool while the other is hot. In the Material Editor, you can have up to 24 materials with the same
name, but every material in your scene must have a unique name.
You can now adjust the cool material, and compare it with the hot material. If you like the changes
you've made, you can update the scene.
Comments
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Put Material to Scene
Material Editor > Put Material to Scene
Material Editor menu > Material menu > Put to Scene
Put Material To Scene updates a material in the scene after you edit the material. Put Material To
Scene is available only when:
The material in the active sample slot has the same name as a material in a scene.
The material in the active sample slot is not hot.
In other words, this command is intended to fit into the overall sequence of handling materials:
You create a hot material either by applying it to objects in the scene or by getting it from the
scene.
You make a copy of the material.
You make changes to the copy of the material.
You update the scene by putting the changed material back into the scene.
Notes
If you apply a mapped material to a parametric object whose Generate Mapping Coords option is
off, the software automatically turns on mapping coordinates at render time. In addition, if you
apply a mapped material with Show Map in Viewport active to an object, that object's Generate
Mapping Coords option is turned on if necessary.
The Show Map In Viewport flag is now saved with individual materials, so you can drag mapped
materials from the modeless Browser onto objects in your scene, and the mapping appears in the
viewports.
Procedure
To put a material back into a scene:
On the Material Editor toolbar, click Put Material To Scene.
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The material in the active sample slot is now a hot material.
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Get Material
Get Material
Material Editor > Get Material
Material Editor menu > Material menu > Get Material
Get Material displays the Material/Map Browser to allow you to choose a material or map.
Procedures
To get a material from a scene:
1. Click a sample slot to make it active.

Be careful not to click the sample slot of a material you want to use later.

3. In the Browse From group box at the upper left, make sure that either Selected or Scene is
chosen.
The Selected option lists only materials in the current selection. If no objects are selected, the
list of materials is blank.
The Scene option lists all the materials currently in the scene.
4. In the list of materials, double-click the name of the material you want to get.
You can also drag the material name to the sample slot.
Warning: When you get a material from a scene, initially it is a hot material.
To get a material from a library:

2. In the Browse From group box at the upper left, make sure that Material Library is chosen.
If you have opened a library, the list of materials shows the contents of the library.
If you haven't opened a library, click Open in the file area of the Browser. A file dialog is
displayed. Choose a library. After you open the library, the list of materials updates to show the
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Get Material
library's contents.
Note: Open also lets you get materials from a 3ds max scene (a .max file).
3. In the list of materials, double-click the name of the material you want to get.
You can also drag the name of the material to the sample slot.
To create a standalone map tree:
1. Activate a sample slot.
3. In the Material/Map Browser, make sure Browse From is set to New.
4. In the Show group box, turn off Materials so only maps are displayed in the list.
5. Double-click the name of the map type (not a material type) you want to use, or drag the map
to a sample slot.
The sample slot now contains a standalone map not associated with material parameters.
6. Use the Material Editor to modify the map as you would any other map.
By default, the sample slots distinguish maps from materials by displaying maps as 2D surfaces
without lighting or shading.
Comments
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Show Map in Viewport
Material Editor > Show Map in Viewport
Material Editor menu > Material menu > Show Map in Viewport
Left: Map shown on sample cube

Right: Map shown in a viewport
Show Map in Viewport displays mapped materials on the surfaces of objects in viewports with the
interactive renderer.
The following conditions must be met for mapped materials to display in the viewport:
Mapping coordinates must be applied to the object. This is already the case with most primitive
objects, which by default have Generate Mapping Coords turned on at creation. If an object
doesn't have mapping coordinates, you can turn this on, or apply a mapped material to the object
(if it has a Generate Mapping Coords check box), or apply a UVW Map modifier or an Unwrap UVW
modifier.
A mapped material must be applied to the object.
Show Map in Viewport must be on, either at the level of the material that contains the map, or at
the top level of the material.
Tip: Displaying mapped materials in a viewport can slow performance. If you don't need to view
the map, turn off its viewport display.
Note: With the software display driver, viewports don't accurately display a map with
transparency that has UV tiling or mirroring. Also, this driver cannot display a map on a faceted
material.
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The state of this button is saved with the material in the library. When you apply a mapped material
while Show Map In Viewport is active, the object's Generate Mapping Coords. check box is turned
on. This means that you can drag mapped materials from the Material Library in the Browser over
objects in your scene, and have the mapped material appear in the viewports.
Note: You can turn Show Map in Viewport on or off for all materials by choosing Views menu >
Activate/Deactivate All Maps.
3D Maps in Viewports
Show Map In Viewport works for 3D procedural maps as well as 2D maps.

3D map display in viewports is not necessarily accurate. To improve the 3D preview, you can use the
Material Editor Options dialog to set the 3D Map Sample Scale to equal a main dimension of the
object you are applying the map to. For example, if you want to use the planet map on a sphere
with a radius of 20, change the map scale from 100 (the default) to 20.
Particle Age and Particle MBlur maps do not preview in viewports.
Multiple Maps in Viewports
Viewports can display multiple maps. For multiple map display, the display driver must be OpenGL or
Direct3D. The software display driver (Software Z Buffer) does not support multiple map display.
The composite map and mix map support multiple map display.
In addition, turning on Show Map In Viewport at the top level of a standard material lets you view
maps on both the diffuse and opacity components (though not on other mapped components).
Procedures
To view maps interactively:
2. In the object's creation parameters, make sure that Generate Mapping Coords. is turned on. (If
mapping coordinates aren't turned on, the object can't be mapped.)
If the object type does not have a mapping coordinates check box, apply a UVW Map modifier.
3. In the Material Editor, apply the mapped material to the object.
4. Turn on Show Map In Viewport.

The map appears on objects assigned the material in all shaded viewports. Now when you
adjust a map, the viewports update to display the adjustments.

To turn off interactive texture display:
Turn off Show Map In Viewport.

The object is shaded but the map no longer appears.
Comments

Mapping Coordinates
Glossary
Mapping Coordinates
Decoration on the vase is a map positioned by rotating the UVW Map Modifier gizmo.
Mapping coordinates specify the placement, orientation, and scale of a map on the geometry.
Coordinates are often specified in terms of U, V, and W, where U is the horizontal dimension, V is
the vertical dimension, and W is the optional third dimension, representing depth.
If you apply a mapped material to an object that has no mapping coordinates, the Renderer assigns
default mapping coordinates. The built-in mapping coordinates are designed for each object type.
The box mapping coordinates place a duplicate map on each of its six sides. For the cylinder, the
image is wrapped once around its sides, and duplicates of the image are distorted at the end caps. A
sphere has the image wrapped once around the sphere, and then gathered at the top and bottom.
Shrink-wrap mapping is also spherical, but truncates the corners of the map and joins them all at a
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Mapping Coordinates
single pole, creating only one singularity.

The software provides a number of ways to apply mapping coordinates:
Use the Generate Mapping Coords option in the creation parameters rollout of any standard
primitive. This option, which is on by default for most objects, provides mapping coordinates
specifically designed for each primitive. They require additional memory, so turn the option off if
you don't need them.
Apply a UVW Map modifier. You choose from several types of mapping coordinate systems and
customize the placement of the mapping coordinates on the object by positioning a mapping icon.
In addition, you can animate the transformations of the mapping coordinates.
Use special mapping coordinate controls for special objects. For example, Loft objects provide
built-in mapping options that let you apply mapping coordinates along their length and around
their perimeter.
Apply a Surface Mapper modifier. This world-space modifier takes a map assigned to a NURBS
surface and projects it onto the modified object or objects. Surface Mapper is especially useful for
seamlessly applying a single map to a group of surface sub-objects within the same NURBS
model. You can also use it for other kinds of geometry.
There are three cases where you don't need mapping coordinates:
Reflection/refraction maps and environment maps

These use an environmental mapping system, in which the placement of the map is based on the
rendered view, and fixed to the world coordinates in the scene.
3D procedural maps (such as Noise or Marble)

These are procedurally generated, based on the local axis of the object.
Face-mapped materials
The maps are placed based on the facets in the geometry.
Comments
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UVW Map Modifier
UVW Map Modifier
Select an object. > Modify panel > Modifier List > UVW Map
Select an object. > Modifiers menu > UV Coordinates > UVW Map
Mapping a sphere and a box.
By applying mapping coordinates to an object, the UVW Map modifier controls how mapped and
procedural materials appear on the surface of an object. Mapping coordinates specify how bitmaps
are projected onto an object. The UVW coordinate system is similar to the XYZ coordinate system.
The U and V axes of a bitmap correspond to the X and Y axes. The W axis, which corresponds to the
Z axis, is generally only used for procedural maps. A bitmap's coordinate system can be switched in
the Material Editor to VW or WU, in which case the bitmap is rotated and projected so that it is
perpendicular to the surface.
Primitive objects, like spheres and boxes, can generate their own mapping coordinates, as can loft
objects and NURBS surfaces. Scanned, imported, or hand-constructed polygonal or patch models do
not have mapping coordinates until a UVW Map modifier is applied. If you apply a UVW Map modifier
to an object with built-in mapping coordinates, the applied coordinates take precedence if map
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UVW Map Modifier
channel 1 in the UVW Map modifier is used. The Generate Mapping Coordinates option, available
during the creation of primitives, uses map channel 1 by default.
You use the UVW Map modifier to:
Apply one of the seven types of mapping coordinates to an object on a specified map channel. A
diffuse map on map channel 1 and a bump map on map channel 2 can have different mapping
coordinates and can be controlled separately by using two UVW Map modifiers in the modifier
stack
Transform the mapping gizmo to adjust map placement. Objects with built-in mapping
coordinates lack a gizmo.
Apply mapping coordinates to an object with no mapping coordinates, an imported mesh, for
example.
Apply mapping at the sub-object level.
Map Channels
You can control the type of mapping coordinates and the placement of the mapping gizmo for each
bitmap in a material that uses multiple bitmaps by assigning explicit map channels to the bitmaps.
In the Material Editor you assign each map a different channel number, then you add multiple UVW
Map modifiers to the object's modifier stack, each UVW Map modifier is set to a different map
channel. To change the type of mapping or gizmo placement for a particular bitmap, you select one
of the UVW Map modifiers in the modifier stack and change the parameters. You can change the
name of a UVW Map modifier in the Edit Modifier Stack dialog to correlate the modifier to the
bitmap.
Transforming UVW Map Gizmos

UVW Map Modifier
Changing a map's location by moving the gizmo.
The UVW Map gizmo projects mapping coordinates onto an object. You can position, rotate, or scale
a gizmo to adjust map coordinates on an object; gizmos can also be animated. Gizmo
transformations remain in effect if you select a new map type. If a spherical mapping gizmo is
scaled, and you switch to planar mapping, then the planar mapping gizmo is also scaled.
Gizmo Display for Different Map Types
For planar, spherical, cylindrical and shrink wrap maps, a short yellow line indicates the top of the
map. The green edge of the gizmo indicates the right side of the map. On a spherical or cylindrical
map the green edge is the seam where the left and right edge meet. Gizmo must be selected in the
modifier display hierarchy to display the gizmo.

UVW Map Modifier
Gizmos for different projection types

Left to right: planar, cylindrical, box, and spherical
Effects of Transforming the UVW Map Gizmo
Moving the gizmo changes the center of projection and affects all types of mapping. Rotating the
gizmo changes the orientation of the map, which affects all types of mapping. Uniform scaling does
not affect spherical or shrink-wrap mapping. Non-uniform scaling affects all types of mapping.
If you scale a gizmo smaller than the geometry, then a tiling effect is created, unless scaling has no
effect on the map type in use. Tiling based on gizmo size is in addition to tiling values set in the
Material Editor Coordinates rollout for the map or the UVW Map modifier tile controls.
The size of the gizmo affects how the mapping is applied to an object.

UVW Map Modifier
Manipulators for UVW Map
In 3ds max, the UVW Map modifier has graphic manipulators to help you adjust the UV length,
width, and tiling.
Manipulators are visible and usable while the Select and Manipulate button is turned on. This
button is on the default toolbar. When you move the mouse over a manipulator, the manipulator
turns red to show that dragging or clicking it will have an effect. Also, a tooltip appears, showing the
object name, the parameter, and its value.
For more information on using the UVW Map manipulators, see the Procedures section in this topic.
UV width/length manipulatorsIn a viewport, drag the edges of the UVW Map gizmo to change
the width or height.
UV tiling manipulatorsIn a viewport, drag the small circle next to the U edge or V edge to adjust
the tiling in that dimension.
Tile Controls
Use the UVW Tile controls if you want a map to repeat. Tiled maps are useful for bricks on a wall, or
tiles on a floor. Rather than creating one large map, seamless maps can be tiled to surface a large
area without visible seams, to give the illusion of a large map.
Tiling in the UVW Map modifier affects only the objects that use this modifier. Tiling a map in the
Material Editor affects tiling on all the objects that use the material.
Material and UVW Map tiling are multiplied. If a map in the Material Editor has a tile value of 2 on
one axis, and a UVW Map modifier has a tiling value of 3 on the same axis, then the result is a tiling
value of 6.
Objects with No Mapping Coordinates
If you render an object that doesn't have mapping coordinates or a UVW Map modifier, and the
object uses a material with 2D bitmaps or 3D procedural maps that use explicit map channels, then
a Missing Map Coordinates alert is displayed. The alert lists both the name of the object and the
UVW channels or Vertex Color channels that are missing the coordinates. For example: (UVW 2):
Torus01.
Procedures
To apply the UVW Map modifier:
1. Assign a mapped material to an object.

UVW Map Modifier
2. On the Modify panel, choose UVW Map from the Modifier List.
3. Adjust the mapping parameters.

By default, the UVW Map modifier uses planar mapping on map channel 1. You can change the
type of mapping and the map channel to suit your needs. There are seven types of mapping
coordinates, ninety-nine map channels, tiling controls, and controls to size and orient the
mapping gizmo in the UVW Map modifier.
Note: If a UVW Map modifier is applied to multiple objects, the UVW Map gizmo is defined by
the selection, and the mapping that results is applied to all the objects.
To use multiple UVW channels in the same object:
1. Assign Map channel 1 to an object. You can do this by either turning on Generate Mapping
Coordinates in the Parameters rollout of any primitive, or by assigning a UVW Map modifier
with channel 1 chosen.
Generate Mapping Coordinates uses map channel 1 by default.
2. Assign a UVW Map modifier (or a second one, if you're using the first to assign channel 1).
Choose channel 2 for this modifier.
Both coordinate channels are now assigned to the geometry. The next step is to assign a
mapped material that uses both channels.
3. Create a material with two maps. You can do this using a Composite map, or a Blend material
with two maps, or you can have one map assigned to Diffuse and another assigned to Bump.
Perhaps the easiest way to see the effect is to composite two maps, with the second map
containing an alpha channel.
4. Go to the level of one of the maps and, in the Mapping list, choose Explicit Map Channel 2.
The other map is already assigned channel 1 by default.
5. Assign the mapped material to the object.

You can switch between viewing the maps in the viewport using the Show Map In Viewport
control in the Material Editor. You can adjust the mapping of channel 2 without altering the
mapping of channel 1 if you've assigned two UVW Map modifiers. Render the scene to see the
effect.
To use the XYZ to UVW option:

The XYZ to UVW option is used to make a 3D procedural texture, like cellular, follow the animated
surface of an object. If the object stretches, so does the 3D procedural texture. Currently, it cannot
be used with NURBS objects and is unavailable if a NURBS object is selected.
1. In the Top viewport, create a box.
2. Create a material with a Cellular diffuse map.

UVW Map Modifier
3. On the Material Editor, on the Coordinates rollout of the Cellular map, open the Source
drop-down list, and choose Explicit Map Channel.
On the Coordinates rollout, the Map Channel parameter activates, leave the value at 1.
4. Assign the material to the box.
5. On the Modify panel, choose UVW Map from the Modifier List.
6. On the UVW Map modifier, turn on XYZ to UVW.

By default, the Map Channel value is 1.
7. Render the Front viewport.

The cellular pattern renders normally on the surface of the box.
8. Right-click over the object and choose Convert To: > Convert to Editable Mesh from the
Transform (lower-right) quadrant of the quad menu.
The box is converted to an editable mesh.
9. On the Modify panel, click to turn on Vertex on the Selection rollout.
10. In the Front viewport, select the top vertices of the box, and move them up.

The cellular pattern stretches with the box. This effect is enabled by the XYZ to UVW option. To
see the difference, we will change the Source option in the Coordinates rollout in the Material
Editor.
12. In the Material Editor, locate the diffuse Cellular material.

13. On the Coordinates rollout of the Cellular diffuse map, open the Source drop-down list and
choose Object XYZ.

The cellular pattern is no longer stretched.
To transform the UVW Map gizmo:
1. On the Modify panel, choose the UVW Map modifier in the stack display.
2. In the stack display, choose the Gizmo sub-object level.

The gizmo changes to a yellow color, with one green edge.
The green edge indicates the right edge of the texture.

UVW Map Modifier
3. Move, scale, or rotate the gizmo in the viewports, or use the Length and Width controls in the
UVW Map modifier.
Transforming the map gizmo shifts the bitmap, allowing you to orient and move the map on the
object's surface.
To use manipulators to control the width and length:
You can also be at the Gizmo level of the modifier.
2. On the default main toolbar, click to turn on Select And Manipulate.

The UVW Map modifier's gizmo turns green, showing it is now a manipulator. Also, two small
circles appear next to two of the gizmo's edges.
3. Drag an edge of the gizmo to adjust the width or length.

A tooltip shows the new width or length value.
To use manipulators to control tiling:
You can also be at the Gizmo level of the modifier.

The UVW Map modifier's gizmo turns green, showing it is now a manipulator. Also, two small
circles appear next to two of the gizmo's edges.
3. Drag one of the circles to adjust tiling in the U or V dimension.

A tooltip shows which dimension you are adjusting, and the new tiling value in that dimension.
Interface
Modifier Stack
Gizmo LevelEnables gizmo transformations. Turn on and then move, scale, and rotate the gizmo
in the viewports to position the map. In the Material Editor, you turn on the Show Map in Viewport
option to make the map visible in a shaded viewport, the map moves on the surface of the object as
you transform the gizmo.

UVW Map Modifier
Mapping group
Determines the type of mapping coordinates used. Different kinds of mapping are distinguished by
how the map is geometrically projected onto the object and how the projection interacts with the
object's surfaces.
PlanarProjects the map from a single plane flat against the object, somewhat like projecting a
slide.
Planar projection is useful when only one side of an object needs to be mapped. It is also useful for
obliquely mapping multiple sides, and for mapping two sides of a symmetrical object.

UVW Map Modifier
Planar map projection
Cylindricalprojects the map from a cylinder, wrapping it around an object. Seams where the
edges of the bitmap meet are visible unless a seamless map is used. Cylindrical projection is useful
for objects that are roughly cylindrical in shape.
Cylindrical map projection

UVW Map Modifier
CapApplies planar mapping coordinates to the caps of the cylinder.

Note: If the ends of the object geometry are not at right angles to the sides, the Cap projection
bleeds onto the sides of the object.
SphericalSurrounds the object by projecting the map from a sphere. You see a seam and
mapping singularities at the top and bottom of the sphere where the bitmap edges meet at the
sphere's poles. Spherical mapping is useful for objects that are roughly spherical in shape.
Spherical map projection
Shrink WrapUses spherical mapping, but truncates the corners of the map and joins them all at a
single pole, creating only one singularity. Shrink-wrap mapping is useful when you want to hide the
mapping singularity.

UVW Map Modifier
Shrink-wrap projection
BoxProjects the map from the six sides of a box. Each side projects as a planar map, and the
effect on the surface depends on the surface normal. Each face is mapped from the closest box
surface whose normal most closely parallels its own normal.
Box projection (shown on a box and on a sphere)

UVW Map Modifier
FaceApplies a copy of the map to every face of an object. Pairs of faces sharing a hidden edge are
mapped with the full rectangular map. Single faces with no hidden edge are mapped with a
triangular portion of the map.
Face projection
XYZ to UVWMaps 3D procedural coordinates to UVW coordinates. This "sticks" the procedural
texture to the surface. If the surface stretches, so does the 3D procedural map. Use this option with
procedural textures, like Cellular, on objects with animated topologies. Currently, XYZ to UVW
cannot be used with NURBS objects and is disabled if a NURBS object is selected.
Note: In the Material Editor's Coordinates rollout for the map, set Source to Explicit Map Channel.
Use the same map channel in the material and UVW MapMapping modifier.

UVW Map Modifier
A sphere with a 3D procedural texture is copied, and the copies are stretched.
Right: Using XYZ to UVW on the object enables the 3D procedural texture to stick and stretch with the
surface.
Length, Width, HeightSpecify the dimensions of the UVW Map gizmo. The default scale of the
mapping icon is defined by the largest dimension of the object when you apply the modifier. You can
animate the projection at the gizmo level. Note the following about these spinners:
The dimensions are based on a bounding box of the gizmo.

The Height dimension is unavailable for the Planar gizmo: It does not have depth. Likewise, the
dimensions for Cylindrical, Spherical, and Shrink Wrap mapping all display the dimensions of their
bounding box and not their radiuses. No dimensions are available for the Face map: Each face on
the geometry contains the entire map.
The three dimensions are set to 1 or 2, depending on map type and dimensions, when you load
files created in Autodesk VIZ or earlier versions of 3ds max. (This maintains compatibility with
files from previous releases, in which gizmos were scaled non-uniformly to adjust their
dimensions.).
The dimensions essentially become scale factors rather than measurements. You can reset the
values to dimensions by clicking the Fit or Reset buttons, which will lose the original non-uniform
scaling.
Because the orientation of many of the primitives was changed, the UVW Map in files from version
1.x of 3ds max3ds max load with the current orientation. However, the Length, Width, and
Height spinners might affect different axes than they would if the UVW Map were applied in the
current release of the software. For example, the Width spinner affects the X axis of a Box UVW
Map assigned in the current release, whereas the Height spinner might affect the same axis for an

UVW Map Modifier
object brought in from version 1 of 3ds max3ds max.
U Tile, V Tile, W TileLet you specify the dimensions of the UVW map, for tiling the image. These
are floating-point values; you can animate these values to displace the map's tiling over time.
FlipReverses the image about the given axis.
Channel group
Each object can have up to 99 UVW mapping coordinate channels. The default mapping (from the
Generate Mapping Coordinates toggle) is always channel 1. The UVW Map modifier can send
coordinates to any channel. This lets you have many different sets of coordinates on the same face
simultaneously.
Map ChannelSets the map channel. The UVW Map modifier defaults to channel 1, so mapping
behaves in the default fashion (and in the fashion of earlier software releases) unless you explicitly
change to another channel. Default=1. Range=1 to 99
To use the additional channels, you must not only choose a channel in the UVW Map modifier, but
also assign an explicit map channel at the map level of the material assigned to the object. You can
use many UVW Map modifiers in the modifier stack, each one controlling the mapping coordinates of
different maps in a material.
Vertex Color ChannelDefine the channel as a vertex color channel by choosing this option. Be
sure to match any material mapping in the coordinates rollout to be Vertex Color as well, or by using
the Assign Vertex Color utility.
The Map channels are accessed in various places in the software, as follows:
Generate Mapping CoordsThis check box, in the creation parameters of most objects, assigns
UVW Map channel 1 when turned on.
UVW Map ModifierContains options for channels 1 through 99. This lets you specify which
UVW coordinates are used by this UVW Map modifier. The modifier stack can pass these channels
simultaneously for any face.
UVW XForm and Unwrap UVWsUnwrap MappingThese two modifiers also contain
Channel option buttons.
Material Editor Channel AssignmentYou assign the channel to be used by a map in the
Coordinates rollout at the map level in the Material Editor.
The assignment varies depending on the type of map:

2D MapsIn the Mapping list for the Texture option, you can choose Explicit Map channel, Vertex
Color Channel, Planar from Object XYZ, or Planar from World XYZ.
3D MapsAt the top of the Coordinates rollout, there is a Source list where you can choose an
Explicit Map Channel, Vertex Color Channel, Object XYZ, or World XYZ. Use the Map Channel
spinner to define the channel number.
NURBS Surface Objects and Sub-ObjectsLet you specify which Map channel the surface

UVW Map Modifier
uses.
Alignment group
X/Y/ZSelect one of these to flip the alignment of the mapping gizmo. Each specifies which axis of
the gizmo is aligned with the local Z axis of the object.
Note: These options aren't the same as the Flip check boxes beside the U/V/W Tile spinners. The
Alignment option buttons actually flip the gizmo orientation, while the Flip check boxes flip an
assigned map's orientation.
FitFits the gizmo to the extents of the object and centers it so that it's locked to the object's
extents.
CenterMoves the gizmo so that its center coincides with the center of the object.
Bitmap FitDisplays the standard bitmap file browser so that you can pick an image. For planar
mappings, the map icon is set to the aspect ratio of the image. For cylindrical mapping, the height
(rather than the radius of the gizmo) is scaled to match the bitmap. For best results, first use the Fit
button to match the radius of the object and gizmo, and then use Bitmap Fit.
Normal AlignClick and drag on the surface of the object to which the modifier is applied. The
origin of the gizmo is placed at the point on the surface where the mouse is pointing; the XY plane of
the gizmo is aligned to the face. The X axis of the gizmo lies in the object's XY plane.
Normal Align respects smoothing groups and uses the interpolated normal based on face smoothing.
As a result, you can orient the mapping icon to any part of the surface, rather than having it "snap"
to face normals.
View AlignReorients the mapping gizmo to face the active viewport. The size of the icon is
unchanged.
Region FitActivates a mode in which you can drag in the viewports to define the region of the
mapping gizmo. The orientation of the gizmo is not affected.
ResetDeletes the current controller controlling the gizmo and plugs in a new one initialized using
the Fit function. Any animation to the gizmo is lost. However, aswith all the alignment options, you
can cancel the reset operation by clicking Undo.
AcquireEffectively copies the UVW coordinates from other objects When you pick an object from
which you want to acquire UVWs, a dialog prompts you whether the acquire should be done in an
absolute or relative fashion.
If you choose Absolute, the acquired mapping gizmo is positioned exactly on top of the mapping
gizmo you pick. If you choose Relative, the acquired mapping gizmo is positioned over the selected
object.
Mapping Selection Sets or Grouped Objects
You can apply one UVW MapMapping modifier to a selection of objects. One large mapping gizmo will
encompass the entire selection unless the Use Pivot Points option is turned on in the modifiers
rollout before applying the UVW MapMapping modifier. If the Use Pivot Points option is used then

UVW Map Modifier
each object is encompassed with its own mapping gizmo.

If any of the objects in the selection has had its pivot point shifted in the Hierarchy > Pivot panel,
and you use the Use Pivot Points option with the UVW MapMapping modifier, then the mapping
gizmos are centered to the pivot points rather than the object center and the mapping may be tricky
to position the way you want.
Comments

Map Channel
Glossary
Map Channel
Left: Scene uses different map channels to place different copies of the same maps in different
locations.
Right: The three maps used to create the streets and the traffic markers painted on them
When you turn on Generate Mapping Coordinates for an object, the coordinates use map channel 1.
You can assign new map channels with new mapping coordinates by applying a UVW Map modifier to
the object. Map channel values can range from 1 to 99.
A map channel associates a map with an object's mapping coordinates. Texture-baked maps also
use map channels.
For NURBS surface sub-objects, you can assign a map channel without applying UVW Map. The
surface sub-object has a different set of mapping coordinates for each map channel you use.
A map's map channel value identifies which of an object's mapping coordinates to use. Different map
channels allow maps for the same object to use different coordinates. For example, you might use
one channel for diffuse mapping and a different one for bump mapping. Map channels also let
different maps use different coordinates within a compound material, a compositor map, or a multi/
sub-object material.
Different map channels can have different U and V tiling values, different U and V offsets, and so on.
In the UVW Map modifier, you can also set different map channels to have different mapping types
(planar, cylindrical, spherical, and so on).
If you apply a map that uses a certain map channel to an object that has no mapping coordinates for
that channel, the map doesn't appear on the object. When you render, a Missing Map Coordinates
dialog appears to warn you of the problem. The dialog lists the map channel and the object name.
See also
Coordinates Rollout (2D)

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Map Channel
Comments
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Render to Texture
Render to Texture
Make sure the default scanline renderer is the active renderer. > Select one or more objects. >
Rendering menu > Render To Texture
Rendering to texture, or "texture baking, allows you to create texture maps based on an object's
appearance in the rendered scene. The textures are then baked into the object: that is, they
become part of the object via mapping, and can be used to display the textured object rapidly on
Direct3D devices such as graphics display cards or game engines.
Some workflow improvements have been made to the Render to Texture feature in 3ds max 6.
The improvements include:
Pertinent rollouts are open by default.
Addition of a Shell Display toggle to show the source textures and the baked textures for the
selected object(s).
A new Output rollout where objects can be chosen in detail.
The Map Channel can be set when choosing to automatically unwrap mapping.
Display and materials settings are now handled per object and in detail by means of Target Map
Slot assignments.
Render settings adhere to the new Render Presets functionality.
The Skip Existing Files switch allows you to render only those maps that do not already exist.
Render to Texture now supports Network Rendering, but will not create baked materials on
render. You can update baked materials after network rendering is complete via the Render To
Baked Material button in the Baked Materials rollout.
Note: When the Network Job Assignment dialog is presented, the "Strip Render" options are
disabled. You cannot get both at the same time.
Typical Texture Baking Method
1. Set up a scene with lighting.
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Render to Texture
Banana object in a lighted room
2. Select the objects whose textures you want to bake.
Banana object selected
3. Choose Rendering > Render To Texture.
4. A Render to Texture dialog appears. In this dialog, you choose which elements of the rendering
you want to bake. Elements are aspects of the rendering such as diffuse color, shadows, alpha
(transparency/opacity), and so on.
In this dialog, you can also choose various display options for showing the baked texture in
shaded viewports.
Tip: If you have a Direct3D graphics display driver, you can use DirectX viewport shaders to
view the baked texture in shaded viewports. They show how the baked texture will appear on
DirectX devices.
5. Click Render.
After you click Render in the Render to Texture dialog, a number of things happen. (This is a typical
set of events; the dialog gives you a lot of control over how texture baking actually occurs.)
The elements you chose are rendered, each to its separate bitmap file.

Render to Texture
Lighting map of the banana
By default, the texture type is Targa, and the element maps are placed in the \images subfolder
of the folder where you installed 3ds max.
The new textures are flat: In other words, they are organized according to groups of object
faces.
In the modifier stack, a new modifier is applied to the object. It is called Automatic Flatten UVs. It
is simply an Unwrap UVW modifier, automatically applied.
This modifier manages the mapping of the flattened texture to faces of the object, and lets you
adjust that mapping if necessary.
Flattened texture-mapping coordinates for the banana
A Shell material is applied to the object. This material is a container for both the object's original
material (you don't lose those maps and settings), and the newly created baked material, with its
new textures.
The Shell material lets you access both materials and adjust their settings, if necessary. It also
lets you choose which material to view, the original material or the texture-baked material, in
shaded viewports or in renderings.

Render to Texture
New shell material contains the banana's original material (below left) and the baked texture
(below right).
Rendered light map applied to the banana
With the light map, banana appears lit even when lights are turned off.
That is texture baking in a nutshell.

For best results, Logarithmic exposure control is recommended for Render to Texture.
If Linear or Automatic exposure controls are used, each object will have different lighting levels,
generating a different histogram. Each object renders as if it had a different light level and in some
cases, you may not get a rendering at all. This happens because Linear and Automatic exposure
controls are view dependant.
Logarithmic Exposure Control is not view dependant, and will reproduce the image correctly. See the
Exposure Controls topic for more information about Linear, Automatic and Logarithmic exposure

Render to Texture
controls.
See also
Baked Texture Elements

Target Map Slot Assignments
Render to Texture Dialog
Render to Texture: General Settings Rollout
Render to Texture: Objects To Bake Rollout
Render to Texture: Output Rollout
Render to Texture: Baked Material Rollout
Render to Texture: Add Texture Elements Dialog
Shell Material
DirectX Manager Rollout
LightMap Shader Rollout
Metal Bump Shader Rollout
Comments

Make sure the default scanline renderer is the active renderer. > Rendering menu > Render To
Texture > Render to Texture dialog
Rendering to texture, or texture baking, is controlled by this dialog. Most of this dialog's controls
are contained in its rollouts.
See also
General Settings rollout
Objects To Bake Rollout
Output Rollout
Baked Material Rollout
Procedures
To bake an object's texture:

There are a lot of options for rendering to textures. These are the basic overall steps.
Ideally, the object will have a texture assigned to it, or lights and shadows that fall on it, and
so on.
2. Choose Rendering > Render To Texture.
3. In the same dialog, go to the Output rollout.
4. Click Add, and in the Add Texture Elements dialog, choose the element(s) you want to render.
5. Set Target Map Slots, if necessary.
6. Click Render.
The elements you chose to render are rendered to files, and the baked texture is displayed in
shaded viewports.
To bake the texture of multiple objects:
1. Set up the texture-baking parameters of each object you want to bake. This corresponds to
steps 2 through 5 of the previous procedure.
2. In the Objects To Bake rollout, change All Selected to All Prepared.
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3. Click Render.
Textures are rendered for all the objects you previously set up.
Interface
RenderRenders the scene, or the elements listed in the Objects To Bake rollout.
Unwrap OnlyApplies the Automatic Flatten UVs modifier to all selected objects without
rendering anything.
CloseCloses the dialog and saves any changes to settings you have made.
Original/BakedWhen set to Views, the original or baked material is displayed in the

viewports. When set to Render, the original or baked material is used in the rendering.
Comments
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Texture > Render to Texture dialog > General Settings rollout
This rollout has the texture-baking controls for the current scene. It lets you control automatic
unwrapping of the baked textures, map size, render settings, and where texture renderings are
saved.
See also
Render to Texture
Render To Texture
Interface
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Automatic Unwrap Mapping group
OnWhen on, applies an Automatic Flatten UVs (Unwrap UVW) modifier to the objects whose
texture is being rendered. Default=on.
The remaining controls are options for how to flatten UVs. These are the same controls provided by
the Unwrap UVW modifier's Flatten Mapping dialog:
Map ChannelAssociates the unwrapped maps with an object's mapping coordinates.

Default=3
Threshold AngleThe angle used to determine the face clusters to be mapped. Default=45.0
As faces are gathered to be mapped, the modifier uses this parameter to determine which faces get
put in a cluster. This is the maximum angle that can exist between faces in a cluster.
The higher this number, the larger the clusters will be, with consequently greater distortion
introduced as a result of texture faces' proportions deviating from their geometry-equivalent faces.
SpacingControls the amount of space between clusters. Default=0.03.
The higher this setting, the larger the gap that appears between clusters.
Rotate ClustersControls whether clusters are rotated to minimize the size of their bounding box.
For instance, the bounding box of a rectangle rotated 45 degrees occupies more area than one
rotated 90 degrees. Default=on.
Fill HolesWhen turned on, smaller clusters will be placed in empty spaces within larger clusters to
take the most advantage of the available mapping space. Default=on.
Clear UnwrappersClears the unwrap modifiers from the stack.
Automatic Map Size group
Rendering to texture can choose a map size for you. Automatic map sizing is enabled or disabled by
a toggle in the Output rollout. The controls in this group specify how to create the map, when
Automatic Map Size is enabled. Automatic map sizing computes the total surface area of all objects
in the selection, then multiplies that value by Scale, and creates a square texture map of those
dimensions.
ScaleThe amount by which to scale the total surface area of generated texture. Default=0.01.
Nearest power of 2When on, rounds the map dimensions (length and width) to the nearest
power of 2. Default=off.
MinThe minimum size, in pixels, of the length and width of the automatically sized map.
Default=32.
MaxThe maximum size, in pixels, of the length and width of the automatically sized map.
Default=2048.
Output group
Text fieldSpecifies the folder where the rendered texture will be saved. You can enter a different

folder name in this field. Default=the \images subfolder of the folder where you installed 3ds max.
Click the ellipsis button to display a dialog that lets you browse to the directory where you
want the rendered texture to be saved.
Skip Existing FilesAllows you to render only those maps that do not already exist.
Display Frame BufferWhen on, displays elements in a rendered frame window as they are
rendered. When off, does not display the rendered frame window. Default=on.
Render Settings group
These controls let you choose and set up Render Presets as well as activate network rendering.
Important: To successfully render a texture, you must use the default scanline renderer.
Drop menuLets you choose Load Preset. A Render Presets Load dialog appears where you can
select an RPS file.
SetupDisplays the Render Scene dialog, where you can adjust production settings, draft settings,
or both.
Network RenderWhen on, you can assign the rendering task to Server systems. If you click
Render, the Network Job Assignment dialog displays where you can specify a server, or multiple
servers, to take on the task. Default=off.
Comments

Texture > Render to Texture dialog > Objects To Bake rollout
This rollout has controls for the texture baking of individual objects. It lets you choose which map
channel the texture will use, which elements will be rendered, and at what sizes. It also lets you
control filename generation, and assign the format of rendered texture elements.
See also
Render to Texture
Render To Texture
Render To Texture: General Settings Rollout
Render To Texture: Output Rollout
Render To Texture: Baked Material Rollout
Interface
Object list
List of objectsShows all selected objects.
Name columnLists the object's name.
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Map Channel columnLists the object's current map channel setting.
Edge Padding columnLists the object's current edge padding setting.
Selected Object Settings group
EnableWhen on, the Channel and Padding controls are used for individual, all selected, and all
prepared objects. When off, only selected object texture rendering uses these settings; whole
scene rendering does not. Default=off.
ChannelSets the map channel used for the baked texture. This option is only active when
Automatic Unwrap Mapping if turned off in the General Settings rollout.
PaddingThe amount, in pixels, that edges are allowed to overlap in the flattened (unwrapped)
texture. Default=2 pixels.
If the baked texture shows visible seams when you view it in shaded viewports or renderings, try
increasing this value.
These controls select which objects to bake. See Render To Texture dialog for procedures.
Individual Allows you to select each object and choose a set of output maps and targets for it.
The list will display all selected objects.
All Selected(The default.) Displays all the selected objects.
All PreparedThe list will display all visible and unfrozen objects in the scene, selected or not,
which have unwrapped mapping on them.
Comments
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Texture > Render to Texture dialog > Output rollout.
Depending on which element you have selected in the Objects To Bake rollout, this rollout might be
displayed. It lets you disable the saving of certain scene components for that particular element's
map.
See also
Render to Texture
Render to Texture
Interface
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Example: Selected Element Unique Settings rollout for a lighting map
Output ListShows maps names, element names, map sizes and designated map slots.
File Name columnLists the name of the map that will be generated.
Element Name columnShows the element corresponding to the map.
Size columnDisplays the map size.
Target Map Slot columnShows which map slot will be occupied by the baked texture in the
material.
The output list can display entries in black, gray and blank. If a group of objects is selected that has
already has output assignments, maps that are shared by all will appear black, maps not shared by
all will appear gray. If resolutions or target types are shared they will appear black, if not they will
be blank.
AddClick to display an Add Texture Elements dialog to choose one or more element types to add
to the list.
See Baked Texture Elements for a description of the different element choices.
DeleteClick to remove the currently highlighted element from the list.

Selected Element Common Settings group
EnableWhen on, renders this element. When off, disables rendering of this element. Default=on.
NameEnter the element component of the file name. Default=the name of the element type.
File Name and TypeEnter the file name of the rendered texture. Default=the object name
followed by the element name, and TGA format.
This field is disabled if All Selected or All Prepared is turned on in the Objects To Bake rollout.
Click this button to display a file dialog you use to choose a name, directory, and file format for
the rendered texture.
Note: The File Name and Type setting specifies the path and filename only for the selected element.
To set a folder where all baked textures will be stored, set the path in the Output group on the
General Settings Rollout.
Target Map SlotDisplay all Map Types available to the materials assigned to the objects selected
minus the ones already slated for output in the current Render To Texture session.
If more than one object is selected the pulldown will list all map types common to all the selected
objects. If you choose to Create New Baked then this pulldown will display the slots for the new
baked material type.
Use Automatic Map SizeWhen on, sets the texture size automatically, using the values in the
General Settings rollout. When off, the texture is the size specified by the following controls in this
rollout. Default=off.
Width and HeightThese two spinners let you specify a custom resolution for the texture.
Range=0 to 8192. Default=Width=Height=256.
Be aware that increasing texture resolution increases render time.
Preset resolution buttons (64x64, 128x128, and so on)Click a button to specify a preset
resolution for the texture.
Selected Element Unique Settings group
The contents of the Selected Element Unique Settings group vary depending on the active element.
But the group always shows a list of toggles for various components of a scene, and by default, all
toggles are on.
The following table shows which components apply to which elements (if the table shows none, the
Selected Elements Unique settings group is not displayed):
Map Type Components
Complete Shadows

Lighting
Specular
Anchor
Lighting
Diffuse
Anchor
Shadows (none)
Shadows
Direct Light On
Lighting
Indirect Light
On
Normals (none)
Lighting
Diffuse
Specular
Reflection
Blend Shadows
Ambient
Self-
Illumination
Refraction
Alpha (none)
For a fuller description of the rendered texture elements, see Baked Texture Elements.
Comments

Texture > Render to Texture dialog > Baked Material rollout
Material Baking operates on the entire Render To Texture session, not set per individual object.
Note: When Network Rendering, the Render To Baked Material option is disabled.
See also
Render to Texture
Render To Texture
Interface
Baked Material Settings group
Output Into SourceWhen on, replaces any target map slot in the objects existing material. Care
should be used with this option as it allows for un-undoable material replacement.
Note: If a selected object to be rendered has a multi/sub-object material assigned to it, the workflow
will not change and the results will be as follows: output into source will put the resulting map in all
sub-material slots that match, instancing all identical maps, if a sub-material doesnt have the
selected output type it will be ignored; duplicate in baked will duplicate the entire Multi/Sub-Object
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Material into the baked material and perform the above output; create new baked will create a new
single standard material.
Save Source (Create Shell)Makes a new Shell material and assigns it to the object. When this
option is turned on, you can then choose to either Duplicate Source To Baked, or to Create New
Baked.
Duplicate Source To BakedMakes a copy of the existing material as the Baked material.
Create New BakedPuts a new material in the Baked Material slot. The type of the new material is
set by the pulldown below and subsequently determining the available Target Map Slots in the
Output rollout.
Shader listAllows you to specify a shader to be used for the newly baked texture.
Update Baked MaterialsBuilds a Shell material for all selected objects, and populates the baked
material according to the current Render To Texture settings.
Clear Shell MaterialsClears the material assignments (both base material and baked material)
from the Shell material applied to the texture-baked object.
Note: If you have already rendered a baked texture and decide you want to render with a different
shader from the list, you must first click Clear Shell Materials and then re-render.
Note: Render to File OnlyWhen turned on, the baked texture files are rendered to the folder
you've specified in the Output Path field of the General Settings rollout. Default=off
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Shell Material
Shell Material
Render to a texture. > Material Editor > Pick Material from Object > Click object with baked
material.
The Shell material is for use with texture baking. When you use Render To Texture to bake a
texture, it creates a Shell material that contains two materials: the original material used in the
rendering, and the baked material. The baked material is a bitmap that is saved to disk by Render
To Texture. It is baked, or attached to an object in the scene.
The Shell material is a container for other materials, like Multi/Sub-Object. It also lets you control
which material is used in which renderings.
Note: The Material/Map Browser lists the Shell material when you assign a new material. You can
apply two materials to a single object this way, but changing a material's type to Shell does not
generate a baked texture that is saved to disk.
Important: The mental ray renderer does not support the Shell material.
Procedures
To load a shell material into a sample slot:
1. Click an unused sample slot.
2. Click Pick Material From Object.
3. In a viewport, click an object that has a baked material.

The sample slot now contains the baked material, and the Shell Material Parameters rollout is
displayed.
Interface
Original MaterialDisplays the name of the original material. Click the button to view that material
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Shell Material
and adjust its settings.

Baked MaterialDisplays the name of the baked material. Click the button to view that material
and adjust its settings.
In addition to the color and mapping of the original material, the baked material can include
shadows from lighting, and other information. Also, a baked material has a fixed resolution.
ViewportUse these buttons to choose which material appears in shaded viewports: the original
material (upper button) or the baked material (lower button).
RenderUse these buttons to choose which material appears in renderings: the original material
(upper button) or the baked material (lower button).
Comments
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Texture > Render to Texture dialog > Selected Object Settings rollout > Click Add to add a texture
element > Add Texture Elements dialog
This dialog lets you choose which elements will be part of a baked material. Each element is an
individual bitmap. When you display a baked texture in shaded viewports, some elements might not
display. If you have the Direct3D display driver, you can use a DirectX viewport shader to enhance
baked texture display.
Interface
Available ElementsLists the elements available for rendering. See Baked Texture Elements for a
description of the available elements. Click an element to select it. Use CTRL+click to select (or
deselect) additional elements individually. Use SHIFT+click to select a group of contiguous elements.
You can also double-click a single element name to add it to the list and close the dialog.
Add ElementsClick to add these elements to the list in the Objects To Bake rollout of the Render
To Texture dialog.
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Comments
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Texel
Glossary
Texel
A texel (short for Texture Element) is the base unit of a textured graphic, which defines the surface
of a three-dimensional object. The base unit of the surface of a 3D object would be a texel, while a
2D object would consist of pixels.
Comments
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Material Editor > DirectX Manager rollout
Lets you select a DirectX viewport shader for viewing Direct3D hardware shaders. DirectX shaders
require the Direct3D graphics driver, which uses DirectX. With DirectX shading, materials in a
viewport more accurately represent how the material will appear in another application, or on other
hardware such as a game engine.
DirectX viewport shaders are especially useful for previewing texture-baked materials.
3ds max provides two DirectX shaders:
LightMap shader
Metal Bump shader
Note: This rollout does not appear for Multi/Sub-Object and Shell materials, which are simply
containers of other materials.
See also
DirectX 9 Shader Material
Interface
Drop-down listUse the drop-down list to choose a DirectX viewport shader.

EnabledTurn on Enabled to use the DirectX shader in shaded viewports. Default=off.
When not enabled, viewports continue to use the default viewport (interactive) renderer (or the
ActiveShade renderer, if that has been chosen).
Comments
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Material Editor > Viewport Manager rollout > Choose LightMap from the drop-down list. >
LightMap Shader rollout appears.
When you have chosen LightMap as the DirectX viewport shader, this rollout appears. The LightMap
shader can display both a base texture and a lighting map. Typically both these maps come from
rendering to textures (texture baking) The base texture typically would be a completed map, a blend
map, or a diffuse map. You can choose these map types, as well as lighting map, to render as
elements of a baked texture.
Note: In order to use the LightMap shader, you must have 3ds max configured to use the Direct3D
graphics driver. To change the graphics driver configuration, refer to the Viewport Preferences topic.
Interface
Base Texture group
ButtonShows the name of the base texture. Click the button to display that material's
parameters, and adjust them if necessary.
ToggleWhen on, shaded viewports display the base texture. When off, it is not displayed.
If both the Base Texture and Light Map toggles are off, the material appears black in viewports.
Mapping ChannelShows the map channel this texture uses.
Light Map group
ButtonShows the name of the lighting map.

ToggleWhen on, shaded viewports display the lighting map. When off, it is not displayed.
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If both the Base Texture and Light Map toggles are off, the material appears black in viewports.
Mapping ChannelShows the map channel this texture uses.
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Make sure the default scanline renderer is the active renderer. > Select objects. > Rendering
menu > Render to Texture > Render to Texture dialog > Selected Object Settings rollout > Click
Add. > Add Texture Elements dialog > Choose elements to render.
When you render to texture or bake a texture, you choose one or more elements to render. These
elements save aspects of the rendered scene: its geometry, lighting, shadows, and so on. Some
texture elements can display in shaded viewports; others require a DirectX viewport shader to view
in 3ds max.
When you add an element to render, it appears in a list in the Objects To Bake rollout. In the list,
you can disable or enable rendering of that individual map, or select it to adjust which components it
will include.
Note: Automatically generated reflections and refractions do not work well with rendered textures,
although they are included in the Complete and Blend texture maps.
The following sections describe the available element maps.
Component Options (Unique Settings)
Many element maps let you choose to include or not include components of the rendered scene.
When your element to render is highlighted in the list, these options appear on the Selected Element
Unique Settings group.
See also
Render to Texture
Complete Map
A complete map saves most surface properties of the rendered object; specifically:
Lighting
Diffuse color
Specular color
Reflections
Shadows
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Ambient color
Self-illumination color
Refractions
Component Options (Selected Elements Unique Settings)
For a complete map, you can choose not to render shadows.
Specular Map
A specular map saves only the specular color of the object.
For a specular map, you can choose not to render lighting or shadows.
Diffuse Map
A diffuse map saves only the diffuse color of the object.
For a diffuse map, you can choose not to render lighting or shadows.
Shadows Map
A shadows map saves only the shadows cast onto the object.
There are no unique settings for a shadows map.
Lighting Map
A lighting map saves only the lighting cast onto the object.
For a lighting map, you can choose not to render shadows, direct light, or indirect light.
Normals Map

A normals map saves a gradient that indicates the direction of normals on the surface of the object.
With a normals map, Direct3D rendering can make simple geometry appear more complex.
You cannot view a normals map in shaded viewports unless you use the Metal Bump Direct3D
viewport shader.
There are no unique settings for a normals map.
Blend Map
A blend map is like a complete map, except that all its components, not just shadows, are optional.
For a blend map, you can choose not to render any of the following components:
Lighting
Diffuse color
Specular color
Reflections
Shadows
Ambient color
Self-illumination color
Refractions
Alpha Map
An alpha map saves only the alpha channel of the rendered object.
There are no unique settings for an alpha map.
Comments

Material Editor > Viewport Manager rollout > Choose LightMap from the drop-down list. > Metal
Bump Shader rollout appears.
When you have chosen Metal Bump as the DirectX viewport shader, this rollout appears. The Metal
Bump shader can display a variety of texture-baked maps, including normal maps for an embossed
effect. It is good for displaying shiny surfaces.
Warning: The Metal Bump shader lets you adjust settings to get various effects in shaded
viewports. These settings will not necessarily apply when you display the texture-baked
object on other Direct3D devices.
Warning: In 3ds max 6, the MetalBump shader's results will always be visible in
viewports, regardless of the object type.
Note: In order to use the Metal Bump shader, you must have 3ds max configured to use
the Direct3D graphics driver. To change the graphics driver configuration, refer to the
Viewport Preferences topic.
Warning:
Warning:
See also
Interface
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Ambient & Diffuse group
Ambient ColorWhen not black, tints the object's ambient color. Click the color swatch to display a
Color Selector and choose the ambient color. Default=black.
Diffuse ColorWhen not white, tintes the diffuse color. Click the color swatch to display a Color
Selector and choose the diffuse color. Default=white.
Texture 1Displays a texture map for the diffuse color. Typically this would be a texture-baked
diffuse map, completed map, or blend map.
See the section Map Controls, below, for a description of the individual controls.
Texture 2Displays a second texture map for the diffuse color. Typically this would be a texture-
baked lighting map or shadows map.
Use AlphaWhen on, displays the alpha channel. When off, does not. Default=off.
Mix AmountAdjusts the mixing of the two texture maps in shaded viewports.

Specular group
EnableWhen on, enables specular highlights for the object. Default=off.

Specular ColorSpecifies a specular color for the object. Click the color swatch to display a Color
Selector and choose a color. Default=white.
TextureDisplays a specular map for the object. Typically this would be a texture-baked specular
map.
Bump group
NormalDisplays a normal map for the object. Typically this would be a texture-baked normals
map.
BumpDisplays a bump map for the object. Typically this would be a bump map used for the
original material.
Bump IntensityAdjusts the intensity of the bumps in shaded viewports.
Reflection group
CubemapDisplays a reflection map projected cubically (around the scene). Typically this would be
an environment map.
Reflection IntensityAdjusts the intensity of reflections in shaded viewports.
Pick object and createClick to choose an object and have the program generate the reflections
used in the viewport.
Sync Standard Material
When on, adjustments you make to the Metal Bump shader update settings in the active standard
material, letting you save the changes you made. When off, the standard material is unchanged.
Default=off.
Map Controls
In this rollout, all texture maps have the same general controls. The rollout appears only when you
are using the DirectX viewport shader.
ToggleWhen on, the map is used in viewports. When off, it is not used. Default=on if a map is
assigned, off otherwise.
Map buttonClick to choose the texture map to use for this component of the object.
Map ChannelSpecifies the map channel used by this map.

This control is not present for the cubic reflection map.
Comments

Introduction to NURBS Modeling
Fountain created as a NURBS model
3ds max provides NURBS surfaces and curves. NURBS stands for Non-Uniform Rational B-Splines.
NURBS have become an industry standard for designing and modeling surfaces. They are especially
suited for modeling surfaces with complicated curves. The tools for modeling with NURBS do not
require an understanding of the mathematics that produces these objects. NURBS are popular
because they are easy to manipulate interactively, and because the algorithms that create them are
both efficient and numerically stable.
You can also model surfaces using polygonal meshes or patches. Compared to NURBS surfaces,
meshes and patches have these shortcomings:
Using polygons can make it more difficult to create complicated curved surfaces.
Because meshes are faceted, facets appear at the edge of rendered objects. You must have a
large number of small faces to render a smoothly curved edge.
NURBS surfaces, on the other hand, are analytically generated. They are more efficient to calculate,
and you can render a NURBS surface that appears to be seamless. (A rendered NURBS surface is
actually approximated by polygons, but the NURBS approximation can be very fine grained.)
NURBS Models: Objects and Sub-Objects
NURBS and Modifiers
NURBS and Animation
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NURBS Concepts
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Like Shape objects, a NURBS model can be an assemblage of multiple NURBS sub-objects. For
example, a NURBS object might contain two surfaces that are separate in space. NURBS curves and
NURBS surfaces are controlled by either point or control vertex (CV) sub-objects. Points and CVs
behave somewhat like the vertices of spline objects, but there are differences.
The parent object in a NURBS model is either a NURBS surface or a NURBS curve. Sub-objects can
be any of the objects listed here. A NURBS curve remains a Shape object unless you add a surface
sub-object to it when you convert it to a NURBS surface (without changing its name).
SurfacesThere are two kinds of NURBS surfaces. A point surface is controlled by points, which
always lie on the surface. A CV surface is controlled by control vertices (CVs). Instead of lying on the
surface, CVs form a control lattice that surrounds the surface. (This is similar to the lattice used by
the FFD [free-form deformation] modifiers.)
See Creating Surface Sub-Objects and Editing Surface Sub-Objects.
CurvesThere are also two kinds of NURBS curves. These correspond exactly to the two kinds of
surfaces. A point curve is controlled by points, which always lie on the curve. A CV curve is
controlled by CVs, which don't necessarily lie on the curve.
See Creating Curve Sub-Objects and Editing Curve Sub-Objects.
PointsPoint surfaces and point curves have point sub-objects. You can also create separate point
sub-objects that are not part of a surface or a curve.
See Creating and EditingPoint Sub-Objects.
CVsCV surfaces and CV curves have CV sub-objects. Unlike points, CVs are always part of a
surface or a curve.
See Editing Curve CV Sub-Objects and Editing Surface CV Sub-Objects.
ImportsImports are 3ds max objects, including other NURBS objects. Within the NURBS model,
they render as NURBS; but they retain their original parameters and modifiers.
See Attaching and Importing 3ds max Objects.
Sub-objects can be dependent sub-objects whose geometry is related to the geometry of other sub-
objects.
See also
Creating NURBS Models

Working with NURBS Models
Modifying NURBS Models and Creating Sub-Objects
Sub-Object Selection
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CV Sub-Objects and Point Sub-Objects

Rigid Surfaces
Dependent Sub-Objects
Nonrelational NURBS Surfaces
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Shapes
Shapes
Create panel > Shapes
Create menu > Shapes
A shape is a 2D object made from one or more curved or straight lines.

3ds max includes the following shape types:
Splines
NURBS Curves
Using Shapes
Shapes are 2D and 3D lines and groups of lines that you typically use as components of other
objects. Most of the default shapes are made from splines. You use these spline shapes to do the
following:
Generate planar and thin 3D surfaces
Define loft components such as paths, shapes, and fit curves
Generate surfaces of revolution
Generate extrusions
Define motion paths
The program supplies 11 basic spline shape objects, plus two types of NURBS curves. You can
quickly create these shapes using mouse or keyboard entry and combine them to form compound
shapes. See Splines for information about the methods and parameters used to create these shapes.
Creating Shapes
To access the shape creation tools, go to the Create panel and click the Shapes button. You'll
find the standard shapes under Splines in the category list, and Point Curve and CV Curve under
NURBS Curves.
As you add plug-ins, other shape categories might appear in this list.
The Object Type rollout contains the spline creation buttons. You can combine one or more of these
spline types into a single shape.
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Shapes
Create Shape from Edges
You can create shapes from edge selections in mesh objects. In Edit/Editable Mesh objects, at the
Edge selection level, in the Edit Geometry rollout, is a button called Create Shape from Edges that
creates a spline shape based on selected edges. See Editable Mesh (Edge). Similarly, with Editable
Poly objects, you can use the Create Shape button at the Edge selection level. See Editable Poly
(Edge)
Editable Splines
You can convert a basic spline to an editable spline object. The editable spline has a variety of
controls that let you directly manipulate it and its sub-objects. For example, at the Vertex sub-object
level you can move vertices or adjust their Bezier handles. Editable splines let you create shapes
that are less regular, more free-form than the basic spline options.
When you convert a spline to an editable spline, you lose the ability to adjust or animate its creation
parameters.
Renderable Shapes
When you use a shape to create a 3D object by lofting, extruding, or other means, the shape
becomes a renderable 3D object. However, you can make a shape renderwithout making it into a 3D
object. There are three basic steps to rendering a shape:
1. Turn on the Renderable check box in the Rendering rollout of the shape's creation parameters.
2. Specify the thickness for the spline using the Thickness spinner in the Rendering rollout.
3. Turn on Generate Mapping Coords if you plan on assigning a mapped material to the spline.
When Renderable is on, the shape is rendered using a circle as a cross section. Mapping coordinates
are generated with U mapped once around the perimeter, and V mapped once along the length.
3ds max provides more control over renderable shapes; viewports, including wireframe viewports,

Shapes
can display the geometry of renderable shapes. The rendering parameters for shapes appear in their
own rollout.
The Steps settings affect the number of cross sections in the renderable shape.
Please observe the following:
When you apply a modifier that converts a shape into a mesh (such as Extrude or Lathe), the
object automatically becomes renderable, regardless of the state of the Renderable check box.
You need to turn on the Renderable check box only when you want to render an unmodified spline
shape in the scene.
The Object Properties dialog also has a Renderable check box, which is turned on by default. Both
this check box and the General rollout > Renderable check box must be turned on in order to
render a shape.
Shapes as Planar Objects
A straightforward usage for shapes is 2D cutouts or planar objects. Examples include ground planes,
text for signs, and cutout billboards. You create a planar object by applying an Edit Mesh modifier to
a closed shape, or by converting it to an editable mesh object.
2D objects
You can also apply an Edit Mesh modifier to a 3D shape (for example, a shape whose vertices have
been moved vertically away from the construction plane by different amounts) to create a curved
surface. The resulting 3D surface often requires manual editing of faces and edges to smooth surface
ridges.
Extruded and Lathed Shapes
You can apply modifiers to a shape to create a 3D object. Two of these modifiers are Extrude and
Lathe. Extrude creates a 3D object by adding height to a shape. Lathe creates a 3D object by
rotating a shape about an axis.

Shapes
Initial text shape with extruded shape below
Lathed object with initial shape on right
Lofting Shapes
You create Lofts by combining two or more splines in special ways. Shapes form the lofting path, loft
cross-sections, and loft fit curves.
Shapes as Animation Paths
You can use shapes to define the position of an animated object. You create a shape and use it to
define a path that some other object follows.
Some possible ways for a shape to control animated position are:
You can use a Path constraint to use a shape to control object motion.
You can convert a shape into position keys using the Motion panel > Trajectories > Convert From
function (see Trajectories).

Shapes
A sphere follows a shape.
See also
Edit Modifiers and Editable Objects

Modifying at the Sub-Object Level
Modifier Stack Controls
Comments

Point Helper
Point Helper
Create panel > Helpers > Standard > Object Type rollout > Point
Create menu > Helpers > Point
Point provides a specific location in 3D space that can be used as a reference or by other program
functions.
Procedure
To create a point in space:
1. Click Point and check the type of display from the Parameters rollout.
2. Adjust the size of the point object by using the Size spinner in the Parameters rollout.
Default=20.0
3. Left-click and drag anywhere in your scene.

The point follows the cursor until you release the mouse button, indicating the current location
of the point object.
4. Move the cursor to where you want the point object and release the mouse button.
The point object appears using the display setting you chose.
You can move and rotate the point as needed using standard transformation methods.
Interface
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Point Helper
Center MarkerDisplays a small X marker at the center of the point object.

Axis TripodDisplays a tripod axis indicating the position and orientation of the point object. The
axis remains visible when the point object is no longer selected.
CrossDisplays an axis-aligned cross.
BoxDisplays a small axis-aligned box at the center of the point object.
SizeSets the size for the point object. Use this to minimize the point object, or increase its size to
aid in locating it. Default=20.
Constant Screen SizeKeeps the size of the point object constant, regardless of how much you
zoom in or out.
Draw On TopDisplays the point object on top of all other objects in the scene.
Note: You can also choose to activate multiple display settings.
Comments
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Snap Options
Snap Options
Customize menu > Grid and Snap Settings > Grid and Snap Settings dialog > Options tab
Status bar > Right-click 3D Snap Toggle > Grid and Snap Settings dialog > Options tab
The Snap Options tab of the Grid and Snap Settings dialog lets you set options related to snapping.
Procedure
To set snap options:
1. Choose Customize menu > Grid And Snap Settings.
2. Click the Options tab.
3. Set the options as desired.
Interface
Note: The the layout of the Grid And Snap Settings dialog is generated at runtime. Because of this, it
might appear slightly different than the illustration shown here.
Marker group
Provides settings that affect the visual display of the snap points.
DisplayToggles the display of the snap guides. The snaps still function, but there's no display.
SizeSets the size, in pixels, of the snap "hit" point. This is the small square that indicates either
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Snap Options
the source or target snap point.

ColorClick the color swatch to display the Color Selector, where you can set the color of the snap
display.
General group
Snap StrengthSets the strength of the snap, and represents the pixel "search region" around the
cursor.
AngleSets the increment at which objects are rotated about a given axis (degrees).
PercentSets the percentage increment for scale transforms.
Snap to frozen objectsWhen on, snapping to frozen objects is enabled. Default=off.
Translation group
Use Axis ConstraintsConstrains the selected object to move only along the axes specified on the
Axis Constraints toolbar. When turned off (the default), the constraints are ignored, and snapped
objects can be translated in any dimension (assuming 3D snapping is used). This is also available
from the Snaps shortcut menu, accessed when you hold SHIFT and right-click in any viewport.
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Right-click unused area of any toolbar > Axis Constraints
The axis constraint buttons and flyouts appear on the Axis Constraints toolbar.
Note: The default UI does not display this toolbar: to see it, right-click an empty portion of any
toolbar, and choose Axis Constraints from the menu.
Restrict To X
Restrict To Y
Restrict To Z
Restrict to Plane flyout:
Restrict To XY Plane
Restrict To YZ Plane
Restrict To ZX Plane
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Restrict To X
Restrict To X
Axis Constraints toolbar > Restrict to X
Use Restrict To X To limit all transformations (move, rotate, scale) to the X axis.
When you click Select And Move and then click Restrict To X, you will only be able to move the
object on this axis. Use this when you want to make sure you dont inadvertently move an object in
the other directions.
You can also restrict transformations to the X axis when using the Transform gizmo. Selecting the X
tripod head will allow you to move only in X.
Note that constraints are set on a transform-by-transform basis, so select the transform before you
select the axis constraint. If you do not want the constraints to change, turn on Customize menu >
Preferences > General tab > Reference Coordinate System group > Constant.
The axis constraints are stored separately at object and sub-object levels. If you set these three
controls one way while in sub-object mode and another way while in object selection level, when you
return to sub-object mode, they're restored to the way they were previously set. For example, if
you're using XY constraints at object level, then switch to sub-object level and use Z constraint,
when you return to object level, XY will be restored.
Snaps can conflict with Restrict To X. Go to Customize menu > Grid And Snap Settings > Options >
Translation to find the Use Axis Constraints check box. When this is off, Snaps take precedence over
axis constraints.
Comments
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Select an object. > main toolbar > Click any transform button to display the objects Transform
Gizmo icon.
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Top: Move gizmo

Middle: Rotate gizmo
Bottom: Scale gizmo
The Transform gizmos are viewport icons that let you quickly choose one or two axes when
transforming a selection with the mouse. You choose an axis by placing the mouse over any axis of
the icon, then drag the mouse to transform the selection along that axis. In addition, when moving
or scaling an object, you can use other areas of the gizmo to perform transforms along any two axes
simultaneously. Using a gizmo avoids the need to first specify a transform axis or axes on the Axis
Constraints toolbar, and also lets you switch quickly and easily between different transform axes and
planes.
A Transform gizmo appears when one or more objects are selected and one of the transform buttons
(Select And Move, Select And Rotate, or Select And Scale) is active on the toolbar. There are three
separate gizmos for each action. By default, each axis is assigned one of three colors: X is red, Y is
green, and Z is blue. The currently active axis or axes/corner combination, as specified by the Axis
Constraint setting on the Axis Constraints toolbar when dragging, are colored yellow. As you change
the axis constraints, either by moving the mouse in the active viewport or from the toolbar, you can
see the corresponding axis (or axes) turn yellow.
When you point the mouse at any axis or arrow, it turns yellow to indicate that its active, and
changes the toolbar "Restrict to ..." setting (the X, Y, Z, XY, etc. buttons). You can now drag the
selection along the indicated axis or axes.
Move Gizmo
The Move gizmo now includes plane handles, and the option to use a center box handle.
You can select any of the axis handles to constrain movement to that axis. In addition, the plane
handles allow you to constrain movement to the XY, YZ, or XZ planes. The selection hotspot is within
the square formed by the plane handles. The size and offset of the handles can be set in Gizmos
panel of the Preferences dialog.

The Move gizmo with the YZ axes selected.
The center box can also be used as a handle for translations constrained parallel to a viewport.
Rotate Gizmo
The Rotate gizmo is built around the concept of a virtual trackball. You can rotate an object along
the X, Y, or Z axis, with free rotation, or you can rotate the object on a plane perpendicular to the
viewport.

The axis handles are circles around the trackball. Drag anywhere on one of them, and you can rotate
the object along that axis. As you rotate along the X, Y, or Z axis a transparent slice provides a
visual representation of the direction and amount of rotation. If you rotate more than 360, the slice
overlaps and the shading becomes more and more intense. Numerical data is also displayed to
indicate precise rotation measurement.
In addition to XYZ rotation, you can also use free rotation or the viewport handle to rotate objects.
Drag inside the Rotate gizmo (or the outer edge of the gizmo) to perform free rotation. Rotation
should behave as if you were actually spinning the trackball.
The outermost circle around the Rotate gizmo is the Screen handle, which lets you rotate the object
on a plane parallel to the viewport.

Settings for the Rotate gizmo can be set in the Gizmos panel of the Preferences dialog
Scale Gizmo
The scale gizmo now includes plane handles and scaling feedback through the stretching of the
gizmo itself.
The plane handles let you perform Uniform and Non-Uniform scaling without changing your selection
on the main toolbar:
To perform Uniform scaling, drag in the center of the gizmo.
The Transform gizmo with Uniform scaling selected.
To perform Non-Uniform scaling, drag on a single axis or a plane handle.

Top: The Transform gizmo with the YZ plane handle selected.

Bottom: Non-Uniform scaling along the YZ axes.
Note: To perform a Squash operation, you must click Select and Squash on the main toolbar.
The Scale gizmo provides feedback by changing its size and shape; in the case of a uniform scale, it
will grow or shrink as the mouse moves, and during non-uniform scaling, the gizmo will stretch and
deform while dragging. However, once the mouse button is released, the gizmo will return to it's
original size and shape.
Settings for the Transform gizmo can be set in the Gizmos panel of the Preferences dialog
Notes
Using a Transform gizmo sets the default axis constraint to the last axis or axes you used.
Dragging a Transform gizmo temporarily disables snaps. To retain snapping capabilities with the
Transform gizmo enabled, select the constraints, and then drag the objects without dragging on any
gizmo handles.
If Lock Selection Set is on, you can drag anywhere in the viewport to transform the object. Dragging
an axis, however, still applies the constraint along that axis.
Procedure
Example: To explore use of the transform gizmo:
1. Reset the program, then create a sphere, and then click the Select and Move tool.

The Transform gizmo appears at the center of the sphere. Because the default axis constraint
on the Axis Constraints toolbar is XY Plane, the X and Y shafts of the Transform gizmo are
yellow (active), while the Z shaft is blue.
2. Use Arc Rotate to adjust the Perspective view for a better view of the Transform gizmo.
When youre done, right-click to return to Select and Move .
3. Point to any part of the sphere away from the Transform gizmo, and drag to confirm that the
sphere is locked to the XY plane.
4. Point to the Z-axis shaft, and drag.

The Z shaft turns yellow, the X and Y shafts turn red and green, respectively, and the sphere
moves along the Z axis.
5. Point to the Y shaft, and drag.

The Y shaft turns yellow, and the sphere moves along only the Y axis.
6. Point to the red-and-green corner mark opposite the ends of the X and Y axes, and drag.
The sphere moves along the XY plane.
7. Press the SPACEBAR to turn on Lock Selection Set.
8. Drag the mouse anywhere in a viewport away from the selection.

The sphere moves along the XY plane.
9. Point to the X shaft, and drag.

The sphere moves along only the X axis.
Experiment with other transformations, such as rotation and scale. Try different Reference
Coordinate Systems. Experiment with sub-object transformations.
Interface
Change default colorsCustomize menu > Customize User Interface Dialog > Colors tab >
Gizmos Element > Active Transform Gizmo.
Enable/disable Transform GizmoCustomize menu > Preferences > > Transform Gizmo group
Gizmos panel > On check box.
Note: When you turn off the Transform gizmo in Preferences, the standard axis tripod appears
instead. To toggle display of either the gizmo or the tripod, press the X key or use Views menu >
Show Transform Gizmo.
There are additional controls for each Gizmo in the Gizmos panel of the Preferences dialog.
See also

Gizmo Preferences
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Select and Move
Select and Move
Main toolbar > Select and Move
Right-click an object. > Move
Moving an object
Use the Select and Move button to select and move objects.
To move a single object, you do not need to select it first. When this button is active, clicking an
object selects it and dragging the mouse moves it.
To restrict object movement to the X, Y, or Z axis, or to any two axes, click the appropriate button
on the Axis Constraints toolbar, use the Transform gizmo, or right-click the object, and select the
constraint from the Transform submenu.
See also
Move Gizmo
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Select and Move
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Select and Rotate
Select and Rotate
Main toolbar > Select and Rotate
Right-click an object. > Rotate
Rotating an object
Use the Select and Rotate button to select and rotate objects.
To rotate a single object, you don't need to select it first. When this button is active, clicking an
object selects it and dragging the mouse rotates it.
When you are rotating an object about a single axis (which is usually the case), don't rotate the
mouse, expecting the object to follow the mouse movement. Just move the mouse straight up and
straight down. Up rotates the object one way, down rotates it the opposite way.
To restrict rotation about the X, Y, or Z axis, or to any two axes, click the appropriate button on the
Axis Constraints toolbar, use the Transform gizmo, or right-click the object, and select the constraint
from the Transform submenu.
See also
Rotate Gizmo
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Select and Rotate
Procedure
This procedure illustrates the intuitive usage of the default Euler XYZ rotation controller.
To animate object rotation interactively:
1. Add an object.
2. Move the time slider to a frame other than 0 and turn on Auto Key.
3. Choose Select And Rotate.
4. Rotate the object on any axis by any amount.
5. Move the time slider to a later frame.
6. Rotate the object on the same axis by an amount greater than 180 degrees.
7. Play back the animation.

The rotation plays back exactly as you recorded it.
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Select and Uniform Scale
Main toolbar > Select and Uniform Scale (on Select and Scale flyout)
Right-click an object. > Scale (selects current toolbar Scale mode)
Uniform scale does not change an object's proportions.
The Select and Uniform Scale button, available from the Select And Scale flyout, lets you scale
objects by the same amount along all three axes, maintaining the object's original proportions.
To scale a single object, you don't need to select it first. When this tool is active, clicking an object
selects it and dragging the mouse scales it.
See also
Scale Gizmo
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Main toolbar > Select and Scale flyout
The Select and Scale flyout provides access to three tools you can use to change object size. These
are, from top to bottom:
Select and Non-Uniform Scale
Select and Squash
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Main toolbar > Select and Non-Uniform Scale (on Select and Scale flyout)
Non-uniform scale can change proportions with different values for different axes.
The Select and Non-Uniform Scale button, available from the Select And Scale flyout, lets you scale
objects in a non-uniform manner according to the active axis constraint.
You can restrict the objects' scaling about the X, Y, or Z axis, or to any two axes, by first clicking the
appropriate button on the Axis Constraints toolbar, or with the Transform gizmo.
To scale a single object, you don't need to select it first. When this tool is active, clicking an object
selects it and dragging the mouse scales it.
Important: Avoid applying non-uniform scale at the object level. Non-uniform scaling is
applied as a transform and changes the axes of the object, so it affects other object
properties. It also alters the properties passed hierarchically from parent to child. When
you perform other operations on the object, such as rotation, inverse kinematic
calculations, and other positioning operations, you may not get the results you expect. To
recover from these problems, use the Hierarchy panel's Reset Scale button or the Utilities
panel's Reset XForm utility. Either of these options will reset the axes to use the non-
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uniform scale as the fundamental scale for the object.
See also
Scale Gizmo
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Select and Squash
Select and Squash
Main toolbar > Select and Squash (on Select and Scale flyout)
Squash scales two axes in opposite directions, maintaining the object's original volume.
The Select And Squash tool is useful for creating different phases of the squash and stretch-style
animation often found in cartoons. The Select and Squash button, available from the Select And
Scale flyout, lets you scale objects according to the active axis constraint. Squashing an object
always involves scaling down on one axis while simultaneously scaling up uniformly on the other two
(or vice-versa).
You can restrict object scaling about the X, Y, or Z axis, or to any two axes, by first clicking the
appropriate button on the Axis Constraints toolbar.
When the Select And Squash tool is active, clicking an object selects it and dragging the mouse
scales it.
Important: Avoid applying non-uniform scale at the object level. Non-uniform scaling is
applied as a transform and changes the axes of the object, so it affects other object
properties. It also alters the properties passed hierarchically from parent to child. When
you perform other operations on the object, such as rotation, inverse kinematic
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Select and Squash
calculations, and other positioning operations, you may not get the results you expect. To
recover from these problems, use the Hierarchy panel's Reset Scale button or the Utilities
panel's Reset XForm utility. Either of these options will reset the axes to use the non-
uniform scale as the fundamental scale for the object.
See also
Scale Gizmo
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Using the Axis Constraints

The Restrict to ... buttons, also called the Axis Constraint buttons, are located on the Axis
Constraints toolbar, which is off by default. You can turn it on by right-clicking the main toolbar and
choosing Axis Constraints from the pop-up menu. These buttons let you specify one or two axes
about or along which the transform takes place.
Note: It's generally easier to use the Transform gizmos than these buttons; see Using Transform
Gizmos. However, it is helpful to understand the concepts explained below.
Axis Constraint buttons
Only one of the four Axis Constraint buttons is active at a time. When a button is turned on,
transforms are constrained to the axis it specifies. For example, if you turn on the Restrict To X
button, you can rotate an object only about the X axis of the current transform coordinate system.
The axis or axes to which youre constrained are highlighted in red on the axis tripod icon in
viewports, or in yellow on the Transform gizmo.
The first three buttons constrain the transform to a single axis. The fourth button is a flyout, the
Restrict To Plane flyout, that specifies double-axis combinations.
For example, if Restrict To YZ Plane is active, you can move an object only along the YZ plane, you
can scale it only along the Y and Z axes, and you can rotate it about the Y and Z axes (or a
combination of the two) but not about the X axis.
Note: Normally, axis constraints apply when using Snap. You can override this by turning off Use
Axis Constraints in Snap Options.
Keyboard Shortcuts for Axis Constraints
As an alternative to using the buttons on the main toolbar, you can use the function keys F5 through
F8 to select the four axis constraint buttons. F5 activates the X button, F6 the Y, F7 the Z, and F8
activates the double-axis flyout. Press F8 repeatedly to cycle through the three double-axis options.
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Restrict To Plane Flyout
Restrict To Plane Flyout
Axis Constraints toolbar > Restrict to Plane flyout
The Restrict To Plane flyout, available from the Axis Constraints toolbar, lets you limit all
transformations (move, rotate, scale) to the XY, YZ, or ZX planes (by default, parallel with the Top
view). You can cycle through the planar constraints (XY, YZ, ZX) by pressing the F8 key.
You can also select planar constraint by using the Move Transform Gizmo. Instead of dragging one of
the axis indicators, drag one of the plane indicators near the center of the gizmo.
When you move an object along a plane that is head-on to your view, the object moves along the
single available axis shown in the view.
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Axis Constraints toolbar > Restrict to XY Plane (on Restrict to Plane flyout)
Restrict To XY Plane , available from the Restrict To Plane flyout, lets you limit all transformations
(move, rotate, scale) to the XY axes (by default, parallel with the Top view).
You can also select planar constraint by using the Transform gizmo. Instead of clicking the tripod
heads, choose the corner marks that are part of the gizmo. You can cycle through constraints by
selecting the other sets of corner marks to choose the alternate planes.
Snaps can conflict with Restrict To XY Plane. Go to Customize menu > Grid And Snap Settings >
Options > Translation to find the Use Axis Constraints check box. When this is off, Snaps take
precedence over axis constraints.
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Axis Constraints toolbar > Restrict to YZ Plane (on Restrict to Plane flyout)
Restrict To YZ Plane , available from the Restrict To Plane flyout, lets you limit all transformations
(move, rotate, scale) to the YZ axes (by default, parallel with the Left view).
Snaps can conflict with Restrict To YZ Plane. Go to Customize menu > Grid And Snap Settings >
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Axis Constraints toolbar > Restrict to ZX Plane (on Restrict to Plane flyout)
Restrict To ZX Plane , available from the Restrict To Plane flyout, lets you limit all transformations
(Move, Rotate, and Scale) to the ZX axes (by default, parallel with the Front view).
Snaps can conflict with Restrict To ZX Plane. Go to Customize menu > Grid And Snap Settings >
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Gizmo Preferences
Gizmo Preferences
Customize menu > Preferences > Preference Settings dialog > Gizmos tab
The Gizmos Preferences Settings dialog lets you set the display and behavior of the Transform
gizmos.
Interface
Transform Gizmos group
OnWhen on, 3ds max uses the Transform gizmo to enable more powerful move, rotate, and scale
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Gizmo Preferences
options. When turned off, a basic tripod is displayed, with no axis specificity.
Show Axis LabelsToggles the display of the axis labels on the Transform gizmo.
Note: Functionality is maintained when axis labels are turned off.
Allow Multiple GizmosToggles the display of more than one gizmo at a time.
When turned off, a Transform gizmo will only be displayed for one object at a time in a selection set.
When turned on and when Use Pivot Point Center in the Use Center flyout is active, each object in a
selection set will have its own transform gizmo.
SizeSets the size of the Transform gizmo as a percentage of the viewport size. Range=1 to 100.
Move Gizmo group
Relative Size (%)Sets the size of the Move gizmo, relative to the Size value of the Transform
gizmo. Range= 0.0 to 500.0.
Plane Handles group
The plane handles let you constrain object movement along combinations of any two axes.
OnToggles the use of plane handles on the Transform gizmo.
SizeSets the size of the plane handles, as a percent of the distance from the Offset to the tripod
axis. Range=0.0 to 100.0.
OffsetThe percentage of the distance from the gizmo's tripod axis to the outer extent of the
Primary axis handles.
For example, 0 = no plane handles; 100 = plane handles extend as far as the Primary axis handles.
Center Box Handle group
The center box can be used as a handle for translations constrained parallel to a viewport.
Move in Screen SpaceToggles the use of the center box handle.
Rotate Gizmo group
Relative Size (%)Sets the size of the Rotate gizmo, relative to the Size value of the Transform
Free RotationToggles the use of free rotation.
Note: When this is turned off, you can only rotate an object along an axis, or parallel to the screen
(if Screen Handle is on).
Show TripodToggles display of an axis tripod at the pivot point. This tripod also highlights the
selected axis while rotating.
Screen HandleToggles display of the screen orbit, which lets you rotate an object parallel to a
viewport.
Show Pie SliceWhen on, a shaded pie slice acts as a visual indicator of the direction and amount
of rotation.

Gizmo Preferences
Note: If you rotate more than 360, the slice overlaps and the shading becomes more and more
intense.
Angle DataWhen on, numerical feedback appears during rotation, indicating rotation values along
the X, Y, and Z axes.
Rotation MethodSets the rotation method for the gizmo:
Linear Roll: Rotate the virtual trackball by dragging in a single direction, tangent to the Rotate
gizmo.
Note: A tangent handle will appear to show the best direction to drag the mouse.
Circular Crank: Rotate the virtual trackball by dragging around the Rotate gizmo, in a circular
manner.
Legacy R4: Turns off virtual trackball behavior, and uses the rotation method from 3ds max 4.
Planar Angle ThresholdDetermines when the Circular Crank rotation method will automatically
switch to Linear Roll to prevent loss of control over the gizmo.
This occurs when a Primary axis is nearly 90 degrees to the view plane, making it different to circle
around. Any angle to the view plane that is higher than this setting will use Crank mode, but any
angle equal to or less than this setting will always function as a Linear Roll.
Scale Gizmo group
Relative Size (%)Sets the size of the Move gizmo, relative to the Size value of the Transform
Uniform Handle Size (%)Sets the size of the handle for uniform scaling (the distance from the
transform center to the edge of the uniform handle), as a percentage of the scale gizmo size.
2Axis Handle Size (%)Sets the size of the handle for non-uniform scaling along 2axes (the
distance from the edge of the uniform handle to the edge of the 2axis handle), as a percentage of
the scale gizmo size.
Uniform 2Axis ScalingForces scaling using a 2axis plane handle to be uniform.
Move/Rotate Transforms group
Controls the way you can move selected objects with the mouse in a non-orthographic view such as
Perspective.
IntersectionShoots a ray from the mouse point into the screen. This makes moving objects
easier, but as you move toward the horizon, the object moves great distances.
ProjectionProjects the motion of the mouse onto the plane. This ensures that there are no
singularities at the horizon, and that motion is always smooth and stable. However, it can become
difficult to move objects when the plane is not parallel to the screen.
Persp SensSets mouse sensitivity for projection transforms.

Gizmo Preferences
Rotation IncrementSpecifies the amount of rotation generated by moving the mouse 1 pixel.
Lower this value for angular rotations smaller than the default .5 degrees. The lower this value, the
more mouse movement is needed to rotate objects.
Viewport Arc Rotate Snap AngleSets the amount of rotation in degrees.
Turn on Angle Snap on the main toolbar, and then use Arc Rotate to rotate a viewport. The
viewport rotation snaps by the value set here. The Arc Rotate cursor displays a small magnet in the
upper left to indicate that Angle Snap is turned on.
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Orthographic View
Glossary
Orthographic View
Orthographic views of a model
Whether produced on computer or paper, most 3D design relies on 2D representations for accurate
description of objects and their positioning. Maps, plans, cross-sections, and elevations are all
examples of 2D representations. Each of these views represents an orthographic view. In familiar
terms, you might think of these views as "flat" or "straight-on," or as "looking at right angles."
Orthographic views are two-dimensional, each defined by two world coordinate axes. Combinations
of these axes produce three pairs of orthographic views: top and bottom; front and back; left and
right.
Orthographic views are a special case of axonometric views. You can set viewports to the various
orthographic views using the viewport right-click menu or keyboard shortcuts.
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Orthographic View
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Axonometric View
Glossary
Axonometric View
Axonometric view of model
A projected view of 3-dimensional space that displays from one to three sides of an object. The lines
in an axonometric view do not converge to vanishing points as they do in a perspective view, so
lines that are parallel in 3D space are parallel in the view. For this reason, diagonal and curved lines
can appear to be distorted.
Isometric and orthographic views are special cases of axonometric views.
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Isometric View
Glossary
Isometric View
Isometric view of a scene
A special type of axonometric view, where the sides of the object are equally inclined to the screen,
producing equal foreshortening along the edges. You can create an isometric view by rotating a User
view.
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Perspective Views
Glossary
Perspective Views
Perspective view of the ice-cream shop
Perspective views most closely resemble human vision. Objects appear to recede into the distance,
creating a sense of depth and space. For most 3D computer graphics, this is the view used in the
final output that the client sees onscreen or on the page.
There are three ways to create a perspective view in a viewport: perspective view, camera view, and
light view.
A perspective viewport, labeled Perspective, is one of the default viewports. You can change any
active viewport to this eye-like point of view by pressing the keyboard shortcut P.
A camera view requires that you first create a camera object in your scene. The camera viewport
tracks the view through the perspective of that camera. As you move the camera (or target) in
another viewport, you see the scene swing accordingly. If you alter the camera's field of view on the
Modify command panel, you see the changes as they are applied.
The light view works much like a targeted camera view. You first create the spotlight or directional
light and then set the viewport to that light. What you see in the viewport is the view from the light
looking into the scene. This is very useful for adjusting the correct distances of hotspot and falloff for
the light.
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Perspective Views
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Horizon
Glossary
Horizon
Horizon in the distance of a scene
The horizon of a scene is the edge of vision at the height of the camera, parallel with the world
coordinate plane. You can view the horizon in camera viewports.
A camera is level when it and its target are the same height from the world coordinate plane. In
other words, the camera's local Z axis is parallel to the world plane. When the camera is level, the
horizon line is centered in the viewport. As the camera tilts up, the horizon line lowers; as it tilts
down, the horizon line raises.
The horizon line can help you match the perspective of your scene to the perspective of a still image.
In general, matching perspective involves the following steps:
Display the horizon line. Use it to help you adjust the camera and target so they are level.
Display the image in the camera viewport. Use Views menu > Background Image.
Orbit the camera until the perspective of the scene roughly matches that of the still image.
Adjust the camera's perspective to fine-tune the perspective match.
Move the camera or target to position the scene against the background.
If you raise or lower the camera, raise or lower the target by an equal amount, in order to keep
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Horizon
them level and maintain the horizon.
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Arc Rotate, Arc Rotate Selected, Arc Rotate Sub-Object
Activate a Perspective or Orthographic viewport. > Viewport Navigation controls > Arc Rotate
flyout
Keyboard > ALT+middle mouse button
The Arc Rotate buttons, on the Arc Rotate flyout, spin the viewpoint freely around a center.
Three Arc Rotate variants are available: Arc Rotate, Arc Rotate Selected, and Arc Rotate Sub-Object.
Arc Rotate is modal: it remains active until you right-click or choose another command.
Arc Rotate respects Angle Snap. If you turn on Angle Snap, the Arc Rotate mouse pointer
displays a magnet, and the rotation snaps by the Viewport Arc Rotate Snap Angle setting.
Arc Rotation used a hidden virtual target as the point which is used for the center of rotation.
Holding the CTRL key down in Arc Rotate mode has a special behavior: It does a rotation of the
scene around the screens X and Y axis (at the position of the virtual target). Move the mouse
horizontally yields rotation around world coordinates referential Z-axis. User moves the mouse
vertically yields rotation around screen coordinates referential X-axis. This differs from standard Arc
Rotate, when horizontal mouse movement rotates around screen coordinates referential Y-axis.
Procedures
To use Arc Rotate:
1. Activate a Perspective or Orthographic viewport.
2. Click any of the three Arc Rotate buttons.

A view rotation trackball is displayed as a yellow circle with handles placed at the quadrant
points.
3. Drag the mouse on and around the trackball to produce different types of view rotations. The
cursor changes to indicate what type of rotation you are about to perform.
Drag the handles to keep the rotation either horizontal or vertical. Drag horizontally on the
side handles, or vertically on the top or bottom handle.
Drag inside the trackball to rotate the view freely within the viewport. The free rotation
continues while dragging even if the cursor crosses outside the trackball.
Drag outside the trackball to rotate the view about the depth axis that is perpendicular to
the screen. When the cursor crosses inside the trackball during dragging, free rotation
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occurs. When the cursor crosses back outside the trackball, spinning rotation is again in
effect.
4. Press ESC or right-click to end Arc Rotate.
To constrain rotation to a single axis:
Hold down the SHIFT key as you rotate.

The rotation is constrained to the first axis you use.
To rotate with keyboard and mouse:
Hold down the SHIFT key as you rotate.

The rotation is constrained to the first axis you use.
Interface
Arc RotateUses the view center as the center of rotation. If objects are near the edges of the
viewport, they may rotate out of view.
Arc Rotate SelectedUses the center of the current selection as the center of rotation. The
selected object remains at the same position in the viewport while the view rotates around their
center.
Arc Rotate SubObjectUses the center of the current sub-object selection as the center of
rotation. The selection remains at the same position in the viewport while the view rotates around its
center.
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Arc Rotate Flyout
Arc Rotate Flyout
Activate a Perspective or Orthographic viewport. > Viewport Navigation controls > Arc Rotate
flyout
Keyboard > ALT+middle mouse button
The Arc Rotate flyout displays the Arc Rotate button, the Arc Rotate Selected button, and the Arc
Rotate Sub-Object button. Use these to rotate your viewpoint around the view.
For more information on these tools, see Arc Rotate, Arc Rotate Selected, Arc Rotate Sub-Object .
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Preferences
Preferences
Customize menu > Preferences
3ds max offers many options for its display and operation. These options are available on the
Preference Settings dialog in a series of tabbed panels.
The Preference Settings dialog contains the following panels:

General Preferences
Radiosity Preferences
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Preferences
Animation Preferences
File Preferences
Gamma Preferences
Gizmo Preferences
MAXScript Preferences
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PAL
Glossary
PAL
PAL (Phase Alternate Line) is the video standard used in most European countries. The frame rate is
25 frames per second (fps) or 50 fields per second, with each field accounting for half the
interleaved scan lines on a television screen.
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Dithering
Glossary
Dithering
Square on the right shows dithering.
When converting images with a palette of a greater number of colors to an image with a palette of
fewer colors, dithering is a means of simulating colors not in the more limited palette by mixing
different colored pixels together.
Dithering is also a method of smoothing the edges between two color regions by mixing their pixels
so the edges appear to blend together.
You have the option of setting dithering if you are rendering for the limited colors of an 8-bit display
(256 colors). It can help prevent a banding effect in color gradients. Dithering does increase the size
of 8-bit files and slows the playback speed of animations. You may want to try applying maps to the
flat areas in the scene to see if that eliminates banding before turning on dithering.
The software is designed to render 64-bit color output. Consequently, you also have the option of
setting dithering for true color (24 or 32-bit color). The Dither True Color option ensures that you get
the best quality on true-color displays.
You turn dithering on and off in the Rendering page of the Preferences dialog. You can also set
dithering for scene motion blur in Video Post. Here, dithering provides a smoothing effect between
the separate images making up the "blur." Video Post dither is set as a percentage of total dither.
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Dithering
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Super Black
Glossary
Super Black
Super Black limits the darkness of rendered geometry.
The scanline renderer uses the value of the Super Black preference as a threshold for the darkness
of the rendered scene.
For example, if you're rendering a heavily shadowed object against a black background, although the
background will be rendered as pure black, the deepest shadows on the object will be no darker than
the intensity level specified by the Threshold spinner (default is 15).
Note: If the threshold spinner is set too high, it will artificially raise low-blended values. This can ruin
antialiasing effects in the renderer.
This option is used for video compositing. When compositing, you need pure black for the
background, but all the overlaying object needs to be less than pure black so that you can still see
exactly where it is.
Also, some video systems have problems with black that has RGB values of 0,0,0 and consider it an
"illegal" color.
Unless you're sure you need it, leave Super Black off in the Render Scene dialog.
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Ambient Light
Glossary
Ambient Light
Left: No ambient light

Middle: Default ambient light
Right: User-adjusted ambient light
Ambient light is the general light that illuminates the entire scene. It has a uniform intensity and is
uniformly diffuse. It has no discernible source and no discernible direction.
By default, there's a small amount of ambient light in every scene. If you examine the darkest
shadows on your model with the default ambient light setting, you can still make out the surface
because it's lit by the ambient light. Shadows in your scene will not appear any darker than the
ambient light color, which is why you usually keep ambient light set to black (or a very dark color).
Typically, the best practice in lighting is to set your ambient lighting to black, set up all your lights,
and then decide at the end if you need to increase the ambient light.
If you use photometric lights and a radiosity solution, ambient light is accurately calculated. The
other advanced lighting option, light tracing, also generates ambient lighting.
Comments
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Light Tracer
Light Tracer
active production renderer. > Advanced Lighting panel > Select Advanced Lighting rollout >
Choose Light Tracer from the drop-down list.
active production renderer. > Advanced Lighting panel > Select Advanced Lighting rollout >
Choose Light Tracer from the drop-down list.
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Light Tracer
Character lit by skylight and one spotlight, and rendered with light tracing.
Model by Sonny Sy orange_3D@yahoo.com www.geocities.com/orange_3D
The Light Tracer provides soft-edged shadows and color bleeding for brightly-lit scenes such as
outdoor scenes. Unlike radiosity, the Light Tracer does not attempt to create a physically accurate
model, and can be easier to set up.
Outdoor scene lit by skylight and rendered with light tracing.
Tip: Indoor scenes can use light tracing, but radiosity is usually the better choice for indoors.
Previewing the Effect of Light Tracing
To get a quick preview of the effect the Light Tracer will have, lower the values of Rays/Sample
and Filter Size.

Light Tracer
The result will be a very grainy version of the full effect.
Another way to get a quick preview is to make sure Adaptive Undersampling is turned on. In this
group, set Initial Sample Spacing equal to Subdivide Down To. In the General Settings group,
lower the value of Rays/Sample, and set Bounces equal to 0.0. This gives a rather blotchy but fast
preview of the rendering. Increase Rays/Sample and Filter Size to improve the image quality.
In general, you can get good, fairly quick results with a lower Filter Size as long as Rays/Sample
has a high value and Adaptive Undersampling is turned on.
Other Tips for Using the Light Tracer
To improve rendering time, use the Object Properties dialog to disable light tracing (or radiosity
solving) for those objects that don't have a great impact on the final effect.
Tip: You can also use the Advanced Lighting Override material to alter the effect of light tracing
on particular objects.
Experiment with the adaptive undersampling settings, which restrict light tracing to the areas of
your scene that need it.
To increase the amount of color bleeding, increase the value of both Bounces and Color Bleed.
Color bleeding is usually a subtle effect.
If there are glass objects in the scene, increase Bounces to be greater than zero. (Be aware that
this will increase rendering time.)
If the main scene lighting is a Skylight, and you need specular highlights in your scene, add a
second light: for example, a Directional light that parallels the Skylight. Make sure Shadows are
turned on for this light, and on the light's Advanced Effects rollout, turn off Diffuse.
If the objects with highlights don't greatly affect shadows or color bleeding, you can leave Diffuse
on for this light, and use Object Properties to exclude the objects from light tracing.
Set Key filters are not taken into account when you animate Light Tracer settings. If you wish to
use Set Key to create keys for animating the Light Tracer parameters, SHIFT+right-click the
spinner to create those keys.
Important: If you use a texture map with the Skylight, you should use an image-
processing program to thoroughly blur the map before using it. This helps reduce
variance and the number of rays needed for light tracing. You can blur the map beyond
recognition, and it will still look correct when used for regathering.
Procedures

Light Tracer
To set up a scene for the Light Tracer:

This is a typical use case.
1. Create the geometry for an outdoor scene.
2. Add a Skylight to illuminate it.

One or more spotlights can also work well. If you use the physically based IES Sun or IES Sky
lights, using an exposure control is essential.
3. Choose Rendering > Advanced Lighting. On the Select Advanced Lighting rollout, choose Light
Tracer from the drop-down list.
Active should turn on, and the Parameters rollout for the Light Tracer should appear.
4. Adjust the Light Tracer parameters, right-click the viewport you want to render to make
it active, and then click Render Scene.
5. Adjust your rendering settings, and then click Render.

The scene renders with soft-edged shadows and color bleeding.
Interface
General Settings group

Light Tracer
Global MultiplierControls the overall lighting level. Default=1.0.
Global multiplier settings

Left: Decreasing the global multiplier
Right: Increasing the global multiplier
Object MultiplierControls the level of light reflected by objects in the scene. Default=1.0.
Note: This setting has little effect unless Bounces is greater than or equal to 2.
Sky Lights toggleWhen on, enables regathering from the sky lights in the scene. (A scene can
contain more than one sky light.) Default=on.
Sky Lights amountScales the intensity of sky light. Default=1.0.
Above: Increasing the sky lights value

Below: Increasing the object multiplier
Color BleedControls the strength of color bleeding. Color bleeding results when light is
interreflected among scene objects. Default=1.0.
Note: This setting has little effect unless Bounces is greater than or equal to 2.

Light Tracer
Above: Excessive color bleeding

Below: Color bleeding eliminated by setting color bleed to zero
Rays/SampleThe number of rays cast per sample (or pixel). Increasing this value increases the
smoothness of the effect, at a cost of render time. Decreasing this value results in a grainier effect,
but renders more quickly. Default=250.
Tip: To get a first draft preview of the effect of light tracing, reduce the value of Rays/Sample and
the Filter Size.
Changing the number of rays per sample.

The higher the value, the less grain.
Color FilterFilters all light falling on objects. Set to a color other than white to tint the overall
effect. Default=white.
Filter SizeThe size, in pixels, of the filter used to reduce noise in the effect. Default=0.5.
Tip: Filter Size is especially useful when Adaptive Undersampling is turned off, and Rays/Sample has

Light Tracer
a low value.
Changing the filter size.

Increasing the filter size reduces noise in the rendering.
Extra AmbientWhen set to a color other than black, adds that color as extra ambient light on
objects. Default=black.
Ray BiasRay Bias, like Ray-Trace Bias for shadows, adjusts the positioning of the bounced light
effects. Use it to correct rendering artifacts, such as the banding that can occur when an object casts
shadows on itself. Default=0.03.
BouncesThe number of light-ray bounces that are traced. Increasing this value increases the
amount of color bleeding. Lower values give faster results with less accuracy, and typically produce
darker images. Higher values allow more light to flow through the scene, resulting in brighter, more
accurate images at a cost of rendering time. Default=0.
When Bounces equals 0, the Light Tracer disregards volumetric lighting.
Tip: If your scene has transparent objects such as glass, increase Bounces to be greater than zero.
Be aware that this increases rendering time.

Light Tracer
Increasing the number of bounces increases the level of global illumination and the amount of color
bleeding in the rendering.
Cone AngleControls the angle used for regathering. Reducing this value can result in slightly
higher contrast, especially in regions where lots of small geometry casts shadows on a larger
structure. Range=33.0 to 90.0. Default=88.0.
All rays initially cast are limited by the cone angle
Volumes toggleWhen on the Light Tracer regathers light from volumetric lighting effects such as
Volume Light and Volume Fog. Default=on.
For volumetric lighting to work with light tracing, Bounces must be greater than 0.
Volumes amountMultiplies the amount of light regathered from volumetric lighting effects.
Increase to increase their impact on the rendered scene, decrease to decrease their effect.
Default=1.0.

Light Tracer
Increasing the volumes amount increases the effect of volumetric lighting in the rendering.
Adaptive Undersampling group
These controls can help you speed up rendering time. They reduce the number of light samples
taken. The ideal settings for undersampling vary greatly from scene to scene.
Undersampling initially takes samples from a grid superimposed on the pixels of the scene. Where
there is enough contrast between samples, it subdivides that region and takes further samples,
down to the minimum area specified by Subdivide Down To. Lighting for areas not directly sampled
is interpolated.
Initial sampling uses a regular grid.

Light Tracer
Adaptive undersampling concentrates on areas of transition.
Tip: If you use adaptive undersampling, try adjusting the Subdivision Contrast value to obtain the
best results. The effect of this control depends on the value of Rays/Sample.
Adaptive UndersamplingWhen on, the Light Tracer uses undersampling. When off, it samples
every pixel. Turning off undersampling can increase the detail of the final rendering, but at a cost of
rendering time. Default=on.
Initial Sample SpacingThe grid spacing for the initial samples of the image. This is measured in
pixels. Default=16x16.
Initial sample spacing values
Subdivision ContrastThe contrast threshold that determines when a region should be further
subdivided. Increasing this value causes less subdividing to occur. Too small a value can cause
unnecessary subdiving. Default=5.0.

Light Tracer
Decreasing the subdivision contrast threshold can reduce noise in soft shadows and bounced lighting.
Subdivide Down ToThe minimum spacing for a subdivision. Increasing this value can improve
render time at a cost of accuracy. Default=1x1.
Depending on the scene geometry, grids larger than 1x1 might still be subdivided below this
specified threshold.
Show SamplesWhen on, sample locations render as red dots. This shows where the most
sampling has taken place, which can help you choose the optimal settings for undersampling.
Default=off.
Comments

Material Editor > Type button > Material/Map Browser > Advanced Lighting Override
This material lets you directly control the radiosity properties of a material. Advanced Lighting
Override is always a supplement to a base material, which can be any renderable material. The
Advanced Lighting Override material has no effect on ordinary renderings. It affects the radiosity
solution or light tracing. Advanced Lighting Override has two main uses:
Adjusting the material properties used in a radiosity solution or light tracing
Creating special effects such as having self-illuminating objects contribute energy to the radiosity
solution
As the rollout for the Advanced Lighting Override material states, you dont have to apply this
material to obtain a radiosity solution, and most models will never require it.
Important: The mental ray renderer does not support the Advanced Lighting Override
material.
Obtaining a Better Image
Materials that use default settings can be highly reflective. This can lead to overexposed or washed-
out radiosity solutions. In general, the best way to adjust this is to reduce the HSV Value (V) of a
material color; or, for a bitmapped material, reduce the RGB Level. In some situations, Radiosity
Override can improve the appearance of the radiosity solution. Examples of situations where
Radiosity Override can help include color bleeding and large dark areas:
You might want to reduce Reflectance Scale or Color Bleed when a large area of color (for
example, a red carpet in a room with white walls) creates excessive color bleeding. This might be
physically accurate, but the eye adjusts for such effects, and the radiosity result might look better
with less reflectance or less color bleeding.
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Left: Excessive bleeding of the floor color onto the walls and ceiling.
Right: Radiosity Override material reduces the floors reflectance, causing less bleeding.
You might want to increase Reflectance Scale when the scene includes a large dark area (for
example, a black floor). This can lead to a very dark radiosity result. You can maintain the floors
color but increase reflectance, giving the solution the colors you want while increasing its
brightness.
The room is lit only by spotlights pointed at the floor. Increasing reflectance of the floor brightens
the entire room.
Tip: Check the reflectance and transmittance display to get an idea of how the current material
will affect the radiosity solution or light-traced rendering.
Creating Special Effects
Self-illumination makes an object appear to glow in ordinary renderings, but does not contribute
energy to the radiosity solution. To have radiosity processing take a self-illuminating material into

account, make this material the base material of Advanced Lighting Override, then increase the
value of Luminance Scale.
Upper left: By default, self-illuminated neon lights do not influence the scene light.
Right: Advanced Lighting Override material scales the neon lights Luminance so the radiosity
solution can take it into account.
Luminance scale takes self-illumination mapping into account. You can use this to model effects such
as a computer monitor in a darkened room.
The Special Effects group of the Advanced Lighting Override material also has a control for adjusting
the quality of bump mapping in areas of indirect lighting.
Procedures
To adjust a materials reflectance and transmittance:
1. Create a material for your scene.
2. Click the Type button and choose Advanced Lighting Override.
3. In the Replace Material dialog, choose Keep Old Material As Sub-Material, and click OK.
4. Adjust the Reflectance Scale and Transmittance Scale parameters. As you do, watch the
Reflectance and Transmittance display, and make sure the values are good for a radiosity
solution. For example, 85 percent reflectance is about the highest that will work with radiosity.
Most real-world materials have much lower reflectance.
See Reflectance and Transmittance Display for some reflectance properties of real-world

materials.
To make a self-illuminating material emit radiosity energy:
1. Create a material that is self-illuminating.
2. Click the Type button and choose Advanced Lighting Override.
3. In the Replace Material dialog, choose Keep Old Material As Sub-Material, and click OK.
4. Increase the value of Luminance Scale to have the material emit energy for radiosity
processing.
Interface
Override Material Physical Properties group
These parameters directly control the base materials advanced lighting properties.
Warning: There is no problem with reducing the default scale, but increasing it for any of
these parameters might cause colors to burn out: if the scale is too great, they render as
pure white, appearing overexposed.
Reflectance ScaleIncreases or decreases the amount of energy the material reflects. Range=0.1
to 5.0. Default=1.0.

Reflectance Scale increases or decreases the energy of reflected rays.
Tip: Dont use this control to increase self-illumination. Use the Luminance Scale instead. Luminance
Scale is in the Special Effects group (below).
Color BleedIncreases or decreases the saturation of reflected color. Range=0.0 to 1.0.
Default=1.0.
Color Bleed increases or decreases the saturation of reflected color.
Transmittance ScaleIncreases or decreases the amount of energy the material transmits.

Range=0.1 to 5.0. Default=1.0.
Transmittance Scale increases or decreases the energy of transmitted rays.
Note: This parameter affects only radiosity. It has no effect on light tracing.
Special Effects group
These parameters relate to specific components in the base material.

Luminance Scale (cd/m^2)When greater than zero, scales the self-illumination component of
the base material. Use this parameter to have self-illuminating objects contribute energy to the
radiosity or light-traced solution. Cannot be less than zero. Default=0.0.

Typically, a value of 500 or more will give good results.

Indirect Light Bump ScaleScales the effect of the base materials bump mapping in areas lit by
indirect light. When this value is zero, no bump mapping is done for indirect light. Increasing Indirect
Light Bump Scale increases the bump effect under indirect lighting. This value does not affect the
Bump amount in areas where the base material is lit directly. Cannot be less than zero. Default=1.0.
Tip: This parameter is useful because indirect bump mapping is simulated and not always accurate.
Indirect Light Bump Scale lets you adjust the effect by hand.
Base MaterialClick to go to the base material and adjust its components. You can also replace the
base material with a different material type.
To return from the base material to the Advanced Lighting Override level, click Go To Parent.
Comments

Reflectance and Transmittance Display
Material Editor > Reflectance and Transmittance fields (below the sample slots)
Note: These fields are not displayed unless you turn on Display Reflectance & Transmittance
Information in the Advanced Lighting panel of the Preferences dialog.
Fields below the sample slots show the reflectance and transmittance of the active material. Both the
average value and the maximum value are shown.
These fields can change according to the current Show End Result setting. When Show End Result is
off, the reflectance and transmittance show the properties of the current element in the material
hierarchy, not the properties of the material overall.
The reflectance and transmittance values of a material are particularly important when you are
preparing a radiosity solution to obtain a physically accurate lighting simulation. If a materials
reflectance or transmittance values are not what your scene needs, you need to adjust these values.
You can turn the reflectance and transmittance display on or off using a toggle in the Radiosity panel
of the Preferences dialog.
Materials and Radiosity
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Upper left: Washed-out walls due to high reflectance.

Right: Better radiosity achieved by reducing the HSV Value (V) of materials in the scene.
To get good radiosity results, keep these points in mind as you design materials:
Before you generate a radiosity solution, check the reflectance value of all materials in the scene,
to make sure it is not too high. The reflectance of a material determines how much of the light
energy it receives is subsequently used in the radiosity calculation. Keep this value within the
range of the physical materials you are simulating. (See the table in the description of
Reflectance, below.)
Dont be concerned if a material preview seems too dark. For example, a white wall with the
maximum recommended reflectance of 80% appears gray. The color balance will be adjusted
correctly by the exposure control in the final rendering.
Bitmaps used as diffuse textures have already been illuminated by the scanner, digital camera, or
paint program in which you created them. To bring them into the proper reflectance range, you
might have to dim them by reducing the RGB Level value in the bitmaps Output rollout.

Left: Wood grain bitmap as originally photographed has too high a reflectance.
Right: Reducing the RGB Level value reduces the maps reflectance.
Interface
ReflectanceReflectance is the percentage of diffuse light energy that is reflected from a material.
When you increase a materials HSV value (V), the material reflects more diffuse light. Decreasing a
materials Opacity also decreases its reflectance.
Typically, the reflectance of a material should never be greater than 85%. this is an unusually high
value that will lead to poor-quality renderings. In the real world, even the whitest wall reflects no
more than 80% of the light it receives.
One source of high reflectance can be a map assigned to the materials diffuse component. For
example, a white tile bitmap might create high reflectance. In this case, you can reduce reflectance
by reducing the RGB Level in the bitmaps Output rollout.
An alternate way to reduce a bitmapped materials reflectance is to set the diffuse color of the
material to black, and then reduce the diffuse maps Amount (in the parent materials Maps rollout).
You can use this method to reduce the reflectance of 3D procedural maps as well.
Here are some typical reflectance ranges for common materials:
Material Minimum Maximum
Ceramic 20% 70%
Fabric 20% 70%
Masonry 20% 50%
Metal 30% 90%
Paint 30% 80%
Paper 30% 70%

Plastic 20% 80%
Stone 20% 70%
Wood 20% 50%
TransmittanceTransmittance is the amount of light energy transmitted through a material. A

completely opaque material has 0% transmittance.
When the material is transparent (like clear glass), the energy transmitted is specular, and light
passes directly through the material (subject to refraction). The value of specular transmittance is an
interaction between the materials Opacity value and its filter color. When the filter color is pure
white, specular transmittance is the inverse of Opacity.
When the material is translucent (like frosted glass), the energy transmitted is diffuse, and scattered
in all directions. The value of diffuse transmittance is based on the HSV value (V) of the translucent
color. Diffuse transmittance happens only for materials that use the Translucent shader, or Raytrace
materials, that specify translucency.
Usually, when a material has high transmittance, it has low reflectance, and the other way around.
Comments

Customize menu > Preferences > Preference Settings dialog > Radiosity tab
On the Radiosity panel of the Preference Settings dialog, you set options for the radiosity solution.
See also

Radiosity Controls
Interface
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Material Editor group
Display Reflectance & Transmittance InformationWhen on, reflectance and transmittance

values are displayed in the Material Editor.
Note: In order to make this change effective, you need to close and restart the Material Editor.
Interactive Display group
Display Radiosity in ViewportsWhen on, radiosity effects are displayed in the viewports.
Radiosity Processing group
Automatically Process Refine Iterations Stored in Geometric ObjectsWhen on, all refine
iterations stored in geometric objects are automatically processed.

Start/Reset Behavior
Display Reset WarningWhen on, a warning message is displayed whenever you reset the
radiosity solution in your scene.
Update Data When Required on StartWhen on, the radiosity engine must be reset and
then recalculated if the solution is invalidated. In this case, the Start button changes to read Update
& Start. When this is pressed, the radiosity solution is reset and the calculation starts over again.
When this toggle is off, the radiosity solution does not need to be reset if it is invalidated. You can
continue processing your scene with the invalid solution.
Note: The radiosity solution is invalidated any time an object or light is added, removed, moved, or
altered in any way.
File Save group
Save Scene Information in MAX fileThe light levels from the radiosity solution are always saved
with the file, however when this is on, some additional radiosity information is saved with your
scene.
Note: Having this on decreases file load time, but increases the file size.
Comments

Radiosity Controls
Radiosity Controls
Render Scene dialog > Choose Default Scanline Renderer as the production renderer. > Advanced
Lighting panel > Choose Radiosity.
Rendering menu > Advanced Lighting > Radiosity > Render Scene dialog > Advanced Lighting
panel > Radiosity is chosen.
Radiosity is a technique to calculate indirect light. Specifically, radiosity calculates the

interreflections of diffuse light among all the surfaces in your scene. To make this calculation,
radiosity takes into account the lighting youve set up, the materials youve applied, and
environment settings youve made.
The radiosity processing of a scene is distinct from the rendering process. You can render without
radiosity. However, to render with radiosity, you must always calculate radiosity first.
Once a radiosity solution for a scene has been calculated, it can be used in multiple renderings,
including multiple frames of an animation. If there are moving objects in the scene, radiosity might
need to be recalculated; see Animation with Radiosity.
For an overview of radiosity and how radiosity works in 3ds max, see Radiosity Solution.
For suggestions regarding workflow for using radiosity, see Radiosity Workflows.
Note: Radiosity is also known as global illumination.
Important: If the dimensions of your scene are not realistic, then radiosity will not show
realistic lighting, either.
See also

How Radiosity Works in 3ds max
Radiosity Workflows
Lighting Analysis
Procedures
To set units correctly:

Follow these steps if your scene does not already use real-world units.
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Radiosity Controls
1. Right-click 3D Snap Toggle and in the Snaps tab, clear all the settings. Then turn on
Vertex to set vertex snap. Close the dialog.
2. Choose Tools > Measure Distance to measure some object in the scene for which you know the
size. For example, a door or window. The distance displays in the Coordinate Display of the
status bar.
3. Choose Customize > Units Setup and adjust the Scene Unit Scale.
For example, if your object measures 35 scene units long, and your model uses US Standard
measurement, then you would enter 1 for the scale, and choose Inches from the drop-down
list. This would give you an object 35 inches long.
If your object measures 90 scene units long, and your model uses Metric measurement, then
you would enter 1 for the scale, and select Centimeters from the drop-down list. This would
give you an object 90 centimeters long.
Example: To process radiosity with photometric lighting:
1. Use a scene that has geometry set to the correct scale. For more information, see To set units
correctly.
For example, if the ceiling is 96 scene units high in the model, make sure the units are set to
US Standard (inches) and not Metric.
4. In the Object Type rollout, click Target Point.
Tip: You can use the Move transform to adjust the location of the light or its target.
7. Click Render Scene to preview the lighting.

Make any changes you need to adjust the rendering.
8. Choose Rendering > Environment to display the Environment panel.
9. On the Exposure Control rollout of the Environment dialog, choose Logarithmic Exposure
Control from the drop-down list. Click Render Preview. The thumbnail preview shows the effect
of exposure control.

Radiosity Controls
10. On the Logarithmic Exposure Control rollout, adjust the settings until the scene lighting is
acceptable. The thumbnail preview updates as you adjust settings.
For example, a brightness of 65 and a contrast of 50 can be good values for interior scenes.
11. Choose Rendering > Advanced Lighting to display the Advanced Lighting panel. On the Select
Advanced Lighting rollout, choose Radiosity as the advanced lighting type.
The rollouts for radiosity are displayed.
12. On the Radiosity Processing Parameters rollout, click Start to begin processing radiosity.
13. Click Render Scene to render the scene after radiosity processing completes.
Example: To process radiosity with standard lighting:

Photometric lights are recommended for use with radiosity. But if you are working on a scene that
already contains standard lights, you can follow these guidelines.
1. Create or load a scene containing the appropriate geometry for lighting. There is no need to
adjust any scale factors.

Standard is the default choice of light type.
3. In the Object Type rollout, click a light type such as Target Spot.
4. Drag in a viewport. The initial point of the drag is the location of the spotlight, and the point
where you release the mouse is the location of the target.
5. Set the creation parameters for the light.
6. Click Render Scene to preview the lighting.

Make any changes you need to adjust the rendering.
7. Choose Rendering > Advanced Lighting to display the Advanced Lighting panel. On the Select
Advanced Lighting rollout, choose Radiosity as the advanced lighting type.
The rollouts for radiosity are displayed.
8. On the Radiosity Processing rollout, under Interactive Tools, click Setup to display the
Environment panel where you set exposure controls.
Note: The exposure controls allow you to control only the intensity of the indirect lighting.
3ds max3ds max retains the original intensity and effect for the direct lighting.
9. On the Exposure Control rollout of the Environment dialog, choose Logarithmic Exposure
Control from the drop-down list.

Radiosity Controls
10. On the Logarithmic Exposure Control rollout, turn on Affect Indirect Only.
11. On the same rollout, use the Physical Scale setting to assign the standard light a photometric
value in candelas.
12. Click Render Scene to render the scene after radiosity processing.
Interface
Radiosity controls appear as rollouts on the Advanced Lighting panel of the Render Scene dialog. To
choose radiosity, use the Select Advanced Lighting rollout.

Radiosity Controls
Radiosity Processing Parameters Rollout

Radiosity Meshing Parameters Rollout
Light Painting Rollout (Radiosity)
Rendering Parameters Rollout (Radiosity)
Statistics Rollout (Radiosity)
Comments


By default, a radiosity solution is calculated at the current frame. If you are animating objects and
you want to perform a radiosity solution at every frame, select Compute Advanced Lighting When
Required on the Render Scene dialog.
Once the renderer starts processing each frame of your animation, the radiosity solution will be
computed for each frame as required. This occurs, for example, when an object moves, or a light
intensity changes. If nothing changes in the scene from one frame to the next, the radiosity engine
will not recalculate the solution.
Note: Due to the random statistical sampling used by the radiosity engine, there might be some
flickering between frames. If this occurs, increase the value of Initial Quality or the number of Refine
Iterations to solve the problem.
Tip: Before launching a lengthy animation with radiosity, you should process a radiosity solution
manually for a single frame to make sure the results are acceptable.
Tip: If you animate only your camera (as in an architectural walkthrough) then you can calculate a
radiosity solution for only the first frame of the animation, and reuse it in all subsequently rendered
frames by turning off Compute Advanced Lighting When Requred on the Common Parameters rollout
of the Render Scene dialog.
Avoid using the Automatic Exposure Control for animations. This exposure control can change from
frame to frame, creating a flickering effect.
Object Animation
The radiosity solution is calculated for each frame if any object is animated in the scene (the default
is to calculate the current frame only). You specify the parameters (goals/quality) you want to reach
in the Advanced Lighting dialog. It is recommended to run a solution first and verify if its successful
before proceeding to the whole animation. These parameters will then be reprocessed for each
frame.
You go to the render dialog, Common Parameters rollout, and enable the option Compute Advanced
Lighting When Required, and then render the scene. The radiosity is processed for the first frame
and then rendered. 3ds max then moves to the next frame, processes radiosity, renders, and so on.
Camera Animation
If objects remain static in the scene and only the camera moves, you can solve radiosity at frame 0,
and when you render the animation, turn off Compute Advanced Lighting When Required.
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Comments
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Automatic Exposure Control
Rendering menu > Environment > Environment and Effects dialog > Environment panel >
Exposure Control rollout > Choose Automatic Exposure Control from the list. > Automatic
Exposure Control rollout
Auto exposure can affect the lighting of the whole image.
Automatic Exposure Control samples the rendered image and builds a histogram to give good color
separation across the entire dynamic range of the rendering. It can enhance some lighting effects
that would otherwise be too dim to see.
Note: Automatic Exposure Control should not be used in animations, because every frame will have
a different histogram, causing your animation to flicker.
Important: The mental ray renderer does not support the Automatic exposure control.
See also
Environment Panel
Interface
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BrightnessAdjusts the brightness of the converted colors. Range=0 to 200. Default=50.

This parameter is animatable.
ContrastAdjusts the contrast of the converted colors. Range=0 to 100. Default=50.
Exposure ValueAdjusts the overall brightness of the rendering. Range=-5.0 to 5.0; Negative
values make the image darker, and positive values make it brighter. Default=0.0.
The exposure value is comparable to the exposure compensation setting in cameras with automatic
exposure. This parameter is animatable.
Physical ScaleSets a physical scale for exposure control to use with lights that are not physically
based. The result is an adjustment of the rendering that approximates the eye's response to the
scene.
Each standard light's Multiplier is multiplied by the Physical Scale value to give a light intensity value
in candelas. For example, with the default Physical Scale of 1500, a standard omni light is treated by
the renderer and radiosity as a photometric isotropic light of 1500 candelas. Physical Scale is also
factored into reflections, refractions, and self-illumination.
Tip: You need to set the Physical Scale when you use ray-tracing with self illumination. Set this value
to the equivalent of the brightest light source in the scene. This will set the appropriate conversion
scale for reflections, self-illumination, and all other non-physically based elements a material offers.
In some cases, an object might reflect or emit more light than the brightest light object in the
scene; in this case, use the object's Luminance value as the Physical Scale.
Range=0.0 to 200,000.0 candelas. Default=1500.0.
A single candle is approximately 1 candela (the unit can also be called a "candle"). A 100-Watt (W)
incandescent lightbulb is approximately 139 candelas (cd). A 60W bulb emitting in all directions is
about 70 cd, while the same bulb with a reflector is about 4500 cd because the light flux is
concentrated into a narrow angle.
Photometric lights are unaffected by the Physical Scale value.
Color correction check box and color swatchWhen the check box is turned on, color correction
shifts all colors so the color displayed in the color swatch appears as white. Default=off.
Clicking the color swatch displays a Color Selector so you can choose the color to adapt to.
You can use this control to simulate how the eye adjusts to lighting. For example, even when the
light in a room has a yellow hue from an incandescent light bulb, we will continue to perceive objects

that we know to be white, such as printed pages, as white.

Tip: For the best results, use a very pale color correction color, such as a pale blue or pale yellow.
Desaturate Low LevelsWhen on, renders dimly lit colors as if the light were too dim for the eye
to distinguish between colors. When on, renders even dimly lit colors. Default=off.
Desaturate Low Levels simulates the eye's response to dim lighting. In dim lighting, the eye does not
perceive colors and sees tones of gray instead.
The effect of this setting is not apparent except at very low light levels, below 5.62 footcandles
(lumens per square foot). When the illuminance is less than 0.00562 footcandles, the scene is
completely gray.
Note: 1 footcandle (fc) equals 10.76 lux (lumens per square meter).
Comments

Environment Panel
Environment Panel
Rendering menu > Environment > Environment and Effects dialog > Environment panel
Use the Environment panel to:
Set and animate the background color.
Use an image in the background of the viewport and rendered scene (screen environment) or use
texture maps as spherical, cylindrical, or shrink-wrap environments.
Set and animate the ambient light globally.
Use atmospheric plug-ins, such as volumetric light, in the scene.

Atmospheres are plug-in components that create light effects such as fire, fog, volume fog, and
volume light.
Apply exposure controls to renderings.
See also
Exposure Controls
Procedures
To access environment functions, do one of the following:
Choose Rendering > Environment.
On the Environment and Effects dialog, click the Environment tab.
To set the background color:
1. Choose Rendering > Environment.

The Environment panel appears.
2. In the Background group, click the color swatch.

A Color Selector appears.
3. Use the Color Selector to change the background color.

The Renderer now uses this color as a background.
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Environment Panel
To choose an environment map:
1. Display the Material Editor.

You adjust the map's parameters with the Material Editor.
3. Under Background on the Environment panel, do one of the following:
Click the Environment Map button. The Material/Map Browser appears. Choose a map type
from the list.
Drag a map to the Environment Map button. You can do this from a map displayed in one of
the Material Editor's sample slots, or from any map button that has been assigned, either in
the Material Editor or from a projection light, and so on.
Drag a bitmap from the Material Editor's map preview to the Environment Map button.
On the Environment panel, the name of the Environment Map button changes to show the type of
map you chose, and Use Map turns on.
After you have set up the map, you can later turn off Use Map to test rendering the scene without
the mapped background.
You have set up the environment map, but to assign a bitmap or adjust map parameters, you need
to use the Material Editor.
You can also create a standalone map in the Material Editor first, and then choose it with the
Material/Map Browser.
To put the map in the Material Editor:
Drag the Environment Map button to an unused sample slot.

The map is now in the Material Editor where you can adjust it by changing its parameters.
To change the color and tint of global lighting:
2. Click the color swatch labeled Tint.

3. Use the color selector to set the tint applied to all lighting except ambient light.
4. Use the Level spinner to multiply the overall lighting of the scene.
Shaded viewports update to show global lighting changes.
5. Close the Environment dialog.

3ds max uses the global lighting parameters when you render the scene.

Environment Panel
To change the color of ambient light:

Tip: You don't need to adjust ambient light if you are using radiosity.
2. Click the color swatch labeled Ambient.

3. Use the color selector to set the ambient color.

Shaded viewports update to show ambient color changes.
3ds max also uses the new ambient color when you render the scene.
The color of ambient light tints the scene. For most renderings, the color of ambient light
should be black.
To change the intensity of ambient light:

Tip: You don't need to adjust ambient light if you are using radiosity.
2. Click the color swatch labeled Ambient Light.

3. Change the Value setting (the V component of the ambient light's HSV description) to increase
or decrease intensity.
Shaded viewports update to show changes in the ambient light intensity.
4. Close the Color Selector.

The intensity of ambient light affects contrast as well as overall illumination (the higher the
intensity of ambient light, the lower the contrast). This is because ambient light is completely
diffuse, so the angle of incidence is equal for all faces. Ambient light alone cannot show depth.
Note: 3ds max has a default ambient light setting. You can change the default by using the
Rendering panel of the Preferences Settings dialog.
To add an atmosphere:

The Environment and Effects dialog is displayed, with the Environment panel visible.
2. Under Atmosphere on the Environment panel, click Add.

The Add Atmospheric Effect dialog appears.
3. Choose the kind of atmosphere you want to use, and then click OK.
The atmosphere has now been added. Use the atmospheres rollout to adjust parameters.

Environment Panel
Interface
Common Parameters rollout
Background group
ColorSets the color for the scene background. Click the color swatch, then select the color you
want in the Color Selector. You can animate the color effect by changing the background color at a
nonzero frame with the Auto Key button on.
Environment MapThe button for Environment Map displays the name of the map, or None if
none has been assigned. The map must use Environmental mapping coordinates (spherical,
cylindrical, shrink wrap, and screen).
To assign an environment map, click the button and use the Material/Map Browser to choose a map,
or drag a map from a sample slot or map button in the Material Editor (or anywhere else in the
software; for example, a Projector Map button) and drop the map on the Environment Map button. A
dialog asks if you want the environment map to be a copy (independent) or an instance of the
source map.
and so on, the animation file is reloaded once per frame. Rendering performance slows down when
your scene uses multiple animations, or the animations are themselves large files.
To adjust the environment map's parameters, for example to assign a bitmap or change the
coordinate settings, open the Material Editor, drag the Environment Map button, and drop it over an
unused sample window.
Use MapUses a map for the background rather than the background color.
TintTints all lights in the scene (except for ambient light) if this color is anything other than white.
Click the color swatch to display the Color Selector, on which you can choose the tint color. You can
animate the tint color by changing it at a nonzero frame with the Auto Key button on.

Environment Panel
LevelMultiplies all lights in the scene. A Level of 1.0 preserves the original, individual light
settings. Increasing the Level raises the lighting for the overall scene, and decreasing the Level
lowers the overall lighting. This parameter is animatable. Default=1.0.
AmbientSets the color for the ambient light. Click the color swatch, and choose the color you
want in the Color Selector. You can animate the light effect by changing the ambient light color at a
nonzero frame with the Auto Key button on.
Atmosphere rollout
EffectsShows the queue of effects that were added. The effects are evaluated in linear order
within the scene during rendering. Depending on the selected effect, the Environment dialog adds
the appropriate rollout for the effect's parameters.
NameGives a custom name to effects in the list.
For example, you might have different custom settings for different kinds of fire, that you could
name Spark and Fireball.
AddDisplays the Add Atmospheric Effect dialog (all currently installed atmospheric effects). Select
an effect and click OK to assign an effect to the list.

Environment Panel
DeleteDeletes a selected atmospheric effect from the list.

ActiveSets the on/off state for the individual effects in the list. This is a convenient way to isolate
effects within a list of complicated atmospheric functions.
Move Up / Move DownMoves the selected item in the list up or down to change the order in
which the atmospheric effects are applied.
MergeMerges effects from other 3ds max scene files.
When you click Merge, the Merge Atmospheric Effects dialog appears. Choose a 3ds max scene, and
then click Open. The Merge Atmospheric Effects dialog then lists the effects in the scene that can be
merged. Select one or more of the effects, and then click OK to merge them into the scene.
The list shows the names of the atmospheric effects only, but when you merge an effect, the lights
or gizmos bound to that effect are merged as well. If one of these objects youre merging has the
same name as one already in the scene, an alert appears giving you the following choices:
You can rename the incoming object by changing its name in the editable field.
You can Merge the incoming object without renaming, resulting in two objects in the scene with
the same name.
You can delete the existing object in the scene by selecting the Delete Old button.
You can select Apply To All Duplicates, which performs the same action to all subsequent
matching objects.
Note: To control whether or not the renderer uses the environment map's alpha channel in
creating the alpha for the rendered image, choose Customize > Preferences > Rendering, and
then turn on Use Environment Alpha in the Background Antialiasing group.
If Use Environment Alpha is turned off (the default) the background receives an alpha of 0
a combination of the scene and background image's alpha. Also, when writing TGA files with Pre-

Environment Panel
Multiplied Alpha set to off, turning on Use Environment Alpha prevents incorrect results. Note that
only background images with alpha channels or black backgrounds are supported when compositing
in other programs such as Photoshop.
Antialiasing group. Default=off.
Comments

Plug-Ins
Glossary
Plug-Ins
A plug-in is a feature or functionality supplied by an independent program or component. Plug-ins
can be supplied by third-party vendors or independent software developers.
For example, several Video Post filter and layering plug-ins ship with 3ds max.
The open architecture provides an API (application programming interface) designed to make it easy
for other companies to write plug-ins that extend the functionality of the core program.
Comments
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Fire Environment Effect
Rendering menu > Environment > Environment and Effects dialog > Environment panel > Atmosphere rollout > Add > Fire Effect
Scene using fire
Use Fire to produce animated fire, smoke, and explosion effects. Possible uses for Fire effects include campfires, torches, fireballs, clouds, and nebula.
Note: In versions prior to 3ds max 4, Fire was known as the "Combustion effect."
Tip: The Fire effect doesnt cast any light in the scene. If you want to simulate illumination from the fire effect, you must create lights as well.
You can add any number of fire effects to a scene. The order of effects is important because effects near the bottom of the list are layered in front of effects near the top of the list.
Each effect has its own parameters. When you select a fire effect in the Effects list, its parameters appear in the Environment dialog.
Fire renders only in Camera or Perspective views. Orthographic or User views dont render Fire effects.
Tip: Fire doesn't support completely transparent objects. Set the transparency of Fire objects accordingly. Use visibility rather than transparency to make Fire objects disappear.
Note: Fire effects do not cast shadows. To do so, you need to go to the Shadows Parameters rollout of your lights, then turn on Atmosphere Shadows.
Procedure
To create fire effects:
1. Create one or more atmospheric apparatus objects to locate the fire effect in your scene.
2. Define one or more fire atmospheric effects on the Environment panel.
3. Assign atmospheric apparatus objects to the fire effects.
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Sample fire effects
Example: To create a campfire:
1. Click Helpers on the Create panel and choose Atmospheric Apparatus from the subcategory list.
2. Click Sphere Gizmo. Drag the cursor in the Top viewport to define an apparatus radius of about 20 units. Turn on the Hemisphere check box in Sphere Gizmo Parameters.
3. Click Non-Uniform Scale. Click Yes in the Warning dialog (this warning doesn't apply to atmospheric gizmos), and scale the apparatus 250 percent along its local Z axis only. You can then
model logs, embers, and rocks around the base of the apparatus.
4. Open the Modify panel of the Sphere Gizmo. On the Atmosphere rollout, click Add and choose Fire from the Add Atmosphere dialog.
5. Highlight Fire in the Atmospheres list under the Atmospheres rollout. Click Setup.
6. Set the following parameters under Shape and Characteristics:
Flame Type=Tendril
Stretch=0.8
Flame Size=18.0
Flame Density=30.0
7. Turn on Auto Key and advance to the end of the animation.
8. Set the following parameters under Motion:
Phase=300.0
Drift=200.0
The Fire effect doesnt cast any light in the scene. If you want to simulate illumination from the fire effect, you must create lights as well.
Example model with fire

Interface
You create a fire apparatus, or "gizmo," to position the effect in your scene and to define the maximum boundaries of the effect. The apparatus is a Helper object found in the Atmospheric
Apparatus subcategory.
There are three kinds of apparatus: BoxGizmo, SphereGizmo, and CylGizmo..
You can move, rotate, and scale the apparatus, but you cannot apply modifiers.
Using non-uniform scale is a good way to change the shape of the apparatus for effects. (You will see a warning when you use this transform. Because you don't modify atmospheric
apparatus, you can safely ignore the warning.)
Fire Parameters rollout
You must assign an atmospheric apparatus to a fire effect before you can render the effect. Use buttons in the Gizmos area to manage the list of apparatus objects.
Gizmos group

Gizmo for the fire in the scene shown at the beginning of this topic
Pick GizmoClick to enter Pick mode and click an atmospheric apparatus in the scene. The apparatus displays the fire effect when you render. The name of the apparatus is added to the
apparatus list.
Multiple apparatus objects can display the same fire effect. For example, torches on a wall can all use the same effect. Assign a different seed to each apparatus to vary the effect.
You can assign single apparatus to multiple fire effects. For example, one apparatus can display both a fireball and a tendril flame effect.
You can choose multiple gizmos. Click Pick Gizmo and press H. This displays a Pick Object dialog on which you choose multiple objects from the list.
Remove GizmoRemoves the gizmo selected in the gizmo list. The gizmo remains in your scene but it no longer displays the fire effect.
Gizmo ListLists apparatus objects assigned to the fire effect.
Colors group
You can set three color properties for a fire effect using the color swatches under Colors. Click a color swatch to display the softwares Color Selector.
Inner ColorSets the color of the densest part of the effect. For a typical fire, this color represents the hottest part of the flame.
Outer ColorSets the color of the sparsest part of the effect. For a typical fire, this color represents the cooler, dissipating edge of the flame.
The fire effect is colored using a gradient between the inner and outer colors. The dense areas of the effect use the inner color and gradually blend to the outer color near the edges of the
effect.
Smoke ColorSets the color of smoke for use with the Explosion option.
If you turn on Explosion and Smoke, the inner and outer colors animate to the smoke color. If you turn off Explosion or Smoke, the smoke color is ignored.
Shape group
You control the shape, scale, and pattern of flames within the fire effect using controls under Shape.
Two options set the direction and general shape of flames.
TendrilCreates directional pointed flames with veins along their center. The flames orient along the local Z axis of the fire apparatus. Tendril creates campfire-like flames.
FireballCreates round puffy flames. Fireballs are well suited for explosions.

Comparing Tendril to Fireball

Above=Tendril, Below=Fireball
StretchScales flames along the Z axis of the apparatus. Stretch works best with Tendril flames, but you can use it to give Fireballs an oval shape.
Values less than 1.0 compress flames, making them shorter and thicker.
Values greater than 1.0 stretch flames, making them long and skinny.
You can combine Stretch with non-uniform scaling of the apparatus. Use non-uniform scale to change the boundary of the effect and scale the shape of the flames.
Use the Stretch parameter to scale only the flames inside the apparatus. You can also use Stretch values to reverse the effect that scaling the apparatus had on the flames.
Effect of changing Stretch

Value=0.5, 1.0, 3.0
Non-uniform scaling of an apparatus

Stretch=0.5, 1.0, 3.0
RegularityModifies how the flames fill the apparatus. Range=1.0 to 0.0.

A value of 1.0 completely fills the apparatus. The effect fades near the edges of the apparatus, but the overall shape is still very noticeable.
A value of 0.0 produces a very irregular effect that might occasionally reach the boundary of the apparatus, but usually gets trimmed back and is smaller.

Effect of changing Regularity

Value=0.2, 0.5, 1.0
Characteristics group
You set the size and appearance of flames using parameters under Characteristics. All of these parameters depend on the apparatus size and are interdependent on each other. Changing one
parameter affects the behavior of the other three.
Flame SizeSets the size of individual flames inside the apparatus. The size of the apparatus affects the flame size. A larger apparatus requires a larger flame size. Use a range from 15.0 to
30.0 for the best results.
Large values work best for Fireballs.
Small values work best for Tendrils.
If the flame size is very small, you might need to increase Samples to see individual flames.
Effect of changing Flame Size

Value=15.0, 30.0, 50.0
Radius of apparatus=30.0
Flame DetailControls the amount of color change and edge sharpness seen within each flame. Range=0.0 to 10.0.
Low values produce smooth, fuzzy flames and render faster.
High values produce patterned, sharp flames and render slower.
Use higher detail values for large flame sizes. If the detail value is greater than 4, you might need to increase Samples to capture the detail.
Effect of changing Flame Detail

Value=1.0, 2.0, 5.0
DensitySets the opacity and brightness of the fire effect. The size of the apparatus affects the density. A large apparatus with the same density as a small apparatus appears more opaque
and brighter because of its larger size.
Low values make the effect less opaque and use more of the outer color. High values make the effect more opaque and brighten the effect by gradually replacing the inner color with white.
The higher the value, the more white the center of the effect is.
If you turn on Explosion, Density animates from 0.0 at the start of the explosion to the set density value at the peak of the explosion.
Effect of changing Flame Density

Value=10, 60, 120
SamplesSets the rate at which the effect is sampled. Higher values produce more accurate results but take longer to render.
You might consider raising the samples value under the following conditions:
Flame Size is small.
Flame Detail is greater than 4.
Any time you see color banding in the effect. The chance of color banding increases if a flat surface intersects the fire effect.
Note: 100 percent transparent objects that intersect the effect become partially visible. To use particles with Fire, consider using 3D particles instead of opacity-mapped particles.
Motion group
Use the parameters in the Motion group to animate the churning and rise of flames.
PhaseControls the rate of change for the fire effect. Turn on Auto Key and change the phase value at different times.
Phase value can have several meanings, depending on the state of the Explosion check box.
If you clear Explosion, Phase controls the churning of the fire. The faster the value changes, the more furiously the fire burns. If the Phase function curve is a line, you get a steady burning
fire.
If you turn on Explosion, Phase controls the churning of the fire and the explosion timing, using values between 0.0 to 300.0. The Phase function curve for a typical explosion starts steep
and flattens out.
Phase values control explosion timing in the following way:
Value Explosion Effect
0100 Explosion begins and builds to peak density at 100.
100200 Explosion burns. Effect turns to smoke if Smoke is turned on.
200300 Explosion clears and is completely gone at 300.
> 300 No effect.
Phase Function Curve Sample

Explosion effect at Phase=50, 100, 150, 200, and 250
DriftSets how flames are rendered along the Z axis of the fire apparatus. The value is the amount of rise in units.
Low values give a slow-burning cool fire.
High values give a fast-burning hot fire.
For the best fire effects, drift should be a multiple of the height of the fire apparatus.
You can also animate the location and size of the fire apparatus and most of the fire parameters. For example, a fire effect can animate color, size, and density.
Explosion group
Use the parameters in the Explosion group to automatically animate explosions.

ExplosionAnimates size, density, and color automatically based on the animation of the Phase value.
SmokeControls whether or not the explosion creates smoke.
When on, fire colors change to smoke between Phase values 100 to 200. Smoke clears between Phase values 200 to 300. When off, fire colors remain at full density between Phase values 100
to 200. Fire fades away between Phase values 200 to 300.
FuryVaries the churning effect of the Phase parameter.
Values greater than 1.0 cause faster churning. Values less than 1.0 cause slower churning.
Set Up ExplosionDisplays the Set Up Explosion Phase Curve dialog. You enter a start time and end time, and then click OK. The Phase value animates automatically for a typical explosion
effect.
Comments

Shadow Parameters
Shadow Parameters
Create panel > Lights > Create a light. > Shadow Parameters rollout
Sunlight casts the shadow of the bridge.
The Shadow Parameters rollout is displayed for all light types except Skylight and IES Sky, and for
all shadow types. It lets you can set shadow colors and other general shadow properties.
This rollout also lets the light cast shadows in atmospheres.
See also
Advanced Ray-Traced Parameters Rollout

Area Shadows Rollout
mental ray Shadow Map Rollout
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Shadow Parameters
Optimizations Rollout
Ray-Traced Shadow Parameters Rollout
Shadow Map Parameters Rollout
Interface
ColorDisplays a Color Selector to choose a color for the shadows cast by this light. Default=black.
You can animate the shadow color.
Dens. (density)Adjusts the density of shadows.
The shadow density increases from right to left.

Shadow Parameters
Increasing the Density value increases the density (darkness) of shadows. Decreasing Density
makes shadows less dense. Default=1.0.
Density can have a negative value, which can help simulate the effect of reflected light. A white
shadow color and negative Density render dark shadows, though the quality of these is not as good
as a dark shadow color and positive Density.
You can animate the Density value.
Map check boxTurn on to use the map assigned with the Map button. Default=off.
MapAssigns a map to the shadows. The map's colors are blended with the shadow color.
Default=none.
Light Affects Shadow ColorWhen on, blends the light's color with the shadow color (or shadow
colors, if the shadow is mapped). Default=off.
A checker map is used to alter the shadow cast by the piano.
Atmosphere Shadows group
These controls let atmospheric effects cast shadows.

OnWhen on, atmospheric effects cast shadows as the light passes through them. Default=off.
Note: This control is independent of the On toggle for normal Object Shadows. A light can cast
atmospheric shadows but not normal shadows, or vice versa. It can cast both kinds of shadows, or
neither.
OpacityAdjusts the opacity of the shadows. This value is a percentage. Default=100.0.
Color AmountAdjusts the amount that the atmosphere's color is blended with the shadow color.

Shadow Parameters
This value is a percentage. Default=100.0.
A cloud casts a colored shadow on the city.
Comments

Create panel > Lights > Create or select a light. > General Parameters rollout > Shadow type >
Advanced Ray-traced Shadows
Advanced Ray-traced shadows are similar to ray-traced shadows, however they give you more
control over shadow behavior. Additional controls are available in the Optimizations rollout.
Advanced ray-traced shadows cast by an area light.
Interface
Basic Options group
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ModeSelects the type of raytracing for generating shadows:
SimpleCasts a single ray of light toward the surface. No antialiasing is performed.
Antialias 1-PassCasts a bundle of rays. The same number of rays is cast from each illuminated
surface. The number of rays is set using the Pass 1 Quality spinner.
Antialias 2-PassCasts two bundles of rays. The first batch of rays determines if the point in
question is fully illuminated, shadowed, or in the penumbra (soft area) of the shadow. If the point
is in the penumbra, a secondary batch of rays is cast to further refine the edge. The number of
initial rays is specified using the Pass 1 Quality spinner. The number of secondary rays is specified
using the Pass 2 Quality spinner.
2-Sided ShadowsWhen on, backfaces are not ignored when calculating shadows. Objects seen
from the inside are not lit by lights from the outside. This costs a bit more render time. When off,
backfaces are ignored. Rendering is quicker, but outside lights illuminate object interiors.
The faces inside the sliced sphere do not cast shadows if 2-Sided Shadows is not selected.
Antialiasing Options group
Shadow IntegrityThe number of rays cast from an illuminated surface.

Shadow QualityThe number of secondary rays cast from an illuminated surface.
Shadow SpreadThe radius, in pixels, to blur the antialiased edge.
Note: As this value increases, so does the quality of the blur. However, increasing this value also
increases the likelihood of missing small objects. To avoid this problem, increase the value of Pass 1
Quality.

Increasing the Shadow Spread value softens shadow edges.
Shadow BiasThe minimum distance from the point being shaded that an object must be to cast a
shadow. This prevents blurred shadows from affecting surfaces they shouldn't.
Note: As you increase the blur value, you should also increase the bias.
Jitter AmountAdds randomness to the ray positions. The rays are initially in a very regular
pattern, which can show up in the blurry part of the shadow as regular artifacts. Jittering will convert
these artifacts to noise, which is generally less noticeable to the eye. Recommended values are 0.25
to 1.0. However, very blurry shadows will require more jitter.
Comments

Create panel > Lights > Create a light. > General Parameters rollout > Select Advanced Ray-traced
Shadows or Area Shadows. > Optimizations rollout
The Optimizations rollout provides additional controls for Advanced Ray-traced Shadow and Area
Shadow generation.
See also

Shadow Parameters
Interface
Transparent Shadows group
OnWhen checked, transparent surfaces will cast a colored shadow. Otherwise, all shadows are
black.
Note: Shadows will generate faster with this value turned off.
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A stained glass appears solid with the transparency optimization turned off.
Antialiasing ThresholdThe maximum color difference allowed between transparent object

samples before antialiasing is triggered. Increasing the value of this color will make the shadow less
sensitive to aliasing artifacts and improve speed, decreasing the value will increase the sensitivity,
improving quality.
Antialias Suppression group
Supersampled MaterialWhen on, only pass 1 is used during 2-pass antialiasing when shading a
supersampled material.
Note: When off, rendering time can increase without resulting in a better image.
Reflect/RefractWhen on only pass 1 is used during 2-pass antialiasing when shading reflections
or refractions.
Note: When off, rendering time can increase without resulting in a better image.
Coplanar Face Culling group
Skip Coplanar FacesPrevents adjacent faces from shadowing each other. This is of particular
concern at the terminator on curved surfaces such as spheres.
ThresholdThe angle between adjacent faces.
Range = 0.0 (perpendicular) to 1.0 (parallel).

Comments

Area Shadows
Glossary
Area Shadows
The shape of the shadow-casting region changes the shape of area shadows.
Area shadows simulate shadows generated by a light with area or volume.
Comments
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Create panel > Lights > Create a light. > General Parameters rollout
Create menu > Photometric Lights > Create a light. > Modify panel > General Parameters rollout.
The General Parameters rollout is displayed for all types of lights. These controls turn a light on and
off, and exclude or include objects in the scene.
On the Modify panel, the General Parameters rollout also lets you control the lights target object
and change the light from one type to another.
Shadow Types
The General Parameters rollout also lets you turn shadow-casting on or off for the light, and choose
which type of shadow the light uses.
The following table describes the advantages and disadvantages of each shadow type:
Shadow Type Advantages Disadvantages
Supports transparency and opacity

mapping.
Slower than shadow maps.
Uses less RAM than standard ray-
Advanced Ray-Traced Does not support soft shadows.
traced shadows.
Processes at every frame.
Recommended for complex scenes
with many lights or faces.

mapping.
Uses very little RAM.
Slower than shadow maps.
Area Shadows Recommended for complex scenes
Processes at every frame.
with many lights or faces.
Supports different formats for area
shadows.
Can be quicker than ray-traced

mental ray Shadow Not as accurate as ray-traced
shadows with the mental ray
Maps shadows.
renderer.

mapping. Can be slower than shadow maps.
Raytrace Shadows
Processes only once if there are no Does not support soft shadows.
animated objects.
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Produces soft shadows.

Uses a lot of RAM. Does not support
Processes only once if there are no
Shadow Maps objects with transparency or opacity
animated objects.
maps.
Fastest shadow type.
Procedures
To turn a light on and off:
Turn the On toggle on or off.

Default=on.
To have a light cast shadows:
In the General Parameters rollout > Shadows group, make sure On is selected.
The light will now cast shadows when you render the scene.
Note: With Overshoot turned on, standard spotlights cast light in all directions but cast shadows
only within the falloff cone; standard directional lights cast light throughout the scene, but cast
shadows only within the falloff area.
Left: A spotlight's projection cone truncates shadows.

Right: An omni light casts complete shadows.
To have a light use the global settings for shadows:
On the General Parameters rollout, turn on Use Global Settings.

When Use Global Settings is on, the other shadow controls are set to the values used by all other
shadow-casting lights in the scene that have Use Global Settings set.
Changing the affected parameters for one light with Use Global Settings set, changes them for all
lights with Use Global Settings set.
To set a light's shadow parameters individually:
On the General Parameters rollout, turn off Use Global Settings.

The settings revert to the individual settings for the light.

By default, Shadow Map is the active shadow type. In the Shadow Map Params rollout, the default
settings are: Map Bias=1; Size=512; Sample Range=4.0; Absolute Map Bias=Off.
Scene with shadow-mapped shadows

Shadows rendered using default parameter settings
Note: When you render a scene, you can turn rendering of shadows on or off.
To cast area shadows:
On the General Parameters rollout, choose Area Shadows from the drop-down list.
Use controls on the Area Shadows rollout to adjust the shadow properties.
To cast advanced ray-traced shadows:

Advanced ray-traced shadows are similar to ray-traced shadows, however they provide control over
antialiasing, letting you fine-tune how shadows are generated.
On the General Parameters rollout, choose Advanced Ray-traced Shadows from the drop-down
list.
Use controls on the Advanced Ray-traced Params rollout to adjust the shadow properties.
To cast shadow-mapped shadows:
1. On the General Parameters rollout, choose Shadow Maps from the drop-down list.
2. Go to the Shadow Map Params rollout.
Use the Size spinner to set the size of the shadow map.
Use the Bias spinner to adjust the shadow offset, if necessary.
Use the Sample Range spinner to create a soft-edged shadow.
To cast ray-traced shadows:

Ray-traced shadows are generated by tracing the path of rays sampled from a light source. Ray-
traced shadows are more accurate than shadow-mapped shadows.

1. On the General Parameters rollout, choose Ray-Traced Shadows from the drop-down list.
2. Use controls on the Ray Traced Shadow Params rollout to adjust the shadow offset, if
necessary.
To keep an object from casting shadows:
1. Select the object.
2. Right-click the object to display the quad menu and choose Properties from the Transform
quadrant.
The Object Properties dialog is displayed.
3. Turn off Cast Shadows, and then click OK.

Now when you render the scene, the object casts no shadows.
To make an object not receive shadows:
2. Right-click the object to display the quad menu and choose Properties from the lower-right
(Transform) quadrant.
The Object Properties dialog is displayed.
3. Turn off Receive Shadows, and then click OK.

Now when you render the scene, the object receives no shadows.
Note: You can also prevent objects from casting shadows by excluding them from a light.
Interface
Light Type group (Modify panel)

On(Both Create panel and Modify panel) Turns the light on and off. When On is on, shading and
rendering use the light to illuminate the scene. When On is off, the light is not used in shading or
In viewports, the interactive renderer shows the effect of turning lights on or off.
Light Type ListChanges the type of the light. If you have selected a standard light type, the light
can be changed to an omni, spot, or directional light. If you have selected a photometric light type,
you can change the light to a point, linear, or area light.
This parameter is available only in the Modify panel.
TargetedWhen on, the light is targeted. The distance between the light and its target is displayed
to the right of the check box. For a free light, you can set this value. For target lights, you can
change it by turning off the check box, or by moving the light or the light's target object.
Shadows group
OnDetermines whether the current light casts shadows or not. Default=on.

Shadow Method drop-down listDetermines whether the renderer uses shadow maps, ray-
traced shadows, advanced ray-traced shadows, or area shadows, to generate shadows for this light.
The mental ray Shadow Map type is provided for use with the mental ray renderer. When you
choose this shadow type and enable shadow maps (on the Shadows & Displacement rollout of the
Render Scene dialog), shadows use the mental ray shadow-map algorithm. If this type is chosen but
you render with the default scanline renderer, no shadows appear in the rendering.
Note: When shadow maps are enabled and the shadow map type is Shadow Map, the mental ray
renderer attempts to translate the shadow map settings into comparable settings for mental ray
shadow maps. (The results might not be what you expected.) In all other cases, the mental ray
renderer generates ray-traced shadows.
Each shadow type has its particular controls:
Advanced ray-traced shadowsSee Advanced Ray-Traced Parameters Rollout and

Optimizations Rollout.
Area shadowsSee Area Shadows Rollout and Optimizations Rollout.
mental ray shadow mapsSee mental ray Shadow Map Rollout.
Ray-traced shadowsSee Ray-Traced Shadow Parameters Rollout.
Shadow mapsSee Shadow Map Parameters Rollout.
Use Global SettingsTurn on to use global settings for shadows cast by this light. Turn off to
enable individual control of the shadows. If you choose not to use the global settings, you must
choose which method the renderer will use to generate shadows for this particular light.
When Use Global Settings is on, the shadow parameters switch over to show you what the global
settings are. This data is shared by every other light of this class. When Use Global Settings is off,

the shadow parameters are specific to that particular light.
Exclude button
Excludes selected objects from the effects of the light. Click this button to display the Exclude/
Include dialog.
Excluded objects still appear lit in shaded viewports. Exclusion takes effect only when you render the
scene.
Roll Angle Manipulator
To change the roll angle of a target light, you can use a manipulator. This can be useful if the light
does not cast a round beam, or if it is a projector light (see Advanced Effects Rollout). To display the
manipulator, select the light, right-click it, and then click Roll Angle Manipulator Toggle in the Tools 1
(upper left) quadrant of the quad menu.
Roll angle manipulator on a target light
Drag the circular portion of the manipulator to rotate the light by an arbitrary number of degrees.
Click one of the red or green clock hands of the manipulator to rotate the light in 90-degree
increments.
Comments

Create a light. > General Parameters rollout > Shadow Map chosen > Shadow Map Params rollout
The Shadow Map Parameters rollout is displayed when you have chosen shadow mapping as the
shadow-generation technique for a light. You select this in the General Parameters rollout.
Shadow Maps and Intersecting Surfaces
In 3ds max 2.5 and earlier versions, shadows cast onto one surface tended to "bleed" onto edges
intersecting surfaces. Since 3ds max 3, shadows cast onto one surface do not bleed onto
intersecting surfaces. If you want, you can change the shadow map setting to render shadows the
way 2.5 and previous versions did. To do so, find the R25Shadows entry in the [Renderer] section of
the 3dsmax.ini file, change the value to 1, and then restart 3ds max:
R25Shadows=1
To revert to the default method of rendering shadow-mapped shadows, in the 3dsmax.ini file,
change the value of R25Shadows back to 0 (zero), and then restart 3ds max.
Interface
BiasMap Bias moves the shadow toward or away from the shadow-casting object (or objects).
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Left: Default shadows

Right: Increasing the Bias value separates the shadow from the object.
If the Bias value is too low, shadows can "leak" through places they shouldn't, produce moire
patterns or making out-of-place dark areas on meshes. If Bias is too high, shadows can "detach"
from an object. If the Bias value is too extreme in either direction, shadows might not be rendered
at all.
This value depends on whether Absolute Map Bias is on or off:
When Absolute is off (the default), Bias is calculated based on the scene extents, and then
normalized to one. This provides similar default shadow results, regardless of scene size. User
adjustments to Bias are typically low decimal values near 1.0 (for example, 1.2).
When Absolute is on, Bias is a value in 3ds max units. User adjustments to Bias depend on the
size of the scene, and can range from values close to zero to values in the hundreds (see the Tip
at the end of this topic).
Left: Too small a Bias value causes shadow leaks.

Right: Increasing the Bias value fixes the problem.

SizeSets the size (in pixels squared) of the shadow map that's computed for the light.
The shadow map size specifies the amount of subdivisions for the map. The greater the value, the
more detailed the map will be.
Left: Size set to 32.

Right: Size set to 256.
Sample RangeThe sample range determines how much area within the shadow is averaged. This
affects how soft the edge of the shadow is. Range=0.01 to 50.0.

Increasing the Sample Range blends the shadow edges and creates a smooth effect, hiding the
granularity of the map.
Absolute Map BiasWhen on, the bias for the shadow map is not normalized, but is instead based
on a fixed scale expressed in 3ds max units. This value does not change during an animation. You
must choose the value, based on the size of the scene extents.
When off, the bias is computed relative to the rest of the scene, and then normalized to 1.0. This
provides a common starting bias value in scenes of any size. If the scene extents change, this
internal normalization can vary from frame to frame. Default=off.
Tip: Leaving Absolute Map Bias off gives good results in most situations, because the bias is
internally balanced to match the scene size. In animations, however, if moving objects cause a large
change in the scene extents (or if objects are unhidden, and so on), the normalized bias value might
become inappropriate, causing shadows to flicker or disappear. If this happens, turn on Absolute
Map Bias. You will have to set the Bias control to a value appropriate for the scene. As a rule of
thumb, try a Bias value that is the distance between the light and the target object, divided by 100.
from the inside are not lit by lights from the outside. When off, backfaces are ignored, which can
cause outside lights to illuminate object interiors. Default=on.

Comments

Map Bias
Glossary
Map Bias
On the right, increased map bias makes the dog appear to float.
Map bias moves the shadow toward or away from the shadow-casting object (or objects).
By default, this value is 1.0 world coordinate unit. Increasing the bias moves the shadow away from
the object, and decreasing the bias moves the shadow closer to the object. The Map Bias value can
be any positive floating-point number.
For example, if a shadow-casting object intersects another object but its shadow doesn't meet
properly at the intersection, the bias is too high. This effect varies with the angle of the spotlight to
the object. Extremely shallow spotlight angles usually require higher bias values.
Another purpose of bias is to avoid problems with objects that cast shadows onto themselves. If you
see streaks or moir patterns on the surface of the object, the bias value is too low. If you increase
the bias so much that the shadow becomes disconnected from the object, reduce the bias and
increase the shadow map Size value instead.
Comments
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Sample Range
Glossary
Sample Range
Low sample range can cause jagged-edged shadows.
Higher sample range causes soft-edged shadows.
Sample Range affects the softness of the edge of shadow-mapped shadows. The sample range
determines how much area within the shadow is averaged.
Small values reduce the area that is averaged, effectively bringing the edge of the shadow inward,
producing sharper-edged shadows. Sharper edges can cause aliasing.
Large values extend the area that is averaged, effectively bringing the edge of the shadow outward,
producing softer-edged shadows. Soft-edged shadows have more antialiasing. The effect is
somewhat like the falloff of a soft-edged spotlight.
The default Sample Range value is 4. The Sample Range value can be any floating-point number
from 0 to 20. Values of 2 to 5 are recommended. Values below 3 can produce coarse-edged
shadows. You can reduce this effect by increasing the map size.
Values greater than 5 can produce streaking and moir patterns. You can reduce this effect by
increasing the map size or the Bias value.
Rendering time increases exponentially as the Sample Range value increases.
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Sample Range
Comments
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Create panel > Lights > Create or select a light. > General Parameters rollout > Shadow type >
Area Shadows rollout
The Area Shadow generator can be applied to any light type to achieve the effect of an area shadow
effect. In order to create an area shadow, the user needs to specify the dimensions of a virtual light
created to "fake" an area shadow.
Note: When using area lights, the user should try to make the properties of the light match the
properties in the Area Light Dimensions group of the Area Shadows rollout.
Tip: Area shadows can take a fair amount of time to render. If you want to create a quick test (or
draft) rendering, you can use the Area/Linear Lights as Point Lights toggle in the Common
Parameters rollout of the Render Scene dialog to speed up your rendering. When this toggle is on,
the shadows are processed as if the light object is a point source.
Area shadows create a soft edge that becomes more noticeable as the distance between the object
and the shadow increases.
A: Penumbra (soft area)
B: Shadow
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Area shadow cast by a point light
Interface
Basic Options group
ModeSelects the way the area shadows are generated:
SimpleCasts a single ray from the light toward the surface. No antialiasing or area light
calculation is performed.
Rectangle LightCasts rays from the light in a rectangular array.
Disc LightCasts rays from the light in a circular array.
Box LightCasts rays from the light as if it were a box.

Sphere LightCasts rays from the light as if it were a sphere.
The shape of the area shadow array affects how shadows are cast.
Left: Rectangle
Right: Box
Antialiasing Options group

Shadow IntegritySets the number of rays in the initial bundle of rays cast. These rays are
projected from every surface that receives light from the light source.
The number of rays is as follows:
1=4 rays
2=5 rays
3 to N=NxN rays.
For example setting Pass 1 Quality to 5 would generate 25 rays. This is the primary control for
finding small objects and thin spaces between objects. If the shadows are missing a small object in
your scene, try increasing Pass 1 Quality, 1 step at a time. Also, if there are blotches in the
penumbra (soft area), try increasing this setting.
Increasing the Shadow Integrity value creates more accurate shadow contour and detail.
Shadow QualitySets the total number of rays cast in the penumbra (soft area) region, including
the rays fired in pass.
These rays are projected from every point that is in the penumbra, or antialiased edge of the
shadow, to smooth it out.
The number of rays is as follows:
2=5 rays
3 to N = NxN
Quality=5 would mean 25 rays. Pass 2 Quality should always be greater than Pass 1 Quality. This is
because the secondary rays are overlaid on top of the first pass's rays using the same algorithm.

Increase Pass 2 quality to fix banding in the penumbra, and eliminate the noise pattern from
jittering.
Increasing the Shadow Quality value produces a more accurate penumbra (soft area) within the
contour defined by the Shadow Integrity value.
Sample SpreadThe radius, in pixels, to blur the antialiased edge.

Note: As this value increases, so does the quality of the blur. However, increasing this value also
increases the likelihood of missing small objects. To avoid this problem, increase the value of Pass 1
Quality.
Shadow BiasThe minimum distance that an object must be from the point being shaded in order
to cast a shadow. This prevents blurred shadows from affecting surfaces they shouldn't.
Note: As you increase the blur value, you should also increase the bias.
Jitter AmountAdds randomness to the ray positions. The rays are initially in a very regular
pattern, which can show up in the blurry part of the shadow as regular artifacts. Jittering will convert
these artifacts to noise, which is generally less noticeable to the eye. Recommended values are 0.25
to 1.0. However, very blurry shadows will require more jitter.

Increasing jitter blends the individual shadow samples.
Area Light Dimensions group
These are the dimensions applied to a virtual light that is used to compute the area shadowing. They
do not affect the actual light object.
LengthSets the length of the area shadow.
WidthSets the width of the area shadow.
HeightSets the height of the area shadow.
Comments

Create panel > Lights > Create a light. > General Parameters rollout > Select mental ray Shadow
Map shadows. > mental ray Shadow Map rollout
Choosing mental ray Shadow Map as the shadow type tells the mental ray renderer to generate
shadows using the mental ray shadow-map algorithm. If you render with the default scanline
renderer instead, no shadows appear in the rendering.
Interface
Map SizeSets the resolution of the shadow map. The size of the map is the square of this value.
Greater resolutions require more time to process, but produce more accurate shadows. Default=512.
Sample RangeWhen greater than zero, generates soft-edged shadows. This value specifies the
area of the map to soften, by removing portions of the map as specified by Samples. Default=0.0.
If you set Sample Range to be greater than zero, you must also set Samples to be greater than
zero, to obtain a soft shadow effect.
Directional lights require Sample Range to have a greater value than spotlights require.
SamplesSets the number of samples to remove from a shadow map when generating soft
shadows. Default=1.
Comments
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Create a light. > General Parameters rollout > Ray Traced Shadows chosen > Ray Traced Shadow
Params rollout
Ray-traced shadows
The Ray-Traced Shadow Parameters rollout appears when you have chosen raytracing as the
shadow-generation technique for a light. You select this in the General Parameters rollout.
Interface
BiasRay-Trace Bias moves the shadow toward or away from the shadow-casting object (or
objects).
If the Bias value is too low, shadows can "leak" through places they shouldn't, producing moire
patterns or making out-of-place dark areas on meshes. If Bias is too high, shadows can "detach"
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from an object. If the Bias value is too extreme in either direction, shadows might not be rendered
at all.
Default=on.
Max Quadtree DepthAdjusts the depth of the quadtree used by the ray-tracer. Greater quadtree
depth values can improve ray-tracing time at the cost of memory use. However, there is a depth
value where the performance improvement is offset by the time it takes to generate the quadtree
itself. This depends on the geometry of the scene. Default=7.
Tip: Omni lights can generate up to six quadtrees, so they generate ray-traced shadows more slowly
than spotlights. Avoid using ray-traced shadows with omni lights unless your scene requires this.
Comments
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Supersampling
Glossary
Supersampling
Supersampling is one of several antialiasing techniques that the software performs. Textures,
shadows, highlights, and raytraced reflections and refractions all have their own preliminary
antialiasing strategies. Supersampling is an optional additional step that provides a "best guess"
color for each rendered pixel. The supersampler's output is then passed on to the renderer, which
performs a final antialiasing pass.
See also
Comments
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Material Editor > Standard material > SuperSampling rollout
Material Editor > Raytrace material > SuperSampling rollout
Material Editor > Architectural material > SuperSampling rollout
The SuperSampling rollout is used by Standard, Raytrace, and Architectural materials. It lets you
choose a supersampling method. Supersampling performs an additional antialiasing pass on the
material. This requires more time but can improve image quality. Supersampling is especially helpful
when you need to render very smooth specular highlights, subtle bump mapping, or high
resolutions.
In 3ds max 6, the default is to apply a single supersampling method to all materials in the
scene. This feature gives you more control over your scenes, especially larger models that make use
of many materials, by letting you control the supersampling at a global level from the Rendering
dialog. You can override this locally by turning off Use Global Settings. It also gives you file
compatibility and workflow replication with DRF files imported from VIZ Render.
Note: SuperSampling settings are ignored by the mental ray Renderer, which has its own
sampling method.
Use supersampling when you notice artifacts in your final renderings. For example, a thin bump map
might produce scintillating, jagged bumps that supersampling can correct. Supersampling requires
considerably more time to render, although it does not necessarily require any additional RAM.
Note: Supersampling is not processed when you turn off Antialiasing in the production renderer. You
can also globally disable supersampling for all materials using the parameters for the default
scanline renderer. Globally disabling supersampling can speed up test renderings.
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Supersampling uses smaller sampling points, and returns averaged values to increase the antialiasing
effect.
Supersampling and Antialiasing
Supersampling is one of several antialiasing techniques. Textures, shadows, highlights, and

raytraced reflections and refractions all have their own preliminary antialiasing strategies.
Supersampling is an additional step that provides a "best guess" color for each rendered pixel. The
supersampler's output is then passed on to the renderer, which performs a final antialiasing pass.
A single rendered pixel represents an area of the scene's geometry. The pixel can stand in for
multiple colors, especially when it appears at the edge of an object or a region of color. This is where
aliasing effects occur.
When supersampling is turned off, the software simply looks at the center of the geometry covered
by the pixel, and uses that for the pixel color.
When you turn on supersampling, a supersampler performs an additional antialiasing pass on the
material. You can choose one of four supersamplers. As the name implies, a supersampler takes
additional samples of geometry color in or near each pixel, in order to obtain a more accurate pixel
color that is less prone to aliasing error.
These are the supersampling methods:
Name Description

Spaces samples along both X and Y axes according to a scattered, "quasi

Adaptive Halton random" pattern. Depending on Quality, the number of samples can range from
4 to 40. This method is adaptive, as described below.
Spaces samples regularly, from a minimum quality of 4 samples to a maximum

Adaptive Uniform of 36. The pattern is not square, but skewed slightly to improve accuracy in the
vertical and horizontal axes. This method is adaptive, as described below.
Spaces samples regularly along the X axis, but along the Y axis it spaces them
Hammersley according to a scattered, "quasi random" pattern. Depending on Quality, the
number of samples can range from 4 to 40. This method is not adaptive.
The sample at the center of the pixel is averaged with four samples surrounding
MAX 2.5 Star it. The pattern is like the fives on dice. This is the supersampling method that
was available in 3ds max 2.5.
Regular sampling, as performed by the Adaptive Uniform and MAX 2.5 Star methods, is more prone
to aliasing than the irregular patterns performed by the Adaptive Halton and Hammersley methods.
You can set a variable Quality value for the Adaptive Halton, Adaptive Uniform, and Hammersley
methods. Quality can range from 0.0 to 1.0. A quality of 0.0 is minimal, with about four samples per
pixel. A quality of 1.0 is the highest possible, with between 36 and 40 samples per pixel. High-
quality supersampling is very time consuming.
Another setting for the Adaptive Halton and Adaptive Uniform supersamplers is the Adaptive toggle,
which works in conjunction with the Threshold spinner. When Adaptive is on, these methods take
fewer samples unless a change in color is greater than the Threshold value. In that case, they take
the full number of samples specified by the Quality. Leave Adaptive turned on to reduce the amount
of time the supersampler spends.
Interface
Use Global SettingsWhen on, the material uses the supersampling options set in the Default
Scanline Renderer rollout. Default=on.
Enable Local SupersamplingWhen on, applies supersampling to the material. Default=off

Sampler drop-down listLets you choose which supersampling method to apply. The list is not
active unless Use Global Settings is turned off. Default=Max 2.5 Star.
Supersample MapsWhen on, the maps applied to the material are supersampled as well. When
off, the supersampler uses pixel averages for maps. This switch is active only when Use Global
Settings is turned off. Default=on.
When on, the maps applied to the material are supersampled as well. When off, the supersampler
uses pixel averages for maps. This switch is active only when Use Global Settings is turned off.
Default=on.
QualityAdjusts the quality of supersampling by controlling the number of samples used for each
pixel. At the minimum value, 0.0, four samples are taken per pixel. At the maximum value, 1.0,
about 40 samples are taken per pixel (the value varies depending on which shader is active).
This spinner is unavailable for the Max 2.5 Star method.
AdaptiveVisible only for the Adaptive Halton and Adaptive Uniform methods. When on, these
methods take fewer samples than the Quality specifies unless samples show a change in color
greater than the Threshold value. In that case, they take all the samples specified by the Quality.
Turning on Adaptive On can reduce the amount of time required to supersample. Default=on.
ThresholdControls the Adaptive methods. Visible only for the Adaptive Halton and Adaptive
Uniform methods. A change in color greater than the Threshold value causes the adaptive methods
to take the full number of samples specified by the Quality. If the color does not change as much,
the adaptive method takes fewer samples and does not require as much processing time. Can range
from 0.0 to 1.0. Setting Threshold to 0.0 has the same effect as turning off Adaptive On.
Default=0.1.
Comments

Standard Lights
Standard Lights
Standard lights are computer-based objects that simulate lights such as household or office lamps,
the light instruments used in stage and film work, and the sun itself. Different kinds of light objects
cast light in different ways, simulating different kinds of real-world light sources. Unlike photometric
lights, standard lights do not have physically-based intensity values.
There are eight types of standard light objects:
Target Spotlight
Free Spotlight
Target Direct Light
Free Direct Light
Omni Light
Skylight
Area Omni Light
Area Spotlight
Most of the parameters for standard lights are common to all five types. These are described in the
following topics:
Intensity/Color/Attenuation Parameters
Shadow Parameters
mental ray Indirect Illumination Rollout (for Lights)

Spotlights and Directional lights have rollouts specific to them:
Directional Parameters
For parameters specific to a particular kind of light, see that light's description.
Shadow Parameters
Different rollouts can appear, depending on which type of shadows you have chosen for a light:
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Standard Lights

Comments
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Lights
Lights
Create panel > Lights
Create menu > Lights
Nighttime scene with artificial lighting
Lights are objects that simulate real lights such as household or office lamps, the light instruments
used in stage and film work, and the sun itself. Different kinds of light objects cast light in different
ways, emulating different kinds of real-world light sources.
When there are no lights in a scene, the scene is shaded or rendered with default lighting. You add
lights to give the scene a more realistic appearance. Lighting enhances the clarity and three-
dimensionality of a scene. In addition to general lighting effects, lights can be used to project
images. (See Advanced Effects Rollout.)
Light objects replace the default lighting. As soon as you create a light, the default lighting is turned
off. If you delete all the lights in the scene, default lighting is turned back on. The default lighting
consists of two invisible lights: one is above and to the left of the scene, and the other is below and
to the right.
Tip: One way to begin your work on lighting a scene is to convert the default lighting into light
objects by using the command Add Default Lights To Scene.
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Lights
Note: A scene's lighting is also affected by the Ambient Light setting on the Environment And Effects
dialog > Environment panel.
Types of Lights
3ds max provides two types of lights: standard and photometric. All types are displayed in
viewports as light objects. They share many of the same parameters, including shadow generators.
Standard Lights
Standard lights are computer-based objects that simulate lights such as household or office lamps,
the light instruments used in stage and film work, and the sun itself. Different kinds of light objects
cast light in different ways, simulating different kinds of light sources. Unlike photometric lights,
Standard lights do not have physically-based intensity values.
Photometric Lights
Photometric lights use photometric (light energy) values that enable you to more accurately define
lights as they would be in the real world. You can set their distribution, intensity, color temperature,
and other characteristics of real-world lights. You can also import specific photometric files available
from lighting manufacturers to design lighting based on commercially available lights.
Tip: Combine Photometric lights with the radiosity solution to generate physically accurate
renderings or perform lighting analysis.
Tips
You can use the Place Highlight command to change a light's position. See the Procedures in
Working with Lights.
A Light viewport can be a useful way to adjust lights other than omni lights.
To simulate sunlight, use a daylight or sunlight system, which allows you to set the date, time,
and geographic location of your model. The daylight system is photometric, while the sunlight
system uses a standard directional light.
Note: The standard Skylight light is distinct from the photometric daylight lights. The Skylight
light is for use with light tracing.
See also
Working with Lights

Using Lights

Lights
Light Include/Exclude Tool

Light Lister
Comments

Create panel > Lights > Create a light. > Advanced Effects rollout
The Advanced Effects rollout provides controls that affect how lights affect surfaces, and also
includes a number of fine adjustments and setting for projector lights.
You can make a light object into a projector by choosing a map for the light to project. A projected
map can be a still image or an animation.
Casting a projection with a light
and so on, the animation file is reloaded once per frame. If your scene uses multiple animations, or
if the animations are large files, this can slow down rendering performance.
Procedures
To make a light a projector:

The Material Editor is where you adjust the map's parameters.
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2. Use an unused sample slot to display a map.
3. Drag the map from the Material Editor to the light's Map button in the Advanced Effects rollout.
A dialog asks if the projection map should be a copy or an instance. Choose Instance. If you
choose Copy, adjusting the map in the Material Editor has no effect on the projected map.
You can also drag from any other used map button, as in the Environment dialog.
Assigning the map displays the map name in the button, and turns on the Projector toggle.
After you have set up the map, you can turn off Projector to test rendering the scene without
the projected image.
An alternative is to click the Map button. This displays the Material/Map Browser, which lets you
choose the map type. At this point, the light behaves as a projector. To assign a map or adjust
its parameters, you need to use the Material Editor.
Note: Lights project maps only within their cone, even if Overshoot is turned on.
To put the map in the Material Editor:
Drag from the light's Map button to an unused sample slot in the Material Editor.
Note: Sample slots with white triangles in the corners indicate materials that are used in the
current scene.
Note: You can adjust the map in the Material Editor by changing the map's parameters.
To blur a projection map:
Increase the value of Blur Offset in the map's Coordinates rollout in the Material Editor.
Tip: You can animate Blur Offset to have a projected map go in or out of focus.
To make the shape of the light fit the projected bitmap:

Note: This procedure only applies to standard spot and direct lights.
1. Choose a bitmap to project, as described in the preceding procedures.
2. Make sure the light's shape is set to Rectangular, and then click Bitmap Fit.
A file selection dialog is displayed.
3. Choose the same bitmap you chose for the standalone map, and then click OK.
You can also choose a bitmap other than the one the light projects.
Interface

Affect Surfaces group
ContrastAdjusts the contrast between the diffuse and ambient areas of the surface. Leave this set
to 0 for normal contrast. Increase the value to increase the contrast for special effects: for example,
the harsh light of outer space. Default=0.0.
Soften Diffuse EdgeIncreasing the value of Soften Diffuse Edge softens the edge between the
diffuse and ambient portions of a surface. This helps eliminate edges that can appear on a surface
under certain circumstances. Default=50.
Note: Soften Diffuse Edge reduces the amount of light, slightly. You can counter this, to some
extent, by increasing the Multiplier value.
DiffuseWhen on, the light affects the diffuse properties of an object's surface. When off, the light
has no effect on the diffuse surface. Default=on.
SpecularWhen on, the light affects the specular properties of an object's surface. When off, the
light has no effect on the specular properties. Default=on.
For example, by using the Diffuse and Specular check boxes you can have one light color the
specular highlights of an object, while not coloring its diffuse area, and then have a second light
color the diffuse portion of the surface while not creating specular highlights.
Ambient OnlyWhen on, the light affects only the ambient component of the illumination. This
gives you more detailed control over the ambient illumination in your scene. When Ambient Only is
on, Contrast, Soften Diffuse Edge, Diffuse, and Specular are unavailable. Default=off.
The effect of Ambient Only isn't visible in viewports. It appears only when you render the scene.

A: Affect specular only

B: Affect diffuse only
C: Affect ambient only
Projector Map group
These controls make the photometric light a projector.

Check boxTurn on to project the map selected by the Map button. Turn off to turn off projection.
MapNames the map used for the projection. You can drag from any map specified in the Material
Editor, or any other map button (as on the Environment dialog), and drop that map on the light's
Map button. Clicking Map displays the Material/Map Browser. You can choose the map type using the
Browser, then drag the button to the Material Editor, and use the Material Editor to select and adjust
the map.
Comments

Add Default Lights To Scene
> Rendering Options group > Turn on Default Lighting and choose 2 Lights (to activate the Add
Default Lights To Scene menu item). > Views Tools menu > Add Default Lights To Scene
This command displays the Add Default Lights To Scene dialog, which provides options that let you
convert the default scene lighting into actual light objects.
A single default light is linked to the camera and moves when you change your viewport point of view.
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Two default lights are placed opposite to each other.

A, the key light is in front of the object, on the upper left side, while B, the fill light is behind on the
lower right side.
This command is unavailable unless you configure viewports to use two lights. When viewports use
two lights, and you choose this command, the lights are added to the scene as omni lights. You can
add either the key light, the fill light, or both.
Comments
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Add Default Lights To Scene Dialog
> Rendering Options group > Turn on Default Lighting and choose 2 Lights (to activate the Add
Default Lights To Scene menu item). > Views menu > Add Default Lights to Scene > Add Default
Lights to Scene dialog
The Add Default Lights To Scene dialog lets you convert the default scene lighting into actual light
objects.
The default lighting for viewports consists of a single key light, positioned in front and to the left of
the scene. In the Viewport Configuration dialog, you can change this to two lights: the key light and
a fill light, positioned behind and to the right of the scene. Both these default lights behave as omni
lights, and can be added to the scene as omni lights when you choose Add Default Lights To Scene.
You can add either the key light, the fill light, or both. The omni light objects have the names
DefaultKeyLight and DefaultFillLight.
If you have already added one or both default lights, a warning prompts you to rename or delete the
previous default light object before you add another.
Procedure
To add the default lights as objects:
1. Right-click a viewport label, and click Configure.
2. On the Viewport Configuration dialog > Rendering Method tab, in the Rendering Options group,
turn on Default Lighting and choose 2 Lights. Click OK to close the dialog.
3. Choose Views menu > Add Default Lights To Scene.
4. In the Add Default Lights To Scene dialog, choose Key Light, Fill Light, or both.
5. Activate the Top viewport, and on the status bar, click Zoom Extents.
The lights are now visible in the viewport.
Interface
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Add Default Key LightWhen on, adds the default key light to the scene. The key light is in front
of the scene and to the left. The key light becomes an omni light with the name, DefaultKeyLight.
Default=on.
Add Default Fill LightWhen on, adds the default fill light to the scene. The fill light is behind the
scene and to the right. The fill light becomes an omni light with the name, DefaultFillLight.
Default=on.
Distance ScalingAffects how far the lights are placed from the origin (0,0,0). The default value
leaves the scene's lighting unchanged. Larger values move the lights further away, dimming the
scene, and smaller values move them closer, brightening the scene. Default=1.0. Range=0.0 to
1000.0.
Comments
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Omni Light
Omni Light
Create panel > Lights > Standard > Omni button
Create menu > Lights > Omni Light
Top: Top view of an omni light

Bottom: Perspective view of the same light
An Omni light casts rays in all directions from a single source. Omni lights are useful for adding "fill
lighting" to your scene, or simulating point source lights.
Omni lights can cast shadows and projections. A single shadow-casting omni light is the equivalent
of six shadow-casting spotlights, pointing outward from the center.
When you set a map projected by an Omni light to be projected using the Spherical, Cylindrical, or
Shrink Wrap Environment coordinates, the map is projected in the same way as it would be mapped
to the environment. When you use the Screen Environment coordinates or Explicit Map Channel
Texture coordinates, six copies of the map are projected radially.
Tip: Omni lights can generate up to six quadtrees, so they generate ray-traced shadows more slowly
than spotlights. Avoid using ray-traced shadows with omni lights unless your scene requires this.
See also
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Omni Light
Lights
Shadow Parameters
Procedure
To create an omni light:

2. In the Object Type rollout, click Omni.
3. Click the viewport location where you want the light to be. If you drag the mouse, you can
move the light around before releasing the mouse to fix its position.

To adjust the light's effect, you can move it as you would any object.
Comments
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Create panel > Lights > Create a light. > Name and Color rollout
The Name and Color rollout lets you change the name and geometry color of a light. Changing the
color of the light geometry can be useful when working with many lights.
For example, in a scene with many different types of lights, you could make all spotlights red, and all
omni lights blue to easily distinguish them.
Procedure
To change the color of a lights geometry:
1. Create or select a light in your scene.
2. In the Name and Color rollout, click the color swatch to open a Color Selector.
3. Choose a new color and click OK.
Interface
NameThe name of the selected light.

Note: When you rename a target-type light, the target object will be renamed to match the light.
ColorThe color of the lights geometry.
(This has no effect on the color the light emits.)
Comments
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Create panel > Lights > Create a Standard light. > Attenuation Parameters rollout
Attenuation settings cause distant objects to be dimmer.
The Intensity/Color/Attenuation rollout allows you to set the color and intensity of your light. You
can also define the attenuation of your light.
Attenuation is the effect of light diminishing over distance. In 3ds max, you can set attenuation
values explicitly. The effects can vary from real-world lights, giving you more direct control over how
lights fade in or fade out.
Note: With no attenuation, an object can paradoxically appear to grow brighter as it moves away
from the light source. This is because the angle of incidence more closely approaches 0 degrees for
more of the object's faces.
Two sets of values control attenuation for objects. The Far attenuation value sets the distance at
which the light drops off to zero. The Near attenuation value sets the distance at which the light
"fades in." Both these controls are turned on and off by a toggle called Use.
When Use is set for far attenuation, the light at its source uses the value specified by its color and
multiplier controls. It remains at this value from the source to the distance specified by Start, then
its value drops off to zero at the distance specified by End.
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Adding attenuation to a scene
When Use is set for Near attenuation, the light value remains at zero up to the distance specified by
Start. From Start to the distance specified by End, its value increases. Beyond End, the light remains
at the value specified by the color and multiplier controls, unless far attenuation is also active.
You can't set the Near and Far attenuation distances so they overlap.
The Decay controls are an additional way to make a light fade out.
Tip: When lights are attenuated, the light might be too bright on near surfaces or too dim on far
surfaces. If you see this in renderings, exposure control can help correct the problem. It adjusts the
larger dynamic range of the (simulated) physical scene, into the smaller dynamic range of the
display. See Environment Panel for additional information on exposure control.
Procedures
To choose the color of a light using the color selector:
1. Click the color swatch next to the On check box.

A modal Color Selector is displayed.
2. Use the Color Selector to choose a new color, and then click OK.
Shaded viewports update to show the new light color, which also appears in renderings.
To change a light's intensity:
Increase the light's Multiplier value.
To use attenuation:
1. Set the Start and End values.
2. Turn on Use.
Attenuation is now in effect for this light when the scene is shaded or rendered.
Note: You can also change the decay type (and values) to reduce the lights intensity over
distance.

To see the attenuation range in viewports:
Set Show for far or near attenuation.

You can preview the effect of attenuation in shaded viewports only if you turn this on as an option
in viewport preferences.
Interface
MultiplierAmplifies the power of the light by a positive or negative amount. For example, if you
set the multiplier to 2, the light will be twice as bright. Multipliers are also useful for subtracting light
and selectively placing dark areas in the scene. Default=1.0.
Using this parameter to increase intensity can cause colors to appear "burned out." It can also
generate colors not usable in videos. In general, leave Multiplier set to its default of 1.0 except for
special effects and special cases.
High Multiplier values wash out colors. For example, if you set a spotlight to be red but then increase
its Multiplier to 10, the light is white in the hotspot and red only in the falloff area, where the
Multiplier isn't applied.
Negative Multiplier values result in "dark light." That is, the light darkens objects instead of
illuminating them.
Color SwatchShows the color of the light. Clicking the color swatch displays the Color Selector so
you can choose a color for the light.
Decay group
Decay is an additional way to make a light's intensity reduce over distance.

TypeSets the type of decay to use. There are three types to choose from.

None(The default.) Applies no decay. The light maintains full strength from its source to
infinity, unless you turn on far attenuation.
InverseApplies inverse decay. The formula is luminance=R0 /R, where R0 is the radial source of
the light if no attenuation is used, or the Near End value of the light if attenuation is used. R is the
radial distance of the illuminated surface from R0.
Inverse SquareApplies inverse-square decay. The formula for this is (R0 /R)2. This is actually
the "real-world" decay of light, but you might find it too dim in the world of computer graphics.
This is the decay formula used by photometric lights.
Tip: If Inverse Square decay makes the scene too dim, try increasing the light's Multiplier value.
You can also try using the Environment Panel to increase the Global Lighting Level value.
Tip: For standard lights, if Inverse Square decay makes the scene too dim, try increasing the
light's Multiplier value. For all lights, you can also try using the Environment Panel to increase the
Global Lighting Level value.
The point at which decay begins depends on whether or not you use attenuation:
With no attenuation, decay begins at the source of the light.
With near attenuation, the decay begins at the Near End position.
Once the beginning point is established, the decay follows its formula to infinity, or until the light
itself is cut off by the Far End distance. In other words, the distance between Near End and Far End
does not scale, or otherwise affect, the apparent ramp of decaying light.
Tip: Because decay continues to calculate dimmer and dimmer values as the distance of the light
throw increases, it's a good idea to set at least the Far End of attenuation to eliminate unnecessary
calculations.
Near Attenuation group
StartSets the distance at which the light begins to fade in.

EndSets the distance at which the light reaches its full value.
UseEnables near attenuation for the light.
ShowDisplays the near attenuation range settings in viewports. For spotlights, attenuation ranges
appear as lens-shaped sections of the cone. For directional lights, the ranges appear as circular
sections of the cone. For omni lights and spot or directional lights with Overshoot turned on, the
ranges appear as spheres. By default, Near Start is dark blue and Near End is light blue.
Far Attenuation group
StartSets the distance at which the light begins to fade out.

EndSets the distance at which the light has faded to zero.

UseEnables far attenuation for the light.

ShowDisplays the far attenuation range settings in viewports. For spotlights, attenuation ranges
appear as lens-shaped sections of the cone. For directional lights, the ranges appear as circular
sections of the cone. For omni lights and spot or directional lights with Overshoot turned on, the
ranges appear as spheres. By default, Far Start is light brown and Far End is dark brown.
Comments

Attenuation
Glossary
Attenuation
Image on right rendered with attenuation
In the real world, the intensity of light diminishes over distance. Objects far from the light source
appear darker than objects near the source. This effect is known as attenuation.
In nature, light attenuates at an inverse square rate; that is, its intensity diminishes in proportion to
the square of the distance from the light source. It is common for attenuation to be even greater
when light is occluded by small particles in the atmosphere, especially when there are clouds or fog
present.
By default, attenuation is not used by lights in 3ds max. Consequently, the distance of the light to
the object is meaningless. Only the angle of the light to the surface has any effect unless you turn
on attenuation.
For omni lights, spot lights, and direct lights, you can manually control the rate of attenuation. You
can also use attenuation with the Raytrace map. You should consider using attenuation whenever
possible for two reasons:
Attenuation provides greater subtlety and realism in your lighting.
You can reduce rendering time, since attenuated lights dont have to be calculated for surfaces
that are beyond the attenuation range.
For standard lights, you can explicitly set where attenuation begins and ends. This is partly so you
don't have to worry about setting up strictly realistic distances between light objects and the objects
they illuminate. More importantly, this feature lets you fine-tune the effect of attenuation. In outdoor
scenes, attenuation can enhance the effect of distance. In an indoor setting, attenuation is useful for
low-intensity light sources such as candles.
For lights, you set attenuation parameters on the light's Attenuation Parameters rollout. For the
Raytrace map, you set the parameters on the map's Attenuation rollout.
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Attenuation
Comments
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Raytrace: Attenuation Rollout
Material Editor > Maps rollout > Click a Map button. > Material/Map Browser > Raytrace >
Attenuation Rollout
When a ray is reflected off an object or refracted through it, by default the ray travels through space
forever, with no attenuation. The controls in this rollout allow you to attenuate rays, so their
strength diminishes over distance.
In the Raytrace map, attenuation is implemented by a clipping algorithm. Objects beyond the
maximum attenuation range aren't even considered by the raytracer. Because of this, assigning
attenuation can speed up rendering time.
Interface
Falloff TypeChoose the falloff to use.
OffTurns off attenuation. (Default.)
LinearSets linear attenuation. Linear attenuation is calculated between the start and end range
values.
Inverse SquareSets inverse square attenuation. Inverse square attenuation is calculated

beginning at the start range, and doesn't use the end range. Inverse square is the actual
attenuation rate for light in the real world. However, it doesn't always give the effect you want in
a rendered scene.
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ExponentialSets exponential attenuation. Exponential attenuation is calculated between the

start and end range values. You also specify the exponent to use.
Custom FalloffSpecifies a custom curve to use for attenuation (falloff).
Start RangeThe distance in world units where attenuation begins. Default=0.0.

End RangeSets the distance in world units where the ray is fully attenuated. Default=100.0.
This is not used by inverse square attenuation.
ExponentSets the exponent used in exponential falloff. Default=2.0.
This is used only by exponential attenuation.
Color
These controls affect the behavior of light rays as they attenuate out. By default, as a ray fades out,
it is rendered as the background color.
You can set a custom color instead.
BackgroundAs the ray attenuates out, returns the background (either the scene's background or
the background specified locally in the Raytracer Parameters rollout) rather than the actual color of
what the reflected/refracted ray sees. (Default.)
SpecifySets the color that is returned by the ray as it attenuates out.
If you choose not to use the background color, black or gray usually work best as the attenuation
color,
Custom Falloff group
These controls are inactive unless the Falloff Type is set to Custom Falloff.
Custom FalloffUses the falloff curve to determine the falloff between the start and the end
ranges.
These are the controls for custom attenuation. The custom attenuation curve is at the left. The gray
scale bar below the curve shows how the curve will affect the falloff as light rays diminish in
strength.
NearSets the strength of the reflected/refracted ray at the start range distance. This is a
normalized percentage that can range from 0.0 to 1.0. Default=1.0.
Control 1Controls the shape of the curve near the curve start. Default=0.667.
Control 2Controls the shape of the curve near the curve end. Default=0.333.
FarSets the strength of the reflected/refracted ray at the end range distance. This is a normalized
percentage that can range from 0.0 to 1.0. Default=0.0.

Comments

Raytrace Map
Raytrace Map
Material Editor > Maps rollout > Click a Map button. > Material/Map Browser > Raytrace
Raytrace map creates highly reflective and refractive surfaces.
Raytrace map provides fully raytraced reflections and refractions. The reflections and refractions it
generates are more accurate than those produced by the reflect/refract map. Rendering raytraced
objects is slower than using Reflect/Refract. On the other hand, Raytrace is optimized for rendering
3ds max scenes, and you can further optimize it for your scene by excluding specific objects or
effects from raytracing.
You can also use the Raytrace material, which uses the same raytracer to generate accurate,
raytraced reflections and refractions. The differences between Raytrace map and Raytrace material
are:
You use Raytrace map as you do other maps. This means you can add raytraced reflections or
refractions to any kind of material.
You can assign Raytrace map to material components other than reflect or refract, although these
are the main ways to use this map.
Raytrace map has more extensive attenuation controls than Raytrace material.
Raytrace map often renders more quickly than Raytrace material.

Raytrace Map and Raytrace material have the same name because they use the same raytracer
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Raytrace Map
and share global parameters.

Note: Raytracing does not always work correctly in orthogonal viewports (left, front, and so on).
It works correctly in perspective viewports and camera viewports.
Interface
The interface for the Raytrace map is contained in four rollouts:

Raytracer Parameters Rollout
Raytrace: Basic Material Extensions Rollout
Raytrace: Refractive Material Extensions Rollout
Comments
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Reflect/Refract Map
Reflect/Refract Map
Material Editor > Maps rollout > Click a Map button. > Material/Map Browser > Reflect/Refract
Reflect/Refract map used for the balloons
The Reflect/Refract map produces a reflective or refractive surface. To create reflection, assign this
map type as the material's reflection map. To create refraction, assign it as the refraction map.
Note: A reflective object can reflect another reflective object. In real life, this creates a virtually
infinite number of interreflections. In 3ds max, you can set the number of interreflections in a range
from 1 to 10. You set this Rendering Iterations parameter in the Render Scene dialog.
This map works by using six renderings in the form of a cube that surrounds the objects. Reflect/
Refract views the cubic maps from the perspective of the pivot point of the object, mapping them
onto the object's surface as a spherical reflection map.
You can choose to generate the cubic maps automatically, or to load previously created maps.
A reflective surface reflects the surrounding maps like a mirror. A refractive surface creates the
illusion that the surrounding maps are seen through the surface.
Note: Reflect/Refract is meant to be used with curved or irregularly shaped objects. For mirror-like
flat surfaces that you want to reflect the environment accurately, use Flat Mirror material. For more
accurate refractions, especially for an object in a refractive medium (such as a pencil in a glass of
water), use Thin Wall Refraction material.
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Reflect/Refract Map
Automatic Cubic Maps
When you choose automatic cubic maps, 3ds max generates the maps based on the perspective of
the mapped object's pivot point. Automatic maps are based on the geometry of the scene.
The advantage to using automatic maps is that the six views are automatically generated at
rendering time and can be easily updated for each frame of an animation. The disadvantage is that
regenerating the maps increases rendering time. In addition, the maps exist only for the rendering
and can't be edited or otherwise manipulated.
In the Material Editor, automatic reflections or refractions reflect or refract the background of the
sample slot.
Assigning Cubic Maps
When you choose to load cubic maps from files, you use the controls in the From File group. The
advantage to using From File is that the bitmap files already exist and take less rendering time. In
addition, you can edit the bitmap images. The disadvantage is that it's more difficult to use bitmaps
to render an animation because first you need to create the animated bitmaps.
Important: Assigned cubic maps must be square, and each of the six maps must be the
same size.
You can automatically load six bitmaps at once if the six bitmaps have valid cubic-map file names.
The first part of all six file names must be the same, and the last part is an underscore followed by a
two-letter abbreviation of the map position, as shown in the following table:
Last Part of Cubic Map File Name Meaning
_UP Up
_DN Down
_LF Left
_RT Right
_FR Front
_BK Back
For example, if you have six bitmaps on disk, labeled view_up.bmp, view_fr.bmp, view_lf.bmp, and
so on, when you click one of the file buttons and choose the bitmap for that position, all six views
are loaded.
If you select a bitmap whose name doesn't follow the convention, or you select one with a valid
cubic-map name but assign it to the wrong button, only that bitmap will be loaded.
Since all assigned bitmaps must be the same size, when you assign a new bitmap to one of the
windows, the sample slot doesn't update automatically. This avoids generating an error message

Reflect/Refract Map
each time you assign a bitmap. Once you've assigned all six maps and are sure they are square and
the same size, click the Reload button to update all of the maps and redisplay the sample slot.
You can also use the Reload button to see your changes after you've edited one of the cubic maps by
using a paint program.
Rendering Cubic Maps
The controls in the Render Cubic Map Files group let you generate the maps automatically and save
them to disk. Use the To File button to specify the folder and file name of the Up (_UP) bitmaps.
Click Pick Object and Render Maps, and then click the object to map. The software creates the files
and also assigns them to the six From File map buttons.
Rendering cubic maps has the same effect as automatic with the advantage that map rendering
doesn't have to take place at scene rendering time. The disadvantage is that you can't create an
automatically animated reflections or refractions this way.
Using Animated Cubic Maps
The cubic maps can be animations instead of bitmaps. Be sure that each is square and all have the
same resolution. If you want the animated reflections to match animated changes in the scene, use
automatic maps and set them to render every Nth frame.
Procedure
To generate and save cubic maps:
1. In the Source group, choose From File.
2. In the Render Cubic Map Files group, click the button next to To File.
A file dialog is displayed. Type a name for one of the six cubic bitmap files. You're specifying
the name of the Up bitmap. There are two ways to do this:
Specify the entire file name; for example, myview_up.bmp.
Specify the file prefix and extension only; for example, myview.bmp.
Important: You must specify at least a prefix and extension. The "_UP" is added
automatically.
3. Click Pick Object and Render Maps.
4. Click an object in your scene where you want the six views rendered. This is usually the same
object where you will apply the material, but it doesn't have to be.
After selecting the object, a rendered frame window is displayed while the six views are
rendered and saved to disk. Their file names then appear in the six buttons in the From File

Reflect/Refract Map
group. Each of the six file names is identical, except for a two-letter suffix indicating the
direction of the rendered view.
Interface
SourceChooses the source of the six cubic maps.

AutomaticAutomatically generates by looking out in six directions from the pivot of the object
with the material, then mapped onto the surface during rendering. When on, the options in the
Automatic group are active, letting you choose whether the maps will be generated only once, or
regenerated at specified frames in the animation.
From FileWhen on, you can specify the bitmaps to use.
When From File is active, the controls in the Render Cubic Map Files group are also available. You
can generate the six cubic reflection maps automatically and save them to files, where you can load
them with the From Files controls.

Reflect/Refract Map
SizeSets the size of the Reflect/Refract maps. The default value of 100 produces distinct images.
Lower values lose progressively more detail.
Use Environment MapWhen off, environment maps are ignored by Reflect/Refract map during
rendering. It's useful to turn this off when you have mirrors in the scene and you're rotoscoping
against a flat screen environment map. A screen environment map does not exist in 3D space the
way the other environment-map types do, and will not render properly.
Blur group
ApplyTurns on filtering to blur the maps.

Blur OffsetAffects the sharpness or blurriness of the map without regard to its distance from the
object. Use Blur Offset when you want to soften or defocus the details in a map to achieve the effect
of a blurred image.
BlurAffects the sharpness or blurriness of the generated map based on its distance from the
object. The farther away the map is, the greater the blurring. Blur is primarily used to avoid aliasing.
It's a good idea to use a small amount of blurring for all maps in order to avoid the scintillation or
aliasing that can occur when pixel details are reduced off in the distance. Default=1.
Atmosphere Ranges group
If your scene contains environmental Fog, the cubic maps must have near and far range settings to
properly render the fog from the point of view of the object assigned the material. The Near and Far
spinners in this group let you specify a fog range relative to the object.
NearSets the near range for fog.
FarSets the far range for fog.
Get From CameraUses the Near and Far atmosphere range settings of a camera in the scene.
Click this option, and then select the camera.
These values aren't dynamically linked to the camera object. They are simply copied from the
camera's range values at the time you click the camera. If the camera's range values later change,
the map's Near and Far values remain the same.
Automatic group
This controls are active only when Automatic is the active source for the Reflect/Refract maps.
First Frame OnlyTells the renderer to create automatic maps only on the first frame.
Every Nth FrameTells the renderer to create animated auto maps based on the frame rate set by
the spinner.
From File group
These controls are active when From File is active as the Reflect/Refract source. Here you assign the
six bitmaps to be used as the cubic maps.

Reflect/Refract Map
Up / Down / Left / Right / Front / BackAssigns one of the six cubic maps. If the map is one of
a set of six with the correct file name, all six are loaded.
If the map doesn't follow file naming conventions, or you assign it to a button of a different position
(_UP to Front, for example), only that map is assigned. You must assign the others manually.
ReloadReloads the assigned maps and updates the sample slot.
You can edit one or more of the cubic maps using a paint program, then click Reload to update the
material and the scene.
Render Cubic Map Files group
To FileChoose a file name for the Up map (_UP).

Pick Object and Render MapsActive when you choose a file. Click to turn on, then select the
mapped object to render the six cubic maps. Assign the cubic maps to the six From File buttons.
Comments

Reflection Mapping
Reflection Mapping
Material Editor > Standard material > Maps rollout > Reflection button
Reflection created by mapping
You can select a bitmap file or procedural map to use as a reflection map.
You can create three kinds of reflection: basic reflection maps, automatic reflection maps, and flat-
mirror reflection maps.
A basic reflection map creates the illusion of chrome, glass, or metal by applying a map to the
geometry so that the image looks like a reflection on the surface.
An automatic reflection map uses no mapping at all, but looks outward from the center of the
object, and maps what it sees onto the surface.
Another way to generate reflections automatically is to assign a Raytrace map to be the reflection
map.
A flat-mirror reflection map is applied to a series of coplanar faces and reflects objects facing it,
exactly like a real mirror.
Reflection maps don't need mapping coordinates because they're locked to the world, not to the
geometry. The illusion of a reflection is created because the map doesn't move with the object,
but with changes in the view, as do real reflections.
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Reflection Mapping
The most common use of reflection maps in a realistic scene is to add just a touch of reflection to an
otherwise non-reflective surface. By default, reflection map strength is 100 percent, as it is for other
maps. For many kinds of surfaces, however, reducing the strength gives the most realistic result. A
polished table top, for example, primarily shows a wood grain; the reflections are secondary.
Reflection maps look more realistic if you increase the Glossiness and Specular Level values in the
Basic Parameters rollout. They are also affected by the diffuse and ambient color values. The darker
the color, the stronger the mirror effect.
Even when the Amount spinner is at 100, the reflection map is tinted by the ambient, diffuse, and
specular colors.
In metal materials, the Diffuse color tints the reflection map. Specifically, the color from the
reflection map is multiplied by the diffuse color (including a diffuse map, if one exists). The value (in
the HSV description) of the diffuse color controls the reflection map intensity. If the diffuse color
value is 255, the reflection is at full intensity; if the value is 0, the map is not visible.
In non-metal materials, the Specular color multiplies only reflection maps. The value (in the HSV
description) of the specular color affects the reflection intensity. If the specular color value is 255,
the reflection is at full intensity; if the value is 0, the map is not visible.
Procedures
To create an automatic reflection:
1. In the Maps rollout, click the Map button labeled Reflection.
2. In the Material/Map Browser, choose the Reflect/Refract map type, and then click OK.
Adjusting the map's Strength slider in the parent material's Maps rollout controls how reflective
the material is. At 100 percent, the material is fully reflective.
To assign a bitmap as a reflection map:
1. In the Maps rollout, click the Map button labeled Reflection. In the Material/Map Browser,
double-click Bitmap.
2. In the Bitmap Parameters rollout, click the Bitmap button.
3. Use the file dialog to choose the bitmap file.
4. Reduce the Reflection map's Amount to get the effect you want.
Refractions are similar to reflections. Bitmaps simulate reflections, while Reflect/Refract maps
generate them based on the scene's background and geometry.

Reflection Mapping
Comments

Flat Mirror
Glossary
Flat Mirror
Flat mirror map reflects the ice-cream shop's interior.
If you want to create a flat, mirrored surface in a scene, such as a highly polished floor, you must
use a flat mirror reflection map.
Flat mirror reflection maps must be assigned to your geometry in a specific way, and work only on
flat surfaces.
When you use flat-mirror reflection maps, keep the following in mind:
The flat-mirror material must be assigned to connected, coplanar faces on a flat surface of the
object. If your flat-mirror reflection doesn't work, it's probably because non-coplanar faces have
been assigned the flat-mirror material. This can happen during the selection process, if one or more
non-coplanar faces are included in the selection set. It can also happen if you've already assigned
the same material elsewhere on the object (coplanar faces are two or more adjacent faces that are
on the same two-dimensional plane, such as the surface of a floor).
If you want to reflect in multiple planes of the same object, detach each plane into a separate object
before you assign the material.
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Flat Mirror
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NURBS Curves
NURBS Curves
Create panel > Shapes button > NURBS Curves
NURBS curves are Shape objects, and you can use them as you do splines. You can use the Extrude
or Lathe modifiers to generate a 3D surface based on a NURBS curve. You can use NURBS curves as
the path or the shape of a loft. (Lofts created using NURBS curves are loft objects, not NURBS
objects.)
You can also use NURBS curves as Path Constraint and Path Deform paths or as motion trajectories.
You can assign thickness to a NURBS curve so it renders as a cylindrical object. (The thickened curve
renders as a polygonal mesh, not as a NURBS surface.)
A curve and the same curve rendered with thickness
There are two kinds of NURBS curve objects:

Point Curve
CV Curve
Like other Shape objects, NURBS curves can contain multiple sub-objects, which are either
dependent or independent.
Creating Curve Sub-Objects
Creating Surface Sub-Objects
Creating and Editing Point Sub-Objects
Common Sub-Object Controls
Editing Point Sub-Objects
Editing Curve CV Sub-Objects
Editing Surface CV Sub-Objects
Editing Curve Sub-Objects
Editing Surface Sub-Objects
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NURBS Curves
Note: Like an object-level NURBS surface, an object-level NURBS curve is a top-level NURBS model
that can contain NURBS curve, NURBS surface, and NURBS point sub-objects. A NURBS curve
remains a Shape object unless you add a surface sub-object to it; if you do, it converts to a NURBS
surface (without changing its name).
Creating Independent Surfaces from NURBS Curve Objects
You can also create NURBS curve sub-objects by attaching or importing other objects such as other
NURBS curves or spline shapes.
Attaching and Importing 3ds max Objects
Display Controls for NURBS Models
Both NURBS curves and NURBS surfaces have a Display area in the Modify panel. These controls
affect which portions of the NURBS geometry are displayed. Next to the Display area is the button
that turns on the toolbox for creating sub-objects.
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Point Curve
Point Curve
Create panel > Shapes button > NURBS Curves > Point Curve button
Create menu > NURBS > Point Curve
Points lie on the curve they define.
Point curves are NURBS curves whose points are constrained to lie on the curve.
A point curve can be the basis of a full NURBS model.
Drawing Three-Dimensional Curves
When you create a point curve, you can draw it in three dimensions. There are two ways to do this:
Draw In All Viewports: This toggle lets you use any viewport to draw the curve, enabling you to
draw three dimensionally.
Using CTRL to drag points: While you draw a curve, you can use the CTRL key to drag a point off
of the construction plane.
With the CTRL key method, further mouse movement lifts the latest point off the construction plane.
There are two ways to use CTRL:
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Point Curve
Click-drag. If you hold down CTRL and also hold down the mouse button, you can drag to change
the height of the point. The point's location is set when you release the mouse button.
This method is probably more intuitive.
Click-click. If you CTRL+click and then release the mouse button, the height changes as you drag
the mouse. Clicking the mouse a second time sets the point's location.
This method is less prone to repetitive stress injury.
While you are offsetting the point, a red dotted line is drawn between the original point on the
construction plane and the actual point offset from the plane. You can move the mouse into an
inactive viewport, in which case the software sets the height of the point using the point's Z axis in
the inactive viewport. This lets you set the height of the point with accuracy.
Snaps also work when you change the height of a point. For example, if you turn on Point snapping,
you can set a point to have the same height as another point by snapping to that other point in an
inactive viewport.
Procedure
To create a NURBS point curve:
1. Go to the Create panel.
2. Turn on Shapes, and choose NURBS Curves from the drop-down list.
3. Turn on Point Curve.
4. In a viewport, click and drag to create the first point, as well as the first curve segment.
Release the mouse button to add the second point. Each subsequent location you click adds a
new point to the curve. Right-click to end curve creation.
Note: If you begin the curve by clicking without dragging, this also creates the curve's first
point. However, if you release the mouse button more than five pixels away from where you
initially pressed it, this creates an additional point.
While you are creating a point curve, you can press BACKSPACE to remove the last point you
created, and then previous points in reverse order.
If Draw In All Viewports is on, you can draw in any viewport, creating a 3D curve.
To lift a point off the construction plane, use the CTRL key as described earlier in this topic
under "Drawing Three-Dimensional Curves."
As with splines, if you click over the curve's initial point, a Close Curve dialog is displayed. This
dialog asks whether you want the curve to be closed. Click No to keep the curve open or Yes to
close the curve. (You can also close a curve when you edit it at the Curve sub-object level.)
When a closed curve is displayed at the Curve sub-object level, the initial point is displayed as

Point Curve
a green circle, and a green tick mark indicates the curve's direction.
5. Adjust the curve's creation parameters.
6. (Optional.) To add a new NURBS curve sub-object, you can turn off the Start New Shape check
box, and then repeat the preceding steps.
Interface
The creation parameters are the same for both point curves and CV curves.
Rendering rollout
Lets you turn on and off the renderability of the curve, specify its thickness in the rendered scene,
Render parameters can be animated. For example, you can animate the number of sides.
ViewportTurn on and set viewport thickness, sides, and angles. Available only when both Display
Render Mesh and Use Viewport Settings are turned on.
RendererTurn on and set renderer thickness, sides, and angles.
ThicknessSet this to specify the diameter of the viewport or rendered spline. Default=1.0.
Range=0.0 to 100,000,000.0.

Point Curve
AngleAdjust the rotational position of the cross-section in the viewports or renderer. For example,
if you have a square cross section you can use Angle to position a "flat" side down.
Generate Mapping CoordsTurn this on to apply mapping coordinates. The U coordinate wraps
once around the thickness of the spline; the V coordinate is mapped once along the length of the
spline. Tiling is achieved using the tiling parameters in the material itself.
Use Viewport SettingsDisplays the mesh generated by the Viewport settings.
The Keyboard Entry rollout lets you create a NURBS curve by typing. Use the TAB key to move
between the controls in this rollout. To click a button from the keyboard, press ENTER while the
button is active.
X, Y, and ZLet you enter the coordinates of the next point to add.
Add PointAdds the point to the curve.
CloseEnds creation of the curve and creates a segment between the last point and the initial point
to close the curve.
FinishEnds creation of the curve, leaving it open.
Create Point Curve rollout

Point Curve
This rollout contains the controls for curve approximation.
Interpolation group
The controls in this group box change the accuracy and type of curve approximation used to
generate and display the curve.
Draw In All ViewportsLets you use any viewport while you are drawing the curve. This is one
way to create a 3D curve. When off, you must finish drawing the curve in the viewport where you
began it. Default=on.
While Draw In All Viewports is on, you can also use snaps in any viewport.
Comments

Point Curve: Close Curve Dialog
Point Curve: Close Curve Dialog
Create panel > Shapes button > Point Curve button > In viewports, draw a point curve and click to
create a point in the same location as the first point in the curve.
Modify panel > Select NURBS object. > NURBS toolbox > Create Point Curve > In viewports, draw
a point curve sub-object and click to create a point in the same location as the first point in the
curve.
This dialog lets you create a closed point curve when you click to create a point in the same location
as the curve's first point.
Interface
YesCloses the curve and ends curve creation.

NoKeeps the curve open and does not end curve creation.
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Curve Approximation
Curve Approximation
Modify panel > Select top-level NURBS object. > Curve Approximation rollout
Although NURBS curves are analytically generated, in order to generate and display them they must
be approximated by line segments.
Curve approximation controls are displayed in the creation parameters for curve objects, and on a
Curve Approximation rollout for NURBS models (top-level NURBS objects). At the model level,
approximation controls affect all curve sub-objects in the model.
Curve approximation is accomplished by segments. One or more line segments, or steps, are used to
approximate each segment of the curve. For point curves, a segment of a curve is the portion
between one point and the next. For CV curves, the segment is determined by the CVs parametric
knot. The transition from one CV curve segment to another isnt visible in viewports.
Curve approximation parameters aren't animatable.
Interface
StepsThe maximum number of line segments used to approximate each curve segment. If the
curve displays or renders with angles, increase this value. This control is unavailable when Adaptive
is on. Range=1 to 100.
OptimizeTurn on this check box to optimize the curve. When on, interpolation uses the specified
Steps value unless two segments are collinear, in which case they are converted to a single
segment. This control is unavailable when Adaptive is on.
Adaptive(The default.) Segments the curve adaptively, based on its curvature. In other words,
the curve is assigned more segments where its curvature is greatest, and fewer segments where its
curvature is less.
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Knot
Glossary
Knot
A value in an array or "knot vector" associated with a NURBS curve. The knots specify the region of
influence of the CVs on the curve. You can't see or directly alter knots.
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CV Curve
CV Curve
Create panel > Shapes button > NURBS Curves > CV Curve button
Create menu > NURBS > CV Curve
CVs shape the control lattice that defines the curve.
CV curves are NURBS curves controlled by control vertices (CVs). The CVs don't lie on the curve.
They define a control lattice that encloses the curve. Each CV has a weight that you can adjust to
change the curve.
While you're creating a CV curve you can click to create more than one CV at the same location (or
close to it), increasing the influence of the CVs in that region of the curve. Creating two coincident
CVs sharpens the curvature. Creating three coincident CVs creates an angular corner in the curve.
This technique can help you shape the curve; however, if you later move the CVs individually, you
lose this effect. (You can also obtain the influence of multiple CVs by fusing CVs.)
A CV curve can be the basis of a full NURBS model.
Drawing Three-Dimensional Curves
When you create a CV curve, you can draw it in three dimensions. There are two ways to do this:
Draw In All Viewports: This toggle lets you use any viewport to draw the curve, enabling you to
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CV Curve
draw three dimensionally.
Using CTRL to drag CVs: While you draw a curve, you can use the CTRL key to drag a CV off of
the construction plane.
With the CTRL key method, further mouse movement lifts the latest CV off the construction plane.
There are two ways to use CTRL:
Click-drag. If you hold down CTRL and also hold down the mouse button, you can drag to change
the height of the CV. The CV's location is set when you release the mouse button.
This method is probably more intuitive.
Click-click. If you CTRL+click and then release the mouse button, the height changes as you drag
the mouse. Clicking the mouse a second time sets the CV's location.
This method is less prone to repetitive stress injury.
While you are offsetting the CV, a red dotted line is drawn between the original CV on the
construction plane and the actual CV offset from the plane. You can move the mouse into an inactive
viewport, in which case the software sets the height of the CV using the CV's Z axis in the inactive
viewport. This lets you set the height of the CV with accuracy.
Snaps also work when you change the height of a CV. For example, if you turn on CV snapping, you
can set a CV to have the same height as another CV by snapping to that other CV in an inactive
viewport.
Procedure
To create a NURBS CV curve:
2. Turn on Shapes, and choose NURBS Curves from the drop-down list.
3. Turn on CV Curve.
4. In a viewport, click and drag to create the first CV, as well as the first curve segment. Release
the mouse to add the second CV. Each subsequent location you click adds a new CV to the
curve. Right-click to end curve creation.
Note: If you begin the curve by clicking without dragging, this also creates the curve's first CV.
However, if you release the mouse more than five pixels away from where you initially pressed
it, this creates an additional CV.
While you are creating a CV curve, you can press BACKSPACE to remove the last CV you
created, and then previous CVs in reverse order.

CV Curve
If Draw In All Viewports is on, you can draw in any viewport, creating a 3D curve.
To lift a CV off the construction plane, use the CTRL key as described earlier in this topic under
"Drawing Three-Dimensional Curves."
As with splines, if you click over the curve's initial CV, a Close Curve dialog is displayed. This
dialog asks whether you want the curve to be closed. Click No to keep the curve open or Yes to
close the curve. (You can also close a curve when you edit it at the Curve sub-object level.)
When a closed curve is displayed at the Curve sub-object level, the initial CV is displayed as a
green circle, and a green tick mark indicates the curve's direction.
5. Adjust the curve's creation parameters.
6. (Optional.) To add a new NURBS curve sub-object, you can turn off the Start New Shape check
box, and then repeat the preceding steps.
Interface
The creation parameters are the same for both point curves and CV curves.
Rendering rollout
Lets you turn on and off the renderability of the curve, specify its thickness in the rendered scene,
Render parameters can be animated. For example, you can animate the number of sides.
ViewportTurn on and set viewport thickness, sides, and angles. Available only when both Display
Render Mesh and Use Viewport Settings are turned on.
Range=0.0 to 100,000,000.0.

CV Curve
AngleAdjust the rotational position of the cross-section in the viewports or renderer. For example,
if you have a square cross section you can use Angle to position a "flat" side down.
Use Viewport SettingsDisplays the mesh generated by the Viewport settings.
The Keyboard Entry rollout lets you create a NURBS curve by typing. Use the TAB key to move
between the controls in this rollout. To click a button from the keyboard, press ENTER while the
button is active.
X, Y, and ZLet you enter the coordinates of the next CV to add.

Add PointAdds the CV to the curve.
WeightEnter a weight for the CV.
CloseEnds creation of the curve and creates a segment between the last CV and the initial CV, to
make the curve a closed curve.

CV Curve
FinishEnds creation of the curve, leaving it open ended.
Create CV Curve rollout
This rollout contains the controls for curve approximation.
Interpolation group
The controls in this group box change the accuracy and kind of curve approximation used to
generate and display the curve.
Draw In All ViewportsLets you use any viewport while you are drawing the curve. This is one
way to create a 3D curve. When off, you must finish drawing the curve in the viewport where you
began it. Default=On.
While Draw In All Viewports is on, you can also use snaps in any viewport.
Automatic Reparameterization group
The controls in this group box let you specify automatic reparameterization. They are similar to the
controls in the Reparameterize dialog, with one addition: all choices except for None tell the software
to reparameterize the curve automatically; that is, whenever you edit it by moving CVs, refining,
and so on.
NoneDo not reparameterize automatically.
Chord LengthChooses the chord-length algorithm for reparameterization.
Chord-length reparameterization spaces knots (in parameter space) based on the square root of the
length of each curve segment.
Chord-length reparameterization is usually the best choice.
UniformSpaces the knots uniformly.
A uniform knot vector has the advantage that the curve or surface changes only locally when you
edit it. With the other two forms of parameterization, moving any CV can change the entire sub-

CV Curve
object.
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Control Lattice
Glossary
Control Lattice
Control lattice surrounding the NURBS model of the fountain basin
In NURBS modeling, the lattice described by the CVs that specify a CV Curve or CV Surface. In
viewports, this appears as a dotted yellow framework when you edit the curve or surface at the CV
sub-object level. You can also choose to display the control lattice in viewports at all times.
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Fusing
Glossary
Fusing
Fused points behave as a single point or CV until you unfuse them. Fusing points does not combine
the two point objects or CV sub-objects. They are connected but remain distinct sub-objects that you
can unfuse later.
Fused CVs behave much like a single point, but the property of multiplicity for coincident CVs also
applies. The fused CVs have proportionally more influence on the curve, which can become more
sharply curved in the fused CVs' vicinity, or even angular if more than two CVs are fused together.
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CV Curve: Close Curve Dialog
CV Curve: Close Curve Dialog
Create panel > Shapes button > CV Curve button > In viewports, draw a CV curve and click to
create a CV in the same location as the first CV in the curve.
Modify panel > Select NURBS object. > NURBS toolbox > Create CV Curve > In viewports, draw a
CV curve sub-object and click to create a CV in the same location as the first CV in the curve.
This dialog lets you create a closed CV curve when you click to create a CV in the same location as
the curve's first CV.
Interface
YesCloses the curve and ends curve creation.

NoKeeps the curve open and does not end curve creation.
Comments
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Reparameterize Dialog
Modify panel > Select NURBS object. > Stack display > Curve sub-object level > Select an
independent CV curve sub-object. > CV Curve rollout > Reparam. button
Modify panel > Select NURBS object. > Stack display > Curve sub-object level > Select an
independent CV surface sub-object. > CV Surface rollout > Reparam. button
The Reparam. button for CV curves and surfaces displays this dialog. Reparameterizing a CV sub-
object changes its parameter space to provide a better relation between control point locations and
the shape of the sub-object.
Tip: It is a good idea to reparameterize after you have added CVs to a curve or surface by refining or
inserting.
Interface

edit it. With chord-length parameterization, moving any CV can potentially change the entire sub-
object.
Maintain ParameterizationWhen on, the curve is automatically reparameterized as you edit it,
using the currently active method of reparameterization. When off, no reparameterization happens
unless you use this dialog. Default=off.
PreviewIf on (the default), displays the effects of reparameterizing in viewports.
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Parameter Space
Glossary
Parameter Space
In addition to their existence in 3D space, NURBS objects have a parameter space that includes the
array of knot values. NURBS curves have a single U dimension in parameter space. NURBS surfaces
have two dimensions, UV, in parameter space.
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Select NURBS object. > Modify panel > Create Curves rollout
Select NURBS object. > Modify panel > NURBS toolbox
Keyboard > CTRL+T to toggle NURBS toolbox display (Plug-In Keyboard Shortcut Toggle must be
on)
Curve sub-objects are either independent point and CV curves (similar to the top-level point and CV
curves described in Point Curve and CV Curve), or they are dependent curves. Dependent curves are
curve sub-objects whose geometry depends on other curves, points, or surfaces in the NURBS
object. When you change the geometry of the original, parent sub-objects, the dependent curve
changes as well.
You create curve sub-objects using the Create Curves rollout on the Modify command panel for a
NURBS curve.
Tip: Lathe and extrude surface sub-objects can be based on only a single curve; see Creating
Dependent Surfaces. If you create dependent curves and then want to use the set of curves (for
example, two parents and a fillet between them) as the basis of an extrude or loft surface, first go to
the Curve sub-object level and use Join to connect the curves.
Creation operations for dependent sub-objects require you to select one or more parent objects. In
general, you can click and drag, or click and then click again. You can also use the H keyboard
shortcut to display a select-by-name dialog for choosing the parent. (The Plug-In Keyboard Shortcut
Toggle button on the status bar must be turned on for H to work this way.)
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Toolbox Buttons for Creating Curves
These are the toolbox buttons for creating curve sub-objects:
Create an independent CV curve sub-object.
Create an independent point curve sub-object.
Create a dependent fit curve (as with the Curve Fit button).
Create a dependent transform curve.
Create a dependent blend curve.
Create a dependent offset curve.
Create a dependent mirror curve.
Create a dependent chamfer curve.
Create a dependent fillet curve.
Create a dependent surface-surface intersection curve.
Create a dependent U iso curve.
Create a dependent V iso curve.
Create a dependent normal projected curve.
Create a dependent vector projected curve.
Create a dependent CV curve on surface.
Create a dependent point curve on surface.
Create a dependent surface offset curve.
Create a dependent surface edge curve.

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Select NURBS object. > Modify panel > Create Surfaces rollout
Select NURBS object. > NURBS toolbox
Keyboard > CTRL+T to toggle NURBS toolbox display (Keyboard Shortcut Override Toggle must be
on.)
Surface sub-objects are either independent point and CV surfaces (like the top-level point and CV
surfaces described in Point Surface and CV Surface), or they are dependent surfaces. Dependent
surfaces are surface sub-objects whose geometry depends on other surfaces or curves in the NURBS
model. When you change the geometry of the original, parent surface or curve, the dependent
surface changes as well.
You create surface sub-objects using the Create Surfaces rollout on the Modify panel for a NURBS
surface, or using the NURBS toolbox.
Tip: Lathe and extrude surface sub-objects can be based on only a single curve. If you have
dependent curves and want to use the set of curves (for example, two parents and a fillet between
them) as the basis of an extrude or lathe surface, first go to the Curve sub-object level and use Join
to connect the curves.
Tip: Creation operations for dependent sub-objects require that you select one or more parent
objects. In general, you can click and drag, or click and then click again. You can also use the H
keyboard shortcut to display a select-by-name dialog for choosing the parent. (The Keyboard
Shortcut Override Toggle button on the status bar must be turned on for H to work this way.)
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Toolbox Buttons for Creating Surfaces
These are the toolbox buttons for creating surface sub-objects:
Create an independent CV surface sub-object.
Create an independent point surface sub-object.
Create a dependent transform surface.
Create a dependent blend surface.
Create a dependent offset surface.
Create a dependent mirror surface.
Create a dependent extrude surface.
Create a dependent lathe surface.
Create a dependent ruled surface.
Create a dependent cap surface.
Create a dependent U loft surface.
Create a dependent UV loft surface.
Create a dependent 1-rail sweep surface.
Create a dependent 2-rail sweep surface.
Create a dependent multisided blend surface.
Create a dependent multicurve trimmed surface.
Create a dependent fillet surface.

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Using the NURBS Toolbox to Create Sub-Objects
Modify panel > Select NURBS object. > General rollout > NURBS Creation Toolbox button
Keyboard > CTRL+T (Keyboard Shortcut Override Toggle must be on.)
Besides using rollouts at the NURBS object level, you can use the NURBS toolbox to create sub-
objects.
Interface
Toolbox for NURBS objects
The toolbox contains buttons for creating NURBS sub-objects. In general, the toolbox behaves like
this:
While the button is turned on, the toolbox is visible whenever a NURBS object or sub-object is
selected and you are on the Modify panel. It disappears whenever you deselect the NURBS object
or make a different panel active. When you return to the Modify panel and select a NURBS object,
it reappears.
You can use the toolbox to create sub-objects from either the top, object level, or from any
NURBS sub-object level.
When you turn on a toolbox button, you go into creation mode, and the Modify panel changes to
show the parameters (if there are any) for the kind of sub-object you are creating.
Other NURBS rollouts aren't displayed while you create the new sub-object. This differs from
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using the NURBS object's Create rollouts or the NURBS right-click menu.
If you are at the top, object level and use the toolbox to create a sub-object, you must then go to
the sub-object level to edit the new sub-object. (This is the same as using the buttons on the
rollouts.)
If you are at a sub-object level and use the toolbox to create an object of the same sub-object
type, you can edit it immediately after you turn off the create button (or right-click to end object
creation).
If you are at a sub-object level and use the toolbox to create an object of a different sub-object
type, you must change to that sub-object level before you can edit the new sub-object.
The individual creation buttons are described in these topics:

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Quad Menu for NURBS Objects

While a NURBS object is selected, the quad menu displays two quadrants that are specifically for
NURBS editing.
Quad menu for modifying NURBS models Tools 1 (upper-left) quadrant
Tools 1 (upper-left) Quadrant
These options are general display and sub-object level shortcuts.

Transform DegradeToggles Degradation Override.
Display Shaded Lattice, Display Lattices, Display Surfaces, and Display CurvesSee Display
Controls for NURBS Models.
Sub-objectsDisplays a sub-menu that is an additional way to change the sub-object level.
Tools 2 (lower-left) Quadrant
These options are creation and editing shortcuts.

Create CV Surface, Create CV Curve, Create Point Surface, Create Point CurveThese create
a new NURBS sub-object.
Insert CV Row, Insert CV Column, Refine CV Curve, Refine CV RowThese add CVs to a CV
Surface sub-object by inserting or refining. For the difference between inserting and refining, see
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Editing Surface CV Sub-Objects. See NURBS Concepts for more information about refining.
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Adaptive Degradation Toggle
Adaptive Degradation Toggle
Views menu > Adaptive Degradation Toggle
Keyboard > O (the letter O)
When on (the default), Adaptive Degradation Toggle supersedes the adaptive degradation that can
occur when you transform geometry, change the view, or play back an animation in a shaded
viewport. In this case, the geometry remains shaded even if that slows down viewport display and
animation playback. Animation playback might drop frames if the graphics card cannot display
frames in real time.
Turn off Degradation Toggle if you have large models you need to navigate around and if you are
finding performance sluggish.
You can change the display option, and set other adaptive degradation parameters, in the Viewport
Configuration dialog (Customize menu > Viewport Configuration > Adaptive Degradation panel).
Note: When you use arc rotate in a shaded viewport while Adaptive Degradation is off, objects
degrade to bounding boxes regardless of the adaptive degradation settings.
Procedures
To turn off or override adaptive degradation, do one of the following:
Choose Views menu > Adaptive Degradation Toggle.
Press O (the letter O).
To change the level of adaptive degradation in the viewport:
1. Right-click the viewport label and choose Configure, or choose Customize > Viewport
Configuration.
2. On the Viewport Configuration dialog, open the Adaptive Degradation panel.
3. Adjust settings in the General and Active Degradation group boxes.
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Adaptive Degradation
Glossary
Adaptive Degradation
Adaptive degradation changes the display in shaded viewports so the display can keep up with the
current operation. For example, while you are zooming a viewport, the display might change from
shaded to boxes during the zoom operation, then change back to a shaded display when you have
finished zooming.
The Degradation Override Toggle, when turned on, causes viewport display to degrade according to
settings on the Adaptive Degradation tab of the Viewport Configuration dialog. When the Adaptive
Degradation toggle is turned off, viewports retain their display settings at all times, but operations
such as zooming or animation playback cause a slow screen refresh rate. In this state, animation
playback might have to drop frames to keep up with real-time playback.
You can set the parameters that control the trade-off between display quality and display speed. The
selected levels determine which rendering levels the software falls back to when it cannot maintain
the desired display speed. You can choose as many levels as you want, but you are advised to
choose only one or two levels for each type of degradation.
Note: When you use Arc Rotate in a shaded viewport while Adaptive Degradation Override is off,
objects degrade to bounding boxes regardless of the adaptive degradation settings.
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Customize menu > Viewport Configuration > Viewport Configuration dialog > Adaptive
Degradation tab
Right-click a viewport label. > Configure > Viewport Configuration dialog > Adaptive Degradation
tab
You adjust the adaptive viewport redraw methods on the Adaptive Degradation panel of the Viewport
Configuration dialog. The adaptive degradation settings are saved with your .max file.
Interface
General Degradation and Active Degradation groups
Select the boxes in each column to indicate the rendering modes to step through during necessary
degradation. Those selected in the General Degradation column affect all inactive viewports, while
those selected in the Active Degradation column affect only the active viewport.
Degrade Parameters group
Maintain FPSLets you set the frame rate in frames per second that adaptive display will attempt
to maintain.
Reset on Mouse UpResets the rendering level as the mouse is released. If turned on, the
program tries rendering levels, selected in the degradation settings, to achieve optimal quality while
still maintaining the playback rate. If turned off, the rendering level immediately drops to the
previous minimum.
Show rebuild cursorDisplays a cursor to show when the viewport rendering level is being
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recalculated.
Interrupt Settings group
Update TimeSets the interval between updates during viewport rendering. At each interval, a new
section of the rendering is drawn on screen. If set to 0, nothing is drawn until the rendering is
complete.
Interrupt TimeSets the interval between times when the program checks for a mouse-down
event during viewport rendering. Small values free the mouse more quickly, so you can use the
mouse elsewhere without waiting for it to "wake up."
To override adaptive degradation, turn off the Degradation Override button on the prompt line. Press
O (letter "o") to turn off adaptive degradation, and press O (letter "o") again to turn it back on.
This is handy when you're adjusting lights and want to see their effect, real time, in a shaded
viewport. Or you might be adjusting the camera and need to see complex geometry exactly as it is.
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Modify panel > Select NURBS object. > General rollout > Display group, Surface Display group,
and NURBS Creation Toolbox button
Modify panel > Select NURBS object. > Right-click in viewport. > Display commands on the Tools 1
(upper-left) quadrant of the quad menu
The check boxes on the General rollout for a NURBS curve or surface control how the object is
displayed in viewports. If all check boxes are turned off, the NURBS object is invisible (except for the
white bounding-box indicators displayed in shaded viewports when the object is selected).
An additional rollout, Display Line Parameters, contains controls for how surfaces display in
viewports.
Interface
Display group
LatticesWhen on, displays control lattices in yellow lines. (You can change the lattice color using
the Colors panel of the Customize User Interface dialog.) The Curve CV and Surface CV sub-object
levels also have a local Display Lattice toggle, which overrides this global setting at the sub-object
level. The Curve CV and Surface CV settings are independent. In other words, at the sub-object level
you can turn on the lattice for an objects curves but not its surfaces, or vice versa.
Keyboard shortcut (while Keyboard Shortcut Override Toggle is turned on): CTRL+L
At the object level, this shortcut is equivalent to turning Lattice on or off. At the sub-object level,
CTRL+L overrides the setting of Lattice, toggling the local Display Lattice setting.
CurvesWhen on, displays curves.
Keyboard shortcut (while Keyboard Shortcut Override Toggle is turned on): CTRL+SHIFT+C
SurfacesWhen on, displays surfaces.
Keyboard shortcut (while Keyboard Shortcut Override Toggle is turned on): CTRL+SHIFT+S
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DependentsWhen on, displays dependent sub-objects.

Keyboard shortcut (while Keyboard Shortcut Override Toggle is turned on): CTRL+D
Surface TrimsWhen on, displays surface trimming. When turned off, displays the entire surface,
even if its trimmed.
Keyboard shortcut (while Keyboard Shortcut Override Toggle is turned on): CTRL+SHIFT+T
Transform DegradeWhen turned on, transforming a NURBS surface can degrade its display in
shaded viewports, to save time. This is similar to the Degradation Override button for playing
animations. You can turn off this toggle so surfaces are always shaded while you transform them,
but transforms can take longer.
Keyboard shortcut (while Keyboard Shortcut Override Toggle is turned on): CTRL+X
Tip: You can toggle CTRL+X during a transform, as well as before you begin the transform.
NURBS Creation ToolboxTurn on to display the NURBS sub-object creation toolbox. See
Using the NURBS Toolbox to Create Sub-Objects.
Keyboard shortcut (while Keyboard Shortcut Override Toggle is turned on): CTRL+T
Surface Display group
This group box, for surfaces only, lets you choose how to display surfaces in viewports.
Tessellated MeshWhen chosen, NURBS surfaces display as fairly accurate tessellated meshes in
shaded viewports. In wireframe viewports, they appear as either iso curves or wire meshes,
depending on the settings you've chosen on the Display Line Parameters rollout.
Shaded LatticeWhen chosen, NURBS surfaces appear as shaded lattices in shaded viewports.
Wireframe viewports display the surface's lattice without shading. A shaded lattice shades the CV
control lattice of the NURBS surface. This displays more quickly than a tessellated mesh. The
shading is not accurate. It gives you a fairly good idea of lofts, but is less accurate for free-form
surfaces. The shading is always as large or larger than the actual surface, because of the convex hull
property.
Shaded lattice display doesn't show surface trimming or texture mapping.
Tip: Shaded Lattice is a good option to choose when you use the modifier stack with nonrelational
NURBS surfaces.
Keyboard shortcut: ALT+L
(You can use this keyboard shortcut without having to turn on the Keyboard Shortcut Override
Toggle.)

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Display Line Parameters for NURBS Surfaces
Select NURBS object. > Modify panel > Display Line Parameters rollout
These parameters are contained on a single rollout at the top level of a NURBS object.
Interface
U Lines and V LinesThe number of lines used to approximate the NURBS surface in viewports,
along the surface's local U and V dimensions, respectively. Reducing these values can speed up the
display of the surface, but reduce accuracy of the display. Increasing these values increases
accuracy at the expense of time. Setting one of these values to 0 displays only the edge of the
object in the corresponding dimension.
Iso and mesh displays of a NURBS teapot
Iso OnlyWhen chosen, all viewports display iso line representations of the surface. Iso
(parametric) lines are similar to contour lines. The lines show where the NURBS surface has a
constant U value or V value or both. Iso line representations can be less crowded and easier to
visualize than wire mesh representations.
Iso and Mesh(The default.) When chosen, wireframe viewports display iso line representations of
the surface, and shaded viewports display the shaded surface.
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Mesh OnlyWhen chosen, wireframe viewports display the surface as a wire mesh, and shaded
viewports display the shaded surface. In wireframe viewports, this option lets you see the surface
approximation used for viewports.
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Iso Line
Glossary
Iso Line
Iso lines on a NURBS surface
Iso is short for isoparametric.

In NURBS modeling, a line of constant parameter value, similar to a contour line. You can use iso
lines to display a NURBS surface. You can also create dependent NURBS curves based on a surface's
U-dimension or V-dimension iso lines.
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Surface Approximation
Modify panel > Select top-level NURBS object. > Surface Approximation rollout
Modify panel > Select NURBS surface sub-object. > Surface Approximation rollout
Although NURBS surfaces are analytically generated, in order to generate and display them they
must be approximated by faces. You use the controls described in this section to set the type of
approximation used and its parameters.
The Surface Approximation rollout controls how surface sub-objects in the NURBS model are
approximated for purposes of rendering and viewport display. NURBS can be approximated
differently in viewports and in the renderer. Typically you want viewport display to be clear and
quick, while you want rendered display to be smooth, accurate, and "realistic." However, the
approximation you choose for viewports creates a mesh, and the kind of mesh you choose can affect
the behavior of modifiers that you later apply to the NURBS model.
The first two controls on this rollout are radio buttons for selecting the kind of display output,
viewport or renderer, these parameters control.
Surface approximation parameters are not animatable.
Note: If the size or shape of a surface changes over time, the tessellation used to approximate it can
change (automatically) as well. This has the advantage of improving render time in animations. It
has the disadvantage that you can't apply image motion blur to NURBS objects whose tessellation
changes during animation. The Regular method of tessellation is the exception: it doesn't change
when animated, so you can use image motion blur with Regular tessellation.
Surface Approximation Per Surface
By default, surface sub-objects use the same approximation settings as the top-level NURBS model.
You can override these settings. Each surface sub-object now has a Surface Approximation rollout of
its own. The controls on this rollout are disabled unless you turn off the Lock to Top Level toggle.
With this toggle turned off, you can choose approximation settings specific to this surface sub-
object.
Interface
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Tessellation group
ViewportsWhen chosen, the rollout affects how surfaces in the NURBS object are displayed
interactively in viewports, including shaded viewports, and by the preview renderer.
The Viewports surface settings are also used when you apply a mesh modifier such as Mesh Select to
the NURBS object. This is important because the modifier can affect the scene's geometry.
RendererWhen chosen, the rollout affects how surfaces in the NURBS object are displayed by the
renderer, and by the draft renderer for Quick Render.
The next cluster of buttons lets you choose which portions of the geometry are affected by the
surface approximation settings.
Base SurfaceSettings affect the entire surface. This is the default.
Surface EdgeTurn on to set approximation values for tessellating surface edges that are defined
by trim curves. With Lock turned off, the surface and edge tessellation values are independent of
each other.
For object-level surfaces, this is unavailable unless Lock (described below) is turned off.

Displaced SurfaceTurn on to set a third, independent approximation setting for surfaces that
have a displacement map applied to them. Available only when Renderer is chosen.
Using a preset approximation setting (in the Presets group box) should give you faster results for
displaced surfaces.
Lock(for object-level surfaces only) Locks the Base Surface settings to the Surface Edge settings.
In other words, surfaces and surface edges have a relational tessellation setting unless Lock is
turned off. Default=on.
Tessellation Presets group
Lets you choose a preset low, medium, or high quality surface approximation. While a preset is
chosen, the values it uses are displayed on the Tessellation Method rollout.
Preset values are saved in the 3dsmax.ini file. You can customize the preset values by using the
Surface Approximation utility.
LowSelects a (comparatively) low-quality surface approximation. These are the default values:
Viewports, Base Surface:
Method=Spatial and Curvature Edge=50.0 Distance=50.0 Angle=50.0 Merge=0.0 Advanced
Parameters > Minimum=0, Maximum=3
Renderer, Base Surface:
Renderer, Displaced Surface:
Method=Spatial and Curvature Edge=20.0 Distance=20.0 Angle=10.0 Merge=(Unavailable)
Advanced Parameters > Minimum=0, Maximum=2
Keyboard shortcut: ALT+1
Medium(The default for both viewports and rendering.) Selects a medium-quality surface
approximation. These are the default values:
Method=Spatial and Curvature Edge=10.0 Distance=10.0 Angle=4.0 Merge=(Unavailable) Advanced

HighSelects a high-quality surface approximation. These are the default values:

Method=Spatial and Curvature Edge=5.0 Distance=5.0 Angle=2.0 Merge=(Unavailable) Advanced
Note: The keyboard shortcuts for surface approximation presets don't require that the Keyboard
Shortcut Override Toggle be turned on. You can change the surface approximation of NURBS objects
by selecting them in a viewport, and then using ALT+1, ALT+2, or ALT+3. This works for sub-
objects as well, but the surface sub-object's Lock to Top Level toggle must be turned off.
Tessellation Method group
The controls in this group affect the display of the NURBS surface in viewports if you have chosen
Viewports above, or by the renderer if you have chosen Renderer above. You can choose between
five algorithms. Each approximates NURBS surfaces by tessellating them in a different way.
Generally speaking, if the preset values you have chosen give good results, you don't need to adjust
the controls on this rollout. Adjust them if you encounter problems with the preset alternative.
Tips
Viewport Tessellation: The tessellation method creates the mesh. If you modify the NURBS object
with Mesh Select, choose the method that gives the result you need. If you use modifiers heavily,
Spatial or Parametric might be better than Curvature, because of their regular tessellation.
Curvature-dependent tessellation can cause problems with some modifiers.
Renderer Tessellation: Spatial and Curvature usually obtains the most accurate rendering.
Curvature can be the more efficient choice when you render animated surfaces.
Lock to Top Level(for sub-object surfaces only) When turned on, the surface sub-object uses the
same surface approximation settings as the top-level NURBS model, and other controls on this
rollout are disabled. When turned off, you can set the sub-object approximation to differ from the
top-level model. Default=on.
RegularGenerates a fixed tessellation across the surface based on U Steps by V Steps. Increasing
these parameters increases accuracy at a cost of speed, and vice versa, but in general this can be
the quickest and least accurate way to approximate a NURBS surface. Very low values for U and V
Steps using the Regular method usually doesn't provide good results. Model complexity increases

slowly as U and V Steps values increase.
Regular mesh of the NURBS teapot
ParametricGenerates an adaptive tessellation based on U Steps by V Steps. Low values for U and
V Steps using the Parametric method often provide good results. Model complexity increases rapidly
as U and V Steps values increase, so take care when you switch from Regular, which generally
requires higher U and V values, to Parametric, where lower U and V values generally suffice.
For example, if you convert a teapot to NURBS and set the U and V steps to 15, the Regular method
generates 4470 faces but the Parametric method generates 204960 faces.
Parametric mesh of the NURBS teapot
SpatialGenerates a uniform tessellation made of triangular faces.

The Edge parameter specifies the maximum length of a triangular face in the tessellation. The value
is a percentage of the object's bounding box. Decreasing this value increases accuracy but increases
rendering time.
Spatial mesh of the NURBS teapot
Curvature(The default.) Generates a variable tessellation based on the curvature of the surface.
The tessellation has a finer grain where the surface is more curved. Changing surface curvature
dynamically changes the curvature tessellation.

The Distance parameter specifies how far the approximation can deviate from the actual NURBS
surface. Distance is a percentage of the diagonal of each surface's bounding box. Each surface in an
object is tessellated based on its size, independently of other surfaces. Scaling a surface doesn't
change its tessellation. Decreasing this value increases accuracy but increases rendering time. When
you set Distance to 0.0, the software ignores this parameter and uses the Angle to control accuracy.
The Angle parameter specifies the maximum angle between faces in the approximation. Decreasing
this value increases accuracy but increases rendering time. When you set Angle to 0.0, the software
ignores this parameter and uses Distance to control accuracy.
When both Distance and Angle are 0.0, the surfaces degenerate and can become flat surfaces.
Curvature mesh of the NURBS teapot
Spatial and CurvatureCombines the spatial (edge-length) method and the curvature (distance
and angle) methods, using all three values.
rendering time. When you set Edge to 0.0, the effect is equivalent to the Curvature method.
surface. Distance is a percentage of the diagonal of each surfaces bounding box. Each surface in an
object is tessellated based on its size, independently of other surfaces. Scaling a surface doesnt
you set Distance to 0.0, the software ignores this parameter and uses the Edge and Angle values to
control accuracy.
ignores this parameter and uses the Edge and Distance values to control accuracy.
When Distance, Angle, and Edge are all 0.0, the surfaces degenerate and can become flat surfaces.

Spatial and Curvature mesh of the NURBS teapot
View-Dependent(for the Renderer only) When turned on, takes the object's distance from the
camera into account while calculating tessellation. This can improve rendering time by not
generating fine-grained tessellations for objects in the distance of the rendered scene. The view-
dependent effect works only when you render camera or perspective views. It doesn't work in
orthographic views. This control is disabled while Viewports is active.
For the Spatial, Curvature, and Spatial and Curvature methods, the Distance and Edge values
specify pixels instead of 3ds max units when View-Dependent is turned on.
Note: When View-Dependent is on, tessellation quickly reaches the maximum subdivision limit. You
might want to increase this value to 7 (the greatest value allowed). See the description of Advanced
Parameters, below.
Merge (sub-object surfaces only)Controls the tessellation of surface sub-objects whose edges
are joined or very nearly joined. When input to a modifier (such as Mesh Select) requires a mesh,
and when NURBS surfaces are tessellated for production rendering, by default the software adjusts
the tessellation of adjoining surfaces to match each other, in terms of the number of faces along the
edges. The Merge parameter controls how this is done. If Merge is zero, adjoining faces are
unchanged. Increasing the value of Merge increases the distance the software uses to calculate how
edges should match, guaranteeing no gaps between the surfaces when they are rendered.
Default=0.0.
In most cases, you don't need to adjust Merge. If rendering shows gaps between nearly adjoining
faces, increase Merge to eliminate them.
Technically, the Merge value is 0.1 percent of the diagonal of the object's bounding box. In other
words, a Merge value of 1.0 (higher than necessary for most purposes) is 0.1 percent of the length
of the diagonal. Because Merge is based on the object's dimensions, you can scale the NURBS model
without affecting the Merge setting.
Advanced ParametersClick to display the Advanced Surface Approximation dialog. The
parameters in this dialog apply to the Spatial, Curvature, and Spatial and Curvature approximation
methods.
Clear Surface Level(Appears only for top-level surfaces.) Clears all surface approximation
settings assigned to individual surface sub-objects. When you click this button, all surface-specific
approximations are lost, and Lock to Top Level is turned on for surface sub-objects.
Comments

Image Motion Blur
Glossary
Image Motion Blur
Image motion blur has been applied to the falling coin on the right.
Motion blur can enhance the realism of a rendered animation by simulating the way a real-world
camera works. A camera has a shutter speed, and if significant movement occurs during the time
the shutter is open, the image on film is blurred.
3ds max provides a couple of ways to generate motion blur. Image motion blur is one. Scene
motion blur, a Video Post Scene Event effect, is another. For most purposes, image motion blur
gives better results than scene motion blur. Scene motion blur is a more exaggerated effect. You can
use both image and scene motion blur in the same rendering.
You can also apply image motion blur as a render effect.
(Another option, object motion blur, is not meant to simulate a camera, but to improve the rendered
appearance of fast-moving objects.)
Applying image motion blur is a two-step process:
1. Turn on image motion blur for the object you want to blur, using the Object Properties dialog.
You cannot apply both image motion blur and object motion blur to the same object in the
same rendering.
2. Before you render, turn on image motion blur in the Default Scanline A-Buffer rollout of the
Render Scene dialog.
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Image Motion Blur
Tips and Limitations
Image motion blur smudges the object by creating a smearing effect, instead of superimposing
multiple images the way object motion blur does. It considers camera movement. Image motion blur
is applied after scanline rendering is complete.
Because image motion blur is applied after rendering, it can't account for object overlap. When
blurred objects overlap, blurring doesn't work correctly and there are gaps in the rendering. To fix
this problem, render each blurred object separately, to a different layer, and then composite the
two layers using the Alpha Compositor in Video Post (or another compositing tool).
The overlap problem also applies to objects behind an object rendered with raytrace refraction.
Image motion blur doesn't work with objects that change topology. This includes NURBS objects
that are animated so their tessellation (surface approximation) changes. Regular tessellation
doesn't change in this way. This also includes Displacement mapping and Optimization.
Image motion blur can yield strange results with objects that have a MeshSmooth modifier
applied to them. If you see this happening, turn of the MeshSmooth modifier's Keep Faces Convex
toggle (in the Settings rollout). This will fix the problem.
Image motion blur is not applied to reflections of objects. It is applied only to actual geometry.
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Scene Motion Blur
Glossary
Scene Motion Blur

Motion blur can enhance the realism of a rendered animation by simulating the way a real-world
camera works. A camera has a shutter speed, and if significant movement occurs during the time
the shutter is open, the image on film is blurred.
Above: Scene motion blur creates an effect of movement. (The background is blurred because of slow
camera panning.)
Below: The same scene with no blurring
3ds max provides several ways to generate motion blur. Scene motion blur is one. Image motion
blur is another. For most purposes, image motion blur or multi-pass motion blur give better results
than scene motion blur. Use scene motion blur whenever you want to strongly emphasize rapid
motion. You can use both image and scene motion blur in the same rendering.
(Another option, object motion blur, is not meant to simulate a camera, but to improve the rendered
appearance of fast-moving objects.)
You apply scene motion blur in Video Post. It is one of the options for a Scene Event. In the Add or
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Scene Motion Blur
Edit Scene Event dialog, turn on Scene Motion Blur in the Scene Options group, and then adjust the
parameters.
Scene motion blur creates trails behind all moving objects by rendering the entire scene at multiple
time increments within each frame, and then creating the frame by compositing the multiple images
together.
Comments
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group > Choose Motion Blur effect. > Motion Blur Parameters rollout
Above: Motion blur applied to wings of the flying dragon

Below: Multiple passes appear in successive refreshes of the rendered frame window.
Cameras can generate motion blur effects. Motion blur is a multi-pass effect. You turn it on in the
Parameters rollout for cameras. Motion blur simulates the motion blur of a camera by offsetting
rendering passes based on movement in the scene.
You can preview motion blur in viewports.
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Previewing multi-pass motion blur in a wireframe and a shaded viewport
Important: This effect is for the default scanline renderer. The mental ray renderer has its
own depth-of-field effect. See Motion Blur with the mental ray Renderer.
Tip: To reduce the visible effect of multiple camera passes, try setting the antialiasing filter to Blend,
with a Width value in the range 4.0 to 5.0, and a Blend value in the neighborhood of 0.1. (You
choose the antialiasing filter and adjust its settings on the Default Scanline Renderer rollout.) Also,
try reducing the Dither Strength value, in the effect's Pass Blending group, to the neighborhood of
0.2.
Interface

Note: The multi-pass motion blur parameters are animatable.
Sampling group
Display PassesWhen on, the rendered frame window displays the multiple rendering passes.
When off, the frame window displays only the final result. This control has no effect on previewing
motion blur in camera viewports. Default=on.
Total PassesThe number of passes used to generate the effect. Increasing this value can increase
the effect's accuracy, but at a cost of rendering time. Default=12.
Duration (frames)The number of frames in the animation to which the motion blur effect will be
applied. Default=1.0.
BiasWeights the blurring toward or away from the current frame. Increasing this value biases the
blurring toward the two succeeding frames. Decreasing it biases the blurring toward the previous
two frames. Can range from 0.0 to 1.0. Default=0.5.
Pass Blending group
The multiple motion blur passes are blended by dithering, which you can control by the parameters
in this group.
These controls apply only to renderings of the motion blur effect, not to previews in viewports.
Normalize WeightsPasses are blended with random weighting to avoid artifacts such as
streaking. When Normalize Weights is on, the weights are normalized, giving a smoother result.
When off, the effect is a bit sharper but usually grainier. Default=on.
Dither StrengthControls how much dithering is applied to the rendered passes. Increasing this
value increases the amount of dithering, and can make the effect grainier, especially at the edges of
objects. Default=0.4.
Tile SizeSets the size of the pattern used in dithering. This value is a percentage, where 0 is the
smallest tile, and 100 is the largest. Default=32.
Scanline Renderer Params group
These controls let you disable antialiasing or antialias filtering when you render the multi-pass
scene. Disabling these rendering passes can improve render time.
These controls apply only to renderings of the motion blur effect, not to previews in viewports.
Disable FilteringWhen on, disables the filtering pass. Default=off.
Disable AntialiasingWhen on, disables antialiasing. Default=off.
Comments

Motion Blur with the mental ray Renderer

Motion blur is a way to enhance the realism of a rendered animation by simulating the way a real-
world camera works. A camera has a shutter speed, and if significant movement occurs during the
time the shutter is open, the image on film is blurred.
Motion blur added to rendering of an animated wheel as it speeds up and rolls forward
To render motion blur with the mental ray renderer, you must turn on ray tracing (the Ray Trace
parameter) on the Render Scene dialog > Renderer panel > Rendering Algorithms rollout.
The mental ray renderer uses a Shutter parameter to control motion blur. This simulates the shutter
speed of a camera. At 0.0, there is no motion blurring. At 1.0, the maximum amount of motion
blurring occurs. Values between zero and one adjust the amount of motion blur. The closer to 1.0,
the greater the blurring.
You turn on motion blur and adjust shutter speed on the Render Scene Dialog > Renderer panel >
Camera Effects rollout.
If you render using shadow maps, then by default mental ray applies motion blur to these as well.
See the Render Scene dialog > Renderer panel > Shadows & Displacement rollout.
Tip: Turning on Motion Blur for both cameras and shadows can cause shadows to shift position. To
avoid this effect, turn on motion blur for cameras only.
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Comments
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Ray-Trace Acceleration: Parameters for the BSP Methods
Rendering menu > Render > Render Scene dialog > Renderer panel > Rendering Algorithms
rollout > Raytrace Acceleration group > Choose BSP or Large BSP as the Raytrace Acceleration
method.
rollout > Raytrace Acceleration group > Choose BSP or Large BSP as the Raytrace Acceleration
method.
Note: The Processing panel appears only when the mental ray renderer is the currently active
renderer.
When you choose BSP or Large BSP as the Raytrace Acceleration method on the Rendering
Algorithms rollout, the parameters described here are displayed. BSP stands for Binary Space
Partitioning. BSP is the default method. Large BSP is a variant whose partitioning tree can be
swapped in and out of memory, making it suitable for rendering very large scenes.
Note: If the scene contains too many faces (triangles) to fit in a tree of the size specified by the Size
and Depth parameters, mental ray disregards the Size value and creates larger leaf nodes. This can
significantly slow down rendering. To avoid this problem, increase the value of Depth.
Interface
SizeSets the maximum number of faces (triangles) in the leaf of a BSP tree. Increasing the Size
value reduces memory consumption but increases rendering time. Default=10.
DepthSets the maximum number of levels in the BSP tree. Increasing the Depth value reduces
rendering time, but increases memory consumption and preprocessing time. Default=40.
Tip: For large scenes, increasing the Depth value to 50 or more can greatly improve rendering time.
MemorySets the maximum amount of memory, in megabytes, to use for BSP processing. A value
of zero indicates that there is no limit on memory use. Default=0.
The Memory setting has no effect on single-processor systems. Memory consumption increases with
the number of rendering threads. When Memory is greater than 0 and the memory limit is reached,
mental ray delays scheduling threads for preprocessing in order to reduce the amount of memory
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used.
This parameter has no effect on the amount of memory used for the scene description, which
depends on the complexity of the geometry in the current frame.
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Ray-Trace Acceleration: Parameters for the Grid Method
Ray-Trace Acceleration: Parameters for the Grid Method
Rendering menu > Render > Render Scene dialog > Renderer panel > Rendering Algorithms
rollout > Raytrace Acceleration group > Choose Grid as the Raytrace Acceleration method.
rollout > Raytrace Acceleration group > Choose Grid as the Raytrace Acceleration method.
renderer.
When you choose Grid as the Raytrace Acceleration method on the Rendering Algorithms rollout, the
Size parameter is displayed. The grid method subdivides the scene into a grid of "voxels." A voxel is
a node in the subdivided scene.
Interface
SizeSets the size of a voxel. The default value of 1 uses the default voxel size. Increasing the Size
value increases the number of voxels in the scene, decreasing the size of individual voxels
accordingly. This can improve accuracy but decreases the benefit of raytrace acceleration.
Default=1.
Comments
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Translator Options Rollout (mental ray Renderer)
Rendering menu > Render > Render Scene dialog > Processing panel > Translator Options rollout
Main toolbar > Render Scene > Render Scene dialog > Processing panel > Translator Options
rollout
renderer.
Controls in this rollout affect the general operation of the mental ray renderer. They also control the
mental ray translator, which can save to an MI file. The translation is in mental ray version 3 (mi3)
format. The translator does not support mental ray version 1 (mi1).
See also
Distributed Bucket Rendering Rollout (mental ray Renderer)
Procedures
To save the mental ray renderer settings:
When you have a set of rendering settings you want to keep, go to the Render Scene dialog >
Processing panel > Process Options rollout. In the Configuration group, click Save As Defaults.
To create a rendering from multiple passes:
1. Use the Render Type Selected option to choose only a portion of the scene to render.
2. On the Translator Options rollout, in the Render Passes group, click the ... button next to
Save.
3. A Save As dialog is displayed. Use it to enter a name and location for the PASS file.
4. Click Render.
The partial rendering is saved in the PASS file you specified.
5. Repeat steps 1 through 4 until you have generated all the passes for the rendering (or all the
passes but the last).
Warning: If your scene includes an environment, render it only in the final pass.
Rendering the environment in multiple passes is time consuming, and can lead to
artifacts such as unwanted color changes to the background. Render all passes but
the last one using a default black background.
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6. In the Render Passes group, click Add to add the various pass files to the list.
7. Turn on Merge.
At this point, you might also want to turn off Save, unless you want the final result to be saved
as a PASS file as well as a rendering.
8. Click Render.
The rendering consists of all the passes merged into one.
Tip: For some purposes, you might want to create the passes, then create a new 3ds max scene
with no objects, set the rendering resolution to match the passes, you created, then merge the
passes as described in steps 7 and 8 above.
Interface

Memory Options group
Use Placeholder ObjectsWhen on, geometry is sent to the mental ray renderer only on demand.
Initially, the mental ray scene database is populated only with the size (bounding box) and position
of objects in the 3ds max scene. When the mental ray renderer renders a bucket that contains an
object, the object's geometry is sent to the rendering engine only at that point. Default=off.
This option can improve rendering speed when a large amount of the scene's geometry is outside of
the view you are rendering.
Tip: When you use placeholders, always calculate buckets in Hilbert order. See Sampling Quality
Rollout (mental ray Renderer)
When the mental ray renderer is low on memory (as defined by the Memory Limit setting), Use
Placeholder Objects enables it to increase available memory by deleting object geometry from the
scene database. This can dramatically reduce memory usage, but with a possible cost in rendering
speed.
Memory LimitThe mental ray renderer keeps a count of the memory it uses at render time. If it
reaches the memory limit and Use Placeholder Objects is on, the geometry for some objects will be
discarded in order to allocate memory for other objects. If Use Placeholder Objects is off, or if after
deleting geometry more memory is still needed, the renderer releases texture-map memory as well.
Default=1024 MB.
Conserve MemoryTells the translator to be as memory efficient as it can. This can slow down the
translation process, but reduces the amount of data being sent to the mental ray renderer.
Default=off.
This option is useful when you are trying to render a huge scene and time is not necessarily an
issue. When you render to an MI file, this option can also help reduce the size of the output file.
Material Override group
Material Override allows you to render a scene with all its materials replaced by a single master
material. For example, if you need to do a wireframe pass, you can create a Wire material and then
specify it here. When you render, all surfaces will use the Wire material.
EnableWhen on, rendering uses the override material for all surfaces. When off, surfaces are
rendered with the material applied to them in the scene. Default=off.
MaterialClick to display the Material/Map Browser and choose a material to use as the override.
Once you have chosen an override material, this button displays the material name.
Export to .mi File group
These controls let you save the translated scene in a mental ray MI file.
Export on RenderWhen on, saves the translated file to a .mi file. Turn off to avoid saving the
translated scene. Save is available only when you have clicked Files to specify an .mi file.

Default=off.
Browse (...)Click to display a file selector dialog, which lets you specify a name for the .mi
file, and the folder where it is saved.
File nameWhen you have used the Files button to specify an .mi file, this field displays its
name and path.
Render Passes group
Controls in this group let you create a rendering out of multiple passes that render portions a scene.
This can be a useful way to render large scenes or scenes that have complex effects. It can also be a
way to divide the labor on a composited (merged) rendering. See the Procedures section, above,
for more information.
SaveWhen on, saves the image currently being rendered (prior to merging) inside the specified
PASS file.
Browse (...)Click to display a file selector dialog, which lets you specify a name for the .pass
file and the folder where it is saved.
File nameWhen you have specified a .pass file, the name field displays its name and path.
If you are rendering a time segment (that is, an animation), the PASS files are created with
sequence numbers appended to the main file name (for example, test0000.pass, test0001.pass, and
so on).
MergeWhen on, the PASS files specified in the list will be merged into the final rendering.
List of PASS filesLists the PASS files that will be merged into the final rendering (possibly
including the pass that is currently being rendered and saved).
AddClick to add a PASS file to the list.

If you choose a PASS file with a sequence number appended to its name, 3ds max asks if you
want to use the individual file or the entire sequence.
DeleteClick to delete the highlighted PASS file from the list.
Merge ShaderLets you choose the shader used to merge the PASS files. Clicking the shader
button displays a Material/Map Browser so you can choose the shader (when a shader is chosen, its
name appears on the button). When the toggle is on, this shader is used for merging.
Important: No merge shaders are provided with 3ds max. This option is provided for users
who plan to write a custom merge shader appropriate to their particular compositing
project.
Configuration Settings group
These buttons let you save or restore a set of settings for the mental ray translator. These are the

settings in all of the mental ray rendering rollouts.

Save as defaultsClick to save the current mental ray translator settings as the new defaults.
Saves settings from all the mental ray rollouts.
The settings are saved in a file called maxtrans.ini, in the \3dsmax\plugcfg\ subdirectory. Maxtrans.
ini is a text (ASCII) file.
Restore to defaultsRestores the set of defaults you previously saved. If the file maxtrans.ini isnt
present (for example, if you have not used the Configuration Settings > Save button before),
Restore restores the original default values (the defaults that are documented in this reference), and
saves them in maxtrans.ini.
Comments

MI File
Glossary
MI File
The MI file (.mi) contains a mental ray scene description that a mental ray renderer can use to
render your 3ds max scene. When you render with the mental ray renderer, you can export to a
text (ASCII) .mi file. (There is a binary .mi format as well. The mental ray renderer in 3ds max does
not generate this format.) The exporter always generates mi3 (mental ray version 3) format. It does
not support mental ray version 1 (mi1).
You specify a name and location for the .mi file on the Render Scene dialog > Processing panel >
Translator Options rollout.
See the mental ray manual, Programming mental ray, for a complete description of the mental ray
scene description language.
Comments
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Rendering menu > Render > Render Scene dialog > Processing panel > Distributed Bucket
Rendering rollout
Main toolbar > Render Scene > Render Scene dialog > Processing panel > Distributed Bucket
Rendering rollout
renderer.
Controls on this rollout are for setting up and managed distributed bucket rendering. With
distributed rendering, multiple networked systems can all work on a mental ray rendering. Buckets
are assigned to systems as they become available.
Tip: When you use distributed bucket rendering, make sure to
Turn on Use Placeholder Objects on the Translator Options rollout.

When placeholder objects are enabled, geometry is sent to the renderer only on demand.
Leave Bucket Order set to Hilbert on the Sampling Quality rollout.

With Hilbert order, the sequence of buckets to render uses the fewest number of data transfers.
Important: To use distributed bucket rendering, you must set up host systems that are
capable of running the mental ray renderer. This requires remote hosts to have the mental
ray standalone licensing, as described in the following section.
Licensing Host Systems for Distributed Bucket Rendering
Remote hosts (that is, all systems other than the one running 3ds max) must have the mental ray
renderer (ray.exe) and a mental ray SPM license server running. To obtain this, you must run the
mental ray installer on all remote hosts, then configure and run the SPM license server. Instructions
about how to do so are provided with the mental ray renderer sold by mental images.
Once the remote hosts have been configured to run a licensed instance of ray.exe, you can use them
for distributed rendering simply by naming them in the RAYHOSTS file, enabling Distributed Render,
and then clicking render.
See also
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Procedures
To use mental ray distributed rendering:
1. In the Render Scene dialog, go to the mental ray: Network Rendering rollout. Turn on
Distributed Render.
Note: The Net Render option on the Common Parameters rollout has no effect on distributed
bucket rendering.
2. If 3ds max has found the .rayhosts (or .ray2hosts) file, it displays the list of host systems in
the list. If the list appears blank and shows no system names, click Hosts to display a file dialog
and load a .rayhosts file.
3. Click to select the names of those host systems you want to use for distributed rendering.
Important: All host systems you use must have the mental ray renderer installed and
authorized, with the SPM license server running. Licensing for the renderer is
described in the documentation provided with the standalone renderer.
Important: You can click All to select all the host names in the list, or None to select
none of the hosts.
4. If other host systems have maps installed on them, with exactly the same file names and path
names as on your local host, turn on Distributed Maps.
With Distributed Maps turned on, remote renderers can use their local copy of maps, which
saves time.

Each system renders the buckets assigned to it. The final rendering appears on your local
system, with buckets arriving in an indeterminate order.
Interface

Distributed RenderWhen on, the mental ray renderer can use multiple host systems for
distributed rendering. The list of hosts specifies which hosts to use . Default=off.
Note: The Net Render option on the Common Parameters rollout has no effect on distributed bucket
rendering.
The other distributed rendering controls are unavailable unless Distributed Render is on.
Distributed MapsWhen on, specifies that maps can be found on all systems doing distributed
rendering. When off, specifies that all maps used in rendering reside on the local system; that is, the
system on which you start rendering. Default=off.
If you are doing local rendering only, this parameter has no effect.
Maps on all systems in distributed rendering must have exactly the same name and directory path.
Remote Hosts OnlyWhen on, the main host (the system from which you're launching the
rendering) does not take part in the distributed rendering and does not generate buckets. Only the
remote host systems participate in rendering the scene.
This can free up your machine for doing other work; however, it will still have to handle all the data
transfers to the slaves.
HostsClick to display a file selector that lets you choose a RAYHOSTS file listing host systems.
Name fieldAfter you choose a RAYHOSTS file, this field displays the file's name and path.
List of hostsAfter you choose a RAYHOSTS file, this list shows the host systems available for
distributed mental ray rendering. You can use this list to choose only those hosts you want to use
for this particular rendering. When you render with Distributed Render on, the mental ray
renderer uses only the hosts whose names are highlighted in this list.
Click a host name to select it. To deselect a selected host name, click it again.
AllHighlights all system names in the hosts list.
NoneClears the highlight from all system names in the hosts list.

Comments

Sampling Quality Rollout (mental ray Renderer)
Rendering menu > Render > Render Scene dialog > Renderer panel > Sampling Quality rollout
Main toolbar > Render Scene > Render Scene dialog > Renderer panel > Sampling Quality rollout
renderer.
The controls in this rollout affect how the mental ray renderer performs sampling.
Procedures
To use low sampling for previews:
Leave the Minimum and Maximum values at their default settings of 1/4 and 4, or reduce them to
1/16 and 1/4.
Tip: Do not assign Minimum and Maximum the same value.
To use high sampling for final renderings:
Increase the Minimum and Maximum values to 4 and 8, or to higher values.

Tip: Do not assign Minimum and Maximum the same value.
To view the pattern of sampling:
On the Diagnostics rollout, choose Sampling Rate, then render the scene.
Instead of rendering the image, mental ray draws a diagram that shows the range of applied
sampling values. White lines indicate edges in the scene, where the mental ray renderer took the
maximum number of samples. If fractional sample limits are used (sampling down), lighter dots
indicate the higher value while darker dots indicate the lower value.
To assist with analysis, View Samples also draws red lines around each bucket, or separately
rendered block.
When the Minimum and Maximum number of samples are equal, the diagram shows all buckets as
white.
Interface
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Samples per Pixel group
Set the minimum and maximum sample rate.

MinimumSets the minimum sample rate. The value represents the number of samples per pixel. A
value greater than or equal to 1 indicates that one or more samples are computed per pixel. A
fractional value indicates that one sample is computed for every N pixels (for example, 1/4
computes a minimum of one sample for every four pixels). Default=1/4.
MaximumSets the maximum sample rate. If neighboring samples find a difference in contrast that
exceeds the contrast limit, the area containing the contrast is subdivided to the depth specified by
Maximum. Default=16.
The values of the Minimum and Maximum lists are "locked" together so that the value of Minimum
can't exceed the value of Maximum.
Filter group
Filter typeDetermines how multiple samples are combined into a single pixel value. Can be set to
Box, Gauss, Triangle, Mitchell, or Lanczos. Default=Box.
Tip: For most scenes the Mitchell filter gives the best results.
Box filter: Sums all samples in the filter area with equal weight. This is the quickest sampling
method.
Gauss filter: Weights the samples using a Gauss (bell) curve centered on the pixel.
Triangle filter: Weights the samples using a pyramid centered on the pixel.
Mitchell filter: Weights the samples using a curve (steeper than Gauss) centered on the pixel.
Lanczos filter: Weights the samples using a curve (steeper than Gauss) centered on the pixel,
diminishing the effect of samples at the edge of the filter area.

Width and HeightSpecify the size of the filtered area. Increasing the value of Width and Height
can soften the image, however it will increase rendering time.
Default=Depends on the Filter type you choose:
Box filter: Width=1.0, Height=1.0
Gauss filter: Width=3.0, Height=3.0
Triangle filter: Width=2.0, Height=2.0
Mitchell filter: Width=4.0, Height=4.0
Lanczos filter: Width=4.0, Height=4.0
Contrast group
These controls set the contrast values used as thresholds to control sampling. Spatial contrast
applies to each still image. Temporal contrast applies to motion blur.
SpatialIf neighboring samples in a frame differ by more than this color, the mental ray renderer
does recursive supersampling (that is, more than one sample per pixel), up to the depth specified by
Maximum, above. Increasing the Spatial contrast values decreases the amount of sampling done,
and can speed the rendering of a scene at the cost of image quality.
R, G, BSpecify the threshold values for the red, green, and blue components of samples. These
values are normalized, and range from 0.0 to 1.0, where 0.0 indicates the color component is fully
unsaturated (black, or 0 in eight-bit encoding) and 1.0 indicates the color component is fully
saturated (white, or 255 in eight-bit encoding). Default=(0.051, 0.051, 0.051).
ASpecifies the threshold value for the alpha component of samples. This value is normalized,
and ranges from 0.0 (fully transparent, or 0 in eight-bit encoding) to 1.0 (fully opaque, or 255 in
eight-bit encoding). Default=0.05.
Color swatchClick to display a Color Selector to let you interactively specify the R, G, and B
threshold values.
Note: The spinners in the Color Selector show the eight-bit values for color components, which
range from 0 to 255, rather than the normalized values used in the Sampling Quality rollout,
which range from 0.0 to 1.0.
TemporalIf samples from frame to frame differ by more than this color, the mental ray renderer
does recursive supersampling, up to the depth specified by Maximum, above. Decreasing the
Temporal contrast values increases the amount of sampling done, and can improve the quality of
motion blur at the cost of rendering time.
Tip: If motion blur appears grainy, decrease the RGB value of the Temporal contrast color.
R, G, B, A, and color swatchThese controls are the same for the Temporal threshold as they
are for the Spatial threshold.

Options group
Lock SamplesWhen on, the mental ray renderer uses the same sampling pattern for every frame
of an animation. When off, the mental ray renderer introduces a quasi-random (Monte Carlo)
variation in the sample pattern from frame to frame. Default=on.
Varying the sample pattern reduces rendering artifacts in animations.
JitterIntroduces a variation into sample locations; see Sampling. Turning on Jitter can help reduce
aliasing. Default=off.
Bucket WidthTo render the scene, the mental ray renderer subdivides the image into buckets.
The smaller the bucket size, the more image updates are generated during rendering. Updating the
image consumes a certain amount of CPU cycles. For scenes with little complexity, smaller buckets
can increase the rendering time, while larger buckets can make things render faster. For more
complex scenes, the reverse is true. Default=48 pixels.
Bucket OrderChooses the method used to choose the next bucket. If you are using placeholders
or distributed rendering, you should always use the default Hilbert order. Otherwise, you can choose
a method based on how you prefer to see the image appear as it renders in the Rendered Frame
Window.
Hilbert (best)(The default.) The next bucket chosen is the one that will trigger the fewest data
transfers.
Tip: Always use Hilbert order when you use placeholders (see the Translator Options rollout) or
distributed rendering (see the Distributed Bucket Rendering rollout).
SpiralThe buckets begin at the center of the image, and spiral outward.
Left to rightBuckets are rendered in columns, from bottom to top, left to right.
Right to leftBuckets are rendered in columns, from bottom to top, right to left.
Top-downBuckets are rendered in rows, from right to left, top to bottom.
Bottom-upBuckets are rendered in rows, from right to left, bottom to top.
Comments

Sampling (mental ray Renderer)
Glossary

Sampling is an antialiasing technique. It provides a "best guess" color for each rendered pixel. The mental ray
renderer first samples the scene color at locations within the pixel or along the pixel's edge, then uses a filter
to combine the samples into a single pixel color.
(In 3ds max, this technique is called "supersampling." Because the mental ray renderer performs sampling on
a scene basis, in the Material Editor, you don't need to turn on supersampling for materials rendered using
mental ray.)
Scene rendered with low sampling is jagged and inaccurate.

Sampling range: 1/64 to 1/4
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Same scene rendered with higher sampling shows smooth edges.

Sampling range: 1 to 16
The mental ray renderer provides five filter methods: Box, Gauss, Triangle, Mitchell, or Lanczos. Box, the
default, is also the quickest. Mitchell is often the most accurate. The Box filter combines samples evenly,
without weighting them. Each of the other filters uses a particular curve to weight samples before combining
them.
Curves used to weight samples (these are approximate)
You choose the sampling filter and set other sampling options on the Render Scene dialog > Renderer panel >
Sampling Quality rollout.
Note: Area lights (Area Omni Light and Area Spot Light) have their own sampling controls. These affect only
shadows cast by the area light. They are independent of the sampling used to render the scene as a whole.
Rendering the Sampling Rate
To help you choose a sampling filter, you can render a scene with diagnostics enabled and Sampling Rate
chosen on the Render Scene dialog > Processing panel > Diagnostics rollout. The Sampling Rate diagnostic tool
gives a schematic rendering that shows how the sampling method behaves with your scene.

Rendering with diagnostic display of the sampling rate turned on

Sampling range: 1 to 16
The intensity of each pixel indicates the number of samples collected within it and on its lower and left edges.
The brighter the pixel, the greater the number of samples. Overall, the View Sample rendering is normalized so
the brightest pixels have the maximum number of samples. Also, red boundaries indicate the boundaries of
sampling tasks.
Lock Samples and Animation
By default, the mental ray renderer introduces a pseudo-random (quasi Monte Carlo) variation in the sampling
pattern from frame to frame. This reduces rendering artifacts in animations.
You can turn off the sampling variation by turning on Lock Samples on the mental ray: Sampling Quality
rollout.
Jittering
"Jitters" samples by introducing a variation into sample locations. Turning on Jitter can help reduce aliasing.
Default=off.
The Jitter control is also on the Sampling Quality rollout.
Comments

Area Omni Light
Area Omni Light
Create panel > Lights > Area Omni button > Area Light Parameters rollout
When you render a scene using the mental ray renderer, an area omni light emits light from a
spherical or cylindrical area, rather than from a point source. With the default scanline renderer, the
area omni light behaves like any other standard omni light.
Note: In 3ds max, area omni lights are created and supported by a MAXScript script. Only the
mental ray renderer uses the parameters in the Area Light Parameters rollout. See Enhancements to
Standard Features for more details.
Tip: Area lights take longer to render than point lights. If you are interested in creating a quick test
(or draft) rendering, you can use the Area/Linear Lights as Point Lights toggle in the Common
Parameters rollout of the Render Scene dialog to speed up your rendering.
See also
Area Spotlight
Procedures
To create an area omni light:
1. Go to the Create panel and click Lights.
2. In the Object Type rollout, click Area Omni.
3. Click in a viewport.
4. Set the shape and size of the area light in the Area Light Parameters rollout.
While you use the spinners to adjust the size of the area light, a gizmo (yellow by default)
appears in viewports to show the adjusted size. This gizmo disappears once you finish adjusting
the value.
Tip: You can use Rotate to adjust the orientation of a cylindrical area omni light. However, no
gizmo appears while you rotate the light.
To convert a standard 3ds max light to an area light:
1. Select one or more lights.
2. Go to the Utilities panel.
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Area Omni Light
3. On the Utilities rollout, click MAXScript.

The MAXScript rollout is displayed.
4. On the MAXScript rollout, choose Convert To mr Area Lights from the Utilities drop-down list.
The Convert To mr Area Lights rollout is displayed.
5. On the Convert To mr Area Lights rollout, click Convert Selected Lights. A MAXScript alert is
displayed, that says "Delete Old Lights?" Click Yes to delete the original light and replace it with
the area light. Click No to leave the original light in place. If you click No there are now two
lights in the scene: the original light, and the area light based on it.
6. Click Close to dismiss the Convert To mr Area Lights and MAXScript rollouts.
Interface
OnTurns the area light on and off. When On is on, the mental ray renderer uses the light to
illuminate the scene. When On is off, the mental ray renderer doesnt use the light. Default=on.
Show Icon in RendererWhen on, the mental ray renderer renders a dark shape where the area
light is. When off, the area light is invisible. Default=off.
TypeChanges the shape of the area light. Can be either Sphere, for a spherical area, or Cylinder,
for a cylindrical area. Default=Sphere.
Tip: You can use Rotate to adjust the orientation of a cylindrical area omni light. However, no gizmo
appears while you rotate the light.
Tip: RadiusSets the radius of the sphere or cylinder, in 3ds max units. Default=20.0.
Tip: HeightAvailable only when Cylinder is the active type of area light. Sets the height of the
cylinder, in 3ds max units. Default=20.0.
Tip: While you use these spinners to adjust the size of the area light, a gizmo (yellow by default)
appears in viewports to show the adjusted size. This gizmo disappears once you finish adjusting the

Area Omni Light
value.
Samples group
U and VAdjust the quality of shadows cast by the area light. These values specify how many
samples to take within the lights area. Higher values can improve rendering quality at a cost of
rendering time. For a spherical light, U specifies the number of subdivisions along the radius, and V
specifies the number of angular subdivisions. For a cylindrical light, U specifies the number of
sampled subdivisions along the height, and V specifies the number of angular subdivisions.
Default=5 for both U and V.
Comments


The primary interface to the mental ray renderer consists of rollouts on the Render Scene dialog.
You must use the Assign Renderer rollout to choose the mental ray renderer, as described the
"Procedures" section of mental ray Renderer.
In addition, object properties, lights, and the Material Editor have additional controls to support
mental ray rendering.
Object Properties Enhancements
Several new parameters have been added to the mental ray panel of the Object Properties dialog.
These options support the mental ray indirect illumination features of caustics and global
illumination.
Light Object Enhancements
Along with the mental ray renderer, new area light objects and new light settings are provided.
New Light Objects
Area lights are a feature of the mental ray renderer. Instead of emitting light from a point source,
they emit light from a broader area around the source. There are two mental ray area lights: Area
Omni Light and Area Spotlight. Area lights create soft-edged shadows. This can help improve the
realism of your rendering.
Note: To render soft-edged shadows, shadows must be ray-traced, not shadow-mapped: see the
Renderer panel > Shadows & Displacement Rollout.
In 3ds max, area lights are created and supported by a MAXScript script, \3dsmax\stdplugs
\stdscripts\miAreaSpot.ms. Because of this, when you create an area light, you actually create a
target spot or omni light. For this light, the mental ray renderer uses the parameters in the Area
Light Parameters rollout. If you render with the default scanline renderer, the light behaves like any
other target spot or omni light. (You can change a light from one type to another using the Type
drop-down list in the lights General Parameters rollout.)
For area lights rendered with the mental ray renderer, you can still set and use other lighting
parameters, such as color, the Multiplier value, the spotlight cone, and so on. Shadow maps are an
exception. The mental ray renderer ignores the light's local shadow map settings. Area lights must
use ray-traced shadows.
Tip: You can use a MAXScript utility to convert standard 3ds max light objects to area lights, as
described in the Procedures section of the area light topics.
New Light Settings
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The mental ray Indirect Illumination rollout has been added to light objects to support the mental
ray renderers indirect illumination effects of caustics and global illumination.
The mental ray Light Shader rollout has been added so you can add mental ray light shaders to light
objects.
Important: To see the mental ray rollouts for lights, you must use mental ray Preferences
to enable mental ray extensions. These rollouts appear only on the Modify panel. They
don't appear on the Create panel.
Camera Enhancements
On the Parameters rollout, a Depth Of Field (mental ray) choice has been added to the Multi-Pass
Effect drop-down list to support the mental ray renderer's depth-of-field effects. To use this, turn on
both Enable in the camera's Multi-Pass Effect group (default=off), and Depth Of Field on the Render
Scene dialog > Renderer panel > Camera Effects rollout.
You can also assign mental ray lens, output, and volume shaders to cameras. These controls are
also on the Render Scene dialog's Camera Effects rollout. (This rollout also contains some contour-
shading controls.)
Note: When you use the mental ray renderer, reflected or refracted light rays do not always respect
a camera's clipping planes (set in the Clipping Planes group of the Parameters rollout). Also, large
clipping-plane values can cause poor quality in the rendering of shadow maps. To fix this, narrow the
clipping range or switch to ray-traced shadows.
Material Editor Enhancements
The Material Editor works as it does with the default scanline renderer. Certain materials and maps,
or some of their controls, aren't supported by the mental ray renderer; see 3ds max Materials in
mental ray Renderings.
By default, the Material Editor sample slots use the currently active renderer: typically this is either
the default scanline renderer or the mental ray renderer. As of 3ds max 6, you assign the renderer
for sample slots by using the Render Scene dialog > Common panel > Assign Renderer rollout.
When mental ray extensions are enabled (using mental ray Preferences) and the mental ray
renderer is active, the Material Editor displays these additional mental ray features:
A mental ray Connection rollout lets you add mental ray shaders to 3ds max materials.
When you click a material's Type button, the Material/Map Browser displays additional mental ray
materials.
When you click a map or shader button, the Material/Map Browser displays additional mental ray
shaders.
Shaders are provided in shader library (MI) files. Some shaders are customized for 3ds max,

some are provided by the lume library, and most are provided by mental images libraries.
Settings for the custom 3ds max shaders are provided in this reference. Settings for the third-
party lume and mental images shaders are provided in their own help files. This reference links to
those descriptions; see Shaders in the LumeTools Collection and mental images Shader Libraries.
Comments

Edit menu > Object Properties > Object Properties dialog > mental ray panel
Select object or objects. > Right-click. > Transform (lower-right) quadrant of the quad menu >
Properties > Object Properties dialog > mental ray panel
Layer manager > Click the icon next to an object's name. > Object Properties dialog > mental ray
panel
This panel of the Object Properties dialog supports mental ray rendering; specifically, the indirect
illumination features caustics and global illumination. They control whether objects generate or
receive caustics or global illumination.
These settings are ignored where they aren't appropriate. For example, lights can be set to generate
caustics, but for a light, the Receive Caustics setting has no effect, as lights aren't renderable. In a
similar way, these settings have no meaning for cameras.
Interface
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The mental ray panel contains parameters for the mental ray renderer.
Generate CausticsWhen on, the object can generate caustics. (For this to happen, Caustics must
also be enabled using the Render Scene dialog's Indirect Illumination rollout.) When off, the object
does not generate caustics. Default=off.
Receive CausticsWhen on, the object can receive caustics. That is, caustic effects are cast onto
this object. (For this to happen, Caustics must also be enabled using the Indirect Illumination
rollout.) When off, the object does not receive caustics. Default=on.

Generate Global IlluminationWhen on, the object can generate global illumination. (For this to
happen, Global Illumination must also be enabled using the Indirect Illumination rollout.) When off,
the object does not generate global illumination. Default=off.
Receive Global IlluminationWhen on, the object can receive global illumination. That is,
reflected light is cast onto this object. (For this to happen, Global must also be enabled using the
Indirect Illumination rollout.) When off, the object does not receive global illumination. Default=on.
Note: Although Receive Caustics and Receive Global Illumination are typically on by default, they are
off by default for 3ds max scenes created prior to v3. If you open a scene saved in v2.X or an
earlier release, you need to turn on Receive Caustics or Receive Global Illumination for objects on
whose surfaces you want these effects to appear.
Comments

Caustic Lighting Effects

Caustics are the effects of light cast onto an object via reflection off or refraction through another
object.
Swimming pool rendered without caustics
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Reflective caustics added to swimming pool
To calculate caustics, the mental ray renderer uses the photon map technique. (Ray tracing cant
generate accurate caustics, and they arent provided by the default scanline renderer.)
You enable caustics on the Render Scene dialog > Indirect Illumination panel > Indirect Illumination
rollout. In addition, you must designate:
Which light objects can create caustics.
Which renderable objects can generate caustics.
Which renderable objects can receive caustics.
The settings for generating and receiving caustics are on the Object Properties dialog > mental ray
Panel.

Refractive caustics rendered with the default of Radius turned off.

(Radius size based on scene extents; specifically, 1/10 the size of the scene.)
Radius value explicitly set to 1.0

Radius value increased to 2.5.

Filter type changed to Cone.
Photon count increased to 50,000 (in Global Light Properties group) for greater detail in the caustics.

Comments

Photon Map
Glossary
Photon Map
A photon map is a technique to generate the indirect illumination effects of caustics and global
illumination when you render with the mental ray renderer. When it calculates indirect illumination,
the mental ray renderer traces photons emitted from a light. The photon is traced through the
scene, being reflected or transmitted by objects, until it strikes a diffuse surface. When it strikes a
surface, the photon is stored in the photon map.
Generating photon maps is time-consuming. To improve performance, you must explicitly specify:
Which lights emit photons for indirect illumination.
Which objects can generate caustics or global illumination.
Which objects can receive caustics or global illumination.
Panel.
The photon map stores photons only for objects that can receive caustics, global illumination, or
both.
To further reduce the time required to generate a photon map, photons are limited by trace depth
controls. Trace depth limits the number of times a photon can be reflected, refracted, or both.
In animations, another way to save time is to reuse the photon-map file. If lighting doesn't change
over the course of an animation, calculate and save the photon-map file for the first frame, then
choose the Use Existing option for rendering subsequent frames.
The mental ray renderer saves photon maps as PMAP files. Photon map controls are on the Render
Scene Dialog > Indirect Illumination panel > Indirect Illumination rollout.
Comments
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Global Illumination with the mental ray Renderer

Global illumination enhances the realism of a scene by simulating radiosity, or the interreflection of
light (other than caustics) in a scene. It generates such effects as "color bleeding," where for
example, a white shirt next to a red wall will appear to have a slight red tint.
Scene rendered without global illumination
Same scene with global illumination
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Global illumination made smoother by final gather
To calculate global illumination, the mental ray renderer uses the photon map technique.
Important: The mental ray renderer generates global illumination without requiring you to
generate a radiosity solution. A photon map is a model of global illumination in its own
right.
Using a photon map can cause rendering artifacts such as dark corners and low-frequency variations
in the lighting. You can reduce or eliminate these artifacts by turning on final gathering, which
increases the number of rays used to calculate global illumination.
You enable global illumination and final gathering on the Render Scene dialog > Indirect Illumination
panel > Indirect Illumination rollout. In addition, you must designate:
Which light objects can generate global illumination.
Which renderable objects can generate global illumination.
Which renderable objects can receive global illumination.
The settings for generating and receiving global illumination are on the Object Properties dialog >
mental ray Panel.
Comments
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Final Gathering (mental ray Renderer)
Glossary

Final gathering is an optional, additional step to calculating global illumination. Using a photon map
to calculate global illumination can cause rendering artifacts such as dark corners and low-frequency
variations in the lighting. You can reduce or eliminate these artifacts by turning on final gathering,
which increases the number of rays used to calculate global illumination.
Scene rendered with global illumination but no final gather
Same scene with final gather used to smooth the global illumination
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Same scene with final gather but no global illumination, for comparison
Final gathering can greatly increase rendering time. It is most useful for scenes with overall diffuse
lighting, less useful for scenes with bright spots of indirect illumination such as focused caustics.
You turn on final gathering on the Render Scene dialog > Indirect Illumination panel > Indirect
Illumination rollout.
Comments
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Indirect Illumination Rollout (mental ray Renderer)
Rendering menu > Render > Render Scene dialog > Indirect Illumination panel > Indirect
Illumination rollout
Main toolbar > Render Scene > Render Scene dialog > Indirect Illumination panel > Indirect
Illumination rollout
Note: The Indirect Illumination panel appears only when the mental ray renderer is the currently
active renderer.
The controls in this rollout are for the effects of caustics and global illumination.
Procedures
To render with caustics:
1. Select each object you want to generate caustics, either by reflection or refraction. Right-click
and choose Properties, then on the mental ray panel of the Object Properties dialog, turn on
Generate Caustics.
Objects receive caustics by default. If you think this value might have changed for the objects
you want to receive caustics, use those objects Object Properties dialog to make sure Receive
Caustics is turned on. Also, to speed rendering time, you might want to turn off Receive
Caustics for those objects that dont need to show them.
2. In the Render Scene dialog, go to the Indirect Illumination rollout and turn on Caustics.
3. Adjust the caustics parameters to get the effect you want.
To render with global illumination:
1. Select each object you want to generate global illumination. Right-click and choose Properties,
then on the mental ray panel of the Object Properties dialog, turn on Generate Global
Illumination.
Objects receive global illumination by default. If you think this value might have changed for
the objects you want to receive global illumination, use those objects Object Properties dialog
to make sure Receive Global Illumination is turned on. Also, to speed rendering time, you
might want to turn off Receive Global Illumination for those objects that dont need it.
2. In the Render Scene dialog, go to the Indirect Illumination panel > Indirect Illumination rollout
and turn on Global Illumination.
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3. Adjust the global illumination parameters to get the effect you want.
4. For the final rendering, turn on Final Gather as well as Global Illumination.
Interface

Caustics group
Important: For caustics to render, you must also make sure to set up these other
conditions in your scene:
At least one object must be set to generate caustics.
At least one object must be set to receive caustics.
At least one light must be set to generate caustics.
Panel.
EnableWhen on, the mental ray renderer calculates caustic effects. Default=off.
SamplesSets how many photons are used to compute the intensity of the caustic. Increasing this
value makes caustics less noisy but also more blurry. Decreasing this value makes caustics more
noisy but less blurry. The larger the Samples value, the greater the rendering time. Default=100.
Tip: To preview a caustic, set Samples to 20, then increase the value for a final rendering.
RadiusWhen on, the spinner value sets the size of photons. When off, each photon is calculated to
be one tenth the size of the scene extents (the size of the scene). Radius default=off; spinner
default=1.0.
In many cases, the default photon size (Radius=off) of one-tenth the scene size gives useful results.
In other cases, the default photon size might be too large or too small.
When photon reflections overlap, the mental ray renderer uses sampling to smooth them together.
Increasing the number of samples increases the amount of smoothing and can create more natural-
looking caustics. When photons have a small radius and don't overlap, the Samples setting has no
effect. Low Radius values with a large number of photons result in dotty caustics.
FilterSets the filter to use for sharpening caustics. Can equal Box or Cone. The Box option
requires less rendering time. The Cone option makes caustics appear sharper. Default=Box.
KernelControls the sharpness of caustics when you choose Cone as the caustic filter. This value
must be greater than 1.0. Increasing the Kernel value makes caustics more blurry. Decreasing the
Kernel value makes caustics sharper, but also slightly more noisy. Default=1.1.

Global Illumination group
EnableWhen on, the mental ray renderer calculates global illumination. Default=off.
PhotonsSets how many photons are used to compute the intensity of the global illumination.
Increasing this value makes global illumination less noisy but also more blurry. Decreasing this value
makes global illumination more noisy but less blurry. The larger the Samples value, the greater the
rendering time. Default=500.
Tip: To preview global illumination, set Samples to 100, then increase the value for a final rendering.
RadiusWhen on, the spinner value sets the size of photons. When off, each photon is calculated to
be one tenth the size of the scene extents (the size of the scene). Radius default=off; spinner
default=1.0.
In many cases, the default photon size (Radius=off) of one-tenth the scene size gives useful results.
In other cases, the default photon size might be too large or too small.
When photons overlap, the mental ray renderer uses sampling to smooth them together. Increasing
the number of samples increases the amount of smoothing and can create more natural-looking
caustics. When photons have a small radius and don't overlap, the Samples setting has no effect.
For global illumination, photons should overlap. To get good results, you might need to turn on
Radius and increase the photon size.
Photons (Caustics & GI) group
These controls are for the photon maps used to calculate caustics and global illumination.
VolumeThese controls are for volumetric caustics. Volumetric caustics require a material to have a
volume shader assign to its Photon Volume component.
SamplesSets how many photons are used to shade the volume. Default=100.
RadiusWhen the check box is on, the spinner sets the size of photons. When off, each photon is
calculated to be one-tenth the size of the scene extents. Default: check box=off; value=1.0.
This spinner is unavailable if the check box is turned off.
Maximum Trace DepthThe Trace Depth controls are similar to those for calculating reflections
and refractions, but they refer to the photons used by caustics and global illumination, rather than to
light rays used in diffuse reflection and refraction.
ReflectionsSets the number of times a photon can be reflected. At 0, no reflection occurs. At 1,

the photon can be reflected once only. At 2, the photon can be reflected twice, and so on.
Default=5.
RefractionsSets the number of times a photon can be refracted. At 0, no refraction occurs. At

1, the photon can be refracted once only. At 2, the photon can be refracted twice, and so on.
Default=5.
SumLimits the combination of reflection and refraction. Reflection and refraction of a photon

stop when the total number of both equals the Sum setting. For example, if Sum equals 3 and the
trace depths each equal 2, a photon can be reflected twice and refracted once, or vice versa, but
it cant be reflected and refracted four times. Default=5.
Photon MapThese controls tell mental ray how to calculate the photon map for indirect
illumination.
RenderWhen chosen, the mental ray renderer recalculates a photon map, even if one is already
saved on disk.
RebuildIf Render is chosen and Rebuild is turned on, the renderer saves the recalculated
photon map to the file specified by the Files button.
SaveWhen chosen, the mental ray renderer calculates a photon map for the scene, and saves it
to a .pmap file. This option is unavailable unless you click Browse (...) to provide a name for
the .pmap file.
photon map (.pmap) file, and the folder where it is saved.
File nameWhen you have used the Save button to specify a photon map file, the name field
displays its name and path.
Load ExistingWhen chosen, the mental ray renderer uses a photon map on disk, with no
recalculation. This option is unavailable unless you click Browse (...) to provide a name for the .
pmap file.
photon map (.pmap) file, and the folder where it is saved.
File nameWhen you have used the Files button to specify a photon map file, the name field
displays its name and path.
Final Gather group
EnableWhen on, the mental ray renderer uses final gathering to improve the quality of global
illumination. Default=off.
The Final Gather toggle and its associated controls are unavailable unless Global is on.
Tip: Without final gathering, global illumination can appear to be patchy. But final gathering
increases rendering time. Leave Final Gather off to preview the scene, then turn it on for the finished
rendering. (Increasing the number of photons used to calculate global illumination can also improve
global illumination.)
SamplesSets how many rays are used to compute indirect illumination in a final gather.
Increasing this value makes global illumination less noisy, but also increases rendering time.
Default=1000.
Max RadiusWhen on, sets the maximum radius within which final gathering is used. The default
value of 1.0 encompasses the entire scene. Reducing this value can improve quality at a cost of

rendering time. Default=1.0.

Min RadiusWhen on, sets the minimum radius, within which final gathering must be used.
Increasing this value can improve render quality but increase rendering time. Unavailable unless Max
Radius is turned on. Default=0.1 (Ten percent of the Max Radius).
Fast Lookup (Slower GI)If turned on before you render the scene, the mental ray renderer
computes information to speed up the regathering process. The fast lookup computation can take a
long time, but it can greatly reduce the total rendering time. Default=off.
Like photon maps and shadow maps, the fast lookup computation can be saved in a file and then
reused in subsequent renderings.
Preview (No Precalculations)When on, final gathering skips the precalculation phase. This
results in a rendering with artifacts, but begins rendering more quickly, so it can useful when you
want to do a series of trial renderings. Default=off.
Rebuild (Do Not Re-Use Cache)When on, the mental ray renderer computes the fast lookup
data. If an FGM file is specified, it stores the fast lookup data in the file. When off, the renderer
reads the data from the file and skips the computation step. Default=on.
Note: You can turn on Rebuild without specifying a file. In this case, the renderer stores the fast
lookup data in memory only.
Use Falloff (Limits Ray Distance)When on, uses the Start and Stop values to limit the length of
light rays used for regathering. This can help improve regathering time, especially for scenes that
are not fully enclosed by geometry. Default=off.
StartSpecifies the distance, in 3ds max units, at which rays begin. You can use this value to
exclude geometry that is too close to the light source. Default=0.0.
StopSpecifies the maximum length, in 3ds max units, of a light ray. If the ray reaches this
limit without encountering a surface, then the environment is used for shading. Default=0.0.
Use FileWhen on, the results are saved in a final gather map (FGM) file.
Browse (...)Click to display a file selector dialog, which lets you specify a name for the FGM
file, and the folder where it is saved.
File nameWhen you have used the Files button to specify an FGM file, the name field displays
its name and path.
Maximum Trace DepthThe Trace Depth controls are similar to those for calculating reflections
and refractions, but they refer to the photons used by final gathering, rather than to light rays used
in diffuse reflection and refraction.
ReflectionsSets the number of times a photon can be reflected. At 0, no reflection occurs. At 1,

the photon can be reflected once only. At 2, the photon can be reflected twice, and so on.
Default=5.
RefractionsSets the number of times a photon can be refracted. At 0, no refraction occurs. At

1, the photon can be refracted once only. At 2, the photon can be refracted twice, and so on.
Default=5.
SumLimits the combination of reflection and refraction. Reflection and refraction of a photon
stop when the total number of both equals the Sum setting. For example, if Sum equals 3 and the
trace depths each equal 2, a photon can be reflected twice and refracted once, or vice versa, but
it cant be reflected and refracted four times. Default=5.
Global Light Properties
Controls in this group affect how lights behave when calculating indirect illumination. By default, the
energy and photon settings apply to all lights in a scene. Use the mental ray Indirect Illumination
rollout for light objects to adjust an individual light either by multiplying the global values, or by
setting local values (using multipliers is the recommended method).
EnergySets the energy of each light. Energy, or "flux," is the amount of light used in indirect
illumination. Each photon carries a fraction of each lights energy. This value is independent of the
light intensity determined by the lights color and Multiplier, so you can use the Energy value to fine-
tune indirect illumination effects without changing the lights other effects in a scene (such as
providing diffuse illumination). Default=1000.0.
DecaySpecifies how photon energy decays as it moves away from each light source. Can equal
None, Inverse, or Inverse Square. Default=None.
At the default value of None, the energy doesn't decay, and photons can provide indirect
illumination throughout the scene.
At the value of Inverse, the energy decays proportionally to its distance from the light. That is, a
photon's energy is 1/r, where r is the distance from the light source.
At the value of Inverse Square, the energy decays at an inverse square rate. That is, a photon's
energy is the inverse of the square of the distance (r) from the light source (1/r2).
In the real world, light decays at an inverse square rate, but this gives strictly realistic results only if
you provide a realistic value for the energy of the light. The None and Inverse options help you
adjust indirect illumination without worrying about physical accuracy.
Caustic PhotonsSets the number of photons emitted by each light for use in caustics. This is the
number of photons in the photon map used for caustics. Increasing this value increases the accuracy
of caustics, but also increases the amount of memory used and the length of render time.
Decreasing this value improves memory usage and render time, and can be useful for previewing
caustic effects. Default=10000.
GI PhotonsSets the number of photons emitted by each light for use in global illumination. This is
the number of photons in the photon map used for global illumination. Increasing this value
increases the accuracy of global illumination, but also increases the amount of memory used and the
length of render time. Decreasing this value improves memory usage and render time, and can be
useful for previewing global-illumination effects. Default=10000.

Comments

Scene Extents
Glossary
Scene Extents
Just as an object's extents are its maximum dimensions in X, Y, and Z, the extents of a scene are its
maximum dimensions in these three axes, and define a box that encloses the entire scene.
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PMAP File
Glossary
PMAP File
A PMAP (.pmap) file is a mental ray photon-map file. This is a binary file that the mental ray
renderer uses to generate the effects of caustics and global illumination. You specify a name and
location for the PMAP file on the Render Scene dialog > Indirect Illumination panel > Indirect
Illumination rollout.
Comments
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FGM File
Glossary
FGM File
An FGM file (.fgm) is a final gather map file. It is used by the mental ray renderer to save the results
of a final gathering pass. Generating and saving an FGM file can speed up subsequent renderings.
Comments
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Create panel > Lights > Create a light. > Modify panel > mental ray Indirect Illumination rollout
Note: This rollout does not appear unless you have enabled the mental ray extensions by using the
mental ray Preferences panel. In addition, the mental ray renderer must be the currently active
renderer.
Note: This rollout does not appear on the Create panel.

The mental Indirect Illumination rollout provides controls for light behavior with the mental ray
renderer. The settings in this rollout have no effect on rendering with the default scanline renderer,
or on advanced lighting (the light tracer or a radiosity solution). These settings control how the light
behaves when it generates indirect illumination; that is, caustics and global illumination.
Tip: By default, each light uses the global settings that are found in the Global Light Properties group
on Render Scene Dialog > Indirect Illumination panel > Indirect Illumination rollout. It is more
convenient to adjust all lights in the scene at once. If you need to adjust a specific light, you can use
the multiplier controls for energy and photons. In general, you should rarely if ever need to turn off
Use Global Settings and specify local light settings for indirect illumination.
Important: In addition to the values specified here, the light must also be set to generate
caustics, global illumination, or both. These controls are on the mental ray panel of the
Object Properties dialog. You also need to turn on Caustics, Global, or both, on the Render
Scene dialog's Indirect Illumination rollout.
Interface
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Use Global SettingsWhen on, the light uses the global light settings for indirect illumination,
rather than local settings. Default=on.
When Use Global Settings is on, only the controls in the Global Multipliers group are available.
Global Multipliers group
EnergyMultiplies the global Energy value to increase or decrease the energy of this particular
light. Default=1.0.
Caustic PhotonsMultiplies the global Caustic Photons value to increase or decrease the count of
photons used to generate caustics by this particular light. Default=1.0.
GI PhotonsMultiplies the global GI Photons value to increase or decrease the count of photons
used to generate global ilumination by this particular light. Default=1.0.
When Use Global Settings is off, the Global Mutlipliers group becomes unavailable, and the local
controls for indirect illumination become available.

OnWhen on, the light can generate indirect illumination effects. Default=off.
EnergySets the energy of the light. Energy, or "flux," is the amount of light used in indirect
illumination. Each photon carries a fraction of the lights energy. This value is independent of the
light intensity determined by the lights color and Multiplier, so you can use the Energy value to fine-
tune indirect illumination effects without changing the lights other effects in a scene (such as
providing diffuse illumination). Default=1000.0.
DecaySpecifies how photon energy decays as it moves away from the light source. Can equal
None, Inverse, or Inverse Square. Default=None.
At the default value of None, the energy doesn't decay, and photons can provide indirect illumination
throughout the scene.
At the value of Inverse, the energy decays proportionally to its distance from the light. That is, a
photon's energy is 1/r, where r is the distance from the light source.
At the value of Inverse Square, the energy decays at an inverse square rate. That is, a photon's
energy is the inverse of the square of the distance (r) from the light source (1/r2).
In the real world, light decays at an inverse square rate, but this gives strictly realistic results only if
you provide a realistic value for the energy of the light. The None and Inverse options help you
adjust indirect illumination without worrying about physical accuracy.
Caustics group
PhotonsSets the number of photons emitted by the light for use in caustics. This is the number of
photons in the photon map used for caustics. Increasing this value increases the accuracy of
caustics, but also increases the amount of memory used and the length of render time. Decreasing

this value improves memory usage and render time, and can be useful for previewing caustic effects.
Default=10000.
Global Illumination group
PhotonsSets the number of photons emitted by the light for use in global illumination. This is the
number of photons in the photon map used for global illumination. Increasing this value increases
the accuracy of global illumination, but also increases the amount of memory used and the length of
render time. Decreasing this value improves memory usage and render time, and can be useful for
previewing global-illumination effects. Default=10000.
Comments

Area Lights (mental ray Renderer)
Glossary

Area lights are a feature of the mental ray renderer. Instead of emitting light from a point source,
they emit light from a broader area around the source. Area lights create soft-edged shadows. This
can help improve the realism of your rendering.
Scene rendered with area light turned off

Shadows are ray-traced.
The yellow cube indicates the light's location.
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Scene rendered with area light turned on, showing soft shadows
The light in this rendering is a 2D (spot) area light.
Scene rendered with a 3D (omni) area light

The light uses the default radius of 20.0.
Note: To render soft-edged shadows, shadows must be ray-traced, not shadow-mapped. See the
Render Scene Dialog > Renderer panel > Shadows & Displacement rollout.

Area lights support global illumination, caustics, and other features of the mental ray renderer.
(or draft) rendering, you can use the Area Lights/Shadows As Points toggle to speed up your
rendering. This toggle is on the Render Scene dialog > Common panel > Common Parameters
rollout.
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Area Spotlight
Area Spotlight
Create panel > Lights > Area Spot button > Area Light Parameters rollout
When you render a scene using the mental ray renderer, an area spotlight emits light from a
rectangular or disc-shaped area, rather than from a point source. With the default scanline renderer,
the area spotlight behaves like any other standard spotlight.
Note: In 3ds max, area spotlights are created and supported by a MAXScript script. Only the mental
ray renderer uses the parameters in the Area Light Parameters rollout. See Enhancements to
Standard Features for more details.
(or draft) rendering, you can use the Area/Linear Lights as Point Lights toggle in the Common
Parameters rollout of the Render Scene dialog to speed up your rendering.
See also
Area Omni Light
Procedures
To create an area spotlight:
1. Go to the Create panel and click Lights.
2. In the Object Type rollout, click Area Spot.
The mental ray renderer will ignore the spotlight cone, but the location of the spotlight target
determines the orientation of the plane of the area light, and the direction in which its
projected.
4. Set the shape and size of the area light in the Area Light Parameters rollout.
While you use the spinners to adjust the size of the area light, a gizmo (yellow by default)
appears in viewports to show the adjusted size. This gizmo disappears once you finish adjusting
the value.
To convert a standard 3ds max light to an area light:
1. Select one or more lights.
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Area Spotlight
2. Go to the Utilities panel.
3. On the Utilities rollout, click MAXScript.

The MAXScript rollout is displayed.
4. On the MAXScript rollout, choose Convert To Area Lights from the Utilities drop-down list.
The Convert To Area Lights rollout is displayed.
5. On the Convert To Area Lights rollout, click Convert Selected Lights. A MAXScript alert is
displayed, that says "Delete Converted Lights?" Click Yes to delete the original light and replace
it with the area light. Click No to leave the original light in place. If you click No there are now
two lights in the scene: the original light, and the area light based on it.
6. Click Close to dismiss the Convert To Area Lights and MAXScript rollouts.
Interface
OnTurns the area light on and off. When On is on, the mental ray renderer uses the light to
illuminate the scene. When On is off, the mental ray renderer doesnt use the light. Default=on.
Show Icon in RendererWhen on, the mental ray renderer renders a dark shape where the area
light is. When off, the area light is invisible. Default=off.
TypeChanges the shape of the area light. Can be either Rectangle, for a rectangular area, or Disc,
for a circular area. Default=Rectangle.
RadiusAvailable only when Disc is the active type of area light. Sets the radius of the circular light
area, in 3ds max units. Default=20.0.
Height and WidthAvailable only when Rectangle is the active type of area light. Set the height
and width of the rectangular light area, in 3ds max units. Default=20.0 for both Height and Width.
While you use these spinners to adjust the size of the area light, a gizmo (yellow by default) appears

Area Spotlight
in viewports to show the adjusted size. This gizmo disappears once you finish adjusting the value.
Samples group
U and VAdjust the quality of shadows cast by the area light. These values specify how many
samples to take within the lights area. Higher values can improve rendering quality at a cost of
rendering time. For a rectangular light, U specifies the number of sampled subdivisions in one local
dimension, and V the number of subdivisions in the other local dimension. For a circular (disc) light,
U specifies the number of subdivisions along the radius, and V specifies the number of angular
subdivisions. Default=5 for both U and V.
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mental ray Light Shader Rollout
Select a light. > Modify panel > mental ray Light Shader rollout
Note: This rollout does not appear unless you have enabled the mental ray extensions by using the
mental ray Preferences panel. In addition, the mental ray renderer must be the currently active
renderer.
Note: This rollout does not appear on the Create panel.

The Mental Ray Light Shader rollout lets you add mental ray shaders to lights. When you render with
the mental ray renderer, light shaders can alter or adjust the light's effect.
To adjust the settings for a light shader, drag the shader's button to an unused Material Editor
sample slot. Be sure to choose Instance when prompted to use an instance or a copy. (If you edit a
copy of the shader, you will have to drag the sample slot back to the shader button on the Light
Shader rollout before you see any changes take effect.)
Interface
EnableWhen on, rendering uses the light shaders you have assigned to this light. When off, the
shaders have no effect on rendering. Default=off.
Light ShaderClick the button to display a Material/Map Browser and select a light shader. Once
you have selected a shader, its name appears on the button.
These are the light shaders provided with 3ds max:
Shader Library
Light Infinite base
Light Point base
Light Spot base
Photon Emitter ShaderClick the button to display a Material/Map Browser and select a shader.
Once you have selected a shader, its name appears on the button.
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Warning: No photon emitter shaders are provided with 3ds max. This option is for users
who have access to light map shaders via other shader libraries or custom shader code.
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For the most part, the mental ray renderer treats 3ds max maps and materials the same way the
default scanline renderer does. The exceptions are listed below. In general, if the mental ray
renderer does not recognize a map or material, it renders it as opaque black.
Warning: The mental ray renderer does not necessarily support maps or materials
provided as plug-ins from third-party vendors. It supports third-party maps and materials
only if the vendor has explicitly used the mental ray SDK to add support for the mental ray
format. Unless the third-party vendor clearly specifies mental ray support, you should
assume the map or material is unsupported, and will render as black.
See also
mental ray Renderer

Issues for Reflections and Refractions
The maps used to create reflections or refractions, Flat Mirror, Raytrace, Reflect/Refract, and Thin
Wall Refraction, are supported by the mental ray renderer. However, the mental ray renderer simply
uses these maps as indications to use its own ray-tracing method, leading to some restrictions on
which parameters are supported, as described in the sections Materials and Maps, below.
Map Blurring
When reflections and refractions are ray traced, applying Blur (or Distortion, in Flat Mirror) does not
apply to reflections or refractions of environment maps. In general, Blur and Distortion render
differently than they do with the default scanline renderer, and you might have to experiment with
parameter values to get a comparable rendering result.
Tip: If Blur effects are not rendering well with the mental ray renderer, try increasing the Maximum
number of samples in the Renderer panel > Sampling Quality Rollout.
Materials
The mental ray renderer does not support these materials:
Advanced Lighting Override material
Lightscape material
Morpher material
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Shell material
Raytrace Material
The mental ray renderer supports all Raytrace material settings except for the antialiasing
parameters and the settings found under Rendering > Raytracer Settings and Rendering > Raytrace
Global Include/Exclude. All these options are specific to the default scanline renderer.
Tip: While the mental ray renderer ignores the global inclusion or exclusion settings for the ray
tracer, you can enable or disable ray-tracing at the local level of a Raytrace material or map.
Maps
Bitmap
The mental ray renderer can't use the Progressive JPEG (.jpg) format as a bitmap. Also, Summed
Area filtering is not supported (in the Filtering group of the Bitmap Parameters rollout).
PSD files are supported, but are translated into binary data, and because of this, consume a lot of
memory and increase render time. To reduce the time involved, convert the PSD file to a format
such as BMP.
The same is true of TIFF files. In addition, there are certain TIFF subformats that the mental ray
renderer does not support; specifically, LZW, CCIT (fax), or JPEG compression; non-RGB color
models such as CMYK, CIE, or YCbCr; or multiple images in the same file (in this case, only the
first image is used). The mental ray renderer does support bilevel (1-bit), grayscale (4- or 8-bit),
color map (4- or 8-bits), RGB(A) (8-, 16-, or 32-bit) TIF images, and TIF files with image strips.
Combustion map
The mental ray renderer doesn't support this map.
Flat Mirror map

Flat Mirror is supported by the mental ray renderer, except for the First Frame Only and Every Nth
Frame parameters.
Raytrace map
The mental ray renderer supports all Raytrace map settings except for the antialiasing
parameters.
Reflect/Refract map
This map tells the mental ray renderer to use ray-traced reflections and refractions. Most
parameters are supported, but the parameters Blur Offset, First Frame Only, Every Nth Frame,
and Atmosphere Ranges are not supported.
Note: The mental ray renderer does not fully support cubic maps for Reflect/Refract maps. It uses
cubic maps if they have already been generated by the default scanline renderer, but it does not
generate them. If Source > From File is active and the mental ray renderer can find the six cubic
maps, it uses them. If Source > Automatic is active, or if the cubic maps cannot be found, the

mental ray renderer generates ray-traced reflections or refractions instead.
Comments


Although the mental ray renderer is relatively easy to use once youve set it up correctly, there are
several "gotchas" that you might encounter immediately, especially if youre primarily accustomed to
the 3ds max scanline renderer and its workflow. For example, see 3ds max Materials in mental ray
Renderings. Below are some basic rules of thumb for using mental ray 3.2 in 3ds max.
Using Lights with the mental ray Renderer
When you set up a scene for rendering with the mental ray renderer, keep the following tips in
mind:
The Overshoot parameter for lights doesn't work when you use mental ray to render shadow-
mapped shadows. To use Overshoot, use ray-traced shadows.
Excluding an object from shadow casting doesn't work when you use mental ray to render shadow-
mapped shadows. To exclude objects from shadow casting, use ray-traced shadows. (The Exclude
button is on a light's General Parameters rollout.)
When you assign a map to object shadows in the light's Shadow Parameters rollout, the mental
ray renderer does not recognize the toggle for the map (to the left of the Map button), and
renders the map whether the toggle is on or off. To stop using the map, you must click the Map
button and in the Material/Map Browser, assign NONE as the map type.
Using the default scanline renderer, you can set a light to have a value of zero, with a shadow
color of white, and a shadow density of 1. With these settings, the light casts shadows but does
not illuminate the scene. To get the same effect using the mental ray renderer, the light value
must not be zero. Instead, set it to a value close to zero (for example, 0.001 or -0.001).
The mental ray renderer disregards the bias parameters in the Shadow Map Params rollout and
the Ray Traced Shadow Params rollout.
The mental ray renderer assumes that all directional lights come from infiinity, so objects that are
behind the direct light object in the 3ds max scene will also be illuminated.
Ray Tracing
The mental ray raytracer is fast and provides excellent quality images, but you have to use it
correctly within 3ds max.
The mental ray renderer does not fully support cubic maps for Reflect/Refract maps. It uses them if
they have already been generated by the default scanline renderer, but it does not generate them. If
Source > From File is active and the mental ray renderer can find the six cubic maps, it uses them.
If Source > Automatic is active, or if the cubic maps cannot be found, the mental ray renderer
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generates ray-traced reflections or refractions instead.
Ray Tracing Setup
On the rendering menu, Ray Tracer Settings and Raytrace Global Include/Exclude are disabled while
the mental ray renderer is active. These controls adjust ray-trace settings for the scanline renderer
only. The settings of these controls have no impact on the mental ray renderer. The ray-tracing
controls for mental ray appear on the Renderer panel > Rendering Algorithms rollout.
Tip: While the mental ray renderer ignores the global inclusion or exclusion settings for the ray
tracer, you can enable or disable ray-tracing at the local level of a Raytrace material or map.
Ray Tracing Rules of Thumb
Lets say youre rendering a (lathed) wineglass, with an inner and outer surface and a piece of
geometry representing the wine. The wine geometry is just slightly smaller than the inner surfaces
of the wineglass, and capped with a flat top. Now, you go to render the glass. After rendering the
scene, however, theres something wrong: the inner surfaces of the glass dont seem reflective
enough, and the wine isnt refracting properly. Whats wrong?
Whats wrong is that you probably have the number of reflections and refractions set too low for the
number of surfaces you have. To check this, go to the Renderer panel > Rendering Algorithms
rollout and look at the Maximum Trace Depth spinners. If you havent changed the parameters, then
you should see Reflection and Refractions set to the default of 6, and Sum set to 6.
Theres the problem: you actually have six surfaces that need to be traced by the light rays for both
reflections and refractions. The way to always calculate the number of rays needed for a scene is to
take the ray-traced objects in your scene and draw an imaginary line through them, originating at
the point of view. Then, count the number of surfaces the line intersects.
For the wineglass and wine, you need at least six reflections and refractions that correspond to the
following surfaces:
Near outer glass surface (near relative to your Camera viewpoint)
Near inner glass surface
Near wine surface
Far wine surface
Far inner glass surface
Far outer glass surface
Therefore, increase the value of Sum to 12.
Caustics and Global Illumination

Before rendering with caustics, there are several things you need to set up in your scene:
For caustics to work properly, the generating object must use a material that contains some
degree of shininess, reflectivity, or refraction. Assign a Raytrace or other map as either a
Reflection map or Refraction map before you render caustics.
Most often, youll be using very shiny, highly reflective materials (such as chrome and other
metals), or transparent or translucent materials (such as glass goblets or water), to generate
caustics in your scene. If youre using a glassy material, make sure its double-sided to create the
proper results.
Make sure you have object properties set to Receive Caustics or Generate Caustics (or both). To
set up these properties, right-click an object and choose Properties. For example, if youre
rendering a wineglass on a tabletop, you probably want the wineglass both to generate and
receive caustics (so that caustics are scattered within the glass itself), and the tabletop only to
receive caustics (unless its chrome, say, instead of wood).
If the rendering of your scene is washed out by light, double-check the Energy setting in the
Global Light Properties group of the Indirect Illumination panel > Indirect Illumination rollout. This
globally sets the energy level of all lights in the scene. Reducing the Energy value can eliminate
washout.
If a single light object is causing the problem, you can reduce the Energy multiplier's value in that
light objects' mental ray Indirect Illumination rollout, which is displayed on the Modifier panel.
To improve the quality of caustics, go to the Caustics group of the Indirect Illumination rollout and
increase the number of Samples.
Be careful of the total number of photons youre emitting: a very high number (100,000 and
above) can dramatically increase your rendering time. Then again, for some simple scenes, you
might actually be able to set these to 1,000,000 and still render in an acceptable amount of time.
Warning: The number of photons specified for each light indicates the number of
photons that need to be stored for each light, not the number of photons to be shot.
This is a pretty important distinction. If a light is pointed in a direction where there is
no surface, the mental ray renderer might shoot photons forever. In the Messages
Window, the mental ray renderer will display warnings that no photons are being
stored. To avoid the slowdowns related to this issue, make sure that every light points
in the direction of a surface (this is sometimes impossible to do with omni lights).
Another way to avoid this problem is to add a big sphere around your entire model.
Coincident Faces
When it encounters coincident faces, the mental ray renderer can produce artifacts, because it can't
decide which face is nearer the camera (neither is). To fix this, move or scale one of the objects so
faces are no longer coincident.

Backface Culling
The mental ray renderer performs no backface culling. In effect, it treats all surfaces as two-sided,
regardless of how they are set in the 3ds max scene.
Comments

mental ray Messages Window
Customize menu > Preferences > mental ray panel > Messages group > Turn on Open Message Window
on Error.
The Messages Window displays log messages (other than debug messages) generated by the mental ray
renderer.
Interface
Example of mental ray Messages window
The options beneath the messages area are equivalent to options on the mental ray Preferences dialog.
InformationWhen on, the mental ray renderer generates information messages. Default=off.
This is equivalent to the preference, Show/Log Information Messages.
ProgressWhen on, the mental ray renderer generates progress messages. Default=off.
This is equivalent to the preference, Show/Log Progress Messages.
Debug (Output to File)When on, the mental ray renderer generates debug messages. Default=off.
This is equivalent to the preference, Log Debug Messages (To File).
Note: Debug messages are never displayed by the Messages Window. They are numerous, and would make
it difficult to find or read other messages.
Open on ErrorWhen on, the Messages Window is displayed if the mental ray renderer logs an error
message. Default=off.
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This is equivalent to the preference, Open Message Window On Error.

ClearClick to clear all messages from the messages area.
Comments
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Camera Effects Rollout (mental ray Renderer)
Rendering menu > Render > Render Scene dialog > Renderer panel > Camera Effects rollout
Main toolbar > Render Scene > Render Scene dialog > Renderer panel > Camera Effects rollout
renderer.
The controls in this rollout are for the camera effects depth of field and motion blur, as well as for
contour shading and adding camera shaders.
Procedures
To use depth of field for a Camera view:
1. On the cameras Parameters rollout, in the Multi-Pass Effect group, turn on Enable and choose
Depth Of Field (mental ray).
2. Set the cameras target distance to the range at which you want objects to be clearly in focus.
For a Target camera, you can select the cameras target object and move it. For a Free camera,
you adjust the Target Distance on the Parameters rollout.
3. On the Cameras Depth Of Field rollout, decrease the f-Stop value to narrow the depth of field,
or increase the f-Stop value to broaden the depth of field.
You might need to experiment with f-Stop values to get the effect you want.
To use depth of field for a Perspective view:
1. On the Render Scene dialog, go to the Renderer panel > Camera Effects rollout, and in the
Depth Of Field (Perspective Views Only) group, turn on Enable.
2. Set the Focus Plane distance to the range at which you want objects to be clearly in focus.
3. Decrease the f-Stop value to narrow the depth of field, or increase the f-Stop value to broaden
the depth of field.
You might need to experiment with f-Stop values to get the effect you want. If you have
trouble getting good results with f-Stop, use the drop-down list to change the method to In
Focus Limits, then adjust the Near and Far values to enclose the region of the scene you want
to be clearly in focus.
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To use motion blur:
1. Select each object you want to be blurred by motion, right-click and choose Properties, then on
the Object Properties dialog > General panel, make sure that in the Motion Blur group, Enable
is turned on and Object is chosen.
The mental ray renderer won't generate motion blur if Image is the chosen type.
2. On the Render Scene dialog, go to the Renderer panel > Camera Effects rollout, and in the
Motion Blur group turn on Enable.
Note: With the mental ray renderer, don't use Motion Blur under the Multi-Pass Effect group of
a camera's Parameters rollout.
3. Increase the Shutter value to increase the blurriness caused by motion blur.
4. On the Render Scene dialog, go to the Rendering Algorithms rollout, and make sure Ray Trace
is turned on.
Motion blur is not rendered when the mental ray renderer uses scanlines only.
To render with contours:
1. Use the mental ray Connection rollout to assign a contour shader to an object's material.
The mental ray material also lets you assign a contour shader.
2. On the Render Scene dialog > Renderer panel > Camera Effects rollout, in the Contours group,
turn on Enable.
3. Change the contour output shader if you so desire.

Note: By default, only one contour contrast and store shader are provided with 3ds max. You
can adjust the contour contrast shader's settings; the contrast store shader has no parameters.
To change a contour output shader:

Note: By default, only one contour contrast and store shader are provided with 3ds max. You can
adjust the contour contrast shader's settings; the contrast store shader has no parameters.
1. Click the button for the Contour Output shader.

2. Choose a contour output shader from the Browser list, and then click OK.
To assign a camera shader:
1. Click the button for a camera Lens, Output, or Volume shader.

2. Choose a shader from the Browser list, and then click OK.
To adjust the settings for a contour or camera shader assigned on this rollout:

If you need to, arrange the open dialogs so you can see the Material Editor and the Render
Scene dialog at the same time.
2. Drag the shader button from the Render Scene dialog to an unused sample slot in the Material
Editor.
An Instance (Copy) Map dialog is displayed. Be sure to choose Instance, and then click OK.
If you don't choose Instance, changes you make to the shader settings in the Material Editor
won't have any effect on the Render Scene dialog.
Tip: If you forgot to choose Instance, change the shader settings as you choose, and then drag
the shader's sample slot or its Type button back to the button in the Render Scene dialog, to
update the Render Scene dialog's copy of the shader.
The Material Editor displays the shader's parameters rollout.
3. Adjust the parameters.
Interface

Depth of Field (Perspective Views Only) group
These controls are comparable to the depth-of-field controls for cameras. They apply only to
Perspective viewports. You can render depth-of-field effects for either Camera or Perspective views.
Depth-of-field effects dont appear when you render orthographic viewports.
For a Perspective view, use the controls in this group. For a Camera view, choose Depth Of Field
(mental ray) as the multi-pass rendering effect, then adjust the f-Stop setting. See Depth of Field
Parameter (mental ray Renderer).
EnableWhen on, the mental ray renderer calculates depth-of-field effects when rendering a
Perspective view. Default=off.
Method drop-down listSelects either f-Stop, for controlling depth-of field by an f-Stop
parameter, or In Focus Limits, by selecting Near and Far limits. Default=f-Stop.
In most cases, the f-Stop method is easier to use. The In Focus Limits method can help when the
scale of objects in the scene makes it hard to control depth of field using the f-Stop value alone.
Focus PlaneFor Perspective viewports, sets the distance from the camera, in 3ds max units, at
which the scene is completely in focus. Default=100.0.
For Camera viewports, the focus plane is set by the camera's target distance.
f-StopWhen f-Stop is the active method, sets the f-stop for use when you render Perspective
views. Increasing the f-stop value broadens the depth of field, and decreasing the f-stop value

narrows the depth of field. Default=1.0.

The f-Stop can have a value less than 1.0. This is not realistic in terms of an actual camera, but it
can help you adjust the depth of field for scenes whose scale does not use realistic units.
Near and FarWhen In Focus Limits is the active method, these values set the range, in 3ds max
units, within which objects are in focus. Objects lose focus when they are closer than the Near value
or farther than the Far value. These values are appoximate, because the transition from in-focus to
out-of-focus is gradual, not abrupt.
The Near and Far values are related to each other and to the value of Focus Plane. Changing the
value of Near changes Far as well, and vice versa. Specifically, if
H = Hyperfocal distance, the Focus Plane value at which the Far limit becomes infinity
D = The Focus Plane distance
Dn = The Near distance
Df = The Far distance
Then
Dn = HD / (H + D)
Df = HD / (H D)
Motion Blur group
EnableWhen on, the mental ray renderer calculates motion blur. Default=off.
ShutterSimulates the shutter speed of a camera. At 0.0, there is no motion blurring. The greater
the Shutter value, the greater the blurring. Default=1.0.
Motion SegmentsSets the number of segments for calculating motion blur. This control is for
animations. If motion blur appears to be tangential to the actual motion of an object, increase the
Motion Segments value. Larger values result in more accurate motion blur, at a cost of rendering
time. Default=1.
Contours group
These controls enable contours, and let you use shaders to adjust the results of a contour shader.
You assign the primary contour shader to the Contour component of the mental ray Connection
rollout or a mental ray material (see Advanced Shaders Rollout (mental ray Material)).
EnableWhen on enables rendering of contours. Default=off.
Click a button to change a shader assignment for adjusting contours. A default is already assigned to
the three components, as the button labels indicate.

Contour ContrastThe contour contrast component can be assigned the following shader:
Shader Library
Contour Contrast Function Levels contour
Contour StoreThis component stores the data on which contours are based. It can be assigned
the following shader, which has no parameters to set:
Shader Library
Contour Store Function contour
Contour OutputThe contour output component can be assigned one of these shaders:
Shader Library
Contour Composite contour
Contour Only contour
Contour PS (PostScript) contour
To adjust the settings for a shader assigned to one of these components, drag the shader's button to
an unused Material Editor sample slot. Be sure to choose Instance when prompted to use an
instance or a copy. (If you edit a copy of the shader, you will have to drag the sample slot back to
the shader button on the Camera Effects rollout before you see any changes take effect.)
Camera Shaders group
These controls let you assign mental ray camera shaders. Click a button to assign a shader to that
component. After a shader is assigned, its name appears on the button. Use the toggle on the left to
temporarily disable a shader that has been assigned.
LensClick to assign a lens shader. This component can be assigned one of these shaders:
Shader Library
Distortion lume
Night lume
Shader List 3ds max
Wrap Around lume
OutputClick to assign a camera output shader.

Warning: No camera output shaders are provided with 3ds max. This option is provided
for users who have access to camera shaders via other shader libraries or custom shader
code.

VolumeClick to assign a volume shader to the camera. These are the volume shaders you can
assign:
Shader Library
Beam lume
Mist lume
Parti Volume physics
Shader List 3ds max
Submerge lume
Note: You can also assign Volume shaders to the Volume component of the mental ray Connection
rollout and the mental ray material (see Material Shaders Rollout (mental ray Material)).
Comments

Depth of Field with the mental ray Renderer

Depth of field is a way to enhance the realism of a rendering by simulating the way a real-world
camera works. With a broad depth of field, all or nearly all of a scene is in focus. With a narrow
depth of field, only objects within a certain distance from the camera are in focus.
Scene rendered using no depth of field

All apples are equally in focus.
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Same scene using depth of field to control focus

The middle apple is clearer than the other two.
To render depth-of-field effects with mental ray, ray tracing (the Ray Trace toggle) must be enabled
on the Render Scene dialog > Renderer panel > Rendering Algorithms rollout. You must also enable
depth of field for the camera: in the camera's Multi-Pass Effect group, choose Depth Of Field
(mental ray) as the depth-of-field type. (If you choose the scanline renderer's Depth Of Field
option, the rendering that results can be out of focus.)
The mental ray renderer uses the cameras target distance and f-Stop parameters to control the
depth-of-field effect.
The camera's target distance determines the focus plane. The focus plane is the distance from the
camera at which the scene is completely in focus.

Focus plane in relation to a camera

Here it is set to the middle apple, as in the previous renderings.

Focus plane in relation to a camera

Here it is set to the nearest apple, as in the renderings that follow.
The f-stop controls the amount of blurring at distances other than the focus plane distance. In a real-
world camera, the f-stop measures the size of the lenss aperture. The lower the f-stop value, the
larger the aperture and the narrower the depth of field. So increasing the f-stop value broadens the
depth of field, and decreasing the f-stop value narrows the depth of field.

Decreasing the f-stop to narrow depth of field

Focal plane set at the nearest apple, and f-stop set to 0.1.
Increasing the f-stop to broaden depth of field

Focal plane in same location, f-stop increased to 1.0.
You set the f-Stop in the camera's Depth Of Field rollout. See Depth of Field Parameter (mental ray
Renderer).

Note: For Perspective viewports, which have no camera, the Render Scene dialog > Renderer panel
> Camera Effects rollout has explicit Focus Plane and f-Stop settings.
Comments

Depth of Field Parameter (mental ray Renderer)
Depth of Field Parameter (mental ray Renderer)
group. > Turn on Enable and choose Depth Of Field (mental ray). > Depth of Field Parameters
rollout
On the Parameters rollout, a Depth Of Field (mental ray) choice has been added to the Multi-Pass
Effect drop-down list to support the mental ray renderer's depth-of-field effects. To use this, turn on
both Enable in the camera's Multi-Pass Effect group, and Depth Of Field on the Camera Effects
rollout of the Render Scene dialog.
The mental ray depth-of-field is exclusive of the multi-pass version of the depth-of-field effect. The
mental ray renderer also supports motion blur for cameras, but the controls are not on the camera's
Parameters rollout: use the Motion Blur toggle on the Object Properties dialog for camera objects.
This setting has no effect on the default 3ds max scanline renderer.
Note: When you use the mental ray renderer, reflected or refracted light rays do not always respect
a camera's clipping planes (set in the Clipping Planes group of the Parameters rollout). Also, large
clipping-plane values can cause poor quality in the rendering of shadow maps. To fix this, narrow the
clipping range or use ray-traced shadows.
Interface
f-StopSets the camera's f-Stop. Increasing the f-Stop value narrows the depth of field, and
decreasing the f-Stop value broadens the depth of field. Default=2.0.
The f-Stop can have a value less than 1.0. This is not realistic in terms of an actual camera, but it
can help you adjust the depth of field for scenes whose scale does not use realistic units.
Comments
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mental ray Contour Shading

Contour shading lets you render vector-based contour lines. Contours are similar to the ink
component of the Ink 'n Paint material.
Model rendered without contours
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Model with contours added to the rendering

Simple contour shader
You add contour rendering by assigning one of the contour shaders to the Contour component of a
material. (This component is found on the mental ray Connection rollout and on the mental ray
material's Advanced Shaders rollout). Then when you render, use the Camera Effects rollout to
enable contours.
On the Camera Effects rollout, additional shaders can modify the contours, or control how they are
rendered. For example, if you assign a Contour Only shader to the Contour Output component, the
rendering consists of just the contours, and not the shaded model.
Rendering of the model's contours only

Contours Only output shader, background set to white
Procedure
To add contours to a mental ray rendering:
1. Choose Customize > Preferences. Go to the mental ray panel, and turn on Enable Mental Ray
Extensions.
2. On the Render toolbar, click Render Scene.

If the active renderer is not already the mental ray renderer, go to the Common panel, and on
the Assign Renderer rollout, click the ... button for the Production renderer. A Choose

Renderer dialog is displayed. Highlight mental ray Renderer in the list, and then click OK.
Leave the Render Scene dialog open, or minimize it.
3. Open the Material Editor. For the materials of objects you want to render with contours,
use the mental ray Connection rollout to assign a shader to the Contour component.
Another technique would be to use the mental ray material, and assign shaders to both the
Surface and Contour components.
Tip: The Simple contour shader renders uniform lines whose color and width you can control.
The other contour shaders provide variant contour styles with more direct user controls.
4. On the Render Scene dialog, go to the Renderer panel. On the Camera Effects rollout, turn on
Enable in the Contours group.
To simply add contour lines to a rendering, leave the shaders in the Camera Effects rollout set
to their defaults. For other options, see Camera Effects Rollout (mental ray Renderer).
Comments

Advanced Shaders Rollout (mental ray Material)
Material Editor > Type button > Material/Map Browser > mental ray > Advanced Shaders rollout
Note: The mental ray material does not appear in the Browser unless you have enabled the mental
ray extensions by using the mental ray Preferences panel. In addition, you can't assign shaders to
the options in this rollout unless the mental ray renderer is the currently active renderer.
The mental ray material lets you create a material exclusively for use by the mental ray renderer.
The Advanced Shaders rollout provides controls for two component shaders that aren't always used.
Interface
Each shader component has a toggle at the left of its name. When the toggle is on, the shader is
used in rendering. When the toggle is off, the shader is not used, even if it has been assigned.
Clicking the button to the right of the component name displays the Material/Map Browser so you
can assign a particular shader to the component.
ContourAssigns a contour shader to the material.
The contour component can be assigned the following shaders:
Shader Library
Combi contour
Curvature contour
Depth Fade contour
Factor Color contour
Layer Thinner contour
Simple contour
Width From Color contour
Width From Light contour
Width From Light Dir contour
Note: Contours don't render unless you have also enabled them on the Render Scene dialog >
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Renderer panel > Camera Effects rollout.

Light MapAssigns a light map shader to the material.
Warning: No light map shaders are provided with 3ds max. This option is for users who
have access to light map shaders via other shader libraries or custom shader code.
Comments
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mental ray Material
mental ray Material
Material Editor > Type button > Material/Map Browser > mental ray
The mental ray material lets you create a material exclusively for use by the mental ray renderer. A
mental ray material consists, at the top level, of from one to 10 kinds of shaders, or shading
components.
Important: You must assign a shader to the material's Surface component. Otherwise, the
mental ray material will not be visible when you render.
Interface
The interface to the mental ray material consists of two rollouts:
Material Shaders Rollout (mental ray Material)
Comments
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Material Editor > Type button > Material/Map Browser > mental ray > Material Shaders rollout
The mental ray material lets you create a material exclusively for use by the mental ray renderer.
The Material Shaders rollout provides controls for the main kinds of component shaders you are
likely to assign.
Important: You must assign a shader to the material's Surface component. Otherwise, the
mental ray material will not be visible when you render.
See also
Interface
Each shader component has a toggle at the left of its name. When the toggle is on, the shader is
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used in rendering. When the toggle is off, the shader is not used, even if it has been assigned.
Clicking the button to the right of the component name displays the Material/Map Browser so you
can assign a particular shader to the component.
Basic Shaders group
SurfaceShades the surface of objects that have this material.

In addition to any of the usual 3ds max materials, the surface component can be assigned the
following mental ray materials or shaders:
Shader Library
Bump 3ds max
Dielectric base
Dielectric Material 3ds max
Edge lume
Facade lume
Glass lume
Glow lume
Landscape lume
Metal lume
Ocean lume
Opacity base
Reflect base
Refract base
Shader List 3ds max
Stain lume
Translucency lume
Transmat physics
Transparency base
Two Sided base
UV Generator 3ds max
Water Surface lume

Wet-Dry Mixer lume
XYZ Generator 3ds max
Note: Unlike a standard 3ds max material, if you assign the Surface component a bitmap with tiling
turned off, the original surface color does not show through. In renderings, you see only the
untiled map, and none of the rest of the object.
ShadowAssigns a shadow shader.
The shadow component can be assigned the following shaders:
Shader Library
Edge Shadow lume
Facade lume
Glass lume
Glow lume
Metal lume
Shader List 3ds max
Shadow Transparency base
Translucency lume
Transmat physics
Water Surface Shadow lume
Caustics and GI group
PhotonAssigns a photon shader. Photon shaders modify the appearance of caustics and global
illumination. They modify light energy (luminous flux) rather than color (radiance).
The photon component can be assigned the following shaders:
Shader Library
Dielectric Material Photon 3ds max
Edge lume
Glow lume
Metal lume

Photon Basic base
Translucency lume
Transmat physics
Photon VolumeAssigns a photon volume shader. Like a photon shader, a photon volume shader
modifies caustics and global illumination, but it affects photons that pass through the inside of the
object, rather than photons that collide with its surface.
The photon volume component can be assigned the following shaders:
Shader Library
Shader List 3ds max
Extended Shaders group
BumpAssigns a bump shader. Bump shading for mental ray materials is similar to bump mapping
for standard materials.
The bump component can be assigned the following shaders:
Shader Library
Bump 3ds max
Ocean lume
Shader List 3ds max
DisplacementAssigns a displacement shader.

The displacement component can be assigned the following shaders:
Shader Library
3D Displacement 3ds max
Ocean lume
VolumeAssigns a volume shader.

The volume component can be assigned the following shaders:
Shader Library
Beam lume

Mist lume
Shader List 3ds max
Submerge lume
EnvironmentAssigns an environment shader. Like an environment you assign using the Render
Scene dialog, the environment shader changes the scene background.
The environment component can be assigned the following shaders:
Shader Library
Environment 3ds max
Shader List 3ds max
Optimization group
Flag Material as OpaqueWhen on, indicates that the material is fully opaque. This tells the
mental ray renderer that it doesn't need to process transparency for this material, or to use the
shadow shader (if one has been assigned). This can improve rendering time. Default=off.
Comments

Patch Grids
Patch Grids
Create panel > Geometry > Patch Grids
You can create two kinds of patch surfaces in grid form: Quad Patch and Tri Patch. Patch grids begin
as flat plane objects but can be modified into arbitrary 3D surfaces by either using an Edit Patch
modifier or collapsing the grids modifier stack down to an Editable Patch in the Modify panel.
Patch grids provide convenient "building material" for custom surfaces and objects, or for adding
patch surfaces to existing patch objects.
You can animate the surface of a Patch object using various modifiers such as the Flex and Morph
modifiers. Control vertices and tangent handles of a patch surface can be animated with an Editable
Patch modifier.
Surface Tools
The output of the Surface modifier is a Patch object. Patch objects offer a flexible alternative to
mesh and NURBS modeling and animation.
Quad patch and tri patch
Editable Patches
You can convert a basic patch grid to an editable patch object. The editable patch has a variety of
controls that let you directly manipulate it and its sub-objects. For example, at the Vertex sub-object
level, you can move vertices or adjust their Bezier handles. Editable patches let you create surfaces
that are less regular, more free-form than the basic, rectangular patches.
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Patch Grids
When you convert a patch to an editable patch, you lose the ability to adjust or animate its creation
parameters.
See also

Procedure
To create a patch grid:
1. On the Create panel > Geometry > Patch Grids > Object Type rollout, click either Quad Patch
or Tri Patch.
2. Drag over any viewport to create a patch.
Interface
AutoGridUses surface normals as a plane to create patches. Click a patch type and then click and
drag the cursor over a face in the viewports.
Quad Patch
Tri Patch
Comments
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Surface Modifier
Surface Modifier
Select a spline object. > Modify panel > Modifier List > Surface
Select a spline object. > Modifiers menu > Patch/Spline Editing > Surface
Surfaces can be modeled by creating a network of splines (spline cage) and applying the Surface
modifier to create a patch surface based on the spline network.
The Surface modifier generates a patch surface based on the contours of a spline network. A patch is
created wherever the segments of the interwoven splines form a three- or four-sided polygon. The
Surface modifier and the CrossSection modifier, taken together, are referred to as Surface Tools.
They allow you to create complex or organic surfaces, like the fuselage of a plane, or a three-
dimensional character.
The CrossSection modifier can be applied before the Surface modifier to connect splines representing
cross-sections. Once the basic spline network is created and the Surface modifier is applied, the
model can be adjusted by editing the splines using an Edit Spline modifier below the Surface
modifier in the modifier stack. Since the Surface modifier creates a Patch surface, further
refinements can be made to the patch model by adding an Edit Patch modifier above the Surface
modifier.
The bulk of the work in using Surface tools to model lies in creating and editing splines in an Editable
Spline or Edit Spline modifier. One of the benefits to modeling using splines and Surface Tools is the
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Surface Modifier
ease of editing the model. At almost any stage of modeling, you can add a nostril, ear, limb or body
by simply adding splines. This lends itself to a free-form approach to organic modeling: you have a
mental image of what you want, then you create and edit the spline network until you are satisfied.
See the tutorial "Modeling a Rhino Head with Surface Tools" for an in-depth look at modeling using
the Surface modifier.
Note: 3ds max 6 offers a new, simplified workflow for this modeling technique, using Edit/
Editable Spline and the Edit Patch modifier. For details, see Edit Patch Modifier.
Surface Modifier Basics
1. Create a spline object.
2. Make sure that the Spline vertices form valid three-sided or four-sided polygons. Vertices on
splines that cross one another should be coincident.
To make spline vertices coincident, drag vertices over each other with 3D Snap turned on. 3D
Snap must have the Vertex or End Point option turned on. With 3D Snap turned on, you can
snap to vertices on existing splines as you create new splines. You can also select vertices and
use the Fuse option in an Editable Spline to make vertices co-incident.
3. Use the CrossSection modifier to connect spline cross-sections, unless you plan on manually
creating the splines that connect the model's cross-sections.
4. Apply the Surface modifier, then adjust the weld threshold to generate a patch object. Ideally
all spline vertices that will form a patch surface are coincident; the Threshold parameter allows
patch creation even if vertices are not quite coincident.
5. Optionally, add an Edit Patch modifier to edit the patch surface.

Tip: Make a reference copy of the spline object, then add the Surface modifier to the copy and
edit the original. As you edit the original spline object, patches appear on the reference copy as
splines form three-or four-sided shapes. This allows you to view a shaded surface as you
model.
Tip: You can take this a step further and add a Mirror modifier to the reference copy. As you
create splines for one side of a head or body, the reference copy displays an entire model.
Modeling with Surface Tools
There are two primary methods of using the Surface modifier to create patch models.
Create splines that represent a model's cross sections, add the CrossSection modifier to connect
the cross sections, and apply the Surface modifier to create the patch surface. This approach
works for models like the body of an airplane.

Surface Modifier
Alternatively, use the editable spline Cross Section function to connect the cross sections, and
then use the editable patch Spline Surface tools to create the surface.
Create a network of splines manually, and then apply the Surface modifier or editable patch
Spline Surface tools to create the patch surface. This approach works for modeling a face or body
of a character.
Modeling Examples

Surface Modifier
Scooter: Splines form cross sections of the body
One method of using Surface Tools is to create splines that represent a model's cross sections, then
the CrossSection and Surface modifiers are applied to create the patch surface.

Surface Modifier
Face: Spline network based on front and profile reference images
Two intersecting texture-mapped polygons are used as a reference to create a network of splines
manually. Drawing lines on the physical sculpture is used as an added visual aid to position the
splines in this case. The CrossSection modifier is not necessary if you create the spline network
manually.

Surface Modifier
Rhino head: Spline network begins with the profile.
In the top image, the head of a rhinoceros is modeled by creating a network of splines. The first
spline created is the profile of the rhino; other splines are added and edited to complete the model.
In this case, a reference copy of the spline model was created and a Surface modifier was added to
the copy.
As the spline network is edited, the patch surface of the reference copy is updated dynamically. This
allows you to view a shaded patch model as you manipulate the spline network, any surface
anomalies can be spotted and corrected.

Surface Modifier
Sequence of images showing the spline network, the patches created by the Surface modifier, and a
shaded view of an alien character.
Additional Details
Splines are initially created using the tools in Create panel > Shapes > Splines > Object Type
rollout, such as Line, Circle, Arc, and Section. Splines can also be created using the Create Line
command in an Editable Spline or and Edit Spline modifier.
Splines are edited by applying an Edit Spline modifier to the selected spline object or editing
parameters in an Editable Spline. Editing splines changes the patch surface created by the Surface
modifier.
To add splines to a spline object, use the Attach command in the Edit Spline modifier.
Within a spline object, splines need not be continuous. A spline object may consist of ten splines
for example. As long as the spline vertices are coincident, or close enough for the Threshold
parameter in the Surface modifier to weld them together, a surface will be generated.
Procedures
Example: Understanding valid splines:
1. In the Top viewport, use Create panel > Shape > NGon to create three NGons: a
three-sided, four-sided, and five-sided NGon, each about 100 units wide.
2. Make sure that all the splines form one object. Do this by applying an Edit Spline
modifier to one of the NGons and using Attach to add the remaining NGon objects.

Surface Modifier
3. Choose Patch/Spline Editing > Surface from the Modifier List.

Notice that the three- and four-sided splines formed patches but the five-sided NGon did not.
The five-sided spline does not form a three- or four-sided closed polygon. To make it a valid
spline, a line must be created to form a three- and four-sided polygon.
4. In the stack display, choose the Edit Spline modifier again. Turn on Create Line on the
Geometry rollout, and create a line that bisects the five-sided NGon.
The start and end points of the line should overlap the vertices on the NGon. Being exact is not
critical; the Threshold parameter fuses spline vertices based on their proximity.

Surface Modifier
5. In the stack display, choose the Surface modifier again. Now the five-sided NGon is a patch
object, consisting of a quad patch and a tri patch.
Note: If the spline object did not turn into a patch, turn up the Surface modifier's Threshold
parameter until the patches appear.
Example continued: Adjusting the shape of the spline:
1. In the stack display, expand the Edit Spline modifier's hierarchy, and choose the Vertex
sub-object level.
2. In the Top viewport, select the top vertex of the five-sided NGon.
Two vector handles are displayed. These handles can be moved on any axis.
3. Turn on Select and Move on the toolbar, then drag the handles around in the Top
viewport.
The shape of the spline changes.
4. Below the stack display, turn on the Show End Result On/Off Toggle button.
The patch changes shape to fit the spline.

Surface Modifier
Interface
Spline Options group
ThresholdDetermines the overall distance that is used to weld the vertices of the spline object. All
vertices/vectors within the threshold of each other are treated as one. Threshold uses units set in
the Units Setup dialog.
Note: Spline control handles are also treated as vertices, so setting high Threshold levels can
produce unexpected results.
Flip NormalsFlips the normal direction of the patch surface.
Remove Interior PatchesRemoves interior faces of an object that you would not normally see.
These are the faces created within the caps or other interior patches of the same type of a closed
polygon.
Use only selected segsOnly segments selected in the Edit Spline modifier will be used by the
Surface modifier to create patches.
Note: Segment Sub-Object does not have to be left on in the Edit Spline modifier.
Patch Topology group
StepsThe steps field spinner determines how many steps are used between each vertex. The
higher the step count, the smoother the curve you will get between vertices.

Surface Modifier
Comments

CrossSection Modifier
Select a spline object with spline cross sections. > Modify panel > Modifier List > CrossSection
Make a selection. > Modifiers menu > Patch/Spline Editing > CrossSection
CrossSection uses splines to create a model of a boat.
The CrossSection modifier creates a "skin" across multiple splines. It works by taking 3D splines and
connecting their vertices to form a skin. The resulting object is another spline object that can be
used with the Surface modifier to create a patch surface.
CrossSection can build a skin across various shaped splines with different vertex counts and open/
closed status. The more different the splines in vertex count and complexity, the more likely the skin
will have discontinuity.
Note: The CrossSection and Surface modifiers together are referred to as Surface Tools.
In 3ds max 6, similar functionality is now provided as part of sub-object modes of Editable
Spline. You can create a spline cage using Connect Copy and Cross Section in Editable Spline
segment and spline modes. Using this method you have to area selection the created vertices to
transform them. Also this method lets you define the ordering of the spline more easily that using
the CrossSection modifier. For more information, see Editable Spline.
See also
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Surface Modifier
Procedures
Example: To explore the CrossSection modifier:
1. On the Create panel, click Shapes, then click Circle.
2. Drag in the Top viewport to create a circle about 100 units in radius.
3. On the Modify panel, choose Edit Spline from the Modifier List.
4. In the modifier stack display, turn on Spline sub-object, then select the circle.
5. In the Front viewport, SHIFT+Move the spline up to copy it.
6. SHIFT+Move the copy up to create a third circle.

Note: The order that you attach or clone splines is important: this is the order that
CrossSection uses to create the skin.
7. On the Modify panel, choose CrossSection from the Modifier List.

CrossSection joins the vertices of the three circles. A basic spline cylinder is displayed.
8. On the Modify panel, on the Modifiers List, choose Surface to add the Surface modifier.
The spline cylinder is transformed into a patch surface by the Surface modifier.
9. To edit the model's surface, change the splines using controls in the Edit Spline modifier. Or,
since the output of the Surface modifier is a patch surface, add an Edit Patch modifier and use
patch edit controls to change the surface.

An Edit Patch modifier above the Surface modifier was used to create the images.
Example: Using the CrossSection modifier to skin several splines with different shapes:
1. On the Create panel, click Shapes.
2. On the Object Type rollout, turn on Start New Shape, then click NGon.
3. In the Top viewport, create two five-sided circular NGons.
4. On the Create panel, with Shapes still active, click Line. Create two lines, each with
four vertices. Create the vertices left-to-right.

5. On the main toolbar, click Select And Move, then move the objects in the viewport to
order them along the Z axis with the NGons at the bottom and the lines above the NGons.
6. Select the bottom NGon.
7. On the Modify panel, choose Edit Spline from the Modifier List.
8. In the Geometry rollout, click Attach.
9. Select the remaining NGon and lines in an ascending order, as numbered in the image.
Note: The order of selection is important. The CrossSection modifier uses the selection order to
define the skin.
Example continued: Lining up the vertices:
1. On the Modify panel, choose the Vertex sub-object level in the stack display.
Lining up the first vertex of each spline is important to prevent the surface from twisting.
2. Use CTRL+click to select the rightmost vertex of each line and the bottommost vertex of each
NGon.

3. On the Geometry rollout, click Make First.
Aligning the first vertex is important. This is where the seam forks, going from a closed to an
open spline.
Example continued: Using CrossSection and Surface to "skin" the shapes:
1. On the Modify panel, choose CrossSection from the Modifier List.

The CrossSection modifier connects the splines at the vertices.
2. On the Modifiers List, choose Surface.

The Surface modifier generates a patch surface based on the splines.
3. In the modifier stack display, choose the CrossSection modifier.
4. On the CrossSection Parameters rollout, toggle between Linear and Smooth. Notice how the
splines change.
5. On the Modify panel, toggle the Show End Result On/Off Toggle button to display the final
patch surface. The toggle wont remain on if the CrossSection modifier is current. Drop down to
the Editable Patch in the stack and turn on the Show End Result toggle if you like.
Tip: When you use CrossSection, draw splines in a consistent direction. A twisted surface
results when lines are created from vertices that are not lined up.
Interface

Linear/Smooth/Bezier/Bezier CornerDetermines what type of curve will be used through the

spline vertices.
Comments

Editable Spline
Editable Spline
Create or select a spline > Modify panel > Right-click spline entry in the stack display > Convert
To: Editable Spline
Create or select a spline > Right-click the spline > Transform (lower-right) quadrant of the quad
menu > Convert To: > Convert to Editable Spline
Editable Spline provides controls for manipulating an object as a spline object and at three sub-
object levels: vertex, segment, and spline.
The functions in Editable Spline are the same as those in the Edit Spline modifier. The exception is
that when you convert an existing spline shape to an editable spline, the creation parameters are no
longer accessible or animatable. However, the spline's interpolation settings (step settings) remain
available in the editable spline.
When a spline editing operation (typically, moving a segment or vertex) causes end vertices to
overlap, you can use the Weld command to weld the overlapping vertices together or the Fuse
command if you want the two overlapping vertices to occupy the same point in space but remain
separate vertices.
Note: Previous versions of 3ds max displayed a dialog that asked if you wanted to weld the
coincident endpoints. Welding coincident vertices is now controlled by the End Point Auto-Welding
feature.
In 3ds max 6, there are several improvements to editable splines:
Connect Copy
You can now create spline cages through sub-object extrusion (SHIFT+copy) of segments or
splines using the Connect Copy command, with controls for defining the vertex tangency.
Cross Section
The new Cross Section button provides functionality similar to that in the Cross Section modifier,
letting you connect vertices with splines.
Tangent Handles Copy/Paste

It is easier to work with vertex tangent handles now, you can copy and paste them between
vertices using Tangent Copy/Paste.
Quad menu improvements

The quad menu now always shows the tangent type and makes it more convenient to change
between them. The tangent types are now always available on the quad menu when a vertex is
selected, your cursor doesn't have to be directly over them in the viewport. A Reset action has
been added to the quad menu to quickly reset your vertex tangency.
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Editable Spline
Show End Result
If you have several modifiers higher in the modifier stack, and want to see the results of edits
in an Edit Spline modifier or Editable Spline object, then turn on Show End Result on the Modify
panel. As you edit the spline network, youll be able to see the result of modifiers above the Editable
Spline object. This is useful for Surface Tools work where you add a Surface modifier above an
Editable Spline object in the modifier stack.
See also

Procedures
To produce an editable spline object, first select the shape, and then do one of the
following:
Right-click the shape entry in the stack display and choose Convert To: Editable Spline.
In a viewport, right-click the object and choose Convert To: > Convert to Editable Spline from the
Transform (lower-right) quadrant of the quad menu.
Create a shape with two or more splines by first turning off Start New Shape (on the Create
panel). Any shape made up of two or more splines is automatically an editable spline.
Apply an Edit Spline modifier to a shape, and then collapse the stack. If you use the Collapse
utility to collapse the stack, be sure to choose Output Type > Modifier Stack Result.
Import a .shp file.
To select shape sub-objects:
1. Expand the object's hierarchy in the stack display and choose a sub-object level, or click one of
the sub-object buttons at the top of the Selection rollout.
You can also right-click the object in the viewports and choose a sub-object level from the quad
menu: Tools 1 (upper-left) quadrant > Sub-objects > Choose the sub-object level.
2. Click a selection or transform tool, and then select sub-objects using standard click or region-
selection techniques.
Because sub-object selections can be complex, you might consider using one of the following

Editable Spline
techniques to prevent clearing the sub-object selection by accident:
Use Lock Selection.
Name the sub-object selection (see Named Selection Sets List).
To clone sub-object selections:
Hold down the SHIFT key while transforming the sub-objects.

You can clone segment and spline sub-objects, but not vertices.
To draw a spline cage:
1. Select a segment sub-object on a spline.
2. On the Geometry rollout in the Connect Copy group, turn on Connect.
3. Hold down the SHIFT key and transform the selected segment. You can move, rotate or scale
using the transform gizmo to control the direction.
Notice that with Connect Copy on, new splines are drawn between the locations of the segment
and its clone.
Tip: Use Area Selection or Fuse before selecting and moving these vertices. They will not move
together as they do with the Cross-Section modifier. Or use Fuse to keep the vertices together.
Interface
The following controls are available at the object (top) level and at all sub-object levels.

Editable Spline
These creation parameters appear in these rollouts for editable splines. For splines to which the Edit
Spline modifier has been applied, creation parameters are available by selecting the object type
entry (for example, Circle or NGon) at the bottom of the modifier stack.
Rendering rollout
Controls here let you turn on and off the renderability of the shape, specify its thickness in the
rendered scene, and apply mapping coordinates. The spline mesh can be viewed in the viewports.
You can animate the render parameters, such as the number of sides. Viewport settings cannot be
animated.
You can also convert the displayed mesh into a mesh object by applying an Edit Mesh modifier or
converting to an Editable Mesh. The system will use the Viewport settings for this mesh conversion if
Use Viewport Settings is turned on; otherwise it will use the Renderer settings. This gives maximum
flexibility, and will always give the conversion of the mesh displayed in the viewports.
ViewportChoose to set viewport thickness, sides, and angles. Available only when Display Render
Mesh and Use Viewport Settings are on.
Range=0.0 to 100,000,000.0.

Editable Spline
Splines rendered at thickness of 1.0 and 5.0, respectively
SidesSets the number of sides for the spline mesh in the viewports or renderer. A value of 4 will
give you a square cross section, for example.
AngleAdjust the rotational position of the cross-section in the viewports or renderer. If you have a
square cross section you can use Angle to position a flat side down, for example.
Display Render MeshDisplays the mesh generated by the spline in the viewports.
Use Viewport SettingsDisplays the mesh generated by the Viewport settings. Available only
when Display Render Mesh is on.
Interpolation rollout
The Interpolation controls set how the program generates a spline. All spline curves are divided into
small straight lines that approximate the true curve. The number of divisions between each vertex
on the spline is called steps. The more steps used, the smoother the curve appears.
Splines used in above lathed objects contained two steps (left) and 20 steps (right)
StepsUse the Steps field to set the number of divisions, or steps, the program uses between each
vertex. Splines with tight curves require many steps to look smooth while gentle curves require
fewer steps. Range=0 to 100.

Editable Spline
Spline steps can be either adaptive or manually specified. The method used is set by the state of the
Adaptive check box. The main use for manual interpolation is to create splines for morphing or other
operations where you must have exact control over the number of vertices created.
OptimizeWhen on, removes unneeded steps from straight segments in the spline. Default=on.
Note: Optimize is not available when Adaptive is on.
Optimize was used to create spline in this lathed object.
AdaptiveWhen on, automatically sets the number of steps for each spline to produce a smooth
curve. Straight segments always receive 0 steps. When off, enables manual interpolation control
using Optimize and Steps. Default=off.
Selection rollout
Provides controls for turning different sub-object modes on and off, working with named selections
and handles, display settings, and information about selected entities.

Editable Spline
When you first access the Modify panel with an editable spline selected, you're at the Object level,
with access to several functions available as described in Editable Spline (Object). You can toggle the
sub-object modes and access relevant functions by clicking sub-object buttons at the top of the
Selection rollout.
You can work with parts of shapes and splines using shape sub-object selection of the Editable
Spline object. Clicking a button here is the same as selecting a sub-object type in the Modifier List.
Click the button again to turn it off and return to object selection level.
VerticesDefine points and curve tangents.
SegmentsConnect vertices.
SplinesAre a combination of one or more connected segments.
Named Selections group
CopyPlaces a named selection into the copy buffer.

PastePastes a named selection from the copy buffer.
Lock HandlesNormally you can transform the tangent handles of only one vertex at a time, even
when multiple vertices are selected. Use the Lock Handles controls to transform multiple Bezier and
Bezier Corner handles simultaneously.
AlikeAs you drag the handle of an incoming vector, all incoming vectors of the selected vertices
move simultaneously. Likewise, moving the outgoing tangent handle on one vertex moves the
outgoing tangent handle for all selected vertices.
AllAny handle you move affects all handles in the selection, regardless of whether they're broken.
This option is also useful when working with a single Bezier Corner vertex when you want to move
both handles.
SHIFT+click a handle to "break" the tangent and move each handle independently. The Alike option
must be chosen to break the tangent.
Area SelectionLets you select automatically all vertices within a specific radius of the vertex you
click. At the Vertex sub-object level, turn on Area Selection, and then set the radius with the spinner
to the right of the Area Selection check box. This is useful when moving vertices that have been
created using Connect Copy or Cross Section button.
Segment EndSelect a vertex by clicking a segment. In Vertex sub-object, turn on and select a
segment close to the vertex that you want selected. Use this when there are a number of coincident
vertices and you want to select a vertex on a specific segment. The cursor changes to a cross when
it is over a segment. By holding down the CTRL key you can add to the selection.
Select BySelects vertices on the selected spline or segment. First select a spline or segment in
sub-object spline or segment, then turn on vertex sub-object and click Select By and choose Spline
or Segment. All the vertices on the selected spline or segment are selected. You can then edit the
vertices.

Editable Spline
Display group
Show Vertex NumbersWhen on, the program displays vertex numbers next to the selected
spline's vertices at any sub-object level.
Selected OnlyWhen on, the vertex number or numbers appear only next to selected vertices.
Soft Selection
For information on the Soft Selection rollout settings, see Soft Selection Rollout.
Selection Info
At the bottom of the Selection rollout is a text display giving information about the current selection.
If 0 or more than one sub-object is selected, the text gives the number selected.
At the Vertex and Segment sub-object levels, if one sub-object is selected, the text gives the
identification numbers of the current spline (with respect to the current object) and of the current
selected sub-object. Each spline object contains a spline number 1; if it contains more than one
spline, the subsequent splines are numbered consecutively higher.
When a single spline is selected at the Spline sub-object level, the first line displays the identification
number of the selected spline and whether it's open or closed, and the second line displays the
number of vertices it contains. When more than one spline is selected, the number of splines
selected is displayed on the first line, and the total number of vertices they contain is displayed on
the second line.
Geometry rollout
The Geometry rollout provides functions for editing a spline object and sub-objects. The functions
available at the spline object level (when no sub-object level is active; see Editable Spline (Object))
are also available at all sub-object levels, and work exactly the same at each level. Other functions
are also available, depending on which sub-object level is active. Those that apply to other sub-
object levels are grayed out.
For specific information, see any of these topics:
Editable Spline (Object)
Editable Spline (Vertex)
Editable Spline (Segment)
Editable Spline (Spline)
Comments

Create or select a spline > Modify panel > ObjectSpace Modifiers > Edit Spline
Create or select a spline > Modifiers menu > Patch/Spline Editing > Edit Spline
The Edit Spline modifier provides explicit editing tools for different levels of the selected shape:
vertex, segment, or spline. The Edit Spline modifier matches all the capabilities of the base Editable
Spline object, with the exceptions noted below. See Editable Spline for a complete parameter
reference.
The Edit Spline modifier provides explicit editing tools for different levels of the selected shape:
vertex, segment, or spline. The Edit Spline modifier matches all the capabilities of the base Editable
Spline object, with the exceptions noted below. For a complete parameter reference, see Editable
Spline.
The Rendering and Interpolation rollouts found in Editable Spline, which allows manipulation of the
spline's creation parameters, are not available in the Edit Spline modifier. (The creation parameters
are available in the modifier stack for a spline to which Edit Spline is applied.) In addition, the direct
vertex animation capabilities of Editable Spline are not possible in Edit Spline.
When possible, its far more efficient and reliable to perform explicit editing at the Editable Spline
level rather than store those edits within the Edit Spline modifier. The Edit Spline modifier must copy
the geometry passed to it, and this storage can lead to large file sizes. The Edit Spline modifier also
establishes a topological dependency that can be adversely effected if earlier operations change the
topology being sent to it.
There are, however, situations where Edit Spline is the preferred method.
You want to edit a parametric shape as a spline, but want to retain the ability to modify its
creation parameters after the edit.
You want to store your edits temporarily within Edit Spline until you are satisfied with the results,
before committing them permanently to an editable spline object.
You need to make edits across several shapes at once, but do not want to convert them to a
single editable spline object.
You have a modifier in the stack that must stay parametric, and the resulting spline must be
edited after the modifier is applied.
Comments
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Make selection. > Modify panel
The modifier stack controls appear near the top of the Modify panel, just below the name and color
fields. The modifier stack ("stack" for short) contains the accumulated history of an object, including
its creation parameters and the modifiers applied to it. At the bottom of the stack is the original
object. Above the object are the modifiers, in order from bottom to top. This is the order in which
modifiers are applied to the object's geometry.
Object with two modifiers applied to it in the stack
See also
Applying Modifiers
Using the Modify Panel
Using the Modifier Stack
List of Available Modifiers
World-Space Modifiers (WSMs)
Object-Space Modifiers
Instances and References in the Modifier Stack Display
In the modifier stack display, objects and modifiers appear in normal type unless they are an
instance or a reference. Here is how instances and references appear in the stack display:
The name of an instanced object appears in boldface.
The name of a modifier appears in boldface if it is part of an instanced pipeline.
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Top: Plain object displayed in plain text

Bottom: Object instance displayed in boldface
Top: Pipeline displayed in plain text

Bottom: Pipeline instance displayed in boldface
If a modifier is applied to two or more pipelines, it is called an instanced modifier. Its name
appears in italic.
If a modifier is instanced and part of an instanced pipeline, its name appears in boldface and
italic.
Top: Instanced modifier displayed in italic (modifier applied to two objects)

Bottom: Instanced modifier in an instanced pipeline displayed in italic and boldface
A referenced object appears with a dark bar above it. Modifiers below the bar are part of the
current pipeline. Modifiers above the bar are unique to the reference object.
Note: You can also create instances of a reference. In this case, the modifier above the reference
bar apply to the reference and to its instances.
A modifier above the reference object bar can itself be an instance and appear in other pipelines,
in which case its name would be italic (either plain or boldface).

Top: Object reference shows a bar in the pipe

Bottom: Modifier applied to reference is not bold, as it is unique to this reference
The Make Unique button makes a pipeline or a modifier instance unique. When you highlight
the base object and then click Make Unique, the whole pipeline becomes unique. When you highlight
a bold modifier and then click Make Unique, this also makes the pipeline unique. If the modifier is an
instanced modifier that belongs to an instanced pipeline (it appears in boldface and italic), clicking
Make Unique makes the modifier unique but not the entire pipeline (the modifier's name is no longer
italic, but it is still bold).
See also
How Instanced Modifiers Work

Transforms, Modifiers, and Object Data Flow
Most-Recently-Used Modifiers
3ds max caches the results of evaluating most-recently-used modifiers. This means that in general,
you can see results more quickly as you move among modifiers on the stack.
To conserve memory use, the list of most-recently-used modifiers has a fixed length. Once the list is
full, adding a new modifier removes the oldest modifier in the list. By default, the list length is 1.
You can increase it by adding an MRUModSize entry to the [Performance] section of the 3dsmax.ini
file. For example:
MRUModSize=10
A good rule of thumb for this value is 10, but results will vary depending on how much main memory
your system has.
Procedures
To adjust an object's creation parameters:
1. Choose the object by clicking its name in the stack.

Primitive objects have a Parameters rollout. Other kinds of objects (such as meshes or NURBS)
have a variety of rollouts.
2. Use the controls in the rollouts to adjust the object.
To apply a modifier to an object:

Choose the name of the modifier from the drop-down modifier list.
Drag the name of the modifier from the stack display or the drop-down modifier list to the
object in a viewport. SHIFT+drag from the stack display moves the modifier, removing it
from the original object and applying it to the new one. CTRL+drag from the stack display
copies the modifier, creating an instanced modifier applied to both the original object and
the new one.
If the modifier buttons are visible and the modifier you want is one of them, click the button.
Choose the modifier from the Modifiers menu.
To remove a modifier:
1. Choose the modifier by clicking its name in the stack.

The modifier's name is highlighted, and its control rollouts appear below the modifier stack.
Click Remove Modifier From The Stack. This button is one of the tools beneath the
display of the modifier stack.
Right-click the modifier's name in the stack, and choose Delete.
To turn the effect of a modifier off, do one of the following:
Click to turn off the light-bulb icon to the left of the modifier's name in the stack.
When you apply a modifier, the light-bulb icon is on by default.
Right-click the modifier in the stack display, and choose Off.
To turn the effect of a modifier back on, do one of the following:
Click to turn on the dark light-bulb icon to the left of the modifier's name in the stack.
Right-click the modifier in the stack display, and choose On.
To change the size of the modifier stack display:
1. Move the cursor over the shaded bar below the tool buttons beneath the stack list.
The cursor changes to an up-and-down resize arrow (as it does on the borders of a resizable
window).
2. Drag the bar up or down to change the size of the stack display in the Modify panel.

To change a modifier's position in the stack:
1. Right-click the modifier's name in the stack, and choose Cut.
2. Right-click the name of the modifier you want the modifier to appear after (that is, above), and
choose Paste.
You can also drag-and-drop the modifier to a different location in the stack.
Note: The original object is always at the bottom of the stack, and world-space modifiers are
always at the top.
To use the modifier buttons:
Click Configure Modifier Sets, and choose Show Buttons.

This menu item is a toggle. It is either on or off. When you turn on Show Buttons, the current
button set appears between the drop-down modifier list and the stack display.
See Configure Button Sets Dialog for more information.
To turn the modified object into an editable mesh, do one of the following:
Right-click the modifier stack, and choose Collapse All.

A warning dialog is displayed that reminds you that the collapse operation cannot be undone, and
gives you the option of performing a hold before creating the mesh.
Right-click the object in a viewport, and choose Convert To > Convert to Editable Mesh in the
quad menu.
Tip: You can also turn a modified object into an editable patch or editable polygon surface. Use
the quad menu to do this.
To adjust a modifier's component such as its gizmo or center point:
1. Click the plus-sign icon to display the modifier's hierarchy.
2. Choose the component you want to adjust, such as the Gizmo.

The component highlights to show it is active.
3. Adjust the component.

For example, you might use transforms to move a gizmo or a center point.
4. When done, you can click the minus-sign icon to hide the hierarchy display. The modifier
itself is highlighted again.
Tip: You can also right-click the stack and use Show All Subtrees to view the entire hierarchy,
and Hide All Subtrees to view only objects and modifiers.
To go to a sub-object level for complex objects:
1. Click the plus-sign icon to display the object's hierarchy.
2. Choose the sub-object level you want to adjust.

The sub-object level highlights to show it is active.
Keyboard shortcut: INS cycles through the different sub-object levels.
3. Adjust sub-objects.
When you add a new sub-object type, the modifier stack updates to show the new sub-object
levels. For example, when you add a point curve sub-object to a NURBS surface, the Point and
Curve sub-object levels appear in the stack.
4. To leave the sub-object level, click to select the name of the top-level object or a different top-
level object.
Tip: You can also right-click the stack and use Show All Subtrees to view the entire hierarchy,
and Hide All Subtrees to view only objects and modifiers.
Interface

The Modifier Stack
Modifier List
The modifier list is a drop-down list that lets you choose a modifier to add to the stack. When you
choose an object-space modifier from this list, it appears above the object, or above the modifier
that was currently selected in the stack. When you choose a world-space modifier from this list, it
appears at the top of the stack.
Use Pivot PointsThe first item in the modifier list is the Use Pivot Points toggle. It is unavailable
unless multiple objects are selected.
When Use Pivot Points is turned on, 3ds max uses the pivot point of each object as the center of a
modifier's operation. For example, if you bend a line of trees around the Z axis, they all bend along
their trunks.
When Use Pivot Points is turned off, 3ds max calculates a central pivot point for the entire selection
set and modifies the selection as a whole. For example, if you bend a line of trees around the Z axis,
trees at the end of the line deform more than those at the center where the pivot is located.
Note: You must turn on Use Pivot Points before you apply the modifier to multiple objects. You can't
change the setting afterward, although you can delete the modifier and start over without
deselecting the selection set.
Modifier Buttons
Between the modifier list and the stack display, you can display up to 32 buttons. The buttons are a
shortcut way to add modifiers to the stack.

To display the modifier buttons, click Configure Modifier Sets (below the stack display) and
choose Show Buttons.
To customize the button set, click Configure Modifier Sets (below the stack display) and choose
Configure Modifier Sets.
When a modifier's button is visible, clicking the button applies the modifier to the stack. Object
modifiers are applied immediately above the currently selected object or modifier. World space
modifiers are applied at the top of the stack.
Stack Display
The modifier stack is organized as follows:
At the bottom of the stack, the first entry always lists the object type. Click this entry to display
the object's creation parameters so you can adjust them.
When you click to choose an entry in the modifier stack, its background highlights to show that
the entry is current, and that the object's or modifier's parameters are available for adjusting, in
rollouts that appear beneath the stack display.
Above the object itself are entries for object modifiers. Click a modifier entry to display the
modifier's parameters so you can adjust them.
This section lets you go back to any modifier you've applied and rework its effect on the object.
You can also delete the modifier from the stack, canceling its effect.
Reminder:3ds max applies transforms after it applies object modifiers but before it applies space
warps or world-space modifiers.
The top of the stack shows which space warps and world-space modifiers the object uses. For
example, if the object were bound to a Ripple space warp, an entry in the top section would read
Ripple Binding.

To the left of each modifier in the stack is a light-bulb icon. When the bulb appears white, the
modifier is applied to the stack below it. When the bulb appears gray, the modifier is turned off.
Click to toggle the on/off state of the modifier.
Note: You can also turn off the effect of modifiers in viewports but not in renderings, or vice versa.
The light-bulb icon changes to show these states as well. See Modifier Stack Right-Click Menu.
If the modifier has sub-controls such as a center or a gizmo, the stack also shows a small
plus/minus icon. Click this icon to open or close the hierarchy.
Opening a modifier's hierarchy to access sub-controls
When the hierarchy is open, you can select a sub-control, such as a gizmo, and then adjust it. The
available sub-controls vary from modifier to modifier.
Objects that have a sub-object hierarchy, such as editable meshes and NURBS, also show a
collapsible hierarchy in the modifier stack.
To work at a sub-object level, click to open the hierarchy, then click to select the sub-object level.
Controls for that particular level or type of sub-object appear in rollouts below the stack display.
(Certain types of sub-objects display an icon at the right of the stack, to help you see which sub-
object type you are adjusting.)

Opening an object's hierarchy to access sub-object levels
Tool Buttons
Below the stack display is a row of buttons for managing the stack.
Pin StackLocks the stack to the currently selected object so it remains with that object
regardless of subsequent changes in selection. The entire Modify panel is locked to the current
object as well.
Pin Stack is useful for transforming another object while keeping your place in the modified object's
stack.
Show End ResultShows the selected object as it will appear after all modifications in the
stack have taken place, regardless of your current position in the stack. When this toggle is turned
off, the object appears as modified up to the current modifier in the stack.
Make UniqueConverts an instanced modifier to a copy that's unique to the current object.
See Make Unique.
Remove ModifierDeletes the current modifier or unbinds the current space warp.
Configure Modifier SetsClick to display the pop-up Modifier Sets menu.
Comments


After adding objects to your scene from the Create panel, you move to the Modify panel to change
an objects original creation parameters and to apply modifiers. Modifiers are the basic tools for
reshaping and adjusting primitive geometry.
Note: You can float or dismiss the command panel using the Customize Display right-click menu. The
default setting is to display the command panel docked at the right of your screen. If it is not
displayed or you want to change its location and docking or floating status, right-click in a blank area
on any toolbar, and choose from the shortcut menu.
The Modify panel stays in view until you click another command panel tab. The panel updates to
show the options and controls that are available for the currently selected object or modifier.
Procedures
To use the Modify panel:
1. Select an object in your scene.
2. Click the Modify tab to display the Modify panel.

The name of the selected object appears at the top of the Modify panel, and fields change to
match this object.
The objects creation parameters appear in rollouts on the Modify panel, below the modifier
stack display. You can use these rollouts to change the creation parameters for an object. As
you change them, the object updates in the viewports.
3. Apply a modifier to an object.

After you apply a modifier, it becomes active, and rollouts below the modifier stack display
settings specific to the active modifier.
To apply a modifier to an object:
Choose a modifier from the Modifier List. This is a drop-down list at the top of the Modify
panel.
Choose a modifier from the Modifiers menu. Like the Modifier List, this menu is organized
into sets.
Not all modifiers appear on the Modifiers menu.
If the modifier buttons are visible on the Modify panel and the modifier you want is one of
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them, click the button.
If the buttons are not visible but you want to use them, click the Configure Modifier
Sets button (below the modifier stack display) and choose Show Buttons. A set of buttons
with the names of modifiers appears between the modifier list and the stack display. Click
Configure Modifier Sets again, choose the set of modifiers you want to use (for example,
Free-Form Deformations), and then click the button for the modifier you want to apply.
Rollouts are now displayed below the modifier stack display, showing settings for the modifier.
As you change these settings, the object updates in viewports.
To drag a modifier to an object:
1. Select an object that already has a modifier you would like to use on another object.
2. Drag the modifier's name from the stack display to the object in a viewport that you want to
use the same modifier. Use SHIFT+drag to move the modifier, removing it from the original
object and applying it to the new one. Use CTRL+drag to copy the modifier, creating an
instanced modifier applied to both the original object and the new one.
Note: The modifier will be displayed in italics in the modifier stack if you copy the modifier from
one object to another. This is an indication that the modifier is instanced, meaning that a
change to the modifier parameters of one object will affect the other.
Using Modifiers
Once youve applied modifiers to an object, you can use the Modifier Stack to find a particular
modifier, change its parameters, edit its sequence in the modifier stack, copy its settings to another
object, or delete it entirely.
You can find a complete, alphabetical list of modifiers in List of Available Modifiers.
General Guidelines
You can generally do the following with the Modify panel:
Modify anything you can select. This includes any object or set of objects, or any part of an object
down to the sub-object level. For example, you can use the Mesh Select modifier to select a single
face, then apply a Taper modifier to it.
Apply an unlimited number of modifiers to an object or part of an object.

The order or sequence in which you make modifications is important. Each modification affects
those that come after it. See Using the Modifier Stack.
Note: Some modifiers can be applied only to certain types of objects.

Modifier Sub-Object Levels
In addition to its own set of parameters, a modifier typically has one or more sub-object levels that
you access through the modifier stack. The most common of these are a gizmo and a center.
GizmoDisplays in viewports as a wireframe that initially surrounds the selected object. A gizmo
acts like a mechanical apparatus that transfers its modification to the object its attached to. To alter
the effect of the modifier on the object, you can move, scale, and rotate the gizmo as you would any
object.
CenterThe center is the modifier's pivot point. You can move a modifiers center, which alters the
effect of the modifier on the object.
Parametric Deformations and Other Modifier Types
One set of object-space modifiers is known as parametric deformations (parametric deforms on the
Modifiers menu). Twist and Bend are examples. Parametric deformations alter the selection passed
to them without explicitly depending on topology.
Many other types of modifiers, however, perform operations on the explicit topology of sub-object
selections. The Edit modifiers and Select modifiers are examples. When a topology-dependent
modifier is present on the stack, you can adversely affect its results if you visit previous stack
operations and change the number or order of sub-objects (such as faces or vertices) in the
selection. If you try to do this, a warning alerts you to the situation.
You can safely edit the stack beneath the topology-dependent modifier, as long as you do not add or
remove sub-objects from the selection on which it operates.
Comments

Dock and Float
Glossary
Dock and Float

These terms describe manipulations to user interface elements, such as toolbars.
You dock a toolbar, for example, when you align it with the edge of another interface element,
typically a window or pane.
You float a toolbar when you detach it from a stationary position, and reposition it elsewhere on the
desktop.
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Customize Display Right-Click Menu
Customize Display Right-Click Menu

The Customize Display right-click menu displays when your cursor is over the blank area of a toolbar
(not when the cursor is over a button). It also displays when the cursor is immediately above, below,
or to the right of the command panel tabs: in these locations, the cursor changes to appear as a
stack of two sheets of paper. In addition, the menu displays when the cursor is positioned at the
right edge of the command panel when docked, or, when floating, at the right or left edge.
Use this menu to turn on and off the display of various user interface elements, customize the
display of toolbars, and dock or float items such as the command panel.
Interface
The following options are displayed in all cases:

CustomizeDisplays the Customize User Interface dialog, which lets you add commands and macro
scripts to the toolbars.
Command PanelToggles the command panel display. By default, this is displayed.
Main ToolbarToggles the main toolbar. By default, this is displayed.
Axis ConstraintsToggles the Constraints toolbar. By default, this toolbar is not displayed.
LayersToggles the Layers toolbar. By default, this is displayed as a floating toolbar.
ReactorToggles the reactor toolbar. By default, this is displayed.
ExtrasToggles the Extras toolbar. By default, this is displayed.
Additional Options: Docking and Floating
Depending on your cursor location when you right-click, the menu can also display these options:
DockDocks the active item to the specified location: Top, Bottom, Left, or Right.
Note: For more information on docking toolbars, see Customizing the User Interface.
FloatFloats the active item.
Note: This is only available for docked items.
Comments
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Layers Toolbar
Layers Toolbar
Right-click any toolbar. > Layers
The Layers toolbar simplifies interaction with the layer system in 3ds max, allowing you to easily
organize the layers in your scene. Most of these operations are available from the Layer Manager,
however the Layers toolbar provides shortcuts to several common actions, as well as the advantage
of being able to work directly in the viewports.
Note: The default UI does not display this toolbar; to see it, right-click an empty portion of any
toolbar, and choose Layers from the menu.
The Layers toolbar provides the following controls:
Layer Manager
Layer List
Create New Layer
Add Selection to Current Layer
Select Objects in Current Layer
Set Current Layer to Selection's Layer
See also
Using Layers to Organize a Scene
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Wireframe Mode
Glossary
Wireframe Mode
Wireframe of a director's chair and megaphone
Use the extended parameters for the wireframe effect to set the size of the wire and specify the
measurement in pixels or units.
When you use pixels, the thickness of the wire is based on the screen pixels. Therefore, it's absolute,
and remains the same, regardless of its distance from the camera. If you use units, the thickness is
based on world units, and varies depending on the distance from the camera.
It's easier to compare the effect of pixels and units if you first adjust the camera view to give a
greater sense of distance. You can most easily do this with the Perspective viewport navigation tool,
which dollies the camera in one direction, while changing the field of view in the other.
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Normal
Glossary
Normal
The normal of each face can point in a different direction.
A normal is a vector that defines which way a face or vertex is pointing. The direction of the normal
indicates the front, or outer surface of the face or vertex.
You can manually flip or unify face normals to fix surface errors caused by modeling operations or by
importing meshes from other programs.
See also
Normal modifier
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Normal Modifier
Normal Modifier
Select an object. > Modify panel > Modifier List > Normal
Select an object. > Modifiers menu > Mesh Editing > Normal
The Normal modifier allows you to unify or flip the normals of an object without applying an Edit
Mesh modifier.
For example, if you wanted to fly inside of a procedural object, such as a sphere or a cylinder, and
wanted to retain control over the radius and number of segments, you couldn't collapse the object to
an Editable Mesh and maintain the procedural nature of the primitive.
Flipping the normals of a sphere creates a sky dome over a city.
Tip: If you are animating the creation of a complex object such as a nested Boolean or a loft, and
you think the operation might result in inconsistent faces, apply Normal to the result and turn on
Unify.
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Normal Modifier
Tip: The Lathe modifier sometimes creates an object with normals pointing inward. Use the Normal
modifier with both Unify and Flip turned on to fix "inside-out" lathe objects. The Normal modifier
allows whole-object manipulations of normals to be performed quickly without using an Edit Mesh
modifier.
Patches
As of 3ds max 4, patch objects coming up the modifier stack are not converted to a mesh by this
modifier. A patch object input to the Material modifier retains its patch definition. Files that contain
patch objects with the Material modifier from previous versions of the software will be converted to
meshes to maintain backward compatibility.
Procedure
To use the normal modifier:
1. Select an object, then on the Modify panel, choose Mesh Editing > Normal from the
Modifier List.
The object appears to turn inside-out, since Flip Normals is on by default.
2. If the object has some faces pointing inward and others outward, turn on Unify Normals to
make all the faces point similarly.
Tip: To flip or unify normals on portions of objects, convert to Editable Mesh and select Faces
or Polygons. On the Surface Properties rollout in the Normals group, use the Flip and Unify
buttons.
Interface
Unify NormalsUnifies the normals of an object by flipping the normals so that they all point in the
same direction, usually outward. This is useful for restoring an object's faces to their original
orientations. Sometimes normals of scenes that have come into 3ds max as part of a DXF file are
irregular, depending on the methods used to create the scene. Use this option of the modifier to
correct them.
Flip NormalsReverses the direction of all the surface normals of the faces of the selected object

Normal Modifier
or objects. Default=on.
Comments

Trajectory
Glossary
Trajectory
Scooter following a trajectory
Whenever an object moves through world space, you can view its trajectory. A trajectory is the
visible path the object makes because of its movement. You can think of a trajectory as a three-
dimensional function curve for the Position track of an object.
Object trajectories appear with the following properties:
The trajectory curve is drawn in blue.
Frame increments are displayed as yellow dots on the curve.
Position keys are displayed as white boxes surrounding the appropriate frame dot on the curve.
Selected keys are displayed in gray.
In 3D Studio R4, trajectories were referred to as "motion paths." In 3ds max, there is a Path
constraint, which picks a spline in the scene to use as a motion path for an object.
In trajectories are created from animated objects. You must animate the object first in order to
create the trajectory. You cannot assign a path or spline as a trajectory to animate the object.
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Trajectory
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Zoom Extents, Zoom Extents Selected
Activate a Perspective or Orthographic viewport. > Viewport Navigation controls > Zoom Extents
flyout
The Zoom Extents flyout displays the Zoom Extents button and the Zoom Extents Selected button.
Zoom Extents centers all visible objects in an active Perspective or Orthographic viewport. This
control is useful when you want to see every object in a scene in a single viewport.
Zoom Extents Selected centers a selected object, or set of objects, in an active Perspective
and Orthographic viewport. This control is useful when you want to navigate to small objects lost in
a complex scene.
Procedures
To zoom all objects in one viewport:
1. Activate the Perspective or Orthographic viewport you want to zoom.
2. Click Zoom Extents.

The viewport displays all objects in the scene.
To zoom on a specific object:
1. Activate the Perspective or Orthographic viewport you want to zoom.
2. Select the object by clicking it, or press H to select it by name.
3. Click Zoom Extents Selected.

The viewport displays the selected object.
To exclude an object from Zoom Extents:

Use this procedure, for example, to ignore lights that are far away from the other objects in the
scene.
1. Click an object to select it.
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2. Right-click the object and choose Properties.
3. In the Display Properties group, make sure properties are set to By Object.
4. Turn on Ignore Extents.

The object will now be excluded by Zoom Extents and Zoom Extents Selected.
Interface
Zoom ExtentsCenters and magnifies views so all the visible objects in the scene are shown
in a single viewport.
Objects can be excluded from zoom extents all if the Ignore Extents box is turned on under Object
Properties.
Zoom Extents SelectedCenters and magnifies views so just the selected objects or sub-
object selections in the scene are shown in a single viewport. If no objects are selected, the effect is
the same as Zoom Extents.
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Editable Mesh Surface
Create or select an object. > Quad menu > Transform quadrant > Convert To: submenu > Editable
Mesh
Create or select an object. > Modify panel > Right-click the base object in the stack. > Convert to:
Editable Mesh
Create or select an object. > Utilities panel > Collapse button > Collapse Selected button
Editable Mesh is not so much a modifier as it is a state. However, like the Edit Mesh modifier, it
provides controls for manipulating a mesh object made up of triangular faces as an object and at
three sub-object levels: vertex, edge and face. You can convert most objects in 3ds max to editable
meshes, but for open spline objects, only vertices are available, because open splines have no faces
or edges when converted to meshes.
To make a sub-object selection on a non-editable mesh object (for example, a primitive) for passing
up the stack to a modifier, use the Mesh Select modifier.
Once you make a selection with Editable Mesh, you have these options:
Use the options supplied on the Edit Geometry rollout to modify the selection. Later topics discuss
these options for each of the mesh components.
Transform or SHIFT+clone the selection, as with any object.
Pass the selection to a later modifier in the stack. You can apply one or more standard modifiers
to the selection.
Use the options on the Surface Properties rollout to alter the surface characteristics of selected
mesh components.
Note: Because Edit Mesh modifier functionality is almost identical to that of editable mesh objects,
features described in the Editable Mesh topics also apply to objects with Edit Mesh applied, except
as noted.
Tip: The Editable Poly object is similar to Editable Mesh, but lets you work with polygons of four or
more sides, and provides a greater range of functionality.
Note: You can exit most Editable Mesh command modes, such as Extrude, by right-clicking in the
active viewport.
See also
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Procedure
To produce an editable mesh object:

First select the object, and then do one of the following:
Right-click the object and choose Editable Mesh from the Convert To submenu in the transform
quadrant.
Use the Collapse utility.
Apply a modifier to a parametric object that turns the object into a mesh object in the stack, and
then collapse the stack. (For example, you can apply a Mesh Select modifier.)
Import a non-parametric object, such as that found in a .3ds file.
Converting an object to an editable mesh removes all parametric controls, including the creation
parameters. For example, you can no longer increase the number of segments in a box, slice a
circular primitive, or change the number of sides on a cylinder. Any modifiers you apply to an object
are collapsed as well. After conversion, the only entry left on the stack is "Editable Mesh."
Maintaining an object's creation parameters:
As described in the above procedure, you can convert an existing object to an editable mesh, which
replaces the creation parameters in the stack with "Editable Mesh." The creation parameters are no
longer accessible or animatable. If you want to maintain the creation parameters, you can use the
following modifiers:
Edit Mesh Modifier
Tessellate Modifier
Interface
Modifier Stack display
Show End ResultNormally, if you apply a modifier such as Twist to an editable-mesh object and
then return to the Editable Mesh stack entry, you cannot see the effect of the modifier on the

object's geometry. But if you turn on Show End Result while in sub-object level, you can see the
original sub-object selection as a yellow mesh, the final object as a white mesh, and the original
editable mesh as an orange mesh.
Selection rollout
The Selection rollout provides buttons for turning different sub-object levels on and off, working with
named selections and handles, display settings, and information about selected entities.
When you first access the Modify panel with an editable mesh selected, you're at the Object level,
with access to several functions available as described in Editable Mesh (Object). You can toggle the
various sub-object levels, and access relevant functions by clicking the buttons at the top of the
Selection rollout.
Clicking a button here is the same as selecting a sub-object type in the Modifier Stack display. Click
the button again to turn it off and return to the Object selection level.
The Selection rollout also allows you to display and scale vertex or face normals
VertexTurns on Vertex sub-object level, which lets you select a vertex beneath the cursor;
region selection selects vertices within the region.
EdgeTurns on Edge sub-object level, which lets you select a face or polygon edge beneath
the cursor; region selection selects multiple edges within the region. When Edge sub-object level is
on, hidden edges are displayed as dashed lines, allowing for more precise selection.
FaceTurns on Face sub-object level, which lets you select a triangular face beneath the
cursor; region selection selects multiple triangular faces within the region.
PolygonTurns on Polygon sub-object level, which lets you select all coplanar faces (defined

by the value in the Planar Threshold spinner) beneath the cursor. Usually, a polygon is the area you
see within the visible wire edges. Region selection selects multiple polygons within the region.
ElementTurns on Element sub-object level, which lets you select all contiguous faces in an
object. Region selection lets you select multiple elements.
By VertexWhen you click a vertex, any edges or faces that use that vertex, depending on the
current sub-object level, are selected. Also works with Region Select.
Note: When By Vertex is on, you can select sub-objects only by clicking a vertex, or by region.
Ignore BackfacingWhen on, selection of sub-objects selects only those sub-objects whose
normals are visible in the viewport. When off (the default), selection includes all sub-objects,
regardless of the direction of their normals.
Note: The state of the Backface Cull setting in the Display panel does not affect sub-object selection.
Thus, if Ignore Backfacing is off, you can still select sub-objects, even if you can't see them.
Ignore Visible EdgesThis is enabled when the Polygon face selection method is chosen. When
Ignore Visible Edges is off (the default), and you click a face, the selection will not go beyond the
visible edges no matter what the setting of the Planar Thresh spinner. When this is on, face selection
ignores the visible edges, using the Planar Thresh setting as a guide.
Generally, if you want to select a "facet" (a coplanar collection of faces), you set the Planar
Threshold to 1.0. On the other hand, if you're trying to select a curved surface, increase the value
depending on the amount of curvature.
Planar Thresh(Planar Threshold) Specifies the threshold value that determines which faces are
coplanar for Polygon face selection.
Show NormalsWhen on, the program displays normals in the viewports. Normals are displayed as
blue lines.
Show normals is not available in Edge mode.
ScaleSpecifies the size of the normals displayed in the viewport when Show is on.
HideHides any selected sub-objects. Edges and entire objects cannot be hidden.
Tip: The Select Invert command on the 3ds max Edit menu is useful for selecting faces to hide.
Select the faces you want to focus on, choose Edit > Select Invert, then click the Hide button.
Unhide AllRestores any hidden objects to visibility. Hidden vertices can be unhidden only when in
Vertex sub-object level.
Named Selections

For more information, see Named Selection Sets.
Selection Information

If 0 or more than one sub-object is selected, the text gives the number and type selected. If one
sub-object is selected, the text gives the identification number and type of the selected item.
Note: When the current sub-object level is Polygon or Element, selection information is given in
faces.
Soft Selection rollout
Soft Selection controls affect the action of sub-object Move, Rotate, and Scale functions. When these
are on, 3ds max applies a spline curve deformation to unselected vertices surrounding the
transformed selected sub-object. This provides a magnet-like effect with a sphere of influence
around the transformation.
For more information, see Soft Selection Rollout.
Edit Geometry rollout
The Edit Geometry rollout provides various functions for editing an editable mesh object and its sub-
objects. For specific information, click any of the links below:
Editable Mesh (Object)
Editable Mesh (Vertex)
Editable Mesh (Edge)
Editable Mesh (Face/Polygon/Element)
Comments

Editable Mesh
Glossary
Editable Mesh
An editable mesh is a type of deformable object. An editable mesh is a trimesh: that is, it uses
triangular polygons. Editable meshes are useful for creating simple, low-polygonal objects or control
meshes for MeshSmooth and HSDS modelling. You can convert NURBS and patch surfaces to an
editable mesh. Editable meshes require little memory, and are a natural method of modeling with
polygonal objects.
Comments
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Create or select and object > Modify panel > Modifier List > Mesh Select
Make a selection. > Modifiers menu > Selection Modifiers > Mesh Select
The Mesh Select modifier lets you pass a sub-object selection up the stack to subsequent modifiers.
It provides a superset of the selection functions available in the Edit Mesh modifier. You can select
vertices, faces, or edges, and you can change the selection from sub-object level to object level.
Note the following:
When you apply the Mesh Select modifier and then go to any sub-object level, the select-and-
transform buttons in the toolbar are unavailable, and the Select Object button is automatically
activated.
The Mesh Select modifier automatically turns off the Show End Result button, which becomes
"spring loaded" while you're in the modifier.
For more information on the stack display, see Modifier Stack.
Using XForm Modifiers to Animate a Mesh Selection
When you apply a Mesh Select modifier, there are no animation controllers assigned to the sub-
object selection. This means that the selection has no way to "carry" the transform information
needed for animation.
To animate a sub-object selection using Mesh Select, apply either an XForm or Linked XForm
modifier to the selection. These modifiers provide the necessary controllers for animating the effects
of transforms. In a sense, they give "whole-object status" to the sub-object selection.
XForm
Animates transforms directly on a sub-object selection. Creates a gizmo and center for the sub-
object selection. You can animate both, with the center acting as a pivot point for the selection.
Linked XForm
Lets you choose another object to control the animation. The sub-object selection is linked to the
"control object." When you transform the control object, the sub-object selection follows
accordingly.
Procedure
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To use the Mesh Select modifier:
1. Create a mesh object.
2. Apply a Mesh Select modifier.
3. Select vertices, faces, or edges.
4. Add another modifier to affect only the selection from step 3.
Interface
Modifier Stack controls
Show End ResultNormally, if you apply a modifier such as Twist to an editable-mesh object
and then return to the Editable Mesh stack entry, you cannot see the effect of the modifier on the
object's geometry. But if you turn on Show End Result, you can see the final object as a white mesh,
and the original editable mesh as an orange mesh.
Note: With modifiers such as MeshSmooth, which apply by default to an entire object, no special
treatment is necessary. However, if you intend to use this functionality with other modifiers that
work on a sub-object selection passed up the stack, such as Bend, and you want to apply the
modifier to the entire object, you should place a Volume Select modifier between the editable mesh
object and the modifier in the stack. You should leave the Volume Select modifier's level at the top
(the default: no sub-object level chosen).
Mesh Select Parameters rollout

Provides buttons for turning different sub-object modes on and off, working with named selections
The icons at the top of the Selection rollout let you specify the method of sub-object selection.
Clicking a button here is the same as selecting a sub-object level in the modifier stack. Click the
button again to turn it off and return to the object selection level.
VertexSelects a vertex beneath the cursor; region selection selects vertices within the
region.
EdgeSelects a face or polygon edge beneath the cursor; region selection selects multiple
edges within the region.
FaceSelects a triangular face beneath the cursor; region selection selects multiple triangular
faces within the region.
PolygonSelects all coplanar faces (defined by the value in the Planar Threshold spinner)
beneath the cursor. Usually, a polygon is the area you see within the visible wire edges. Region
selection selects multiple polygons within the region.
ElementSelects all contiguous faces in an object. Region selection selects the same.

By VertexSelects any sub-objects at the current level that use a vertex you click. Applies to all
sub-object levels except Vertex. Also works with Region Select.
Ignore BackfacesSelects only those sub-objects whose normals make them visible in the
viewport. When turned off (the default), selection includes all sub-objects, regardless of the direction
of their normals.
Note: The state of the Backface Cull setting in the Display panel doesn't affect sub-object selection.
Thus, if Ignore Backfacing is turned off, you can select sub-objects even if you can't see them.
Note: The state of the Ignore Backfaces check box also affects edge selection at the Edge sub-object
selection level.
Ignore Visible EdgesWhen turned off (the default), and you click a face, the selection won't go
beyond the visible edges no matter what the setting of the Planar Thresh spinner. When turned on,
face selection ignores the visible edges, using the Planar Thresh setting as a guide. Enabled when
the Polygon face selection method is chosen.
Generally, if you want to select a "facet" (a coplanar collection of faces), you set the Planar
Threshold to 1.0. On the other hand, if you're trying to select a curved surface, increase the value
depending on the amount of curvature.
Planar Thresh (Planar Threshold)Specifies the threshold value that determines which faces are
coplanar for Polygon face selection.
Get from Other Levels group
Applies selections from one sub-object level to another.

Get Vertex SelectionSelects faces based on the last vertex selection. Selects all faces shared by
any selected vertex. The selection is added to the current selection. Available only when Vertex is
not the current sub-object level.
Get Face SelectionSelects vertices based on the last face/polygon/element selection. This
selection is added to the current selection. Available only when Face/Polygon/Element is not the
current sub-object level.
Get Edge SelectionSelects faces based on the last edge selection. Selects those faces that
contain the edge. Available only when Edge is not the current sub-object level.
Select by Material ID group
Selects faces based on their material ID.

IDSet the spinner to the ID number you want to select, and then click the Select button. Press
CTRL while clicking to add to the current selection, or press ALT to remove from the current
selection.
Named Selection Sets group
These functions are primarily for copying named selection sets of sub-objects between similar

objects, and between comparable modifiers and editable objects. For example, you can apply a
mesh select modifier to a sphere, create a named selection set of edges, and then copy the selection
to a different sphere that's been converted to an editable mesh object. You can even copy the
selection set to a different type of object, because the selection is identified by the entities' ID
numbers.
The standard procedure is to create a selection set, name it, and then use Copy to duplicate it into
the copy buffer. Next, select a different object and/or modifier, go to the same sub-object level as
you were in when you copied the set, and click Paste.
Note: Because sub-object ID numbers vary from object to object, the results of copying named
selection sets between different objects can be unexpected. For example, if the buffered set contains
only entities numbered higher than any that exist in the target object, no entities will be selected
when the set is pasted.
Select Open EdgesSelects all edges with only one face. In most objects, this will show you where
missing faces exist. Available only at the Edge sub-object level.
At the bottom of the Mesh Select Parameters rollout is a text display giving you information about
the current selection. If 0 or more than one sub-object is selected, the text gives the number and
type selected. If one sub-object is selected, the text gives the ID number and type of the selected
item.
Note: When the current sub-object type is Polygon or Element, selection information is given in
faces.
These controls let you set a gradual falloff of influence between selected and unselected vertices.
See Soft Selection Rollout (Edit/Editable Mesh).
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Edit Mesh Modifier
Edit Mesh Modifier
Create or select an object > Modify panel > Modifier List > ObjectSpace Modifiers > Edit Mesh
Create or select an object > Modifiers menu > Mesh Editing > Edit Mesh
The Edit Mesh modifier provides explicit editing tools for different sub-object levels of the selected
object: vertex, edge, and face/polygon/element. The Edit Mesh modifier matches all the capabilities
of the base Editable Mesh object, except that you cannot animate sub-objects in Edit Mesh. See
Editable Mesh for a complete parameter reference.
When possible, its far more efficient and reliable to perform explicit modeling at the Editable Mesh
level rather than store those edits within the Edit Mesh modifier. The Edit Mesh modifier must copy
the geometry passed to it, and this storage can lead to large file sizes. The Edit Mesh modifier also
establishes a topological dependency that can be adversely affected if earlier operations change the
There are, however, situations where using the Edit Mesh modifier is the preferred method.
You want to edit a parametric object as a mesh, but want to retain the ability to modify its
You want to store your edits temporarily within Edit Mesh until you are satisfied with the results,
before collapsing them permanently to an editable mesh object.
You need to make edits across several objects at once, but do not want to convert them to a
single editable mesh object.
You have a modifier in the stack that must remain parametric, and the mesh must be edited after
the modifier is applied.
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Layer List
Layer List
Layers toolbar > Layer List
The Layer List, available from the Layers toolbar, displays layer names and their properties. You can
control the properties of layers by clicking the property icons. You can make a layer current by
simply selecting it from the list.
The controls available in the Layer List are a subset of the controls available in the Layer Manager.
For more information, see Layer Manager .
Tip: The Layer List is most useful in conjunction with the other tools available on the Layers toolbar.
See also

Layers Toolbar
Procedures
To make a layer current:
1. Click Layers toolbar > Layer List to display the list.
2. Select the layer you want to make current from the list.
It is now the current layer.
To change the layer of a selected object:
2. Select the desired destination layer to make it current.
3. On the Layers toolbar, click Add Selected Objects to Current Layer.
To change a layer's properties:
2. Click the layer property icon that you want to set.

You can change the following properties from the layer list: hide/unhide, freeze/unfreeze,
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Layer List
renderable/non-renderable, and color.
3. Click the Layer List again to collapse it.
Interface
You can change the following properties from the layer list: hide/unhide, freeze/unfreeze, renderable/
non-renderable, and color.
Unlike the Layer Manager, where one icon is used for all Off states, the 'Off' icons for each property
on the Layer List are unique.
The following are the On and Off icons for each toggled property in the Layer List:
Property On Off
Hide/Unhide (Hidden) (Visible)
Freeze/Unfreeze (Frozen) (Editable)
Renderable/Non-Renderable (Non-
(Renderable) renderable)
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Layers are like transparent overlays on which you organize and group different kinds of scene
information. The objects you create have common properties including color, renderability, and
display. An object can assume these properties from the layer on which you create it. Using layers
makes it easier to manage the information in your scenes. Layers are used primarily to control the
visibility of objects in your scene, however they also controls the color of objects' wireframe and the
frozen and hidden state of objects, as well as their radiosity properties.
For example, you might want to set up a layer which will contain detailed, custom furniture. To do
this, you create a layer and set Viewport Display to Bounding Box. Then you set the object's display
properties to ByLayer (in the Object Properties dialog). This will keep the viewport display quick.
Then, whenever you want to import new furniture, switch to this layer. You don't need to set up your
viewport display every time you import new furniture. Also, if you don't want to render the furniture,
you can turn off that layer's Renderable property.
Note: Objects can be hidden and frozen on a per-object basis, however an object residing on a
hidden or frozen layer will always adopt the hide/freeze state of its layer.
Tip: If you set Lights' render control to ByLayer (in the General panel of the Preferences dialog), you
can use the Render column in the Layer Manager to quickly turn lights on/off in your scene.
Layers can help organize the contents of a scene.
Layer-Object Relationships
The Layer Manager displays layers, as well as their associated objects. This makes it very easy to
organize, and make changes to objects in a scene. With the Layer Manager, you can adjust property
settings at either the layer level, or individually for each object. Each property can be toggled
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between various states, including the ByLayer state. When an objects property is set to ByLayer,
the object inherits that setting from the layer it is associated with.
Note: Objects' Hide and Freeze state cannot be set to ByLayer. Objects can be hidden or frozen on a
per-object basis, however they will always follow the behavior of their layer when it is hidden or
frozen.
Special Layer 0
When you begin a new scene, 3ds max creates a special layer named 0 (default). By default,
objects on layer 0 have their visibility settings on, renderability is on, and viewport display is set.
You cant delete or rename layer 0, the current layer, or layers containing objects.
If you havent created any layers, 3ds max places objects you create on layer 0 by default. After
you create objects, you can reassign them to different layers, including those residing on layer 0.
Display Properties
In the Layer Properties dialog, you can specify layer visibility individually for each viewport. If you
dont want to display a certain layer, you can hide that layer. 3ds max hides the layer in the
viewport, but not in any output rendered image of the scene.
Note: For hidden geometry to render, Render Hidden Geometry must be turned on in the Render
Scene dialog > Common Parameters rollout.
You can specify layers to display objects shaded, in wireframe mode, as a bounding box, or as
whatever is set on the Viewport Properties menu. Using this method, you can have different objects
displayed differently in the same scene.
You can display layers in See-Through mode. See-Through mode temporarily displays selected
objects in translucent form so you can see through them without applying special materials. You can
toggle See-Through mode for all objects per layer.
Note: You can control whether newly created objects adopt the default layer settings on a per-object
basis by using Default To By Layer For New Nodes in the Preferences dialog.
Layer Names
You can create and name a layer for each conceptual grouping (such as walls or terrain) and assign
common properties to those layers. By grouping objects into layers, you can control their display and
make changes quickly and efficiently. When you name layers, you can use names of variable length
up to 255 characters. These names can contain letters, digits, blank spaces, and the special
characters dollar sign ($), hyphen (-), and underscore (_).
See also

Layer List
Layer Manager
Comments

Freezing and Unfreezing Objects
Above: No layers locked

Below: Trash can and streetlight are locked, and displayed in gray
You can freeze any selection of objects in your scene. By default, frozen objects, whether wireframe
or rendered, turn a dark gray. They remain visible, but cant be selected, and therefore cant be
directly transformed or modified. Freezing lets you protect objects from accidental editing and
speeds up redraws.
You can choose to have frozen objects retain their usual color or texture in viewports. Use the Show
Frozen in Gray toggle in the General tab of the Object Properties dialog.
Frozen objects are similar to hidden objects. Linked, instanced, and referenced objects behave when
frozen just as they would if unfrozen. Frozen lights and cameras and any associated viewports
continue to work as they normally do.
For more information, see Freeze Rollout.
Freezing Objects
You can freeze one or more selected objects. This is the usual method to put objects "on hold."
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You can also freeze all objects that are not selected. This method lets you keep only the selected
object active, useful in a cluttered scene, for example, where you want to be sure no other objects
are affected.
Procedure
To access Freeze options, do one of the following:
Open the Display panel, then expand the Freeze rollout.
Choose Tools menu > Display Floater. This modeless dialog has the same options as the Freeze
rollout. It also contains Hide options.
Access the Properties dialog from either the right-click (quad) menu or the Edit menu. Turn on
Hide and/or Freeze.
In the Layer Manager, click in the Freeze column to freeze/unfreeze each layer in the list.
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Freeze Rollout
Freeze Rollout
Display panel > Freeze rollout
The Freeze rollout provides controls that let you freeze or unfreeze individual objects by selecting
them, regardless of their category.
Frozen objects remain on the screen, but you can't select, transform, or modify them. By default,
frozen objects turn dark gray. Frozen lights and cameras, and their associated viewports, continue to
work as they normally do.
Frozen In Gray toggle in the Object Properties dialog.
Interface
Freeze SelectedFreezes the selected object(s).

Freeze UnselectedFreezes all visible objects except the selected ones. Use this to quickly freeze
all the objects except the one you're working on.
Freeze by NameDisplays a dialog that lets you choose objects to freeze from a list. See Select
Freeze by HitFreezes any object you click in a viewport. If you press CTRL while selecting an
object, that object and all of its children are frozen. To exit Freeze by Hit mode, right-click, press
ESC, or select a different function. This mode is automatically turned off if you freeze all objects in
the scene.
Unfreeze AllUnfreezes all frozen objects.
Note: If you click Unfreeze All in a scene with frozen layers, a dialog will pop up prompting you to
unfreeze all layers. You cannot unfreeze an object on a frozen layer.
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Freeze Rollout
Unfreeze by NameDisplays a dialog that lets you choose objects to unfreeze from a list. See
Select Objects Dialog, which describes nearly identical controls.
Note: If you click select an object on a frozen layer, a dialog will pop up prompting you to unfreeze
the object's layer. You cannot unfreeze an object on a frozen layer.
Unfreeze by HitUnfreezes any object you click in the viewport. If you press CTRL while selecting
an object, that object and all of its children are unfrozen.
If you select an object on a frozen layer, a dialog will pop up prompting you to unfreeze the object's
layer. You cannot unfreeze an object on a frozen layer.
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Freeze/Unfreeze
Glossary
Freeze/Unfreeze
On the right, the trash can and streetlight are locked.
You can freeze any selection of objects in your scene. By default, frozen objects, whether wireframe
or rendered, turn a dark gray. They remain on screen, but can't be selected, and therefore can't be
directly transformed or modified. Freezing lets you protect objects from accidental editing and
speeds up redraws.
Frozen objects are similar to hidden objects. Linked, instanced, and referenced objects behave when
frozen just as they would if unfrozen. Frozen lights and cameras and any associated viewports
continue to work as they normally do.
Frozen In Gray toggle in the Object Properties dialog.
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Freeze/Unfreeze
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BoxGizmo Helper
BoxGizmo Helper
Create panel > Helpers > Atmospheric Apparatus (from drop-down list) > BoxGizmo
Create menu > Helpers > Atmospherics > Box Gizmo
BoxGizmo lets you create a box-shaped gizmo in your scene. Clicking the BoxGizmo button displays
the Box Gizmo Parameters rollout.
Box gizmo with volume fog
Procedures
To create the BoxGizmo:
1. Drag in a viewport to define the initial length and width, then release the mouse and drag
vertically to set the initial height.
2. Click to end BoxGizmo creation.
To add a new atmosphere:
1. Select the apparatus gizmo.
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BoxGizmo Helper
2. In the Modify panel, under the Atmospheres rollout, click Add. This displays the Add
Atmosphere dialog.
3. Choose an atmosphere from the list.
4. Click OK.
This associates a new atmosphere with the apparatus.
To add an existing atmosphere:
2. In the Modify panel, under the Atmospheres rollout, click Add. This displays the Add
Atmosphere dialog.
3. In the dialog, choose Existing.
5. Click OK.
This creates a duplicate atmosphere for the apparatus. Its settings are initially identical to the
atmosphere you chose. You can adjust them using Setup.
Interface
The Name and Color rollout lets you rename objects and change their wireframe color.
Box Gizmo Parameters rollout
Length, Width, and HeightSet the dimensions of the box gizmo.

SeedSets a base value used to generate the atmospheric effect. Each apparatus in the scene
should have a different seed. If more than one apparatus uses the same seed and same atmospheric
effect, they will produce nearly identical results.

BoxGizmo Helper
New SeedClick to generate a random number automatically and place it in the seed field.
Atmospheres rollout
The Atmospheres rollout, available from the Modify panel, allows you to add and set up atmospheres
directly to the gizmo.
AddDisplays the Add Atmosphere dialog from which you can add an atmosphere to the BoxGizmo.
DeleteDeletes a highlighted atmospheric effect.
SetupDisplays the Environment dialog, where you can edit the highlighted effect.
Comments

Add Atmosphere Dialog
Add Atmosphere Dialog
Select Atmospheric Apparatus object. > Modify panel > Atmospheres rollout > Add button
The Add Atmosphere dialog lets you associate an atmosphere with the Atmospheric Apparatus.
Interface
List of atmospheresDisplays the atmospheres that you can associate with the apparatus.
New or existing group
These radio buttons choose between new or existing atmospheres.

NewLists only new atmospheres.
ExistingLists only atmospheres that have been already assigned to other apparatuses in the
scene.
Adding an existing atmosphere creates a new atmosphere whose settings are initially identical to the
previous one.
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Atmospheric Apparatus
Atmospheric Apparatus
Create panel > Helpers > Atmospheric Apparatus (from drop-down list)
You can create three types of atmospheric apparatuses or gizmos: a box, a cylinder, or a sphere.
These gizmos limit the spread of fog or combustion in your scene.
BoxGizmo Helper
CylGizmo Helper
SphereGizmo Helper
See also

Fog Environment Effect
Volume Light Environment Effect
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Gizmo/Center
Glossary
Gizmo/Center
Examples of gizmos:
Left: Gizmo for a bend modifier
Right: Gizmo for UVW mapping
Many modifiers display in viewports as a box-like apparatus called a gizmo, which initially surrounds
the selected object. A gizmo acts like a kind of container that transfers the modification to the object
to which it's attached.
You can move, scale, and rotate a gizmo as you would any object, altering the effect of the modifier
on the object.
A modifier has its own center, marked with a 3D-pivot point like other objects in 3ds max. You can
move a modifier's center, altering the effect of the modifier on the object.
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CylGizmo Helper
CylGizmo Helper
Create panel > Helpers > Atmospheric Apparatus (from drop-down list) > CylGizmo
Create menu > Helpers > Atmospherics > Cylinder Gizmo
CylGizmo lets you create a cylinder-shaped gizmo in your scene. Clicking the CylGizmo button
displays the Cylinder Gizmo Parameters rollout.
Cylinder gizmo with volume fog
Procedures
To create the CylGizmo:
1. Drag in a viewport to define the initial radius, then release the mouse and drag vertically to set
the initial height.
2. Click to end CylGizmo creation.
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CylGizmo Helper
2. In the Modify panel under the Atmospheres rollout, click Add. This displays the Add Atmosphere
dialog.
4. Click OK.
dialog.
5. Click OK.
Interface
Cylinder Gizmo Parameters rollout
Radius and HeightSet the dimensions of the cylinder gizmo.


CylGizmo Helper
Atmospheres rollout
directly to the gizmo.
AddDisplays the Add Atmosphere dialog from which you can add an Atmosphere to the CylGizmo.
Comments

Object Name and Wireframe Color
Create panel > Any object category > Name And Color rollout
Modify, Hierarchy, Motion, Display, or Utilities panel > Name field and color swatch
The name and color fields appear at the top of all command panels other than the Create panel. On
the Create panel, the fields are contained in a rollout. You can change an object's name or color
from any of these locations.
Interface
Name (text field)Displays the name of the selected object and lets you enter a new name from
the keyboard. Available only when a single object is selected.
Color (swatch)Displays the selected object's wireframe color and lets you select a new one. The
wireframe color is the one used to display the object in viewports. Click the color swatch to display
the Object Color dialog.
Comments
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SphereGizmo Helper
SphereGizmo Helper
Create panel > Helpers > Atmospheric Apparatus (from drop-down list) > SphereGizmo
SphereGizmo lets you create a sphere- or hemisphere-shaped gizmo in your scene. Clicking the
SphereGizmo button displays the Sphere Gizmo Parameters rollout.
Sphere gizmo with volume fog
Procedures
To create the SphereGizmo:
1. Drag in any viewport to define the initial radius.
2. Adjust the radius with the spinner.
dialog.
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SphereGizmo Helper
4. Click OK.
dialog.
5. Click OK.
Interface
Sphere Gizmo Parameters rollout
RadiusSets the radius of the default sphere.

HemisphereWhen turned on, the bottom half of the SphereGizmo is discarded, creating a
hemisphere.

SphereGizmo Helper
Atmospheres rollout
effects directly to the gizmo.
AddDisplays the Add Atmosphere dialog from which you can add an Atmosphere to the
SphereGizmo.
Comments

Add Atmosphere or Effect Dialog
Modify panel > Select light object. > Atmospheres & Effects rollout > Add button
The Add Atmosphere or Effect dialog lets you associate an atmosphere or a rendering effect with the
light. The list shows either atmospheres, rendering effects, or both. It shows only atmospheres and
effects that can be associated with light objects, or that use light objects as their apparatus.
Interface
List of atmospheres and effectsDisplays the atmospheres or effects that you can associate with
the light.
List filter group
These radio buttons choose what to show in the list.

AtmosphereLists only atmospheres.
EffectLists only rendering effects.
AllLists both atmospheres and rendering effects.
New or existing group
These radio buttons choose between new or existing effects.

NewLists only new atmospheres or effects.
ExistingLists only atmospheres or effects that have been already assigned to the light.
Adding an existing atmosphere or effect creates a new atmosphere or effect whose settings are
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initially identical to the previous one.
Comments
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Atmosphere rollout > Add > Fog
This command provides fog and smoke atmospheric effects. This plug-in provides effects such as fog
which causes objects to appear to fade as they increase in distance from the camera (standard fog),
or layered fog that envelops all or parts of objects in a blanket of mist.
Fog added to a scene
Procedures
To use standard fog:
1. Create a Camera view of your scene.
2. In the camera's creation parameters, turn on Show in the Environment Ranges group.
Standard fog is based on the camera's environment range values.
3. Set Adjust Near Range and Far Range to include the objects you want to fog in your rendering.
As a general guideline, set Far Range just beyond the objects, and Near Range to intersect the
object geometry closest to the camera.
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The Add Atmospheric Effect dialog is displayed.
6. Choose Fog, and then click OK.
7. Make sure you choose Standard as the type of fog.
To use layered fog:
1. Create a Camera or Perspective view of your scene.

4. Choose Fog, and then click OK.
5. Choose Layered as the fog type.
6. Set the parameters for layered fog.

You can have multiple fog layers in the scene by adding multiple Fog entries to the list and
choosing Layered.
Interface

The Fog Parameters rollout appears when you select Fog under Effects in the Environment dialog.
The Fog Parameters rollout has the following controls.
Fog group
ColorSets the color for the fog. Click the color swatch, and then select the color you want in the
Color Selector. You can animate the color effect by changing the fog color at a nonzero frame with
the Auto Key button on.
Environment Color MapDerives the fog color from a map. You can map the background and the
fog color, you can animate the procedural map parameters in Track View or Material Editor, and you
can opacity-map the fog
The large button displays the name of the color map, or None if no map is assigned. The map must
use Environmental mapping coordinates (spherical, cylindrical, shrinkwrap, and screen).
To assign the map you can drag a map from a Sample slot or Map button in the Material Editor (or
anywhere else in the software; for example, a projector map button) and drop it on the Environment
Color Map button. A dialog asks if you want the environment map to be a copy (independent) or an
instance of the source map.
Clicking the Environment Color Map button displays the Material/Map Browser, where you can
choose a map type from the list. To adjust the environment map's parameters, open the Material

Editor and drag the Environment Color Map button over an unused sample slot.
Use MapToggles the effect of this map on or off.
Environment Opacity MapAlters the density of the fog.
You assign the opacity map, edit it, and toggle its effect in the same way as the Environment Color
Map.
Fog BackgroundApplies the fog function to the background of the scene.
TypeWhen you choose Standard it uses the parameters in the Standard section and when you
choose Layered is selected it uses the parameters in the Layered section.
StandardEnables the Standard group.
LayeredEnables the Layered group.
Standard group
Thins and thickens the fog based on the distance from the camera.
ExponentialIncreases density exponentially with distance. When turned off, density increases
linearly with distance. Activate this check box only when you want to render transparent objects in
volume fog.
Tip: If you turn on Exponential, this increases the Step Size value to avoid banding.
Tip: Near %Sets the density of the fog at the Near Range (Camera Environment Range
parameter).
Tip: Far %Sets the density of the fog at the Far Range (Camera Environment Range parameter).
Layered group
Thins and thickens the fog between an upper and lower limit. You can have multiple layers of fog by
adding multiple fog entries to the list. Because you can animate all the fog parameters, you can also
animate fog rising and falling, changing density and color, and add horizon noise.
TopSets the upper extent (in world units) of the fog layer.
BottomSets the lower extent (in world units) of the fog layer.
DensitySets the overall density of the fog.
Falloff (Top/Bottom/None)Adds an exponential falloff effect so that the density is reduced to 0
at either the Top or Bottom of the fog extent.
Horizon NoiseTurns on the horizon noise system. Horizon Noise perturbs just the horizon of the
fog layer to add realism.
SizeScale factor applied to the noise. Larger scale values make the fog tendrils larger. Default=20.
Tip: If you want tendrils to really pop out, try making the density greater than 100.
Tip: AngleDetermines the affected angle off the horizon line. For example, if the angle is set to 5
(a reasonable value), then starting at 5 degrees below the horizon, the fog will begin to break up.

Tip: This effect is mirrored above and below the horizon, which can produce strange results when
the height of the fog layer traverses the horizon. Typically you'd want the fog to be either above or
below the actual camera horizon. (You can use the horizon line in the camera parameters as an aid
to help you position this.)
Tip: PhaseAnimating this parameter animates the noise. If Phase is moving in the positive
direction, then the fog tendrils will drift upward (and deform at the same time). If your fog is above
the horizon you may want to animate Phase in the negative direction to make the tendrils fall
downward.
Comments

Atmosphere rollout > Add > Volume Light
Volumetric light used in a complex environment with shadows and noise.
Volume Light provides light effects based on the interaction of lights with atmosphere (fog, smoke,
and so on).
This plug-in provides effects such as radial glows for omni lights, conical glows for spotlights, and
parallel beams of fog for directional lights. Objects within the light volume can cast shadows within
the spotlight's cone, if using shadow maps as a shadow generator.
A simplified example where the light cone is clearly visible on the right.
Procedures
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To use volume light:
1. Create a scene with lights.

Avoid making the view axis parallel to the cone of a spotlight. This tends to create only a
washed-out scene, possibly with rendering artifacts.

5. Choose Volume Light, and then click OK.
6. Click Pick Light, and then click a light in a viewport to add the light to the list of volume lights.
You can also use a Select By Name dialog to select multiple lights. Click Pick Light, and then
press H to display the dialog.
7. Set the parameters for volume light.
To add a light to the list:
1. Click Pick Light.
2. Click the light in a viewport.
To remove a light from the list:
1. Open the list of volume lights.
2. Choose the light you want to remove the volume light effect from.
3. Click Remove Light.
To assign volume light to a light through the Modify panel:
1. Open the Modify panel of a light.
2. Open the Atmospheres & Effects rollout.
3. Click Add.
4. Select Volume Light from the Add Atmosphere or Effect dialog and click OK.
5. Highlight Volume Light from the Atmospheres & Effects list and click setup to adjust the Volume
Light parameters.
Note: Volume Lights dont support negative multiplier values.

Interface
The Volume Light Parameters rollout appears when you select Volume Light under Effects in the
Environment dialog. It has the following controls.
Lights group
Pick LightClick the light that you want to enable for volume light in any viewport.
You can pick multiple lights. Click Pick Light and then press H. This displays a Pick Object dialog that
lets you choose multiple lights from the list.
Remove LightDeletes a light from the list.

Volume group
Fog ColorSets the color for the fog that makes up the volume of the light. Click the color swatch,
and then choose the color you want in the Color Selector.
You can animate the color effect by changing the fog color at a nonzero frame with the Auto Key
button on.
Unlike the other fog effects, this fog color combines with the color of the light. Possibly the best
effect is to use white fog and then color it with a colored light.
Attenuation ColorAttenuates volume light over distance. The volume light ramps from the Fog
Color to the Attenuation color over the light's Near and Far attenuation distances. Clicking the color
swatch displays a color selector so you can change the attenuation color.
Attenuation Color interacts with Fog Color. For example, if your fog color is red and your attenuation
color is green, in the rendering your fog will shade to purple. Typically the attenuation color should
be very dark and neutralblack is a good choice.
Use Attenuation ColorMakes attenuation color active.
volume fog.
DensitySets the density of the fog. The denser the fog, the more the light reflects off it inside the
volume. Densities of 2 to 6 percent probably make the most realistic fog volumes.
Left: Original scene

Right: Increasing the density
Max Light%Represents the maximum glow effect that you can achieve (defaults to 90 percent).
By turning this down, you can limit the brightness of the glow so that it doesn't get denser and
denser as it gets farther away from the light and "whites out."
Note: When your scene includes transparent objects inside a volume light, set Max Light to 100
percent.

Min Light%Similar to an ambient light setting. If Min Light% is greater than 0, areas outside the
light volume will glow also. Note that this means areas of open space (where the light ray can travel
forever) will end up the same as the fog color (just as with normal fog).
Without objects behind the fog, the scene will always be as bright as the fog color if the Min Light%
is greater than 0 (no matter what the actual value is). This is because the fog goes to infinity and is
accumulated infinitely. If you're going to use min light% values greater than 0, you should make
sure that you enclose your scene by geometry.
Atten. Mult. (Attenuation Multiplier)Adjusts the effect of the attenuation color.
Filter ShadowsAllows you to get better quality volume-light rendering by increasing the sampling
rate (at the cost of some increased rendering time). These are the options:
LowThe image buffer is not filtered but directly sampled instead. This option is fine for 8-bit
images, AVI files, and so on.
MediumAdjacent pixels are sampled and averaged. This produces a very significant improvement
in cases where youre getting banding types of artifacts. It is slower than Low.
HighAdjacent pixels and the diagonal pixels are sampled, and each are given different weights.
This is the slowest method and provides somewhat better quality than Medium.
Use Light Smp RangeBlurs the shadows cast in the volume based on the Sample Range value in
the light's shadow parameters. Because increasing the Smp Range value blurs the shadow cast by
the light, this makes shadows in the fog better match cast shadows, and helps prevent aliasing in
the fog shadows.
Tip: With the Use Light Smp Range option, the higher the light's Smp Range value, the slower the
rendering. However, with this option you can usually get good results with a lower Sample Volume
% setting (such as 4), which reduces rendering time.
Sample Volume %Controls the rate at which the volume is sampled. Ranges 1 through 10,000
(where 1 is the lowest quality and 10,000 is the highest quality).
AutoControls the Sample Volume % parameter automatically and disables the spinner (this is the
default). The preset sampling rates are as follows:
low=8; medium=25; high=50
Because the parameter ranges up to 100 there's still room to set it higher. Increasing the Sample
Volume % parameter definitely slows things down, but in some cases you may want to increase it
(for extremely high sample quality).


Right: Increasing sample volume to improve quality
Attenuation group
The controls in this section are contingent upon the settings of the Start Range and End Range
attenuation parameters for the individual light.
Note: Rendering Volume Light at some angles can introduce aliasing problems. To eliminate aliasing
problems, activate the Near and Far Attenuation settings in the light object that the Volume Light
applied to.
Start %Sets the start attenuation of the light effect, relative to the actual light parameter's
attenuation. It defaults to 100 percent, which means that it starts attenuating at the Start Range
point. When you reduce this parameter, it starts attenuating the light at a reduced percentage of the
actual Start Range value that is, closer to the light itself.
Because you usually want a smooth falloff, you can keep this value at 0, and no matter what the
light's actual Start Range, you'll always get a smooth glow without hotspots.
End %Sets the end attenuation of the lighting effect, relative to the actual light parameter's
attenuation. By setting this lower than 100 percent, you can have a glowing attenuating light that
casts light much farther than it actually glows. Default=100.


Right: Attenuation limits the range of the light.
Noise group
Noise OnTurns the noise on and off. When noise is on there is a slight increase in render time.
AmountThe percentage of noise applied to the fog. If the amount is 0, there is no noise. If the
amount is 1, the fog becomes pure noise.

Right: Noise added
Link To LightLinks the noise effect to its light object, rather than to world coordinates.
Usually you want noise to look like fog or dust motes in the atmosphere, in which case, as the light
moves, the noise should remain with the world coordinates. For certain special effects, however, you
might want the noise linked to the light's coordinates. In these cases, turn on Link to Light.
TypeChoose one of three types of noise to apply.
RegularThe standard noise pattern.

FractalAn iterative fractal noise pattern.

TurbulenceAn iterative turbulence pattern.
InvertReverses the noise effect. Dense fog becomes translucent and vice versa.
Noise ThresholdLimits the noise effect. When the noise value is above the Low threshold and
below the High threshold, the dynamic range stretches to fill 0-1. This makes for a smaller
discontinuity (first order instead of 0 order) at the threshold transition and thus produces less
potential aliasing.
HighSets the high threshold. Range=0 to 1.0.
LowSets the low threshold. Range=0 to 1.0.
UniformityActs like a high-pass filter: the smaller the value, the more the volume is transparent
with discrete blobs of smoke. By around -0.3 or so your image begins to look like specks of dust.
Because the fog becomes thinner as this parameter gets smaller, you'll probably need to increase
the density or the volume will start to disappear. Range=-1 to 1
LevelsSets the number of times the noise is iteratively applied. This parameter is animatable.
Enabled only for Fractal noise or Turbulence. Range=1 to 6, including fractional values.
SizeDetermines the size of the tendrils of smoke or fog. Smaller values give smaller tendrils.
Left: Volume light with noise

Right: Reducing the size value
PhaseControls the speed of the wind. If you have Wind Strength also set to greater than 0, the
fog volume animates in accordance with the wind direction. With no Wind Strength, the fog churns in
place. Because there's an animation track for phase, you can use the Function Curve editor to define
precisely how you want your wind "gusts" to happen.
Wind moves the fog volume in the specified direction over time. Wind is tied to the phase parameter
so as the phase changes, the wind moves. If Phase isnt animated there will be no wind.
Wind StrengthControls how fast the smoke moves away from the wind direction, relative to
phase. As mentioned above, if the phase is not animated then the smoke wont move, regardless of
the wind strength. By having the phase animate slowly with a large wind strength, the fog moves

more than it churns.

Alternatively, if the phase changes rapidly while the wind strength is relatively small, the fog will
churn fast and drift slowly. If you want the fog to just churn in place, animate the phase but keep
wind strength at 0.
Wind from theDefines the direction the wind is coming from.
Comments

Omnidirectional Light
Glossary
Omnidirectional Light
Above: Top view of an omni light

Below: Perspective view of the same light
Omnidirectional (omni) lights provide a point source of illumination that shoots out in all directions.
They're easy to set up, but you can't restrict the focus of their beam. You can, however restrict
which objects are illuminated by an omni light.
When no lights exist in your scene, two invisible omni lights are turned on by default to provide
overall illumination in the scene. However, as soon as you create your own light in the scene, the
two default lights are turned off.
You can apply attenuation to omni lights.
Comments
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Volume Fog Environment Effect
Atmosphere rollout > Add > Volume Fog
Volume fog added to a scene
Volume Fog provides a fog effect in which the fog density is not constant through 3D space.
This plug-in provides effects such as puffy, cloudy fog that appears to drift and break up in the wind.
Procedures
To use volume fog:

4. Choose Volume Fog, and then click OK.
5. Set the parameters for volume fog.
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Note: If there are no objects in your scene, rendering shows only a solid fog color. Also, with
no objects and Fog Background turned on, volume fog obscures the background.
To create a volume fog gizmo:
Volume fog gizmo surrounds the scene.
1. In the Helpers category of the Create panel, choose Atmospheric Apparatus from the pop-up
menu.
2. Click one of the buttons to choose a gizmo shape: SphereGizmo, CylGizmo, or BoxGizmo.
3. Drag the mouse in the viewport to create the gizmo.

You create Gizmos in much the same way as their matching geometry types. Drag the mouse
to create the initial dimensions. The Sphere gizmo has an additional Hemisphere check box that
turns the sphere into a hemisphere.
In addition, each gizmo has a Seed spinner and a New Seed button. Different seed values
generate different patterns. Clicking the New Seed button randomly generates a new seed
value for you.
To assign volume fog to a gizmo from an apparatus modify panel:
1. Open the Modify panel of an apparatus.
2. Open the Atmospheres rollout.
3. Click Add.

4. Select Volume Fog from the Add Atmospheres dialog and click OK.
5. Highlight Volume Fog from the Atmospheres list and click setup to adjust the Volume Fog
parameters.
To assign a gizmo to volume fog from the Environment panel:
1. On the Volume Fog Parameters rollout, click the Pick Gizmo button.
2. Click a gizmo in the viewport.

The name of the gizmo appears in the list field at right.
When you render, the volume fog will be confined to the shape of the gizmo.
To remove an assigned gizmo:
1. In the Environment dialog, go to the Volume Fog Parameters rollout
2. Select the gizmo name from the pop-up list.
3. Click Remove Gizmo.

This action doesnt delete the gizmo from the scene, but simply unbinds it from the fog effect.
Interface

The Volume Fog Parameters rollout appears when you select Volume Fog under Effects in the
Environment dialog. The Volume Fog Parameters rollout has the following controls.
Gizmos group
By default, volume fog fills the entire scene. However, you can choose a gizmo (an atmospheric
apparatus) to contain the fog. The gizmo can be a sphere, a box, a cylinder, or some combination of
these.
Pick GizmoClick to enter Pick mode and click an atmospheric apparatus in the scene. The
apparatus contains the volume fog when you render. The name of the apparatus is added to the
apparatus list.
Multiple apparatus objects can display the same fog effect.
You can pick multiple gizmos. Click Pick Gizmo and then press H. This displays a Pick Object dialog
on which you choose multiple objects from the list.
Changing the dimensions of a gizmo changes the region that fog affects, but doesn't change the
scale of the fog and its noise. For example, reducing the radius of a spherical gizmo crops the fog,
and moving the gizmo changes the fog's appearance.
Warning: When you press SHIFT while copying a gizmo, the new gizmo isn't bound to the

volume fog. If you want to use the new gizmo, you must use Pick Gizmo to add it explicitly.
Remove GizmoRemoves a gizmo from the volume fog effect. Select the gizmo in the list, and
then click Remove Gizmo.
Soften Gizmo EdgesFeathers the edges of the volume fog effect. The higher the value, the softer
the edges. Range=0 to 1.0.
Tip: Don't set this value to 0. At 0, Soften Gizmo Edges can cause aliased edges.
Volume group
ColorSets the color for the fog. Click the color swatch, and then select the color you want in the
Color Selector.
You can animate the color effect by changing the fog color at a nonzero frame with the Auto Key
button on.
volume fog.
Tip: If you turn on Exponential, increase the Step Size value to avoid banding.
Tip: DensityControls the fog density. Range=0 to 20 (anything over that tends to obliterate the
scene).

Right: Increased fog density
Tip: Step SizeDetermines the granularity of the fog sampling; the "fineness" of the fog. A large
step size creates coarse (and to some extent, aliased) fog.
Tip: Max StepsLimits the amount of sampling so that computing the fog doesn't take forever
(literally). This is especially useful when the fog is of low density.
Tip: When both Step Size and Max Steps have low values, aliasing results.
Tip: Fog BackgroundApplies the fog function to the background of the scene.

Noise group

Right: Noise added to the fog
Noise options for volume fog are comparable to the noise options for materials.
TypeChoose one of three types of noise to apply.
RegularThe standard noise pattern.
FractalAn iterative fractal noise pattern.
TurbulenceAn iterative turbulence pattern.
InvertReverses the noise effect. Dense fog becomes translucent and vice versa.
Noise ThresholdLimits the noise effect. Range=0 to 1.0. When the noise value is above the Low
threshold and below the High threshold, the dynamic range stretches to fill 0-1. This makes for a
smaller discontinuity (First order instead of 0 order) at the threshold transition, and thus produces
less potential aliasing.
HighSets the high threshold.
LowSets the low threshold.

Left: Fog with noise

Right: Changing uniformity creates "blobby" fog
UniformityRanges from -1 to 1 and acts like a high-pass filter. The smaller the value, the more
transparent the volume is with discrete blobs of smoke. Around -0.3 or so your image begins to look
like specks of dust. Because the fog becomes thinner as this parameter gets smaller, you'll probably
need to increase the density or the volume will start to disappear.
LevelsSets the number of times the noise is iteratively applied. Range=1 to 6, including fractional
values. Enabled only for Fractal noise or Turbulence.
SizeDetermines the size of the tendrils of smoke or fog. Smaller values give smaller tendrils.
Left: Fog with noise

Right: Decreasing the size
PhaseControls the speed of the wind. If you have Wind Strength also set to greater than 0, the
fog volume animates in accordance with the wind direction. With no Wind Strength, the fog churns in
place. Because there's an animation track for phase, you can use the Function Curve editor to define
precisely how you want your wind "gusts" to occur.
Wind moves the fog volume in the specified direction over time. Wind is tied to the phase parameter

so as the phase changes, the wind moves. If Phase isnt animated there will be no wind.
Wind StrengthControls how fast the smoke moves away from the wind direction, relative to
phase. As mentioned above, if the phase is not animated then the smoke wont move, regardless of
the wind strength. By having the phase animate slowly with a large wind strength, the fog moves
more than it is churns.
Alternatively, if the phase changes rapidly while the wind strength is relatively small, the fog will
churn fast and drift slowly. If you want the fog to just churn in place, animate the phase but keep
wind strength at 0.
Wind from theDefines the direction the wind is coming from.
Comments

Exposure Controls
Exposure Controls
Exposure Controls are plug-in components that adjust the output levels and color range of a
rendering, as if you were adjusting film exposure. Exposure Controls are especially useful for
renderings that use radiosity.
Exposure control compensates for the limited dynamic range of monitors. Monitors have a dynamic
range of about two orders of magnitude. The brightest color that appears on a display is about 100
times brighter than the dimmest. The eye, by comparison, can perceive a dynamic range of about 16
orders of magnitude. The brightest color we can perceive is about 10 million-billion times brighter
than the dimmest. Exposure control adjusts colors so they better simulate the eye's great dynamic
range, while still fitting within the color range that can be rendered.
Automatic Exposure Control samples the rendered image and builds a histogram to give good
color separation across the entire dynamic range of the rendering. It can enhance some lighting
effects that would otherwise be too dim to see.
Linear Exposure Control samples the rendering and uses the average brightness of the scene to
map physical values to RGB values. Linear Exposure Control is best for scenes with a fairly low
dynamic range.
Logarithmic Exposure Control uses brightness, contrast, and whether the scene is outdoors in
daylight to map physical values to RGB values. Logarithmic Exposure Control is better for scenes
with a very high dynamic range.
Pseudo Color Exposure Control is actually a lighting analysis tool. It maps luminances to pseudo
colors that show the brightness of the values being converted.
Important: The mental ray renderer supports only the Logarithmic and Pseudo Color
exposure controls.
Left: Linear exposure control maps intensity evenly.

Right: Logarithmic exposure control maps most intensities to low and mid tones.
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Exposure Controls
Tips:
If the primary lighting from your scene comes from standard lights (rather than photometric
lights), use the Logarithmic Exposure Control and turn on Affect Indirect Only.
Use Automatic Exposure Control for rendering still images. Automatic Exposure Control is also
good for first-draft renderings.
Use Logarithmic or Linear Exposure Control for animations with a moving camera. (Automatic
Exposure Control with a moving camera can cause excessive flickering.)
Exposure and Attenuation for Standard Lights
When you use standard lights that are not attenuated, renderings tend to have a low dynamic range,
because light intensities don't vary greatly across the scene. In this situation, adjusting light values
might be all you need to do to get a good rendering.
When lights are attenuated, on the other hand, the light might be too bright on near surfaces or too
dim on far surfaces. In this situation, Automatic Exposure Control can help, because it adjusts the
larger dynamic range of the (simulated) physical scene, into the smaller dynamic range of the
display.
Interface
Drop-down listChoose which exposure control to use.

ActiveWhen on, the exposure control is used in renderings. When off, the exposure control is not
used.
Process Background and Environment MapsWhen on, the scene background and environment
maps are subjected to exposure control. When off, they are not.
Preview thumbnailThe thumbnail displays a preview of the rendered scene with the active
exposure control applied. Once a preview has been rendered, it updates interactively when you

Exposure Controls
changed exposure control settings.

Render PreviewClick to render the preview thumbnail.
Comments

Linear Exposure Control
Exposure Control rollout > Choose Linear Exposure Control from the list. > Linear Exposure
Control rollout
Linear Exposure Control samples the rendered image and uses the average brightness of the scene
to map physical values to RGB values. Linear Exposure Control is best used for scenes with a fairly
low dynamic range.
Note: Linear Exposure Control should not be used in animations, because every frame will have a
different histogram, causing your animation to flicker.
Important: The mental ray renderer does not support the Linear exposure control.
See also
Environment Panel
Interface

Exposure ValueAdjusts the overall brightness of the rendering. Range= -5.0 to 5.0. Negative
values make the image darker, and positive values make it brighter. Default=0.0.
The exposure value can be thought of as an exposure compensation setting in cameras with
automatic exposure control.
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scene.
Color Correction check box and color swatchWhen the check box is turned on, color correction
to distinguish between colors. When on, renders even dimly lit colors. Default=off.
completely gray.
Comments
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Multiplier
Glossary
Multiplier
Left: Default light multiplier of 1.0

Right: Multiplier of 5.0 causes burned colors
The Multiplier value in every light lets you increase the intensity, or brightness of the light beyond its
standard range.
Since increased Multiplier values tend to wash out, or "burn" portions of the image, you're better off
adding lights, or reducing the intensity of other lights when you need to adjust the brightness of
areas in your scene. Remember that you can adjust the intensity of a light using its V(alue) spinner.
In most cases, it's better to adjust the V spinner than to alter the default Multiplier value.
Left: Spotlight with negative multiplier subtracts light from the scene.
Right: Multiplier of 0 and a negative density on a shadow whose color is white creates the effect of a
negative shadow.
An unusual characteristic of the Multiplier is that you can use negative values to create negative
light. You can use negative lights to further control the lighting in your scene. For example, you
might want a darker area in the corner of a room.
A negative Multiplier value reverses the color of the light, so a red light would become cyan (the
complementary color). In addition, the map image in a projector light becomes a negative image.
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Multiplier
Comments
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Logarithmic Exposure Control
Exposure Control rollout > Choose Logarithmic Exposure Control from the list. > Logarithmic
Logarithmic Exposure Control uses brightness, contrast, and whether the scene is outdoors in
daylight to map physical values to RGB values. Logarithmic Exposure Control is better for scenes
with a very high dynamic range.
Left: The intensity of an IES sun light completely overexposes a scene.

Right: Logarithmic exposure control corrects the overexposure.
Note: Logarithmic Exposure Control is the best type of exposure control for animations because it
doesnt use histograms.
Note: You can use the Logarithmic exposure control with the mental ray renderer.
Note: If you need to use Render To Texture, you should not use Automatic or Linear exposure
controls. For the best results, use Logarithmic exposure control.
See also
Environment Panel
Interface
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Mid TonesAdjusts the mid-tone values of the converted colors. Range=0.01 to 20.0. Default=1.0.
Adjusting the value of mid tones
scene.
Color Correction check box and color swatchWhen the check box is turned on, color correction

Color correction can remove the color cast that comes from a light source.
to distinguish between colors. When off, renders even dimly lit colors. Default=off.
completely gray.
Affect Indirect OnlyWhen on, Logarithmic Exposure control is applied only to areas of indirect
lighting. Default=off.
Turn on this toggle when the primary lighting for your scene comes from standard lights rather than
photometric lights. When you use standard lights and turn on Affect Indirect Only, radiosity and
exposure control yield results similar to the default scanline renderer. When you use standard lights
but leave Affect Indirect Only off, radiosity and exposure control yield results that can be quite
different from the default scanline renderer.
In general, you dont need to turn on Affect Indirect Only when the primary lighting for your scene
comes from photometric lights.
Exterior daylightWhen on, converts colors for an outdoor scene. Default=off.

The exterior daylight setting compensates for the extreme intensity of an IES sun light.
Comments

Pseudo Color Exposure Control
Exposure Control rollout > Choose Pseudo Color Exposure Control from the list. > Pseudo Color
Pseudo Color Exposure Control is actually a lighting analysis tool that provides you with an intuitive
way of visualizing and evaluating the lighting levels in your scenes. It maps luminance or illuminance
values to pseudo colors that show the brightness of the values being converted. From darkest to
brightest, the rendering shows blue, cyan, green, yellow, orange, and red. (Alternatively, you can
choose a grayscale where the brightest values are white, and the darkest are black.) The rendering
includes the colored or grayscale spectrum bar as a legend for the image.
Note: You can use the Pseudo Color exposure control with the mental ray renderer.
Pseudo color exposure of a scene with radiosity. Areas in red are overlit, areas in blue are underlit,
and areas in green have a good lighting level.
If you render a scene using this exposure control, a render element will be created in order to obtain
accurate luminance and illuminance data.
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Three spheres at an equal distance from a light source. The sphere on the left has a matte material,
the sphere in the middle is glossy, and the sphere on the right is glossy but has a much darker color.
A display of illuminance shows that it is the same for all three spheres.
A display of luminance shows that the two spheres on the left reflect about the same amount of light,
but the darker sphere on the right reflects little light except for its highlight.
See also
Environment Panel

Interface
Display Type group
QuantityChooses the value being measured.
Illuminance (the default) displays values of light incident on surfaces.
Luminance displays values of light reflected off surfaces.
StyleChooses the way to display values.
Colored (the default) shows a spectrum.
Grayscale shows gray tones that range from white to black.

The spectrum bar displays the values the rendering will use.
Pseudo color display style:

Left: Grayscale
Right: Colored scale
ScaleChooses the technique used to map values.

Logarithmic (the default) uses a logarithmic scale.
Linear uses a linear scale.

The Logarithmic scale is useful when the illumination of the surfaces of interest is low compared
to the maximum illumination in the scene.
Left: Linear scale

Right: Logarithmic scale
Display Range group
Minimum (Min.)Sets the lowest value to measure and represent in the rendering. Values at this
quantity or below it all map to the leftmost display color (or grayscale level).
Maximum (Max.)Sets the highest value to measure and represent in the rendering. Values at
this quantity or above it all map to the rightmost display color (or grayscale value).
scene.

Adjusting the range to analyze:

Above: Correct range for a scene
Middle: Too narrow a range
Below: Too great a range
Narrowing the range to focus on a single object
General Guidelines for Physical Scale Values
If you only use Photometric lights, IES Sun, and IES Sky, set the Physical Scale value to the
equivalent of the brightest light source in the scene. This will set the appropriate conversion scale
for reflections, self-illumination, and all other non-physically based elements a 3ds max material
offers.
If you use Standard lights, the Physical Scale value acts as a conversion scale the radiosity engine
needs to calculate energy. However, if you use the Affect Indirect Only flag in the Logarithmic
Exposure Control, you dont need to worry about the physical scale.
Spectrum barShows the spectrum-to-intensity mapping. The numbers below the spectrum range
from the Minimum to the Maximum settings.
When rendering with pseudo color, the spectrum bar is displayed beneath the pseudo color image,
labeled either Luminance or Illuminance.
Comments

Luminance
Glossary
Luminance
Luminance is the value of light reflected off a surface. It is a measure of how bright or dark we
perceive the surface.
Comments
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Illuminance
Glossary
Illuminance
Illuminance is the luminous flux incident on a surface of unit area. It measures how much energy
has fallen on a surface.
This quantity is useful for describing the level of illumination incident on a surface without making
the measurement dependent on the size of the surface itself. The lux (lx) is the International System
(SI) unit of illuminance. The American System (AS) unit for illuminance is the footcandle (fc),
equivalent to 1 lumen per square foot. Illuminance is a function of the distance from the light
source. To specify the illuminance of a light, you must enter a value in lx, and the distance at which
that illuminance is measured.
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Luminous Flux
Glossary
Luminous Flux
Luminous flux is the quantity of light energy per unit time arriving, leaving, or going through a
surface. The lumen (lm) is the unit of luminous flux in both the International System (SI) of units
and in the American System (AS) of units. If you think of light as particles (photons) moving through
space, then the luminous flux of a light beam arriving at a surface is proportional to the number of
particles hitting the surface during a time interval of 1 second.
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Render Elements Dialog
Render Elements Dialog
Main toolbar > Render Scene button > Render Scene dialog > Render Elements panel > Render
Elements rollout > New button > Render Elements dialog
Rendering menu > Render > Render Scene dialog > Render Elements panel > Render Elements
rollout > New button > Render Elements dialog
This dialog appears when you click the New button in the Render Elements rollout.
Procedure
To choose an element to render separately, do one of the following:
Click to highlight the element's name in the list, and then click OK.
Double-click the element's name in the list.
Interface
The scrollable list shows the names of elements you can render separately. These are described in
Rendering Elements Separately (Render Elements Rollout).
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Render Elements Panel and Rollout
Elements rollout
rollout
Rendering to elements lets you separate various information in the rendering into individual image
files. This can be useful when you work with some image-processing or special-effects software. You
can later do compositing with the element renderings.
These are the elements you can choose to render separately:
Specular: The specular component of the rendering.
Diffuse: The diffuse component of the rendering.
The Diffuse element displays an additional Diffuse Texture Element rollout.
Self-Illumination: The self-illumination component of the rendering.
Reflection: The reflections in the rendering.
Refraction: The refractions in the rendering.
Shadow: The shadows in the rendering. This element saves black-and-white shadows only. See
the later section on "Compositing Rendered Elements."
Atmosphere: The atmospheric effects in the rendering.
Blend: A custom combination of the previous elements.

The Blend element displays an additional Blend Element Parameters rollout.
Z Depth: A grayscale representation of the Z depth, or depth within the view, of objects within
the scene. The nearest objects appear in white, and the depth of the scene in black. Intermediate
objects are in gray, the darker the deeper the object is, within the view.
The Z Depth element displays an additional Z Element Parameters rollout.
Alpha: A grayscale representation of the alpha channel, or transparency, of the scene.

Transparent pixels appear in white (value=255) and opaque in black (value=0). Translucent pixels
appear in gray. The darker the pixel, the more transparent it is.
The alpha channel can be useful when you composite elements.
Background: The background of the scene.

Other elements do not include the scene background. Include this element if you want to use the
background in compositing.
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The background is not trimmed against geometry, so elements should be composited over the
background. See the later section on "Compositing Rendered Elements."
Ink: The Ink component (borders) of Ink 'n Paint materials.
Paint: The Paint component (surfaces) of Ink 'n Paint materials.
Lighting: The effect of direct and indirect lights and shadows in the scene.
The Lighting element displays an additional Lighting Texture Element rollout.
Matte: Renders a matte mask, based on selected objects, material effects channel (effect
IDs), or G-Buffer IDs.
The Matte element displays an additional Matte Texture Element rollout.
When you render one or more elements, a normal complete rendering is also generated. In fact, the
element renderings are generated during the same rendering pass, so rendering elements costs little
extra render time.
Rendering to elements is available only when you do production rendering with the default scanline
renderer or the mental ray renderer.
Note: The default scanline renderer supports a maximum of 32 render elements per scene. The
mental ray renderer does not limit the number of render elements. If you're using a third-party
renderer, check the product documentation for a possible limit on the number of render elements.
Element File Names
If you have previously assigned a file name for the (complete) rendering in the Render Dialog's
Common Parameters rollout, the render elements feature uses this file name as the basis for names
of the various elements. It appends an underscore (_) and then the name of the element to the
basic file name.
For example, if the render file name is "C:\image.jpg", when you add a Specular render element, the
default path and file name for the rendered specular element is "C:\image_specular.jpg".
In a similar way, when you enable output to a combustion workspace (CWS) file, the file name you
assigned is the default name of the CWS file.
For example, if the render file name is "C:\image.jpg", when you enable combustion output, the
default path and file name is "C:\image.cws".
Example
Here is a rendering of a fountain, against a checkered background, and various elements.

On the right is the fully rendered fountain.

On the left, from top to bottom, are diffuse, specular, shadow, and reflection elements.
Two more elements not directly related to the objects in the scene, but important when compositing
the image to other sources:
on the left is the background, on the right is the alpha channel.

On the left is an atmosphere element, in this example, a light fog on the back side of the fountain.
On the right is the Z-depth. The fog uses the depth of the image and objects to determine its density.
The Z-depth element contains these depth values.
Compositing Rendered Elements
In general, you can composite elements using additive composition, which is independent of the
compositing order.
The main exceptions are the background element, atmospheres, and shadows.
Background: The background is not trimmed against geometry, the background should be
composited under the other elements.
Atmosphere: The atmosphere element should be composited over all other elements.
Black-and-white shadows: Black-and-white shadows should be composited over the rest of the
image (aside from the atmosphere), to dim color in the shadowed areas. This technique does not
take colored lighting into account.
In other words, the layers when you composite using black-and-white shadows appear like this:
Top: Atmosphere
Second from top: Shadow element
Middle: Diffuse + Specular + ... (other elements)
Bottom: Background
"Screen" Compositing for Specular and Reflection Elements
The other exception to additive composition is when specular or reflection elements have been
generated by certain material shaders. These shaders generate specular and reflection elements you
must composite differently:
Anisotropic
Multi-Layer
Oren-Nayar-Blinn
Shaders are assigned on a per-material basis, in the Material Editor. If you render specular or
reflection elements in a scene that uses these shaders, then composite them with the diffuse and
other foreground components (aside from colored shadows, as described above), by overlaying them
using an operation called "Screen" in some compositing programs.
Screen compositing uses this formula to combine elements:
Background * (1 - Foreground) + Foreground
The background is multiplied by the inverse of the foreground color, and then the foreground color is

added to the result.

For more information, see the documentation for the compositing program you use.
Procedures
To have the Render Elements dialog assign names to the rendered element files
automatically:
1. In the Render Scene dialog's Common Parameters rollout, use the Files button to assign an
output file name and file type for the (entire) rendered scene.
2. In the Render Elements rollout, use the Add button to add elements for rendering.
You can render elements to files without rendering the entire scene to a file, but in this case, you
have to assign the files for the elements individually or "by hand."
To add an element for rendering:
1. Click Add.
2. In the Render Elements dialog, do one of the following:
Click to highlight the name of an element, and then click OK.
Double-click the name of an element.

If you have assigned a file name for the entire rendering, the new element is assigned a file
name automatically. Otherwise, use the Files button in the Selected Element Parameters
group to assign an output file name and file type for the element rendering.
3. If the element is one (such as Blend or Z Buffer) that has additional parameters, adjust these
parameters in the appropriate rollout.
To render the separate elements:
1. Add the elements you want to render.

Tip: You can use the Enable button (in the Selected Element Parameters rollout) to disable
individual elements for a particular rendering pass.
2. If you haven't assigned file names automatically, use the Files button in the Selected Element
Parameters group to assign an output file name and file type for the element rendering.
3. Make sure Elements Active (at the top of the Render Elements rollout) is turned on, and then
click Render to render the scene.
The rendered elements are also displayed on the desktop, each in its own rendered frame
window. (The rendered frame windows are displayed on top of each other.)

To generate a combustion workspace (CWS) file that contains the rendered elements:
1. In the Output to combustion group, turn on Enable.

If you have assigned a file name for the entire rendering, the new element is assigned a file
name automatically. Otherwise, use the Files button in the Output to combustion group to
assign an output file name for the CWS file.
Interface
AddClick to add a new element to the list. This button displays the Render Elements dialog.
MergeClick to merge the render elements from another 3ds max scene. Merge displays a file
dialog so you can select the scene file to get the elements from. The list of render elements in the
selected file is added to the current list.
DeleteClick to delete the selected elements from the list.
Elements ActiveWhen on, clicking Render renders the separate elements. Default=on.
Display ElementsWhen on, each separate element is displayed in its own rendered frame window
when you render. When off, the elements are rendered to files only. Default=on.
The buffers for each rendered element appear directly on top of each other. Move one element's
buffer to see another's.

Element Rendering list
This scrollable list shows the elements to render separately, and their status. You can resize the
columns in the list by clicking and dragging the border between two columns.
NameShows the name of the element. You can change the default name of elements, in the
Selected Element Parameters group.
To select an element, click its name in the list. Use CTRL+click to select additional elements, or
SHIFT+click to select a contiguous group of additional elements.
EnabledShows whether the element is enabled.
Filter EnabledShows whether the active antialiasing filter is enabled for the element.
TypeShows what type of element this is.
This field is useful if you have changed the name of an element.
Output PathShows the path and file name for the element.
Selected Element Parameters group
These controls are for editing selected elements in the list.

EnableTurn on to enable rendering the selected elements. Turn off to disable rendering.
Default=on.
The Enabled column of the elements list shows whether or not an element is enabled.
Enable FilterWhen on, applies the active antialiasing filter to the rendered element. When off, the
rendered element does not use the antialiasing filter. Default=on.
The Filter Enabled column of the elements list shows whether or not the filter is enabled for an
element.
Disabling antialiasing can improve rendering time, although the rendered element that results might
appear jagged.
NameShows the name of the currently selected element. You can type in a custom name for the
element.
This control is unavailable when multiple elements are selected.
FilesThe text box lets you enter a path and file name for the element. Click the Files button to
display a Render Element Output File dialog, which lets you choose a folder, file name, and file type
for the element.

This control is unavailable when multiple elements are selected.
Output to Combustion group
When on, generates a combustion Workspace (CWS) file that contains the elements you are
rendering. You can use this file in the combustion software, and you can use combustion
workspaces in the Combustion map.
Warning: If you are rendering elements to composite over a background, make sure that
the file format for the Diffuse, Shadows, and Alpha elements supports an alpha channel.
The formats we recommend for this purpose are: RLA, RPF, PNG, or TGA.
Warning: 3ds max supports some file types that combustion does not. For use with
combustion, do not render elements as EPS, FLC, FLI, or CEL files. If you render to one of
these formats, the CWS file is not saved. See your combustion documentation for more
information on supported file formats.
EnableWhen on, creates a CWS file that contains the elements you have rendered.
FilesThe text box lets you enter a path and file name for the CWS file. Click the Files button to
display a Combustion Workspace dialog, which lets you choose a folder and file name for the CWS
file.
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Diffuse Texture Element Rollout
Diffuse Texture Element Rollout
Elements rollout > Add button > Render Elements dialog > Add Diffuse element to the elements
list (or select an existing Diffuse element in the list).
rollout > Add button > Render Elements dialog > Add Diffuse element to the elements list (or
select an existing Diffuse element in the list).
The Diffuse render element displays the diffuse color component of objects in the scene.
Interface
Lighting When on, the diffuse render element displays the color of objects after lighting has been
applied.
When Lighting is turned off, the element displays the diffuse color of objects before the lighting gets
applied. For textured objects, this will look like a 3D projection of the texture. However, objects with
a single color will look flat.
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Blend Element Parameters Rollout
Elements rollout > New button > Render Elements dialog > Add Blend element to the elements list
(or select an existing Blend element in the list).
rollout > New button > Render Elements dialog > Add Blend element to the elements list (or
select an existing Blend element in the list).
The Blend element is a custom combination of several other elements. By default, all elements are
turned on in this rollout, and the Blend rendering is identical to the full, normal rendering, except for
the scene background. Use the check boxes to choose your own combination of elements to appear
in the Blend rendering.
Interface
AmbientWhen on, include the ambient color component. Default=on.

DiffuseWhen on, include the diffuse color component. Default=on.
SpecularWhen on, include the specular color component. Default=on.
Self-IlluminationWhen on, include self-illumination. Default=on.
ReflectionWhen on, include reflections. Default=on.
RefractionWhen on, include refractions. Default=on.
Apply AtmosphereWhen on, include atmospheric effects. Default=on.
Apply ShadowsWhen on, include shadows. Default=on.
PaintWhen on, include the Paint component of Ink 'n Paint materials. Default=on.
InkWhen on, include the Ink component of Ink 'n Paint materials. Default=on.
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Ink 'n Paint Material
Material Editor > Type button > Material/Map Browser > Ink 'n Paint
The Ink 'n Paint material creates cartoon effects. Rather than the three-dimensional, realistic effect
most other materials provide, Ink 'n Paint provides flat shading with inked borders.
Snake rendered with ink 'n paint
Because Ink 'n Paint is a material, you can create a scene that combines 3D-shaded objects with flat-
shaded cartoon objects.
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Rendering that combines realistic shading with cartoon shading
In the Ink 'n Paint material, ink and paint are two separate components, with customizable settings.

Left: The paint component only

Right: The ink component only
Tip: Ink 'n Paint uses the Raytracer Settings, so adjusting raytrace acceleration can have an effect
on the speed of Ink 'n Paint. Also, while you work with Ink 'n Paint, disabling antialiasing can speed
up the material, until you're ready to create final renderings. (Turning off Ink really speeds it up.)
Note: Motion blur does not work with Ink 'n Paint. (Typically, hand-drawn cartoons are not motion
blurred.)
Note: Shadows don't appear on objects shaded with Ink 'n Paint unless the value of Paint Levels is 4
or greater.
Warning: Ink 'n paint will only give correct results when rendered from a camera or
perspective view. It does not work in orthographic views.
Using Ink 'n Paint
You can use Ink 'n Paint on multiple objects, but in general, it tends to work best if you do the
following:
1. Collect the objects for cartoon rendering into a single surface model such as an Editable Mesh.

2. Assign different material ID values to portions of the model you want to color differently.
Typically, you would do this at the Element sub-object level, although you can certainly apply
different material IDs to faces and polygons as well.
3. Create a multi/sub-object material. In it, create a sub-material for each of the colors in the
model. Make each sub-material an Ink 'n Paint material, then assign colors and maps using
each sub-material's Paint controls.
If necessary, adjust the Ink controls as well.
Tip: ActiveShade works with the Ink 'n Paint material, and can be a good way to preview the
material's effect.
Interface
Basic Material Extensions rollout
2-SidedMakes the material 2-sided. Applies the material to both sides of selected faces.
Fog BG when not paintingWhen paint is turned off, the painted areas of the material color are
the same as the background. This toggle, when on, lets the background in paint areas be affected by
fog between the camera and the object. Default=off.
Opaque alphaWhen on, the alpha channel is opaque even if ink or paint is turned off.
Default=off.
BumpAdds bump mapping to the material.
ToggleWhen on, enables the bump map.
SpinnerControls the bump map amount.
Map buttonClick to assign a map to use for bump mapping.

DisplacementAdds displacement mapping to the material.
ToggleWhen on, enables the displacement map.
SpinnerControls the displacement map amount.
Map buttonClick to assign a map to use for displacement mapping.
Paint Controls rollout
Paint is the main color of the material.
There are three main components of the paint of Ink 'n Paint. Each has several associated controls,
most of which are documented toward the end of this section.
LightedThe fill color for the lighted side of objects. Default=light blue.
Turning off this component makes the object invisible, except for the ink. Default=on.
Left: A lighted character

Right: Lighted and Highlight both turned off to render only the ink
Paint LevelsThe number of shades of color that are rendered, from light to dark. Lower values
make objects look flatter. Range=1 to 255. Default=2.

Increasing the value of Levels increases the number of shades of the basic color seen in the lighted
area.
ShadedThe value in the spinner at the left is the percent of the Lighted color that appears on the
unlighted side of objects. Default=70.0.
Turning off this component displays a color swatch, which you can use to assign a distinct color to
shaded areas. Default=on.
Increasing the value of Shaded increases the saturation of the shaded area. You can also use Shaded
to assign a distinct color for shading.
HighlightThe color of the specular highlight. Default=white.

When this component is turned off, there is no specular highlight. Default=off.
Tip: A specular highlight can destroy the illusion of 2D. Use this component sparingly.

Left: No highlights
Right: Highlights turned on
GlossinessThe size of the specular highlight. The greater the Glossiness, the smaller the
highlight. Default=50.0.
Increasing glossiness decreases the size of the highlight.
Color component controls:

These are the controls that are duplicated for each of the paint components. Each has an on/off
toggle, a main control, and then on the right, a set of map controls.
Check boxThe check box at the left of the rollout enables or disables that particular
component. In the case of Shaded, it toggles between a percentage value (of the Lighted color) or
a distinct Shaded color.
Color swatch or spinnerThe main control for each component. Click a color swatch to display
a Color Selector and set the color of the component. In the case of Shaded, this control can also
be a percentage spinner.

Map spinnerThe spinner to the right of the main control is the percentage of the map to use.
Default=100.0.
Mapping the Lighted component

Right rear: The original, unmapped material
Left: Lighted component with a falloff map applied
Right front: Lighted component with a bitmap applied
Map check boxThe check box between the spinner and the button enables or disables the
map. Default=off until a map is assigned, then on.
Map buttonClick the button to assign a map to this component.

While a map is assigned and enabled, at 100 percent it completely overrides the main color
component. At lower percentages, the map is blended with the color.
Ink Controls rollout
Ink is the linework, the outlines, in the material.

Except for Ink Width, each of the ink components has an on/off toggle and a color swatch. Click the
color swatch to display a Color Selector and change the ink component's color. Each ink component,
Ink Width included, also has a set of map controls.
InkWhen on, the rendering is inked. When off, no ink lines appear. Default=on.
Left: Rendering with ink

Right: Ink turned off

Ink QualityAffects the shape of the brush and the number of samples it uses. When Quality
equals 1, the brush is a + shape, and samples are taken over an area of 5 pixels. When Quality
equals 2, the brush is octagonal and the samples are taken over an area of 9 to 15 pixels. When
Quality equals 3, the brush is nearly circular, and samples are taken over an area of 30 pixels.
Range=1 to 3. Default=1.
Tip: For most models, increasing the Quality value introduces only a very subtle change, and can
take considerably longer to render. Do so only when a sub-object's ink shows too many artifacts in
the finished rendering, using the default Ink Quality. (Don't rely on the ActiveShade preview, which
will tend to be aliased.)
Ink WidthThe width of the ink, in pixels. This is specified by the spinner labeled Min (minimum)
unless Variable Width is turned on. When Variable Width is on, the Max (maximum) spinner is also
enabled, and the ink width can vary between the minimum and maximum values. Default: Min=2.0,
Max=4.0.
Left: One-pixel ink width

Middle: Five-pixel ink width
Right: Ink width varies from one to five pixels.
Variable WidthWhen on, the ink's width can vary between the minimum and maximum Ink Width
values. Ink with Variable Width looks a bit more streamlined than ink with a constant width.
Default=off.
The thickness of ink can be mapped.

Left: Thickness mapped with a gradient map
Right: Thickness mapped with a noise map

ClampWhen Variable Width is on, sometimes the scene lighting causes some ink lines to become
so thin they nearly disappear. If this happens, turn on Clamp, which forces the ink width to always
remain between the Min and Max values, regardless of the lighting. Default=off.
OutlineThe ink where the outer edges of the object appear against the background or in front of a
different object. Default=on.
Left: Rendering the outline only

Right: Rendering only the overlap and underlap
Intersection BiasUse this to adjust artifacts that might appear when two objects intersect
each other. In effect, this moves the inked object closer to the rendering point of view, or farther
away, so Ink 'n Paint can decide which object is in front. Positive values push the object away
from the point of view, negative values pull it closer. Default=0.0.
OverlapThe ink used when a portion of an object overlaps itself. Default=on.
Overlap BiasUse this to adjust artifacts that might appear in ink that traces the overlap. It
says how far the overlap has to be in front of the rear surface for Overlap ink to turn on. Positive
values push the object away from the point of view, negative values pull it closer. Default=10.0.
UnderlapSimilar to Overlap, but applies ink to the farther surface rather than the nearer one.
Default=off.
Underlap BiasUse this to adjust artifacts that might appear in ink that traces the underlap. It
says how far the underlap has to be behind the front surface for Underlap ink to turn on. Positive
values push the object away from the point of view, negative values pull it closer. Default=0.0.
SmGroupThe ink drawn between the boundaries of smoothing groups. In other words, it inks the
edges of the object that have not been smoothed. Default=on.
Mat IDThe ink drawn between different material ID values. Default=on.

Tip: If two Ink 'n Paint materials overlap in the viewport, and both have Mat ID turned on, you will
often get a doubly thick ink line where they overlap. To correct this, turn off the Mat ID component
for one of these materials.
Inking the edges between sub-materials
Only Adjacent FacesWhen on, inks the material ID edge between adjacent faces, but not
between one object and another. When off, inks the material ID edge between two objects or
other non-adjacent faces. Default=on.
Intersection BiasWhen Only Adjacent Faces is turned off, use this to adjust any artifacts that
appear at the boundary between two objects with different material IDs. Default=0.0.
Map controlsThere are map controls for each of the ink components: Width, Outline, Overlap,
Underlap, SmGroup, and Mat ID. These work the same as they do for the material's paint
components, as described above.

Mapping the outline and overlap components to simulate the look of drawing on paper
Troubleshooting
Here are some commonly encountered problems, and potential solutions:
Internal ink lines are missing.

The Overlap bias is probably too high. Decrease it. If Underlap is turned on, this might also have
too high a bias.
Another possible reason is that you have a self-intersecting object, or an object built by attaching
smaller objects, thus creating intersecting faces. In this case, set up the objects to use the Mat ID
or SmGroup ink components. If elements already have differing material IDs, try turning off Only
Adjacent Faces.
Ink looks sloppy on sloping parts of the object.

The Overlap or Underlap bias might be too low. Try increasing it.
Ink looks sloppy between interpenetrating objects.

Find out which ink component is the sloppy one. Then adjust its bias control.

Ink lines disappear or are too narrow when Variable Width is on.
Turn on Clamp. You can also try to see if reducing the lighting level helps. Or, you can try turning
off Variable Width, then assigning a Falloff map to the Ink Width component.
Tip: To isolate which ink component is causing a problem, you can try assigning each component a
different, distinctive (and easy to read) color, then rendering the image.
Warning: Ink 'n paint will only give correct results when rendered from a camera or
perspective view. It does not work in orthographic views.
Comments

Rendering menu > Raytracer Settings
active production renderer. > Raytracer panel > Raytracer Global Parameters rollout
active production renderer. > Raytracer panel > Raytracer Global Parameters rollout
Parameters in the Global Raytracer Settings dialog globally control the raytracer itself. That is, they
affect all Raytrace materials and Raytrace maps in your scene. They also affect the generation of
Advanced Ray-traced shadows and Area shadows.
Interface
Ray Depth Control group
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Ray depth is also known as recursion depth. This is how many times a ray is allowed to bounce
before it is considered lost or trapped.
Upper left: Ray depth is zero

Upper right: Ray depth of 2
Lower middle: Extremely high ray depth
Maximum DepthSets the maximum recursion depth. Increasing this value potentially increases
the realism of your rendered scene, at a cost of rendering time. You can reduce this value to reduce
rendering time. Range=0 to 100. Default=9.
Cutoff ThresholdSets a cutoff threshold for adaptive ray levels. If the contribution of any ray to
the final pixel color drops below the cutoff threshold, the ray is terminated. Default: 0.05 (5% of the
final pixel color). This can speed up your rendering time considerably.
Color to use at Max DepthAs a rule, when a ray reaches the maximum depth, it is rendered the
same color as the background environment. You can override the color returned at maximum depth
by either selecting a color, or setting an alternative environment map. This can make the "lost" ray
invisible in the scene.
Tip: If you are having trouble with getting complex objects to render, especially glass, specify the
maximum recursion color to something obvious, like magenta, and your background color to
something that contrasts, like cyan. The chances are that a lot of your rays are getting lost in either
maximum recursion or just being shot off into the world, totally missing anything you think they
should strike. Try rendering the scene again. If this is the problem, try reducing the Maximum Depth
value.
SpecifySpecifies what color the raytracer returns when the ray is considered lost or trapped.
Click the color swatch to change this color.

Background(The default.) Returns the background color when the ray is considered lost or
trapped. For Raytrace material, the background color is the global environment background or the
environment specified locally for the material. For Raytrace map, the background color is either
the global environment background, or is set locally in the Raytracer Parameters rollout.
Global Ray Antialiaser group
Controls in this group let you set global antialiasing for raytraced maps and materials.
Above: No antialiasing
Below: Antialiasing of reflections
Tip: Turning on Supersample for a Raytraced material (in the Raytrace Basic Parameters rollout)
usually provides adequate antialiasing. Use one of the raytrace antialiasers (Fast Adaptive or
Multiresolution Adaptive) when you want to blur reflections or refractions.
OnWhen on, uses antialiasing. Default=off.
Drop-down listChooses which antialiasing settings to use. There are two alternatives:
Fast Adaptive Antialiaser(The default.) Uses the Fast Adaptive antialiaser.
Multiresolution Adaptive AntialiaserUses the Multiresolution Adaptive antialiaser.
...The button with the ellipsis to the right of the drop-down list displays another dialog to let you
set antialiasing controls globally. The dialog displayed depends on which alternative you chose in the
drop-down list, as follows:

Fast Adaptive AntialiaserClicking ... displays the Fast Adaptive Antialiaser dialog.
Multiresolution Adaptive AntialiaserClicking ... displays the Multiresolution Adaptive

Antialiaser dialog.
Global Raytrace Engine Options group
These options are comparable to the local options on Extended Parameters rollout and the Raytracer
Controls rollout. Their setting affects all Raytrace materials and Raytrace maps in the scene, unless
you set local overrides.
Note: In versions prior to 3ds max 5, these controls were found on the Raytracer Options dialog,
which is no longer present.
Enable RaytracingTurns the raytracer on or off. Default=on.
Even with raytracing off, Raytrace material and Raytrace map still reflect and refract the
environment, including both the environment map for the scene, and the environment map assigned
to the Raytrace material.
Raytrace AtmosphericsTurns the raytracing of atmospheric effects on or off. Atmospheric effects
include fire, fog, volume light, and so on. Default=on.
Enable Self Reflect/RefractTurns self reflection/refraction on or off. Default=on.
Can an object reflect itself? For example, a teapot's body reflects the teapot's handle, but a sphere
will never reflect itself. If you don't need this effect, you can improve render time by turning off this
toggle.
Tip: If you have a transparent object such as glass, and have self reflect/refract turned on, you don't
have to make the object 2-sided. The raytracer sees back faces when exiting refractive objects.
Reflect/Refract Material IDsWhen on, the material reflects effects assigned to material IDs in
the renderer's G-buffer on or off. Default=on.
By default, Raytrace material and Raytrace map reflect effects assigned to a material's ID, so that G-
buffer effects are not lost. For example, if a raytraced object reflects a lamp made to glow with the
Video Post Glow filter (Lens Effects Glow), the reflection glows as well.
Render objects inside raytraced objectsTurns the rendering of objects inside raytraced objects
on or off. Default=on.
Render atmospherics inside raytraced objectsTurns the rendering of atmospheric effects
inside raytraced objects on or off. Atmospheric effects include fire, fog, volume light, and so on.
Default=on.
Enable Color Density / Fog EffectsTurns the color density and fog features on or off.
Acceleration ControlsClick to display the Raytracing Acceleration Parameters dialog, which lets
you adjust settings.
ExcludeClick to display the Raytrace Exclude/Include dialog, which lets you exclude objects
from ray-tracing.

Show Progress DialogWhen on, rendering displays a window with progress bars titled Raytrace
Engine Setup. Default=on.
Show MessagesWhen on, displays a window, Raytrace Messages, that shows status and progress
messages from the raytrace engine. Default=off.
Comments

Material Editor > Maps rollout > Click a Map button. > Material/Map Browser > Raytrace >
Raytracer Parameters rollout
This rollout contains the main controls for the Raytrace map.
Interface
Local Options group

toggle.
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Trace Mode group
With options in this group, you select whether to cast reflected or refracted rays.
Auto DetectIf assigned to the material's Reflection component, the raytracer will reflect. If
assigned to Refraction, it will refract. If you assign Raytrace to any other component, you have to
manually specify whether you want reflected rays or refracted rays. (Default.)
Note: Auto Detect might fail when you use Raytrace map in a material with a strong bump map.
When you use a strong bump map, choose one of the explicit options.
ReflectionCasts reflected rays off the object's surface.
RefractionCasts refracted rays into or through the object's surface.
Note: Raytrace reflects and transmits the IDs in material effects channel (G-buffer), so it can create
glowing reflections, and so on.
Local ExcludeClick to display the local Include/Exclude dialog.
An object that is excluded locally is excluded from this map only.
Tip: Using exclusion lists is one of the best and simplest ways to speed up the raytracer.
Background group
Use Environment SettingsRespects the environment settings of the current scene.

Color SwatchOverrides the environment settings with the specified color.
Map ButtonOverrides the environment settings with the specified map.
By specifying an environment map, you override the environment map for the scene as a whole.
Both reflection and refraction use the scene-wide environment map unless you use this option to
specify another map. With this control, you can use different environment maps on a per-object
basis, or provide an environment to specified objects when the scene as a whole has none.
Raytraced Reflection and Refraction Antialiaser group
Controls in this group let you override the global antialiasing settings for raytraced maps and
materials. They are unavailable if antialiasing is turned off globally. To turn on antialiasing globally,
choose Rendering > Raytrace Globals to display the Global Raytracer Settings dialog.
OnWhen on, uses antialiasing. Default=unavailable unless global antialiasing is turned on; on if
global antialiasing is turned on.

Drop-down listChooses which antialiasing settings to use. There are three alternatives:
Use Global Antialiasing Settings(The default.) Uses the global antialiasing settings.
Fast Adaptive AntialiaserUses the Fast Adaptive antialiaser, regardless of the global setting.
Multiresolution Adaptive AntialiaserUses the Multiresolution Adaptive antialiaser, regardless

of the global setting.
set antialiasing controls locally. The dialog displayed depends on which alternative you chose in the
Use Global Antialiasing SettingsClicking ... displays the Global Raytracer Settings dialog.
Multiresolution Adaptive AntialiaserClicking ... displays the Multiresolution Adaptive

Antialiaser dialog.
When you change settings for an antialiaser locally, you don't affect the global settings for that
antialiaser.
Comments

2-Sided (Double Sided)
Glossary
2-Sided (Double Sided)
Rendering of a box with a double-sided material, and same box with a single-sided material
In 3ds max, faces are one-sided. The front is the side with the surface normal. The back side of the
face is invisible to the Renderer; meaning the face appears to be missing when viewed from the
back. Objects are usually created with the surface normals facing outward, but it is possible to
create objects with the faces flipped or to import complex geometry in which the face normals are
not properly unified.
There are two ways to render both sides of a face. Either turn on the Force Two Sided option in the
Render dialog, or apply a two-sided material to the geometry.
Usually, you want two sided rendering turned off since it slows rendering time. However, if you want
to render the inside as well as the outside of objects, or if you've imported complex geometry (for
example, from AutoCAD) in which the face normals are not properly unified, you can use one of the
methods above to render each face regardless of its normal's orientation. You can also unify normals
explicitly by using the Normal modifier.
Comments
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Play/Stop
Play/Stop
Status bar > Time controls > Play
Status bar > Time controls > Stop
Keyboard > / (to play); ESC (to stop)
The Play button plays the animation in the active viewport. If you click another viewport to make it
active, the animation continues playing in that viewport. When the animation is playing, the Play
button becomes a Stop button. The Play button is a flyout for playing only the animation of selected
objects.
Tip: You can play the animation in all the viewports simultaneously by turning off Active Viewport
Only in the Time Configuration dialog.
Procedures
To play the animation in the viewport:
1. Activate the viewport where you want to play the animation.
2. Click the Play button.

The animation plays in the viewport. The Play button becomes a Stop button.
3. Click Stop to end the playback.

The speed of the animation playback is determined by the settings in the Time Configuration
dialog, the complexity of the scene and the speed of the graphics card and processor.
To play the animation looped backward:
1. Click the Time Configuration button on the status bar.
2. In Time Configuration dialog > Playback group, turn off Real Time.
The Direction buttons are now available.
3. Turn on Reverse.
4. Click the Play button.

The animation plays backward.
5. To play the animation front-to-back and then back-to-front in a continuous loop, turn on Ping-
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Play/Stop
Pong as the Direction.
To play the animation of a selected object only:
1. In a viewport, select a single animated object or a set of animated objects.
2. Click Play Selected on the Play/Stop flyout.

Only the selection is animated in the viewport.
3. Click the Stop button or press ESC to end playback.
Interface
The Play/Stop flyout contains two buttons. Both buttons become a Stop button when in use.
PlayPlays the animation in the currently active viewport.
Play SelectedPlays the animation for selected objects only in the currently active viewport.
Stop AnimationReplaces the Play button when an animation is playing. Click to stop the
playback.
Stop Animation (Selected)Replaces the Play Selected button when an animation is playing.
Click to stop the playback.
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Time Configuration
Time Configuration
Status bar > Time controls > Time Configuration > Time Configuration dialog
The Time Configuration dialog provides settings for frame rate, time display, playback, and
animation. You use this dialog to change the length of your animation, or stretch or rescale it. You
also use it to set the start and end frames of the active time segment and your animation.
See also
Setting Time Segments
Procedures
To define the active time segment:
1. Click Time Configuration.
2. In the Time Configuration dialog > Animation group, set Start Time to specify the beginning of
your active time segment.
Set End Time to specify the end of your active time segment.
Set Length to specify the amount of time in the active time segment and automatically set
the correct End Time.
You can enter positive or negative values in any spinner, but you must use the same format
used by the time display.
You can change the active time segment without affecting the keys you've created. For
example, if you have keys scattered over a range of 1000 frames, you can narrow your
active time segment to work on only frames 150 to 300. You can only work on the 150
frames in the active segment, but the remainder of the animation stays intact. Returning the
active segment from 0 to 1000 restores access and playback of all the keys.
Changing the active time segment has the following effects:
- Restricts the range of time you can use with the time slider.
- Restricts the range of time displayed when using the animation playback buttons.
The default setting for the active time segment runs from frames 0 to 100, but you can set it
to any range.
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Time Configuration
To stretch out your existing animation over a longer time:
1. In the Time Configuration dialog > Animation group, click Re-scale Time.
2. Change the value in Length to be the number of frames you want the action to fill.
3. Click OK.
The animation is rescaled to the new number of frames.
This also works to compress animations into a shorter space of time. To avoid losing frames
during the rescaling, see To use sub-frame animation in this set of procedures.
To add frames onto your existing animation:

This procedure adds new frames to the end of your animation, without affecting your existing work.
1. In the Time Configuration dialog > Animation group > End Time field, enter the number of the
last frame of the animation.
For example, if your existing animation is 100 frames long and you want to add 50 frames,
enter 150.
2. Click OK.
The number you entered is now the new length of the animation, shown on the time slider.
To move to an exact time in your animation:
In the Time Configuration dialog > Animation group, enter the frame number in the Current Time
field, and press ENTER.
The viewport updates to this frame.
To set the frame rate of your animation:

In the Time Configuration dialog > Frame Rate group, do one of the following:
Choose one of the standard frame rates such as PAL or NTSC.
Choose Custom, and specify a frame rate in the FPS (frames-per-second) field.
To configure viewport playback:
In the Time Configuration > Playback group, turn on or off the Real Time and Active Viewport
Only boxes.
To play your animation in reverse or back and forth:
1. In the Time Configuration > Playback group, turn off the Real Time.
2. Choose the direction of the animation playback by selecting Forward, Reverse, or Ping-Pong.
3. Play the animation in the viewport using the Play button or the / key.

Time Configuration
To play your animation only once:
1. In the Time Configuration > Playback group, turn off Real Time and Loop.
2. Choose the direction of the animation playback by selecting Forward, Reverse or Ping-Pong.
3. Play the animation in the viewport using the Play button or the / key.
The animation will play once and stop.
To play your animation in multiple viewports:
1. In the Time Configuration > Playback group, turn off Active Viewport Only. Click OK.
2. Play your animation.

The animation now plays in all four viewports.
To use sub-frame animation:
1. In the Time Configuration > Time Display group, turn on FRAME:TICKS or MM:SS:TICKS. Click
OK.
2. Move the time slider to set keyframes in between keys.

Tip: Use this when you scale an animation down from a longer length to insure that you wont
lose any keys. You can then move the keys to frames and revert to frames without ticks.
To play an animation with sound:
In the Time Configuration > Playback group, be sure you have Real Time turned on. If Real Time
is not on, the sound will not play back during the animation.
Interface
These are the controls for the Time Configuration dialog. You can display this dialog by right-clicking
any of the time control buttons to the right of the Auto Key button.

Time Configuration
Frame Rate group
These four option buttons, labeled NTSC, Film, PAL, and Custom let you set the frame rate in frames-
per-second (FPS). The first three buttons force the standard FPS for that choice. The Custom button
lets you specify your own FPS by adjusting the spinner.
Time Display group
Specifies the method for displaying time in the time slider and throughout the program. Choices are
Frames or in minutes, seconds and ticks.
Specifies the method for displaying time in the time slider and throughout the program (in frames, in
SMPTE, in frames and ticks, or in minutes, seconds, and ticks).
For example, if the time slider is at frame 35, and the Frame Rate is set to 30 fps, the time slider
would display the following numbers for the different Time Display settings:
Frames: 35
SMPTE: 0:1:5

Time Configuration
FRAME: TICKS: 35:0
MM:SS: TICKS: 0:1:800
SMPTE is the Society of Motion Picture Technical Engineers standard used to measure time for video
and television production.
Playback group
Real TimeReal Time causes viewport playback to skip frames to keep up with the current Frame
Rate setting. There are five playback speeds. 1x is normal speed, 1/2x is half speed, and so on. The
speed settings affect only the playback in the viewports.
These speed settings can also be used with the Motion Capture utility.
When Real Time is not selected, all frames are displayed during viewport playback.
Active Viewport OnlyCauses playback to occur only in the active viewport. When clear, all
viewports display animation.
LoopControls whether the animation playback occurs only once, or over and over repeatedly. Real-
Time must be off, before Loop can be turned on. When Loop is on, playback will honor direction
setting for the loop. When Real Time and Loop are both off, playback will happen once and stop.
Clicking play once will rewind to the first frame and play again.
DirectionSet the animation to play forward, reverse, or ping-pong. This only affects the playback
in the interactive renderer. It does not apply when rendering to any image output file. These options
are only available when Real Time is turned off.
These settings can be recalled by saving to a maxstart.max file.
Animation group
Frames Per SecondSets the frame rate of your animation in Frames per Second. Use frame rates
of 30 fps for video, 24 for film, and lower rates for web and media animations.
Start Time/End TimeSets the active time segment displayed in the time slider. Choose any time
segment before or after frame 0. For example, you can set an active time segment from -50 to 250.
LengthDisplays the number of frames in the active time segment. If you make this greater than
the total frames in the active segment, the End Time field increases accordingly.
Frame CountThe number of frames that will render. Always the length plus one.
Current TimeSpecifies the current frame for the time slider. As you adjust this, the time slider
moves accordingly and the viewport updates.
Re-scale TimeStretches or shrinks the animation for the active time segment to fit into the new
time segment you specify. Relocates the position of all keys in all tracks. As a result, the animation
plays over a greater or lesser number of frames, making it faster or slower.
Key Steps group

Time Configuration
Controls in this group let you configure the method used when you turn on Key Mode.
Use TrackBarAllows key mode to honor all keys in the track bar. This includes any parameter
animation in addition to transform keys.
To make the following controls available, turn off Use TrackBar.
Selected Objects OnlyConsiders only the transforms of selected objects when you use Key Steps
mode. If you turn this off, the transforms of all (unhidden) objects in the scene are considered.
Default=on.
Use Current TransformDisables Position, Rotation, and Scale and uses the current transform in
Key Mode. For example, if the Rotate button is selected in the toolbar, you stop at each rotation key.
If none of the three transform buttons are on, Key Mode considers all transforms.
To make the following control available, turn off Use Current Transform.
Position, Rotation, ScaleSpecifies which transforms are used by Key Mode.
Clear Use Current Transform to make the Position, Rotation, and Scale check boxes available.
Comments


The active time segment specifies a block of working time. You might think of it as a window in time
that you use to focus on a specific part of your animation.
Specifying an Active Time Segment
You specify the active time segment by setting the Start Time and End Time for the segment on the
Time Configuration dialog.
You can change the active time segment whenever you want without affecting the keys you've
already created. For example, if you have keys scattered over a range of 1000 frames, you can
narrow your active time segment to work only on frames 150-300.
Changing the active time segment has the following effect:
Restricts the range of time you can access using the time slider.
Restricts the range of time displayed when using the animation playback buttons.
The default setting for the active time segment runs from frames 0 to 100, but you can set it to any
range.
You can also increase the active time segment using the track bar.
Rescaling the Active Time Segment
You use the Re-scale Time button on the Time Configuration dialog to change your entire animation
based on the active time segment.
Use Re-scale Time as follows:
Scale all animation in the active time segment to fit within a new time range.
Move the entire animation to a new time.
Click Re-scale Time and then enter new Start Time and End Time values on the Re-scale Time
dialog. When you click OK all the animation in the active time segment is moved and scaled to fit the
new Start Time and End Time settings. Any animation outside the active time segment is moved to
match the new active time segment boundaries.
For example, say you have an animation from frame 0 to frame 300 and an active time segment
starting at frame 100 and ending at frame 200. Use Re-scale Time to set the new Start Time to
frame 200 and the new End Time to frame 250. Clicking OK gives you the following result:
Animation in the active time segment moves forward 100 frames and shrinks to a length of 50
frames. The new active time segment is from frames 200 to 250.
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Animation in the frames preceding the original active time segment moves forward 100 frames to
connect to the start of the new active time segment.
Animation in the 100 frames after the original active time segment moves forward 50 frames to
connect to the end of the new active time segment.
You can also rescale the active time segment using the track bar.
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Key Info (Advanced) Rollout
Select an object > Motion panel > Parameters > Key Info (Advanced) rollout
Select an animated object in the viewport > Right-click any key in track bar > choose the name of
the controller track such as Sphere01: Z Position > In the Key Info dialog, choose Advanced.
The Key Info (Advanced) rollout controls velocity in three ways:
You control the absolute velocity at a key using the In/Out fields.
You average velocity over a specified amount of time using Normalize Time.
You force constant velocity from one component key to the next using Constant Velocity.
If you are creating Path animation, you can force constant velocity by placing a Normalize Spline
modifier on the spline used as a path.
Procedure
To set normalize time for a key:
1. Select an object and choose a key to Normalize.

You can use the arrows in the Key Info (Basic) rollout to step through Keyframes.
2. In the Key Info (Advanced) rollout, click Normalize Time.

The key is moved in time to average the velocity through the key.
Interface
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In/OutThe In field is the rate of change as the parameter approaches the key. The Out field is the
rate of change as the parameter leaves the key.
These fields are only active for keys using the Custom tangent type.
The number in the field is the rate of change expressed as parameter units per tick. By changing
the two values for X, Y, and Z you are changing the length and angle of the tangent handle.
Lock buttonChanges one Custom tangent by changing the other an equal but opposite amount.
For example, if you click the Lock button and the In value is 0.85, then the Out value is -0.85.
Normalize TimeAverages the position of the keys in time and applies them to any consecutive
blocks of selected keys. Useful if you have an object that speeds up and slows down repeatedly, and
you want to smooth out the motion.
Constant VelocityWhen turned on for a key, values in between that key and the next one are
interpolated so the object moves at a constant velocity across that curve segment.
Free HandleUsed for automatically updating the length of the tangent handle. When this is turned
off, the length of the tangent is at a fixed percentage from its neighboring key. As you move a key,
the handles adjust to stay the same percentage away from the neighboring keys. When this is
turned on, the handle lengths are based on time lengths.
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Normalize Spline Modifier
Select a spline object. > Modify panel > Modifier List > Normalize Spl.
Select a spline object. > Modifiers menu > Patch/Spline Editing > Normalize Spline
The spline on the left has been normalized.
The Normalize Spline modifier adds new control points in the spline at regular intervals. Use
Normalize Spline to produce splines for motion paths that require constant velocity.
Note: This feature is not animatable.
Interface
Seg LengthSets the length of the spline's segments, in 3ds max units. The positions of the
original vertices are discarded, and vertices are set to regular intervals. Segment length determines
how many control points are added: shorter segments result in more control points, longer segments
result in fewer. Default=20.0 units.
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Comments
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Ticks
Glossary
Ticks
Ticks are the way 3ds max views increments of time. There are 4800 ticks in a second, so you can
actually access time down to 1/4800th of a second.
Given a standard, NTSC video frame rate, there are 30 frames in a second, and therefore 160 ticks
in each frame.
When you use the FRAME:TICKS display format, time is shown in frames and ticks, delineated by a
colon. This format lets you adjust the time slider in sub-frame increments of 1/160th of a frame. As
you move through time, the ticks field counts from 0 to 159, at which point the frames field
increments by one, and the ticks field returns to 0.
You can step forward or backward at single increments by clicking the single-frame buttons among
the playback buttons.
When you use the MM:SS:TICKS Display format, you see minutes (MM), seconds (SS), and ticks,
each separated by colons.
As you move through time in this display format, the ticks field counts from 0 to 4799, at which
point the seconds field increments and the ticks field returns to 0.
You can step forward or backward at single increments by clicking the single-frame buttons on either
side of the playback button.
Comments
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Real Time
Glossary
Real Time
By default, viewport animations play in real time, skipping frames where necessary.
You can turn this off by clicking Time Configuration in the time controls, and then turning off Real
Time in the Playback group box of the Time Configuration dialog.
When Real Time is turned off, all frames are displayed during playback. The playback may appear
slow, but you'll know that you're seeing every frame.
You can also speed viewport animation by minimizing your viewports to quarter size.
Comments
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Motion Capture Utility
Utilities panel > Utilities rollout > Motion Capture button
The Motion Capture utility drives your animation using peripheral devices, such as MIDI keyboards,
joysticks, and the mouse. While driving the animation, you can record it in real time.
The motion capture system in 3ds max is handled in the following way:
1. In Track View, assign motion capture animation controllers to the specific tracks you want
controlled by external devices.
2. After assigning the Motion Capture controller, open the Properties dialog for the track and bind
the type of peripheral device(s). As an example, the Rotation Motion Capture controller has
three rotational axes to which you can bind one device each.
3. After binding devices, adjust their settings and parameters in the lower portion of the Track
Properties dialog. These controls vary depending on the type of device.
4. On the Utilities panel, open the Motion Capture utility. You can test and record your motion for
any combination of tracks over any range of frames.
The following motion-capture devices are included with 3ds max:

Mouse Input Device rollout
Keyboard Input Device rollout
Joystick Input Device rollout
MIDI Device rollout
Procedures
To assign a Motion Capture controller to tracks:

The first step in using motion capture is to assign motion-capture controllers to the tracks you want.
1. In the Track View hierarchy, select the Transform track you want.
2. Choose Controller > Assign.

An Assign Controller dialog is displayed.
3. Choose Motion Capture, and then click OK.

A Motion Capture dialog is displayed. Its title bar includes the name of the object and the track
to which the controller is assigned.
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When you assign a Motion Capture controller, the previously assigned controller is maintained
as a child of the Motion Capture controller. This lets you continue to adjust the object using
standard transform controls, while still making motion-capture control available.
To bind and adjust devices:
1. After assigning a Motion Capture controller, determine the type of device that will drive the
motion.
Depending on the type of controller, you might be able to bind one or more devices. For
example, a Rotation Motion Capture controller can have three devices, one for each axis of
rotation. On the other hand, a controller for the radius of a cylinder would have only one device
to control the radius value.
2. Bind the devices in the Properties dialog for the track.
To specify a device:
1. Click the Properties button while the Rotation track is selected.

The Properties dialog for rotation motion capture includes three binding buttons (one for each
axis.)
2. Click the Y Rotation button. In the resulting dialog, choose Mouse Input Device, and click OK.
The lower half of the Properties dialog display controls specific to the new device. Assuming this

is a segment that isn't attached to another object, you want the horizontal mouse movement.
3. Under Mouse Input, choose Horizontal.

The Scale spinner lets you adjust the relative effect of the mouse movement to the rotation.
Flip reverses the rotational direction with respect to the mouse movement.
Example: To set up the Joystick controller to move a Free camera:

You set up the Joystick controller to move a Free Camera around on the XY plane. The Y movement
of the joystick will affect the camera's forward and backward movement, and the X movement of the
joystick will rotate the camera. You'll use Increment Based On Direction to allow the Y movement to
be local to the camera rather than to the world.
1. Create a Free camera in the Front viewport.
2. In Track View, assign a Rotation Motion Capture controller to the Rotation track of the camera.
3. Right-click in the Rotation track to display the Motion Capture properties dialog.
4. Click the button beside Z Rotation, and assign a Joystick Input Device.
5. Under Joystick Axis, choose the X option (if it's not already chosen).
6. Check Accumulate so that the rotation won't return to zero each time you release the joystick.
Example: To set up the Position controllers of a camera for moving with a joystick:
The rotation of the camera about its world Z axis will be controlled by the X motion of the joystick.
You'll set up the Position controllers of the camera to move the camera forward and back with the Y
motion of the joystick.
1. Assign a Position Motion Capture controller to the camera's Position track, and access its
Properties dialog.
2. Assign a Joystick Input Device to both the X Position and Y Position buttons.
3. Click the Edit Binding X button, and then choose the Y option under Joystick Axis.
4. Check Accumulate.
5. Click the Edit Binding Y button, and also choose Y under Joystick Axis.
6. Check Accumulate.
The Y motion of the joystick will now affect both the X and Y positions of the camera.
Example continued: To add the increment based on direction options:

If you tested the camera motion at this point, moving the joystick forward or backward along the Y
would produce a diagonal motion because the Position tracks would receive equal amounts of X and
Y values. Adding the Increment Based On Direction options will change this.
1. Click the X Edit Binding button.

2. Under Increment Based On Direction, click the button beside Controller.

A dialog appears with a list of controllers.
3. Find and select the Rotation Motion Capture controller for the camera.
4. Set the Direction option to Z (the local axis along which the direction points).
5. Set the Component option to X (matching the Edit Binding button).
6. Click the Y Edit Binding button.
7. Click the button beside Controller, and assign the Rotation Motion Capture controller.
8. Set the Direction option to Z, then set the Component option to Y.
9. Open the Motion Capture utility, turn on both tracks in the list, click the Test button, and move
the camera while observing it in the Top viewport.
As you move the joystick in the Y direction, the camera moves forward or backward. Moving
the joystick in the X direction rotates the camera, but then, as you continue moving the
joystick in the Y direction, the camera moves forward and back along its local axis.
Interface

Record Controls group

Tests and records your animation. The first three buttons let you control the recording directly, while
the Start/Stop button lets you use a MIDI device to control the recording.
StartStarts a recording using the values set under Record Range below the Track list.
StopStops the recording before the Out frame is reached. You can also stop a recording by
pressing ESC, or by pressing the right mouse button.
TestTests your motion. No recording takes place. Exit by clicking Test again, pressing ESC, or
clicking the right mouse button.
Play During TestWhen turned on, and you click Test, the animation in the scene plays in a loop
while you test your motion. Note that tracks in the Motion Capture list that are selected (marked
red) wont play back because they're waiting for input from the assigned peripheral device.
Start/StopDisplays the Start/Stop Trigger Setup dialog. You can choose the type of MIDI device
that will control the recording.
EnableUses the assigned MIDI device for recording instead of the Start, Stop, and Test buttons.
Tip: In the Time Configuration dialog, you can reduce the viewport playback speed, test or record at
the lower speed, and then reset the speed to normal to view the results.
Start/Stop Trigger Setup dialog
PresetsChoose the type of MIDI device. If you choose Media Control Station 2, you can use its
buttons to Stop, Play, and Record. (The Media Control Station is a MIDI device containing standard
VCR-style playback buttons along with a jog wheel.) By choosing Custom, you enable the remaining
spinners in the dialog, where you can set specific channels and note numbers. You can also use
Custom to customize the controls used by the Media Control Station.
ChannelSpecifies the channel to which your MIDI device is assigned.

Note NumberThe Stop, Play, and Record spinners that follow this label let you specify which note
event triggers which function.
StopThis note event stops the playback or the recording. On the Media Control Station, this
would be the square button. This is the equivalent of clicking the Stop button under the Record
Controls group.
PlayPlays the animation. This is the arrow button on the Media Control Station.
RecordWhen this note is sent by itself, it's the equivalent of clicking the Test button under
Record Controls. To record the motion capture, you must press both Play and Record at the same
time (the equivalent of clicking the Start button under Record Controls). You can press the Play
button before or after the Record button and release the Play button before or after the Record
button. The recording starts when the button is released.
Tracks group
The Tracks area displays all tracks that have been assigned Motion Capture controllers. You select
the tracks that will be affected by the three buttons in the Record Controls group. Click a track to
toggle its selection box on or off. Only the selected tracks displaying the red box are affected by the
Record Controls group.
You can select the tracks either by clicking them, or by using the All, Invert, None buttons. In
addition, you can create named selection sets of tracks. To create a named selection, click the tracks
you want, and then enter a name in the Edit field above the track list. To select a previously named
set, open the Edit window, and select it from the list. To delete a named set, select it from the list,
and then click the Delete button at the right.
Note: A specific track can be in only one named selection at a time.

AllAssigns all tracks to the Record Controls group.

InvertWhen tracks are selected, assigns the unselected tracks to the Record Controls Area.
NoneAssigns none of the tracks to the Record Controls group.
As a default, each track is provided a name consisting of the name of the object followed by a
backslash and the name of the parameter. For example, Sphere01\Angle is an Angle parameter
applied to one of the modifiers assigned to a sphere. You can rename the tracks in the Properties
dialog, which you can access in Track View, or by double-clicking the track name in the Motion
Capture utility. The upper rollout of each Properties dialog includes a Track Name field. Any name
entered in the Track Name field appears in the Track list in the command panel, in the title bar of
the Properties dialog, and beside the Data track in the Hierarchy window of the Track View.
Record Range group
Specifies the frame range affected by the recording. You can also set a preroll range of frames (see
below).
PrerollSpecifies the frame number where the animation begins playing when you press the Start
button. If this number is the same or greater than the In number, the Preroll number is ignored. For
example, if In: 0 and Out: 200, then a Preroll of -100 would give you 100 frames before the
recording started, while a Preroll of 50 would be meaningless. If the range defined by Preroll and Out
is larger than the current segment, the segment is temporarily enlarged during the recording.
InSpecifies the frame number where the recording begins after you click Start.
OutSpecifies the frame number where the recording ends after you click Start. You can stop the
recording before this by clicking Stop.
Live During PrerollWhen this is active, the motion capture is live through the preroll frames. The
motion occurs, but isn't recorded. This can cause sudden motion shifts at the In frame because your
live motion might not match the animation when you reach the In frame. When this option is
inactive, the motion is disabled or frozen until you reach the In frame.
Samples group

When the motion data is captured, its sampled at a rate relative to the current frame rate, which
defaults to 30 frames per second. Increasing the frame rate increases the sample rate. The two
radio buttons in this section allow you to choose one or two samples per frame. This is a shortcut
that lets you sample at a field rate. If you're rendering to fields, you don't need to capture at 60
frames per second. Controllers will interpolate between the samples.
Reduce KeysReduces the keys generated by the motion capture.
ThresholdThe value you enter in the Threshold field constrains how 3ds max changes the
selected track. The difference between the new animation and the original animation, at any frame,
will be less than the threshold value.
Low threshold values closely match the original animation but may not greatly reduce the number of
keys.
High threshold values produce the fewest keys but may not match the original animation with much
accuracy.
Note: When Reduce Keys is active, there is additional calculation time after each completed
recording.
Controls animation using the horizontal or vertical motion of the mouse. The available settings
include the following:
Horizontal/VerticalSpecifies which mouse motion drives the animation.
ScaleScales the relative effect of the mouse movement to the animation response (Spinner Value:
float, 0 to 999,999)
FlipFlips the direction of the response relative to the mouse movement. For example, if moving
the mouse horizontally to the right produces a clockwise effect on a Rotation controller. Activating
Flip will reverse the rotation to counterclockwise.

Lets you assign most keyboard keys to drive the animation.
Key Assignment group
Click the Assign button, and then press any key. The assigned key appears in the list at right.
Alternatively, you can open the list and select a key from it.
AssignClick the Assign button, and then press any key. The assigned key appears in the lower list
at right.
Drop-Down ListYou can open the list and select a key from it.
Envelope Graph group
Displays a representation of the amplitude curve over time.
Envelope Parameters group
Specifies the time over which the envelope of the action takes effect, relative to the key pressing
and release.
Attack Displays the time it takes after pressing the key for the value to reach its maximum level.
DecayDisplays the time it takes after having reached maximum for the value to fall to that
specified by the Sustain spinner.
SustainAfter the Attack and Decay, the value specified here is sustained until you release the key.

ReleaseAfter releasing the key, this is the time it takes for the value to fade out to zero.
Parameter Scaling AreaSets the scale of the envelope and the range of the output value.
TimeSpecifies the scale of the Attack, Decay, and Release parameters. The value represents the
number of seconds contained in 1 unit. For example, if this value is 1.0, then an Attack value of 1.0
equals 1 second.
RangeSets the maximum output value of the controller.
Note: This controller ignores the state of the CTRL, ALT, and SHIFT keys.
Tip: Because a single keyboard key can only generate either a positive or negative value, if you want
to control both directions of a Bend Angle, for example, use a List controller. First, make sure there's
a standard controller (such as a Bezier controller) assigned first in the list to maintain the center
position. Then add two Keyboard Motion Capture controllers to the list (one assigned to one key, and
the other assigned to a different key.) Set the range of one to the positive extent and the range of
the other to the negative extent.
The Joystick Input Device driver was designed for the Microsoft Sidewinder joystick, which contains
more controls than the standard joystick. You can use this device driver for standard joysticks as
well.
Joystick Axis group
X, Y, ZSpecifies which joystick direction drives the animation. (Standard joysticks provide X and Y

axes only. The Sidewinder provides the Z axis when you twist the joystick.)
ThrottleOn the Sidewinder, this is a slider next to the stick.
ScaleScales the relative effect of the joystick action to the animation response (Spinner Value:
float, 0 to 999,999)
FlipFlips the direction of the response.
AccumulateWhen turned off, the joystick position represents an absolute position, and you're
limited to the "rectangle" defined by the limits of the joystick. When the joystick returns to its rest
position, the value generated returns to zero. When this is turned on, the joystick represents a
change in the current position. Moving the joystick forward, for example, can cause an object to
start moving, and it will continue to move until you return the joystick to its rest position.
Joystick Buttons group
Point-of-View Hat (Left-Right, Up-Down)The Sidewinder includes a mini-joystick on the tip of

the main joystick. Specify the direction this joystick controls in the animation.
1, 2, 3, 4Specifies one of four buttons in the Sidewinder joystick. They work similarly to the Point-
of-View Hat, except that each button increases a direction value only while pressed. When you
release the button, the value returns to zero (centered).
Inc./Dec.One of three options available only when you choose one of the numbered joystick
button options. This option (Increment/Decrement) means that the value is incremented when the
button is down, and decremented when the button is up.
Inc.When turned on, the value increments when the button is down, and stays at that value when
you release the button.
AbsoluteWhen turned on, the assigned parameters jumps to the value set in the Speed spinner
when the button is down, and then jumps back to zero when you release the button. Use this for on/
off animations, such as blinking lights.
SpeedControls the rate at which the value changes when using either the Point-of-View Hat or the
four buttons. When using a button option and the Absolute option, this specifies the value output
when you press the button (Spinner Value: float, -999,999 to 999,999).
Increment Based On Direction group
Provides controls that let you derive the direction of movement from a Rotation controller. These
options are used primarily when you're animating a first-person flythrough (such as when controlling
a camera).
Note: The items in this area are only available when you select Accumulate in Joystick Axis.
ControllerAssigns a Rotation controller from which the direction will be derived.
ClearRemoves the assigned controller.
Direction X/Y/ZSpecifies the local axis that will be used as the direction. For a Free Camera, for
example, this would be Z because the camera points in the Z direction. However, if you had a car

that pointed along its Y axis, you'd use Y.

Component X/Y/ZSpecifies the edit binding to use. Match this to the Edit Binding button under
Device Bindings. For example, if the Y Edit Binding button is selected, choose the Y Component
option.
MIDI Device rollout
Controls animation using a MIDI device.
MIDI Channel group
Contains 16 buttons. Click to specify the channel to which your MIDI device is assigned.
MIDI Trigger group
Defines the type of MIDI event (message) that will drive the motion. There are four options.
Note: When you choose this option, the note number or pitch defines the output value. The value is
derived from where the note falls within the Note Range, specified in the Note Range group. When

the note is at the bottom of the range, the value takes on the Min value specified under Parameter
Scaling. When the note is at the top of the range, the value takes on the Max value from the same
area. Anything in between is interpolated between the Min and Max values. (Note that Min doesn't
have to be less than Max.) The generated value will slide around as different keys are pressed. The
harder a key is pressed, the faster the value changes. The Speed setting defines how fast, overall,
the value changes as keys are pressed.
VelocityWhen you choose this option, the velocity of the note pressed determines the output
value. The notes set under Note Range merely specify which notes are valid to press. The value
takes on the Min value until a key within the Note Range is pressed. When the key is pressed, the
value approaches the Max value based on how hard the key was pressed. (The value actually travels
along a parabola toward the Max value.) The Sustain setting defines how long it takes the value to
move through the parabola. When you choose Variable, the sustain length is also scaled by how hard
the key was pressed.
Pitch BendThe MIDI instrument's pitch bend knob defines the value. The Note Range doesn't
apply in this case and is disabled.
MIDI ControllerSpecifies a note event when you're hooked up to a different type of MIDI
controller than the typical keyboard. For example, if you're using a MIDI slider box, you would select
the MIDI Controller option, and then use the # spinner to specify the note event for the specify
slider.
Note Range group
Low Note/High NoteSet these to specify the low and high ends of the note range when the Note
option under MIDI Trigger is turned on.
Parameter Scaling group
Contains the Min and Max spinners, which specify the range of generated values. See Note and
Velocity.
MIDI Channel Viewer
Clicking MIDI Channel Viewer at the bottom of the MIDI Device rollout displays a dialog that lets you
test your MIDI device to see which MIDI channel is receiving events, and which notes are being
triggered.
MIDI Channel group
Provides a column of 16 buttons and progress bars representing the 16 MIDI channels. Select the
channel from which you want to view note activity. The channel progress bars light up when any
channel has an event.
MIDI Note group
The 11 Octave buttons let you select which octave you want to view. When a note is played in that

octave, a corresponding progress bar lights up in the Note column.

MIDI Controller #When using a different type of MIDI controller, such as a slider box, you can
specify a note event, and then watch the corresponding progress bar light up when you activate that
event. You can find the correct note number by activating the event while watching the Note Number
field at the bottom of the dialog.
ChannelThis is one of four text fields that display all of the values being generated by the MIDI
device as you activate an event. The Channel field displays the currently selected channel.
EventDisplays the type of MIDI event being sent. This can be:
Note On: 9
Note Off: 8
Pitch Bend: 14
MIDI Controller: 11
VelocityDisplays the velocity, which has a different meaning, depending on the event. For the
most common event, a note being pressed, this value represents the velocity at which the key was
struck. Other events, however, might generate a continuous value. For example, a pitch bend event
transmits the position of the pitch bend.
Note Number Displays the corresponding note number for the event. When you're using a non-
keyboard MIDI device, such as a slider box, you can use this to identify the note number of a
specific slider, for example.
Comments

Key Mode
Key Mode
Status bar > Time controls > Key Mode
Key Mode lets you jump directly between keyframes in your animation. By default, Key Mode uses
the keys visible in the track bar below the time slider. Other options are available on the Time
Configuration dialog in the Key Steps group.
Any time you have the Auto Key button turned on and you have made a change to an objects create
parameters or performed a transform, or have changed a material or any modifier applied to that
object, you have created a keyframe. Key Mode can respect all keyframes, or it can be limited to
move to only transform keys.
The Key Steps settings in the Time Configuration dialog determines this. When Key Steps are set to
Use TrackBar, then Key mode will jump ahead or back to keyframes of any type. When Key Steps is
not set to Use TrackBar, Key Mode will respect only transform keys.
Procedures
To use Key Mode:
1. Turn on Key Mode.

The button turns blue when key mode is active.
2. Use the Previous Frame and Next Frame buttons to move from one keyframe to the next.
If you are not jumping to the keys, be sure the object is selected in the viewport.
If you are still not jumping to the keys, configure Key Mode to Use TrackBar, as described in
the following procedure.
To configure Key Mode:
1. Click Time Configuration. You can also right-click the Key Mode button.
2. In the Time Configuration dialog that is displayed, choose options in the Key Steps group.
If you turn on Use TrackBar and turn Key Mode on, then clicking Next Key advances to the next
key for the selected object. This will respect every type of key that appears in the track bar. If
you turn Use TrackBar off, only transform keys are used by key mode.
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Key Mode
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Previous Frame
Previous Frame
Status bar > Time controls > Previous Frame
Keyboard > , (comma)
Previous Frame moves the time slider back one frame.
If Key Mode is on, the time slider moves to the previous keyframe. Keyframe options are set in
the Key Steps group of the Time Configuration dialog.
If Use TrackBar is turned on in the Time Configuration dialog, Previous Frame jumps to the previous
key of any kind. If Use TrackBar is turned off, Previous Frame will jump to the previous transform
key, ignoring any other type of keys.
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Next Frame
Next Frame
Status bar > Time controls > Next Frame
Keyboard > . (period)
Next Frame moves the time slider ahead one frame.
If Key Mode is on, the time slider moves to the next keyframe. Keyframe options are set in the
Key Steps group of the Time Configuration dialog.
If Use TrackBar is turned on in the Time Configuration dialog, Next Frame jumps to the next key of
any kind. If Use TrackBar is turned off, then Next Frame jumps to the next transform key, ignoring
any other type of keys.
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Edit Current Event
Edit Current Event
Rendering menu > Video Post > Video Post window > Select an event. > Video Post toolbar > Edit
Current Event
The Edit Current Event button displays a dialog that lets you edit the properties of the selected
event.
The Edit Event dialog changes to provide different controls, depending on the type of event you've
selected. The top field in each event dialog is an editable label field. If the field is left blank, the
event uses its assigned label. If you enter an event name, the Video Post Queue displays your event
name in the field.
You can edit the following types of events:
Edit Scene Event
Edit Image Input Event
Edit Filter Event
Edit Layer Event
Edit Output Image Event
Edit External Event
Edit Loop Event
Procedure
To edit an event in the queue, do one of the following:
Select the event and click the Edit Current Event button.
Double-click the event name.
Double-click the event's range-bar area in the edit window.
Use the second or third method above withdisabled events.
Comments
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Edit Scene Event
Edit Scene Event
Rendering menu > Video Post > Video Post window > Select a scene from the Video Post Queue. >
Video Post toolbar > Edit Current Event
A Scene event is a view of the current 3ds max scene. You can choose which view to display and
how to synchronize the scene with the final video. Like Image Input events, Scene events place an
image in the queue, but a Scene event is the current 3ds max scene and it must be rendered when
you execute the Video Post queue.
You can use multiple Scene events to show two views of the same scene simultaneously or to cut
from one view to another. If you have more than one Scene event in the queue, and they occupy the
same time range, composite them with an Image Layer event like Cross Fade or Simple Wipe.
Otherwise, the second Scene Event overwrites the first even though your system has spent the time
processing both events.
Procedures
To match scene frames with Video Post frames:
Turn on Lock to Video Post Range.

Frames in the scene match Video Post frames and have the same frame number. Frame 0 in the
scene is frame 0 in the Video Post dialog, and so on. The range bar for the Scene event
represents which portion of the scene is selected. If the range covers Video Post frames 25 to 35,
executing the queue renders scene frames 25 to 35. Moving the range bar for the scene is like
moving a time window within the scene.
To offset the scene in time:
Turn on Lock Range Bar to Scene Range.

The Scene Start control is enabled but the Scene End control remains disabled - synchronization is
controlled by the Scene Start value and the length of the range bar.
The Scene Start value is the scene frame number where playback begins. If Scene Start is 0,
frame 0 of the scene is the first frame played back; if Scene Start is 12, frame 12 is the first
frame to play, and so on.
The range bar length determines how many frames of the scene to play. Dragging the end point
of the range bar changes the length of the playback range. Although Scene End is grayed out, its
value updates to show the frame number of the last scene frame that will be played.
Dragging the range bar changes where the scene is played within the final video. For example, if
you set Scene Start to 5 and move the range bar to begin at Video Post frame 20, frame 5 is
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Edit Scene Event
played at frame 20 of the final video, and so on.
To offset the scene and change scene playback rate:
Turn off Lock Range Bar to Scene Range.

With Lock Range Bar to Scene Range clear, both Scene Start and Scene End are enabled. As
before, Scene Start specifies the first scene frame to play. Scene End specifies the last scene
frame to play, and the length of the range bar determines playback speed.
If the range bar specifies the same number of Video Post frames as there are corresponding scene
frames, then playback is at the scene's playback rate. If the range bar specifies fewer frames, the
scene is sped up. If the range bar specifies more frames, the scene is slowed down. When it
executes, Video Post automatically skips frames or adds frames to control the speed of scene
playback.
For example, if Scene Start is frame 5 and Scene End is frame 35, the range bar represents 30
frames overall. If the range bar covers only 10 Video Post frames, scene playback is sped up to fit
30 frames into 10 of the final video. If on the other hand, the range bar covers 120 frames, scene
playback is stretched to slow it down.
To render the full scene backwards:
1. Turn off Lock to Video Post Range.
2. Turn off lock Range Bar to Scene Range.
3. Set Scene Start to the last frame in the scene.
4. Set Scene End to the first frame in the scene.

The length of the range bar also determines the playback speed of the reversed scene.
To add scene motion blur:
1. Select Scene Motion Blur in the Scene Event dialog.
2. Set the scene motion blur parameters.

The Scene event generates motion blur by simulating a camera with an open shutter. It
interpolates and then renders movement within a frame, to generate a series of images of the
moving object, instead of the default single image.
Interface

Edit Scene Event
View group
LabelLets you edit the event name.

ViewportSelect the viewport you want to render.
Scene Options group
Enables various rendering effects.

Render OptionsDisplays a subset of the parameters in the Render Scene dialog. For information
on these controls, see the Common Parameters and MAX Default Scanline A-Buffer help topics.
Changes you make to the Scene Event Render Options affect the Render Scene dialog, as well.
Scene Motion BlurTurns on the scene motion-blur effect for the whole scene. This is different
from object motion blur, which creates motion blur for individual objects in the scene.
DurationSets the virtual shutter speed for motion blur. When it's set to 1.0, the virtual shutter is
open for the entire duration between one frame and the next. When it's set to a smaller numer (for

Edit Scene Event
example, 0.25), the number of subdivisions specified in the Duration Subdivision field will be
rendered within the specified portion of the frame (in this example, in the first .25 of the duration
between one frame and the next).
Duration SubdivisionDetermines how many sub-frame slices are rendered within the Duration.
The default is 2 slices, but you'll want at least 5 or 6 to get a decent effect.
Dither %Sets the amount of dithering between blurred pixels of overlapping frame slices. If
Dither % is set to 0, no dithering occurs.
Scene Range group
Scene Start/EndSets the range of scene frames to be rendered.

Lock Range Bar to Scene RangeBecomes available when you deselect Lock to Video Post
Range. When it's available, the End spinner is disabled and locked to the Video Post range. When
you change the Start spinner it automatically updates the End spinner based on the Video Post range
set for this event.
If you clear the box, you can change either Start or End spinners to whatever you want. This allows
you to keep your scene range locked to its native length, and still provides flexibility for mapping an
arbitrary scene range to an arbitrary Video Post range.
Lock to Video Post RangeRenders the same range of scene frames as Video Post frames. You
can set the Video Post range in the Execute Video Post dialog.
Video Post Parameters group
VP Start Time/End TimeSets the starting and ending frames for the selected event within the
overall Video Post queue. Video Post renders the event over the number of frames specified here.
EnabledEnables or disables the event. When this box is clear, the event is disabled and Video Post
ignores it when rendering the queue. Each event must be disabled individually. For example,
disabling a composite layer event does not disable the composited image events. The range bars of
disabled events are grayed out in the event track area.
Comments

Object Motion Blur
Glossary
Object Motion Blur

Object motion blur applies a blur effect to make fast-moving objects appear to move more smoothly
in animations. It is a form of "temporal antialiasing."
Left: Object motion blur. Right: Object motion blur with dithering.
Don't use object motion blur to simulate the blur created by a camera. For this purpose, use image
motion blur or scene motion blur.
Applying object motion blur is a two-step process:
1. Turn on object motion blur for the object you want to blur, using the Object Properties dialog.
You cannot apply both image motion blur and object motion blur to the same object in the
same rendering.
2. Before you render, turn on object motion blur in the Default Scanline A-Buffer rollout of the
Render Scene dialog.
Object motion blur works by rendering multiple copies of the object in between frames and then
rendering them together. It is not affected by camera movement.
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Object Motion Blur
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Rendering menu > Video Post > Video Post window > Select an Image Input Event. > Video Post
toolbar > Edit Current Event
Image Input events add a still or moving image to the scene. Image Input events place an image in
the queue, but unlike Scene events, the image is a file that was saved beforehand or a device-
generated image. The image can be in one of the following file formats:
AVI Files
BMP Files
FLC Files
GIF Files
HDR Files
IFL Files
JPEG Files
PNG Files
PSD Files
RLA Files
RPF Files
Targa Files
TIFF Files
YUV Files
DDS Files
Procedures
To align the input image, do one of the following in the Image Input Options dialog:
Choose Presets and then click one of the preset alignment buttons.
Choose Coordinates and then enter the X,Y coordinates for the image's location.
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The upper-left corner is (0,0) for both the input image and the output frame. Increasing X moves
the image to the right, and increasing Y moves the image down. Negative values move the image
in the opposite direction. X and Y values specify pixels.
To set the input image size, do one of the following in the Image Input Options dialog:
Choose Do Not Resize to maintain the image's original resolution.
Choose Resize to Fit to change the image size to match the output frame.
This can change the image resolution, causing it to be rescaled for every frame.
Choose Custom Size and then enter the width and height of the image in the output frame.
To control playback of an animated image:
1. In the Frames group of the Image Input Options dialog, set the input animation frame range
and speed.
2. Select Loop At The End if you want the animation to repeat. Clear Loop At The End if you want
the animation to stop after playback.
This option applies only when the input animation is shorter than the final video.
Interface

Image Input group
LabelLets you edit the event name.

FilesLets you choose the bitmap or animation image file.
DevicesLets you choose an installed hardware input device, for example, a digital disk recorder.
OptionsDisplays the Image Input Options dialog to allow you to set up alignment, size, and frame
range for the Image Input.
CacheStores a bitmap in memory. If you are using a single-image bitmap, you can choose this
option. Video Post won't reload or scale the image for each frame.
Image Driver group
These buttons are available only when you choose a device as the image source.
AboutProvides information on the source of the image-handler software used to bring the image
into 3ds max.
SetupDisplays a setup dialog specific to the plug-in. Some plug-ins may not use this button.
Video Post Parameters group
VP Start Time/End TimeSets the starting and ending frames for the selected event within the
overall Video Post queue. Video Post renders the event over the number of frames specified here.

EnabledEnables or disables the event. When this box is clear, the event is disabled and Video Post
ignores it when rendering the queue. Each event must be disabled individually. For example,
disabling a composite layer event does not disable the composited image events. The range bars of
disabled events are grayed out in the event track area.
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A file format that stores a single frame of a motion picture or video data stream. Each frame is
saved as cineon version 4.5 with a CIN file-name extension. The file contains no user-defined data
such as a thumbnail, and supports 10-bit log, and three colors per pixel. Alpha channels are not
supported.
Interface
Clicking Render or Setup in the Render Output File dialog displays the Cineon Image File Format
dialog.
Printing Density AdjustmentRepresents the transfer function from printing density (10-bit log)
to 16-bit linear with the white point mapped to a maximum code value of 65535.
Conversion of logarithmic printing density to a linear representation requires both a scaling and an
anti-log operation. With 16-bits linear, it is possible to maintain the full printing density range. The
90% white card at code value 685 is mapped to maximum code value of 65535.
The White Pt and Black Pt spinners let you adjust the 90% white code and the 2% black code.
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GIF Files
GIF Files
GIF is an 8-bit (256-color) format developed by Informix for the CompuServe information service.
It was originally designed to minimize file transfer times over telephone lines.
GIF is supported only as an input file format. You can use GIF files as general-purpose bitmaps, but
you can't render to a GIF file.
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HDR Files
HDR Files
HDR is a file format used for high-contrast photographs. Most cameras don't have the capability to
capture the dynamic range (ratio between dark and bright regions) that is present in the real world.
However, the range can be recovered by taking a series of pictures of the same subject with
different exposure settings, and combining them into one image file.
This type of image is called a high dynamic range image (HDRI) or radiance map. HDRI files have
an .hdr extension and radiance maps have a .pic extension. The file actually contains all the data
from all the pictures, so a wide luminance range is present, from bright, white highlights to the
darkest black.
HDR files are particularly useful as backgrounds for compositing, and as reflection maps on
composited objects. When using a HDR image as a skylight, use the parameters in the Exposure
group to control the brightness of the scene.
Procedure
To use a HDR image as a background, or as a diffuse or reflection map:
1. In the Material Editor, choose Bitmap as the map type.
2. On the Select Bitmap Image File dialog, under Files of type, choose Radience Image File (HDR).
Select the HDR file you would like to use.
The HDRI Load Settings dialog appears, with the image displayed in its preview window.
3. On the HDRI Load Settings dialog, look at the Measured Min/Max values to see the luminance
range for the image.
4. Turn on Black Point.
5. Adjust the Black Point and White Point values until the red lines on the histogram encompass
the majority of the graph, and the preview image is satisfactory.
Tip: For the Internal Storage options, you should always use the default choice of 16 bit/chan
Linear (48bpp) unless you have a specific reason for doing otherwise.
6. When you have finished adjusting values, note the Linear White Point value, and click OK to
accept the settings.
7. In the Material Editor, expand the Output rollout. Set the RGB Level to the same value as the
Linear White Point value on the HDRI Load Settings dialog.
The result is a map with a wide range of deep blacks and very white highlights. If such an
image is used as both a background in the rendering and a reflection map on an object, the
object will appear to be extremely shiny and reflective.
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HDR Files
Interface
HDR Load Settings dialog
When you open a HDR file as a bitmap, the HDR Load Settings dialog appears. This dialog allows you
to specify the luminance range to use from the image, and the method for storing the data.
HistogramThis graph shows the image's luminance values in a logarithmic scale. The red lines
indicate the current Black Point and White Point values.
The graph is visible only for luminance levels with substantial representation in the image. In other
words, if a luminance level only applies to one or two pixels in the image, there will be no
corresponding graph line on the histogram. Compare with Measured Min/Max, which gives the entire
range of luminance levels in the image.
In general, the resulting image will have the most dramatic effect when the histogram is used to set
the Black Point and White Point range values, rather than using the full range expressed by
Measured Min/Max.

HDR Files
Black PointWhen this option is turned on, you can set the luminance value that you would like to
be treated as the darkest color, or black. The value can be set as a logarithm (Log) or as a linear
value (Linear). All values below this value will be clamped to black. When this option is turned off,
the lowest possible value is used as the Black Point.
Measured Min/MaxDisplays the actual minimum and maximum luminance values in the image,
expressed as both the logarithmic and linear values. Using these values for the Black Point and
White Point will result in the image's full luminance range being used. However, the histogram might
show that the majority of the luminance levels fall into a much smaller range.
White PointSets the luminance value that you would like to be considered the brightest color, or
white, either as a logarithm (Log) or linear value (Linear). All luminance values in the image that
are above this value will be clamped to white. White pixel values inside HDR files can be much larger
than a Linear value of 1.
The image's extended luminance range is used only when the White Point's Linear value is set above
1.0. In other words, setting White Point at or below a Linear value of 1.0 will not use any of the HDR
image's special luminance properties, and will give results similar to other bitmap formats such as
TIF and JPG.
LogSets the Black Point or White Point as a logarithmic value ranging from 128 to 127. Changing
this value changes the Linear parameter to the corresponding value.
LinearSets the Black Point or White Point as a linear value ranging from 0 to over 1 trillion.
Changing this value changes the Log parameter to the corresponding value.
Preview windowDisplays the selected HDR image.
Real Pixels (32 bpp)Compresses the luminance selections into a color space with 32 bits per
pixel. Premultiply Alpha and Motion Blur do not work with this option.
Def ExposureWhen turned on, the image will load as is without applying any changes to the
colors. When turned off, you can use the parameters in the Exposure group to remap colors.
16 bit/chan Linear (48 bpp)Compresses the luminance selections into 16bit color space, at 48
bits per pixel. This is the recommended setting. To uncompress the luminance for use in the scene,
set the RGB Level on the image's Output rollout to the same value as the linear white value on this
dialog.
8 bit/chan Linear (24 bpp)Compresses the luminance selections into 8bit color space, at 24
bits per pixel. This compression method uses less memory than other methods, but it is generally
not adequate to display the range of luminance in a HDR image, and can result in banding or other
artifacts.
Display scaled colors byWhen turned on, this value scales the preview image's luminance value
by the specified amount.
LLocks the preview luminance scale to the white linear value. When this option is turned off, you
can change the value manually.
Mark White clampMarks the white clamped values in the preview window with the color indicated
by the color swatch.

HDR Files
Mark Black clampWhen Black Point is turned on, this option marks the black clamped values in
the preview window with the color indicated by the color swatch.
HDRI Save Settings dialog
Clicking Render or Setup in the Render Output File dialog displays the HDR Save Settings dialog.
RealPixel data (HDR)Saves the image without clamping colors.

Normal Pixel data (LDR)Saves the image with clamped colors.
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Output Rollout
Output Rollout
Material Editor > Select sample slot. > Get Material > Material/Map Browser > Turn on 2D Maps
and 3D Maps. > Choose a map type (Bitmap, Cellular, Falloff, Gradient, Gradient Ramp, Mix, Noise,
or Output). > Double-click a map type to apply it to sample slot. > Output rollout (displayed near
the bottom of the Material Editor)
After applying a map and setting its internal parameters, you can adjust its output parameters to
determine the final appearance of the map.
Interface
These controls appear on the Output rollout for a number of 2D and 3D maps:
InvertReverses the hues of the map, like a negative color photo. Default=off.
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Output Rollout
ClampWhen on, this parameter limits the values of the colors to no greater than 1.0. Turn this on
when you're increasing the RGB Level, but don't want the map to appear self-illuminated.
Default=off.
Note: If you set the RGB Offset to a value greater than 1.0 while Clamp is on, all colors become
white.
Alpha from RGB IntensityWhen on, an alpha channel is generated based on the intensity of the
RGB channels in the map. Black becomes transparent and white becomes opaque. Intermediate
values are translucent according to their intensity. Default=off.
Enable Color MapTurn on to use the Color Map. See Color Map group. Default=off.
Output AmountControls the amount of the map being mixed into a composite material. Affects
the saturation and alpha value of the map. Default=1.0.
RGB OffsetAdds to the RGB values of the map colors by the amount set by the spinner, which
affects the tonal value of the colors. Eventually the map becomes white and self-illuminated.
Lowering the value decreases the tonal value toward black. Default=0.0.
RGB LevelMultiplies the RGB values of the map colors by the amount set by the spinner, which
affects the saturation of the color. Eventually the map becomes fully saturated and self-illuminated.
Lowering the value decreases the saturation and makes the map colors grayer. Default=1.0.
Bump AmountAdjusts the amount of bumpiness. This value has an effect only when the map is
used as a bump map. Default=1.0.
For example, suppose you have a map instanced for both the Diffuse and the Bump components. If
you want to adjust the amount of bumpiness without affecting the Diffuse colors, adjust this value,
which changes the amount of bumpiness without affecting the map's use in other material
components.
Color Map group
At the bottom of the Output rollout, the Color Map group is inactive until you turn on Enable Color
Map.

Output Rollout
The Color Map graph lets you adjust the tonal range of an image. The point at 1,1 controls
highlights, the point at 0.5,0.5 controls midtones, and the point at 0,0 controls shadows.
You adjust the shape of the graph by adding points to the line and moving or scaling them. You can
add Corner, Bezier-Smooth, or Bezier-Corner points. When a move or scale option is active, points
can be selected much like objects in a viewport, by clicking a point, dragging a region around one or
more points, and holding down CTRL to add or subtract from the selection.
When you select an individual point, its exact coordinates are displayed in the two fields below the
graph at the lower left. You can enter values directly in these fields, but the values are automatically
constrained as they are when you manually move or scale a point.
You can zoom into the graph to make detailed adjustments. As you zoom in, the graph updates to
show decimal measurements along the left vertical axis. You can pan anywhere on the graph with
the horizontal and vertical scroll bars, use a button option, or the middle mouse button. Points can
be deleted, and you can reset the graph to its default at any time.
RGB/MonoSpecifies a map curve to either filter the RGB channels separately (RGB) or in
combination (Mono).
Copy CurvePointsWhen turned on, points added to a Mono graph are copied when you switch to
an RGB graph. If you start with an RGB graph, the points are copied to a Mono graph. You can
animate the control points but not the Bezier handles.
Important: When Copy CurvePoints is on, animation created in Mono mode is carried over
to RGB mode and you can switch channels. The reverse doesnt work.
The following controls affect the points on the graph:

Output Rollout
Move flyout
Moves a selected point in any direction, limited by the unselected points on either side.
Constrains movement to the horizontal.
Constrains movement to the vertical.

On a Bezier smooth point, you can move the point or either handle.
Scale PointChanges the output amount of control points while maintaining their relative
position. On a Bezier corner point, this control is effectively the same as a vertical move. On a Bezier
smooth point, you can scale the point itself or either handle. As with the move controls, scale is
limited by the unselected points on either side.
Add Point flyout
Adds a Bezier corner point anywhere on the graph line. The point makes a sharp angle when
moved.
Adds a Bezier smooth point anywhere on the graph line. Handles attached to the point create
smooth curves when moved.
When either Add Point button is active, you can use CTRL+click to create the other type of point.
This eliminates the need to switch between buttons.
Delete PointRemoves selected points.
Reset CurvesReturns graph to its default, a straight line between 0,0 and 1,1.
The following controls affect the view of the graph. The change in view does not affect the graphs
results.
PanDrags the graph in any direction within the viewing window.
Zoom ExtentsShows the entire graph.
Zoom Horizontal ExtentsShows the entire horizontal range of the graph. The scale of the
curve will be distorted.
Zoom Vertical ExtentsShows the entire vertical range of the graph. The scale of the curve
will be distorted.
Zoom HorizontallyCompresses or expands the graph in a horizontal direction.
Zoom VerticallyCompresses or expands the view of the graph in a vertical direction.

Output Rollout
ZoomZooms in or out around the cursor.
Zoom RegionDraws a rectangular region around any area of the graph, then zooms to that
view.
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Self-Illumination
Glossary
Self-Illumination
The lamp on the right uses self-illumination to brighten the bulb and the glass panes.
Self-Illumination creates the illusion of incandescence by replacing any shadows on the surface with
the diffuse color. At 100 percent, the shadows are completely replaced by the diffuse color, creating
the illusion of self-illumination.
Unless you use environmental effects, only lights illuminate your scene; they don't appear in the
rendering. You can use self-illuminated materials on objects that represent lights to provide things
like car headlights, and so on.
A self-illumination map lets you use a map to affect the intensity in different areas of the self-
illuminated surface. Like many other map types, only the intensity of the map values affects self-
illumination. White provides the most, while black blocks the illumination completely.
It's often a good idea to design a self-illumination map to match your diffuse map. For example, the
diffuse map might have small, yellow rectangles to represent windows, while the self-illumination
map consists of matching white rectangles against black to illuminate the yellow windows.
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Self-Illumination
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IFL Files
IFL Files
An IFL (Image File List) file is an ASCII file that constructs an animation by listing single-frame
bitmap files to be used for each rendered frame. When you assign an IFL file as a bitmap, rendering
steps through each specified frame, resulting in an animated map.
(In a similar way, if you assign an AVI file, FLC file, or MOV file as a bitmap, rendering steps through
each frame of the animation.)
For example, if you assign a 10-frame FLC of a blinking red "Danger" sign to a material's diffuse
component, apply the material to a cube, and then render a 30-frame animation, the cube displays
the blinking red Danger animation three times.
The .ifl file lists the bitmap files to be used with each frame. You can append an optional numeric
argument to each file name to specify the number of frames of rendered animation on which it is
used. For example:
; Anything after a semicolon is a comment, and is ignored.

sand.tga 20
pebble.tga 40
stone.tif 20
boulder.tif 20
The IFL file listed above specifies sand.tga to be used for the first 20 frames, pebble.tga to be used
for the next 40 frames, stone.tif to be used for 20 frames, and boulder.tif to be used for 20 frames.
Tip: Specify only the file names in your IFL files. The file paths can be derived from the map paths
established in your preferences. See External Path Configuration. IFL files with path names can be
used only on the system on which you create them.
See also
Image File List Control Dialog

IFL Manager Utility
Sequentially Numbered Files
You can use incrementally numbered bitmap files (for example, frame001.bmp, frame002.bmp, and
so on) to construct an IFL file. Either use the IFL Manager Utility, or use the Sequence check box in a
file selector dialog, as described in the following procedures.
Procedures
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IFL Files
To construct an IFL file from sequentially numbered files:
1. In the file selector dialog, navigate to a directory that has a sequence of incrementally
numbered bitmaps.
2. Choose the name of one of the sequential files (for example, image01.bmp).
The Sequence check box becomes available.
3. Turn on the Sequence check box.

The Setup button becomes available.
4. Click Setup to display the Image File List Control dialog.
5. In the Image File List Control dialog, choose the options you want, and then click OK.
Tip: Use the Browse button to set the Target Path to a directory on your hard disk. Do not set
this path to a CD-ROM drive, because you cannot save the file there.
The Image File List (IFL) file is saved to the target directory.
6. In the file selector dialog, click OK.

This assigns the newly created IFL file as the bitmap.
Example: To select a set of still images as a viewport background:
1. Activate the viewport where you want the animated background.
2. Choose Views menu > Viewport Background.
3. In the Background Source group, click Files.

A Viewport Background dialog is displayed.
4. On Select Background Image dialog, use the Look In field to navigate to the directory
containing the files you want to use for the sequence.
If necessary, change the file type to match the file name extension of the sequence, or choose
All Formats.
Note: The Select Background Image File dialog uses the last location where a bitmap was
chosen, rather than the default bitmap path defined in Customize menu > Configure Paths.
5. Construct an IFL file as described in the previous procedure.
6. In the Select Background Image dialog, click OK.

The IFL file now provides the background for the viewport.
Tip: The viewport background does not render. To render the IFL file's animation, assign the
IFL file as a rendering environment. (See the following procedure.)
To render the frames in an IFL file as a movie (AVI, FLC, or MOV format):

IFL Files
2. In the Environment dialog, click Environment Map.
3. In the Material/Map Browser, choose Bitmap, and then click OK.
4. In the Select Bitmap Image File dialog, choose the IFL file, and then click OK.
5. Click Time Configuration, and use the Time Configuration dialog to make the animation
length match the number of frames specified in the IFL file.
6. Render a viewport to a movie-format file.

Tip: The aspect ratio of the rendered movie should match the aspect ratio of the frames in the
IFL file.
Notes
If the IFL generator has a name conflict with an existing IFL file, it will increment the new file's
name to avoid overwriting the existing file.
If the IFL generator has any problems with write access while trying to create the IFL file, the
process will fail and the IFL file won't be created. Therefore, automatic IFL generation won't work
when reading bitmaps from a CD-ROM. You need to copy them to a directory on your hard disk
first. Likewise, automatic IFL generation won't work on network drives to which you don't have
write access.
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External Path Configuration
Customize menu > Configure Paths > Configure Paths dialog > External Files panel
In the External Files panel of the Configure Paths dialog, you can add or modify path directories for
bitmaps, photometric files and DX9 effects (FX) files. Bitmaps are used for background images and
mapped materials (textures, bump maps, displacement maps, and so on). Photometric files are used
to define various characteristics of Photometric lights. FX files are used by the DirectX 9 Shader
material.
3ds max stores the path of any file you load. When the file is reloaded, the search order is as
follows:
1. The path saved with the file.
2. The directory of the current scene.
3. The paths listed in the External Files panel, starting at the top of the list.
different paths), it is loaded only once. This poses a problem only if your scene includes two
maps that have different content but the same name. In this case, only the first map
encountered will appear in the scene.
Procedures
To modify a file path:
1. On the External Files panel, choose a path entry.
2. Click Modify.
4. Click Use Path.

To add a file's path:
1. On the External Files panel, click Add.
2. On the Choose New Bitmap Path dialog, do one of the following:
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3. If you want to include subdirectories in this path, turn on Add Subpaths.
4. Click Use Path.

To delete a file's path:
2. Click Delete.
The path location is removed.
3. Click Cancel to restore the path.

This closes the Configure Path dialog without saving any path changes.
To move a path up or down in the list:
Click Move Up to move the entry closer to the top of the list.
Click Move Down to move the entry closer to the bottom of the list.
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FX File
Glossary
FX File
An FX file defines a DirectX 9 (DX9) shader. It is a text file created using the Higher-Level Shading
Language (HLSL) standard. The DirectX 9 Shader material can apply DX9 shaders to objects, and
display them with DX9 shading in viewports.
By default, DX9 shaders are saved in the \3dsmax6\maps\fx directory (the name of the 3ds max
root directory might be different on your installation).
Important: For a DX9 shader's parameter to be visible in the DirectX 9 Shader material's
interface, the FX file must contain code to label the parameter, define its type, and
(optionally) limit its range. (A few other UI settings are also provided.)
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Material Editor > Type button > Material/Map Browser > DirectX 9 Shader
Note: Typically, this material is visible in the Browser only if DirectX 9 is available on your system,
and you are using the Direct3D display driver with DirectX 9.0 chosen as the Direct3D version. If
this material is not visible, you can see it (in gray) by turning on Incompatible in the Show group.
The DirectX 9 Shader material enables you to shade objects in viewports using DirectX 9 (DX9)
shaders. With DirectX shading, materials in a viewport more accurately represent how the material
will appear in another application, or on other hardware such as a game engine. You can use this
material only when you are using the Direct3D Display driver and DirectX 9.0 is chosen as the
Direct3D version.
DX9 shaders are FX files. Several sample FX files are provided in the \3dsmax6\maps\fx directory
(the name of the 3ds max root directory might differ on your system).
See also
DirectX Shader group

FX File
Interface
DirectX 9 Shader rollout
Shader buttonClick to display a file dialog that lets you select a DX9 FX effect (FX) file. By
default, the default.fx file is chosen.
ReloadClick to reload the active FX file. To update an FX file, you can edit it and then click Reload.
You don't have to restart 3ds max to see the effect of the changes to the shader.
Shader-specific rollouts
The rollouts that appear below the DirectX 9 Shader rollout and above the Software Rendering
rollout are the interface to the shader you chose. These rollouts are specific to each shader.
Software Rendering rollout
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These options specify a method for software shading and rendering of objects to which the DirectX 9
Shader material is applied. Software shading is optional for viewports, but is always used in
renderings.
Usually you will want to choose a software rendering method that clearly identifies those object in
your scene that have the DirectX 9 Shader material applied.
Note: If DirectX 9 is not available on your system, but you assign the DirectX 9 Shader material
anyway (by using the Material/Map Browser's Incompatible option), this rollout is the only rollout
that appears in the Material Editor.
Shaded(The default.) Shades the material using the specified color. Click the color swatch to
display a Color Selector and change this color.
TransparentMakes the material transparent in software-shaded viewports and renderings.
BitmapShades the material using the bitmap you choose. Click the button to display a file
dialog that lets you choose the bitmap. 3ds max chooses the way the map is applied: there is no
coordinate adjustment for this option.
Force Software Rendering in ViewportWhen on, viewports use the software rendering method
to shade this material. When off, shaded viewports use the material's DX9 shader. Default=off.
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Views menu > Viewport Background > Select Background Image dialog > Choose a directory with
sequentially numbered files. > Sequence > Setup > Image File List Control dialog
The Image File List Control dialog provides controls for creating an Image File List (IFL file), which
lists sequential still image files for rendering into backgrounds or materials. It is particularly useful if
you are choosing a sequence of files that are on a CD-ROM, because you can redirect the IFL file to a
different directory on your hard disk.
This dialog duplicates the functionality found in the IFL Manager utility.
Interface
Target PathSets the directory where the IFL file is saved.

BrowseUse this to navigate to the correct directory.
OptionsSets additional options for creating the IFL file.
Start FrameDetermines which file in the sequence will be the first frame. Use this when you have
a sequence but you dont want to start with the first image in the sequence.
End FrameDetermines which file will be the last frame listed in the IFL list.
Nth FrameSkips frames in the image file list. Use this to match the length of the sequence to the
length of the animation.
MultiplierIncreases the frames in the image file list. Each frame in the file list can be repeated by
this value to stretch out the length of the sequence.
Include Image PathIncludes the path in the image file list.
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IFL Manager Utility
IFL Manager Utility
Utilities panel > Utilities rollout > More button > Utilities dialog > IFL Manager
The IFL Manager utility generates an image file list (IFL) file from an image file you choose from a
numbered file sequence.
Note: You can also generate an IFL file in a file selector dialog by selecting a numbered bitmap,
turning on Sequence, and then clicking Setup to display an Image File List Control dialog.
See also
Procedure
To use the IFL Manager utility:
1. Open the IFL Manager.
2. Click the Select button to display a file selector.
3. Select any of the sequentially numbered image files that you want included in the list, and click
Open.
The prefix name of the file appears in the Working File Prefix group box, and the spinners in
the IFL Manager panel become enabled.
4. Set the Start spinner to specify the first numbered file in the sequence. For example, set this to
5 to begin with file tree0005.jpg.
5. Set the End spinner to specify the last numbered file in the sequence. The Start and End
spinners default to the first and last number in the existing numbered files.
Note: You can invert the Start and End values (setting the greater value in Start and the lesser
in End) to create a reversed list in the .ifl file.
6. Click Create to display a file dialog where you can name and then save your IFL file.
7. Click the Edit button to display a file dialog where you can choose an IFL file, which then
appears in the Windows Notepad.
Interface
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IFL Manager Utility
Working File Prefix group
After you use the Select button to select a sequentially numbered file, the prefix name of the file
appears here. For example, if the files are tree0000.jpg, tree0001.jpg, tree0002.jpg, and so on, the
title in this group box would be tree.
Spinners group
StartDisplays the number of the first image file in the selected sequence. Increase to specify a
different starting image for the IFL file.
EndDisplays the number of the last image file in the selected sequence. Decrease to specify a
lower ending image for the IFL file.
Every nthSet to a number greater than 1 to skip a specified number of images in the list.
MultiplierAdds a multiplier after each file in the IFL list. If you set to 3, each image is used three
times before the next image in the list is used.
Button set
SelectDisplays a file dialog that lets you select a file in a sequential list. The number appended to
the file doesn't matter, as long as the prefix and file name extension are the same. After selecting
the file, the spinners in the IFL Manager are enabled.
CreateDisplays a file dialog where you can name and save your IFL file.
EditDisplays a file dialog where you can select an IFL file. The selected file is then displayed in the
Windows Notepad editor.

IFL Manager Utility
Comments

Multi/Sub-Object Material
Material Editor > Type button > Material/Map Browser > Multi/Sub-Object
Figure mapped using a multi/sub-object material
The Multi/Sub-Object material lets you assign different materials at the sub-object level of your
geometry. You create a multi-material, assign it to an object, and then use the Mesh Select modifier
to select faces and choose which of the sub-materials in the multi-material are assigned to the
selected faces.
If the object is an editable mesh, you can drag and drop materials to different selections of faces,
building a multi/sub-object material on the fly. See Drag and Drop Sub-Object Material Assignment.
You can also create a new Multi/Sub-Object material by dragging to faces selected with the Edit
Mesh modifier.
Sub-material IDs do not depend on the order of the list, and you can enter new ID values.
The Make Unique button in the Material Editor lets you make an instanced sub-material into a unique
copy.
At the multi/sub-object material level, the sample slot's sample object shows a patchwork of the sub-
materials. When you edit a sub-material, the sample slot display depends on the setting of the
Simple Multi Display Below Top Level toggle in the Material Editor Options dialog.
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Improvements to Multi/Sub-Object Materials
There are some improvements to Multi/Sub-Object Materials in 3ds max 6 with regards to mesh
editing and managing sub-materials.
When working at sub-object levels of Editable Meshes, Polys, Patches and Splines, or with objects
that have Edit Mesh, Spline or Patch modifiers applied to them, you now have the ability to
browse by sub-material names if the object has a multi-sub-object material applied to it.
Sub-materials that are not assigned to an object, or surface of an object, can be 'cleaned' from
the Multi-Sub-Object material by using the Clean MultiMaterial utility.
Duplicate maps, assigned to materials, can be changed to instances by using the Instance
Duplicate Maps utility.
Procedures
To create a multi/sub-object material:
1. Activate a sample slot in the Material Editor.
2. Click the Type button.
3. In the Material/Map Browser, choose Multi/Sub-Object and then click OK.

A Replace Map dialog is displayed. This dialog asks whether you want to discard the original
material in the slot, or retain it as a sub-material.
The controls for a Multi/Sub-Object material are essentially a list of the sub-materials it
contains.
To assign a sub-material:
On the Multi/Sub-Object Basic Parameters rollout, click a sub-material button.

The parameters for the sub-material appear. By default, a sub-material is a Standard material
with Blinn shading.
To make one of the sub-materials a solid color:
On the Multi/Sub-Object Basic Parameters rollout, click the color swatch next to the sub-material
button.
In the Color Selector, choose a color.
The color swatches for sub-materials are shortcuts. They assign the color you choose to the sub-
material's Diffuse component.
To assign one of the sub-materials to a sub-object selection:

1. Select the object, and assign a multi/sub-object material to it.
2. In the Modify panel, apply Mesh Select to the object.
3. Click Sub-Object and choose Face as the sub-object category.
4. Select the faces to which you will assign a sub-material.
5. Apply a Material modifier, and set the material ID value to the number of the sub-material you
want to assign.
The viewport updates to show the sub-material assigned to the selected faces.
The material ID values in the multi/sub-object material and the material ID numbers in the
Select Face rollout correspond. If you set the ID to a number that doesn't correspond to a
material contained in the multi/sub-object material, the faces render as black.
Warning: Some geometric primitives do not use 1 as the default material ID, and some,
such as hedra or box, have multiple material IDs by default.
Tip: You can also use the Edit Mesh modifier to assign a contained material to selected faces. Apply
Edit Mesh to the object, go to the Face sub-object level, and select the faces to assign. Then on the
Edit Surface rollout, set the material ID value to the ID of the sub-material. (You can drag and drop
a multi/sub-object material to an Edit Mesh modifier as you can to an editable mesh object.)
To add a new sub-material:
Click Add.
A new sub-material is added to the end of the list. By default, the new sub-material's ID number
is one greater than the highest material ID already in use.
To remove a sub-material:
1. Select the sub-material by clicking its small sample sphere in the Multi/Sub-Object Basic
Parameters rollout.
The small sample sphere is surrounded by a black and white border to show the sub-material is
selected.
If the list of sub-materials is longer than the rollout will hold, you can use the scrollbar at the
right to display other parts of the list.
2. Click Delete.
The sub-material is removed.
Deleting a sub-material is an undoable operation.

Interface
NumberThis field displays the number of sub-materials contained in the multi/sub-object material.
Set NumberSets the number of sub-materials make up the material. At the multi/sub-object
material level, the sample slot's sample object shows a patchwork of the sub-materials. (When you
edit a sub-material, the sample slot display depends on the setting of the Simple Multi Display Below
Top Level toggle in the Material Editor Options Dialog.)
Reducing the number of sub-materials removes sub-materials from the end of the list. You can undo
Set Number when you have used it to delete materials.
AddClick to add a new sub-material to the list. By default, the new sub-material's ID number is
one greater than the highest material ID already in use.
DeleteClick to delete the currently chosen sub-material from the list. You can undo deleting a sub-
material.
Sort list controls
These buttons appear above three of the columns in the sub-materials list.
IDClick to sort the list so it begins with the sub-material that has the lowest material ID, and ends
with the sub-material that has the highest material ID.

NameClick to sort the list by the names you have entered in the Name column.
Sub-MaterialClick to sort the list by the sub-material names that appear on the Sub-Material
buttons.
List of sub-materials
Each sub-material has a single entry in this list. The rollout displays up to 10 sub-materials at a
time. If the multi/sub-object material contains more than 10 sub-materials, you can scroll the list
using the scrollbar at the right.
Each sub-material in the list has the following controls:
Small sample sphereThe small sample sphere is a "mini-preview" of the sub-material. Click it to
select this sub-material. You must select a sub-material before you delete it.
IDShows the ID number assigned to this sub-material. You can edit this field to change the ID
number. If you assign two sub-materials the same ID, a warning message appears at the top of the
rollout.
When the multi/sub-object material is applied to an object, faces in the object assigned the same
material ID number render with this sub-material.
You can click Sort by ID to sort the sub-material list by this value, from lowest to highest.
Note: Sometimes the Sub-Material button shows a material number. This is not the sub-material ID.
NameLets you enter a custom name for the material. A sub-material name appears in the Name
field when you're at the level of the sub-material. It also appears in the Browser and the Navigator.
Sub-Material buttonClick the sub-material button to create or edit one of the sub-materials.
Each of the sub-materials is a complete material in its own right, with as many maps and levels as
you want.
By default, each sub-material is a Standard material with Blinn shading.
Color swatchClick the color swatch to the right of the Sub-Material button to display the Color
Selector and choose a diffuse color for the sub-material.
On/Off toggleTurns the sub-material on or off. When a sub-material is off, it appears black in the
sample slot and on objects in the scene. Default=on.
Comments

XForm Modifier
XForm Modifier
Modify panel > Make a selection. > Modifier List > Object-Space Modifiers > XForm
Make a selection. > Modifiers menu > Parametric Deformers > XForm
Use the XForm (short for Transform) modifier to apply transformations (Move, Rotate, Scale) to
objects. The XForm has two main functions:
To animate transformations of a sub-object selection. You can also animate the position of the
modifier's center.
To transform an object at any point in the stack.

Note: The Linked Xform modifier is a variant of XForm. Linked XForm has no gizmo or center of its
own. Instead, a given selection is "linked" to another object, which supplies its gizmo and center.
Using Linked XForm, you can link a sub-object selection directly to the coordinate system of
another object.
Using XForm
XForm provides a gizmo and center for any geometry it receives from the stack whether it's a sub-
object selection or the whole object. XForm has no parameters. When you move the XForm modifier
gizmo, the center moves with it, along with the geometry.
You can reposition the XForm center separately from the gizmo.
Offsetting XForm Center
At the XForm Center sub-object selection level, only the Move transform is available. This lets you
reposition the center. When you return to the Gizmo level, you can rotate or scale the selection
around the offset center. The center position and gizmo transformations are all animatable.
Scaling with XForm
When you scale an object with a toolbar Scale tool, the software applies the effect to the object after
all the modifiers in the stack. In some cases you might want to squash or stretch an object before
applying geometric or edit modifiers. XForm makes this possible.
By applying XForm and scaling its gizmo, you can place the scaling operation anywhere in the stack.
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XForm Modifier
Using XForm with Volume Select
You can combine the XForm and Volume Select modifiers to animate sub-object selections. This
combination makes it possible to animate both the effect of a modifier on the selection (Volume
Select) and a transformation of that selection (XForm).
Procedures
To use the XForm modifier:
1. Choose a location in an object's stack and apply the XForm modifier.

The Gizmo sub-object level is automatically activated. All transform buttons are available on
the toolbar.
2. Move to a nonzero frame and turn on Auto Key to animate the next step.
3. Transform the gizmo.

As you transform the gizmo, the selected geometry is transformed with it.
To use XForm as a scaling modifier:
1. Apply XForm to an object or a sub-object selection.
2. Scale the gizmo.

The rescaled geometry becomes "part of the stack" because the scale transform is carried with
XForm, instead of being applied after the modifiers.
Interface
This modifier has no parameters, but you can transform the XForm gizmo and the XForm center. If
you switch the selection level to the XForm center, only the Move transform is available. This lets
you offset the center and transform the gizmo around it. Both offset and gizmo transformations are
animatable.
Comments

XForm Modifier

Modify panel > Select objects or sub-objects. > Modifier List > Object-Space Modifiers > Linked
XForm
Select an object or sub-objects. > Modifiers menu > Animation Modifiers > Linked XForm
The Linked XForm modifier links the transforms for any object or sub-object selection to another
object, called the control object. The control object's motion, rotation, and/or scale transforms are
passed onto the object or sub-object selection.
Using Linked XForm
Linked XForm connects any geometry it receives from the stack to another object, which is called
the control object. Its single control simply picks the control object. To use this modifier, you must
have at least two objects in your scene.
See also
XForm Modifier
Procedure
To apply a Linked XForm modifier:
1. Choose a location in an object's stack and apply a Linked XForm from the Modifier List.
2. On the Parameter's rollout, click Pick Control Object. When animating, do this at frame 0.
3. Select the object you want to be the control object.

This completes the link. The name of the control object appears on the Parameters rollout.
To apply a Linked XForm modifier at a Sub-Object level:
1. Choose an Editable Mesh or an object to which a Mesh Select modifier has been applied.
2. Turn on the Vertex sub-object level and select some vertices on the object.
3. Apply a Linked XForm modifier.
4. On the Parameter's rollout, click Pick Control Object. When animating, do this at frame 0.
5. Select another object that you want to control the sub-object selection.
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This completes the link. The name of the control object appears on the Parameters rollout.
6. Move the control object and see how the vertices are affected.
Interface
Control ObjectObject that the vertices are linked to. When transformed, the vertices follow.
Pick Control ObjectClick this button, and then select the object that you want to be the control
object.
Back TransformAllows an object with a Linked XForm modifier to be linked to a Control Object.
Normally, moving the Control Object causes the linked object to move twice as much as it should,
once with the Control Object and once with the link. When the switch is turned on, any transforms to
the Control Object are only applied to the linked object once. This switch is similar to the 'Back
Transform Vertices' switch of the Skin modifier.
Comments
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Weight Table (Skin Modifier)

The weight table for the Skin modifier is used to change vertex weights for several vertices and
bones at a time. This table appears when you click the Weight Table button.
Interface
Vertex numbers appear down the left column, while bone names appear across the top. Vertex
weights for each bone are displayed in the chart. You can change vertex weights in a number of
ways:
Click and drag a vertex weight to the left or right.
Highlight a weight and type in a new weight.
Select vertices by dragging over vertex IDs, then click and drag one weight to change all selected
weights for the bone.
Right-click to enter a value of 0.
CTRL+right-click to enter a value of 1.0.
Menu options:
Edit menuCopy/paste vertex weights, and choose vertices to edit.
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Copy: Copies weights for highlighted vertices.
Paste: Pastes the copied weights.
Select All / None / Invert: Changes the selection of vertices.
Vertex Sets menuSelect vertices in the left column by holding down CTRL while clicking vertices.
Create a named selection set, which can then be picked from the drop-down menu at the lower left
of the dialog.
Options menuCustomizes the weight table display.
Flip UI: Flips the UI to show vertex IDs across the top and bone names down the left side.
Update On Mouse Up: When the mouse button is pressed down, no updates will take place.
When the mouse button is released, updates will occur. This option helps keep workflow moving
quickly by avoiding unnecessary updates.
Show Affected Bones: Displays only bones that affect the displayed vertices.
Show Attributes: Toggles the display of the S/M/N/R/H attributes.
Show Exclusions: Toggles the display of small check box areas in each vertex weight field.
Checking the check box excludes the vertex from the bone.
Show Global: Shows values for all displayed vertices.
Show Set Sets UI: Displays info about vertex sets.
Dialog options
Vertex IDVertices are displayed by number down the left column of the weight table. Double-click
a vertex number to cause the vertex to display in pink in viewports. To display only selected
vertices, choose Selected Vertices from the drop-down menu at the bottom left of the dialog.
SIndicates vertex is selected.
MIndicates vertex weight has been modified.
NIndicates vertex weights are normalized (total of all vertex weights is always 1.0).
RIndicates vertex is rigid (affected only by one bone, the one with the most influence).
HIndicates patch handles are rigid (affected only by one bone, the one with the most influence).
Vertex selection drop-downChoose to display all vertices, selected vertices or only vertices
affected by the selected bone.
CopyCopies weights for highlighted vertices.
PastePastes copied weights.

Comments

Painter Options Dialog
Modify panel > Skin modifier > Parameters rollout > Weight Properties group > Painter Options
button
Modify panel > VertexPaint modifier > Floating Vertex Paintbox > Brush Options button.
The Painter Options dialog for the Skin modifier appears when you click the Painter Options
button.
This same dialog is used by the VertexPaint modifier to control brush envelope, use pressure
sensitivity, or enter mirror painting mode. The dialog is accessed through the Brush Options button
on the floating Vertex Paintbox.
Interface
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Brush Properties group
Min. StrengthSets the minimum vertex weight to paint.

Max. StrengthSets the maximum vertex weight to paint.
Min. SizeSets the minimum size for the paint gizmo.
Max. SizeSets the maximum size for the paint gizmo.
Brush strength falloff curveThis graph determines how the brush weight falls off as the distance
increases from the center of the brush. The controls on this graph are similar to those on a loft
deformation dialog.
AdditiveWhen on, brush strokes add to existing vertex weights.
Quick Brush Falloff TypesAllow you to quickly set the brush falloff to linear, smooth, slow, fast,
or flat
The options in this group determine the appearance of the paint gizmo.
Draw RingA ring appears as part of the paint gizmo.
Draw NormalA normal arrow appears as part of the paint gizmo.
Draw TraceDraws a trace (temporary mark) that shows the path of the brush stroke on the
surface.
Normal ScaleSets the scale of the normal arrow in the paint gizmo.
MarkerDisplays a circular marker at the end of the normal arrow. The value next to Marker sets
the size of the marker.
Pressure Options group
Enable Pressure SensitivityTurns on pressure sensitivity for the paint gizmo brush.
Pressure AffectsSelects the brush parameter to be affected by pressure sensitivity. Choose from
four options: None, Strength, Size, or both size and strength (Size/Str).
Predefined Str PressureTurn this option on to use a predefined strength pressure. Click the
button to view and edit the falloff curve for the strength.
Predefined Size PressureTurn this option on to use a predefined size pressure. Click the button
to view and edit the falloff curve for the size.
Mirror group
MirrorTurn this option on to mirror the paint gizmo on the other side of the object. Choose an axis
from the drop-down menu. The paint gizmo is mirrored about the selected axis in the world
coordinate system.
OffsetOffsets the mirror plane by the value you specify.

Gizmo SizeChanges the mirror gizmo size to a value you specify.
Misc group
Tree DepthDetermines the size of the quad tree used for hit testing. Tree Depth relates to the
amount of memory set aside for weight painting. Larger values mean faster interaction but more
memory use.
Update On Mouse UpPrevents the system from updating viewports when the mouse button is
pressed. This can save time in your workflow.
Lag RateDetermines how often the stroke updates the painted surface. Higher values update the
surface less often.
Comments

Deformation Dialog
Deformation Dialog
Select a Loft object. > Modify panel > Deformations rollout > Scale, Twist, Teeter, Bevel, or Fit
The Deformation dialogs for Scale, Twist, Teeter, Bevel, and Fit use the same basic layout. The buttons
in the window's toolbar and prompt area perform the following functions:
Change deformation curve display.
Edit control points (these can be animated).
Navigate the Deformation dialog.
Editing Deformation Curves
A deformation curve starts as a straight line using a constant value. To produce more elaborate curves,
you insert control points and change their properties.
Use the buttons in the center of the Deformation dialog toolbar to insert and change deformation curve
control points (see Interface, later in this topic).
Control Point Types
Control points on a deformation curve can produce curves or sharp corners, depending on the control
point type. To change a control point type, right-click the control point and choose one of these from the
shortcut menu:
CornerNon-adjustable linear control point producing a sharp corner.
Bezier CornerAdjustable Bezier control point with discontinuous tangent handles set to produce a
sharp corner. This type produces a curve that looks like the corner type but has control handles like
the Bezier Smooth type.
Bezier SmoothAdjustable Bezier control point with locked continuous tangent handles set to
produce a smooth curve.
Selecting Control Points
Use the Move Control Point and Scale Control Point buttons with standard selection techniques to select
control points.
Procedures
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Deformation Dialog
To drag Bezier tangent handles:
1. Select one or more Bezier Smooth or Bezier Corner control points to display their tangent handles.
2. Click one of the Move Control Point buttons.
3. Drag any tangent handle.
Only the tangent handle you drag is affected. Tangent handles on other selected control points
do not change.
If the tangent handle you drag is part of a Bezier Smooth control point, both handles move to
maintain the Bezier Smooth type.
If the tangent handle you drag is part of a Bezier Corner control point, only that handle moves.
To move a control point using the Position and Amount fields:
1. Select a single control point.
Move the control point horizontally by entering a value in the Position field.
Move the control point vertically by entering a value in the Amount field.
To change the control point type:

You can change control point types at any time by right-clicking a selection of one or more control
points.
1. Select one or more control points.
2. Right-click any selected control point.
3. Choose a control point type from the shortcut menu.

The following conditions apply to changing control point types:
The first and last control points must use the Corner or Bezier Corner type.
Converting a Bezier Smooth point to a Bezier Corner point unlocks the tangent handles but does
not change their position. The curve appears smooth until you drag one of the tangent handles.
Converting a Bezier Corner point or inserted Bezier point to Bezier Smooth locks the tangent
handles and changes their position and magnitude. The handles are rotated to the average
between their two angles. The handle magnitudes are averaged and set equal.
Interface

Deformation Dialog
Toolbar
Buttons for working with a second curve are disabled for the Twist and Bevel deformations, which use
only one curve. The disabled buttons are Make Symmetrical, Display X Axis, Display Y Axis, Display XY
Axes, and Swap Deform Curves.
Make SymmetricalYou can apply the same deformation to both axes of a shape using Make
Symmetrical, which is both an action button and a curve editing mode. Turning on Make Symmetrical
has the following effect:
When a single curve is displayed, it copies the displayed deformation curve to the curve for the
hidden axis.
When both axes are displayed, the Apply Symmetry dialog is also displayed. Click the button for the
curve you want to apply to both axes.
Changes you make to the selected curve are duplicated on the other curve.
When Make Symmetrical is not active, curve editing is applied only to the selected curve.
Display X Axis/Y Axis/XY AxesYou can display one or both deformation curves using the curve
display buttons near the upper-left corner of the Deformation dialog.
Turn on the following buttons to display deformation curves:
Display X AxisDisplays only the X axis deformation curve in red.
Display Y AxisDisplays only the Y axis deformation curve in green.
Display XY AxesDisplays X axis and Y axis deformation curves together, each using its own color.
Swap Deform CurvesCopies curves between the X axis and Y axis. This button has no effect when

Deformation Dialog
Make Symmetrical is on.

Click Swap Deform Curves to copy the X axis curve to the Y axis, and the Y axis curve to the X axis. It
doesn't matter which curve is currently displayed or selected.
Move Control PointsThis flyout contains three buttons for moving control points and Bezier handles:
Move Control PointChanges the amount of deformation (vertical movement) and the location of
the deformation (horizontal movement).
Move VerticalChanges the amount of deformation without changing the location.
Move HorizontalChanges the location of the deformation without changing the amount.
If one control point is selected, you can move it by entering values in the control point Position and
Amount fields at the bottom of the Deformation dialog.
You cannot move end points horizontally. Intermediate control points are constrained horizontally to
stay between the points on either side. The amount of horizontal constraint is determined by the control
point type.
You can move corner control points very close together, until one is directly above the other.
You can move Bezier control points no closer than the length of their tangent handles.
Moving Bezier Tangent HandlesYou can use the Move Control Point buttons to drag a tangent
handle's angle and magnitude on Bezier Smooth and Bezier Corner vertices.
Dragging a tangent handle has the following constraints:
You cannot move tangent angles beyond vertical. This prevents deformation curves from doubling
back on themselves.
You cannot move tangent magnitudes beyond the preceding or next control point on the path.
Pressing SHIFT while moving a Bezier Smooth tangent handle converts the control point to a Bezier
Corner type.
Scale Control PointScales the value of one or more selected control points with respect to 0. Use
this function when you want to change only the deformation amounts of selected control points while
maintaining their relative ratio of values.
Drag downward to reduce values.
Drag upward to increase values.
Insert Control PointThis flyout contains buttons for inserting two control point types.
Insert Corner PointClick anywhere on a deformation curve to insert a corner control point at that
location.
Insert Bezier PointClick anywhere on a deformation curve to insert a modified Bezier control point
at that location. The tangent handles of the Bezier control point are set to maintain the shape of the
curve before the point was inserted.

Deformation Dialog
If you are not sure which type of control point you need, or if you change your mind, you can convert
the point to another type by right-clicking the point and selecting the type from the shortcut menu.
Both Insert Control Point buttons put you in insertion mode. Right-click or choose another button to exit
the mode.
Delete Control PointDeletes selected control points. You can also delete selected points by pressing
the DELETE key.
Reset CurveDeletes all but the end control points and sets the curves back to their default values.
Bevel TypeThis flyout, available only in the Bevel Deformation dialog, lets you choose Normal,
Adaptive Linear or Adaptive Cubic as the bevel type. For more information, see Deform Bevel.
Deformation grid
The area in the Deformation dialog that displays the deformation curves is called the deformation grid.
This grid charts the value of the deformation along the length of the path.
These are the main grid components:
Active areaThe light-colored area of the grid defines the first and last vertex boundaries of the path.
The ends of the deformation curve lie on each boundary and cannot be moved off the boundary.
Horizontal linesMark deformation values on the vertical scale. The following table lists each
deformation curve type and the meaning of the deformation values.
Deformation Type Deformation Value
Scale Percentage
Twist Rotation Angle
Teeter Rotation Angle
Bevel Current Units
The thick horizontal line at 0 represents the deformation value at the loft path.
Vertical linesMark levels of the path. The levels displayed vary with the Adaptive Path Steps setting
on the Skin Parameters rollout.
If Adaptive Path Steps is on, levels are displayed at all path vertices and shape locations.
If Adaptive Path Steps is off, levels are displayed only at path vertices.
Path rulerMeasures the length of the path. The values on the ruler measure percentage along the
path. You can drag the path ruler vertically in the Deformation dialog.
Deformation curvesYou can see one or two curves in the Deformation dialog, based on the
deformation type and the curve display setting. The curves are color-coded by axis.
A red curve displays deformation along the shape's local X axis. A green curve displays deformation
along the shape's local Y axis.
Control Point fieldsAt the bottom of the Deformation dialog are two edit fields. When a single
control point is selected these fields display the path location and deformation amount of the control

Deformation Dialog
point.
Control Point PositionThe left field displays the location of the control point on the loft path as a
percentage of the total path length.
Control Point AmountThe right field displays the deformation value of the control point.
Deformation Dialog status bar
The Deformation dialogs have their own view navigation buttons in the lower-right corner. These give
you controls for zooming and panning the view of the deformation grid as you edit the curve values. The
status bar also displays information about the current tool and the selected control point.
Numeric fieldsThese two fields are accessible only if a single control point is selected. The first gives
the point's horizontal position, and the second gives its vertical position, or value. You can edit these
fields with the keyboard.
Lock AspectThis button is present only in the Fit Deformation dialog. When active, it restricts
zooming to vertical and horizontal at the same time.
Zoom ExtentsChanges the view magnification so the entire deformation curve is visible.
Zoom Horizontal ExtentsChanges the view magnification along the path length so the entire path
area is visible in the dialog.
Zoom Vertical ExtentsChanges the view magnification along the deformation values so the entire
deformation curve is displayed in the dialog.
Zoom HorizontallyChanges magnification along the path length.
Drag to the right to increase magnification.
Drag to the left to decrease magnification.
Zoom VerticallyChanges magnification along the deformation value.
Drag upward to increase magnification.
Drag downward to decrease magnification.
ZoomChanges magnification along both the path length and the deformation value, preserving the
curve aspect ratio.
Drag upward to increase magnification.
Drag downward to decrease magnification.
Zoom RegionDrag a region on the deformation grid. The region is then magnified to fill the
deformation dialog.
PanDrag in the view to move in any direction.
Scroll barsDrag the horizontal and vertical scroll bars to pan the view in a single direction.

Deformation Dialog
Comments

Deform Bevel
Deform Bevel
Select a Loft object. > Modify panel > Deformations rollout > Bevel
Roadway with beveled edges
Nearly every object that you encounter in the real world is beveled. Because it is difficult and
expensive to manufacture a perfectly sharp edge, most objects are created with chamfered, filleted,
or eased edges. Use Bevel deformation to simulate these effects.
Note: Bevel is not available when loft output is set to Patch.
These are the properties of Bevel deformation curves:
The single red curve is for bevel amount.
Bevel values are specified in current units.
The default curve value is 0 units.
Positive values reduce the shape, bringing it closer to the path.
Negative values add to the shape, moving it away from the path.
When shapes are nested, the bevel direction is reversed for interior shapes.
See Deformation Dialog for specific information on the dialog controls.
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Deform Bevel
Normal and Adaptive Beveling
The Bevel Deformation dialog provides three types of beveling: Normal, Adaptive Linear, and
Adaptive Cubic. These are available from a flyout at the right end of the dialog toolbar.
With normal beveling, the beveled shape remains parallel to the original, regardless of the crotch
angle of the shape. Steep crotch angles combined with excessive bevel amounts result in
overshooting at the crotch.
Adaptive beveling alters the length of the bevel shape based on the crotch angle. Adaptive Linear
alters the length-to-angle in a linear fashion. Adaptive Cubic alters it more on steep angles than on
shallow angles, producing a subtly different effect. Both forms of adaptive beveling result in
nonparallel beveled edges, and both are less likely to produce invalid bevels due to overshoots at the
crotch.
To see the differences in the three types of beveling, loft a star shape along a straight path and
apply a bevel. When you switch among the three types of beveling, you'll see the difference in the
bevel outline. Alter one radius of the star to examine the beveling with shallow and with sharp crotch
angles.
Procedure
To use Bevel deformation:
1. Select a loft object.
2. Click Loft in the modifier stack display.
3. Click Bevel on the Deformations rollout.
4. Adjust the deformation curve.
Comments
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Skin Parameters Rollout
Select a path or shape. > Create panel > Geometry > Compound Objects > Object Type rollout >
Loft > Skin Parameters rollout
Select a path or shape. > Create menu > Compounds > Loft > Skin Parameters rollout
On the Skin Parameters rollout, you adjust the complexity of the mesh of the loft object. You can
also optimize the mesh by controlling the face count.
Procedure
Example: To use constant cross-section:
1. Enlarge the Front viewport to full screen, and then use the Rectangle tool with CTRL held down
to create a square about 20 x 20 units.
2. Create another rectangle beside it about 200 x 100 units.
3. Apply a Skew modifier to the large rectangle, but don't alter the Skew parameters.
4. Create a loft object in which the larger rectangle is the path and the square is the shape.
5. On the Modify panel, open the Skin Parameters rollout, and turn on Skin in the Display group.
You can now see the wireframe structure of the lofted rectangle, with cross-sectional sides
parallel to its corners.
Make sure the color assigned the loft object is easily visible. Change it if necessary.
6. Turn off Constant Cross-Section, and observe the corners.

When Constant Cross-Section is off, the corners become pinched.
7. Turn on Constant Cross-Section to restore the corners.

Acute angles can cause problems when the cross sections formed by the path steps intersect at
the corners. You can mitigate this by avoiding acute angles or by reducing the path steps.
8. Press H on the keyboard to display the Select by Name dialog, and choose Rectangle02 (the
second larger rectangle).
9. On the Skew panel, change the Skew Axis to Y, and then set the Amount spinner to 95.
10. Use Region Zoom to zoom in on the upper-left corner of the rectangle so you can see the mesh
in detail.
At a skew of less than 100, the acute angle still works because the path cross-sections haven't
intersected.
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11. Set the Skew Amount to 300, and examine the same corner.
At this angle, the path cross sections intersect, causing problems in the mesh.
12. Select the loft object, and set the Path Steps to 1.
The cross sections no longer intersect, and the corner is clean.
When creating straight-edge molding for architectural modeling, you can avoid mangled
corners by simply reducing the path steps to 0.
Interface
Capping group
Cap StartWhen on, the end of a loft at the first vertex of the path is covered, or capped. When
off, the end is open, or uncapped. Default=on.
Cap EndWhen on, the end of a loft at the last vertex of the path is covered, or capped. When off,
the end is open, or uncapped. Default=on.
MorphArranges cap faces in a predictable, repeatable pattern necessary for creating morph
targets. Morph capping can generate long, thin faces that do not render or deform as well as those
created with grid capping.
GridArranges cap faces in a rectangular grid trimmed at the shape boundaries. This method

produces a surface of evenly sized faces that can be deformed easily by other modifiers.
Roadway lofted with capping turned off
Roadway lofted with capping turned on
Options group
Shape StepsSets the number of steps between each vertex of the cross-section shapes. This

value affects the number of sides around the perimeter of the loft.
Left: Shape Steps=0.

Right: Shape Steps=4.
Path StepsSets the number of steps between each main division of the path. This value affects
the number of segments along the length of the loft.
Frame lofted with Path Steps=1

Frame lofted with Path Steps=5
Optimize ShapesWhen on, the Shape Steps setting is ignored for straight segments of cross-
section shapes. If multiple shapes are on the path, only straight segments that have a match on all
shapes are optimized. Default=off.
Left: Optimize Shapes turned on

Right: Optimize Shapes turned off

Optimize PathWhen on, the Path Steps setting is ignored for straight segments of the path.
Curved sections respect the Path steps setting. Available only with Path Steps mode. Default=off.
When Optimize Path is off, the lofted roadway uses more steps.
When Optimize Path is on, straight sections of the lofted roadway don't require additional steps.
Adaptive Path StepsWhen on, analyzes the loft and adapts the number of path divisions to

generate the best skin. Main divisions along the path occur at path vertices, shape locations, and
deformation curve vertices. When off, main divisions along the path occur only at path vertices.
Default=on.
ContourWhen on, each shape follows the curvature of the path. The positive Z axis of each shape
is aligned with the tangent to the path at the shape's level. When off, shapes remain parallel and
have the same orientation as a shape placed at level 0. Default=on.
Lofting the roadway with Contour off causes it to twist.

Roadway lofted with Contour turned on
BankingWhen on, shapes rotate about the path whenever the path bends and changes height in
the path's local Z axis. The bank amount is controlled by the software. Banking is ignored if the path
is 2D. When off, shapes do not rotate about their Z axis as they traverse a 3D path. Default=on.
Roadway lofted with Banking turned on
Constant Cross SectionWhen on, the cross sections are scaled at angles in the path to maintain

uniform path width. When off, the cross sections maintain their original local dimensions, causing
pinching at path angles.
Frame lofted with Constant Cross Section turned off
Frame lofted with Constant Cross Section turned on
Linear InterpolationWhen on, generates a loft skin with straight edges between each shape.

When off, generates a loft skin with smooth curves between each shape. Default=off.
Left: Object lofted with Linear Interpolation turned off

Right: Object lofted with Linear Interpolation turned on
Flip NormalsWhen on, reverses the normals 180 degrees. Use this option to correct objects that
are inside-out. Default=off.
Quad sidesWhen on, and when two sections of a loft object have the same number of sides, the
faces that stitch the sections together are displayed as quads. Sides between sections with different
numbers of sides are not affected, and are still connected with triangles. Default=off.
Transform DegradeCauses the loft skin to disappear during sub-object shape/path
transformations. For example, moving a vertex on the path causes the loft to disappear. When off,
you can see the skin during these Sub-Object transformations. Default=on.
Display group
SkinWhen on, displays a loft's skin in all views using any shading level and ignores the Skin In
Shaded setting. When off, displays only the loft sub-objects. Default=on.
Skin in ShadedWhen on, displays a loft's skin in shaded views regardless of the Skin setting.
When off, skin display is controlled by the Skin setting. Default=on.
The loft object now retains the Skin and Skin In Shaded settings from one loft object to the next one
created.

Comments

Rectangle Spline
Rectangle Spline
Create panel > Shapes > Splines > Object Type rollout > Rectangle
Create menu > Shapes > Rectangle
Use Rectangle to create square and rectangular splines.
Examples of rectangles
Procedure
To create a rectangle:
2. Click Rectangle.
4. Drag in a viewport to create a rectangle.

Optionally, press CTRL while dragging to constrain the spline to a square.
Interface
The Rectangle shape uses the standard creation methods of Center or Edge. Most spline-based
shapes share the same Creation Method parameters. See Splines for an explanation of these
parameters.
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Rectangle Spline
Parameters rollout
Once you have created a rectangle, you can make changes using the following parameters:
LengthSpecifies the size of the rectangle along the local Y axis.
WidthSpecifies the size of the rectangle along the local X axis.
Corner RadiusCreates rounded corners. When set to 0, the rectangle contains 90-degree corners.
Comments
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Load Envelopes Dialog (Skin Modifier)
Select a mesh, patch, or NURBS object. > Modify panel > Modifier List > Skin > Advance Params
rollout > Load Envelopes button
Select a mesh, patch, or NURBS object. > Modifiers menu > Animation Modifiers > Skin > Advance
Params rollout > Load Envelopes button
The Load Envelopes dialog in the Skin modifier allows you to load envelopes to specific bones. This
dialog contains the current envelopes in your scene and the incoming envelopes. You can then
manipulate the incoming envelopes so they align with the Current Envelopes.
Move Up\DownMove the current selection in the incoming list up or down.

Create BlankCreates space in the Incoming list.
DeleteRemoves the current selected incoming envelopes.
Match by NameResorts the Incoming list and matches any bones that have the same name in the
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list of current envelopes.

Remove Incoming PrefixRemoves any prefixes on the names of the incoming envelopes.
Remove Current PrefixRemoves any prefixes on the names of the current envelopes.
Load End PointsLoads the envelope end point positions.
Load Cross SectionsLoads the envelope cross sections.
Comments
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Volume Select Modifier
Modify panel > Make a selection. > Modifier List > Vol. Select
Make a selection. > Modifiers menu > Selection Modifiers > Volume Select
Faces and vertices selected using box volumes.
The Volume Select modifier lets you make a sub-object selection of vertices or faces for passing up
the stack to another modifier or modifiers. The sub-object selection is completely separate from the
underlying parametric geometry of the object. Like other selection methods, Volume Select works
with single or multiple objects.
Volume Select lets you use one of three gizmos or another object to define a volume of space as the
selection area, to which you can then apply modifiers. You can move the selection over an object
and animate it.
When applied, Volume Select begins with the current geometry in the object's stack, whether it's a
whole object or a sub-object selection (for example, from an Edit Mesh or another Volume Select
modifier).
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Top: Original mesh with select gizmo showing

Bottom: Modification made after applying Volume Select modifier
Patches
As of version 4, patch objects coming up the modifier stack are not converted to a mesh by this
modifier. A patch object input to the Volume Select modifier retains its patch definition. Files that
contain patch objects with the Volume Select modifier from previous versions of the software will be
converted to meshes to maintain backward compatibility.
Scaling Compatibility
The Volume Select gizmo scales along with its object. Thus, if you apply a Volume Select modifier,
and then change the scale of your object (with the toolbar Scale function) the selection doesn't
change. In other words, all three transforms affect the Volume Select gizmo and its object
identically.
Volume Select Center
The Volume Select modifier has a center as well as a gizmo. This lets you alter the center for non-
animated transforms. However, if you animate a rotation about the offset center, you achieve
animation of both rotation and translation.

Procedures
To apply and use volume selection:
1. Select an object and apply the Vol. Select modifier.

The Parameters rollout appears.
2. In the Stack Selection Level group, choose Object, Vertex, or Face to specify the kind of
geometry you want to work with.
3. In the Select By group, choose one of the four volume types: Box, Sphere, Cylinder, or Mesh
Object.
If you choose Mesh Object, you should then click the None button and select an object to use
as the selection volume.
4. Choose a selection method and type (defined in the following Interface section). You can
change these choices as you work, depending on the particular selection you're trying to make.
5. Once the selection is complete, you can do the following:
Apply modifiers to the selection.
Transform the Volume Select gizmo at the sub-object level, changing the selection in the
process.
Combine these options. See the following example.
Example: To animate a volume selection:
1. Apply Volume Select to an object.
2. Make a sub-object selection of the object's geometry at Face or Vertex level, and apply a
geometric modifier, such as Bend, to the selection.
3. Move to a nonzero frame and begin animation. Adjust parameters on the geometric modifier,
then move to another frame.
4. In the stack, return to the Volume Select modifier. Choose the Volume Select gizmo sub-object.
Move the gizmo and its geometry selection to another part of the object.
5. Repeat this process on other frames. Optionally, you can return to the geometric modifier and
change its parameters at any frame.
During playback, you see the effect of an animated geometric modifier moving over the object.
Interface

Modifier Stack
Gizmo sub-objectYou can transform and animate the gizmo to change the selection. Translating
the gizmo translates its center an equal distance. Rotating and scaling the gizmo takes place with
respect to its center.
Center sub-objectYou can translate and animate the center, which affects rotation or scaling of
the Volume Select modifier's gizmo.
For more information on the Stack Display, see Modifier Stack.
Parameters rollout

Stack Selection Level group
Object/Vertex/FaceVolume Select provides three selection levels. Vertex and Face levels put the
modifier stack in sub-object selection. You can make one sub-object selection for each Volume
Select modifier. You can then toggle the one selection between Face and Vertex level to send either
up the stack. Object (top) level lets you modify the whole object while retaining any sub-object
selection.
Selection Method group
ReplaceClears any selection passed up the stack to the Volume Select modifier, and then selects
geometry within the volume.
AddSelects all geometry within the volume, adding to any previous selection.
SubtractDeselects all geometry within the volume.
InvertReverses the entire selection set. Geometry that was unselected becomes selected, and
vice versa.
Selection Type group
Lets you determine whether selected faces are wholly or partially within the defined volume when
you set Stack Selection Level to Face.
WindowSelects only faces with all three vertices within the selection volume.
CrossingSelects faces with only one vertex within the selection volume.
Select By group
These controls let you define the selection with a primitive, a mesh object, or by surface
characteristics.
Volume: Box/Sphere/CylinderTo define the selection space using a standard primitive-shaped
gizmo, choose one of these. You can then scale, rotate, or move the gizmo anywhere around the
object.
Volume: Mesh ObjectChoose this option to use another object to define the selection space.
After choosing Mesh Object, click the button below it (labeled "None" by default), and then select an
object to use as the volume.

Besides mesh objects, you can use patch objects and NURBS objects. In addition, if you turn on Soft
Selection rollout > Use Soft Selection, you can use spline objects and particle systems to define the
selection. This latter option is quite powerful because the selection changes as the particles move.
Mesh object buttonClick this button, then select an object to define the selection space. You
don't need to choose Mesh Object first, but you do need to choose Mesh Object to use the object as
a volume. After you select an object, its name appears on the button.
This button is labeled "None" if no object has been chosen.
Note: The selection depends on a volume intersecting the object. If a gizmo or object is scaled down
and moved inside an object, no selection occurs because no geometry is within the volume of the
gizmo.
Surface FeaturesDefines the selection by surface characteristics instead of a geometric volume.
While this doesn't have much to do with volume, it was added because Volume Select is a procedural
modifier, whereas Mesh Select is explicit. Now, even if your topology changes, Volume Select will
consistently select the faces or vertices using a particular material or smoothing group.
Indicate which type of surface characteristic to base selection on by choosing one of the following:
Material IDSpecifies a material ID. All faces or vertices using the ID indicated by the spinner
value are selected.
Sm GroupSpecifies a smoothing group. All faces or vertices using the ID indicated by the spinner
value are selected.
Texture MapSpecifies a texture map from the scene. Click the map button (labeled "None" by
default) to choose a texture map to use for selection. All faces or vertices using that texture map will
be selected. When using the Texture Map option, you can also specify a mapping channel or the
vertex color channel using the Map/Vertex Color radio buttons and spinner.
Note: You must apply mapping to the object below Vol. Select in its stack for the Texture Map
selection to work. That is, the Vol. Select modifier must have mapping coordinates passed up the
stack so it can use a texture map for selection.
Note: If you set Selection Type to Window, vertices will be selected if all the faces they touch use
the specified material or smoothing group. If you set Selection Type to Crossing, vertices will be
selected if they touch any face using the specified material or smoothing group.
Alignment group
These controls are generally used when the gizmo has been transformed out of its original
orientation to the object.
FitResizes the gizmo to fit around the object or previous selection in the stack. Maintains any
previous rotation.
CenterRecenters the gizmo on the object or previous selection in the stack. Maintains any
previous scale or rotation.
ResetReturns the gizmo to its default size and orientation. Cancels the effect of all previous
transforms.

Auto FitWhen on, automatically adjusts the gizmo size and shape to fit the object as you change
the underlying topology (for example, transforming vertices).
These controls, available only at the Vertex stack selection level, let you set a gradual falloff of
influence between selected and unselected vertices. See Soft Selection Rollout (Edit/Editable Mesh).
Note: Soft Selection does not apply to materials or smoothing groups. However, if there was already
a weighted selection passed up the stack, a Volume Select set to Material or Smoothing Group mode
and not set to Replace will preserve the selection.
Comments

Bend Modifier
Bend Modifier
Modify panel > Make a selection. > Modifier List > Object-Space Modifiers > Bend
Make a selection. > Modifiers menu > Parametric Deformers > Bend
Bend applied to a streetlight model
The Bend modifier lets you bend the current selection up to 360 degrees about a single axis,
producing a uniform bend in an object's geometry. You can control the angle and direction of the
bend on any of three axes. You can also limit the bend to a section of the geometry.
Procedures
To bend an object:
1. Select an object and apply the Bend modifier.
2. On the Parameters rollout, set the axis of the bend to X, Y, or Z. This is the axis of the Bend
gizmo, not the axis of the selected object.
You can switch between axes at any time, but the modifier carries only one axis setting.
3. Set the angle of the bend along the chosen axis.

The object bends to this angle.
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Bend Modifier
4. Set the direction of the bend.

The object swivels around the axis.
You can reverse angle and direction by changing a positive value to a negative value.
To limit the bend:
1. Turn on Limit Effect in the Limits group.
2. Set values for the upper and lower limits. These are distances in current units above and below
the modifier's center, which is at zero on the gizmo's Z axis by default. You can make the
upper limit zero or positive, and the lower limit zero or negative. If the limits are equal, the
result is the same as turning off Limit Effect.
The bend is applied between these limits. The surrounding geometry, while unaffected by the
bend itself, rotates to keep the object intact. This is analogous to bending a pipe, where the
unbent sections rotate but remain straight.
3. At the sub-object level, you can select and move the modifier's center.
The Limit settings remain on either side of the center as you move it. This lets you relocate the bend
area to another part of the object.
Interface
Modifier Stack
Gizmo sub-objectYou can transform and animate the gizmo like any other object at this sub-
object level, altering the effect of the Bend modifier. Translating the gizmo translates its center an
equal distance. Rotating and scaling the gizmo takes place with respect to its center.
Center sub-objectYou can translate and animate the center at this sub-object level, altering the
Bend gizmo's shape, and thus the shape of the bent object.
Parameters rollout

Bend Modifier
Bend group
AngleSets the angle to bend from the vertical plane. Range=-999,999.0 to 999,999.0.
DirectionSets the direction of the bend relative to the horizontal plane. Range=-999,999.0 to
999,999.0.
Bend Axis group
X/Y/ZSpecifies the axis to be bent. Note that this axis is local to the Bend gizmo and not related
to the selected entity. Default=Z.
Limits group
Limit EffectApplies limit constraints to the bend effect. Default=off.

Upper LimitSets the upper boundary in world units from the bend center point beyond which the
bend no longer affects geometry. Default=0. Range=0 to 999,999.0.
Lower LimitSets the lower boundary in world units from the bend center point beyond which the
bend no longer affects geometry. Default=0. Range=-999,999.0 to 0.
Comments

Soft Selection Rollout
Select an editable patch, editable mesh, editable poly, editable spline, an object that has an Edit
Mesh, Edit Patch, or Edit Spline modifier applied to it, or an object that has a comparable Select
modifier applied to it. > Modify panel > Choose a sub-object level. > Soft Selection rollout
The Soft Selection controls make a sub-object selection behave as if surrounded by a "magnetic
field." Unselected sub-objects within the field are drawn along smoothly while you transform the sub-
object selection, the effect diminishing with distance. This falloff is visible in the viewports as a color
gradient surrounding the selection.
By default, the soft-selection region is spherical without regard to geometric structure, but
alternatively you can use the Edge Distance option to limit the selection to vertices in contiguous
faces.
If a sub-object selection is passed up the modifier stack, and Use Soft Selection is on, the results of
modifiers such as Bend and XForm that deform the object are affected by the Soft Selection
parameter values.
The controls in this dialog let you modify Soft Selection parameters. All sub-object levels share the
same Soft Selection parameter values. Soft Selection is available for NURBS, mesh, poly, patch, and
spline objects.
Soft selection colors and effect on the surrounding area
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Interface
Note: The keyboard shortcuts listed here require that the Keyboard Shortcut Override Toggle be
turned on.
Use Soft SelectionAffects the action of Move, Rotate, and Scale functions within the editable
object or Edit modifier, and the action of deformation modifiers applied to the object if they are
operating on a sub-object selection (the latter also applies to the Select modifiers). When on, the
software applies a spline curve deformation to the unselected sub-objects surrounding the selection
that you transform. To take effect, this check box must be on before transforming or modifying the
selection.
Edge DistanceWhen on, limits the soft-selection region to the specified number of edges between
where you select and the maximum extent of the soft selection. The affected region is measured in
terms of "edge-distance" space, along the surface, rather than real space.
This option is useful in cases where you want to select only contiguous sections of geometry. For
example, if a bird's wing is folded back against its body, selecting the wing tip with Soft Selection
would affect body vertices as well. But if you turn on Edge Distance, set the numeric value to the
distance (in edges) along the wing that you wish to affect, and then set Falloff to an appropriate
value, selecting and then moving the wing tip would move only the wing geometry.
Affect BackfacingWhen on, deselected sub-objects whose normals (or, in the case of vertices
and edges, the normals of faces to which they're attached) are facing in the opposite direction to the
average normal of the selected sub-objects, are affected by the soft selection influence. Turn off
Affect Backfacing when you want to pull faces of a thin object, such as a thin box, but don't want to
affect faces on the other side of the object.
Note: Affect Backfacing is not available when editing splines.

FalloffDistance in current units from the center to the edge of a sphere defining the affected
region. Use higher falloff settings to achieve more gradual slopes, depending on the scale of your
geometry. Default=20.
Note: The region specified by the Falloff setting is depicted graphically in the viewports as a color
gradient in vertices and/or edges (or, with editable polys and patches, optionally in faces) from the
selection color (normally red) to the non-selected sub-object color (normally blue). In addition, this
gradient is updated in real time as you change the Falloff setting.
Note: If Edge Distance is turned on, the Edge Distance setting limits the maximum falloff amount.
PinchRaises and lowers the top point of the curve along the vertical axis. Sets the relative
"pointedness" of the region. When negative, a crater is produced instead of a point. At a setting of 0,
Pinch produces a smooth transition across this axis. Default=0.
BubbleExpands and contracts the curve along the vertical axis. Sets the relative "fullness" of the
region. Limited by Pinch, which sets a fixed starting point for Bubble. A setting of 0 for Pinch and 1.0
for Bubble produces a maximum smooth bulge. Negative values for Bubble move the bottom of the
curve below the surface, creating a "valley" around the base of the region. Default=0.
Soft Selection CurveGraphically displays how Soft Selection will work. You can experiment with a
curve setting, undo it, and try another setting with the same selection.
Shaded Face ToggleDisplays a color gradient corresponding to the soft selection weights on faces
within the soft selection range. Available only when editing patch and poly objects.
If the Vertex Color display property of an editable poly or editable patch object is off, clicking the
Shaded Face Toggle button will turn on Soft Selection Color shading. If the object already has an
active Vertex Color setting, pressing the Shaded Face Toggle will override the previous setting and
change it to Soft Selection Color.
Note: Use the Undo command if you do not want to change your vertex color shading properties.
Comments

Edit menu > Object Properties > Object Properties dialog > General panel
Select object or objects. > Right-click. > Transform (lower-right) quadrant of the quad menu >
Properties > Object Properties dialog > General panel
Layer manager > Click the icon next to an object's name. > Object Properties dialog > General
panel
This panel of the Object Properties dialog displays general object information, as well as controls for
rendering the object and displaying it in viewports.
Interface
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Object Information group
This group displays information about the selected object, including the following:
NameShows the name of the object. When a single object is selected, you can edit this field to
give the object a new name. When multiple objects are selected, this field shows "Multiple Selected,"
and cannot be edited.
ColorThe color swatch shows the object's color. You can click it to display the Object Color dialog

and select a different color.

DimensionsDisplays the X, Y, and Z dimensions of the object's extents.
Vertices and FacesDisplay the number of vertices and faces in the object. For shapes, these
values are the values used if you have made the shape renderable. Faces for renderable shapes are
generated only at rendering time.
Shape Vertices and Shape CurvesAppear only for shape objects. Shape Vertices is the number
of vertices in the shape, and Shape Curves is the number of polygons. (Shape Curves is the value
that appeared as "Polygons" in previous releases.)
These values can change over time: they are valid only for the current frame and the current view.
ParentDisplays the name of the object's parent in a hierarchy. Shows "Scene Root" if the object
has no hierarchical parent.
Material NameDisplays the name of the material assigned to the object. Displays "None" if no
material is assigned.
Num. ChildrenDisplays the number of children hierarchically linked to the object.
In Group/AssemblyDisplays the name of the group or assembly to which the object belongs.
Displays "None" if the object is not part of a group.
LayerDisplays the name of the layer which the object is assigned to.
Interactivity Group
HideHides the selected object or objects.

Hidden objects exist in the scene, but do not appear in the viewports or rendered images. To unhide
hidden objects, use the Display panel or choose Tools > Display Floater.
Note: Objects residing on a hidden layer are automatically hidden, regardless of this setting.
Tip: The Layer Manager is the easiest way to hide groups of objects or layers.
FreezeFreezes the selected object or objects.
Frozen objects appear in the viewports, but cannot be manipulated. To unfreeze frozen objects, use
the Display panel or choose Tools > Display Floater.
Note: Objects residing on a frozen layer are automatically frozen, regardless of this setting.
Tip: The Layer Manager is the easiest way to freeze groups of objects or layers.
By Object/By LayerToggles between object settings or object layer settings. Object settings
affect only the object or objects selected. Object layer settings affect all objects on the same layer
as the selected object.
Note: If multiple objects are selected and have different By Layer settings, this button will read
Mixed.
See-ThroughMakes the object or selection translucent in viewports. This setting has no effect on

rendering: it simply lets you see what is behind an object in a crowded scene, and especially to
adjust the position of objects behind the see-through object. Default=off.
Note: This option is also available in the Display panel and by choosing Tools > Display Floater.
You can customize the color of see-through objects by using the Colors panel of the Customize >
Keyboard shortcut (default): ALT+X
Keyboard shortcut (default): F2
Display as BoxToggles the display of selected objects, both 3D objects and 2D shapes, as
bounding boxes. Produces minimum geometric complexity for rapid display in viewports.
Default=off.
Backface CullToggles the display of faces with normals that point away from the view. When on,
you see through the wireframe to the backfaces. Applies only to wireframe viewports. Default=on.

Edges OnlyDisplays only faces of the object in wireframe viewports. When off, all of the object's
mesh geometry is displayed. Applies only to wireframe viewports. Default=on.
Vertex TicksDisplays the object's vertices as tick marks. Default=off.

TrajectoryDisplays the object's trajectory. Default=off.


Ignore ExtentsWhen on, this object is ignored when you use the display control Zoom Extents.
Keyboard shortcut: No default, but you can customize it using the Keyboard panel of the Customize
> Customize User Interface dialog.
Show Frozen in GrayWhen on, the object turns gray in viewports when you freeze it. (This is
how all frozen objects appeared in versions prior to v4.) When off, viewports display the object with
its usual color or texture even when it is frozen. Default=on.
Vertex ColorFor editable mesh, editable poly, and editable patch objects, displays the assigned
vertex colors in viewports. The drop-down list lets you choose to display Vertex Color, Vertex
Illumination, Vertex Alpha, or Soft Selection Color. Default=off.
You can assign vertex colors at all sub-object levels except Edge.
Note: This option is also available in the Display panel.
ShadedWhen on, shaded viewports add shading to the vertex coloring. When off, colors are
unshaded. Default=off.
Rendering Control group
Note: In previous versions of 3ds max, the Rendering Control group was not available for light
objects. In 3ds max 6, you can set lights to ByLayer, and you can also change their Renderable
setting. This allows you to turn individual lights on/off in your renderings, but more importantly, you
can quickly turn large groups of lights on or off using the Layer Manager.
affect only the object or objects selected. Object layer settings affect the rendering controls of all

objects on the same layer as the selected object.

Mixed.
VisibilityControls the rendered visibility of the object. At 1.0, the object is fully visible. At 0.0, the
object is completely invisible when rendered. Default=1.0.
You can animate this parameter. Animating Visibility assigns a visibility controller to the object. By
default this is a Bezier float controller.
RenderableMakes an object or selected objects appear or disappear from the rendered scene.
Nonrenderable objects don't cast shadows or affect the visual component of the rendered scene. Like
dummy objects, nonrenderable objects can manipulate other objects in the scene.
Shape objects have the Renderable option turned on by default. In addition, they have a Renderable
check box in their creation parameters. When both check boxes are on, the shape is renderable. If
Renderable in the Object Properties dialog is off, the shape is not renderable regardless of the state
of its local Renderable check box.
If you apply a modifier that converts the shape into a mesh object, such as a Lathe or Extrude
modifier, the shape automatically becomes renderable regardless of the state of its local Renderable
check box.
For shapes, the Renderable check box in the Object Properties dialog affects the main object, so the
check box also affects all instances of and references to the shape.
Inherit VisibilityCauses the object to inherit a percentage of the visibility of its parent (as
determined by the parent's Visibility track in Track View). When a group parent is assigned a
visibility track, Inherit Visibility is automatically turned on for all children in the group. The children
will have the maximum visibility of the parent. Transparent materials and hidden objects have no
effect on this function.
Visible to CameraWhen on, the object is visible to cameras in the scene. When off, cameras do
not view this object; however, its shadows and reflections are rendered. Default=on.
Visible to Reflection/RefractionWhen on, the object has secondary visibility: it appears in
rendered reflections and refractions. When off, the object does not appear in rendered reflections or
refractions. Default=on.
Note: An object can have Visible To Camera on but Visible To Reflection/Refraction off, in which case
the object renders in the scene but does not appear in reflections or refractions.
Receive ShadowsWhen on, the object can receive shadows. Default=on.
Cast ShadowsWhen on, the object can cast shadows. Default=on.
Apply AtmosphericsWhen on, atmospheric effects are applied to the object. When off,
atmospheric effects do not change the rendered appearance of this object. Default=on.
Render Occluded ObjectsAllows special effects to affect objects in the scene that are occluded
by this object. The special effects, typically applied by plug-ins such as Glow, use G-buffer layers to
access occluded objects. Turning on this control makes the object transparent for the purposes of
special effects. This makes no difference when you render to most image files. When you render to

either the RLA or RPF file format, however, occluded objects appear with the effect applied on their
designated G-buffer layer. Default=off.
G-Buffer group
Allows you to tag an object as a target for a render effect based on the G-buffer channel. Assigning
the object a nonzero ID creates a G-buffer channel that can be associated with a render effect.
following effects:
Object ChannelSetting this spinner to a nonzero number means that the object will receive the
rendering effects associated with that channel in Render Effects and the post-processing effects
associated with that channel in Video Post.
To save the channel data with the rendering, render to either the RLA or RPF file format.
Motion Blur group
affect only the object or objects selected. Object layer settings affect all objects on the same layer
as the selected object.
Mixed.
MultiplierAffects the length of the motion-blur streak.
If you choose either form of motion blur here in the Object Properties dialog, you must also choose
to apply that type of blur in the Render Scene dialog.
The rendering speed of object motion blur depends on the complexity of the geometry to which it's
assigned. The rendering speed of image motion blur depends on the amount of rendered screen
space taken up by the blurring object. In most cases image motion blur renders more quickly. Object
motion blur renders more quickly when applied to very simple objects, and image motion blur
renders more slowly when the object takes up a lot of screen space, and moves all the way across
the screen in a single frame.

Changing the Object Blur Multiplier value.
EnabledWhen on, enables motion blur for this object. When off, motion blur is disabled regardless
of the other blur settings. Default=on.
You can animate the Enabled check box. The main use of animating Enable is to apply motion blur
over only a limited range of frames. This can save a tremendous amount of time when you are
rendering an animation.
NoneTurns off the state of motion blur for the object.
ObjectObject motion blur provides a time-slice blur effect.
ImageImage motion blur blurs the object's image based on the velocity of each pixel.
Comments

Display Panel
Display Panel
Command panels > Display panel
The Display panel provides access to tools that control the display of objects in the scene.
Use the Display panel to hide, unhide, freeze, or unfreeze objects, alter their display characteristics,
speed up viewport displays, and simplify your modeling procedures.
Note: A target is considered part of its light or camera for purposes of hiding and unhiding.
Display Panel Rollouts

Hide By Category Rollout
Hide Rollout
Freeze Rollout
Display Properties Rollout
Link Display Rollout
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Display panel > Hide By Category rollout
The Hide By Category rollout toggles the display of objects by category (objects, cameras, lights,
and so on).
By default, the software displays all objects in the scene. Objects hidden by category arent
evaluated in the scene, so hiding objects by category improves performance.
You can use any of the default display filters provided, or add new display filters for fast selection of
objects to hide.
Interface
Turn on the check boxes to hide objects of that category. You can use the All, None, and Invert
buttons to quickly change the settings of the check boxes.
The Display Filter box gives you finer control in creating categories to hide. Click the Add button to
display a list of display filters. Hold down the CTRL key and click the filter name to select whatever
category you'd like to hide.
GeometryHides all geometry in the scene.
ShapesHides all shapes in the scene.
LightsHides all lights in the scene.
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CamerasHides all cameras in the scene.

HelpersHides all helpers in the scene.
Space WarpsHides all space warps in the scene.
Particle SystemsHides all particle systems in the scene.
Bone ObjectsHides all bones in the scene.
BonesHides all bones in the scene.
IK ChainHides all IK chains in the scene.
PointHides all points in the scene.
AllHides everything in the scene.
NoneUnhides everything in the scene
InvertHides everything that is visible and unhides everything currently hidden.
AddAdds a display filter category to the list.
RemoveRemoves a display filter category.
NoneDeselects all highlighted display filters in the list.
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Hide Rollout
Hide Rollout
Display panel > Hide rollout
The Hide rollout provides controls that let you hide and unhide individual objects by selecting them,
regardless of their category.
Interface
Hide SelectedHides the selected object(s).

Hide UnselectedHides all visible objects except the selected ones. Use this to hide all objects
except the one you're working on. Objects hidden by category arent affected.
Hide by NameDisplays a dialog you use to hide objects you choose from a list. See Select Objects
Dialog, which describes nearly identical controls.
Hide by HitHides any object you click in the viewport. If you hold the CTRL key while selecting an
object, that object and all of its children are hidden. To exit Hide by Hit mode, right-click, press ESC,
or select a different function. This mode is automatically turned off if you hide all objects in the
scene.
Unhide AllUnhides all hidden objects. The unhide buttons are available only when you have
specifically hidden one or more objects. They won't unhide objects hidden by category.
Note: If you click Unhide All in a scene with hidden layers, a dialog will pop up prompting you to
unhide all layers. You cannot unhide an object on a hidden layer.
Unhide by NameDisplays a dialog you use to unhide objects you choose from a list. See Select
Note: If you select an object on a hidden layer, a dialog will pop up prompting you to unhide the
object's layer. You cannot unhide an object on a hidden layer.
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Hide Rollout
Hide Frozen ObjectsHides any frozen objects. Turn it off to display hidden frozen objects.
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Display panel > Display Properties rollout
The Display Properties rollout provides controls that alter the display of selected objects.
See also
Procedure
To display trajectories using the Display panel:
1. Select one or more animated objects.
2. Expand the Display Properties rollout in the Display panel.
3. Turn on Trajectory.
By default, object trajectories appear with the following properties:
The trajectory curve is drawn in red.
Frame increments display as white dots on the curve.
Position keys display as red boxes surrounding the appropriate frame dot on the curve. The
boxes are white when the object is selected.
If Views > Show Key Times is turned on, the key frame numbers are displayed along side
the keys on the trajectory.
You can change the colors for these items on the Colors panel of the Customize User Interface
dialog.
You can also use object properties to display trajectories: right-click any object and choose
Properties, then turn on Trajectory.
Interface
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The first three options reduce the geometric complexity of selected objects in a scene, resulting in
faster response time because the computer has less to calculate. These options are also available in
the Display Properties group of the Object Properties dialog > General panel and the Display floater.
Display as BoxToggles the display of selected objects, including 3D objects and 2D shapes as
bounding boxes. Produces minimum geometric complexity.
Particle systems appear as bounding boxes when adaptive degradation takes effect. Because particle
systems naturally exist in world space, their bounding box is always oriented parallel to the world
planes.
Backface CullToggles the display of faces and vertices with normals pointing away from view.
When turned off, you see through the wireframe to the back faces. Applies to Wireframe viewport
display only.

Edges OnlyToggles the display of face edges. When turned on, only faces appear. When turned
off, all mesh geometry appears. Applies to Wireframe viewport display mode, as well as other modes
with Edged Faces turned on.
Vertex TicksDisplays the vertices in the selected geometry as tick marks.

TrajectoryToggles trajectory display for the selected object so you can display its trajectory
wherever you are in the software.
See-ThroughMakes the object or selection translucent in viewports. This setting has no effect on
rendering: it simply lets you see whats behind or inside an object in a crowded scene, and is
especially useful in adjusting the position of objects behind or inside the See-Through object. This is
very handy when you have objects within other objects in your scene.
This option is also available from Object Properties dialog and the Tools > Display Floater.

Ignore ExtentsWhen turned on, the object is ignored when you use the display control Zoom
Extents. Use this on distant lights.
viewports display the object with its usual color or texture even when it is frozen. Default=on.
Vertex ColorsDisplays the effect of assigned vertex colors. You assign vertex colors using the
Assign Vertex Color utility, or the VertexPaint modifier. Once vertex colors have been assigned they
can also be edited in the Vertex Properties rollout in the editable mesh or editable poly in vertex or
face sub-object level.
The Shaded button determines whether the object with the assigned vertex colors appears shaded in
the viewport. When this button is off, the colors are unshaded and appear in their pure RGB values,
looking a little like self-illuminated materials. When the Shaded button is on, the colors appear like
any other assigned color in the viewports.
Comments

Display panel > Link Display rollout
The Link Display rollout provides controls that alter the display of hierarchical linkages.
Interface
Display LinksDisplays a wireframe representation of any hierarchical links affecting the selected
object.
Note: Display Links must be turned on in order to see Joint Limits on a inverse kinematics chain.
Link Replaces ObjectReplaces the selected object with the wireframe representation of the
hierarchical link. This option offers another way to reduce the geometric complexity of selected
objects in a scene. See also Display Properties Rollout.
The Draw Links as Lines option in the Viewports panel of the Preference Settings dialog further
reduces the display of links to a single line.
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Display Floater
Display Floater
Tools menu > Display Floater
This modeless dialog contains most of the functions on the Display panel. You can leave the Display
floater up while you work in your scene, making it easier to change viewport displays without
changing the current command panel.
Interface
The Display floater has two panels: Hide/Freeze and Object Level.
Hide/Freeze panel
Hide group
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Display Floater
SelectedHides the selected object(s).

UnselectedHides all visible objects except the selected ones. Use this to hide all the objects
except the one you are working on.
By NameLets you select the objects to hide by name.
By HitCauses any object you click in the viewport to be hidden. If you hold the CTRL key while
selecting an object, that object and all of its children are hidden. To exit Hide by Hit mode, right-
click, press ESCAPE, or select a different function. This mode is automatically turned off if you hide
all objects in the scene.
Unhide group
AllUnhides all hidden objects. The unhide buttons are only available when you have specifically
hidden one or more objects. They won't unhide objects hidden by category.
By NameDisplays a dialog in which you can unhide objects you select from a list.
Note: You cannot unhide objects on a hidden layer. If you select an object on a hidden layer, you
will be prompted to unhide the object's layer.
Freeze group
SelectedFreezes the selected object(s) so they cannot move in the viewport.

UnselectedFreezes all visible objects except the selected ones. Use this to quickly freeze all the
objects except the one you're working on.
By NameLets you select the objects to freeze by name.
By HitCauses any object you click in the viewport to be frozen. If you hold the CTRL key while
selecting an object, that object and all of its children are frozen. To exit Freeze by Hit mode, right-
click, press Escape, or select a different function. This mode is automatically turned off if you freeze
all objects in the scene.
Unfreeze group
AllUnfreezes all frozen objects.

By NameDisplays a dialog in which you can unfreeze objects you select from a list.
Note: You cannot unfreeze objects on a frozen layer. If you select an object on a frozen layer, you
will be prompted to unfreeze the object's layer.
By HitCauses any object you click in the viewport to be unfrozen. If you hold the CTRL key while
selecting an object, that object and all of its children are unfrozen.
Note: You cannot unfreeze objects on a frozen layer. If you select an object on a frozen layer, you
will be prompted to unfreeze the object's layer.
Hide Frozen ObjectsToggles display of frozen objects on and off. You dont have to unfreeze
objects to hide them; you can use Hide Frozen Objects instead to hide or unhide frozen objects in a
single step.

Display Floater
Object Level panel
Hide by Category group
Toggles the display of objects by their category (objects, cameras, lights, and so on). Choose the
check boxes to hide objects of that category. Use the All, None, and Invert buttons to change the
settings of the check boxes.
Provides controls that alter the display of selected objects.

Display as BoxToggles the display of selected objects, including 3D objects, 2D shapes, and
particle systems, as bounding boxes. Produces minimum geometric complexity.
Particle systems appear as bounding boxes when adaptive degradation takes effect. Since particle
systems naturally exist in world space, their bounding box is always oriented parallel to the world
planes.
Backface CullToggles the display of faces with normals pointing away from view. When selected,

Display Floater
you see through the wireframe to the back faces.

Edges OnlyToggles the display of face edges. When turned on, only faces appear. When turned
off, all mesh geometry appears.
Vertex TicksDisplays the vertices in the selected geometry as tick marks.
TrajectoryToggles trajectory display for the selected object so you can display its trajectory
wherever you are in the software.
See-ThroughWhen turned on, this toggle makes the object or selection translucent in viewports.
This setting has no effect on rendering: it simply lets you see whats behind or inside an object in a
crowded scene, and especially to adjust the position of objects behind or inside the see-through
object. Use this when you need to see inside an object, such as a character with bones inside.
Default=off.
This option is also available from the Display panel and the Object Properties dialog.
Customize User Interface dialog. Choose Geometry from the Elements list, and then choose See-
Through.
Ignore ExtentsAllows an object to be excluded from a zoom extents operation. Choose this when
you have lights or other distant objects that you dont want to use when you do a zoom extents.
viewports display the object with its usual color or texture even when it is frozen. Default=on.
Comments

Editable Poly Surface
Create or select an object. > Quad menu > Transform quadrant > Convert To submenu > Convert
to Editable Poly
Create or select an object. > Modify panel > Right-click the base object in the stack. > Choose
Convert to: Editable Poly.
Editable Poly is an editable object with five sub-object levels: vertex, edge, border, polygon, and
element. Its usage is similar to that of an editable mesh object, with controls for manipulating an
object as a polygon mesh at various sub-object levels. Rather than triangular faces, however, the
poly object's faces are polygons with any number of vertices.
Editable Poly gives you these options:
Transform or SHIFT+Clone the selection, as with any object.
Use the options supplied on the Edit rollouts to modify the selection or object. Later topics discuss
these options for each of the polymesh components.
Pass a sub-object selection to a modifier higher in the stack. You can apply one or more standard
modifiers to the selection.
Use the options on the Subdivision Surface rollout to alter surface characteristics.
Note: You can exit most Editable Poly command modes, such as Extrude, by right-clicking in the
active viewport.
Editable Poly Workflow
Sub-object-specific functions in the Editable Poly user interface can be found in their own rollouts,
leaving the Edit Geometry rollout with functions that can be used at most sub-object levels, as well
as at the object level.
Also, many commands are accompanied by a Settings button, which gives you two ways of using
the command:
In Direct Manipulation mode, activated by clicking the command button, you apply the command
by manipulating sub-objects directly in the viewport. An example of this is Extrude.
Note: Some buttons, such as Tessellate, operate on the mesh immediately, with no viewport
manipulation required.
Interactive Manipulation mode is well suited to experimentation. You activate this mode by
clicking the command's Settings button. This opens a non-modal settings dialog and places you in
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preview mode, where you can set parameters and see the results immediately in the viewport.
You can then accept the results by clicking OK, or reject them by clicking Cancel. You can also use
this mode to apply the same or different settings to several different sub-object selections in a
row. Make the selection, optionally change the settings, click Apply, and then repeat with a
different selection.
Important: When you click Apply, the settings are baked into the selection, and then
applied again to the selection as a preview. If you then click OK to exit, you will have
applied the settings twice. If your intention is to apply them only once, simply click OK
the first time, or click Apply, and then Cancel.
Note: Changes implemented in Interactive Manipulation mode cannot be animated.
See also

Turn To Poly Modifier
Procedure
To produce an editable poly object:

First select an object, and then do one of the following:
If no modifiers are applied to the object, In the Modify panel, right-click in the modifier stack
display and choose Editable Poly from the Convert To list on the pop-up menu.
Right-click the object and choose Convert To Editable Poly from the Convert To submenu in the
Transform quadrant of the quad menu.
Apply a modifier to a parametric object that turns the object into a poly object in the stack
display, and then collapse the stack. For example, you can apply a Turn To Poly modifier.
To collapse the stack, use the Collapse utility or right-click the object's modifier stack.
Converting an object to Editable Poly format removes all parametric controls, including the creation
parameters. For example, you can no longer increase the number of segments in a box, slice a
circular primitive, or change the number of sides on a cylinder. Any modifiers you apply to an object
are merged into the mesh as well. After conversion, the only entry left on the stack is "Editable
Poly."
To maintain an object's creation parameters:
As noted in the previous procedure, if you convert an existing object to an editable poly, 3ds max
replaces the creation parameters in the stack with "Editable Poly." The creation parameters are no

longer accessible or animatable. If you want to maintain the creation parameters, you can use the
Turn To Poly modifier.
Interface
Stack Display
For more information on the Stack Display, see Modifier Stack.

Show End ResultNormally, if you apply a modifier such as Symmetry to an editable poly object
and then return to the Editable Poly stack entry, you cannot see the effect of the modifier on the
object's geometry. But if you turn on Show End Result while in sub-object level, you can see the
final object as a white mesh, the original sub-object selection as a yellow mesh, and the original
editable polymesh as an orange mesh.
Selection rollout
The Selection rollout provides buttons for accessing different sub-object levels, display settings, and
information about selected entities.
When you first access the Modify panel with an editable poly selected, you're at the Object level,
with access to several functions available as described in Editable Poly (Object). You can toggle the
various sub-object levels, and access relevant functions, by clicking the buttons at the top of the
Selection rollout.
Clicking a button here is the same as selecting a sub-object type in the modifier stack display. Click
the button again to turn it off and return to the Object selection level.
Note: You can convert sub-object selections in two different ways with the use of the CTRL and
SHIFT keys:
Clicking a sub-object button in the Selection rollout with CTRL held down converts the current
selection to the new level, selecting all sub-objects in the new level that touch the previous
selection. For example, if you select a vertex, and then CTRL+click the Polygon button, all
polygons that use that vertex are selected.
To convert the selection to only sub-objects all of whose source components are originally
selected, hold down both CTRL and SHIFT as you change the level. For example, if you convert a
vertex selection to a polygon selection with CTRL+SHIFT+click, the resultant selection includes
only those polygons all of whose vertices were originally selected.
Conversion commands are also available from the quad menu.
VertexTurns on Vertex sub-object level, which lets you select a vertex beneath the cursor;
region selection selects vertices within the region.

EdgeTurns on Edge sub-object level, which lets you select a polygon edge beneath the
cursor; region selection selects multiple edges within the region.
BorderTurns on Border sub-object level, which lets you select a sequence of edges that
borders a hole in the mesh. Borders are always composed on edges with faces on only one side of
them, and are always complete loops. For example, a box doesn't have a border, but the teapot
object has a couple of them: on the lid, on the body, on the spout, and two on the handle. If you
create a cylinder, then delete one end, the row of edges around that end forms a border.
When Border sub-object level is active, you can't select edges that aren't on borders. Clicking a
single edge on a border selects that whole border.
You can cap a borders, either in Editable Poly or by applying the Cap Holes modifier. You can also
connect borders between objects with the Connect compound object.
PolygonTurns on Polygon sub-object level, which lets you select polygons beneath the
cursor. Region selection selects multiple polygons within the region.
ElementTurns on Element sub-object level, which lets you select all contiguous polygons in
an object. Region selection lets you select multiple elements.
By VertexWhen this is turned on, you can select sub-objects only by selecting a vertex that they
use. When you click a vertex, all sub-objects that use the selected vertex are selected.
Ignore BackfacingWhen on, selection of sub-objects affects only those facing you. When off (the
default), you can select any sub-object(s) under the mouse cursor, regardless of their visibility or
facing. If there are more than one sub-object under the cursor, repeated clicking cycles through
them. Likewise, with Ignore Backfacing off, region selection includes all sub-objects, regardless of
the direction they face.
ShrinkReduces the sub-object selection area by deselecting the outermost sub-objects. If the
selection size can no longer be reduced, the remaining sub-objects are deselected.
GrowExpands the selection area outward in all available directions.
For this function, a border is considered to be an edge selection.

With Shrink and Grow, you can add or remove neighboring elements from the edges of your current
selection. This works at any sub-object level.
RingExpands an edge selection by selecting all edges parallel to the selected edges. Ring applies
only to edge and border selections.
Ring selection adds to the selection all the edges that are parallel to the ones selected originally.
LoopExpands the selection as far as possible, in alignment with selected edges.

Loop applies only to edge and border selections, and propagates only through four-way junctions.

Loop selection extends your current edge selection by adding all the edges aligned to the ones
selected originally.
If 0 or more than one sub-object is selected, the text gives the number and type selected. If one
sub-object is selected, the text gives the identification number and type of the selected item.
Soft Selection controls apply a smooth falloff between selected sub-objects and unselected ones.
When Use Soft Selection is turned on, unselected sub-objects near your selection are given partial
selection values. These values are shown in the viewports by means of a color gradient on the
vertices, and optionally on the faces. They affect most types of sub-object deformations, such as the
Move, Rotate, and Scale functions and any deformation modifiers (such as Bend) applied to the
object. This provides a magnet-like effect with a sphere of influence around the selection.
The Soft Selection rollout has changed slightly for Editable Poly objects. For more information, see
Soft Selection Rollout.
Edit (sub-object) rollout
The Edit (sub-object) rollout provides sub-object-specific functions for editing an editable poly object
and its sub-objects. For specific information, click any of the links below:
Edit Vertices rollout

Edit Edges rollout

Edit Borders rollout
Edit Polygons/Elements rollout
The Edit Geometry rollout provides global functions for editing an editable poly object and its sub-
objects. For specific information, click any of the links below:
Editable Poly (Object)
Editable Poly (Vertex)
Editable Poly (Edge)
Editable Poly (Border)
Editable Poly (Polygon/Element)
Subdivision Surface rollout
Applies subdivision to the object in the style of MeshSmooth, so you can work on a lower-resolution
"cage" mesh and simultaneously see a smoother, subdivided result. This rollout is available at all
sub-object levels, as well as at the object level, and always affects the entire object.
Use NURMS SubdivisionApplies smoothing via the NURMS method. See NURMS. The difference

between NURMS in Editable Poly and MeshSmooth is that the latter gives you access to control
vertices, but the former does not.
You control the degree of smoothing with the Iterations controls in the Display and Render groups.
Note: The remaining controls on this rollout take effect only when Use NURMS Subdivision is on.
Smooth ResultApplies the same smoothing group to all polygons.
Isoline DisplayWhen on, the software displays only isolines: the object's original edges,
before smoothing. The benefit of using this option is a less cluttered display. When off, the software
displays all faces added by NURMS Subdivision; thus, higher Iterations settings (see Display group)
result in a greater number of lines. Default=on.
Smoothed box with Isoline Display off (left) and Isoline Display on (right).
Note: Applying a modifier to an Editable Poly object cancels the effect of the Isoline Display option;
the wireframe display reverts to showing all polygons in the object. This is not, however, always the
case with the MeshSmooth modifier. Most deformation and mapping modifiers maintain the isoline
display, but others, such as the selection modifiers (except Volume Select) and the Turn To
modifiers, cause the interior edges to be displayed.
Display group
IterationsSets the number of iterations used to smooth the poly object. Each iteration generates
all polygons using the vertices created from the previous iteration. Range=0 to 10.
When the Iterations check box in the Render group (see below) is off, this setting controls iterations
both in the viewports and at render time. When the check box is on, this setting controls iterations
only in the viewports.
Tip: Use caution when increasing the number of iterations. The number of vertices and polygons in
an object (and thus the calculation time) can increase as much as four times for each iteration.
Applying four iterations to even a moderately complex object can take a long time to calculate. You
can press ESC to stop calculation and revert to the previous iteration setting.
SmoothnessDetermines how sharp a corner must be before polygons are added to smooth it. A

value of 0.0 prevents the creation of any polygons. A value of 1.0 adds polygons to all vertices even
if they lie on a plane.
When the Smoothness check box in the Render group (see below) is off, this setting controls
smoothness both in the viewports and at render time. When the check box is on, this setting
controls smoothness only in the viewports.
Render group
Applies a different number of smoothing iterations and/or a different Smoothness value to the object
at render time.
Tip: Use a low number of iterations and/or a lower Sharpness value for modeling, and higher values
for rendering. This lets you work quickly with a low-resolution object in the viewports, while
producing a smoother object for rendering.
IterationsLets you choose a different number of smoothing iterations to be applied to the object
at render time. Turn on Iterations, then use the spinner to its right to set the number of iterations.
SmoothnessLets you choose a different Smoothness value to be applied to the object at render
time. Turn on Smoothness, then use the spinner to its right to set the smoothness value.
Separate By group
Smoothing GroupsPrevents the creation of new polygons at edges between faces that don't
share at least one smoothing group.
MaterialsPrevents the creation of new polygons for edges between faces that do not share
Material IDs.
Update Options group
Sets manual or render-time update options, for situations where the complexity of the smoothed
object is too high for automatic updates. Note that you can also choose Iterations under the Render
group to set a greater degree of smoothing to be applied only at render time.
AlwaysUpdates the object automatically whenever you change any MeshSmooth settings.
When RenderingUpdates the viewport display of the object only at render time.
ManuallyTurns on manual updating. When manual updating is selected, any settings you change
don't take effect until you click the Update button.
UpdateUpdates the object in the viewport to match the current MeshSmooth settings. Works only
when you choose When Rendering or Manually.
Subdivision Displacement rollout

Specifies surface approximation settings for subdividing the editable poly. These controls work like
the surface approximation settings for NURBS surfaces. They are used when you apply a
displacement map to the editable poly.
Note: These settings differ from the Subdivision Surface settings in that, while the latter are applied
at the same modifier-stack level as the mesh, subdivision displacement is always applied at the top
of the stack, when the mesh is used for rendering. Thus, a Symmetry modifier applied to an object
using surface subdivision would affect the subdivided mesh, but would not affect an object that uses
subdivision displacement only.
Subdivision DisplacementWhen on, polygons are subdivided to accurately displace the poly
object, using the method and settings you specify in the Subdivision Presets and Subdivision Method
group boxes. When off, the poly is displaced by moving existing vertices, the way the Displace
modifier does. Default=off.
Split MeshAffects the seams of displaced poly objects; also affects texture mapping. When on,
the poly object is split into individual polygons before it is displaced; this helps preserve texture
mapping. When off, the poly is not split and an internal method is used to assign texture mapping.
Default=on.
Tip: This parameter is required because of an architectural limitation in the way displacement
mapping works. Turning Split Mesh on is usually the better technique, but it can cause problems for
objects with clearly distinct faces, such as boxes, or even spheres. A box's sides might separate as
they displace outward, leaving gaps. And a sphere might split along its longitudinal edge (found in
the rear for spheres created in the Top view) unless you turn off Split Mesh. However, texture

mapping works unpredictably when Split Mesh is off, so you might need to add a Displace Mesh
modifier and make a snapshot of the poly. You would then apply a UVW Map modifier and then
reassign mapping coordinates to the displaced snapshot poly.
Subdivision Presets group & Subdivision Method group
The controls in these two group boxes specify how the program applies the displacement map when
Subdivision Displacement is turned on. They are identical to the Surface Approximation controls used
for NURBS surfaces.
Comments

Editable Poly
Glossary
Editable Poly
An editable poly is a type of deformable object. An editable poly is a polygonal mesh; that is, unlike
an editable mesh, it uses more than three-sided polygons. Editable polys are useful in that they
avoid invisible edges. For example, if you use a cut-and-slice operation with editable polys, the
program doesn't insert extra vertices along any invisible edge. You can convert NURBS surfaces,
editable meshes, splines, primitives, and patch surfaces to editable polys.
Comments
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Make a selection. > Modify panel > Modifier List > Poly Select
Make a selection. > Modifiers menu > Selection Modifiers > Poly Select
The Poly Select modifier lets you pass a sub-object selection up the stack to subsequent modifiers. It
provides a superset of the selection functions available in Editable Poly. You can select vertices,
edges, borders, polygons, and elements. You can change the selection from sub-object level to
object level.
When you apply the Poly Select modifier and then go to any sub-object level, the select-and-
activated.
Using XForm Modifiers to Animate a Poly Selection
When you apply a Poly Select modifier, there are no animation controllers assigned to the sub-object
selection. This means that the selection has no way to "carry" the transform information needed for
animation.
To animate a sub-object selection using Poly Select, apply either an XForm or Linked XForm modifier
to the selection. These modifiers provide the necessary controllers for animating the effects of
transforms. In a sense, they give "whole-object status" to the sub-object selection.
XForm
Linked XForm
accordingly.
Procedure
To use the Poly Select modifier:
1. Create or select an object.

Note: Applying a Poly Select modifier to an object other than a polymesh type will convert the
object to a polymesh object. If you want more control over the conversion, add a Turn To Poly
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modifier before applying the Poly Select modifier. The Turn To Poly modifier provides
conversion options that aren't available with the Poly Select modifier.
2. Apply the Poly Select modifier.
3. Select vertices, faces, or polygons.
Interface
Modifier Stack
VertexSelects vertices.
EdgeSelects edges.
BorderSelects borders.
PolygonSelects polygons.
ElementSelects elements.
Parameters rollout

Provides buttons for accessing different sub-object levels, working with named selections and
handles, display settings, and information about selected entities.
The icons at the top of the Selection rollout let you specify the method of face selection.
Clicking a button here is the same as choosing a sub-object type in the modifier stack. Click the
button again to turn it off and return to the Object selection level.
region.
EdgeSelects a polygon edge beneath the cursor; region selection selects multiple edges
within the region.
BorderTurns on Border sub-object mode, which lets you select an area on a mesh that can
generally be described as a hole. Areas like this are usually sequences of edges with faces on only
one side. For example, a box doesn't have a border, but the Teapot object has a couple of them: on
the lid, on the body, on the spout, and two on the handle. If you create a cylinder, then delete the
top face, the top row of edges forms a border.
When the Border sub-object level is active, you can't select edges that aren't on borders. Clicking a
single edge on a border selects that whole border.
Borders can be capped (either in editable poly or by applying the cap holes modifier). They can also
be connected to another object (compound object connect).

PolygonSelects all coplanar polygons beneath the cursor. Usually, a polygon is the area you
see within the visible wire edges. Region selection selects multiple polygons within the region.
ElementSelects all contiguous polygons in an object; region selection selects the same.
By VertexSelects any sub-objects at the current level that use a vertex you click. Applies to all
sub-object levels except Vertex. Also works with Region Select.
Ignore BackfacesSelecting sub-objects selects only those whose normals make them visible in
the viewport. When turned off (the default), selection includes all sub-objects, regardless of the
direction of their normals.
selection level.

Get Vertex SelectionSelects faces based on the last vertex selection. Selects all faces shared by
any selected vertex. The selection is added to the current selection. Available only when the current
sub-object level is not Vertex.
Get Poly SelectionSelects vertices based on the last polygon/element selection. This selection is
added to the current selection. Available only when the current sub-object level is not Polygon or
Element.
Get Edge SelectionSelects faces based on the last edge selection. Selects those faces that
contain the edge. Available only when the current sub-object level is not Edge or Border.

selection.
objects, and between comparable modifiers and editable objects. For example, you can apply a Poly
Select modifier to a sphere, create a named selection set of edges, and then copy the selection to a
different sphere that's been converted to an editable mesh object. You can even copy the selection
set to a different type of object, because the selection is identified by the entities' ID numbers.

missing faces exist. Available only at the Edge or Border sub-object level.
Selection Info
At the bottom of the Parameters rollout for Mesh Select is a text display giving you information
about the current selection. If 0 or more than one sub-object is selected, the text gives the number
and type selected. If one sub-object is selected, the text gives the ID number and type of the
selected item.
Note: When the current sub-object type is Element, selection information is given in polygons When
the current sub-object type is Border, selection information is given in edges.
Comments

Make a selection. > Modify panel > Modifier List > Object-Space Modifiers > Turn to Poly
The Turn To Poly modifier lets you apply object conversions in the modifier stack. Also, when you
apply the general-purpose modifiers, such as Normal, Material, or UVW Map, it can be helpful to
explicitly control the type of object beforehand.
When you use Turn To Poly, you're joining triangles into polygons, so you might need to have
restrictions on polygon convexity, size, and planarity. All conversions from patches produce quads
and triangles. Conversions from meshes can produce arbitrarily large polygons. Mesh polygons are
controlled as usual by joining together faces that are separated by invisible edges.
Note: Converting from one object type to another causes a complete caching in the modifier stack.
When you have large objects in your scene, this can take up a lot of space. For example, an object
that starts as a mesh, converts to a patch, and then back to a mesh takes three times as much
space as a mesh that has only ordinary modifiers like Bend or UVW Map applied.
Tip: Turn To Poly can be useful on polymeshes, allowing you to invert a selection or change the
selection level in a modifier that doesn't depend on topology.
Procedure
Example: To prevent interior vertices from being passed up the stack:
1. Create an NGon in wireframe mode: Create panel > Shapes > Splines > Object Type rollout >
NGon.
2. Convert the NGon to an editable mesh by right-clicking the stack display and choosing Convert
to > Editable Mesh.
3. In the stack display (or in the Selection rollout), choose the Polygon sub-object mode.
4. Choose Edit > Object Properties to display the Object Properties dialog.
5. Turn on Vertex Ticks. Choose OK to close the dialog.
6. Click Cut under the Edit Geometry rollout, and make a cut from one side of the NGon to the
other. Notice that an interior vertex now exists.
Note: Doing this on an NGon doesn't always generate an interior vertex.
7. Apply the Turn To Poly modifier: Modify panel > Modifier List > Turn To Poly. Notice the interior
vertex clears.
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Interface
Parameters rollout
Keep Polygons ConvexDoes not join across edges if the resulting polygon would not be convex.
"Convex" means that you can connect any two points in the polygon with a line that doesn't go
outside the polygon. A polygon is not convex if you can draw a line between vertices and that line
lays outside of the polygon.
Problems that can occur with non-convex polygons include the fact that changes in the geometry of
the input object can result in a different topology for the Turn To Poly result. For instance, in a box,
if you drag one of the top corners across the middle of the top face, the box becomes non-convex.
Turn To Poly would then see this as two triangles instead of one quad, and the number of points in
the result would change.
Limit Polygon SizeLimits the number of sides to a polygon so that the surface is better defined.
For example, you might want to produce a polymesh of triangles and quads, or one composed of all
triangles, rather than joining together more than two triangles into pentagons, hexagons, and so on.
Max SizeThe maximum number of sides to a polygon.
Require Planar PolygonsCreates polygons composed of flat planes. Does not join faces together
across an edge if the edge has a sharper angle than the threshold listed.
ThresholdControls the threshold of the angle between polygonal planes.
Remove Mid-Edge VerticesEliminates divisions that result from intersections with invisible

edges.
Sub-object Selections group
These options control the selection of sub-objects.

PreservePasses the sub-object selection up the stack. For example, if you have an object that you
have converted to an editable mesh, and you've selected a polygon, then when you apply a Turn To
Poly modifier, the polygon remains selected. Default=on.
ClearClears the sub-object selection so that nothing is selected. Default=off.
InvertInverts the sub-object selection. All sub-objects not currently selected are selected, and all
sub-objects currently selected are deselected. Default=off.
Include Soft SelectionAffects the action of sub-object Move, Rotate, and Scale functions. When
these are on, 3ds max applies a spline curve deformation to unselected vertices surrounding the
transformed selected sub-object. This provides a magnet-like effect, with a sphere of influence
around the transformation. Use this when you want to preserve the soft selection from beneath. For
example, if Use Soft Selection is on when you select vertices on an editable mesh, and you apply
Turn To Poly with Include Soft Selection on, then the same soft selection will apply to the polymesh
vertices. Default=on.
Selection Level group
These options set the sub-object selection level for passing up the rest of the stack.
From PipelineUses the equivalent of whatever the input object uses (patch level becomes face
level, and so on.). For example, if you create a box, convert it to an editable mesh in face mode, and
apply a Turn To Poly modifier to it, 3ds max passes a sub-object selection in face mode up the
stack. The Turn To Poly modifier takes the sub-object face selection into account and selects the
polygons that derive from the face selection.
ObjectUses object as the selection level for passing up the rest of the stack.
EdgeUses edge as the sub-object selection level for passing up the rest of the stack.
VertexUses vertex as the sub-object selection level for passing up the rest of the stack.
FaceUses face as the sub-object selection level for passing up the rest of the stack.
Comments

Main toolbar > Named Selection Sets
The Named Selection Sets list allows you to name a selection set and recall the selection for later
use. See also Edit Named Selections on the Edit menu for ways to edit named sub-object selections.
A named selection set is removed from the list if all of its objects have been deleted from the scene,
or if all of its objects have been removed from the named set in the Named Selections Sets dialog.
Both object-level and sub-object-level named selections are case sensitive.
You can transfer sub-object named selections from one level in the Stack to another. The Copy and
Paste buttons let you copy named selections from one modifier to another.
While at a specific sub-object level (vertex, for example), you can make selections, and name those
selections in the named selection field of the toolbar. The named sets are specific to both the
selection level and the level on the Stack.
Keep in mind the following restrictions:
You can transfer named selections only between the same type of sub-object level. In other
words, you can transfer named selections from vertex sub-object to another vertex sub-object,
but you can't transfer it to face or edge sub-object level.
You must transfer the selection between modifiers that handle like geometry. You can copy and
paste between an editable mesh and a mesh select modifier, but you can't copy and paste
between a mesh select modifier and an editable spline.
You can copy and paste between two modifiers in two different objects, as long as you're at the
same level and both modifiers handle the same type of geometry.
If you change the topology of a mesh after creating a named selection (such as deleting some
vertices), the named selections will probably no longer select the same geometry.
Procedures
To create a named selection set:
1. Select the objects you want to be in a set.
2. Type the name of the set in the Named Selection Set field and press ENTER.
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3. Whenever you want to access the selection, choose its name from the Named Selection Sets
list.
To select a named selection set, do one of the following:
To select a single item, click it in the list.
To select more than one item in the list, select one, and then select others while holding down the
CTRL key.
To deselect single items after you've selected multiple items, hold down the ALT key.
Comments
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Edit menu > Edit Named Selections
Main toolbar > Named Selection Sets
The Named Selection Sets dialog, available from the Edit menu, is a modeless dialog that lets you
create named selection sets or select objects to add to (or remove from) a selection set, directly
from the viewport. The dialog also lets you organize your current named selection sets, browse their
members, delete or create new sets, or identify which named selection sets a particular object
belongs to.
Note: This dialog applies to objects only. For editing sub-object named selection sets, see Edit
Named Selections Dialog.
See also

Using Named Selection Sets
Edit Named Selections Dialog
Procedures
To create a named selection:
1. In the viewport, select the objects you want to gather as a selection set.
2. Click the toolbar Named Selection Sets button or choose Edit > Edit Named Selections.
3. On the Named Selection Sets dialog, click Create New Set.
4. Enter a name for the new selection set.
To add objects to a named selection set:
2. Choose the named selection set in the dialog.
3. Select one or more objects in the viewport.
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4. In the dialog, click Add Selected Objects.
To remove objects from a named selection set:
2. Choose the named selection set in the dialog.
3. In the viewport, select the objects you want to remove.
4. In the dialog, click Subtract Selected Objects.
Note: You can also remove objects by selecting them in the Named Selection Sets dialog, then
clicking Remove or pressing DELETE.
To move an object from one set to another:
2. In the Named Selection Sets dialog, expand the selection sets.
3. Drag an object from one set to another.

The object is moved into the second set. If you use CTRL+drag, the object will be copied into
the second set.
Tip: You can also copy the contents of an entire set into another, by dragging them into the
desired selection set.
To select objects in a set, do one of the following:
Highlight the object(s) in the Named Selection Sets dialog.
Click Select Objects In Set to select all of the objects in the highlighted set.
Tip: You can also double-click the selection set to select all of its objects.
Interface

In the Named Selection Sets dialog, all of the current named selection sets are displayed. By clicking
the plus (+) or minus (-) icon, you can expand or collapse (respectively) the object list for each set.
The buttons along the top of the dialog let you create or delete sets, add or remove objects from a
set, select objects (independently or as a selection set), and see which named selection set(s) a
particular object belongs to.
Create New SetCreates a new selection set, including any currently selected objects as
members.
Note: If no objects are selected, an empty set is created.
RemoveRemoves the selected object or selection set.

Note: Deleting an object or its selection set does not delete the object; it only destroys the named
set.
Add Selected ObjectsAdds the currently selected objects to the selected named selection
set.
Subtract Selected ObjectsRemoves currently selected objects from the selected named

selection set.
Select Objects in SetSelects all members of the current named selection.
Select Objects by NameOpens the Select Objects dialog, where you can select a group of
objects. The selected objects can then be added to or removed from any named selection set.
Highlight Selected ObjectsHighlights all of the named selection sets that contain the
current scene selection.
Status BarDisplays the current named selection set, as well as whats

currently selected in the scene. If more than one object is selected, the number of selected objects
is displayed.
Right-click menu
Additional commands are available when you right-click in the Named Selection Sets dialog.
RenameLets you rename the selected set or object.
Tip: You can rename objects or sets by pressing F2 on your keyboard.
CutRemoves the selected object or set and stores it in a buffer for reuse with the Paste command,
similar to the Cut command in Windows.
Tip: You can cut an object or set by pressing CTRL+X on your keyboard.
CopyCopies the selected object or set and stores it in a buffer for reuse with the Paste command,
similar to the Copy command in Windows.
Tip: You can copy an object or set by pressing CTRL+C on your keyboard.
PasteAdds a Cut or Copied object or set into another set.
Tip: You can paste an object or set by pressing CTRL+V on your keyboard.
Collapse AllCollapses all expanded selection sets.
Expand AllExpands all collapsed selection sets.
Create New SetCreates a new selection set, including any currently selected objects as members.
RemoveRemoves the selected object or selection set.
Add Selected ObjectsAdds currently selected objects to the selected named selection set.
Subtract Selected ObjectsRemoves currently selected objects from the selected named selection
set.
Select Objects in SetSelects all members of the current named selection.
Select Objects by NameOpens the Select Objects dialog, and adds all objects selected there to
the current named selection set.
Highlight Selected ObjectsHighlights all of the named selection sets that contain the current

scene selection.
Find NextToggles through selection sets containing the selected object, when used in
collaboration with the Highlight Selected Objects command.
Tip: You can use CTRL+G to toggle through the sets.
Comments

Make a sub-object selection. > Edit menu > Edit Named Selections
Make a sub-object selection. > Main toolbar > Named Selection Sets
Edit Named Selections displays the Edit Named Selections dialog, letting you manage named
selection sets of sub-objects. Unlike the Named Selection Sets dialog, which applies to objects only,
it is a modal dialog, which means that you must close it in order to work in other areas of the
software. Also, you can work only with existing named sub-object selections; you cannot use the
dialog to create new selections.
Procedure
To edit named sub-object selections:
1. At a sub-object level, create one or more named selection sets.
The Edit Named Selections dialog opens, listing all named selection sets for the current sub-
object level.
3. Use the dialog controls to edit the named selection sets.
Interface
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The dialog window lists all named selections at the current sub-object level. The buttons beneath the
windows let you delete, merge, and edit the listed items. Use standard mouse-plus-keyboard
methods (using CTRL or SHIFT) to highlight list items and designate them for subsequent
operations.
To rename a set, click it in the list, and then edit its name in the one-line window immediately below
the list.
CombineMerges all objects from the highlighted selection sets into a single, new selection set.
Select two or more selection sets, and then click Combine and enter a new name for the selection
set. Use Delete to delete the original sets.
DeleteDeletes all highlighted items from the Named Selections window. This affects only selection
sets, not the sub-objects they refer to.
Subtract (A-B)Removes the sub-objects contained in one selection set from another. Select one
item in the Named Selections window, and then select the other. The top highlighted item in the
window is operand A, and the bottom is operand B (regardless of the order of their selection). Click
Subtract (A-B) to subtract the sub-objects in the bottom item from those in the top item. There
must be some overlap between the two selection sets for this command to have any effect.
Subtract (B-A)Subtracts the sub-objects in the top selected item from those in the bottom item.

IntersectionCreates a selection set that consists only of sub-objects that all highlighted selection
sets have in common. Highlight two or more items in the Named Selections window, and then click
Intersection. In the dialog that appears, enter a new set name and click OK.
Comments

Introduction to Sub-Object Selection

This is a general introduction to sub-object selection. For specific information, see Editable Mesh,
Editable Patch, Editable Poly, and Editable Spline; for a discussion of NURBS sub-object selection,
see Sub-Object Selection.
When you model an object, often you edit a portion of its underlying geometry, such as a set of its
faces or vertices. Use the methods described in this topic to make sub-object selections.
Left: A selection of face sub-objects

Middle: A selection of edge sub-objects
Right: A selection of vertex sub-objects
You can access sub-object geometry through a variety of methods. The most common technique is
to convert an object into "editable" geometry such as a mesh, spline, patch, NURBS, or poly object.
These object types let you select and edit geometry at the sub-object level.
If you have a primitive object and want to retain control of its creation parameters, you can apply a
modifier such as Edit Mesh, Edit Spline, or Edit Patch.
Spline Lines and NURBS curves and surfaces are the exception: you can edit their sub-objects as
soon as you create these kinds of objects.
You choose a sub-object level in the stack display. Click the plus sign that appears next to the
name of an object that has sub-objects. This expands the hierarchy, showing the available sub-
object levels. Click a level to choose it. The name of the sub-object level highlights in yellow, and the
icon for that sub-object level appears to the right of both its name and the name of the top-level
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object.
Stack display shows the sub-object hierarchy, letting you choose a sub-object level.
Editing at the Sub-Object Level
When you edit an object at the sub-object level, you can select only components at that level, such
as vertex, edge, face sub-objects, and so on. You cant deselect the current object, nor can you
select other objects. To leave sub-object editing and return to object-level editing, click the top-level
name of the object.
Selecting the top-level object name exits sub-object editing
Procedures
To make a sub-object selection:

These methods assume the object has sub-object levels. If the object has no sub-object levels (for

example, a primitive such as a sphere), the plus icon is not present. In that case, you need to
collapse the object or apply an Edit modifier before you can edit its sub-object geometry.
1. Select the object you want to edit.
2. Open the Modify panel.
3. On the Modifier Stack Display, click the + icon to expand the object's hierarchy.
4. On the stack display, click to choose a level of selection, such as vertex, edge, face, and so on.
Tip: For some kinds of objects, such as editable meshes, shaded viewports don't display sub-
object selections. If this is the case, right-click the viewport label and choose Wireframe or
Edged Faces view.
Tip: For a detailed selection, you might want to zoom in on the object.
5. Click one of the toolbar selection buttons, and then use the same selection methods youd use
on objects to select the sub-object components.
There are two alternative ways to go to a sub-object level:
Select the object and go to the Modify panel. Then right-click the object, and use the quad
menu > Tools 1 (upper-left) quadrant > Sub-objects sub-menu.
Choose the selection level using buttons in the Modify panel's Selection rollout, if one is
present for the type of object you're editing.
Tip: Once you're at a sub-object level, the INSERT key cycles through the levels of other kinds of
sub-objects.
To exit sub-object selection mode, do one of the following:
In the stack display, click the highlighted sub-object name or the top-level name of the object.
If the object has a Selection rollout, click to turn off the button of the active sub-object level.
Right-click the object, and then in the Tools 1 (upper-left) quadrant of the quad menu, choose
Switch to Top Level.
Open another command panel. This turns off sub-object editing.

If you think youve turned off sub-object editing but top-level object selection is still not restored,
it might be due to the following reasons:
Your selection is locked. Click the Lock Selection Set button in the prompt line to turn it
off.

Youve set the Selection Filter on the main toolbar to a specific category of object, so you cant
select any of the other categories. To fix this, select All in the Selection Filter list.
Comments

Editable Patch Surface
Create or select an object > Modify panel > Right-click object's entry in the stack display >
Convert To: Editable Patch
Create or select an object > Right-click the object > Transform (lower-right) quadrant of the quad
menu > Convert To: > Convert to Editable Patch
Editable Patch provides controls for manipulating an object as a patch object and at five sub-object
levels: vertex, handle, edge, patch, and element.
Editable Patch objects provide the same basic functionality as the Edit Patch modifier. Because
working with them requires less processing and memory, we recommend you use Editable Patch
objects rather than the Edit Patch modifier whenever possible.
When you convert an object to Editable Patch format or apply an Edit Patch modifier, 3ds max
converts the object's geometry into a collection of separate Bezier patches, each patch made up of a
framework of vertices and edges, plus a surface.
The framework of control points and connecting tangents defines the surface. Transforming the
components of this framework is the primary technique in patch modeling. The framework does
not appear in scanline renderings.
The surface is the Bezier patch surface, whose shape is controlled by the vertices and edges. The
surface is the renderable geometry of the object.
Prior to version 3 of the software, some patch objects contained a lattice that appeared separate
from the surface. This is no longer the case: The control framework conforms exactly to the surface,
making it easier to visualize the results of patch modeling.
The output of the Surface modifier is a patch surface. If you are modeling with splines and are using
the Surface modifier to generate a patch surface from the spline cage you can use an Edit Patch
modifier for further modeling.
Show End Result
Turn on Show End Result on the Modify panel if you have modifiers above the Editable Patch
modifier and want to see the result of all the modifiers in the modifier stack. This function will
remain on until you turn it off.
See also
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Procedures
To work at a sub-object level:
1. In the modifier stack display, choose a selection level: Element, Patch, Edge, or Vertex.
2. Select the sub-object geometry you want to edit.
To attach an object using Edit Patch:
1. Select an editable patch object, or an object with the Edit Patch modifier applied.
2. Click Attach in the Modify panel > Geometry rollout > Topology group.
3. Turn off Reorient, if necessary.
4. Select an object to attach.

The object takes on a patch structure and stays in its original location.
The attached object is now part of the editable patch object. The Tessellation settings for the
original object affect attached objects as well.
To attach and reorient an object:
Turn on Reorient before attaching the object.

The object is both attached and moved to align with the patch object. The pivot of the attached
object matches the pivot of the Edit Patch object.
To detach a patch surface:
1. Make a patch selection.
2. If you want to reorient the detached surface, turn on Reorient.
3. Click Detach.
A Detach dialog appears.
4. Name the detached surface.

The detached surface remains in place if you chose not to reorient it. It is deselected and
assigned a different color.
To copy a patch surface:

2. In the Geometry rollout > Topology group, turn on Copy.
3. If you want to reorient the copied surface, turn on Reorient.
4. Click Detach.
A Detach dialog appears.
5. Name the patch copy.

The copied object remains in place if you chose not to reorient it. It is deselected and assigned
a different color.
To delete a patches:
2. Click Delete.
The patches disappear.
To subdivide a patch:
1. Select one or more patches.
2. Turn on Propagate to maintain surface continuity.
3. Click Subdivide.
The patch selection is subdivided, increasing the number of patches.
You can repeat this process, subdividing multiple times. Each subdivision increases the number
of patches, which become increasingly smaller. The following figure is an example of modeling
a highly subdivided surface.
To subdivide an edge:
1. At the Edge sub-object level, make an edge selection.

A single edge is indicated by its coordinate axis or transform gizmo at the center of the edge.
For multiple edges, the axis icon is at the center of the selection set.

2. Optionally, turn on Propagate to maintain surface continuity.
3. Click Subdivide.
The edge selection is subdivided. Each new edge is on the boundary of a new, smaller patch.
To add a patch:
1. At the Edge sub-object level, select an open edge (one that bounds a single patch, and
therefore is not shared with another patch).
2. Click Add Tri or Add Quad.

A new patch is added to the surface.
To unlock interior edges of selected patches:
1. At the Patch sub-object level, select one or more patches.
2. Right-click the selection and choose Manual Interior from the pop-up menu.
The check mark moves from Auto Interior, the default, to Manual Interior. Interior edges and
their vertices are now unlocked. If you now transform the patch, the interior edges remain
static. To transform the interior vertices, see the following procedure.
To transform interior vertices:
1. At the Patch sub-object level, select one or more patches.
2. Right-click the selection and choose Manual Interior from the pop-up menu.
The check mark moves from Auto Interior, the default, to Manual Interior.
3. Switch to Handle level.

The interior vertices appear as yellow squares.
4. Transform the interior vertices of the selected patches.
To anchor a patch:
By default, the welding process shifts the geometry of both patches to a common center. You can
anchor one patch so that the other patch moves to its location when the weld occurs.
1. At the Patch (Patch) level, before you begin the weld, select the patch you want anchored.
2. Return to Vertex level and weld the vertices.

When the weld occurs, the anchor patch remains fixed while the other patch moves to make
the weld.
To create a new element, do one of the following:

SHIFT+drag one or more patches.
SHIFT+extrude one or more patches.
SHIFT+extrude one or more edges.
SHIFT+drag an element.
Interface
Selection rollout
The Selection rollout provides buttons for selecting the sub-object level, working with named
selections, display and filter settings, and displays information about selected entities.
Editable Patch has five levels of sub-object editing: Vertex, Handle, Edge, Patch, and Element. The
selection you make at each level appears in the viewport as a component of the patch object. Each
level maintains its own sub-object selection. When you return to a level, the selection reappears.
Clicking a button here is the same as clicking a sub-object type in the Modifier Stack rollout. Click
the button again to turn it off and return to the object selection level.
VertexLets you select vertex control points and their vector handles on a patch object. At
this level, vertices can be welded and deleted.
By default, a transform gizmo or axis tripod appears at the geometric center of the selected vertices.
If you turn on Gizmo Preferences > Allow Multiple Gizmos, however, gizmos or tripods appear at all
selected vertices.

Vector handles appear as small green squares around selected vertices. Also, with certain objects
you may see interior vertices represented as yellow squares.
HandleLets you select vector handles associated with each vertex. This level lets you
manipulate the handles without needing to deal with vertices.
A Transform gizmo or axis tripod appears at the geometric center of the selected handles.
At this level, vector handles appear as small green squares around all vertices. Also, with certain
objects you may see interior vertices represented as yellow squares.
EdgeSelects a bounding edge of the patch object. At this level, edges can be subdivided, and
new patches added to open edges.
A Transform gizmo or axis tripod appears in the middle of a single selected edge. For multiple
selected edges, the icon is at the selection center.
PatchSelects an entire patch. At this level, a patch can be detached, deleted, or its surface
subdivided. When a patch is subdivided, the surface is broken into smaller patches, each with its
own vertices and edges.
ElementSelect and edit an entire element. An element has contiguous faces.

Tip: You can highlight selected patches in a shaded display by turning on Shade Selected Faces in
the Viewport Properties dialog. Right-click over the viewport name and choose Configure in the
menu to display the Viewport Properties dialog. You can also use the default keyboard shortcut, F2,
to toggle this feature.
Named Selections group
These functions work with named sub-object selection sets. To create a named sub-object selection,
make the selection, and then enter a name in the Named Selection Sets field on the toolbar. For
more information, see Named Selection Sets.
CopyPlaces a named sub-object selection into the copy buffer. After clicking this button, choose
the named sub-object selection from the Copy Named Selection dialog that appears.
PastePastes the named sub-object selection from the copy buffer.
You can use Copy and Paste to copy sub-object selections between different objects.
Filter group
These two check boxes, available only at the Vertex sub-object level, let you select and transform
vertices, vectors (handles on the vertices), or both. When a check box is turned off, you can't select
the corresponding element type. Thus, for example, if you turn off Vertices, you can manipulate
vectors without accidentally moving a vertex.
Tip: For easier editing of vectors only, use the Handle sub-object level.
You can't turn off both check boxes. When you turn off either check box, the other one becomes

unavailable. At that point, you can manipulate the element corresponding to the check box that's on,
but you can't turn it off.
VerticesWhen on, you can select and move vertices.
VectorsWhen on, you can select and move vectors.
Lock HandlesAffects only Corner vertices. Locks the tangent vectors together so that when you
move one, you move them all. Available only at the Vertex sub-object level.
By VertexWhen you click a vertex, any handles, edges, or patches that use that vertex,
depending on the current sub-object level, are selected. Available only at the Handle, Edge, and
Patch sub-object levels.
This also works with Region Select.
normals are visible in the viewport. When off (the default), selection includes all sub-objects,
regardless of the direction of their normals. Use this on a complex patch model where you want to
select only visible patches.
ShrinkReduces the sub-object selection area by deselecting the outermost sub-objects. If the
selection size can no longer be reduced, the remaining sub-objects are deselected. Unavailable at
the Handle sub-object level.
GrowExpands the selection area outward in all available directions. Unavailable at the Handle
sub-object level.
RingExpands an edge selection by selecting all edges parallel to the selected edges. Available
only at the Edge sub-object level.
LoopExpands the selection as far as possible, in alignment with selected edges. Available only
at the Edge sub-object level.
Select Open EdgesSelects all edges that are used by only one patch. Available only at the Edge
sub-object level.
You can use this to troubleshoot a surface; open edges will be highlighted.
Selection InformationAt the bottom of the Selection rollout is a text display giving information
about the current selection. If multiple sub-objects are selected, or none is selected, the text gives
the number and type selected. If one sub-object is selected, the text gives the identification number
and type of the selected item.
See Soft Selection Rollout for information on the Soft Selection rollout settings.

Geometry and Surface Properties rollouts
The Geometry rollout provides functions for editing a patch object and its sub-objects, and the
Surface Properties controls let you modify the object's rendering characteristics. For detailed
information on sub-object-specific controls, select any of the links below:
Editable Patch (Object)
Editable Patch (Vertex)
Editable Patch (Handle)
Editable Patch (Edge)
Editable Patch (Patch)
Comments

Edit Patch Modifier
Edit Patch Modifier
Create or select an object > Modify panel > Modifier List > ObjectSpace Modifiers > Edit Patch
Create or select an object > Modifiers menu > Patch/Spline Editing > Edit Patch
The Edit Patch modifier provides editing tools for different sub-object levels of the selected object:
vertex, edge, patch, and element. The Edit Patch modifier matches all the capabilities of the base
Editable Patch object, except that you cannot animate sub-objects in Edit Patch. See Editable Patch
for a parameter reference.
Other than the inability to animate sub-objects with Edit Patch, the main difference between Edit
Patch and Editable Patch is that the modifier incorporates the ability of the Surface modifier to
generate a patch object from a spline cage. For details, see Spline Surface.
When possible, its far more efficient and reliable to perform explicit editing on an Editable Patch
object rather than store those edits within the Edit Patch modifier. The Edit Patch modifier must copy
the geometry passed to it, and this storage can lead to large file sizes. The Edit Patch modifier also
establishes a topological dependency that can be adversely effected if earlier operations change the
There are, however, situations where using the Edit Patch modifier is the preferred method.
You want to edit a parametric object as a patch, but want to retain the ability to modify its
You want to store your edits temporarily within Edit Patch until you are satisfied with the results,
before committing them permanently to an editable patch.
You want to streamline your workflow with the Spline Surface tools, which are unique to Edit
Patch.
You need to make edits across several patch objects at once, but do not want to convert them to
a single editable patch object.
You have a modifier in the stack that must stay parametric, and the resulting patch must be
edited after the modifier is applied.
Procedure
To create a patch object using the Cross Section and Spline Surface tools:
This procedure describes how to simplify the workflow of building objects using a spline cage to
which a patch surface is applied, a method described in the Surface modifier topic as Surface
Tools.
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Edit Patch Modifier
1. Create a spline object.

Make sure that the spline vertices form valid three-sided or four-sided polygons. Vertices on
splines that cross one another should be coincident.
To make spline vertices coincident, drag vertices over each other with 3D Snap turned on. 3D
Snap must have the Vertex or End Point option turned on. With 3D Snap turned on, you can
snap to vertices on existing splines as you create new splines. You can also select vertices and
use the Fuse option in an Editable Spline to make vertices coincident.
2. Convert the spline object to an Editable Spline, if necessary, or apply an Edit Spline modifier.
3. Use the Cross Section command in Edit/Editable Spline to add splines connecting different
splines in the spline object, thus creating a spline cage.
This replaces the previous workflow of using the CrossSection modifier.
4. Apply the Edit Patch modifier to the spline object.

By default, in Edit Patch the Geometry rollout > Spline Surface group > Generate Surface
option is on, causing the modifier to create patches over all valid three- and four-sided
polygons in the spline cage.
This replaces the previous workflow of using the Surface modifier.
5. Adjust the Spline Surface settings and edit the object as necessary. If you modify the spline
object, for best results, edit at the Vertex sub-object level, and be sure to select all vertices at
an intersection before moving them.
Interface
Spline Surface group
The Geometry rollout > Spline Surface group is found only in the Edit Patch modifier; it's not
available in the Editable Patch object. The group becomes available when the object to which the
Edit Patch modifier is applied consists of splines. Its controls replicate the functionality of the Surface
modifier.
For best results, apply the Spline Surface controls after creating a spline cage with the CrossSection
modifier or the Editable Spline Cross Section command. The latter approach approximates the
Surface Tools workflow (described in the Surface Modifier topic), but with a simpler modifier stack;
instead of additional CrossSection and Surface modifiers, the stack need contain only an Editable
Spline object and an Edit Patch modifier. Alternatively, you can use the Edit Spline modifier's Cross
Section command.
Generate SurfaceCreates a patch surface using existing splines to define the patch edges.
Default=on.
ThresholdDetermines the overall distance that is used to weld the vertices of the spline object. All

Edit Patch Modifier
vertices/vectors within the threshold distance of each other are treated as one. Threshold uses units
set in the Units Setup dialog. Default=1.0.
Note: Spline control handles are also treated as vertices, so setting high Threshold levels can
produce unexpected results.
Flip NormalsReverses the facing direction of the patch surface. Default=off.
Remove Interior PatchesRemoves interior faces of an object that you would not normally see.
These are the faces created within the caps or other interior patches of the same type of a closed
polygon. Default=on.
Use Only Selected SegsOnly segments selected in the Edit Spline modifier or the editable spline
object will be used by the Surface modifier to create patches. Default=off.
Note: Segment Sub-Object does not have to be left on in the Edit Spline modifier or editable spline
object.
Comments

Select an editable spline > Modify panel > Editable spline (not a sub-object level) selected in the
modifier stack
Select an editable spline > Right-click the spline > Tools 1 (upper-left) quadrant of the quad menu
> Sub-objects > Top-level
The functions available at the editable spline object level (that is, when no sub-object level is active)
are also available at all sub-object level, and work exactly the same at each level.
Interface
Rendering, Interpolation and Selection rollouts
See Editable Spline for information on the Rendering, Interpolation and Selection rollout settings.
New Vertex Type Four radio buttons in this group let you determine the tangency of the new
vertices created when you shift copy segments or splines. This has no effect on the tangency of
vertices created using the Create Line button.
LinearNew vertices will have linear tangency when this is turned on.
SmoothNew vertices will have smooth tangency when this is turned on.
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BezierNew vertices will have bezier tangency when this is turned on.
Bezier CornerNew vertices will have bezier corner tangency when this is turned on.
Create LineAdds more splines to the selected spline. These lines are separate spline sub-objects;
create them in the same way as the line spline. To exit line creation, right-click or click to turn off
Create Line.
BreakSplits a spline at the selected vertex or vertices. Select one or more vertices and then click
Break to create the split. There are now two superimposed non-connected vertices for every
previous one, allowing the once-joined segment ends to be moved away from each other.
AttachLets you attach another spline in the scene to the selected spline. Click the object you want
to attach to the currently selected spline object. The object you're attaching to must also be a spline.
Unattached splines (left) and attached splines (right)
When you attach an object, the materials of the two objects are combined in the following way:
If the object being attached does not have a material assigned, it inherits the material of the
object it is being attached to.
Likewise if the object you're attaching to doesn't have a material, it inherits the material of the
object being attached.
If both objects have materials, the resulting new material is a multi/sub-object material that
encompasses the input materials. A dialog appears offering three methods of combining the
objects' materials and material IDs. For more information, see Attach Options Dialog.
Attached shapes lose their identity as individual shapes, with the following results:
The attached shape loses all access to its creation parameters. For example, once you attach a
circle to a square you cannot go back and change the radius parameter of the circle.
The modifier stack of the attached shape is collapsed.

Any edits, modifiers, and animation applied to the attached shape are frozen at the current frame.
ReorientWhen on, rotates the attached spline so that its creation local coordinate system is

aligned with the creation local coordinate system of the selected spline.
Attach Mult.Click this button to display the Attach Multiple dialog, which contains a list of all other
shapes in the scene. Select the shapes you want to attach to the current editable spline, then click
OK.
Cross SectionCreates a spline cage out of crosssectional shapes. Click Cross Section, select
one shape then a second shape, splines are created joining the first shape with the second. Continue
clicking shapes to add them to the cage. This functionality is similar to the Cross Section modifier,
but here you can determine the order of the cross sections. Spline cage tangency can be defined by
choosing Linear, Bezier, Bezier Corner or Smooth in New Vertex Type group.
Note: Cross Section is not available at the object or vertex level.
End Point Auto-Welding
Automatic WeldingWhen Automatic Welding is turned on, an end point vertex that is placed or
moved within the threshold distance of another end point of the same spline is automatically
welded. This feature is available at the object and all sub-object levels.
Threshold Dist.The threshold distance spinner is a proximity setting that controls how close
vertices can be to one another before they are automatically welded. Default=6.0.
InsertInserts one or more vertices, creating additional segments. Click anywhere in a segment to
insert a vertex and attach the vertex to the mouse. Optionally move the mouse and then click to
place the new vertex. Continue moving the mouse and clicking to add vertices. A single click inserts
a corner vertex, while a drag creates a Bezier (smooth) vertex.
Right-click to complete the operation and release the mouse. At this point, you're still in Insert
mode, and can begin inserting vertices in a different segment. Otherwise, right-click again or click
Insert to exit Insert mode.
Comments

Make Unique (Material Editor)
Material Editor > Make Unique
Make Unique makes a map instance into a unique copy. It also makes an instanced sub-material into
a unique, standalone sub-material. It gives the sub-material a new material name. A sub-material is
a material within a multi/sub-object material.
Using Make Unique prevents changes to the top-level material instance from affecting the sub-
material instance within the multi/sub-object material.
You can also use Make Unique at the map level, when a map is instanced to different components of
the same material.
Procedure
Example: Create an instanced sub-material:
1. Create a box and a sphere.
3. Choose a sample slot, click the Material Type button, choose Multi/Sub-Object in the Material/
Map Browser, and then click OK.
4. Select the box, and apply the new multi/sub-object material to it.
5. Drag one of the Sub-Material buttons from the Material Editor to the sphere.
6. Choose a different sample slot, and use the Pick Material From Object button to get the
sub-material applied to the sphere.
At this point, the material applied to the sphere and the sub-material are instances of each
other.
7. Go to the parameters for the instanced sub-material by clicking its Sub-Material button.
8. The Make Unique button is now available. Click it to make the sub-material unique again,
and assign it a new material name.
Make Unique is not available for the top-level instance of the sub-material.
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Comments
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Clean MultiMaterial Utility
Material Editor > Utilities menu > Clean MultiMaterial
Select an object. > Utility panel > More button > Clean MultiMaterial > Click Find All button.
The Clean MultiMaterial utility parses Multi/Sub-Object materials and displays any that contain sub-
materials are not assigned to any material IDs in the scene. You can then choose to remove any
unused sub-materials, thus consolidating your Multi/Sub-Object materials.
This utility searches an entire scene. You do not need to select objects or materials.
Procedures
To clean all materials:
1. Open a scene.
2. On the Material Editor, open the Utilities menu and choose Clean MultiMaterial.
The Clean Multi-Materials dialog opens, displaying the following:
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The dialog displays a list of all Multi/Sub-Object materials that contain unassigned sub-
materials. All the Multi/Sub-Object materials are automatically turned on, and thus subject to
cleaning.
3. Click the OK button.

All unused sub-materials are deleted and the dialog closes.
To clean specific Multi/Sub-Object materials:

When you create a Multi/Sub-Object material, you might create extra sub-materials in anticipation of
objects that haven't been added to the scene yet. In such cases, you can prevent the utility from
removing the extra sub-materials.
1. Open a scene.
2. On the Material Editor, open the Utilities menu and choose Clean MultiMaterial.
The Clean Multi-Materials dialog opens.

3. In the list, turn off any Multi/Sub-Object materials you do not want to clean.

4. Click OK.
All unused sub-materials are deleted from the indicated materials and the dialog closes.
Interface

The Clean dialog presents you with a list of all Multi/Sub-Object materials in the scene that contain
unassigned sub-materials. You can then select materials from which to remove unassigned sub-
materials.
The dialog consists of two parts: a status field at the top and a list of Multi/Sub-Object materials.
Status Field
The Status Field is not interactive. It displays prompts about the unused materials.
Materials list
This list displays Multi/Sub-Object materials that have sub-materials that are not currently being
used in the scene. When the Clean MultiMaterial utility opens, it lists all Multi/Sub-Object materials
with unused sub-materials and turns them on to be cleaned. Click the check box next to a material
name to turn it off and prevent the utility from cleaning it.
CleanDeletes unused sub-materials from Multi/Sub-Object materials that are turned on.
CancelCancels the operation.

Comments

Instance Duplicate Maps Utility
Material Editor > Utilities menu > Instance Duplicate Map
Utility panel > More button > Instance Duplicate Maps > Click Find All button.
The Instance Duplicate Maps utility searches an entire scene for materials that have duplicate
Bitmap maps and give you the option to instance them. If your scene has different materials that
use the same texture maps, creating instances will reduce the load on your video card, which can
improve viewport performance.
For example, if you're rendering a scene that has three materials that reference the texture map,
MyMap.bmp, the software will search for that texture map three times, once for each material it is
used in. If you use the Instance Duplicate Maps utility, you can create instances of the duplicate
maps so the renderer will find the first reference to MyMap.bmp and use it for any subsequent
material that uses the same maps.
This utility searches an entire scene. You do not need to select objects or materials.
Note: In order to be eligible for instancing, the Bitmap maps must be identical in all aspects with
regard to their initial settings. For example, if two materials use the same bitmap image applied as
Diffuse maps, but have different initial Tiling settings, their maps aren't eligible for instancing.
Note: Animation is not supported as a criterion for determining duplication, so any differences in the
animation of Bitmap map parameters will be lost from the use of this utility. For example, if two
materials use the same bitmap image applied as Diffuse maps, and have the same initial Tiling
settings, but their Tiling settings are animated to different subsequent values, after using the utility
both maps will have the same animation as the first map.
Procedures
To instance all duplicate maps:
1. Open a scene.
2. On the Material Editor, open the Utilities menu and choose Instance Duplicate Map.
The Instance Duplicate Maps dialog opens, displaying the following:
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The dialog displays a list of all texture maps found to have exact duplicates in the scene. The
search will include all copies found to have identical paths and settings.
3. Click the Instance All button.

All identical maps are instanced and the dialog closes.
To instance only specific maps:

Perhaps you only want to instance a few of the texture maps found in specific materials.
Note: You have to select at least two maps from the Duplicates list
1. Open a scene.
2. On the Material Editor, open the Utilities menu and choose Instance Duplicate Map.
The Instance Duplicate Maps dialog opens.

3. From the Duplicated Textures list, click the arrow button to open the list of duplicated textures
and choose a texture you want to instance.

4. From the Duplicate list, select at least two map entries.

If you don't select at least two entries, you will see a warning in the status field at the top of
the dialog.
5. Click Instance.

Since all three of the maps were instanced, the dialog now shows there are 42 duplicated
textures.
6. Continue instancing texture or click Close when you are done.
Interface

The primary user interface of the Instance Duplicate Maps utility is the Instance Duplicate Maps
dialog, which you open from the Utilities menu in the Material Editor. This utility works globally, so
you do not need to select objects or materials in order to use it.
The dialog consists of three parts: a status field at the top, a drop menu containing duplicated
texture maps and a list of map names and the materials that belong to.
Status Field
The Status Field is not interactive. It shows you prompts and warnings about the duplicate textures
and maps. Some of the messages displayed in this section include:
No duplicate textures were found in the scene. when the utility is run in a scene containing no
duplicates.
Select duplicates and press Instance to consolidate. when the utility is run in a scene
containing duplicates.
The selected duplicates contain parameters that are animated. Animation is not supported as
criteria for determining duplication so differences in the animation will be lost. when animation
is present in a set of duplicates.
At least two maps must be selected in order to proceed. when the Instance button is pressed
with one or no duplicates selected.

Duplicated Textures list
This is a drop-down list containing all the maps in the scene found to be identical in every way,
including texture map path and name, and initial parameter settings. The number after Duplicated
Textures indicates how many sets were found in the scene. This list appears with the first entry
visible and once active can be scrolled using the up/down arrow keys.
Duplicates list
When you choose a texture in the Duplicated Textures list, the software displays its duplicates in the
Duplicates list, showing the map name and the name of the parent material. The number after
Duplicates indicates how many copies were found in the scene. Textures in this list can be chosen
individually. Only duplicates chosen in this list will be consolidated into the final instance if you click
the Instance button. The name of the resulting instance is that of the first chosen duplicate in the
list.
Instance AllPerforms the consolidation on all duplicates in the scene regardless of selections
made from the Duplicated Textures or Duplicates lists.
InstancePerforms the consolidation on only the duplicates chosen on the Duplicates list. Selected
duplicates will disappear from this list after consolidation. If all are selected, the corresponding
texture will disappear from the first list as well.
CloseCloses the operation at its current point.
Comments

Replace Map Dialog
Replace Map Dialog
Material Editor > Go to a map level or a standalone map. > Type button > Material/Map Browser >
Choose a compound map.
The Replace Map dialog is displayed when you change a map type to any type of map that can have
sub-maps. It gives you the choice of replacing the original ("old") map completely, or using the
original map as a sub-map of the new map.
Interface
Discard old mapDiscards the old map.

Keep old map as sub-mapRetains the old map as a sub-map.
Comments
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Modify Panel
Modify Panel
Command panels > Modify panel
From the Create panel of 3ds max, you place basic objects in your scene, including 3D geometry,
2D shapes, lights and cameras, helpers and space warps. As you do this, you give each object its
own set of creation parameters, which define its geometry and other characteristics depending on
the type of object. Once placed in a scene, objects carry their creation parameters with them. You
can change these parameters on the Modify panel.
You also use the Modify panel to assign modifiers. Modifiers are tools for reshaping an object. While
they mold the final appearance of the object, modifiers do not change its underlying creation
parameters. See the list of available modifiers.
You use the Modify panel to:
Change the creation parameters for existing objects.
Apply modifiers to adjust the geometry of an object or a set of objects.
Change the parameters of modifiers and select their components.
Delete modifiers.
Convert a parametric object to an editable object; see Modifier Stack.

Note: Some space warps can be created as modifiers. See World Space Modifiers (WSMs).
The Modify panel stays in view until you dismiss it by clicking the tab of another command panel.
The contents of the panel with its options and controls update when you select an object, giving you
access only to what you can modify about that object.
What you can modify depends on whether an object is classed as a geometric primitive like a
sphere, or as another kind of object, such as a light or a space warp. Each category has its own
range of possibilities. The contents of the Modify panel are always specific to the category as well as
to the selected object. When you make a change from the Modify panel, you immediately see the
results transferred to the object.
You can change or delete modifiers by using the modifier stack.
See also
Procedure
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Modify Panel
To use the Modify panel:
2. On the Command panel, click the Modify tab to display the Modify panel.
The name of the object appears at the top of the Modify panel, and the remainder of the panel
displays settings for the object or the modifier at the top of its stack.
3. You can now do any of the following:
Change the parameters for the object. As you change these parameters, the object updates
in the viewports.
Apply a modifier to the object.
Change the parameters for a modifier. As you change these parameters, the object updates
into the viewports.
Collapse the stack to create an editable surface such as editable mesh.
Comments
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Modifiers
Glossary
Modifiers
Example: effects of the twist modifier on an object
Modifiers, as the name implies, modify an object's geometrical structure, deforming it in some way.
When you apply a taper modifier to the end of a cylinder, for example, the vertices near the end
move closer together. Modifiers make changes in the geometry that stay in effect until you adjust or
delete the modifier.
Comments
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Using Modifiers
Using Modifiers
Modifiers provide a way for you to sculpt and edit objects. They can change the geometry of an
object, and its properties.
Example: effects of the twist modifier on an object
The modifiers you apply to an object are stored in a stack. By navigating up and down the stack, you
can change the effect of the modifier, or remove it from the object. Or you can choose to collapse
the stack and make your changes permanent.
There are other general things to know about using modifiers:
You can apply an unlimited number of modifiers to an object or part of an object.
When you delete a modifier, all its changes to the object disappear.
You can move and copy modifiers to other objects using controls in the modifier stack display.
The order or sequence in which you add modifiers is important. Each modifier affects those that
come after it. For instance, adding a Bend modifier before a Taper can give you distinctly different
results than if you first added the Taper followed by the Bend.
See also
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Using Modifiers

How Modifiers Differ from Transforms
Modifiers and transforms differ in how they affect an object and the order in which they are applied
to an object.
Transforms
Transforms are the most basic of 3D manipulations. Unlike most modifiers, transforms are
independent of an objects internal structure, and they always act in world space. An object can
carry any number of modifiers, but it always has only a single set of transforms.
The transforms of an object are expressed as a matrix of values that contain the following
information:
Position of the objects center in world space
Rotation of the object in world space
Scale of the object along its local axes
The matrix is called the transformation matrix, and its information relates directly to the transforms
Move, Rotate, and Scale. Applying one of these transforms alters the values in the transformation
matrix.
Transforms have the following properties. They are:
Applied to the entire object.
Independent of their order of application. No matter how many times you transform an object, the
results are stored as one set of values in the matrix.
Applied after all object-space modifiers have been evaluated, but before the world-space
modifiers. See Using the Modifier Stack.
Most transforms produce equal displacement along one or more axes of an object, or part of an
object. For Move, Rotate, and Uniform Scale transforms, the displacement is equal along all three
axes. When you rotate a box, all sides remain parallel. In general, all vertices keep the same relative
position to one another. The exceptions are Squash and Non-Uniform Scale, which displace axes by
different amounts.
Tip: Use the XForm modifier if you want to transform an object at a specific location in the stack
(that is, after some object-space modifiers but before others), or if you want to transform a sub-
object selection. See Modifying at the Sub-Object Level.
Modifiers

Using Modifiers
Most modifiers allow you to perform operations on the internal structure of an object in object space.
For example, when you apply a modifier such as Twist to a mesh object, the position of each vertex
of the object is changed in object space to produce the twisting effect.
Modifiers can operate at the sub-object level, and are dependent on the internal structure of the
object when the modifier is applied.
Modifiers have the following properties. They are:
Applied to all of an object or part of an object (using a sub-object selection).
Dependent on the order of application. Applying a Bend followed by a Twist produces a result
different from applying a Twist followed by a Bend.
Displayed as individual entries in the modifier stack, where you can turn them on or off, and
change the order in which they're applied.
Some modifiers operate in world space. These use world-space coordinates, and are applied to the
object after all object-space modifiers and transforms have been applied. Otherwise, they have the
same overall properties as object-space modifiers.
Comments

Modifier Stack
Glossary
Modifier Stack
Example: Modifier stack display of cylinder with two modifiers applied to it
Example: Stack display of mesh showing its sub-object hierarchy, and Edge sub-object level chosen
The modifier stack is the key to managing all aspects of object modification. You use the stack to:
View and manipulate the sequence of modifiers
Find a particular modifier
Adjust a modifier's parameters
Select a modifier's gizmo or center
Activate or deactivate a modifier
Delete or disable a modifier
The effect of modifiers is directly related to their sequence, or order, in the stack.
Where you put a modifier in the stack is critical, because the program applies modifiers in their stack
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Modifier Stack
order, beginning at the bottom, and carries the cumulative change upward.
By clicking any entry in the stack, you go back to the point where you made that modification. You
can then rework your decisions or discard the modification entirely by deleting it. You can also insert
a new modifier in the stack at that point.
Comments
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Taper Modifier
Taper Modifier
Modify panel > Make a selection. > Modifier List > Object-Space Modifiers > Taper
Make a selection. > Modifiers menu > Parametric Deformers > Taper
The Taper modifier produces a tapered contour by scaling both ends of an object's geometry; one
end is scaled up, and the other is scaled down. You can control the amount and curve of the taper
on two sets of axes. You can also limit the taper to a section of the geometry.
Examples of default tapers
Interface
Modifier Stack
GizmoAt this sub-object level, you can transform and animate the gizmo like any other object,
altering the effect of the Taper modifier. Translating the gizmo translates its center an equal
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Taper Modifier
distance. Rotating and scaling the gizmo takes place with respect to its center.
CenterAt this sub-object level, you can translate and animate the center, altering the Taper
gizmo's shape, and thus the shape of the tapered object.
Moving the modifier's center changes the gizmo shape.
Parameters rollout
The Taper modifier provides two sets of axes and a symmetry setting in the Taper Axis group box of
the Parameters rollout. As with other modifiers, these axes refer to the Taper gizmo, not the object
itself.
Taper group

Taper Modifier
AmountThe extent to which the ends are scaled. Amount is a relative value with a maximum of
10.
CurveApplies a curvature to the sides of the Taper gizmo, thus affecting the shape of the tapered
object. Positive values produce an outward curve along the tapered sides, negative values an inward
curve. At 0, the sides are unchanged. Default=0.
Taper Axis group
PrimaryThe central axis or spine of the taper: X, Y, or Z. Default=Z.

EffectThe axis, or pair of axes, indicating the direction of the taper from the primary axis. The
available choices are determined by the choice of primary axis. The effect axis can be either of the
two remaining axes, or their combination. If the primary axis is X, the effect axis can be Y, Z, or YZ.
Default=XY.
SymmetryProduces a symmetrical taper around the primary axis. A taper is always symmetrical
around the effect axis. Default=off.
Changing the effect axis changes the effects of the modifier.
Limits group
The taper offset is applied between the upper and lower limits. The surrounding geometry, while
unaffected by the taper itself, is moved to keep the object intact.
Limit EffectEnables upper and lower limits for the taper effect.
Upper LimitSets the upper limit boundaries in world units from the taper center point, beyond
which the taper no longer affects the geometry.
Lower LimitSets the lower limit boundaries in world units from the taper center point, beyond
which the taper no longer affects the geometry.

Taper Modifier
Left: Limiting the effect of the taper.

Right: Using symmetry.
Comments


Following is a list of the modifiers, listed in alphabetical order.
(When the user interface lists modifiers, typically it lists them by set, as the table of contents for this
reference does.)
Note: The availability of certain modifiers depends on the current selection. For example, Bevel and
Bevel Profile appear in the Modifiers list only when a shape or spline object is selected. For the
conditions under which a specific modifier is available, see the path annotation at the top of the
modifier's topic in this reference.
Bend Modifier
Bevel Modifier
Bevel Profile Modifier
Camera Map Modifier (Object Space)
Camera Map Modifier (World Space)
Cap Holes Modifier
Delete Patch Modifier
Delete Spline Modifier
Disp Approx Modifier
Displace Modifier
Displace Mesh Modifier (World Space)
Displace NURBS Modifier (World Space)
Edit Mesh Modifier
Edit Normals Modifier
Edit Patch Modifier
Extrude Modifier
FFD (Free-Form Deformation) Modifiers
FFD (Free-Form Deformation) (Box/Cyl) Modifier
FFD (Free-Form Deformation) Select Modifier
Fillet/Chamfer Modifier
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Flex Modifier
HSDS Modifier
Lathe Modifier
Lattice Modifier
LS Colors Modifier (World Space)
LS Mesh Modifier
MapScaler Modifier (Object Space)
MapScaler Modifier (World Space)
Material Modifier
MaterialByElement Modifier
Melt Modifier
MeshSmooth Modifier
Mirror Modifier
Morpher Modifier
MultiRes Modifier
Noise Modifier
Normal Modifier
NSurf Sel Modifier
Optimize Modifier
PatchDeform Modifier (World Space)
PathDeform Modifier (World Space)
PatchDeform Modifier
Patch Select Modifier
PathDeform Modifier
Point Cache Modifier
Point Cache Modifier (World Space)
Preserve Modifier
Push Modifier
Relax Modifier

Ripple Modifier

Skew Modifier
Skin Modifier
Slice Modifier
Smooth Modifier
Shell Modifier
Spherify Modifier
Spline Select Modifier
Squeeze Modifier
STL Check Modifier
Stretch Modifier
Subdivide Modifier
Surface Mapper Modifier (World Space)
Surface Modifier
SurfDeform Modifier
SurfDeform Modifier (World Space)
Symmetry Modifier
Taper Modifier
Tessellate Modifier
Trim/Extend Modifier
Turn To Mesh Modifier
Turn To Patch Modifier
Twist Modifier
Unwrap UVW Modifier
UVW Map Modifier

UVW XForm Modifier
VertexPaint Modifier
Vertex Weld Modifier


Wave Modifier
XForm Modifier
Comments

Modify panel > Make a vertex sub-object selection. > Modifier List > Object-Space Modifiers >
Affect Region
Make a vertex sub-object selection. > Modifiers menu > Parametric Deformers > Affect Region
The Affect Region modifier is a surface modeling tool, primarily used with vertex sub-object
selections while surface modeling. With Affect Region, transforming a selection of vertices can also
transform vertices in the region that surrounds the selection. This can help you form a bubble or
indentation in the surface of an object. The easiest way to see this modifier's effect is with a shallow,
flat box object with plenty of subdivisions. The Affect Region modifier has a two-part, arrow-shaped
gizmo plus numeric controls.
When you apply the Affect Region modifier, it assigns an arrow-like gizmo consisting of two points
connected by a line. The base of the arrow is the start point. The length and direction of the arrow
defines the amount of movement of the vertices. Any vertices within Falloff distance of the base of
the arrow are translated in the direction of the arrow.
Because no points on the mesh are directly selected, this modifier doesn't depend on the topology of
the input object. You can apply it to any renderable object. However, you can limit the effect by
using a selection modifier like Mesh Select or Volume Select to pass a sub-object selection up the
stack.
Note: The Affect Region modifier is ideal for simple animated effects, especially when you need to
use interactive parameters. However, for fine-tuned modeling, you'll probably prefer the expanded
capabilities of Soft Selection in Editable Mesh, Editable Poly, Edit Mesh, Mesh Select, Volume Select,
the HSDS modifier, and NURBS.
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Affect Region modifier applied
Procedure
Example: To form a bubble over the surface of a box:
1. Create a box with 15 height, width, and length segments.
2. Set the length, width, and height of the box to 50 units.
3. Apply the Affect Region modifier.
4. In the Parameters group, set Falloff to 50.
5. Adjust the parameters to achieve different effects.
Interface
Note: The parameters of this modifier are similar to those of the Soft Selection function in Editable
Mesh.
Modifier Stack

Point sub-object levelAt this sub-object level, the base and tip of the gizmo arrow are points
that can be selected. You can select, translate, and animate these two points together or
individually.
Parameters rollout
Parameters group
FalloffSets the radius of affected vertices, in units, from the base of the gizmo arrow. (Spinner
value range: float, 0.0 to 999,999.0)
Ignore Back FacingAffects only those vertices whose face normals are in the same general
direction as the gizmo arrow. When turned off, all vertices in the Falloff group are affected.
Curve group
PinchAffects the tangency of the curve where it meets the arrow tip. Positive values produce a
pointed tip while negative values produce a dimple. (Spinner value range: float, -999,999.0 to
999,999.0)
BubbleChanges the curvature of the affected vertices. A value of 1.0 produces a half-dome. As
you reduce this value, the sides of the dome slope more steeply. Negative values lower the base of
the curve below the base of the arrow gizmo. (Spinner value range: float, -999,999.0 to 999,999.0)

Comments

HSDS Modifier
HSDS Modifier
Select an object. > Modify panel > Modifier List > Object-Space Modifiers > HSDS Modifier
Select an object. > Modifiers menu > Subdivision Surfaces > HSDS Modifier
The HSDS modifier implements Hierarchical SubDivision Surfaces. It is intended primarily as a finishing tool rather than as a modeling tool. For
best results, perform most of your modeling using low-polygon methods, and then use HSDS to add detail and adaptively refine the model.
Note: Better speed optimization has been implemented in the HSDS modifier. Subdivision calculations are now handled more efficiently making
the HSDS modifier faster.
The modifier's primary features are:
Local refinement
Hierarchical modeling
Adaptive tessellation
With local refinement, you subdivide part of a polygon mesh and edit the mesh in the subdivided area. This is done indirectly by manipulating
sub-objects in a control grid. Use this feature when you need to increase mesh resolution in specific areas of a model rather than uniformly over
the entire object, as with the Tessellate modifier. An example of usage would be a human hand. Once you've modeled the basic shape, you might
use the HSDS modifier to add bumps for the knuckles.
The HSDS modifier supports multiple levels of detail, hence its hierarchical nature. The Subdivision Stack lets you visually navigate the levels of
detail at any time while using the modifier. Thus, you can edit the same part of a mesh at different mesh resolutions. If you work at a level of
detail lower than the highest available, the higher-detail areas are still in effect, but you control them indirectly by means of the more widespread
sub-objects at the lower level.
Sub-object animation is supported only at the lowest level of detail: Base Level. This is accomplished by animating the mesh below the HSDS
modifier. To apply deformation animation after HSDS modeling, first convert the object to an editable mesh by right-clicking the modifier stack
and choosing Collapse All.
The adaptive tessellation automatically subdivides polygons as needed to maintain a smoothly curved surface when transforming mesh sub-
objects. You can use a preset or provide custom settings.
Important: HSDS models are not passed up the modifier stack. The HSDS modifier takes a polygon mesh as input, and outputs a
triangle-based mesh.
Important: Also, The HSDS modifier does not handle changes to the modified object's topology, such as altering a sphere's
Segments setting. Topology changes to the input mesh results in the loss of all edits made in the HSDS modifier.
Procedure
To use the HSDS modifier:
1. Apply the HSDS modifier to an object.

By default, the HSDS modifier doesn't convert non-quadrilateral polygons to quads. Because the modifier works best with four-sided
polygons, it's recommended you perform the conversion if necessary.
2. If the object contains any non-quadrilateral polygons, in the HSDS Parameters dialog, turn on Force Quads. Click Yes in the Force Quads?
dialog that appears.
Note: Upon conversion to quads, the modifier automatically performs one level of subdivision with smoothing (like MeshSmooth with one
iteration) on the object to which it's applied. Thus, for best results, use it with relatively low-polygon objects. For example, if you usually
work with the Sphere object at the default 32 segments, use a 16-segment sphere with HSDS.
Note: If the object is made up of quads only, Force Quads isn't available because no conversion is necessary.
3. Choose a sub-object mode at which to subdivide.

The object is covered with a gold control grid (or, in Vertex sub-object mode, a white grid with blue vertices), indicating that the entire
mesh is available for subdivision and/or sub-object transformation at base level.
4. Select one or more sub-objects.
5. Click the Subdivide button.

The modifier again subdivides and smithies the selected sub-objects as well as all surrounding polygons. The resultant sub-objects reside at
a higher level of detail, as indicated by the addition of a level in the Subdivision Stack. Now the control grid shows only polygons at the new
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HSDS Modifier
level. With sub-objects other than Element, this typically covers only part of the object's surface.
A control grid on a sphere at level 2. Subdivisions at lower levels are visible as gold lines.
In wireframe views, you can still see polygons at lower levels of detail, but you can select only sub-objects resulting from the subdivision, as
indicated by the control grid. You can subdivide sub-objects further, transform them, hide and delete them, and change material IDs.
Note: When you transform an HSDS sub-object, the control grid tends to expand by adding segments at its edges, in order to maintain
surface smoothness.
6. To subdivide a different part of the object, choose a lower level in the Subdivision Stack, and then repeat steps 24.
Each time you subdivide a sub-object that has been subdivided, a higher level in the Subdivision Stack is hightlighted, indicating a finer
mesh resolution. You can then work at that level, or any lower level by selecting the level.
Note: If you transform a sub-object at a level lower than the highest level in which the subject exists, the mesh uses the resolution
imparted by the detail in the higher levels.
Interface
HSDS Parameters rollout
The sub-objects available in the HSDS modifier belong to the control grid rather than the mesh object itself. Transforming the grid sub-objects
also transforms the underlying mesh, but the mesh doesn't always move to the full extent of the control grid. This is particularly true in cases
where you transform a sub-object at a level lower than the highest level in which the sub-object resides.
For example, if you subdivide a vertex at the Base Level, it then resides in the Base Level and Level 1. If you then move the vertex in the base
level, the mesh doesn't, by default, move as far as the vertex. This is roughly analogous to the way free-form deformation works, but with HSDS,
the control grid conforms much more closely to the shape of the mesh object.
With vertices, you can control the degree to which the mesh follows the control-grid vertex with the settings on the Vertex Interpolation group.

HSDS Modifier
VertexTurns on Vertex sub-object mode, which lets you select a vertex beneath the cursor; region selection selects vertices within the
region.
EdgeTurns on Edge sub-object mode, which lets you select a face or polygon edge beneath the cursor; region selection selects multiple
edges within the region.
PolygonTurns on Polygon sub-object mode, which lets you select a single face or polygon. A polygon is the area you see within the visible
wire edges. Region selection selects multiple polygons within the region.
ElementTurns on Element sub-object mode, which lets you select all contiguous polygons beneath the cursor in the current level of
detail.
Ignore BackfacingWhen on, you can select only those sub-objects whose normals are visible in the viewport. When off (the default), selection
includes all sub-objects, regardless of the direction of their normals. Default=off.
Only Current LevelDisplays only polygons at the current level of detail, with highlights, but without smoothing. Use this option to speed up
the display when working with complex objects. Default=off.
Subdivision StackShows the current level of the subdivision hierarchy. Automatically increments when you subdivide a sub-object selection.
To edit at a different level of detail, select the level in the stack. The current level is outlined in red.
Visibility is controlled by the box icon to the right of the level label. Turning on the visibility at one level activates the visibility from that level

HSDS Modifier
down to the base level. Visibility above that level will be turned off.
SubdividePerforms subdivision and smoothing on the current selection, and adds a level to the Subdivision Stack. When the subdivision results
in a control grid and other subdivisions have been performed at the same level of detail, the control grids may become interconnected.
Vertex Interpolation group
Determines how selected vertices are treated during subdivision. Available only in Vertex sub-object mode.
For best results, use when moving control grid vertices at a level of detail lower than the highest in which the vertex resides.
Standard/Conic/Cusp/CornerDetermines how closely mesh vertices follow the movement of control grid vertices. Standard provides the
least amount of relative movement, while Cusp and Corner provide the most. Corner also keeps edges adjacent to subdivided vertices from being
rounded off during subdivision. Default=Standard.
Note: Corner is available only when the selected vertex or vertices aren't surrounded by polygons, such as the vertices on the edge of a plane
object.
Edge Crease group
Determines the extent to which selected edges are treated as creases during subdivision. Available only in Edge sub-object mode.
For best results, use with control grid edges at a level of detail lower than the highest in which the edge resides. Also, for creasing to be visible,
the edge should be offset from the surrounding surface by a significant amount.
Left: Crease=1.0
Center: The eyebrow edges selected at LOD 0
Right: Crease=0.0
CreaseSpecifies how much creasing is performed on the selected edge or edges. At low settings, the edge is relatively smooth. At higher
settings, the crease becomes increasingly visible. At 1.0, the highest setting, the edge is not smoothed at all. Default=0.0. Range=0.0 to 1.0.
Advanced Options rollout
Force QuadsWhen on, the modifier converts all non-quadrilateral faces or polygons to four-sided polygons. When off, converts all polygons to
triangles. Available only when the object contains any non-quadrilateral faces or polygons. Default=off.
When you change the status of Force Quads, any edits made in the HSDS modifier are lost. A message appears warning you of this, and asking
you to confirm the change.
Because the modifier works best with four-sided polygons, it's recommended you confirm the conversion if an object contains non-quadrilateral
faces or polygons. The sphere primitive is an example of such an object; the uppermost and lowermost faces are three-sided.

HSDS Modifier
Smooth ResultWhen turned on, all faces on the object will be in smoothing group 1, but if Smooth Result is turned off, each face will inherit
smoothing groups from the input MNMesh.
Material IDDisplays the material ID assigned to the current selection. Available only in Polygon and Element sub-object modes. If multiple sub-
objects are selected and they don't share an ID, this field is blank.
You can change the material ID assigned to selected sub-objects at the current and higher levels of detail by changing this setting.
Material IDs are used primarily with Multi/Sub-Object material.
HideHides the current polygon selection. Available only at the Polygon and Element sub-object levels. Use Unhide All to reveal hidden
polygons.
Tip: Use Hide to isolate part of an object you want to work on. The Select Invert command on the Edit menu is useful in this case. Select the
faces you want to focus on, choose Edit > Select Invert, then click the Hide button.
Unhide AllReveals hidden polygons.
Delete PolygonDeletes the current polygon selection, creating a hole or holes in the surface. Available only in Polygon sub-object mode.
Note: When the current level of detail does not encompass the entire object surface, you cannot delete polygons at the border of the control grid;
that is, polygons that do not share all edges with other polygons in the grid.
Adaptive SubdivisionOpens the Adaptive Subdivision dialog. This option is best used for smoothing subdivided and edited portions of the
mesh when you're finished using the HSDS functionality.
These controls let you set a gradual falloff of influence between selected and unselected vertices. See Soft Selection Rollout (Edit/Editable Mesh).
Comments

Tessellate Modifier
Tessellate Modifier
Modify panel > Make a selection. > Modifier List > Tessellate
Make a selection. > Modifiers menu > Mesh Editing > Tessellate
The Tessellate modifier subdivides faces in the current selection. It's particularly useful for
smoothing curved surfaces for rendering, and creating additional mesh resolution for other modifiers
to act on. If no sub-object selection has been passed up the stack, then the entire object is
tessellated. This modifier lets you tessellate polygonal faces; the tessellation available in an editable
mesh does not (it works on faces, even at the Polygon selection level).
Top: Original mesh object

Lower left: Tessellation applied to polygonal facets
Lower right: Tessellation applied to triangular faces
Warning: Tessellating an object retains any UVW mapping that exists in the stack before
the Tessellate modifier. However, in some cases, the mapping might be altered, depending
on the type of mapping and the tessellation settings. Typically, this happens when the
applied mapping uses extreme compound angles.
Interface
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Tessellate Modifier
Parameters rollout
Operate OnSpecifies whether to perform the tessellation on the triangular faces or on the
polygonal facets (the areas bound by visible edges).
FacesTreats the selection as a set of triangular faces.
PolygonsDivides the polygonal facets. For example, using the polygonal method on the side
of a box results in cross-shaped edges using the Edge method, and X-shaped edges using the Face-
Center method.
EdgeDivides the face or polygon from its center to the middle of each edge. When applied to a
triangular face, it also divides unselected faces that share edges with the selected faces.
Face-CenterSelect this to divide the face from the center to the vertex corners.
TensionDetermines if the new faces are flat, concave, or convex after Edge tessellation. A positive
value rounds faces by pushing vertices outward. A negative value creates concave faces by pulling
vertices inward. A setting of 0 keeps the faces flat. Also works with the Edge/Polygon method.
Default=25.
Iterations group
IterationsSpecifies how many times the tessellation is applied. For example, setting Iterations to
2 is similar to clicking the Tessellation button twice in an editable mesh, except that you can easily
back out at any time while using the Tessellate modifier. If you want more than four iterations, apply
another Tessellate modifier.
Update Options group

Tessellate Modifier
AlwaysTessellation is updated whenever the base geometry changes.

When RenderingTessellation is updated only when the object is rendered.
ManuallyTessellation is updated only when the user clicks Update.
UpdateClick to update tessellation. Has no effect unless Manually is the active update option.
Comments

Select an editable mesh object. > Modify panel > Selection rollout > Face/Polygon/Element
Select an editable mesh object. > Modify panel > Modifier Stack display > Editable Mesh rollout >
Face/Polygon/Element
Select an editable mesh object. > Quad menu > Tools 1 quadrant > Sub-Objects submenu > Face/
Polygon/Element
A face is the smallest possible mesh object: a triangle formed by three vertices. Faces provide the
renderable surface of an object. While a vertex can exist as an isolated point in space, a face cannot
exist without vertices.
When in Editable Mesh (Face) mode, you can select single and multiple faces and transform them
using standard methods. This is also true for the Polygon and Element sub-object levels; for the
distinctions between face, polygon, and element, see Editable Mesh > Selection rollout. This topic
covers the Edit Geometry rollout functions for these sub-object types; for other controls, see
Editable Mesh.
Interface
Selection rollout
For information on the Selection rollout settings, see Editable Mesh.
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CreateYou can create vertices while building new faces; in Polygon sub-object level, you can
create polygons with any number of sides.
To create faces, click Create. All vertices in the object are highlighted, including isolated vertices left
after deleting faces. Click three existing vertices in succession to define the shape of the new face.
(The cursor changes to a cross when it is over a vertex that can legally be part of the face.)

You can also create new faces at the Polygon and Element sub-object levels. At the Face and
Element sub-object levels, a new face is created after every third click. At the Polygon sub-object
level, you can continue clicking as many times as you like to add vertices to the new polygon. To
finish drawing a new polygon, click twice, or click again on any existing vertex in the current
polygon.
You can add vertices in this mode by SHIFT+clicking in an empty space; these vertices are
incorporated into the face or polygon you're creating.
You can start creating faces or polygons in any viewport, but all subsequent clicks must take place in
the same viewport.
Tip: For best results, click vertices in counterclockwise (preferred) or clockwise order. If you use
clockwise order, the new polygon will be facing away from you, and you wont be able to see it
unless youve turned on Force 2-Sided or are using a two-sided material.
DeleteDeletes selected sub-objects.
AttachAttaches another object in the scene to the selected mesh. You can attach any type of
object, including splines, patch objects, and NURBS surfaces. Attaching a non-mesh object converts
it to a mesh. Click the object you want to attach to the currently selected mesh object.
For further details, see Attach.
DetachDetaches the selected faces as a separate object (the default) or as an element of the
current object. The Detach as Clone option copies the faces rather than moving them.
You're prompted to enter a name for the new object. Detached faces leave a hole in the original
object when you move them to a new position, unless you use the Detach as Clone option.
DivideSubdivides faces into three smaller faces. This function applies to faces even if you're in
Polygon or Element sub-object level. Click Divide, and then select a face to be divided. Each face is
subdivided where you click it. You can click as many faces as you want divided, in sequence. To stop
dividing, click Divide again or right-click.
Extrude & Bevel group
These controls let you extrude and bevel faces and polygons, as well as some elements. The latter
are typically made up of several faces and do not fully enclose a volume. Extruding an element that
fully encloses a volume, such as an attached sphere, simply translates the element.
Extruding faces moves them along a normal and creates new faces that form the sides of the
extrusion, connecting the selection to the object. Beveling adds a second step that lets you scale the
extruded faces.
Tip: A similar operation is Inset, which Editable Poly has but Editable Mesh doesn't. When you inset
a polygon, you create another, smaller polygon of the same proportions inside the borders of an

original polygon, in the plane of the original. Essentially, it's a bevel with no height. You can achieve
this in Editable Mesh with the following procedure:
1. Select the polygon to inset.
2. Right-click the spinner all the way to the right of the Extrude button. This performs an
extrusion with no height, thus creating a new polygon plus connecting polygons in the same
position as the original.
3. Set a negative Bevel value using the numeric field or the spinner. This insets the new polygon
created by the extrusion without changing its height.
Chamfer box showing extruded face

Extruded face beveled in two different directions
You can extrude and bevel faces by dragging or by using keyboard/spinner entry.
ExtrudeClick this button, and then drag vertically on any face to extrude it.
When over a selected face, the mouse cursor changes to an Extrude cursor.
With multiple faces selected, dragging on any one extrudes all selected faces equally.
You can drag other faces in turn to extrude them while the Extrude button is active. Click Extrude
again or right-click in the active viewport to end the operation.
ExtrusionThis spinner (to the right of the Extrude button) lets you extrude selected faces outward
or inward, depending on whether the value is positive or negative.
BevelClick this button, and then drag vertically on any face to extrude it. Release the mouse
button and move the mouse vertically to bevel the extrusion. Click to finish.
When over a selected face, the mouse cursor changes to a Bevel cursor.
With multiple faces selected, dragging on any one bevels all selected faces equally.
You can drag other faces in turn to bevel them while the Bevel button is active. Click Bevel again
or right-click to end the operation.

OutliningThis spinner (to the right of the Bevel button) lets you scale selected faces bigger or
smaller, depending on whether the value is positive or negative. It is normally used after an
extrusion for beveling the extruded faces.
NormalWith Normal set to Group (the default), extrusion takes place along the averaged normal
of each contiguous group of faces. If you extrude multiples of such groups, each group moves along
its own averaged normal. If you set Normal to Local, extrusion takes place along each selected face's
normal.
Cut & Slice group
The Cut and Slice functions, previously available only in Edge sub-object level, are available in Face,
Polygon, and Element modes as of version 3 of 3ds max. For details, see Cut & Slice.
Tessellate group
Use these controls to tessellate (subdivide) selected faces. Tessellation is useful for increasing local
mesh density while modeling. You can subdivide any selection of faces. Two tessellation methods are
available: Edge and Face-Center.
TessellateClick to tessellate selected faces, based on the Edge, Face-Center, and Tension
(spinner) settings.

Top: Original selection

Middle: Tessellated once
Bottom: Tessellated twice
Tension(Active only when Tessellate by Edge is active.) This spinner, to the right of the Tessellate
button, lets you increase or decrease the Edge tension value. A negative value pulls vertices inward
from their plane, resulting in a concave effect. A positive value pulls vertices outward from their

plane, resulting in a rounding effect.

By Edge/Face-CenterEdge inserts vertices in the middle of each edge and draws three lines
connecting those vertices. As a result, four faces are created out of one face. (To see this at the
Polygon or Element sub-object level, turn off Display panel > Display Properties rollout > Edges
Only.)
Face-Center adds a vertex to the center of each face and draws three connecting lines from that
vertex to the three original vertices. As a result, three faces are created out of one face.
Set of polygons showing Face-Center tessellation
Explode group
Use these controls to detach selected faces from each other.

ExplodeExplodes the selected faces into multiple elements or objects based on the angles of its
edges.
Exploded faces (white) removed from tessellated faces

The angle threshold spinner, to the right of the Explode button, lets you specify the angle between
faces below which separation will not occur. For example, all sides of a box are at 90-degree angles
to each other. If you set the spinner to 90 or above, exploding the box changes nothing. However,
at any setting below 90, the sides all become separate objects or elements.
To Objects/ElementsSpecifies whether the exploded faces become the separate objects or
elements of the current object.
Remove Isolated VerticesDeletes all isolated vertices in the object regardless of the current
selection.
View AlignAligns selected faces to the plane of the active viewport. In the case of orthographic
viewports, this is the same effect as aligning to the construction grid when the home grid is active.
When aligning to a Perspective viewport (or Camera and Light views), the faces are reoriented to be
aligned to a plane that is parallel to the camera's viewing plane (perspective viewports have invisible
camera planes). In these cases, the selection of faces is not translated but only rotated.
Top: Selected faces in Perspective view

Bottom: Same faces aligned to Front view
Grid AlignAligns the selected faces to the current construction plane. The current plane is
specified by the active viewport in the case of the home grid. When using a grid object, the current
plane is the active grid object.

Make PlanarForces all selected faces to become coplanar. The plane's normal is the average
surface normal of the selected faces.
One application for Make Planar is making a flat side on an object. Normally, you would use a
contiguous selection set. If the selection includes faces on various parts of the object, the faces are
still made planar, but with distorting effects on the rest of the geometry.
CollapseCollapses selected faces by welding their vertices to the vertex in the center.
Surface Properties rollout
These controls let you work with face normals, material IDs, smoothing groups and vertex colors.
Normals group
FlipReverses the direction of the surface normals of the selected faces.

UnifyFlips the normals of an object so that they all point in the same direction, usually outward.
This is useful for restoring an object's faces to their original orientations. Sometimes normals of

objects that have come into 3ds max as part of a DXF file are irregular, depending on the methods
used to create the objects. Use this function to correct them.
Flip Normal ModeFlips the normal of any face you click. To exit, click this button again or right-
click anywhere in the program interface.
Tip: The best way to use Flip Normal mode is to set up your viewport to display with Smooth
+Highlight and Edged Faces turned on. If you use Flip Normal mode with default settings, you'll be
able to flip a face away from you, but you won't be able to flip it back. For best results, turn off
Ignore Backfacing in the Selection rollout. This lets you click any face and flip the direction of its
normal, regardless of its current direction.
Material group
Set IDLets you assign a particular material ID number to selected sub-objects for use with multi/
sub-object materials and other applications. Use the spinner or enter the number from the keyboard.
The total number of available IDs is 65,535.
Select IDSelects sub-objects corresponding to the Material ID specified in the adjacent ID field.
Type or use the spinner to specify an ID, then click the Select ID button.
[Select By Name]This drop-down list shows the names of sub-materials if an object has a
Multi/Sub-Object material assigned to it. Click the drop arrow and choose a sub-material from the
list. The sub-objects that are assigned that material are selected. If an object does not have a Multi/
Sub-Object material assigned, the name list is unavailable. Likewise, if multiple objects are selected
that have an Edit Patch, Edit Spline, or Edit Mesh modifier applied, the name list is inactive.
Note: Sub-material names are those specified in the Name column on the material's Multi/Sub-
Object Basic Parameters rollout; these are not created by default, and must be specified separately
from any material names.
Clear SelectionWhen on, choosing a new ID or material name deselects any previously
selected sub-objects. When off, selections are cumulative, so new ID or sub-material name
selections add to the existing selection set of patches or elements. Default=on.
Smoothing Groups group
Use these controls to assign selected faces to different smoothing groups, and to select faces by
smoothing group.
To assign faces to one or more smoothing groups, select the faces, and then click the number(s) of
the smoothing group(s) to assign them to.
Select by SG (Smoothing Group)Displays a dialog that shows the current smoothing groups.
Select a group by clicking the corresponding numbered button and clicking OK. If Clear Selection is
on, any previously selected faces are first deselected. If Clear Selection is off, the new selection is
added to any previous selection set.
Clear AllRemoves any smoothing group assignments from selected faces.
Auto SmoothSets the smoothing groups based on the angle between faces. Any two adjacent

faces will be put in the same smoothing group if the angle between their normals is less than the
threshold angle, set by the spinner to the right of this button.
ThresholdThis spinner (to the right of Auto Smooth) lets you specify the maximum angle between
the normals of adjacent faces that determines whether those faces will be put in the same
smoothing group.
Edit Vertex Colors group
Use these controls to assign the color, illumination color (shading), and alpha (transparency) values
of vertices on the selected face(s).
ColorClick the color swatch to change the color of vertices on the selected face(s). Assigning
vertex colors at the face level prevents blending across the face(s).
IlluminationClick the color swatch to change the illumination color of vertices on the selected face
(s). This lets you change the illumination without changing the vertex's color.
AlphaLets you assign an alpha (transparency) value to vertices on the selected face(s).
The spinner value is a percentage; zero is completely transparent and 100 is completely opaque.
Comments

Select an editable mesh object or object with the Edit Mesh modifier applied. > Modify panel
Select an editable mesh object. > Quad menu > Tools 1 quadrant > Sub-Objects submenu > Top
Level
Editable Mesh (Object) functions are available when no sub-object levels are active. These functions
are also available at all sub-object levels, and work the same in each mode, except as noted below.
Interface
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AttachLets you attach another object in the scene to the selected mesh. You can attach any type
of object, including splines, patch objects, and NURBS surfaces. Attaching a non-mesh object
converts it to a mesh. Click the object you want to attach to the currently selected mesh object.
Likewise, if the object you're attaching to doesn't have a material, it inherits the material of the
Attach remains active in all sub-object levels, but always applies to objects.
Attach ListLets you attach other objects in the scene to the selected mesh. Click to display a
Select Objects dialog where you choose multiple objects to attach.

Shaded view of model (upper left); wireframe view of model (upper right); model with objects
attached (lower left); and subsequent multi/sub-object material (lower right)
Explode group
ExplodeBreaks up the current object into multiple elements or objects based on the angles of its
edges. This function is available in Object mode as well as all sub-object levels except Vertex and
Edge.
The angle threshold spinner, to the right of the Explode button, lets you specify the angle between
faces below which separation will not occur. For example, all sides of a box are at 90-degree angles
to each other. If you set the spinner to 90 or above, exploding the box changes nothing. However,
at any setting below 90, the sides all become separate objects or elements.
To Objects/ElementsSpecifies whether the exploded faces become the separate objects or
elements of the current object.
selection.
View AlignAligns all vertices in selected objects to the plane of the active viewport. If a sub-
object level is active, this function affects only selected vertices or those belonging to selected sub-
objects.

In the case of orthographic viewports, using View Align has the same effect as aligning to the
construction grid when the home grid is active. When aligning to a perspective viewport (including
camera and light views), the vertices are reoriented to be aligned to a plane that is parallel to the
cameras viewing plane. This plane is perpendicular to the view direction that is closest to the
vertices average position.
Grid AlignAligns all vertices in selected objects to the plane of the current view. If a sub-object
level is active, function aligns only selected sub-objects.
This function aligns the selected vertices to the current construction plane. The current plane is
Specifies surface approximation settings for subdividing the editable mesh. These controls work like
the surface approximation settings for NURBS surfaces. They are used when you apply a
displacement map to the editable mesh.
Note: The Surface Properties rollout is available only for editable mesh objects; it does not appear in
the Modify panel for an object to which the Edit Mesh modifier is applied. With Edit Mesh-modified
objects, you can use the Disp Approx modifier to the same effect.
Subdivision DisplacementWhen on, faces are subdivided to accurately displace the mesh, using
the method and settings you specify in the Subdivision Presets and Subdivision Method group boxes.
When off, the mesh is displaced by moving existing vertices, the way the Displace modifier does.

Default=off.
Split MeshAffects the seams of displaced mesh objects; also affects texture mapping. When on,
the mesh is split into individual faces before it is displaced; this helps preserve texture mapping.
When off, the mesh is not split and an internal method is used to assign texture mapping.
Default=on.
modifier and make a snapshot of the mesh. You would then apply a UVW Map modifier and then
reassign mapping coordinates to the displaced snapshot mesh.
Subdivision Presets group & Subdivision Method group
The controls in these two group boxes specify how the displacement map is applied when
Subdivision Displacement is turned on. They are identical to the Surface Approximation controls used
for NURBS surfaces.
Comments

Attach Options Dialog
Select an editable mesh object. > Modify panel > Attach button
The Attach Options dialog appears when you attach two or more objects to which materials have
been assigned. It provides three different methods of combining the sub-materials and the material
IDs in the two objects.
Interface
Match Material IDs to MaterialThe number of material IDs in the attached objects are modified
so they are no greater than the number of sub-materials assigned to those objects. For example, if
you have a box with only two sub-materials assigned to it, and you attach it to another object, the
box will have only two material IDs, instead of the six it was assigned on creation.
Match Material to Material IDsMaintains the original ID assignment in the attached objects by
adjusting the number of sub-materials in the resulting multi/sub-object material. For example, if you
attach two boxes, both assigned single materials, but with their default assignment of 6 material
IDs, the result would be a multi/sub-object material with 12 sub-materials (six containing instances
of one box's material, and six containing instances of the other box's material). Use this option when
it's important to maintain the original material ID assignments in your geometry.
Note: If you want to make the instanced sub-materials unique, select them in Track View, and click
the Make Unique button on the Track View toolbar. You can also make them unique one at a time
with the Make Unique button in the Material Editor.
Do Not Modify Mat IDs or MaterialDoes not adjust the number of sub-materials in the resulting
sub-object material. Note that, if the number of material IDs in an object is greater than the number
of sub-materials in its multi/sub-object material, then the resulting face-material assignment might
be different after the attach.
Condense Material IDsAffects the Match Material IDs To Material option. When this is turned on,
duplicate sub-materials or sub-materials that aren't used in the objects are removed from the multi/
sub-object material that results from the attach operation. Default=on.
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Tips
In most cases, use the first option (Match Material IDs to Material) while keeping Condense
Material IDs selected. This maintains the appearance of the objects, and results in the fewest
additional sub-materials or IDs.
Use the second option (Match Material to Material IDs) when you need to maintain the original
material ID assignments.
Avoid using the third option, unless you need to repeat a 3ds max version 1 attachment for
compatibility with a previous project.
Leave Condense Material IDs selected unless you have an unassigned sub-material that you want
to keep for future assignment.
Perform Edit menu > Hold before performing the attach.
Comments
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Modify panel > Make a selection. > Modifier List > Object-Space Modifiers > Disp Approx
Make a selection. > Modifiers menu > Surface Deformers > Disp Approx
Make a selection. > Modifiers menu > NURBS Editing > Disp Approx
The Disp Approx modifier (short for Displacement Approximation) lets you make the displacement
mapping settings on an object in the modifier stack. It converts its input object to an editable mesh,
so you can use this modifier to add displacement mapping to geometry primitives and any other kind
of object that can convert to an editable mesh.
Using an image to displace the surface of a cylinder
Displacement mapping uses a map to change surface geometry. You apply the map using the
Material Editor.
You don't need to apply this modifier to NURBS surfaces, patches, editable meshes, or editable
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polymeshes, because you can apply displacement mapping directly to these kinds of objects.
Procedure
To apply displacement mapping:
1. Select an object other than a NURBS surface, patch, editable mesh, or editable poly.
2. Apply the Disp Approx modifier.

Now you can apply displacement mapping to the object. The Displacement Approx. rollout has
parameter that you can adjust, but displacement mapping will work using the default settings.
3. Go to the Material Editor. Apply a Standard material to the object.
4. In the material's Maps rollout, click the Displacement button, then use the Material/Map
Browser to apply a displacement map.
Interface
Subdivision DisplacementSubdivides mesh faces to accurately displace the map, using the
method and settings you specify in the Subdivision Presets and Subdivision Method group boxes.

When turned off, the modifier applies the map by moving vertices in the mesh, the way the Displace
modifier does. Default=on.
the mesh is split into individual faces before displacing them; this helps preserve texture mapping.
When off, texture mapping is assigned using an internal method. Default=on.
Subdivision Presets and Subdivision Method group boxes
The controls in these two group boxes specify how the modifier applies the displacement map when
Custom Settings and Subdivision Displacement are both turned on. They are identical to the Surface
Approximation controls used for NURBS surfaces.
Comments

Standard Primitives
Standard Primitives
A collection of standard primitive objects
Geometric primitives are familiar as objects in the real world such as beach balls, pipes, boxes,
doughnuts, and ice cream cones. In 3ds max, you can model many such objects using a single
primitive. You can also combine primitives into more complex objects, and further refine them with
modifiers.
The program includes a set of 10 basic primitives. You can easily create the primitives with the
mouse in the viewport, and most can be generated from the keyboard as well.
These primitives are listed in the Object Type rollout and on the Create menu:
Box Primitive
Cone Primitive
Sphere Primitive
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Standard Primitives
GeoSphere Primitive
Cylinder Primitive
Tube Primitive
Torus Primitive
Pyramid Primitive
Teapot Primitive
Plane Primitive
Also available from the Object Type rollout is the AutoGrid option.
You can convert standard primitive objects to editable mesh objects, editable poly objects , and
NURBS surfaces. You can also convert primitives to patch objects; see the path annotation at
Editable Patch (the information at the start of the topic that tells you how to create this type of
object).
All primitives have name and color controls, and allow you to enter initial values from the keyboard.
See these topics:
Creating Primitives from the Keyboard
The remaining rollouts are covered in the topic for each primitive.
Comments
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Box Primitive
Box Primitive
Create panel > Geometry button > Standard Primitives > Object Type rollout > Box button
Create menu > Standard Primitives > Box
Box produces the simplest of the primitives. Cube is the only variation of Box. However, you can
vary the scale and proportion to make many different kinds of rectangular objects, from large, flat
panels and slabs to tall columns and small blocks.
Examples of boxes
Procedures
To create a box:
1. On the Object Type rollout, click Box.
2. In any viewport, drag to define a rectangular base, then release to set length and width.
3. Move the mouse up or down to define the height.
4. Click to set the finished height and create the box.
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Box Primitive
To create a box with a square base:
Hold down CTRL as you drag the base of the box. This keeps length and width the same. Holding
the CTRL key has no effect on height.
To create a cube:
1. On the Creation Method rollout, choose Cube.
2. In any viewport, drag to define the size of the cube.box.
3. As you drag, a cube emerges with the pivot point at the center of its base.
4. Release to set the dimensions of all sides.
Interface
CubeForces length, width, and height to be equal. Creating a cube is a one-step operation.
Starting at the center of the cube, drag in a viewport to set all three dimensions simultaneously. You
can change a cube's individual dimensions in the Parameters rollout.
BoxCreates a standard box primitive from one corner to the diagonally opposite corner, with
different settings for length, width, and height.
Parameters rollout
The defaults produce a box with one segment on each side.

Length, Width, HeightSets the length, width, and height of the Box object. These fields also act
as readouts while you drag the sides of the box. Default=0,0,0.
Length, Width, Height SegmentsSets the number of divisions along each axis of the object. Can
be set before or after creation. By default, each side of the box is a single segment. When you reset

Box Primitive
these values, the new values become the default during a session. Default=1,1,1.
Tip: Increase the Segments settings to give objects extra resolution for being affected by modifiers.
For example, if you're going to bend a box on the Z axis, you might want to set its Height Segments
parameter to 4 or more.
Generate Mapping CoordsGenerates coordinates for applying mapped materials to the box.
Default=on.
Comments

Cone Primitive
Cone Primitive
Create panel > Geometry button > Standard Primitives > Object Type rollout > Cone button
Create menu > Standard Primitives > Cone
The Cone button on the Creation command panel lets you produce round cones, either upright or
inverted.
Examples of cones
Procedure
To create a cone:
1. On the Create menu choose Standard Primitives > Cone.
2. In any viewport, drag to define a radius for the base of the cone, then release to set it.
3. Move to up or down to define a height, either positive or negative, then click to set it.
4. Move to define a radius for the other end of the cone. Decrease this radius to 0 for a pointed
cone.
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Cone Primitive
5. Click to set the second radius and create the cone.
Interface
EdgeDraws a cone from edge to edge. You can change the center location by moving the mouse.
CenterDraws a cone from the center out.
Parameters rollout
The defaults produce a smooth, round cone of 24 sides with the pivot point at the center of the base.
There are five height segments and one cap segment. For improved rendering, increase the number
of height segments for smoothly shaded cones, particularly those with pointed tips.
Radius 1, Radius 2Sets first and second radius for the cone. The minimum setting is 0. Minus
values are converted to 0. You can combine these settings to create pointed and flat-topped cones,
upright or inverted. The following combinations assume a positive height:
Radius Combinations Effect
Radius 2 is 0 Creates a pointed cone
Radius 1 is 0 Creates an inverted pointed cone
Radius 1 is larger than Radius 2 Creates a flat-topped cone
Radius 2 is larger than Radius 1 Creates an inverted flat-topped cone

Cone Primitive
If Radius 1 and 2 are the same, a cylinder is created. If the two radius settings are close in size, the
effect is similar to applying a Taper modifier to a cylinder.
Effect of Radius settings
HeightSets dimension along the central axis. Negative values create the cone below the
construction plane.
Height SegmentsSets the number of divisions along the cone's major axis.
Cap SegmentsSets the number of concentric divisions around the center of the cone's top and
bottom.
SidesSets the number of sides around the cone. Higher numbers shade and render as true circles
with Smooth selected. Lower numbers create regular polygonal objects with Smooth off.
SmoothBlends the faces of the cone, creating a smooth appearance in rendered views.
Slice OnEnables the Slice function. Default=off.
When you create a slice and then turn off Slice On, the complete cone reappears. You can use this
check box to switch between the two topologies.
Slice From, Slice ToSets the number of degrees around the local Z axis from a zero point at the
local X axis.
For both settings, positive values move the end of the slice counterclockwise; negative values move
it clockwise. Either setting can be made first. When the ends meet, the whole cone reappears.
Generate Mapping CoordsGenerates coordinates for applying mapped materials to the cone.
Default=on.
Comments

Sphere Primitive
Sphere Primitive
Create panel > Geometry button > Standard Primitives > Object Type rollout > Sphere button
Create menu > Standard Primitives > Sphere
Sphere produces a full sphere, or a hemisphere or other portion of a sphere. You can also "slice" a
sphere about its vertical axis.
Examples of spheres
Procedures
To create a sphere:
1. On the Create menu choose Standard Primitives > Sphere.
2. In any viewport, drag to define a radius.

As you drag, a sphere emerges with its center at the pivot point.
3. Release the mouse to set the radius and create the sphere.
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Sphere Primitive
To create a hemisphere:
You can reverse the order of the following steps, if you like.
1. Create a sphere of desired radius.
2. Type 0.5 in the Hemisphere field.

The sphere is reduced to exactly the upper half, a hemisphere. If you use the spinner, the
sphere changes in size.
Interface
EdgeDraws a sphere from edge to edge. You can change the center location by moving the
mouse.
CenterDraws a sphere from the center out.
Parameters rollout
The defaults produce a smooth sphere of 32 segments with the pivot point at its center.
RadiusSpecifies the radius of the sphere.
SegmentsSets the number of polygonal divisions for the sphere.
SmoothBlends the faces of the sphere, creating a smooth appearance in rendered views.
HemisphereIncreasing values progressively will "cut off" the sphere, starting at the base, to
create a partial sphere. Values range from 0.0 to 1.0. The default is 0.0, producing a full sphere. A

Sphere Primitive
setting of 0.5 produces a hemisphere, and 1.0 reduces the sphere to nothing. Default=0.0.
Chop and Squash toggle creation options for Hemisphere.
ChopReduces the number of vertices and faces in the sphere by "chopping" them out as the
hemisphere is cut off. Default=on.
SquashMaintains the number of vertices and faces in the original sphere, "squashing" the
geometry into a smaller and smaller volume toward the top of the sphere.
Effects of Chop and Squash during hemisphere creation
Slice OnUses the From and To angles to create a partial sphere. The effect is similar to lathing a
semicircular shape fewer than 360 degrees.
Slice FromSets the start angle.
Slice ToSets the stop angle.
it clockwise. Either setting can be made first. When the ends meet, the whole sphere reappears.
Smoothing groups are assigned to sliced spheres as follows: The surface of the sphere is always
assigned group 1; the bottom, when Smooth is on, gets group 2. Facing the pie-slice surfaces, the
cut on the left gets group 3, and the cut on the right gets group 4.
Material IDs are assigned to sliced spheres as follows: The bottom is 1 (when Hemisphere is greater
than 0.0), the surface is 2, and the slice surfaces are 3 and 4.
Base To PivotMoves a sphere upward along its local Z axis so the pivot point is at its base. When
off, the pivot point is on the construction plane at the center of the sphere. Default=off.
Turning on Base To Pivot lets you animate a hemisphere so it appears to grow out of the
construction plane or sink into it. It also lets you place spheres so they rest on the construction
plane, like pool balls on a table.

Sphere Primitive
Effect of using Base To Pivot setting
Generate Mapping CoordsGenerates coordinates for applying mapped materials to the sphere.
Default=on.
Comments

GeoSphere Primitive
GeoSphere Primitive
Create panel > Geometry button > Standard Primitives > Object Type rollout > GeoSphere button
Create menu > Standard Primitives > GeoSphere
Use GeoSphere to make spheres and hemispheres based on three classes of regular polyhedrons.
Examples of geospheres
Geospheres produce a more regular surface than standard spheres. They also render with a slightly
smoother profile than a standard sphere given the same number of faces. Unlike a standard sphere,
a geosphere has no poles, which can be an advantage when you apply certain modifiers such as
Free-Form Deformation (FFD) modifiers.
Procedures
To create a geosphere:
1. On the Create menu choose Standard Primitives > Geosphere.
2. In any viewport, drag to set the center and radius of the geosphere.
3. Set parameters such as Geodesic Base Type and Segments.
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GeoSphere Primitive
To create a geo-hemisphere:
1. Create a geosphere.
2. In the Parameters rollout, turn on the Hemisphere check box. The geosphere is converted to a
hemisphere.
Interface
DiameterDraws a geosphere from edge to edge. You can change the center location by moving
the mouse.
CenterDraws a geosphere from the center out.
Parameters rollout
RadiusSets the size of the geosphere.

SegmentsSets the total number of faces in the geosphere. The number of faces in a geosphere is
equal to the sides of the base polyhedron times the segments squared.
Lower segment values work best. Using the maximum segment value of 200 can generate up to
800,000 faces, impairing performance.
Geodesic Base Type group
Lets you choose one of three types of regular polyhedrons for the geosphere's basic geometry.
TetraBased on a four-sided tetrahedron. The triangular facets can vary in shape and size. The
sphere can be divided into four equal segments.
OctaBased on an eight-sided octahedron. The triangular facets can vary in shape and size. The

GeoSphere Primitive
sphere can be divided into eight equal segments.
IcosaBased on a 20-sided icosahedron. The facets are all equally sized equilateral triangles.
The sphere can be divided into any number of equal segments, based on multiples and divisions
of 20 faces.
SmoothApplies smoothing groups to the surface of the sphere.

HemisphereCreates a half-sphere.
Base To PivotSets the pivot point location. When on, the pivot is at the bottom of the sphere.
When off, the pivot is at the center of the sphere. This option has no effect when Hemisphere is on.
Generate Mapping CoordsGenerates coordinates for applying mapped materials to the
geosphere. Default=on.
Comments

FFD (Box/Cylinder) Modifiers
Modify panel > Make a selection. > Modifier List > Object-Space Modifiers > FFD(box) or FFD(cyl)
Make a selection. > Modifiers menu > Free Form Deformers > FFD Box or FFD Cylinder
FFD stands for Free-Form Deformation. Its effect is used in computer animation for things like
dancing cars and gas tanks. You can use it as well for modeling rounded shapes such as chairs and
sculptures.
The FFD modifier surrounds the selected geometry with a lattice box. By adjusting the control points
of the lattice, you deform the enclosed geometry. With the Auto Key button turned on, you can
animate the lattice points, and thus the deformation of the geometry.
FFD deformation creates a bulge in the snake.
With the FFD(box) and FFD(cyl) modifiers you can create box-shaped and cylinder-shaped lattice
free-form deformation objects. Both are available as object modifiers and as space warps.
The source lattice of an FFD modifier is fitted to the geometry it's assigned in the stack. This can be
a whole object, or a sub-object selection of faces or vertices.
Interface
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Modifier Stack
Control PointsAt this sub-object level, you can select and manipulate control points of the lattice,
one at a time or as a group (select multiple points using standard techniques). Manipulating control
points affects the shape of the underlying object. You can use standard transformation methods with
the control points. If the Auto Key button is turned on when modifying the control points, the points
become animated.
LatticeAt this sub-object level, you can position, rotate, or scale the lattice box separately from
the geometry. If the Auto Key button is turned on, the lattice becomes animated. When you first
apply an FFD, its lattice defaults to a bounding box surrounding the geometry. Moving or scaling the
lattice so that only a subset of vertices lie inside the volume makes it possible to apply a localized
deformation.
Set VolumeAt this sub-object level, the deformation lattice control points turn green, and you can
select and manipulate control points without affecting the modified object. This lets you fit the lattice
more precisely to irregular-shaped objects, giving you finer control when deforming.
Set Volume essentially lets you set the initial state of the lattice. If a control point is already
animated or the Animate button is turned on, then Set Volume works the same as at the Control
Points sub-object level, deforming the object as you manipulate points.
FFD Parameters rollout

Dimensions group
Adjusts the unit dimensions of the source volume and specifies the number of control points in the
lattice. Note that the point dimensions also show up beside the modifier name in the stack list.
Lattice dimensionsThe text displays the current number of control points in the lattice (for
example 3x4x4).
Set Number of PointsDisplays a dialog containing three spinners labeled Length, Width, and

Height, plus OK/Cancel buttons. Specify the number of control points you want in the lattice, and
then click OK to make the change.
Warning: Make changes to the lattice dimensions before you adjust the positions of the
lattice control points. When you change the number of control points with this dialog, you
lose any adjustments you've already made to the control points. (You can undo this
dialog.)
Display group
Affects the display of the FFD in the viewports.

LatticeDraws lines connecting the control points to make a grid. Although the viewports can
sometimes become cluttered when these extra lines appear, they help to visualize the lattice.
Source VolumeDisplays the control points and lattice in their unmodified state. This is an
important display when you're adjusting the source volume to affect specific vertices that lie inside
or outside it.
Tip: To see which points lie in the source volume (and therefore will be deformed), temporarily
deactivate the modifier by clicking to turn off the light bulb icon in the modifier stack display.
Deform group
Provides controls that specify which vertices are affected by the FFD.
Only In VolumeDeforms vertices that lie inside the source volume. Vertices outside the source
volume are not affected.
All VerticesDeforms all vertices regardless of whether they lie inside or outside the source volume
depending on the value in the Falloff spinner. The deformation outside the volume is a continuous
extrapolation of the deformation inside the volume. Note that the deformation can be extreme for
points far away from the source lattice.
FalloffDetermines the distance from the lattice that the FFD effect will decrease to zero. Available
only when you choose All Vertices. When set to 0, it's effectively turned off, and there is no falloff.
All vertices are affected regardless of how far they are from the lattice. The units of the Falloff
parameter are actually specified relative to the size of the lattice. A falloff of 1 means that the effect
will go to 0 for points that are a lattice width/length/height away from the lattice (depending on
which side they are).
Tension/ContinuityAdjusts the tension and continuity of the deformation splines. Although you
can't actually see the splines in an FFD, the lattice and control points represent the structure that
controls the splines. As you adjust the control points, you alter the splines (which move through
each of the points). The splines, in turn, deform the geometry of the object. By altering the tension
and continuity of the splines, you alter their effect on the object.
Selection group
Provides additional methods of selecting the control points. You can toggle the state of any

combination of the three buttons to select in one, two, or three dimensions at once.
All X, All Y, All ZSelects all control points along the specified local dimension when you select a
control point. By turning on two buttons, you can select all control points in two dimensions.
Control Points group
ResetReturns all control points to their original positions.

Animate AllBy default, the control points of an FFD lattice don't appear in Track View because
they don't have controllers assigned to them. But when you animate a control point, a controller is
assigned and it becomes visible in Track View. You can also add and delete keys and perform other
key operations. Animate All assigns Point3 controllers to all control points so that they're
immediately visible in Track View.
Conform to ShapeMoves each FFD control point to the intersection of the modified object with a
straight line extending between the object's center to the control point's original location, plus an
offset distance specified by the Offset spinner.
Note: Conform to Shape works best with regular shapes, such as primitives. It's less effective if the
object has degenerate (long, narrow) faces or sharp corners. All the controls are unavailable with
shapes, because there are no faces for the lattice to intersect with.
Inside PointsOnly control points inside the object are affected by Conform to Shape.
Outside PointsOnly control points outside the object are affected by Conform to Shape.
OffsetThe distance by which control points affected by Conform to Shape are offset from the
object surface.
AboutDisplays a dialog with copyright and licensing information.
Comments

Cylinder Primitive
Cylinder Primitive
Create panel > Geometry button > Standard Primitives > Object Type rollout > Cylinder button
Create menu > Standard Primitives > Cylinder
Cylinder produces a cylinder, which you can "slice" around its major axis.
Examples of cylinders
Procedure
To create a cylinder:
1. On the Create panel, choose Standard Primitives > Cylinder.
2. In any viewport, drag to define the radius of the base, then release to set the radius.
3. Move up or down to define a height, either positive or negative.
4. Click to set the height and create the cylinder.
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Cylinder Primitive
Interface
EdgeDraws a cylinder from edge to edge. You can change the center location by moving the
mouse.
CenterDraws a cylinder from the center out.
Parameters rollout
The defaults produce a smooth cylinder of 18 sides with the pivot point at the center of the base.
There are five height segments and one cap segment. If you don't plan to modify the cylinder's
shape, such as with a Bend modifier, set Height Segments to 1 to reduce scene complexity. If you
plan to modify the ends of the cylinder, consider increasing the Cap Segments setting.
RadiusSets the radius of the cylinder.
HeightSets the dimension along the central axis. Negative values create the cylinder below the
construction plane.
Height SegmentsSets the number of divisions along the cylinder's major axis.
Cap SegmentsSets the number of concentric divisions around the center of the cylinder's top and
bottom.
SidesSets the number of sides around the cylinder. With Smooth on, higher numbers shade and
render as true circles. With Smooth off, lower numbers create regular polygonal objects.
SmoothThe faces of the cylinder are blended together, creating a smooth appearance in rendered
views.
Slice OnEnables the Slice function. Default=off.
When you create a slice and then turn off Slice On, the complete cylinder reappears. You can use

Cylinder Primitive
this check box to switch between the two topologies.

local X axis.
it clockwise. Either setting can be made first. When the ends meet, the whole cylinder reappears.
Generate Mapping CoordsGenerates coordinates for applying mapped materials to the cylinder.
Default=on.
Comments

Tube Primitive
Tube Primitive
Create panel > Geometry button > Standard Primitives > Object Type rollout > Tube button
Create menu > Standard Primitives > Tube
Tube produces both round and prismatic tubes. The tube is similar to the cylinder with a hole in it.
Examples of tubes
Procedures
To create a tube:
1. On the Create menu choose Standard Primitives > Tube.
2. In any viewport, drag to define the first radius, which can be either the inner or outer radius of
the tube. Release to set the first radius.
3. Move to define the second radius, then click to set it.
4. Move up or down to define a height, either positive or negative.
5. Click to set the height and create the tube.
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Tube Primitive
To create a prismatic tube:
1. Set the number of sides for the kind of prism you want.
2. Turn Smooth off.
3. Create a tube.
Interface
EdgeDraws a tube from edge to edge. You can change the center location by moving the mouse.
CenterDraws a tube from the center out.
Parameters rollout
The defaults produce a smooth, round tube of 18 sides with the pivot point at the center of the base.
There are five height segments and one cap segment. If you don't plan to modify the cylinder's
shape, such as with a Bend modifier, set Height Segments to 1 to reduce scene complexity. If you
plan to modify the ends of the cylinder, consider increasing the Cap Segments setting.
Radius 1, Radius 2The larger setting specifies the outside radius of the tube, while the smaller
specifies the inside radius.
HeightSets the dimension along the central axis. Negative values create the tube below the
construction plane.

Tube Primitive
Height SegmentsSets the number of divisions along the tube's major axis.
Cap SegmentsSets the number of concentric divisions around the center of the tube's top and
bottom.
SidesSets the number of sides around the tube. Higher numbers shade and render as true circles
with Smooth on. Lower numbers create regular polygonal objects with Smooth off.
SmoothWhen on (the default), faces of the tube are blended together, creating a smooth
appearance in rendered views.
Slice OnEnables the Slice feature, which removes part of the tube's circumference. Default=off.
When you create a slice and then turn off Slice On, the complete tube reappears. You can therefore
use this check box to switch between the two topologies.
local X axis.
it clockwise. Either setting can be made first. When the ends meet, the whole tube reappears.
Generate Mapping CoordsGenerates coordinates for applying mapped materials to the tube.
Default=on.
Comments

Torus Primitive
Torus Primitive
Create panel > Geometry button > Standard Primitives > Object Type rollout > Torus button
Create menu > Standard Primitives > Torus
Torus produces a torus, or a ring with a circular cross section, sometimes referred to as a doughnut.
You can combine three smoothing options with rotation and twist settings to create complex
variations.
Examples of tori
Procedure
To create a torus:
1. From the Create menu, choose Standard Primitives > Torus.
2. In any viewport, drag to define a torus.
3. As you drag, a torus emerges with its center at the pivot point.
4. Release to set the radius of the torus ring.
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Torus Primitive
5. Move to define the radius of the cross-sectional circle, then click to create the torus.
Interface
EdgeDraws a torus from edge to edge. You can change the center location by moving the mouse.
CenterDraws a torus from the center out.
Parameters rollout
The defaults produce a smooth torus with 12 sides and 24 segments. The pivot point is at the center
of the torus on the plane, cutting through the center of the torus. Higher settings for sides and
segments produce a more dense geometry that might be required for some modeling or rendering
situations.
Radius 1Sets the distance from the center of the torus to the center of the cross-sectional circle.
This is the radius of the torus ring.
Radius 2Sets the radius of the cross-sectional circle. This value is replaced each time you create a
torus. Default = 10.

Torus Primitive
Radius 1 and Radius 2
RotationSets the degree of rotation. Vertices are uniformly rotated about the circle running
through the center of the torus ring. Positive and negative values for this setting "roll" the vertices in
either direction over the surface of the torus.
Rotation and Twist
TwistSets the degree of twist. Cross sections are progressively rotated about the circle running
through the center of the torus. Beginning with twist, each successive cross section is rotated until
the last one has the number of degrees specified.
Twisting a closed (unsliced) torus creates a constriction in the first segment. You can avoid this by
either twisting in increments of 360 degrees, or by turning Slice on and setting both Slice From and
Slice To to 0 to maintain a complete torus.
SegmentsSets the number of radial divisions around the torus. By reducing this number, you can
create polygonal rings instead of circular ones.
SidesSets the number of sides on the cross-sectional circle of the torus. By reducing this number,
you can create prism-like cross sections instead of circular ones.
Smooth group
Choose one of four levels of smoothing:
All(default) Produces complete smoothing on all surfaces of the torus.
SidesSmooths the edges between adjacent segments, producing smooth bands running around
the torus.
NoneTurns off smoothing entirely, producing prism-like facets on the torus.
SegmentsSmooths each segment individually, producing ring-like segments along the torus.
Slice OnCreates a portion of a sliced torus rather than the entire 360 degrees.
Slice FromWhen Slice On is on, specifies the angle where the torus slice begins.
Slice ToWhen Slice On is on, specifies the angle where the torus slice ends.
Generate Mapping CoordsGenerates coordinates for applying mapped materials to the torus.

Torus Primitive
Default=on.
Comments

Pyramid Primitive
Pyramid Primitive
Create panel > Geometry button > Standard Primitives > Object Type rollout > Pyramid button
Create menu > Standard Primitives > Pyramid
The Pyramid primitive has a square or rectangular base and triangular sides.
Examples of pyramids
Procedure
To create a Pyramid:
1. On the Create menu choose Standard Primitives > Pyramid.
2. Choose a creation method, either Base/Apex or Center.

Note: Hold the CTRL key while using either creation method to constrain the base to a square.
3. In any viewport, drag to define the base of the pyramid. If you're using Base/Apex, define the
opposite corners of the base, moving the mouse horizontally or vertically to define the width
and depth of the base. If you're using Center, drag from the center of the base.
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Pyramid Primitive
4. Click, and then move the mouse to define the Height.
5. Click to complete the pyramid.
Interface
Base/ApexCreates the pyramid base from one corner to the diagonally opposite corner.
CenterCreates the pyramid base from the center out.
Parameters rollout
Width, Depth and HeightSets the dimension of the corresponding side of the pyramid.
Width, Depth and Height SegsSets the number of segments to the corresponding sides of the
pyramid.
Generate Mapping CoordsGenerates coordinates for applying mapped materials to the pyramid.
Default=on.
Comments
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Teapot Primitive
Teapot Primitive
Create panel > Geometry button > Standard Primitives > Object Type rollout > Teapot button
Create menu > Standard Primitives > Teapot
Teapot produces a teapot. You can choose to make the whole teapot at once (the default), or any of
its parts. Since the Teapot is a parametric object, you can choose which parts of the teapot to
display after creation.
Examples of teapots
History of the Teapot
This teapot derives from the original data developed by Martin Newell in 1975. Beginning with a
graph-paper sketch of a teapot that he kept on his desk, Newell calculated cubic Bezier splines to
create a wireframe model. James Blinn, also at the University of Utah during this period, produced
early renderings of exceptional quality using this model.
The teapot has since become a classic in computer graphics. Its complexly curved and intersecting
surfaces are well suited to testing different kinds of material mappings and rendering settings on a
real-world object.
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Teapot Primitive
Procedures
To create a teapot:
1. On the Create menu, choose Standard Primitives > Teapot.
2. In any viewport, drag to define a radius.

As you drag, a teapot emerges with the pivot point at the center of its base.
3. Release the mouse to set the radius and create the teapot.
To create a teapot part:
1. In Parameters rollout > Teapot Parts group, turn off all parts except the one you want to
create.
2. Create a teapot.
The part you left on appears. The pivot point remains at the center of the teapot's base.
3. In Parameters rollout > Teapot Parts group, turn off all parts except the one you want.
The teapot has four separate parts: body, handle, spout, and lid. Controls are located in the Teapot
Parts group of the Parameters rollout. You can check any combination of parts to create at the same
time. The body alone is a ready-made bowl, or a pot with optional lid.
To turn a part into a teapot:
1. Select a teapot part in the viewport.
2. On the Modify panel > Parameters rollout, turn on all parts. (This is the default.)
The whole teapot appears.
You can apply modifiers to any separate part. If you later turn on another part, the modifier affects
the additional geometry as well.
Interface
EdgeDraws a teapot from edge to edge. You can change the center location by moving the mouse.
CenterDraws a teapot from the center out.
Parameters rollout

Teapot Primitive
RadiusSets the radius of the teapot

SegmentsSets the number of divisions for the teapot or its individual parts.
SmoothBlends faces of the teapot, creating a smooth appearance in rendered views.
Teapot Parts group
Turn check boxes on or off for teapot parts. By default, all are on, producing a complete teapot.
Generate Mapping CoordsGenerates coordinates for applying mapped materials to the teapot.
Default=on.
Comments

Bezier Curve
Glossary
Bezier Curve
Bezier curve and the control points and tangent vectors about each vertex
A curve modeled using a parametric polynomial technique. Bezier curves can be defined by many
vertices. Each vertex is controlled by two other points that control the endpoint tangent vectors.
Bezier curves were developed by P. Bezier for computer modeling in automobile design.
A vertex on a Bezier Curve affects the entire curve in that area. Compare with B-splines, where the
control vertices (CVs) affect only their local region of the curve or surface
A segment on an editable spline that has its vertices set to Bezier or Bezier Corner is considered a
Bezier Curve.
Comments
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B-Spline
Glossary
B-Spline
B-spline (basis spline) is a kind of spline generated by so-called basis functions. The advantage of B-
splines over Bezier curves is that the control vertices (CVs) of a B-spline affect only their local region
of the curve or surface. B-splines also compute faster than Bezier curves.
Comments
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Select an editable spline > Modify panel > Expand the editable spline in the stack display > Vertex
sub-object level
Select an editable spline > Modify panel > Selection rollout > Vertex button
Select an editable spline > Right-click the spline > Tools 1 (upper-left) quadrant of the quad menu
> Sub-objects > Vertex
While at the Editable Spline (Vertex) level, you can select single and multiple vertices and move
them using standard methods.
If the vertex is of the Bezier or Bezier Corner type, you can also move and rotate handles, thus
affecting the shapes of any segments joined at the vertex. You can copy and paste the handles
between vertices using tangent copy/paste. You can reset them or switch between types using the
quad menu. The tangent types are now always available on the quad menu when a vertex is
selected, your cursor doesn't have to be directly over them in the viewport.
See also

Path Constraint
Trajectories
Procedure
To set a vertex type:
1. Right-click any vertex in a selection.
2. Choose a type from the shortcut menu. Each vertex in a shape can be one of four types:
Smooth: Nonadjustable vertices that create smooth continuous curves. The curvature at a
smooth vertex is determined by the spacing of adjacent vertices.
Corner: Nonadjustable vertices that create sharp corners.
Bezier: Adjustable vertex with locked continuous tangent handles that create a smooth
curve. The curvature at the vertex is set by the direction and magnitude of the tangent
handles.
Bezier Corner: Adjustable vertex with discontinuous tangent handles that create a sharp
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corner. The curvature of the segment as it leaves the corner is set by the direction and
magnitude of the tangent handles.
Smooth vertex (left) and Corner vertex (right)
Bezier vertex (left) and Bezier Corner vertex (right)
To copy and paste vertex tangent handles:
1. Turn on Vertex Selection, then Select the vertex you want to copy from.
2. On the Geometry rollout scroll down to the Tangent group and click Copy.
3. Move your cursor over the vertices in the viewport. The cursor changes to a copy cursor. Click
the handle you wish to copy.
4. On the Geometry rollout scroll down to the Tangent group and click Paste.
5. Move your cursor over the vertices in the viewport. The cursor changes to a paste cursor. Click
the handle you wish to paste to.
The vertex tangency changes in the viewport.
To reset vertex handle tangency:

It is easy to make the handles very small and coincident with the vertex, which makes them hard to
select and edit. Reset the vertex handle tangency to redraw your handles
1. Select the vertex that is problematic.

2. Right-click and choose Reset Tangents.

Any vertex handle editing you have done is discarded and the handles are reset.
Interface
Rendering, Interpolation and Selection rollouts
For information on the Rendering, Interpolation and Selection rollout settings, see Editable Spline.
For information on the Soft Selection rollout settings, see Soft Selection Rollout.
Geometry rollout
New Vertex Type Four radio buttons in this group let you determine the tangency of the new
vertices created when you shift copy segments or splines with Connect Copy turned on. This has no
effect on the tangency of vertices created using the Create Line button.
LinearNew vertices will have linear tangency when this is turned on.
SmoothNew vertices will have smooth tangency when this is turned on.
BezierNew vertices will have bezier tangency when this is turned on.
Bezier CornerNew vertices will have bezier corner tangency when this is turned on.

Create LineAdds more splines to the selected object. These lines are separate spline sub-objects;
create them in the same way as the line spline. To exit line creation, right-click or click to turn off
Create Line.
BreakSplits a spline at the selected vertex or vertices. Select one or more vertices and then click
Break to create the split. There are now two superimposed non-connected vertices for every
previous one, allowing the once-joined segment ends to be moved away from each other.
AttachAttaches another spline in the scene to the selected spline. Click the object you want to
attach to the currently selected spline object. The object you're attaching must also be a spline.
ReorientWhen on, reorients attached splines so that each spline's creation local coordinate
system is aligned with the creation local coordinate system of the selected spline.
Attach Mult.Click this button to display the Attach Multiple dialog, which contains a list of all other
shapes in the scene. Select the shapes you want to attach to the current editable spline, then click
OK.
Refine group
The Refine function includes a number of functions useful for building spline networks for use with
the Surface modifier.
RefineLets you add vertices without altering the curvature values of the spline. Click Refine, and
then select any number of spline segments to add a vertex each time you click (the mouse cursor
changes to a "connect" symbol when over an eligible segment). To finish adding vertices, click Refine
again, or right-click in the viewport.
You can also click existing vertices during a refine operation, in which case the software displays a
dialog asking if you want to Refine or Connect Only to the vertex. If you choose Connect Only the
software will not create a vertex, the software simply connects to the existing vertex.
The Refine operation creates a different type of vertex depending on the types of vertices on the
endpoints of the segment being refined.
If the bordering vertices are both Smooth types, the Refine operation creates a Smooth type
vertex.
If the bordering vertices are both Corner types, the Refine operation creates a Corner type vertex.
If either of the bordering vertices is a Corner or Bezier Corner, the Refine operation creates a
Bezier Corner type.
Otherwise, the operation creates a Bezier type vertex.
ConnectWhen on, creates a new spline sub-object by connecting the new vertices. When you
finish adding vertices with Refine, Connect makes a separate copy of each new vertex and then
connects all of the copies with a new spline.

Note: You must turn on Connect before clicking Refine.

After turning on Connect and before beginning the refinement process, turn on any combination of
these options:
LinearWhen on, makes all segments in the new spline straight lines by using Corner vertices.
When Linear is off, the vertices used to create the new spline are of the Smooth type.
Bind FirstCauses the first vertex created in a refinement operation to be bound to the center of
the selected segment. See Bound Vertex.
ClosedWhen on, connects the first and last vertices in the new spline to create a closed spline.
When Closed is off, Connect always creates an open spline.
Bind LastCauses the last vertex created in a refinement operation to be bound to the center of
the selected segment. See Bound Vertex.
End Point Auto-Welding
Automatic WeldingWhen Automatic Welding is turned on, an end point vertex that is placed or
moved within the threshold distance of another end point of the same spline is automatically
welded. This feature is available at the object and all sub-object levels.
Threshold Dist.The threshold distance spinner is a proximity setting that controls how close
vertices can be to one another before they are automatically welded. Default=6.0.
WeldConverts two end vertices, or two adjacent vertices within the same spline, into a single
vertex. Move either two end vertices or two adjacent vertices near each other, select both vertices,
and then click Weld. If the vertices are within the unit distance set by the Weld Threshold spinner (to
the right of the button), they're converted into a single vertex. You can weld a selection set of
vertices, as long as each pair of vertices is within the threshold.
ConnectConnects any two end vertices, resulting in a linear segment, regardless of the tangent
values of the end vertices. Click the Connect button, point the mouse over an end vertex until the
cursor changes to a cross, and then drag from one end vertex to another end vertex.
InsertInserts one or more vertices, creating additional segments. Click anywhere in a segment to
insert a vertex and attach the mouse to the spline. Then optionally move the mouse and click to
place the new vertex. Continue moving the mouse and clicking to add vertices. A single click inserts
a corner vertex, while a drag creates a Bezier (smooth) vertex.
Right-click to complete the operation and release the mouse. At this point, you're still in Insert
mode, and can begin inserting vertices in a different segment. Otherwise, right-click again or click
Insert to exit Insert mode.
Make FirstSpecifies which vertex in the selected shape is the first vertex. The first vertex of a
spline is indicated as a vertex with a small box around it. Select one vertex on each spline within the
currently edited shape that you want to change and click the Make First button.
On open splines, the first vertex must be the endpoint that is not already the first vertex. On closed

splines, it can be any point that isn't already the first vertex. Click the Make First button, and the
first vertices will be set.
The first vertex on a spline has special significance. The following table defines how the first vertex is
used.
Shape Use First Vertex Meaning
Loft Path Start of the path. Level 0.
Loft Shape Initial skin alignment.
Path
Start of the motion path. 0% location on the path.
Constraint
Trajectory First position key.
FuseMoves all selected vertices to their averaged center.

Fuse is useful for making vertices coincide when building a spline network for use with the Surface
modifier.
Note: Fuse doesn't join the vertices; it simply moves them to the same location.
Three selected vertices (left); fused vertices (right)
CycleSelects successive coincident vertices. Select one of two or more vertices that share the
exact same location in 3D space, and then click Cycle repeatedly until the vertex you want is
selected.
Cycle is useful for selecting a specific vertex from a group of coincident vertices at a spline
intersection when building a spline network for use with the Surface modifier.
Tip: Watch the info display at the bottom of the Selection rollout to see which vertex is selected.
Tip: CrossInsertAdds vertices to two splines belonging to the same spline object at their
intersection. Click CrossInsert, and then click the point of intersection between the two splines. If
the distance between the splines is within the unit distance set by the CrossInsert Threshold spinner

(to the right of the button), the vertices are added to both splines.
Tip: You can continue using CrossInsert by clicking different spline intersections. To finish, right-click
in an active viewport or click the CrossInsert button again.
Tip: CrossInsert is useful for creating vertices at spline intersections when building a spline network
for use with the Surface modifier.
Note: CrossInsert doesn't join the two splines, but simply adds vertices where they cross.
FilletLets you round corners where segments meet, adding new control vertices. You can apply
this effect interactively (by dragging vertices) or numerically (using the Fillet spinner). Click the Fillet
button, and then drag vertices in the active object. The Fillet spinner updates to indicate the chamfer
amount as you drag.
Original rectangle (left), after applying Fillet (top right), and after applying Chamfer (bottom right)
If you drag one or more selected vertices, all selected vertices are filleted identically. If you drag an
unselected vertex, any selected vertices are first deselected.
You can continue using Fillet by dragging on different vertices. To finish, right-click in an active
viewport or click the Fillet button again.
A fillet creates a new segment connecting new points on both segments leading to the original
vertex. These new points are exactly <fillet amount> distance from the original vertex along both

segments. New fillet segments are created with the material ID of one of the neighboring segments
(picked at random).
For example, if you fillet one corner of a rectangle, the single corner vertex is replaced by two
vertices moving along the two segments that lead to the corner, and a new rounded segment is
created at the corner.
Note: UnUnlike the Fillet/Chamfer modifier, youYou can apply the Fillet function to any type of
vertex, not just Corner and Bezier Corner vertices. Similarly, adjoining segments need not be linear.
Fillet AmountAdjust this spinner (to the right of the Fillet button) to apply a fillet effect to
selected vertices.
ChamferLets you bevel shape corners using a chamfer function. You can apply this effect
interactively (by dragging vertices) or numerically (using the Chamfer spinner). Click the Chamfer
button, and then drag vertices in the active object. The Chamfer spinner updates to indicate the
chamfer amount as you drag.
If you drag one or more selected vertices, all selected vertices are chamfered identically. If you drag
an unselected vertex, any selected vertices are first deselected.
You can continue using Chamfer by dragging on different vertices. To finish, right-click in an active
viewport or click the Chamfer button again.
A chamfer "chops off" the selected vertices, creating a new segment connecting new points on both
segments leading to the original vertex. These new points are exactly <chamfer amount> distance
from the original vertex along both segments. New chamfer segments are created with the material
ID of one of the neighboring segments (picked at random).
For example, if you chamfer one corner of a rectangle, the single corner vertex is replaced by two
vertices moving along the two segments that lead to the corner, and a new segment is created at
the corner.
Note: Unlike the Fillet/Chamfer modifier, youYou can apply the Chamfer function to any type of
vertex, not just Corner and Bezier Corner vertices. Similarly, adjoining segments need not be linear.
Chamfer AmountAdjust this spinner (to the right of the Chamfer button) to apply a chamfer
effect to selected vertices.
Tangent group
Tools in this group let you copy and paste vertex handles from one vertex to another.
Copy Turn this on, then choose a handle. This action copies the selected handle tangent into a
buffer.
PasteTurn this on, then click a handle. This pastes the handle tangent onto the selected vertex.
LengthWhen this is on, the handle length is also copied. When this is off, only the handle angle is
considered, the handle length is unchanged.
Hide and Bind group

HideHides selected vertices and any connected segments. Select one or more vertices, and then
click Hide.
Unhide AllDisplays any hidden sub-objects.
BindLets you create bound vertices. Click Bind, and then drag from any end vertex in the current
selection to any segment in the current selection except the one connected to the vertex. Before
dragging, when the cursor is over an eligible vertex, it changes to a + cursor. While dragging, a
dashed line connects the vertex and the current mouse position, and when the mouse cursor is over
an eligible segment, it changes to a "connect" symbol. When you release over an eligible segment,
the vertex jumps to the center of the segment and is bound to it.
Bind is useful for connecting splines when building a spline network for use with the Surface
modifier.
UnbindLets you disconnect bound vertices from the segments to which they're attached. Select
one or more bound vertices, and the click the Unbind button.
DeleteDeletes the selected vertex or vertices, along with one attached segment per deleted
vertex.
Display group
Show selected segsWhen on, any selected segments are highlighted in red at the Vertex sub-
object level. When off (the default), selected segments are highlighted only at the Segment sub-
object level.
This feature is useful for comparing complex curves against each other.
Comments

Loft
Select a path or shape. > Create menu > Compound > Loft
Roadway created as a lofted shape
Loft objects are two-dimensional shapes extruded along a third axis. You create loft objects from two
or more existing spline objects. One of these splines serves the path. The remaining splines serve as
cross-sections, or shapes, of the loft object. As you arrange shapes along the path, the software
generates a surface between the shapes.
You create shape objects to serve as a path for any number of cross-section shapes. The path
becomes the framework that holds the cross sections forming your object. If you designate only one
shape on the path, the software assumes an identical shape is located at each end of the path. The
surface is then generated between the shapes.
The software places few restrictions on how you create a loft object. You can create curved, three-
dimensional paths and even three-dimensional cross sections.
When using Get Shape, as you move the cursor over an invalid shape, the reason the shape is
invalid is displayed in the prompt line.
Unlike other compound objects, which are created from the selected object as soon as you click the
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compound-object button, a Loft object is not created until you click Get Shape or Get Path, and then
select a shape or path.
Loft is enabled when the scene has one or more shapes. To create a loft object, first create one or
more shapes and then click Loft. Click either Get Shape or Get Path and select a shape in the
viewports.
Once you create a loft object, you can add and replace cross-section shapes or replace the path. You
can also change or animate the parameters of the path and shapes.
You can't animate the path location of a shape.
You can convert loft objects to NURBS surfaces.
Procedures
To create a loft object:

Creating loft objects is detailed and offers many choices, but the basic process is quite simple.
1. Create a shape to be the loft path.
2. Create one or more shapes to be loft cross sections.
Select the path shape and use Get Shape to add the cross sections to the loft.
Select a shape and use Get Path to assign a path to the loft. Use Get Shape to add additional
shapes.
You can use the loft display settings to view the skin generated by your loft in both wireframe and
shaded views.
To create a loft with Get Path:
1. Select a shape as the first cross-section shape.
2. Click Create panel > Geometry > Compound Objects > Loft.
3. On the Creation Method rollout, click Get Path.
4. Choose Move, Copy, or Instance.
5. Click a shape for the path.
The cursor changes to the Get Path cursor as you move it over valid path shapes. If the cursor does
not change over a shape, that shape is not a valid path shape and cannot be selected. The first
vertex of the selected path is placed at the first shape's pivot and the path tangent is aligned with
the shape's local Z axis.

To create a loft with Get Shape:
1. Select a valid path shape as the path.
2. If the selected shape is not a valid path, the Get Shape button is unavailable.
3. Click Create panel > Geometry > Compound Objects > Loft.
4. On the Creation Method rollout, click Get Shape.
5. Choose Move, Copy, or Instance.
6. Click a shape.
The cursor changes to the Get Shape cursor as you move it over potential shapes. The selected
shape is placed at the first vertex of the path.
Tip: You can flip the shape along the path by holding down CTRL when using Get Shape. For
example, if you select the lowercase letter "b" with a CTRL+click, the loft will look like the letter "d".
Interface
You use the following rollouts for setting loft object parameters:
Creation Method Rollout
Surface Parameters Rollout
Path Parameters Rollout
Once you've created a loft object, you can also use the Modify panel's Deformations rollout to add
complexity. See Deformations for further information.
Comments

Creating NURBS Surfaces from Geometric Primitives
Primitive objects become NURBS surfaces that you can then edit in various ways.
You can turn a standard primitive into a NURBS object formed of CV surfaces. Once converted, you
can no longer edit the object parametrically, but you can edit it as a NURBS object, moving CVs and
so on.
You can't convert most extended primitive objects in this way, but you can convert the torus knot
and prism extended primitives to NURBS objects.
You can also convert patch objects and loft compound objects.
Tips
Geospheres are good for creating rounded models with no sharp edges.
Boxes are good for creating models that have sharp edges.
Flattened cones work well for models whose contours are roughly triangular.
If the primitive is closed, the converted surface is a closed CV surface, which has no visible seams.
Also, relational cap surfaces are used to cap surfaces that aren't closed.
Procedure
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To turn a primitive into a NURBS object:
1. Create the primitive object.
2. Go to the Modify panel.
3. In the stack display, right-click the name of the object.
4. On the pop-up menu, choose Convert To: NURBS.

The object is converted to one or more CV surfaces. The surfaces can be independent surface
sub-objects, or dependent surface sub-objects such as Lathe.
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Plane Primitive
Plane Primitive
Create panel > Geometry button > Standard Primitives > Object Type rollout > Plane button
Create menu > Standard Primitives > Plane
Toolbox > Press on the box object to open the flyout > Plane
The Plane object is a special type of flat polygon mesh that can be enlarged by any amount at render
time. You can specify factors to magnify the size or number of segments, or both. Use the Plane
object for creating a large-scale ground plane that doesn't get in the way when working in a
viewport. You can apply any type of modifier to the plane object, such as Displace to simulate a hilly
terrain.
Example of plane
Procedure
To create a plane:
1. On the Create menu choose Standard Primitives > Plane.
2. In any viewport, drag to create the Plane.
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Plane Primitive
Interface
RectangleCreates the plane primitive from one corner to the diagonally opposite corner,
interactively setting different values for length and width.
SquareCreates a square plane where length and width are equal. You can change dimensions in
the Parameters rollout subsequent to creation.
Parameters rollout
Length, WidthSets the length and width of the plane object. These fields act also as readouts
while you drag the sides of the box. You can revise these values. Defaults= 0.0, 0.0.
Length Segs, Width SegsSets the number of divisions along each axis of the object. Can be set
before or after creation. By default, each side of the plane has four segments. When you reset these
values, the new values become the default during a session.
Render Multipliers group
Render ScaleSpecifies the factor by which both length and width are multiplied at render time.
Scaling is performed from the center outward.
Render SegsSpecifies the factor by which the number of segments in both length and width are
multiplied at render time.
Generate Mapping CoordsGenerates coordinates for applying mapped materials to the plane.
Default=on.

Plane Primitive
Comments

CV Surface Sub-Object
Select NURBS object. > Modify panel > Create Surfaces rollout > CV Surf
Select NURBS object. > Modify panel > NURBS toolbox > Create CV Surface button
Select NURBS object. > Modify panel > Right-click a viewport. > Tools 2 (lower-left) quadrant >
Create CV Surface
CV surface sub-objects are similar to object-level CV surfaces.
See Also

Procedure
To create a CV surface sub-object:
1. In a NURBS object, turn on CV Surf on the Create Surfaces rollout or Create CV Surface in
the toolbox.
2. In a viewport, drag to specify the initial area of the CV surface.
3. Adjust the CV surface's creation parameters.
Interface
The parameters that appear when you create a CV surface sub-object differ from those you see
when you modify it as a sub-object.
CV Surface rollout (creation time)
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LengthThe length of the surface in current 3ds max units.

WidthThe width of the surface in current 3ds max units.
Length PointsThe number of points along the length of the surface. In other words, the initial
number of point columns in the surface. Range=2 to 50. Default=4.
Width PointsThe number of points along the width of the surface. In other words, the initial
number of point rows in the surface. Range=2 to 50. Default=4.
Generate Mapping CoordinatesGenerates mapping coordinates so you can apply mapped
materials to the surface.
Flip NormalsTurn on to reverse the direction of the surface normals.
The radio buttons in this group box let you choose automatic reparameterization. With
reparameterization, the surface maintains its parameterization as you edit it. Without
reparameterization, the surface's parameterization doesn't change as you edit it, and can become
irregular.
NoneDo not reparameterize.
A uniform knot vector has the advantage that the surface will change only locally when you edit it.
With the other two forms of parameterization, moving any CV can change the entire surface.
CV Surface rollout (modification time)

U Degree and V DegreeLet you set the degree of the surface in either the U or V dimension. The
higher the degree value, the greater the continuity. The lower the degree, the more discontinuous
the surface segments become. The degree can't be less than one or greater than the number
allowed by the number of CVs in the specified dimension. Degree 3 is adequate to represent
continuous surfaces, and is stable and well behaved. Default=3.
Setting the degree greater than 3 isn't recommended, because higher degrees are slower to
calculate and less stable numerically. Higher degrees are supported primarily to be compatible with
models created using other surface modeling programs.
The number of CVs in a given dimension must be at least one greater than that dimension's degree.
irregular.
The close controls let you close a surface. They appear on the Point Surface rollout while an
independent point surface sub-object is selected. They have no effect if the surface is already closed
in that direction.
Close RowsCloses the surface by joining the ends of its rows.

Close Cols.Closes the surface by joining the ends of its columns.

RebuildDisplays the Rebuild CV Surface dialog, which lets you specify how to rebuild the surface.
Rebuilding the surface can change its appearance.
ReparameterizeDisplays the Reparameterize dialog. Reparameterizing a surface changes the
surface's parameter space to provide a better relation between control point locations and the shape
of the surface.
Tip: It is a good idea to reparameterize after you have added CVs to the surface by refining or
inserting.
Comments

CV Surface
CV Surface
Create panel > Geometry > NURBS Surfaces > CV Surf
Create menu > NURBS > CV Surface
The CVs in a control lattice shape the surface it defines.
CV surfaces are NURBS surfaces controlled by control vertices (CVs). The CVs don't lie on the
surface. They define a control lattice that encloses the surface. Each CV has a weight that you can
adjust to change the shape of the surface.
Because an initial NURBS surface is meant to be edited, the surface creation parameters do not
appear on the Modify panel. In this respect, NURBS surface objects are different from other objects.
The Modify panel provides other ways to change the values you set in the Create panel.
Procedure
To create a CV surface:
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CV Surface
2. Turn on Geometry, and choose NURBS Surfaces from the drop-down list.
3. Turn on CV Surf.
4. In a viewport, drag to specify the area of the planar segment.
5. Adjust the surface's creation parameters.

Note: When you edit a CV surface you can add or move CVs so that more than one CV is at the
same location (or close to it) to increase the influence of the CVs in that region of the surface.
Two coincident CVs sharpen the curvature. Three coincident CVs create an angular peak in the
surface. This technique can help you shape the surface. However, if you later move the CVs
individually, you lose this effect. (You can also obtain the influence of multiple CVs by fusing
CVs.)
Interface
The creation parameters are the same for both point surfaces and CV surfaces, except that the
labels indicate which kind of basic NURBS surface you are creating.
The Keyboard Entry rollout lets you create a CV surface by typing. Use the TAB key to move
between the controls on this rollout. To click the Create button from the keyboard, press ENTER
while the button is active.
X, Y, and ZLet you enter the coordinates of the center of the surface.
Length and WidthLet you enter the dimensions of the surface, in current 3ds max units.
Length CVsLets you enter the number of CVs along the length of the surface (this is the initial
number of CV columns).

CV Surface
Width CVsLets you enter the number of CVs along the width of the surface (this is the initial
number of CV rows).
CreateCreates the surface object.
Create Parameters rollout

On the Modify panel, the Length and Width spinners are no longer available. You can change the
length or width of the surface by scaling the surface at the Surface sub-object level. Moving CV sub-
objects also alters the length and width of the surface.
Length CVsThe number of CVs along the length of the surface. In other words, the initial number
of CV columns in the surface. Can range from 4 to 50.
Width CVsThe number of CVs along the width of the surface. In other words, the initial number of
CV rows in the surface. Can range from 4 to 50.
On the Modify panel, the CV Length and Width spinners are no longer available. You can change the
number of rows and columns by deleting existing rows and columns, or by adding new rows and
columns using the Refine controls at the Surface CV sub-object level.
The Generate Mapping Coordinates control is present on the Modify panel. It is at the Surface sub-
object level.
The Flip Normals control is present on the Modify panel. It is at the Surface sub-object level.
When you modify a CV surface, a rollout lets you change its surface approximation settings.

CV Surface
irregular.
Comments

NURBS Surfaces
NURBS Surfaces
Create panel > Geometry > NURBS Surfaces
Create menu > NURBS > CV Surface/Point Surface
NURBS surface objects are the basis of NURBS models. The initial surface you create using the
Create panel is a planar segment with points or CVs. It is meant simply to be "raw material" for
creating a NURBS model. Once you have created the initial surface, you can modify it on the Modify
panel by moving CVs or NURBS points, attaching other objects, creating sub-objects, and so on.
There are two kinds of NURBS surfaces:
Point Surface
CV Surface
You can also create a NURBS surface from a geometric primitive.
NURBS surfaces can contain multiple sub-objects, including NURBS points, NURBS curves, and other
NURBS surfaces. These sub-objects are either dependent or independent.
Common Sub-Object Controls
Editing Surface CV Sub-Objects
You can also create NURBS surface sub-objects by attaching or importing other 3ds max objects.
Both NURBS curves and NURBS surfaces have a Display area in the General rollout on the Modify
panel. These controls affect which portions of the NURBS geometry are displayed. Next to the
Display area is the button that turns on the toolbox for creating sub-objects.
Warning: When you move CV sub-objects, the effect must be calculated over a region of
the surface. Although the calculations are optimized, this is a more involved process than
simply moving vertices in an editable mesh. Because of this, if you manipulate large
numbers of a NURBS surface's CVs by transforming, animating, applying modifiers, and so
on, you will notice a drop in interactive performance.
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NURBS Surfaces
You can use MAXScript to control NURBS objects. See "Working with NURBS in MAXScript" in the
MAXScript help file. Choose Help > Additional Help, and then choose MAXScript from the list of
additional help files.
Comments
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Point Surface
Point Surface
Create panel > Geometry > NURBS Surfaces > Point Surf
Create menu > NURBS > Point Surface
Points shape the surface they lie on.
Point surfaces are NURBS surfaces whose points are constrained to lie on the surface.
Because an initial NURBS surface is meant to be edited, the surface creation parameters do not
appear on the Modify panel. In this respect, NURBS surface objects are different from other objects.
The Modify panel provides other ways to change the values you set in the Create panel.
Procedure
To create a point surface:
2. Turn on Geometry, and choose NURBS Surfaces from the drop-down list.
3. Turn on Point Surf.
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Point Surface
4. In a viewport, drag to specify the area of the planar segment.
5. Adjust the surface's creation parameters.
Interface
The creation parameters are the same for both point surfaces and CV surfaces, except that the
labels indicate which kind of basic NURBS surface you are creating.
The Keyboard Entry rollout lets you create a point surface by typing. Use the TAB key to move
between the controls on this rollout. To click the Create button from the keyboard, press ENTER
while the button is active.
X, Y, and ZLet you enter the coordinates of the center of the surface.
Length and WidthLet you enter the dimensions of the surface in current 3ds max units.
Length PointsLets you enter the number of points along the length of the surface (this is the
initial number of point columns).
Width PointsLets you enter the number of points along the width of the surface (this is the initial
number of point rows).
CreateCreates the surface object.
Create Parameters rollout

Point Surface

On the Modify panel, the Length and Width spinners are no longer available. You can change the
length or width of the surface by scaling the surface at the Surface sub-object level. Moving point
sub-objects also alters the length and width of the surface.
Length PointsThe number of points along the length of the surface. In other words, the initial
number of point columns in the surface. Range=2 to 50. Default=4.
Width PointsThe number of points along the width of the surface. In other words, the initial
number of point rows in the surface. Range=2 to 50. Default=4.
On the Modify panel, the point Length and Width spinners are no longer available. You can change
the number of rows and columns by deleting existing rows and columns, or by adding new rows and
columns using the Refine controls at the Point sub-object level.
The Generate Mapping Coordinates control is present on the Modify panel. It is at the Surface sub-
object level.
The Flip Normals control is present on the Modify panel. It is at the Surface sub-object level.
When you modify a point surface, a rollout lets you change its surface approximation settings.
Comments

Surface Approximation Utility
Utilities panel > Utilities rollout > More button > Utilities dialog > Surface Approximation
The Surface Approximation utility lets you change approximation and display settings without going
into the NURBS model, and is especially useful for changing settings on multiple NURBS objects at
once.
It has two rollouts, one for surface approximation and the other for surface display controls.
Surface Approximation Rollout
Surface Display Rollout
Procedure
To use the Surface Approximation utility:
1. On the Utilities panel, click the More button, and choose Surface Approximation from the list.
2. Set the desired options on the Surface Approximation and Surface Display rollouts.
3. Select the NURBS objects to apply the settings to.
4. On the Surface Display rollout, click Set Selected to apply the settings.
Comments
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Utilities panel > Utilities rollout > More button > Utilities dialog > Surface Approximation >
Surface Approximation rollout
The controls in the Surface Approximation rollout are the same as the surface approximation
controls for NURBS surface objects, with two additional buttons: Set Selected and Reset.
Interface
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Iso Parametric Lines group
The controls in this group box affect the display of the NURBS surfaces in viewports.
U Lines and V LinesThe number of lines used to approximate the NURBS surfaces in viewports,
along the surface's local U and V dimensions, respectively. Reducing these values can speed up the
display of the surface, but reduce accuracy of the display. Increasing these values increases
accuracy at the expense of time. Setting one of these values to 0 displays only the edge of the
object in the corresponding dimension.
Iso OnlyWhen chosen, all viewports display iso line representations of the surface. Iso
(parametric) lines are similar to contour lines. The lines show where the NURBS surface has a
constant U value or V value or both. Iso line representations can be less crowded and easier to
visualize than wire mesh representations.
Iso and Mesh(The default.) When chosen, wireframe viewports display iso line representations of
the surface, and shaded viewports display the shaded surface.
Mesh OnlyWhen chosen, wireframe viewports display the surface as a wire mesh, and shaded
viewports display the shaded surface.
In wireframe viewports, this option lets you see the surface approximation used for viewports.
Iso and mesh displays of a NURBS teapot
ViewportsWhen chosen, the utility affects how surfaces in the NURBS objects are displayed
interactively in viewports, including shaded viewports, and by the preview renderer.

The Viewports surface settings are also used when you apply a mesh modifier such as Mesh Select to
the NURBS objects. This is important because it can affect the scene's geometry.
RendererWhen chosen, the utility affects how surfaces in the NURBS objects are displayed by the
renderer, and by the draft renderer for Quick Render.
Base SurfaceWhen on, settings affect entire surfaces in the selection set. Default=on.
Surface EdgeWhen on, settings affect the tessellation of surface edges that are defined by trim
curves.
Displaced SurfaceEnabled only when Renderer is chosen. Turn on to set a third, independent
approximation setting for surfaces that have a displacement map or Displace modifier applied to
them.
Load Tessellation Preset group
Lets you choose a preset low, medium, or high-quality level of surface approximation. While a preset
is chosen, the values it uses are displayed in the Tessellation Method group box.
Preset values are saved in the 3dsmax.ini file. You can customize the preset values by using the
buttons in the following group box, Save Tessellation Preset.
LowSelects a (comparatively) low-quality level of surface approximation. These are the default
values:
Method=Spatial and Curvature
Edge=50.0
Distance=50.0
Angle=50.0
Merge=0.0
Edge=20.0
Distance=20.0
Angle=15.0
Merge=0.01
Edge=20.0 Distance=20.0

Angle=10.0 Merge=(Unavailable)
Medium(The default for both viewports and rendering.) Selects a medium-quality level of surface
approximation. These are the default values:
Edge=20.0
Distance=20.0
Angle=15.0
Merge=0.0
Edge=10.0
Distance=15.0
Angle=10.0
Merge=0.01
Edge=10.0
Distance=10.0
Angle=4.0
Merge=(Unavailable)
HighSelects a high-quality level of surface approximation. These are the default values:
Edge=5.0
Distance=5.0

Angle=3.0
Merge=0.01
Edge=5.0
Distance=5.0
Angle=2.0
Merge=(Unavailable)
Save Tessellation Preset group
Click a button to save the current Tessellation Method settings as a new Low, Medium, or High
preset. These values are saved in the 3dsmax.ini file.
Note: There is a separate Low, Medium, and High preset for Base Surface and Displaced Surface
approximation. Check whether Base Surface or Displaced Surface is turned on before you use the
buttons in this group box to save a custom preset.
Customizing preset values overwrites the default presets. To restore the defaults, you can re-enter
the default preset values shown above, and then save them with the corresponding button. You can
also restore defaults by editing the 3dsmax.ini file to delete the custom preset values.
When you customize the preset values, there is no necessary correlation between the button names
and the quality of surface approximation. The software has no way of knowing how "good" a
tessellation is, and you can save a very high-quality surface approximation in the Low preset, for
example.
Tessellation Method group
The controls in this group box affect the display of the NURBS surfaces in either viewports, if
Viewports is chosen, or by the renderer, if Renderer is chosen. You can choose between five
algorithms. Each approximates NURBS surfaces by tessellating them in a different way.
Note: When Viewports is chosen, you must also choose Mesh Only in order to see the effect of the
Mesh Parameter settings in wireframe viewports.
Generally speaking, if the preset values you have chosen give good results, you don't need to adjust
the controls in this rollout further. Use them if you encounter problems with the preset alternative.
Tips
Viewport Tessellation: The tessellation method creates the mesh, so if you modify the NURBS
object with Mesh Select, choose the method that gives the result you need. If you use modifiers

heavily, Spatial or Parametric might be better than Curvature, because of their regular
tessellation. Curvature-dependent tessellation can cause problems with some modifiers.
Renderer Tessellation: Spatial and Curvature usually obtains the most accurate rendering.
Curvature can be the more efficient choice when you render animated surfaces.
RegularGenerates a fixed tessellation across the surface based on U Steps by V Steps. Increasing
these parameters increases accuracy at a cost of speed, and vice versa, but in general this can be
the quickest and least accurate way to approximate a NURBS surface. Very low values for U and V
Steps using the Regular method usually doesn't provide good results. Model complexity increases
slowly as U and V Steps values increase.
ParametricGenerates an adaptive tessellation based on U Steps by V Steps. Low values for U and
V Steps using the Parametric method often provide good results. Model complexity increases rapidly
as U and V Steps values increase, so take care when you switch from Regular, which generally
requires higher U and V values, to Parametric, where lower U and V values generally suffice.
For example, if you convert a teapot to NURBS and set the U and V steps to 15, the Regular method
generates 4470 faces but the Parametric method generates 204960 faces.
Parametric mesh of the NURBS teapot
SpatialGenerates a uniform tessellation made of triangular faces.

rendering time.
Spatial mesh of the NURBS teapot
CurvatureGenerates a variable tessellation based on the curvature of the surface. The tessellation
has a finer grain where the surface is more curved. Changing surface curvature dynamically changes
the curvature tessellation.

surface. Distance is a percentage of the diagonal of each surface's bounding box. Each surface in an
object is tessellated based on its size, independently of other surfaces, and scaling a surface doesn't
you set Distance to 0.0, the software ignores this parameter and uses the Angle to control accuracy.
ignores this parameter and uses the Distance to control accuracy.
When both Distance and Angle are 0.0, the surfaces degenerate and can become flat surfaces.
Curvature mesh of the NURBS teapot
Spatial and Curvature(The default.) Combines the spatial (edge-length) method and the
curvature (distance and angle) methods, using all three values.
rendering time. When you set Edge to 0.0, the effect is equivalent to the Curvature method.
surface. Distance is a percentage of the diagonal of each surfaces bounding box. Each surface in an
object is tessellated based on its size, independently of other surfaces, and scaling a surface doesnt
you set Distance to 0.0, the software ignores this parameter and uses the Edge and Angle values to
control accuracy.
ignores this parameter and uses the Edge and Distance values to control accuracy.
When Distance, Angle, and Edge are all 0.0, the surfaces degenerate and can become flat surfaces.
View-Dependent(for the Renderer only): When turned on, takes the object's distance from the
camera into account while calculating its tessellation. This can improve rendering time by not
generating fine-grained tessellations for objects that are in the distance of the rendered scene. The
view-dependent effect only works when you render camera or perspective views. It doesn't work in
orthographic views. This control is disabled while Viewports is active.
For the Spatial, Curvature, and Spatial and Curvature methods, when View-Dependent is turned on,
the Distance and Edge values specify pixels instead of the softwares default units.

Note: When View-Dependent is on, tessellation very quickly reaches the maximum subdivision limit.
You might want to increase this value to 7 (the greatest value allowed). See the description of
Advanced Parameters, below.
MergeControls the tessellation of surface sub-objects whose edges are joined or very nearly
joined. When input to a modifier (such as Mesh Select) that requires a mesh, and when NURBS
surfaces are tessellated for production rendering, by default the software adjusts the tessellation of
adjoining surfaces to match each other, in terms of the number of faces along the edges. The Merge
parameter controls how this is done. If Merge is zero, adjoining faces are unchanged. Increasing the
value of Merge increases the distance the software uses to calculate how edges should match,
guaranteeing no gaps between the surfaces when they are rendered. Default=0.01.
In most cases, you don't need to adjust Merge. If rendering shows gaps between nearly adjoining
faces, increase Merge to eliminate them.
Technically, the Merge value is one tenth of one percent of the diagonal of the object's bounding
box. In other words, a Merge value of 1.0 (higher than necessary for most purposes) is 0.1 percent
of the length of the diagonal. Because Merge is based on the object's dimensions, you can scale the
NURBS model without affecting the Merge setting.
Advanced ParametersClick to display the Advanced Surface Approximation dialog. The
parameters in this dialog apply to the Spatial, Curvature, and Spatial and Curvature approximation
methods.
Clear SurfacesWhen on, the settings you choose in this utility override all sub-object specific
surface approximation settings in the selected NURBS models. When off, the utility affects top-level
NURBS models but settings local to individual surface sub-objects remain unaffected. Default=Off.
Set SelectedApplies the surface approximation values active in the utility to all selected NURBS
objects.
ResetResets the values in the utility to the default settings for a NURBS surface.
Comments

Advanced Surface Approximation Dialog
Modify panel > Select a NURBS surface object or surface sub-object. > Surface Approximation
rollout > Tessellation Method group box > Turn off Lock to Top Level > Advanced Parameters
button
Select an editable mesh object. > Modify panel > Surface Properties rollout > Advanced
Parameters button
This dialog sets parameters that control the tessellation used in the Spatial, Curvature, and Spatial
and Curvature approximation methods.
Interface
Subdivision Style
Chooses the method used to subdivide the surface:

GridSubdivides the surface using a regular grid.
Tree(The default.) Subdivides the surface using a binary tree.
DelaunaySubdivides the surface using nearly equilateral triangles.
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Delauney surface subdivision style
Subdivision Limits
For Grid or Tree subdivisions, the limits control the number of recursive decompositions that are
performed during tessellation.
Minimum Subdivision LevelsSets the minimum number of recursions. Default=0.
Maximum Subdivision LevelsSets the maximum number of recursions. The maximum can be no
greater than 7. Be careful: setting the maximum greater than 5 can result in massive face counts
and poor performance. Default=3.
Maximum Number of Triangles
For Delaunay subdivision, the Maximum Number of Triangles lets you specify the maximum number
of triangles into which the surface will be divided. Default=20000.
Comments
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Utilities panel > Utilities rollout > More button > Utilities dialog > Surface Approximation >
Surface Display rollout
The controls in the Surface Display rollout are the same as the display controls for NURBS surface
objects, with two additional buttons: Set Selected and Reset.
Interface
Display group
LatticesWhen turned on, displays control lattices, in yellow lines. (You can change the lattice color
by using the Colors panel of the Customize User Interface dialog. The Curve CV and Surface CV sub-
object levels also have a local Display Lattice toggle, which overrides this global setting at the sub-
object level. The Curve CV and Surface CV settings are independent. In other words, at the sub-
object level, you can turn on the lattice for an objects curves but not its surfaces, or vice versa.
CurvesWhen turned on, displays curves.
SurfacesWhen turned on, displays surfaces.
DependentsWhen turned on, displays dependent sub-objects.
Surface TrimsWhen turned on, displays surface trimming. When turned off, displays all of a
surface even if its trimmed.
Transform DegradeWhen turned on, transforming a NURBS surface can degrade its display in
shaded viewports, to save time. This is similar to the Degradation Override button for playing
animations. You can turn off this toggle so surfaces are always shaded while you transform them,
but transforms can take longer to create.
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Button set
Set SelectedApplies the display settings active in the utility to all selected NURBS objects.
ResetResets the values in the utility to the default settings for a NURBS surface.
Comments
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Surface Trimming
Surface Trimming
To trim a surface is to use a curve on the surface to cut away part of the surface, or to cut a hole in
the surface.
Before you trim a surface, you must create a curve on that surface. These are the kinds of curves
that can trim surfaces:
U iso and V iso curves
Surface-surface intersection curve
Normal projected curve
Vector projected curve
CV curve on surface
Point curve on surface
Once you've created the curve, you trim the surface by turning on Trim in the curve sub-object's
parameters. A Flip Trim control inverts the trim direction.
The direction of the curve determines the initial direction of the trim. For example, a closed curve on
surface created in a clockwise direction trims inward, creating a hole in the surface; while a closed
curve on surface created in a counterclockwise direction trims outward, creating a curve-shaped
portion of the surface.
When a surface is trimmed, its untrimmed version is still present in the 3ds max scene. You can
select it for the purposes of editing it, or replacing it as a parent to a dependent sub-object. To do
so, use the select-by-name dialog. See Sub-Object Selection.
Procedures
Example: To cut a hole in a CV surface:
1. Create a CV surface in the Top viewport.
2. Create a closed CV curve sub-object that lies on top of (or above) the surface.
3. In the toolbox, turn on Normal Projected Curve, then in the Top viewport select first the CV
curve, then the surface.
This creates a projection of the CV curve that lies on the surface, and can trim it.
4. In the normal projected curve's parameters, click to turn on Trim.

A hole appears in the surface. Depending on the orientation of the Normal Projected curve, you
might see everything but the hole.
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Surface Trimming
5. Use the Flip Trim toggle to invert the trim.

Note: Trims aren't displayed in viewports if the NURBS surface's Surface Trims toggle is turned
off on the General rollout's Display group box.
Above: CV curve on surface

Below left: Using the curve to trim the surface
Below right: Using Flip Trim to change the trimming direction
To select an untrimmed surface:
1. Make sure the Keyboard Shortcut Override Toggle button on the status bar is turned on.
2. At the appropriate sub-object level or during a replace parent operation, press H. A select-by-
name dialog appears.
3. If the untrimmed version is selectable at this level, the trimmed version appears as a "tree,"
with a plus sign next to it. Click the plus sign to expand the tree. The child is the untrimmed
version. Highlight its name to select it.
Comments
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U and V Iso Curves
U and V Iso Curves
Select NURBS object. > Modify panel > Create Curves rollout > Dependent Curves group box > U
Iso Curve button or V Iso Curve button
Select NURBS object. > Modify panel > NURBS toolbox > Create U Iso Curve button or Create V Iso
Curve button
Iso curves in the U and V dimensions
U and V iso curves are dependent curves created from the iso (isoparametric) lines of a NURBS
surface. You can use U and V iso curves to trim surfaces.
Procedure
To create an iso curve:
Turn on U Iso Curve or V Iso Curve, then drag over the surface.
The iso lines are highlighted in blue as you drag.
Click to create the curve from the highlighted iso line.
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U and V Iso Curves
Interface
Iso Curve rollout (creation time)
PositionSets the iso curve's position along the U or V axis of the surface.
Trim Controls group
TrimWhen on, trims the surface against the iso curve.

Flip TrimWhen on, flips the direction of the trim.
Iso Curve rollout (modification time)
PositionSets the iso curve's position along the U or V axis of the surface.
Trim Controls group
TrimWhen on, trims the surface against the iso curve.

Flip TrimWhen on, flips the direction of the trim.

U and V Iso Curves
Replace Base SurfaceLets you replace the parent surface. Click the button, then click the new
surface on which to base the iso curve.
Comments

Surface-Surface Intersection Curve
Select NURBS object. > Modify panel > Create Curves rollout > Dependent Curves group box >
Surf x Surf button
Select NURBS object. > Modify panel > NURBS toolbox > Create Surface-Surface Intersection
Curve button
Trimming a surface with a surface-surface intersection curve
This command creates a curve that is defined by the intersection of two surfaces. You can use
surface-surface intersection curves for trimming.
If the surfaces intersect at two or more locations, the intersection closest to the seed point is the
one that creates the curve.
Procedure
To create a surface-surface intersection curve:
1. Turn on Create Surface-Surface Intersection Curve in the NURBS toolbox, or Surf x Surf
on the Create Curves rollout.
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2. Click the first surface, then the second.

If the two surfaces intersect, a curve that lies along their intersection is created.
Interface
Surf-Surf Intersection Curve rollout (creation time)
Trim Controls group
Trim 1 and Trim 2When on, trim a surface against the intersection curve. When off, the surface
isnt trimmed. Trim 1 trims the first parent surface you clicked, and Trim 2 trims the second parent
surface.
If the intersection curve does not pass completely across a surface, trimming is impossible, and the
affected surface is displayed in the error color (orange by default).
Flip Trim 1 and Flip Trim 2When on, trim the associated surface in the opposite direction.
U Seed and V SeedChange the UV location of the seed value on surface 1, the first surface you
clicked. If there is a choice of intersections, the intersection closest to the seed point is the one used
to create the curve.
Surf-Surf Intersection Curve rollout (modification time)

Trim Controls group
Trim 1 and Trim 2When on, trim a surface against the intersection curve. When off, the surface
isnt trimmed. Trim 1 trims the first parent surface you clicked, and Trim 2 trims the second parent
surface.
If the intersection curve does not pass completely across a surface, trimming is impossible, and the
affected surface is displayed in the error color (orange by default).
Flip Trim 1 and Flip Trim 2When on, trim the associated surface in the opposite direction.
U Seed and V SeedChange the UV location of the seed value on surface 1, the first surface you
clicked. If there is a choice of intersections, the intersection closest to the seed point is the one used
to create the curve.
Replace First Surface and Replace Second SurfaceLet you replace the parent surfaces. Click a
button, then click the surface to replace the original first or second surface.
Comments

Normal Projected Curve
Normal Proj. button
Select NURBS object. > Modify panel > NURBS toolbox > Create Normal Projected Curve button
A normal projected curve lies on a surface. It is based on an original curve, which is projected onto
the surface in the direction of the surface's normals.
You can use normal projected curves for trimming.
Trimming a surface with a normal projected curve
If the projection intersects the surface in two or more locations, the intersection closest to the seed
point is the one that creates the curve.
Procedure
To create a normal projected curve:
1. In a NURBS object that contains at least one surface and one curve sub-object, turn on
Normal Projected Curve in the NURBS toolbox or Normal Proj. on the Create Curves rollout.
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2. Click the curve, then click the surface where you want the normal projected curve to lie.
If the curve can be projected onto the surface in the surface's normal direction, the projected
curve is created. The original, parent curve can go "off the edge of the surface." The projected
curve is created only where the projection and the surface intersect.
Interface
Normal Projected Curve rollout (creation time)
Trim Controls group
TrimWhen on, trims the surface against the curve. When off, the surface isnt trimmed.
If it's impossible to trim with this curve, the surface is displayed in the error color (orange by
default). For example, the curve is unusable for trimming if it neither crosses the edge of the surface
nor forms a closed loop.
Flip TrimWhen on, trims the surface in the opposite direction.
U Seed and V SeedChange the UV location of the seed value on the surface. If there is a choice
of projections, the projection closest to the seed point is the one used to create the curve.
Normal Projected Curve rollout (modification time)

Trim Controls group
Replace Curve and Replace SurfaceLet you replace the parent sub-objects. Click a button, then
click a curve or surface to replace the original parent object.
Comments

Vector Projected Curve
Vector Proj. button
Select NURBS object. > Modify panel > NURBS toolbox > Create Vector Projected Curve button
A Vector Projected curve lies on a surface. This is almost the same as a Normal Projected curve,
except that the projection from the original curve to the surface is in the direction of a vector that
you can control.
You can use vector projected curves for trimming.
Trimming a surface with a vector projected curve
If the projection intersects the surface in two or more locations, the intersection closest to the seed
point is the one that creates the curve.
Procedure
To create a vector projected curve:
1. In a NURBS object that contains at least one surface and one curve sub-object, click to
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turn on Vector Projected Curve in the NURBS toolbox or Vector Proj. in the Create Curves
rollout.
2. Click the curve, then the surface where you want the vector projection curve to lie.
The initial vector direction is in the view direction. That is, the vector points away from you as
you look at the viewport. If the curve can be projected onto the surface in this direction, the
projection curve is created. The original, parent curve can go "off the edge of the surface." The
projection curve is created only where the projection and the surface intersect.
Interface
In viewports a gizmo (yellow by default) indicates the projection axis. Transforming the gizmo
changes the projection onto the surface. Rotating the gizmo is the most useful transform. You can
use rotation to adjust the distortion caused by projection.
Vector Projected Curve rollout (creation time)
Trim Controls group
Vector Projected Curve rollout (modification time)

Trim Controls group
Replace Curve and Replace SurfaceLet you replace the parent sub-objects. Click a button, then
click a curve or surface to replace the original parent object.
Comments

CV Curve on Surface
CV Curve on Surface
Select NURBS object. > Modify panel > Create Curves rollout > Dependent Curves group box > CV
on Surf button
Select NURBS object. > Modify panel > NURBS toolbox > Create CV Curve on Surface button
A CV curve on surface is similar to a plain CV curve, but it lies on a surface. You create it by drawing
rather than projecting from a different curve. You can use this curve type for trimming the surface
on which it lies.
Trimming a surface with a CV curve on surface
There are two methods for drawing and editing curves on surfaces: drawing in a viewport, or using
the Edit Curve on Surface dialog. The choice is useful because you draw in two dimensions, with a
mouse or other pointing device, while the curve on a surface can exist in three dimensions. The
more complex the 3D surface, the more effort it can require to create and edit a curve on a surface.
Visual feedback can help you draw the curve. The point whose surface you first click is shown as a
blue square, and the surface's minimum UV point is shown as a plus sign (+). As you draw the
curve, it is displayed interactively in viewports.
Drawing in a Viewport
When you click to position a CV, the click is projected in the viewport's Z dimension. That is, your
click is projected "through the screen" and onto the surface. This is a straightforward way to create a
curve on a surface if the portion of the surface where the curve will lie is clearly visible in the
viewport. However, this method doesn't let you place CVs on surface locations that are not visible in
the viewport (they are on back faces, lie behind other geometry, and so on).
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CV Curve on Surface
Using the Edit Curve on Surface Dialog
The Edit Curve on Surface dialog lets you edit curves on surfaces as you edit regular curves in a
viewport. The main part of the dialog is a two-dimensional view of the surface. The controls provide
typical curve editing functions. While you are creating a CV curve on surface, the 2D View toggle
controls display of the Edit Curve on Surface dialog.
You can edit the CVs in CV curves on surfaces at the Curve CV sub-object level, as you edit other
kinds of curve CVs. You can transform CVs in CV curves on surfaces, but you can't move the CVs off
the surface. Using the Curve CV sub-object level is an alternative to editing these CVs by using the
Edit Curve on Surface dialog.
Procedure
To create a CV curve on surface:
1. In a NURBS object that contains at least one surface, turn on Create CV Curve on Surface
in the NURBS toolbox, or CV on Surf on the Create Curves rollout.
Draw the curve in the viewport, using the mouse above the surface.
Turn on 2D View. This displays an Edit Curve on Surface dialog, which lets you create the
curve in a two-dimensional (UV) representation of the surface.
3. Right-click to end curve creation.
Interface
CV Curve on Surface rollout (creation time)

CV Curve on Surface
Trim Controls group
default). For example, the curve is unusable for trimming if it doesn't form a closed loop.
reparameterization, the curve maintains its parameterization as you edit it. Without
reparameterization, the curve's parameterization doesn't change as you edit it, and can become
irregular.
A uniform knot vector has the advantage that the curve will change only locally when you edit it.
With the other two forms of parameterization, moving any CV can change the entire curve.
2D ViewWhen on, displays the Edit Curve on Surface dialog, which lets you create the curve in a
two-dimensional (UV) representation of the surface.
CV Curve on Surface rollout (modification time)
Trim Controls group

CV Curve on Surface
reparameterization, the curve maintains its parameterization as you edit it. Without
reparameterization, the curve's parameterization doesn't change as you edit it, and can become
irregular.
A uniform knot vector has the advantage that the curve will change only locally when you edit it.
With the other two forms of parameterization, moving any CV can change the entire curve.
Replace SurfaceLets you replace the parent surface. Click a button, then click a surface to
replace the original parent surface.
EditClick to display the Edit Curve on Surface dialog, which lets you edit the curve in a two-
dimensional (UV) representation of the surface.
To edit multiple curves on a surface, select more than one CV curve sub-object on the same surface,
then click Edit.
RebuildDisplays the Rebuild CV Curve dialog to let you rebuild the CV curve on surface.
ReparamDisplays the Reparameterize dialog to let you reparameterize the CV curve on surface.
Comments

Edit Curve on Surface Dialog
Select NURBS object. > Modify panel > Stack display > Curve sub-object level > Select NURBS
curve on surface sub-object. > CV Curve on Surface or Point Curve on Surface rollout > Edit button
This dialog lets you edit curves on surfaces as you edit regular curves in a viewport. The main part
of the dialog is a two-dimensional view of the surface. The controls provide typical curve editing
functions.
This is a modeless dialog. You can use the main 3ds max window while Edit Curve on Surface
remains open. However, if you select a different kind of curve or a sub-object that isn't a curve, the
dialog closes.
You can edit multiple CV on surface or Point on surface curves, but you can't edit both types of
curves at the same time.
The point whose surface you first click is shown as a blue square in the dialog as well as in
viewports. As you draw the curve, it appears interactively in viewports and a blue asterisk (*) shows
the current mouse location on the surface.
While you are creating a curve, you can press BACKSPACE to remove the last point or CV you
created, and then previous points or CVs in reverse order.
Interface
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Toolbar
The toolbar above the surface image provides selection, transform and viewing controls. These
controls work the way their analogs do in the main 3ds max viewports. The toolbar is disabled while
you create a new curve on surface.
SelectSelects one or more points. Drag a window to select multiple points.
MoveMoves the selected points.
Move is a flyout. The alternative buttons constrain texture points to move either vertically or
horizontally.
RotateRotates the selected points.
ScaleScales the selected points. This is a flyout that lets you choose between uniform scale,
nonuniform scale in the surface's U dimension, or nonuniform scale in the surface's V dimension.
PanPans the surface view.

ZoomZooms in or out on the surface view.

Zoom WindowZooms to a window you drag on the surface view.
Zoom ExtentsZooms to the extents of the surface.
Lock SelectionLocks the active selection set. You can turn this on to keep from accidentally
selecting other points or CVs while you're transforming a selection set.
PreviewWhen on (the default), edits you make in the dialog are also shown in viewports.
Curve on Surface Image
Below the toolbar is a 2D image of the curve. This image shows the points or CVs of the curve,
allowing you to edit it as you edit sub-objects in viewports.
If you right-click while in the image, a pop-up menu lets you switch between Select, Move, Rotate,
and Scale. This is an alternative to using the toolbar.
If your mouse has a middle button, you can use it to pan in this window.
Buttons and Weight
These controls are comparable to editing controls on the rollouts for point sub-objects. (The Open
button works differently.) These controls are disabled while you create a new curve on surface.
RefineAdds points to the curve. This does not change curvature. For point curves, the curvature
can change, but only slightly.
Insert(Not available for point curves on surfaces.)
CloseCloses the curve.
FuseFuses two points.
Weight(Not available for point curves on surfaces.)
DeleteDeletes the selected points.
OpenOpens the curve by unfusing the points where the curve was originally closed.
UnfuseUnfuses the selected points.
Remove AnimationRemoves animation controllers from the selected points or CVs.
Comments

Point Curve on Surface
Point on Surf button
Select NURBS object. > Modify panel > NURBS toolbox > Create Point Curve on Surface button
A point curve on surface is similar to a plain point curve, but it lies on a surface. You create it by
drawing rather than projecting from a different curve. You can use this curve type for trimming the
surface on which it lies.
Trimming a surface with a point curve on surface
There are two methods for drawing and editing curves on surfaces: drawing in a viewport, or using
the Edit Curve on Surface dialog. The choice is useful because you draw in two dimensions, with a
mouse or other pointing device, while the curve on a surface can exist in three dimensions. The
more complex the 3D surface, the more effort it can require to create and edit a curve on a surface.
Visual feedback can help you draw the curve. The point whose surface you first click is shown as a
blue square, and the surface's minimum UV point is shown as a plus sign (+). As you draw the
curve, it is displayed interactively in viewports.
Drawing in a Viewport
When you click to position a point, the click is projected in the viewport's Z dimension. That is, your
click is projected "through the screen" and onto the surface. This is a straightforward way to create a
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curve on a surface if the portion of the surface where the curve will lie is clearly visible in the
viewport. However, this method doesn't let you place points on surface locations that are not visible
in the viewport (they are on back faces, lie behind other geometry, and so on).
Using the Edit Curve on Surface Dialog
The Edit Curve on Surface dialog lets you edit curves on surfaces as you edit regular curves in a
viewport. The main part of the dialog is a two-dimensional view of the surface. The controls provide
typical curve editing functions. While you are creating a point curve on surface, the 2D View toggle
controls display of the Edit Curve on Surface dialog.
You can edit the points in point curves on surfaces at the Point sub-object level, as you edit other
kinds of points. You can transform points in point curves on surfaces, but you can't move the points
off the surface. Using the Point sub-object level is an alternative to editing these points by using the
Edit Curve on Surface dialog.
Procedure
To create a point curve on surface:
1. In a NURBS object that contains at least one surface, turn on Create Point Curve on
Surface in the NURBS toolbox, or Point on Surf on the Create Curves rollout.
Draw the curve in the viewport, using the mouse above the surface.
Turn on 2D View. This displays an Edit Curve on Surface dialog, which lets you create the
curve in a two-dimensional (UV) representation of the surface.
3. Right-click to end curve creation.
Interface
Point curves on surfaces have point sub-objects that you can transform and edit in viewports as you
do with plain point curves.
(There is no special Move Surface Points button as there was prior to 3ds max 3.)
Point Curve on Surface rollout (creation time)

Trim Controls group
2D ViewWhen on, displays the Edit Curve on Surface dialog, which lets you create the curve in a
two-dimensional (UV) representation of the surface.
Point Curve on Surface rollout (modification time)
Trim Controls group
Replace SurfaceLets you replace the parent surface. Click a button, then click a surface to
replace the original parent surface.
EditClick to display the Edit Curve on Surface dialog, which lets you edit the curve in a two-
dimensional (UV) representation of the surface.
To edit multiple curves on a surface, select more than one point curve sub-object on the same
surface, then click Edit.

Comments

Modify panel > Select NURBS object or sub-object. > Point sub-object level > Select point sub-
objects.
Modify panel > Select NURBS object or sub-object. > Right-click. > Tools 1 (upper-left) quadrant >
Sub-objects > Point > Select point sub-objects.
This topic describes the controls for point sub-objects. A rollout labeled Point contains the point sub-
object controls for NURBS models. In addition to the Point rollout described here, the Point sub-
object level displays the Soft Selection rollout.
Procedures
To transform point sub-objects:
1. At the Point sub-object level, select one or more points.

The sub-object selection tools are the same as for other kinds of sub-objects. You can also use
the H key while the status bars Keyboard Shortcut Override Toggle is turned on. See Sub-
Object Selection.
The Selection group box, described under "Interface" later in this topic, provides some
additional options for selecting Point sub-objects.
2. Turn on Move or another transform and then drag in a viewport to transform the selection.
The shape of the model changes as you interactively transform the points.
Rotate and Scale are useful only when you've selected multiple points.
Tips
The Lock Selection Set button is useful when you transform NURBS point sub-objects. You
can make a selection in one viewport, click Lock Selection Set (or press the SPACEBAR), and
then transform the selection in a different viewport.
When you move point sub-objects, move them as systematically as possible to avoid "getting
lost."
On surfaces, avoid moving points so they cross over or under adjacent points. This can create odd-
looking warps or overlaps in the surface.
To SHIFT+Clone point sub-objects:
Hold down SHIFT while you transform the point.
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This works only for points that lie on curves or surfaces, independent point sub-objects, and curve
point or surface point sub-objects that lie on the curve or surface (that is, that aren't displaced).
To use the keyboard to select point sub-objects:

You can select point sub-objects using the CTRL key and the arrow keys. The arrows traverse the
sub-objects in the order they were created. To do so, follow these steps:
1. Turn on the Keyboard Shortcut Override Toggle.
2. Click or drag to select points.
3. Hold down CTRL and use the arrow keys to move among the point sub-objects.
For points on curves, the arrow keys traverse the point selection along the length of the curve.
The arrow keys dont move between curve sub-objects.
For points on surfaces, the left and right arrow keys traverse the U dimension of a surface,
while the up and down arrow keys traverse the V dimension of the surface. The arrow keys
dont move between surface sub-objects.
The arrow keys dont traverse individually created points that arent part of a curve or surface.
You can also use the H keyboard shortcut (while the Keyboard Shortcut Override Toggle is turned
on) to display a dialog and select points by name. CTRL+H displays only the names of points directly
beneath the mouse cursor.
To remove a point from a curve:
1. Select a point.
2. In the Delete group box, click Point.

Keyboard shortcut: DEL
The point is deleted and the shape of the curve is updated.
Note: An open point curve must have at least two endpoints.
To remove points from a surface:
1. Select a point, row, or column.

The appropriate Delete buttons are enabled.
2. In the Delete group box, click Point, Row, or Col.

The point, row, or column is deleted. Deleting a "single" point actually deletes both the row and
column to which the point belongs.
To add a point to a curve:

1. In the Refine group box, turn on Curve.
2. Click the curve where you want to add the point.

A point is added at the location you clicked. The curvature can change.
To add a point and extend the length of a curve:
1. Click to turn on Extend.
2. Move the mouse over a point curve. The curve is highlighted in blue, and one of the curve's
ends displays a box to show where the curve will be extended.
3. Drag from the highlighted end point, and then release the mouse button.
A new point is added beyond the original length of the curve.
To add points to a point surface:
1. In the Refine group box, click Surf Row, Surf Col., or Surf Row & Col.
2. Click the surface.

A row, a column, or both are added close to the point where you clicked the surface. The new
points are placed on the surface so they preserve the surfaces curvature. The curvature can
change, but only slightly.
To fuse two points:
1. Turn on Fuse.
2. Click a point without releasing the mouse button. Drag to another point, and then release the
mouse button.
The first point you choose acquires the position of the second point, and becomes dependent to
it. If the first point has an animation controller, the controller is discarded. If the second point
has an animation controller, the first point acquires it too.
Fused points display in purple by default.
To unfuse fused points:
1. Select the fused point.
2. Click Unfuse.
Now you can move and edit the two points independently.
To transform a region:
1. Using sub-object selection, select one or more points for the center of transformation.
2. Turn on Soft Selection.

3. Transform the point.

A region around the selected point is transformed accordingly.
Move is the most common transform to use. Rotate and Scale can be used with a non-local
transform center.
Tip: If Soft Selection appears not to be working, the Falloff value might be too small for the size of
your surface. On the Soft Selection rollout, increase the value of Falloff so it encompasses other
points.
Interface
In addition to the Point rollout described here, the Point sub-object level also displays the Soft
Selection rollout.
Selection group

Point sub-object selection controls
Single Point(The default.) When on, you can select individual points by clicking, or groups of
points by dragging a region.
Row of PointsWhen on, clicking a point selects the entire row the point belongs to. Dragging
selects all rows in the region.
If the point is on a curve, Row of Points selects all points in the curve.
Column of PointsWhen on, clicking a point selects the entire column the point belongs to.
Dragging selects all columns in the region.
If the point is on a curve, Column of Points selects only a single point.
Row and Column of PointsWhen on, clicking a point selects both the row and column the point
belongs to. Dragging selects all rows and columns in the region.
All PointsWhen on, clicking or dragging selects all the points in the curve or surface.
Tip: Rows and columns are easily visible when the NURBS surface is planar, or nearly so. When the
surface has a complicated curvature, rows and columns can be more difficult to see. The Row,
Column, and Row/Column buttons can be especially useful in this situation.
NameShows the name of the currently selected point. It is disabled if you have selected multiple
points.
By default, the name is "Point" followed by a sequence number. You can use this field to give the
point a name that you choose.
HideClick to hide the currently selected points.
Unhide AllClick to unhide all hidden points.
FuseFuses a point to another point. (You can't fuse a CV to a point, or vice versa.) This is one way
to connect two curves or surfaces. It is also a way to change the shape of curves and surfaces.
Fusing points does not combine the two point sub-objects. They are connected but remain distinct
sub-objects that you can unfuse later.
Fused points behave as a single point until you unfuse them.
Fused points are displayed in a distinct color. The default is purple. (You can change this color using
the Colors panel of the Customize User Interface dialog.)
UnfuseUnfuses the fused points.
ExtendExtends a point curve. Drag from the end of a curve to add a new point and extend the
curve.
Warning: When you add points with Extend, you lose the animation controllers for all
points on the curve or surface.
Make IndependentDisabled if the point is independent. If the point is dependent, clicking this

button makes it independent.

Warning: When you make a point independent, you lose the animation controllers for all
objects that depend on it in turn.
Remove AnimationRemoves animation controllers from the selected points.
Delete group
The buttons in this group box delete one or more points.

PointDeletes a single point (on a curve) or a row and column of points (on a surface).
RowDeletes a row from a surface.
Col.Deletes a column from a surface.
Warning: When you delete points, you lose the animation controllers for all points on the
curve or surface.
Refine group
The buttons in this box refine point curves or surfaces by adding points to them.
CurveAdds points to a point curve.
Surf RowAdds a row of points to a point surface.
Surf Col.Adds a column of points to a point surface.
Surf Row & Col.Adds both a row and a column to a point surface; their intersection is where you
click the surface.
Warning: When you add points, you lose the animation controllers for all points on the
curve or surface.
Points SelectedThis text field shows how many points are currently selected.
Comments

Soft Selection Rollout (NURBS)
Modify panel > Select NURBS point or CV sub-objects. > Soft Selection rollout
The soft selection controls for NURBS models are like the soft selection controls for editable mesh
objects. Soft selection controls make a point or CV behave as if surrounded by a "magnetic field."
Unselected points or CVs within the field are drawn along smoothly while you move the selected one.
With this feature, you can sculpt the points or CVs of a curve or surface. For example, you can draw
a sphere into an egg, or gently curve a flat surface into hills and valleys.
With soft selection, transforming a single vertex can move others.
The Soft Selection rollout for point and CV sub-objects contains the controls for this feature. The Soft
Selection check box is turned off by default.
Before you begin, you might need to increase the number of CVs or points on the surface. This
allows smoother and more complex reshaping effects.
A single point or CV works well for many purposes. Moving a point or CV along a single axis is the
most useful for smoothly raising and lowering surfaces. For multiple points or CVs, you can also use
Rotate or Scale.
Interface
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Soft SelectionWhen on, point or CV transforms affect a region of the curve or surface.
Affect NeighborsWhen on, the transform affects points or CVs not only on this curve or surface
but within the entire Falloff region of the NURBS object.
Same Type Only(for point curves and surfaces only) When on, the transform affects only
neighboring points of the same type; that is, either curve points, surface points, or independent
points.
Soft Selection CurveThis curve display shows how Soft Selection will work. You can experiment
with a curve setting, undo it, and try another setting with the same selection.
FalloffDistance in current units from the center to the edge of a sphere defining the region. Use
higher falloff settings to achieve more gradual slopes, depending on the scale of your geometry.
Default=20.
Left: Falloff=20 (the default)

Right: Falloff=40
PinchRaises and lowers the top point of the curve along the vertical axis. Sets the relative
"pointedness" of the region. When negative, a crater is produced instead of a point. At a setting of 0,
Pinch produces a smooth transition across this axis. Default=0.

Left: Pinch=.5
Right: Pinch=2
Falloff and Bubble have their default values.
BubbleExpands and contracts the curve along the vertical axis. Sets the relative "fullness" of the
region. Limited by Pinch, which sets a fixed starting point for Bubble. A setting of 0 for Pinch and 1.0
for Bubble produces a maximum smooth bulge. Negative values for Bubble move the bottom of the
curve below the surface, creating a "valley" around the base of the region. Default=0.
Left: Bubble=1
Right: Bubble=6
Falloff and Pinch have their default values.
Comments

When you work with NURBS models, you often work with sub-objects. While you are at the sub-
object level, you use the usual selection techniques, such as clicking, dragging a region, or holding
down CTRL, to choose one or more sub-objects.
You can also select NURBS point, curve, and surface sub-objects by name. Turn on the Keyboard
Shortcut Override Toggle on the status bar, go to a NURBS sub-object level, and then press the H
key. This displays a select-by-name dialog that lists only sub-objects at the current level. Choose
one or more objects in the list, and then click Select. You can assign your own names to NURBS sub-
objects (aside from CVs) that you want to edit frequently.
Press CTRL+H to have the Select Sub-Objects dialog list only sub-objects directly beneath the
mouse cursor.
The H shortcut is also a convenient way to choose parent objects while you're creating dependent
sub-objects.
Workflow Tips
When you work with NURBS, you switch frequently between the object and sub-object levels, or
from one sub-object level to another. Keyboard shortcuts and pop-up menus can help you do this.
The Sub-Object Selection Toggle (default=CTRL+B) switches between object and sub-object
levels.
The Cycle Sub-Object Level shortcut (default=INSERT) switches from one sub-object level to
another.
When you right-click in a viewport while a NURBS object is selected and the Modify panel is
active, the quad menu lets you switch between various levels of the NURBS model: Top Level,
Surface CV Level, Surface Level, Curve CV Level, Point Level, Curve Level, and Imports Level.
The command panels right-click popup menu (available whenever the pan hand is visible) helps
you navigate the rollouts on the current command panel.
If you have a three-button or wheel mouse, rolling the wheel scrolls the command panel.
Sub-object selection sets are persistent. If you go to a different sub-object level, when you return
to the previous level, your selection is still available. However, refining or inserting points or CVs
makes the sub-object selection sets invalid for that object.
You can move a sub-object selection set among sub-objects at the active level of the NURBS
model by holding down CTRL while you press the arrow keys.
When you select surface CV sub-objects that are "on top of" each other in a 3D view, sometimes
all the selected CVs fail to highlight. To fix this, choose Customize > Viewport Configuration, and
turn on Z-buffer Wireframe Objects.
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Comments
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Point (NURBS)
Point (NURBS)
Select NURBS object. > Modify panel > Create Points rollout > Point button
Select NURBS object. > Modify panel > NURBS toolbox > Create Point button
This command creates an independent, free-standing point.
Procedure
To create a free-standing point:
1. Select a NURBS object.
2. In the Modify > Create Points rollout, turn on Point.
3. Click a viewport to position the point.
Independent point sub-objects have no additional parameters. You can use Curve Fit in the Create
Curves rollout to create a curve from multiple free-standing points.
Interface
There are no additional controls for independent points.
Comments
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Curve Point
Curve Point
Select NURBS object. > Modify panel > Create Points rollout > Dependent Points group box >
Curve Point button
Select NURBS object. > Modify panel > NURBS toolbox > Create Curve Point button
This command creates a dependent point that lies on a curve or relative to it.
The point can be either on the curve or off the curve. If it is on the curve, the U Position is the only
control of its location. The U Position specifies a location along the curve (based on the curve's local
U axis). There are three ways to displace the point's location relative to the U position.
Procedure
To create a dependent curve point:
1. Turn on Curve Point and then click along a curve to position the point.
2. The curve and cursor position are highlighted during this operation.
3. At the Point sub-object level, adjust the point's position relative to the curve by adjusting the
curve point parameters on the Curve Point rollout.
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Curve Point
4. Right-click to end operation.
Interface
While a curve point sub-object is selected, the Curve Point rollout appears.
On CurveWhen on, the point lies on the curve at the U Position.

OffsetMoves the point according to a relative (object space) X,Y,Z location.
This is relative to the U Position.
X Offset, Y Offset, and Z OffsetSpecify the object space location of the offset curve point.
NormalMoves the point along the direction of the curve's normal at the U Position.
DistanceSpecifies the distance along the curve's normal. Negative values move the point opposite
to the normal.
TangentMoves the point along the tangent at the U Position.
U TangentSpecifies the distance from the curve along the tangent.

Curve Point
Offset, normal, and tangent displacement of a curve point
Trimming group box
Controls in this group box let you trim the parent curve.
Trim CurveWhen on, trims the parent curve against the curve point's U position. When off (the
default), the parent isn't trimmed.
Flip TrimWhen on, trims in the opposite direction.
Replace Base Curve(Only at modification time.) Lets you replace the parent curve. Click the
button, then click the new curve on which to base the curve point.
Comments

Surface Point
Surface Point
Select NURBS object. > Modify panel > Create Points rollout > Dependent Points group box >
Surface Point button
Select NURBS object. > Modify panel > NURBS toolbox > Create Surf Point button
This command creates a dependent point that lies on a surface or relative to it. This is enabled with
a NURBS object that contains a surface.
Procedure
To create a dependent surface point:
1. Turn on Surf Point and then click over a NURBS surface to position the point.
2. The surface cross-section and cursor are highlighted during this operation.
3. Right-click to end the create operation.
4. At the Point sub-object level, adjust the points position relative to the surface by adjusting the
surface point parameters in the Surface Point rollout.
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Surface Point
Interface
While a surface point sub-object is selected, the Surface Point rollout appears. These controls are
similar to the curve point controls.
U Position and V PositionIf the point is on the surface, these coordinates specify the point's
location, based on the surface's local UV coordinates.
On SurfaceSpecifies that the point lies on the surface, at the location specified by U Position and
V Position.
If the point lies on the surface, you can move it using the Move transform. You can also move it
using the Move Surface Point button. See Editing Point Sub-Objects. Either way, this updates the U
Position and V Position values.
OffsetMoves the point according to a relative (object space) X,Y,Z location.
X Offset, Y Offset, and Z OffsetSpecify the object space location of the offset surface point.
NormalMoves the point along the direction of the surface's normal.
DistanceSpecifies the distance from the surface, along the normal. Negative values move the
point opposite to the normal.
TangentMoves the point along the tangent of the UV position.
U Tangent and V TangentSpecify the distance from the surface along the tangents at U and V.
Replace Base Surface(Only at modification time.) Lets you replace the parent surface. Click the
button, then click the new surface on which to base the surface point.

Surface Point
Comments

Modify panel > Select NURBS object or sub-object. > Stack display > Curve CV sub-object level >
Select CV sub-objects.
Modify panel > Select NURBS object or sub-object. > Right-click. > Tools 1 (upper-left) quadrant >
Sub-objects > Curve CV > Select CV sub-objects.
This topic describes the controls for CV sub-objects that lie on curves. A rollout labeled CV contains
the CV sub-object controls for NURBS models. In addition to the CV rollout described here, the Curve
CV sub-object level displays the Soft Selection rollout.
In you can edit the CVs in CV curves on surfaces as you edit other kinds of curve CVs. You can
transform CVs in CV curves on surfaces, but you can't move the CVs off the surface. Using the Curve
CV sub-object level is an alternative to editing these CVs by using the Edit Curve on Surface dialog.
Procedures
To transform curve CV sub-objects:
1. At the Curve CV sub-object level, select one or more CVs.

the H key while the status bars Keyboard Shortcut Override Toggle button is turned on. See
Sub-Object Selection.
The Selection group box, described under "Interface" later in this topic, provides some
additional options for selecting CV sub-objects.
The shape of the model changes as you interactively transform the CVs.
Rotate and Scale are useful only when you've selected multiple CVs.
Tips
The Lock Selection Set button is useful when you transform NURBS CV sub-objects. You can
make a selection in one viewport, click Lock Selection Set (or press the SPACEBAR), and then
transform the selection in a different viewport.
When you move CV sub-objects, move them as systematically as possible to avoid "getting lost."
To use the keyboard to select curve CV sub-objects:

You can select curve CV sub-objects using the CTRL key and the arrow keys. The arrows traverse
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the sub-objects in the order they were created. To do so, follow these steps:
2. Click or drag to select CVs.
3. Hold down CTRL and use the arrow keys to move among the CV sub-objects.
For CVs on curves, the arrow keys traverse the CV selection along the length of the curve. The
arrow keys dont move between curve sub-objects.
You can also use the H keyboard shortcut (while the Keyboard Shortcut Override Toggle button is
turned on) to display a dialog and select CVs by name. CTRL+H displays only the names of CVs
directly beneath the mouse cursor.
To remove a CV from a curve:
1. Select a CV.
2. Click Delete.
The CV is deleted and the shape of the curve is updated.
Note: A CV curve must have at least one more CV than the degree of the curve.
To add a CV to a curve:
1. Turn on Refine.
2. Click the curve where you want to add the CV.

A CV is added at the location you clicked. Neighboring CVs move away from the new CV in
order to preserve the original curvature.
To add CVs and extend the length of a curve:
1. Click to turn on Extend.
2. Move the mouse over a CV curve. The curve is highlighted in blue, and one of the curve's ends
displays a box to show where the curve will be extended.
3. Drag from the highlighted end CV, and then release the mouse button.
New CVs are added beyond the original length of the curve.
To fuse two CVs:
1. Turn on Fuse.
2. Click a CV without releasing the mouse button. Drag to another CV, and then release the

mouse button.
The first CV you choose acquires the position of the second CV, and becomes dependent to it.
If the first CV has an animation controller, the controller is discarded. If the second CV has an
animation controller, the first CV acquires it too.
Fused CVs display in purple by default.
To unfuse fused CVs:
1. Select the fused CV.
2. Click Unfuse.
Now you can move and edit the two CVs independently.
To transform a region:
1. Using sub-object selection, select one or more CVs for the center of transformation.
2. Turn on Soft Selection.
3. Transform the CV.

A region around the selected CV is transformed accordingly.
Move is the most common transform to use. Rotate and Scale can be used with a non-local
transform center.
Tip: If Soft Selection appears not to be working, the Falloff value might be too small for the size of
your surface. On the Soft Selection rollout, increase the value of Falloff so it encompasses other
points or CVs.
Interface
In addition to the CV rollout described here, the Curve CV sub-object level also displays the Soft
Selection rollout.

Selection group
Curve CV sub-object selection controls
Single CV(The default.) When on, you can select individual CVs by clicking, or groups of CVs by
dragging a region.
All CVsWhen on, clicking or dragging selects all the CVs in the curve.
NameShows either "No CVs selected", "Multiple CVs selected", or "CurveName(index)", where
"CurveName" is the name of the CV's parent curve, and "index" is the CV's U location along the
length of the curve. You can't edit the Name field to customize the names of CVs.
If CVs are fused, the Name field shows the name of the first CV.
WeightAdjusts the weight of the selected CVs. You can use a CV's weight to adjust the CV's effect
on the curve. Increasing the weight pulls the curve toward the CV. Decreasing the weight relaxes the
curve away from the CV.
Increasing weight is a way to harden a curve; that is, to sharpen its curvature at a particular
location.
By default, the weight is 1.0 for the CVs of NURBS objects that you create on the Create panel or the
NURBS sub-object creation rollouts. The weight of CVs in geometry that you convert to NURBS can
vary, depending on the object's original shape.
You can change the weight when multiple CVs are selected. Using the Weight field or spinner while
multiple CVs are selected assigns all of them the value you choose. Because weights are relative to

each other (rational), using the Weight control when all CVs are selected has no visible effect.
HideClick to hide the currently selected CVs.
Unhide AllClick to unhide all hidden CVs.
FuseFuses a CV to another CV. (You can't fuse a CV to a point, or vice versa.) This is one way to
connect two curves. It is also a way to change the shape of curves.
Fusing CVs does not combine the two CV sub-objects. They are connected but remain distinct sub-
objects that you can unfuse later.
Fused CVs behave as a single CV until you unfuse them. Fused CVs behave similar to a single point,
but the property of multiplicity for coincident CVs also applies. (See NURBS Concepts and CV Curve.)
The fused CVs have proportionally more influence on the curve. The curve can become sharper in
the fused CVs' vicinity, or even angular if more than two CVs are fused together.
Fused CVs are displayed in a distinct color. The default is purple. (You can change this color using
the Colors panel of the Customize User Interface dialog.)
UnfuseUnfuses the fused CVs.
RefineRefines the curve by adding CVs.
Warning: When you add CVs with Refine, you lose the animation controllers for all CVs on
the curve.
As you move the mouse over the CV curve, a preview of the CVs that will be added, and their
locations, is displayed in blue.
Tip: It is a good idea to reparameterize after you have added CVs to a curve by refining. See Editing
Curve Sub-Objects.
DeleteDeletes the selected CVs.
InsertInserts CVs into the curve. Click Insert and then click the curve where you want to insert
the new CV. Inserting CVs is similar to refining with CVs, except that other CVs in the curve do not
move. This means that the shape of the curve changes when you insert.
Inserting CVs does not remove animation from the curve, as refining does.
Tip: It is a good idea to reparameterize after you have added CVs to a curve by inserting. See
Editing Curve Sub-Objects.
ExtendExtends a CV curve. Drag from the end of a curve to add a new CV and extend the curve.
Warning: When you add points with Extend, you lose the animation controllers for all
points on the curve.
Remove AnimationRemoves animation controllers from the selected CVs.
Display LatticeWhen on, displays the control lattice that surrounds CV curves. When off, the
control lattice isn't shown in viewports. Default=on.
CVs SelectedThis text field shows how many CVs are currently selected.

Comments

Degree
Glossary
Degree
The degree of a curve is the highest exponent in the equation used to represent it. A linear equation
is degree 1, a quadratic equation degree 2. NURBS curves typically are represented by cubic
equations and have a degree of 3.
Comments
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NURBS Concepts
NURBS Concepts
NURBS curves and surfaces did not exist in the traditional drafting world. They were created
specifically for 3D modeling using computers. Curves and surfaces represent contours or shapes
within a 3D modeling space. They are constructed mathematically. NURBS mathematics is complex,
and this section is simply an introduction to some NURBS concepts that might help you understand
what you are creating, and why NURBS objects behave as they do. For a comprehensive description
of the mathematics and algorithms involved in NURBS modeling, see The NURBS Book by Les Piegl
and Wayne Tiller (New York: Springer, second edition 1997).
Definition and Parameter Space
The term NURBS stands for Non-Uniform Rational B-Splines. Specifically:
Non-Uniform means that the extent of a control vertex's influence can vary. This is useful when
modeling irregular surfaces.
Rational means that the equation used to represent the curve or surface is expressed as a ratio of
two polynomials, rather than a single summed polynomial. The rational equation provides a better
model of some important curves and surfaces, especially conic sections, cones, spheres, and so
on.
A B-spline (for basis spline) is a way to construct a curve that is interpolated between three or
more points.
Shape curves such as the Line tool and other Shape tools are Bezier curves, which are a special
case of B-splines.
The non-uniform property of NURBS brings up an important point. Because they are generated
mathematically, NURBS objects have a parameter space in addition to the 3D geometric space in
which they are displayed. Specifically, an array of values called knots specifies the extent of
influence of each control vertex (CV) on the curve or surface. Knots are invisible in 3D space and
you can't manipulate them directly, but occasionally their behavior affects the visible appearance of
the NURBS object. This topic mentions those situations. Parameter space is one-dimensional for
curves, which have only a single U dimension topologically, even though they exist geometrically in
3D space. Surfaces have two dimensions in parameter space, called U and V.
NURBS curves and surfaces have the important properties of not changing under the standard
geometric affine transformations (Transforms), or under perspective projections. The CVs have local
control of the object: moving a CV or changing its weight does not affect any part of the object
beyond the neighboring CVs. (You can override this property by using the Soft Selection controls.)
Also, the control lattice that connects CVs surrounds the surface. This is known as the convex hull
property.
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NURBS Concepts
Degree and Continuity
All curves have a degree. The degree of a curve is the highest exponent in the equation used to
represent it. A linear equation is degree 1; a quadratic equation is degree 2. NURBS curves typically
are represented by cubic equations and have a degree of 3. Higher degrees are possible, but usually
unnecessary.
Curves also have continuity. A continuous curve is unbroken. There are different levels of continuity.
A curve with an angle or cusp is C0 continuous: that is, the curve is continuous but has no derivative
at the cusp. A curve with no such cusp but whose curvature changes is C1 continuous. Its derivative
is also continuous, but its second derivative is not. A curve with uninterrupted, unchanging curvature
is C2 continuous. Both its first and second derivatives are also continuous.
Levels of curve continuity:

Left: C0, because of the angle at the top
Middle: C1, at the top a semicircle joins a semicircle of smaller radius
Right: C2, the difference is subtle but the right side is not semicircular and blends with the left
A curve can have still higher levels of continuity, but for computer modeling these three are
adequate. Usually the eye can't distinguish between a C2 continuous curve and one with higher
continuity.
Continuity and degree are related. A degree 3 equation can generate a C2 continuous curve. This is
why higher-degree curves aren't generally needed in NURBS modeling. Higher-degree curves are
also less stable numerically, so using them isn't recommended.
Different segments of a NURBS curve can have different levels of continuity. In particular, by placing
CVs at the same location or very close together, you reduce the continuity level. Two coincident CVs
sharpen the curvature. Three coincident CVs create an angular cusp in the curve. This property of
NURBS curves is known as multiplicity. In effect, the additional one or two CVs combine their
influence in that vicinity of the curve.

NURBS Concepts
Effects of multiplicity: there are three CVs at the apex on the left, two CVs at the apex on the right.
By moving one CV away from the other, you increase the curve's continuity level again. Multiplicity
also applies when you fuse CVs. Fused CVs create a sharper curvature or a cusp in the curve. Again,
the effect goes away if you unfuse the CVs and move one away from the other.
Degree, continuity, and multiplicity apply to NURBS surfaces as well as to curves.
Refining Curves and Surfaces
Refining a NURBS curve means adding more CVs. Refining gives you finer control over the shape of
the curve. When you refine a NURBS curve, the software preserves the original curvature. In other
words, the shape of the curve doesn't change, but the neighboring CVs move away from the CV you
add. This is because of multiplicity: if the neighboring CVs didn't move, the increased presence of
CVs would sharpen the curve. To avoid this effect, first refine the curve, and then change it by
transforming the newly added CVs, or adjusting their weights.
Refining a NURBS curve.
NURBS surfaces have essentially the same properties as NURBS curves, extended from a one-
dimensional parameter space to two dimensions.
Reparameterizing CV Curves and Surfaces
When you refine a NURBS curve or surface, it is a good idea to reparameterize it. Reparameterizing
adjusts the parameter space so the curve or surface will behave well when you edit it in viewports.
There are two ways to reparameterize:
Chord-length

NURBS Concepts
Chord-length reparameterization spaces knots in parameter space based on the square root of the
Uniform
Uniform reparameterization spaces knots uniformly. A uniform knot vector has the advantage that
the curve or surface changes only locally when you edit it.
CV curve and surface sub-objects give you the option of reparameterizing automatically whenever
you edit the curve or surface.
Point Curve and Surface Concepts
You can work with point curves and point surfaces as well as with CV curves and surfaces. The
points that control these objects are constrained to lie on the curve or surface. There is no control
lattice, and no weight control. This is a simpler interface that you might find easier to work with.
Also, point-based objects give you the ability to construct curves based on dependent (constrained)
points, and then use these to construct dependent surfaces.
You can think of point curves and surfaces as an interface to CV curves and surfaces, which are the
fully defined NURBS objects. The underlying representation of the curve or surface is still
constructed using CVs.
You can also think of a point curve or surface as dependent on its points. You can use the Convert
Curve button to convert a point curve or surface to the CV form, or vice versa.
Comments

Convex Hull Property
Glossary
Convex Hull Property

The property of NURBS curves and surfaces whereby the control lattice described by CVs forms a
convex hull surrounding the curve or surface.
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Continuity
Glossary
Continuity
A property of curves, including NURBS curves. A curve is continuous if it is unbroken.
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Continuity Level
Glossary
Continuity Level
Levels of curve continuity:

Left: C0, because of the angle at the top
Middle: C1, at the top a semicircle joins a semicircle of smaller radius
Right: C2, the difference is subtle but the right side is not semicircular and blends with the left
The level of continuity is a way to describe curvature. A curve with an angular cusp is C0 continuous.
The curve is continuous but its derivative is not. A curve whose curvature changes has C1 continuity.
The curve and its derivative are both continuous but its second derivative is not. A curve with
uninterrupted, unchanging curvature has C2 continuity. NURBS curves must have at least C0
continuity; a continuity level greater than C2 is unnecessary for most 3D computer modeling.
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Multiplicity
Glossary
Multiplicity
In NURBS modeling, multiplicity is the property of coincident or nearly coincident CVs that reduces
the continuity level of the curve or surface. Two coincident CVs locally increase curvature. Three
coincident CVs (or more) create an angular cusp. Fusing CVs shows the effect of multiplicity.
Effects of multiplicity:
On the left, three coincident CVs create a sharp angle.
On the right, only two coincident CVs in the same location create a gentler curve.
Comments
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Modify panel > Stack display > Open the NURBS object's hierarchy. > Curve sub-object level >
Select curve sub-objects.
This topic describes the controls that are common to point and CV curves. A rollout labeled Curve
Common contains the curve sub-object controls for NURBS models.
Procedures
To transform curves:
1. At the Curve sub-object level, select one or more curves.

the H key when the status bars Keyboard Shortcut Override Toggle button is turned on. See
Sub-Object Selection.
The Selection group box, described under "Interface" later in this topic, provides additional
options for selecting curves.
The shape of the model changes as you interactively transform the curves.
Tip: The Lock Selection Set button is useful when you transform NURBS curve sub-
objects. You can make a selection in one viewport, click Lock Selection Set (or press the
SPACEBAR), and then transform the selection in a different viewport.
To SHIFT+Clone curve sub-objects:
Hold down SHIFT while you transform the curve selection.

The Sub-Object Clone Options dialog is displayed. This dialog provides various ways to clone the
curves, some of which reduce relational dependencies to improve performance.
To use the keyboard to select curve sub-objects:

You can select curve sub-objects using the CTRL key and the arrow keys. The arrows traverse the
sub-objects in the order they were created. To do so, follow these steps:
2. At the Curve sub-object level, set the selection controls to select curves individually.
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3. Click or drag to select curves.
4. Hold down CTRL and use the arrow keys to move among the curves in the current model.
At the Curve sub-object level, the left and right arrow keys move forward and backward
through individual curves in the order they were created. The up and down arrows are
equivalent to left and right.
You can also use the H keyboard shortcut (while the Keyboard Shortcut Override Toggle is turned
on) to display a dialog and select curves by name. CTRL+H displays only the names of curves
directly beneath the mouse cursor.
To delete a curve:
Select the curve and then click Delete.

To turn a CV curve into a point curve:
1. Select the curve sub-object, and then click Make Fit.

The Make Point Curve dialog is displayed. This dialog asks how many points the new point
curve should have.
2. Change the number of points, and then click OK.

Reducing the number of points can change the shape of the curve.
If the selected curve is already a point curve, you can use Make Fit to change the number of points it
has.
To select a first vertex on the curve:
Select the curve sub-object, turn on Make First, and then click a location on the curve.
If the curve is closed and there is a vertex where you click, this vertex becomes the first vertex. If
the curve is closed and there is no vertex where you click, a new vertex is created at the location
you click. It becomes the new first vertex, and the curve's points or CVs adapt to maintain the
curvature.
If the curve is open, clicking it has no effect.
Warning: Using Make First discards any animation controllers for the points or CVs in the
curve.
If the curve is open, the first vertex must be one of the endpoints (by default, it is the first you
created). The Make First button has no effect, but you can use Reverse to change the curve's
direction.

The small circle indicates the first vertex.
To turn a curve that lies on a surface into a Point Curve on Surface:
1. Select the curve sub-object, and then click Make COS.

Make COS is unavailable unless the curve already lies on a surface; for example, it is a U Iso
curve.
2. The Convert Curve on Surface dialog is displayed.
Choose CV Curve on Surface to create a CV curve, or Point Curve on Surface to create a point
curve. The Number of CVs or Number of Points values let you specify the complexity and
accuracy of the new curve on surface. If Preview is on, the new curve is previewed in
viewports. This can help you choose the number.
To reverse a curve:

Select a curve sub-object and then click Reverse.
Reversing a curve affects the blend surface that depends on it.
To join two curves:
1. In a NURBS object that contains two curve sub-objects, turn on Join.
2. Click one curve near the end that you want to connect. Drag to near the end of the other curve,
and then release the mouse.
The Join Curve dialog is displayed. This dialog gives you a choice of methods for joining the
curves. Whichever method you choose, the two original curves are replaced by a single curve.
3. If the gap between the curves is small (less than about 30 units), use the Join Curve dialog to
set the Tolerance value greater than the distance of the gap.
To break a curve:
Turn on Break and then click a curve.

The curve is split into two independent curve sub-objects. Two coincident (but independent)
points or CVs are created at the location you clicked: each is the endpoint of one part of the
original curve.
If the curve is a closed curve, Break creates a single curve object, with its new start and end
points at the location you clicked. The new start and end points are coincident but independent.
To close a curve:

Select the curve and then click Close.

The software closes the curve by adding a segment between the curve's endpoints. The curvature
of the new segment blends the curvature of the previous end segments.
Closing a curve does not add points or CVs. The curve retains its original number of points or CVs,
and increases its number of segments by one.
Interface
Curve Common rollout
The controls on this rollout apply to all curve types. Depending on the type of curve, an additional
rollout is displayed with controls specific to that type of curve.
Selection group
The selection buttons for curve sub-objects let you select either individual curves, or curves that are

connected in space.
Curve sub-object selection controls
Single CurveClicking or transforming a curve selects only a single independent curve sub-object.
All Connected CurvesClicking or transforming a curve selects all curve sub-objects that are
connected within the NURBS object. To be connected, two curves must have fused points, or one
curve must be a connected dependent (a blend, fillet, or chamfer) of the other.
NameShows the name of the currently selected curve. It is disabled if you have selected multiple
curves.
By default, the name is the name of the curve type ("CV Curve" or "Point Curve") followed by a
sequence number. You can use this field to give the curve a name that you choose.
HideClick to hide the currently selected curves.
Unhide AllClick to unhide all hidden curves.
Hide by NameClick to display a Select Sub-Objects dialog that lists curves by name. Select the
curves to hide, then click Hide.
Unhide by NameDisabled unless there are hidden curves. Click to display a Select Sub-Objects
dialog that lists curves by name. Select the curves to make visible, then click Unhide.
DeleteDeletes the selected curve sub-objects.
Make FitTurns a CV curve into a point curve. This displays the Make Point Curve dialog, which lets
you set the number of points.
For a point curve, this button lets you change the number of points in the curve.
ReverseReverses the order of the CVs or points in a curve, so that the first vertex becomes the
last, and the last becomes the first.
The first point or CV is significant when you use the NURBS curve like a spline: as a loft path or
shape, as a path constraint path, or as a motion trajectory. For these purposes, the first vertex of
the curve is significant. If the curve is a closed curve, you can use Make First to set the curve's first
vertex.
The direction of the curve also determines the initial direction of normals on surfaces based on this
curve.
Make COSThis button is enabled only for the following kinds of curves:
U iso curves
V iso curves
Normal projected curves
Vector projected curves

Surface-surface intersection curves
Surface edge curves
CV curves on surfaces
Point curves on surfaces

This displays a Make Curve on Surface dialog, which turns the selected curve into a CV or point
curve on surface. Once converted, you can edit the new curve on surface using the curve on
surface controls, including the Edit Curve on Surface dialog.
If the curve is already a curve on surface, this button lets you change it from a point to CV curve
on surface, or vice versa.
The new Curve on Surface preserves the trimming of the original curve.
Convert CurveClick to display the Convert Curve dialog. This dialog provides a more general way
to convert a CV curve to a point curve, or a point curve to a CV curve. It also lets you adjust a
number of other curve parameters.
Make IndependentDisabled if the curve is independent. If the curve is dependent, clicking this
button makes it independent.
Warning: When you make a curve independent, you lose the animation controllers for all
objects that depend on it in turn. If you make a curve that trims a surface independent,
you lose the trimming of the surface.
Remove AnimationRemoves animation controllers from the selected curves.
DetachDetaches the selected curve sub-object from the NURBS model, making it a new top-level
NURBS curve object. The Detach dialog is displayed, which lets you name the new curve. The new
object is no longer part of the original NURBS model.
To create a new top-level NURBS curve that is a copy of the selected curve, turn on Copy before you
click Detach.
CopyWhen on, clicking Detach creates a copy of the selected curve instead of detaching it from
the NURBS model. Default=off.
Make FirstFor a closed curve, lets you choose a position that becomes the first vertex of the
curve.
The first point or CV is significant when you use the NURBS curve like a spline: as a loft path or
shape, as a path constraint path, or as a motion trajectory. For these purposes, the first vertex of
the curve is significant. If the curve is a closed curve, you can use Make First to set the curve's first
vertex.
BreakBreaks a single curve into two curves. Click in a viewport to choose the location to break the
curve.
Warning: When you break a curve sub-object, you lose the animation controllers for all
points or CVs on the curve.

JoinJoins two curve sub-objects together. After you have joined the curves in a viewport, the Join
Curves dialog is displayed. This dialog lets you choose the method for joining the two curves.
Warning: When you join two curve sub-objects, you lose the animation controllers for all
points or CVs on both curves.
Material IDLets you assign a material ID value to the curve. If the curve is renderable, material
IDs let you assign a material to the curve using a Multi/Sub-Object material. In addition, the Select
by ID button lets you select a curve or multiple curves by specifying a material ID number. Can
range from 1 to 100. Default=1.
Select by IDDisplays a Select by Material ID dialog.
CV Curve rollout
This additional rollout is displayed when a CV curve is selected.
DegreeSets the degree of the curve. The higher the degree value, the greater the continuity. The
lower the degree, the more discontinuous the curve segments become. The degree can't be less
than one or greater than the number allowed by the number of CVs in the curve. Degree 3 curves
are adequate to represent continuous curves, and are stable and well behaved. Default=3.
Setting the degree greater than 3 isn't recommended because higher-degree curves are slower to
calculate and less stable numerically. Higher-degree curves are supported primarily to be compatible
with models created using other surface modeling programs.
The number of CVs in a CV curve must be at least one greater than the curve's degree.
The controls in this group box let you specify automatic reparameterization. They are similar to the
controls in the Reparameterize dialog, with the addition that all choices except for None tell the
software to reparameterize the curve automatically; that is, whenever you edit it by moving CVs,
refining, and so on.
NoneDo not reparameterize automatically.


edit it. With chord-length parameterization, moving any CV can potentially change the entire curve.
CloseCloses the curve. Disabled if the curve is already closed.
RebuildDisplays the Rebuild CV Curve dialog, which lets you specify how to rebuild the curve.
Rebuilding the curve can change its appearance.
Reparam.Displays the Reparameterize dialog. Reparameterizing a curve changes the curve's
parameter space to provide a better relation between control point locations and the shape of the
curve.
Tip: It is a good idea to reparameterize after you have added CVs to the curve by refining or
inserting.
Point Curve rollout
This additional rollout appears when a point curve is selected.
CloseCloses the curve. Disabled if the curve is already closed.
Comments

Sub-Object Clone Options Dialog
Modify panel > Select NURBS surface or curve sub-object. > SHIFT+Clone. > Clone Options dialog
When you SHIFT+Clone a surface or curve sub-object, the Clone Options dialog appears. This dialog
asks whether you want the clone to be a relational copy, an independent copy, or a transform.
Interface
Relational CopyThe cloned object is the same type as the original. If the original object was a
dependent object, the clone includes copies of the parents. For example, when you clone a Blend
surface, the clone remains a Blend surface and its two parent surfaces are copied along with it.
Because all related sub-objects are copied, Relational Copy can be time-consuming.
Independent CopyThe cloned object is an independent CV curve or CV surface. It has the same
shape as the original, but its relational dependencies aren't copied. This method of cloning uses less
time and memory, although you lose the relational properties. For example, when you clone a Blend
surface, the clone is an independent CV surface.
Copy as Transform Object(s)The "clone" is actually a transform curve or transform surface,
based on the original object and still dependent on it. This lets you create transform curves and
surfaces based on a rotation and scale as well as on translation.
Include Parent(s)(Available only for Independent Copy or Copy as Transform Object(s).) Tells
the system whether or not to include the parents of the dependent object. For example, if Include
Parent(s) is on when you clone a blend surface, the two parent surfaces are also cloned as
independent CV surfaces. If Include Parent(s) is off, only the one curve or surface is cloned. Cloning
is slower when Include Parent(s) is turned on, although quicker than Relational Copy.
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Comments
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Using SHIFT+Clone
Using SHIFT+Clone
SHIFT+Clone is the primary way to duplicate objects in 3ds max. You hold down the SHIFT key and
drag during any of the standard transform operations: Move, Rotate, or Scale.
To use SHIFT+Clone with an object:
1. On the main toolbar, click a Move, Rotate, or Scale button.
2. Select a transform coordinate system and constraints. Each transform carries its own settings.
To avoid surprises, always click the transform button first, and then set your transform
coordinate system and constraints.
Note: You can also use the Transform Gizmo to set axis constraints.
3. Select the object or set of objects you want to clone. The selection can be a single object,
multiple objects, a group, or a sub-object selection.
4. Hold down the SHIFT key and drag the selection to apply the transform.
As you drag, a clone is created and selected; it is now the object being transformed. The
original object is no longer selected and is unaffected by the transform.
When you release the mouse button, the Clone Options dialog appears. Change settings in this
dialog or accept the defaults, and then click OK.
The Clone Options dialog is common to SHIFT+Clone for any transform you choose. For the details
of this dialog, see Clone.
See also
Cloning with SHIFT+Move

Cloning with SHIFT+Rotate
Cloning with SHIFT+Scale
Animating SHIFT+Clone
You can animate any SHIFT+Clone operation. See Animating with SHIFT+Rotate and SHIFT+Scale.
Cloning Without Transforming
Cloning objects with SHIFT+Clone requires transforming them at the same time, by moving,
rotating, or scaling them. In some cases, you might want to clone an object without transforming it
in any way. The Edit menu Clone command gives you this option, which lets you create only one
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Using SHIFT+Clone
clone.
To clone objects without transforming:
1. Select the object, or set of objects, to clone.
2. Choose Edit menu > Clone. The Clone Options dialog appears. This is the same dialog used
with SHIFT+Clone except that you cant set a multiple number of clones.
3. Change settings in this dialog or accept the defaults, and click OK.
Note: The cloned object occupies the exact same space as the original, and is selected when
cloning is complete. Use Select By Name to select the original or reselect the clone.
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Clone
Clone
Make a selection. > Edit menu > Clone
Make a selection. > Hold down SHIFT key. > Move, rotate, or scale the selection with the mouse.
Clone creates a copy, instance, or reference of an object.
With the Clone command you can create copies, instances, or references of a selected object, or a
set of objects.
The Clone command on the Edit menu creates a single copy of your selection. You can clone multiple
copies by holding down the SHIFT key as you move, rotate, or scale your selection. Both techniques
display the Clone Options dialog.
Comments
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Clone Options Dialog
Make a selection. > Edit menu > Clone
Make a selection. > Hold down SHIFT key. > Move, rotate, or scale the selection with the mouse.
Clone creates a copy, instance, or reference of a selected object or set of objects. The Clone
command on the Edit menu creates a single copy. You can clone multiple copies by holding down the
SHIFT key as you transform the selection.
Procedures
To clone an object without transforming it:
1. Select an object, or set of objects.
2. Choose Edit > Clone on the menu bar.
3. The Copy Options dialog is displayed.

Note: All interface options are present, except Number Of Copies.
4. Change the settings or accept the defaults, and then click OK.
The cloned objects occupy the same space as the original. Select any of these clones by name
to move or modify them.
To clone and transform an object:
1. Click the Move, Rotate, or Scale button.From the quad menu, select Move,
Rotate, or Scale.
2. Select an object, multiple objects, group, or sub-object.
3. Hold down the SHIFT key and drag the selection.

As you drag your selection, the clone is created, selected, and transformed. The original object
is deselected and unaffected by the transform.
When you release the mouse button, the Clone Options dialog displays.
4. Change the settings or accept the defaults, and then click OK.
Interface
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Object group
CopyPlaces a copy of the selected object at the specified position.

InstancePlaces an instance of the selected object at the specified position.
ReferencePlaces a reference of the selected object at the specified position.
Controller group
Makes either copies or instances of the original objects transform controllers. This option is only
active when the selection you are cloning includes two or more hierarchically linked objects.
CopyPlaces a copy of the selected object's transform controllers at the specified position.
InstancePlaces an instance of the selected object's transform controllers at the specified position.
The following option only appears when you SHIFT+Clone an object.
NameDisplays the name of the cloned object.

Number of CopiesSpecifies the number of copies of the object you want to create.
If you SHIFT+Move an object and specify two copies, the second copy is offset from the first copy by
the same distance that the first copy is offset from the original. For Rotate, two copies of the rotated
object are created, with the second copy rotated twice as far as the first. For Scale, two copies of the
scaled object are created, with the second copy twice (or half) the size of the first copy.
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SHIFT+Move creates a clone in a different location.
Cloning objects while moving them is quick and easy. It produces a linear array of two or more
objects.
To clone with SHIFT+Move:
1. Click the Move button on the main toolbar.
2. Choose a coordinate system and axis constraint.
3. Make the selection you want to clone.
4. Hold down SHIFT and drag to move a clone of the selection away from the original.
5. Choose the number of copies you want to make on the Clone Options dialog, and whether you
want them to be copies, instances, or references.
About Arrays Created with SHIFT+Move
Multiple clones produced by SHIFT+Move form an equally spaced linear array with these
characteristics:
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The line of the array runs from the center of the original through the centers of the clones.
The spacing between copies is determined by the distance between the original and the first
clone.
By using snaps as you move the selection, you can make exact arrays.
A clear example of the SHIFT+Move array is the picket fence. From a single picket, you can generate
long runs of fencing. You can array the fence along a major axis of the home grid, then group the
pickets, rotate them to a particular angle, and move them into position.
You can also make three-dimensional arrays with SHIFT+Move. The main choice is the combination
of axes to allow movement off the construction plane. For example, to build a stairway, you can
create a box that forms the top step, then use SHIFT+Move to copy it diagonally downward, using
an array to create a downward flight.
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SHIFT+Rotate creates a clone with a different orientation.
Cloning objects while rotating them produces a variety of effects, depending on how you set up the
transformation.
To clone with SHIFT+Rotate:
1. Click the Rotate button on the main toolbar.
2. Choose a coordinate system, transformation center, and axis constraint.
4. Hold down the SHIFT key and drag to rotate the selection.
5. Choose the number of copies you want to make on the Clone Options dialog, and whether you
want them to be copies, instances, or references.
Effects of Transform Settings
Where you locate the transform center determines how the program positions clones when using
SHIFT+Rotate.
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For all settings, the direction of rotation is constrained by the active axis or axes of the viewports
coordinate system.
Each clone is rotated the same amount as the first clone from the original.
Local Pivot at Center
An objects default pivot point is often located at its center or its base. When you use SHIFT+Rotate
around an objects default pivot point, the clones evenly overlap as each one is rotated the same
amount. This is true for multiple objects with a local-pivot setting, since each object uses its own
local center.
Clones of circular objects, like a sphere or cylinder, are exactly overlaid on the original. You need to
move them away from the original to see them.
With angle snap set to divide a circle evenly, you can produce complex symmetrical objects from
simple ones. For example, you can clone a tetrahedron around one axis, then clone the new set
about another axis to produce a faceted star.
Local Pivot at a Distance
When you separate the local pivot from the original, clones create a wheel-like arrangement. Long
shapes like petals or blades, cloned with the center near one end, can create flowers or propellers.
See Adjust Pivot Rollout.
You can move the local pivot any distance from the object, creating large circular arrays. Since
direct animation is limited to the local pivot, this is a key technique in animating circular arrays. See
Animating SHIFT+Rotate and SHIFT+Scale.
Selection Center
For either single or multiple objects, the selection center is the geometric center of the bounding box
enclosing the entire selection. Clones are arrayed around this center, forming wheel-like arrays.
For a single object, this center is usually different from its local center, but effects are similar to
those based on a local pivot.
Coordinate Center
Using the coordinate center, SHIFT+Rotate can produce circular arrays of any size.
The rotation takes place around the center of the home grid, the screen, or whichever coordinate
system you choose. While clones can be created this way, the process cannot be directly animated.
See Animating SHIFT+Rotate and SHIFT+Scale for details on overcoming this limitation.

Comments

Make a selection in the viewport. > Hierarchy panel > Pivot button > Adjust Pivot rollout
You can adjust the position and orientation of an object's pivot point at any time using the buttons in
the Adjust Pivot rollout. Adjusting an object's pivot has no effect on any children linked to that
object.
You cannot animate the functions in Affect Pivot Only mode.under the Adjust Pivot rollout. Adjusting
an object's pivot on any frame changes it for the entire animation.
Pivot point sets hand to the center of the clock face.
Procedure
To reposition an object's pivot point:
1. Select an object and then turn on Adjust Pivot rollout > Affect Pivot Only.
2. Move or rotate the pivot.

You can also use Align, Normal Align, and Align to View on the toolbar to align the pivot.
See Adjust Transform Rollout for related information.
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Interface
Move/Rotate/Scale group
Each of the buttons in the Move/Rotate/Scale group box highlights when active. This determines
which part of the object is affected by the three buttons in the Alignment area, as well as the
Transform commands on the toolbox and Align commands on the tools menu.Transform and Align
commands on the Main toolbar.
Affect Pivot OnlyAffects only the pivot point of the selected objects.
Note: A Scale transform has no effect on the pivot.
Affect Object OnlyAffects only the selected objects (and not the pivot point).
Affect Hierarchy OnlyAffects only the Rotation and Scale tools. It applies the rotation or scale to
the hierarchy by rotating or scaling the position of the pivot point without rotating or scaling the
pivot point itself.
Note: You can use this on hierarchies of 3ds max 6 objects, but don't use it on Bones systems. To
reposition, rotate or change the size of bones in a chain, see Bones.
Note: It's important to remember that the Align, Normal Align, and Align to View functions are all
affected by the state of Affect Pivot Only, Affect Object Only, and Affect Hierarchy Only. Snap mode
allows you to snap the pivot to its own object, or to any other object in the scene.
Note: It's important to remember that the Align, Normal Align, and Align to View functions in the
toolbar are all affected by the state of Affect Pivot Only, Affect Object Only, and Affect Hierarchy
Only. Snap mode allows you to snap the pivot to its own object, or to any other object in the scene.
Alignment group
The effect of these buttons depends on whether you chose Affect Pivot Only or Affect Object Only.
They don't apply to Affect Hierarchy Only.

If you chose Affect Pivot Only, the buttons work as follows:

Center to ObjectMoves the pivot to the center of its object.
Align to ObjectRotates the pivot to align with the object's transformation matrix axes.
Align to WorldRotates the pivot to align with the world coordinate axes.
If you chose Affect Object Only, the buttons work as follows:
Center to PivotMoves the center of the object to its pivot location.
Align to PivotRotates the object to align its transformation matrix axes with the pivot.
Align to WorldRotates the object to align its transformation matrix axes with the world
coordinate axes.
Pivot group
Reset PivotResets the pivot point to the position and orientation it held when the object was first
created. This is not affected by the state of the Affect Pivot Only and Affect Object Only buttons.
Comments

Pivot Point
Glossary
Pivot Point
Pivot point sets hand to the center of the clock face.
The transform center, or pivot point, is the spot about which a rotation takes place, or to and from
which a scale occurs.
All objects have a pivot point. You can think of the pivot point as representing an object's local
center and local coordinate system.
The pivot point of an object is used for a number of purposes:
As the center for rotation and scaling when the Pivot Point transform center is selected.
As the default location of a modifier center.
As the transform origin for linked children.
As the joint location for IK.
You can display and adjust the position and orientation of an object's pivot point at any time using
the Pivot functions in the Hierarchy command panel. Adjusting an object's pivot has no effect on any
children linked to that object.
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Pivot Point
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Align
Align
Main toolbar > Align (on Align flyout)
Tools menu > Align
Keyboard > ALT+A
Aligning objects along an axis

Left: X position, center
Upper right: Y position, minimum
Lower right: Y position, maximum
Clicking Align , available from the Align flyout, then selecting an object, displays the Align dialog,
which lets you align the current selection to a target selection. The name of the target object
appears in the title bar of the Align dialog. When performing sub-object alignment, the title bar of
the Align dialog reads "Align Sub-Object Selection."
You can align the position and orientation of the bounding box of the source object to the bounding
box of a target object.
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Align
You can use the Align tool with any selection that can be transformed. If an axis tripod is displayed,
you can align the tripod (and the geometry it represents) to any other object in the scene. You can
use this to align an objects pivot point.
When performing sub-object alignment, the Current Object options and the Match Scale boxes are
disabled. If you plan to align orientation for sub-objects, first switch to Local transform mode on the
Main toolbar so that the axis tripod is properly aligned with your sub-object selection.
Other alignment tools on the Align flyout, are Normal Align, Place Highlight, Align to Camera, and
Align to View.
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Align Flyout
Align Flyout
Main toolbar > Align flyout
The Align flyout, available from the toolbar, provides access to five different tools for aligning
objects. These are, from top to bottom:
Align
Normal Align
Place Highlight
Align Camera
Align to View
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reactor Toolbar
reactor Toolbar
The reactor toolbar provides quick access to many of the objects and commands for the reactor dynamics feature. For more information, see the reactor User
Reference.
Note: The reactor toolbar is docked on the left side of your interface by default. You can toggle its display by right-clicking any toolbar and choosing reactor.
Note: For more information, see Customize Display Right-Click Menu and Customizing the User Interface.
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You can rearrange the components of the 3ds maxuser interface, including the menu bar, toolbars, and
command panel. You can also dynamically resize the viewport windows. You can create your own custom toolbars
and quad menus. You can also customize the colors used in the User Interface.
The procedures in this topic tell how to rearrange and resize UI components. Various other customization options
are available from the Customize menu.
See also

Revert to Startup Layout
Configure Paths
Preferences
Procedures
To resize the viewport windows:
With your cursor, click the splitter bar between any two viewports, or at the intersection of all four viewports,
and drag to a new location. When you release the mouse, the new viewport layout is defined.
The dividers are saved in the scene, but are reset when you change the layout. This feature does not allow you
to define new layouts, only to adjust the proportions of the currently existing ones.
To reset the viewport windows to the default layout:
1. Right-click the splitter bar between the viewports.

The Reset Layout button is displayed.
2. Click this button to restore the viewports to the default layout.
To rearrange the order of rollouts in the command panel:
Click the rollout title bar, and drag to another location on the command panel. A thick line indicates where the
rollout will be placed. When you release the mouse button, the rollout is moved to the indicated location, and
the other rollouts are shifted appropriately.
The order of rollouts is saved in the text file rolluporder.cfg, which is located in the \ui subdirectory.
To float a toolbar, do one of the following:
Click the toolbar label, and drag it away from its location. The toolbar is now floating; you can reposition,
resize, or dock it.
Right-click a docked toolbar's tag bar (a narrow line displayed when the toolbar is docked), and then choose
Float.
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To float the command panel, do one of the following:
Right-click the blank area at the upper-right corner of the command panel, and then choose Float.
Click a corner of the upper portion of the command panel and drag it into the viewport.
Tip: Use Lock UI Layout if you find you tend to float the command panel accidentally.
To resize the docked command panel horizontally:
Move the cursor over the edge of the docked command panel that is nearest the viewports. The cursor changes
to a double arrow. Drag the cursor to increase or decrease the width of the command panel.
The command panel grows or shrinks in column increments. Unless the command panel is hidden, there is
always at least one column. When the command panel is docked, the columns must fit within the main
3ds max window.
Multiple command panels are useful when working with objects such as particle systems, which have many
controls.
To resize the floating command panel horizontally:

Move the cursor over the left or right edge of the floating command panel. The cursor changes to a double
arrow. Drag the cursor to increase or decrease the width of the command panel.
The command panel grows or shrinks in column increments. Unless the command panel is hidden, there is
always at least one column. When the command panel is floating, you can display as many columns as you
want.
To resize the floating command panel vertically:
Move the cursor over the top or bottom edge of the floating command panel. The cursor changes to a double
arrow. Drag the cursor to increase or decrease the height of the command panel as you do for other windows
on the desktop.
To dock a floating UI element, do one of the following:
Drag the panel by its title bar to the top, bottom, left, or right edge of the program window. The mouse cursor
and the panel outline change shape at a docking location. Release the mouse.
Right-click the title bar, choose Dock from the pop-up menu, and then choose Top, Bottom, Left, or Right.
Double-click the handle or title bar.

A UI element docks automatically when it approaches a "dockable" location. The toolbars and menu bar can
dock at the top or bottom, left or right of the viewports. They can also dock on either side of the Command
panel.
To hide or display a panel, do one of the following:
When a panel or toolbar is floating, you can hide it by clicking the X control in the upper-right corner.
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Customize Menu
Customize Menu
Menu bar > Customize
The Customize menu contains commands for customizing the 3ds max user interface (UI).
Customize User Interface
Save Custom UI Scheme
Show UI
Lock UI Layout
Configure Paths
Units Setup
Plug-In Manager
Preferences
You can create a custom user interface layout, including custom keyboard shortcuts, colors, menus,
and quad menus. You can load or save all of these things individually in the Customize User
Interface dialog, or you can load or save all of them at once, using schemes. Schemes allow you to
load all customized features of the UI at one time.
You can hide, float or dock, resize, and rearrange some UI elements into your own personal design.
You can also lock the UI once youve got it set. Tools are provided in the Customize menu to load
and save these custom UI files, or to revert to the startup user interface.
System preferences such as keyboard shortcuts, viewport configuration, units setup, grid and snap
settings, and many important default settings, are also on the Customize menu.
Tip: You can access many of these commands with keyboard shortcuts or right-click options. For
example, you can display the Grid and Snap Settings dialog by right-clicking the Snaps buttons on
the main toolbar; you can display the Viewport Configuration dialog by right-clicking the viewport
label, and then choosing Configure.
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Customize menu > Load Custom UI Scheme
On the Load Custom UI Scheme dialog, you specify the base file name of the custom UI scheme you
want to load. You can select any type of UI scheme file from the dialog, and the software will load
any other type of UI scheme files with the same base file name.
To save a custom UI scheme, use the Save Custom UI Scheme dialog.
For more information on saving and loading custom user interfaces, see Saving and Loading Custom
User Interfaces.
Interface
Use the Look In field to navigate to other directories. Click the folder to choose it. The files display in
the window. Display or hide the details using List or Details buttons. If Details is turned on, you can
sort by clicking the column labels in the window.
Use the Files of type drop-down menu to search for other types of customization files. The default is .
cui, but you can also search for .clr, .mnu, .kbd, .qop, and .ui files. When you choose a filename, all
files with that base file name will be loaded.
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Customize menu > Save Custom UI Scheme
This standard Windows file save dialog lets you save your customized UI scheme.
This dialog works differently from other dialogs that save files. In this dialog, after you enter a base
file name and click Save, the Custom Scheme dialog appears. On the Custom Scheme dialog, you
set the types of user interface schemes to save. A file is saved for each type of scheme you select,
each with a specific extension for that type of scheme. When you load any one of the custom UI
scheme files with the Load Custom UI Scheme dialog, the entire set of files with the same base file
name will be loaded.
On the Save Custom UI Scheme dialog, the base name of the current UI scheme is filled in by
default. You can enter the name of the base file name in the File Name field, or click in the list to
choose an existing base file name. You can click a file with any UI scheme extension to save to the
base file name from that file.
If you want the current UI to load automatically every time you load 3ds max, you can save to the
base file name maxstart. Alternately, you can turn on the Save UI Configuration On Exit option on
the Customize menu > Preferences > General tab. This will cause the UI scheme that is current at
the time you close 3ds max to be saved to the base file name maxstart. This option is on by
default.
Warning: Do not save over the base file name defaultUI, as doing so will permanently
overwrite the default UI scheme files.
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For more information on saving and loading custom user interfaces, see Saving and Loading Custom
User Interfaces.
Interface
After you enter a file name and click Save, the Custom Scheme dialog opens, letting you define
which parts of the UI scheme will be saved.
Interface Layout (.cui)When on, saves the current toolbar and panel layout to a .cui file with the
UI Scheme base file name.
Keyboard Shortcuts (.kbd)When on, saves the current keyboard shortcuts to a .kbd file with the
UI Scheme base file name.
Menus (.mnu)When on, saves the menu layout to a .mnu file with the UI Scheme base file name.
Quad Options (.qop)When on, saves the quad menus to a .qop file with the UI Scheme base file
name.
Colors (.clr)When on, saves the current color definitions to a .clr file with the UI Scheme base file
name.
Icon TypeSelects the icon scheme for all toolbars, and saves this information in a file with the
extension .ui after the UI Scheme base file name.
Note: The icon scheme you choose will be saved as part of the file set, regardless of whether the
chosen icon scheme matches the current scheme displayed on your screen.
AllTurns on all of the above controls.
NoneTurns off all of the above controls.
OKCloses the dialog, and saves all of the selected UI Scheme files.
CancelCloses the dialog without saving any UI Scheme files.
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You can customize your workspace by saving and loading custom user interface (UI) schemes.
A custom UI scheme is saved as a set of six files:
.cui: Stores toolbar and panel layouts.
.clr: Stores all color settings (except quad menu colors).
.mnu: Stores menu bar and quad menu contents.
.qop: Stores quad menu colors, layout, and behavior.
.kbd: Stores keyboard shortcut assignments.
.ui: Stores the icon scheme (Classic or 2D Black and White).
You can load and save each of these files individually from their respective panels in the Customize
User Interface dialog. You can also load an entire set of UI scheme files at once with the Load
Custom UI Scheme dialog, and you can save the current UI scheme as a complete set with the Save
Custom UI Scheme dialog.
By default, two sets of UI schemes are present in the 3dsmax/ui folder: maxstart and defaultUI.
Upon startup, 3ds max uses the maxstart file series if it exists; if not, it uses the defaultui series.
Warning: Do not save over any files that begin with defaultUI, as doing so will
permanently overwrite the default UI scheme.
Procedures
To load a custom UI scheme:
1. Set up the custom UI scheme within 3ds max using the options on the Customize menu >
2. Save the custom UI scheme with Customize menu > Save Custom UI Scheme.
3. During your current 3ds max session or any later session, choose Customize menu > Load
Custom UI Scheme.
4. In the Load Custom UI Scheme dialog, select a type of customization file (.cui, .mnu, .clr, .
kbd, .qmo, or .ui) from the Files of Type drop-down list.
5. Choose any file with the appropriate extension. The software will search for (and load) any
other type of UI scheme file with the same base file name.
If you choose a UI scheme for which one of the six file types is not present, the part of the user
interface for which there is no file will not be changed.
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To return to the default UI scheme:

If you start 3ds max and its user interface has an unfamiliar layout, you can always return to the
default UI scheme.
1. Choose Customize > Load Custom UI Scheme.
2. From the Load UI File dialog that displays, choose defaultui.cui, and click Open.
All the default UI files begin with the base file name defaultui. When you select defaultui.cui, all
default UI scheme files will load.
To start the software with a custom user interface:
1. Arrange the user interface as you would like it to appear when you start 3ds max.
2. Choose Customize menu > Save Custom UI Scheme, and save your custom UI scheme with the
base file name maxstart.
The next time you start 3ds max, the software will start with the current UI scheme.
Note: If the Save UI Configuration On Exit option on the Customize menu > Preferences >
General tab is turned on (which it is by default), the state of the user interface when you close
the program will overwrite the maxstart UI scheme files.
To start the software with a custom user interface from the command line:
1. Save your custom UI scheme with a descriptive base file name the Save Custom UI Scheme
dialog.
2. Right-click the 3ds max icon on the Windows desktop, and choose Properties.
3. In the Target field, change 3dsmax.exe to 3dsmax.exe c, followed by the base name of the
UI scheme and the .cui extension.
Example: 3dsmax.exe c myUIscheme.cui. Be sure to leave a space between the c and the
file name.
If you want to move the UI scheme to a different computer, copy all the files in the 3dsmax/ui folder
that start with the custom UI scheme base name to the new 3dsmax/ui folder. Alternately, you can
add the path name to the command line.
To save a single UI scheme file:
1. Choose Customize menu > Customize User Interface.
2. Access the panel for the type of user interface item you want to save.
3. On the panel, click Save.
To change the icon display from Classic to 2D Black and White:

1. Choose Customize menu > Save Custom UI Scheme, enter a filename, and click Save.
2. On the Custom Scheme dialog, next to Icon Type, choose the type of icon you want to display.
3. Click OK to close the dialog and save the scheme.
4. Choose Customize menu > Load Custom UI Scheme, and open the UI scheme you just saved.
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Customize menu > Revert to Startup Layout
Revert to Startup layout automatically loads _startup.ui, which returns the user interface to its
startup settings. This temporary system file is created automatically when you start the program.
Use this option to return the UI to startup settings.
By default, 3ds max uses the maxstart.cui file to determine its startup UI. Alternately, you can
specify a startup file at the command line by using 3dsmax.exe c followed by the name of the
customization file.
If you have Save UI Configuration On Exit turned on in the General panel of the Preferences dialog,
the current UI file is overwritten when you exit the program.
Procedure
To revert to the startup UI:
Choose Customize > Revert To Startup UI Layout. UI elements are rearranged to look as they did
when you started the program.
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Starting 3ds max from the Command Line

You can start the program from the command line in a Command Prompt window, or include the
command line in a batch file. There are a number of switches that you can use on the command line.
To start 3ds max from the command line:
1. Open a Command Prompt window.
2. Change directory to the 3ds max root directory, if this directory is not in your PATH statement.
3. Type 3dsmax to start the program. Optionally, add a command-line switch (see below).
Command-Line Switches
You can use the following switches after 3dsmax on the command line.
Switch Effect
-c othercui Starts program using othercui.cui instead of maxstart.cui.
Causes Track View to use a double-buffered display, which is smoother than the single-
-d
buffered display but uses more system resources.
Makes background white (instead of gray) in the following dialogs: Track View, RAM
-g Player, Video Post, Loft, and Falloff Curve. Useful for screen captures when using a
display mode less than 24 bits deep, for avoiding background patterns.
-h Allows choice of graphics drivers: Software, Open GL, Direct3D, and Custom.
-i otherfile Starts program using otherfile.ini instead of 3dsmax.ini.
-l Loads the last .max file automatically.
-ma Open maximized.
-mi Open minimized.
-n Disables network mode.
-p otherfile Starts program using otherfile.ini instead of plugin.ini.
-q Starts program "quietly," without the splash screen.
-s Starts program in server mode.
-u Opens utility.
Loads a display driver. See details following, under "Using the V Option."
-v
Note: It is not possible to select which version of Direct3D you will use with this switch.
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-z Writes version number to file. See details following, under "Using the Z Option."
anyscene Starts program and opens a file called anyscene.max.
Examples:
3dsmax l
3dsmax i otherfile
3dsmax anyscene
3dsmax c MaxCustom
See also
Startup Files
Running Scripts from the Command Line
Using the -V Option
You use the -V option to load a different display driver at startup. This option overrides the setting in
3dsmax.ini.
Follow the -V with one of these letters for the driver you want to use:
s: Loads software Z-Buffer.
o: Loads OpenGL.
d: Loads Direct3D.
n: Loads null driver.
For example, if you ordinarily run OpenGL and want to switch to Software Z-Buffer for a session, you
would type: 3dsmax vs
Using the -Z Option
If you call product support, the representative might ask you to run this option to determine the
exact version of your software. This option only writes to a file; it does not start 3ds max.
Follow the -Z with a file name:
3dsmax z id.txt
The file (in this example, id.txt) is written to the 3ds max root directory.

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Startup Files
Startup Files
When you start 3ds max, several auxiliary files load, setting things like program defaults and UI
layout. In some cases, the program updates files when you change settings and when you quit the
program.
Note: 3ds max 6 ships with several different market-specific defaults. These set different
program defaults on startup, based on the type of files you expect to work on most often. You can
load the preset defaults that ship with 3ds max, or you can create your own.
In general, you don't need to work directly with the auxiliary files, but it's good to know about them.
Among the auxiliary files the program uses are:
3dsmax.ini: This file gets updated when you start and exit 3ds max, as well as when you change
most Preferences settings. It contains values relating to program defaults, including the graphics
driver, directories used to access external files such as sounds and images, preset render sizes,
dialog positions, snap settings, and other preferences and default settings. If you edit this file, be
sure to make a copy first, so you can return to the original if anything goes wrong.
Note: In version 6 of 3ds max, many of the program defaults are now set in currentdefaults.
ini, found in the \defaults directory. For more information on this file, see Market-Specific
Defaults.
maxstart.max: At startup and when you reset the program, 3ds max looks for this file in the
\maxstart folder specified in Configure Paths, and if found, loads it. This allows you to specify the
default state of the workspace whenever you start or reset the program. For example, if you
always use a ground plane, you can make it the default setup by creating one, and then saving it
as maxstart.max. If you save a different file over maxstart.max, you can return to program
defaults by deleting the maxstart.max file, then resetting the program.
maxstart.cui: This is the default custom user interface file. You can load and save CUI files, and
set the program to use a different default CUI file. See Customize Menu.
plugin.ini: This file contains directory paths for plug-ins. Most other paths are kept in the program
INI file, but plugin.ini is maintained as a separate file because third-party plug-ins often add
entries to the list at installation.
Note: It is possible to use more than one plugin.ini by nesting additional paths in your plugin.ini
file. This can be very useful for allowing an entire network of users to share one plugin.ini file,
making the system easier to maintain for the network administrator. For more information, see
Network Plug-In Configuration.
startup.ms: A MAXScript file that automatically executes at startup time. For more information,
see Startup Script.
splash.bmp: To substitute a custom splash screen (startup screen) for the default image, copy
any Windows Bitmap (.bmp) file into the program root directory and rename it splash.bmp. The
program will thereafter use this image at startup.
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Startup Files
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XRefs Path Configuration
Customize menu > Configure Paths > Configure Paths dialog > XRefs panel
On the XRefs panel of the Configure Paths dialog, you can add to or modify the directory locations in
which the software searches for XRef objects and XRef scenes.
You expand the default locations of XRef files by adding paths to this panel. Use this technique to
identify the directories most often used in your scenes.
The software stores the path of any XRef file you load. When the XRef is re-loaded, the search order
is as follows:
1. The path saved with the XRef file.
3. The paths listed in the Configure Paths dialog > XRefs panel, starting at the top of the list.
Procedures
To modify an XRef file path:
1. On the XRefs panel, choose a path entry.
2. Click Modify.
3. On the Choose Directory dialog, do one of the following:
Navigate to locate a path, and click Use Path.
To add an XRef path:
1. On the XRefs panel, click Add.
4. Click Use Path.

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To delete an XRef path:
2. Click Delete.
The path location is removed.
3. Click Cancel to restore the path.

This closes the Configure Path dialog without saving any path changes.
To move a path up or down in the list:
Click Move Up to move the entry closer to the top of the list.
Click Move Down to move the entry closer to the bottom of the list.
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Network Plug-In Configuration

You can include path annotations to additional INI files within the local plugin.ini and the software
will process the files as if they were part of the original plugin.ini. This can be very helpful in settings
where several systems on a network are using the same plug-ins. The network administrator need
only maintain a single remote INI file, rather than having to update each machine individually.
Procedure
Example: To add remote INI files to your local plugin.ini:
1. Open your local copy of plugin.ini with your preferred text editor.
2. At the bottom of the file, type [Include] and press ENTER.
3. Below [Include], type these two lines:

myremote=\\remote_dir\remote_plugin.ini
anotherdir=d:\test\extra_plugin.ini
Note: You can give any title to the directory (myremote or anotherdir, in this case) and the
directory can be any local or remote directory. In addition, the INI file can have any name.
4. Save plugin.ini and exit the text editor.

The next time you start the software, it will load plug-ins from the directories defined in plugin.
ini, as well as those in any remote INI file that has been included in plugin.ini.
You can add as many remote INI files as you need, making it easy to organize groups of plug-
ins.
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Startup Script
Glossary
Startup Script
When 3ds max is first started, MAXScript searches for any startup script files, which it then
automatically loads and runs. This feature is useful if you have function libraries you always use and
want preloaded, or if you want to establish custom UI settings, define scripted plug-ins, or load
scripted utility rollouts.
MAXScript first searches for .mcr (macroScript definition files) in the ui\macroscripts directory. These
macroScript definitions are not compiled at this time; rather they are just scanned to identify the
macroScripts that have been defined.
MAXScript next searches for .ms, .mse, and .mzp files in the plug-in path directories (defined in the
Configure Paths dialog) and their subdirectories, and compiles these files. The base scene and user
interface have not been created at this point, so no viewport or scene commands should be executed
in these files. These files should primarily define scripted plug-ins and utility functions.
Any utility functions used by the macroScripts defined when reading the ui\macroscripts directory
should be defined in a .ms or .mse file in one of these directories. You can prevent a nested
directory from being scanned by placing its name in parentheses, for example "(old-versions)",
allowing you to enable and disable scripts in handy directory-based groupings.
At this point, 3ds max creates the base scene and user interface. Any macro scripts used by buttons
in the user interface are compiled at this time.
The automatic loading of the following startup script files can be deactivated by turning off the Auto
Start MAXScript option in the MAXScript page of the Preferences dialog, as described in MAXScript
Preferences Settings.
MAXScript first searches for a file named startup.ms in the following directories, in this order:
1. The Scripts directory (defined in the Configure Paths dialog)
2. The Startup Scripts directory (defined in the Configure Paths dialog)
3. The 3ds max executable main directory
4. The Windows NT 32-bit system directory (system32)
5. The Windows 16-bit system directory (system)
6. The Windows directory
7. The directories that are listed in the PATH environment variable
MAXScript stops searching when it finds the first occurrence of startup.ms.

MAXScript then recursively scans the Startup Scripts directory (defined in the Configure Paths
dialog) and directories nested within them for .ms, .mse, and .mzp script files and loads them. In
this pass, any script files with the name startup.ms are ignored. You can prevent a nested directory
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Startup Script
from being scanned by placing its name in parentheses, for example "(old-versions)", allowing you
to enable and disable scripts in handy directory-based groupings.
If you specify a script to run in the command line (-U MAXScript script_name), the script is
executed at this point. (See the MAXScript Reference topic Running Scripts from the Command
Line).
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Customize menu > Preferences > Preference Settings dialog > MAXScript tab
On the MAXScript panel of the Preference Settings dialog, you set MAXScript and Macro Recorder
preferences, enable or disable auto-start and auto-loading of scripts, set the initial heap size, change
font style and size used in the MAXScript editor, and manage all the settings for the Macro Recorder.
You can also change these settings by editing the [MAXScript] section of the 3dsmax.ini file.
Note: Two paths to support auto-startup scripts are in the Configure Paths dialog: ..\scripts and ..
\scripts\startup. These default directories can be changed in Customize menu > Configure Paths >
Configure Paths dialog > General panel, if you would prefer to start scripts from a different directory.
Choose Help > MAXScript Reference for details on MAXScript.
Interface
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Startup group
You can start scripts automatically in two ways. You can create a file named startup.ms that contains
your startup code. MAXScript searches for this file in the scripts directory first, then the 3ds max
root directory, and finally the directories specified in the Windows PATH environment variable.
MAXScript stops searching after it finds the first occurrence of startup.ms.
You can also place the script files you want auto-loaded into the \startup directory inside the \scripts
directory. MAXScript loads any script file with the file name extension .ms or any encrypted script
file with file name extension .mse.
If you have both a startup.ms file and auto-load files in the \startup directory, MAXScript always
loads startup.ms first.
Auto Start MAXScriptStarts MAXScript when 3ds max starts.
Load Startup ScriptsLoads scripts automatically when 3ds max starts.
Load/Save Scene ScriptsEnables Scene Script loading and saving.
Load/Save Persistent GlobalsEnables load and save Persistent Globals.
MAXScript supports a limited form of variables. You declare that a particular global is persistent and

the value it contains is always saved to and restored from scene files as they are opened and closed.
In this way you can, for example, keep direct references to objects in the scene in variables. Those
references will move across scene save and reload.
Load Controller ScriptsLoads controller scripts.
MAXScript Windows group
FontChoose a font for the MAXScript editor

Font sizeChoose a font size for the MAXScript editor.
Auto Open Listener On OutputOpens the listener upon output.
Memory group
Initial Heap Allocation (Mbytes)Sets the initial heap allocation.

MAXScript carves its own working memory (called a heap) out of the memory that the software
allocates. You can add to the heap at any time by increasing the value here.
Macro Recorder Group
Enable Macro RecorderEnables the Macro Recorder.

3ds max starts with the macro recorder disabled and a minimized Macro-Recorder pane in the
MAXScript listener window.
You can also enable the Marcro Recorder by turning on MAXScript > Macro Recorder or by turning on
Enable in the Macro Recorder menu on the MAXScript Listener toolbar.
This state is stored in the 3dsmax.ini file. Turning it on once keeps it enabled across restarts of the
program.
Code Filters group
Command Panel SwitchingsDisplays command panel switchings in the code.

Tool SelectionsDisplays tool selection in the code.
Menu Item SelectionsDisplays menu selection in the code.
Code Generation group
The Code Generation parameters refer to whether or not the script emitted is made selection-
relative, if possible, or if it contains object references. By making the script selection-relative, you
can apply the recorded script to a different selection, thereby making it more general. Absolute
mode always works on the same objects regardless of the current selection.
Explicit Scene Object NamesUses scene object names in the code.
Selection-relative Scene Object NamesMakes Scene Object Names relative in the code.
Default=on.

Explicit Sub-object SetsUses explicit sub-object sets in the code.

Selection-relative Sub-object SetsUses selection relative sub-object sets in the code.
Default=on.
Absolute Transform AssignmentsUses absolute transforms in the code.
Relative Transform OperationsUses selection relative transform operations in the code.
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group > Configure Driver button (when OpenGL is the current driver)
The OpenGL display driver provides options that support hardware acceleration.
Interface
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Implementation-Specific Settings group
However, redrawing takes some time. Default=on.
viewports by choosing Views > Redraw All Views (the default keyboard shortcut for this is the "1"
key).
This option has two subordinate options. How you should set them depends on how the display card
handles its back buffer, which is used for refreshing the screen. Turn on one or the other, as
appropriate.
Full Screen SwapBuffers Destroys Back BufferIf, after updating the screen, the display card
destroys the back buffer only when there's a single viewport, turn on this sub-option. The OpenGL
driver redraws the scene when a single viewport is visible, but doesn't have to redraw when multiple
viewports are visible. Default=off.
Windowed SwapBuffers Destroys Back BufferIf, after updating the screen, the display card
destroys the back buffer when multiple viewports are visible, turn on this sub-option. Default=off.
Use Triangle StripsStrips all geometric data before sending it to the driver. In some cases, such
as when topology is constantly changed, the time taken to strip the geometry can cause a slowdown
instead. In such cases, turn off this option. Otherwise, leave it on for speed. Default=on.
This option has one subordinate option:
Display Wireframe Objects Using Triangle StripsDefault=off.
Allow Dual Plane SupportUses the front/back plane system when redrawing the viewport. The
selected object is manipulated in the front plane and is redrawn, while other objects remain on the
back plane and are not redrawn. This default setting provides the fastest redraws under normal
available.
anyway).
Use Incremental Scene UpdatesRedraws only those scene objects that have changed, or that
intersect a region changed by another moving object. When turned off, the entire scene is redrawn
for each new frame. Default=on.
If your 3ds max display becomes messy or "corrupted" as a result of incremental updates, turn this
option off and then redraw viewports by choosing Views > Redraw All Views (the default keyboard
shortcut for this is the ` accent grave key)..
Use BGRA Pixel FormatWhen on, sends bitmaps using BGRA (blue-green-red-alpha) ordering for
pixels. This is the default order for Windows. By default, OpenGL expects RGBA ordering. Because of
this, under default conditions, loading textures or backgrounds requires the pixels to be reordered.
OpenGL supports an extension that allows it to receive pixels in BGRA order. This means that

bitmaps can be displayed directly, without reordering each pixel. Thus, assuming the OpenGL driver
has efficient hardware support for BGRA pixels, turning on this option makes loading textures and
background images much faster. Default=on.
Use Generalized Vertex ArraysWhen on, enables to use custom driver code to render smoothly
shaded objects. Typically this is much faster than using standard OpenGL code, but has an effect
only when the driver has hardware-specific custom code. Default=on.
Use Wireframe FacesWhen on, makes wireframe display accessible to hardware acceleration.
Default=on.
This option is intended to allow display-card manufacturers to accelerate 3ds max wireframe
displays in a way that is specific to the underlying display hardware. Check with your display-card
manufacturer to see if enabling this option will yield faster wireframe rendering with your display
card.
Appearance Preferences group
Enable Anti-Aliased Lines in Wireframe ViewsDraws lines slightly thicker and much smoother.
This is best used for wireframe-only views, and especially if you're making a preview of wireframe
objects.
Background Texture SizeUnlike the Software Display driver, which uses bitmaps to display
viewport backgrounds directly, the OpenGL driver uses a texture-mapped background rectangle. This
allows for smoother zooms and pans in orthographic views and can take less memory than the direct
bitmap method. However, background bitmap resolution may be lost. Increase the resolution if
you're using a maximized viewport to digitize.
Download Texture SizeLets you choose the size of the texture map that's downloaded to the
driver for texture-mapped scene objects. Larger maps look better, but use more display card
memory.
resolutions, bitmaps are individually resized before they are downloaded to the driver. This means
that small bitmaps dont get overexpanded and large bitmaps retain their resolution (but potentially
use a lot more video RAM).
Texel LookupSpecifies whether to use the nearest pixel or to linearly interpolate the pixel value
from the four closest texels. Using the nearest pixel is faster, but using texels produces a higher-
quality display. Default=Nearest.
MipMap LookupSpecifies whether to use one version of the texture map (None) or to interpolate
between a pyramid of progressively smaller maps. With Nearest chosen, the texel lookup is done on
the map level nearest the ideal one, and with Linear, the texel values from the two closest map

levels are interpolated. Default=None.

Note: When both Texel and MipMap lookup are set to Linear, a true trilinear weighting of 8 texel
values is used for a single pixel display. This is very accurate and helps eliminate aliasing, but it is
time consuming if the texture-mapping hardware is not accelerated.
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group > Choose Driver button (if Direct3D is the active driver)
group > Choose Driver button > Graphics Driver Setup dialog > Choose Direct3D. > Advanced
Direct3D button
When using the Direct3D display driver with 3ds max, this dialog lets you make some basic choices
for setting up the driver. Further Direct3D configuration options are available from the Configure
Direct3D dialog.
To switch to a different display driver when Direct3D is the active driver, click the Choose Driver
button on the Viewports tab of the Preference Settings dialog, click Revert From Direct3D, and then
choose the new driver from the Graphics Driver Setup dialog.
Interface
Direct3D VersionThe available option is whichever version is currently active in your system:
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DirectX 8.1 or DirectX 9.0. The other option is unavailable.

Direct3D DeviceThe default option is Hardware (HAL). The Software (RefRast) option is for use
by software developers, and is unavailable unless the debug version of DirectX is installed in your
system.
Direct3D Use FlagsThe default option is Release. The Debug option is for use by software
developers, and is unavailable unless the debug version of DirectX is installed in your system.
Revert from Direct3DClick this button to display the Graphics Driver Setup dialog, which lets you
choose a different driver.
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You can launch 3ds max from a DOS command line and have it run a specified launch script, which
is useful for tasks such as unattended batch-rendering. This capability uses the existing -U command
line switch that names a utility to be run when 3ds max is started. The -U switch allows an optional
extra argument which, for MAXScript, is taken to be the name of the launch script to run. The case
of MAXScript must be as shown in the following example:
c:\3dsmax6\3dsmax -U MAXScript rendercams.ms
This example command line would launch the 3ds max executable in c:\3dsmax6, start MAXScript,
and then have it run the launch script rendercams.ms.
The following example launch script loads two scenes, renders frames from each of the cameras in
them, and then quits 3ds max:
loadMaxFile "foo.max"
for c in cameras do render camera:c outputfile:("foo_"+c.name+".bmp")
loadMaxFile "baz.max"
for c in cameras do render camera:c outputfile:("baz_"+c.name+".bmp")
quitMax #noPrompt
This example makes use of the quitMax() method to exit 3ds max when the script is finished.
Launch scripts need not be batch scripts as in this example, but may be used to condition 3ds max
for interactive use, for example by loading a scene file and setting some user-interface options.
The normal startup scripts, startup.ms and those in the \scripts\startup directory, are run before the
launch script. It is also possible to install scripts into individual scene files that run automatically
when that scene is open or closed or at certain other events.
Note: Command line -U MAXScript startup scripts are run *after* 3ds max has completely booted
and the standard MAXScript stdscripts and scripts\startup scripts have been run.
3ds max 6 now allows you to enter MAXScript commands directly to the command line.
MAXScript Command-Line Switches
The following switches work specifically with MAXScript files and functions.
Switch Effect
Launches 3ds max in a minimized mode but never allows you to open
-mip
the window for interactive usage.
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This switch is essentially the same as -U MAXScript file.ms, but avoids

-mxs the need for the .ms file. You can follow the switch with MAXScript
commands.
Comparable to the MAXScript command, setSilentMode, this switch

-silent suppresses all MAXScript and 3ds max UI dialogs so that batch scripts
specified by the U command do not get interrupted.
-u MAXScript <filename> Opens a specified MAXScript file.
Examples of desired syntax usage:
3dsmax.exe -silent -mxs "for c in cameras do render c outputFile:(c.name + ".bmp")

vfb:off " file.max
This example starts 3ds max in silent mode, opens file.max and renders each camera view to a BMP
file without showing the rendered frame window.
3dsmax.exe -q -mi -U MAXScript \\server1\folder\myScript.ms \\server2\folder\file.max
This example suppresses the splash screen while starting 3ds max in a minimized state, opens file.
max from a network server and runs myScript.ms found on another server. If myScript.ms contains
the same commands as the first example, both of these examples would give the same results.
3dsmax.exe -q -silent -mip -mxs "for c in cameras do render c outputFile:(c.name +

".bmp") vfb:on; quitMAX() #nopromptfile.max" file.max
The final example suppresses the splash screen while starting 3ds max in silent mode and in a
permanently minimized state, opens file.max, renders each camera view to a BMP file showing the
rendered frame window, then exits 3ds max.
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Show UI
Show UI
Customize menu > Show UI
The Show UI submenu lets you add or remove UI (user interface) elements from the workspace, so
that you can customize your screen as you work. You can turn these elements on and off as you
need by selecting them from the menu, maximizing the efficiency of your workspace. The settings
are stored in the maxstart.cui file, so they will remain after you shut down and restart 3ds max.
When you choose a UI element from the Show UI submenu, it will be displayed or hidden, depending
on its previous state. If it was hidden when you selected it from the menu, it will be displayed. If it
was displayed when you selected it from the menu, it will be hidden. The Show UI menu displays a
check mark next to the UI element when it is currently being displayed.
Keyboard shortcuts for turning on and off UI elements are displayed next to their corresponding UI
elements in the Show UI menu.
You can use the Show UI menu to hide or display the following UI elements:
Command Panel
Floating Toolbars (displays Axis Constraints Toolbar, Layers Toolbar, and Extras Toolbar)
Main Toolbar
Track Bar
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Command Panel
Command Panel
The command panel comprises six user-interface panels that give you access to most of the
modeling features of 3ds max, as well as some animation features, display choices, and
miscellaneous utilities. Only one panel is visible at a time. To display a different panel, you click its
tab at the top of the command panel.
These are the six panels:
Create panel
Contains controls for creating objects: geometry, cameras, lights, and so on.
Modify panel
Contains controls for applying modifiers to objects and editing editable objects such as meshes
and patches.
Hierarchy panel
Contains controls for managing links in a hierarchy, joints, and inverse kinematics.
Motion panel
Contains controls for animation controllers and trajectories.
Display panel
Contains controls that let you hide and unhide objects, along with other display options
Utilities panel
Contains miscellaneous utility programs, most of which are plug-ins to 3ds max.
By default, the command panel appears at the right of the 3ds max window. You can "dock" it along
other edges of the program window, or make it a floating panel. See Customizing the User Interface.
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Create Panel
Create Panel
Command panels > Create panel
The Create panel provides the controls for creating objects. This is the first step in building a new
scene in 3ds max. Most likely, you will continue to add objects throughout an entire project. For
example, when it is time to render a scene you might need to add more lights.
The Create panel groups the kinds of objects you create into seven categories. Each category has its
own button. Within each category there can be several different subcategories of objects. A drop-
down list lets you choose among object subcategories, and each kind of object has its own button,
which you click to begin creation.
These are the categories of objects that the Create panel provides:
Geometry
Geometry is the renderable geometry of the scene. There are geometry primitives such as Box,
Sphere, Pyramid, and more advanced geometry such as Booleans, Lofts, and particle systems.
Shapes
Shapes are spline or NURBS curves. They have only one local dimension, although they can exist
in 2D space, such as a Rectangle shape, or 3D space, such as a Helix.
You can give shapes a thickness so they will render, but primarily you use them for constructing
other objects such as Lofts, or for motion trajectories.
Lights
Lights illuminate the scene and improve its realism. There are several kinds of lights, each of
which models different types of lighting in the real world.
Cameras
Camera objects provide a view of the scene. The advantages of cameras over the views in the
standard viewports are that cameras have controls similar to real-world cameras, and that you
can animate a camera's position.
Helpers
Helper objects are aids to constructing a scene. They help you position, measure, and animate the
scene's renderable geometry.
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Create Panel
Space Warps
Space warps produce various kinds of distortions in the space surrounding other objects. Some
space warps are meant especially for use with particle systems.
Systems
Systems combine objects, controllers, and hierarchies to provide geometry associated with some
kind of behavior. Also contains Sunlight and Daylight systems that simulate sunlight in your
scenes.
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Creating Geometry
Creating Geometry
The solid 3D objects in the scene, and the objects used to create them, are known as geometry.
Usually, geometry comprises the subject of your scene and the objects that you render.
This section describes the types of geometry you can create using the Create panel.
Basics of Creating and Modifying Objects
Geometric Primitives
Shapes
Compound Objects
Dynamics Objects
Systems
See Also
Surface Modeling
Space Warps and Particle Systems
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In 3ds max, you model basic parametric objects into more complex ones by:
Changing parameters
Applying modifiers
Directly manipulating sub-object geometry
This section provides an introduction to techniques for creating and modeling objects.
The Create panel contains controls for creating new objects: the first step in building a scene.
Despite the variety of object types, the creation process is consistent for most objects.
The Modify panel provides controls to complete the modeling process. Any object can be reworked,
from its creation parameters to its internal geometry. Both object-space and world-space modifiers
let you apply a wide range of effects to objects in your scene. The modifier stack allows editing of
the modifier sequence.
These topics will help you start creating and modifying objects:
Using the Create Panel
Identifying the Basic Building Blocks
Creating an Object
Editing the Stack
Using the Stack at the Sub-Object Level
Modifying Multiple Objects
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Parameter/Parametric
Glossary
Parameter/Parametric
A tube is one example of a parametric object. Varying its parameters creates varying geometry.
Parameters are settings or values that you can change. Many objects have parameters that you can
change to alter the size or shape of the object. These types of objects are called parametric objects.
Unlike physical building blocks which have a fixed shape and size, the geometric primitives (box,
sphere, torus, etc.) are parametric; you can change their dimensions, segment settings, and other
features after you create them. Parametric objects respond to changes in their parameters by
dynamically updating their properties.
Changing parameters can dramatically alter the structure of an object. For example, you can turn a
cylinder into a prism by reducing the number of sides and turning the Smooth option off. Alternately,
you can turn a cone into a four-sided pyramid using the same technique.
You can animate almost all creation parameters for geometric primitives, and interactively change
their settings during animation playback.
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To achieve highly detailed modeling effects, you can directly transform, modify, and align the
geometry of objects at a sub-object level, using the Modify panel. The following table shows the
different object types and their respective sub-objects.
Object Type Sub-Object Geometry
Mesh Vertex, Edge, Face, Polygon, Element
Poly Vertex, Edge, Border, Polygon, Element
Spline Vertex, Segment, Spline
Patch Surface Vertex, Handle, Edge, Patch, Element
NURBS Curve Curve CV or Point, Curve
NURBS Surface Surface CV or Point, Surface
With the exception of NURBS, to gain access to an object's sub-objects, in most cases you must first
either convert the object into an editable object, or apply any of various modifiers to the object,
such as Edit Mesh/Spline/Patch or Mesh/Spline Select. The Select modifiers simply let you specify
sub-objects for modification by subsequently applied modifiers. The distinctions between
transforming an object into an editable object and applying an Edit modifier to it are as follows:
Method Advantage Disadvantage
More efficient
Editable object Lose creation parameters
Can animate sub-objects
Less efficient
Edit/Select modifier Keep creation parameters Cannot animate sub-
objects
To convert a parametric object to an editable object, see any of the following topics:
Editable Spline
To apply an Edit modifier, see any of the following topics:
Edit Mesh Modifier
Edit Patch Modifier
To apply a Select modifier, see the following topics:
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Sub-Object Level
Glossary
Sub-Object Level
Edge sub-objects level chosen while editing a mesh.
Some types of objects let you change to a sub-object level to edit their component parts. For
example, editable meshes have Vertex, Edge, Face, Polygon, and Element sub-object levels. NURBS
models can have Surface, Curve, Point, Surface CV, Curve CV, and Import sub-object levels.
You change the active sub-object level using the Modifier Stack display on the Modify panel.
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Using Selection Filters
The Selection Filter list is on the main toolbar. Use it to deactivate selection for all but a specific
category of object. By default, all categories can be selected, but you can set the Selection Filter so
that only one category, such as lights, can be selected. You can also create combinations of filters to
add to the list.
For greater ease of use while working with animations, you can now choose filters that let you select
only Bones, objects in IK chains, or Points.
Using Combos
The Combos feature allows you to combine two or more categories into a single filter category.
Procedures
To use the selection filter:
Click the Selection Filter arrow and click a category from the Selection Filter list.
Selection is now limited to objects defined in this category. The category remains in effect until
you change it.
The following categories are available:
AllAll categories can be selected. This is the default setting.
GeometryOnly geometric objects can be selected. This includes meshes and other kinds of
objects not specifically included in this list.
ShapesOnly shapes can be selected.
LightsOnly lights (and their targets) can be selected.
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CamerasOnly cameras (and their targets) can be selected.

HelpersOnly helper objects can be selected.
WarpsOnly space warps can be selected.
BoneOnly bones objects can be selected.
IK ChainOnly objects in IK chains can be selected.
PointOnly point objects can be selected.
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Named Selection Sets from the selection setstoolbar
You can assign a name to the current selection, and then later reselect those objects by choosing
their selection name from a list. You can also edit the contents of named sets from the Named
Selection Sets dialog.
Editing Named Selections
As you model and create a scene, youre likely to rearrange the objects making up your named
selection sets. If you do, youll need to edit the contents of those sets.
Procedures
To assign a name to a selection set:
1. Select one or more objects or sub-objects using any combination of selection methods.
2. Click in the Named Selection field on the Selection setstoolbar.
3. Enter a name of up to 15 characters (including spaces).

Note: Names are case-sensitive.
4. Press ENTER to complete the selection set.
You can now select another combination of objects or sub-objects and repeat the process to create
another named selection set.
To retrieve a named selection set:
1. In the Named Selection field, click the arrow.

Note: If you're working with a sub-object selection set, you must be at the same level at which
you created the selection set (for example, editable mesh > vertex) for it to appear on the list.
2. On the list, click a name.
To edit named selection sets:
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On the Selection Setstoolbar, click Named Selection Sets to display the Named Selection
Sets dialog.
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Select By Name (Edit Menu)
Select By Name (Edit Menu)
Edit menu > Select By > Name
Keyboard > H
Select By Name lets you select objects by choosing them from a list of all objects in the scene.
For a full description of the Select By Name function, see Select By Name button.
Tip: To select objects by material, use Schematic View.
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Main toolbar > Select By Name
Keyboard > H
Select By Name lets you select objects by choosing them from a list of all objects currently in the
scene using the Select Objects dialog.
Warning: The Select By Name button and Select Objects dialog are context dependent.
When one of the transforms (such as Select and Move , or Select and Manipulate) is
active, the dialog lets you choose from all objects in the scene. But when certain modes
are active, the choices in the dialog are more limited. For example, when Select and Link
is active, the dialog is entitled Select Parent, and shows linkable objects but not the child
object already selected. Similarly, if Group > Attach is active, the dialog lists groups but
not solitary objects.
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Select a shape. > Modify panel > Modifier List > Spline Select
Select a shape. > Modifiers menu > Selection Modifiers > Spline Select
The Spline Select modifier passes a sub-object selection of shapes up the stack to subsequent
modifiers. It provides much of the same set of selection functions available in the Edit Spline
modifier. You can select vertices, segments, or splines, and you can change the selection from sub-
object level to object level.
This modifier is similar to the Mesh Select and Poly Select modifiers, except for the type of sub-
object components.
Procedure
To use the Spline Select modifier:
1. Create a multi-spline shape.
2. Apply a Spline Select modifier.

By default, the Vertex sub-object level is active.
3. If you wish to work at a different sub-object level, use the modifier stack display to choose it.
4. In the viewports, select vertices, segments, or splines.

Tip: You can transform the selection using an XForm or Linked XForm modifier.
Interface
Modifier Stack
The sub-object level you choose for the spline select modifier determines which rollout appears.
(There are no parameters at the top, object level.)
VertexCreates a sub-object selection of vertices.
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SegmentCreates a sub-object selection of segments.

SplineCreates a sub-object selection of splines.
Select Vertex rollout
Get Segment Selection, Get Spline SelectionSelect vertices based on the last Segment or
Spline selection. This selection is added to the current selection. Available only when Vertex is not
the current sub-object level.
Select Segment rollout
Get Vertex Selection, Get Spline SelectionSelect segments based on the last vertex or spline
selection. The selection is added to the current selection. Available only when Segment is not the
current sub-object level.
Select Spline rollout

Get Vertex Selection, Get Segment SelectionSelect splines based on the last vertex or
segment selection. The selection is added to the current selection. Available only when Spline is not
Copy/Paste Selection controls (all rollouts)

You can copy a named selection from one object to another or one modifier to another. You must
copy and paste in the same sub-object level.
Comments

Make a selection. > Modify panel > Modifier List > Patch Select
Make a selection. > Modifiers menu > Selection Modifiers > Patch Select
The Patch Select modifier lets you pass a sub-object selection up the stack to subsequent modifiers.
It provides a superset of the selection functions available in the Edit Patch modifier. You can select
vertices, edges, patches, and elements. You can also change the selection from sub-object level to
object level.
Note: When you apply the Patch Select modifier and then go to any sub-object level, the select-and-
activated.
Using XForm Modifiers to Animate a Patch Selection
When you apply a Patch Select modifier, there are no animation controllers assigned to the sub-
object selection. This means that the selection has no way to "carry" the transform information
needed for animation.
To animate a sub-object selection using Patch Select, apply either an XForm or Linked XForm
modifier to the selection. These modifiers provide the necessary controllers for animating the effects
of transforms. In a sense, they give "whole-object status" to the sub-object selection.
XForm
Linked XForm
accordingly.
Procedure
To use the patch select modifier:
1. Create a patch object.
2. Go to the Modify panel and choose Patch Select from the modifier list.
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3. Select vertices, patches, edges, or elements.
Interface
Modifier Stack
VertexSelects vertices.
EdgeSelects edges.
PatchSelects patches.
ElementSelects elements.
Parameters rollout

Provides buttons for turning different sub-object modes on and off, working with named selections
The icons at the top of the Selection rollout let you specify the method of face selection. Clicking a
button here is the same as selecting a sub-object type in the modifier stack. Click the button again
to turn it off and return to the object selection level.
region.
EdgeSelects an edge beneath the cursor; region selection selects multiple edges within the
region.
PatchSelects a patch beneath the cursor; region selection selects multiple patches within the
region.
ElementSelects all contiguous faces in an object; region selection selects the same.
Select By VertexSelects any sub-objects at the current level that use a vertex you click. Applies
to all sub-object levels except Vertex. Also works with Region Select.
Ignore BackfacesSelects only those edges, patches, or elements whose normals make them
visible in the viewport. When turned off (the default), selection includes all sub-objects, regardless of
the direction of their normals.

selection level.

Get Vertex SelectionSelects edges, patches, or elements based on the last vertex selection. The
selection is added to the current selection. Available only when Vertex is not the current sub-object
level.
Get Edge SelectionSelects vertices, patches, or elements based on the last edge selection.
Selects those vertices, patches, or elements that contain the edge. Available only when Edge is not
Get Patch SelectionSelects vertices, edges, or elements based on the last patch selection. This
selection is added to the current selection. Available only when Patch is not the current sub-object
level.

selection.
objects, and between comparable modifiers and editable objects. For example, you can apply a
patch select modifier to a sphere, create a named selection set of edges, and then copy the selection
to a different sphere that's been converted to an editable patch object. You can even copy the
selection set to a different type of object, because the selection is identified by the entities' ID
numbers.

missing patches exist. Available only at the Edge sub-object level.
Selection Info
At the bottom of the Patch Select Parameters rollout is a text display giving you information about
the current selection. If 0 or more than one sub-object is selected, the text gives the number and
type selected. If one sub-object is selected, the text gives the ID number and type of the selected
item.
Note: When the current sub-object type is Patch or Element, selection information is given in
Patches.
Comments

In a row of column sub-objects, a single column has been modified at the sub-object level.
To achieve highly detailed modeling effects, you can directly transform, modify, and align the
geometry of objects at the sub-object level.
Sub-objects are the pieces that make up objects, such as vertices and faces. You can also access
and transform the sub-object components of modifiers.
The particular geometry available at sub-object level depends on the object type. See Edit Modifiers
and Editable Objects for details on each object type.
Making a Sub-Object Selection
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These are the general steps in setting up an object for sub-object selection. See Edit Modifiers and
Editable Objects for more information.
1. Convert the object into an editable object such as an editable mesh, editable spline, editable
poly, and so on. (Some modifiers you can apply to the object, such as Mesh Select or Spline
Select, also have sub-object levels.)
Tip: Work in a wireframe viewport so you can see the geometry.
2. On the modifier stack display, click the plus icon to the left of the name of the modifier or
editable object. This expands the object's hierarchy, showing the names of the sub-object
levels at which you can work.
3. On the stack display, choose the kind of sub-object geometry you want to work with: for
example, Vertex, Face, or Edge. Each sub-object selection level has rollouts with their own sets
of options.
The sub-object level highlight is yellow by default.
4. Use standard selection techniques to select sub-object geometry, from a single sub-object to
the entire object. By default, the sub-object selection highlights in red.
Once you make a sub-object selection of geometry, you can do any of the following:
Apply any options supplied for the kind of object and the selection level.
Apply standard transforms (move, scale, rotate). See Transforming a Sub-Object Selection
(below).
Apply object-space modifiers (Bend, Taper, and Twist, for example) to perform useful modeling
operations.
Bind a space warp to the selection. The rest of the object is unaffected by the warping.
Use the toolbar commands Align, Normal Align, and Align To View with face selections.
Transforming a Sub-Object Selection
Using an editable mesh, poly, patch, or spline, you can directly transform any sub-object selection.
However, Select modifiers like Mesh Select and Spline Select enable only selection.
To transform a sub-object selection made with a Select modifier:
1. Add an XForm modifier to the stack, following (or somewhere above) the Select modifier.
2. In the stack, open the Select modifier and make a sub-object selection.
3. Choose XForm in the stack. You then transform the XForm gizmo, which applies the transform
to the selection.

Selecting and Transforming Modifier Components
Most modifiers have sub-object components, such as a gizmo and center. Like sub-object geometry,
these components can be accessed and transformed at sub-object level, directly modifying the
objects shape.
Other modifiers, like those for free-form deformation, have control points and lattices at a sub-
object level. Moving these components creates the modeling effects of the modifier.
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Normal Align
Normal Align
Main toolbar > Normal Align (on Align flyout)
Tools menu > Normal Align
Keyboard > ALT+N
The Normal Align button, available from the Align flyout, uses the Normal Align dialog to align the
normals of two objects. To see the Normal Align dialog, select a source object, then a normal on it,
then a normal on a second object. Upon releasing the mouse, the Normal Align dialog appears.
In a mesh or loft object, you can use this to align faces. You can use Normal Align with any selection
that can be transformed.
If you use Normal Align while a sub-object selection is active, only that selection is aligned. This is
useful when aligning sub-object selections of faces, since otherwise there's no valid face normal for
the source object.
Normal Align respects smoothing groups and uses the interpolated normal, based on face
smoothing. As a result, you can orient the source object face to any part of the target surface,
rather than having it snap to face normals.
For an object with no faces (such as helper objects, space warps, particle systems, and atmospheric
gizmos), Normal Align uses the Z axis and origin of the object as a normal. Thus, you can use a
Point object with Normal Align.
Other alignment tools on the Align flyout are Align, Place Highlight, Align to Camera, and Align to
View.
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Normal Align Dialog
Normal Align Dialog
Main toolbar > Normal Align > Normal Align dialog
Tools menu > Normal Align > Normal Align dialog
The Normal Align dialog, displayed by the Normal Align tool, enables you to align the normals of two
objects.
Procedure
To align normals:
1. Select a source object. This is the object that moves during alignment.
2. Click Normal Align on the Main toolbar, or choose Tools > Normal Align.
3. Drag across the surface of the source object.

The Normal Align cursor appears, attached to a pair of cross hairs. A blue arrow at the cursor
indicates the current normal.
4. Move the cursor and blue arrow until you locate the normal you want to use, then release.
The blue arrow remains as reference to the source normal.
5. Drag across the surface of the target object.

A green arrow at the cursor indicates the current normal.
6. Move the cross hairs and green arrow until you locate the normal you want to use as a target,
then release.
The source object moves into alignment with the target normal, and the Normal Align dialog
appears.
Click OK to accept the alignment.
Using the dialog, make modifications to the alignment before clicking OK.
Interface
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Normal Align Dialog
The Normal Align dialog lets you adjust or cancel the current alignment, and contains the following
controls:
Position Offset group
Lets you translate the source object perpendicular to the normal on the X, Y or Z axes.
X/Y/ZThese three fields let you affect how much of an offset will be given to the selected faces.
Rotation Offset group
Lets you rotate the source object about the normal's axis. You see the rotation in real time.
AngleThis field lets you define the angle for the rotational offset.
Flip NormalDetermines whether the source normal matches the target normal's direction. This
defaults to off, since you usually want the two normals to have opposing directions. When you turn
this on or off, the source object flips 180 degrees.
OK/Cancel AlignThe Cancel button is labeled Cancel Align to make it clear that you're not only
canceling the settings in the dialog, but canceling the original transform of the source object.
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Place Highlight
Place Highlight
Main toolbar > Place Highlight (on Align flyout)
Tools menu > Place Highlight
Keyboard > CTRL+H
Place Highlight aligns a camera and a spotlight to the same face.
Place Highlight, available from the Align flyout, enables you to align a light or object to another
object so that its highlight or reflection can be precisely positioned.
Other alignment tools on the Align flyout are Align, Normal Align, Align to Camera, and Align to
View.
In Place Highlight mode, you can click and drag the mouse around in any viewport. Place Highlight is
a viewport-dependent function, so use the viewport that you're going to be rendering. As you drag
the mouse in the scene, a ray is shot from the mouse cursor into the scene. If it hits a surface, you
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Place Highlight
see the surface normal at that point on the surface.

When you hit a surface, any selected objects are positioned along a line that represents the ray
reflected off the surface about the surface normal. The objects are positioned along this line based
on their original distance from the surface point. For example, if the object is 100 units from the
surface point before being moved, it will be positioned 100 units from the surface point along the
reflected ray.
If the object is a light, the position of the highlight on the surface of the object will be the surface
point that you've chosen.
Tip: Place Highlight works with any kind of selected object. It can be used to move objects based on
a combination of face normals and initial distance from the face. You can also use Place Highlight
with a selection set that contains more than one object. All objects maintain their initial distance
from the face. In this case it has nothing to do with highlights, but is simply being used to position
objects.
Note: Highlight rendering depends on the material's specular properties and the type of rendering
you use.
Procedure
To position a light to highlight a face:
1. Make sure the viewport you plan to render is active, and that the object you want to highlight
is visible in it.
The result of Place Highlight depends on what is visible in the viewport.
2. Select a light object.
3. Click Place Highlight, or choose Tools > Place Highlight.

Choose Tools > Place Highlight.
If the button is not visible on the toolbar, choose it from the Align flyout.
4. Drag over the object to place the highlight.

When you place an omni, free spot, or directional light, the software displays a face normal for
the face the mouse indicates.
When you place a target spotlight, the software displays the light's target and the base of its
cone.
5. Release the mouse when the normal or target display indicates the face you want to highlight.
The light now has a new position and orientation. You can see the highlight illumination in
shaded viewports that show the face you chose, and when you render those views.

Place Highlight
Comments

Align Camera
Align Camera
Main toolbar > Align Camera button (on Align flyout)
Tools menu > Align Camera
Align Camera, available from the Align flyout, lets you align a camera to a selected face normal.
Other alignment tools on the Align flyout are Align, Normal Align, Place Highlight, and Align to View.
Align Camera works similarly to Place Highlight, except that it operates on face normals instead of
the angle of incidence, and occurs when you release the mouse button instead of dynamically acting
during the mouse drag. Its purpose is to let you align a Camera viewport to a specified face normal.
Procedure
To use Align Camera:
1. Select the camera used for the viewport you want to align.
2. Click Align Camera or choose Tools menu > Align Camera.
3. In any viewport, drag the mouse to choose a face.

The chosen face normal appears as a blue arrow beneath the cursor.
4. Release the mouse to perform the alignment.

The camera is moved so that the selected normal is centered in the camera viewport and faces
the camera.
Comments
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Align to View
Align to View
Main toolbar > Align to View (on Align flyout)
Tools menu > Align to View
Align to View, available from the Align flyout, displays the Align to View dialog which lets you align
the local axis of an object or sub-object selection with the current viewport.
You can use Align to View with any selection that can be transformed.
Other alignment tools on the Align flyout are Align, Normal Align, Place Highlight, and Align to
Camera.
Comments
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Align to View Dialog
Main toolbar > Align to View (on Align flyout) > Align to View dialog
Tools menu > Align to View > Align to View dialog.
The Align to View dialog lets you match the local axis of an object or sub-object selection with the Z
axis of the current viewport. There is also a Flip option to reverse the selection on the Z axis. All
settings from this dialog update in the viewport, so you can preview the effect before accepting it.
You can use this dialog with any selection that can be transformed.
Procedure
To align the local axis of a selection with the current viewport:
1. Select the objects or sub-objects to align.
2. Click Align to View.
3. Specify the local axis of the selected object to align with the current viewport's Z axis.
4. Select the Flip check box when you switch the direction of the alignment.
The alignment takes place while the dialog is displayed.
5. Click OK to complete the process.
Interface
The Align to View dialog contains the following options:

Align X, Align Y, Align ZSpecifies which local axis of the selected object will be aligned with the
current viewport's Z axis.
FlipSwitches the direction of the alignment.
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Comments
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Align Dialog
Align Dialog
Main toolbar > Align (on Align flyout) > Select object.
Tools menu > Align > Select object.
The Align dialog enables you to align the current selection to a target selection. The name of the
target object appears in the title bar of the Align dialog. When performing sub-object alignment, the
title bar of the Align dialog reads "Align Sub-Object Selection."
You can align the position and orientation of the bounding box of the source object to the bounding
box of a target object.
You can use the Align tool with any selection that can be transformed. If an axis tripod is displayed,
you can align the tripod (and the geometry it represents) to any other object in the scene.
When performing sub-object alignment, the Current Object options and the Match Scale check boxes
are disabled. If you plan to align orientation for sub-objects, first switch to Local transform mode on
the Main toolbar so that the axis tripod is properly aligned with your sub-object selection.
Procedures
To align an object with a point object:
1. Create a point helper object and position it at a target location in your scene. Rotate it as
necessary to adjust final orientation.
2. Select a source object.
3. On the Main toolbar, click Align, or choose Tools > Align.

The Align cursor appears attached to a pair of cross hairs.
4. Move the cursor over the point object and click.

The Align Selection dialog appears. If necessary, move the dialog out of the way so you can see
the active viewport.
5. In the Align Position group, select X Position.

The selected source object shifts to align with the X axis of the point object.
6. Select Y Position and Z Position.

The source object moves so its center is at the point object.
7. Select X, Y, and Z Axis in the Align Orientation group to reorient the object to match the
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Align Dialog
coordinates of the point.
To align objects by position and orientation:
1. Select a source object (the object to move into alignment with the target object).

The Align cursor appears attached to a pair of cross hairs.
3. Move the cursor over the target object and click.

The Align Selection dialog appears. By default, all options in the dialog are turned off.
4. Under Current Object and Target Object, click Minimum, Center, Pivot Point, or Maximum.
These settings establish the points on each object that become the alignment centers.
5. Begin alignment by clicking X, Y, and Z Positions.

The source object moves in relation to the target object, along the axes of the reference
coordinate system. Setting all three moves the objects as close as possible, given the Current
and Target Object Settings.
6. In the Apply Orientation group, click X, Y, or Z Axis.

The source object realigns accordingly. If the objects share an orientation, that axis has no
effect. Once two axes are aligned in orientation, the third is automatic.
To align a gizmo to another object:
1. Display the gizmo level of the Sub-Object selection.
3. Click to select a target object in the viewport. (You can select the same object containing the
gizmo to align the gizmo to a part of its own object.)
4. Use the available settings in the Align dialog to adjust the transformation of the gizmo.
To align a sub-object selection of geometry to another object:
Convert the object to an editable mesh, and then perform the sub-object selection at any
level.
Apply a Mesh Select modifier, followed by an XForm modifier. (The Mesh Select modifier by
itself doesn't allow transforms.)
2. On the Main toolbar, click Align, or choose Tools > Align, and then select a target object.

Align Dialog
3. Use the settings in the Align dialog to perform the alignment.
Interface
Align Position group
X, Y, Z PositionSpecifies on which axis or axes to perform the alignment. Selecting all three
boxes centers the current object on the target object.
Current Object/Target Object groups
Specifies which point on the objects' bounding boxes to use for the alignment. You can choose
different points for the current object and the target object. For example, you can align the current
object's pivot point with the center of the target object.
MinimumAligns the closest point of the object's bounding box with the chosen point on the other
object.
CenterAligns the center of the object's bounding box with the chosen point on the other object.
Pivot PointAligns the object's pivot point with the chosen point on the other object.
MaximumAligns the farthest point of the object's bounding box with the chosen point on the other

Align Dialog
object.
Align Orientation (Local) group
Lets you match the orientation of the local coordinate systems between the two objects on any or all
three axes.
This option is independent of the position alignment settings. You can leave the position settings
alone and select all three Rotation check boxes to rotate the current object to match the orientation
of the target object.
Position alignment uses world coordinates, while orientation alignment uses local coordinates.
Match Scale group
Click the X Axis, Y Axis, or Z Axis options to match the scale axis values between the two selected
objects. This matches only the scale values you'd see in the Transform Type-In. It will not
necessarily cause two objects to be the same size. There will be no change in size if neither of the
objects has previously been scaled.
Comments

Quad Patch
Quad Patch
Create panel > Geometry > Patch Grids > Quad Patch
Create menu > Patch Grids > Quad Patch
Quad Patch creates a flat grid with a default of 36 visible rectangular facets. A hidden line divides
each facet into two triangular faces for a total of 72 faces.
Quad Patch
Procedures
To create a patch grid:
1. On the Create panel > Geometry > Patch Grids > Object Type rollout, click either Quad Patch
or Tri Patch.
2. Drag over any viewport to define a length and width for the patch.
To edit a Quad Patch:
1. Select a Quad Patch.
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Quad Patch
2. On the Modify panel, right-click Quad Patch in stack view and choose Editable Patch.
The Quad Patch collapses to an Editable Patch.
3. On the Editable Patch Selection rollout, click Vertex.
4. In any viewport, select a vertex on the patch object, and move the vertex to change the
surface topology.
Vertices and vectors can be animated with an Editable Patch modifier.
At the sub-object Edge level, you can add patches along any edge. You can create complex patch
models beginning from a single patch.
An ear is created by adding patches and editing patch vertices
Interface

Quad Patch
XYZSets the patch center.

LengthSets the patch length.
WidthSets the patch width.
CreateCreates a patch based on the XYZ, Length, and Width values.
Parameters rollout
Length, WidthSets the grid dimensions in current units.

Length, Width SegmentsDetermines the number of facets along the length and width of the
grid. Default=1.
The density of a Quad Patch rises sharply as you increase the segments. A Quad Patch of two
segments on a side produces 288 faces. The maximum is 100 segments. High segment values can
slow performance.

Quad Patch
Generate Mapping CoordinatesCreates map coordinates for applying mapped materials.

Default=off.
Comments

Tri Patch
Tri Patch
Create panel > Geometry > Patch Grids > Tri Patch
Create menu > Patch Grids > Tri Patch
Tri Patch creates a flat grid with 72 triangular faces. The face count remains at 72, regardless of its
size. The faces become larger to fill the area as you increase the size of the grid.
Tri Patch
Procedures
To create a Tri Patch:
1. On the Create panel > Geometry > Patch Grids > Object Type rollout, click Tri Patch.
2. Drag over any viewport to create the patch.
To edit a Tri Patch:
1. Select a Tri Patch.
2. On the Modify panel, right-click TriPatch in stack view, and choose Editable Patch.
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Tri Patch
The Tri Patch collapses to an Editable Patch.
3. In the Editable Patch Selection rollout, click Vertex.
4. In any viewport, select a vertex on the patch object and move the vertex to change the surface
topology.
Vertices and vectors can be animated with an Editable Patch modifier.
Interface
XYZSets the patch center.

LengthSets the patch length.
WidthSets the patch width.
CreateCreates a patch based on the XYZ, Length, and Width values.
Parameters rollout

Tri Patch
Length, WidthSets dimensions of grid in current units.

Generate Mapping CoordinatesCreates map coordinates for applying mapped materials.
Default=off.
Comments

Select an object. > Modify panel > Modifier List > World-Space Modifiers > * Displace Mesh
The Displace Mesh world-space modifier (World Space) lets you see the effect of displacement
mapping on editable mesh objects and objects with a Disp Approx modifier applied to them. If a
displacement map is applied to the object, the mesh shows the effect of the displacement map.
Displace Mesh replaces the mesh with its displaced version.
There are two main reasons for using Displace Mesh:
As a visualization aid to see the effect of a displacement map in viewports, and to compare the
placement of displaced objects with other objects in the scene.
For example, if you use an animated displacement map to create waves on a water surface, you
might temporarily apply Displace Mesh to see where the ripples meet the waterline of a boat.
When you use Displace Mesh in this way, usually you delete it once you've obtained the effect you
want.
To obtain an editable mesh created from a displacement map

To use the Displace Mesh this way, you apply it to the object that has a displacement map, then
apply the Snapshot command from the Tools menu, and choose Mesh as the clone method.
Snapshot creates a permanently displaced mesh. As it does for other kinds of objects, Snapshot
also leaves the original, displacement-mapped object in the scene. After applying Snapshot, you
can delete the original object, or you can keep it in your scene to use for other purposes.
Tip: Use Disp Approx to displace editable meshes. Use Displace Mesh for previewing, as in the
first item, but avoid using Snapshot. The mesh created by using Displace Mesh and Snapshot can
have a high polygon count. This makes it slow to use interactively, and can cause smoothing
problems, where the underlying mesh edges are visible.
Interface
The rollout for Displace Mesh lets you choose which surface approximation settings are used to
produce the mesh.
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Update MeshUpdates the mesh if you have changed the displacement mapping and want to see
the results of the change. The mesh isn't updated automatically because that can become extremely
time consuming.
Custom SettingsWhen turned off, Displace Mesh uses default settings to subdivide the mesh for
the purposes of displacement mapping. When turned on, the subdivision controls in this rollout are
enabled. Default=off.
Subdivision DisplacementSubdivides mesh faces to accurately displace the map, using the
method and settings you specify in the Subdivision Presets and Subdivision Method group boxes.
When turned off, the modifier applies the map by moving vertices in the mesh, the way the Displace
modifier does. Default=on.
the software splits the mesh into individual faces before displacing them; this helps preserve texture
mapping. When off, the software uses an internal method to assign texture mapping. Default=on.

Subdivision Presets group and Subdivision Method group
The controls in these two group boxes specify how the modifier applies the displacement map when
Custom Settings and Subdivision Displacement are both turned on. They are identical to the surface
approximation controls for NURBS surfaces.
Comments

Snapshot
Snapshot
Extras toolbar > Snapshot (on Array flyout)
Tools menu > Snapshot
Using an ice-cream cone animated along a path, Snapshot creates a stack of cones.
Choosing Tools > Snapshot displays the Snapshot dialog. This enables you to clone an animated
object over time.
You can create a single clone on any frame, or space multiple clones along the animation trajectory
(path). The spacing can be a uniform timing or a uniform distance. To use snapshot, select any
object that has animation assigned to it.
Comments
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Snapshot Dialog
Snapshot Dialog
Extras toolbar > Snapshot (on Array flyout) > Snapshot dialog
Tools menu > Snapshot > Snapshot dialog
The Snapshot tool lets you clone an object that has been animated. You can make a single clone at
any frame, or multiple clones spaced over a selected number of frames. Snapshot creates static
clones, not animation.
Snapshot spaces the clones equally in time. Adjustments in Track View let you space the clones
equally along the path instead (see the second procedure, below).
Like other clone techniques, Snapshot creates copies, instances, or references. You can also choose
a mesh option for using particle system.
Particle Snapshots
You can clone particle systems as static mesh objects. In previous versions, using Snapshot on a
particle system resulted in cloning the system. Now you can produce clones of the particles
themselves as meshes, when using the Snapshot dialog > Clone Method > Mesh option. This works
with all configurations of particle systems, including those using MetaParticles. Usage is the same as
with other types of objects.
Procedures
To clone an object over time:
1. Select an object with an animation path.

Snapshot also shows the effect of any other transform animations, such as rotate or scale as
well as parametric modifier animation.
2. Choose Tools menu > Snapshot.
3. Set parameters in the dialog, and click OK.
To space clones evenly by distance:
1. Select an object with an animated position.
2. Open Track View and find the Position track for the original object.
3. Click Assign Controller and check that the track is using a Bezier Position controller. Do one of
the following:
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Snapshot Dialog
If the track is already using a Position controller, proceed to step 4.
If the track is not using a Position controller, change the controller, then proceed to step 4.
4. Select all the transform keys and right-click one of the selected keys to display the Key Info
dialog.
5. Click Advanced to expand the dialog.
6. Click Normalize Time.
7. Set Constant Velocity on.
8. Choose Tools menu > Snapshot.

The Snapshot dialog appears.
9. Set parameters in the dialog, and click OK.
Interface
Snapshot group
SingleMakes a clone of the geometry of the object at the current frame.

RangeMakes clones of the geometry of the object along the trajectory over a range of frames.
Specify the range with the From/To spinners and the number of clones with the Copies spinner.
From/ToSpecifies the range of frames to place the cloned object along the trajectory.
CopiesSpecifies the number of clones to place along the trajectory. They are evenly distributed
over the time period, but not necessarily over the spatial distance along the path.

Snapshot Dialog
Clone Method group
With the Copy, Instance, and Reference methods, the clone retains any animation within the object,
so all the clones will be animated in the same way.
CopyClones copies of the selected object.
InstanceClones instances of the selected object. Not available with particle systems.
ReferenceClones references of the selected object. Not available with particle systems.
MeshUse this to create mesh geometry out of particle system. Works with all kinds of particles.
Comments

Select an editable poly object. > Modify panel > Selection rollout > Polygon/Element
Select an editable poly object. > Modify panel > modifier stack display > Editable Poly > Polygon/
Element
Select an editable poly object. > Quad menu > Tools 1 quadrant > Sub-Objects sub-menu >
Polygon/Element
A polygon is a closed sequence of three or more edges connected by a surface. Polygons provide the
renderable surface of editable poly objects.
At the Editable Poly (Polygon) sub-object level, you can select single and multiple polygons and
transform them using standard methods. This is also true for the Element sub-object level; for the
distinctions between polygon and element, see Editable Poly > Selection rollout. This topic covers
the Edit Polygons/Elements rollout and Edit Geometry rollout functions for these sub-object types;
for other controls, see Editable Poly.
Note: Workflow enhancements in the Editable Poly user interface give you a choice of editing
methods. See Editable Poly Workflow for more information.
Interface
Selection rollout
See Editable Poly > Selection rollout for information on the Selection rollout settings.
Move, Rotate, and Scale functions, as well as any deformation modifiers (such as Bend) applied to
the object. This provides a magnet-like effect with a sphere of influence around the selection.
Edit Polygons/Elements rollout
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At the element sub-object level, this rollout includes commands that are common to both polygons
and elements, plus, at the polygon level, some that are unique to polygons. The commands available
at both levels are Insert Vertex, Edit Triangulation, Retriangulate, and Flip.
Note: To delete polygons or elements, select them and press the DELETE key. A dialog might appear
asking if you want to delete isolated vertices, which are vertices that are used only by polygons or
elements that are to be deleted. Click Yes to delete them; click No to retain them.
Insert VertexLets you subdivide polygons manually. Applies to polygons, even if at the element
sub-object level.
After turning on Insert Vertex, click a polygon to add a vertex at that location. You can continue
subdividing polygons as long as the command is active.
To stop inserting vertices, right-click in the viewport, or click Insert Vertex again to turn it off.
Note: In previous versions of the software, this command was called Divide.
ExtrudeLets you perform manual extrusion via direct manipulation in the viewport. Click this
button, and then drag vertically on any polygon to extrude it.
Extruding polygons moves them along a normal and creates new polygons that form the sides of the
extrusion, connecting the selection to the object.
Following are important aspects of polygon extrusion:
When over a selected polygon, the mouse cursor changes to an Extrude cursor.
Drag vertically to specify the extent of the extrusion, and horizontally to set the size of the base.
With multiple polygons selected, dragging on any one extrudes all selected polygons equally.
You can drag other polygons in turn to extrude them while the Extrude button is active. Click
Extrude again or right-click in the active viewport to end the operation.

Chamfer box showing extruded polygon
Extrude SettingsOpens the Extrude Faces dialog, which lets you perform extrusion via
interactive manipulation.
If you click this button after performing an extrusion, the same extrusion is performed on the
current selection as a preview and the dialog opens with Extrusion Height set to the amount of the
last manual extrusion.
OutlineLets you increase or decrease the outside edge of each contiguous group of selected
polygons.
Outline is often used after an extrusion or bevel to adjust the size of the extruded faces. It doesn't
scale the polygons; only changes the size of the outer edge. For example, in the following
illustration, note that the sizes of the inner polygons remain constant.

Click the Outline Settings button to open the Outline Selected Faces dialog, which lets you
perform outlining by a numeric setting.

Extruded polygons (top), outline expanded (middle), outline reduced (bottom)

Note that size of inner polygons doesn't change.
BevelLets you perform manual beveling via direct manipulation in the viewport. Click this button,
and then drag vertically on any polygon to extrude it. Release the mouse button and then move the
mouse vertically to outline the extrusion. Click to finish.
When over a selected polygon, the mouse cursor changes to a Bevel cursor.
With multiple polygons selected, dragging on any one bevels all selected polygons equally.
You can drag other polygons in turn to bevel them while the Bevel button is active. Click Bevel
again or right-click to end the operation.
Polygon beveled outward (left) and inward (right)
Bevel SettingsOpens the Bevel Selection dialog, which lets you perform beveling via
If you click this button after performing a bevel, the same bevel is performed on the current
selection as a preview and the dialog opens with the same settings used for the previous bevel.
InsetPerforms a bevel with no height; that is, within the plane of the polygon selection. Click this
button, and then drag vertically on any polygon to inset it.

When over a selected polygon, the mouse cursor changes to an Inset cursor.
With multiple polygons selected, dragging on any one insets all selected polygons equally.
You can drag other polygons in turn to inset them while the Inset button is active. Click Inset
Inset works on a selection of one or more polygons. As with Outline, only the outer edges are
affected.
Inset SettingsOpens the Inset Selected Faces dialog, which lets you inset polygons via
If you click this button after performing a manual inset, the same inset is performed on the current
selection as a preview and the dialog opens with Inset Amount set to the amount of the last manual
inset.
RetriangulateLets the software automatically do its best triangulation on the polygon or polygons
currently selected.

Retriangulate attempts to optimize how selected polygons are subdivided into triangles.
FlipReverses the directions of the normals of selected polygons, hence their facing.
Hinge From EdgeLets you perform a manual hinge operation via direct manipulation in the
viewport. Make a polygon selection, click this button, and then drag vertically on any edge to hinge
the selection. The mouse cursor changes to a cross when over an edge.
The hinge edge needn't be part of the selection. It can be any edge of the mesh. Also, the selection
needn't be contiguous.
Hinging polygons rotates them about an edge and creates new polygons that form the sides of the
hinge, connecting the selection to the object. It's essentially an extrusion with rotation, with the
exception that, if the hinge edge belongs to a selected polygon, that side is not extruded. The
manual version of Hinge From Edge works only with an existing polygon selection.
Tip: Turn on Ignore Backfacing to avoid inadvertently hinging about a backfacing edge.

Hinge SettingsOpens the Hinge From Edge dialog, which lets you hinge polygons via
If you click this button after performing a manual hinge, the dialog opens with Angle set to the
extent of the last manual hinge.
Extrude Along SplineExtrudes the current selection along a spline.
You can extrude a single face (1) or a selection of contiguous (2) or non-contiguous faces (3).
Extrusion 2 uses Taper Curve and Twist. Extrusion 3 uses Taper Amount; each extrusion has a
different curve rotation.
Make a selection, click this button, and the select a spline in the scene. The selection is extruded
along the spline, using the spline's current orientation, but as though the spline's start point were
moved to the center of each polygon or group.
Extrude Along Spline SettingsOpens the Extrude Polygons Along Spline dialog, which lets
you extrude along splines via interactive manipulation.
Edit TriangulationLets you modify how polygons are subdivided into triangles by drawing internal
edges.

In Edit Triangulation mode, you can see the current triangulation in the viewport, and change it by
clicking two vertices on the same polygon.
To manually edit triangulation, turn on this button. The hidden edges appear. Click a polygon vertex.
A rubber-band line appears, attached to the cursor. Click a non-adjacent vertex to create a new
triangulation for the polygon.
Repeat LastRepeats the most recently used command.

For example, if you extrude a polygon, and want to apply the same extrusion to several others,
select the others, and then click Repeat Last.
Note: Repeat Last does not repeat all operations. For instance, it does not repeat transforms. To
determine which command will be repeated when you click the button, check the button's tooltip. If
no tooltip appears, nothing will happen when it is clicked.
ConstraintsLets you use existing geometry to constrain sub-object transformation. Use the drop-
down list to choose the constraint type:
None: No constraints.
Edge: Constrain transformed sub-objects to edge boundaries.
Face: Constrain transformed sub-objects to face surfaces.
Note: The Constraints setting persists at all sub-object levels.

CreateLets you create polygons from isolated vertices and border vertices. All vertices in the
object are highlighted. Click three or more existing vertices in succession to define the shape of the
new polygon. (The cursor changes to a cross when it is over a vertex that can legally be part of the
polygon.) To finish polygon creation, double-click the last vertex. You can also finish creating the

polygon by clicking any vertex of the new polygon a second time. You can also create new polygons
at the Element sub-object level, and at the Object level.
incorporated into the polygon you're creating.
You can start creating polygons in any viewport, but all subsequent clicks must take place in the
same viewport.
Tip: For best results, click vertices in counter-clockwise (preferred) or clockwise order. If you use
CollapseCollapses groups of contiguous selected polygons by welding their vertices to a vertex at
the selection center. Not available for elements.
AttachLets you attach another object in the scene to the selected editable poly. You can attach
any type of object, including splines, patch objects, and NURBS surfaces. Attaching a non-mesh
object converts it to editable-poly format. Click the object you want to attach to the currently
selected poly object.
For further details, including a description of Attach List, see Attach.
DetachDetaches the selected polygons/elements as a separate object (the default) or detach a
polygon as an element. The Detach As Clone option copies the polygons/elements rather than
moving them.
object when you move them to a new position, unless you use the Detach As Clone option.
Cut and Slice group
These knife-like tools let you subdivide a poly selection with new edges. Also see Full Interactivity.
Slice PlaneCreates a gizmo for a slice plane that can be positioned and rotated where you want to
slice the edges. Also enables the Slice and Reset Plane buttons.
As you transform the slice plane, you see a preview of where the slice will occur in the polygon
selection. To perform the slice, click the Slice button.
SplitWhen on, the Slice and Cut operations create double sets of vertices at the points where the
edges are divided. This lets you easily delete the new polygons to create holes, or animate the new
polygons as separate elements.
SlicePerforms the slice operation at the location of the slice plane. Available only when Slice Plane
is turned on. This tool slices the poly just like the Operate On: Polygons mode of the Slice modifier.
Reset PlaneReturns the Slice plane to its default position and orientation. Available only when

Slice Plane is turned on.

QuickSliceLets you quickly slice a polygon selection without having to manipulate a gizmo. Make
a selection, click QuickSlice, and then click once at the slice start point and again at its endpoint. You
can continue slicing the selection while the command is active.
To stop slicing, right-click in the viewport, or click QuickSlice again to turn it off.
With Quickslice on, you can draw a line across your mesh in any viewport, including Perspective and
Camera views. The mesh is sliced interactively as you move the line endpoint.
Note: At the Polygon or Element sub-object level, QuickSlice affects only selected polygons. To slice
the entire object, use QuickSlice at any other sub-object level, or at the object level.
CutLets you create edges from one polygon to another or within polygons. Click at the start point,
move the mouse and click again, and continue moving and clicking to create new connected edges.
Right-click once to exit the current cut, whereupon you can start a new one, or right-click again to
exit Cut mode.

Cutting to a vertex (top); cutting an edge (center); cutting a polygon (bottom). Cut is available at any
sub-object level.
MSmoothSmooths the selection using the current settings. This command uses subdivision
functionality similar to that of the MeshSmooth modifier.
MSmooth SettingsOpens the MeshSmooth Selection dialog, which lets you specify how
smoothing affects editable polys.
TessellateSubdivides selected polygons based on the Tessellation settings.
Tessellation is useful for increasing local mesh density while modeling. You can subdivide any
selection of polygons. Two tessellation methods are available: Edge and Face.
Tessellate SettingsOpens the Tessellate Selection dialog, which lets you specify how

smoothing affects editable polys.

Make PlanarForces all selected polygons to become coplanar. The plane's normal is the average
surface normal of the selected polygons.
Tip: One application for Make Planar is making a flat side on an object. Normally, you would use a
contiguous selection set. If the selection includes polygons on various parts of the object, the
polygons are still made planar, but with distorting effects on the rest of the geometry.
View AlignAligns selected polygons to the plane of the active viewport. In the case of
orthographic viewports, this is the same effect as aligning to the construction grid when the home
grid is active.
When aligning to a Perspective viewport (or Camera and Light views), the polygons are reoriented to
be aligned to a plane that is parallel to the camera's viewing plane. (Perspective viewports have
invisible camera planes.) In these cases, the selection of polygons is not translated but only rotated.
Above: Selected polygons in Perspective view

Below: Same polygons aligned to Front view
Grid AlignAligns the selected polygons to the current construction plane. The current plane is
Hide SelectedHides any selected polygons or elements.

Unhide AllRestores any hidden polygons or elements to visibility.

Hide UnselectedHides any unselected polygons or elements.
Named Selections
Lets you copy and paste named selection sets of sub-objects between objects. Start by creating one
or more named selection sets, copy one, select a different object, go to the same sub-object level,
and then paste the set.
Note: This function uses sub-object IDs, so if the target object's geometry differs from that of the
source object, the pasted selection will probably comprise a different set of sub-objects.
Note: For more information, see Named Selection Sets.
CopyOpens a dialog that lets you specify a named selection set to place into the copy buffer.
PastePastes the named selection from the copy buffer.
Full InteractivityToggles the level of feedback for the Slice and Cut tools, as well as all settings
dialogs.
When turned on (the default), the final result is always visible as you use the mouse to manipulate
the tool or change a numeric setting. With Cut and QuickSlice, when Full Interactivity is turned off,
only the rubber-band line is visible until you click. With Slice Plane, the final result is visible only
when you release the mouse button after transforming the plane. Similarly, with numeric settings in
dialogs, the final result is visible only when you release the mouse button after changing the setting.
The state of Full Interactivity doesn't affect changing a numeric setting from the keyboard. Whether
it's on or off, the setting takes effect only when you exit the field by pressing TAB or ENTER, or by
clicking a different control in the dialog.
Show CageToggles the display of the orange cage that covers half the mesh when working with
an editable poly to which the Symmetry modifier is applied, and for which Show End Result is turned
on.
Polygon Properties rollout

These controls let you work with material IDs, smoothing groups and vertex colors.
Material group
Set IDLets you assign a particular material ID number to selected sub-objects for use with multi/
sub-object materials and other applications. Use the spinner or enter the number from the keyboard.
The total number of available IDs is 65,535.
Select IDSelects sub-objects corresponding to the Material ID specified in the adjacent ID field.
Type or use the spinner to specify an ID, then click the Select ID button.
list. The sub-objects that are assigned that material are selected. If an object does not have a Multi/
Sub-Object material assigned, the name list is unavailable. Likewise, if multiple objects are selected
that have an Edit Patch, Edit Spline, or Edit Mesh modifier applied, the name list is inactive.
selected sub-objects. When off, selections are cumulative, so new ID or sub-material name

Use these controls to assign selected polygons to different smoothing groups, and to select polygons
by smoothing group.
To assign polygons to one or more smoothing groups, select the polygons, and then click the number
(s) of the smoothing group(s) to assign them to.
Select By SG (Smoothing Group)Displays a dialog that shows the current smoothing groups.
Select a group by clicking the corresponding numbered button and clicking OK. If Clear Selection is
on, any previously selected polygons are first deselected. If Clear Selection is off, the new selection
is added to any previous selection set.
Clear AllRemoves any smoothing group assignments from selected polygons.
Auto SmoothSets the smoothing groups based on the angle between polygons. Any two adjacent
polygons will be put in the same smoothing group if the angle between their normals is less than the
threshold angle, set by the spinner to the right of this button.
ThresholdThis spinner (to the right of Auto Smooth) lets you specify the maximum angle between
the normals of adjacent polygons that determines whether those polygons will be put in the same
smoothing group.
of vertices on selected polygons or elements.
ColorClick the color swatch to change the color of vertices on selected polygons or elements.
IlluminationClick the color swatch to change the illumination color of vertices on selected
polygons or elements. This lets you change the illumination without changing the vertex's color.
AlphaLets you assign an alpha (transparency) value to vertices on selected polygons or elements.
See Subdivision Surface rollout for information on the Subdivision Surface rollout settings.
See Subdivision Displacement rollout for information on the Subdivision Displacement rollout
settings.
Comments

Extrude Polygons Dialog
Select an editable poly object. > Modify panel > Polygon sub-object level > Edit Polygons rollout >
Extrude Settings button
Select an editable poly object. > Polygon sub-object level > Quad menu > tools 2 quadrant >
Extrude Settings button
Use these settings for extruding polygons in Interactive Manipulation mode
Interface
Extrusion Type group
GroupExtrusion takes place along the average normal of each contiguous group of polygons. If
you extrude multiples of such groups, each group moves along its own averaged normal.
Local NormalExtrusion takes place along each selected polygon's normal.
By PolygonExtrudes or bevels each polygon individually.
Extrusion HeightSpecifies the amount of the extrusion in scene units. You can extrude selected
polygons outward or inward, depending on whether the value is positive or negative.
ApplyApplies the settings to the current selection, retaining them if you then make another
selection.
OKApplies the settings to the current selection and closes the dialog.
CancelCloses the dialog without applying the settings to the current selection. Does not reverse
previous uses of Apply.
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Comments
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Bevel Polygons Dialog
Bevel Settings button
Bevel Settings button
Beveling involves first extrusion and then scaling the extruded polygon(s). Use these settings for
beveling polygons in Interactive Manipulation mode
Interface
Bevel Type group
GroupBeveling takes place along the average normal of each contiguous group of polygons. If you
bevel multiples of such groups, each group moves along its own averaged normal.
Local NormalBeveling takes place along each selected polygon's normal.
By PolygonBevels each polygon individually.
HeightSpecifies the extent of the extrusion in scene units. You can extrude selected polygons
outward or inward, depending on whether the value is positive or negative.
Outline AmountMakes the outer border of selected polygons bigger or smaller, depending on
whether the value is positive or negative.
selection.
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Comments
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Inset Polygons Dialog
Inset Settings button
Select an editable poly object. > Polygon sub-object level > Quad menu > tools 2 quadrant > Inset
Settings button
Use these settings for insetting polygons in Interactive Manipulation mode.
Interface
Inset Type group
This setting affects how Inset works with selections of more than one polygon.
GroupThe inset takes place across multiple, contiguous polygons.
By PolygonInsets each polygon individually.
Inset AmountSpecifies the amount of the inset in scene units.
selection.
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Comments
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Hinge Polygons From Edge Dialog
Hinge From Edge Settings button
Hinge From Edge Settings button
Use these settings for hinging polygons in Interactive Manipulation mode.
Interface
AngleQuantifies the rotation about the hinge. You can hinge selected polygons outward or inward,
depending on whether the value is positive or negative.
SegmentsSpecifies the number of polygons into which each extruded side is subdivided. This
setting also applies to manually hinged polygons.
Current HingeClick Pick Hinge, and then select an edge to be the hinge.
All subsequent hinge operations created via the dialog will use this hinge. To hinge multiple
polygons, each from one of its own sides, you must reselect the hinge each time.
selection.
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Comments
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Extrude Polygons Along Spline Dialog
Extrude Along Spline Settings button
Extrude Along Spline Settings button
Use these settings for extruding polygons along splines in Interactive Manipulation mode
Interface
Pick SplineClick this button and then select a spline along which to extrude in the viewport. The
spline object's name then appears on the button.
If you open this dialog after performing a manual Extrude Along Spline, the name of the spline you
used appears on the button.
Align to face normalAligns the extrusion with the face normal, which, in most cases, makes it
perpendicular to the extruded polygon(s). When turned off (the default), the extrusion is oriented
the same as the spline.
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With Align To Face Normal, the extrusion does not follow the original orientation of the spline (1); its
reoriented to match the face normals (2), or averaged normals for contiguous selections. The
Rotation option is available only when Align To Face Normal is on.
RotationSets the rotation of the extrusion. Available only when Align To Face Normal is on.
Default=0. Range=-360 to 360.
SegmentsSpecifies the number of polygons into which each extruded side is subdivided. This
setting also applies to manually extruded polygons.
Taper AmountSets the extent to which the extrusion becomes smaller or larger along its length.
Negative settings taper the extrusion smaller; positive settings taper it larger.
Taper CurveSets the rate at which the tapering proceeds. Lower settings result in a more gradual
taper; large settings result in a more abrupt taper.
Taper Curve affects the thickness of the extrusion between its endpoints, but not the size of the
ends.
TwistApplies a twist along the length of the extrusion.
When using this option, increasing the number of segments will improve the smoothness of the
extrusion.
selection.

Comments

Select an editable poly object. > Modify panel
Select an editable poly object. > Quad menu > Tools 1 quadrant > Sub-Objects sub-menu > Top
Level
Editable Poly (Object) functions are available when no sub-object levels are active. These functions
are also available at all sub-object levels, and work the same in each mode, except as noted below.
Interface

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None: No constraints.
Edge: Constrains vertex transformations to edge boundaries.
Face: Constrains vertex transformations to face surfaces.
Note: You can set this at the Object level, but its usage pertains primarily to sub-object levels. The
Constraints setting persists at all sub-object levels.
CreateLets you create polygons from isolated vertices and border vertices. All vertices in the
object are highlighted. Click three or more existing vertices in succession to define the shape of the
new polygon. (The cursor changes to a cross when it is over a vertex that can legally be part of the
polygon.) To finish polygon creation, double-click the last vertex. You can also finish creating the
polygon by clicking any vertex of the new polygon a second time. You can also create new polygons
at the Polygon and Element sub-object levels.
incorporated into the polygon you're creating.
You can start creating polygons in any viewport, but all subsequent clicks must take place in the
same viewport.
Tip: For best results, click vertices in counter-clockwise (preferred) or clockwise order. If you use
any type of object, including splines, patch objects, and NURBS surfaces. Attaching a non-mesh
object converts it to editable-poly format. Click the object you want to attach to the currently
selected poly object.
Likewise, if the object you're attaching to doesn't have a material, it inherits the material of the
includes the input materials. A dialog appears offering three methods of combining the objects'
materials and material IDs. For more information, see Attach Options Dialog.
Attach remains active in all sub-object levels, but always applies to objects.
Attach ListLets you attach other objects in the scene to the selected mesh. Click to display a
Select By Name dialog where you choose multiple objects to attach.

Shaded view of model (upper left); wireframe view of model (upper right); model with objects
attached (lower left); and subsequent multi/sub-object material (lower right)
SplitWhen on, the QuickSlice and Cut operations create double sets of vertices at the points where
the edges are divided. This lets you easily delete the new polygons to create holes, or animate the
new polygons as separate elements.
QuickSliceLets you quickly slice the object without having to manipulate a gizmo. Make a
selection, click QuickSlice, and then click once at the slice start point and again at its endpoint. You
Note: At the Object level, QuickSlice affects the entire object. To slice only specific polygons, use
QuickSlice on a polygon selection at the Poly sub-object level.
CutLets you create edges from one polygon to another or within polygons. Click at the start point,
move the mouse and click again, and continue moving and clicking to create new connected edges.
Right-click once to exit the current cut, whereupon you can start a new one, or right-click again to
exit Cut mode.
View AlignAligns all vertices in selected objects to the plane of the active viewport. If a sub-

object mode is active, this function affects only selected vertices or those belonging to selected sub-
objects. In the case of orthographic viewports, using View Align has the same effect as aligning to
the construction grid when the home grid is active. When aligning to a perspective viewport
(including camera and light views), the vertices are reoriented to be aligned to a plane that is
parallel to the camera's viewing plane. This plane is perpendicular to the view direction that is
closest to the vertices' average position.
Grid AlignAligns all vertices in selected objects to the plane of the current view. If a sub-object
mode is active, function aligns only selected sub-objects. This function aligns the selected vertices to
the current construction plane. The current plane is specified by the active viewport in the case of
the home grid. When using a grid object, the current plane is the active grid object.
Full InteractivityToggles the level of feedback for the QuickSlice and Cut tools, as well as all
settings dialogs.
only the rubber-band line is visible until you click. Similarly, with numeric settings in dialogs, the
final result is visible only when you release the mouse button after changing the setting.
settings.
Comments

Slice Modifier
Slice Modifier
Select an object. > Modify panel > Modifier List > Object-Space Modifiers > Slice
Select an object. > Modifiers menu > Parametric Deformers > Slice
Slice cuts through the cake.
The Slice modifier lets you create a cutting plane that slices through a mesh, creating new vertices,
edges and faces based on the location of the slice plane gizmo. The vertices can either refine or split
the mesh according to the selected options.
The Slice modifier slices through groups, selected objects or sub-object selections of faces. It works
similarly to the Editable mesh > Edge > Slice function but does not require the objects to be editable
meshes. You can animate the cutting plane, changing its position and rotation over time. You can
also use the Remove Top and Remove Bottom options to create the appearance and disappearance
of objects by animating the Slice Plane gizmo.
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Slice Modifier
Top: Original object

Middle: Object without top
Bottom: Object without bottom, respectively
Multiple Slices
To create multiple slices in an object you need to apply multiple Slice modifiers. If the geometry
doesn't need to remain parametric, you can collapse it into an editable mesh and use the Slice tool
available under Editable Mesh (Edge). This tool is easier to use when you need to make multiple
slices in an object, but it does not stay parametric.
Warning: Slice and Sub-Object Selections
You can use Slice on sub-object selection sets by slicing or removing only the selected faces.
However, because selected faces are sliced and unselected adjacent faces are not, there may be
"holes" in the mesh on the edge where the slice occurs. These holes can be problematic, creating
discontinuities in smoothing and rendering. Holes are created only when Operate On Faces is active.
Procedure
Example: To animate the appearance of a teapot using the Slice modifier:
1. Create a teapot primitive. Set the viewport to wireframe.
2. Apply a Slice modifier.

Slice Modifier
The Slice Plane gizmo appears at the base of the teapot.
3. On the stack display, choose the Slice Plane gizmo.
4. Turn on the Auto Key button, and move the time slider to frame 100.
5. Move the Slice Plane gizmo above the top of the teapot. Play the animation to verify that the
slice plane is animated.
6. Change the Slice type from Refine Mesh (the default) to Remove Top. Play the animation again.
7. Make a copy of the teapot in the same position (choose Edit menu > Clone and click OK to
accept the default settings).
8. Put a Wireframe material on the clone and change the Slice type on the clone to Remove
Bottom.

The wireframe teapot magically becomes a fully shaded one.
Interface
Modifier Stack
Slice PlaneAt this sub-object level, you can transform and animate the gizmo like any other
object to determine where the slice occurs. Scaling the gizmo has no effect, because its extents are
effectively infinite. If you need to limit the extent of the slice, use it on a sub-object selection set of
faces, rather than on the entire object.

Slice Modifier
Slice Parameters rollout
Slice TypeDefines how the slice plane will affect the geometry to which it has been applied.
Refine MeshAdds new vertices and edges along the intersection of the geometry with the slicing
plane. Faces cut by the plane are subdivided into new faces.
Split MeshAdds a double set of vertices and edges along the plane boundary producing two
separate meshes (one on either side of the slice plane), which you can modify differently if desired.
Use this to break a mesh in two.
Remove TopDeletes all the faces and vertices above the Slice Plane.
Remove BottomDeletes all the faces and vertices below the Slice Plane.
Operate OnChoose one of these buttons to specify how the slice handles quads and other
polygons.
FacesTreats the selection set as a set of triangular faces, slicing each one in turn.
PolygonsConverts the object to a polygon mesh based on visible edges, eliminating hidden
edges.

Slice Modifier
Operate on Face vs. Operate on Polygon
Comments

Select an editable mesh object. > Modify panel > Selection rollout > Edge
Edge
Select an editable mesh object. > Quad menu > Tools 1 quadrant > Sub-Objects submenu > Edge
An edge is a line, visible or invisible, forming the side of a face and connecting two vertices. Two
faces can share a single edge.
When in Editable Mesh (Edge) mode, you can select single and multiple edges and transform them
using standard methods. This topic covers the Edit Geometry rollout; for other controls, see Editable
Mesh.
Procedure
To create a shape from one or more edges:
1. Select the edges you want to make into shapes.
2. On the Edit Geometry rollout, click Create Shape From Edges.
3. Make changes, as needed, on the Create Shape dialog that appears.
Enter a curve name or keep the default.
Choose Smooth or Linear as the Shape Type.
Turn on Ignore Hidden Edges to exclude hidden edges from the calculation, or turn this
feature off.
4. Click OK.
The resulting shape consists of one or more splines whose vertices are coincident with the
vertices in the selected edges. The Smooth option results in vertices using smooth values,
while the Linear option results in linear splines with corner vertices.
When you region-select edges, all edges are highlighted, including hidden edges, which are
displayed as dashed lines. As a default, the Create Shape function ignores the hidden edges,
even though they're selected. Turn off Ignore Hidden Edges if you want to include the hidden
edges in the calculation.
If the selected edges are not continuous, or if they branch, the resulting shape will consist of
more than one spline. When the Create Shape function runs into a branching 'Y' in the edges, it
makes an arbitrary decision as to which edge produces which spline. If you need to control this,
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select only those edges that will result in a single spline, and perform Create Shape repeatedly
to make the correct number of shapes. Finally, use Attach in the Editable Spline to combine the
shapes into one.
Top: Original object

Bottom: Object with edges selected

Top: Selected edges removed from original object

Bottom: Unwanted edges removed
Interface
Selection rollout
See Editable Mesh for information on the Selection rollout settings.
are on, the software applies a spline curve deformation to unselected vertices surrounding the

DeleteDeletes selected edges and both faces attached to each edge.

AttachLets you attach another object in the scene to the selected mesh. You can attach any type
of object, including splines, patch objects, and NURBS objects. Attaching a non-mesh object
converts it to a mesh. Click the object you want to attach to the currently selected mesh object.


DivideLets you divide edges into two edges with a new vertex at the center of each edge. Click
Divide, and then select an edge to be divided. Each edge is divided where you click it. You can click
as many edges as you want divide, in sequence. To stop dividing, click Divide again or right-click.
TurnRotates the edge within its bounding. All mesh objects in 3ds max are composed of
triangular faces, but by default, most polygons are depicted as quadrilaterals, with a hidden edge
dividing each quad into two triangles. Turn lets you change the direction in which the hidden edge
(or any other) runs, thus affecting how the shape changes when you transform sub-objects directly,
or indirectly with a modifier.
Extrude & Chamfer group
These controls let you extrude edges and bevel them using a chamfer function. Edge extrusion
works in a fashion similar to face extrusion. You can apply both effects interactively (by dragging on
edges) or numerically (using spinners).

Extruded edges seen in viewport and rendered image
ExtrudeClick this button and then either drag to extrude the selected edge(s), or adjust the
Extrude spinner to perform the extrusion. You can select different edges to extrude while Extrude is
active.
Extrude AmountThis spinner (to the right of the Extrude button) lets you specify the amount to
extrude the edge. Select one or more edges, and then adjust the spinner.
ChamferClick this button and then drag edges in the active object. The Chamfer spinner updates
to indicate the chamfer amount as you drag.
If you drag one or more selected edges, all selected edges are chamfered identically. If you drag an
unselected edge, any selected edges are first deselected.
An edge chamfer "chops off" the selected edges, creating new edges that move along the faces on
either side by <chamfer amount>. Some vertex chamfering is done at the ends to make this
behavior work with the rest of the mesh. New chamfer faces are created with the material ID of one
of the neighboring faces (picked at random) and a smoothing group which is an intersection of all
neighboring smoothing groups.
effect to selected edges.
NormalDetermines how a selection of more than one edge is extruded. With Normal set to Group

(the default), extrusion takes place along the averaged normal of each continuous group (line) of
edges. If you extrude multiples of such groups, each group moves along its own averaged normal. If
you set Normal to Local, extrusion takes place along each selected edge's normal.
Cut and Slice group
Lets you subdivide edges with either cut or slice tools to create new vertices, edges and faces. For
details, see Cut & Slice.
selection.
Select Open EdgesSelects all edges with only one face. In most objects, this shows you where
missing faces exist.
Create Shape from EdgesAfter selecting one or more edges, click this button to create a spline
shape from the selected edges. A Create Shape dialog appears, letting you name the shape, set it to
Smooth or Linear, and ignore hidden edges. The new shape's pivot is placed at the center of the
mesh object.
View AlignAligns selected edges to the plane of the active viewport. In the case of orthographic
When aligning to a perspective viewport (including camera and light views), the edges are reoriented
to be aligned to a plane that is parallel to the camera's viewing plane. (Perspective viewports have
invisible camera planes.) In these cases, the selection of edges is not translated but only rotated.
Grid AlignAligns the selected edges to the current construction plane. The current plane is
Make PlanarForces all selected edges to become coplanar. The plane's normal is the average
surface normal of all faces attached to the selected edges.
CollapseCollapses selected edges by welding the vertex at one end of each selected edge to the
vertex at the other end.
These controls affect the visibility of the edges. Invisible edges (also called construction lines)
appear in the viewports when Edges Only is turned off in the Display command panel, or when
you're editing at the Edge sub-object level. The visibility of edges is primarily of importance when an

object is being rendered using a wireframe material.

VisibleMakes selected edges visible.
InvisibleMakes selected edges invisible, so they won't be displayed in Edges Only mode.
Auto Edge group
Auto EdgeAutomatically determines edge visibility based on the angle between the faces that
share the edge, with the angle set by the Threshold spinner to its right.
Clicking Auto Edge can have one of three effects, depending on which radio button is active (Set
means to make an invisible edge visible; Clear means to make a visible edge invisible):
Set and Clear Edge VisCan change the visibility of all selected edges depending on the
Threshold setting.
SetMakes previously invisible edges visible only if they exceed the Threshold setting; does not
clear any edges.
ClearMakes previously visible edges invisible only if they are less than the Threshold setting;
does not make any edges visible.
Comments

Cut and Slice
Cut and Slice
Select an editable mesh object. > Modify panel > Selection rollout > (Optional: Choose a sub-
object level.) > Edit Geometry rollout > Cut and Slice group box
The tools available in the Cut and Slice group let you subdivide edges and faces to create new
vertices, edges, and faces. You can slice an editable mesh object at any sub-object level; the Cut
tool is available at every sub-object level except the Vertex sub-object level.
Procedures
To create a new face using Cut:
1. Convert the geometry to an editable mesh.
2. On the Modify panel, choose the object's Edge (or Face, Polygon, or Element) sub-object
level.
3. On the Selection rollout, turn on Ignore Backfacing.
4. On the Edit Geometry rollout, in the Cut and Slice group, click the Cut button.
5. Click the first edge you want to subdivide, and then move your cursor toward the second edge.
The cursor changes to a plus sign when over an edge, and a dotted line connects the initial
point where the edge was clicked with the current cursor location.
6. Click the second edge. This edge can be anywhere, cutting across as many faces as you like. A
new visible edge appears.
7. At this point, a new dotted line is connected to the mouse cursor, originating from the last point
you clicked.
8. Continue clicking edges to cut. To start from a different point, right-click, and then select the
new start point. To finish cutting, right-click twice.
You can use Snaps with Cut. To divide an edge in half, set Snaps to midpoint. To start or end a
cut at a vertex, set snap to vertex or endpoint.
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Cut and Slice
Before and after applying Cut to selected faces
To create multiple slices:
1. Select an editable mesh.
2. On the Modify panel, choose the object's Edge (or Face, Polygon, or Element) sub-object
level.
3. Select one or more sub-objects. Slice affects only selected sub-objects.
4. In the Cut And Slice group box, click the Slice Plane button.
5. Position and rotate the Slice Plane gizmo to where you want the first slice.
6. Click the Slice button. The object is sliced.
7. If you want, move the Slice Plane to a second position and click the Slice button again.
8. Click the Slice Plane button again to turn it off and see the results.

Cut and Slice
9. To better understand what has happened, turn off Edges Only in the Display panel.
Slice gizmo placed for first slice (top) and second slice (bottom)
Interface
Note: The keyboard shortcuts listed here require that the Keyboard Shortcut Override Toggle be
turned on.
Cut and Slice group
Slice PlaneCreates a gizmo for a slice plane that can be positioned and rotated where you want to
slice the edges. Also enables the Slice button.

Cut and Slice
SlicePerforms the slice operation at the location of the slice plane. The Slice button is available
only when the Slice Plane button is highlighted. This tool slices the mesh just like the Slice modifier
in Operate On: Face mode.
Note: Slice works only on a sub-object selection. Make the selection before activating Slice Plane.
CutLets you divide a edge at any point, then divide a second edge at any point, creating a new
edge or edges between the two points. Clicking the first edge sets the first vertex. A dotted line
tracks the cursor movement until you click a second edge. A new vertex is created at each edge
division. Alternately, double-clicking an edge simply divides that edge at the point clicked, with
invisible edges on either side.
You can use Cut to cut across any number of faces, even across an entire object. Click one edge to
start the cut, and a second edge to end the cut.
Use Snaps with Cut for precision. Cut honors Midpoint, Endpoint, and Vertex snaps.
You can also use the keyboard shortcut ALT+C to toggle Cut mode.
Important: When using the Cut tool to add new edges, you should work in a non-
Perspective viewport, such as Front or User. If you use Cut while working in a Perspective
viewport, you may find that the created edges appear to jump or aren't placed correctly.
Using an orthogonal viewport will allow the cuts to appear where you click.
edges are divided. This lets you easily delete the new faces to create holes, or animate the new
faces as separate elements.
Refine EndsWhen on, adjacent faces at the ends of the cut are also divided by additional vertices,
so that the surface stays contiguous. When Refine Ends is off, the surface will have a seam where
the new vertex meets the adjacent face. For this reason, its a good idea to keep Refine Ends turned
on, unless you are sure that you dont want the extra vertices created.
Refine Ends affects only Cut. It does not affect Slice.
Note: When performing a Cut, turn on Selection rollout > Ignore Backfacing to avoid accidentally
selecting edges on the back side of the mesh.
Comments

Main toolbar > 2D Snap, 2.5D Snap, or 3D Snap on the Snaps flyout
Main toolbar > 2D Snap, 2.5D Snap, or 3D Snap on the Snaps flyout
Keyboard > S
The buttons on the Snaps flyout provide control over the range of 3D space where snaps are active.
Snaps flyout
Object Snapping
Object snapping lets you snap to specific portions of existing geometry during creation and
transforms of objects or sub-objects. You can also snap to the grid, and you can snap to tangents,
midpoints, pivot points, face centers and other options.
The mode you choose maintains its state when you switch levels.
Transforming Around Snap Points
When snapping is on (but Auto Key mode is off), rotations and scales are performed about the snap
point. For example, if you're using Vertex snapping and you're rotating a box, you can rotate it
about any of its corner vertices. See To use snaps to move an absolute distance: below.
When the Auto Key button is on and either Select And Rotate or Select And Scale is selected, the
Snap Toggle button is disabled, and rotation and scaling is performed about the pivot point of the
object.
Relative and Absolute Snaps
The mouse snaps absolutely to the active snap types. Relative snapping is also available. As a
default, when you turn on snaps, only the Grid Points snap type is active. If you perform a Move
operation, the cursor will snap to the grid, but you can select and pick up an object that's not
aligned to the grid. When you move the object and snap it to grid points, the object's original
position relative to the grid is maintained as an offset to each grid point, providing relative snapping.
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To move the same object in an absolute fashion, add the Vertex snap type. Then, when you select
the object to move, you select one of its vertices, and snap that vertex to any grid point, resulting in
an absolute snap.
You can also achieve variations on relative snaps by turning on the Selection Lock Toggle button in
the status line.
A wide variety of snap types are available from the Snaps dialog, that you use to activate different
snap types as you work.
See also
Snap Override
Snap Options
Procedures
To turn snap off during a transform:
Press S to toggle Snap off when it gets in the way.
To use snaps to move a relative distance:
1. Turn on Snaps with the S key, or by clicking the Snaps toggle.
2. Lock your selection set with the SPACEBAR, or by clicking Lock Selection on the status bar.
3. Wherever you click in the viewport, the snap will stay relative to the distance of your cursor to
the object.
To use snaps to move an absolute distance:
1. Turn on Snaps.
2. Click the selection. Snap uses the point you click for the snap source.
3. Move to whatever target snap you desire. The object will snap to an absolute distance.
To rotate a box around a vertex using snaps:
1. Make sure the Auto Key button is off.
2. Select the box.
3. On the Main toolbar, click Select and Rotate Mode.
4. Turn Snaps on by pressing S on the keyboard.

5. On the Customize menu, choose Grid And Snap Settings. Turn on Vertex and turn off Grid
Points.
6. Lock your selection set by clicking Lock Selection on the status bar.
7. On the toolbar, choose Use Transform Coordinate Center (press Use Pivot Point Center to
expose the flyout).
8. Move your cursor over any vertex in the box. The blue snap cursor will appear, and then you
can rotate the box around that vertex.
Interface
There are three snap modes:
2D SnapThe cursor snaps only to the active construction grid, including any geometry on
the plane of that grid. The Z axis, or vertical dimension, is ignored.
2.5D SnapThe cursor snaps only to the vertices or edges of the projection of an object onto
the active grid.
Suppose you create a grid object and make it active. You then position the grid object so you can
see through the grid to a cube further off in 3D space. Now with 2.5D set, you can snap a line from
vertex to vertex on the distant cube, but the line is drawn on the active grid. The effect is like
holding up a sheet of glass and drawing the outline of a distant object on it.
3D SnapThis is the default. The cursor snaps directly to any geometry in 3D space. 3D
snapping lets you create and move geometry in all dimensions, ignoring the construction plane.
Right-click this button to display the Grid and Snap Settings dialog, which lets you change snap
categories and set other options.
Comments

MeshSmooth Modifier
MeshSmooth Modifier
Modify panel > Make a selection. > Modifier List > Object-Space Modifiers > MeshSmooth
Make a selection. > Modifiers menu > Subdivision Surfaces > MeshSmooth
Angular model (shown on the right) changed to a smooth model with MeshSmooth
The MeshSmooth modifier smooths geometry in your scene by adding faces at corners and along
edges. The effect of MeshSmooth is to round over corners and edges as if they had been filed or
planed smooth. When you apply MeshSmooth, an extra face is added for every vertex and edge. Use
MeshSmooth parameters to control the size and number of new faces, and how they affect the
surface of the object.
You can use MeshSmooth to produce a Non-Uniform Rational MeshSmooth object (NURMS for short).
A NURMS object is similar to a NURBS object in that you can set different weights for each control
vertex. You can further control the object's shape by changing edge weights.
MeshSmooth's effect is most dramatic on sharp corners and least visible on rounded surfaces. Use
MeshSmooth on boxes and geometry with crisp angles. Avoid using it on spheres and similar
objects.
Tip: To better understand MeshSmooth, create a sphere and a cube and apply MeshSmooth to both.
The cube's sharp corners become rounded, while the sphere's geometry becomes more complex
without changing shape significantly.
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MeshSmooth Modifier
Note: Having an animated deformer placed before a meshsmoothed object that has had control level
editing can result in the meshsmoothed object becoming distorted. It's recommended that deforming
modifiers be placed after the MeshSmooth modifier in the stack if you're using the deformers for
animation.
Procedures
To apply MeshSmooth to an object:
1. Select an angular object.
2. Apply the MeshSmooth modifier.
3. Set MeshSmooth parameters.
To apply MeshSmooth to sub-objects:
2. Apply a Mesh Select modifier.
3. Select a group of vertices or faces.
4. Apply MeshSmooth.
5. In the Subdivision Method rollout, turn off Apply To Whole Mesh.

This lets MeshSmooth work only on the sub-object selection.
6. Set MeshSmooth parameters.
Interface
Modifier Stack
VertexAt this sub-object level you can transform or edit vertices in the smoothed mesh.
EdgeAt this sub-object level you can transform or edit face edges in the smoothed mesh.
See Local Control rollout.

MeshSmooth Modifier
Subdivision Method rollout
Subdivision Method listChoose one of the following to determine the output of the MeshSmooth
operation:
NURMSProduces Non-Uniform Rational MeshSmooth object (NURMS for short). The only
smoothing parameter available with the NURMS type is Sharpness.
A NURMS object is similar to a NURBS object in that you can set different weights for each control
vertex. You can further control the object's shape by changing edge weights. See Display/
Weighting group, following, for further information on changing weights.
ClassicProduces three- and four-sided facets. (This is the same as applying MeshSmooth in
version 2.x without turning on Quad Output.)
Quad OutputProduces only four-sided facets (assuming you don't look at the hidden edges,
since the object is still made up of triangular faces). If you apply this with default parameters to a
whole object, like a box, it's topologically exactly the same as Tessellate, edge-style. However,
rather than using tension to project face and edge vertices out of the mesh, use the MeshSmooth
Strength to relax the original vertices and the new edge vertices into the mesh.
Apply To Whole MeshWhen turned on, any sub-object selection passed up the stack is ignored
and MeshSmooth is applied to the entire object. Note that the sub-object selection is still passed up
the stack to any subsequent modifiers.
Old Style MappingUses the version 3 algorithm to apply MeshSmooth to the mapping
coordinates. This technique tends to distort the underlying mapping coordinates as it creates new
faces and as texture coordinates shift.

MeshSmooth Modifier
Effect of MeshSmooth with two iterations on a cube and different iteration method:
A. NURMS
B. Quad
C. Classic
D. Original object with no MeshSmooth
Subdivision Amount rollout
Sets how many times to apply MeshSmooth.
IterationsSets the number of iterations used to smooth the mesh. Each iteration generates new
faces using the vertices created from the previous iteration. The spinner value range is 0 to 10. The
default of 0 iterations allows you to modify any setting or parameter, such as the type of
MeshSmooth or the update options, before the program starts doing any smoothing.
Note: Be cautious when increasing the number of iterations. The number of vertices and faces in an
object (and thus the calculation time) can increase as much as four times for each iteration.
Applying four iterations to even a moderately complex object can take a long time to calculate. You
can press ESC to stop calculation and revert to your previous iteration setting.

MeshSmooth Modifier
SmoothnessDetermines how sharp a corner must be before faces are added to smooth it.
Smoothness is calculated as the average angle of all edges connected to a vertex. A value of 0.0
prevents the creation of any faces. A value of 1.0 adds faces to all vertices even if they lie on a
plane.
Render ValuesApplies a different number of smoothing iterations and/or a different Smoothness
value to the object at render time. Typically you would use a low number of iterations and/or a lower
Sharpness value for modeling, and higher values for rendering. This lets you work quickly with a low-
resolution object in the viewports, while producing a smoother object for rendering.
IterationsLets you choose a different number of smoothing iterations to be applied to the object
at render time. Turn on Iterations, then use the spinner to its right to set the number of iterations.
SmoothnessLets you choose a different Smoothness value to be applied to the object at render
time. Turn on Smoothness, then use the spinner to its right to set the smoothness value.
From right to left, effect of increasing the number of iterations
Local Control rollout

MeshSmooth Modifier
Sub-object LevelTurns Edge or Vertex level on or off. When both levels are off, you're working at
the object level. Information about the selected edges or vertices is displayed in the message area
under the Ignore Backfacing check box.
normals make them visible in the viewport. When off (the default), selection includes all sub-objects,
regardless of the direction of their normals.
Control LevelAllows you to see the control mesh after one or more iterations and to edit sub-
object points and edges at that level. Transform controls and the Weight setting are available for all
sub-objects at all levels. The Crease setting is available only at the Edge sub-object level.
CreaseCreates a discontinuity on a surface so you get a hard edge, such as a wrinkle or lip. You
select one or more edge sub-objects and adjust the Crease setting; the crease appears in the
surfaces associated with the selected edges. Available only at the Edge sub-object level.
WeightSets the weight of selected vertices or edges. Increasing a vertex weight "pulls" the
smoothed result toward that vertex. Edge weights are more complex and behave in an opposite
manner in some respects. They aren't really "weights" as such, but "knot intervals," in NURBS
terminology. Consequently, increasing an edge weight tends to push the smoothed result away.
Kinks will form in the result if weights of 0 are used.
Display Control MeshDisplays an orange wireframe gizmo that shows what the control mesh
looks like after it's been converted to polygons (if applicable) and before the smoothing occurs.
Isoline DisplayWhen on, the software displays only isolines: the object's original edges,
before smoothing. The benefit of using this option is a less cluttered display. When off, the software
displays all faces added by MeshSmooth; thus, higher Iterations settings (see Subdivision Amount
rollout) result in a greater number of lines. Default=on.

MeshSmooth Modifier
Parameters rollout
Parameters rollout > Smoothing Parameters group
These settings are available only when MeshSmooth Type is set to Classic or Quad Output. Also,
Project To Limit Surface is available only in Classic mode.
StrengthSets the size of the added faces using a range from 0.0 to 1.0.
Values near 0.0 create small faces that are very thin and close to the original vertices and edges.
Values near 0.5 size faces evenly between edges.
Values near 1.0 create large new faces and make the original faces very small.
RelaxApplies a positive relax effect to smooth all vertices.

Project to Limit SurfacePlaces all points on the "limit surface" of the MeshSmooth result, which
is the surface that would be produced after an infinite number of iterations. The topology is still
controlled by the number of iterations.
Parameters rollout > Surface Parameters group
Applies smoothing groups to the object and restrict the MeshSmooth effect by surface properties.
Smooth ResultApplies the same smoothing group to all faces.
Separate by MaterialsPrevents the creation of new faces for edges between faces that do not
share Material IDs.
Separate by Smoothing GroupsPrevents the creation of new faces at edges between faces that
don't share at least one smoothing group.

MeshSmooth Modifier
Settings rollout
Settings rollout > Input Conversion group
Operate On Faces/PolygonsOperate On Faces treats every triangle as a face and smooths

across all edges, even invisible edges. Operate On Polygons ignores invisible edges, treating
polygons (like the quads making up a box or the cap on a cylinder) as a single face.
Keep Faces Convex(Available only with Operate On Polygons mode.) Keeps all input polygons
convex. Selecting this option causes non-convex polygons to be handled as a minimum number of
separate faces, each of which is convex. (Turn on Display/Weighting group > Display Control Mesh
to see what's happening here.)
"Convex" means that you can connect any two points in the polygon with a line that doesn't go
outside the polygon. Most letters aren't convex. In the capital letter "T," for example, you can't
connect the upper-left corner to the bottom with a straight line without going outside the shape.
Circles, rectangles, and regular polygons are all convex.
Problems that can occur with non-convex faces include the fact that changes in the geometry of the
input object can result in a different topology for the MeshSmooth result. For instance, in a box, if
you drag one of the top corners across the middle of the top face, the box becomes non-convex.
MeshSmooth would then see this as two triangles instead of one quad, and the number of points in
the result would change.
If you need to make sure your output topology is stable, turn this off. If you have a lot of letters or
other non-convex faces in your mesh, however, you'll probably want it on.
Settings rollout > Update Options group
Sets manual or render-time update options, for situations where the complexity of the smoothed
object is too high for automatic updates. Note that you can also choose Iterations group > Different
for Render to set a greater degree of smoothing to be applied only at render time.
AlwaysUpdates the object automatically whenever you change any MeshSmooth settings.

MeshSmooth Modifier
When RenderingUpdates the viewport display of the object only at render time.
ManuallyTurns on manual updating. When manual updating is selected, any settings you change
don't take effect until you click the Update button.
UpdateUpdates the object in the viewport to match the current MeshSmooth settings. Works only
when you choose When Rendering or Manually.
Resets rollout
This rollout allows you to go back to default or initial settings on any changes you made such as sub-
object transforms (geometric edits), and changes to edge creases, vertex weights, and edge
weights.
You can reset changes for all control levels or to the current control level. Turn on the reset option
for the sub-object level you want, and then click the appropriate button.
Reset All LevelsReturns to the default or initial settings for geometric edits, creases, and weights
for all sub-object levels.
Reset This LevelReturns to the default or initial settings for geometric edits, creases, and weights
for the current sub-object level.
Reset Geometric EditsReturns to the default or initial settings for any transforms made to
vertices or edges.
Reset Edge CreasesReturns to the default or initial setting for edge creases.
Reset Vertex WeightsReturns to the default or initial setting for vertex weights.
Reset Edge WeightsReturns to the default or initial setting for edge weights.
Reset EverythingReturns to the default or initial setting for everything.

MeshSmooth Modifier
Comments

MeshSmooth Selection Dialog
Select an editable poly object. > Modify panel > Polygon sub-object level > Edit Geometry rollout
> MSmooth Settings button
This dialog lets you specify how mesh smoothing affects editable polys.
Interface
MeshSmoothSmoothes the selection using the current settings.

SmoothnessDetermines how sharp a corner must be before polygons are added to smooth it.
Smoothness is calculated as the average angle of all edges connected to a vertex. A value of 0.0
prevents the creation of any polygons. A value of 1.0 adds polygons to all vertices even if they lie on
a plane.
Separate by Smoothing GroupsPrevents the creation of new polygons at edges between
polygons that don't share at least one smoothing group.
Separate by MaterialsPrevents the creation of new polygons for edges between polygons that do
not share Material IDs.
selection.
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Comments
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Tessellate Selection Dialog
Tessellate Settings button
This dialog lets you specify how Tessellate should subdivide polygons.
Interface
EdgeInserts vertices in the middle of each edge and draws lines connecting those vertices. The
number of polygons created will equal the number of sides of the original polygon.
FaceAdds a vertex to the center of each polygon and draws connecting lines from that vertex to
the original vertices. The number of polygons created will equal the number of sides of the original
polygon.
TensionLets you increase or decrease the Edge tension value. Available only when Type: Edge is
active.
A negative value pulls vertices inward from their plane, resulting in a concave effect. A positive value
pulls vertices outward from their plane, resulting in a rounding effect.
selection.
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Comments
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Symmetry Modifier
Symmetry Modifier
Modify panel > Make a selection. > Modifier List > Symmetry
Make a selection. > Modifiers menu > Mesh Editing > Symmetry
The Symmetry modifier is unique in that it allows you to perform three common modeling tasks:
Mirror a mesh about an X, Y, or Z plane.
Slice a mesh, removing parts if necessary.
Automatically weld vertices along a common seam.
Examples of using Symmetry with different mirror axes or by moving the mirror gizmo
You can apply the Symmetry modifier to any geometry, and you can animate the mirror or slicing
effect by animating the modifier's gizmo.
When the Symmetry modifier is applied to a mesh, any edits made to the original half of the mesh
will appear interactively to the other half.
The Symmetry modifier is especially useful when modeling characters or building ships and aircraft.
Note: The Symmetry modifier converts Editable Mesh, Editable Patch, and NURBS objects to Editable
Meshes in the modifier stack; however, Editable Poly objects remain as polys.
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Symmetry Modifier
Procedure
Example: To apply the symmetry modifier to an object:
1. Create a teapot in the perspective viewport.
2. Apply the Symmetry modifier.

The teapot will look like it has two spouts.
3. In the modifier stack, click the + button to see the Mirror gizmo, and then select Mirror.
The mirror gizmo acts as a slice plane when it is within the boundaries of the object
4. With the Mirror Axis set to X, click and drag the mirror gizmo along the X axis.
Dragging right slices more of the teapot until there is nothing visible. Dragging left causes a
second teapot to appear. When the mirror gizmo is moved beyond the boundaries of the
original mesh, it acts as a mirror plane showing you two complete teapots.
Interface
Modifier Stack
MirrorThe placement of the mirror gizmo delegates how the object will be affected by symmetry.
You can move or rotate, as well as animate the gizmo.
Parameters rollout
Mirror Axis group

Symmetry Modifier
X, Y, ZSpecify the axis about which the symmetry takes place. You can see the effect in the
viewport as you select the axis.
FlipTurn on Flip if you want to flip the direction of the symmetry effect. Default=off.
Slice Along MirrorTurning on Slice Along Mirror causes the mirror gizmo to act as a slice plane
when it in located inside the boundaries of a mesh. When the gizmo is outside the boundaries of a
mesh, the symmetrical reflection is still treated as part of the originating mesh. If Slice Along Mirror
is turned off, the symmetrical reflection is treated as a separate element of the originating mesh.
Default=on.
Weld SeamTurning on Weld Seam assures that the vertices along the mirror axis will be
automatically welded if they are within the Threshold. Default=on.
ThresholdThe value of the Threshold setting delegates how close vertices can be before being
automatically welded together. Default=0.1.
Note: Setting the Threshold value too high may result in some distortion of the mesh, especially
when the mirror gizmo is outside the boundaries of the originating mesh.
Comments

Material ID
Glossary
Material ID
Figure mapped using a multi/sub-object material: material IDs identify the component sub-materials.
A surface's material ID is the value that determines which sub-material the surface will use when
you apply a Multi/Sub-Object to the object to which the surface belongs.
Geometric primitives have default material identification number assignments, just as they have
default smoothing groups. The default material ID assignment depends on the type of geometry.
Most curved objects such as spheres have a single material ID. Boxes have six IDs, one for each
side. Cylinders have three: ID number 1 and 2 for the two caps, and ID number 3 for the sides.
Hedra have three: one for each of their P, Q, and R axes.
When you apply a Multi/Sub-Object material, the materials will match the Multi/Sub-Object material
ID numbers to the material ID numbers on the faces of the object. Faces keep a record of the ID
number, and not of the material name. If the material is anything but Multi/Sub-Object, the material
is assigned to the object's entire surface.
Assigning some defining material ID number to each object before they become compound object
operands can be a useful technique for being able to select the separate pieces after they're
combined.
You can use material IDs for continuous surfaces that require separate paints or finishes. For
example, a car constructed from different types of materials, such as a colored metal body, chrome
parts, glass windows, and so on.
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Material ID
You can use the Material modifier to assign material ID numbers. Also you can reassign material IDs
using the Editable Mesh > Surface Properties rollout, or Edit Mesh modifier > Edit Surface rollout.
Comments
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Material Modifier
Material Modifier
Select an object. > Modify panel > Modifier List > Object-Space Modifiers > Material
Select an object. > Modifiers menu > Surface > Material
Select an object. > Modifiers tab > Material Modifier
Object mapped using a multi/sub-object material:

Material ID 1 for the housing of the monitor
Material ID 2 for the image on the screen
The Material modifier allows you to animate, or simply change, the assignment of material IDs on an
object. If the material ID is animated, the change to a new material ID is abrupt, from one frame to
the next.
Tip: If you want a gradual blend from one material to another, try animating the Mix parameter on a
Blend material.
Tip: Use this modifier in conjunction with the multi/sub-object material type, to assign different
materials to objects or faces at different frames of an animation, or to quickly change the material
ID of an object.
See also
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Material Modifier
Patches
As of 3ds max 4, patch objects coming up the modifier stack are not converted to a mesh by this
modifier. A patch object input to the Material modifier retains its patch definition. Files that contain
patch objects with the Material modifier from previous versions of the software will be converted to
Procedure
Example: To change the material ID of a sub-object selection:
1. In the Top viewport, create a sphere.
2. In the Material Editor, create a multi/sub-object material.

Make the colors of material ID 1 and 2 different.
3. Assign the multi/sub-object material to the sphere.
4. On the Modify panel, choose Mesh Select from the Modifier List.
5. On the Mesh Select Parameters rollout, click Polygon.
6. In the Front viewport, region-select the lower half of the sphere.

The selected polygons turn red.
7. While Polygon is still the active sub-object level (in the stack display, a square polygon icon
appears to the right of Mesh Select), choose Material from the Modifier List.
8. On the Material modifier Parameters rollout, set the value of the Material ID to 1 and 2 to
toggle the color on and off.
In the shaded viewport, the lower half of the sphere changes to the color of the selected
material ID.
Interface

Material Modifier
Material IDSets the material ID to be assigned; this can be animated. If the input object is in
face sub-selection, then the ID is only applied to selected faces; otherwise, it is applied to the entire
object. The ID number refers to one of the materials in a multi/sub-object material.
Comments

Blend Material
Blend Material
Material Editor > Type button > Material/Map Browser > Blend
Blend material combines bricks and stucco.
The Blend material lets you mix two materials on a single side of the surface.
Note: Blend has an animatable Mix Amount parameter that lets you draw material morphing function
curves to control the way that the two materials are blended over time.
Procedures
To create a Blend material:
3. In the Material/Map Browser, choose Blend and then click OK.

Blend materials have similar controls to Mix maps.
To specify a component material:
In the Blend Basic Parameters rollout, click one of the two material buttons.
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Blend Material
The parameters for the sub-material are displayed. By default, a sub-material is a Standard
material with Blinn shading.
To control the mix amount:
In the Basic Parameters rollout, adjust the Mix Amount value.

You can also control the mix amount by using a map.
Map used to reveal brick beneath stucco
To control the mix amount using a map:
In the Basic Parameters rollout, click the map button next to Mask.
The Browser is displayed so you can select a map type.
The intensity of pixels in this mixing map controls the mix. When the intensity is close to zero,
one of the component colors or maps is visible; when it is close to full intensity, the other
component is visible.
Tip: Using a Noise map for the mixing map can give good effects that have a natural appearance.
Tip: Mix Amount is unavailable while a map is assigned to this parameter. If Use Curve is turned
off, the mixing map is used as is. If Use Curve is turned on, you can shift the effect of the mixing
map's gradient ramp to reveal more of one material and less of the other.
Interface

Blend Material
Material 1 and Material 2Select or create the two materials to be blended. Use the check boxes
to turn the material on or off.
InteractiveSelects which of the two materials is displayed on object surfaces in viewports by the
interactive renderer.
If one material has Show Map in Viewport turned on, this takes precedence over the Interactive
setting. Only one map at a time can be displayed in viewports.
MaskSelects or creates a map to use as a mask. The two materials will blend in greater or lesser
degree according to the intensity of the map. Lighter (whiter) areas of the mask show Material 1.
Darker (blacker) areas of the mask show Material 2. Use the check box to turn the mask map on or
off.
Mix AmountDetermines the proportion of the blend (percentage). 0 means only Material 1 is
visible on the surface; 100 means only Material 2 is visible. You can animate this parameter. Create
Material Preview is useful for testing the effect. This control is unavailable if you have assigned a
mask map and the mask's check box is turned on.
Mixing Curve group
The mixing curve affects how gradual or how sharp the transition between the two colors being
blended will be. It affects the blend only when you have assigned a mask map.
Tip: For mottled effects, blend two standard materials using a noise map as a mask.
Use CurveDetermines whether the Mixing Curve affects the mix. This control is unavailable no
mask is assigned or it is assigned but turned off.
Transition ZoneThese values adjust the level of the Upper and Lower limits. If the two values are
the same, the two materials meet at a definite edge. Wider ranges give more gradual blending from
one sub-material to the other. The mixing curve displays the effect of changing these values.

Blend Material
Comments

Morphing
Glossary
Morphing
Morphing makes the clock appear to melt.
Morphing is a term derived from metamorphosis, which means to change physical shape or form.
The purpose of the morph object in 3ds max is to create an animated object that changes shape by
morphing between two or more objects. Although it appears that a single object is changing form, in
reality the morphing process translates the position of the vertices from their arrangement in one
object to the arrangement in another, relative to their local coordinate system.
Consequently, all objects chosen to make up a morph object must have the same number of
vertices. Typically, you achieve this by cloning an object, and then altering the geometry of the
clones without changing their vertex count.
Comments
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Unwrap UVW Modifier
Unwrap UVW Modifier
Select an object. > Modify panel > Modifier List > Object-Space Modifiers > Unwrap UVW
Select an object. > Modifiers menu > UV Coordinates > Unwrap UVW
The Unwrap UVW modifier is used to assign planar maps to sub-object selections, and to edit the
UVW coordinates of those selections. Existing UVW coordinates on an object can be unwrapped and
edited as well. Maps can be adjusted to the proper fit on a Mesh, Patch, Polygon, HSDS, or NURBS
model.
The Unwrap UVW modifier can be used as a self-contained UVW mapper and UVW coordinate editor,
or in conjunction with the UVW Map modifier. If you use Unwrap UVW in conjunction with the UVW
Map modifier, it is usually because you want to map the model with a method other than planar
mapping, such as cylindrical or spherical mapping. You can animate UVW coordinates by turning on
the Auto Key button and transforming the coordinates at different frames.
Self-Contained Mapper and UVW Coordinate Editor
Rather than creating a large modifier stack by first making a sub-object selection of faces, then
adding a UVW Map modifier to specify the type of mapping, you can use the Unwrap UVW modifier
to do both. Sub-object faces or patches can be selected, stored as named selections, planar
mapped, and then the UVW coordinates for each sub-object selection can be edited, all from within
the Unwrap UVW modifier. For example, to map a character's face using three planar maps, you
could create three sub-object selections of the front and sides of the face, planar map the selections
individually and then edit the UVW coordinates for each selection, without leaving the Unwrap UVW
modifier.
What Happens to Existing UVW Coordinates
When the Unwrap UVW modifier is applied, it takes the current UVWs applied to the object and
stores them in the modifier. If no UVWs have been applied, it does a planar mapping to create new
ones. If the incoming data on the stack is a face-level or polygon-level sub-object selection, then
only the UVWs for the selected faces are brought into the modifier, and the modifier's Select Faces
sub-object level is unavailable.
When the modifier is evaluated, its UVWs are reassigned to the object flowing down the pipeline. So
if the UVWs upstream are changed, the changes won't make it past the Unwrap UVW modifier. If the
Unwrap modifier is operating on a selection of faces, then upstream changes to unselected faces will
still be able to flow past the Unwrap modifier.
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Unwrap UVW Modifier
Native Support for HSDS, Polygon Object, and Patch mapping
Unwrap UVW supports polygon faces and Bezier quad and tri patch faces in addition to triangles and
quads.
Below is a sample of what the various face types look like based on the incoming type. For HSDS
and Poly surfaces, the basic interface remains the same, except that the number of edges increases
from 4 to a maximum of N. HSDS supports only one level of detail, which is whatever level the
mapping was applied at. Patches have handles on nonlinear vertices. These handles work just like
regular patch handles.
Pinning Textures
Although not its primary purpose, the Unwrap UVW modifier can be used to freeze UVWs. You can
apply mapping after an animated deformation and have the mapping stick to the object. For
example, you can apply Unwrap UVW above a Morpher modifier in the modifier stack, apply planar
maps and edit the UVW coordinates. The mapping will follow the morphing geometry.
Procedure
Example: To assign and edit three planar maps on a box:
1. Create a box.
2. In the Material Editor, create a diffuse-mapped material with a distinct map, and
assign it to the box.

Unwrap UVW Modifier
3. In the Material Editor, turn on Show Map In Viewport. This displays the map on the box in
shaded viewports.
4. Shade the Perspective viewport.

Because of the way boxes are mapped, a repeat of the map appears on each side of the box.
5. On the Modify panel, open the Modifier List and choose Object-Space Modifiers >
Unwrap UVW.
6. In the stack display, click the Unwrap UVW modifier to access Select Face sub-object level (the
modifier entry highlights).
7. In a viewport, select one side of the box.

A planar texture gizmo displays. Next you reassign planar mapping, which will also create
named selections.
8. On the Parameters rollout, click Planar Map.

A named selection is created in the Named Selection Sets list on the Main toolbar.
9. On the toolbar, open the Named Selection Sets drop-down list.

"PlanarMap0" is the named selection for this side of the box.
10. In the viewports, select another side of the box.
11. Click Planar Map.
12. In the viewports, click another side, and click Planar Map.
If you check the Named Selection Sets drop-down list, you will find three named selections for
three sides of the box.
13. On the Parameters rollout, click Edit.

The Edit UVWs dialog displays. The map in the material on the object should display as the
background in the window. By default, all the UVW IDs display at once. To work on one side of
the box at a time, you need to filter the UVWs.
14. In the Edit UVWs dialog, on the lower toolbar, click Filter Selected Faces.
At this point, only faces you select in the viewport will appear in the editor. You can select them
directly, or choose a named selection set. In the next step, you'll use the latter method.
15. On the main toolbar, open the Named Selection Sets drop-down list, and choose "PlanarMap0".
In the viewports, one side of the box is selected and a planar mapping gizmo displays. In the
Edit UVWs dialog, the UVW coordinates for the selection are displayed.
16. In the Edit UVWs window, select and move a UVW vertex.
In the viewports, the texture slides around the selected side of the box.

Unwrap UVW Modifier
17. On the main toolbar, open the Named Selection drop-down list, and choose "PlanarMap1".
In the viewports, the selection changes to a different side of the box. In the Edit UVWs window,
the UVW coordinates for the selection are displayed.
18. In the Edit UVWs window, select and move a UVW vertex.
In the viewports, the texture slides around on the selected side of the box.
19. In a viewport, click to select the side of a box.

If the side you selected is one of the sides that was planar mapped earlier, then its UVW
coordinates display in the Edit UVWs window. This is another way of choosing what you want to
work on.
As you can see, from within the Unwrap UVW modifier you can assign multiple planar maps with
corresponding named selections, and then edit the UVW coordinates to fine-tune map placement on
the geometry.
Interface
After applying the modifier, its panel appears, consisting of the modifier stack plus two rollouts:
Modifier Stack display
Normally, when you apply Unwrap UVW to an object, the modifier stack provides access to a Select
Face sub-object level. If you go to the Select Face level, and turn on Highlight Selected Verts in the
Edit UVWs dialog, the viewports display sub-objects that you select in the editor. Also, if you turn on
Sync To Viewport, selecting sub-objects in the viewports also selects them in the editor.
If you apply Unwrap UVW to an active face selection of an Editable Mesh or Editable Poly object, or
to an active patch selection of an Editable Patch object, the Select Face sub-object level is not
available in the Unwrap UVW modifier. You can use Unwrap UVW to edit only the selection that was
active when you applied the modifier; changing the sub-object selection in the object doesn't affect
the modifier.
Selection Parameters rollout
Use these settings to create a face selection for use by the modifier. If you've passed a face
selection up the stack, for example from the Poly Select modifier, Unwrap UVW uses that instead.

Unwrap UVW Modifier
These controls let you specify how to make sub-object selections at the Select Face level of the
Unwrap UVW modifier.
+ buttonExpands the selection by selecting all faces adjacent to selected faces.
- buttonReduces the selection by deselecting all faces adjacent to non-selected faces.
Ignore BackfacingWhen region selecting, prevents the selection of faces not visible in the
viewport.
Select By ElementLets you select elements.
Planar AngleLets you select contiguous coplanar faces with one click. Turn this on, and then set
the threshold angle value that determines which faces are coplanar. Then click a face to select it and
all contiguous faces whose angles are less than the threshold value.
Select MatIDEnables selection by material ID. Specify the material ID to select, and then click
Select MatID.
Select SGEnables selection by smoothing group. Specify the smoothing group to select, and then
click Select SG.
Parameters rollout

Unwrap UVW Modifier
EditDisplays the Edit UVWs dialog.

SaveSaves the UVW coordinates to a .uvw file.
LoadLoads previously saved .uvw files.
Reset UVWsResets the UVW coordinates in the Edit UVWs dialog.
Clicking this is almost the same as removing and reapplying the modifier, except that a map
assigned in the Edit UVWs dialog is not deleted. For example, if you forgot to turn on the Generate
Mapping Coordinates check box for an object, and then applied the Unwrap UVW modifier, the
modifier would have no UVW coordinates to use and its settings would be wrong. If you then go back
in the Stack and turn on Generate Mapping Coordinates, you'd need to click the Reset UVWs button.
When you click this button, an alert warns you that you're losing any edits you've made.
Channel group
Map ChannelUse the spinner to specify which map channel to use. Define up to 99 map channels.
Vertex Color ChannelUse the spinner to specify the channel for Vertex Color.
When you change channels, you should reset your edits, since the edits for one channel usually
won't work for the next channel. An alert appears that lets you choose between resetting the
coordinates or leaving them as they are. In almost all cases, it's best to reset them. For more
information, see UVW Map modifier.
Sub Object Params group

Unwrap UVW Modifier
You can apply a planar map, to selected faces, patches, or surfaces aligned to X, Y, Z or to an
average of the normals.
X, Y, ZAlign the planar map to the X, Y, or Z axis.
Averaged NormalsAligns the planar map to an average of the normals of the selected faces.
Planar MapApplies planar mapping to the currently selected faces, patches or surfaces, and
creates a named selection in the Named Selection list on the main toolbar. The named selections are
one way of selecting which UVW coordinates you want to work on.
For example, selecting each face on a box and clicking Planar Map will planar map the six sides of
the box and create six named selections. If Filter Selected Faces is on in the UVW Edit dialog (lower
toolbar), then choosing one of the six named selections displays only the UVW vertices for one side
of the box. This allows you to edit UVW vertices (texture placement) for each side of the box
individually.
Prevent ReflatteningThis option is used mainly for texture baking. When turned on, the version
of the Unwrap UVW modifier automatically applied by Render To Texture, named, by default,
Automatic Flatten UVs, will not reflatten the faces. Also, make sure that both Render To Texture and
the modifier are using the same map channel.
Comments

Edit UVWs Dialog
Edit UVWs Dialog
Select an object. > Modify panel > Modifier List > Object-Space Modifiers > Unwrap UVW > Edit button
(on Parameters rollout)
The heart of the Edit UVWs dialog is a window that displays a lattice made up of UVW faces and UVW
vertices. Each UVW face, which has three or more vertices, corresponds to a face in the mesh.
The view window displays the UVWs in the 2D-image space of the map, superimposed over a grid. Thicker
grid lines show the boundaries of a texture map as it would appear in image space; the lower-left corner
of the rectangle has the coordinates (0,0) and the upper-right has the coordinates (1,1). Within this
window, you manipulate the UVW coordinates relative to the map (or mesh) by selecting the lattice
vertices, edges, or faces (collectively known as sub-objects), and transforming them.
The state of the Edit UVWs dialog, including buttons and selected options, is stored and recalled the next
time you open the Edit dialog.
Note: You can edit patch object texture coordinates as well as mesh coordinates in the Edit UVWs dialog.
When editing a patch object, you can also edit the vertex handles. In addition, you can edit the manual
interior handles. However, you must enable the manual interior handles before applying the Unwrap UVW
modifier. To do so, at the Patch sub-object level, select one or more patches, right-click a selected patch,
and then, from the quad menu > tools 1 quadrant, choose Manual Interior. The manual interior handles
appear in the editor window as isolated vertices.
Note: Certain modeling operations can leave unused (isolated) map vertices that show up in the editor
window, but cannot be used for mapping. If the model is an Editable Poly object, you can use the Remove
Unused Map Verts button at the Editable Poly > Vertex sub-object level to automatically delete these
vertices.
Interface
Besides the window, the editor interface consists of a menu bar, a toolbar, a lower toolbar, and, docked
below the main dialog, the Options panel.
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Edit UVWs Dialog
Menu bar
The menu bar provides access to a wide range of Edit UVWs functions. See Edit UVWs Dialog Menu Bar.

Edit UVWs Dialog
Toolbar
Contains all the controls for manipulating the texture sub-objects in the view window, navigating within
the window, and setting other options. When transforming with Rotate and Scale, pressing CTRL+ALT will
allow you to transform the selection from the point of the mouse click, instead of the selection center. The
initial click specifies the center of the transform.
MoveLets you select and move sub-objects. Flyout options are Move, Move Horizontal, and Move
Vertical. Press SHIFT to constrain the movement to a single axis.
RotateLets you select and rotate sub-objects.
ScaleLets you select and scale sub-objects. Flyout options are Scale, Scale Horizontal, and Scale
Vertical.
Pressing SHIFT as you scale constrains the transform to a single axis.
Freeform ModeLets you select and move, rotate, or scale vertices, depending on where you drag.
After you make a selection, the Freeform gizmo appears as a rectangular bounding box around the
selected vertices. As you move the cursor over the gizmo's various elements and inside the gizmo, the
cursor's appearance, and the result of starting to drag in this location, change:
MovePosition the cursor anywhere inside the gizmo and then drag to move the selection. To
constrain movement to the vertical or horizontal axis, depending on how you begin dragging, press and
hold SHIFT before dragging.
RotatePosition the cursor over a gizmo edge center point, and then drag to rotate the selection
about the pivot. As you drag, the amount of rotation is shown in the center of the gizmo.
CTRL+drag to rotate in five-degree increments; ALT+drag to rotate in one-degree increments.
Freeform rotation respects the angle snap status.
ScalePosition the cursor over a gizmo corner and then drag to scale the selection. By default,
scaling is non-uniform; if you press and hold CTRL before dragging, scaling is uniform on the horizontal
and vertical axes. Press and hold SHIFT before dragging to constrain scaling to the vertical or
horizontal axis, depending on how you begin dragging.
By default, scaling takes place about the gizmo center. If you've moved the pivot (see following item),
you can scale about the transform center instead by pressing and holding ALT before dragging.
Move pivotPosition the cursor over the pivot, a wireframe cross that appears by default at the
center of the gizmo. When this cursor appears, drag to move the pivot. Rotation always occurs about
the pivot; scaling takes place about the pivot if you press and hold ALT before dragging.
Tip: By default, the pivot always resets to the center of the gizmo when you make a new selection. If
you prefer to retain the offset from selection to selection, you can toggle this feature with the Reset
Pivot On Selection command. This command is not available in the editor interface by default; you

Edit UVWs Dialog
must use the Customize User Interface dialog to add it.
If you CTRL+select one or more vertices outside the gizmo, the gizmo expands to encompass the entire
selection.
MirrorMirrors selected vertices and flips UVs. Flyout options are Mirror Vertical, Mirror Horizontal,
Flip Horizontal, and Flip Vertical.
Flip first detaches the selection along its boundary edges and then applies a Mirror Horizontal or Vertical
depending on the mode.
Show MapToggles the display of the map in the editor window.
UV/VW/UWBy default, the UV portion of the UVW coordinates is displayed in the view window.
However, you can switch the display to edit the UWs or the VWs.
Pick Texture (drop-down)Contains all the maps of the material assigned to the object. The names of
the maps assigned in the material editor are displayed in the list. The Pick Texture option in the list lets
you use the Material/Map Browser to add and display textures that are not in the object's material. The
list can store a total of 10 maps; additional maps scroll off the bottom of the list.
Choose a map you want to use in the view window. For example, you might use a bump or texture map
as a reference to move UVW vertices.
Edit UVWs window
The Edit UVWs window allows you to edit UVW sub-objects to adjust the mapping on a model. For
example, a texture map might contain the side, top, and front views of a car. By first planar mapping the
top, side, and front faces of the model at the Face sub-object level, you can adjust the texture
coordinates for each selection to fit the different parts of texture map to the corresponding areas on the
car.
To edit the UVW vertices, first choose a transform tool and sub-object mode, make a selection, and then
click and drag in the window to transform the selection.
Quad menuRight-click in the window to display the quad menu, which provides access to all the
transform tools, as well as a number of editor commands.
Lower Toolbar
U, V, and WThese fields display the UVW coordinates for the current selection. Use the keyboard or the
spinners to edit them.
These fields are active at all sub-object levels, but they always apply to vertices. With a single vertex
selected, they display the current coordinates. With multiple vertices (or one or more edges or faces)
selected, they display any coordinates the vertices belonging to the selection have in common; otherwise,
they're blank.
Lock SelectionLocks vertex selection. You can move selected vertices without touching them.
Filter Selected FacesDisplays UVW vertices of the object's selected faces in the viewport, and

Edit UVWs Dialog
hides the rest.

All ID's (drop-down)Filters the object's material IDs. Displays texture faces that match the ID drop-
down.
PanClick Pan, and then drag in the window to change the visible portion.
Tip: With a three-button mouse, you can also pan the window by dragging with the middle mouse button
held down.
ZoomClick Zoom, and then click+drag to zoom the window.

Tip: With a wheel mouse, you can also zoom by turning the wheel.
Zoom RegionClick Zoom Region, and then region-select part of the window to zoom in.
Zoom ExtentsZooms in or out to fit all UVW sub-objects or only selected sub-objects in the
window. The flyout options are Zoom Extents and Zoom Extents Selected.
Grid SnapWhen on, moving sub-objects tends to snap the vertex closest to the mouse cursor,
which is highlighted by a square outline, to the nearest grid line or intersection.
This is the default tool on this flyout; Pixel Snap is also available.
You can set the snap strength in the Unwrap Options dialog.
Pixel SnapSnaps to the nearest pixel corner when you have a bitmap in the background. Available
from the Grid Snap flyout.
Combine this with Center Pixel Snap to snap to the center of pixels rather than the corner.
Note: With multiple vertices selected, all vertices snap to the nearest pixel, relatively; this can slightly
alter the spatial relationships among them.
Options panel
By default, the Options panel, docked to the bottom of the Edit UVWs dialog, provides controls for using
soft selection, specifying selection modes, and rotating the selection. The Show Options button lets you
toggle the display of additional settings for bitmaps, viewports, and the editor.
Soft Selection group

Edit UVWs Dialog
The Soft Selection controls make a sub-object selection behave as if surrounded by a "magnetic field."
Unselected sub-objects within the field are drawn along smoothly while you transform the sub-object
selection, the effect diminishing with distance. You can adjust this distance, or falloff, whether it applies
to object space, texture space, or edge space, and the formula by which it diminishes.
OnActivates or deactivates soft selection.
XY/UVSpecifies object or texture space for the falloff distance. XY selects object space, UV selects
texture space.
FalloffSets the falloff distance. As values increase, unselected vertex colors change gradually from the
selected vertex to reflect the area of influence.
Edge DistanceTurn on to limit the falloff region by the specified number of edges between the selection
and the affected vertices. The affected region is measured in terms of "edge-distance" space rather than
absolute distance.
The icons depict how their buttons affect falloff. The flyout options are:
Smooth
Linear
Slow Out
Fast Out
Selection Modes group
Sub-object modeSpecifies the type of sub-object that you can select by clicking or dragging in the
window. Default=Vertex.
Vertex
Edge
Face
Expand SelectionExpands the selection.

Vertex and face expansion proceeds outwards in all available directions. Edge expansion proceeds along
available UV paths. For example, to select a cluster outline, select one outer edge, and then click Expand
Selection repeatedly.
Contract SelectionShrinks the selection by deselecting the outermost sub-objects.

Select ElementSelecting a sub-object in a cluster causes the entire cluster to become selected. Works
in all sub-object modes.

Edit UVWs Dialog
Sync to ViewportCauses any sub-object selection in the viewports to be reflected in the editor window.
Note: For this feature take effect, you must be at the Select Face sub-object level of the Unwrap UVW
modifier. Also, for face and edge sub-object selections to be visible in a shaded viewport, turn on Shade
Selected Faces (F2) and/or Edged Faces (F4).
Rotate +90Rotates the selection 90 degrees about its center.

Rotate -90Rotates the selection -90 degrees about its center.
Bitmap Options group
Click Show Options to make this group available.

Use Custom Bitmap SizeWhen turned on, scales the bitmap texture to the values specified by Width
and Height. You can adjust these settings to scale and reproportion the bitmap texture in relation to the
texture coordinates. This scaling doesn't affect the bitmap in the material, but only as viewed in the
editor.
Tip: When working with large textures, reduce the bitmap size for faster feedback. And when working with
disproportionate textures, setting the dimensions closer to each other in the editor can make it easier to
work.
WidthScales the bitmap along the horizontal axis.
HeightScales the bitmap along the vertical axis.
Tile BitmapWhen turned on, you can repeat the bitmap in the editor, displaying tiling set in the
material. You can use any part of the tiled image for setting texture coordinates. This is helpful when the
sections of the texture image are packed tightly together and the mesh contains many different areas to
map.
TilesThe number of times the texture image is repeated, counting outward in eight directions (the four
corners and the four sides).
With Tiles=1, the result is a 3 x 3 grid. With Tiles=2, the result is a 5 x 5 grid, and so on.
BrightnessSets the brightness of the tiled bitmap. At 1.0, the brightness equals that of the original
image; at 0.5 it's half the brightness; and at 0, it's black.
Tip: Turning off Affect Center Tile, available in the Unwrap Options dialog > Display Preferences group,
prevents the Brightness setting from affecting the center tile, so it's easier to find if you've turned down
the brightness.
Viewport Options group
Constant UpdateWhen on, the viewports update in real-time, reflecting any changes to the texture
coordinates as you make them. When off, the viewports update only after you finish transforming texture
coordinates (that is, when you release the mouse button).
Highlight Selected VertsTurns on viewport display of vertices, which then highlight to indicate
selected sub-objects in the window.
Note: For this feature take effect, the Modify panel > Unwrap UVW modifier > Select Face sub-object level

Edit UVWs Dialog
must be active. Also, if Shade Selected Faces (F2) or Edged Faces (F4) is on, to keep the viewport face or
edge selection current with that of the editor, Sync To Viewport must be turned on.
Unwrap Editor Options group
Show Hidden EdgesToggles the display of face edges. When turned off, only faces appear. When
turned on, all mesh geometry appears.
Center Pixel SnapWhen Pixel Snap is turned on, snaps to the center of pixels of the background
images instead of pixel edges.
Weld ThresholdSets the radius within which welding using Weld Selected takes effect. The setting is in
UV-space distance. Default=0.01. Range=0 to 10.
Comments

Select an editable poly object. > Modify panel > Selection rollout > Vertex
Select an editable poly object. > Modify panel > Modify Stack display > Editable Poly rollout >
Vertex
Select an editable poly object. > Quad menu > Tools 1 quadrant > Sub-Objects sub-menu > Vertex
Vertices are points in space: they define the structure of other sub-objects that make up the poly.
When vertices are moved or edited, the geometry they form is affected as well. Vertices can also
exist independently; such isolated vertices can be used to construct other geometry but are
otherwise invisible when rendering.
At the Editable Poly (Vertex) sub-object level, you can select single and multiple vertices and move
them using standard methods. This topic covers the Edit Geometry, Edit Vertices, and Vertex
Properties rollouts; for other controls, see Editable Poly.
Procedure
To select vertices by color:
1. In the Vertex Properties rollout > Select Vertices By group, click the color swatch, and specify
the color of vertex you want in the Color Selector.
2. Specify ranges in the RGB Range spinners. This lets you select vertices that are close to the
specified color, but don't match exactly.
3. Click the Select button.

All vertices matching the color, or within the RGB range, are selected.
You can add to the selection by holding CTRL when you press the Select button, and you can
subtract from the selection by holding the ALT key.
Tip: You can select all vertices of the same color by first selecting the vertex you want
matched, dragging a copy of the Edit Color swatch to the Existing Color swatch, and then
clicking the Select button. (If you want an exact match, be sure to set the RGB Range spinners
to 0 first.)
Interface
Selection rollout
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See Editable Poly for information on the Selection rollout settings.
Move, Rotate, and Scale functions, as well as any deformation modifiers (such as Bend) applied to
the object. This provides a magnet-like effect with a sphere of influence around the selection.
Edit Vertices rollout
This rollout includes commands specific to vertex editing.

Note: To delete vertices, select them and press the DELETE key. This can create one or more holes
in the mesh. To delete vertices without creating holes, use Remove (see below).
RemoveDeletes selected vertices and combines the polygons that use them. The keyboard
shortcut is BACKSPACE.

Removing one or more vertices deletes them and retriangulates the mesh to keep the surface intact.
If you use Delete instead, the polygons depending on those vertices are deleted as well, creating a
hole in the mesh.
Warning: Use of Remove can result in mesh shape changes and non-planar polygons.
BreakCreates a new vertex for each polygon attached to selected vertices, allowing the polygon
corners to be moved away from each other where they were once joined at each original vertex. If a
vertex is isolated or used by only one polygon, it is unaffected.
ExtrudeLets you extrude vertices manually via direct manipulation in the viewport. Click this
button, and then drag vertically on any vertex to extrude it.
Extruding a vertex moves it along a normal and creates new polygons that form the sides of the
extrusion, connecting the vertex to the object. The extrusion has the same number of sides as the
number of polygons that originally used the extruded vertex.
Following are important aspects of vertex extrusion:
When over a selected vertex, the mouse cursor changes to an Extrude cursor.
Drag vertically to specify the extent of the extrusion, and horizontally to set the size of the base.
With multiple vertices selected, dragging on any one extrudes all selected vertices equally.
You can drag other vertices in turn to extrude them while the Extrude button is active. Click
Extrude again or right-click in the active viewport to end the operation.

Chamfer box showing extruded vertex
Extrude SettingsOpens the Extrude Vertices dialog, which lets you perform extrusion via
If you click this button after performing a manual extrusion, the same extrusion is performed on the
current selection as a preview and the dialog opens with Extrusion Height set to the amount of the
last manual extrusion.
WeldCombines contiguous, selected vertices that fall within the tolerance specified in Weld dialog.
All edges become connected to the resulting single vertex.
Weld is best suited to automatically simplifying geometry that has areas with a number of vertices in
close proximity.
Weld SettingsOpens the Weld dialog, which lets you specify the weld threshold.
ChamferClick this button and then drag vertices in the active object. To chamfer vertices
numerically, click the Chamfer Settings button and use the Chamfer Amount value.
If you chamfer multiple selected vertices, all of them are chamfered identically. If you drag an
unselected vertex, any selected vertices are first deselected.
Each chamfered vertex is effectively replaced by a new face that connects new points on all edges
leading to the original vertex. These new points are exactly <chamfer amount> distance from the
original vertex along each of these edges. New chamfer faces are created with the material ID of one
of the neighboring faces (picked at random) and a smoothing group which is an intersection of all
neighboring smoothing groups.
For example, if you chamfer one corner of a box, the single corner vertex is replaced by a triangular
face whose vertices move along the three edges that led to the corner. Outside faces are rearranged
and split to use these three new vertices, and a new triangle is created at the corner.

Target WeldAllows you to select a vertex and weld it to a target vertex. When positioned over a
vertex, the cursor changes to a + cursor. Click and move the mouse and a dashed line appears from
the vertex with an arrow cursor at the other end of the line. Position the cursor over another,
neighboring vertex and when the + cursor appears again, click the mouse. The first vertex is moved
to the position of the second, and the two are welded.
ConnectCreates new edges between pairs of selected vertices.
Connect will not let the new edges cross. Thus, for example, if you select all four vertices of a four-
sided polygon and then click Connect, only two of the vertices will be connected. In this case, to
connect all four vertices with new edges, use Cut.
Remove Isolated VerticesDeletes all vertices that don't belong to any polygons.
Remove Unused Map VertsCertain modeling operations can leave unused (isolated) map
vertices that show up in the Unwrap UVW editor, but cannot be used for mapping. You can use this
button to automatically delete these map vertices.
WeightSets the weight of selected vertices. Used by the NURMS subdivision option and by the
MeshSmooth modifier. Increasing a vertex weight tends to pull the smoothed result toward the
vertex.


For example, if you extrude a vertex, and want to apply the same extrusion to several others, select
the others, and then click Repeat Last.
NoneNo constraints.
EdgeConstrains vertex transformations to follow edges.
FaceConstrains vertex transformations to face surfaces.

When set to Edge, moving a vertex will slide it along one of the existing edges, depending on the
direction of the transformation. If set to Face, the vertex moves only on the polygons surface.
Note: The Constraints setting persists at all sub-object levels.

CreateLets you add vertices to a single selected poly object. After selecting the object and clicking
Create, click anywhere in space to add free-floating (isolated) vertices to the object. The new
vertices are placed on the active construction plane unless object snapping is turned on. For
example, with face snapping on, you can create vertices on object faces.
CollapseCollapses groups of contiguous selected vertices by welding them into a single vertex at
the selection center.
any type of object, including editable meshes, splines, patch objects, and NURBS objects. Attaching
a non-polymesh object converts it to editable-poly format. Click the object you want to attach to the
currently selected poly object.
DetachDetaches the selected vertices and all attached polygons from the poly object, creating a
separate object or element. The Detach As Clone option copies the polygons rather than moving
them.
You're prompted to enter a name for the new object. Detached polygons leave a hole in the original
object when you move them to a new position.
Cut and Slice group
These knife-like tools let you subdivide the poly mesh along a plane (Slice) or in a specific area
(Cut). Also see Full Interactivity.
Slice PlaneCreates a gizmo for a slice plane that you can position and rotate to specify where to
slice. Also enables the Slice and Reset Plane buttons.

If snapping is turned off, you see a preview of the slice as you transform the slice plane. To perform
the slice, click the Slice button.
edges are divided. This lets you easily delete the new polygons to create holes, or animate the new
polygons as separate elements.
SlicePerforms the slice operation at the location of the slice plane. Available only when Slice Plane
is turned on. This tool slices the poly just like the Operate On: Polygons mode of the Slice modifier.
Reset PlaneReturns the Slice plane to its default position and orientation. Available only when
Slice Plane is turned on.
QuickSliceLets you quickly slice the object without having to manipulate a gizmo. Make a
selection, click QuickSlice, and then click once at the slice start point and again at its endpoint. You
Note: At the Vertex sub-object level, QuickSlice affects the entire object. To slice only specific
polygons, use QuickSlice on a polygon selection at the Poly sub-object level.
CutLets you create edges. Click at the start point, move the mouse and click again, and continue
moving and clicking to create new connected edges. Right-click once to exit the current cut,
whereupon you can start a new one, or right-click again to exit Cut mode.
You can use vertices, edges, and polygons as the endpoints of a cut. The mouse cursor changes in
appearance to indicate which type of sub-object it's pointing to.
MSmoothSmoothes the selection using the current settings. This command uses subdivision
functionality similar to that of the MeshSmooth modifier with NURMS Subdivision, but unlike NURMS
Subdivision, it applies the smoothing instantly to the selected area of the control mesh.
MSmooth SettingsOpens the MeshSmooth Selection dialog, which lets you specify how
smoothing is applied.
TessellateSubdivides the selection based on the Tessellation settings.
Tessellation is useful for increasing local mesh density while modeling. You can subdivide any
selection of polygons. Two tessellation methods are available: Edge and Face.
Tessellate SettingsOpens the Tessellate Selection dialog, which lets you specify how
smoothing is applied.
Make PlanarForces all selected vertices to become coplanar. The plane's normal is the average
surface normal of the selected vertices .
Tip: One application for Make Planar is making a flat side on an object. Normally, you would use a
contiguous selection set. If the selection includes vertices on various parts of the object, the vertices
are still made planar, but with distorting effects on the rest of the geometry.

View AlignAligns the selection to the plane of the active viewport. In the case of orthographic
When aligning to a Perspective viewport (or Camera and Light views), the vertices are reoriented to
be aligned to a plane that is parallel to the camera's viewing plane. (Perspective viewports have
invisible camera planes.) In these cases, the selection is not translated but only rotated.
Grid AlignAligns the selection to the current construction plane. The current plane is specified by
the active viewport in the case of the home grid. When using a grid object, the current plane is the
active grid object.
Hide SelectedHides any selected vertices.
Hidden vertices are unavailable for selection or transformation.
Unhide AllRestores any hidden vertices to visibility.
Hide UnselectedHides any unselected vertices.
Hidden vertices are unavailable for selection or transformation.
Named Selections
Lets you copy and paste named selection sets of sub-objects between objects. Start by creating one
or more named selection sets, copy one, select a different object, go to the same sub-object level,
and then paste the set.
Note: This function uses sub-object IDs, so if the target object's geometry differs from that of the
source object, the pasted selection will probably comprise a different set of sub-objects.
Note: For more information, see Named Selection Sets.
CopyOpens a dialog that lets you specify a named selection set to place into the copy buffer.
PastePastes the named selection from the copy buffer.
Full InteractivityToggles the level of feedback for the Slice and Cut tools, as well as all settings
dialogs.
only the rubber-band line is visible until you click. With Slice Plane, the final result is visible only
when you release the mouse button after transforming the plane. Similarly, with numeric settings in
dialogs, the final result is visible only when you release the mouse button after changing the setting.
Show CageToggles the display of the orange cage that covers half the mesh when working with
an editable poly to which the Symmetry modifier is applied, and for which Show End Result is turned
on.

Vertex Properties rollout
Use these controls to assign the color, and illumination color (shading) of selected vertices.
ColorClick the color swatch to change the color of selected vertices.
IlluminationClick the color swatch to change the illumination color of selected vertices. This lets
you change the illumination without changing the vertex's color.
AlphaLets you set specific alpha values of selected vertices. These alpha values are maintained by
the pipeline and can be used in conjunction with vertex color to provide full RGBA data for export.
Select Vertices By group
Color/IlluminationDetermines whether to select vertices by vertex color values or vertex

illumination values.
Color SwatchDisplays the Color Selector, where you can specify a color to match.
SelectDepending on which radio button is chosen, selects all vertices whose vertex color or
illumination values either match the color swatch, or are within the range specified by the RGB
spinners.
RangeSpecifies a range for the color match. All three RGB values in the vertex color or
illumination must either match the color specified by the color swatch in Select By Vertex Color, or
be within plus or minus the values in the Range spinners. Default=10.

settings.
Comments

Extrude Vertices/Edges Dialog
Select an editable poly object. > Modify panel > Vertex/Edge/Border sub-object level > Edit
Vertices/Edges/Borders rollout > Extrude Settings button
Select an editable poly object. > Vertex/Edge/Border sub-object level > Quad menu > tools 2
quadrant > Extrude Settings button
Use this dialog for extruding vertices, edges, and borders in Interactive Manipulation mode.
Note: At the Border sub-object level, this dialog is named Extrude Edges.
Interface
Extrusion HeightSpecifies the amount of the extrusion in scene units.

You can extrude sub-objects outward or inward, depending on whether the value is positive or
negative.
Extrusion Base WidthSpecifies the size of the extrusion base in scene units.
You can set this as high as you want, but the actual size cannot extend beyond the vertices adjacent
to the extruded sub-object(s).
selection.
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Comments
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Weld Vertices/Edges Dialog
Select an editable poly object. > Modify panel > Vertex or Edge sub-object level > Edit Vertices/
Edges rollout > Weld Settings button
Select an editable poly object. > Vertex or Edge sub-object level > Quad menu > tools 2 quadrant
> Weld Settings button
Use this dialog for setting the weld threshold for vertices and edges.
Interface
Weld ThresholdSpecifies the maximum distance, in scene units, within which selected sub-
objects will be welded.
Any vertex or edge that lies outside this threshold (that is, it's farther than this from the nearest
vertex or edge) will not be welded.
Number of VerticesShows the number of vertices before and after the weld.
The After quantity updates dynamically as you change the setting with the spinner.
selection.
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Comments
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Edit UVWs Dialog Menu Bar
Select an object. > Modify panel > Modifier List > Object-Space Modifiers Unwrap UVW > Edit
button (on Parameters rollout) > Menu bar
The Edit UVWs dialog menu bar provides access to a number of important editor commands. Some
of these commands are replicated on the editor toolbar and in the Unwrap UVW command panel;
others, such as the new Mapping, Stitch, and Sketch tools, are available only from the menus.
Tip: Several commands are not available in the editor interface by default; you can use the
Customize User Interface dialog to add them.
Interface
File menu
Save UV'sSaves the UVW coordinates to a .uvw file.

Load UV'sLoads previously saved .uvw files.
Reset AllResets the UVW coordinates in the Edit UVWs dialog.
Choosing this is almost the same as removing and reapplying the modifier, except that a map
assigned in the Edit UVWs dialog is not deleted. For example, if you forgot to turn on the Generate
Mapping Coordinates check box for an object, and then applied the Unwrap UVW modifier, the
modifier would have no UVW coordinates to use and its settings would be wrong. If you then go back
in the Stack and turn on Generate Mapping Coordinates, you'd need to choose the Reset All
command. When you do so, an alert warns you that you're losing any edits you've made.
Edit menu
These commands provide access to the different transform functions, and copy and paste selections.
Move ModeLets you select and move sub-objects.
Rotate ModeLets you select and rotate sub-objects.
Scale ModeLets you select and scale sub-objects.
Freeform Gizmo ModeLets you select and transform vertices. See Freeform Gizmo.
CopyCopies the current selection (i.e., texture coordinates) into the paste buffer.
PasteApplies the texture mapping coordinates in the paste buffer to the current selection. Using
Paste repeatedly with the same target coordinates causes the coordinates to rotate by 90 degrees
each time.
Use Copy and Paste to apply the same mapping coordinates (i.e., image) to a number of different
geometry faces. A typical example of usage would be in designing a game level, where you're
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working with a multi-image texture map, part of which is a door image. You might want to apply the
same door image to several different door polys. First, you would select one of the door polys and
position it over the door image. Next, use Copy to place its texture coordinates in the paste buffer.
Then select another door poly and choose Paste or Paste Weld. The door's texture coordinates move
to the same location as the original poly. Continue selecting other door polys and pasting until all the
doors are mapped.
Tip: For best results, use comparable sets of texture coordinates for the source and destination. For
example, copy a single four-sided face, and the paste another four-sided face.
Paste WeldApplies the contents of the paste buffer to the current selection and then welds
coincident vertices, effectively fusing the source and destination selections together.
Use Paste Weld to end up with a single set of texture coordinates that's applied to multiple geometry
elements. Adjusting these texture coordinates changes the mapping for all geometry to which
they're applied.
Select menu
These commands let you copy a viewport selection to the editor, and transfer selections among the
three different sub-object modes.
Get Selection From ViewportCopies the viewport selection to the editor window.
Convert Vertex to EdgeConverts the current vertex selection to an edge selection and places you
in Edge sub-object mode. For an edge to be selected, both of its vertices must be selected.
Convert Vertex to FaceConverts the current vertex selection to a face selection and places you
in Face sub-object mode. For a face to be selected, all of its vertices must be selected.
Convert Edge to VertexConverts the current edge selection to a vertex selection and places you
in Vertex sub-object mode.
Convert Edge to FaceConverts the current edge selection to a face selection and places you in
Face sub-object mode. For a face to be selected, the current edge selection must include all of its
vertices. For example, if two opposite edges of a four-sided face are selected, the edge selection
includes all four of the face's vertices, so this command will select the face.
Convert Face to VertexConverts the current face selection to a vertex selection and places you
in Vertex sub-object mode.
Convert Face to EdgeConverts the current face selection to an edge selection and places you in
Edge sub-object mode.
Tools menu
Tools on this menu let you flip and mirror texture coordinates, weld vertices, combine and separate
sets of texture coordinates, and sketch outlines for multiple selected vertices.
Flip Horizontal/VerticalDetaches the selected sub-objects along their boundary edges and then
applies Mirror Horizontal or Vertical, depending on the mode.

Mirror Horizontal/VerticalReverses the direction of selected sub-objects along the indicated axis
and flips UVs accordingly.
Weld SelectedWelds selected sub-objects to a single vertex, based on the Weld Threshold
setting. You can set the threshold on the Options panel > Unwrap Editor Options group, as well as
on the Unwrap Options dialog > Misc. Preferences group.
Target WeldWelds pairs of vertices or edges. Not available at the Face sub-object level.
Turn on Target Weld, and then drag one vertex to another vertex, or one edge to another edge. As
you drag, the cursor changes in appearance to cross hairs when it's over a valid sub-object. While
this command is active, you can continue welding sub-objects, and change the sub-object level. To
exit Target Weld mode, right-click in the editor window.
BreakApplies to the current selection; works differently in the three sub-object modes. At the
Vertex sub-object level, Break replaces each shared vertex with two vertices. With edges, Break
requires at least two contiguous edges to be selected, and separates each edge into two. With faces,
Break splits the selection off from the rest of the mesh into a new element, exactly as does Detach
Edge Verts.
Detach Edge VertsTries to split off the current selection into a new element. Any invalid vertices
or edges are removed from the selection set before the detach.
Stitch SelectedFor the current selection, finds all the texture vertices that are assigned to the
same geometric vertex, brings them all to the same spot, and welds them together. With this tool
you can automatically connect faces that are contiguous in the object mesh but not in the editor.
To use Stitch Selected, first select sub-objects along an edge you want to connect (by default, this
causes the shared edges to highlight), and then choose the command. In the Stitch Tool dialog,
adjust the settings, and then click OK to accept or Cancel to abort.
Pack UVsDistributes all texture-coordinate clusters through the texture space using one of two
methods and spacing you specify. This is useful if you have several overlapping clusters and wish to
separate them.
Choosing Pack UVs opens the Pack dialog.
Sketch VerticesLets you draw outlines for vertex selections with the mouse. This is useful for
matching coordinate cluster outlines to sections of the texture map en masse, without having to
move vertices one at a time.
Choosing Sketch Vertices opens the Sketch Tool dialog. Sketch Vertices is available only in the
Vertex sub-object mode.
Relax DialogLets you change the apparent surface tension in a selection of texture vertices
by moving vertices closer to, or away from, their neighbors.
Choosing this command opens the Relax Tool dialog, whose settings work identically to those of the
Relax modifier. The dialog also has an Apply button, which applies the current parameters to the
selection, and a Set As Default button, which makes the current settings the default for the current
modifier during the current session only.
The Relax Dialog command is available only in the Vertex sub-object mode.

Note: This command, as well as a Relax command that lets you apply the default settings to the
current selection without opening the dialog, are available as assignable keyboard shortcuts.
Mapping menu
Lets you apply one of three different types of automatic, procedural mapping methods to a model.
Each method provides settings so you can adjust the mapping to the geometry you're using.
With each method, the mapping is applied to the current face selection; if there is no face selection
it is applied to the entire mesh.
Here's a quick overview of the three methods:
Flatten mapping prevents overlap of mapping clusters, but can still cause texture distortion.
Normal mapping is the most straightforward method, but can result in even greater texture
distortion than with Flatten mapping.
Unfold mapping eliminates texture distortion, but can result in overlapping coordinate clusters.
Tip: In many cases, one of the automatic mapping functions will provide useful results. But with
certain custom or complex objects, you might get the best results with manual mapping; use a
variation of the basic procedure, or use a procedural method as a starting point for custom mapping.
Flatten MappingApplies planar maps to groups of contiguous faces that fall within a specified
angle threshold.
Choosing Flatten Mapping opens the Flatten Mapping dialog.
Normal MappingApplies planar maps based on different vector-projection methods.
Choosing Normal Mapping opens the Normal Mapping dialog.
Unfold MappingUnfolds the mesh so you get no face distortion, but does not guarantee that faces
will overlap.
Choosing Unfold Mapping opens the Unfold Mapping dialog.
Options menu
Advanced OptionsOpens the Unwrap Options dialog.

Load DefaultsLoads the editor settings from the file unwrapuvw.ini in the plugcfg directory.
Save Current Settings as DefaultSaves the editor settings to the file unwrapuvw.ini in the
plugcfg directory. Settings saved in this way persist between sessions.
Always Bring Up The Edit WindowWhen on, selecting an object with the Unwrap UVW modifier
active automatically opens the Edit UVWs dialog. By default, this is off, so you must click the
Parameters rollout > Edit button to open the dialog.
Display menu
Filter Selected FacesWhen turned on, displays UVW vertices of the object's selected faces, and

hides the rest.

Display Hidden EdgesToggles the display of face edges. When turned off, only faces appear.
When turned on, all mesh geometry appears.
Show Vertex ConnectionsIn Vertex sub-object mode, toggles the display of numeric labels for
all selected vertices. Shared vertices are indicated by the appearance of multiple same-numbered
labels.
Show Shared Sub-objectsWhen turned on, for the current selection, highlights any shared
vertices and/or edges. You can change the highlight color on the Unwrap Options dialog.
Update MapIf you change a bitmap used in the object's material, choose Update Map to refresh
the editor window background and display the new image.
View menu
ZoomChoose Zoom, and then drag downward in the editor window to zoom out and upward to
zoom in.
If you have a wheel mouse, you can also turn the wheel to zoom.
Zoom ExtentsZooms in or out to fit all UVW vertices in the window.
Zoom RegionChoose Zoom Region, and then drag a rectangle in the window to zoom to that
area.
Zoom To GizmoZooms the active viewport to the current selection.
Zoom Extents SelectedZooms in or out to fit all selected UVW vertices in the window.
PanChoose Pan, and then drag in the window to change the visible portion.
Comments

Unwrap Options Dialog
Select an object. > Modify panel > Modifier List > Object-Space Modifiers > Unwrap UVW > Edit
button (on Parameters rollout) > Edit UVWs dialog > Options menu > Advanced Options
Set preferences for the Unwrap UVW editor using controls in the Unwrap Options dialog.
Interface
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Colors group
Contains color swatches to customize the display of the UVW lattice. With certain maps, the default
colors may become difficult to see. Use these swatches to choose colors that work better for your
specific map.
To change a color, click its swatch, and then use the Color Selector to choose a new one.
Line ColorSpecifies the color of the UVW lattice lines. Default=gray.
Handle ColorThe color assigned to patch handles. Default=green.
Show Shared SubsWhen turned on, non-selected sub-objects shared by the current selection are
highlighted in this color. In most cases, the shared sub-objects are edges. With a single vertex, the
shared sub-objects are vertices. Default=purple.
Selection ColorSpecifies the color of selected UVW sub-objects. Default=red.
Gizmo ColorThe color assigned to the Freeform gizmo. Default=yellow.
Display Open EdgesWhen turned on, lets you assign a distinctive color to coordinate clusters'
boundaries. Default=white.
Show GridWhen turned on, the grid lines are visible. Default=dark blue.
You can also set the grid size.
Background ColorThe color assigned to the background where the texture map isn't displayed.
Default=dark gray.
(drop-down)Lets you assign a fill pattern to selected faces. Default=Cross Hatch Horizontal/
Vertical.
Display Preferences group
Contains controls affecting the map display in the view window.

Render WidthSpecifies the width resolution of the image displayed in the view window. This does
not change the size of the image, but only the resolution.
Render HeightSpecifies the height resolution.
Use Custom Bitmap SizeWhen turned on, scales the bitmap texture to the values specified by
Width and Height. You can adjust these settings to scale and reproportion the bitmap texture in
relation to the texture coordinates. This scaling doesn't affect the bitmap in the material, but only as
viewed in the editor.
Tip: When working with large textures, reduce the bitmap size for faster feedback. And when
working with disproportionate textures, setting the dimensions closer to each other in the editor can
make it easier to work.
TilesThe number of times the texture image is repeated, counting outward in eight directions (the
four corners and the four sides).

With Tiles=1, the result is a 3 x 3 grid. With Tiles=2, the result is a 5 x 5 grid, and so on.
You can toggle the tiling feature with the Tile Bitmap check box, described below.
Tile BrightnessSets the brightness of the tiled bitmap. At 1.0, the brightness equals that of the
original image; at 0.5 it's half the brightness; and at 0, it's black.
This is the same setting as Brightness in the UVWs editor > Bitmap Options group (available with
Show Options).
Tile BitmapWhen turned on, you can repeat the bitmap in the editor, displaying tiling set in the
material.
You can use any part of the tiled image for setting texture coordinates. This is helpful when the
sections of the texture image are packed tightly together and the mesh contains many different
areas to map.
Affect Center TileWhen turned on, the Brightness setting affects all tiles equally. When off, the
center, or home, tile always remains at full brightness, so you can easily distinguish the home tile
from the copies.
Constant Update in ViewportsAffects the adjusting of UVW vertices in the viewport while you
move the mouse. Default=off (the effect of adjusting the UVW vertices does not appear in the
viewport until you release the mouse).
Show Selected Verts in ViewportDisplays selected texture vertices and the corresponding
vertices in the viewports.
Note: For the vertices to be visible in the viewports, you need to access Unwrap UVW modifier's Face
sub-object level. Also, after turning on the Show Selected Vertices option, force a viewport update
by selecting and/or transforming a vertex in the editor window.
Show Hidden EdgesToggles the display of face edges. When turned off, only faces appear. When
turned on, all mesh geometry appears.
Blend Tile to BackgroundAffects the color to which tiles set to Brightness less than 1.0 blend.
When turned off, tiles blend to black. When turned on, tiles blend to the background color.
Misc. Preferences
Center Pixel SnapWhen turned on, snaps to the center of pixels of the background images
instead of pixel edges.
Note: In previous versions of the software, this was called Mid Pixel Snap.
Weld ThresholdSets the radius within which welding using Weld Selected takes effect. The
setting is in UV-space distance. Default=0.01. Range=0 to 10.
Grid SizeSets the spacing of horizontal and vertical grid lines. Default=0.1.
Setting Grid Size to 0 effectively turns off the grid. At the highest value, 1.0, the grid is the same
size as the texture.

Snap Str(ength)Sets the grid snap strength. Default=0.2. Range=0 to 0.5.

Setting the strength to 0 effectively turns off snapping. At values less than 0.3, snapping tends to go
to grid edges. At the highest value, 0.5, you can snap only to grid intersections.
Selection Preferences
Soft Selection Edge DistanceWhen Soft Selection is turned on, limits the falloff region by the
specified number of edges between the selection and the affected vertices. The affected region is
measured in terms of "edge-distance" space rather than absolute distance. Default=16.
Single Click Hit SizeSets how far away you can click from a sub-object to select it. Default=4.
Range=1 to 10.
Selected Tick SizeSets the size of the square icon the editor window uses to indicate selected
vertices. Default=2. Range=1 to 10.
OK/Cancel/DefaultsClick OK to accept, or Cancel to cancel the changes in the dialog. Click

Defaults to restore all settings in this dialog to default values.
Comments

Stitch Tool Dialog
Stitch Tool Dialog
button (on Parameters rollout) > Tools menu > Stitch Selected
After you've separated your object's UVW coordinates into clusters, either manually or using one of
the automatic Mapping menu tools, you can use the Stitch tool to recombine specific clusters.
Note: You can stitch together only two clusters at a time. If the current selection is shared by more
than one cluster, then majority rules: Stitch attaches the cluster that shares the most sub-objects.
If the number of sub-objects shared by multiple other clusters is the same, the software attaches
the cluster whose shared sub-objects were chosen first.
Procedure
To stitch two clusters together:
1. In the source cluster, select sub-objects along an edge you want to connect.
By default, this causes the shared edges to highlight in the target object(s).
2. Choose Stitch Selected.

The clusters are connected.
3. Adjust the settings in the Stitch Tool dialog.

Feedback takes place in real time.
4. Click OK to accept or Cancel to abort.
Interface
Align ClustersMoves the target cluster to the source cluster, and rotates the target cluster into
place if necessary. When turned off, the target cluster remains in its original position and
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Stitch Tool Dialog
orientation.
Tip: If your clusters overlap after stitching with Align Clusters turned on, cancel the stitching, and
then position and align them as you want them after stitching. Then use the Stitch tool with Align
Clusters turned off.
BiasSets the extent to which attached sub-objects are moved from their original positions. At
Bias=0, the sub-objects remain in their original positions in the source cluster. At Bias=1, sub-
objects remain in their original positions in the target cluster. At in-between settings, their positions
are averaged between the two.
OKAccepts the changes and closes the dialog.
CancelUndoes any changes and closes the dialog.
Set As DefaultMakes the current settings the defaults for the current session.
Comments
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Pack UVs Dialog
Pack UVs Dialog
button (on Parameters rollout) > Tools menu > Pack UVs
The Pack UVs dialog contains controls for clusters.
Interface
(drop-down)Sets the packing method:
Linear PackingUses a linear method to lay out the faces. This method is fast but not very
efficient, and tends to leave a lot of unused UV space.
Recursive PackingSlower than the Linear method, but packs the faces more efficiently.
Spacing Controls the amount of space between clusters.

Normalize Clusters Controls whether the final layout will be scaled down to 1.0 unit to fit within
the standard editor mapping area. If this is turned off, the final size of the clusters will be in object
space, and they'll probably be much larger than the editor mapping area. For best results, leave this
turned on.
rotated 90 degrees.
take the most advantage of the available mapping space.
OKAccepts the settings, closes the dialog, and performs the packing as specified.
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Pack UVs Dialog
Comments
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Sketch Tool Dialog
Sketch Tool Dialog
button (on Parameters rollout) > Tools menu > Sketch Vertices
If you need to match a contiguous selection of texture vertices to an outline in a bitmap, whether an
irregular shape, a straight line, or a geometric shape, you can use the Sketch tool to perform the
operation quickly, rather than dragging the vertices one at a time.
Procedure
Example: To sketch texture vertices free form:

You can start with the vertices already selected, or use the Sketch tool to select them. In this
example, we'll assume the latter.
1. Choose Sketch Vertices.
2. In the Sketch Tool dialog, next to Select By, choose Drag Selection, if necessary.
3. Next to Align To, choose Free Form, if necessary.
4. Make sure Show Vertex Order and Interactive Mode are turned on. Leave Drag Cursor Size at
the default setting.
5. Click OK to close the dialog.

The mouse cursor takes the form of a circle, which means you're in drag select mode.
6. In the editor window, drag the cursor over the vertices to select, and then release the mouse
button.
As you drag, each vertex is assigned a consecutive number. When you release the mouse
button, the cursor turns into a pencil, which means you're in sketch mode.
Note: Before you start sketching, each successive mouse click alternates between drag and
sketch modes.
7. In the editor window, drag a wavy line.

The selected vertices follow the line in numeric order, spreading out evenly over its length. To
start the sketch over, release the mouse button, and then drag again.
Alternatively, if you press and hold ALT, and the press and release the mouse button, you'll
draw a straight line by moving the mouse. Click and move again to draw connected straight-
line segments.
You can combine free-form and straight-line sketching freely:
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Sketch Tool Dialog
To append a free-form line to a straight-line segment, release the ALT key and then begin
dragging.
To append a straight-line segment to a free-form line, press and hold ALT as you drag, and
then release the mouse button and move the mouse.
8. To exit the Sketch tool, right-click in the editor window.
Interface
Select byLets you choose how to select the vertices to sketch:
Pick SelectionLets you pick the vertices one by one. When you click OK, a Pick cursor appears
comprising a + sign and the letter P; when the cursor is over a vertex, the + sign becomes larger.
To finish picking, right-click, and then drag to sketch. After sketching, you return to Pick mode,
and so on. To exit, right-click.
Drag SelectionLets you pick multiple vertices by dragging. When you click OK, the mouse
cursor appears as a circle. After you drag to select vertices, release the mouse button, and then
drag (or ALT+click) to sketch. As with Pick Selection, the mouse cursor continues to alternate
between Select and Sketch modes until you right-click to exit.
Use Current SelectionUses the current selection; you cannot change the selection while using
the tool. If the current selection is edges or faces, Sketch uses all vertices attached to selected
sub-objects.
Align ToLets you choose how to sketch:
Free FormDrag to sketch free form (like drawing with a pencil), or ALT+click to sketch
connected
LineDrag to sketch a single, straight line segment.
BoxDrag diagonally to sketch a rectangle.

Sketch Tool Dialog
CircleDrag outward to sketch a circle, and then move the mouse in a circle to rotate the circle.
Show Vertex OrderDisplays numbered labels that indicate the order in which vertices were
selected and will spread out during sketching.
Interactive ModeShows vertex positioning as you sketch. Turn off for faster feedback.
Drag Cursor SizeSets the size of the mouse cursor used while dragging a selection. Default=8.
Range=1 to 15.
OKAccepts the changes and closes the dialog.
Comments

Relax Modifier
Relax Modifier
Modify panel > Make a selection. > Modifier List > Object-Space Modifiers > Relax
Make a selection. > Modifiers menu > Parametric Deformers > Relax
Relax moves the bowl away from its original contours
The Relax modifier changes the apparent surface tension in a mesh by moving vertices closer to, or
away from, their neighbors. The typical result is that the object gets smoother and a little smaller as
the vertices move toward an averaged center point. You can see the most pronounced effects on
objects with sharp corners and edges.
When you apply Relax, each vertex is compared to the position of its neighboring vertices and
moved toward or away from the average position of its neighbors. A neighboring vertex is one that
shares a visible edge with the current vertex.
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Relax Modifier
Original objects compared to relaxed objects
Patches
As of version 4, patch objects coming up the modifier stack are not converted to a mesh by this
modifier. A patch object input to the Relax modifier retains its patch definition. Files that contain
patch objects with the Relax modifier from previous versions of the software will be converted to
Setting the Relax Value
The Relax Value parameter controls how far a vertex moves for each iteration. The value specifies a
percentage of the distance from the original location of a vertex to the average location of its
neighbors:
Positive Relax ValuesMoves each vertex in closer to its neighbors. The object becomes
smoother and smaller.
Relax Value of 0.0Vertices do not move and Relax has no affect on the object.
Negative Relax ValuesMoves each vertex away from its neighbors. The object becomes more
irregular and larger.
Relax Values=1.0, 0.0, -1.0

Iterations=1 (default)

Relax Modifier
Setting Iterations
The Iterations parameter sets how many times to repeat the Relax process. For each iteration,
average locations are recalculated and the Relax Value is reapplied to every vertex.
For 0 iterations, no relaxation is applied.
Increasing iterations for positive Relax Value settings smooths and shrinks an object. With very
large iteration values, the object shrinks to a point.
Increasing iterations for negative Relax Value settings exaggerates and expands an object. With
relatively few iterations, the object becomes jumbled and almost unusable.
Iterations=0, 10, 50
Relax Value=0.5 (default)
Iterations=0,1, 5
Relax Value=-0.5
Keeping Boundary Points Fixed
The Keep Boundary Pts Fixed check box controls whether vertices at the edges of open meshes are
moved.
When onBoundary vertices do not move while the rest of the object is relaxed. This option is
particularly useful when working with multiple objects, or multiple elements within a single object,
that share open edges.
When offRelaxes all vertices of the object.

Relax Modifier
Keep Boundary Pts Fixed=on

Keep Boundary Pts Fixed=off

Interface
Relax ValueSets the distance a vertex moves as a percentage of the distance between a vertex
and the average location of its neighbors. Range=-1.0 to 1.0. Default=0.5.
IterationsSets how many times Relax is repeated. Each iteration recalculates average vertex
locations based on the result of the previous iteration. Default=1.
Keep Boundary Pts FixedVertices at the edge of open meshes do not relax. Default=on.
Save Outer CornersPreserves the original positions of vertices farthest away from the object
center.
Comments


To use keyboard shortcuts for the Unwrap UVW modifier, the Keyboard Shortcut Override Toggle on
the status bar must be turned on.
See also
Unwrap UVW Modifier

Keyboard Panel
In general, this table only includes functions that have default keyboard shortcuts and functions with
descriptions that are not documented in the Unwrap UVW reference topics.
Unwrap UVW Function Keyboard Shortcut Description
Lets you select vertices inside the

gizmo by CTRL+clicking or ALT
Allow Selections Inside Transform
+clicking a vertex. When turned on,
Gizmo
you can move only by dragging over
empty space.
Break Selected Vertices CTRL+B
Detach Edge Vertices D, CTRL+D
Edit UVWs CTRL+E
Filter Selected Faces ALT+F
Freeze Selected CTRL+F
Get Face Selection From Stack ALT+SHIFT+CTRL+F
Get Selection From Faces ALT+SHIFT+CTRL+P
Hide Selected CTRL+H
Equivalent to turning on Edge

Limit Soft Selection
Distance.
Set Edge Distance to the specified

Limit Soft Selection Range 18
value.
Load UVW ALT+SHIFT+CTRL+L
Lock Selected Vertices SPACEBAR
Mirror Horizontal ALT+SHIFT+CTRL+N
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Mirror Vertical ALT+SHIFT+CTRL+M
Move Horizontal ALT+SHIFT+CTRL+J
Move Vertical ALT+SHIFT+CTRL+K
When turned on, selecting an open

Open Edge Mode
edge selects all attached open edges.
Selects all open edges connected to

Open Edge Select
the current selection.
Paint Select Decrement Cursor

Applies to the Sketch tool.
Size
Paint Select Increment Cursor

Applies to the Sketch tool.
Size
Paint Select Mode Applies to the Sketch tool.
Pan CTRL+P
Snaps the Freeform gizmo pivot to

Pivot Snap ...
the specified gizmo edge.
Planar Map Faces/Patches ENTER
Turns on the Modify panel > Planar

Planar Threshold
Angle check box.
Applies only to triangle meshes.

When turned on (the default), if you
Polygon Mode select a triangular face, the software
will select all faces that belong to
the poly that owns that face.
Expands the current face selection

Polygon Select
to the poly.
Applies the default Relax Tool

Relax settings to the current texture
vertex selection.
Relax Dialog Opens the Relax Tool dialog.
When turned on (the default), the

Freeform gizmo pivot is reset to the
Reset Pivot On Selection center every time the selection
changes, otherwise the pivot
maintains its offset.
Sketch Activates Sketch Vertices.

Reverses the order of the selected

vertices for Sketch mode. Applies to
Sketch Reverse Vertex Order
the Use Current Selection option for
Sketch.
Snap CTRL+S
Sync Selection Mode Same as Sync to Viewport
Texture Vertex Contract Selection - (minus sign), NumPad -
Texture Vertex Expand Selection = (equal sign), NumPad +
Texture Vertex Move Mode Q
Texture Vertex Rotate Mode CTRL+R
Texture Vertex Weld Selected CTRL+W
Texture Vertex Target Weld CTRL+T
TV Edge Sub-object Mode TV=Texture Vertex
TV Element Mode TV=Texture Vertex
TV Face Sub-object Mode TV=Texture Vertex
TV Vertex Sub-object Mode TV=Texture Vertex
Unwrap Options CTRL+O (letter "o")
Update Map CTRL+U
Expands current selection to include

UV Edge Mode any edges that in the UV parameter
space.
Converts vertex selection to an edge

Vertex To Edge Select
selection and puts you in Edge mode.
Converts vertex selection to a face

Vertex To Face Select
selection and puts you in Face mode.
Zoom Z
Zoom Extents X
Zoom Extents Selected ALT+CTRL+Z
Zoom Region CTRL+X
Zoom to Gizmo SHIFT+SPACEBAR

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Element
Glossary
Element
The antler is one element of the moose head.
An element is one of two or more individual mesh objects (that is, groups of contiguous faces)
grouped together into one larger object. For example, if you attach one sphere to another, you
create one mesh object from the two spheres. Each sphere is now an element of the object. Any
function you perform on that object affects all its elements. However, you can manipulate the
elements independently using the Element sub-object level.
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Smoothing Groups
Glossary
Smoothing Groups
Left: The bottle has no smoothing.

Middle: Smoothing is assigned only to the highlighted group of faces.
Right: The bottle is smoothed using three different smoothing groups: on the body, the neck, and the
top edge.
Smoothing groups define whether a surface is rendered with sharp edges or smooth surfaces.
Smoothing groups are numbers assigned to the faces or patches of an object. Each face or patch can
carry any number of smoothing groups up to the maximum of 32. If two faces or patches share an
edge and share the same smoothing group, they will render as a smooth surface. If they don't share
the same smoothing group, the edge between them will render as a corner.
You can manually change or animate the threshold values for smoothing group assignments using
such tools as Editable Poly (Polygon/Element) and Edit Mesh Modifier.
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Flatten Mapping Dialog
button (on Parameters rollout) > Mapping menu > Flatten Mapping
The Flatten Mapping dialog lets you control how clusters are mapped.
Interface
Face Angle ThresholdThe angle used to determine the clusters to be mapped.

As the Flatten Map gathers faces to be mapped, it uses this parameter to determine which faces get
put in a cluster. This is the maximum angle that can exist between faces in a cluster.
The higher this number, the larger the clusters will be, with consequently greater distortion
introduced as a result of texture faces' proportions deviating from their geometry-equivalent faces.
Spacing Controls the amount of space between clusters.
turned on.
rotated 90 degrees.
take the most advantage of the available mapping space.
OKAccepts the settings, closes the dialog, and performs the mapping as specified.
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Normal Mapping Dialog
button (on Parameters rollout) > Mapping menu > Normal Mapping
Interface
(drop-down)Sets the mapping method:
Back/Front
Left/Right
Top/Bottom
Box No Top
Box
Diamond
SpacingControls the amount of space between clusters.

turned on.
rotated 90 degrees.
Align By WidthControls whether the width or the height of the clusters is used to control the
layout of the clusters.
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Unfold Mapping Dialog
Unfold Mapping Dialog
button (on Parameters rollout) > Mapping menu > Unfold Mapping
The Unfold Mapping dialog lets you control how faces are unfolded.
Interface
(drop-down)Sets the unfold method by specifying whether the software will start unfolding with
the closest or farthest face angle, with respect to distance. In almost all cases, you'll get better
results with Walk To Closest Face.
Walk To Closest Face
Walk to Farthest Face
turned on.
Comments
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Composite Map
Composite Map
Material Editor > Maps rollout > Click a Map button. > Material/Map Browser > Composite
Composite map combines stars, moon, and a glow into the sky.
The Composite map type is made up of other maps, which are overlaid on top of one another using
the alpha channel. For this type of map, use overlay images that already contain an alpha channel.
The controls for a Composite map are essentially a list of the maps it combines.
Viewports can display the multiple maps in a composite map. For multiple map display, the display
driver must be OpenGL or Direct3D. The software display driver (Software Z Buffer) does not
support multiple map display.
Procedures
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Composite Map
To assign a map:
1. In the Composite Parameters rollout, click a map button.

The Browser is displayed.
2. Choose a map type.
To change the number of maps to composite:
1. In the Composite Parameters rollout, click Set Number.
2. In the subdialog, choose the number of maps you want, and then click OK.
Warning: If you reduce the number of maps, previously assigned maps can be lost.
Interface
Set NumberSets the number of maps to be composited.

Map 1, Map 2, and so onChoose the button to add a map. Use the check boxes to enable or
disable the associated map.
If there are more maps than the Material Editor can display in the Composite Parameters rollout, use
the scrollbar on the right to move among them.
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Mix Map
Mix Map
Material Editor > Maps rollout > Click a Map button. > Material/Map Browser > Mix
Mix map blends skull and crossbones with the reflected scene.
With the Mix map, you can combine two colors or materials on a single side of the surface. You can
also animate the Mix Amount parameter, and draw map morphing function curves to control how the
two maps are blended over time.
Viewports can display both maps in a mix map. For multiple map display, the display driver must be
OpenGL or Direct3D. The software display driver (Software Z Buffer) does not support multiple map
display.
See also
For functionality shared with 3D maps, see the following topic:

Output Rollout
Procedures
To change a component color:
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Mix Map
1. In the Mix Parameters rollout, click one of the two color swatches to display the Color Selector.
2. Adjust the color.
To use a map as a component:
1. In the Mix Parameters rollout, click a map button next to one of the two color swatches.
2. Select a map type.
To exchange the two component colors:
In the Mix Parameters rollout, click Swap.
To control the mix amount:
In the Mix Parameters rollout, adjust the Mix Amount value.

Mix Amount is the percentage of Color #2 used in the mix.
You can also control the mix amount by using a map.
To control the mix amount using a map:
1. In the Mix Parameters rollout, click the map button next to Mix Amount.
The Browser appears so you can
2. Select a map type.

The intensity of pixels in this mixing map controls the mix. When the intensity is close to 0, one
of the component colors or maps is visible; when it is close to full intensity, the other
component is visible.
Tip: Using a Noise map for the mixing map can give good effects that have a natural
appearance.
Tip: In the Mix Parameters rollout, Mix Amount is inactive while a map is assigned to this
parameter. If Use Curve is off, the mixing map is used as is. If Use Curve is on, you can shift
the effect of the mixing map's gradient ramp, offsetting it one way or the other and revealing
more or less of the mix components.
To control the mix amount using the mix curve:
1. In the Mixing Curve group, turn on Use Curve.
2. Change the shape of the curve by adjusting the Transition Zone values.

Mix Map
Interface
SwapExchanges the two colors or maps.

Color # 1, Color # 2Displays the Color Selector to select the two colors to be mixed.
MapsSelect or create the bitmaps or procedural maps to be mixed instead of each color.
The check boxes enable or disable their associated maps.
Black areas of the map reveal color #1, and white areas of the map reveal color #2. Gray values
reveal intermediate mixes.
Mix AmountDetermines the proportion of the mix. 0 means only Color 1 is visible on the surface,
1 means only Color 2 is visible. You can also use a map instead of the mix amount. The two colors
will mix in greater or lesser degree according to the intensity of the map.
Mixing Curve group
These parameters control how gradual or how sharp the transition between the two colors being
mixed will be. (This really only has meaning when you have a map applied to Mix Amount.)
Tip: Try mixing two standard materials using a noise map as a mask for some interesting mottled
effects.

Mix Map
Tip: Use CurveDetermines whether the Mixing Curve effects the mix.
Tip: Transition ZoneAdjusts the level of the upper and lower limits. If the two values are the
same, the two materials will meet at a definite edge. Wider ranges give more gradual mixing.
Comments

Make Preview, Play Preview, Save Preview
Material Editor > Make/Play/Save Preview flyout
Material Editor menu > Material menu > Make Preview, View Preview, or Save Preview
You can use animated maps to add movement to a scene. For example, to simulate a sky view, you
could map an animation of moving clouds to a clerestory window. The Make Preview options let you
experiment with the effect in the Material Editor before you apply it to your scene.
The buttons on the Make Preview, Play Preview, Save Preview flyout let you preview the effect of an
animated map on the object in a sample slot (see Sample Type for alternatives to the default
sphere.) You can use an AVI file, or IFL file as a source for the animation. The finished preview is
saved as a new AVI file and automatically played back. You can also view the preview in a sample
slot by dragging the time slider.
This flyout has three options:
Make PreviewDisplays a Create Material Preview dialog to create an AVI file of the
animated material.
When the preview is complete, it is saved as _medit.avi in the \previews subdirectory. The file is
then opened in the Windows Media Player and played back.
Without this option, the only other way to preview a complex animated material in real time is to
use the renderer to render an animated sequence and save it to an AVI file, a digital disk
recorder, or a video tape recorder.
Play PreviewUses the Windows Media Player to play the current _medit.avi preview file in
the \previews subdirectory.
Save PreviewSaves the _medit.avi preview to an AVI file of a different name in the
\previews subdirectory.
Procedures
To create a preview of an animated material:
1. Choose Make Preview from the flyout.
2. In the Create Material Preview dialog, set the preview conditions you want, and then click OK.
The preview is created, and then plays.
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To play back a preview of an animated material:
Choose Play Preview from the flyout.

The Material Editor starts the Windows Media Player. The Player then loads the current _medit.avi
preview file in the \previews subdirectory and plays it in a separate window.
To view an animated material in a sample slot:
Drag the time slider through the range of frames.

By default, all sample slots with animated maps update at the same time. To change this, see
Material Editor Options Dialog.
To save a preview under a different name:
1. Choose Save Preview from the flyout.

The Material Editor displays a File Save dialog.
2. Enter a new name for the preview, and then click OK to save the file in the \previews
subdirectory.
To play a renamed preview:
1. Choose Tools menu > Display Image.
2. In the View File dialog, change to the \previews subdirectory.
3. Select the renamed preview file and click Open.

The preview is played in a separate window.
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Sample Type
Sample Type
Material Editor > Sample Type
The Sample Type flyout lets you choose which geometry to display in the active sample slot. This
flyout has three buttons:
Sphere (the default)Displays the material on a sphere.
CylinderDisplays the material on a cylinder.
CubeDisplays the material on a cube.
CustomDisplays the material on a custom object. This button appears only if you have
used the Material Editor Options dialog to specify a custom object for sample slots.
See also
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Material Editor > Right-click the active sample slot. > Right-click menu > Options > Material Editor
Options dialog
Material Editor > Material Editor Options > Material Editor Options dialog
Custom sample object fits within a 100-unit cube
By default, the sample object in a sample slot is a sphere. You can use the Sample Type flyout to
change this to a cube or a cylinder. You can also create a custom sample object by creating a
3ds max scene that shows the object.
Overview of Using a Custom Sample Object
See Procedures for more details.

The scene you create should contain a single object that fits into an imaginary cube that is 100 units
on each side. The object must be at the root level of the scene: it can't be linked to other objects. If
more than one object is in the scene, only the first object listed in the Track View hierarchy is used
as the sample object.
If the object is of a type that doesn't have a Generate Mapping Coords check box, apply a UVW Map
modifier to it.
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After you have saved the single-object scene as a .max file, use the Custom Sample Object group in
the Material Editor Options dialog to specify the file. When you specify the file, a new button is
displayed at the right of the Sample Type flyout. This button, which shows an object with a question
mark, displays the sample object file you chose.
If the sample object scene contains only the object, sample slots display it with default lighting. If
the scene also contains a camera and lights, you can use the camera to specify the view, and the
lights to light the object as you choose. Turn on Load Camera and/or Lights in the Custom Sample
Object group.
Procedures
To set up a custom sample object:
1. Create a scene with a single object, such as a pyramid.

The object should fit into an imaginary cube that is 100 units on each side. Also, the object
must be at the root level of the scene: it can't be linked to other objects.
If more than one object is in the scene, the Material Editor uses the first object listed in the
Track View hierarchy.
2. If the object does not have built-in mapping coordinates (via a Generate Mapping Coords check
box), then assign a UVW Map modifier to it to provide mapping coordinates.
If the object has a Generate Mapping Coords check box, it's on by default, and the Material
Editor uses those coordinates. If you want to use coordinates other than those built into the
object, assign a UVW Map modifier and set up your own coordinates.
3. Save the .max file.
4. In the Material Editor Options dialog, click the File Name button in the Custom Sample Object
group box, and choose the .max file that contains your object.
5. Activate the sample slot in which you want to see the custom object, then choose the button at
the far right of the Sample Type flyout.
Your custom object is displayed in the sample slot.
If the size of your object is not quite right for the sample slot, adjust its size and save the
scene again. To update the sample slot so it uses the newly saved .max file, open the Material
Editor Options dialog, and then click OK.
To use a camera and lights with the custom sample object:
1. Create a camera in the scene that contains your sample object, and then adjust the camera to
show the object as you want it seen in sample slots.
Tip: Viewports have a different aspect ratio than sample slots, so using Zoom Extents on the
sample object usually results in the object appearing smaller in a sample slot. Do Zoom Extents

on the object, and then before you save the file, zoom in a little farther so the object more
than fills the viewport. The sample slot projection is based on the width of the sample object's
geometry, not on the image in the viewport.
If more than one camera is in the scene, the Material Editor uses the first camera listed in the
Track View hierarchy.
2. If you want to use your own lighting rather than the default sample-slot lighting, set up as
many lights as you need. If you want to use the sample-slot lighting, do not add any lights to
the scene.
3. Save the .max file.
4. In the Material Editor Options dialog, specify the file as the Custom Sample Object file.
5. Turn on Load Camera and/or Lights.

Sample Slots set to use the custom object now display the object as seen through the camera.
If lights are in the scene, those lights are used in the sample slot instead of the default lights.
Comments

Create Material Preview Dialog
Material Editor > Make/Play/Save Preview flyout > Make Preview
The Create Material Preview dialog is displayed when you click Make Preview to preview an animated
material. By default, the preview is saved in the \previews subdirectory with the name _medit.avi.
You can use Save Preview to give the preview a different name so it won't be overwritten the next
time you use Make Preview.
Interface
Preview Range group
Active Time SegmentRenders the active time segment.

Custom RangeRenders a custom range from the start to the end frame you specify in the
spinners below.
Frame Rate group
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These controls specify the playback rate.

Every Nth FrameRenders a regular sampling of the animation. For example, a value of 8 includes
only every eighth frame in the preview. Default=1 (every frame).
Playback FPSSpecifies the playback rate in frames per second. Default=30 (full speed).
Image Size group
Percent of OutputSpecifies the resolution of the preview. This value is a percentage; 100 percent
has a resolution of 101 x 99 pixels (the size of a sample slot in the 3 x 2 array). Default=100.
Comments
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Adaptive Subdivision Dialog
Select an object. > Modify panel > Modifier List > Object-Space Modifiers > HSDS Modifier > HSDS
Parameters rollout > Adaptive Subdivision button
Select an object. > Modifiers menu > Subdivision Surfaces > HSDS Modifier > HSDS Parameters
rollout > Adaptive Subdivision button
Use adaptive subdivision for smoothing subdivided and edited portions of the mesh when you're
finished using the HSDS functionality. Alternatively, you can use adaptive subdivision to remove a
level of detail from the object.
Procedure
To use adaptive subdivision:
1. Edit an object with the HSDS Modifier.
2. Choose Add Detail or Remove Detail, depending which operation you want to perform.
3. Set the desired amount of detail with one of the presets or by specifying custom Length and
Angle settings.
4. Click OK to perform the specified operation.

The detail addition or removal is performed, and you're returned to the HSDS modifier.
Depending on whether you removed or added detail, the highest level of detail is decremented
or incremented by 1.
Interface
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Detail group
Add/RemoveDetermines whether clicking the OK button increases or decreases detail.
Parameters group
These settings determine the extent to which detail is added or removed. The Length and Angle
settings are available for editing only when the Custom option is chosen. However, they show the
default settings for the Low, Medium, and High options.
Low/Medium/High/CustomChoose one of the presets, or choose Custom to set your own
Length and Angle values.
Max. LODSpecifies the highest number of levels of detail that the software can add when
increasing detail. Not available when removing detail.
LengthThe maximum permissible length of any edge after adding or removing detail. The smaller
the length, the higher the amount of tessellation that is allowed.
AngleThe maximum permissible angle between two opposite edges emanating from a vertex. The
smaller the angle, the higher the amount of tessellation that is allowed.
OKPerforms the subdivision or removal of detail and closes the dialog.
CancelCloses the dialog without changing the mesh.
Comments
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Bevel Modifier
Bevel Modifier
Select a shape. > Modify panel > Modifier List > Bevel
The Bevel modifier extrudes shapes into 3D objects and applies a flat or round bevel to the edges. A
common use for this modifier is to create 3D text and logos, but you can apply it to any shape.
Bevel takes a shape as the base of a 3D object. You then extrude the shape up to four levels and
assign an outline amount for each level.
Beveled text
Procedure
Example: To create beveled text:

This example produces typical 3D beveled text, with equal bevels in front and back.
1. Create text using default settings.

Font=Arial, Size=100.0.
2. Apply the Bevel modifier.
3. Type -1.0 in the Start Outline field.
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Bevel Modifier
4. For Level 1, do the following:
Type 5.0 for Height.
Type 2.0 for Outline.
5. Turn on Level 2, and do the following:
Type 0.0 for Outline.
6. Turn on Level 3 and do the following:
Type -2.0 for Outline.
7. If needed, turn on Keep Lines From Crossing.
Interface
Parameters rollout

Bevel Modifier
Capping group
You can determine whether or not the beveled object is capped at either end with the check boxes in
the Capping group.
StartCaps the end with the lowest local Z value (bottom) of the object. When turned off, the
bottom is open.
EndCaps the end with the highest local Z value (top) of the object. When turned off, the end is left
open.
Cap Type group
Two radio buttons set the type of cap used.

Bevel Modifier
MorphCreates cap faces suitable for morphing.

GridCreates cap faces in a grid pattern. This cap type deforms and renders better than morph
capping.
Surface group
Controls the side curvature, smoothing, and mapping of the surface.

The first two radio buttons set the interpolation method used between levels; a numeric field sets
the number of segments to interpolate.
Linear SidesWhen active, segment interpolation between levels follows a straight line.
Curved SidesWhen active, segment interpolation between levels follows a Bezier curve. For
visible curvature, use multiple segments with Curved Sides.
SegmentsSets the number of intermediate segments between each level.
Four-level bevels with 1 and 2 segments
Bevels with linear and curved sides

Bevel Modifier
Rounding and smoothing the bevel object sides
Smooth Across LevelsControls whether smoothing groups are applied to the sides of a beveled
object. Caps always use a different smoothing group than the sides.
When turned on, smoothing groups are applied to the sides. The sides appear rounded.
When turned off, smoothing groups are not applied. The sides appear as flat bevels.
Generate Mapping CoordinatesWhen turned on, mapping coordinates are applied to the
beveled object.
Intersections group
Prevents sharp corners from overlapping neighboring edges.

Bevel works best with rounded shapes or shapes with corners greater than 90 degrees. Acute angles
(less than 90 degrees) produce extreme bevels and often overlap nearby edges.
Keep Lines From CrossingPrevents outlines from crossing over themselves. This is accomplished
by inserting extra vertices in the outline and replacing sharp corners with a flat line segment.

Bevel Modifier
Using Keep Lines From Crossing:

Left: Off
Right: On
SeparationSets the distance to be maintained between edges. The minimum value is 0.01.
Changing the Separation value

Bevel Modifier
Bevel Values rollout
Contains the parameters that set the height and bevel amount of up to four levels.
A beveled object requires a minimum of two levels: a start and an end. You add more levels to vary
the amount and direction of bevel from start to end.
You can think of bevel levels as layers on a cake. The Start Outline is the bottom of the cake and the
Level 1 parameters define the height and size of the first layer.
Turning on Level 2 or Level 3 adds another layer to the beveled object with the height and outline
specifying the amount of change from the previous level.
The last level on is always the top of the object.
You must always set the Level 1 parameters.
Start OutlineSets the distance the outline is offset from the original shape. A non-zero setting
changes the original shape's size.
Positive values make the outline larger.
Negative values make the outline smaller.
Level 1Includes two parameters that indicate the change from the Start level.
HeightSets the distance of Level 1 above the Start level.
OutlineSets the distance to offset the Level 1 outline from the Start Outline.
Levels 2 and Level 3 are optional and allow you to change the bevel amount and direction.
Level 2Adds a level after Level 1.
HeightSets the distance above Level 1.
OutlineSets the offset distance of the Level 2 outline from Level 1.
Level 3Adds a level after the previous level. If Level 2 is not on, Level 3 is added after Level 1.
HeightSets the distance above the previous level.
OutlineSets the offset distance of Level 3 from the previous level.
Traditional beveled text uses all levels with these typical conditions:
Start Outline can be any value, usually 0.0.
Level 1 Outline is a positive value.
Level 2 Outline is 0.0. No change from Level 1.
Level 3 Outline is the negative of Level 1. Returns Level 3 to the same size as the Start Outline.

Bevel Modifier
Comments

Text Spline
Text Spline
Create panel > Shapes > Splines > Object Type rollout > Text
Create menu > Shapes > Text
Use Text to create splines in the shape of text. The text can use any Windows font installed on your
system, or a Type 1 PostScript font installed in the directory pointed to by the Fonts path in the
Configure Paths dialog. Since fonts are loaded only at first use, changing the font path later in the
program has no effect. The program must be restarted before the new path is used, if the font
manager has been used by the program.
Examples of text
You can edit the text in the Create panel, or later in the Modify panel.
Using Text Shapes
Text shapes maintain the text as an editable parameter. You can change the text at any time. If the
font used by your text is deleted from the system, 3ds max still properly displays the text shape.
However, to edit the text string in the edit box you must choose an available font.
The text in your scene is just a shape where each letter and, in some cases, pieces of each letter are
individual splines. You can apply modifiers like Edit Spline, Bend, and Extrude to Text shapes just
like any other shape.
Procedures
To create text:
2. Click Text.
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Text Spline
3. Enter text in the Text box.
4. Do either of the following to define an insertion point:
Click in a viewport to place the text in the scene.
Drag the text into position and release the mouse button.
To enter a special Windows character:
1. Hold down the ALT key.
2. Enter the character's numeric value on the numeric keypad.

You must use the numeric keypad, not the row of numbers above the alphabetic keys.
For some characters, you must enter a leading zero. For example, 0233 to enter an e with an
acute accent.
3. Release the ALT key.
Interface
Settings available for text include kerning, leading, justification, multiple lines, and a manual update
option.
Parameters rollout

Text Spline
Once you have created text, you can make changes using the following parameters:
Font listChoose from a list of all available fonts. Available fonts include:
Fonts installed in Windows.
Type 1 PostScript fonts located in the directory pointed to by the Fonts path in the Configure
Paths dialog.
Italic style buttonToggles italicized text.
Underline style buttonToggles underlined text.
Align LeftAligns text to the left side of its bounding box.
CenterAligns text to the center of its bounding box.
Align RightAligns text to the right side of its bounding box.
JustifySpaces all lines of text to fill the extents of the bounding box.
Note: The four text-alignment buttons require multiple lines of text for effect because they act on
the text in relation to its bounding box. If there's only one line of text, it's the same size as its
bounding box and has nowhere to go.
SizeSets the text height where the height measuring method is defined by the active font. The
first time you enter text, the default size is 100 units.

Text Spline
KerningAdjusts the kerning (the distance between letters).

LeadingAdjusts the leading (the distance between lines). This has an effect only when multiple
lines of text are included in the shape.
Text edit boxAllows for multiple lines of text. Press ENTER after each line of text to start the next
line.
The initial session default is "MAX Text."
The edit box does not support word wrap.
You can cut and paste single- and multi-line text from the Clipboard.
Update group
These options let you select a manual update option for situations where the complexity of the text
shape is too high for automatic updates.
UpdateUpdates the text in the viewport to match the current settings in the edit box. This button
is available only when Manual Update is on.
Manual UpdateWhen on, the text that you type into the edit box is not shown in the viewport
until you click the Update button.
Comments

Extrude Modifier
Extrude Modifier
Select a shape. > Modify panel > Modifier List > Extrude
Select a shape. > Modifiers menu > Mesh Editing > Extrude
The Extrude modifier adds depth to a shape and makes it a parametric object.
Above: Spline before extrusion

Below left: Extruded spline with Cap End off
Below right: Extruded spline with Cap End on
Interface
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Extrude Modifier
AmountSets the depth of the extrusion.

SegmentsSpecifies the number of segments that will be created in the extruded object.
Capping group
Cap StartGenerates a flat surface over the start of the extruded object.
Cap EndGenerates a flat surface over the end of the extruded object.
MorphArranges cap faces in a predictable, repeatable pattern, which is necessary for creating
Morph targets. Morph capping can generate long, thin faces that don't render or deform as well as
grid capping. Use morph capping primarily if you're extruding multiple morph targets.
GridArranges cap faces in a square grid trimmed at the shape boundaries. This method produces a
surface of evenly sized faces that can be deformed easily by other modifiers. When you choose the
Grid capping option, the grid lines are hidden edges rather than visible edges. This primarily affects
any objects assigned a material with the Wire option turned on, or any objects that use the Lattice
modifier.
Output group
PatchProduces an object that you can collapse to a patch object; see Editing the Stack.
MeshProduces an object that you can collapse to a mesh object; see Editing the Stack.
NURBSProduces an object that you can collapse to a NURBS surface; see Editing the Stack.
Generate Mapping CoordsApplies mapping coordinates to the extruded object. Default=off.

Extrude Modifier
When on, Generate Mapping Coordinates applies separate mapping coordinates to the end caps,
placing a single 1 x 1 tile on each cap.
Generate Material IDsAssigns different material IDs to the sides and the caps of the extruded
object. Specifically, the sides receive ID 3, and the caps receive IDs 1 and 2.
This check box is turned on as a default when you create an extruded object, but if you load an
extruded object from a MAX file, the check box is turned off, maintaining the same material ID
assignment for that object as it had in R1.x.
Use Shape IDsUses the material ID values assigned to segments in the spline you extruded, or
curve sub-objects in the NURBS curve you extruded.
SmoothApplies smoothing to the extruded shape.
Comments

Lattice Modifier
Lattice Modifier
Select an object or a shape. > Modify panel > Modifier List > Object-Space Modifiers > Lattice
Select an object or a shape. > Modifiers menu > Parametric Deformers > Lattice
The Lattice modifier converts the segments or edges of a shape or object into cylindrical struts with
optional joint polyhedra at the vertices. Use this either to create renderable structural geometry
based on the mesh topology, or as an alternate method to achieve a rendered wireframe effect.
Top: Joints only

Middle: Struts only
Bottom: Both (joints and struts)
Note: This modifier can act on the whole object or on sub-object selections in the stack.
Tip: You can combine the Scatter compound object with the Lattice modifier to place any object you
want as a joint, rather than the provided polyhedra. To do this, create your mesh distribution object
and your source object (for example, a box). Use Scatter to scatter the box at the vertices of the
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Lattice Modifier
distribution object. (Be sure to use the Copy option rather than Instance.) In the Scatter Display
parameters, hide the distribution object. Select the original object that was used as a distribution
object, apply Lattice to it, and turn off the joints. You'll have two coincident objects: one providing
the lattice struts, and the other positioning the boxes.
Interface
Geometry group

Lattice Modifier
Specifies whether to use the whole object or selected sub-objects, and which of the two components
(struts and joints) is displayed.
Apply To Entire ObjectApplies Lattice to all edges or segments in the object. When turned off,
applies Lattice only to selected sub-objects passed up the stack. Default=on.
Note: When Apply To Entire Object is turned off, unselected sub-objects render normally. For
example, if you convert a box to an editable mesh, select one polygon, and then apply Lattice with
Apply To Entire Object turned off, the face does not render, while the edges and vertices that form
that face are converted to struts and joints, and the remaining faces render normally. However, if
you select the four edges surrounding the polygon and turn off Ignore Hidden Edges, the struts and
joints are added to the object while all faces render as normal. If you turn on Struts group > Ignore
Hidden Edges, one of the polygon's faces renders, while the other doesn't.
Joints Only From VerticesDisplays only the joints (polyhedra) generated by the vertices of the
original mesh.
Struts Only From EdgesDisplays only the struts (cylinders) generated by the segments of the
original mesh.
BothDisplays both struts and joints.
Struts group
Provides controls that affect the geometry of the struts.

RadiusSpecifies the radius of the struts.
SegmentsSpecifies the number of segments along the struts. Increase this value when you need
to deform or distort the struts with subsequent modifiers.
SidesSpecifies the number of sides around the perimeter of the struts.
Material IDSpecifies the material ID to be used for the struts. The struts and the joints can have
different material IDs, making it easy to assign them different materials. The struts default to ID #1.
Ignore Hidden EdgesGenerates struts only for visible edges. When turned off, generates struts
for all edges, including the invisible edges. Default=on.
End CapsApplies end caps to the struts.
SmoothApplies smoothing to the struts.
Joints group
Provides controls that affect the geometry of the joints.

Geodesic Base TypeSpecifies the type of polyhedron used for the joints.
TetraUses a tetrahedron.
OctaUses an octahedron.
IcosaUses an icosahedron.
RadiusSpecifies the radius of the joints.

Lattice Modifier
SegmentsSpecifies the number of segments in the joints. The more segments, the more spherical
the joints' shape.
Material IDSpecifies the material ID to be used for the joints. Defaults to ID #2.
SmoothApplies smoothing to the joints.
Mapping Coordinates group
Determines the type of mapping assigned to the object.

NoneAssigns no mapping.
Reuse ExistingUses the mapping currently assigned to the object. This might be the mapping
assigned by Generate Mapping Coords., in the creation parameters, or by a previously assigned
mapping modifier. When using this option, each joint inherits the mapping of the vertex it surrounds.
NewUses mapping designed for the Lattice modifier. Applies cylindrical mapping to each strut, and
spherical mapping to each joint.
Comments

Scatter Compound Object
Select an object. > Create panel > Geometry > Compound Objects > Object Type rollout > Scatter
Select an object. > Create menu > Compound > Scatter
Scatter is a form of compound object that randomly scatters the selected source object either as an
array, or over the surface of a distribution object.
The plane of the hill is used to scatter the trees and two different sets of rocks.
Procedures
To create a Scatter object:
1. Create an object to be used as a source object.
2. Optionally, create an object to be used as a distribution object.
3. Select the source object, and then click Scatter in the Compound Objects panel.
Note: The source object must be either a mesh object or an object that can be converted to a
mesh object. If the currently selected object is invalid, the Scatter button is unavailable.
Note: You now have two choices. You can either scatter the source object as an array without
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using a distribution object, or use a distribution object to scatter the object. See the following
procedures.
Results of scattering source object with distribution object visible (above) and hidden (below)
To scatter the source object without a distribution object:
1. Choose Use Transforms Only in the Scatter Objects rollout > Distribution group.
2. Set the Duplicates spinner to specify the desired total number of duplicates of the source
object.
3. Adjust the spinners on the Transforms rollout to set random transformation offsets of the
source object.
To scatter the source object using a distribution object:
1. Make sure the source object is selected.
2. Choose the method by which you want to clone the distribution object (Reference, Copy, Move,
or Instance.)
3. Click Pick Distribution Object, and then select the object you want to use as a distribution
object.
4. Make sure that Use Distribution Object on the Scatter Object rollout is chosen.
5. Use the Duplicates spinner to specify the number of duplicates. (This is not necessary if you're
using the All Vertices, All Edge Midpoints or All Face Centers distribution methods.)

6. Choose a distribution method in the Scatter Object rollout > Distribute Object Parameters
group under Distribute Using.
7. Optionally, adjust the Transform spinners to randomly transform the duplicates.
8. If the display is too slow, or the meshes too complicated, consider choosing Proxy on the
Display rollout or decreasing the percentage of displayed duplicates by reducing the Display
percentage.
Most of the spinner values are animatable, so you can animate things like the number of duplicates,
their transformations, and so on.
Scatter objects (the grass) with a high number of duplicates
Interface
Pick Distribution Object rollout

Contains the options for selecting a distribution object.

ObjectDisplays the name of the distribution object selected with the Pick button.
Pick Distribution ObjectClick this button, then click an object in the scene to specify it as a
distribution object.
Reference/Copy/Move/InstanceLets you specify how the distribution object is transferred to
the scatter object. It can be transferred either as a reference, a copy, an instance, or moved, in
which case the original shape is not left behind.
Scatter Objects rollout
The options on this rollout let you specify how the source object is scattered, and let you access the
objects that make up the compound Scatter object.
Distribution group
These two options let you choose the basic method of scattering the source object.
Use Distribution ObjectScatters the source object based on the geometry of the distribution
object.
Use Transforms OnlyThis options doesn't need a distribution object. Instead, duplicates of the
source object are positioned using the offset values on the Transforms rollout. If all of the Transform
offsets remain at 0, you won't see the array because the duplicates occupy the same space.
Objects group
Contains a list window showing the objects that make up the Scatter object.

List WindowClick to select an object in the window so that you can access it in the Stack. For
example, if your distribution object is a sphere, you can click Distribution: D_Sphere01, open the
Stack list, and select Sphere to access the sphere's parameters.
Source NameLets you rename the source object within the compound Scatter object.
Distribution NameLets you rename the distribution object.
Extract OperandExtract a copy or an instance of the selected operand. Choose an operand in the
list window to enable this button.
Note: This button is available only on the Modify panel. You can't extract an operand while the
Create panel is active.
Instance/CopyThis option lets you specify how the operand is extracted: as either an instance or
a copy.
Source Object Parameters group
These options affect the source object locally.

DuplicatesSpecifies the number of scattered duplicates of the source object.
This number is set to 1 by default, but you can set it to 0 if you want to animate the number of
duplicates, beginning with none. Note that the Duplicates number is ignored if you're distributing the
duplicates using either Face Centers or Vertices. In these cases, one duplicate is placed at each
vertex or face center, depending on your choice.
Base ScaleAlters the scale of the source object, affecting each duplicate identically. This scale
occurs before any other transforms.
Vertex ChaosApplies a random perturbation to the vertices of the source object.
Animation OffsetLets you specify the number of frames by which each source object duplicate's
animation is offset from the previous duplicate. You can use this feature to produce wave-type
animation. At the default setting of 0, all duplicates move identically.
Distribution Object Parameters group

These options affect how the duplicates of the source object are arranged, relative to the distribution
object. These options have an effect only when a distribution object is used.
PerpendicularWhen on, orients each duplicate object perpendicular to its associate face, vertex,
or edge in the distribution object. When off, the duplicates maintain the same orientation as the
original source object.
Use Selected Faces OnlyWhen on, limits distribution to the selected faces passed up the Stack.
Perhaps the easiest way to do this is to use the Instance option when picking the distribution object.
You can then apply a Mesh Select modifier to the original object and select only those faces you
want to use for the distribution of the duplicates.
Distribute Using
The following options let you specify how the geometry of the distribution object determines the
distribution of the source object. These options are ignored if you're not using a distribution object.
AreaDistributes duplicate objects evenly over the total surface area of the distribution object.

Objects distributed over a spherical surface with Area turned on
EvenDivides the number of faces in the distribution object by the number of duplicates, and skips
the appropriate number of faces in the distribution object when placing duplicates.
Skip NSkips N number of faces when placing duplicates. The editable field specifies how many
faces to skip before placing the next duplicate. When set to 0, no faces are skipped. When set to 1,
every other face is skipped, and so on.
Random FacesApplies duplicates randomly over the surface of the distribution object.
Along EdgesAssigns duplicates randomly to the edges of the distribution object.
All VerticesPlaces a duplicate object at each vertex in the distribution object. The Duplicates
value is ignored.
All Edge MidpointsPlaces a duplicate at the midpoint of each segment edge.
All Face CentersPlaces a duplicate object at the center of each triangular face on the distribution
object. The Duplicates value is ignored.
VolumeScatters objects throughout the distribution object's volume. All other options restrict
distribution to the surface. Consider turning on Display rollout > Hide Distribution Object with this
option.

Objects fill a spherical volume with Volume turned on
Display group
Result/OperandsChoose whether to display the results of the scatter operation or the operands
before the scattering.
Transforms rollout

The settings in the Transforms rollout let you apply random transform offsets to each duplicate
object. The values in the transform fields specify a maximum offset value that's applied randomly
with a positive or negative value to each duplicate. Thus, if you set a rotation angle of 15 degrees,
duplicates are rotated randomly from -15 to +15 degrees. For example, one duplicate might be
rotated 8 degrees, another -13, another 5, and so on. You can use the Transform settings with or
without a distribution object. When there is no distribution object, you must adjust the Transform
settings in order to see the duplicates.
Rotation group
Specifies random rotation offsets.

X, Y, Z degEnter the maximum random rotational offset you want about the local X, Y, or Z axis
of each duplicate.

Use Maximum RangeWhen on, forces all three settings to match the maximum value. The other
two settings become disabled, and the setting containing the maximum value remains enabled.
Local Translation group
Specifies translation of the duplicates along their local axes.

X, Y, ZEnter the maximum random movement you want along the X, Y, or Z axis of each
duplicate.
Translation on Face group
Lets you specify the translation of duplicates along barycentric face coordinates of the associate face
in the distribution object. These settings have no effect if you're not using a distribution object.
A, B, NThe first two settings specify the barycentric coordinates on the surface of the face, while
the N setting sets the offset along the normal of the face.
Scaling group
Lets you specify the scaling of duplicates along their local axes.
X, Y, Z %Specifies the percent of random scaling along the X, Y, or Z axis of each duplicate.
two settings become disabled, and the one containing the maximum value remains enabled.
Lock Aspect RatioWhen on, maintains the original aspect ratio of the source object. Typically,
this provides uniform scaling of duplicates. When Lock Aspect Ratio is off, and any of the X, Y, and Z
settings contain values greater than 0, the result is non-uniform scaling of duplicates because the
values represent random scaling offsets in both positive and negative directions.
Display rollout

Provides options that affect the display of the Scatter object.
These options affect the display of the source and destination objects.
ProxyDisplays the source duplicates as simple wedges and speeds up viewport redraws when
manipulating a complex Scatter object. This has no effect on the rendered image, which always
displays the mesh duplicates.
MeshDisplays the full geometry of the duplicates.
Display %Specifies the percentage of the total duplicate objects that appear in the viewports.
This has no effect on the rendered scene.
Hide Distribution ObjectHides the distribution object. The hidden object does not appear in the
viewport or in the rendered scene.
Uniqueness group
Lets you set a seed number upon which the random values are based. Thus, altering this value
changes the overall effect of the scattering.
NewGenerates a new, random seed number.
SeedUse this spinner to set the seed number.
Load/Save Presets rollout
Lets you store preset values to use in other Scatter objects. For example, after setting all of your
parameters for a specific Scatter object and saving the settings under a specific name, you can then
select another Scatter object and load the preset values into the new object.

Preset NameLets you define a name for your settings. Click the Save button to save the current
settings under the preset name.
Saved Presets group
A list window containing saved preset names.

LOADLoads the preset currently highlighted in the Saved Presets list.
SAVESaves the current name in the Preset Name field and places it in the Saved Presets window.
DELETEDeletes the selected items in the Save Presets window.
Note: Animated parameter values subsequent to frame 0 are not stored.
Comments

Editing the Stack
Editing the Stack

You can copy, cut, and paste modifiers within an objects stack, or into the stacks of other objects.
Among other features, you can give modifiers explicit names to help you remember the intended
effect.
To edit the stack:
1. Choose an item in the stack.
2. Right-click.
This displays the Modifier Stack right-click menu, which is briefly introduced in this topic.
Rearranging and Sharing Modifiers
To rearrange modifiers:
The easiest way to move a modifier to a different location in the stack is simply to drag it there.
Alternatively, you can use the following cut/copy and paste procedure.
1. Choose one or more modifiers, right-click, and choose Copy or Cut.
2. Choose a new location in the list, and click Paste. The paste occurs immediately above the new
location.
To share modifiers with other objects:
1. Choose one or more modifiers, right-click, and choose Copy.
2. Select a different object or group of objects.
3. Choose a location in the new stack, and click Paste.

You can also drag from the modifier stack display to an object in a viewport.
Tip: Select world-space and object-space modifiers separately. Cut, Copy, and Paste are
disabled if both types are selected. If you try to paste a world-space modifier into the section
for object-space types, the paste occurs at the top of the world-space section. The reverse is
also true.
Unique and Instanced Modifiers
By default, pasted modifiers are unique: they lose all connection with the modifier from which they
were copied. Compare with an instanced modifier, which is shared between two or more objects.
Changing a parameter on an instanced modifier automatically changes the same parameter on the
other instanced objects.
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Editing the Stack
To create an instance of a modifier:
After copying or cutting the modifier, right-click and choose Paste Instanced.
In the stack, the name of an instanced modifier appears in italics.
Any instance of a modifier controls all other instances. Use this feature when you want a number of
objects to take on the same feature.
For example, copying an instanced Bend modifier to a number of trees would make them all bend
identically. Changing Bend parameters on any one tree would change the bend on all the others.
To remove the instancing from a modifier:
Select the instanced modifier and click Make Unique. This converts the modifier from
instanced to unique.
Using Make Unique with Multiple Items
Assume you have a group of trees all sharing the same instanced Bend modifier. If you select two of
them and click Make Unique, a message asks, "Do you want to make the selected objects unique
with respect to each other?"
If you click Yes, the two trees become independent of one another. Each has a unique copy of the
modifier and can be bent separately.
If you click No, the two trees continue to share the same instanced modifier, but separately from
the instance in the original group. The two trees can be bent together.
See How Instanced Modifiers Work.
Collapsing a Stack
You can collapse all or part of a stack into a mesh that preserves the effect of the collapsed
modifiers on the base object. You might choose to do this in these cases:
Youve finished modifying an object and want to keep it as is.
You want to discard animation tracks.
You want to simplify a scene and save some memory.
Note: In most cases, collapsing all or part of the stack will save memory. However, some modifiers,
such as Bevel, increase file size and memory use when collapsed.
After you collapse an objects stack, you can no longer parametrically adjust either its creation
parameters or the individual modifiers affected by the collapse. Animation tracks that were assigned

Editing the Stack
to such parameters also disappear.

Collapsing a stack does not affect the objects transforms or world-space bindings. Collapsing a stack
does not save memory if the stack contains no modifiers.
Tip: Before you use either Collapse option, use File menu > Save Selected to preserve a copy of the
original parametric object.
Note: You can only collapse a stack including a linked Architectural Desktop object after the file is
bound.
To collapse the stack:
1. Right-click the modifier stack display.
2. If modifiers have been applied to the object, choose Collapse To or Collapse All.
Collapse ToCollapses the stack, up to and including the chosen modifier, into an editable
mesh. Modifiers on the stack above the chosen modifier are not affected, and you can still
adjust them individually.
Collapse AllCollapses the entire stack into an editable mesh. The stack list shows a single
entry: Editable Mesh.
Note: When the base object is a geometric primitive (or other editable mesh), the result of
collapsing a stack is an editable mesh. However, with other kinds of base objects, the result
can be a different kind of editable object. For example, if you begin with a spline and apply only
spline-editing modifiers to it, the result of collapsing the stack is an editable spline.
If no modifiers have been applied to the object, choose Convert to: Editable Mesh, Editable
Patch, Editable Poly or NURBS.
Comments

Modifier Stack Right-Click Menu
Modify panel > Modifier stack display > Right-click a modifier or object.
Some commands for managing modifiers are available by right-clicking the modifier stack display.
Some options are unavailable if they don't apply to the current modifier. For example, Make Unique
is available only if you select an instanced modifier.
The main uses of the right-click menu for the modifier stack are:
Renaming modifiers
Rearranging modifiers using cut, copy, and paste
You can cut, copy, and paste multiple modifiers at one time. You can also cut and copy discontiguous
selections of modifiers.
Creating instances of modifiers
Collapsing the stack into a surface object such as an editable mesh
Controlling whether modifiers are on or off, off in viewports, or off in renderings
Collapsing the Stack
Collapsing the stack removes modifiers from the object. Collapsing a stack typically converts an
object into an editable version of the original object (unless the object was editable to begin with,
such as a NURBS model). Collapse To is unavailable unless you select one or more modifiers in the
stack. Using Collapse To removes all stack items from the creation parameters to and including the
uppermost selected stack item.
Following are suitable reasons to collapse a stack:
To simplify the scene geometry.
To discard applied modifiers, and convert the object to an editable mesh while retaining the
results of any applied modifiers.
To conserve memory.
After you collapse an object's stack, you can no longer parametrically adjust either its creation
parameters or its individual modifiers. Animation tracks that were assigned to such parameters also
disappear.
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Procedures
To move one or more modifiers:
1. Select one or more modifiers in the modifier stack display.

To select multiple modifiers, click to select one modifier, then hold down CTRL and click to
select the others. Holding down SHIFT selects the two modifiers you click and all modifiers in
between them.
2. Right-click and choose Cut.
3. Select a modifier above which to paste the cut modifiers. (This can also be the object at the
bottom of the stack.)
4. Right-click and choose Paste. The modifiers are pasted above the current selection.
To copy one or more modifiers:
1. Select one or more modifiers in the modifier stack display.

between them.
2. Right-click and choose Copy.
3. Select an item above which to paste the cut modifiers.
4. Right-click and choose Paste. The copied modifiers are pasted above the current selection.
Choose Paste Instanced to make the pasted modifiers instances of those you copied.
To copy modifiers from one object to another:
1. Select one or more modifiers in the modifier stack display of the first object.
between them.
2. Right-click and choose Copy.
3. Select the second object.
4. In the second object's modifier stack display, select an item above which to paste the copied
modifiers.
5. Right-click and choose Paste.

The modifiers from the first object are pasted above the current selection in the second object.
Choose Paste Instanced to make the pasted modifiers instances of those you copied.

Interface
RenameLets you change the name of the modifier. For example, you might change the name
Bend to the more specific "First 45-degree bend." After choosing Rename, enter the new name in
the stack display, and then press ENTER. Pressing ESC cancels the name change.
DeleteDeletes the modifier from the stack. The modifier is not available for pasting.
CutCuts the modifier from the stack. The modifier is removed, but is available for pasting.
CopyMakes a copy of the modifier that is available for pasting.
PastePastes the modifier into the stack. The modifier appears above the currently selected object
or modifier, unless it is a world space modifier, in which case it is pasted at the top of the stack.
You can paste a modifier from one object into the stack of a different object.
Paste is unavailable when more than one modifier is selected in the stack.
Paste InstancedPastes an instance of the modifier into the stack. The modifier instance appears
above the currently selected object or modifier, unless it is a world space modifier, in which case it is
pasted at the top of the stack.
You can paste a modifier instance from one object into the stack of a different object.
Paste Instanced is unavailable when more than one modifier is selected in the stack.
Make UniqueConverts an instanced modifier to a copy that's unique to the current object. This
button is unavailable unless the modifier you right-clicked is instanced. See Make Unique.
Collapse ToCollapses a portion of the stack. Collapse To is unavailable unless you select one or

more modifiers in the stack. Using Collapse To collapses all stack items from the object itself, up to
and including the uppermost selected stack item. If there are modifiers above the uppermost
selection, they are not changed.
The result of a collapse depends on the base object. A geometric primitive, with or without
modifiers, collapses into an editable mesh. NURBS objects with deform modifiers collapse into
NURBS. (See NURBS and Modifiers.) Editable Polymeshes collapse to editable polymeshes.
Note: World-space modifiers don't collapse along with the rest of the stack.
Collapse AllCollapses the entire stack.
The result of a collapse depends on the base object. A geometric primitive, with or without
modifiers, collapses into an editable mesh. NURBS objects with deform modifiers collapse into
NURBS. (See NURBS and Modifiers.) Editable Polymeshes collapse to editable polymeshes.
Note: World-space modifiers don't collapse along with the rest of the stack.
OnTurns on the effect of modifiers in both viewports and the renderer.
The light-bulb icon to the left of the modifier name shows "on."
Off in ViewportTurns off the currently selected modifiers in viewports only. Allows you to work in
the viewport without the effects of the modifiers. You see the effects when you render.
The light-bulb icon to the left of the modifier name shows "off in viewports."
Off in RendererTurns off the currently selected modifiers in renderings only. The effect of the
modifiers is visible in viewports but not in renderings.
The light-bulb icon to the left of the modifier name shows "off in Renderer."
OffTurns off the currently selected modifiers without deleting them. This can help you see the
object without the effect of its modifiers.
The light-bulb icon to the left of the modifier name shows "off."
Make ReferenceIf the object is an instance, converts it to a reference. This option is available
only when the base object is selected, and only when the base object is a reference.
When you make an instanced object into a reference, a heavy, "derived object" bar appears at the
top of the stack. You can select this bar and apply modifiers above it. Modifiers applied above the
bar affect the reference object only, and not its parent object.
Gray bar denotes a reference object at the base of the stack
Show All SubtreesExpands the display of every hierarchical item in the stack display, so that all
items in the stack are visible, including sub-objects.

Hide All SubtreesHides the subtree of every hierarchical item in the stack display, so that only
objects, modifiers, and space warp bindings are visible.
Comments

Make Unique
Make Unique
Modify panel > Tool buttons > Make Unique
Modify panel > Right-click an instanced modifier in the stack display. > Make Unique
Rightclick an instanced object. > Make Unique
Make Unique lets you convert an instanced object to a copy that's unique. A object is instanced
when it is cloned (SHIFT+Move or SHIFT+Rotate). If you make changes to an instanced object the
changes are also reflected in the other instances in your scene. Making objects unique lets you
adjust or change those objects independently without affecting any other objects in the scene.
Tip: If you drag a material to a unique object and see the other instanced object updating as well,
turn off Automatic Material Propagation. Go to Customize menu > Customize UI and choose
Category: Instance Manager, then drag Automatic Material Propagation to a toolbar or assign a
keyboard shortcut to it. Using this tool will allow the unique object to act uniquely.
Procedures
Example: To use the Make Unique options with an instanced modifier:
1. Create a cylinder with some height segments, and then use SHIFT+Move to create three
copies, resulting in four identical cylinders.
2. Select all four cylinders, apply the Bend modifier, and adjust the Angle setting just enough to
see the results of the bend.
You now have four cylinders with a single instance of a Bend modifier applied to them.
3. Choose Edit menu > Hold.

This lets you return to the current state of the scene at any time without using Undo.
4. Select two of the cylinders and click Make Unique.
5. Choose Yes in the resulting dialog.

At this point, the two selected cylinders each have unique Bend modifiers, while the remaining
two cylinders share the original Bend. You can see this by selecting each cylinder and changing
the Bend Angle setting.
6. Choose Edit menu > Fetch, and answer Yes.
7. Select two cylinders again, and click Make Unique.
8. Choose No in the resulting dialog.
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Make Unique
The two selected cylinders now share an instance of a Bend modifier, but it's a different
instance than that shared by the other two cylinders. Again, you can see this by selecting each
of the cylinders and changing the Bend Angle spinner. You can also turn on Show Dependencies
in the Views menu to see the relationship between the four cylinders and the Bend modifier.
Example: To use Make Unique with an instanced object/modifier combination:
1. Create a cylinder with some height segments.
2. Apply a Bend modifier and adjust the Angle just enough to see the results of the bend.
3. Use SHIFT+Move with the Instance option to create an instanced object/modifier combination.
4. Change the Bend Angle setting on one of the instances to demonstrate that the cylinders and
modifiers are truly instanced.
Both cylinders bend.
5. Select one of the instances, and then, in the modifier stack choose either the Bend modifier or
the cylinder itself.
6. Click Make Unique.

When you change the Bend Angle setting or cylinder base parameters for one of the objects,
the other doesn't change.
Note: When you instance an object/modifier combination, all duplicates are instances of a
single master node containing the original object and modifier. In such cases, you cannot
selectively make the object or its modifier unique. Clicking Make Unique for one or the other,
makes both unique.
Interface
Make UniqueDetaches objects and modifiers (and combinations) logically from the master
node of which they're instances or references.
Go to the object or modifier level in the stack for an instanced or referenced object or modifier
(respectively), and click Make Unique.
For instanced object/modifier combinations, in the modifier stack, choose either the modifier or the
object itself.
Make Unique is unavailable when a selected object is not an instance or reference, when it doesn't
contain an instanced modifier, or when all objects in the selection don't have an instanced modifier
in common.
Making New Instances

Make Unique
When you click Make Unique for a selection of two or more objects, a dialog appears that asks: Do
you want to make the selected items unique with respect to each other? This gives you a choice of
how you want to make the objects unique.
YesMakes the instanced modifiers assigned to the objects in the selection unique for each
object in the selection.
NoAll instanced modifiers assigned to the objects in the selection remain instanced across the
selected objects, but become unique from other objects not in the selection.
Comments

Show Dependencies
Show Dependencies
Views menu > Show Dependencies
While you are using the Modify panel, this command toggles viewport highlighting of objects
dependent on the currently selected object.
When Show Dependencies is on and the Modify panel is active, any object that is dependent upon
the currently selected object in any way appears magenta. This includes instances, references, and
shared modifiers. Default=off.
You can also see similar dependencies using Schematic View.
Procedures
To show dependencies between objects:
1. Select an object with an instanced modifier.
2. In the Modify panel, choose the instanced modifier in the modifier stack.
3. Choose Views menu > Show Dependencies

Other objects with instances of the same modifier appear in a different color.
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Show Dependencies
Example: To use Show Dependencies when animating with Linked XForm:
1. Select the sub-object geometry you want to animate, and apply a Linked XForm modifier.
2. On the Parameters rollout, click Pick Control Object.
3. Click an object to be the control object. Choose a dummy object if you want to keep the control
hidden in final rendering.
4. The chosen object is now linked as parent to the sub-object selection and its name is listed on
the Parameters rollout.
5. Choose Views menu > Show Dependencies to make the link visible when the control object is
selected.
6. Use any of the transforms to animate the control object.

The selection is animated in parallel with the control object.
Comments
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When you apply a modifier to a selection set, the same modifier is carried on the stack for each
individual object. These are instanced modifiers: they are all exactly the same, and a change to the
instance for any one object will change all the others.
In the stack, the name of an instanced modifier appears in italic.
Objects sharing a single instanced modifier.
Identifying Instanced Modifiers
You can quickly lose track of which objects share the same modifier. An option on the Views menu
highlights those objects.
To identify objects sharing instanced modifiers:
1. Select an object with an instanced modifier. Choose the instanced modifier in its stack.
2. Choose Views menu > Show Dependencies. Other objects with instances of the same modifier
appear in a distinctive color (purple by default).
Adjusting Instanced Modifiers
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You can make changes to an entire set of objects from a single instance. This is a major advantage
of instanced modifiers.
To adjust instanced modifiers:
1. Select any object in a set of objects with instances of the same modifier.
2. Choose the instanced modifier in its stack.

The single object highlights and the appropriate gizmos appear for the entire selection set.
Adjustments to this modifier now affect the entire set.
Changing the parameter of an instanced modifier for one object affects all the objects sharing
the modifier.
Making Instanced Modifiers Unique
At some point in your work, you might want to turn a modifier instance into a local copy that affects
only a single object. To do so, click Make Unique on the Modify panel. This button appears beneath
the modifier stack display. (Make Unique is also available as a pop-up menu choice when you right-
click the instanced modifier's name in the stack display.)
To make an instanced modifier unique:
1. Select an object with an instanced modifier.
2. Choose the instanced modifier in its stack.

3. Click Make Unique beneath the modifier stack display. The modifier is no longer listed in
italic text and if Show Dependencies is set, the highlight disappears from the other objects.
The modifier is now separate from the set of instanced modifiers. Adjustments you make to this
modifier no longer affect other objects. Its parameters and gizmo remain unchanged from their
original, instanced settings until you adjust them.
To make multiple modifier instances unique:
1. Select two or more objects with the same instanced modifier. The stack now shows what the
objects have in common.
2. Choose the instanced modifier in the stack.

There can be more than one instanced modifier in this stack. Click the one you want to make
unique for each of the selected objects.
3. Click Make Unique.
4. Click Yes to make the two objects become independent of one another. Click No for the two
objects to continue to share the same instanced modifier, but separate from the instance in the
original group.
The parameters for this modifier disappear, because the objects no longer share the modifier.
For each object, the modifier is now separate from the set of instanced modifiers.
As with a single object, the parameters and gizmo are unchanged in the now unique modifiers.
To access the unique modifiers, select the objects individually.

Note: If both the object and the modifier are instances, you can choose either in the stack before
you click Make Unique.
Comments


When you work with NURBS models, usually you follow these overall steps:
Create one NURBS object as the "starter" object. This can be a surface object, a curve object, or a
converted geometry primitive, as described in Creating NURBS Models.
Often modelers like to identify a single, master surface as the main component of the model.
Converted geometry primitives are good if you want the starter surface to become the master
surface. See Creating NURBS Surfaces from Geometric Primitives. Point and CV surfaces are good
as starters for rectangular surfaces.
On the Modify panel, you can edit the original object, or you can create additional sub-objects.
See Using the NURBS Toolbox to Create Sub-Objects.
You might even choose to delete the original, starter object once you have built a model from
newer sub-objects.
Going immediately to the Modify panel avoids the problem of creating additional top-level NURBS
objects, which you can't use to build relational, dependent sub-objects. (The exception is using
curves for loft and sweep surfaces. See U Loft Surface, UV Loft Surface, 1-Rail Sweep Surface, or 2-
Rail Sweep Surface.)
Two general references for modeling with NURBS are Curves and Surfaces for Computer-Aided
Geometric Design: A Practical Guide by Gerald Farin (Academic Press, fourth edition 1996) and
Interactive Curves and Surfaces: A Multimedia Tutorial on Computer Aided Graphic Design by Alyn
Rockwood and Peter Chambers (Morgan Kaufman Publishers, 1996).
Comments
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There are a variety of ways to create NURBS models. This is a summary of how you create a top-
level, parent NURBS object:
You can create a NURBS curve on the Shape panel of the Create panel.
You can create a NURBS surface on the Geometry panel of the Create panel. When you use this
technique, the NURBS surface is initially a flat rectangle. You can alter it using the Modify panel.
You can turn a standard geometry primitive into a NURBS object.
You can turn a torus knot into a NURBS object.
You can turn a prism extended primitive into a NURBS object.
You can turn a spline object (Bezier spline) into a NURBS object.
You can turn a patch grid object (Bezier patch) into a NURBS object.
You can turn a loft object into a NURBS object.
To turn objects other than NURBS curves and surfaces into NURBS objects, use the Modify panel.
Right-click the object's name in the stack display (see Modifier Stack) and choose Convert To:
NURBS.
In viewports, the quad menu also lets you convert objects to NURBS. Right-click the object, and in
the Transform (lower-right) quadrant, choose Convert To: > Convert to NURBS.
In addition, the modifiers Extrude and Lathe let you choose NURBS output, which creates a
NURBS object.
Comments
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Torus Knot Extended Primitive
Create panel > Geometry > Extended Primitives > Object Type rollout > Torus Knot button
Create menu > Extended Primitives > Torus Knot
Use Torus Knot to create a complex or knotted torus by drawing 2D curves in the normal planes
around a 3D curve. The 3D curve (called the Base Curve) can be either a circle or a torus knot.
You can convert a torus knot object to a NURBS surface.
Example of torus knot
Procedure
To create a Torus Knot:
1. On the Create menu, choose Extended Primitives > Torus Knot.
2. Drag the mouse to define the size of the torus knot.
3. Click, then move the mouse vertically to define the radius.
4. Click again to finish the torus.
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5. Adjust the parameters on the Modify panel.
Interface
DiameterDraws the object from edge to edge. You can change the center location by moving the
mouse.
RadiusDraws the object from the center out.
Parameters rollout > Base Curve group
Provides parameters that affect the base curve.

Knot/CircleWith Knot, the torus interweaves itself, based on various other parameters. With
Circle, the base curve is a circle, resulting in a standard torus if parameters such as Warp and
Eccentricity are left at their defaults.
RadiusSets the radius of the base curve.
SegmentsSets the number of segments around the perimeter of the torus.
P and QDescribes up-and-down (P) and around-the-center (Q) winding numbers. (Active only
when Knot is chosen.)
Warp CountSets the number of "points" in a star shape around the curve. (Active only when
Circle is chosen.)
Warp HeightSets the height of the "points" given as a percentage of the base curve radius.
Parameters rollout > Cross Section group

Provides parameters that affect the cross section of the torus knot.
RadiusSets the radius of the cross section.
SidesSets the number of sides around the cross section.
EccentricitySets the ratio of the major to minor axes of the cross section. A value of 1 provides a
circular cross section, while other values create elliptical cross sections.
TwistSets the number of times the cross section twists around the base curve.
LumpsSets the number of bulges in the torus knot. Note that the Lump Height spinner value must
be greater than 0 to see any effect.
Lump HeightSets the height of the lumps, as a percentage of the radius of the cross section. Note
that the Lumps spinner must be greater than 0 to see any effect.
Lump OffsetSets the offset of the start of the lumps, measured in degrees. The purpose of this
value is to animate the lumps around the torus.
Parameters rollout > Smooth group
Provides options to alter the smoothing displayed or rendered of the torus knot. This smoothing does
not displace or tesselate the geometry, it only adds the smoothing group information.
AllSmooths the entire torus knot.
SidesSmooths only the adjacent sides of the torus knot.
NoneThe torus knot is faceted.
Parameters rollout > Mapping Coordinates group

Provides methods of assigning and adjusting mapping coordinates.

Generate Mapping CoordsAssigns mapping coordinates based on the geometry of the torus
knot. Default=on.
Offset U/VOffset the mapping coordinates along U and V.
Tiling U/VTile the mapping coordinates along U and V.
Comments

Prism Extended Primitive
Create panel > Geometry button > Extended Primitives > Object Type rollout > Prism button
Create menu > Extended Primitives > Prism
Use Prism to create a three-sided prism with independently segmented sides.
Example of prism
Procedures
To create a prism with an isosceles triangle as its base:
1. Choose Isosceles in the Creation Method rollout.
2. Drag horizontally in the viewport to define the length of Side 1 (along the X axis). Drag
vertically to define the length of Sides 2 and 3 (along the Y axis).
(To constrain the base to an equilateral triangle, press CTRL before performing this step.)
3. Release the mouse, and move it vertically to define the height of the prism.
4. Click to complete the prism.
5. On the Parameters rollout, alter the length of the sides as needed.
To create a prism with a scalene or obtuse triangle at its base:
1. Choose Base/Apex in the Creation Method rollout.
2. Drag horizontally in the viewport to define the length of Side 1 (along the X axis). Drag
vertically to define the length of Sides 2 and 3 (along the Y axis).
3. Click, and then move the mouse to specify the placement of the apex of the triangle. This alters
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the length of sides 2 and 3, and the angles of the corners of the triangle.
4. Click, and then move the mouse vertically to define the height of the prism.
5. Click to complete the prism.
Interface
IsoscelesDraws a prism with an isosceles triangle at its base.

Base/ApexDraws a prism with a scalene or obtuse triangle at its base.
Parameters rollout
Side (n) LengthSets the length of triangle's corresponding side (and thus the triangle's corner
angles).
HeightSets the dimension of the prism's central axis.
Side (n) SegsSpecifies the number of segments for each side of the prism.
Height SegsSets the number of divisions along the prism's central axis.
Generate Mapping CoordinatesSets up the required coordinates for applying mapped materials
to the prism. Default=off.

Comments

Loft > Creation Method rollout
Select a path or shape. > Create menu > Compounds > Loft > Creation Method rollout
You can choose between a shape or a path for creating the loft object using the Creation Method
rollout, as well as the type of action for the loft object.
Interface
On the Creation Method rollout, you determine whether to use a shape or path for creating the loft
object, and the type of action you want for the resulting loft object.
Get PathAssigns a path to the selected shape or changes the current assigned path.
Get ShapeAssigns a shape to the selected path or changes the current assigned shape.
Tip: Hold down CTRL while getting the shape will flip the direction of the shape's Z axis.
Tip: Move/Copy/InstanceLets you specify how the path or shape is transferred to the loft
object. It can be moved, in which case no copy is left behind, or transferred as a copy or an
instance.
Tip: Use the Instance option if you expect to edit or modify the path after the loft is created.
Comments
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Loft > Surface Parameters rollout
Select a path or shape. > Create menu > Compounds > Loft > Surface Parameters rollout
On the Surface Parameters rollout, you control smoothing of the surface of the loft as well as
designate if texture mapping is applied along the loft object.
Interface
Smoothing group
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Left: Smoothing the length

Right: Smoothing the width
Rear: Smoothing both length and width
Smooth LengthProvides a smooth surface along the length of the path. This type of smoothing is
useful when your path curves or when shapes on the path change size. Default=on.
Smooth WidthProvides a smooth surface around the perimeter of the cross-section shapes. This
type of smoothing is useful when your shapes change the number of vertices or change form.
Default=on.
Mapping group
Bitmap used to create the lines on the road

Mapped roadway showing U and V dimensions for the loft
Apply MappingTurns lofted mapping coordinates on and off. Apply Mapping must be on in order
to access the remaining items.
Length RepeatSets the number of times a map repeats along the length of the path. The bottom
of the map is placed at the first vertex of the path.
Width RepeatSets the number of times a map repeats around the perimeter of cross-section
shapes. The left edge of a map is aligned with the first vertex of each shape.
NormalizeDetermines how path vertex spacing affects a map along both the path length and
shape width. When on, vertices are ignored. Map coordinates and Repeat values are applied evenly
along the length of the path and around the shapes. When off, major path divisions and shape
vertex spacing affects map coordinate spacing. Map coordinates and Repeat values are applied
proportionally according to the path division spacing or shape vertex spacing.
Before and after applying Normalize to loft
Materials group
Generate Material IDsCreates Material IDs during the loft process.

Use Shape IDsOffers the choice of using the spline material IDs to define the material IDs.
Note: Prior to version 3 of 3ds max, splines could not hold material IDs.
Note: Shape IDs are inherited from shape cross sections, not from the path spline.
Shape material IDs used to give the roadway two materials: concrete for supports and railings,
asphalt with white lines for the traffic lanes
Output Group
PatchThe lofting process produces a patch object.

MeshThe lofting process produces a mesh object. This is the default, and was the only output type
available with Loft in versions prior to version 3 of 3ds max.
You can also create NURBS objects from lofting by choosing Convert To: NURBS from the modifier
stack right-click menu.
Comments

Lathe Modifier
Lathe Modifier
Select a shape. > Modify panel > Modifier List > Lathe
Select a shape. > Modifiers menu > Patch/Spline Editing > Lathe
Lathe creates a 3D object by rotating a shape or NURBS curve about an axis.
Object resulting from 360-degree lathe
Interface
Modifier Stack
AxisAt this sub-object level, you can transform and animate the axis of revolution.
Parameters rollout
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Lathe Modifier
DegreesDetermines the number of degrees that the object is spun around the axis of revolution
(0 to 360, default=360). You can set keyframes for Degrees to animate the circular growth of a
lathed object. The Lathe axis auto-sizes itself to the height of the shape being lathed.

Lathe Modifier
Object resulting from 270-degree lathe
Weld CoreSimplifies the mesh by welding together vertices that lie on the axis of revolution. Keep
it turned off if you intend to create morph targets.
Flip NormalsDepending on the direction of the vertices on your shape, and the direction of
rotation, the lathed object might be inside out. Toggle the Flip Normals check box to fix this.
SegmentsDetermines how many interpolated segments are created in the surface between the
start and endpoint. This parameter is also animatable. Default=16
Note: You can create up to 10,000 segments using the segments spinner. Try not to create
geometry that is more complex than you need. Often you can get satisfactory results by using
smoothing groups or smoothing modifiers, rather than increasing segmentation.
Capping group
Controls whether or not caps are created for the interior of the lathed object if Degrees is set to less
than 360.
Cap StartCaps the start of the lathed object with Degrees set to less than 360 and a closed
shape.
Cap EndCaps the end of the lathed object with Degrees set to less than 360 and a closed shape.
MorphArranges cap faces in a predictable, repeatable pattern necessary for creating morph
targets. Morph capping can generate long, thin faces that don't render or deform as well as grid
capping. Use morph capping primarily if you are lathing multiple morph targets.
GridArranges cap faces in a square grid trimmed at the shape boundaries. This method produces a
surface of evenly sized faces that can easily be deformed by other modifiers.

Lathe Modifier
Direction group
Sets up the direction of the axis of revolution, relative to the pivot point of the object.
X/Y/ZSet the direction of the axis of revolution relative to the pivot point of the object.
Align group
Min/Center/MaxAlign the axis of revolution to the minimum, center, or maximum extents of the
shape.
Output group
PatchProduces an object that you can collapse to a patch object (see Editing the Stack).
MeshProduces an object that you can collapse to a mesh object (see Editing the Stack).
NURBSProduces an object that can be collapsed to a NURBS surface (see Editing the Stack).
Generate Mapping CoordinatesApplies mapping coordinates to the lathed object. When Degrees
is less than 360, and Generate Mapping Coordinates is turned on, additional mapping coordinates
are applied to the end caps, placing a 1 x 1 tile on each cap.
Generate Material IDsAssigns different material IDs to the sides and the caps of the lathed
object. Specifically, the sides receive ID 3, and the caps (when Degrees is less than 360 and the
lathed shape is closed) receive IDs 1 and 2. Default=on.
Use Shape IDsUses the material ID values assigned to segments in the spline you lathed, or
curve sub-objects in the NURBS curve you lathed. Use Shape IDs is available only when Generate
Material IDs is turned on.
SmoothApplies smoothing to the lathed shape.
Comments

U Loft Surface
U Loft Surface
Select NURBS object. > Modify panel > Create Surfaces rollout > Dependent Surfaces group box >
U Loft
Select NURBS object. > Modify panel > NURBS toolbox > Create U Loft Surface button
A U loft surface interpolates a surface across multiple curve sub-objects. The curves become U-axis
contours of the surface.
Using multiple curves to create a U Loft surface
Tips
U Lofts can be extremely dense surfaces. To improve performance while working with viewports,
set the surface approximation for viewports to Curvature Dependent.
You can speed up U loft creation by making sure that the curves you loft have the same number
of CVs in the same order (that is, the curves point in the same direction). Also, CV curves have a
performance advantage over point curves.
Turning off display of dependent sub-objects, including the U loft itself, also speeds up interactive
performance when you create a U loft. The default keyboard toggle for dependent sub-object
display is CTRL+D (the Keyboard Shortcut Override Toggle button must be turned on.)
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U Loft Surface
Closed U lofts
Automatic Curve Attachment
When you create a U loft, you can select curves that are not already sub-objects of the active
NURBS model. You can select another curve or spline object in the scene. When you select that
curve, it is automatically attached to the current object as if you had used the Attach button.
Warning: If the curve you attach is a sub-object of another NURBS model, the entire
model (that is, the curve's parent NURBS object) is attached as well.
As you move the mouse over a curve that is not part of the active NURBS object, the cursor changes
shape to indicate you can pick the curve, but the curve is not highlighted in blue.
Procedures
To create a U loft surface:
1. In a NURBS object that contains at least two curves, turn on U Loft.
2. Click the first curve.
3. Click additional curves in succession.

U Loft Surface
The U loft is created. It is "stretched" across the curves you click. The order in which you click
the curves can affect the shape of the U loft surface. The names of the curves appear in the U
Loft Surface creation rollout.
While creating a U loft, you can press BACKSPACE to remove the last curve you clicked from
the list of U loft curves.
The Flip Normals control lets you flip the surface normals at creation time. (After creation, you
can flip normals using controls on the Surface Common rollout.)
4. Right-click to end U loft creation.
To create a U loft with automatic attach (example):
1. From the Create panel, create three or more independent CV or Point NURBS curves.
2. Go to the Modify panel, and click to turn on U Loft in the NURBS toolbox.
3. Select the curves in the appropriate order for the loft.

The U loft is created. You don't have to collapse the curves to a NURBS surface, or attach them
to an existing NURBS model.
As you move the mouse over a curve that is not part of the active NURBS object, the cursor

U Loft Surface
changes shape to indicate you can pick the curve, but the curve is not highlighted in blue.
Interface
While a U loft sub-object is selected, a rollout with the U loft parameters is displayed at the bottom
of the Modify panel. This rollout appears only when one U loft sub-object is selected. It isn't possible
to edit more than one U loft at a time, so unlike some other NURBS sub-objects, the rollout doesnt
appear when multiple U loft sub-objects are selected.
When you create lofted and swept surfaces, you have access to all the parameters, and some of the
editing operations, of the surface. You can reverse and set start points on curves while you create
the surface. You can also use the arrow buttons to change the order of the curves, and you can
remove a curve with the Remove button.
Tip: When you edit a U loft sub-object, close the Surface Common rollout to see the U Loft Surface
rollout more easily.
U Loft Surface rollout (creation time)
U CurvesThis list shows the name of the curves you click in the order you click them. You can

U Loft Surface
select curves by clicking their names. Viewports display the selected curve in blue. Initially the first
curve is the one selected.
You can also select more than one curve at a time. This is useful when you use the Edit Curves
button.
Arrow ButtonsUse these to change the order of curves used to construct the U loft. Select a
curve in the list, and then use the arrows to move the selection up or down.
These buttons are available at creation time.
Curve Properties group
These controls affect individual curves you select in the U Curves list, as opposed to properties of the
loft surface in general. They are enabled only when you have selected a curve in the U Curves list.
ReverseWhen set, reverses the direction of the selected curve.
Start PointAdjusts the position of the curve's start point.
This control is disabled if the curve is not a closed curve.
While you're adjusting start points, a dotted blue line is displayed between them, to show the
alignment. The surface is not displayed, so it doesn't slow down adjustment. When you release the
mouse button, the surface reappears.
TensionAdjusts the tension of the loft where it intersects that curve.
Use COS TangentsIf the curve is a curve on surface, turning on this toggle causes the U loft to
use the tangency of the surface. This can help you blend a loft smoothly onto a surface. Default=off.
This toggle is disabled unless the curve is a point or CV curve on surface.
Flip TangentsReverses the direction of the tangents for that curve.
This toggle is disabled unless the curve is a point or CV curve on surface and Use COS Tangents is
turned on.
Auto Align Curve Starts(Disabled.)
Close Loft(Disabled.)
Insert(Disabled.)
RemoveRemoves a curve from the U loft surface. Select the curve in the list, and then click
Remove.
This button is available at creation time.
Refine(Disabled.)
Replace(Disabled.)
Display While CreatingWhen on, the U loft surface is displayed while you create it. When off, the
loft is created more quickly. Default=off.
Flip NormalsReverses the direction of the U loft's normals.

U Loft Surface
U Loft Surface rollout (modification time)
U CurvesThis list shows the name of the curves you click, in the order you click them. You can
select curves by clicking their names in this list. Viewports display the selected curve in blue. Initially
the first curve is the one selected.
You can also select more than one curve at a time. This is useful when you use the Edit Curves
button.
Arrow ButtonsUse these to change the order of curves used to construct the U loft. Select a
curve in the list, and then use the arrows to move the selection up or down.
These buttons are available at creation time.
Curve Properties group
These controls affect individual curves you select in the U Curves list, as opposed to properties of the
loft surface in general. They are enabled only when you have selected a curve in the U Curves list.
ReverseWhen set, reverses the direction of the selected curve.
Start PointAdjusts the position of the curve's start point.
This control is disabled if the curve is not a closed curve.

U Loft Surface
While you're adjusting start points, a dotted blue line is displayed between them, to show the
alignment. The surface is not displayed, so it doesn't slow down adjustment. When you release the
mouse button, the surface reappears.
TensionAdjusts the tension of the loft where it intersects that curve.
Use COS TangentsIf the curve is a curve on surface, turning on this toggle causes the U loft to
use the tangency of the surface. This can help you blend a loft smoothly onto a surface. Default=off.
This toggle is disabled unless the curve is a point or CV curve on surface.
Flip TangentsReverses the direction of the tangents for that curve.
This toggle is disabled unless the curve is a point or CV curve on surface and Use COS Tangents is
turned on.
Auto Align Curve StartsWhen on, aligns the start points of all curves in the U loft. The software
chooses the location of the start points. Using automatic alignment minimizes the amount of twisting
in the loft surface. Default=off.
Close LoftIf the loft was initially an open surface, turning on this toggle closes it by adding a new
segment to connect the first curve and the last curve. Default=off.
InsertAdds a curve to the U loft surface. Click to turn on Insert, then click the curve. The curve is
inserted before the selected curve. To insert a curve at the end, first highlight the "----End-----"
marker in the list.
RemoveRemoves a curve from the U loft surface. Select the curve in the list, and then click
Remove.
This button is available at creation time.
RefineRefines the U loft surface. Click to turn on Refine, then click a U-axis iso curve on the
surface. (As you drag the mouse over the surface, the available curves are highlighted.) The curve
you click is converted to a CV curve and inserted into the loft and the U Curves list. As when you
refine a point curve, refining a U loft can change the curvature of the surface slightly. Once you've
refined the surface by adding a U curve, you can use Edit Curve to change the curve.
ReplaceReplaces a U curve with a different curve. Select a U curve, click to turn on Replace, then
click the new curve in a viewport. Available curves are highlighted as you drag the mouse.
This button is enabled only when you've selected a single curve in the U Curves list.
Display Iso CurvesWhen set, the U loft's V-axis iso curves are displayed as well as the U-axis
curves used to construct the loft. The V-axis curves are only for display. You can't use them for
surface construction.
Edit CurveLets you edit the currently selected curve without switching to another sub-object level.
Click to turn on Edit Curve. The points or CVs of the curve are displayed, as well as the control
lattice if the curve is a CV curve. You can now transform or otherwise change the points or CVs as if
you were at the Point or Curve CV sub-object level. To finish editing the curve, click to turn off Edit
Curve.
When you turn on Edit Curves, all applicable rollouts for the selected curves are displayed, including

U Loft Surface
the Curve Common rollout, the CV or Point rollout (depending on the curve type), and the CV Curve
or Point Curve rollout. These rollouts appear beneath the U Loft rollout. They let you edit the loft
curves and their points or CVs without having to switch sub-object levels.
Tip: When you edit curves in a U loft, turning off display of the U loft itself can make the curves
easier to see and improve performance. Use CTRL+D (while the Keyboard Shortcut Override Toggle
button is on) to toggle display of dependent sub-objects, including U Lofts.
Comments

Modify panel > Select NURBS object. > General rollout > Attach button, Import button, and related
controls
There are two ways to bring other 3ds max objects into a NURBS object:
Attach, which works like Attach for meshes and splines. It converts the attached object to NURBS
format. Once the object is attached, you can edit it as a NURBS surface or curve. However, the
attached object's history is lost.
Note: For NURBS surfaces, you can attach other NURBS objects, standard primitive objects, or
quad patch and tri patch surfaces. The patch is converted to a NURBS surface. Quad patches
convert more successfully than Tri Patches. A converted Tri Patch has a collapsed internal edge,
which gives irregular results when you manipulate its mesh.
When you convert a spline circle to a NURBS curve, the direction of the curve is reversed. This
facilitates using the curve to trim a surface: if the direction weren't reversed, usually the circle
would trim outward instead of inward.
Import, which works somewhat like the operand of a Boolean. The object is brought into the
NURBS object without losing its history. You can select the imported object as a sub-object.
Using Imports
Here are reasons to use Import instead of Attach:
To maintain parametric control over primitives.

For example, if you import a sphere, you can change its radius directly, which you can't do after
using Attach.
To use Bezier splines as NURBS curves.

For example, if you want to use a Bezier spline as a curve in a NURBS model, import it. This
allows you to edit it as a Bezier spline, and not as a NURBS curve.
Surfaces and curves created by an import are available in the NURBS model. For example, if you
import a box, you can create a blend surface between one of its polygons and another surface in
your NURBS object.
Once you have imported an object, the NURBS object has an Imports sub-object level. When you
select an import, it is highlighted in red.
It is an error to apply a modifier to an import when the modifier converts the import into something
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that can't be converted to a NURBS object. For example, if you import a sphere and apply a Bend to
it, the sphere converts to an editable mesh, which can't automatically convert to a NURBS surface.
In this case, the import sub-object is in an error state, and it is displayed in the error color (orange
by default).
Imports are displayed in two different ways. While you work at the NURBS object level or at a sub-
object level other than Imports, imports are displayed as NURBS curves or surfaces, and use the
NURBS object's mesh tessellation (see Surface Approximation). However, at the Imports sub-object
level, the selected import is displayed using its native display format. In other words, it displays as it
would if it were a top-level object. This is because the display must let you edit the imported object.
For example, an imported Bezier spline needs to display its tangent handles. This wouldn't be
possible if it were displayed as a converted NURBS curve. Leaving the Imports sub-object level
returns to NURBS-style display.
You can extract an imported object. This creates an independent, top-level object again.
Procedures
To attach or import an object to a NURBS object:
1. Select the NURBS object and go to the Modify panel.
2. (Optional.) Turn on Reorient if you want to reorient and align the import with the center of the
NURBS object.
3. Turn on Attach or Import.

Note: At this step, you can click Attach Multiple or Import Multiple instead. These buttons
display a select-by-name dialog so you can choose multiple objects to attach or import.
4. Click the object to attach or import.

The mouse cursor changes shape to indicate a valid object. You can attach curves, NURBS
surfaces, or objects convertible to NURBS.
To extract an imported object:
1. Go to the Imports sub-object level and select the object to extract.
2. Click Extract Import on the Import sub-object rollout.

If Copy is set (the default), the extracted object is a top-level copy of the imported object. If
Instance is set, the extracted object is an instance of the imported object. Initially the
extracted object occupies the same space as the imported object: you must move either the

extracted object, the import sub-object, or the whole NURBS model before you can see the
extracted object.
Interface
Attach and Import controls
AttachLets you attach another object to the NURBS object. Click to turn on Attach, and then click
the object to attach. If the object you're attaching isn't already a NURBS object, it is converted to
one or more NURBS curves or surfaces that are sub-objects of the object you're modifying.
Attach MultipleLets you attach multiple objects to the NURBS surface. Displays a version of the
Select by Name dialog, listing the objects that can be attached. Use the dialog controls to select one
or more objects by name, and then click Attach.
ReorientMoves and reorients the object you are attaching or importing so its creation local
coordinate system is aligned with the creation local coordinate system of the NURBS object.
ImportLets you import another object to the NURBS object. Works the same way Attach does, but
the imported object retains its parameters and modifiers.
Import MultipleLets you import multiple objects. Works the same way Attach Multiple does, but
the imported objects retain their parameters and modifiers.
Comments

Circle Spline
Circle Spline
Create panel > Shapes > Splines > Object Type rollout > Circle
Create menu > Shapes > Circle
Use Circle to create closed circular splines made of four vertices.
Example of circle
Procedure
To create a circle:
2. Click Circle.
4. Drag in a viewport to draw the circle.
Interface
All spline-based shapes share these parameters. See Splines for explanations of these parameters.
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Circle Spline
The Circle shape uses the standard creation methods of Center or Edge. Most spline-based shapes
share the same Creation Method parameters. See Splines for an explanation of these parameters.
Parameters rollout
Once you have created a circle, you can make changes using the following parameter:
RadiusSpecifies the radius of the circle.
Comments
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Select an object. > Create panel > Geometry > Compound Objects > Object Type rollout > Boolean
Select an object. > Create menu > Compound > Boolean
A Boolean object combines two other objects by performing a Boolean operation on them.
Operand A (left); Operand B (right)
These are the Boolean operations for geometry:

UnionThe Boolean object contains the volume of both original objects. The intersecting or
overlapping portion of the geometry is removed.
IntersectionThe Boolean object contains only the volume that was common to both original
objects (in other words, where they overlapped).
Subtraction (or difference) The Boolean object contains the volume of one original object with
the intersection volume subtracted from it.
The two original objects are designated as operand A and B.
Beginning with version 2.5 of 3ds max, a new algorithm computes the Boolean operation. This
algorithm produces more predictable results and less complex geometry than earlier 3D Studio
Booleans. If you open a file that contains a Boolean from an earlier version of the software, the
Modify panel displays the interface for the earlier Boolean operation.
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You can layer Booleans in the stack display, so that a single object can incorporate many Booleans.
By navigating through the stack display, it's possible to revisit the components of each Boolean and
make changes to them.
Subtraction: A-B (above); B-A (below)

Union (above); Intersection (below)
Booleans with Objects That Have Materials Assigned to Them
Most primitives use several material IDs on their surfaces. For example, a box uses material IDs 1-6
on its sides. If you assign a Multi/Sub-Object material with six sub-materials, the software assigns
one to each side. If you assign a multi/sub-object material with two sub-materials, the software
assigns the first material to sides 1, 3, and 5, and the second goes to sides 2, 4, and 6.
When you create a Boolean from objects that have materials assigned to them, the software
combines the materials in the following way:
If operand A doesn't have a material, it inherits operand B's material.
If operand B doesn't have a material, it inherits operand A's material.
If both operands have materials, the new material is a multi/sub-object material that combines
the materials from both operands.
For more information, see Material Attach Options Dialog.
Solutions When Working with Booleans
The Boolean algorithm caused unpredictable behavior in earlier releases. The solutions are discussed
here.
Surface Topology
Boolean requires that operands' surface topology be intact: This means no missing or overlapping
faces and no unwelded vertices. The surface should be one continuous closed surface.
The Boolean corrects operands that fail to meet this requirement. However, the automatic correction
may not be exactly what you want, so in some cases it might be safer to correct the surfaces
manually.
To check for holes in the geometry, use the STL-Check modifier or the Measure utility.
To fill holes, use the Cap Holes modifier.
Face Normals
Booleans require that the face normals of the surface be consistent. Flipped normals can produce
unexpected results. Surfaces where some faces are facing one way and adjacent faces are flipped
are also problematic, and are commonly found in geometry imported from CAD programs. The
Boolean fixes these faces as best it can. Again, it might make more sense to correct these manually.
Use shaded viewports to look for normal problems, watching for objects that appear inside-out or

look otherwise incorrect. You can also turn on Show in the Editable Mesh (Face) > Surface Properties
rollout > Normals group. Fix normals here, or with a Normal modifier.
Overlapping Elements
Because Boolean operations depend on a clear understanding of what is inside and what is outside a
mesh, meshes that overlap themselves can produce invalid results.
For instance, if you use the Collapse utility with two overlapping objects without turning on the
Boolean feature, the resulting object will not make a good Boolean operand. This is also a problem
for the Teapot primitive (with all parts turned on), which overlaps itself.
If you need to use such an object as a Boolean operand, you might reconstruct it as a single non-
overlapping mesh by separating the components and combining them with Boolean.
Working with Inverted Meshes
Boolean doesn't always produce the ideal result on "inverted meshes" (meshes that have been
turned inside-out by having their normals flipped). The problem is that the area inside the flipped
mesh is correctly seen as "outside," but the area outside it may also be seen as outside. To
remedy this, instead of inverting the mesh, make a very large box or other primitive centered on
(but not touching) the mesh and subtract the mesh from it using Boolean. Then convert it to an
editable mesh, and delete the box faces. This produces a correctly inverted mesh that works
correctly with Boolean.
Alignment
If two Boolean operands are perfectly aligned without actually intersecting, the Boolean operation
might produce the wrong result. Although this is rare, if it does occur, you can eliminate it by
making the operands overlap slightly.
Relative Complexity Between Operands
Boolean works best when the two operands are of similar complexity. If you wish to subtract text (a
complex object made of many faces and vertices) from a box without any segments, the result is
many long, skinny faces that are prone to rendering errors. Increasing the number of box segments
produces better results. Try to maintain a similar complexity between operands.
Coplanar Faces/Colinear Edges
Previously, Boolean required that objects overlap. If two objects did not overlap but merely touched
an edge to an edge, or a face to a face, the Boolean would fail.
Boolean allows for non-overlapping objects. Coincident faces/edges and vertices are no longer a
problem. You can use objects completely encased within another object, where no edges intersect,
to create Booleans.
See also Collapse Utility to create Booleans with multiple objects.

See also
Fixing Boolean Problems
Procedures
To create a Boolean object:
1. Select an object. This object becomes operand A.
2. Click Boolean. The name of operand A appears in the Operands list on the Parameters rollout.
3. On the Pick Boolean rollout, choose the copy method for operand B: Reference, Move, Copy, or
Instance. (These methods are described in the Pick Boolean rollout section, later in this topic.)
4. On the Parameters rollout, choose the Boolean operation to perform: Union, Intersection,
Subtraction (A-B), or Subtraction (B-A). You can also choose one of the Cut operations,
described later in the Operation group section.
5. On the Pick Boolean rollout, click Pick Operand B.
6. Click in a viewport to select operand B. The software performs the Boolean operation.
The operand objects remain as sub-objects of the Boolean object. By modifying the creation
parameters of the Boolean's operand sub-objects, you can later change operand geometry in
order to change or animate the Boolean result.
Example: To create and modify a single object that contains multiple Booleans:
Suppose you want to create a box with two holes in it. One hole is to be cut by a sphere, and the
second by a cylinder. If you want to make changes to the sphere or the cylinder later, you can do so
by following these steps:
1. Create a Boolean following the steps in the previous sections. The original object (the box) is
converted to a Boolean, and is designated operand A. The second object (the sphere) is
converted to operand B.
2. Deselect the Boolean object. Build the cylinder if it does not already exist.
3. Select the Boolean object; and under Compound Objects, click Boolean again.
4. Click Pick Operand B and click the cylinder in the viewport. It is converted to operand B.
5. On the Modify panel, choose Operand B from the Parameters rollout > Operands list. If you
want to see operand B, choose Display/Update rollout > Display group > Operands or Result +
Hidden Ops.
If you want to animate the Cylinder or the Cylinders parameters you can now access them in
the modifier stack display.

6. If you want to modify the spheres parameters, choose the box in the Operands list.
7. Now there are two entries labeled Boolean in the stack display. Choose the lower entry. The
Sphere is displayed in the Operands list.
8. Choose the Sphere from the Operands list. The spheres parameters are available by clicking
the sphere's name in the modifier stack display.
9. Use this technique to change parameters or animate any of the operands within the multiple
Boolean.
You can also navigate multiple Booleans through Track View. Clicking the operand in Track View
gives you direct access to its entry in the modifier stack display. In complex objects with many
Booleans, this is an easier method than the one outlined above.
Interface
Pick Boolean rollout
When you select operand B, you designate it as a Reference, Move (the object itself), Copy, or
Instance, according to your choice in the Pick Boolean rollout for Boolean objects. Base your
selection on how you want to use the scene geometry after you create the Boolean.
Because you usually create Boolean objects from overlapping objects, if the B object isn't removed
(if you don't use the default Move option), it often obstructs your view of the completed Boolean.
You can move the Boolean or the B object to better see the result.
Pick Operand BUse this button to select the second object to use to complete the Boolean
operation.
Reference/Copy/Move/InstanceLets you specify how operand B is transferred to the Boolean
object. It can be transferred either as a reference, a copy, an instance, or moved.
Use Reference to synchronize changes to the original object with operand B, but not vice-versa.
Use Copy when you want to reuse the operand B geometry for other purposes in the scene.
Use Instance to synchronize animation of the Boolean object with animated changes to the
original B object, and vice-versa.
Use Move (the default) if you've created the operand B geometry only to create a Boolean, and
have no other use for it.

Object B geometry becomes part of the Boolean object regardless of which copy method you use.
Parameters rollout
Operands group
Operands list fieldDisplays the current operands.

NameEdit this field to change the name of the operands. Choose an operand in the Operands list
and it will also appear in the Name box.
Extract OperandExtracts a copy or an instance of the selected operand. Choose one of the
operands in the list window to enable this button.
Note: This button is available only in the Modify panel. You can't extract an operand while the Create
panel is active.
Instance/CopyLets you specify how the operand is extracted: as either an instance or a copy.
Operation group
UnionThe Boolean object contains the volume of both original objects. The intersecting or
overlapping portion of the geometry is removed.
IntersectionThe Boolean object contains only the volume that was common to both original
objects (in other words, where they overlapped).
Subtraction (A-B)Subtracts the intersection volume of operand B from operand A. The Boolean

object contains the volume of operand A with the intersection volume subtracted from it.
Subtraction (B-A)Subtracts the intersection volume of operand A from operand B. The Boolean
object contains the volume of operand B with the intersection volume subtracted from it.
CutCuts operand A with operand B, but doesn't add anything to the mesh from operand B. This
works like the Slice modifier, but instead of using a planar gizmo, Cut uses the shape of operand B
as the cutting plane. Cut treats the geometry of the Boolean object as volumes rather than closed
solids. Cut does not add geometry from operand B to operand A. Operand B intersections define cut
areas for altering geometry in operand A.
There are four types of Cut:
RefineAdds new vertices and edges to operand A where operand B intersects the faces of
operand A. The software refines the resulting geometry of operand A with additional faces inside
the intersected area of operand B. Faces cut by the intersection are subdivided into new faces.
You might use this option to refine a box with text so that you can assign a separate material ID
to the object.
SplitWorks like Refine but also adds a second or double set of vertices and edges along the
boundary where operand B cuts operand A. Split produces two elements belonging to the same
mesh. Use Split to break an object into two parts along the bounds of another object.
Remove InsideDeletes all operand A faces inside operand B. This option modifies and deletes
faces of operand A inside the area intersected by operand B. It works like the subtraction options,
except that the software adds no faces from operand B. Use Remove Inside to delete specific
areas from your geometry.
Remove OutsideDeletes all operand A faces outside operand B. This option modifies and
deletes faces of operand A outside the area intersected by operand B. It works like the
Intersection option, except that the software adds no faces from operand B. Use Remove to delete
specific areas from your geometry.
Display/Update rollout

Display group
Visualizing the result of a Boolean can be tricky, especially if you want to modify or animate it. The
Display options on the Boolean Parameters rollout help you visualize how the Boolean is constructed.
The display controls have no effect until you've created the Boolean.
ResultDisplays the result of the Boolean operation; that is, the Boolean object itself.
Results + Hidden OpsDisplays the "hidden" operands as wireframe.
Operand geometry remains part of the compound Boolean object, although it isn't visible or
renderable. The operand geometry is displayed as wireframes in all viewports.
OperandsDisplays the operands instead of the Boolean result.
Tip: When operands are difficult to see in a viewport, you can use the Operand list to select one or
the other. Click the name of the A or B operand to select it.
Displaying the operands

Displaying the result (A-B)
Displaying the hidden operand after A-B

Displaying the hidden operand after B-A
Update group
By default, Booleans are updated whenever you change the operands. A scene that contains one or
more complicated, animated Booleans can impede performance. The update options provide
alternate methods to improve performance.
AlwaysUpdates Booleans immediately when you change an operand, including the original object
of an instanced or referenced B operand. This is the default behavior.
When RenderingUpdates Booleans only when you render the scene or click Update. With this
option, viewports don't always show current geometry, but you can force an update when necessary.
ManuallyUpdates Booleans only when you click Update. With this option, the viewports and the
render output dont always show current geometry, but you can force an update when necessary.
UpdateUpdates the Boolean. The Update button is not available when Always is selected.
Comments

Material Attach Options Dialog
Use objects with different materials assigned to them. > Create panel > Geometry > Compound
Objects > Object Type rollout > Boolean > Pick Boolean rollout > Pick Operand B button > Select
object in the viewport that is operand B.
When you use Boolean operations with objects that have been assigned different materials, the
software displays the Material Attach Options dialog. This dialog offers five methods for handling the
materials and the material IDs in the resultant Boolean object.
Note: If operand A has no material, and operand B has a material assigned, the Boolean dialog lets
you choose to inherit the material from operand B.
If operand A has a material assigned and operand B has no material assigned, the Boolean object
automatically inherits materials from operand A.
Procedure
To create a Boolean from objects that match material IDs to material:
1. Create a Boolean using at least one object that has a multi/sub-object material assigned to it.
2. On the Pick Boolean rollout, click Pick Operand B.
3. Click in a viewport and select the B operand. The software displays the Match Attach Options
dialog.
4. Choose Match Material IDs to Material to complete the Boolean operation.
Interface
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Match Material IDs to MaterialThe software modifies the number of material IDs in the
combined object to be no greater than the number of sub-materials assigned to the operands. For
example, if you combine two boxes that have standard materials and each box is assigned six
material IDs (the default), the resulting combined object has two operands with one material ID
each, rather than the 12 that would result from using the Match Material to Material ID option. After
you complete the operation, the software creates a new multi/sub-object material with two slots.
The software assigns the sub-materials to the operands as they appeared before the operation. The
number of resulting material IDs matches the number of materials between the original objects. You
might use this option to reduce the number of material IDs.
Match Material to Material IDsMaintains the original material ID assignment in the operands by
adjusting the number of sub-materials in the resultant multi/sub-object material. For example, if you
combine two boxes, both assigned single materials, but with their default assignment of six material
IDs, the result would be a multi/sub-object material with 12 slots (six containing instances of one
box's material, and six containing instances of the other box's material). Use this option when it's
important to maintain the original material ID assignments in your geometry. Also use this option
when material IDs have been assigned, but materials have not been assigned.
Note: To make the instanced sub-materials unique, select them in Track View, and click the Make
Unique button on the Track View toolbar. You can also make them unique one at a time with the
Make Unique button in the Material Editor.
Do Not Modify Mat IDs or MaterialIf the number of material IDs in an object is greater than the
number of sub-materials in its multi/sub-object material, then the resultant face-material
assignment might be different after the Boolean operation.
Discard New Operand MaterialDiscards the material assignment of operand B. The software
assigns operand A's material to the Boolean object.
Discard Original MaterialDiscards the material assignment of operand A. The software assigns
operand B's material to the Boolean object.
Note: A UVW Map modifier must be used with compound objects to apply mapping coordinates.
Comments


STL Check Modifier
STL Check Modifier
Select an object. > Modify panel > Modifier List > STL Check
Select an object. > Modifiers menu > Mesh Editing > STL check
The STL Check modifier checks an object to see if it's correct for exporting to an STL file format
(stereolithography). Stereolithography files are used by specialized machines to produce prototype
physical models based on the data in the STL file.
To create a physical model, an STL file must have a complete and closed surface. Using STL Check
to test your geometry before you export it can save time and money when the file is used to create
the physical model.
STL Check errors.

1. Open edges
2. Double face
3. Spikes
4. Multiple edges
Procedure
To check an object for STL compatibility:
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STL Check Modifier
1. Select the object, then on the Modify panel, choose Mesh Editing > STL Check from the
Modifier List.
2. Turn on Check.
The message in the Status group shows if errors are found. STL Check indicates errors by
selecting the problem geometry, assigning it a special material ID, or both.
Interface
Errors group
Choosing one of these options selects incorrect geometry specific to the choice, and selects it
depending on the option chosen in the Selections group.
Open EdgeChecks for open edges (holes).
Double FacesChecks for faces that share the same 3D space.

STL Check Modifier
SpikeChecks for spikes, which are isolated faces that share only one edge with the object.
Multiple EdgesChecks for faces that share more than one edge.
EverythingChecks for all of the above.
Tip: While checking Everything takes the longest amount of time, it is recommended if you plan to
use the STL file for generating a physical model.
Selections group
These options specify the level of incorrect geometry that's selected, based on the settings in the
Errors group.
Don't SelectWhen on, STL Check doesn't select any part of objects in error.
Select EdgesWhen on, STL Check marks the edges of faces in error by selecting them. The
selection of erroneous edges is visible in viewports.
Select FacesWhen on, STL Check marks the faces of any object in error by selecting them. The
selection of erroneous faces is visible in viewports.
Change Mat-IDWhen on (the default), STL Check also marks faces in error by assigning them a
unique material ID. Use the spinner to choose the value of the material ID that STL Check uses.
CheckTurn on to perform the STL check. For complex objects, expect a pause between the time
you turn this on, and the time you see the reported errors in the Status group. Default=off.
StatusDisplays the number of errors when Check is on.
Tip: If Select Edges is turned off, you can see faces in error by applying an Edit Mesh modifier and
selecting by material ID at the Face sub-object level. You can also assign a Multi/Sub-Object
material to the object to help you see where the errors are.
Comments

Exporting to STL
Exporting to STL
File menu > Export > StereoLitho (*.STL)
An STL file saves object data in a format used for stereolithography. STL files have a file-name
extension of .stl. There is an ASCII STL format as well as a binary STL format. You can choose which
to create when you export a 3ds max scene.
STL files are generally used for purposes of rapid prototyping. A variety of methods use the STL
format to construct prototypes. For example, many STL machines use a liquid polymer and harden it
in small slices, creating a solid plastic model. Other STL machines use metal powder to create a
model in steel. Still other machines use a special wax.
An STL object must define a complete and closed surface. You can check whether the geometry you
want to export satisfies this criterion by using the STL Check modifier.
You can also import STL files. See Importing STL Files.
Interface
Object NameEnter a name for the object you want to save in STL format.
Binary/ASCIIChoose whether the STL output file will be binary or ASCII (character) data. ASCII
STL files are much larger than binary STL files.
Selected OnlyExports only objects that you selected in the scene.
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Exporting to STL
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Importing STL Files
Importing STL Files
File menu > Import > StereoLitho (*.STL)
An STL file saves object data in a format used for stereolithography. STL files have a filename
extension of .stl. There is an ASCII STL format as well as a binary STL format. You can choose which
to create when you export a 3ds max scene.
STL files are generally used for purposes of rapid prototyping. A variety of methods use the STL
format to construct prototypes. For example, many STL machines use a liquid polymer and harden it
in small slices, creating a solid plastic model. Other STL machines use metal powder to create a
model in steel. Still other machines use a special wax.
You can import and export STL files. See Exporting to STL.
Interface
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Importing STL Files
NameEnter a name for the 3D Studio object created from the STL file. Default is the file name
(without extension) or the name saved internally in the STL file.
Weld Vertices group
Welds coincident vertices in the STL file into single vertices in the 3D Studio mesh.
Weld ThresholdDetermines the size of the area which vertices must occupy to be welded.
Vertices with distances equal to or less than this value are welded into a single vertex.
WeldTurns on the Weld Vertices function. In most cases, you should leave this box turned on
because unwelded objects can't be unified or smoothed.
Use ThresholdIf on, STL import uses the standard 3D Studio welding method. This can be a very
slow process.
Quick WeldIf on, STL import uses a welding algorithm optimized for the STL format. This is up to
thirty times faster than standard 3D Studio welding, and is highly recommended.
Auto-Smooth group

Importing STL Files
Auto-SmoothApplies smoothing groups to the geometry based on the smoothing angle set by the
smooth angle spinner. Edges between faces that have an angle between them that is greater than
the specified smoothing angle will appear faceted in the rendered image. Edges between faces that
are below the specified angle are smoothed
Smooth AngleDetermines the size of the smoothing angle.
Auto-SmoothTurns on the Auto-Smooth function.
Miscellaneous group
Remove Double FacesRemoves one of the pair wherever two faces are occupying the same
location. Recommended.
Unify NormalsForces the normals of all faces on each object to face the same way (usually out).
If, when you render your scene, the face normals are pointing in the wrong direction, use the
Normal modifier to flip them. For best results, leave this box turned on.
Comments

Measure Utility
Measure Utility
Utilities panel > Utilities rollout > Measure button
The Measure utility provides measurements of a selected object or shape.
Procedure
To measure an object:
1. On the Utilities panel, click the Measure button.
2. Select the object you want to measure.

If both an object and a shape are in the selection, information is displayed for both types. If
several objects are in a selection, the sum of their measurements is displayed.
Interface
Text displayDisplays the name of the object in the current selection. If more than one object is in
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Measure Utility
the selection, Multiple Objects Selected is displayed.

Lock SelectedPrevents the displayed data from changing when you change selection. For
example, you might need to select and manipulate another object that affects the currently selected
object.
Objects group
Displays information about renderable mesh objects.

Surface AreaDisplays the total surface area of all objects in the selection, in units squared.
VolumeDisplays the total volume of all objects in the selection, in units cubed. Note that objects
with "holes" caused by missing faces can result in inaccurate volume values. When an object has one
or more holes, an asterisk appears beside the Volume number.
Center Of MassDisplays the world coordinates of the location of the center of mass for the object
or the center of mass of the selected objects.
Create Center PointCreates a point helper object at the center of mass.
Shapes group
Displays information about shape objects.

LengthDisplays the sum of the length of all splines in all selected shapes.
Dimensions group
Displays the dimensions of the object, as they appear in world space. For example, if it were a box
with the created dimensions of 15 x 10 x 25, and that box were scaled 200 percent, then this group
would report dimensions of 30 x 20 x 50.
Button set
New FloaterLaunches a modeless Measure dialog that displays the same information found under
the Objects and Shapes groups on the Utilities panel. In addition, you can expand the dialog
horizontally, in case the values are too long to be viewed in the default dialog size.
Tip: While the Measure floater is displayed, you can view the length of a spline while you're creating
it.
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Cap Holes Modifier
Cap Holes Modifier
Select a mesh object. > Modify panel > Modifier List > Cap Holes
Select a mesh object. > Modifiers menu > Mesh Editing > Cap Holes
Cap Holes used to make the cake appear solid
The Cap Holes modifier builds faces in the holes in a mesh object. A hole is defined as a loop of
edges, each of which has only one face. For example, one or more missing faces from a sphere
would produce one or more holes. The modifier works best on reconstructing planar holes, but can
do a reasonable job on non-planar holes as well.
Note: This modifier can cap holes in a sub-object selection passed up the stack. It caps any part of
the hole that's adjacent to, or within the selected geometry, whether vertex, edge, or face.
Tips
If the Cap Holes modifier doesn't appear to work, remove it, apply a Mesh Select modifier to
select the faces surrounding the hole, then apply Cap Holes to the sub-object selection.
The Cap Holes modifier creates faces with invisible edges unless you turn on All New Edges Visible
before you apply it.
Procedure
Example: To cap a hole in a sphere:
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Cap Holes Modifier
1. Create a sphere.
2. Apply an Edit Mesh modifier to the sphere.
3. In the stack display, choose the Face selection level.
4. Select and delete a contiguous group of faces.
5. Turn off the Face selection level.
6. Apply a Cap Holes modifier.

The hole you created should be filled.
Tip: Turning on Smooth With Old Faces makes the cap less visible.
Interface
Smooth New FacesAssigns the same smoothing group number to all new faces. If possible, this
will be a smoothing group number not used elsewhere in the object.
Smooth With Old FacesSmooths new triangular faces using the smoothing groups from
bordering old faces. This smooths only one level in from the perimeter of the border of the hole, so
you might need to use both this and the Smooth New Faces option to properly smooth a large hole.
Note: When Smooth With Old Faces is turned on, the faces in the capped holes inherit a material
face ID from one of the surrounding faces. When this item is turned off, the faces in the capped
holes are assigned a new ID.
Triangulate CapMakes all of the edges visible in the new faces.
Comments
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Collapse Utility
Collapse Utility
Utilities panel > Utilities rollout > Collapse button
Menu bar > Modify > Collapse
The Collapse utility lets you combine the stack operations of one or more selected objects into an
Editable Mesh and, optionally, perform a Boolean operation on them at the same time.
Important: You can't undo changes you introduce in the scene using the Collapse utility.
Before you use it, save a copy of your work file, or use Hold.
Note: You can also collapse an object's stack from the modifier stack right-click menu, and convert a
selection to editable surfaces with the transform quadrant of the quad menu. These changes are
undoable.
Procedure
To collapse the stack of an object into an editable mesh:
1. On the Utilities panel, click the Collapse button.
2. Select the object that you want to collapse.
3. Click the Collapse Selected button.

All modifiers are removed from the modifier stack and the object becomes an editable mesh.
Interface
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Collapse Utility
Selected Object group
Displays the name of the current selection. If more than one object is selected, "Multiple Selected"
displays.
Collapse SelectedCollapses the selected objects. The method of collapse depends on the settings
of the options below this button.
Output Type group
Specifies the type of object that results from the collapse.

Modifier Stack ResultThe resultant object will be the same as if you had collapsed its stack. In
most cases, this results in a mesh object, as when using the Mesh option. However, if the object has
an Edit Patch modifier so that its stack produces a patch, then the result will be a patch object rather
than a mesh. Likewise, a shape with Edit Spline modifiers becomes an editable spline. When this
option is used, the Collapse To options are unavailable, and all selected objects remain independent
objects.
MeshAll selected objects become editable meshes regardless of their type before they were
collapsed.
Collapse To group
Specifies how the selected objects are combined. These options are available only when you choose

Collapse Utility
the Mesh option.

Multiple ObjectsCollapses each object in the selection but maintains each as an independent
object. When this option is selected, the Boolean options are disabled.
Single ObjectCollapses all selected objects into a single, editable mesh object.
BooleanPerforms Boolean operations on the selected objects. During the Boolean calculation, a
progress bar appears along with a Cancel button. If any objects in the Boolean operation fail, that
object is skipped, but the Collapse proceeds. The result is not a Boolean compound object, but a
single editable mesh. The type of Boolean is specified by the following option.
UnionCombines the several objects, removing intersecting geometry.
IntersectionRemoves all but the intersecting geometry.
SubtractionMaintains the first object selected while subtracting the subsequently selected
objects. For example, to subtract several cylinders from a box, click to select the box, hold down
CTRL, and region-select the cylinders.
CloseExits the Collapse utility.
Comments

Surface Modeling
Surface Modeling
Surface modeling is more free form than geometric (parametric) modeling. Although you can create
Patch and NURBS primitives from the Create panel, more often a surface model begins when you
use the quad menu or the modifier stack to collapse a parametric model to some form of editable
surface. Once you have done so, a variety of tools let you shape the surface. A lot of surface
modeling work is done by editing sub-objects of the surface object.
See also
Patch Grids
Subdivision Surfaces
Tools for Low-Polygon Modeling
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Sub-Object
Glossary
Sub-Object
Left: A selection of face sub-objects

Middle: A selection of edge sub-objects
Right: A selection of vertex sub-objects
A sub-object s a subset of an object's geometry. Many objects have various types of sub-objects
that you can work with independently. For example, an editable mesh object's sub-objects are
vertices, edges, faces, polygons, and elements. To access sub-objects, go to the Modifier panel. In
the modifier stack display, click the plus-sign button to display an object's hierarchy, and then
choose the sub-objects level from the hierarchy. At the sub-objects level you can select sub-objects,
transform the selections, apply modifiers, and so on.
Many topics in the online reference deal with sub-objects. To see a list of sub-object-related topics,
search on the term sub-object (include the quote marks in the keyword).
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A subdivision surface is a surface that has been divided into more faces while retaining the object's
general shape. You perform subdivision to add more detail to an object, or to smooth it out.
You can create a subdivision surface by applying a modifier to an object. Two kinds of subdivision
surfaces are supported:
The HSDS modifier provides hierarchical subdivision surfaces
The MeshSmooth modifier provides smoothing.
Both these modifiers work best as finishing tools for models.

The Subdivision Surface rollout for an Editable Poly surface allows you to add a subdivision surface
to this type of object without the use of a modifier.
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A couple of utilities help you manage the polygon count, for scenes and animations that cannot
become too complex. The Polygon Counter utility monitors the number of faces in the scene, and
helps you manage a budget of allowable faces. The Level of Detail utility lets you manage the
complexity of an object in the scene. For example, Level of Detail enables you to display a complex
object as simple geometry when the object is at a distance from the camera.
Use the Utilities panel to open a low-polygon utility and make it active.
Polygon Counter Utility
Comments
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Utilities Panel
Utilities Panel
Command panels > Utilities panel
The Utilities panel gives you access to a variety of utility programs. 3ds max utilities are provided
as plug-ins. 3ds max ships with the utilities listed below. Some utilities are available from third-
party developers, so your setup of 3ds max might include utilities not described here. Look for
documentation describing these additional plug-ins by choosing Help > Additional Help.
Note about the MAXScript and Visual MAXScript utilities: Documentation for this utility is contained
in a separate help system. To access the MAXScript Reference, choose Help > MAXScript Reference.
See also About MAXScript.
See also
Interface
The Utilities panel contains one rollout for managing and invoking utilities. While a utility is running,
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Utilities Panel
additional rollouts can appear. Some utilities use a dialog rather than rollouts.
The Utilities rollout contains the following controls at the top:
MoreDisplays a Utilities dialog that lists all utilities not already displayed in buttons on the Utilities
panel. Highlight a utility in the list and then click OK to display its controls in the Utilities panel. (You
can also double-click the utility's name.)
SetsDisplays a list of button sets to choose from. By default, there is only one button set, called
MAX Default. You can create custom button sets by clicking Configure Button Sets.
Configure Button SetsDisplays the Configure Button Sets dialog, where you can create custom
button sets of up to 32 buttons.
Named utility buttonsThese buttons show a selection of utilities. Click one of these buttons to
run a utility. The utility's parameters can appear in rollouts below the Utilities rollout. Some utilities
use a dialog rather than rollouts.
While a utility is running, its button remains active until you click it again to turn it off and close the
utility, or when you click a different utility's button.
Many utilities have a Close button that appears at the bottom of their rollout. This is another way to
close a utility. If the utility controls appear in a dialog rather than a rollout, closing the dialog closes
the utility.
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Additional Help
Additional Help
Help menu > Additional Help
Click Additional Help to display help files for installed third-party plug-ins and for add-on products
from Discreet, such as character studio and mental ray.
This command is set by default to look for third-party help files installed to the \help subdirectory,
though that location may have changed if you've edited plug-in path settings. Plug-in path
information is stored in the plugin.ini file.
To view help for the plug-ins:
1. Choose Help > Additional Help.
2. Choose the plug-in for which you want help.
3. Click Display Help.
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Plug-Ins Path Configuration
Customize menu > Configure Paths > Configure Paths dialog > Plug-Ins panel
In the Plug-Ins panel of the Configure Paths dialog, you can add or modify the directory paths of
Standard and Additional plug-ins. You can also store plug-ins in separate directories and use this
panel to add the paths of those directories. Changing the list order specifies the search order. Put
the most frequently used plug-ins at the top.
Path information is stored in the plugin.ini file.
Procedures
To modify a plug-in path:
1. On the Plug-Ins panel, choose a path entry.
2. Click Modify.
4. Click Use Path.

To add a plug-in path:
1. On the Plug-Ins panel, click Add.
3. Type a description in the Label field.
5. Click Use Path.

To delete a path:
1. On the Plug-Ins panel, choose a path entry.
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2. Click Delete.
The path location is removed
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MAXScript Reference
MAXScript Reference
Help menu > MAXScript Reference
Click MAXScript Reference to display the MAXScript Reference online. This separate online reference
system provides navigation and search methods to help you to find the MAXScript information you
want.
ContentsStarting from the topmost topic, you click to select different levels of topics, proceeding
from more general to more specific. Click a book icon to see the topics in that book. Click the page
icon for the topic you want to display.
IndexLists keywords for topics alphabetically in index format.
SearchAll words in all topics are indexed when the reference was compiled. When you enter the
words you want to search for, the Search engine gives you a list of all topics containing those words.
See also
About MAXScript
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About MAXScript
About MAXScript
MAXScript is the built-in scripting language for 3ds max. It provides users with the ability to:
Script all aspects of the softwares use, such as modeling, animation, materials, rendering, etc.
Control the software interactively through a command-line shell window.
Build custom import/export tools using the built-in file I/O.
Write procedural controllers that can access the entire state of the scene. Build batch-processing
tools, such as batch-rendering scripts.
Set up live interfaces to external system using OLE Automation.

The MAXScript language is specifically designed to complement the software. It is object-oriented,
just like the software, and has several special features and constructs that mirror high-level
concepts in the softwares user interface. These include coordinate-system contexts, an animation
mode with automatic keyframing, and access to scene objects using hierarchical path names that
match the softwares object hierarchy.
The syntax is simple enough for non-programmers to use, with minimal punctuation and formatting
rules.
Visual MAXScript
Visual MAXScript is a powerful addition to MAXScript, making the MAXScript feature easier to learn
and use. With Visual MAXScript, you can quickly create UI elements and layouts for scripting.
For detailed information about Visual MAXScript, open the MAXScript Reference, available from Help
menu > MAXScript Reference.
See also
MAXScript Menu
Procedure
To access MAXScript, do one of the following:
On the menu bar, choose MAXScript. The MAXScript menu appears.
Choose Utilities panel > MAXScript.

From here, you can either write new scripts, edit or run existing scripts, open the MAXScript
Listener, or use the Macro Recorder.
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About MAXScript
To access the MAXScript Listener, you can also right-click in the Mini Listener and choose Open
Listener Window from the right-click menu.
For detailed information about the MAXScript utility, open the MAXScript Reference, available from
Help menu > MAXScript Reference.
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MAXScript Menu
MAXScript Menu
Menu bar > MAXScript
Utilities panel > MAXScript
This menu contains commands for working with scripts you create with the software's built-in
scripting language, MAXScript.
New Script
Open Script
Run Script
MAXScript Listener
Macro Recorder
Visual MAXScript Editor
There is also a MAXScript Mini Listener on the status bar.
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New Script
New Script
MAXScript menu > New Script
New Script opens a new MAXScript Editor window. Use this window for writing a new script.
Comments
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Open Script
Open Script
MAXScript menu > Open Script
Open Script opens a common file open dialog for choosing an existing script. A new MAXScript Editor
window then displays the selected script.
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Run Script
Run Script
MAXScript menu > Run Script
Run Script opens a common file open dialog for choosing an existing script. MAXScript then reads
and executes the selected script. Any output is printed to the Listener window.
Comments
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MAXScript Listener
MAXScript Listener
MAXScript menu > MAXScript Listener
Mini Listener > Right-click menu > Open Listener Window
Keyboard > F11
The MAXScript Listener window is an interactive interpreter for the MAXScript language and works
similar to a DOS command prompt window. You enter MAXScript commands in this window, and
when you press ENTER they are executed immediately.
The Listener window is appropriate for performing interactive work and developing small code
fragments. Each command you execute in the Listener is actually an expression with a result which
the Listener prints out after each execution. You can enter any MAXScript expression or sub-
expression in the Listener for evaluation, and the Listener prints out its result.
The Listener is divided into two panes. The top (pink) pane is the Macro Recorder pane, and the
bottom (white) pane is the output pane. When the Macro Recorder is enabled, everything recorded is
displayed in the Macro Recorder pane. The output of results from scripts are displayed in the output
pane. The output of code executed in the Macro Recorder pane is always directed to the output pane
so as not to clutter the recordings. Both panes allow you to cut-and-paste, drag-and-drop, edit,
select, and execute code. You can resize the panes by dragging on the split bar between them.
The left-end of the status bar contains a resizable Mini Listener. If the Mini Listener is not visible,
drag on the vertical split bar at the left edge of the status bar to reveal the Mini Listener. The Mini
Listener panes act as single-line sliding windows for the current line in the corresponding Listener
panes. The Mini Listener panes always show what you are typing or where the edit cursor is placed
in the Listener panes. Conversely, anything you type into a Mini Listener pane is entered into the
corresponding Listener pane at the current edit cursor position.
You can install the Listener into any viewport by right-clicking the viewport label, choose Views >
Extended, and then MAXScript Listener.
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Macro Recorder
Macro Recorder
MAXScript menu > Macro Recorder
The MAXScript Macro Recorder captures many of the actions performed by the user, and generates
the MAXScript commands that correspond to those actions. Output from Macro Recorder is displayed
in the Macro Recorder pane of the MAXScript Listener window. Several filtering options are available
that control what types of user actions are recorded, whether the generated MAXScript commands
contain explicit object references or are selection-relative, and whether the generated MAXScript
commands contain absolute or relative transforms and coordinates. These options are set using the
MacroRecorder menu in the Listener window. The default option settings are specified in the
MAXScript page of the 3ds max Preferences dialog, as described in MAXScript Preferences Settings.
These settings can also be changed or set by editing the [MAXScript] section of the 3dsmax.ini file.
While many areas in the software generate Macro Recorder output, there are also many areas that
do not. In general, most of the buttons on the softwares menu bar, toolbars, status bar, Create
panel, and Modify panel will generate Macro Recorder output. If the button invokes a secondary
dialog, changing settings or performing actions in the secondary dialog typically do not generate
Macro Recorder output. In the Create and Modify panels, Macro Recorder output will typically be
generated if the object or modifier can be created by MAXScript. In some cases, the plug-ins
implementing an object or modifier has not been updated to support Macro Recorder, so that object
or modifier will not generate Macro Recorder output.
MAXScript supports text drag-and-drop onto toolbars to create Macro Script buttons. You can select
and drag text from any text window, such as the Listener window panes or Editor windows, onto any
visible toolbar. The cursor changes to an arrow with a + sign when it is OK to drop the text. If you
drop it, a Macro Script button is added to the toolbar with the dropped text as the body of the Macro
Script. The classic case here would be to drag text from the Macro Recorder pane onto a toolbar to
make a button that does the sequence of events just recorded.
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Visual MAXScript Utility (See MAXScript Reference)
Utilities panel > Utilities rollout > More button > Visual MAXScript
Visual MAXScript is a powerful interface to the 3ds max scripting language, making the MAXScript
feature easier to learn and use. With Visual MAXScript, you can quickly create UI elements and
layouts for scripting.
For detailed information about Visual MAXScript, open the MAXScript Reference, available from Help
menu > MAXScript Reference
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Click the tag bar, to the left of the status and prompt lines, and drag it to the right to display the
MAXScript Mini Listener.
The MAXScript Mini Listener is a single-line view of the contents of the MAXScript Listener window.
The MAXScript Listener window is divided into two panes: one pink, and one white. The pink pane is
the MacroRecorder pane. When the MacroRecorder is enabled, everything that is recorded is
displayed in the pink pane. The pink line in the Mini Listener shows the latest entry into the
MacroRecorder pane.
The white pane is the Scripter window where you can create scripts. The last line you type in the
white area of the Listener will appear in the white are of the Mini Listener. Use the arrow keys to
scroll the display in the Mini Listener.
You can type directly into the white area of the Mini Listener, and the command executes in the
viewports.
Right-click either of the Mini Listener lines to open the floating MAXScript Listener window. It will
also display a list of the last 20 commands recorded. You can choose any of these commands and
press ENTER to execute them.
For more information about the MAXScript Listener window, as well as about creating scripts, see the
MAXScript Reference: choose Help > MAXScript Reference.
Procedures
Example: To create a sphere using the Mini Listener:
1. Click the tag bar at the left end of the status bar, and drag it to the right to expand the Mini
Listener.
2. In the white, lower line, type sphere radius: 50 and press ENTER.
A sphere appears in the viewports.
Example: To redo a command using the Mini Listener:
1. Click the tag bar at the left side of the status bar, and drag it to the right to expand the Mini
Listener.
2. Right-click the Mini Listener and choose Open Listener Window.
3. From the MacroRecorder menu, choose Enable.
4. Using the command panel, create a sphere in the perspective viewport.
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5. Convert the sphere to an Editable Mesh.
6. Delete the sphere.
7. Make a box.
8. Right-click the Mini Listener window. Choose macros.run "Modifier Stack" "Convert_to_Mesh"
from the list and press ENTER. The box has been collapsed to an editable mesh.
Example: To make a script and add it to a toolbar:

For this very simple example, youll make a script that collapses an object to an editable mesh, and
then create a toolbar icon to run the script.
1. Right-click the Mini Listener, and choose Open Listener Window.
2. From the MacroRecorder menu, choose Enable. Close the listener window.
3. Create a box in the Perspective viewport.
4. Right-click the box and choose Convert to: > Editable Mesh from the quad menu.
5. In the Mini Listener, click and highlight macros.run "Modifier Stack" "Convert_to_Mesh".
6. Drag the highlighted script from the Mini Listener to a toolbar.
Interface
MacroRecorder LineThe pink upper line displays the last thing recorded by the MacroRecorder. If
the MacroRecorder is not enabled, nothing will appear in this line.
Scripter LineThe white lower line displays the last entry typed into the Scripter window. You can
type directly into this line and execute the commands in the viewports
History ListRight-clicking either of the Mini Listener lines displays a history of the last twenty
commands recorded by the Macro Recorder (provided it has been enabled). Click any of these
commands to execute them in the viewports.
Open Listener WindowRight-clicking either of the Mini Listener lines displays a dialog that allows
you to open the MAXScript Listener window. You can also open the Listener using the Utilities panel
> MAXScript rollout. You can display the Listener window in a viewport by right-clicking the viewport
label, then choosing Views > Extended > MAXScript Listener.

Comments


The table of contents for this reference lists utilities alongside the features they support. Here is a
consolidated, alphabetical list.
Assign Vertex Colors Utility
Bitmap/Photometric Paths Utility
Camera Match Utility
Camera Tracker Utility
Channel Info Utility

Collapse Utility
Color Clipboard Utility
COM/DCOM Server Control Utility
Dynamics Utility
Fix Ambient Utility

Follow/Bank Utility
IFL Manager Utility

Lightscape Materials Utility
Material XML Export Utility

MAX File Finder Utility
Measure Utility
Panorama Exporter Utility

Polygon Counter Utility
reactor: The reactor plug-in lets you control and simulate complex physical scenes with ease.
reactor supports fully integrated rigid and soft-body dynamics, cloth simulation, and fluid
simulation. See the Reactor User Reference.
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Reset Transform Utility

Resource Collector Utility
Shape Check Utility
Skin Utilities Utility

Strokes Utility
UVW Remove Utility
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Internet Download Dialog
Utilities panel > Utilities rollout > Asset Browser button > Address bar > Enter URL of geometry
files on World Wide Web. > Drag thumbnail over active viewport.
Menu bar > Tools > Asset Browser > Address bar > Enter URL of geometry files on World Wide
Web. > Drag thumbnail over active viewport.
When you drag geometry files from the World Wide Web using the Asset Browser, the Internet
Download dialog appears. How long this dialog remains on-screen depends on the size of the file
you're downloading.
Interface
Download Information group
Displays the URL of the download, the pathname of the file being saved, and a meter indicating the
bytes downloaded.
Uniform Resource Locator (URL)Displays the URL and file name that you're downloading.
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Saved as Local FileDisplays the pathname of the file being saved as a result of the download.
Options group
Specifies whether or not to place the objects when the download is complete. If you leave this option
selected, 3ds max allows you to position the mouse at the location of your choice.
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Preferences Dialog (Asset Browser)
Utilities panel > Utilities rollout > Asset Browser button > File menu > Preferences
Contains the settings with which you can manage the Asset Browser's cache directory and control
drag and drop operations.
Interface
Cache Directory group
Provides settings and controls for the cache directory.

BrowseDisplays the Choose Cache Directory dialog where you can specify a new directory to use
for your cache. The adjacent text box displays the path of the cache directory where the thumbnail
images are stored. You can change the path either by editing the field or choosing a directory from
the pane below the Folders field.
Note: When you change directories, you're asked if you want to clear the cache from the previous
directory. If you choose to do so, the program erases all thumbnail files from the cache directory you
were using previously.
Delete FilesRemoves all thumbnail files from your cache directory.
Maximum Disk SpaceSets the maximum size of the cache directory. When you exit Asset
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Browser, the program selects the size of the cache directory. If it's over the maximum size, the
program deletes the oldest thumbnail files until the total size is 50 percent of the Maximum Disk
Space setting.
Drag and Drop group
Provides controls for importing or linking files after dragging and dropping them into a viewport.
Show the merge/import/XREF dialogDisplays the merge/import/XREF dialog after you drop a
file into a viewport.
Always merge/import the fileImports the file without prompting for confirmation after you drop
it into a viewport.
Always XREF the fileLinks the file as an XREF without prompting for confirmation after you drop
it into a viewport.
Ask me each timeDisplays a popup menu to confirm importing or linking after you drop a file into
a viewport.
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DWG Files
Glossary
DWG Files
The DWG file is the primary, native file format of drawing files created by AutoCAD, Autodesk
Architectural Desktop and Autodesk Mechanical Desktop. It is a binary format used for importing
and exporting AutoCAD drawing files.
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Exporting to AutoCAD DWG
File menu > Export > AutoCAD (*.DWG)
When you export to an AutoCAD 2004 or AutoCAD 2000 drawing file, you convert your 3ds max objects
into AutoCAD objects. Because AutoCAD doesn't support animation, objects export in a static state
defined by the current frame set by the time slider.
If layers, instances or colors are used to organize objects in the scene, that structure is maintained when
the model is exported.
Exported objects that have modifiers assigned to them are affected by the current state of the modifier.
For instance, if the Taper modifier, assigned to a Box, is turned off, the exported scene will show a non-
tapered box.
Note: Exporting to an AutoCAD R14 drawing file is no longer supported. Export to a 3DS or DXF file
format if you are working with AutoCAD R14.
When drawings, exported from 3ds max, are opened in AutoCAD, you are presented with an Isometric
(3/4) view looking toward the positive XY direction instead of a Front elevation view.
What to expect when opening the DWG
When drawings, exported from 3ds max, are opened in AutoCAD, Architectural Desktop or other
desktops, you are presented with an Isometric (3/4) view looking toward the positive XY direction.
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The isometric view of an exported model opened in AutoCAD.
The exporter also sets two AutoCAD system variables. INSUNITS, Insert Units, sets the drawing-unit
value for blocks or images inserted from AutoCAD Design Center. Therefore, if you have the units of a
model in 3ds max set to millimeters, INSUNITS will be set to 4. The other system variable is
MEASUREMENT which sets the drawing units as either English or Metric.
See also
Exporting to DXF
3ds max to AutoCAD Export Table
Procedure

To export a DWG file:
1. Choose File menu > Export.
2. Choose AutoCAD (*.DWG) in the Files Of Type list.
3. Specify a file name to export.
4. Set options in the Export to AutoCAD File dialog (described below).
Interface
Export version
Version List3ds max 6 allows you to export to AutoCAD 2004 or AutoCAD 2000.
Entire SceneAll objects in the scene are exported. Default=on.
Selected ObjectsWhen turned on, only the selected objects are exported. Turning this switch on is
comparable to using File > Export Selected.
Geometry Options group
Convert Instances To BlocksConverts instances to AutoCAD block insertions. The block definition
uses the same name as the first instance converted. When turned off, each instance is converted as a
separate AutoCAD object. References are always exported as separate objects.
Skip Hidden ObjectsExports hidden objects. When turned off, hidden objects are not exported.
Ignore Extrude CappingWhen turned on, exports shapes with Extrude modifiers as 2D AutoCAD
objects with a thickness property, and ignores the state of the Cap Start and Cap End parameters. When
turned off, shapes with Extrude modifiers that also have Cap Start or Cap End turned on, are exported as

polyface 3D meshes. Extruded Circles, Donuts, and Rectangles export as AutoCAD Circles, Donuts and
Traces with a thickness property.
Comments

Exporting to DXF
Exporting to DXF
File menu > Export > Select File To Export dialog > Save As Type > AutoCAD (*.DXF)
DXF files are used to import and export objects to and from AutoCAD (and other programs that
support this file format).
Note: The DXF Exporter can export only mesh data. Therefore, all shapes and splines are exported
as mesh objects. Consequently, any open splines (which cannot be converted to mesh objects) in
your scene will not be exported.
See also
Interface
Export version
Version List3ds max 6 allows you to export to AutoCAD 2004, AutoCAD 2000 or AutoCAD R12
DXF formats.
Entire SceneAll objects in the scene are exported. Default=on.
Selected ObjectsWhen turned on, only the selected objects are exported. Turning this switch on
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Exporting to DXF
is comparable to using File > Export Selected.
Geometry Options group
Convert Instances To BlocksConverts instances to AutoCAD block insertions. The block

definition uses the same name as the first instance converted. When turned off, each instance is
converted as a separate AutoCAD object. References are always exported as separate objects.
Skip Hidden ObjectsExports hidden objects. When turned off, hidden objects are not exported.
Ignore Extrude CappingWhen turned on, exports shapes with Extrude modifiers as 2D AutoCAD
objects with a thickness property, and ignores the state of the Cap Start and Cap End parameters.
When turned off, shapes with Extrude modifiers that also have Cap Start or Cap End turned on, are
exported as polyface 3D meshes. Extruded Circles, Donuts, and Rectangles export as AutoCAD
Circles, Donuts and Traces with a thickness property.
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Shapes and Splines
Glossary
Shapes and Splines
Spline
A shape is an object made up of one or more splines. A spline is a collection of vertices and
connecting segments that form a line or curve. By adjusting values in the vertices, you can make
portions of the line curved or straight.
Shapes don't usually appear in the rendered scene. They're used in the software for the following
purposes:
As the foundation for extruded objects, by applying an Extrude modifier to the shape.
As the foundation for a spun object, by applying a Lathe modifier to a shape.
As the components that make up a Loft object, by combining a shape as a path, and one or more
shapes as cross-sections along the path.
As an animation path for an object by assigning a path constraint to the object, and then picking a
shape as the path.
As one method of linkage for inverse kinematic chains.
You can make shapes renderable to create tubular forms in the rendering. Renderable shapes don't
appear any different in viewports.
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Shapes and Splines
Shapes can also be NURBS curves. You can use NURBS curves in exactly the way you use spline-
based shapes. You can also use a NURBS curve as the basis for a NURBS model that includes
multiple curve and surface sub-objects.
Get Shape (Lofting)
A circle is lofted along a path to construct a tubular shape. Get Shape chooses the contour spline.
You use Get Shape as a loft creation method when you want the shape to move to the location of
the selected path. For example, you use this method if you have created a path at the exact location
where you want your loft object to be. You use Get Shape to create a loft at that location.
Get Shape causes the shape to move and rotate to align itself with the current level of the path. The
exact orientation of the shape is controlled by two other loft settings named Contour and Banking.
The following describes the orientation of the first shape at level 0:
The pivot point of the shape is located on the path at the current path level.
The positive Z axis of the shape is aligned with the tangent to the path at the current path level.
The local Y axis of the shape is aligned with the local Z axis of the path.
Sometimes, aligning the positive Z axis of the shape with tangent of the path does not produce the
result you want. You can flip the orientation of the shape by pressing CTRL while getting the shape.
Pressing CTRL aligns the shape so that the negative Z axis of the shape is aligned with the tangent
to the path.

Shapes and Splines
Comments

Export Selected
Export Selected
Select one or more objects. > File menu > Export Selected
Export Selected exports selected geometry as 3D Studio Mesh (3DS), Adobe Illustrator (AI), ASCII
Scene Export (ASE), or AutoCAD Drawing Interchange Format (DXF) files.
For information on what data 3ds max exports for the supported formats, see:
Exporting to 3DS
Exporting to Adobe Illustrator
Exporting to ASCII
Exporting to DXF
When you choose Export Selected, a file dialog appears, from which you can choose a type of format
from the Save as type list.
Procedure
To export selected objects to a file:
2. Choose File menu > Export Selected.
3. Enter a name in the File Name field.
4. From the Save As Type drop-down list, choose a file format.
5. Click the Save button.
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File menu > Export > Select File To Export dialog > Save As Type > Adobe Illustrator (*.AI)
You can export shapes that can be converted to Bezier splines. The software exports these shapes in
2D only. It uses only the X and Y coordinates of the shape's local coordinate system, discarding the
Z coordinates.
Procedure
To export a file to Adobe Illustrator:
1. Select one or more shape objects.
2. Choose File menu > Export.
3. Select Adobe Illustrator (*.AI) as the file format.
4. Enter a file name, and click Save.
Comments
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Exporting to ASCII
Exporting to ASCII
File menu > Export > ASCII Scene Export (*.ASE)
When you choose ASCII Scene Export (*.ase) as the Save As type, the exported file is an ASCII
representation of your scene. A dialog lets you specify which scene components are included, and
how they're output. This is helpful if you are writing a program that requires you to parse the ASCII
file.
Interface
Provides check boxes to specify which general options are included in the ASCII file.
Mesh DefinitionExports the definition of each mesh, including vertex and face information for
geometric objects. In addition, turning this on enables the items in the Mesh Options group box,
described below.
MaterialsIncludes the material description. If a material is not assigned to an object, its
wireframe color is exported. All levels of a material tree are included, so this can produce a lot of
text.
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Exporting to ASCII
Transform Animation KeysIncludes the transform animation data for the objects. If the object is
a target camera or spotlight, this will include target animation data.
Animated MeshExports a complete mesh definition of every n frames. The frequency is specified
by the Controller Output spinner, described below. Each block contains the same information
specified in the Mesh Options group box, described below. Turning this on can result in a huge file,
even for small scenes.
Animated Camera/Light SettingsExports the animation data for cameras and lights, such as
color, intensity, falloff, map bias, etc. Outputs a block every n frames, as specified by the Controller
Output spinner.
Inverse Kinematics JointsExports the IK joint settings in the Hierarchy branch.
These items are enabled only when Mesh Definition is turned on in the Output Options group box.
Mesh NormalsExports the face and vertex normals. The normal of the face is listed first, followed
by the normals of the three vertices supporting the face. Turning this on results in a much larger file.
Mapping CoordinatesExports a list of mapping vertices and faces, according to the TVert and
TVFace structures described in the 3ds max Software Development Kit. If an object uses face
mapping, a face map list is exported containing UVW coordinates for each face.
Vertex ColorsExports vertex colors.
The items here let you specify which category of object you want included in the output. You can
include geometric objects, shapes, cameras, lights, and helper objects.
Frame #Lets you specify which frame of the animation will be used to export all static data,
whether or not you output controller animation data.
DecimalsLets you specify the precision (the number of digits after the decimal) of the values
exported to the ASCII file.
Use KeysExports key values. If the controller doesn't use keys, then the Force Sample method is
used. In the case of transform controllers, the Use Keys option works only if all of the transform
controllers are either Linear/TCB or Bezier. If one of the transform tracks uses a different type of
controller, then the Force Sample method is used for all transform tracks.
Force SampleSamples controller values based on the frequency specified in the Frames per
Sample Controller.

Exporting to ASCII
ControllersSpecifies the frequency, in frames, with which to sample controller values for export.
Animated ObjectsSpecifies the frequency, in frames, with which to output animation settings and
mesh definitions.
Comments


The following table lists 3ds max objects and the AutoCAD objects and properties they convert to
when you export them. Any 3ds max objects not listed here don't export.
3ds max Objects Exported AutoCAD Objects or Properties
Circle shape Circle
Donut Shape Individual Circles
Rectangle Shape 2D Polyline
Ellipse Shape Ellipse
Text Shape Text (font and size is preserved)
Spline Shape (1 straight segment) Line
Planar Spline (all segments straight) 2D Polyline
Planar Spline (all segments curved) 2D Polyline with multiple segments
Planar Spline + Extrude 2D Line with thickness
Planar Spline + Bevel (or any modifier) Polyface Mesh
Non-Planar Spline (all segments straight) 3D Polyline
Non-Planar Spline (all segments curved) 3D Polyline with multiple segments
Non-Planar Spline + Extrude Polyface Mesh
Non-Planar Spline + Bevel (or any modifier) Polyface Mesh
NURBS Surface Polyface Mesh
3D Surface PolyFace Mesh
Cameras Named view
Lights Block Reference
Point Helper Point
Comments
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IGES (Initial Graphics Exchange Specification)
Glossary
IGES (Initial Graphics Exchange Specification)

The Initial Graphics Exchange Specification (IGES) is an ANSI standard that defines a neutral form
for the exchange of information among dissimilar computer-aided design (CAD), computer-aided
manufacturing (CAM) systems, and computer visualization systems.
3ds max implements the IGES standard for translating files to the software from IGES file formats
used by the mechanical engineering and entertainment industries. Using the IGES import feature,
you can read in native NURBS data between 3ds max and other programs such as Autodesk
Mechanical Desktop (release 3.0 or later), Maya, Pro/ENGINEER, SOFTIMAGE, CATIA, and
others. For complete details on the IGES standard, see The Initial Graphics Exchange Specification
(IGES) Version 5.3.
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JPEG Files
JPEG Files
JPEG (.jpeg or .jpg) files follow the standards set by the Joint Photography Experts Group. These
files use a variable compression method that is called lossy compression because of the loss of
image quality as you increase the compression. However, the JPEG compression scheme is
extremely good and you can sometimes compress the file up to 200:1 without severe loss of image
quality. JPEG is consequently a popular format for posting image files on the Internet for minimum
file size and minimum download time.
Interface
Clicking Render or Setup in the Render Output File dialog displays the JPEG Image Control dialog.
QualityMove the slider to the level of quality you want: the higher the quality, the larger the file
size. In general, files compressed with the slider set to Best have compression ratios between 5:1
and 15:1.
File SizeMove the slider to the size of file you want: the larger the file, the higher the quality.
SmoothingMove the slider to the level of smoothing you want: the higher the level of smoothing,
the larger the file size.
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JPEG Files
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PNG Files
PNG Files
PNG (Portable Network Graphics) is a still-image file format developed for use with the Internet and
World Wide Web.
Interface
Clicking Render or Setup in the Render Output File dialog displays the PNG Configuration dialog.
Optimized palette (256)Choose to render a smaller, 8-bit color file.

RGB 24 bit (16.7 Million)Choose to render a true color (24-bit) file.
RGB 48 bit (281 Trillion)Choose to render a 48-bit color file.
Grayscale 8 bit (256)Choose to render a grayscale image with 256 shades.
Grayscale 16 bit (65,536)Choose to render a grayscale image with 65,536 shades.
Alpha ChannelTurn on to save the alpha channel with the file.
InterlacedTurn on to make the file interlaced for faster display in Web browsers.
Comments
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PSD Files
PSD Files
PSD is the file-name extension for graphics files native to Adobe Photoshop. This image format
supports multiple layers of images superimposed to get the final image. Each layer can have any
number of channels (R, G, B, Mask, and so on). It is a powerful file format because multiple layers
can contribute to a variety of special effects.
Adobe provides many different modes of superimposing layers, including normal, darken, lighten,
difference, multiply, screen, dissolve, hard light, hue, saturation, color, luminosity, overlay, and soft
light.
You can use PSD files as bitmaps, viewport backgrounds, and so on. You can't render to a PSD file.
3ds max supports Photoshop 6.0 format, and allows you to use image layers as bitmaps, as well as
the entire composited graphic.
Interface
When you open a PSD file as a bitmap, a dialog appears that lets you choose how to use the image.
Collapsed Layers displays the entire image.
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PSD Files
Collapsed Layers(The default.) Uses the entire composited image.

Individual LayerUses a single layer of the image. When you choose this, the dialog shows a list
of the layers, with a thumbnail of each, and the layer names. Click a layer to choose it, then click
OK.
Individual Layer displays list of layers to choose from.
Full FrameWhen on, uses the entire layer as the bitmap. When off, uses only that portion of the
layer occupied by image data. Default=on.
Limitations
Bits Per ChannelPhotoshop supports images with 1, 8, and 16 bits per channel (1-, 24-, and 48-
bit RGB images, respectively). 3ds max supports PSD images with 8 or 16 bits per channel. (In
practice, there are very few images with 1 bit per channel.) While Photoshop can load images with
16 bits per channel, layers are always 8 bits per channel.
Modes3ds max supports .psd files saved in the following modes:
RGB
Grayscale

PSD Files
3ds max doesn't support the following Photoshop modes:
Indexed Color
Bitmap
Duotone
CMYK Color
Lab Color
Multichannel
Non-Image LayersLayers other than image layers (for example, text layers) are not supported.
In Photoshop, you can rasterize a non-image layer to make it an image.
Compositing OptionsCompositing options between image layers, which require processing by
Photoshop, are not supported.
Comments


QuickTime is a standard file format created by Apple for storing common digital media types
such as audio and video. When you choose QuickTime (*.mov) as the Save as Type, your animation
is saved as a .mov file.
You can export animations to .mov for both rendering and previews. You can also export audio if an
audio track is present in Track View. To preview an existing .mov file, you must have movieplayer.
exe included in your environment path. You can download the QuickTime movie player from www.
apple.com/quicktime/download.
Note: The plug-in does not allow for the direct import of audio from a QuickTime file.
Interface
When you create a new QuickTime file or choose Setup for an existing one, you see a dialog that is
typically titled Compression Settings. This dialog is provided by the QuickTime codec installed with
your system, and can change depending on the version of QuickTime you've installed.
Comments
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Codec
Glossary
Codec
Short for compressor/decompressor. An algorithm for compressing and decompressing digital video
data, and the software that implements that algorithm.
Comments
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The SGI Image File format is a bitmap file type created by Silicon Graphics. SGI Image File
support in 3ds max lets you load and save files in both 8- and 16-bit color depth, with alpha
channels, and RLE Compression.
Interface
Clicking Render or Setup in the Render Output File dialog displays the RGB Image File Format dialog.
Channel Bit Depth group
8 BitSaves the RGB file as 8-bit color.

16 BitSaves the RGB file as 16-bit color.
Use Alpha toggle
Use AlphaSaves Alpha channels with the RGB file.
Comments
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TIFF Files
TIFF Files
TIFF (Tagged Image File Format) is a multiplatform bitmap format originating on the Macintosh
and in desktop-publishing applications. TIFF is a common choice if you plan to send your output to a
print service bureau or import the image into a page-layout program.
There are several classes of TIFF files, each varying in the color depth and color palette that they
support.
You can render TIFF files with alpha, luminance, and UV color coordinate information, which
describes illuminance. You also have the option to render a compressed image.
Interface
Clicking Render or Setup in the Render Output File dialog displays the TIF Image Control dialog.
When you render to a TIFF file, you have the following options:
MonochromeCreates an 8-bit grayscale image.
ColorCreates a 24-bit color image (no alpha channel).
Image Type group
Lets you select which image information to save.

8-bit GreyscaleCreates an 8-bit grayscale image.
8-bit ColorCreates an 8-bit color image.
16-bit SGI LogLCreates a color image that also includes a logarithmic encoding of the luminance
channel.
32-bit SGI LogLUVCreates a color image that includes a logarithmic encoding of the luminance
channel and UV color coordinate information.
Store Alpha ChannelWhen on, stores the alpha channel along with other image data. Alpha data
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TIFF Files
adds 8 bits per pixel to the image type you selected.
Compression Type group
Lets you render a compressed TIFF file. Default=No Compression.

No CompressionDoes not compress the rendered image.
PackbitsUses the TIFF Packbits algorithm to compress the file.
Dots Per InchSets the dots per inch (dpi) for the saved image. This setting does not change the
resolution of the final image, but can affect the way it prints in documents.
Comments
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YUV Files
YUV Files
YUV files are still-image graphics files in the Abekas Digital Disk format.
YUV is supported only as an input file format. You can use YUV files as general-purpose bitmaps, but
you can't render to a YUV file.
Comments
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Favorite Location Dialog
Utilities panel > Utilities rollout > Asset Browser button > Favorites menu > Add to Favorites
Menu bar > Tools > Asset Browser > Favorites menu > Add to Favorites
The Favorite Location dialog allows you to add Web sites and pathnames to the Asset Browser
Favorites menu and Favorites bar. When you want to open that page or view the files from a
pathname, you can click the appropriate shortcut button from the Favorites bar, or click the
appropriate menu item from the Favorites menu.
Interface
Custom Label
The button displays the Load Custom Icon dialog. Use this dialog to select an icon file to associate
with the Web site or path name you're adding to the Favorites. You must use icon files that have an .
ico extension.
The text box adjacent to the button displays the URL of the Web page, or the path name that you're
adding to the Favorites. You can edit this to wording of your choice. The unedited URL or pathname
displays in the label below the Custom Label group.
Add to favorites pull down menuWhen you turn this on, Web site or path-name shortcuts are
added to the Favorites menu. When this box is not selected, the Web site or path-name shortcuts
are added only to the Favorites bar.
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Comments
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Utilities panel > Utilities rollout > More button > Utilities dialog > Assign Vertex Colors
The Assign Vertex Colors utility assigns vertex colors based on the material assigned to the
object and the lighting in the scene. The utility applies a VertexPaint modifier to the object when
Assign to Selected is pressed. Once the VertexPaint modifier has been applied to the object, go to
the Modify panel or press Edit to access the Vertex Paint tools
Tip: To render vertex colors, you must apply a material that has a Vertex Color map in its diffuse
component. To view vertex colors in viewports, right-click the object, choose Properties from the
quad menu, and then turn on Vertex Color in the Display Properties group.
The Assign Vertex Colors utility supports light inclusion or exclusion when using the Scene Lights
option.
All of the commands found within the Assign Vertex Color utility are also available from the modify
panel when a VertexPaint modifier has been applied to an object.
Vertex Colors and Radiosity
The Vertex Colors utility supports radiosity. If you use radiosity with assigned vertex colors, be sure
to turn on the option Re-Use Direct Illumination From Radiosity Solution. This option is in the
Rendering Parameters rollout. See Radiosity Controls. When this option is on, the renderer simply
displays the vertex colors assigned by the radiosity solution: strictly speaking, it is not rendering at
all.
See also
Vertex Color Map
Procedures
To use the Assign Vertex Colors utility:
1. Assign materials to the objects you want to affect. These can be mapped or unmapped
materials.
2. Light the objects.
3. Select the objects you want to affect.
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4. Expand the Display Properties rollout in the Display panel and turn on Vertex Colors.
5. Access the Assign Vertex Colors utility.
6. Choose one of the Light Model options.
7. Choose one of the Color Assignment choices.
8. Click Assign to Selected.

VertexPaint modifiers are applied to the selected objects, and the vertex colors for the objects
are taken from their materials and from the lighting in the scene, depending on the options you
choose under Light Model.
Changing the material or the lighting in the scene wont change the vertex colors. To do this,
click the Update All button.
Note: The new vertex colors are stored in the Vertex Paint modifier. If you want to access
them, go to the Modify panel and access the parameters in the rollouts there. You can also use
the tools found in the Vertex Paint floating dialog to create layers, paint, blur or adjust color.
The Vertex Paint floater launches when you go to the Modify panel and the object is selected.
Example: To use the Assign Vertex Colors utility on a specific object:
1. Create a sphere with 24 segments.
2. Apply a mapped material to the sphere, and turn on Show Map In Viewports.
The mapped sphere is displayed in the viewport.
3. Open the Object Properties dialog for the sphere, turn on Vertex Colors, and click OK.
4. With the sphere selected, open the Assign Vertex Colors utility.
5. Choose Shaded and turn on Use Maps.
6. Click Assign To Selected.

A blurred version of the mapping appears on the sphere. The vertices are now colored based on
the material and the lighting in the scene. The mapping is blurred because the resolution of the
mesh at 24 segments is much lower than the pixel resolution of the map.
7. Go to the Modify panel and note the VertexPaint modifier.
8. Move down in the Stack to the creation parameters, click Yes at the warning prompt, and
increase the Segments to 70.
The new vertices shift the already assigned vertices.
9. Return to the VertexPaint level of the stack, and press Assign in the Assign Vertex Colors
rollout. Had we returned to the Utility Panel, we would have added another Vertex Paint
modifier to the stack; pressing Assign in the VertexPaint Modifier only updates that modifier.
Tip: Vertex colors will only show up in a rendered scene if you assign the Vertex Color map to
the diffuse channel. However, if you do this, you can't properly update your vertex colors with

the Assign Vertex Colors utility. The solution is to assign a Blend material to your object. Assign
the straight diffuse bitmap to Material 1, and the Vertex Color map to Material 2 of the Blend.
Switch to 100 percent of Material 2 when rendering, and 100 percent of Material 1 when
updating the vertex colors.
Interface
Channel group
Here you'll find tools to define which channel type the vertex color utility will assign. If you choose
map channel, you can also define the map channel ID number .

Vertex ColorTurn this on to assign a vertex color layer.

Vertex Illum Turn this on to assign a vertex lighting layer.
Vertex Alpha Turn this on to assign a vertex transparency layer.
Map Channel Turn this on to assign a specifically numbered map channel.
Map channel spinnerUse this to define the channel number. Only available when Map Channel is
chosen.
Name: If a channel has a name defined, it will appear here. Channels can be named using the
Channel Info Utility.
Light Model group
Provides options that let you specify how the surface of the object appears to be illuminated.
LightingUses only lighting to assign vertex colors, ignoring material properties.
ShadedUses the current scene lighting and materials to affect the vertex colors.
DiffuseApplies the equivalent of a white omni light floating just outside of every vertex.
Color assignment group
Lets you assign color by either face or by vertex.

Color by Face Vertex colors are assigned on a per-face basis, when this is turned on.
Color by Vertex Vertex colors are assigned on a per-vertex basis when this is turned on.
Lower part of the rollout
Calculate ShadowsTurn on to allow shadows to be taken into account when the vertices are
shaded.
You can soften the shadow edge by use the Paint tool accessed through the VertexPaint modifier.
After using Assign to Selected, the VertexPaint modifier is automatically applied to the objects. Go to
modify panel and use the tools found in the VertexPaint floating dialog to paint, blur or otherwise
adjust the vertex coloring.
Use MapsUse texture maps.
Use RadiosityIncludes radiosity in the vertex color assignments. This option is unavailable unless
a radiosity solution is present in the scene.
Note: This option works for radiosity, but not for the Light Tracer.
Radiosity OnlyWhen on, vertex colors are assigned only radiosity values, ignoring other light
sources in the scene. This is unavailable unless Use Radiosity is on.
Assign to SelectedAssigns vertex colors to the selected objects based on the assigned material
and the specified light model. A VertexPaint modifier is created and added to the Stack of the
selected objects.

Edit Displays the Vertex Paintbox, the floating dialog that holds the vertex painting tools.
Comments

Select an object. > Modify panel > Modifier List > VertexPaint
Select an object. > Modifiers menu > Mesh Editing > Vertex Paint
Select an object. > Utility panel > More > Assign Vertex Colors > Click Assign to Selected > Modify
panel > Modifier List > VertexPaint
The VertexPaint modifier has been redesigned to better meet the needs of game developers. It
provides new functionality for painting and managing color on vertices, with support for up to 99
layered map channels. A new floating toolbox provides quick and constant access to the paint tools
and layers, including 16 different paint layer operators.
Note: To render vertex colors, you must assign a Vertex Color map, as described in To render vertex
colors:.
Tip: If you select faces using the selection tools of the VertexPaint modifier, you restrict your
painting to only the selected faces, as opposed to all faces. This allows you to sharply define the
edges of your painted selection.
New VertexPaint Features
New features of the VertexPaint modifier include:
Floating paint tool panel for fast workflow and easy access.
Familiar, traditional painting tools, with pressure sensitivity, and interactive control over common
brush parameters like brush size and strength.
Mirror-painting mode for symmetric objects.
Integrated access to vertex paint viewport display options.
Paint on up to 99 different map channels, in addition to color, alpha, and illumination.
Paint layers: create/delete/collapse unlimited number of paint layers per vertex.
16 different paint layer operators (such as overlay, screen, multiply, lighten, darken, and so
forth).
Works in conjunction with new Channel Info Utility.
Highly configurable brush options including pressure and brush styles
Integrated selection of vertices, faces, and elements, including soft selection.
New animated opacity of vertex paint layers.
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Painting across multiple objects.
About Map Channels and Vertex Color, Vertex Alpha, and Vertex Illum
When using vertex paint, it is helpful to understand how 3ds max manages vertex color, alpha,
illumination, and map channels. All of these different pieces of information are actually stored and
managed in 3ds max using the same underlying system.
The map channels are defined as triple-value channels (tuples) with a unique integer ID number
ranging from -2 to 99. The first five map channels have specific and familiar usages:
Channel (2): UVW second pass texture mapping coordinates
Channel (1): UVW standard texture mapping coordinates
Channel (0): RGB vertex color
Channel (-1): FLOAT vertex alpha (really only 1 value needed)
Channel (-2): RGB vertex illumination
Every geometric vertex of a mesh or poly object can be assigned up to 102 channel values (99 + 3).
The negative numbering scheme for vertex alpha, and illumination is actually historic: it was done to
preserve the meaning of existing map-channel data in older 3ds max files before vertex alpha and
illumination were added.
You can paint on any arbitrary channel, and to use one or more channels for any arbitrary meaning
for a given vertex. It is useful in development of content for games to paint on arbitrary map
channels numbered higher than those used for texture mapping (such as channels 3, 4, 5). These
can be used to store logical information about a vertex, whether it is slippery or explosive, for
example.
A single vertex can be assigned a stack of map channels that carry different meanings. When the
modifier stack is collapsed, these map channels are preserved.
The new VertexPaint modifier takes this into consideration through its simple exposure of map
channel IDs for display and painting.
About Painting in Layers
The layer system allows you to paint changes on a single layer, then make another layer on top of
that, and paint additional changes. This can be used to store different versions or variations of your
vertex color painting.
Every layer has a blending mode that it uses to determine how it combines with the other layers.
You can assign vertex colors using the Assign Vertex Colors utility, then add another layer, change
the layer mode operator to Lighten, and paint with a white paintbrush, to lighten up areas. There are

15 different modes to use, and many tasks that can be accomplished using paint layers.
One of the primary advancements of the new VertexPaint is its use of the modifier stack as a kind of
image composite stack. Each VertexPaint modifier is a single layer in the composite. Layers can be
moved up and down the stack, enabled or disabled, and the stack can be flattened using Condense
To Single Layer.
Backward Compatibility
If an older file is loaded which uses a previous version of the VertexPaint modifier, then the legacy
modifier will be loaded when the file is opened.
The legacy modifier has not been changed, and the two modifiers are not inherently compatible in
terms of their data format during loading and saving.
If you have vertex color data in a legacy VertexPaint modifier, you can use the Condense To Single
Layer tool of the new modifier to migrate the vertex colors into the new modifier.
Procedures
To add scene lighting into an object's vertex color:
1. Select the objects in the scene that you want to color.
2. On the Modify panel, choose VertexPaint from the modifier list.

The floating Vertex Paintbox appears, docked on the left edge of the viewports.
3. Open the Assign Vertex Colors rollout.

Note: This rollout provides the same tools as found in the Assign Vertex Colors utility.
4. In the Light Model group, turn on Lighting.
5. In the Shadows group, turn on Calculate Shadows, if you want shadows added.
Tip: Turn on Shaded and choose Use Maps if you want to mix the texture map information with
the lighting and shades.
6. Click Assign To Selected
7. On the Vertex Paintbox, turn on Vertex Color Display Shaded to see the vertex lighting in
the vertex color map.
To paint vertex colors on an object:
1. Select the scene objects to paint.
2. On the Modify panel, choose VertexPaint from the Modifier List.

The Vertex Paintbox appears
3. Choose the color you want to paint with by clicking the large color swatch below the Paintbrush
button. This opens the Color Selector.
4. Change the color using controls on the Color Selector.
5. Adjust the strength of the color by entering a percentage value in the Opacity field.
6. Click Vertex Color Display Unshaded to see the vertex colors without shading.
7. Click the Paint button and move the cursor over the selected object in the viewport.
8. When the cursor displays over the object, press and hold down the left mouse button and drag
to paint the object.
Tip: The cursor displays the size of the brush. Use the Size spinner to change to a larger or
smaller brush.
To see vertex colors in a viewport:
1. Right-click the object with painted vertices, and choose Properties from the quad menu.
2. In the Display Properties group, turn on the toggle for Vertex Color.
Vertex Color is one item on a drop-down list. The other items are Vertex Illumination and
Vertex Alpha. Viewports can display only one of these vertex channels at a time.
3. Click OK.
To render vertex colors:
1. Open the Material Editor, and apply a Standard material to the object.
2. Click the map button for the Diffuse component.
3. In the Material/Map Browser, choose Vertex Color as the map, and then click OK.
Now, when you render the scene, the rendering shows the painted vertices.
To animate the opacity of a vertex color layer
1. Choose the layer you wish to animate, by highlighting the Vertex Paint modifier in the stack
that corresponds to that layer.
3. On the floating vertex paintbox, in the Layer group move the Opacity slider.
This sets a key for the opacity.
4. Move the time slider to another frame and again change the value using the Opacity slider.

5. Click Play to see the animated opacity in the viewport.
To animate vertex color using UVW XForm modifier:

You can use the UVW XForm modifier in conjunction with a specific vertex paint layer to modulate
vertex color effects in the viewport.
1. Apply a UVW XForm modifier directly above the VertexPaint layer (modifier) you want to
modulate.
2. Set the Channel type on the UVW XForm modifier to Vertex color.
3. Animate the U, V, and W spinners using identical values. For example, animate UVW from 1 to
0 over the length of the animation.
This will attenuate the RGB values of the underlying vertex color results uniformly. It will
effectively dim out the vertex color result directly below the UVW XForm modifier.
Note: Any additional vertex paint layers applied above the UVW XForm modifier in the stack for
the selected object(s) will be unaffected
Tip: You can add multiple UVW XForm modifiers in your stack in this way, giving some
progressive control over modulated vertex colors. The effect is always additive, however, and
cannot be weight-blended.
To paint under an existing layer and view the result:
1. Select an object that has several VertexPaint modifiers displayed in the stack.
2. In the modifier stack, activate the VertexPaint modifier that is the layer you want to paint on.
3. Turn on the Show End Result toggle.

Now, when you paint on the layer, you will see the painting taking place under the top layer.
Interface
Parameter rollout

Selection groupItems located in this group are identical to the features found in the Selection
group of the Paintbox rollout
Channel groupHere you'll find tools to define which channel type the vertex paint layer will affect,
and which map channel number you'll paint on.
Vertex ColorTurn this on to paint on a vertex color layer.
Vertex IllumTurn this on to paint on a vertex illumination layer.
Vertex AlphaTurn this on to paint on a vertex transparency layer.
Map ChannelTurn this on to paint on a specifically named or numbered map channel.
Map channel spinnerUse this to define the channel number. Only available when Map Channel is
chosen.
Note: If you have painted on a layer and then change the channel rollout setting, the painted
information will be moved to the new channel. For example if you select Vertex Color and paint, then
turn on Vertex Illum, the painted information will be removed from the Vertex Color channel and
applied to the Vertex Illum channel instead.
NameIf a channel has a name defined it will appear here. Channels can be named using the
Channel Info Utility.
Ignore underlying colorWhen this is turned on, the modifier ignores whatever vertex colors it
receives from below it on the stack. As a result, you will see the layer's raw colors on an otherwise

white object. The blend mode has no effect (it behaves like Normal mode) because the base color is
considered transparent, so the layer is not blended with anything.
The purpose of this feature is to isolate a layer from the colors below, to help the user visualize the
layer's raw data. The layer is not completed isolated when this is on, because layers above it can still
affect the result. The user needs to disable those layers or turn off Show End Result to see the
current layer in complete isolation.
The Ignore Base Color toggle should ONLY be needed when the object at the bottom of the stack
already has some vertex colors baked in. In other cases, you can just disable the paint layers or
whichever modifiers are adding vertex colors to the object. In that case, the active paint layer would
not receive any vertex colors from below itself on the stack. As a result, it treats all base color as
transparent and the layer colors are displayed in the raw (not blended with anything).
Note: Per-vertex layer opacity is NOT passed up the stack. A paint layer modifier makes a YES/NO
decision about whether an object below it has vertex colors or not, and will subsequently treat all
base colors as transparent or all as opaque. So if you paint even a single vertex using Edit Mesh, for
example, the object is considered to have vertex colors, and a paint layer will blend its colors with
the (predominantly white) mesh instead of treating the mesh as transparent.
Preserve Layer When this button is checked, the modifier will not be deleted by any Condense To
Single Layer operation. Since the Condense To Single Layer performs two independent actions
(creating a new baked-color modifier and then deleting existing modifiers), this button allows access
to only the first part of the functionality when necessary. That is, you can bake colors into a new
paint layer, without being forced to have the old modifiers deleted.
Edit button displays the Vertex Paintbox floater if it has been closed.
Assign Vertex Color rollout

This rollout gives you access to the same tools found in the Assign Vertex Colors utility. Here you
can take the scene lighting information and bake it into the vertex channel system.
For information on these features, see Assign Vertex Colors Utility
Vertex Paintbox

The Vertex Paintbox is a floating toolbar with the Vertex paint tools. The Vertex Paintbox is launched
from the VertexPaint modifier after it has been applied to one or more objects. It will open
automatically when the vertex paint modifier is first assigned. You can close the floater by clicking
on the x in the upper right corner of its window. To open it again, click on the Edit button in the

Parameters rollout of the VertexPaint Modifier (also found in the Assign Vertex Color utility).
This dialog can stay floating when different objects are selected, and allows the user quick and easy
access to vertex painting, by automatically applying a VertexPaint modifier to a selected object when
the Paint button is pressed.
Vertex Color Display controls
Control the display of the vertex paint in the viewport by using the four icons at the top of the
floating panel. You can easily switch between shaded and unshaded vertex color modes, or turn off
the display of vertex color and or texture maps.
Note: These four controls are action buttons, pressing them performs the desired action. They are
not toggle state buttons, which stay highlighted while on.
Note: This has no effect on wireframe, but works on lit wireframe and all other shaded display
modes.
Vertex color display unshaded Displays the currently selected object in vertex color
display mode. This mode is identical to the one offered by the Object Properties menu (right click on
object, select Properties> turn on Vertex Color in the Display Properties group, making sure that
Shaded is off.)
This has no effect on wireframe, but works on lit wireframe and all other shaded display modes.
Vertex color display shaded Displays the currently selected object in vertex color
display mode, with viewport lighting (shading). his mode is identical to the one offered by the Object
Properties menu (right click on object, select Properties> turn on Vertex Color in the Display
Properties group making sure that Shaded is on.
Disable vertex color display Displays the currently selected object in its current shading
mode without showing vertex colors.
Toggle texture display Displays or hides texture maps on the currently selected object.
Viewport Channel Display selector
This menu allows you to select which one of the map channels to paint on:

Vertex colorsChoosing this lets you display the vertex color channel in the viewport.
Vertex alphaChoosing this lets you display and paint the vertex transparency channel in
the viewport.
Vertex IllumChoosing this lets you display and paint the vertex lighting channel in the
viewport.
Map ChannelChoosing this lets you define a numbered map channel to paint on. Define
the channel ID number with the Map Channel Display spinner.
Map channel display in viewport flyout
What you see is what you paint so whatever you select will both be displayed and activated for
painting.
Note: You cannot paint on all channels simultaneously as you could in the previous version of the
vertex paint modifier.
Map Channel Display Spinner This control lets you to numerically select a channel other than
the 3 conventional ones listed above, for display only. If the channel you select is currently used for
mapping coordinates, you'll see red/yellow/green colors corresponding to the UVW values.
You might choose map channels above the standard channel 1, 2, 3 that do typically get used for
texture mapping. But you will need to keep track of your own conventions, and/or use the Channel
Info utility to track what has been allocated for each object.
The Map Channel Display Spinner is only available when the Map Channel display button. If you
assign a new vertex paint modifier or create a new layer and choose a particular numeric map
channel, then select Map Channel display, the spinner will become available.
Lock buttonThe Lock button makes the Display Channel setting unavailable, and
automatically sets Display Channel to whatever channel you choose on the Modify panel > Channel
rollout. Keep this turned on, to ensure that you're always displaying what you're painting.
If you want to glance at another channel without stopping your current paint session, turn off the
lock and then switch the display channel. When you are finished, switch back and turn the lock back
on.
Vertex Paintbrush group

Vertex paint controls
Here are the controls that let you access the paintbrush and the paint. You can choose color to paint
with, from a color selector or from the scene. Choose to adjust the brush size or envelope, or launch
advanced paintbrush options such as pressure sensitivity.
Paint all Performs a traditional paint fill operation on the current object or sub-object
selection . In the case of sub-object selections (vertices, faces, elements) the fill will honor those
selections. In the case of soft-selections Paint all will do a faded fill, slowly tapering off the opacity
based on the soft selection settings.
As with the Paint button, this will either paint on the current layer, if one is open in the Modify panel,
or else it will create a new vertex paint layer instanced across the selected objects
Paint Starts the painting process. Once it is turned on, you can start painting on
the current selection, by moving the cursor into the viewport and over the object.
If there is a Vertex Paint modifier highlighted in the Modify panel, you will be painting into that layer.
But if the selected objects do not currently have a vertex paint layer highlighted in the modify panel,
then a dialog appears letting you create a new modifier. This will be instanced across all the selected
objects.
You will not see the results of your brush strokes, unless the proper display mode is set (above) Be
sure your display mode and your paint target match. For example if you are painting on the alpha
channel, be sure you are displaying the alpha channel. If you are painting on the color channel,
display the color channel. Brush strokes will use the color specified in the color swatch directly below
the Paint button.
See Painter Options Dialog for more painting options.
Erase all Erases all painting applied to the currently selected object(s) via the current
vertex paint modifier. This allows you to see through the underlying color of the objects vertices.
This underlying color might come from the objects original vertex color, or from another vertex
paint layer directly below it in the modifier stack. This supports soft selection as well.

EraseTurns the brush into an eraser that will remove paint from the currently
selected objects. Erase mode will actually erase any painting applied to the currently selected
objects for the current layer of paint (allowing the true color of the original objects vertices to be
seen or the vertex paint layer immediately below the current one).
Pick color from objectAllows you to select a color from the currently selected objects. The
selection is from a single vertex (box selection is not supported). Selection must occur within
proximity of a vertex, or no color will be selected. Press and drag action allows you to sweep across
a vertex of interest to pick up its color. Since this button enters a mode, it must be clicked to leave
the mode, or you can choose another mode to turn it off.
Color swatch The color swatch indicates the current color that will be used when
painting begins. Clicking on the swatch launches the standard color selector. Here you can change
the color that will be used on the next brush stroke. It provides standard Hue, Saturation, and
Brightness selection along with red, green, and blue selection and numerical entry.
Opacity Controls the opacity of paint being applied to the currently selected object(s) in a single
paint stroke (actually, any time before mouse up). This value represents the percentage of new paint
that will blend into the color already applied to the selected object(s). Successive paint strokes will
continue to add this color until it overpowers the underlying color completely. The maximum value is
100% and 0% is the minimum value. A value of 50% will blend equally with the underlying vertex
color in a single stroke (before mouse up).
With the legacy vertex paint, the strength value only controlled the amount of color added at each
point on the brush stroke. Even if you picked a very low strength value, color would continually build
up and up forever, the more you moved the mouse around. In the new vertex paint, the brush
opacity serves to clamp the effect of each brush stroke, taken as a whole. If you pick a low opacity
amount, then a single brush stroke will have only a small effect, no matter how much you scrub.
This allows much better control over the density of a glaze of color, with an even glazing across all
the painted vertices.
SizeControls the diameter of the brush, as seen in the viewport. Size values range from zero to
9,999,999 and must be chosen appropriately for the size and resolution of geometry you are
painting.
Brush Options Opens the Painter Options dialog, where you can access advanced
paintbrush controls. These are the standard set of Painter Interface options. The same options can
be seen, for example in the Skin modifier, for painting weights.
Here you will find a rich selection of brush configuration tools that change the way your brush
strokes apply color to the selection. Includes tools for mirror painting mode and using pressure
sensitivity.
Selection group

Tools in this group let you choose sub-object selection levels. You can select vertices, faces or
elements. Includes the option to ignore backfacing so you can limit your selection to sub-objects that
face toward you, and also provides access to standard soft selection options.
This creates a mask that will lets you determine what is being affected by your paint strokes, and
any other operations you might apply, such as blurring or color adjustment. Erase functionality will
also honor this mode selection.
Note: Soft Selection is supported on the various sub-object selection modes.
Select vertex Allows you to select vertices from the currently selected object(s). Once
selected, only these vertices will be available for painting.
Select face Allows you to select faces in the currently selected object(s). Once selected,
only these faces will be available for painting.
Select element Allows you to select elements in the currently selected object(s). Once
selected, only these elements will be available for painting.
Ignore Backfacing When this is on, prevents the user from mistakenly selecting things facing
away from the user.
Soft SelectionThe same soft-selection options found in Editable Mesh and Editable Poly are
available using this button.
Image Adjustment group
Tools in this group allow you to perform overall color adjustment or image blurring without using the
paint brush in the viewport.
Adjust Color Launches the Adjust Color Dialog where you can find sliders for
adjusting HLS or RGB values, preview the effect and apply it.

Blur Smooths the pixels in the image so there is less contrast and color
difference. Use this to get rid of harsh edges such as shadows created by the Assign Vertex Colors
utility.
Blur Amount spinner Blurs currently selected channel values (e.g. vertex color, alpha, etc.) for
the currently selected object(s). Also supports sub-object selection of vertices, faces, elements. With
soft selections, the final blurred value is computed, and then combined with the original color
according the selection; a 50% soft selection means that a vertex will become a fifty-fifty
combination of its original color and the blurred color. Progressive clicks of the blur button will
progressively blur the previous results, eventually washing out painting effects entirely.
Blur is very useful for softening automatically generated vertex color lighting information from the
assign vertex color tool which computes intensities per vertex. This is especially useful for low
resolution geometry and high-frequency lighting changes.
Layers group
ModeThe layer mode drop-down list allows you to select a specific operator for this paint layer.
The operator selected affects base color, alpha, illumination, and other information coming up from
layers below it, or from the base object itself. The chosen operator controls how the incoming color
is combined with any newly painted colors for the current level.
This mode is changeable at any time, without destroying previously painted information in layers
above, below, or in the current paint layer. The following modes are supported per paint layer:
NormalThe layer color completely overwrites the base color.
OverlayThe color cast is shifted towards the layer color and contrast might be increased.
It's useful when you want to make an object appear a different color but in the same lighting
conditions. A fully bright or dark channel is never affected however, so if Red=100% and
Green=0% in the base color, then neither the red nor green channels can be affected by the layer
color.
ScreenEach channel R/G/B is moved towards full brightness, depending on the layer color. The
result is at least as bright (never darker) than the original. Black is transparent in this mode.
MultiplyEach channel R/G/B is moved towards zero, depending on the layer color. The result is
at least as dark (never brighter) than the original. White is transparent in this mode.
LightenWhichever color is brighter, the layer or the base, is used as the output. It operates on
the whole color, and NOT channel-by-channel.
DarkenWhichever color is darker, the layer or the base, is used as the output. It operates on
the whole color, and NOT channel-by-channel.
Color dodgeEmulates the effect of "dodging" a color print in a darkroom; the result is at least
as bright (never darker) than the original.

For each channel R/G/B if the layer is at full value in that channel, the output channel will be at
full value. Even if the layer value is less then full value, the output is still strongly brightened in
that channel. For example, a medium red layer color will add a significant red brightness to the
output.
Color burnEmulates the effect of "burning" a color print in a darkroom; the result is at least as
dark (never brighter) than the original. For each channel R/G/B if the layer is zero in that channel,
the output channel will be zero. Even if the layer value is above zero, the output is still be strongly
darkened in that channel. For example, a medium red layer color will significantly reduce blue and
green brightness in the output.
The next four Light modes essentially offer compromises between the destructive effect of Normal
Mode and the toning effect of Overlay mode. Try using medium-value desaturated layer colors, since
the light modes can be too destructive with bright, vivid layer colors. A neutral grey layer color is
transparent in any of the light modes.
Soft lightVery similar to Overlay, but even more gentle, and it does not tend to increase
contrast as much.
Hard lightMore like Normal mode than Overlay, it will change color cast somewhat. It is fairly
destructive like Normal mode, especially with bright layer colors.
Vivid lightBrighter layer colors produce a Color Dodge effect, while darker layer colors produce
a Color Burn effect, although the effect is generally weaker than Dodge or Burn.
Linear lightFor each channel R/G/B if the layer color is more than 50% bright in that channel,
the output will be brightened, and if the layer is less then 50% bright, the output will be
darkened. As an example, if you want the top of your image to be twice as bright, and the bottom
to be half as bright, use a gradient from 75% grey to 25% grey, top to bottom.
The next four modes are used to control the HSV channel values of the image instead of using RGB
channel value.
HueThe output color has the saturation and value of the base color, with the hue of the layer
color.
SaturationThe output has the hue and value of the base color, and the saturation of the layer
color.
Color The output has the value of the base color, and the hue and saturation of the layer color.
Luminosity The output has the hue and saturation of the base color, and the brightness value
of the layer color.
Note: Using the show end result button in the modifier stack for the current paint layer will allow you
to interactively paint under any over laying paint layers (vertex paint modifiers that are above the
current one in the objects modifier stack). This allows you to see the final results of your paint
strokes for any paint layer in the stack.

Opacity SliderAllows you to set the opacity of the current vertex paint layer from 0 to 100%.
100% Opacity means that the current layer is entirely opaque you cannot see through it to the
layer directly under it or to the base vertex colors of the object(s) being painted.
The opacity of a layer is animatable. Simply turn on Auto Key, move the time slider and adjust the
spinner value. It will set a keyframe.
Note: If you painted on the layer with a brush opacity less than 100%, then colors stored in the
layer can already be less than full opacity, and the final opacity at any vertex is a product of the two
values. If you vertex had only 50% opacity worth of paint applied to it, and the layer is 50%
opaque, then the vertex will appear 25% opaque overall.
Be aware that the paint opacity is different from the vertex alpha channel. Values less than 100%
incrementally reveal any vertex color/alpha, etc. information coming from vertex paint layers
beneath it, or the base object(s) original information. Opacity values can be changed for the current
layer at any time. Since vertex paint layers are preserved in the modifier stack you can return to a
particular layer at any time and adjust its opacity to tune an objects final appearance.
Note: The opacity for a specific paint layer should not be confused with alpha information for a
given vertex. Opacity controls the mixing of painted information in the modifier stack for the
currently active map channel (whether it be color information, alpha, illumination, or any arbitrary
map channel from 1-99). Alpha Channel information (by convention) is intended to be used
specifically to indicate the transparency of all combined color information for a given vertex.
Another way to think about the opacity slider is that it is identical to the amount spinner. The
difference between them is that opacity is for the entire layer, where as amount is for the current
brush stroke (between a mouse down and mouse up period when painting). Changing the amount
spinner after painting does not affect what is already displayed on the screen; where changing the
opacity layer does. In the end, the current vertex paint layer being applied generates a final color
that is the combine result of amount and opacity. The whole concept should be quite natural to any
Adobe Photoshop user. However, Photoshop is able to display a light grey/dark grey quilt as a
background to give a visual cue about layer opacity, whereas 3ds max does not support this same
display cue. So in 3ds max, more attention is required of the artist to understand the opacity of
each vertex on each layer.
Opacity numeric entry fieldAllows you to enter an opacity amount. Range=0 (completely
transparent) to 100 (totally opaque).
Comments

Vertex Color Map
Vertex Color Map
Material Editor > Maps rollout > Click a Map button. > Material/Map Browser > Vertex Color
Mapping vertex colors
Vertex Color map makes any vertex coloring applied to an object available for rendering. You can
assign vertex colors using the VertexPaint Modifier, the Assign Vertex Colors utility, or the vertex
controls for an editable mesh, editable patch, or editable poly. While vertex color assignment is
primarily used for special applications, such as game engines or radiosity renderers, you can also
use it to create colorful, gradient surface effects.
While vertex color assignment is primarily used for special applications, such as game engines or
radiosity renderers, you can also use it to create colorful, gradient surface effects. You can also use
it in design visualization: Use the VertexPaint Modifier to paint your landscape different colors to
represent grass, shrubbery, parking areas, etc., and then use Vertex Color map to use the vertex
coloring in your rendered images.
Tip: To view vertex colors in a viewport, right-click the object, choose Properties from the quad
menu, and then turn on Vertex Channel Display in the Display Properties group.
New in Vertex Color map are parameters that provide support for its usage in conjunction with
the new Channel Info utility.
Procedure
To use the vertex color map:
1. Assign vertex colors to an object.
2. Assign a material to the object, then assign a Vertex Color map to the material's diffuse
component.
3. Optionally, if manipulating the map channels with the Channel Info utility, choose a map
channel or sub-channel to render.
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Vertex Color Map
Interface
These parameters let you define which map channel or sub-channel is to be rendered. One
application is to support usage of the Vertex Color map in conjunction with the Channel Info utility.
The settings are interlinked; changing one parameter will change the other two, as appropriate.
Map ChannelLets you specify which map channel to use. Range=0 to 99. Default=0.
Notes regarding this setting:
If you set Map Channel to a channel that doesn't contain any vertex coloring data, attempting to
render will generate a Missing Map Coordinates error message. To resolve this, apply vertex
coloring to that channel.
By default, the vertex coloring in map channel 1 is a color gradient derived from the UVW texture
coordinates by converting UVW values to RGB values. Thus, at UV=0,0 (the lower-left corner of
the map), the coloring is black; at UV=1,0, the coloring is red, and at UV=1,1 (the upper-right
corner), the coloring is yellow (red + green=yellow). You can change these colors with a tool such
as VertexPaint modifier.
Map Channel cannot be set to a negative value, thus the map doesn't support rendering of the
vertex illumination (-1) or vertex alpha (-2) channel.
Sub ChannelLets you can specify that the map will use either the Red, Green, or Blue sub-
channel of the specified map channel, or all sub-channels.
Channel NameAfter assigning the material with the Vertex Color map to an object with
named map or vertex-color channels (see Channel Info Utility), you can click Update, and then, from
this drop-down list, choose a named map channel from the object.
UpdateRefreshes the contents of the Channel Name drop-down list. Use Update after applying
the material to an object, or after adding channels to the object.
Note: There could be conflicts if one material with a Vertex Color map is assigned to objects with
different named Map Channels, where one channel's name may be displayed in preference to
another's.

Vertex Color Map
Comments

Select an object. > Utility panel > More button > Channel Info > Click Channel Info button.
The Channel Info utility gives game artists and others direct access to objects' channel information
that might not otherwise be easily available. All objects in 3ds max have mapping channels, which
hold information pertinent to texture mapping as well as vertex color, illumination, and alpha. Mesh
objects also have geometry and vertex-selection channels. The Channel Info utility lets you view an
object's channels, give them meaningful names, delete unused channels, and copy information
between channels.
The utility's Map Channel Info dialog shows all the channel data for selected objects. It displays the
number of channels, the number of vertices per channel, and how much memory the channel uses.
It also lets you name channels, as well as clear (or delete), copy, and paste channels. Each of these
commands except renaming puts a modifier on the stack to achieve the results.
Note: Channel Info supports mesh, polygon, and patch objects. It does not support NURBS objects.
See also
This map and utility and these modifiers work in conjunction with Channel Info:
Vertex Color Map
UVW Mapping Paste Modifier
Procedure
To use the Channel Info utility:

This procedure is a guide to basic usage of the Channel Info utility. For more detailed usage methods
and examples, see the tutorial Using the Channel Info Utility.
1. Select an object or objects to use with the utility.
2. Open the utility.

The Map Channel Info dialog opens.
3. To create a map channel, click any channel and then click the Add button.
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The new, empty channel appears at the end of the list.
4. Most channels have three components. For example, a mesh or map channel has X, Y, and Z
components, and an alpha channel has R, G, and B components. To expand all three-
component channels, click the SubComp button. To collapse all expanded channels, click
SubComp again.
5. To copy one channel to another, click the source channel, click Copy, and then click the
destination channel and click Paste.
In some cases, you might need to expand or collapse the component display (see previous
step). For example, when copying a vertex selection (vsel) channel to a map channel, you must
paste the vsel channel to a component channel.
6. To minimize a channel's memory footprint, click the channel and then click the Clear button.
This removes most all or of the data from the channel, so first make sure the data is
unnecessary or is available elsewhere. If the cleared channel is the last one in the list, it might
be deleted from the list.
Interface
The primary user interface of the Channel Info utility is the Map Channel Info dialog, which you open
by clicking the utility's Channel Info button on the command panel. This modeless dialog shows
information about all map channels belonging to the current selection, at the object level. If you
change the selection, the dialog automatically updates to reflect the selection.
The dialog consists of two parts: a button toolbar at the top, and a tabular display of map channels

belonging to each object in the current selection.

Tip: If you use Channel Info a lot, you might want to make the utility more easily accessible by using
Customize User Interface to add it to a menu, such as Tools.
Channel Info toolbar
CopyCopies the channel data from the highlighted channel to the copy buffer, where it becomes
available for pasting. After you copy a channel, its name appears on the line below the button
toolbar.
PastePastes the contents of the copy buffer to the highlighted channel.
You can copy and paste only between channels with the same topology, or you can copy from any
channel to a channel with no vertices.
Source and destination channels need not be of the same type. For instance, you can copy from a
mesh channel to a map channel, and vice-versa.
NameLets you rename the highlighted channel. Click this button to open a small dialog that
displays the current channel name and lets you edit this name or enter a new one from the
keyboard.
ClearUse this function to remove channels or delete data from a map channel (including alpha,
illumination, and vertex color channels). Clear has no effect on geometry or vertex selection
channels.
The specific result depends on the type of object and which channel you clear. In terms of reducing
the object's memory footprint, the utility is most effective with Editable Poly objects.
Geometric primitive or Editable/Edit Mesh objectDeletes the highlighted texture map

channel if it is the last map channel in the object, and it's not the default map channel (1:map). If
the highlighted channel is not the last, Clear deletes all vertices in the channel. The faces remain,
so the memory-footprint reduction is partial.
Note: This also applies to objects that collapse to editable mesh, such as Loft objects.
Editable Poly objectDeletes the highlighted texture map channel if it is the last map channel in
the object, and it's not the default map channel. If the highlighted channel is not the last, Clear
deletes all vertices and faces in the channel.
Patch objectDeletes the highlighted texture map channel if it is the last map channel in the
object, and it's not the default map channel. If the highlighted channel is not the last, Clear has no
effect.
Note: When you use the Clear function, the software adds a UVW Mapping Clear modifier to the
object's modifier stack. You can recover the deleted data by removing the modifier from the stack, or
changing its Map Channel setting.
AddAppends a new map channel to the object's channel list. If multiple objects are selected, Add
becomes available only after you click a track, so the software knows which object to add the
channel to.

Note: If you apply mapping with a channel number higher than any existing channels, the software
automatically creates all intermediate channels. For example, if you apply a UVW Mapping modifier
to a standard object and set Map Channel to 5 in the modifier, the software adds map channels 2, 3,
4, and 5.
SubCompToggles display of the channels' subcomponents. When displayed, you can rename,
copy, and paste each subcomponent independently of its parent channel.
Each channel except vsel has three subcomponents. Mesh and map channels' subcomponents are
labeled X, Y, and Z; those of alpha, illumination, and vertex color channels are R, G, and B (red,
green, and blue).
LockRetains the current mapping data information in the table even if you change the selection.
For example, if you want to see mapping data for a specific object or objects constantly, first select
the objects and then click Lock. Thereafter, if you select different objects in the viewport, the table
continues to display the data for the selection when you clicked Lock. If you turn off Lock, the table
updates to show data only for the current selection.
If you click Update when Lock is on, the software will refresh the table contents to reflect the current
selection, and then retain that data.
UpdateRefreshes the displayed data to reflect any changes in the objects or mapping, or, when
Lock is on, the selection.
For example, if you apply mapping to an object, or change its mapping, click Update to display the
changes in the Map Channel Info dialog.
Channel Info table
The table functions similarly to a spreadsheet. If not all rows or columns are visible, you can scroll
the table using standard methods, including rolling the mouse wheel for vertical scrolling. To
highlight a row, click anywhere in the row. You can highlight only one row at a time. To resize a
column, drag the vertical divider at the right of the column heading. To automatically set a column's
width to the size of the longest entry, double-click the vertical divider to the right of the column
heading.
Following is a brief explanation of each of the columns in the table:
Object NameThe name of the object. If you change the name in the Modify panel, click the
dialog's Update button to display the new name in the dialog.
IDThe type of channel. The available channel types are:
mesh/polyThe object's mesh or poly data, depending on whether it's a mesh or poly object:
vertices and faces. You can copy this channel and paste it to any other three-component channel.
This channel is not available for patch objects.
vselThe vertex selection. You can copy this channel and paste it to other channels'
subcomponents.
This channel is not available for patch objects.

-2:AlphaThe vertex alpha channel. You can transfer all vertex alpha values between objects
with the same topology by copying and pasting this channel.
You can apply vertex alpha information to objects with the VertexPaint modifier, and to editable
surfaces with the Vertex Properties settings (editable poly) and Surface Properties (editable mesh
and editable patch).
-1:IllumThe vertex illumination channel. You can transfer all vertex illumination values between
objects with the same topology by copying and pasting this channel.
You can apply vertex illumination information to objects with the VertexPaint modifier, and to
editable surfaces with the Vertex Properties settings (editable poly) and Surface Properties
(editable mesh and editable patch).
0:vcThe vertex color (vc) channel. You can transfer all vertex color values between objects with
the same topology by copying and pasting this channel.
You can apply vertex color information to objects with the VertexPaint modifier, and to editable
surfaces with the Vertex Properties settings (editable poly) and Surface Properties (editable mesh
and editable patch).
1:mapThe default mapping channel. You can transfer all UVW mapping information between
objects with the same topology by copying and pasting this channel.
You can create additional mapping channels by various means, including with the Channel Info
utility.
Channel NameThe name of the channel. By default, a channel has no name, as indicated by the
entry -none-. To name or rename the channel, click the channel to highlight it and then click the
Name button at the top of the dialog, or right-click the channel and choose Name from the right-click
menu.
Note: Most channels can be split into subcomponents. You can name the subcomponents separately
from the channel itself.
Num VertsThe number of vertices in the channel. To paste one channel to another, they must
have the same number of vertices.
Some channels have faces but no vertices. This is typically the case with Alpha, Illumination, and
vertex color channels in newly created non-poly objects. In such cases, these channels function as
placeholders for the corresponding data should you add it later. They do consume a small amount of
memory, so if you have no intention of using a channel, you can save some memory by converting
the object to Editable Poly.
Num FacesThe number of faces in the channel.
If a channel has faces but not vertices, that means it's a placeholder. See Num Verts, above, for
more information.
Dead VertsThe number of unused map vertices in the channel. Such vertices can be left over from
sub-object editing.

Size(KB)The approximate amount of memory consumed by the channel. Use this figure to check
for unused channels that are using up memory.
Comments

Utilities panel > More button > Skin Utilities
Skin Utilities provide a method for copying skin data (envelopes and vertex weights) from one model to
another. Skin Utilities work by embedding the skin data in a copy of the source mesh, then using the object
copy to map the data onto the target mesh.
To use Skin Utilities, you must have two meshes to which the Skin modifier has been applied, both in the
current scene. You must have already assigned bones to the Skin modifier for both meshes.
Note: Skin Utilities work by matching bones from one character to another, so the task of copying the skin
data will be greatly simplified if you name the bones in each mesh with similar naming conventions.
Procedure
To use Skin Utilities:
1. Load a scene that contains two skinned meshes, one from which you want to extract the skin data, the
other to which you want to paste it.
2. Select the source mesh, the mesh with the correct envelopes and vertex weights.
3. Choose Utility panel > More button > Skin Utilities.
4. Click Extract Skin Data to Mesh.

A new object is created, identical to the selected object. This is a new mesh with all envelope-assigned
and manually-assigned vertex weights baked into the mesh. The object is named with the prefix
SkinData_ followed by the same name as the original object.
5. Move the skin data mesh on top of the mesh to which you would like to paste the skin data, so the two
meshes are coincident.
6. If necessary, adjust the skin data object at the Vertex sub-object level to make it fit the other mesh as
closely as possible.
7. Select both the skin data object, and the object to which you want to paste the data.
8. Click Import Skin Data From Mesh.

The Paste Skin Data dialog appears.
9. Match up the bones by highlighting one on each side of the dialog, and clicking the left arrow to move
the target bone to its match on the left side.
You can also highlight several bones on each side at once, and click the left arrow to move them all over
at the same time. Only bone pairs on the left side of the dialog will be pasted.
10. If the meshes' vertices do not match exactly, set the Interpolation method to Match by Face, and
increase the Threshold to a unit value that will allow the meshes' faces to match up.
11. Click OK to paste the vertex weights and close the dialog.
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12. Delete the skin data mesh.
Interface
Extract Skin Data to MeshExtracts the skin data from the selected mesh and embeds it in a new mesh
named SkinData_ followed by the original object name.
Note: The skin data is stored in channels. To see the data, select the skin data mesh and use the Channel
Info Utility.
Import Skin Data From MeshOpens the Paste Skin Data dialog. Before clicking this option, you must
select the SkinData_ mesh and the mesh to which you want to paste the data.
Paste Skin Data dialog

To use the Paste Skin Data dialog, highlight matching Target Bones and Source Bones, and click the left arrow
to match them. Only matched sets of bones listed under Target Bones will be mapped when you click OK.
Target BonesLists target bones available for matching, and lists matches moved from the Source Bones
listing with the left arrow.
Source BonesLists source bones available for matching.

AddAdds removed bones back to the source or target list.

RemoveRemoves highlighted bones from the source or target list.
Remove SuffixIf bone names end with an underscore followed by text, this removes the suffix from the
displayed bone names from the underscore to the end of the name. Use this option to remove suffixes and
make source and target bone names match, which will allow you to use the Match by Name option.
Remove PrefixIf bone names start with text followed by an underscore, this removes all characters from
the displayed bone names up to and including the underscore. Use this option to remove prefixes and make
source and target bone names match, which will allow you to use the Match by Name option.
Left ArrowMatches highlighted target bones to highlighted source bones. The source
bone name is moved to the left side of the dialog, where it follows the target bone name. You can also match
more than one source bone to a single target bone by highlighting the target bone and the source bones and
clicking the left arrow. When you click OK, only the matches listed on the left side of the dialog will be
mapped.
Right ArrowOn a highlighted match on the left side of the dialog, removes the match
and moves the source bone to the right side of the dialog.
Match by NameMatches the source and target bones by name. You can use this option only if you have
removed prefixes or suffixes to make the displayed source and target bone names match exactly.
ThresholdSets the unit distance that the utility will search for vertex or face matches. Default=1.0.
InterpolationSets the method by which pasting will take place. Use the Match by Vertex option only if the
meshes are identical. Otherwise, use Match by Face. Default=Match by Vertex.
Comments

Select an object. > Modify panel > Modifier List > Select By Channel
The Select By Channel modifier works in conjunction with the Channel Info utility. After you store a
vertex selection into a subcomponent with Channel Info, use Select By Channel to quickly access the
selection.
You can find an advanced example of using Select By Channel in a lesson about allowing morphing
objects to survive topology changes, in the Using the Channel Info Utility tutorial.
Procedure
To use Select By Channel:
1. Use Channel Info to store one or more vertex selections in a map channel subcomponent.
2. Apply the Select By Channel modifier to the object with the stored vertex selection(s).
3. Choose the selection type.
4. Choose the selection channel.
5. To bake the new selection into the object, collapse the stack.
Interface
Selection TypeLets you choose how to combine the stored vertex selection with an existing
vertex selection.
ReplaceReplaces the existing selection with the stored selection.
AddAdds the stored selection to the existing selection.
SubtractSubtracts the stored selection from the existing selection. Has no effect if there's no
overlap between the stored selection and the existing selection.
Selection ChannelLets you choose which stored, named vertex-selection channel to apply to the
modified object. Click the arrow to the right of the name field to open the drop-down list, and then
click a channel in the list.
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Comments
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Select an object. > Modify panel > Modifier List > UVW Mapping Add
Select an object. > Channel Info > Add a channel.
The UVW Mapping Add modifier is added to an object's modifier stack when you add a channel in the
Channel Info utility. You can also add the modifier explicitly by choosing it from the Modifier List. It
has no user interface.
To merge the results of the add operation into the object's geometry, collapse the modifier stack
after adding.
Comments
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Select an object. > Modify panel > Modifier List > UVW Mapping Clear
Select an object. > Channel Info > Clear a channel.
The UVW Mapping Clear modifier is added to an object's modifier stack when you clear a channel
with the Channel Info utility. You can also add the modifier explicitly by choosing it from the Modifier
List.
To merge the results of the deletion into the object's geometry, collapse the modifier stack after
deleting.
Interface
Map ChannelSpecifies the map channel to clear. This is equivalent to clearing a specific channel in
the Channel Info utility. If the specified map channel doesn't exist, the modifier has no effect.
Comments
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Select an object. > Channel Info > Copy and then paste a channel.
The UVW Mapping Paste modifier is added to an object's modifier stack when you paste a channel in
the Channel Info utility. It isn't available from the modifier list, and has no user interface.
To merge the results of the paste operation (for example, a vertex selection) into the object's
geometry, collapse the modifier stack after pasting.
Comments
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Select an editable mesh object. > Modify panel > Selection rollout > Vertex
Vertex
Select an editable mesh object. > Quad menu > Tools 1 quadrant > Sub-Objects submenu >
Vertex
Vertices are points in space: they define the structure of faces. When vertices are moved or edited,
the faces they form are affected as well. Vertices can also exist independently; such isolated vertices
can be used to construct faces but are otherwise invisible when rendering.
When in Editable Mesh (Vertex) mode, you can select single and multiple vertices and move them
using standard methods. This topic covers the Edit Geometry rollout; for other controls, see Editable
Mesh.
Procedure
To select vertices by color:
1. In the Surface Properties rollout, click the Existing Color swatch, and specify the color of vertex
you want in the Color Selector.
2. Specify ranges in the RGB Range spinners. This lets you select vertices that are close to the
specified color, but don't match exactly.
3. Click the Select button.

All vertices matching the color, or within the RGB range, are selected.
You can add to the selection by holding CTRL when you press the Select button, and you can
subtract from the selection by holding the ALT key.
Tip: You can select all vertices of the same color by first selecting the vertex you want
matched, dragging a copy of the Edit Color swatch to the Existing Color swatch, and then
clicking the Select button. (If you want an exact match, be sure to set the RGB Range spinners
to 0 first.)
Interface
Selection rollout
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For information on the Selection rollout settings, see Editable Mesh.
are on, the program applies a spline curve deformation to unselected vertices surrounding the

CreateLets you add vertices to a single selected mesh object. After selecting the object and
clicking Create, click anywhere in space to add free-floating vertices to the object. The new vertices
are placed on the active construction plane.
DeleteDeletes selected vertices and any attached faces.
AttachAttaches another object in the scene to the selected mesh. You can attach any type of
object, including splines, patch objects, and NURBS surfaces. Attaching a non-mesh object converts
it to a mesh. Click the object you want to attach to the currently selected mesh object.
DetachDetaches the selected vertices and all attached faces as a separate object or element. The
Detach As Clone option copies the faces rather than moving them.
object when you move them to a new position.
BreakCreates a new vertex for each face attached to selected vertices, allowing the face corners
to be moved away from each other where they were once joined at the original vertex. If a vertex is
isolated or used by only one face, it is unaffected.
Chamfer group
The Chamfer controls let you bevel object corners using a chamfer function. You can apply this effect
interactively (by dragging vertices) or numerically (using the Chamfer spinner).
ChamferClick this button, and then drag vertices in the active object. The Chamfer Amount
spinner updates to indicate the chamfer amount as you drag.
If you drag one or more selected vertices, all selected vertices are chamfered identically. If you drag
an unselected vertex, any selected vertices are first deselected.
A vertex chamfer "chops off" the selected vertices, creating a new face connecting new points on all
visible edges leading to the original vertex. These new points are exactly <chamfer amount>
distance from the original vertex along each of these edges. New chamfer faces are created with the
material ID of one of the neighboring faces (picked at random) and a smoothing group which is an
intersection of all neighboring smoothing groups.
For example, if you chamfer one corner of a box, the single corner vertex is replaced by 3 vertices

moving along the 3 visible edges that lead to the corner. Outside faces are rearranged and split to
use these 3 new vertices, and there's a new triangle created at the corner.
effect to selected vertices.
Cut & Slice group
The Slice function, previously available only in Edge sub-object level, is available in Vertex mode as
of version 3 of 3ds max. However, Cut does not work at the Vertex sub-object level. For details, see
Cut & Slice.
Weld group
SelectedWelds selected vertices that fall within the tolerance specified in the Weld Threshold
spinner (to the button's right). All line segments become connected to the resulting single vertex.
TargetEnters weld mode, which allows you to select vertices and move them around. While
moving, the cursor changes to the Move cursor as usual, but when you position the cursor over an
unselected vertex the cursor changes to a + cursor. Release the mouse at that point to weld all
selected vertices to the target vertex they were dropped on.
The pixels spinner to the right of the Target button sets the maximum distance in screen pixels
between the mouse cursor and the target vertex.
Remove Isolated VerticesDeletes all isolated vertices in the object, regardless of the current
selection.
View AlignAligns selected vertices to the plane of the active viewport. In the case of orthographic
When aligning to a perspective viewport (including camera and light views), the vertices are
reoriented to be aligned to a plane that is parallel to the camera's viewing plane. (Perspective
viewports have invisible camera planes.) In these cases, the selection of vertices is not translated
but only rotated.
Grid AlignAligns the selected vertices to the current construction plane. The current plane is
Make PlanarForces all selected vertices to become coplanar. The plane's normal is the average
surface normal of all faces attached to the selected vertices.
CollapseCollapses selected vertices into an averaged vertex.

These controls let you set the weight and color for vertices.
WeightDisplays and lets you change vertex weights for NURMS operations (see MeshSmooth
Modifier).
of selected vertices.
you change the illumination of a vertex without changing the vertex's color.
AlphaLets you assign an alpha (transparency) value to selected vertices.
Select Vertices By group
Color and Illumination radio buttonsThese buttons determine whether to select vertices by
vertex color values or vertex illumination values.
SelectDepending on which radio button is selected, selects all vertices whose vertex color or
spinners.
illumination must either match the color specified by the Color swatch in Select By Vertex Color, or

Comments

Select an editable patch > Modify panel > Expand Editable Patch in the stack display > Vertex sub-
object level
Select an editable patch > Modify panel > Selection rollout > Vertex button
Select an editable patch > Right-click the patch > Tools 1 (upper-left) quadrant of the quad menu
> Sub-objects > Vertex
At the Editable Patch (Vertex) level, you can select single and multiple vertices and move them using
standard methods. You can also move and rotate vector handles, thus affecting the shapes of any
patches connected to the vertex.
Procedures
To transform either vertices or vectors:
1. At Patch (Vertex) level, with Selection rollout > Filter group > Vertices turned on, select
vertices in the patch object you want to transform.
Vertices and their vectors both appear.
2. Turn off one of the filters, leaving the other on, and choose a transform.
A transform cursor appears when you move onto a vertex or vector in the selection set. You
can toggle between filters to alternatively transform either component.
To switch vertex types:
1. Right-click a patch vertex.
2. Choose from commands on the quad menu. The Tools 1 (upper-left) quadrant includes two
options specific to patch vertices:
Coplanar: If you set a patch control point's property to be coplanar, it's like locking the
handle of the outgoing vector for that point. Moving a handle attached to a coplanar vertex
causes the opposite vectors to adjust their positions to maintain a coplanar surface. This
option is the default and gives smooth transitions between patches.
Corner: If you set a patch control point's property to be corner, it unlocks the handle of the
outgoing vector, so you can create a discontinuous break in the patch surface.
To switch vertex types from Coplanar to Corner, do one of the following:
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1. Hold down SHIFT as you move a handle of a Coplanar vertex.

This switches the vertex type to Corner.
If Lock Handles is turned off (the default), SHIFT+Move "breaks" the handle, allowing it to
move independently.
If Lock Handles is turned on, the handles remain locked in their coplanar relationship. However,
the vertex is still switched to Corner, and turning off Lock Handles lets you move the handles
separately.
2. Right-click the vertex, and choose Corner from the quad menu.
To delete a vertex:
1. At Patch (Vertex) level, select a vertex.
2. Click Delete.
The vertex and all patches sharing this control point are deleted.
Deleting vertices
To weld vertices:

1. At Patch (Vertex) level, select two valid vertices on different patches.
2. Set Weld Threshold to a value at least equal to the distance between the selected vertices.
3. Click Selected.
The two vertices move together and join.
Welding vertices
To transform interior vertices:

Using program defaults, you can select only vertices and vectors on the outer edge or boundary of a
patch. This default is known as Auto Interior.
In some cases, you might want to move the interior vertices. For example, you might want to tweak
a patch's curvature without having to subdivide the patch.
At Patch level, you can change the default on a patch-by-patch basis by right-clicking a patch and
choosing Manual Interior from the shortcut menu. This lets you select and transform individual
interior vertices. These vertices appear as yellow squares in the viewports.
Warning: If you return a patch to the default, changes due to Manual Interior are lost.

Note: Certain objects are automatically set to Manual Interior when converted to patch objects. In
such cases, you can see all interior vertices when you go to the Vertex sub-object level.
Interface
Selection rollout
For information on these settings, see Editable Patch.
Geometry rollout

When the Vertex sub-object level is active, the Geometry rollout on the Modify panel has the options
listed below.
Subdivision group
BindLets you create a seamless, gapless connection between two patch edges that have unequal
numbers of vertices. The two patches must belong to the same object, and the vertex need not be
selected first. Click Bind, then drag a line from an edge-based vertex (not a corner vertex) to the
edge you want to bind it to. The cursor turns into a white cross when over a legal edge.
Binding patch edges
To exit Bind mode, click the Bind button again, or right-click in the active viewport.

Tip: When connecting two patches edge-to-edge, first line up as many pairs of vertices as possible,
and use Weld to connect them. Then use Bind to connect the remaining vertices. Bound vertices
cannot be manipulated directly, although their handles can.
Note: Bind is useful for connecting patch objects with different patch resolutions, such as a head and
a neck, without the need to create additional patches in the lower-resolution object.
UnbindDisconnects a vertex connected to a patch with Bind. Select the vertex, and then click
Unbind.
Topology group
CreateCreates a three or four-sided patch on existing geometry or in free space. First turn on
Create and then click geometry or free space in the viewports to create a quad or a tri patch.
Patch vertices are selected by left-clicking existing vertices. Left-clicking in free space creates a new
vertex at that location. If you digitize away from an existing vertex then a new vertex is created and
it will be included in the sequence of vertices for the new patch. The cursor changes to white cross
hairs when selecting an existing vertex.
To create a Tri Patch: Click three times in free space or on existing vertices. Right-click, or left-click
one of the vertices in the current sequence to complete the creation of a Tri Patch.
To create a Quad Patch: Click four times in free space or on existing vertices. The Quad Patch will be
automatically created after the fourth click.
No operation will take place if you right-click or select a vertex in the current sequence when only
one or two vertices are in the sequence.
AttachAttaches an object to the currently selected patch object. Click the object you want to
attach to the currently selected patch object.
ReorientWhen on, reorients the attached patch so that each patch's creation local coordinate
system is aligned with the creation local coordinate system of the selected patch.
DeleteRemoves vertices from the framework. Use this option with caution. Deleting a single
vertex also deletes any patches that share this control point. For example, if you delete the single
vertex at the top of a spherical patch object, the top four patches are also deleted, leaving a
hemisphere.
BreakBreaks a vertex into multiple vertices. Use this if you need to split open an edge to add
another patch or for general modeling operations. Select a vertex and then click Break. After the
break select the individual vertices and move them to separate the edges.
HideHides selected vertices and the attached patches.
Unhide AllRestores any hidden sub-objects to visibility.
Weld group
SelectedWelds selected vertices that fall within the tolerance specified in the Weld Threshold

spinner (to the right of the Weld button). Select the vertices you want to weld between two different
patches, set the spinner to a sufficient distance, and click Selected.
TargetTurn on and drag from one vertex to another to weld the vertices together. The dragged
vertex fuses to the target vertex.
The pixels spinner to the right of the Target button sets the maximum distance in screen pixels
between the mouse cursor and the target vertex.
Tangent group
These controls let you copy orientation, and optionally length, between handles on the same object,
or on different objects applied with instances of the same Edit Patch modifier. The tool doesn't
support copying handles from one patch object to another, or between spline and patch objects.
CopyCopies a patch handle's transform settings to a copy buffer.
When you click Copy, the software displays all handles on the selected object. When the mouse
cursor is over a handle end, the cursor image changes to the one shown below. Click a handle end to
copy its direction and length to the paste buffer; this also exits Copy mode.
PastePastes orientation information from the copy buffer to a vertex handle. If Paste Length is on,
it also pastes the length of the copied handle.
When you click Paste, the software displays all handles on the selected object. When the mouse
cursor is over a handle end, the cursor image changes to the one shown below. Click a handle end to
paste the information from the buffer to the handle. You can continue clicking other handle ends to
paste the information repeatedly. To exit Paste mode, right-click in the viewport or click the Paste
button.
Paste LengthWhen on, and you use the Paste function, the length of the originally copied handle
is pasted as well as its orientation. When off, only the orientation is pasted.
Surface group
View StepsControls the grid resolution of the patch model surface as depicted in the viewports.
Render StepsControls the grid resolution of the patch model surface when rendered.
Show Interior EdgesEnables the display of the patch object's interior edges in wireframe views.
When off, only the object's outline is visible. Turn on to simplify the display for faster feedback.
Use True Patch NormalsDetermines how the software smooths the edges between patches.
Default=off.
When the check box is off, the software computes the surface normals from the smoothing groups of
the mesh object to which the patch object is converted before rendering. These normals are not

accurate, especially with a low View/Render Steps setting. When the check box is on, the software
computes true patch normals directly from the patch surfaces, which can generate more accurate
shading.
In the illustration below, a sphere was converted to Editable Patch format, and then a vertex was
moved toward the center and rotated. The sphere on the left has Use True Patch Normals turned off,
and the one on the right has it turned on. In both cases, View Steps was set to 8.
A patch sphere with Use True Patch Normals off (left) and on (right).
Miscellaneous group
Patch SmoothAdjusts the tangent handles of selected vertices to smooth the surface of the
patch object.
Patch Smooth sets the handles to absolute positions based on the patch object geometry; repeated
applications have no effect.
A patch box before smoothing (left) and after using Patch Smooth on the top vertices (right)

of selected vertices.
you change the color of shadows without changing the vertex colors.
AlphaLets you assign an alpha (transparency) value to selected vertices.
Select Vertex By group
Color and Illumination radio buttonsThese buttons determine whether to select vertices by
vertex color values or vertex illumination values.
SelectDepending on which radio button is selected, selects all vertices whose vertex color or
spinners.
illumination must either match the color specified by the Color swatch in Select By Vertex Color, or
Comments

Vectors and Vector Handles
Glossary
Kinds of vector handles:

1. Corner
2. Smooth
3. Bezier
4. Bezier corner
Vectors are secondary control points connected to vertices on a spline or patch object. They are also
referred to as handles or vector handles.
Vector handles are visible as small green squares when you select a vertex. However, if the Vectors
filter is checked (for a patch object), handles can be selected and transformed without selecting a
vertex first. A transform cursor appears when you move onto a vector.
Each vertex in a shape can be one of four types:
SmoothForces the segments into a smooth curve tangent to the vertex.
CornerAllows the segments on either side of the vertex to be at any angle.
BezierProvide handles, but forces the segments into a tangent through the vertex.
Bezier CornerProvides handles, and allows the segments on either side of the vertex to be any
angle.
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Comments
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Select an editable patch > Modify panel > Expand the editable patch in the stack display > Patch
sub-object level
Select an editable patch > Modify panel > Selection rollout > Patch button
> Sub-objects > Patch
A patch is an area of a patch object, defined by three or four surrounding edges and vertices.
Controls described in this topic let you manipulate a patch object at the patch level. As well as
moving and rotating patches, you can create a separate element by holding down the SHIFT key
during a move operation. This creates a separate element of the selected patches.
Texture Mapping Patches: Interpolation in Curved Space
Patches can now be mapped in curved space; this means simplified texture mapping for patches. A
planar map on a complex patch object will not be distorted. At the Patch sub-object level there is a
parameter in the right-click quad menu (Tools 1 quadrant) called Linear Mapping. If you leave Linear
Mapping off, then textures are interpolated in curved space and behave much like texture mapping a
mesh object, predictably.
In the old method, patch mapping is interpolated between the knot points. This works well with
procedural maps but not so well with bitmaps, since each patch is linear in UV space.
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A complex patch (on right) no longer deforms a bitmap
The two leftmost patches show Linear patch mapping. The top left patch is a patch with planar
mapping and the bottom left shows its UVW space representation. The patch on the right is a curved
projection where the vectors are used in UVW space projection. Notice the bottom right represents
the UVW space and notice how the handles and knots contribute to the shape of the UVW space.
In short, leave the Linear option off for predictable planar maps. Leave the linear mapping option on
for backward compatibility.
Note: The Unwrap UVW modifier now supports the new patch curve mapping. Spline handles can be
manipulated in the Edit dialog in the Unwrap UVW modifier.
Interface
Selection rollout
See Editable Patch for information on the Selection rollout settings.
Geometry rollout


Subdivision group
SubdivideSubdivides selected patches. Select one or more patches, and then click Subdivide.
PropagateWhen on, extends the subdivision to neighboring patches. Propagating the subdivisions
along all contiguous patches prevents patch cracks where you have attached patches together.
Topology group
CreateCreates a three or four-sided patch on existing geometry or in free space. First turn on
Create and then click geometry or free space in the viewports to create a quad or a tri patch.
Patch vertices are selected by left-clicking existing vertices. Left-clicking in free space creates a new
vertex at that location. If you digitize away from an existing vertex then a new vertex is created and
it will be included in the sequence of vertices for the new patch. The cursor changes to white cross
hairs when selecting an existing vertex.
To create a Tri Patch: Click three times in free space or on existing vertices. Right-click or left-click
one of the vertices in the current sequence to complete the creation of a Tri Patch.
To create a Quad Patch: Click four times in free space or on existing vertices. The Quad Patch will be
automatically created after the fourth click.
No operation will take place if you right-click or select a vertex in the current sequence when only
one or two vertices are in the sequence.
DetachLets you select one or more patches within the current object and then detach them (or
copy them) to form a separate patch object.
ReorientWhen on, the detached patch copies the position and orientation of the source object's
creation Local coordinate system. The new detached object is moved and rotated so that its Local
coordinate system is positioned and aligned with the origin of the current active grid.
CopyWhen on, the detached patches are copied to a new patch object, leaving the originals intact.
AttachLets you attach an object to the currently selected patch object. Click the object you want
to attach to the currently selected patch object.
ReorientWhen on, reorients the attached patch so that each patch's creation local coordinate
system is aligned with the creation local coordinate system of the selected patch.
DeleteDeletes the selected patch or patches.
HideHides selected patches.
Extrude & Bevel group

These controls let you extrude and bevel patches. Extruding patches moves them along a normal
and creates new patches that form the sides of the extrusion, connecting the selection to the object.
Beveling adds a second step that lets you scale the extruded patches. You can extrude and bevel
patches by dragging or by direct entry. You can also hold down the SHIFT key during extrusion,
which creates a separate element.
Note: Sides created by beveling or extrusion are assigned to smoothing group 1.
ExtrudeClick this button, and then drag any patch to extrude it interactively. Hold down the SHIFT
key during this operation to create a new element.
When the mouse cursor is over a selected patch, it changes to an Extrude cursor.
With multiple patches selected, dragging on any one extrudes all selected patches equally.
You can drag other patches in turn to extrude them while the Extrude button is active. Click
Extrude again or right-click to end the operation.
BevelClick this button, and then drag any patch to extrude it interactively, then click and release
the mouse button, and drag again to bevel the extrusion. Hold down the SHIFT key during this
operation to create a new element.
When the mouse cursor is over a selected patch, it changes to a Bevel cursor.
With multiple patches selected, dragging on any one bevels all selected patches equally.
You can drag other patches in turn to bevel them while the Bevel button is active. Click Bevel

Original patch (top) and inward and outward extrusions
ExtrusionThis spinner lets you extrude selected patches outward or inward, depending on
whether the value is positive or negative.
OutliningThis spinner lets you scale selected patches bigger or smaller, depending on whether the
value is positive or negative. It is normally used after an extrusion for beveling the extruded
patches.
NormalWith Normal set to Group, extrusion takes place along the averaged normal of each
contiguous group of patches. If you extrude multiples of such groups, each group moves along its
own averaged normal. If Normal is set to Local (the default), extrusion takes place along each
selected patch's normal.
Bevel SmoothingThese settings let you set the shape of the intersection between the surface
created by a beveling operation and the neighboring patches. The shapes are determined by the
handle configurations of vertices at the intersections. Start refers to the intersection between the
sides and the patches surrounding the beveled patch. End refers to the intersection between the
sides and the beveled patch or patches. The following settings are available for each:
SmoothVertex handles are set so the angles between the new patches and their neighbors are
relatively small.
LinearVertex handles are set to create linear transitions.
NoneVertex handles are not modified.

Warning: Set Bevel Smoothing before the bevel is performed; changing the setting has no
effect on existing beveled patches.
Surface group
Render StepsControls the grid resolution of the patch model surface when rendered.
Default=off.
shading.
Miscellaneous group
Patch SmoothAdjusts the tangent handles of vertices belonging to selected patches to

smooth the surface of the patch object.

These controls let you work with patch normals, material IDs, smoothing groups and vertex colors.
Normals group
FlipReverses the direction of the surface normals of the selected patches.

UnifyFlips the normals of an object so that they all point in the same direction, usually outward.
This is useful for setting an object's patches to appropriate orientations, thus eliminating apparent
holes in the object surface.
Flip Normal ModeFlips the normal of any patch you click. To exit, click this button again or right-
click anywhere in the program interface.
Tip: The best way to use Flip Normal Mode is to set up your viewport to display with Smooth
+Highlight and Edged Faces turned on. If you use Flip Normal Mode with default settings, you'll be
able to flip a patch away from you, but you won't be able to flip it back. For best results, turn off
Ignore Backfacing in the Selection rollout. This lets you click any patch and flip the direction of its
normal, regardless of its current direction.

Material group
These controls let you use multi/sub-object materials with patches.

Set IDLets you assign a particular material ID number to selected patches for use with multi/sub-
object materials and other applications. Use the spinner or enter the number from the keyboard. The
total number of available IDs is 65,535.
Select IDSelects patches or elements corresponding to the Material ID specified in the

adjacent ID field. Type or use the spinner to specify an ID, then click the Select ID button.
list. The patches or elements that are assigned that material are selected. If an object does not have
a Multi/Sub-Object material assigned, the name list is unavailable. Likewise, if multiple objects are
selected that have an Edit Patch, Edit Spline, or Edit Mesh modifier applied, the name list is inactive.
selected patches or elements. When off, selections are cumulative, so new ID or sub-material name
Use these controls to assign selected patches to different smoothing groups, and to select patches
by smoothing group.
To assign patches to one or more smoothing groups, select the patches, and then click the number
(s) of the smoothing group(s) to assign them to.
Select by SG (Smoothing Group)Displays a dialog that shows the current smoothing groups.
Select a group by clicking the corresponding numbered button and clicking OK.
Clear AllRemoves any smoothing group assignments from selected patches.
of vertices on the selected patch(es).
ColorClick the color swatch to change the color of vertices on the selected patch(es).
IlluminationClick the color swatch to change the illumination color of vertices on the selected
patch(es). This lets you change the color of shadows without changing the vertex colors.
AlphaLets you assign an alpha (transparency) value to vertices on the selected patch(es).

Comments

Select an editable patch > Modify panel > Editable patch (not a sub-object level) selected in the
modifier stack
> Sub-objects > Top-level
The functions available at the editable patch object level (that is, when no sub-object level is
chosen) are also available at all sub-object levels, and work exactly the same at each level.
Interface
Selection rollout
For information on these settings, see Editable Patch Surface.
Geometry rollout
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Subdivision group
Not available at this level.
Topology group
AttachAttaches an object to the currently selected patch object. Click the object you want to
attach to the currently selected patch object.
If you attach a non-patch object, the object is converted to a patch object.
Likewise if the object you're attaching to doesn't have a material, it inherits the material of the

Attach remains active in all sub-object modes, but always applies to objects.
Top: Original patch object with rendering

Bottom: Rendering with another patch attached
ReorientReorients the attached object so that its creation local coordinate system is aligned with
the creation local coordinate system of the selected patch object.
Surface group
Range=0 to 100. Default=5.
Render StepsControls the grid resolution of the patch model surface when rendered. Range=0 to
100. Default=5.

Original mesh display of model (top) and with increased steps (bottom)
Default=off.
shading.

Miscellaneous group
Patch SmoothAdjusts all tangent handles to smooth the surface of the patch object.
A patch tube before smoothing (left) and after using Patch Smooth (right)

The Relax Mesh controls on the Surface Properties rollout change the apparent surface tension by
moving vertices closer to, or away from, their neighbors. The typical result is that the object gets
smoother and a little smaller as the vertices move toward an averaged center point. You can see the
most pronounced effects on objects with sharp corners and edges.
RelaxTurns on the relax function for renderings.
Relax ViewportsTurns on the relax function for viewports.
Relax ValueSets the distance a vertex moves as a percentage of the distance between a vertex
and the average location of its neighbors. Range=-1.0 to 1.0. Default=0.5.
IterationsSets how many times Relax is repeated. Each iteration recalculates average vertex
locations based on the result of the previous iteration. Default=1.
Keep Boundary Points FixedVertices at the edge of open patches do not relax. Default=on.
Save Outer CornersPreserves the original positions of vertices farthest away from the object
center.
Comments

Bitmap / Photometric Path Editor Utility
Utilities panel > Utilities rollout > More button > Utilities dialog > Bitmap/Photometric Path Editor
File menu > Archive > Map/Photometric Path Editor
The Bitmap/Photometric Path Editor lets you change or remove the paths of bitmaps and
photometric distribution files (IES) used in the scene. It also lets you see which objects use a
resource in question.
By default, 3ds max stores a path with the name of the files it references. This can be a problem
when you share scenes among different users. Another user might have the same scene and
resources, in the same directory structure, but on a different disk drive; this will cause the scene to
"lose" the resources.
Removing paths from resource references eliminates this problem. When paths are not saved with
the resource file, they are searched for in these directories:
2. The paths listed in the External Files panel, starting at the top of the list.
Removing paths from bitmap and photometric references can be useful for network rendering as
well.
See also

Configure Paths
Interface
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Edit ResourcesClick to display the Bitmap/Photometric Path Editor dialog. Most of this utility's
functionality is provided by this dialog.
Include Materials EditorWhen on, the Bitmap Path Editor dialog shows materials in the Material
Editor, as well as those assigned to objects in the scene. Default=on.
Include Material LibraryWhen on, the Bitmap Path Editor dialog shows materials in the current
material library, as well as those assigned to objects in the scene. Default=off.
CloseClick to close this utility.
Comments
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Introduction to Network Rendering

Network rendering uses multiple computers, connected over a network, to perform a rendering task;
typically the rendering of an animation with hundreds or thousands of frames. Even a small network
of three or four PCs can save substantial rendering time and help you meet deadlines.
Network rendering is designed to render whatever is set up in your scene; that is, it will render the
viewport, part of a viewport, camera view, and so on as saved in the scene file. Network rendering is
only available when you use the Default Scanline Renderer.
The requirements and procedures presented here assume you are the administrator of a closed
network set up exclusively for network rendering. In practice, you can use the network for file
sharing and other purposes, but if conflicts arise, you might need to cancel those uses. The easiest
network to set up, operate, and maintain is one dedicated to rendering.
If you're a system administrator for a more complex network, you can use the information in this file
as a guideline. The basic approach is the same for any network.
Important: It is strongly recommended that you follow these procedures for setting up
and running network rendering. Do not attempt network rendering without reading the
instructions that follow.
The links on this page are ordered like chapters in a manual: a sequence of major topics containing
more specific nested topics. Links marked Next Step indicate the next topic in the sequence. Moving
from one topic to the next takes you through the necessary steps to set up your network for
rendering.
Note: Network rendering functions are also available from MAXScript. See Network Render
Interface and Interface: NetRender in the MAXScript Reference.
What's New in Network Rendering
Network rendering is performed by software named backburner. Functionality is primarily the same
as in previous versions of 3ds max, with a few improvements. These include the following:
Job archive settings on the Network Job Assignment dialog let you manage how completed jobs
are handled.
Render To Texture now supports network rendering.
Implementation of alternate path settings for bitmaps and xrefs. If bitmaps or xrefs are not found
on the primary paths, the alternate paths will be searched.
Pre-render scripts can be added to execute before the rendering occurs. For example, a script
could be used to hide or unhide objects in the scene, swap low resolution objects with higher
resolution ones or assign a different set of materials.
Licensing Issues for the mental ray renderer
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The mental ray renderer supports network rendering. The steps for setting up and submitting jobs
are exactly the same as those you'd use for the scanline renderer. The difference is in the method of
licensing. When using the scanline renderer, 3ds max must be installed on each rendering server,
but it does not have to be authorized. The mental ray renderer must be licensed to run in a render
farm environment. There are two ways to do this:
Each rendering server must be installed with a fully licensed version of 3ds max 6. This means
that if you have a render farm of ten servers, you will have to purchase ten copies of 3ds max to
install and authorize on each server.
3ds max 6 is installed, but unauthorized, on each server of the render farm as if you were
running the scanline renderer. However, the mental ray renderer needs to get its license from a
mental ray SPM License Server, meaning that you would have to purchase a ten-seat mental ray
license to run on your ten-server render farm.
Instructions about how to configure and run the SPM license server are provided with the mental ray
renderer sold by mental images.
Next Step
How Network Rendering Works
See also
Checking Requirements
Setting Up for Network Rendering
Basic Procedures for Network Rendering
Network Job Assignment Dialog
The Queue Monitor Application
Installing Network Services
Batch Rendering
Troubleshooting Guide
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Rendering networks are sometimes called render farms.
In the software, one computer is set up as the network Manager. The Manager "farms out" or
distributes the work to rendering Servers. You can also have the same computer function
simultaneously as both Manager and Server, so computing cycles don't go to waste.
Once rendering is under way, the Queue Monitor program lets you directly monitor and control the
operation of the network rendering workload. The Queue Monitor allows you to edit job settings as
well as to activate, deactivate, and reorder both jobs and servers involved in your render farm.
How Work Is Divided
The software breaks up the task of network rendering among the rendering Servers, assigning one
frame at a time to each Server. The completed output of the Servers accumulates in a common,
shared directory.
Rendered frame files can also be written to a local directory on each machine, if the same path
defines the directory. Frame files are sequentially numbered, making them easy to assemble later.
The Manager takes a number of different factors into account in determining how to assign frames
and jobs, always striving for the most efficient usage of the rendering network. An idle rendering
Server is automatically detected by the Manager and is considered for job or frame assignment. If a
Server goes off-line for some reason, the Manager reclaims the Server's current frame and reassigns
the frame to the next available rendering Server.
Next Step
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Setting up even a small render farm can require a substantial amount of time. As a first step, verify
that your proposed network meets the basic requirements. You should also be acquainted with the
software required to render over the network.
Hardware Requirements
One machine on the network must have the software set up and authorized. This system is used
to submit network rendering jobs.
One machine runs a network manager to communicate with rendering servers. You can set up any
machine in the network for this purpose. No authorization is required if this machine will not run
as a 3ds max Workstation.
To install the software, at least one machine needs a CD-ROM drive mounted for access over the
network. Instructions for setting up the network-rendering software are found in the Setting Up
Rendering Software section.
Other machines operate as rendering servers. No authorization is required on these machines.

Rendering servers should meet the minimum requirements for running the software. To improve
rendering performance, use machines with faster processors, additional memory, and more swap
space. A rendering server does not require a monitor while rendering, although it's helpful to have
one for setup. Display adapters and accelerators make no difference in rendering performance.
Network Requirements
All machines need to be:
Operational under the shipping version of Windows XP Pro or Windows 2000.

Network rendering is not supported under the Windows NT4, Windows ME, Windows 98, Windows
95 operating systems. Although the Network Renderer can be set up and may appear functional,
network rendering will not work reliably under Windows NT4, Windows ME, Windows 98, Windows
95.
Connected over a network with TCP/IP protocol properly installed.

See Instructions for configuring TCP/IP for network rendering.
Software Requirements
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One authorized copy of the software is the minimum requirement. With this one copy, you can set
up the software on multiple machines for the purpose of network rendering. Later topics provide
explicit details for doing a custom setup on each machine. During this setup, programs required to
render over a network are installed and registered.
Four separate programs interact to accomplish network rendering. The following descriptions identify
these programs and provide an overview of their use.
3dsmax.exe
3ds max is used to launch job assignments. You submit a network rendering job from the Render
Scene, Render to Texture or Execute Video Post dialog. The application is also used by the
rendering servers to render the job.
manager.exe
When run, this application sets up one computer as a network manager. Alternatively, you can
run Manager as a service by installing managersvc.exe. See Installing Network Services.
The manager program manages communication with the rendering servers during a network
rendering job. This can be set up on any machine in the network. However, if large files are to be
submitted and many rendering servers are going to be used, a fast computer with a large amount
of disk space is the best choice. In almost all network-rendering scenarios, you only have a single
manager running on the entire network.
server.exe
When run, this application sets up the computer it's run on to be used as a rendering server.
Alternatively, you can run Server as a service by installing serversvc.exe. See Installing Network
Services.
The server program sends its local IP address to the Manager program, which in turn registers the
Server so it will be available for network rendering a job assignment. When the server receives a
job from the network manager, it launches a local copy of the software to perform the rendering.
The server then sends the completed frame to a target directory and begins rendering the next
frame sent to it by the manager. The server shuts down the 3dsmax.exe3dsviz.exe process when
it is no longer needed.
Monitor.exe
This standalone program, named Queue Monitor, provides a Windows interface that lets you
monitor and schedule network rendering. Since the Queue Monitor is a standalone program, you
can start it at any time from any computer in your network. The only requirement is that you
establish a TCP/IP connection with the computer running the manager.
You can load Queue Monitor on each rendering server and use it to monitor rendering progress
locally. You can also connect with Queue Monitor remotely using Windows NT Remote Access.
Next Step

Comments

Setting Up Rendering Software

When you've configured the computers on your rendering network for TCP/IP, you're ready to load
the software.
For each system you plan to use for network rendering, you need to install the 3ds max 6 Core.
After you've installed 3ds max on all the systems, at least one of them needs to be authorized. This
is the copy of the software that you will run interactively and is used to submit jobs for network
rendering.
Refer to the Installation Guide for details about installing 3ds max.
Note: Systems that are intended to act a dedicated rendering servers do not require authorization.
Next Step
Setting Up Directories
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During network rendering, common directories (directories that are shared across the network) allow
access to files needed by all the rendering servers. You can organize, share, and (if necessary)
mount these directories.
There are two types of common directories:
Map directoriesOne or more directories where maps and images are stored. These can be both
project-specific and general locations.
Output directoryA single directory where completed frames are sent from each rendering
server, also called the target directory. You specify this directory for each job. This can also be a
local directory on each machine.
The network rendering system uses the Universal Naming Convention (UNC) to identify directories
and files. UNC names begin with a double backslash and do not include a drive letter. This is the
convention:
\\machine_name\directory\subdirectory\filename
Important: To simplify network rendering, use UNC names whenever possible within a
3ds max scene, even if the directory is on the local machine.
Tip: When entering UNC names, omit the \\ before the file name until you've entered the entire path
and file name. This eliminates search delays when entering UNC path names into file selection
dialogs.
Some networks require drive letters instead of UNC names. Directories on such networks can be
mounted as drive letters and shared over the network. See Mounting a Directory.
Organizing Directories
Correctly organizing directories is critical to the success of your rendering farm. Every element in a
scene needs to be available to each server for a complete rendering. The goal is to give every
machine in your network the same "picture" of where files are located. Follow these rules when
organizing your directories:
Share directories to make them available to the network.
Use UNC file specification when assigning maps files and output directories, even when the
directory is on a local machine.
Creating Map Directories
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As you assign materials in a scene, the software stores the complete path to each map you use. The
program searches for that particular location. If necessary, the program continues to look through
the directory containing the scene file and its subdirectories.
Maps, specific to a project, should be kept in a dedicated directory that has been set up for that
project. You can create subdirectories below this directory to organize files. This directory needs to
be shared using Windows Explorer.
Maps for general use, such as texture libraries, can be organized as you choose. The computers
containing such libraries need to be on the network, and the directories need to be shared.
Creating a Common Output Directory
A common output directory is a single directory on one hard disk where rendered frames accumulate
during network rendering. When creating a common output directory, follow these guidelines:
Decide on a machine to accept final output. It should have enough disk space to store the largest
completed animation file you're likely to render.
Create or choose a directory for final output.
Share that directory as a resource available to the network.
Creating a Local Output Directory
A local output directory lets you use available storage on each rendering server. Rendered frame
files are sequentially numbered when assigned by the network manager. When you collect the
finished frames, they automatically sort in the proper order. When creating a local output directory,
follow these guidelines:
Use the same path and name for all local directories. For example, use \3dsmax\images.
Specify this path for the output directory when you start network rendering. All rendering servers
will then send their output to this local directory.
On any one rendering job, use either a common or local output directory. They cannot be mixed.
Next Step
Sharing a Directory
See also
Mounting a Directory

Using Configure Paths
Comments

You can mount a directory to a drive letter as an alternative to using UNC names. In mixed UNIX/
XP/2000 networks, for example, you might need to mount the output directory.
For network rendering, you mount (or map) the directory on all machines in the network. This gives
all rendering servers access to the shared directory.
Before beginning this setup, choose a common drive letter for all servers to mount. If you have
other drives mounted, you might need to switch assignments to free the drive letter for this mount.
If a Map or Target directory is on a rendering server, mount the directory on this machine like all the
others, even if the directory is on the local disk.
When using a mounted directory, be sure that the directory to be mounted is correctly shared. When
assigning bitmaps, always use the path with the common drive letter.
The steps below are general. See your Windows XP or 2000 documentation for more details.
Note: During the writing of these procedures, Windows XP was set to display a Classic Windows
interface.
Procedures
To map a directory to a drive letter (Windows 2000 or XP):
1. In Windows Explorer, choose Tools > Map Network Drive to display the Map Network Drive
dialog.
2. Set the Drive drop-down menu value to the common drive letter you've chosen.
3. In Folder, enter the exact location of the output directory, using UNC convention.
You can also map a directory to a drive letter by choosing the machine and shared directory
with the Browse button in the Map Network Drive dialog.
4. Click Finish to complete the mount.

Note: If the drive maps to a server on a large corporate network, you may be required to enter
your user name and password to gain access.
Next Step
Initial Setup for Manager and Server Programs
See also
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Sharing a Directory
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Universal Naming Convention (UNC)
Glossary
Universal Naming Convention (UNC)

The 3ds max network rendering system uses the Universal Naming Convention (UNC) to identify
directories and files. UNC names begin with a double backslash and do not include a drive letter.
This is the convention:
\\machine_name\directory\subdirectory\filename
To simplify network rendering, use UNC names whenever possible within a 3ds max scene, even if
the directory is on the local machine.
Tip: When entering UNC names, leave off the \\ before the file name until you've entered the entire
path and file name. This eliminates search delays when entering UNC pathnames into file selection
dialogs.
Some networks require drive letters instead of UNC names. Directories on such networks can be
mounted as drive letters and shared over the network. See Mounting a Directory.
Comments
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The files necessary for network rendering are copied to the backburner root directory when you
install the software. Two of these files, manager.exe and server.exe, require initialization before they
can be run. Set up the Manager program first, then the Server. When you're finished, you can start
network rendering. After setup, you can run both Manager and Server as services by installing
managersvc.exe and serversvc.exe, respectively.
You need to initialize only one machine as network Manager. This can be any machine on the
network, and can be used on a machine running the Server, 3ds max, or both.
You need to initialize every machine used as a rendering Server. This is done once to establish the
connection between the rendering Server and the network Manager.
The Manager and Server programs can be run in application mode as explained in the procedures
that follow, or as Windows 2000 or XP services, in which case they run in the background and
provide less feedback on the progression of the rendering job. To learn more about installing these
programs as services, see Installing Network Services.
Initialization is done only once for each service. Each initialization process creates or updates the
following:
A subdirectory called \network under the backburner root directory, containing several further
subdirectories, including \jobs, \servers, and \serverjob. By default, the backburner directory is
called backburner2, and is found in the 3ds max6 program directory.
A file with initialization parameters (backburner.xml).
A log file that keeps track of what the services do (backburner.log).
Procedures
To initialize the Manager program:
Run the Manager program from the Start menu > Programs > discreet > backburner2
folder.
The first time you launch the Manager, it creates the backburner.xml file, which stores the
manager configuration settings.
The backburner Manager General Properties dialog also appears the first time you run Manager. In
most cases, you can safely proceed by accepting the default settings and clicking OK. Thereafter,
you can modify the configuration settings by choosing Edit menu > General Settings to open the
General Properties dialog. For the new settings to take effect, you need to close the manager and
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restart it.
The settings in the General Properties dialog are described in depth in backburner Manager General
Properties Dialog.
To initialize the Server program:
1. Run the Network Rendering Server program from the Start menu > Programs > discreet
> backburner2 folder.
The first time you run Server, its General Properties dialog appears.
2. By default, the Subnet Mask field is set to 255.255.255.0 with the Automatic Search option
turned on. In most cases, you should leave this option on. The software detects the machine
acting as the manager.
At this point, do not make any other changes in the softwares backburner Server General
Properties dialog. Settings in the this dialog are described in detail in backburner Server
General Properties Dialog.
3. Click OK on the backburner Server General Properties dialog to save the current configuration.
4. The Server starts, and attempts to connect to a Manager automatically. If no Manager is found
on the network, the Server times out and reports that the Manager is not responding.
5. If the Server eventually fails to connect to the Manager:
Check the subnet mask setting in your TCP/IP network configuration. If it is set to something
other than 255.255.255.0, in the Server application, go to Edit menu > General Settings, in
the dialog, set the subnet mask to match it and click OK. You will need to shut down the
Server application and restart it for the changes to take effect.
If you do not want the Server to connect automatically or the Server will not connect
automatically to the Manager, go to Edit menu > General Settings and turn off Automatic
Search. Click in the Manager Name Or IP Address field and enter the name or IP address of
the workstation running Manager, and then click OK. You will need to shut down the Server
application and restart it for the changes to take effect.
This updates the backburner.xml file, which now stores the Server configuration settings.
The next time the Server is run, the application is launched and the configuration settings
are used.
This completes Server initialization.
Next Step
Starting Network Rendering

Comments


To install the network Manager and network Server as network services under Windows 2000 or XP,
start by doing the following:
1. Run the Application versions of the Manager and Server to properly configure the applications
and make your rendering network operational.
2. Use your network in production so you are sure it is running reliably.

Do not proceed unless these conditions are met.
Installing the network Manager and rendering Servers as Windows 2000 or XP services allows
background rendering and is convenient, but it also means that you have less information on the
rendering servers screen about problems when they occur. This is why your network needs to be
running smoothly before taking this step. Running the Manager and Server as services does not
change the information shown in the Queue Monitor.
In the procedures that follow, the Manager and Server services are installed and registered under
Windows 2000 or XP. This installation replaces the use of application mode (running the Manager
and Server manually each time you want to use them). The services are started automatically every
time you boot the computer, but can also be set for manual startup. The \network subdirectory and
initialization and LOG files from application mode remain in place, but the services operate under
Windows 2000 or XP instead of in a separate process.
You can run the Manager and Server as services directly from a Command Prompt window or the
Run dialog using the -i switch (install as a service). Then go to Services and start the Manager and/
or Server, or reboot.
To remove the Manager or Server once it has been installed as a service, you must run the program
directly from a Command Prompt window or the Run dialog using the -r switch (remove service).
Procedures
To set up the Manager as a service:
1. Go to the machine on which you will install the Manager as a service.
2. Open a Command Prompt window and change the directory to the programs root directory (for
example, c:\3dsmax6\backburner2\.
3. Type managersvc -i
The following message should be displayed:
backburner Manager ... Service Installed
4. Go to Windows Control Panel > Administrative Tools > Services, right-click backburner
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Manager, and choose Start.

If you choose Properties from the right-click menu, you can also set users, passwords, and
other parameters.
To set up the Server as a service:
1. Go to the machine on which you will install the Server as a service.
2. Open a Command Prompt window and change the directory to the backburner root directory.
3. Type serversvc -i
The following message should be displayed:
backburner Server ... Service Installed
4. Go to Windows Control Panel > Administrative Tools > Services, right-click backburner Server,
and choose Start.
If you choose Properties from the right-click menu, you can also set users, passwords, and
other parameters.
5. Repeat these steps on every machine on which you want to set up Server as a service.
See also
Creating a Special User Account
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If you run the Server as a Service, you should create a special user account, which gives the Server
the right to access other machines on the network for necessary maps, xrefs and output directories.
This account must be identical across all rendering server machines.
By assigning a user to the rendering Server service, you configure the rendering server to operate
with the permissions and access rights of that user account. Without this assignment, the rendering
server operates with system permissions, which do not let the server service access map, xref,
image, or output directories on other machines.
Note: These steps require you to have administrative privileges on every machine where you set up
this account.
For the following procedures, Windows XP was set to display a Classic Windows interface.
Procedures
To create a new user (Windows 2000 and XP):
1. From the Start menu, select Settings > Control Panel > Administrative Tools > Computer
Management.
2. In the Computer Management dialog, go to System Tools > Local Users and Groups > Users.
3. In the right-hand pane, right click in a blank area and choose New User to display the New User
dialog. If the New User option is unavailable, you don't have the required administrative
privileges.
4. In the New User dialog, do the following:
Enter a user name for the new account in the Username text box. This can be any name, but
it should be the same across all network rendering machines.
Enter a password for the new account in the Password and Confirm Password boxes. Like the
user name, this password needs to be the same for all rendering servers.
Turn off User Must Change Password At Next Logon and turn on Password Never Expires.
This will bypass errors when you assign this special user account to the rendering service.
Click Create to create the new user and password.

When the network is part of a domain it is a good idea to have your network administrator
create a special user account on the domain. This user account would have read/write access
to the network servers where maps, xrefs and frames are stored.
Click Close.
5. Do not close Administrative Tools.
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To assign a user to a rendering service (Windows 2000 and XP):

Do the following on every computer used as a rendering server:
1. Make sure each server system is set up with the Network Rendering Server running as a
service.
2. From the Administrative Tools windows, choose Services to display the Services dialog.
3. From the Service list, right-click the backburner Server item.
4. Choose Properties to display the Properties dialog.
5. On the Log On tab, choose This Account and enter the name of the new user you created for
the special user account.
If a user account was created on the domain, you would enter [domain name]\[user name] as
This Account, or you can browse the domain for the user.
6. In Password and Confirm Password fields, enter the password for the special user account.
7. Click OK to exit the Properties dialog.
8. If the service is started, stop it by right-clicking the item and choosing Stop.
9. Right-click the item and choose Start to restart the service with the newly assigned user.
Note: If you did not turn off User Must Change Password At Next Logon when setting up the
new account, you will encounter errors. You will need to re-login the newly assigned user so
you can first change the password. Once the password is changed, the backburner Server
should start.
10. Close the Services dialog
Next Step
The backburner.xml File
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Network Rendering Server
Windows Start button > Programs > discreet > backburner2 > Server
The application version of the network rendering Server provides a graphical user interface for
control and monitoring purposes. It runs as a foreground process on your desktop, and remains
active unless specifically shut down. Its components include a menu bar, list window, and status bar.
Once you initially set up the server using the application version, you can run it as a service from
then on. The service version provides no user interface, but once it's installed as a service and
started, it's always available when you boot the system. Whichever version you use, you can
monitor and control the rendering queue and system with the Queue Monitor.
To start the server service, execute the following from a Command Prompt window or the Start
menu > Run function:
[drive letter]:\3dsmax6\backburner2\serversvc.exe -i
Replace "[drive letter]" with the letter of the drive the software is installed on. If you used a different
install path, change the command line accordingly.
Then either reboot the computer or go to Control Panel > Administrative Tools > Services and start
the service. Thereafter the service will remain resident and active, even surviving reboots.
Note: In order for the rendering servers to be able to save the frames to the specified location, set
the logon for the installed service to a user name and password that exists on the network. Also,
that user name must have sufficient read/write permissions to get the required bitmaps and xrefs for
the scene to render as well as write the frames to specified location.
To remove the server service from memory, execute the following from a Command Prompt window
or the Start menu > Run function:
[drive letter]:\3dsmax6\backburner2\serversvc.exe -r
Procedure
To start/stop the server service upon logoff/logon:

If you work on a computer that's part of a render farm, you probably don't want the computer to be
available for rendering while you're using it. By following this procedure, you can have the computer
automatically turn off the server service while you're logged on, and turn it back on when you log
off.
1. Install the backburner Server as a service that starts automatically at startup, as described
above. This is the default setup for the server service.
You'll start by creating two batch files.
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2. Open a text editor such as Notepad and enter the following line:
net start backburner_srv_200
3. Save this as a text file named Netstart_BK_Server.bat.
4. Create a new file containing the following line:
net stop backburner_srv_200
5. Save this as a text file named Netstop_BK_Server.bat.

Next, you'll to edit the logon and logoff policy for the system.
6. Browse to the c:\WINNT\system32 directory and find gpedit.msc.

This is the file that edits and manages the Group Policy for the system.
7. Right-click the file and then choose Open.

The Group Policy dialog appears.
8. In the dialog, expand User Configuration > Windows Settings, and then click Scripts (Logon/
Logoff).
The right-hand pane lists Logon and Logoff.
9. In the right pane, right-click Logon and choose Properties.
10. In the Properties dialog, click Add, click Browse, and browse to the Netstop_BK_Server.bat file
you created. Click OK twice to close the Logon Properties dialog.
11. Similarly, open the Properties dialog for Logoff and specify the Netstart_BK_Server.bat file.
12. Close the Group Policy dialog.

You have now set up the system to stop the backburner service at any user logon, and to start
it at any user logoff.
Interface

Menu bar
The menu bar provides access to the functions available in the Network Rendering Server
application.
File menu
CloseCloses the window and minimizes the application to the taskbar tray. The application
remains active when you close it with this menu item or the close box (X) in the upper-right corner.
ShutdownQuits the application and removes it from memory.
Edit menu
General SettingsOpens the Network Server General Properties dialog.

Log SettingsOpens the Network Server Logging Properties dialog, which lets you filter the types
of messages to appear in the list window, and specify whether the messages will be sent to the list
window, a log file, or both.
View menu
Status BarToggles the display of the status bar, which appears at the bottom of the Server
window. When on, a check mark appears next to this menu item. Default=on.
Font SizeLets you choose the size of text that appears in the list window. Choices range from
Smallest to Largest.
Autoscroll ListToggles automatic scrolling of the list window. When on, new items that appear in
the list window cause previous contents to scroll up. When off, you must scroll the window manually
to see the latest entries after it fills up. Default=on.

Help menu
About ServerDisplays information about the Server program, including version and copyright.
List Window
This area of the Server interface lists different types of information regarding the current status of
Server. Depending on the selections made in the Logging Properties dialog, messages are displayed
alerting the user, for example, to the following:
Connection and registration between the Manager and Server(s)
New job assignments
Frames assigned/rendered
Acknowledge packets sent between the Manager and Server(s)
Manager/Server(s) shutting down
Any rendering errors encountered

This information can be filtered using the Logging Properties dialog.
Comments

Windows Start button > Programs > Discreet > Queue Monitor
The Queue Monitor application (monitor.exe) lets you manage, view, and receive status updates about all jobs currently submitted to the network rendering queue.
This executable file is copied to the backburner root directory during setup. An icon for this standalone program appears in Start menu > Programs > Discreet.
Note: In previous versions of 3ds max, this program was called Queue Manager.
Queue Monitor helps you adapt to changing needs and priorities. Jobs can be activated, deactivated, reordered, and removed, and servers can be unassigned to
free up resources on workstations, or brought back online as they become available again.
You can run Queue Monitor from any computer connected to the rendering network. Once started, you can connect to any available network Manager. You can
launch as many Queue Monitors as you want from anywhere on your network and connect to a Manager machine. All except the first Queue Monitor connecting to
the Manager appear in "read only" mode. If there is already a Queue Monitor connected to the Manager, subsequent connections alert you that you are in read-only
mode, and "Read Only" appears in the title bar. In read-only mode, you can view network render activity, but cannot change anything in the queue unless you
obtain queue control.
To view all current jobs in the rendering queue, you first connect to the Manager that all of the servers are "talking to." To do this, you can either connect
automatically to the Manager by searching with a subnet mask, or connect to a specific Manager by supplying the IP address or machine name of the machine
where you started the Manager.
Procedures
To view all current jobs in the rendering queue:
1. In the Queue Monitor toolbar, click the Connect button.

The Connect To Manager dialog appears.
2. After you connect to a Manager once, the dialog remembers the Manager information and you can just click OK to connect to the same Manager.
If this is the first time you're connecting, or you're connecting to a different Manager, and you're using Automatic Search, just click OK. If you're not using
Automatic Search, you need to specify the Manager to connect to. In the text field, enter the name or IP address of a network Manager. This is the same
information you specified in the Server General Properties dialog.
3. Click OK.
The Queue Monitor connects to the network Manager and activates its various display windows.
To suspend a job:
As requirements change, you can temporarily deactivate an active or pending job in the rendering queue, or reverse the process and restart jobs that are inactive.
When you suspend a job, the Servers assigned to the job either drop the frame they are rendering or finish writing the frame, depending on where they are in the
rendering process. The next pending job becomes active and begins to render.
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Note: You can activate or deactivate multiple jobs at the same time.
1. Select one or more active or pending jobs in the Job list.
Click the Suspend button on the toolbar.
Choose Suspend from the Jobs menu.
Right-click a highlighted job name in the Job list to display a pop-up menu, and then choose Suspend.
If necessary, use Refresh to view the new queue status.
To activate a suspended job:
1. Select the suspended job (denoted by a gray movie-frame icon).
The Activate button on the toolbar becomes active.
2. Click Activate, or use the menu bar or right-click menu.

The job becomes either Started or pending in the queue (Active), depending on whether or not another job is currently rendering.
Interface

The Queue Monitor user interface comprises a menu bar, a toolbar, a status display, and four windows: job list, job information, server tree view (or hierarchical
list), and server list.
Menu bar
The menu bar includes these menus and functions:

Manager menu
Use to control aspects of the Queue Monitor and the network Manager.
ConnectConnects to a Manager using the Connect To Manager dialog. In the dialog, turn on Auto Search to search for a Manager using the specified subnet
mask, or turn off Auto Search to search for a Manager using a specific Manager name or IP address. Click OK to perform the search, or Cancel to exit without
connecting.
If the Manager is found, current Servers and jobs appear in their respective lists in the Queue Monitor. If the Manager cannot be found, an alert appears.
DisconnectDisconnects from the current Manager. Available only after a connection is made.
Auto-ConnectWhen this switch is turned on, you can automatically connect to a manager without the Connect To Manager dialog appearing. Whatever
setting have been made in the Connect To Manager dialog will be used.
Request Queue ControlLets you gain control over the rendering queue. Available only when Queue Monitor is running on two or more machines in the network,
and your copy was not the first one run.
When you request queue control, a dialog appears on the controlling machine informing that user of the request. The dialog counts down 10 seconds, and if no
response is made during that time, or the OK button is clicked, control transfers to the requesting Queue Monitor, which then informs the requestor of the transfer.
If the request is denied, the requesting user is informed of that fact.
Request Client ListDisplays a dialog listing the rendering servers on the network, and showing which is the controller (i.e., the active Queue Monitor) and the
user name. Use this to determine which server is currently controlling the queue.
Auto-RefreshWhen on, Queue Monitor automatically updates the information in its windows every 20 seconds, or whenever information changes if information
changes less frequently. When off, to update the windows you must click the toolbar Refresh button. Default=on.
Unless you are the only person managing the queue, we recommend leaving Auto-Refresh on. The danger of turning it off is the possibility of getting out of synch
with the state of the queue. For instance, if another person deletes a job and you decide to edit that job, when you finish editing that job, the Manager will send you
an error message saying the job no longer exists.
Module Info ReportChoosing this command opens the Module Info Report dialog. For troubleshooting purposes, this command lets you generate a delimited
file that shows you the version and location of backburner plugins and the backburner application itself for each network rendering system.
PropertiesOpens a window that displays information about the current setup of the machine that is running the network Manager, including job and server
statistics, the Manager's system configuration, and TCP/IP statistics.
ExitQuits the Queue Monitor program.
Jobs menu
Use to obtain information about rendering jobs. Most Jobs menu functions are available only when at least one job is highlighted in the Job list, and many require
that only one job be highlighted.
These commands are also available by right-clicking a job in the job list.
Edit SettingsOpens the Job Settings dialog, with settings for job-related functions such as frame range and output size.
Change PriorityOpens the Change Job Priority dialog, which lets you set a new priority or set the job to be critical.
If you change a job's priority so that a different job moves to the beginning of the list, the software pauses the current job and begins rendering the newly elevated
job.
Clone JobMakes an identical copy of the highlighted job and adds it to the end of the list.
DependenciesOpens the Job Dependencies dialog, which you can use to specify existing jobs that must finish before the current job can start.
ReportOpens the Job Report dialog for generating text files containing job reports.
Column ChooserOpens the Job Columns dialog, with additional columns you can drag into the Job list title row. As you drag a column over the title row, arrows
appear indicating where the column will be inserted.
To remove a column, right-click its title and then choose Remove This Column. You cannot remove the Job or Order column.
ActivateStarts a suspended job or jobs.
SuspendPauses an active job or jobs.
Restart JobStarts a job over at the first frame set in Job Settings.
Archive JobArchives a job currently stored in the queue. Archived jobs are removed from the Job queue and stored in the Job Archives.
Job ArchivesAccesses the Job Archives where jobs are stored after clicking the Archive Jobs command or if they're assigned to automatically archive upon
completion. Choosing this command opens the Job Archive dialog where you can choose to Delete, Activate or Refresh jobs.
DeleteRemoves the highlighted job or jobs from the queue.
Servers menu
Use to control and obtain information about job servers.

These commands are also available by right-clicking a server in the server list.
Assign to Selected JobsAssigns the highlighted servers or servers to the highlighted job or jobs.
Remove from Selected JobsRemoves the highlighted job or jobs from the highlighted servers or servers.
Remove from Selected GroupRemoves the highlighted server or servers from the highlighted group in the tree view.
Column ChooserOpens the Server Columns dialog, with additional columns you can drag into the Server list title row. As you drag a column over the title row,
arrows appear indicating where the column will be inserted.
To remove a column, right-click its title and then choose Remove This Column. You cannot remove the Job or the Order column.
Week ScheduleOpens the Week Schedule dialog for the highlighted server, for defining when the server is available to render jobs.
Delete ServerLets you remove the current server from the server list, making it unavailable for rendering jobs.
PropertiesOpens a window that displays information about the current setup of the machine that is running the network Manager, including job and server
statistics, the Manager's system configuration, and TCP/IP statistics.
Reset Server IndexLets you set the Performance parameter back to 0. Use this if you've changed the server setup (for instance, you've added memory or
substituted a faster machine) and want to reevaluate the servers' relative performance during a rendering job.
View menu
ToolbarToggles display of the Queue Monitor toolbar.

Status BarToggles display of the Queue Monitor status bar. When on, the status bar appears at the bottom of the Queue Monitor window and displays status
prompts.
Help menu
About Queue MonitorDisplays information about the Queue Monitor program, including version and copyright.

Toolbar
Contains buttons for performing various common Queue Monitor functions.
ConnectSee Connect.
DisconnectSee Disconnect.
RefreshForces the Queue Monitor to update the information shown in its windows.
The software automatically refreshes the windows every 10 seconds when information is changing.
DeleteRemoves the highlighted job or jobs from the queue.
ActivateStarts a suspended job or jobs.
SuspendPauses an active job or jobs.
Assign ServerAssigns the highlighted servers or servers to the highlighted job or jobs.
Remove ServerRemoves the highlighted job or jobs from the highlighted servers or servers.
Job List
The Job List window lists all current jobs, along with progress and status. Additionally, a status icon before each job's name provides a graphical indication of its
status. See Viewing Jobs and Servers with the Queue Monitor.
Right-click a job name to access the Jobs menu.
Click a column title to sort the list by the column contents (alternating clicks sort in ascending and descending order). Right-click a column title to access a menu
that lets you sort the column, specify its alignment, remove the column (if it's optional), access the Column Chooser for adding optional columns, and display only
the default columns.
Job Information Window
The Job Information window contains tabs for viewing information about different aspects of a single highlighted job in the Job List window. If no job is highlighted
or multiple jobs are highlighted, this window is blank.
Job SummaryLists important job-related information, including Job Options settings and Output settings.
Task SummaryLists frames in the job (under Task ID), along with each frame's status, rendering time, rendering server, and date and time of assignment.
Job DetailsLists the job's rendering parameters, scene statistics, and gamma settings.
ErrorsLists each frame for which an error occurred, which server registered the error, and a description of the error, including missing maps, missing texture
coordinates, and invalid output directories.
Server Tree View
This window presents a hierarchical list of all Server groups, lets you create, delete, and rename global and local Server groups, and see which Servers can render
your job.
Server groups are logical combinations of Servers that you can use to easily assign specific Servers to render a job. Global groups are available to all machines in
the rendering network, while local groups are available only on the computer on which they are created. To create a global or local Server group, right-click any
item in the Server Tree view, and choose Create Global Group or Create Local Group. After you choose either command, the new group appears in its respective
category with the name New Global/Local Group; at this point, you can rename it by typing a new name.
After you define a group, its name shows up as a tab in the Server list in theNetwork Job Assignment dialog. Only global groups appear on machines other than the
one on which they're created.
To remove a Server group, right-click its name in the Server Tree view and choose Delete Group. To rename a Server group, right-click its name in the Server Tree
view, choose Rename Group, and then enter a new name.
Following is a list of default list entries in the view. Click the item for the described result.
All ServersShows all Servers assigned to the current manager.
Global GroupsClick the + icon next to this entry, if it exists, to display global Server groups. To see the Servers in a global group, click the group name.
Local GroupsClick the + icon next to this entry, if it exists, to display local Server groups. To see the Servers in a local group, click the group name.
PluginsShows which applications can be controlled with the render network. Click the + icon next to this entry, if it exists, to display applications available on the
render network. To see the Servers that have a particular rendering application installed, click the renderer name.
Server List
The Server List window shows all Servers in the current group (selected in the Server Tree view). For each listed server, the windows displays, by default, its status,
the job it's currently rendering (if any), and the last message it sent to the Manager. Additional, optional details can be shown using the Column Chooser command.
Click a column title to sort the list by the column contents (alternating clicks sort in ascending and descending order). Right-click a column title to access a menu
that lets you sort the column, specify its alignment, remove the column (if it's optional), access the Column Chooser for adding optional columns, and display only
the default columns.
A status icon before each server's name provides a graphical indication of its status. See Viewing Jobs and Servers with the Queue Monitor.
Right-click a server name to access the Servers menu.
Status Prompt

Visible at the bottom of the Queue Monitor window, the status prompt provides a non-interactive display of activity in the Queue Monitor and provides help
information on the command over which the mouse cursor is positioned.
See also
Viewing Jobs and Servers with the Queue Monitor

Activating and Deactivating Jobs in the Queue
Activating and Deactivating Servers in the Queue

Managing Jobs in the Queue
Comments

Server General Properties Dialog
Windows Start button > Programs > Discreet > Network Rendering Server > Edit menu > General
Settings
The Server General Properties dialog contains configuration settings for the Network Rendering
Servers. The default settings in this dialog work in most cases, but certain situations may require
adjustment of these settings, mostly the Manager or IP settings in case the Automatic detection
fails. The information specified in the Server Properties dialog is contained in the backburner.xml file
(in the \network subdirectory). If you run Server and the backburner.xml file does not exist or does
not contain information pertinent to the Server, the backburner.xml file is created or updated.
Interface
TCP/IP group
Manager PortSpecifies the port number used by the Network Manager.

Server PortSpecifies the port number used by the Network Server(s).
These settings specify the port number to be used by the software. These numbers must be unique
to the software, but every Server must have the same number.
Note: Port numbers are like extensions for different users of the same phone number. They
represent two channels of communication between the Server and the Manager. Only a trained
network administrator should change these settings.
Automatic SearchWhen on, starting the Server searches for a Manager using the default subnet
mask of 255.255.255.0. In most cases, you should leave this option on. The software will detect the
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machine acting as a Manager. The Server may fail to detect a Manager if the network subnet mask
(in the Windows TCP/IP Network Configuration dialog) is set to some other value than the standard
255.255.255.0.
If that is the case, change the subnet mask setting in the Server General Properties dialog to match
the system setting. Start the Server again and it should detect the Manager. When multiple
Managers are running on the same network, you may want to turn off Automatic Search and specify
which Manager the Server should connect to. Otherwise, the Server connects to the first Manager it
finds.
Enter Subnet Mask/Manager Name or IP AddressWith Automatic Search turned on, specifies
the subnet mask used to search for the Manager. With Automatic Search turned off, specifies the IP
address or DNS name of the Manager to which to connect. Use the Manager system's name or IP
address when multiple Managers are running on the same subnet. Use the Manager system's IP
address to avoid any problems or conflicts caused by improper implementation of the Domain Name
System.
Comments
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Module Info Report Dialog
Windows Start button > Programs > Discreet > Queue Monitor > Highlight a job. > Jobs menu >
Report
You can generate delimited ASCII reports containing detailed statistics about the version and
location of backburner plugins and the backburner application itself for each network rendering
system.
Interface
Header group
Specifies the type of header to include in the report file, in addition to the body information.
LongAdds a heading to the report.
ShortIncludes only the column titles in the report.
Record Delimitation group
Specifies the type of delimiter used between the fields. For example, if you use a tab delimiter, the
report will import correctly into Microsoft's Excel or Access applications.
TabInserts a tab between fields in the report.
SpaceInserts a space between fields in the report.
CommaInserts a comma between fields in the report.
Use QuotesBrackets each field with double quotes.
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Output File group
(Text Field)Specifies the report's file name. You can specify a complete path, if you want. By
default, the path is the directory containing the monitor.exe file.
Tip: If you use a shortcut icon to launch Queue Monitor, you can specify the path for your report's
output file in the Start In field in the Properties dialog for the shortcut.
Tip: BrowseDisplays a file selector where you can specify a file path for the report.
Comments
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Job Settings Dialog
Job Settings Dialog
Edit Settings
Windows Start button > Programs > Discreet > Queue Monitor > Highlight a job. > right-click
menu > Edit Settings
Use the Job Settings dialog to change job-related settings such as frame range, output size, and
output directory, without having to use the Render Scene dialog and resubmit the job.
You can change job settings for a job while it's suspended or while it's rendering. By default in either
case, after you click OK to exit the dialog, the rendering job restarts from the first frame. You can
turn this feature off with the Restart Job option.
Most settings are either toggle switches or editable from the keyboard. To change a toggle setting,
double-click its entry (in the right-hand column). If a setting is editable, its value turns green when
you click it. To change an editable setting, click it to get the keyboard cursor, and then enter a new
value from the keyboard. If you double-click the value when it's green, it highlights, and anything
you type replaces it.
Interface
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Job Settings Dialog
Job Name group

Job Settings Dialog
The job name cannot be changed from this dialog.

Job DescriptionDisplays a brief description of the job. Editable from keyboard.
Restart JobWhen on (Yes), changing one or more job settings in the middle of a rendering job
causes the job to restart at the first frame in the range, so all frames are rendered with the same
settings. When off (No), the job continues rendering without restarting. Toggled by double-clicking
the entry. Default=No.
You might want to turn this off if you're rendering an animation test and change a relatively minor
setting, such as Video Color Check, in the middle of a job. For final renderings, you should always
restart a job from the beginning after changing job settings.
Override Global Blocking TasksThis setting corresponds with the Override Global Settings
as set in the Advanced Setting dialog. Default=Yes.
Enable Blocking TasksA Yes/No toggle that controls task blocking as set in the Advanced
Setting dialog. When set to Yes, the task blocking set in the Manager General Properties dialog is
active. Toggled by double-clicking the entry. Default=Yes.
Use All Available ServersUses all servers in the active Server group for rendering the job.
3ds max General Settings group
Frame SequenceThis toggle setting alternates between Frames and Range, and, by default, uses
the Range and Frames settings in the Render Scene dialog. When set to Range, the job uses the
First/Last Frame and Every Nth settings; when set to Frames, the job uses the Frames setting.
Toggled by double-clicking the entry. Default=Range.
First FrameDisplays the first frame in the range to be rendered. Defaults to the first frame as
submitted. Editable from keyboard.
Last FrameDisplays the last frame in the range to be rendered. Defaults to the last frame as
submitted. Editable from keyboard.
Every NthRegular sample of frames. For example, enter 8 to render every 8th frame. Editable
from keyboard.
FramesNon-sequential frames separated by commas (for example, 2,5) or ranges of frames
separated by hyphens (for example, 0-5). Editable from keyboard.
Width/HeightLets you set the resolution of the output image by specifying the width and the
height of the image, in pixels. Defaults to the output size as submitted. Editable from keyboard.
Render Options group
These settings are the same as those found in the Render Scene dialog > Options group, with
several additions:
Skip Existing FramesWhen on, the software checks the output path for existing rendered
frames, and doesn't render them again. When off, starting or restarting a job always begins
rendering with the first frame, overwriting any existing frames. Toggled by double-clicking the entry.
Default=No.

Job Settings Dialog
Display VFBDisplays the virtual frame buffer window on all servers during rendering. Toggled by
double-clicking the entry. Default=Yes.
Gamma CorrectionWhen enabled, lets you defines a new gamma for the bitmap, using the Input/
Output Gamma settings. Toggled by double-clicking the entry. Default=Disabled.
Input/Output GammaChange system input and output gamma settings for processing bitmaps.
See Gamma Preferences Settings > Bitmap Files group. Editable from keyboard.
Pixel Aspect RatioSets the shape of the pixels for display on another device. The image may look
squashed on your display but will display correctly on the device with differently shaped pixels.
Editable from keyboard.
Render ElementsWhen enabled, renders any render elements in the scene. Toggled by double-
clicking the entry. Default=Enabled.
Video Color CheckChecks for pixel colors that are beyond the safe NTSC or PAL
threshold. Toggled by double-clicking the entry. Default=No.
Two Sided2-Sided rendering renders both sides of all faces. Toggled by double-clicking the entry.
Default=No.
Render HiddenRenders all geometric objects in the scene, even if they are hidden. Toggled by
double-clicking the entry. Default=No.
Render AtmosphereRenders any applied atmospheric effects, such as volume fog, when set to
Yes. Toggled by double-clicking the entry. Default=Yes.
Super BlackLimits the darkness of rendered geometry for video compositing. Toggled by double-
clicking the entry. Default=No.
Dither 256Intersperses pixels when rendering to an eight-bit image format for a greater apparent
color range. Toggled by double-clicking the entry. Default=Yes.
Dither True ColorIntersperses pixels when rendering to a 24-bit (or higher) image format for a
greater apparent color range. Toggled by double-clicking the entry. Default=Yes.
Render FieldsRenders to video fields rather than frames when creating animations for video.
Toggled by double-clicking the entry. Default=No.
DisplacementsAny displacement mapping is rendered. Toggled by double-clicking the entry.
Default=Yes.
Scene EffectsAny applied rendering effects, such as Blur, are rendered when turned set to Yes.
Toggled by double-clicking the entry. Default=Yes.
MultithreadCauses the software to treat the rendering task as separate threads. This option
works with multiprocessor systems. Toggled by double-clicking the entry. Default=Yes.
Field OrderSelects the field order of rendered images when the Render Fields option is turned on.
Default=Odd.
Some video devices require that the even field be first, other video devices require that the odd field
be first. Determine the correct field order for your video device. If the video output of your device is
strobing or appears jittery, it may be due to incorrect field order. Try changing this parameter and

Job Settings Dialog
re-rendering your animation.
Alternate Paths group
Comparable to setting the alternate paths in the Network Job Assignment dialog.
Alt Bitmap PathLets you enter an alternate path where the servers search for bitmaps. Editable
from keyboard.
Alt XRef PathLets you enter an alternate path where the servers search for XRefs. Editable from
keyboard.
Timeouts group
These settings are covered in Advanced Settings Dialog.
Notifications group
These settings are covered in Notifications Dialog.
Comments

Advanced Settings Dialog
Rendering menu > Render > Render Scene dialog > Turn on Net Render (Render Output group). >
Render > Network Job Assignment dialog > Advanced
Rendering menu > Render To Texture > Render To Texture dialog > Turn on Net Render (Render
Settings group) > Render > Network Job Assignment dialog > Advanced
Rendering menu > Video Post > Set up a sequence with an Image Output Event > Turn on Net
Render (Output group) > Render > Network Job Assignment dialog > Advanced
The Advanced Settings dialog lets you set job timeouts on a per-job basis, assign the TCP port
number, specify pre-render scripts and affect job handling and archive settings.
Interface
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Per Job Timouts Group
EnableTurns on the ability to set timeouts on a per-job basis. The remaining settings in this group
become available only when Enable is turned on.
Wait for MAX to LoadSpecifies the amount of time after a job is submitted that the Manager
waits for a server to report that it received the frame and is rendering. If this value is exceeded, an
error message is logged for a failed frame, and the frame is assigned to a different server.
Wait for MAX to RenderSpecifies the amount of time the manager waits between when a server
reports that it has started and finished rendering a frame. If a server exceeds the specified value, it
is flagged as "failed" by the manager, and no more frames from that job are sent to it.
Wait for MAX to UnloadWhen a job is complete, the manager tells the server to unload the
software, then waits for a reply from the server saying 3ds max is down and it's ready for a new
job. This spinner specifies the amount of time the Manager will wait for the Server to reply to this

notification. If a server exceeds the specified value, it is flagged as "failed" by the manager, and no
more frames are sent to it.
Connection to Manager group
Use this setting to specify the Manager for this job.

TCP Port NumberSpecifies the port number of the Manager to which this job is to report.
Pre-Render MAXScript group
Pre-Render MAXScript FieldManually enter the network path and pre-render script to be used
during network rendering.
BrowseThe ellipsis button lets you open a browser window where you can search your hard drive
or network to find the correct pre-render script.
Job Handling group
Enable Task BlockingAllows the job to override the task blocking set in the Manager. Some jobs
will have their frames processed more efficiently if task blocking is turned off. Default=on.
Override Global SettingsThis switch lets you override job archiving settings made in the
backburner Manager General Properties dialog. It lets you set the archive settings for the job about
to be submitted. When Override Global Settings is turned on, the following three switches become
active. Default=off.
Note: Any setting made while Override Global Settings is turned on, remains active from one
3ds max session to the next. For example, if you choose to leave jobs in the queue, submit the job
and exit 3ds max, the setting will be active when you choose to submit jobs in the future.
Leave It In The QueueThis switch tells the network manager to leave the job in the queue
without deleting it or archiving it.
You might use this switch if you are submitting a job that might need to be re-rendered at a higher
resolution without making any other changes to the scene.
Archive ItWhen turned on, the job is archived when the rendering is complete. Default=on.
Archiving is useful when you submit a final version of the scene and you know that there won't be
any more changes to the scene. Before submitting the job, you set the job to archive upon
completion.
Delete ItUpon completion, the job is deleted from the queue when this switch is turned on.
If the scene you're network rendering is just a test shot and you're just doing a quick test of the
scene, you don't really want to keep the job in the queue once it's completed. Before submitting the
job, turn on this switch.
DefaultsReturns all settings to their defaults.

OKAccepts any changes and closes the dialog.

CancelCloses the dialog without saving changes.
Comments

Manager General Properties Dialog
Windows Start button > Programs > Discreet > Network Rendering Manager > Edit menu >
General Settings
The Manager Properties dialog contains the configuration settings for the Network Manager. The
default settings should work in most cases, but certain situations may require adjustments. The
information specified in the Manager Properties dialog is written to and contained in backburner.xml
(in the \network subdirectory). If you run the Manager and the backburner.xml file does not exist,
you're prompted to configure it with this dialog. When configuration is complete, click OK to run the
Manager.
Interface
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TCP/IP group
The two spinners in the TCP/IP group box specify the port numbers to be used by the software.
These numbers must be unique to the software, but every Server must have the same number.
Manager PortSpecifies the port number used by the network Manager.
Server PortSpecifies the port number used by the network Server(s).
Note: Port numbers are like extensions for different users of the same phone number. They
represent two channels of communication between the Server and the Manager. Only a trained
network administrator should change these settings.
General group
Max(imum) Concurrent AssignmentsSpecifies the number of jobs the Manager sends out at
once. This number is dependent upon the speed of the processor on the Manager machine, the size
of the jobs being sent out, and the speed of the network system. Generally, a default value of 4 is

adequate. You may want to decrease the value in case the jobs are huge and you have a modest
setup. Similarly, you may want to increase this value if you have a high-end setup and the jobs are
small. Be aware that too high a value may result in an increased number of timeouts because the
jobs are sent faster than the Servers can handle them. In such a case, decrease the value or leave it
at the default.
Failed Servers group
This option allows the Manager to automatically restart Servers that have failed jobs.
Restart Failed ServersActivate to enable automatic Server restarting. If this option is turned off,
the Server will not attempt to render the job again after the first failure. Default=on.
Number of RetriesSpecifies the number of times the Manager attempts to restart a failed Server.
Default=3. Range=1 to 1024.
Seconds Between RetriesThe time, in seconds, between each retry. Default=30.
Note: The state of a Server is kept on a per-job basis. If Restarts Failed Servers is turned on, the
Manager keeps track of when a Server fails a particular job. The Manager regularly goes through the
list of Servers for that job, checking for failures. If one is found, the Manager checks how long it has
been since it failed. If the time elapsed is greater than the specified Seconds Between Retries, the
Manager decreases the Number of Retries by one and resets the failed flag from the Server.
If a Server fails repeatedly on a specific job (failures are monitored on a per-job basis), the failure
count reaches the specified Number of Retries, and the Manager stops trying to restart that Server
for that particular job. If, on the other hand, a Server restarts and completes a frame, it is flagged
as active and resumes rendering until the job is complete.
Direct Access To Jobs Path group
Job paths can be useful when dealing with situations where it's not conducive to have jobs placed on
the manager system. Such situations might be as follows:
You have a lack of drive space on the C: drive where backburner is installed. Drive D: has plenty
of space so you set up a folder called MyJobs where jobs will be placed when submitted. Enter a
Win32 path such as \\machinename\MyJobs.
You're running a large renderfarm that causes a lot of network traffic on the manager system that
you use concurrently to build models. To alleviate the traffic, you set up a shared job folder,
backburnerJobs for example, on a file server that is separate from the manager system. The
Win32 job path would be set to \\fileserver\backburnerJobs and jobs you submit will be placed on
the file server.
Use Jobs PathTurning on this switch allows you to define the location of jobs to be somewhere
other than on the manager machine. This tells the render servers to get the job files from the new
location, therefore minimizing the file I/O traffic on the manager.
Win32 PathEnter the path where jobs are located into this field or click the Browse button to the

right to search your system for the job location.

Unix PathThis field functions the same as the Win32 path except you can enter a Unix path
structure.
Default Job Handling group
The settings in the Default Job Handling group allow a user to archive a completed job to a specified
location after x number of days, delete a completed job after x number of days or just leave the job
indefinitely in the queue.
Using these controls lets you maintain the job queue, clearing completed jobs that can cause excess
overhead and stress to the manager system, thus instigating performance problems. The archiving
functionality allows you to automatically store files used for completed jobs.
Note: These settings can be overridden from the Advanced Settings dialog accessed from the
Do NothingWhen turned on, a completed job is left in the queue.
Use this switch if you are submitting a job that may need to be re-rendered at a higher resolution
without making any other changes to the scene.
Delete ItUpon completion, the job is deleted from the queue when this switch is turned on.
If the scene you're rendering is just a test shot and you're just doing a quick test of the scene, you
don't really want to keep the job in the queue once it's completed.
Delete After ... Day(s)Upon completion, the job is kept in the queue for the specified number of
days. Once the number of days are exceeded, the job is then deleted from the queue.
Archive ItWhen turned on, the job is archived when the rendering is complete. Default=on.
Archiving is useful when you submit a final version of the scene and you know that there won't be
any further changes.
Archive After ... Day(s)Upon completion, the job is kept in the queue for the specified number of
days. Once the number of days are exceeded, the job is archived.
Comments

Rendering menu > Render > Render Scene dialog > Turn on Net Render (Render Output group) > Render
Rendering menu > Render To Texture > Render To Texture dialog > Turn on Net Render (Render Settings group)
> Render
Rendering menu > Video Post > Set up a sequence with an Image Output Event > Turn on Net Render (Output
group) > Render
Use the Network Job Assignment dialog to name rendering jobs, specify the computers that will participate in the
rendering, and submit jobs to the rendering servers.
You can submit as many jobs as you like in a single session. Open each file you want to render and submit it
following the standard procedure. Each job is placed behind the last one submitted. If you submit a job in which
the frame output name is the same as another job in the queue, a warning dialog asks you if you want to
overwrite the output frames from the other job.
New in 3ds max is the ability to divide the work of rendering a single image among any number of rendering
servers. This is particularly useful when rendering a single, extremely high-resolution image intended for print. To
use this feature, turn on the Split Scan Lines option.
Procedure
To use the Network Job Assignment dialog:

The Network Job Assignment dialog is accessible when you turn on the Net Render toggle. The Net Render toggle
can be accessed from three different dialogs used for rendering.
Rendering menu > Render > Render Scene dialog > Render Output group
Rendering menu > Render To Texture > Render Scene dialog > Render Settings group
Video Post dialog > Execute Sequence > Execute Video Post dialog > Output group
1. In the Render Scene dialog > Render Output group, click the ellipsis button and then specify an output
file name and path using Universal Naming Convention (UNC). The easiest way to specify a UNC path is to
start with Save In > My Network Places.
2. Turn on Net Render.
3. Click the Render button.

The Network Job Assignment dialog appears.
4. In the Network Job Assignment dialog, specify a job name.

By default, this is the file name of the current scene. Click the plus (+) button next to the Job Name field to
increment the job name. Unlike the plus button in the file dialogs, this button does not automatically launch
the job.
Note: The software does not let you submit multiple jobs with the same name.
5. Determine whether to find the Manager automatically or manually. By default, the software searches
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automatically for the Manager using a network mask that you specify in the dialog. Alternatively, turn on
Manual Search and enter the name or IP address of the computer running the Manager program.
6. Click Connect to continue.

You see a listing of all servers available for network rendering. Each server is marked with a colored icon to
denote its current status:
GreenRunning and not rendering any jobs.
YellowRendering another job. You can assign jobs to busy servers, and the jobs will be rendered in the
order received.
RedFailed. Try rebooting the server or see Troubleshooting for more information on failed servers.
GrayAbsent. Verify that the Server is currently running and that it has not been "Disallowed" in the Week
Schedule dialog.
If a rendering Server is running on a workstation that also has an interactive session of the software, you can
still select that machine for rendering. A second copy of the software is launched to execute the network
render.
You can view statistics of a particular Server by right-clicking its name and choosing Properties.
7. By default, if your job is to render multiple frames, Use All Servers is on, which means all servers will
participate in the rendering job. If you turn off Use All Servers, you can choose individual servers for
rendering.
8. Click Submit to send the job to the rendering queue.
Interface

Job NameProvides a field for you to name the job (mandatory). The + button beside the field adds incremental
numbering (Job01, Job02, and so on).
Note: The software does not let you submit multiple jobs with the same name.
DescriptionEnter an optional description of the job.
Enter Subnet Mask/Enter Manager Name or IP Address group
Enter Manager Name or IP AddressWhen Automatic Search is turned off, enter the name of the network
Manager machine or its IP address.
Enter Subnet MaskWhen Automatic Search is on, enter a subnet mask for automatic search. For information

on using subnet masks, see To configure TCP/IP with fixed IP addresses.

Connect/DisconnectConnects to the network Manager. The software preserves the connection as a global
setting so that you need to change it only when you want to specify an alternative Manager. If connected to the
network manager, click Disconnect to disconnect from the current manager so you can choose a different
manager.
Automatic SearchDetermines whether the software connects to a specific manager or searches for one using a
subnet mask when you click Connect. When off, the software attempts to connect to the manager you specify in
this group. When on, it searches the network for a manager using the specified subnet mask.
RefreshUpdates the Server and Job lists.
By default, all servers are used for the job. When the Options group > Use All Servers check box is turned off, you
can choose one or more servers to render the job. If rendering to a multiple-frame file format, including AVI, FLC,
FLI, CEL, or MOV file, you can choose only one server.
Priority group
PrioritySpecifies a priority ranking for the job. The lower this setting, the higher the job priority. Default=50.
For example, consider a job with priority 1 (Job B) that is submitted to a network manager that's already
rendering a job with priority 2 (Job A). Because Job B has a higher priority, Job A will be suspended and Job B
rendered. When Job B is finished, the software will resume rendering Job A.
If two or more jobs have the same priority, they're executed in order of submission.
CriticalSends the job to the head of the queue, preempting the existing jobs. If a server is currently rendering
and a critical job is sent to the queue, the server will stop rendering its current job and begin rendering the new,
critical job. When finished with the critical job, the server returns to the next job it has been assigned in the
queue.
DependenciesOpens the Job Dependencies dialog, which you can use to specify existing jobs that must finish
before the current job can start.
Options group
Enabled NotificationsLets the software send rendering-related messages via email. When this is on, its Define
button becomes available. For information, see the Notifications dialog topic.
DefineOpens the Notifications dialog, which lets you set notifications parameters.
Split Scan LinesLets you subdivide the rendering of each frame among the rendering servers. This is useful
when rendering a single, extremely high-resolution image intended for printing. For information, see the Strips
Setup dialog topic.
When Split Scan Lines is on, its Define button becomes available.
Note: This feature does not support Render Elements.
DefineOpens the Strips Setup dialog, which lets you set parameters for the Split Scan Lines option.
Use All ServersUses all Servers in the active Server group for rendering the job. Available only after you
submit a multi-frame rendering job. Default=on.
To use only certain Servers, turn off Use All Servers and highlight the servers you want to use.
Virtual Frame BufferDuring rendering, displays the virtual frame buffer window on all servers running
serverapp.exe (not serversvc.exe). Default=on.
Ignore Scene PathWhen off, the server attempts to copy the scene file from the manager to the server. If the
manager is running on Windows 2000 Professional, only 10 servers will copy the file from the manager; any

machines over the limit 10 will use TCP/IP to retrieve the file. When turned on, the servers get the file via TCP/IP
only. Default=off.
Initially SuspendedAdds the named job to the queue in an inactive state. The job is not started until you
activate it manually from the Queue Monitor.
Use Alternate Map PathAllows you to specify an alternate path that rendering servers can use to find
bitmaps that are not found on the primary map paths. When turned on, you can manually type a path in the field
below the switch or you can click the ellipsis button and browse to a folder containing maps.
Include MapsArchives the scene, with all of its maps, any inserted Xrefs and their maps, into a proprietary-
format compressed file. The compressed file is sent to each Server, where it is uncompressed into a temporary
directory named serverjob in the \network subdirectory of the program and rendered. Default=off.
Use this feature if you have access only to Servers that exist over the Internet or if you have a slow network
setup. It is not meant for heavy production use. However, if you don't use it, you must first ensure that all
network servers have access to all map and Xref paths referred to in the scene.
Use Alternate Xref PathAllows you to specify an alternate path that rendering servers can use to find
Xrefs that are not found on the primary Xref path(s). When turned on, you can manually type a path in the field
below the switch or you can click the ellipsis button and browse to a folder containing Xrefs.
Status group
Displays text messages describing the current status of the job assignment.
Server list
The Server list, located on the upper-right side of the Network Job Assignment dialog, displays all network
rendering Servers registered with the network manager after you connect to the manager.
You can also display only members of a specific Server group you've defined in the Queue Monitor > Server Tree
view by clicking the appropriate tab above the Server list. To assign only members of a Server group to a job, you
must turn off Options group > Use All Servers and manually highlight the Servers in the group before submitting
the job.
If more groups are available than can fit in the space above the list, arrow buttons for scrolling the group list
horizontally appear above the list's top-right corner. Click these arrow buttons to scroll the list left or right to view
additional group tabs.
By default, each Server is marked with a colored status icon:
GreenRunning and not rendering any jobs.
YellowRendering another job. You can assign jobs to busy Servers, and the jobs will be rendered in the order
received.
RedFailed. Try rebooting the Server or see Troubleshooting or more information on failed Servers.
GrayAbsent. Verify that the network Server is currently running and that it has not been "Disallowed" in the
Queue Monitor.
By default, the software submits the rendering job to all servers, whether or not they're listed in the current
group. To submit the job only to servers in the group, turn off Options group > Use All Servers, and then highlight
the servers in the group.
Note: You can change the height of the server list window relative to the job list window below it by dragging the
partition vertically.

Server list right-click menu
By default, servers are listed by name only. To see more information about a server, right-click its name in the
list. A menu appears with these options:
PropertiesDisplays the Server Properties dialog, which shows aspects of the server hardware and operating
system, including memory and disk space.
All Server DetailsThis toggle, when on, displays all details about each server to the right of its name. When off,
restores the last saved set of partial server details unless the last saved set was All Server Details, in which case it
restores the default set: name only. See the following item for the list of available details.
Note: You can see more details by scrolling the list with the horizontal scroll bar at the bottom, or by widening the
dialog by dragging its right side with the mouse.
Partial Server DetailsOpens the Set Server Property Tabs dialog, which lets you specify which details are
shown in the Server list. The dialog provides check boxes for turning on and off the display of these details:
Status: See Server list for status details.
Number of CPUs
Total Physical Memory - in bytes
Operating System
Work Disk Space - in megabytes
Historical Performance Index - see note below
Handle - a hexadecimal identification number for the machine
User - current user name
Note: The Historical Performance Index value, listed under the Perf. Index heading in the Server list window,
offers information on the relative speed of the listed servers. The fastest machine is rated at 1.0, while the other
servers are rated as fractions of the fastest. A machine whose average is twice as long would receive a .50 index.
Each machine is rated by measuring the time it takes to complete each frame, and the accumulated time is divided
by the number of frames, resulting in the average time per frame, in seconds.
Several factors can affect a machine's performance. CPU power isn't necessarily a concern when large file transfers
are involved. For example, if a certain job uses several map files from a centralized server, the performance of the
network throughput plays a much larger part than CPU performance, as most machines will spend the majority of
the time reading maps. On the other hand, if the machine has all maps locally it will have a huge advantage (local
access versus network access) regardless of which CPU it is using. The performance index provides you with
information regarding your servers' rendering performance to help analyze your network rendering setup and
better distribute the workload.
Job list
The job list, located on the lower-right side of the Network Job Assignment dialog, displays all jobs submitted to
the network manager. Also shown are each job's priority, status, and output file path.
To change job settings and manage jobs, use the Queue Monitor application.
AdvancedOpens the Advanced Settings dialog, where you can make settings for Per-Job Timeouts, TCP port
number, Pre-Render MAXScripts and Job Handling.

SubmitClick Submit to exit this dialog and send the current job to the Network Manager, which places it in the
queue for rendering.
When you submit a rendering job, if the output file name to be used by the job is the same as that used by an
existing job, you're asked if you want to overwrite the existing file(s). Also, if the name of the submitted job
replicates one already in the rendering queue, an alert notifies you; click OK, change the job name, and submit it
again.
Note: Submitting a job creates a folder for the job on the manager machine in the \3dsmax6\backburner2 folder,
in network\jobs. In that folder is a compressed file with a .maz extension containing the scene file. You can extract
the scene from the command prompt using the maxunzip.exe program in the \3dsmax6 root directory. For
example, to extract a file named testfile.maz, assuming the program is installed in a folder named \3dsmax6, open
the command prompt, navigate to the \3dsmax6\backburner2\network\jobs folder, and type this: \3dsmax6
\maxunzip testfile.maz. You must specify the .maz filename extension; otherwise you'll get an error message.
CancelForgets changes and exits the dialog.
Comments

This is a guide to solving common problems associated with network rendering. Solutions to these
problems vary, depending on whether you are using the network rendering programs as installed
Windows Services, or running them in Desktop mode.
PROBLEM: When I submit a job to the network rendering queue, I can't connect
to the Manager.
SUGGESTION
If Automatic Search is failing, turn off this option and specify a correct name or IP address in the
Manager field in the Network Job Assignment dialog and verify that the manager service is started:
If running in application mode, go to the window that is running the Manager service. Be sure that
the servers are "pinging" the manager. Do this by turning on Edit menu > Log Settings dialog >
Log to Screen > Debug Extended logging for all servers and the manager.
If the Manager is not running or appears inactive, reboot it. See Initial Setup for Manager and
Server Programs.
If running Manager as an installed service, go to the Control Panel > Services, and verify that the
Manager Service has been installed and started. If it is not, highlight the manager and click Start
to restart it. See Installing Network Services.
Check the subnet masking in the backburner.xml file. Verify that it matches the subnet mask set
in the network TCP/IP Properties dialog.
Warning: Do not change the subnet mask in your Windows 2000/XP network
configuration without first consulting your network administrator.
PROBLEM: When I connect to the Manager, I don't see a server that should be
listed.
SUGGESTION
Verify that the server is running correctly:
If running the server in Application mode, verify that it has been launched and make sure that it
is being "pinged" by the Manager at 10- to 30-second intervals. Do this by turning on Edit menu >
Log Settings dialog > Log to Screen > Debug Extended logging for all servers and the manager.
If running the server as an installed Windows 2000/XP service, display the Services in the Control
Panel and verify that the backburner Server is installed and started. If the server is not installed,
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See Installing Network Services.

If the backburner Server service is installed but not started, highlight the server and click Start to
restart it.
If the Automatic option is failing or Off, verify that the correct IP address or machine name is
listed in the Manager Name or IP Address field in the Server Properties dialog. If the Manager's IP
address or machine name is missing or listed incorrectly, enter the correct IP address or machine
name. To make the new settings take effect, reboot the server.
Verify that your Windows 2000/XP HOSTS file (located in the winnt\system32\drivers\etc\ or
windows\system32\drivers\etc\ directory) includes the IP address and corresponding machine
name for each of the servers and manager involved with the network render. The HOSTS file
provides mapping for machine names to IP addresses.
PROBLEM: When I try to assign a job in the Network Job Assignment dialog,
some of the servers display a gray or yellow icon.
SUGGESTION
Regardless of their state in the Network Job Assignment dialog, servers can always be assigned new
jobs.
The gray icon means that the server is currently not available to render a job. This state can occur
for several reasons, including:
The server has not been correctly started (see Initial Setup for Manager and Server Programs).
The server has been disallowed for the current time period in the Properties dialog of the Queue
Monitor (see Week Schedule Dialog).
The server has experienced abnormal termination.

If you've checked for and corrected these conditions and the servers are still unavailable, stop
running Server on each of the problem machines, and restart the service after a few seconds. This
"purges" the server and may solve the problem. Then click Refresh in the Network Job
Assignment dialog to display the most recent information about the server.
The yellow icon means that the server is busy rendering another job. If the server should not be
busy, verify that the queue is clear of jobs by opening the Queue Monitor and connecting to the
Manager. If the queue is clear of rendering jobs and the server is still flagged as busy, stop running
server on each of the problem machines, and restart the service after a few seconds.
PROBLEM: When I submit a job to be rendered, the server fails.

SUGGESTION
Servers can fail for a variety of reasons during a network render job. Some of the more obvious
reasons include:
Paths to bitmaps used in the scene are incorrect, so the servers cannot find the bitmaps when
attempting to render the job. Solve this by ensuring that all bitmap path use the UNC format or
that drive and directory structures are identical on all machines involved in network rendering.
See Setting Up Directories.
The output directory is not a valid path for the server machine. See Setting Up Directories and
make sure a specific output path is available to all servers.
An object in the scene does not contain texture coordinates.
The path for a plug-in used in the scene is incorrect or does not reside on a server rendering the
job. Look at the server log file for details.
There is not enough space on the target output drive.
There is not enough space on the local drive of the server to hold the incoming data.
Note: All errors are recorded in the appropriate log file. You can view most of the errors mentioned
above in the backburner.log file in the \network subdirectory on each server machine. This is the file
that is displayed in the Queue Monitor when a server is highlighted and the Errors tab is selected.
Any time a server fails, check the backburner.log file to determine the cause of the failure.
Here are some of the error messages, along with a likely cause, that you will see in the Errors tab of
the Queue Monitor when a failed server is selected:
ERR: ----- Render Error:
ERR: D:\MAPS\3DS.CEL [where this is the location of a map in the submitted scene]
The Server could not find 3ds.cel in the local path specified, which means that the path to this map
is not been correct for network rendering. To fix the problem, do one of the following:
If all maps are being shared from a single directory, make sure the directory is correctly shared
with full permissions. See Sharing a Directory
Make sure that you have used either the full UNC path name for the bitmaps or that the maps
directory has been mounted to the same drive letter on each machine. In this case, verify that
particular path has been added to the Configure Paths dialog of every server's local version of the
software or that the particular path was used when assigning bitmaps in the scene to be
rendered.
Verify the bitmaps still reside in the shared directory.
Add an Alternate Map Path on the Network Job Assignment dialog that points to the folder
containing the missing map.
ERR: Object (UVW 1): Sphere01 requires texture coordinates and may not render correctly

Open the scene and make sure the errant object is assigned texture coordinates. This can be as
simple as adding a UVW Map modifier to the object.
ERR: Frame error
Texture coordinates must be applied to the specified object to render it on the server.
ERR: Load Error: Missing DLL'S
Following this error, you will also receive a listing of each of the missing DLLs in the scene. Files
needed by the server are not available to render the job. Make sure that all the plug-in DLLs used in
a job reside on each of the servers rendering the job.
ERR: Job not found. Ok if just deleted
When you delete a job, the Manager sends out a notification to all clients (Monitors) telling that the
job has changed. This is the same message sent when the job completes, gets suspended, resumed,
etc. The monitors in turn request the job status from the manager. The manager doesnt find the job
(it was just deleted) and returns this error to the monitor.
ERR: Targa - The device is not ready. (0x15)
ERR: Frame error
The server could not write the output file. "Targa" represents the file output type, and will change
depending on the output file type you selected. This problem can occur for several reasons:- If you
are running the backburner Server as an installed Windows 2000/XP service, make sure that the
user account that the service is logged to has adequate permissions. Administrative permissions are
recommended. See Creating a Special User Account.
Check to make sure the target output directory is shared, with both read and write permissions.
Verify that the path for saving file output in the Render Scene dialog is set to a valid UNC path
name.
Verify that the path for saving file output in the Render Scene dialog (or the Output Event dialog
in Video Post) is set to a valid UNC path name.
If you are writing to a shared directory mounted locally on each server, verify that the directory is
mounted to the same drive letter on each server, and that the file output path is set for that drive
letter.
PROBLEM: The error Unknown error loading application is displayed in the

manager window and Queue Monitor:
This error occurs when a server attempts to load a job and is usually caused when the backburner
application is not properly set in the Environment Path.
SUGGESTION

Right-click My Computer and choose Properties. From the Advanced tab, click Environment Variables
and check the Path setting in the System Variables list. Part of the path should include something
like c:\3dsmax6\backburner2\.
PROBLEM: The Server fails to render a frame and displays the following error:
Rebooting 3ds max by force due to load timeout.
SUGGESTION
The Server has exceeded either the Wait For 3ds max To Load or Wait For 3ds max To Render value.
This is usually caused by attempting to render large files over the network. Increase these values in
the Advanced Settings dialog.
PROBLEM: When I start the Server in desktop mode I get the following error
message in the Server window:
Host [manager name] not found.
SUGGESTION
First verify that the Manager's machine name or IP address is correctly specified in the Server
General Properties dialog. This is mostly important if the Automatic detection option is turned off or
failing to find the manager. Next, verify that the Manager and Server port numbers are correctly
specified in the Manager and Server Properties dialogs. If this does not solve the problem, verify that
TCP/IP is correctly configured on all workstations running the software. See Setting Up TCP/IP.
Check the network masking in the backburner.xmlfile. Verify that it matches the subnet mask set in
the Network TCP/IP Properties dialog.
Warning: Do not change the subnet mask in your Windows 2000/XP network
configuration without first consulting your network administrator.
PROBLEM: When I start the Manager and Server in desktop mode I get the
following error message in the Manager window:
Error registering [server name].

This error is usually caused by invalid IP Addresses listed in the DNS Service Search Order or the
Primary or Secondary WINS Server in the Microsoft TCP/IP dialog.
SUGGESTION
In Windows NT, to display this dialog, double-click the Network icon in the Control Panel, select the
Protocols tab, and double-click the TCP/IP Protocol.

In Windows 2000, go to Start menu > Settings > Network and Dial-up Connections > Local Area
Connection and click Properties. In the list, highlight Internet Protocol (TCP/IP), click Properties, and
then click Advanced. Check the DNS and WINS tabs.
In Windows XP, go to Start menu > Settings > Network Connections. Right-click Local Area
Connection and click Properties. In the list, highlight Internet Protocol (TCP/IP), click Properties, and
then click Advanced. Check the DNS and WINS tabs.
If there are invalid IP Addresses listed in either the DNS or WINS Address panel, remove them and
reboot the machine.
Alternatively, you might get the error message:
Cannot handle registration from [server name]. Will try later.
This has to do with the number of concurrent sessions. The Manager will handle up to a specific
number of concurrent TCP sessions. If the number exceeds the limit, the manager responds it is
busy. The servers will automatically try later (after a minute or so).
PROBLEM: While running the Server in desktop mode I get the following
message:
Unknown TCP gibberish from [Manager Name or IP Address]

The checksum in the TCP packet does not match the calculated one. The most likely cause is that
there is not enough disk space on the server system.
SUGGESTION
Check your disk space. If the amount of available space is low, increase the amount by moving or
removing files.
This error can also occur if you have transmission problems that are caused by a bad line condition,
possibly in combination with a bad set of network drivers. If disk space does not appear to be the
problem, resubmit the job to see if you get a better connection next time and, if not, install network
drivers appropriate for your hardware and software version.
PROBLEM: When I run Manager or Server I get the following message:
Invalid name or TCP/IP subsystem not installed
SUGGESTION
Verify that TCP/IP is configured correctly on all workstations running the software, either as a Server
or modeling workstation.
Some systems are sold with a pre-installed version of Windows 2000/XP and a non-working TCP/IP
installation. Delete the existing TCP/IP protocol and re-install it. This may be faster than
troubleshooting a badly installed TCP/IP layer. See Setting Up TCP/IP.

PROBLEM: I cannot assign more than one server to a job in the Network Job
Assignment dialog.
If the output of a network-rendering job is an AVI, FLI, FLC, CEL, or MOV file or a single user device,
the job can be assigned to a single server only. The Network Job Assignment dialog changes,
depending on the file output type of a job. For example, if you are network rendering to one of the
file formats above, the All and None buttons do not appear and the dialog title bar contains the word
"Single."
If a job that has an AVI, FLI, FLC, CEL, or MOV file output type is stopped for any reason (to
deactivate it, or because a machine goes down), re-rendering the file restarts at the first frame.
Frames cannot be appended later to these file types.
SUGGESTION
To take advantage of the distributed power of network rendering we suggest you first render to a
series of Targa files. Then use the Targa files as either an animated background in an empty
3ds max scene, or as an image input event in Video Post and render the sequence out to the
desired output type (i.e. AVI).
PROBLEM: When I run Manager I get the following warning message:
Job share not defined

This happens if neither the program folder nor the drive on which it resides is shared.
SUGGESTION
Normally, the servers copy files to be network rendered from the source machine using standard
Windows file-copy routines, which require sharing to be in effect. If sharing is not in effect, the
manager issues the warning, and then the servers use TCP/IP to copy the files. To avoid getting the
warning message, you can implement sharing, but it's not really necessary.
PROBLEM: When I click the Render button on the Render Scene dialog, I get an
error dialog stating:
Error Retrieving Configuration File

This error usually is the result of a corrupt installation of the backburner applications which caused
an errant registry setting.
SUGGESTION
Try reinstalling the backburner components of the program or manually edit the system registry.

Editing the registry:
1. Choose Start > Run.
2. Enter RegEdit and click OK
3. Browse to HKEY_LOCAL_MACHINE > SOFTWARE > Discreet > backburner > 2.0
4. Check the CfgPath entry. Make sure the value is set to c:\3dsmax6\backburner2\Network\nrapi.
conf.
5. Close the registry Editor.
PROBLEM: The manager and server windows display strange, garbled text:
This error occurs if the nrres.dat file, found in the \3dsmax6\backburner2\network folder, is missing
or damaged.
SUGGESTION
Copy the nrres.dat file from another system that is not exhibiting the problem, or reinstall
backburner.
PROBLEM: The server log shows a filename, directory or label error:
ERR: Task error: ----- The filename, directory name, or volume label syntax is incorrect.
(0x7b)
If 3ds max attempts to save files to a location name that is misspelled, this error will be displayed.

SUGGESTION
In the Queue Monitor, select the failing job and review its output details. There is most likely an
error in the directory name or path involving an invalid character. Right-click the job and choose Job
Settings and fix the output path.
PROBLEM: backburner not found message when clicking Render button:
Cannot network render. Backburner not found or not installed.

This error dialog appears because the path to backburner is either not set properly in the Path
environment variable or backburner in missing all together.
SUGGESTION
Verify that the Path variable is set properly and make sure you've installed the latest version of
backburner.
PROBLEM: Clicking Render button results in backburner plugin error:
Error creating 3ds max plugin instance for backburner.

The path to 3ds max is not set in the PlugPath section of the \backburner2\network\nrapi.conf file.
SUGGESTION
Verify the presence of the \backburner2\network\nrapi.conf file and check the PlugPath. It should be
in the form of:
PlugPath=C:/3dsmax6/backburner2/
Comments

Logging Properties Dialog
Windows Start menu > Programs > discreet > backburner 2 > Manager or Server > Edit menu >
Log Settings
The Logging Properties dialog lets you filter the types of messages that appear in the list window on
the Manager or Server window and those that are sent to a log file. Each type of log message is
explained below.
Log Message Types
Error
Fatal errors that halt a server's rendering of a job. These errors are preceded by a red "ERR" in the
Manager or Server list window, and include the following:
Failed Renderings and Frame Errors (caused by missing bitmaps, missing texture coordinates,
invalid output directory, etc.)
Manager not found
Error registering server(s)
Error writing output file
Error Starting 3ds max
Loading timeouts
Note: You can see a more detailed explanation for server failure in the Queue Monitor's Server list
window.
Warning
Non-fatal warning information. These errors are preceded by a brown "WRN" in the Manager or
Server list window, and include the following:
Manager and/or Servers shutting down
Server(s) flagged as failed
Loading timeout set too low
Rendering timeout set too low
Info
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General information about the current status of the Manager or Server. These errors are preceded
by a aqua "INF" in the Manager or Server list window, and include the following:
Booting Network Manager/Server
Connection to Server(s)
Registration to Manager
Job Submitted
Job Received
Frame Complete
Debug and Debug Extended
Detailed information about TCP/IP packets and the current state of the Manager and Server. Debug
Extended provides a more verbose listing than Debug. When in doubt, use both. These messages
are preceded by a blue "DBG" in the Manager or Server list window, and include the following:
TCP/IP Packets sent and received
TCP/IP Packet collection
Command Line Arguments used to launch 3ds max
Frames Assigned
Log files creation and sent
Assignment Threads
Interface

Log To Screen group
The Log To Screen options determine which types of messages are displayed in the list window of
the Manager or Server window.
Turn on each type of message that you want to be displayed. Error, Warning, and Info are on by
default.
Log To File group
The Log To File options determine which messages saved to log files. These are the same messages
that appear on the screen. Turn on any of the following categories to save it in a log file. When any
one of these categories is turned on, a manager.log file or server.log file is created in your \network
directory. Error, Warning, and Info are on by default.
Buffer LimitSpecifies the maximum size of the buffer holding the messages.
Clear LogClears the buffer holding the messages in the list window.
Clear Log FileDeletes the associated manager.log and/or server.log file.
Warning: Log files are cleared only when you click the Clear Log File button. When
categories are enabled for either or both log files, the files will continue to grow in size
each time you render.

Comments


When you run the Manager, Server, or Queue Monitor application, or access the Network Job
Assignment dialog, the software creates or updates an initialization file in the \network subdirectory
of the Backburner directory: backburner.xml.
You can change most of the settings in the backburner.xml file using the Manager Properties dialog
and Server Properties dialog.
You can change the parameters listed here only by editing the XML file in a text editing application,
such as Notepad. Do so only if you are experiencing network problems with the network renderer.
Make sure the Manager and Server applications are shut down (or services uninstalled) before
editing the backburner.xml file. The changes will take place when the Manager and/or Server are
restarted.
backburner.xml
MaxBlockSizeLocated under the <GeneralCfg> heading, this value is the maximum size of a
data packet sent when transferring large blocks, such as projects. For slow connections like
modems, it uses a smaller packet size, for example, 1024.
Acknowledgment TimeoutLocated under the <TimerCfg> heading as AckTimeout, this value

is the amount of time (in seconds) that the system will wait for an acknowledgment of commands
(like Ping) sent back and forth between the Manager and Server. Default=20 seconds.
Acknowledgment RetriesLocated under the <TimerCfg> heading as AckRetries, this value

determines how many times the sender retries if no acknowledgment is received. The default is
six tries. After that, the machine is considered down and is put off-line.
Comments
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Once you've set up the network rendering system and software, there are two steps to starting a
network rendering session:
Start the Manager program on one machine and the Server program on every other machine in
the network. The machine being used as a manager can also be used as a rendering server.
Start a rendering job from the software on a networked machine with an authorized copy
of .3ds max
The Manager and Server programs need to be started and left running during a network rendering
session. Either program remains in operation until you shut it down or shut down the machine.
When you've set up the Manager and Server network services, you're ready to submit an animation
to the network rendering queue. There are two stages to starting network rendering:
In the Render dialog, set all desired rendering parameters, including resolution and rendered
output file type, and render the scene. In 3ds max, you can render from the Render Scene
dialog, Render To Texture dialog or the Execute Video Post dialog.
Turn on Net Render, found in the Render Output, Render Settings or Output groups, and then
click Render to open the Network Job Assignment dialog, which lets you make final decisions
about the job and submit your animation to the rendering servers.
Procedures
These procedures refer to the application versions of the Manager and Server programs. As an
alternative, you can run either or both as services. See Initial Setup for Manager and Server
Programs.
To start the Manager program:
Run the Manager program from the Start menu > Programs > discreet > backburner2 folder.
The first time you run the Manager after installation or after deleting the backburner.xml file, the
Manager Properties dialog appears. In most cases, you can accept the default settings and click
OK to continue.
Thereafter, when you start the Manager, its window appears and the "Starting Network Manager"
message is displayed in the window. The machine is now running the Manager in Desktop mode.
You can leave this window open to see messages relating to what the Manager and Servers are
doing as they appear, or you can minimize it, whereupon it resides in the taskbar tray. To reopen
the window when minimized, click its icon in the taskbar tray.
Note: If you're running Windows 2000 and have the NetBEUI protocol installed, and you have
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unplugged your network cable, when you start the manager, you'll see an error message, "Error
starting network subsystem, cannot start manager." If this happens, reconnect the network cable
and try again.
Alternatively, you can run the Manager as a service, as described in Network Rendering Manager.
Once set up, the Manager automatically starts when you boot the system and it's always
available.
To start the Server program:
Run the Server program from the Start menu > Programs > discreet > backburner2 folder.
The first time you run the Server after installation or after deleting the backburner.xml file, the
Server Properties dialog appears. By default, Automatic Search is turned on, and the subnet mask
is set to 255.255.255.0. This should work with most networks. Alternatively, turn off Automatic
Search and enter the manager name or its IP address in the Manager Name or IP Address field.
Thereafter, when you start the Server, its window appears and the "Starting backburner Server"
message is displayed in the log window. After a few seconds you should also see the "Registration
to (manager IP address) accepted" message in the Server window. This message indicates that
the server has found the manager and is correctly communicating with it. If you do not see the
"Registration to ..." message in the Server window, see Troubleshooting.
The machine is now running as a rendering Server in Desktop mode. You can leave this window
open to see other messages as they appear, or you can minimize it to the taskbar tray. To reopen
the window when minimized, click its icon in the taskbar tray.
Alternatively, you can run the Server as a service, as described in Network Rendering Server. Just
running the Manager as a service, once it's installed and started, it's always available, even after
rebooting.
To start a network rendering job:
1. Start the software on a machine with an authorized copy of the program.
2. Open the scene you want to render.
3. Choose Rendering menu > Render to display the Render Scene dialog.
You can also render from the Execute Video Post dialog or the Render To Texture dialog.
4. In the Render Output group, click the ellipsis button to display the Render Output File
dialog.
5. In the File Name field, enter the UNC name of the output directory, followed by the name of the
output file. For example:
\\machine1\project1\images\output.tga
As an alternative to entering the UNC name from the keyboard, you can go to Save In > My
Network Places and navigate to the machine and shared directory where you want the servers

to write the rendered frames. After selecting the machine and shared directory in the Map
Network Drive dialog, enter the output file name (for example, output.tga), and then click OK.
The software automatically converts the shared directory to the UNC format.
If the output directory is mounted, enter the name and extension of the output file and choose
the drive mounted for the output directory from the Save In pulldown.
6. Click OK to display the Setup Options dialog for the file format type you have selected.
7. Make the desired settings and click OK.
8. Click OK again to return to the Render Scene dialog.

Save File is turned on once you assign an output file.
9. After setting any other rendering parameters, turn on Render Output group > Net Render and
click Render.
If you use Video Post, set the file location with an Add Image Output Event. After you click
Execute Sequence, be sure to turn on Net Render before you click Render.
To submit a network rendering job:
1. In the Network Job Assignment dialog, make sure the Automatic Search option is on, and then
click Connect.
In most cases, the software detects the Manager machine and displays its attached Servers in
the Server list. If auto-detect fails, turn off Automatic Search and manually enter the name or
IP address of the network machine acting as the Manager, and then click Connect.
All rendering Servers running under the network Manager should be listed with green dots next
to them. Even if a server is running an interactive session of the software, it will still render an
assigned job by launching a second copy of the software.
2. By default, the job will use all available Servers. To use only specific Servers, turn off Use All
Servers and choose the machines you want to use from the Server list.
3. Click Submit.
The job is submitted to the Manager, which then distributes the job to the machines assigned in
the Network Job Assignment dialog. Network rendering begins.
When network rendering begins on a rendering Server, the Rendering dialog appears on
machines running serverapp.exe. If a machine is running the service version, no dialog
appears.

Next Steps
Network Rendering Manager


Comments

Sharing a Directory
Sharing a Directory
You share a directory from the machine where the directory is located. This gives other machines on
your network access to that directory. The instructions below are general. See your Windows XP or
Windows 2000 documentation for details.
Procedure
To share a directory:
1. Go to the machine that contains the directory you want to share.
2. In Windows Explorer, right-click the directory to share, and then choose Sharing from the right-
click menu.
3. If using Windows XP or Windows 2000, on the Sharing tab, choose the Share This Folder
option.
4. Use the default Share Name.
5. Click Permissions and make sure permissions are set to Everyone/Full Control. Click OK to exit
the Permissions dialog.
6. Click OK to accept the changes.

Note: If you plan to use more than 10 rendering servers, both the output path and location of
all scene maps should be on a system running Windows XP or Windows 2000 Server, as both
Windows XP Professional and Windows 2000 Professional have a limit of 10 simultaneous
connections.
Next Step
See also
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Sharing a Directory
Comments
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Render-only machines do not require any form of authorization. However, you cannot use
unauthorized versions of the software to access the Configure Paths dialog to specify alternative
locations for servers to search for bitmap files.
If you do not want to concern yourself with configuring paths on render-only machines (servers),
then turn on the Use Alternate Map Path or Include Maps option on the Network Job Assignment
dialog.
The Use Alternate Map Paths option lets you specify an alternate folder where the rendering server
can look for bitmaps if they are not found in the primary bitmap path.
If using Include Maps, network rendering will take care of making copies of the bitmaps and send
them to the server assigned for rendering. When the rendering job is done, the copies are erased
from the server hard drive. The files are placed in a \network\serverjob subdirectory of the software.
If a server cannot find a bitmap image in the path specified in the file, it then searches the paths
listed in its own Bitmaps panel. Only after searching in all locations will the server fail due to missing
maps. If you have followed instructions in the previous topics (Setting Up Directories, Sharing a
Directory, and Mounting a Directory), then you know that a common map directory on the network
is the best way to proceed. Use the following steps to properly configure your paths on the machine
running the authorized copy of the software and on the servers meant for render-only purposes.
Procedures
To add bitmap paths to the External Files panel from within the software:
1. Run the software on a machine running an authorized copy of the program.
2. Choose Customize > Configure Paths to display the Configure Paths dialog, and then click the
External Files tab.
3. Use the Add button to specify the paths (UNC or mounted) to every directory on the network
where bitmap files are stored for rendering. Make sure you use UNC or mounted directories,
even if the maps are on the local drive.
4. Click OK.
To add bitmap paths to render-only machines using the initialization file:

Use the following steps if you do not want to authorize the software on the server machine(s).
1. Install the 3ds max core software on the server station(s).
2. Copy the 3dsmax.ini file from your authorized 3ds max workstation to the program directory
of each of your server(s).
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If you followed the previous procedure, the copied initialization file contains information about UNC
or mounted directories that stores the required bitmap files.
Note: To prevent mishaps, it is usually a good idea to edit the INI file once it is copied to the server.
Remember that the server machine can be configured differently than your 3ds max workstation:
The drive letter, program directory, and subdirectories may be different. Use a word processor to
edit all entries under the [Directories] section to match entries of the server machine.
For example:
[Directories]
Fonts=d:\3dsmax\fonts
Scenes=d:\3dsmax\scenes
Import=d:\3dsmax\meshes
Export=d:\3dsmax\meshes
...
See also
Sharing a Directory
Comments
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Configuring TCP/IP
Configuring TCP/IP
From the previous step, Setting Up TCP/IP, you should have a list of machine names and IP
addresses. With that list, go to each machine and follow these procedures.
On an open network, such as those in many large corporations, do not alter IP addresses, machine
names, workgroup names, or domain names in any way. In such cases, to avoid potentially
disastrous consequences, always work with your system administrator to make IP address changes.
Procedures
Some of the following procedures are for Windows XP Professional; others are for Windows 2000.
Find your operating system at the end of the procedure heading and follow that set of instructions.
Note: During the writing of these procedures, Windows XP was set to display a Classic Windows
interface.
To assign a name and workgroup or domain (Windows 2000):
1. From the Windows taskbar, open Start menu > Settings > Control Panel > System.
This displays the System Properties dialog.
2. Click the Network Identification tab, and then click the Properties button to display the
Identification Changes dialog.
If you've already assigned a name to the computer, the name should appear in the Computer
Name field on the Network Identification tab. Check this name against your list.
3. To change the name, in the Computer Name field, enter a name for the machine.
The first character of a valid machine/host name must not be a numeral.
Do not use underscores or spaces in the machine/host name.
4. In the Member Of group, enter either a workgroup or domain name, depending on how your
network is going to be set up.
WorkgroupAn organizational unit that is used to group computers that don't belong to a
domain. If you are setting up a simple network for the purpose of Network Rendering, use the
Workgroup option.
DomainA more complex way of grouping servers that share a common security policy and
user account database. A domain requires you to set up a Primary Domain controller. You
should select the Domain option only if your Network Administrator has a Domain already set
up and functioning correctly.
To assign a name and workgroup or domain (Windows XP):
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Configuring TCP/IP
1. From the Windows taskbar, open Start menu > Settings > Control Panel > System.
This displays the System Properties dialog.
2. Click the Computer Name tab, and then click the Change button to display the Computer Name
Change dialog.
If you've already assigned a name to the computer, the name should appear in the Computer
Name field on the Computer Name tab. Check this name against your list.
3. To change the name, in the Computer Name field, enter a name for the machine.
The first character of a valid machine/host name must not be a numeral.
Do not use underscores or spaces in the machine/host name.
4. In the Member Of group, enter either a workgroup or domain name, depending on how your
network is going to be set up.
WorkgroupAn organizational unit that is used to group computers that don't belong to a
domain. If you are setting up a simple network for the purpose of Network Rendering, use the
Workgroup option.
DomainA more complex way of grouping servers that share a common security policy and
user account database. A domain requires you to set up a Primary Domain controller. You
should select the Domain option only if your Network Administrator has a Domain already set
up and functioning correctly.
To add the TCP/IP protocol (Windows 2000):
1. From the Windows taskbar, open Start menu > Settings > Network and Dial-up Connections >
Local Area Connection.
This opens the Local Area Connection Status dialog.
2. Click the Properties button.

This opens the Local Area Connection Properties dialog.
3. Check the list for "Internet Protocol (TCP/IP)".

If you find this listing, TCP/IP is installed on this machine. Go on to either of these procedures
in the current topic:
To configure TCP/IP in DHCP mode
To configure TCP/IP with fixed IP addresses

If TCP/IP is not installed, make sure none of the list items is highlighted (click in a blank
area of the list), and complete the remaining steps in this procedure.
4. Click the Install button.

This opens the Select Network Component Type dialog.
5. In the list, click Protocol, and then click the Add button.

Configuring TCP/IP
6. In the Select Network Protocol dialog, select Internet Protocol (TCP/IP), and then click OK.
A message appears: "Do you want to use DHCP?". Consult your system administrator to see if
your network is DHCP-compatible; if it is, click "Yes". If you are unsure, click "No" and proceed
to set your workstations with fixed IP addresses.
TCP/IP is added to the list of installed protocols.
7. Click the Close button.
To add the TCP/IP protocol (Windows XP):
1. From the Windows taskbar, open Start menu > Settings > Network Connections.
This opens the Network Connections dialog.
2. Right-click Local Area Connection and click the Properties button.

This opens the Local Area Connection Properties dialog.
3. Check the list for "Internet Protocol (TCP/IP)".

If you find this listing, TCP/IP is installed on this machine. Go on to either of these procedures
in the current topic:
To configure TCP/IP in DHCP mode
To configure TCP/IP with fixed IP addresses

If TCP/IP is not installed, make sure none of the list items is highlighted (click in a blank
area of the list), and complete the remaining steps in this procedure.
4. Click the Install button.

This opens the Select Network Component Type dialog.
5. In the list, click Protocol, and then click the Add button.
6. In the Select Network Protocol dialog, select Internet Protocol (TCP/IP), and then click OK.
A message appears: "Do you want to use DHCP?". Consult your system administrator to see if
your network is DHCP-compatible; if it is, click "Yes". If you are unsure, click "No" and proceed
to set your workstations with fixed IP addresses.
TCP/IP is added to the list of installed protocols.
7. Click the Close button.
To configure TCP/IP in DHCP mode (Windows 2000):

Configuring TCP/IP
This opens the Local Area Connection Properties dialog. You should see your network adapter
card listed as "Connect Using" at the top of this dialog. If your adapter is not listed, follow the
instructions in Windows 2000 documentation on adapter setup.
3. In the list, highlight Internet Protocol (TCP/IP) and click Properties.

The Internet Protocol (TCP/IP) Properties dialog appears.
4. Make sure the option "Obtain an IP address automatically" is chosen.
5. Click OK to close each dialog in turn.

Windows 2000 finishes configuring the software.
6. Reboot the computer to complete the configuration.
7. Repeat all the steps on this page on every machine in your network.
To configure TCP/IP in DHCP mode (Windows XP):

instructions in Windows XP documentation on adapter setup.

4. Make sure the option "Obtain an IP address automatically" is chosen.

Windows XP finishes configuring the software.
To configure TCP/IP with fixed IP addresses (Windows 2000):


Configuring TCP/IP

4. Choose Use The Following IP Address.
5. In the box for IP Address, enter the address for that machine.
Check your list to make sure the entry is correct.
6. In the box for Subnet Mask, type these numbers (these are the same for every machine):
255.255.255.0
If you are on a large corporate network, this subnet mask might be different. In this case, use
the mask that your network administrator specified. Also, change the network mask when
setting up a server to connect to a manager as well as in the Network Job Assignment dialog to
match the subnet mask in order for Automatic Search to work.

Windows 2000 finishes configuring the software.
Remember that each machine needs to have a unique IP Address and machine name so no
conflicts arise.
To configure TCP/IP with fixed IP addresses (Windows XP):


4. Choose Use The Following IP Address.
5. In the box for IP Address, enter the address for that machine.
Check your list to make sure the entry is correct.
6. In the box for Subnet Mask, type these numbers (these are the same for every machine):
255.255.255.0
If you are on a large corporate network, this subnet mask might be different. In this case, use
the mask that your network administrator specified. Also, change the network mask when

Configuring TCP/IP
setting up a server to connect to a manager as well as in the Network Job Assignment dialog to
match the subnet mask in order for Automatic Search to work.

Windows XP finishes configuring the software.
Remember that each machine needs to have a unique IP Address and machine name so no
conflicts arise.
Next Step
Comments

Setting Up TCP/IP
Setting Up TCP/IP
The software uses the standard network protocol, TCP/IP, for network rendering. TCP/IP is a two-
part acronym. TCP (Transport Control Protocol) communicates data between applications. IP
(Internet Protocol) communicates data between an application and the physical network. Each
computer in your rendering network needs to be configured for this protocol.
Before continuing, be sure that:
You have administrative privileges on each machine.
The network is operational, with network adapter cards installed in each machine.
The TCP/IP protocol requires a device, called a network adapter or Network Interface Controller
(NIC), to bind with in order to communicate with other machines. Typically, the network adapter is a
network card, but if you are linked to the Internet by modem, a dial-up adapter (the modem) is
used.
Note: If you do not have a network card and no modem, you can still use network rendering to
process batch rendering, in which case you configure your TCP/IP settings to use the Loopback
adapter, a software adapter supplied by Microsoft. This is a program that allows packets of data to
be sent out and returned ("looped back") to a single machine.
TCP/IP uses IP addresses to identify the computers on a network. For convenience, you can assign
real names to computers. An IP address is a serial number of four integers separated by periods, for
example, 192.100.100.1.
IP addresses can be fixed (as in the example above) or automatic, supplied dynamically each time
you connect to the network by a system known as DHCP (Dynamic Host Configuration Protocol).
The software uses the NIC number, which can be thought of a unique serial number assigned to
each network card, to identify each machine in the network. This allows the use of DHCP since the IP
address usually changes when a machine using DHCP is rebooted.
In some cases, you may want to specify a fixed IP address, for example:
When you have more than one Manager running on the same network, each with its own set of
dedicated Servers, you need to specify which Manager to use. DHCP can be used in this case, but
you will have to specify the Manager name instead of its IP address.
The second case is when the Server or Queue Monitor is outside the local network (as in the case
of a WAN or a multi-segmented network connected through a router). In this case, Servers
connected to the same network can still use DHCP, provided the Manager has a fixed name and IP
address.
If your network is set peer-to-peer without an NT server (as is the case with most home
networks), it is easier to set the machines with permanent, fixed IP addresses.
Finally, you can use batch rendering without being connected to a network. In that case, you will
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Setting Up TCP/IP
need to set up a fixed TCP/IP address and configure the Microsoft Loopback adapter.
In the case of fixed addresses, it is important that IP addresses be properly assigned. In this step,
you make up a list of machine names and their corresponding IP addresses to use during TCP/IP
configuration. The list will also be used when installing the softwares rendering services.
Using the Manager name is particularly useful when its IP address is assigned dynamically via DHCP,
and can change from session to session.
On a closed network, you don't have to worry much about conflicts with the IP addresses of other
network domains. However, the addresses need to follow a consistent pattern and each must be
unique within your network.
Warning: On an open network, such as those in many large corporations, do not alter IP
addresses in any way. In such cases, to avoid potentially disastrous consequences, always
work with your system administrator to make IP address changes.
Procedure
To create machine names and IP addresses:
Create a list of machine names and IP addresses.

Unless you have specific needs for later compatibility with another network, use the following list
as a model.
Since the Manager machine can also act as a server, start naming your servers to match their IP
addresses as shown in the list below. Remember, any one machine can act as a manager under
network rendering. Like an IP address, each name must be unique. Also keep in mind that you
must not use the numbers 0 or 255 in the last group (or octet) of an IP address as they are
reserved.
Warning: Machine names should not start with numbers or have spaces or underscores in
them, as those will result in illegal names in TCP/IP. This will cause unexpected behavior
in the network rendering system.
Machine Name IP Address
server001 192.100.100.1
server002 192.100.100.2
server003 192.100.100.3
... ...
server254 192.100.100.254

Setting Up TCP/IP
Next Step
Configuring TCP/IP
Comments

Batch Rendering
Batch Rendering
You can set up the software to batch-render a series of scenes, even if you do not have a network or
a network card installed on the computer you are using.
If your system is already connected to the internet, then chances are your TCP/IP protocol is running
properly. See Quick Start Batch Rendering to configure your system to batch-render in the software.
Using Microsoft's Loopback Adapter you can setup the Network Renderer to function on a single non-
networked computer. Although a Network Card is not required for Network Rendering, you still must
set up the TCP/IP protocol to use the batch rendering capabilities of the Network Renderer. To do
this, you must first install the MS Loopback Adapter, which allows packets of data to be sent out and
returned ("looped back") to a single machine that does not have a network adapter card.
When the MS Loop Back Adapter and the TCP/IP protocol are correctly installed, set up the machine
as you would any other machine for Network Rendering. Both the Manager and Server programs
must be running and correctly communicating with one another before launching the software. Then
you can use the machine to submit multiple jobs to itself to execute batch renders.
Procedure
To add the MS Loopback Adapter (Windows 2000):

You must have administrative privileges to perform this procedure.
1. Click Start, point to Settings, click Control Panel, and then double-click Add/Remove Hardware.
The Add/Remove Hardware Wizard appears where you should click Next.
2. Click Add/Troubleshoot a device, and then click Next.
3. Click Add a new device, and then click Next.
4. Click No, I want to select the hardware from a list, and then click Next.
5. Click Network adapters, and then click Next.
6. In the Manufacturers box, click Microsoft.
7. In the Network Adapter box, click Microsoft Loopback Adapter, and then click Next.
After the adapter is installed successfully, you must set up the TCP/IP protocol and reboot your
machine. See Configuring TCP/IP.
To add the MS Loopback Adapter (Windows XP):

You must have administrative privileges to perform this procedure.
1. Click Start, point to Settings, click Control Panel, and then double-click Add Hardware.
The Add Hardware Wizard appears where you should click Next.
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Batch Rendering
2. Wait while the operating system searches for hardware then when asked if you have the
hardware already connected to your computer, choose Yes and click Next.
3. From the Installed Hardware list, scroll to the bottom and select Add a new hardware device,
then click Next.
4. Choose Install hardware I manually select from a list (Advanced), and then click Next.
5. Select Network Adapters, and then click Next.
6. In the Manufacturers box, click Microsoft.
7. In the Network Adapter box, click Microsoft Loopback Adapter, and then click Next.
After the adapter is installed successfully, you must set up the TCP/IP protocol and reboot your
machine. See Configuring TCP/IP.
See also
Using Batch Rendering

Quick Start Batch Rendering
Next Step
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The following provides bare-bone steps on how to set up and use batch rendering.
If your system is already properly configured in TCP/IP (for example, your computer has an Internet
connection), information in this topic will help you get started with batch rendering in a few basic
steps.
Procedures
To render in batch mode:

You need Windows XP or Windows 2000.
Note: Batch rendering is not supported under Windows 95, 98 or ME.
1. Run the Network Rendering Manager and Server applications from the Start menu, in the same
program group as 3ds max.
2. Start 3ds max, and load the first scene you want to batch render.
3. Click Render Scene and adjust the various rendering parameters for the way you want to
render the scene, including active viewport, file output, etc.
4. Turn on Net Render in the Render Output group, and then click Render.
5. In the resulting Network Job Assignment dialog, click the Connect button.
6. Click the Submit button.

Note: Each job should have a unique output file name and/or path to avoid overwriting output
files. If you get an alert dialog that says, "Another job is using the same output name," you
can click the No button, click Cancel to exit the Network Job Assignment dialog, and then
change the output name and/or path. Otherwise, you can click the Yes button and let the job
overwrite the frames from the other job in the queue.
7. Load the next scene you want rendered, and then repeat steps 4 through 7.
Once youve submitted all rendering jobs, you can exit 3ds max, if you want. If power is lost before
all jobs are rendered (either by accident or by intentional powering down of your computer), when
you restart the Manager and Server programs, the rendering will resume where it left off.
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Using batch rendering is a simple matter of starting the software, running the Manager and Server
programs, specifying the scenes you want rendered, and then proceeding with the rendering. Think
of batch rendering simply as network rendering on a single computer
The process is very similar to rendering over a network. In network rendering, the scenes you
submit to the rendering queue are called jobs. The following steps show how to submit multiple jobs
to the rendering queue.
Your system has to be properly configured in the TCP/IP protocol to use batch rendering. If you do
not have a network card or if you are not connected to the Internet, then you may need to configure
TCP/IP with Loopback Adapter.
Procedures
To batch render several jobs:
1. Start 3ds max.
2. Start Manager.
The Manager window appears. Its window displays the words: Starting Network Manager.
3. Start Server.
The Server window appears. Its window displays the words: Starting backburner Server,
followed by additional startup messages.
4. In 3ds max, load the first scene you want rendered.
5. Activate the viewport you want rendered, and click the Render Scene button on the toolbar.
6. Set up the various rendering parameters as you would if you were rendering only this scene.
7. In the Render Output group, turn on Net Render.
8. Click Render.
To assign network jobs:

At this point, the Network Job Assignment dialog appears. Its main purpose is submit the current job
to the Manager with all its render settings, including job name and net rendering specifics. The
Manager then takes over and begins the rendering process.
1. In the Job Name field, either accept the default name (the name of the scene), or specify a new
one.
2. Click the Connect button to connect the software to the Manager. After a moment, your TCP/IP
address appears in the field over the window, and the Server appears in the window.
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3. Click the server in the window so that its icon displays a green circle with an arrow through it.

Note: Each job should have a unique output file name and/or path to avoid overwriting output
files. If you get an alert dialog that says, "Another job is using the same output name," you
can click the No button, click Cancel to exit the Network Job Assignment dialog, and then
change the output name and/or path. Otherwise, you can click the Yes button and let the job
overwrite the frames from the other job in the queue.
5. The Job Assignment dialog goes away, and the rendering begins. The Manager reports: Job
(job name) submitted. The Server reports that it has received the job, and then begins
reporting each frame its completed.
6. At this point, you can load the next scene to be rendered, and then repeat the steps, beginning
with step 4 in the previous procedure
Once youve submitted the jobs you want rendered, you can exit 3ds max (do not shut down the
Manager or Server), or you can begin working on a new scene, or editing an old scene. Keep in
mind, however, that your processor is spending most of its time working on rendering, so your
computer will slower than usual.
If you need to monitor the batch render processes, you can use the Queue Monitor application for
that purpose.
Network Files
When Manager begins a job, a series of files are created in the \network directory of your 3ds max
directory. Among other things, this means that you can shut down your computer completely (either
on purpose or by accidental power failure), and when you next start Manager and Server, theyll pick
up where they left off and continue with your rendering queue.
Note: The exception to the above rule is when rendering multiframe file formats, such as AVI and
FLC. Due to limitations in these file formats, if you stop in the middle of rendering one of these files,
when you begin rendering again, the entire file will have to be rendered from the beginning.
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Week Schedule Dialog
Queue Monitor > Highlight a Server and right-click. > Week Schedule
Queue Monitor > Highlight a Server. > Servers menu > Week Schedule
By default, all servers are available at all times. Using the Queue Monitor's Week Schedule feature,
you can arrange the hours during which each server is available for network rendering.
You can specify certain hours for any day of the week. This is useful, for example, if the server is
used as a modeling workstation during normal business hours and you do not want it being used as
a network render server during this time.
Procedures
To schedule a set of active hours for a server or servers:
1. In Queue Monitor's Server list, right-click a Server and choose Week Schedule, or select one or
more Servers and choose Servers menu > Week Schedule.
2. In the dialog that appears, select a time using one of the following methods:
Select a one-hour block for network rendering by clicking one of the top buttons.
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Select an entire day by clicking a side button.
Select the entire week by clicking the large top-left button.

The selection is shown in white.
3. Click the Allow button. The selection is shown in green. (By default, all hours are allowed).
4. To apply the time selection to the selected Server, click OK.
To schedule hours when servers are unavailable:
1. In Queue Monitor's Server list, right-click a Server and choose Week Schedule, or select a
Server and choose Servers menu > Week Schedule.
2. In the dialog that appears, select a time using one of the following methods:
Select a one-hour block for network rendering by clicking one of the top buttons.
Select an entire day by clicking a side button.
Select the entire week by clicking the large top-left button.

The selection is shown in white.
3. Click the Disallow button. The selection is shown in red.
4. To apply the time selection to the selected Server, click OK.
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Gamma Preferences
Gamma Preferences
Customize menu > Preferences > Preference Settings dialog > Gamma tab
On the Gamma panel of the Preference Settings dialog, you set options to adjust the Gamma values
for input and output images and for the monitor display.
Interface
Enable Gamma CorrectionApplies any gamma adjustments you make. Turn off to disable
gamma correction.
Load Enable State with MAX FilesLoads the state of Enable Gamma Correction with each
3ds max file.
When you choose Load Enable State, and load an 3ds max file whose Enable Gamma Correction
state differs from the current state, you can make the gamma correction correspond with the setting
in the current file or leave the setting as is.
If you have a maxstart.max file and you choose this option, new sessions of 3ds max use the
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Gamma Preferences
Enable Gamma Correction state in the maxstart.max file. If you turn this option off, the maxstart.
max file doesn't affect the state of Enable Gamma Correction.
Display group
You use display gamma for the Material Editor spheres, the color selector, color swatches, and the
rendered frame window (Scanline Renderer). Take note of the default value before you start making
adjustments in case you need to restore it.
GammaAdjusts the gamma display for 3ds max. The field increases or decreases the value
(lightness or darkness) of the solid gray center square. Adjust the value until the center square is as
close as possible in value to the surrounding checkered square.
If you're creating imagery that will be sent to someone, turn on the Gamma options to assure
yourself that the image will look correct at the destination site.
You can also display these gamma settings from the Gamma button in the File Browser dialog, for
example, when you are rendering a scene to an image file.
Bitmap Files group
Input GammaThe system input gamma that the software uses to process bitmaps if that bitmap
type doesn't override the gamma with its own gamma value. In the case of Targa files, the file's
inherent gamma will override the system input gamma. You use the Input Gamma to invert the
gamma of bitmaps coming into 3ds max (for example, texture maps) so that when they are
processed by the renderer and re-output, the bitmaps aren't gamma corrected twice.
Tip: If you have gamma enabled when loading texture maps, set your input gamma to the same
value as your display gamma, or your maps will be too bright.
Tip: Output GammaThe system output gamma that the software uses to process bitmaps if that
bitmap type doesn't override the gamma with its own gamma value.
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Gamma Correction
Glossary
Gamma Correction
Changing gamma value to match a monitor's middle gray
Gamma correction compensates for the differences in color display on different output devices so
that images look the same when viewed on different monitors.
A gamma value of 1 corresponds to an "ideal" monitor; that is, one that has a perfectly linear
progression from white through gray to black. However, the ideal display device doesn't exist.
Computer monitors are "nonlinear" devices. The higher the gamma value is set, the greater the
degree of nonlinearity. The standard gamma value for NTSC video is 2.2. For computer monitors,
gamma values in the range of 1.5 to 2.0 are common.
When you create an image on your computer, you base your color values and intensities on what
you see on your monitor. Thus, when you save an image that looks perfect on your own monitor,
you're compensating for the variance caused by the monitor gamma. The same image displayed on
another monitor (or recorded to another media affected by gamma) will look different, depending on
that media's gamma values.
Two basic procedures are required to compensate for changes in gamma:
Calibrate your output display devices so that the mid-tones generated by the software are
accurately duplicated on your display device. You do this in the Gamma panel of the Preferences
dialog (Display Gamma).
Determine the gamma value to be applied to files output by the renderer and files input into the
software, such as texture maps. This control is also in the Gamma panel of the Preferences dialog
(Files Gamma).
The most important rule about gamma correction is to do it only once. If you do it twice, the image
quality is overly bright and loses color resolution.
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Gamma Correction
With regard to output file gamma, video devices such as video tape recorders have their own
hardware gamma-correction circuitry. Therefore, you need to decide whether to let the software do
the output gamma correction or to let the output device handle it.
Gamma correction is not required for hardcopy print media.
Files coming into the software from programs such as Adobe Photoshop will have been gamma-
corrected already. If you've been viewing the files on the same monitor and they look good, you
won't need to set input file gamma.
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Rendering menu > Raytrace Global Include/Exclude
Material Editor > Raytrace material > Raytracer Controls rollout > Local Exclude button
Material Editor > Raytrace map > Raytracer Parameters rollout > Local Exclude button
Rendering menu > Raytracer Settings > Render Scene dialog > Raytracer panel > Global Raytracer
Settings rollout > Global Raytrace Engine Options group > Exclude button
Main toolbar > Render Scene > Render Scene dialog > Raytracer panel > Global Raytracer Settings
rollout > Global Raytrace Engine Options group > Exclude button
Upper left: Bottle excluded from both mirrors

Upper right: Bottle reflected by both mirrors
Lower middle: Bottle excluded from one mirror
These dialogs let you specify which objects the raytracer will and won't see. This is a good
optimization when you are working with complex scenes and all you really need is for an object to
reflect itself or some other, simpler elements in the scene.
The global dialog affects all Raytrace materials and Raytrace maps in your scene. The local dialog
affects only the current material or map.
Tip: Another good use for exclusion can be when you are working on a scene where the world-space
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scale of objects is not realistic. For example, consider an animation of a space dog-fight, with a
planet and its moon in the background. You would use a planet that was actually much smaller,
relative to the fighters, than an actual planet. (For example, the planet might be only five times
bigger than the fighters, and the moon only half as big as the fighters.) If the fighters are reflective,
the reflections of the planet and moon will be incorrect and will give away the fact that you are using
miniatures. In this case, raytrace the reflective fighters, and laser blasts, and so on, but exclude the
planet and moon props from the raytracer. Create an environment map that represents the planet
and moon at their correct scale, and make that the Raytrace material's local environment. When you
render, the scale of the planet and moon geometry appears to be correct, and the reflections on the
fighters will behave as your eye expects.
Interface
Both the Global and the Local Exclude/Include dialogs contain the following controls:
Exclude/IncludeChoose whether raytracing will exclude or include the objects named in the list
on the right.
Illumination / Shadow Casting / BothFor the raytracer, this is turned off (always set to
Illumination).
Scene ObjectsSelect objects from the Scene Objects list on the left, then use the arrow buttons

to add them to the exclusion list on the right.

The Exclude/Include dialog treats a group as an object: you can exclude or include all objects in a
group by selecting the group's name in the Scene Objects list. If a group is nested within another
group, it isn't visible in the Scene Objects list.
Search FieldThe edit box above the Scene Objects list lets you search for object names by
entering names that use wildcards.
Display SubtreeWhen on, indents the list according to the object hierarchy.
Case SensitiveWhen on, uses case sensitivity when searching object names.
Selection SetsDisplays a list of named selection sets. Choosing a selection set from this list
selects those objects in the Scene Objects list.
ClearClears all entries from the Exclude/Include list on the right.
OKCloses the dialog and retains the exclude or include operations you performed.
CancelCloses the dialog and cancels the exclude or include operations you performed.
Comments

Rendering menu > Raytracer Settings > Global Raytracer Settings dialog > Global Ray Antialiaser
group > Turn on global antialiasing. > Choose Fast Adaptive Antialiaser from the drop-down list.
> ... button
Material Editor > Type button > Material/Map Browser > Raytrace material > Raytracer Controls
rollout > Raytraced Reflection and Refraction Antialiaser group (enabled only if antialiasing is
globally enabled) > Choose Fast Adaptive Antialiaser from the drop-down list. > ... button
Material Editor > Type button > Material/Map Browser > Raytrace map > Raytracer Parameters
globally enabled) > Choose Fast Adaptive Antialiaser from the drop-down list. > ... button
The Fast Adaptive Antialiaser dialog changes settings for the Raytrace material and maps Fast
Adaptive antialiaser. You can use this dialog either globally, from the Global Raytracer Settings
dialog, or locally, from the Raytracer Controls rollout. When you locally change settings for an
antialiaser, you don't affect the global settings for that antialiaser.
Interface
Blur / Defocus (Distance Blur) group
Blur Offset is similar to blur offset for Bitmaps, while defocus is based on distance.
Blur OffsetAffects the sharpness or blurriness of the reflections or refractions without regard to
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distance. You can use Blur Offset to soften or defocus the details of a reflection or refraction. The
value is specified in pixels. Default=0.0.
Tip: The default Blur Offset setting usually produces good results. If you see aliasing in reflections or
refractions, increase its value in increments of 0.5 until the aliasing goes away.
See Blur/Blur Offset.
Blur AspectThis is an aspect ratio that changes the shape of the blur. Usually you will not need to
change it. Default=1.0.
Tip: If you see aliasing that occurs mostly along horizontal lines, try increasing Blur Aspect to 1.5.
This changes the shape of the blurred effect. The reverse is also true. If aliasing occurs mostly along
vertical lines, try decreasing Blur Aspect to 0.5.
DefocusingDefocusing is a blur based on distance. With Defocus, objects near the surface are not
blurred, but objects farther away are blurred. The rays cast are spread as they leave the Raytrace
material object's surface. Default=0.0.
Tip: Increasing the value of Defocusing can give a good distance blurring effect. Small adjustments
are usually adequate. Try starting with a value less than 0.1, and increase or decrease it as
necessary. Also try adjusting Reflect Falloff in Raytrace material or Attenuation in Raytrace map to
get the best distance blurring effect.
Defocus AspectThis is an aspect ratio that changes the shape of the defocusing. Usually you will
not need to change it. Default=1.0.
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rollout
The Raytracer Controls rollout for a Raytrace material controls affect the operation of the raytracer
itself. It can help you improve rendering performance.
Interface
Local Options group

toggle.
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Raytracer Enable group
These two check boxes turn raytracing of reflections or refractions on or off for this material. If you
are using the Raytrace material to create only reflections or refractions, turn off the one you aren't
using to improve rendering time.
Raytrace ReflectionsTurns raytracing of reflective objects on or off. Default=on.
Raytrace RefractionsTurns raytracing of transparent objects on or off. Default=on.
Local ExcludeDisplays the local Exclude/Include dialog.
An object that is excluded locally is excluded from this material only.
Tip: Using exclusion lists is one of the best and simplest ways to speed up the raytracer.
Bump Map EffectAdjusts the effect of bump maps on raytraced reflections and refractions.
Default=1.0.
Falloff End Distance group
ReflectDims reflections to black at this distance. Default=100.0.

RefractDims refractions to black at this distance. Default=100.0.
Note: The toggles for Reflect Falloff and Refract Falloff aren't animatable.
Raytraced Reflection and Refraction Antialiaser group
Controls in this group let you override the global antialiasing settings for raytraced maps and
materials. They are unavailable if antialiasing is turned off globally. To turn on antialiasing globally,
choose Rendering > Raytrace Globals to display the Global Raytracer Settings dialog.
OnWhen on, uses antialiasing. Default=unavailable unless global antialiasing is turned on; on if
global antialiasing is turned on.
Drop-down listChooses which antialiasing settings to use. There are three alternatives:
Use Global Antialiasing Settings(The default.) Uses the global antialiasing settings.
Fast Adaptive AntialiaserUses the Fast Adaptive antialiaser, regardless of the global setting.
Multiresolution Adaptive AntialiaserUses the Multiresolution Adaptive antialiaser, regardless of
the global setting.
set antialiasing controls locally. The dialog displayed depends on which alternative you chose in the


Use Global Antialiasing SettingsClicking ... displays the Global Raytracer Settings dialog.
Multiresolution Adaptive AntialiaserClicking ... displays the Multiresolution Adaptive Antialiaser
dialog.
When you change settings for an antialiaser locally, you don't affect the global settings for that
antialiaser.
Comments

Rendering menu > Raytracer Settigns > Global Raytracer Settings dialog > Global Ray Antialiaser
group > Turn on global antialiasing. > Choose Multiresolution Adaptive Antialiaser from the drop-
down list. > ... button
globally enabled) > Choose Multiresolution Adaptive Antialiaser from the drop-down list. > ...
button
Material Editor > Type button > Material/Map Browser > Raytrace map > Raytracer Parameters
globally enabled) > Choose Multiresolution Adaptive Antialiaser from the drop-down list. > ...
button
The Multiresolution Adaptive Antialiaser dialog changes settings for the Raytrace material and maps
Multiresolution Adaptive antialiaser. You can use this dialog either globally, from the Global
Raytracer Settings dialog, or locally, from the Raytracer Controls rollout. When you locally change
settings for an antialiaser, you don't affect the global settings for that antialiaser.
Interface
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Adaptive Control group
Initial RaysSets the initial number of rays cast per pixel. Default=4.
ThresholdDetermines the sensitivity of the adaptation algorithm. It can range from 0 to 1, where
0 always casts the maximum number of rays and 1 always casts only the minimum number of rays.
Default=0.1.
Max. Rays (Maximum Rays)Sets the maximum number of rays the algorithm will cast.
Default=32.
Blur / Defocus (Distance Blur) group
Blur Offset is similar to blur offset for bitmaps, while Defocusing is based on distance.
Blur OffsetAffects the sharpness or blurriness of the reflections or refractions without regard to
distance. You can use Blur Offset to soften or defocus the details of a reflection or refraction. The
value is specified in pixels. Default=0.0.
Tip: The default Blur Offset setting usually produces good results. If you see aliasing in reflections or
refractions, increase its value in increments of 0.5 until the aliasing goes away.
Blur AspectThis is an aspect ratio that changes the shape of the blur. Usually you will not need to
change it. Default=1.0.
Tip: If you see aliasing that occurs mostly along horizontal lines, try increasing Blur Aspect to 1.5.
This changes the shape of the blurred effect. The reverse is also true. If aliasing occurs mostly along
vertical lines, try decreasing Blur Aspect to 0.5.

DefocusingDefocusing is a blur based on distance. With Defocus, objects near the surface are not
blurred, but objects farther away are blurred. The rays cast are spread as they leave the Raytrace
material object's surface. Default=0.0.
Tip: Increasing the value of Defocusing can give a good distance blurring effect. Small adjustments
are usually adequate. Try starting with a value less than 0.1, and increase or decrease it as
necessary. Also try adjusting Reflect Falloff in Raytrace material or Attenuation in Raytrace map to
get the best distance blurring effect.
Comments

Blur / Blur Offset
Glossary
Blur / Blur Offset
Top: Blur = 1, Blur Offset = 0

Middle: Blur = 10, Blur Offset = 0
Bottom: Blur = 0.01, Blur Offset = 0.2
The Blur and Blur Offset controls determine how a 2D map is blurred, or how it is softened in the
rendering. You can't see their effect in the viewport renderer, only in the production renderer.
The Blur setting blurs the map based on its distance from the view. The farther away the map is, the
greater the blurring. You should always use some blurring on your maps to avoid the type of
scintillation, or aliasing that can occur when pixel details are reduced off in the distance. This effect
typically occurs when you use detailed bitmaps viewed at a distance, and is particularly apparent
during animations. The Blur default is 1.0, which is a good setting for most purposes.
Blur Offset blurs the map without regard to depth. That is, all the pixels in the map are blurred
equally, regardless of how close or how far they are from the camera.
Whereas the Blur value is primarily used to avoid aliasing, Blur Offset is useful when you want to
soften, or defocus the details in a map. It's the equivalent of blurring the bitmap in an image-
processing program before applying it as a material map.
Note: For bump mapping, lower Blur and higher Blur Offset values give better results.
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Blur / Blur Offset
Comments
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Main toolbar > Material Editor > Type button > Material/Map Browser > Raytrace > Basic
Parameters rollout
Menu bar > Tools menu > Material Editor > Type button > Material/Map Browser > Raytrace >
The Basic Parameters rollout for a Raytrace material controls the material's shading, color
components, reflectivity or refractivity, and bumps.
Interface
The basic parameters in this rollout are similar to the basic parameters for standard materials, but
the color components of a Raytrace material behave differently.
As with standard materials, you can use a map for Raytrace color components and various other
parameters. The small buttons to the right of the color swatches and parameters take you to the
Material/Map Browser, where you select a map of corresponding type. These are shortcuts that also
have corresponding buttons in the Maps rollout. If you have assigned a map to one of these colors,
the button displays the letter M. An uppercase M means that the corresponding map is assigned and
active. A lowercase m means that the map is assigned and inactive (turned off).
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Shading drop-down listChooses a shader. Depending on the shader you choose, the Specular
Highlight can change to show the controls for that shader. The alternatives are:
Anisotropic: For surfaces with elliptical, "anisotropic" highlights.
Blinn: For rounder, softer highlights than Phong shading.
Metal: For metallic highlights.
Oren-Nayar-Blinn: For matte surfaces such as fabric or terra-cotta.
Phong: For surfaces with strong, circular highlights. Phong is the default shading type.
2-SidedSame as for standard materials. When on, shades and raytraces both sides of faces. By
default, objects are one-sided in order to speed up rendering.
If you have a 2-sided, reflective and refractive object, and you use the raytrace map rather than the
material, the raytracer runs until it hits the maximum recursion level. This can be time-consuming.
WireSame as for standard materials. When on, renders the material in wireframe mode. You can
specify the wire size in the Extended Parameters rollout.
With pixels, wires maintains the same apparent thickness regardless of the scale of the geometry or
how near or far the object is positioned. With units, the wires appear thinner at a distance and
thicker at close range, as if they were modeled in the geometry.
The Faceted option replaces the Constant shader used to achieve this effect prior to 3ds max 5.
Constant-shaded materials created in previous releases are converted to Phong shading with Faceted
turned on.
The SuperSample toggle that previously occupied by this location has been replaced by controls on
the SuperSampling rollout. As of 3ds max 5, Raytrace material has the same supersampling options
as a Standard material.
AmbientThis is NOT the same as the standard ambient color. For Raytrace material, this controls
an ambient absorption factor: that is, how much the material absorbs ambient light. Setting Ambient
to white is the same as locking the ambient and diffuse colors in a standard material. Default=black.
Ambient Color check boxWhen on, the material uses an ambient color. When off, the material
uses a spinner to set a grayscale value only. Default=on.
Color swatchWhen the check box is on, the color swatch shows the ambient color. To change
the color, click the swatch and then use the Color Selector.
Mono spinnerWhen the check box is off, the ambient component is gray, and this spinner lets
you adjust the gray value.
Prior to 3ds max 3, the grayscale spinner option wasn't available.

Click the map button to assign a map to the ambient component. See Ambient Mapping. This
button is a shortcut: you can also assign ambient mapping in the Raytrace Maps rollout.
DiffuseSets the diffuse color. This is the same as the standard diffuse color. It is the color that the
object reflects, without specular reflection. Reflection and transparency effects are layered on top of
the diffuse result. When Reflect is 100% (pure white), the diffuse color isn't visible. (This differs
from the standard material.) Default=50% gray.
ReflectSets the specular reflection color. This is the color that the reflected environment (that is,
the rest of the scene) is filtered through. The color's Value controls the amount of reflection. If your
reflect color is saturated and the diffuse color is black, the effect is like colored chrome (for example,
colored Christmas tree balls). Default=black (no reflection).
If raytracing is turned off (in the Raytracer Controls rollout), the object still reflects the environment,
but ignores other objects in the scene. The environment can be the background color, the
environment map, or the map in the Raytrace material's Environment component.
Tip: If you turn off raytraced reflections, set the Reflect color to a color other than black, and use a
Reflect/Refract map for the local environment (see the Environment parameter, below), you get the
same effect as a reflection map in a standard material. This can improve rendering time.
Note: Raytrace reflects and transmits the IDs in material effects channel (G-buffer), so it can create
glowing reflections, and so on.
Reflect Color check boxWhen on, the material uses a reflection color. When off, the material
uses a spinner to set a grayscale value only. Default=on.
Color swatchWhen the check box is on, the color swatch shows the reflection color. To change
the color, click the swatch and then use the Color Selector.
Mono spinnerWhen the check box is off, the reflection color component is gray, and this
spinner lets you adjust the gray value.
FresnelClicking the check box a second time displays this option. When active, applies a
Fresnel effect to the reflection. This can add a bit of refraction to the reflecting object, depending
on the viewing angle of the object.
Click the map button to assign a map to the reflect component. This button is a shortcut: you can
also assign reflect mapping in the Raytrace Maps rollout.
LuminositySimilar to the Standard material's self-illumination component, except that it does not
depend on the diffuse color. You can have a blue diffuse object with red luminosity. Default=black.
Note: When Luminosity is off, the name of this control changes to Self-Illum (Self-Illumination).
Luminosity check boxWhen on, the material uses a luminosity color. When off, the material
uses a spinner to set a grayscale value only for self-illumination. Default=on.
Color swatchWhen the check box is on, the color swatch shows the luminosity color. To
change the color, click the swatch and then use the Color Selector.

Mono spinnerWhen the check box is off, the luminosity color component is gray, and this
Click the map button to assign a map to the luminosity component. This button is a shortcut: you
can also assign reflect mapping in the Raytrace Maps rollout.
TransparencySimilar to the standard material's filter color for transmitted light, combined with
the standard material's opacity controls. This color filters scene elements that are behind the object
with Raytrace material. Black is opaque, white is fully transparent, and any value in between filters
objects behind the raytraced object. A fully saturated color in both the diffuse and transparency
components gives the effect of tinted glass. If you want more of an opaque look, pick the color you
want as a transparent color, copy it to the diffuse color, make the diffuse color fully saturated, and
then adjust the transparency to get the effect you want. Default=black (no transparency).
If raytracing is turned off (in the Raytracer Controls rollout), the object still refracts the environment
mapping, but ignores other objects in the scene.
Note: By separating the diffuse, reflect, and transparency components, Raytrace material gives you
a great deal of control over how the object reacts to its environment. For example, an object might
diffusely reflect red, specularly reflect green, and transmit blue. This is not a real-world effect, but it
can be useful.
Transparency Color check boxWhen on, the material uses a transparency color. When off,
the material uses a spinner to set a grayscale value only. Default=on.
Color swatchWhen the check box is on, the color swatch shows the transparency color. To
change the color, click the swatch and then use the Color Selector.
Mono spinnerWhen the check box is off, the transparency color component is gray, and this
Click the map button to assign a map to the transparency component. See Filter Color Mapping. This
button is a shortcut: you can also assign reflect mapping in the Raytrace Maps rollout.
Index of Refr. (Refraction)The index of refraction (IOR) controls how severely the material
refracts transmitted light. At 1.0, the IOR of air, the object behind the transparent object does not
distort. At 1.5, the object behind distorts greatly, like a glass marble. At an IOR slightly less than
1.0, the object reflects along its edges, like a bubble seen from under water. Default=1.0.
Common IORs (assuming the camera is in air or a vacuum) are:
Material IOR Value
Vacuum 1.0 (exactly)
Air 1.0003
Water 1.333
Glass 1.5 to 1.7

Diamond 2.419
In the physical world, the IOR results from the relative speeds of light through the transparent
material and the medium the eye or the camera is in. Typically this is related to the object's density,
and the higher the IOR, the denser the object.
You can also use a map to control the IOR. IOR maps always interpolate between 1.0 (the IOR of
air) and the setting in the IOR parameter. For example, if the IOR is set to 3.55 and you use a black-
and-white Noise map to control IOR, the IORs rendered on the object will be set to values between
1.0 and 3.55. The object will appear denser than air. If, on the other hand, your IOR is set to 0.5,
then the same map values will render between 0.5 and 1.0, as if the camera were under water and
the object was less dense than the water.
Here are some more IOR values for various materials:
Material IOR Value
Carbon Dioxide, Liquid 1.200
Ice 1.309
Acetone 1.360
Ethyl Alcohol 1.360
Sugar Solution 30% 1.380
Alcohol 1.329
Flourite 1.434
Quartz, Fused 1.460
Calspar2 1.486
Glass 1.500
Glass, Zinc Crown 1.517
Glass, Crown 1.520
Sodium Chloride 1.530
Sodium Chloride (Salt) 1 1.544
Polystyrene 1.550
Quartz 2 1.553
Emerald 1.570
Glass, Light Flint 1.575
Lapis Lazuli 1.610
Topaz 1.610

Carbon Bisulfide 1.630
Quartz 1 1.644
Glass, Heavy Flint 1.650
Methylene Iodide 1.740
Ruby 1.770
Sapphire 1.770
Glass, Heaviest Flint 1.890
Crystal 2.000
Diamond 2.417
Chromium Oxide 2.705
Copper Oxide 2.705
Amorphous Selenium 2.920
Iodine Crystal 3.340
Specular Highlight group
The controls in this group affect the appearance of specular highlights. Specular highlights simulate
the surface of the raytraced object reflecting the lights in the scene. Changing the color or intensity
of lights in the scene can change the appearance of specular highlights.
As in standard materials, as you adjust the values in this group the highlight curve at the right
changes to give you an idea of the effect. The material preview in the sample slot also updates.
Specular ColorSets the specular color, assuming there are white lights in the scene.
Click the color swatch to display the Color Selector and change the highlight color.
Click the map button to assign a map to the specular color. See Specular Mapping. This button is a
shortcut: you can also assign specular level mapping in the Raytrace Maps rollout.
The remaining controls in the Specular Highlight group depend on the active shader, as shown next
to Shading: at the top of this rollout. These highlight controls are the same as for the Standard
material shaders.
These are the highlight controls available to Raytrace materials:
Anisotropic highlights
Blinn, Oren-Nayar-Blinn, and Phong highlights
Metal highlights
Note: Highlight controls that dont pertain to the current shader are labeled N/A.

EnvironmentSpecifies an environment map that overrides the global environment map. Both
Reflect and Transparency use the scene-wide environment map unless you use this button to specify
another map. With this control, you can use different environment maps on a per-object basis, or
provide an environment to specified objects when the scene as a whole has none.
This map overrides the scene-wide environment for both reflection and refraction. To override for
refraction alone, see the Transparency Environment control in the Extended Parameters rollout.
Use the check box to turn this map on or off.
Tip: You can use any map as the Raytrace environment, including the Reflect/Refract map. Reflect/
Refract map is often adequate for getting the required look, and it usually renders more quickly than
raytracing the entire scene, especially if the Raytrace material is transparent. If you are using
Raytrace material just to get the glass to look right on a car's headlight or on a light bulb hanging in
the middle of a room, turn off the raytracer and use an environment map instead.
Lock buttonLocks the Environment map to the Transparency Environment map (found on the
Extended Parameters rollout). When on, the Transparency Environment map controls are disabled,
and a map applied to the Raytrace Environment applies to the Transparency Environment as well.
When off, the Transparency Environment map controls are enabled, and the Transparency
Environment can have a different map assigned to it. Default=on.
Changing this buttons setting here also changes it on the Extended Parameters rollout and the Maps
rollout.
BumpThis is the same as bump mapping for Standard materials. Click the button to assign the
map. Use the spinner to change the bump Amount. Use the check box to turn the map on or off.
Comments

Material Editor > Standard material > Anisotropic Basic Parameters rollout > Specular Highlight
group
Material Editor > Raytrace material > Raytrace Basic Parameters rollout > Shading: Anisotropic >
Anisotropic highlights are good for modeling hair, glass, or brushed metal.
group. Also, highlight controls that dont pertain to the current shader are labeled N / A.
Procedures

The width of the Highlight curves and the highlights in the preview change. At 0% glossiness, the
curves are at their maximum width. At 100% glossiness, both curves are extremely narrow.

The intensity of the Highlight curves and the highlights in the preview change. At 0% specular
level, there is no highlight. At 100% specular level, the curves are at their maximum height with
no overloading. At values greater than 100%, the curves are overloaded: they grow wider, and a
wider area is at the maximum highlight intensity.
The shape of the Highlight curves affects the blending between the specular and diffuse color
To adjust the shape (anisotropy) of the highlight:
Change the value of Anisotropy.

The width of the white highlight curve and the highlights in the preview change. At 0%
anisotropy, both highlight curves are the same and the highlight is circular, as in Blinn and Phong
shading. At 100% anisotropy, the white highlight curve and the highlights are extremely narrow.
To adjust the orientation of the highlight:
Change the value of Orientation.
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Highlights in the preview show the change in orientation. The display of the highlight curve does
not change.
Interface
AnisotropyControls the anisotropy, or shape, of the highlight. At 0, the highlight is round. At 100,
the highlight is extremely narrow. One axis of the Highlight graph changes to show changes in this
parameter. Default=50.
OrientationChanges the orientation of the highlight. The sample slot shows changes in
orientation. This is a value in degrees that can range from 0 to 9,999. Default=0.
Highlight graphThese two intersecting curves show the effect of adjusting the values of Specular
Level, Glossiness, and Anisotropy. As you decrease Glossiness, the curves grow wider; as you
increase Specular Level, the curves grow taller. As you adjust Anisotropy, the white curve changes
to show how wide or narrow the highlight is.
Comments
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Specular Level Mapping
Material Editor > Standard material > Maps rollout > Specular Level button
Mapping the specular level: the sea reflects more than the land.
You can select a bitmap file or procedural map to alter the intensity of specular highlights, based on
the intensity of the bitmap. White pixels in the map produce full specular highlights. Black pixels
remove the specular highlights completely, and intermediate values reduce the specular highlights
accordingly.
Mapping the specular level component is different from mapping specular color. Mapping the
specular level alters the intensity of highlights, while specular mapping alters the color of highlights.
Specular level mapping usually works best when you assign the same map to both Specular Level
and Glossiness. (In the Maps rollout, you can do this by dragging from one map button to another.)
Procedure
To map the specular level value:
1. Click the Map button for the Specular Level value.

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Comments
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Material Editor > Standard material > Maps rollout
A material's Maps rollout lets you access and assign maps to various components of the material.
You can choose from a large variety of map types. To find descriptions of these types, and how to
set their parameters, see Map Types.
Assigning the Same Map to Different Parameters
Applying the same map to different parameters is useful in some cases. For example, using a
pattern to map both self-illumination and opacity can make the pattern appear to glow and hover in
space.
Blending Map Amounts for Opacity and Other Material Components
When you map a scalar component (such as Specular Level, Glossiness, Self-Illumination, and
Opacity), the component's value in the Basic Parameters rollout is blended with its associated map
Amount in the Maps rollout.
For example, when the Opacity spinner is set to 0, the map Amount spinner completely controls
Opacity. That is, reducing the Amount value increases the transparency of the entire surface. On the
other hand, when Opacity is 100, reducing the map's Amount value increases the opacity of the
entire surface. You can adjust a Checker Opacity map so that the opaque areas remain opaque,
while the transparent areas become semi-transparent.
Other scalar components behave in the same way. Setting the map's Amount to 100 applies all of
the map. Setting the Amount to 0 is the equivalent of turning the map off. Intermediate Amount
values are blended with the value of the scalar component.
When you load old 3ds max files or bring earlier materials from the Browser into the Materials
Editor, the spinner values for Opacity, Specular Level, Glossiness, and Self-Illumination are altered,
where necessary, to maintain the equivalent material effect.
Procedures
To assign a map:
1. In the Maps rollout, click a map button.

A modal Material/Map Browser is displayed.
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2. Use the Browse From buttons to choose where you want to look.
If you choose Material Library and the dialog's display area is blank, you need to open a library
file. Click the Open button and then choose the library to browse.
3. Use the display buttons to choose how you view maps.
View List shows each map by name.
View List + Icons shows a small preview and each map's name.
View Small Icons shows a small preview for each map.
View Large Icons shows a large preview for each map, along with the map's name.
Tip: You can resize the Browser dialog to increase the size of the display area. This is
especially useful when you view large icons.
4. Double-click the map you want.
To use the same map for different parameters:
1. In the Maps rollout, use a map button to assign a map.

2. Click Go To Parent to return to the material level, and then open the Maps rollout.
3. Drag the assigned map button to another map button.

The Copy (Instance) Map dialog is displayed.
4. Choose Copy or Instance, and then click OK.

If you choose Swap, the Material Editor swaps the two button assignments.
To view the parent material's parameters:
If you are currently at the map level in the Material Editor, click Go To Parent.
The parameters for the map's parent material are displayed. Also, the Show End Result and Go To
Parent buttons become unavailable.
To view a map's parameters:
If you are currently at the material level in the Material Editor, click the button that corresponds
to the map.
The parameters for the map are displayed. Also, the Show End Result and Go To Parent buttons
become available.

In the Basic Parameters rollout, if a map has been assigned to a color component or parameter,
the corresponding button displays a letter M. In the Maps rollout, if a map has been assigned, the
corresponding button displays the map name.
To view a map's location:
Click Material/Map Navigator to view the Navigator.

The Material/Map Navigator displays the hierarchy of the current material, which contains the
map.
To go to a map using the Navigator:
In the Material/Map Navigator, click the name of the map, or the green or red parallelogram to
the left of the map's name.
The Navigator goes to the level of the map, and the Material Editor displays the controls for the
map you clicked.
As the Navigator's map tree shows, maps for basic material components and parameters are one
level below the material itself.
To preview a map in a sample slot:
1. Go to the level of the map, as described in previous procedures.

The Material Editor displays the map's parameters.
2. Turn off Show End Result.

The sample slot shows the map instead of the material. If the map contains sub-maps, these
are also visible.
By default, the sample slot displays a map with no three-dimensional shading. You can change
this in the Material Editor Options dialog.
To view the map interactively:
2. In the object's creation parameters, make sure that Generate Mapping Coords is turned on.
If the object type does not have a Generate Mapping Coordinates toggle, you need to assign
mapping coordinates by applying a UVW Map modifier.
3. In the Material Editor, assign the mapped material to the object.
4. If you are at the material level (the top level), click the appropriate map button to go to the
map level.

5. Turn on Show Map In Viewport.

adjust the map, the viewports update to display the adjustments.
Turning on Show Map In Viewport for one map automatically turns this button off for all other
maps the material has.
Viewports can display 2D maps such as Checker and Bitmap.
Viewports can also display most kinds of 3D maps. The exceptions are Particle Age and Particle
MBlur. Also, the appearance of the Falloff map in viewports give only a vague indication of how
it will appear when rendered.
Show Map In Viewport is unavailable if the active map type cannot display in viewports.
Displaying mapped materials in a viewport can slow performance. If you don't need to view the
texture, turn off its viewport display.
1. Go to the map level.

If you are at the material level, click the appropriate map button to go to the map level.
2. Turn off Show Map in Viewport.

To turn a map off:
In the Maps rollout, turn off the map's check box.

The check box is to the left of the map's name.
To turn a map on:
In the Maps rollout, turn on the map's check box.

The check box is to the left of the map's name.
To change a map's strength:
In the Maps rollout, adjust the map's Amount spinner.

The material's sample slot reflects the change.
Note: Adjusting a map's output (in the map's Output rollout) can also change the map's strength.
To move directly to an ancestor:
1. Below the Material Editor toolbar, click the arrow to the right of the map's name field.

A drop-down list of ancestors is displayed.
2. Click a name in the Ancestor list.

With this list, you can skip intermediate levels in the tree.
The Ancestor drop-down list shows only part of the tree. It does not show side
branches and siblings. To view these, use the Material/Map Navigator or the Go Forward To
Sibling and Go To Parent buttons on the Material Editor toolbar.
To change a map type:
1. At the level of a map, click the button labeled Type below the Material Editor toolbar.
A modal Material/Map Browser is displayed. If you were at a map, it lists only maps (if you
were at a material when you clicked Type, the Browser lists only materials).
2. Choose a map type from the list, and then click OK.
If you change a map type and the new map type can have component maps, a Replace Map
dialog is displayed. This dialog gives you a choice between discarding the original map or using
it as a component map.
If the new map type does not have components, it simply replaces the original map type.
To create a standalone map tree:
1. Activate a sample slot.
2. Click Get Material.
3. In the Material/Map Browser, make sure Browse From is set to New.
4. Double-click the name of the map type (not a material type) you want to use, or drag the map
to a sample slot.
The sample slot now contains a standalone map not associated with material parameters.
5. Use the Material Editor to modify the map as you would any other map.
Interface

The Maps rollout contains a wide button for each map type. Click this button to select a bitmap file
stored on disk or to select a procedural map type. After you select a map, its name and type appears
on the button. Use the check box to the left of the button to turn the effect of the map off and on.
When the check box is off, the map is not computed and has no effect in the renderer.
The Amount spinner determines the amount that the map affects the material expressed as a
percentage of full intensity. For example, a diffuse map at 100% is completely opaque and covers
the base material. At 50%, it is semi-transparent and the base material (the diffuse, ambient, and
other colors of the material without mapping) shows through.
Ambient Color Mapping
Diffuse Color Mapping

Diffuse Level Mapping

Diffuse Roughness Mapping
Specular Color Mapping
Glossiness Mapping
Glossiness and Specular Level Settings
Self-Illumination Mapping
Opacity Mapping
Filter Color Mapping
Anisotropy Mapping
Orientation Mapping
Metalness Mapping
Bump Mapping
Reflection Mapping
Refraction Mapping
The Maps rollout can have unused, disabled control rows at the bottom. This is because the number
of components that can be mapped varies depending on the current shader. The last four rows are
always Bump, Reflection, Refraction, and Displacement, in that order.
Note: The sub-material and sub-map buttons for most materials and maps have check boxes beside
each button. These turn that branch of the material or map off or on. For example, in the Top/
Bottom material, the Top Material and Bottom Material buttons each have check boxes. Similarly,
the Checker map has two map buttons, one for each color. Each button has check box beside it that
lets you turn off that color's map.
Ambient and Diffuse Map Lock
In the Maps rollout, the lock button to the right of the Diffuse Color map button locks ambient
mapping to diffuse mapping. It is on by default. Usually it makes sense to use the same map for the
ambient and diffuse components. To use different maps for ambient and diffuse, turn off the lock
button. The map button for Ambient Color becomes available.
Comments

Types of Maps
Types of Maps
The most common use for maps is to improve the appearance and realism of Materials. You can also
use maps to create environments or projections from lights (see Advanced Effects Rollout ).
Maps can simulate textures, applied designs, reflections, refractions, and other effects. Used with
materials, maps add details without adding complexity to the geometry of an object. (Displacement
mapping can add complexity.)
Accessing Map Types
You use the Material/Map Browser to load a map or create a map of a particular type. The Browser
groups maps into categories according to their type. You can choose whether the Browser lists
maps, materials, or both; you can choose which map types.
To list map types by category:
2. Click Get Material to display the Material/Map Browser.
3. On the left side of the Material/Map Browser, in the Show group, turn off Materials. Leave Maps
turned on.
4. In the lower set of buttons, choose the category you want listed, or choose All to show all map
types.
The list is displayed in the right panel of the Browser.
To open the Browser from the Material Editor:

As you work with materials, you can open the Material/Map Browser from the Material Editor.
2. On the Material Editor toolbar, click Get Material to display the Material/Map Browser.
Understanding Map Types
Different types of maps create different effects and behave in particular ways. They can combine
multiple materials.
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Types of Maps
2D maps are two-dimensional images that are typically mapped onto the surface of geometric
objects, or used as environment maps to create a background for the scene. The simplest 2D
maps are bitmaps; other kinds of 2D maps are generated procedurally.
3D maps are patterns generated procedurally in three dimensions. For example, Marble has a
grain that goes through the assigned geometry. If you cut away part of an object with Marble
assigned as its texture, the interior matches the exterior.
Compositors are for compositing other colors or maps.
Color Modifiers alter the color of pixels in a material.
The "Other" category includes maps that create reflections and refractions.
Maps and mental ray Shaders
When mental ray extensions are enabled (using mental ray preferences) and the mental ray
renderer is active, the Material/Map Browser also lists mental ray shaders. Shaders appear similar to
maps, but with yellow icons. You assign them the way you do maps. The mental ray shaders don't fit
into the map categories described in the previous section, and aren't described in this topic. See
mental ray Shaders for links to shader descriptions.
Tip: When the default scanline renderer is active, you can view mental ray shaders in the Browser
list, and assign them, by turning on Incompatible in the Show group. Incompatible shaders in the list
are displayed in gray.
Maps and Mapping Coordinates
Maps have a spatial orientation. When you apply a material with maps in it to an object, the object
must have mapping coordinates. These are specified in terms of UVW axes local to the object.

Types of Maps
Most objects have a Generate Mapping Coordinates toggle. You can turn this on to provide default
mapping coordinates. If the object has this toggle, it is also turned on automatically when you
render the scene, or use Show Map In Viewport.
Some objects, such as editable meshes, don't have automatic mapping coordinates. For these types
of objects, you can assign coordinates by applying a UVW Map modifier. If you assign a map that
uses a mapping channel, but don't apply a UVW Map modifier to the object, the renderer displays a
warning that lists objects that require mapping coordinates. You can also use UVW Map to change an
object's default mapping.
See Mapping Coordinates.
UVW Mapping Coordinate Channels
Each object can have from 1 to 99 UVWmapping coordinate channels. The default mapping (from the
Generate Mapping Coordinates toggle) is always UVW 1. The UVW Map modifier can send
coordinates to any of these channels.
Each map in a material can use any UVW channel (if present), or other type of mapping that
depends on whether the map is 2D or 3D.
Note: You can set the mapping channel used by NURBS surface sub-objects in their creation or
modification parameters.
Mapping for 2D Maps
You can locate a 2D map on the surface of an object by using a map channel, any assigned vertex
color, or the local or world coordinate systems. You can also choose different environment mappings.
See Coordinates Rollout (2D).
Mapping for 3D Maps
You can locate a 3D map within the volume of an object by using a map channel, any assigned
vertex color, or the local or world coordinate systems. See Coordinates Rollout (3D).
Noise for Maps
Random noise values increase the complexity of maps and can give them a more natural look. For
2D maps, see Noise Rollout (2D). For 3D maps, you can assign a separate Noise map. See Noise
Map.
List of Map Types
2D Map Types
2D map types are either bitmaps or procedurally-generated 2D patterns:

Bitmap: An image saved as an array of pixels in a still-image file format, such as .tga, .bmp, and so

Types of Maps
on, or an animation file such as .avi, .flc, or .ifl. (Animations are essentially sequences of still
images.) Any of the bitmap or animation file types that 3ds max supports can be used as a bitmap
in a material.
Bricks: Creates bricks or other tiled materials with colors or material mappings. Includes commonly
defined architectural brick patterns.
Checker: Combines two colors in a checker pattern. You can replace either color with a map.
Combustion: Works in conjunction with the Discreet combustion product. You can paint directly on
a bitmap or object and have the result update in the Material Editor and viewports. The map can
include other combustion effects. Painting and other effects can be animated.
Gradient: Creates a linear or radial ramp of three colors.
Gradient Ramp: Creates a great variety of ramps, using as many colors, maps, and blends as you
choose.
Swirl: Creates swirled (spiraling) patterns of two colors or maps.
3D Map Types
These 3D maps are included:

Cellular: Generates a cellular pattern that's useful for a variety of visual effects, including mosaic
tiling, pebbled surfaces, and even ocean surfaces.
Dent: Generates three-dimensional bumps over a surface.
Falloff: Generates a value from white to black based on the angular falloff of the face normals on the
surface of the geometry. This complex map provides greater flexibility when creating opacity falloff
effects, and has a number of other specific effects such as Fresnel, Light/Shadow, and Distance
Blend.
Marble: Simulates the grain of marble with two explicit colors and a third intermediate color.
Noise: Creates a turbulence pattern in three dimensions. Like Checker in 2D, it is based on two
colors, either of which can be mapped.
Particle Age: Alters the color (or map) of a particle based on the particle's life.
Particle MBlur: Alters the opacity of the leading and trailing ends of particles based on their rate of
movement. (MBlur is short for Motion Blur.)
Perlin Marble: An alternative, procedural marble map with a turbulence pattern.
Planet: Simulates the contours of a planet as seen from space.
Smoke: Generates fractal-based turbulence patterns to simulate the effects of smoke in a beam of
light or other cloudy, flowing mapping effects.
Speckle: Generates a speckled surface for creating patterned surfaces that can simulate granite and
similar materials.
Splat: Generates a fractal pattern similar to splattered paint.
Stucco: Generates a fractal pattern similar to stucco.

Types of Maps
Water: Creates watery or wavy effects by generating a number of spherical wave centers and
randomly distributing them.
Wood: Creates a 3D wood grain pattern.
Compositor Map Types
These are various types of compositors. In image processing, compositing images superimposes two
or more images to combine them.
Composite: Composites multiple maps. Unlike Mix, Composite doesn't have explicit controls for the
amount of mixing. Instead, it bases the mix amount on the maps' alpha channel.
Mask: A map that controls where a second map is applied to the surface.
Mix: Mixes two colors or two maps. You can adjust the amount of mixing using a blend level you
specify. The blend level can be mapped.
RGB Multiply: Combines two maps by multiplying their RGB and alpha values.
Color Modifiers
These color modifiers are included:

Output: Applies bitmap output functions to parametric maps, such as Checker, that don't have these
settings. These functions adjust the colors output by the map.
RGB Tint: Tints the color of a map based on red, green, and blue values.
Vertex Color: Displays the effects of assigned vertex colors in the rendered scene. You assign vertex
colors from the editable mesh.
Other
These include the map types that generate reflections and refractions:
Flat Mirror: Generates reflections for flat surfaces. You assign it to faces rather than to the object as
a whole.
Raytrace: Creates accurate, fully raytraced reflections and refractions.
Reflect/Refract: Generates reflections or refractions automatically, based on surrounding objects and
the environment.
Thin Wall Refraction: Generates refractions automatically, simulating objects and the environment as
seen through a refractive material such as glass or water.
Comments

2D Maps
2D Maps
2D Maps are two-dimensional images that are typically mapped onto the surface of geometric
objects, or used as environment maps to create a background for the scene. The simplest 2D maps
are bitmaps; other kinds of 2D maps are generated procedurally.
Bitmap: An image saved as an array of pixels in one of a number of still-image file formats, such as .
tga, .bmp, and so on, or an animation file such as .avi, .flc, or .ifl. (Animations are essentially
sequences of still images.) Any of the bitmap (or animation) file types that 3ds max supports can
be used as a bitmap in a material.
Bricks: Creates bricks or other tiled materials with colors or material mappings. Includes commonly
defined architectural brick patterns, but you can also customize patterns.
Checker: Combines two colors in a checker pattern. You can replace either color with a map.
Combustion: Works in conjunction with the Discreet combustion product. You can paint directly on
a bitmap or object and have the result update in the Material Editor and viewports. The map can
include other combustion effects. Painting and other effects can be animated.
Gradient: Creates a linear or radial ramp of three colors.
Gradient Ramp: Creates a great variety of ramps, using as many colors, maps, and blends as you
choose.
Swirl: Creates swirled (spiraling) patterns of two colors or maps.
Comments
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Bitmap 2D Map
Bitmap 2D Map
Material Editor > Maps rollout > Click a Map button. > Material/Map Browser > Bitmap
Bitmaps shown in Material Editor sample slots
A bitmap is an image produced by a fixed matrix of colored pixels, like a mosaic. Bitmaps are useful
for creating many kinds of materials, from wood grains and wall surfaces to skin and feathers. You
can also use an animation or video file instead of a bitmap to create an animated material.
When you assign the Bitmap map, the Select Bitmap Image File dialog opens automatically. Use this
dialog to specify a file or sequence as the bitmap image.
New in the Bitmap map is the ability to synchronize the frames of a bitmap sequence to the age
of particles to which the map is applied. With this effect, each particle displays the sequence from
the start when it is born, rather than being assigned whichever frame is current. This is achieved by
turning on the Sync Frames to Particle Age check box. Also, when using Particle Flow, assign the
material containing the Bitmap map to a Material Dynamic operator. For more details and a
procedure, see Material Dynamic Operator.
Supported File Types
The Material Editor supports the following file formats:

AVI Files
BMP Files
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Bitmap 2D Map
CIN Files (Kodak Cineon)

DDS Files
FLC Files
GIF Files
IFL Files
MOV Files (QuickTime Movies)
JPEG Files
PNG Files
PSD Files
RGB Files (SGI format)
RLA Files
RPF Files
TGA Files (Targa)
TIFF Files
YUV Files
Note: If your scene includes animated bitmaps with materials, projector lights, or environments, the
animation file is reloaded once per frame. If your scene uses multiple animations, or if the
animations are large files, rendering will be slower.
See also
For functionality shared with other 2D maps, see the following topics:
Noise Rollout (2D)
Output Rollout
Procedures
To crop an image:
1. On the Bitmap Parameters rollout, click the Bitmap button and assign a bitmap.
2. In the Cropping/Placement group, turn on Apply to see the results of cropping in the sample
slot (and in shaded viewports, if Show Map In Viewport is active).
3. Turn on Crop.
4. Click View Image to display the bitmap.

Bitmap 2D Map
A frame window appears, displaying the image surrounded by a region outline (a dashed line at
the outer edges of the image, with handles on the sides and corners).
5. Specify a cropping region by adjusting the spinners at the top of the window, or by dragging
the region outline.
To place an image:
1. On the Bitmap Parameters rollout, click the Bitmap button and assign a bitmap.
2. In the Cropping/Placement group, turn on Apply to see the results of cropping in the sample
slot (and in shaded viewports if Show Map In Viewport is active).
3. Turn on Place.
4. Click View Image.

A frame window appears, displaying the image surrounded by a region outline (a dashed line at
the outer edges of the image, with handles on the sides and corners).
5. Move the image by adjusting the spinners at the top of the window, or by dragging the region
outline.
The reduced image "decals" on the sample sphere. The diffuse color is visible around the
image.
To use the alpha channel that is part of the bitmap:
1. On the Maps rollout, assign the map to the Opacity component.

(You can assign a copy or instance of this map to other components, such as Diffuse, as well.)
2. Click the map button for the Opacity component.

This lets you adjust the settings for the Opacity map.
3. In the Bitmap Parameters rollout > Alpha Source group, choose Image Alpha.
This option is not available if the bitmap does not have an alpha channel.
4. In the Bitmap Parameters rollout > Mono Channel Output group, choose Alpha.
This option is not available if the bitmap does not have an alpha channel.
The bitmapped material will now have the transparency specified by the alpha channel. This will
appear in renderings. Transparency does not appear in viewports or ActiveShade renderings.
To create an alpha channel based on intensity:
In Bitmap Parameters rollout > Alpha Source group, turn on RGB Intensity.
The software creates an alpha channel. Full-intensity areas of the image are opaque, zero-
intensity areas are transparent, and intermediate colors become partially transparent.

Bitmap 2D Map
To use a completely opaque bitmap:
In Bitmap Parameters rollout > Alpha Source group, turn on None (opaque).
The software ignores the bitmap's alpha channel, if present, and does not create a new one.
Interface
Bitmap Parameters rollout
BitmapSelects the bitmap using the standard file browser. After selection, the full path name
appears on this button.
ReloadReloads the bitmap file using the same name and path. You dont need to use the file
browser to reload the bitmap after you've updated it in your paint program.
Clicking reload for any instance of the map updates the map in all sample slots and in the scene.
Filtering group
Filtering options let you select the method of pixel averaging used in antialiasing the bitmap.
PyramidalRequires less memory and is adequate for most purposes.
Summed AreaRequires much more memory, but yields generally superior results.
NoneTurns off filtering.
Mono Channel Output group

Bitmap 2D Map
Some parameters, such as opacity or specular level are a single value as opposed to a material's
three-value color components. Controls in this group determine the source of the Output mono
channel in terms of the input bitmap.
RGB IntensityUses the intensity of the red, green, and blue channels for mapping. The color of
the pixels is ignored and only the value or luminance of the pixels is used. The colors are computed
as gray values in the range between 0 (black) and 255 (white).
AlphaUses the intensity of the alpha channel for mapping.
RGB Channel Output group
The RGB Channel Output determines where the output RGB part comes from. The controls in this
group affect only maps for material components that display color: Ambient, Diffuse, Specular, Filter
Color, Reflection, and Refraction.
RGBDisplays the full color values of the pixels. (Default)
Alpha as GrayDisplays tones of gray based on the levels of the alpha channel.
Cropping/Placement group
The controls in this group let you crop the bitmap or reduce its size for custom placement. Cropping
a bitmap means to reduce it to a smaller rectangular area than it originally had. Cropping doesn't
change the scale of the bitmap.
Placing a bitmap lets you scale the map and place it anywhere within its tile. Placing can change the
bitmap's scale, but shows the entire bitmap. The four values that specify the placement and size of
the cropping or placement region are all animatable.
Cropping and placement settings affect the bitmap only as it's used for this map and any instances
of the map. They have no effect on the bitmap file itself.
ApplyTurn on to use the cropping or placements settings.
View ImageDisplays a rendered frame window that shows the bitmap surrounded by a region
outline. The region outline has handles at its sides and corners. When cropping is on, dragging the
handles changes the size of the crop area. You can also drag within the region area to move it.
The frame window has U/V and W/H (width/height) spinners on its toolbar. Use these to adjust the
location and size the image or crop area.
When Place is turned on, dragging the region area handles changes the scale of the bitmap (hold
down CTRL to preserve the bitmap's aspect ratio), and dragging the image changes its location
within the tile area.
When Crop is turned on, the UV or XY button at the right of the rendered frame window toolbar lets
you switch between using UV or XY coordinates in the toolbar spinners. Also, you can zoom out by
pressing SHIFT+Z and zoom in by pressing Z.
CropMakes cropping active.
PlaceMakes placement active.

Bitmap 2D Map
U/VAdjusts the bitmap location.

W/HAdjusts the width and height of the bitmap or crop area.
Jitter PlacementSpecifies the amount of random offset. At 0, there is no random offset. Range =
0.0 to 1.0
When Place is turned on, the size and position specified by the spinners or editing window are
ignored. The software then chooses a random size and tile position for the image.
Alpha Source group
Controls in this group determine the source of the Output alpha channel in terms of the input
bitmap.
Image AlphaUses the image's alpha channel (disabled if the image has no alpha channel).
RGB IntensityConverts the colors in the bitmap to grayscale tonal values and uses them for
transparency. Black is transparent and white is opaque.
None (Opaque)Does not use transparency.
Premultiplied AlphaDetermines how alpha is treated in the bitmap. When turned on, the default,
premultiplied alpha is expected in the file. When turned off, the alpha is treated as non-
premultiplied, and any RGB values are ignored.
Tip: If you apply an alpha image as a Diffuse map, for example, and it doesn't decal correctly, the
bitmap file probably contains non-premultiplied alpha; the RGB values are maintained separately
from the alpha values. To correct this, turn off Premultiplied Alpha.
Time rollout
These controls let you change the start time and speed of FLIC and AVI files used as animated
texture maps. They make it easier to use sequences of images as maps in scenes, because you can
control the timing very precisely
Start FrameSpecifies the frame where the playback of the animated map will begin.
Playback RateLets you speed up and slow down the rate that the animation is applied to the map
(for example, 1.0 is normal speed, 2.0 is twice as fast, .333 is 1/3 as fast).
Sync Frames to Particle AgeWhen on, the software synchronizes the frames of a bitmap
sequence to the age of particles to which the map is applied. With this effect, each particle displays

Bitmap 2D Map
the sequence from the start when it is born, rather than being assigned whichever frame is current.
Default=off.
When using Particle Flow, assign the material containing the Bitmap map to a Material Dynamic
operator. For more details and a procedure, see Material Dynamic Operator.
Note: This functionality is not supported by the mental ray renderer.
End Condition group
These controls determine what happens after the last frame of the animation.
LoopCauses the animation to loop over and over again.
Ping-PongCauses the animation to be played backward, making every animated sequence "loop
smoothly."
HoldCauses the last frame of the animation to be frozen on the surface until the end of the scene.
Comments

Select Bitmap Image File Dialog
Material Editor > Maps Rollout > Click any map selector button. > Material/Map Browser > Double-
click Bitmap. > Select Bitmap Image.
Material Editor > Bitmap map > Bitmap Parameters rollout > Bitmap button
The Select Bitmap Image dialog allows you to choose a file or sequence of files for a map. If a
sequence of files is selected by turning on Sequence, the Image File List Control dialog is opened
when you click Setup or Open.
Procedures
To select a bitmap image for a map:
1. In the Material Editor, open the Maps rollout.
2. Click any button in the Map column.

This adds a map into the channel you've selected. For example, clicking in the Map column of
the Diffuse channel creates a diffuse or texture map.
The Material Map Browser is displayed.
3. In the Material/Map Browser, double-click Bitmap.

The Select Bitmap Image dialog is displayed.
4. In the Select Bitmap Image dialog, navigate the Look In field to select the appropriate
directory.
Note: The Select Bitmap Image File dialog uses the last location where a bitmap was chosen,
rather than the default bitmap path defined in Customize > Configure Paths.
5. Highlight the file name in the file list window.
6. Click Open to close the dialog.
To select a set of still images as a bitmap sequence:
1. In the Material Editor, open the Maps rollout.
2. Click any button in the Map column.

This adds a map into the channel you've selected. For example, clicking in the Map column of
the Diffuse channel creates a diffuse or texture map.
The Material Map Browser is displayed.
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3. In the Material/Map Browser, double-click Bitmap.

The Select Bitmap Image dialog is displayed.
4. In the Select Bitmap Image dialog, navigate the Look in field to select the directory containing
the sequence of files.
5. If necessary, change file type to match the file extension of the sequence, or choose All
Formats.
6. Turn on Sequence, and choose the name of the first sequential file.
7. Click the Setup button, and the Image File List Control Dialog appears.
8. Set the Target path to a writable directory on your hard disk using the Browse button. Do not
set this to a CD-ROM drive.
9. Choose the options you want and press OK.

The .ifl file will be written to the target directory.
Interface

HistoryDisplays a list of the most recent directories searched. Whenever an image is selected, the
path used is added to the top of the history list as the most recently used path. The history
information is saved in the 3dsmax.ini.
Look InOpens a navigation window to browse other directories or drives.
Up One LevelMoves you up a level in the directory structure.
ListDisplays the contents of a directory without the details.
DetailsDisplays the contents of a directory with all the details.

List WindowWhen details are turned on, the contents of the directory are displayed with Name,
Size, Type, Date Modified, and Attributes. You can sort based on each of these columns by clicking
the column label.

File NameDisplays the file name of the file selected in the list.
Files of TypeDisplays all the file types that can be displayed. This serves as a filter for the list.
OpenSelects the highlighted file and closes the dialog.
CancelCancels the selection and closes the dialog.
DevicesLets you choose the hardware output device, for example, a digital video recorder. The
device, its driver, and its 3ds max plug-in must all be installed on your system to use the device.
SetupWhen Sequence is turned on, and there are sequential files in the directory displayed, this
Setup displays an Image File List Control dialog to create an IFL file.
InfoDisplays expanded information about the file, such as frame rate, compression quality, file
size, and resolution. The information here depends on the type of information that is saved with the
file type.
ViewDisplays the file at its actual resolution. If the file is a movie, the Media Player is opened so
the file can be played.
Gamma Group
GammaSelects the type of gamma to be used for the selected file. This is unavailable unless
Enable Gamma Correction is turned on in the Gamma panel of the Preferences dialog.
Use Images Own GammaUses the gamma of the incoming bitmap.
gamma instead, as set in the Gamma panel of the Preferences dialog.
default.
SequenceCreates an "Image File List " using the given information. Note that each time an image
is selected, an evaluation is done to see if an IFL sequence can be created. If the selected image
does not yield a list, this option box is unavailable. In the past, it was necessary to enter a wild card
in order to create a list. Now it is possible to use wild card to filter files in the file selector.
PreviewDisplays the image as a thumbnail in the image window.
Image WindowDisplays a thumbnail of the selected file.
StatisticsDisplays the resolution, color depth, file type, and number of frames of the selected file.
LocationDisplays the full path for the file. With this information at the bottom of the dialog, you
always know exactly where you are.
Comments

Material Dynamic Operator
Particle View > Click Material Dynamic in an event or add a Material Dynamic operator to the
particle system and then select it.
The Material Dynamic operator lets you give particles material IDs that can vary during the event. It
also lets you assign a different material to each particle based on its material ID. When used with an
animated texture, this lets you assign a different frame or map to each particle based on its total
age or the amount of time it has spent in the current event. In this context, one example of an
animated texture is a material that uses a multi-frame bitmap, such as an AVI file, as the Diffuse
Bitmap map. Other examples of animated textures are materials that use the Particle Age map or
the Particle MBlur map. Alternatively, you can use different sub-materials from a compound material
such as Multi/Sub-Object.
Note: When using Object Motion Blur, if an event contains a Material Dynamic operator that uses a
material with a Particle Age/MBlur/Bitmap map, the event should not also contain a Delete operator,
or a Spawn or Collision Spawn test. Also, the event should not contain any tests that are wired to
another event. The only exception to this is the Age Test operator when set to Absolute Time without
any variation; that is, all particles leave the event at the same time. This applies to the use of Object
Motion Blur only; there are no restrictions with Image Motion Blur.
See also
Overview of Materials in Particle View

Material Static Operator
Material Frequency Operator
Procedure
Example: To assign animation frames to particles based on age:
1. Prepare a file to be used as the animated bitmap. This can be a multiple-frame format such as
AVI, or an image file list (IFL file) that points to a sequence of still images. With the latter, you
can use images in a format such as Targa that contain predefined alpha channels to specify
particle opacity selectively.
2. Open the Material Editor, and assign a Bitmap map as the Diffuse map.
3. Use the Select Bitmap Image File dialog to assign the file from step 1 as the bitmap. This dialog
appears automatically when you first assign a Bitmap map; alternatively, click the Bitmap
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button on the map's Bitmap Parameters rollout.
4. On the map's Time rollout, turn on Sync Frames To Particle Age.
5. If you want to use the image background or alpha channel to define transparency, on the Maps
rollout, copy this map to the Opacity slot, and set the parameters accordingly.
6. At the material level, turn on Show Map In Viewport.
7. Add a camera to the scene and set it up as desired. Activate the Perspective viewport and press
the C key to set the viewport to show the camera view.
8. Create a default Particle Flow system.
9. Open Particle View.
10. Replace the Shape operator with a Shape Facing operator.

Using this operator makes it easier to see the animation.
11. Click the Shape Facing operator, and in its rollout, click the Look At Camera/Object button, and
then select the camera.
12. In the Size/Width group, increase In World Space > Units to about 15.
13. Add a Material Dynamic operator to Event 01, and assign it the material from the beginning of
this procedure.
14. Turn on Show In Viewport.
15. In the Animated Texture group, make sure Same As Particle ID is chosen, and turn on Reset
Particle Age.
Always choose Same As Particle ID with an animated texture, and one of the Sub-Material
Rotoscoping options when using a compound material.
Turning on Reset Particle Age causes the software to set particles to age 0 as they enter the
event. In this example, the particles are born in the event, so technically it's not necessary to
turn on Reset Particle Age. However, it's a good habit to get into to ensure that the animation
always plays from the first frame.

In the viewport, the bitmap animation advances as the particles move, but all the particles
show the same frame, regardless of age. This is anomalous behavior related to the limitations
of viewport interactivity. The particles render correctly, however.
17. Render the animation.

As each particle is born, it begins displaying the animation from the first frame. At each frame,
each particle's age is incremented, and it displays the next frame from the applied map.
Example: To use the Particle Age map:

The Particle Age map applies up to three different colors or maps to particles throughout their life
span, gradually changing from one to the next as the particles age. This effect can be used, for
example for sparks flying from a fire: At first they're yellow; then, as they cool down, they turn red,
and finally they become gray ashes. In order for Particle Age to know how far a particle has
progressed through its life span, the particle has to be given a finite life. You do this using the Delete
operator.
1. Start or reset the program, and add a Particle Flow system.
2. Open Particle View and the Material Editor. Position them side by side.
3. In Particle View, add a Material Dynamic operator and a Delete operator to Event 01.
For Particle Age to work, the Delete operator must be in the same event as the Material
Dynamic operator. Alternatively, you can add the Delete operator to the global event so that it
affects every event.
4. Click the Delete operator, and in the parameters panel, choose By Particle Age, and set Life
Span=100 and Variation=0.
This gives each particle a life span of 3 1/3 seconds.
5. Click the Material Dynamic operator.
6. In the Material Editor, assign a Particle Age map as the Diffuse map. On the Particle Age
Parameters rollout, set three different colors, such as red, green, and blue. Also change the
Age percentage values as necessary. For example, if you want each particle to show the second
color a third of the way through its life instead of halfway, change Age #2 to 33.
7. Drag the active material from its sample slot to the material button on the Material Dynamic
parameters rollout in Particle View. When the Instance (Copy) dialog appears, click OK to
accept the default choice: Instance.
8. In the Material Dynamic parameters, make sure Assign Material ID is on.

If it isn't, the particles all change color at the same time.
There's no need to turn on Show In Viewport; the Particle Age map doesn't appear in the
viewports.
9. Render the animation, or a few representative frames.

As each particle falls, it gradually changes color, with the oldest particles changing first.
Tip: You needn't actually delete the particles to use this method. There are several ways to
avoid this. You could set Life Span to a higher number than the length of the animation, and
then, in the Particle Age map parameters, lower the Age #2 and Age #3 settings. Or, if you're
using a local Delete operator, you could use an Age test to move the particles into another
event just before they're scheduled to be deleted. In that case, to avoid an abrupt color
change, you might want to add to subsequent events a Material Static operator with a material
that uses the same final color or map as the Particle Age map.

Interface
The user interface appears in the parameters panel, on the right side of the Particle View dialog.
Assign MaterialWhen on, the operator assigns the specified material (see next parameter) to the
particles. Default=on.
[button]Use this button to assign a material to the operator. Click the button and then use the
Material/Map Browser to choose the material. Alternatively, drag the material from a Material Editor
sample slot to the button.
After you assign a material to the operator, its name appears on the button.
Assign Material IDWhen on, the operator defines a material ID number for each particle.
Default=on.
In general, this should remain on. Particle Flow uses the material ID with the Particle Age map to
find the particle's other properties, including its life span and current age. And it uses the material ID
with compound materials to know which sub-material to assign to a particle.

Show In ViewportWhen on, the material is shown applied to the particles in the viewports when
the particles are displayed as geometry.
Assignment Method
The Material Dynamic operator lets you assign Material IDs to particles in several different ways,
depending on whether you're using an animated texture or a compound material. Default=Same As
Particle ID.
Animated Texture group
Same As Particle IDAssigns the same material ID to a particle as its particle ID. Choose this
when using a material containing an animated texture, such as a Bitmap, Particle Age, or Particle
MBlur map.
Note: Particle Flow assigns Particle IDs consecutively to particles at birth, starting with 0. Although
the highest possible Particle ID is over 2,000,000,000, the highest possible material ID is 65535.
Thereafter, the numbering sequence starts again at 0. Thus, when using a Particle Age map in a
material assigned to the Material Dynamic operator, for best results, use a total of 65,536 particles
or fewer.
Reset Particle AgeWhen on, sets each particle's age to 0 when it enters the event.
When using an animated material with a Bitmap map, turn this on to ensure that the animation
always plays from the first frame.
Randomize Age OffsetWhen on, the software varies the difference between the particle age and
the starting material ID at random. The maximum difference is determined by the Max Offset
parameter.
Max OffsetThe maximum number of frames by which the software can randomly vary particle
age.
Sub-Material Rotoscoping group
These settings let you choose the basis on which the operator changes material ID assignments
when using a compound material such as Multi/Sub-Object, and specify the rate of change.
Material IDAssigns the same material ID to all particles. Use the numeric field to set the ID value.
CycleAssigns each particle a material ID in the range 1 to N, where N=# Sub-Materials, in
increasing sequential order. The first ID assigned is 1, then 2, continuing to increment each by 1
until N; then 1 again, and so on.
RandomAssigns each particle a random material ID in the range 1 to N, where N=# Sub-
Materials.
# Sub-MaterialsThe highest ID number assigned to particles using the Cycle or Random option.
In general, set this to the same number of sub-materials in the Multi/Sub-Object material. If you set
it to a smaller number, the operator will use only that many sub-materials, starting with the first and
counting upward.

Note: The software automatically sets this value to the number of sub-materials in the material,
once only, the first time you apply the material to the operator. Any subsequent changes in the
material itself, or applying a different material to the operator, will not change or update the setting.
Rate Per Sec(ond)Sets the number of times per second that the assigned material ID is
incremented. If this value is the same as the rate at which particles enter the event, then one ID is
assigned per particle. If it's lower, then multiple particles are given the same ID, or if it's higher,
then the software increments the assigned ID faster than 1 per particle.
For instance, if particles enter the event at intervals of 1/60 of a second, and Per Second=30, then
each pair of particles will be assigned the same ID. Or if particles enter the event at intervals of 1/15
of a second, and Per Second=30, then the ID is incremented (or changed randomly) twice per
particle.
LoopWhen on, and the last ID has been assigned, the software loops back around to the first ID
and continues the cycle. When off, the software assigns the last cycle ID to all subsequent particles.
Available only with the Cycle assignment method. Default=off.
For example, say you want the first eight particles that enter the event to use different materials,
and all subsequent particles to use a ninth material. To do so, you would create a nine-sub-material
Multi/Sub-Object material and assign it to the Material Dynamic operator. Choose the Cycle
assignment method, and set # Sub-Materials=9. Set the Rate Per Sec value to the rate at which
particles enter the event. Lastly, turn off Loop.
Sync ByChoose the time frame for applying animated parameters. Available only with the Material
ID and Cycle options.
Absolute TimeAny keys set for parameters are applied at the actual frames for which they're
set.
Particle AgeAny keys set for parameters are applied at the corresponding frames of each
particle's existence.
Event DurationAny keys set for parameters are applied to each particle starting when it first
enters the event.
Rand OffsetWhen on, the software varies the difference between the particle age and the
assigned material ID at random. The maximum difference is determined by the numeric parameter.
Available only with the Material ID and Cycle options.
Uniqueness group
The Uniqueness setting varies the sequence of assigned IDs with the Random option, and the offset
with the Randomize Age Offset option.
SeedSpecifies a randomization value.
NewCalculates a new seed using a randomization formula.

Comments

Particle View
Particle View
Select a Particle Flow source icon > Modify panel > Setup rollout > Click Particle View (or press 6).
Create panel > Geometry > Particle Systems > Object Type rollout > Click PF Source. > Setup rollout > Click Particle View (or press
6).
Particle View provides the main user interface for creating and modifying particle systems in Particle Flow. The main window, known
as the event display, contains the particle diagram, which describes the particle system. A particle system consists of one or more
events wired together, each of which contains a list of one or more operators and tests. Operators and tests are known collectively as
actions.
The first event is called the global event, because any operators it contains can affect the entire particle system. The global event
always has the same name as the Particle Flow icon; by default, this is PF Source ## (starting with 01 and counting upward).
Following this is the birth event, which must contain a Birth operator if the system is to generate particles. By default, the birth event
contains this operator as well as several others that define the system's initial properties. You can add any number of subsequent
events to a particle system; collectively, the birth event and additional events are called local events. They're called this because a
local event's actions typically affect only particles currently in the event.
You use tests to determine when particles are eligible to leave the current event and enter a different one. To indicate where they
should go next, you wire the test to another event. This wiring defines the schematic, or flow, of the particle system.
By default, the name of each operator and test in an event is followed by its most important setting or settings in parentheses. Above
the event display is a menu bar, and below is the depot, containing all actions available for use in the particle system, as well as a
selection of default particle systems.
Tip: The easiest way to open Particle View is by pressing the 6 key. It's not necessary to first select a Particle Flow icon.
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Particle View
1. Menu bar
2. Event display
3. Parameters panel
4. Depot
5. Description panel
6. Display tools
Particle View comprises the following elements:
The menu bar provides functions for editing, selection, adjusting the view, and analyzing the particle system.
The event display contains the particle diagram, and provides functions for modifying the particle system.
The parameters panel contains rollouts for viewing and editing parameters of any selected actions. Basic functionality is identical to
that of rollouts on the 3ds max command panels, including usage of the right-click menu.
To toggle display of the parameters panel, choose Display menu > Parameters.
The depot contains all Particle Flow actions, as well as several default particle systems. To see an item's description, click its entry
in the depot. To use an item, drag it into the event display.
The contents of the depot fall into three categories: operators, tests, and flows.
To toggle display of the depot, choose Display menu > Depot.
The Description panel displays a brief description of the highlighted depot item.
To toggle display of the description panel, choose Display menu > Description.
The icon-based display tools in the bottom-right corner of the Particle View dialog let you pan and zoom the event display window.
For descriptions, see Display menu.
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Operators
Operators
The operator is the basic element of the particle system; you combine operators into events to
specify the particles' characteristics over a given period of time. Operators let you describe particle
speed and direction, shape, appearance, and more.
The operators reside in two groups in the Particle View depot, and within each group appear in
alphabetical order. Each operator's icon has a blue background, except for the Birth operators, which
have a green background. The first group contains operators that directly affect particle behavior,
such as transformation.
The second group, found at the end of the depot listing, contains four operators that serve more of a
utility function: Cache, for optimizing particle-system playback; Display, for determining how
particles appear in the viewports; Notes, for adding comments; and Render, for specifying render-
time characteristics.
The Particle Flow operators in the Particle View depot
The primary operators in Particle Flow are:

Birth Operator
Birth Script Operator
Delete Operator
Force Operator
Keep Apart Operator
Mapping Operator
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Operators

Position Icon Operator
Position Object Operator
Rotation Operator
Spin Operator
Scale Operator
Script Operator
Shape Operator
Shape Facing Operator
Shape Instance Operator
Shape Mark Operator
Speed Operator
Speed By Icon Operator
Speed By Surface Operator
The utility operators are:

Cache Operator
Display Operator
Notes Operator
Render Operator
See also
Flows
Tests
Comments
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Birth Operator
Birth Operator
Particle View > Click Birth in an event or add a Birth operator to the particle system and then
select it.
The Birth operator enables creation of particles within the Particle Flow system using a set of simple
parameters. In general, use Birth as the first operator in any event connected directly to a global
event; this is called the birth event.
You can specify a total number of particles, or a rate of particles born per second. You can also tell
the system when to begin emitting particles, and when to stop.
Note: The Birth operator must always come at the beginning of a particle stream; the system
doesn't let you position it elsewhere. You can place a Birth operator in an isolated event, but you
can't then wire that event in series with a stream that already uses a Birth operator. However, you
can wire multiple Birth operators, each in its own event, into a particle stream with an existing Birth
operator, in parallel. The following procedure illustrates this. If you need to create particles
midstream, use the Spawn Test or Collision Spawn Test test.
See also
Procedure
To use the Birth operator:

This procedure demonstrates the impossibility of using multiple Birth operators in series, and shows
how to use multiple Birth operators in parallel.
1. Start or reset the software, and add a new PF Source object to the scene.
2. Press 6 to open Particle View.

The default particle system contains a Birth operator as the first action in the birth event.
3. Try to drag the Birth operator elsewhere in Event 01.

You can't. As you drag over the different actions in Event 01, a red line appears at the top of
the event, showing that the Birth operator will be placed here, no matter where you release the
mouse button.
4. Try to drag a new Birth operator from the depot to Event 01.
As in the previous step, the only place you can drop the Birth operator is at the top of the
event, replacing the existing Birth operator.
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Birth Operator
5. From the depot, drag the Birth operator to an empty area in the event display.
Particle Flow creates a new birth event, Event 02, containing the Birth operator and a Display
operator.
6. Wire the output of the global event, PF Source 01, to the event input of Event 02.
Each birth event must be associated with a global event to be able to generate particles.
7. From the depot, add a Send Out test at the end of both Event 01 and Event 02.
8. Try to wire the test output of Event 02 to the event input of Event 01.
Particle Flow doesn't let you, because this would result in two Birth operators in series.
9. Try to wire the test output of Event 01 to the event input of Event 02.
Again, Particle Flow doesn't let you, because this would result in two Birth operators in series.
10. Drag a Speed operator to an empty area of the event display.

Particle Flow creates a new event, Event 03.
11. Wire the test output of Event 01 to the event input of Event 03.
12. Wire the test output of Event 02 to the event input of Event 03.
There's no problem wiring the two birth events to a single, third event. The birth events exist in
the particle stream in parallel, each generating particles independently and then feeding its
particle stream into a common event, where the two streams are combined.
If the second birth event had its own global event, you could, at any point further downstream,
separate the streams back out according to their origin using the Split Source test. To do this,
delete the wire from PF Source 01 to Event 02, add an Empty Flow to the system, and then
wire it to Event 02.
Interface
Emit StartThe frame number at which the operator begins emitting particles.

Birth Operator
Emit StopThe frame number at which the operator stops emitting particles.
Note: The Emit Start and Emit Stop values are tied to the system frame rate. If you change the
frame rate, Particle Flow automatically adjusts the Emit values accordingly. For example, if you set
Emit Start to 120 and Emit Stop to 300 using the default NTSC frame rate (30 fps), and then switch
to PAL (25 fps) using the Time Configuration dialog, you've reduced the frame rate to 5/6 of the
original value. Thus, Particle Flow automatically uses the same ratio to adjust the Emit settings,
resulting in an Emit Start value of 100 and an Emit Stop value of 250. This allows the particle
system to retain the timing you specify, no matter which frame rate you use.
Note: With Subframe Sampling off, such adjustments are rounded off to the nearest integer frame
number. With Subframe Sampling on, fractional frame values that result from such adjustments will
be used, but not displayed.
AmountTo specify the total number of particles emitted by the operator, choose Amount, and
then set the quantity of particles.
Using the Amount option, the first particle is always emitted at the Emit Start frame, and the last
particle is always emitted at the Emit Stop frame. Particles emitted between these endpoints appear
at equal intervals within the emission period. For example, if you set Amount to 3, the second
particle is emitted halfway through the emission period.
To determine the number of particles emitted per frame when using Amount, divide the Amount
value by the number of emission frames (Emit Stop-Emit Start+1).
RateTo specify the number of particles emitted per second, choose Rate, and then set the value.
The operator emits this number of particles per second starting at the Emit Start frame and ending
at the Emit Stop frame.
If you specify a birth rate value that isnt an integer multiple of the system frames-per-second value
(set in the Time Configuration dialog), Particle Flow uses interpolation to determine when to emit
particles. For example, if you use the system default rate of 30 frames per second, and set the birth
rate to 4, the system would emit each particle at intervals of seven or eight frames if Subframe
Sampling is off, or at intervals of 7.5 frames if Subframe Sampling is on.
TotalThe calculated total number of particles emitted by the operator.
Subframe SamplingTurning this on helps avoid particle "puffing" by emitting particles at a much
higher subframe resolution (that is, throughout each frame), rather than using the relatively coarse
frame resolution. Default=on.
"Puffing" is the effect of emitting separate "puffs" or clusters of particles, rather than a continuous
stream. This effect is especially noticeable when the emitter is animated.
Turn off Subframe Sampling to cause particles to be emitted exactly at frame times. This makes it
easier to sort particles by their age later.
Tip: If, when using the Collision or Collision Spawn test, you experience an irregular particle stream,
try turning off Subframe Sampling.

Birth Operator
Comments

Global Event
Glossary
Global Event
The first event in a particle flow is always a global event, whose contents affect all particles in the
flow; the rest are local events. Although a global event has the same name as the Particle Flow
source icon, selecting the source icon in a viewport doesn't highlight the global event, nor does
highlighting a global event select the corresponding source icon.
Global event (highlighted)
By default, the global event contains a single Render operator that specifies rendering properties for
all particles in the flow. You can add other operators here to have them act globally, such as
Material, Display, and Speed.
Note: A global event is the only event that can be wired to another event without using a test. It's
almost always wired directly to a birth event.
Important: When you use an operator globally, be sure not to use the same operator
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Global Event
locally (that is, in any other events in the system) to avoid potential conflicts.
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Event
Glossary
Event
The event is the basic unit of organization in a Particle Flow particle diagram. There are two types of
events: global and local. A birth event is a specialized type of local event.
1. Global event
2. Birth event
3. Local event
Each event contains one or more actions, which can affect particle behavior or appearance. You can
use tests to send particles to other events if the particles meet certain qualifications. A single chain
of linked events as shown in Particle View is known as a flow.
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Particle Diagram
Glossary
Particle Diagram
The particle diagram is the graphical depiction of the particle system in Particle View. It uses events
and wires to represent the system's elements and logic. You edit the system by clicking actions and
events in the diagram and changing their values, by adding new actions and events, and by creating
wires between events.
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Particle System (Particle Flow)
Glossary
Particle System (Particle Flow)

A particle system in Particle Flow consists of all flows defined in Particle View, as well as parameters
defined for all Particle Flow sources. In effect, it's the totality of settings in Particle Flow.
Comments
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Flow
Glossary
Flow
A particle system can contain any number of separate particle flows. Each flow consists of an
isolated chain or sequence of events, as depicted in Particle View. A flow typically contains a global
event and a birth event, and any number of additional local events.
A particle system containing four separate flows
Comments
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Wire
Glossary
Wire
Particle Flow uses wires to show connections between events in Particle View. There are two types of
wires: one that connects a global event to a birth event, represented by a dashed blue line; and one
that connects a test to a local event, represented by a solid blue line.
Wire from global event to birth event (above); wire from test to local event (below)
To wire a test to an event, drag from its test output, the blue dot that by default sticks out to the left
of the test, to the event's event input, which sticks out from the top, or vice-versa. Similarly, you
can wire a global event to a birth event by dragging between the source output on the bottom of the
global event and the event input.
The mouse cursor resembles the first image when you can begin this operation: the
bottom portion is the top of a small square. The cursor resembles the second image when you can
complete the operation: the square at the bottom has become an arrow.
To delete a wire, right-click it and choose Delete Wire, or click it (it highlights in yellow) and then
press the DELETE key. Or, with a wire between a test and an event, drag from either connector to a
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Wire
blank area of the event display.
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Local Event
Glossary
Local Event
Particle Flow uses two types of events: global and local. All events in a flow except the first are
called local events, because the actions they contain take effect only while particles are in that
event. The birth event is a special type of local event that always comes immediately after a global
event.
Comments
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Action
Glossary
Action
Operators and tests in Particle Flow are known collectively as actions.
Comments
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Operator
Glossary
Operator
In Particle Flow, the operator is the basic element of the particle system; you combine operators into
events to specify the particles' characteristics over a given period of time. Operators let you describe
particle speed and direction, shape, surface properties, and more.
A list of all operators in Particle Flow is available in the Operators topic.
See also
Test
Comments
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Particle Flow
Particle Flow
Particle Flow is a new, extremely versatile and powerful particle system for 3ds max. It employs an
event-driven model, using a special dialog called Particle View. In Particle View, you combine
individual operators that describe particle properties such as shape, speed, direction, and rotation
over a period of time into groups called events. Each operator provides a set of parameters, many of
which you can animate to change particle behavior during the event. As the event transpires,
Particle Flow continually evaluates each operator in the list and updates the particle system
accordingly.
To achieve more substantial changes in particle properties and behavior, you can create a flow. The
flow sends particles from event to event using tests, which let you wire events together in series. A
test can check, for example, whether a particle has passed a certain age, how fast it's moving, or
whether it has collided with a deflector. Particles that pass the test move on to the next event, while
those that don't meet the test criteria remain in the current event, possibly to undergo other tests.
Note: Operators and tests are known collectively as actions.
Following are the principal sections in the Particle Flow documentation:
Using Particle Flow
Particle Flow User Interface
Actions
The introductory tutorial, and the remaining Particle Flow Tutorials.
See also
Non-Event-Driven Particle Systems
Comments
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Test
Glossary
Test
The basic function of a test in Particle Flow is to determine whether particles satisfy one or more
conditions, and if so, make them available for sending to another event. When a particle passes a
test, it is said to test True. To send eligible particles to another event, you must wire the test to
that event. Particles that don't pass the test (test False) remain in the event and are repeatedly
subjected to its operators and tests. Or, if the test isn't wired to another event, all particles remain
in the event.
A list of all tests in Particle Flow is available in the Tests topic.
See also
Operator
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Birth Event
Glossary
Birth Event
A birth event is a special type of local event that always comes at the start of a particle flow,
immediately after the global event. Its first action is a Birth operator or Birth Script operator. The
birth event can contain any number of additional actions, and can be succeeded by any number of
additional events.
Birth event (highlighted)
Comments
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Tests
Tests
The basic function of a test in Particle Flow is to determine whether particles satisfy one or more
conditions, and if so, make them available for sending to another event. When a particle passes a
test, it is said to test True. To send eligible particles to another event, you must wire the test to
that event. Particles that don't pass the test (test False) remain in the event and are repeatedly
subjected to its operators and tests. Or, if the test isn't wired to another event, all particles remain
in the event. You can use several tests in an event; the first test checks all particles in the event,
and each test after the first checks only particles that remain in the event.
One test, Spawn, doesn't actually perform a test, but simply creates new particles from existing
ones, and sets the new particles' test result to True so they're automatically eligible for redirection to
another event. And the Send Out test simply sends all particles to the next event by default.
Some tests can also serve as operators, in that they contain parameters that modify particle
behavior. If you don't wire a test to another event, it functions only as an operator; the test aspect
doesn't affect particle flow.
Tip: Always place a test at the end of its event, unless you have specific reasons for placing it
elsewhere. That way, all preceding actions can take effect during each integration step before the
test is evaluated.
All the tests are grouped together in the Particle View depot, and are listed in alphabetical order. All
test icons are the same: a yellow diamond containing a simplified diagram of an electrical switch.
The Particle Flow tests in the Particle View depot
The tests are:

Age Test
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Tests
Collision Test
Collision Spawn Test
Find Target Test
Go To Rotation Test
Scale Test
Script Test
Send Out Test
Spawn Test
Speed Test
Split Amount Test
Split Selected Test
Split Source Test
See also
Operators
Flows
Comments
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Age Test
Age Test
Particle View > Click Age Test in an event or add Age Test to the particle system and then select it.
Age Test lets the particle system check whether a specific amount of time has passed since the start
of the animation, or how long a particle has existed, or how long a particle has been in the current
event, and branch accordingly.
Interface
The first interface element is a drop-down list that lets you choose the type of age to test.
Default=Particle Age.
Absolute AgeTests the current frame number in the animation.
Particle AgeTests the current age of each particle in frames. This is the default test type.
Event AgeTests the current duration of the current event in frames.
Test True if Particle ValueLets you specify whether the test passes particles on to the next
event if the age test succeeds or fails. Default=Is Greater Than Test Value
By default, Age Test returns True if the value tested for exceeds the Test Value quantity, but you
can alternatively choose Is Less Than Test Value. For example, if you use the Absolute Age test type
and set Test Value=60 and Variation=0, and choose Is Less Than Test Value, then particles will
move to the next event only until frame 60. After frame 60, any remaining particles stay in the
current event unless another test returns True.
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Age Test
Test ValueThe specific frame number, particle age (in frames), or event duration (in frames) to
test for. Default=30.
This value cannot be animated.
VariationThe number of frames by which the value tested for can vary randomly. Default=5.
This value cannot be animated.
To obtain the actual test value for each particle, the system multiplies the Variation value by a
random number between -1.0 and 1.0, and then adds the result to the Test Value setting. For
example, if Test Value=300 and Variation=10, then tested value for each particle would be between
290 and 310.
Subframe SamplingTurning this on helps avoid particle "puffing" when passing particles to the
next event by testing the time at a much higher subframe resolution (that is, throughout each
frame), rather than using the relatively coarse frame resolution. Default=on.
"Puffing" is the effect of creating separate "puffs" or clusters of particles, rather than a continuous
stream.
Turn off Subframe Sampling to cause the test to be executed exactly at frame times.
Uniqueness group
The Uniqueness setting enables randomization of the test value variation.

Comments
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Collision Test
Collision Test
Particle View > Click Collision in an event or add Collision to the particle system and then select it.
Collision tests for particles that collide with one or more specified Deflector space warps. It can also
test whether a particle has slowed down or sped up after one or more collisions, has collided more
than once, and even whether it will collide with a deflector in a specified number of frames.
The Collision test supports all deflector space warps except the DynaFlect deflectors:
POmniFlect
SOmniFlect
UOmniFlect
SDeflector
UDeflector
Deflector
Tip: When testing for collisions with multiple deflectors, for best results, place all the deflectors in a
single Collision test. This tests for collisions with all the deflectors simultaneously, and helps avoid
possible missed collisions.
See also
Procedure
Example: To test for particles slowing down after one or more collisions:
In the real world, particles bouncing repeatedly against a surface lose kinetic energy at each
collision, and slow down gradually. Rather than testing for a specific number of bounces, you can use
the Is Slow After Collision(s) to test whether particle speed has sunk below a specific level.
1. Start or reset 3ds max. Set the animation length to 500 frames.
2. Add a Gravity space warp and a Deflector space warp. Decrease the deflector's Bounce setting
below 1.0, and increase the Variation and Chaos values above 0.0. Set the deflector's Width
and Length to 500.
3. Create a default Particle Flow system. Position the emitter directly above the deflector.
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Collision Test
4. Add a Force operator to the end of Event 01 and add the Gravity space warp to the Force
operator.
5. Create a new event with a Display operator, and change the display type to a different choice
than is used in Event 01.
6. Add a Collision test to Event 01, below the Force operator, and wire it to the new event.
7. In the Collision test settings, add the deflector. Choose Is Slow After Collision(s), and set Speed
Min=100 (assuming you're using the default initial speed of 300).
8. Play the animation. You might need to adjust one or more settings before seeing the expected
behavior.
After several bounces, the particles change in appearance and move steadily away from the
deflector, indicating that they've entered the second event. Of course, you can set any behavior
you like in this event.
In the next step, you'll see what happens when actions in an event are not in the right order.
9. In Event 01, move the Collision test above the Force operator, and then play the animation.
Quite a few particles leak through the deflector. This happens because the software first tests
the particles for a collision, and then applies the Gravity force. The particles that are
approaching the deflector and are very close to it are being tested for a collision, which tests
False because they haven't actually struck the deflector yet. The software then applies the
gravity, which pushes them past the deflector, making them no longer eligible for testing for
collision. Generally speaking, it is best to keep Force operators above Collision tests in each
event to ensure that particles don't leak through the deflector.
Interface

Collision Test
Deflectors group
This group displays the deflectors currently in effect, and let you add and remove deflectors.
[list]Shows the deflectors that apply to this operator. If more than three deflectors apply, a scroll
bar appears at the right side of the list.
If you delete a listed space warp from the scene, its name is replaced in the list by the entry
<deleted>.
AddClick this button, and then select a Deflector space warp in the scene to add it to the list.
By ListClick this button, and then use the Select Deflectors dialog to add one or more space warps
to the list. The space warps must already exist in the scene.
RemoveHighlight a deflector in the list, and then click this button to remove it from the list. Any
removed space warps remain in the scene.
Test True If Particle group

Collision Test
Choose the condition under which the test will pass particles on to the next event, and then adjust
the associated setting or settings. Default=Collides.
CollidesChoose this option, and then set Speed according to how particle speed should be affected
by the collision.
SpeedChoose one of the following. Default=Bounce.
BounceThe speed and direction after collision is determined by the deflector properties.
ContinueParticle speed and direction are unaffected by the collision.
StopParticle speed is set to 0 after the collision.
RandomParticles bounce off the deflector in random directions.
Is Slow After Collision(s)The test succeeds if, after collision, particle speed is less than the
Speed Min value.
With this choice, particle behavior with respect to the deflector(s) is the same as with the Collides >
Bounce option.
Speed MinParticles traveling at less than this speed, in system units per second, test True and
become eligible for moving to the next event. Default=1.0.
Is Fast After Collision(s)The test succeeds if, after collision, particle speed is greater than the
Speed Max value.
With this choice, particle behavior with respect to the deflector(s) is the same as with the Collides >
Bounce option.
Speed MaxParticles traveling faster than this speed, in system units per second, test True and
become eligible for moving to the next event. Default=1000.0.
Collided Multiple TimesThe test becomes True after a particle collides a specific number of
times. The particle is moved to the point of the last collision and then redirected to the next event.
# TimesThe number of times a particle must collide in order to test True.
SpeedDetermines speed and direction after the specified number of collisions. See above for
explanations of the choices.
Will CollideThe software extrapolates particle motion in a linear fashion, based on the current
direction and speed, and the test becomes True if the results suggest that the particle will collide
with the deflector during a specified time interval. The particle is redirected to the next event
without updating its speed or position.
# FramesThe number of frames ahead during which the software looks for an impending collision.
Uniqueness group
The Uniqueness setting enables randomization of the Random options in the Speed drop-down lists.

Collision Test
Comments

Create panel > Space Warps > Deflectors > Object Type rollout > POmniFlect
POmniFlect is a planar version of the omniflector type of space warp. It provides enhanced
functionality over that found in the original Deflector space warp, including refraction and spawning
capabilities.
POmniFlect viewport icon
Procedure
To create a POmniFlect space warp:
1. On the Create panel, click Space Warps. Choose Deflectors from the list, then on
the Object Type rollout, click POmniFlect.
2. Drag in a viewport to create the planar icon.

Note: Because particles bounce off the icon, the size of the icon affects particle deflection.
3. Apply the deflector to the particle system using the appropriate method:
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If using Particle Flow, specify the deflector in the Collision test or Collision Spawn test
parameters.
If using a non-event-driven particle system, bind the particle system to the deflector
icon.
4. Position the POmniFlect icon to interrupt the particle stream.
5. Adjust the POmniFlect parameters as necessary.
Interface

Timing group
The two spinners specify the start frame and end frame of the deflection effect.
Time On/OffTime On specifies the frame at which the deflection begins, and Time Off specifies
the frame at which the deflection ends.
Reflection group
These options affect the reflection of particles from the space warp. The POmniFlect can reflect or
refract particles, or perform a combination of the two.
ReflectsSpecifies the percentage of particles to be reflected by the POmniFlect. See also Refracts,
later in this topic, for methods of combining the two effects.
BounceThis is a multiplier that specifies how much of the initial speed of the particle is maintained
after collision with the POmniFlect. Using the default setting of 1.0 causes the particle to rebound
with the same speed as it collides. A real-world effect would usually be less than 1.0. For a flubber
effect, set greater than 1.0.
VariationSpecifies the variation of Bounce applied to the range of particles. For example, a
Variation of 50% applied to a Bounce setting of 1.0 would result in randomly applied Bounce values
ranging from 0.5 to 1.5.
ChaosApplies a random variation to the bounce angle. When set to 0.0 (no chaos), all particles
bounce off the POmniFlect surface perfectly (like banking pool balls). A non-zero setting causes the
deflected particles to scatter.
Refraction group
These settings are similar to those in the Reflection group, but these affect the refraction of particles
as they pass through the POmniFlect, causing the direction of the particles to change.
RefractsSpecifies the percentage of particles not already reflected that will be refracted by the
POmniFlect.
Note: The Refracts value affects only those particles not already reflected because the reflected
particles are processed before the refracted particles. Thus, if you set Reflects to 50% and Refracts
to 50%, you would not get a 50/50 split of particles. Rather, half the particles would be reflected,
and then half the remainder (25% of the total) would be refracted. The remaining particles either
pass through without being refracted or are passed on to Spawn Effects.

To get a 50/50 split of reflection and refraction, set Reflects to 50% and Refracts to 100%.
Pass VelSpecifies how much of a particles initial speed is maintained after passing through the
POmniFlect. The default setting of 1 retains the initial speed is retained, so theres no change. A
setting of 0.5 reduces the speed by half.
VariationSpecifies the variation of Pass Velocity applied to the range of particles.
DistortionControls the angle of refraction. A value of 0 means theres no refraction. A value of
100% sets the angle of the particles to be parallel with the POmniFlect surface. A value of 100%
sets the angle perpendicular to the surface. The Distortion effect is reversed when particles strike
the POmniFlect from the back side.
Note: Distortion and Refraction do not work properly when particles strike the POmniFlect surface at
exactly 90 degrees. In this case, any positive Distortion settings cause a scattering of particles, while
negative values have no effect.
VariationSpecifies a range of variation of the Distortion effect.
DiffusionApplies a diffusion effect to the refraction by randomly modifying each particles
Distortion angle by the Diffusion angle. This effectively scatters the particles into a hollow cone.
VariationSpecifies a range of variation of the Diffusion value.
Common group
FrictionThe amount by which particles are slowed as they move along the deflector surface. A
value of 0% means they're not slowed at all. A value of 50% means they're slowed to half their
original speed. A value of 100% means they stop moving when they strike the surface. Default=0%.
Range=0% to 100%.
Tip: To have particles slide along a deflector surface, set Bounce to 0. Also, unless influenced by a
force such as Wind or Gravity, particles meant to slide should strike the surface at an angle other
than 90 degrees.
Inherit Vel(Velocity Inheritance) Determines how much of a moving POmniFlects speed is applied
to reflected or refracted particles.
For example, if Inherit Vel is 1.0, particles with no motion that are hit by a moving PomniFlect inherit
the speed of the POmniFlect at the point of collision.
Spawn Effects Only group
These settings affect only particles set to Spawn On Collision that do not either reflect or refract
from the omniflector. See Particle Spawn Rollout. The Spawns percentage spinner works like the
Reflects and Refracts percentage spinners, but is the third in line to be processed. Thus, if either
Reflects or Refracts are set to 100%, no particles are affected by these settings. Note also that
reflective or refractive particles spawn upon collision, regardless of the settings in this group.
SpawnsSpecifies the percentage of particles that can use spawn effects.
Pass VelSpecifies how much of the particles initial speed is maintained after passing through the

POmniFlect.
VariationSpecifies the variation of the Pass Velocity setting applied to the range of particles.
Display Icon group
Width/HeightSpecify the width and height of the POmniFlect icon. This is for display purposes
only and does not influence the deflector effect.
Comments

Particle View > Click Collision Spawn in an event or add Collision Spawn to the particle system and
then select it.
Collision Spawn creates new particles from existing ones that collide with one or more Deflector
space warps. You can specify different post-collision behavior for the colliding particles and their
offspring. Each spawned particle is born at the same location as its parent, and has the same
orientation and shape. Collision Spawn can give the spawned particles a different speed and scaling
factor. If you wire the Collision Spawn test to another event, spawned particles are sent to that
event, where you can specify different properties for the new particles.
Examples of Collision Spawn usage include marks or explosions resulting from collisions between
particles and objects. To achieve these effects, you can use Collision Spawn in conjunction with the
Shape Mark and Shape Facing operators.
The Collision Spawn test supports all deflector space warps except the DynaFlect deflectors:
POmniFlect
SOmniFlect
UOmniFlect
SDeflector
UDeflector
Deflector
Tip: When testing for collisions with multiple deflectors, for best results, place all the deflectors in a
single Collision Spawn test. This tests for collisions with all the deflectors simultaneously, and helps
avoid possible missed collisions.
See also
Collision Test
Spawn Test
Interface
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In the context of Collision Spawn, a parent is the original particle from which new particles are
spawned.

Test True for group
These check boxes let you specify which particles, if any, should become eligible for redirection to
the next event upon satisfaction of the test conditions.
Note: After a particle tests True, the Collision Spawn test no longer tests the particle for collision. If
you simply want particles to spawn every time they collide, turn either or both of these off and use a
different test for redirection.
Parent ParticlesWhen on, parent particles qualify for redirection when the test conditions are
met. Default=on.
When using the Spawn On First Collision option, Parent Particles is available only when Delete Parent
is off.
This option is also available when using the Spawn On Each Collision option. In this case, parent
particles test True only after colliding the number of times specified by the Until # value.
Spawn ParticlesWhen on, spawned particles qualify for redirection when the test conditions are
met. Default=on.
Deflectors group
This group displays the deflectors currently in effect, and let you add and remove deflectors.
[list]Shows the deflectors that apply to this operator. If more than three deflectors apply, a scroll
bar appears at the right side of the list.
<deleted>.
AddClick this button, and then select a Deflector space warp in the scene to add it to the list.
By ListClick this button, and then use the Select Deflectors dialog to add one or more space warps
to the list. The space warps must already exist in the scene.
RemoveHighlight a deflector in the list, and then click this button to remove it from the list. Any
removed space warps remain in the scene.
Spawn Rate And Amount group
Use these settings to specify when particles are to spawn and other values related to how many
particles are spawned.
Spawn On First CollisionParticles spawn only the first time they collide with a deflector.
Delete ParentWhen on, deletes each original particle from which a new one is spawned. Available
only with the Spawn On First Collision option.
Spawn On Each CollisionParticles spawn on each of multiple collisions, up to a limit specified
with the Until # parameter.
Until #The maximum number of collisions by the parent particles that produce spawned particles.
Available only with the Spawn On Each Collision option. Default=3.

When Test True For > Parent Particles is on, parent particles test True only after colliding the
number of times specified by the Until # value.
SpawnableThe percentage of particles in the current event that will spawn new particles. This is
determined once for each particle, when it enters the event. However, the parameter is animatable.
Default=100.0.
For values other than 100.0, Spawnable uses a randomized selection process, which is affected by
the Uniqueness Seed value. For example, with five parent particles, Offspring #=1, and
Spawnable=80.0, you might get any number of spawned particles between two and five for each
collision. The average per spawning would be four, however.
Offspring #The number of new particles the system creates from each parent particle for each
spawning event. Default=1.
VariationThe amount by which the Offspring # value can vary randomly. Default=0.0.
random number between -1.0 and 1.0, and then applies the result as a percentage of the Offspring
# setting. For example, if Offspring #=20 and Variation=10, then the actual number of offspring for
each particle would be between 18 and 22.
Sync ByChoose the time frame to use when animating Offspring # and Variation:
set.
enters the event.
Restart Particle AgeWhen on, sets the age of each newly spawned particle at 0. When off, each
spawned particle inherits its parent's age. Default=on.
Speed group
Lets you specify the behavior of spawned particles, as well as their speed in absolute terms or
relative to the parents' speed, with optional random variation. The direction of a spawned particle is
always in relation to that of its parent, but you can set a Divergence so they eventually spread out.
Default=Inherited.
ParentSpecify the parent's behavior. Available only when Delete Parent is off.
BounceThe speed and direction after collision is determined by the deflector properties.
ContinueParticle speed and direction are unaffected by the collision.

OffspringSpecify the behavior of the newly spawned particles.
BounceThe speed and direction of offspring after collision is determined by the deflector
properties.
ContinueSpeed and direction of offspring are unaffected by the collision.
In UnitsChoose this to specify the speed of spawned particles in system units per second.
Default=100.0.
A positive value inherits the parent's direction; a negative value reverses it.
InheritedChoose this to specify each spawned particle's speed as a percentage of its parent's
speed. Default=100.0
VariationThe amount by which a spawned particle's speed can vary randomly. Default=0.0.
To obtain the actual speed for each spawned particle, the system multiplies the Variation value by a
random number between -1.0 and 1.0, and then adds the result to the particle's speed as specified
or inherited. For example, if a particle's speed is 100 units/second and Variation=20, then the tested
value for each particle would be between 80 and 120 units/second.
DivergenceWhen on, spreads out the stream of spawned particles. Use the numeric setting to
define the extent of the divergence in degrees. Range=0 to 180. Default=0.
Size group
Scale FactorThe amount of uniform scaling to apply to each spawned particle, as a percentage of
its parent's size. Default=100.0.
VariationThe amount by which a spawned particle's scale can vary randomly. Default=0.0.
To obtain the actual scaling for each spawned particle, the system multiplies the Variation value by a
random number between -1.0 and 1.0, and then adds the result to the Scale Factor value. For
example, if Scale Factor=100 and Variation=20, then each spawned particle would be between 80
and 120 percent of its parent's size.
Uniqueness group
The Uniqueness setting enables randomization of the Spawnable result, when less than 100.0, as
well as of the Variation values.

Comments

Shape Mark Operator
Shape Mark Operator
Particle View > Click Shape Mark in an event or add a Shape Mark operator to the particle system and then select it.
Use the Shape Mark operator to replace each particle with either a rectangle or a box cut out from the particle
geometry with an image mapped onto it. The image can be animated and the animation can be synchronized with
particle events.
A typical application of Shape Mark would be to leave marks after particles impact objects in the scene. For example,
when a torpedo hits a boat and explodes, you could use Shape Mark to leave scorch marks on the boat surface.
Tip: By default, the mark left by Shape Mark is always rectangular, no matter what shape the particles are. To leave
a differently shaped mark, choose the Shape group > Rectangle option, and use a material in the same event with
transparent areas to define the mark's outline. For example, apply a Mask map to the material's Opacity channel,
and to the map's Mask channel, apply a bitmap containing an alpha channel. On the Bitmap Parameters rollout, set
Mono Channel Output to Alpha.
See also
Shape Operator
Procedure
Example: To use Shape Mark:
1. Determine which object is to receive the marks; this will be the contact object. Apply a deflector to this object.
2. Set up your particle system with an event that causes particles to collide with the contact object deflector.
3. At the end of this event, add a Collision test.
4. In the Collision test, designate the deflector from step 1.
5. Create a new event with the Shape Mark operator, and wire the Collision test to this event.
6. In the Shape Mark operator > Contact Object group, designate the object from step 1. Change the other Shape
Mark settings as necessary.
Now, when the particles strike the contact object, they disappear, leaving marks on the object.
If you want the particles to bounce after leaving marks, rather than disappearing, use a Collision Spawn test
instead, and turn off its Delete Parent check box. The spawned particles become the marks, and the original
particles remain in the first event.
7. Optionally, add a Material operator to define the surface characteristics of the marks.
Interface
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Shape Mark Operator
Contact Object group
Use this control for defining the object on which marks are to be left.
[button]Click this button, and then select an object in the scene to use as the contact object. The mouse cursor
changes to a cross shape when positioned over a valid object.
After picking a contact object, its name appears on the button.
Align to Surface AnimationWhen on, Shape Mark takes into account surface changes due to vertex animation of
the contact object. If Shape is set to Rectangle, then the mark changes its orientation and position to appear be
stuck to the surface of the contact object. If Shape is set to Box Intersection, then the mark changes shape along
with that of the contact object. When off, only transformation of the contact object is taken into consideration.
Default=off.

Shape Mark Operator
Turn this on only if there is significant vertex animation at the contact point, such as with an animated water
surface.
Warning: This option requires significant CPU and memory resources.
Orientation group
Align ToDepending on the setting for Shape, Shape Mark creates either a rectangle or a box cutout on the contact
geometry. The Orientation setting specifies how the shape is oriented. In the mark's local coordinate system, the X
axis is Length, the Y axis is Width, and with the box cutout, Z is height. The Z axis is perpendicular to the surface of
the object at the contact point.
The alignment choices are as follows:
SpeedThe Length direction is parallel to the projection of the particles' speed vector onto the contact plane.
Particle X/Y/ZThe Length direction is parallel to the projection of the particle's local coordinate axis X, Y, or Z,
respectively, as the particle moves toward the contact object.
RandomUses a random Length direction in the contact plane.
DivergenceApplies a range of random variation, in degrees, to the orientation of the Length direction. Unavailable
when using the Random option.
Size group
Use these settings to specify the coordinate system for setting the size of the mark, as well as the size parameters.
The numeric settings in this group are not animatable.
In World SpaceSets the absolute size of the mark in system units, using the World coordinate system.
Width/LengthWith the In World Space option, sets the particle dimensions in system units. Range=0 to
1000000000. Default=1.0.
In Local SpaceSets the mark size relative to the existing particle size, in local space. The software uses the
dimensions of the existing shape to determine the size of the facing rectangle.
Inherited %Sets the percentage of the mark size, relative to the existing particle size. Range=0 to 100.
Default=100.0.
Variation %Sets the percentage by which particle size can vary. Default=0.0.
Impact Angle DistortionWhen on, increases the Length value of the mark according to the particle's angle of
approach. This effectively stretches the mark shape if particle approaches the contact geometry at a low angle.
Available only when Align To is set to Speed. Default=off.
For example, if a drop of paint hits a surface perpendicularly, it creates a circular mark, but if it hits the surface at a
lower angle, the resulting shape is an ellipse.
Distor(tion) Max %Sets the maximum percentage by which the software may stretch the mark. Available only
when Impact Angle Distortion is on. Default=1000.
With very low angles of approach, the stretching factor can become very high. For example, value 500% means that
the stretching factor cannot exceed 5.
Shape group
These settings let you specify the mark-making object as a rectangle or a box. Default=Rectangle.
RectangleThe mark shape is a two-faced rectangle.
When using a material with Shape Mark, always choose this option.

Shape Mark Operator
Box IntersectionWith this option, the software creates a box for each particle that leaves a mark, and derives the
mark shape from a Boolean intersection between the contact object and the box.
Box HeightSets the height of the box used with the Box Intersection method. Available only with Box
Intersection. Default=10.0.
Allow Multiple ElementsWhen on, particles can leave marks on all parts of contact objects that contain multiple
elements. When off, a particle marks only the first element it collides with. Available only with Box Intersection.
Default=off.
Particles falling onto a two-element cylinder

Left: Allow Multiple Elements is off; Right: Allow Multiple Elements is on.
Continuous UpdateWhen on, the shape of the mark is recalculated at each frame, according to the current
positions of the particle and the contact surface. This option can consume a great deal of CPU time. Available only
with Box Intersection.
Generate Mapping Coords.Allows correct application of the shape mark when using a mapped material.
Default=on.
If you're not using a mapped material, you can save memory by turning this off.
Pivot Offset %Shifts the position of the shape mark along its length dimension with respect to the pivot of the
impacting particle. Default=0.0. Range=-50.0 to 50.0.
By default, the center of the mark's length dimension coincides with the point where the particle's pivot strikes the
contact object. This setting lets you offset the mark's position to anywhere along its length.
Note: The width dimension and the Box Intersection's height dimension are always centered at the intersection of
the particle pivot and the contact object's surface.
Surface OffsetSpecifies the distance of the shape mark above the contact object's surface. Default=0.001.
The mark is slightly elevated above the contact geometry to achieve the visual effect of the mark spot overlapping
the contact geometry. This parameter is not animatable.
Offset VariationSpecifies the maximum extent of a random variation in the actual surface offset among particles.
Default=0.0.
Adjusting this value can help to alleviate rendering artifacts with overlapping marks.
Vertex JitterSpecifies the maximum extent of a random variation in the positions of vertices of marks created
using the Box Intersection method. Available only with the Box Intersection method. Default=0.0.
Adjusting this value can help to alleviate rendering artifacts with overlapping marks.

Shape Mark Operator
Uniqueness group
The Uniqueness setting enables changing the randomization of the size/width variation.
Comments


Particle Flow provides three operators for applying materials to particles. To give the same
appearance to all particles throughout an event, use Material Static Operator. If you're using a
compound material such as Multi/Sub-Object, you can assign different sub-materials to different
particles with the Material Frequency operator. And to assign materials that change in appearance
over time, use the Material Dynamic operator.
Related to this is the Mapping operator, which lets you give the same mapping coordinates to the
entire surface of each particle in an event, thus using a single pixel from a material to color the
particles. By animating the mapping coordinates, you can cause the particles to change color over
time. This is particularly effective with a gradient material.
The Bitmap map, used in conjunction with Material Dynamic, lets you assign different frames from
an image sequence to particles based on the particle age, among other effects.
Following are some items to keep in mind when using materials with Particle Flow:
A material is a static property of an event. It does not travel along with the particles from one
event to the next. A particle's material ID does, but its material does not. If you want particles
always to use the same material, define the material in the global event with a Material operator
or a Shape Instance operator. Otherwise, you need to define it in each local event.
The primitive particle shapes available with the Shape operator do not have mapping coordinates.
The Mapping operator applies the same mapping coordinates to each particle's entire surface, so
it's not suitable in this situation. If you want to apply image-based materials to particles, use
Shape Instance instead.
If you use a Material operator with Shape Instance, be sure to apply mapping coordinates to the
reference object(s). You can do this by making sure the object's Generate Mapping Coords option
is on (if available), or applying a UVW Map modifier or Unwrap UVW modifier. If you don't apply
mapping coordinates, the system generates a Missing Map Coordinates warning when you render
the scene.
If you use an object with a material already applied as a reference object for instanced particles,
you don't need a Material operator in the same event. However, the material appears only in the
event containing the Shape Instance operator; it does not persist from event to event.
If you use the Cache operator with Update set to Always, toggling the Material Editor > Show Map
In Viewport switch causes Particle Flow to recalculate the cache.
You can drag a material from the Material Editor to a Particle Flow source icon, but the material
will not have any effect on the system. You must use a Material operator or Shape Instance to
apply materials to particles in Particle Flow.
Once you've assigned a material to a Material operator, the material shows up in the Material
Editor as hot; that is, triangles appear in the corners of its sample slot. However, because of the
nature of the Particle Flow data structure, the Material Editor functions Select By Material and Get
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Material > Browse From Selected do not work correctly with Particle Flow systems. You can,
however, use Get Material > Browse From Scene.
Comments
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Particle View > Click Material Static in an event or add a Material Static operator to the particle
system and then select it.
The Material Static operator lets you give particles material IDs that remain constant throughout the
event. It also lets you assign a material to each particle based on its material ID. The operator can
assign the same material ID to all particles, or different IDs to successive particles on a cyclical or
random basis. The most common usage of this latter capability is with a Multi/Sub-Object material,
for applying a different material to each particle.
See also

Interface
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Assign MaterialWhen on, the operator assigns a material to the particles. Default=on.
sample slot to the button. After you assign a material to the operator, its name appears on the
button.
Assign Material IDWhen on, the operator defines a material ID number for each particle.
Default=off.
Show In ViewportWhen on, the material is shown applied to the particles in the viewports.
Assignment Method
The Material Static operator gives you a choice of three different methods for assigning Material IDs
to particles:
Material IDAssigns the same material ID to all particles. Use the numeric field to set the ID value.
CycleAssigns each particle a material ID in the range 1 to N, where N=# Sub-Materials, in
increasing sequential order. The first ID assigned is 1, then 2, then ..., then N, then 1 again, and so
on.
RandomAssigns each particle a random material ID in the range 1 to N, where N=# Sub-
Materials.
# Sub-MaterialsThe highest ID number assigned to particles using the Cycle or Random option.
In general, set this to the same number of sub-materials in the Multi/Sub-Object material. If you set
it to a smaller number, the operator will use only that many sub-materials, starting with the first and
counting upward.
Note: The software automatically sets this value to the number of sub-materials in the material,
once only, the first time you apply the material to the operator. Any subsequent changes in the
material itself, or applying a different material to the operator, will not change or update the setting.
Rate group
These settings let you choose the basis on which the operator changes material ID assignments, and
specify the rate of change.
Per SecondSets the number of times per second that the assigned material ID is incremented. If
this value is the same as the rate at which particles enter the event, then one ID is assigned per
particle. If it's lower, then multiple particles are given the same ID, or if it's higher, then the
software increments the assigned ID faster than 1 per particle.
For instance, if particles enter the event at intervals of 1/60 of a second, and Per Second=30, then
each pair of particles will be assigned the same ID. Or if particles enter the event at intervals of 1/15
of a second, and Per Second=30, then the ID is incremented (or changed randomly) twice per
particle.
Per ParticleSets the number of particles that must appear before material ID assignment
changes. For example, If you set Per Particle=3, the material ID changes every three particles.

If you set Per Particle to a number less than 1.0, the software then moves through the sub-material
list more rapidly than one (or more) particle per ID. That is, the software divides this value into 1.0,
and adds the result to the current material ID to obtain the next one. For example, with eight sub-
materials, if you set Per Particle=0.33, and use the Cycle option, the following series of IDs will
result: 1, 4, 7, 2, 5, 8, 3, 6, 1, ... In general, this option is useful only with the Cycle option.
LoopWhen on, and the last ID has been assigned, the software loops back around to the first ID
and continues the cycle. When off, the software assigns the last cycle ID to all subsequent particles.
Available only with the Cycle assignment method. Default=on.
For example, say you want the first eight particles that enter the event to use different materials,
and all subsequent particles to use a ninth material. To do so, you would create a nine-sub-material
Multi/Sub-Object material and assign it to the Material Static operator. Turn on Assign Material ID,
choose the Cycle assignment method, and set # Sub-Materials=9. For Rate, use the default settings
of Per Particle and 1.0. Lastly, turn off Loop.
Uniqueness group
The Uniqueness setting varies the sequence of assigned IDs with the Random option.
Comments

Particle View > Click Material Frequency in an event or add a Material Frequency operator to the
The Material Frequency operator lets you assign a material to an event, and specify the relative
frequency with which each sub-material appears on the particles. Typically, the material is a Multi/
Sub-Object or other compound material, and you specify the frequency by setting a percentage for
each of up to 10 different sub-materials (or material ID). The software assigns IDs to particles in a
random sequence, based on these percentages. You can also use other materials that use sub-
materials, such as Double Sided and Top/Bottom.
See also

Interface
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Assign MaterialWhen on, the operator assigns a material to the particles. Default=on.
sample slot to the button. After you assign a material to the operator, its name appears on the
button.
Assign Material IDWhen on, the operator defines a material ID number for each particle, and
enables the remaining parameters. Default=on.
In general, this should remain on. Particle Flow uses the material ID with compound materials to
know which sub-material to assign to a particle.
Show In ViewportWhen on, the material is shown applied to the particles in the viewports.
# Sub-MaterialsDisplays the number of sub-materials in the assigned material.
Material ID #110Specifies the relative likelihood of particles to be assigned the corresponding
material ID. Assign values for all IDs, or sub-materials, in the material that you want to have applied
to the particles. So, for example, with a Multi/Sub-Object material containing five sub-materials,
you'd set values for Material IDs #1-5.
This value is not absolute, but relative to the other settings. To follow the previous example, if you

wanted all five materials to appear with equal frequency, you'd set the same non-zero value for
Material IDs #1-5; the actual value wouldn't matter. On the other hand, if you wanted the materials
to appear with decreasing frequency, you'd set the lower Material ID settings to relatively higher
values; say 100, 80, 50, 33, and 10. In this case, each particle would twice as likely to be assigned
material ID 1 as it would material ID 3, and one-tenth as likely to be assigned ID 5 as it would ID 1.
The actual sequence of material ID assignments is random, and can be varied by changing the
Uniqueness Seed setting.
Uniqueness group
The Uniqueness setting varies the random sequence of assigned IDs.

Comments

Animated Texture
Glossary
Animated Texture
An animated texture is a material whose properties change over time. One example of this is usage
of a multi-frame bitmap, such as an AVI file or image-file sequence, as a map. Animated textures
can also be materials with keyframed parameters. In addition, in the context of particle systems, a
material that uses the Particle Age map or the Particle MBlur map is considered to be animated.
In general, when applying an animated texture to particles in Particle Flow, be sure incorporate it in
a Material Dynamic operator.
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Delete Operator
Delete Operator
Particle View > Click Delete in an event or add a Delete operator to the particle system and then
select it.
Use the Delete operator to remove particles from the particle system. By default, particles live
forever, that is, for the duration of the animation. The Delete operator lets you give them a finite
life span. This is useful for eliminating particles once they've served their purpose in the animation.
The Delete operator is also necessary when using the Particle Age map, which, when incorporated
into the Material Dynamic operator, applies different materials to particles depending on their age.
Because the map works on the basis of a percentage of the particle's life span, you need to use a
Delete operator to define the particles' maximum age. For an example of usage, see Material
Dynamic operator.
Interface
The user interface appears in the Parameters panel, on the right side of the Particle View dialog.
Remove group
Choose whether to delete all particles, selected particles, or particles past a specific age.
The Uniqueness setting enables randomization of maximum particle age using the By Particle Age >
Variation setting.
All ParticlesDeletes all particles in the event immediately.
Selected Particles OnlyDeletes particles selected at the Particle sub-object level in the event
immediately. See Selection rollout.
By Particle AgeDeletes particles in the event after they've existed for a specific length of time,
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Delete Operator
with an optional random variation. Choosing this makes the Life Span and Variation settings
available.
Life SpanThe number of frames of life allowed to the particles. After this period, they're deleted.
Default=60.
VariationThe maximum amount by which Life Span may vary. To get each particle's actual life
span, this value is multiplied by a random number between -1.0 and 1.0, and then added to Life
Span. Default=10.
Uniqueness group
The Uniqueness setting enables randomization of maximum particle age using the By Particle Age >
Variation setting.
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Particle Flow Source
Add a Particle Flow system to the scene. > Create panel
Select a PF Source icon. > Modify panel
Particle View > Click a global event (title bar). > Parameters panel
The Particle Flow source is the viewport icon for each flow, and also serves as the default emitter. By
default, it appears as a rectangle with a central logo (see above illustration), but you can change its
shape and appearance using the controls described below.
When you select a source icon in the viewport, the Particle Flow emitter-level rollouts appear on the
Modify panel. Alternatively, click the title bar of a global event in Particle View to highlight it, and to
access the emitter-level rollouts from the parameters panel on the right side of the Particle View
dialog. Use these controls for setting global attributes, such as icon properties and the maximum
amount of particles in the flow.
The particle source icon is roughly equivalent to the corresponding global event in Particle View.
They have the same name, but selecting one does not select the other. If you delete a particle
source icon from the scene, the software converts the global event to an isolated local event in
Particle View, retaining its operators with their settings intact. Any other events in the system
remain in Particle View, along with their wiring. However, if you delete a global event, the software
also removes any local events used exclusively by that system, as well as the corresponding particle
source icon. To retain the local events, first delete the wire from the global event, and then delete
the global event.
If you clone a particle source in a viewport with SHIFT+transform or Edit menu > Clone, an equal
number of copies of the global event appear in Particle View, each wired to the original birth event.
The Clone Options dialog offers only the Copy option. However, if you clone a global event in Particle
View, the Clone Options dialog also lets you create instances of the cloned operators and tests. It's
not possible to create instances of global and local events, so these options are unavailable in the
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Clone Options dialog, as a reminder. Also, global events cloned in Particle View are not automatically
wired to the original birth event.
Interface
Modifier stack
In the modifier stack, expanding the hierarchy of a Particle Flow source object provides access to
two sub-object levels: Particle and Event. For further information, see Selection rollout.
Setup rollout
Use these controls to turn the particle system on and off, and to open Particle View.
Note: This rollout appears only on the Create and Modify panels, not on the Particle View dialog >
parameters panel.
Enable Particle EmissionTurns the particle system on and off. Default=on.
You can also turn off all particle flows in Particle View with Edit menu > Turn Off All, or a specific
particle flow by right-clicking its global event's title bar and choosing Turn Off.
Particle ViewClick to open the Particle View dialog.
Emission rollout

Sets the physical characteristics of the emitter (particle source) icon, and the percentage of particles
produced in the viewports and when rendering.
Emitter Icon group
Logo SizeSets the size of the Particle Flow logo, which appears at the center of the source icon,
as well as the arrow that indicates the default direction of particle motion.
By default, the logo size is proportional to that of the source icon; with this control, you can make it
larger or smaller.
This setting affects only the viewport display of the logo; changing it has no effect on the particle
system.
Icon TypeChoose the basic geometry of the source icon: Rectangle, Box, Circle, or Sphere.
Default=Rectangle.
This choice matters only if you use the source icon as the particle emitter. The available size settings
depend on which icon type you choose, and, again, are important only if you use the source icon as
an emitter.
The default icon type is Rectangle. If you add a particle system, and then change the icon type to
Box, the icon continues to resemble a rectangle. To make it look like a box, increase the Height
setting.
Length/DiameterSets the length of the Rectangle and Box icon types, and the diameter of the
Circle and Sphere icon types.
WidthSets the width of the Rectangle and Box icon types. Unavailable with the Circle and Sphere
icon types.
HeightSets the height of the Box icon type. Available only with the Box icon type.
Show Logo/IconTurns display of the logo (with arrow) and icon on and off, respectively.
These settings affect only the viewport display of these items; they have no effect on the particle
system.
Quantity Multiplier group
These settings determine the percentage of the total number of particles in each flow that are
actually produced in the viewports and at render time. They don't affect the percentage of particles
that are visible; those are determined by the Display operator and Render operator. You can use
them to quickly decrease or increase the number of particles consistently throughout all events in
the particle system. The maximum setting, 10,000%, lets you multiply the number of particles
generated by the flow by 100.
The total number of particles is determined by the combined effects of the following operators and
tests: Birth, Birth Script, Delete, Collision Spawn, and Spawn. Scripted operators and tests can also
affect this number.
ViewportSets the percentage of the total number of particles in the system produced in the
viewports. Default=50.0. Range=0.0 to 10000.0.

RenderSets the percentage of the total number of particles in the system produced at render
time. Default=100.0. Range=0.0 to 10000.0.
Selection rollout
Use these controls for selecting particles on a per-particle or event basis. Selection of particles at the
Event level is for debugging and tracking purposes. Particles selected at the Particle level can be
acted upon by the Delete operator and the Split Selected test. You cannot directly manipulate
selected particles with standard 3ds max tools such as Move and Rotate.
Note: This rollout appears only on the Modify panel, not on the Create panel or Particle View dialog
> parameters panel.
ParticleLets you select particles by clicking them or dragging a region.
EventLets you select particles by event. At this level, you can select all particles in one or
more events by highlighting the event(s) in the Select By Event list, or in the viewports with
standard selection methods. To convert a selection from the Event level to the Particle level for use
with the Delete operator or Split Selected test, use Get From Event Level.
Selected particles appear in the viewports in red (if not geometry), in the form designated by the
Display operator > Selected setting.
Select by Particle ID group
Each particle has a unique ID number, starting with 1 for the first particle and counting up. Use
these controls to select and deselect particles by their ID numbers. Available only at the Particle
selection level.

Tip: You can display particle IDs in the viewports by turning on Display operator > Show Particle
IDs.
IDUse this to set the ID number of the particle you want to select. You can set only one number at
a time.
AddAfter setting the ID number of a particle to select, click Add to add it to the selection. By
default, selecting a particle doesn't deselect any others.
RemoveAfter setting the ID number of a particle to deselect, click Remove to remove it from the
selection.
Clear Selection When on, clicking Add to select a particle deselects all other particles.
Get From Event LevelClick to convert an Event-level selection to the Particle level. Available only
at the Particle level.
Select By EventThis list shows all events in Particle Flow, and highlights selected events. To
select all of an event's particles, click its list entry, or use standard viewport-selection methods.
# Particles SelectedShows the number of selected particles.
System Management rollout
Use these settings to limit the number of particles in the system, and to specify the frequency of
updating the system.
Particle Amount group
Upper LimitThe maximum number of particles the system may have. Default=100000. Range=1
to 10000000.
Tip: You can have more than 10,000,000 particles in a single system by using multiple particle
sources and wiring them to the same birth event. Note, however, that Particle Flow is limited to
sending a maximum of 5,000,000 particles per event to the renderer.

Integration Step group
At each integration step, Particle Flow updates the particle system, applying each active action to
particles in its event. A smaller integration step can improve accuracy, at the cost of calculation
time. These settings let you apply different integration steps to the particle animation in the
viewports and at render time.
In most cases, the default Integration Step settings work fine. One instance in which increasing the
integration-step frequency might help is when fast-moving particles that should collide with a
deflector penetrate it instead.
ViewportSet the integration step for animation playback in the viewports. Default=Frame (once
per animation frame). Range=1/8 Frame to Frame.
RenderSet the integration step at render time. Default=Half Frame (twice per animation frame).
Range=1 Tick to Frame.
There are 4,800 ticks in a second; thus, at the NTSC video rate of 30 frames per second, there are
160 ticks per frame.
Script rollout
This rollout lets you apply a script to the particle system at each integration step, as well as after the
last integration step of each frame you view. Use an Every Step Update script to set up history-
dependent properties, and a Final Step Update script to set up history-independent properties.
Every Step Update group
The Every Step Update script is evaluated at the end of each integration step, after all actions in the
particle system are evaluated, and all particles are finally in their respective events. When, for
example, you are setting up Material ID according to a particle index, it is important to be sure that
particles are not about to jump to another event.
When you set up history-dependent properties, such as speed, it is important to do that at every
integration step, because otherwise the final position would be quite different.

Enable ScriptTurn on to cause a script in memory to be executed at each integration step. You
can modify this script by clicking the Edit button, or load and use a script file with the remaining
controls in this group.
The default script modifies particle speed and direction, causing particles to follow a wavy path.
EditClick this button to open a text-editor window with the current script.
When Use Script File is off, this is the default Every Step Update script (3dsmax\scripts\particleflow
\example-everystepupdate.ms). When Use Script File is on, this is the loaded script, if you've loaded
one. If you haven't, clicking Edit displays the Open dialog.
Use Script FileWhen on, you can load a script file by clicking the button below.
[button]Click this button to display an Open dialog that lets you specify a script file to load from
disk. After you load a script, the name of script file appears on the button.
Final Step Update group
The Final Step Update script is executed after the last integration step has been completed for each
frame that you view (or render). For example, if you play the animation in the viewport with Real
Time turned off, Particle Flow runs this script at each frame, immediately before the particle system
is rendered to the viewport. However, if you simply jump to a different frame, the script is run once
only, so if the script assumes a certain history, you might get unexpected results.
For this reason, it's best to use the Final Step Update script to modify history-independent
properties. For example, if no operators in the system depend on the material indices, you could use
it to modify the material index. In this case there's no need to set those indices in every
intermediate integration step. Also, you can set up a position channel in the Final Step Update script
if you know the analytical expression for the position.
Enable ScriptTurn on to cause a script in memory to be executed after the final integration step.
You can modify this script by clicking the Edit button, or load and use a script file with the remaining
controls in this group.
The default script modifies particle speed and direction, causing particles to follow a bulb-shaped
path.
EditClick this button to open a text-editor window with the current script.
When Use Script File is off, this is the default Final Step Update script (3dsmax\scripts\particleflow
\example-finalstepupdate.ms). When Use Script File is on, this is the loaded script, if you've loaded
one. If you haven't, clicking Edit displays the Open dialog.
Use Script FileWhen on, you can load a script file by clicking the button below.
[button]Click this button to display an Open dialog that lets you specify a script file to load from
disk. After you load a script, the name of script file appears on the button.

Comments

Particle View > Click Birth Script in an event or add a Birth Script operator to the particle system
and then select it.
The Birth Script operator enables creation of particles within the Particle Flow system using a
MAXScript script. The script can use any program functionality available to MAXScript.
The default script (3dsmax\scripts\particleflow\example-scriptbirth.ms) emits particles for 100
frames in a wavy, circular path. To see this, turn off or delete any Speed and Position operators in
the event.
See also
Birth Operator
Interface
Edit ScriptClick this button to open the current script in a MAXScript Editor window.
Emit StartThe frame number at which the operator begins emitting particles.
Uniqueness group
The Uniqueness setting provides a randomization seed that the script can use or ignore.
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Display Operator
Display Operator
Particle View > Click Display in an event or add a Display operator to the particle system and then
select it.
The Display operator lets you specify how particles appear in the viewports. The default display
mode is Ticks, which is the simplest, and thus the fastest to display. It's useful for animations that
use a large number of particles. At the opposite end of the complexity spectrum is the Geometry
option, which lets the software depict particles as their actual shapes. In addition, the Display
operator provides a variety of simple shapes that provide fast feedback in testing animation, as well
as the ability to easily distinguish among particles in different events. It also lets you set the
percentage of visible particles.
By default, Particle Flow automatically inserts a new Display operator in each local event you add to
the system. Alternatively, you can choose Particle View > Options menu > Default Display > Global.
With this option, the software automatically inserts a Display operator in new global events, but does
not add one to new local events.
Particles in any local event that doesn't contain a Display operator don't appear in the viewports,
unless an associated global event contains a Display operator (that is, a global Display operator). If
a particle is affected by multiple Display operators (for example, both global and local operators)
simultaneously, the software generates all viewport particle representations at the same time.
See also
Render Operator
Interface
TypeChoose how particles appear in the viewports. The two-dimensional particle markers depict
position only. Geometry shows how particles will actually render, in three dimensions; Lines shows
speed and direction of motion; and Bounding Boxes reflects scale and orientation.
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Display Operator
In the following list, each choice's description is preceded by the number of dimensions used by each
particle representation:
NoneParticles do not appear in the viewports.
Dots(0D) Each particle appears as a single pixel.
Ticks(2D) Each particle appears as a + sign.
Circles(2D) Each particle appears as a small circle.
Lines(1D) Each particle appears as a line, one pixel thick. The line's length indicates particle
speed, and its orientation reflects the direction of motion. Use this option for fast, accurate
feedback when experimenting with the Speed operators.
Tip: When using the Lines display type with the OpenGL display driver, slow-moving particles
might not appear properly in the viewports. In such cases, to see all particles, add a second
Display operator in the same event and set its Type to Dots.
Bounding Boxes(3D) Each particle appears as a bounding box. Use this option for a good
representation of the final animation, at a slight cost in computational speed.
Geometry(3D) Each particle appears as its actual geometry. Use this option for the best
representation of the final animation, at the greatest cost in computational speed.
Diamonds(2D) Each particle appears as a diamond.
Boxes(2D) Each particle appears as a small square.
Asterisks(2D) Each particle appears as an asterisk (*).
Triangles(2D) Each particle appears as a small triangle.
Visible %Specifies the percentage of particles visible in the viewports. This option lets you speed
up viewport redrawing by reducing the number of visible particles.
Show Particle IDsWhen on, each particle's unique index number is visible in the viewports.
Particles are numbered in the order of their birth, starting with 1 for the first particle born.
[color swatch]Shows the color for particles displayed using options other than Geometry, as well
as for the particle IDs. The software chooses a different color at random for each Display operator
added to the system. In addition to the Type options, using different colors helps to distinguish
among particles in different events.
To change the color, click the color swatch and use the Color Selector dialog to choose a new color.
If a system has a global Display operator, and you select its Source icon in a viewport, then you can
change the color of the global Display operator from the color swatch on the Modify panel. However,
changing the global Display operator's color in Particle View does not change the color of the swatch
on the Modify panel.
Note: When a Particle Flow source icon is selected, all of its non-selected particles, other than those
shown as geometry, are colored white in the viewports. To see all assigned particle colors, deselect

Display Operator
the particle system.

SelectedChoose how selected particles appear in the viewports. The choices are the same as for
Type, above.
Comments

Render Operator
Render Operator
Particle View > Click a Render operator in an event or add a Render operator to the particle
The Render operator provides controls related to rendering particles. You can specify the form that
rendered particles are to take, and how to convert the particles to individual mesh objects for
rendering purposes.
Interface
TypeLets you render particles as bounding boxes or geometry, or disable the particle system at
render time, or enable the particle system but prevent it from sending renderable particles to the
3ds max renderer. Default=Geometry.
NoneThe particle system (or event, if used locally) is considered non-renderable, and therefore
is never evaluated during render.
BoundingBoxParticles render as boxes whose sizes represent the particle geometry extents.
Use this option with complex particle systems to speed up test renders.
GeometryParticles render with their actual geometry.

Use this option with simpler particle systems, and for the final render.
PhantomUse this option when you want Particle Flow to function normally, calculating the
animation at each frame, but not to render geometry directly. An example would be when you're
using a Final Step Update script to pass data from the particle system to other objects in the
scene.
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Render Operator
Visible %The percentage of particles that render. Range=0 to 100. Default=100.

Lower this value for faster rendering of complex particle systems.
You can also reduce the number of particles in the system at render time with the Quantity Multiplier
> Render setting.
Render Result group
These settings determine how the system converts particles to mesh format for rendering. By
default, the software renders all particles as a single mesh per event, which provides for the most
efficient operation under most conditions. However, in some situations each particle should be
converted to an individual mesh object by turning on Mesh Per Particle. For example, with particles
each of whose face count exceeds 10,000, it's most efficient to render a mesh per particle.
Alternatively, you can opt to combine particles into multiple meshes by specifying a face count and
number of particles per mesh.
Certain renderers might require a non-default setting for Render Result. Consult the renderer
documentation for further information.
Note: The number of particles Particle Flow can handle per frame is limited only by system
resources, but each single mesh is allowed a maximum of 5,000,000 faces or vertices. If the total
number of faces or vertices in a mesh exceeds 5,000,000, Particle Flow ignores particles beyond this
limit.
Single MeshSends the renderer one mesh object comprising all particles in the system.
Multiple MeshesSends the renderer the specified number of mesh objects, each containing the
specified number of particles. If the result of dividing the total number of particles by the Particles p/
Mesh value is less than the specified Mesh Count value, some of the meshes might contain few or no
faces.
This is a compromise method of operation, and can be used with renderers that cannot handle all
particles in a single mesh, but can deal with groups of particles of a certain size.
Mesh CountThe maximum number of mesh objects that Particle Flow will send to the renderer.
Particles p/MeshThe number of particles that each mesh object will comprise.
Mesh Per ParticleSends the renderer a separate mesh for each particle.
This is the least efficient method of operation, but might be required by certain renderers.
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Shape Operator
Shape Operator
Particle View > Click Shape in an event or add a Shape operator to the particle system and then
select it.
Shape is the default operator for defining the geometry used in the particle system. You can use it to
specify particles in the shape of pyramids, cubes, spheres, or vertices, as well as particle size.
Note: All primitive particles created with Shape have pivot points in their geometric centers.
See also

Shape Mark Operator
Interface
ShapeSets the shape of the particles to Vertex or one of three geometric primitives.
Default=Pyramid.
VertexUse this option to create non-rendering particles whose sole attribute is their location.
This can be useful when using script operators.
TetraThese tetrahedron-shaped particles have a four triangular sides. Having only four
polygons, the tetra is the simplest of the rendering particle shapes.
CubeThese box-shaped particles have six square sides, all the same size.
SphereCreates spherical particles. The sphere has the most polygons of the rendering particle
shapes, and its orientation isn't obvious.
SizeSets the overall size of the particles in system units. Default=10.0

Setting Size=0 makes the particles invisible.
ScaleTurn on to set the size of the particles as a percentage of the Size value. Use the numeric
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Shape Operator
field to set the Scale percentage value. Default=100.

Scale is animatable, while Size is not. Also, turning on Scale creates the scale data that any Scale
operators further on in the flow can work with.
Comments
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Particle View > Click Shape Instance in an event or add a Shape Instance operator to the particle
Shape Instance lets you use any reference object in the scene as particles. You can effectively define
only one reference object per event, but the object can comprise any number of sub-objects, each of
which Particle Flow can treat as a separate particle. Also, using tests, you can divide the particle
stream into multiple branches and define a different particle shape for each.
As the name of the operator indicates, reference geometry is instanced into the particle system.
Thus, any physical changes you make to the original geometry are reflected instantly in the particle
system. If you hide the original geometry, the particles still appear. However, if you delete the
original geometry, the particles are deleted as well.
Using Transform-Animated Reference Objects
You can create animated particle shapes by animating the reference object with modifiers, and then
turning on Animated Shape. However, Shape Instance ignores any rotational and positional
transformations applied directly to the reference object; it uses only the pure scale component. For
example, if you scale an object non-uniformly using the View reference coordinate system, the result
might skew the object's shape. Because the skewing is the by-product of a rotational transform, it
wouldn't be reflected in the particles' shape. However, modifiers and comparable functions that
contain transformations applied to the reference object are reflected in the instanced particles. For
example, if you want particles to use rotational transforms applied to the reference object, use the
Reset XForm function on the reference object. Reset XForm is available from the Utilities panel.
Tip: Particle Flow can, however, use rotational and positional animation applied to descendant
objects in a hierarchy, when you use the entire hierarchy as a single particle. To do this, create a
hierarchy, animate the descendant objects, and then designate the parent as the reference object.
Do not turn on Separate Particles For > Object And Children. You'll find a procedure illustrating this,
below.
When using an animated reference object, it is recommended that you hide the reference object
after instancing it in the particle system.
Procedure
Example: To use the reference object's rotational and positional animation in the particle
system:
1. Create an object you want to use as the particle shape, such as a teapot, and a Dummy helper
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object.
2. Animate the teapot using the Move and Rotate tools.
3. Use the Align tool to center the teapot to the dummy.

This step isn't necessary, but it can help to obtain more consistent results.
4. Link the teapot as a child of the dummy (drag from the teapot to the dummy).
You can use any object as the parent, but using a dummy, which doesn't render, lets you
animate all instanced particles visible in the final animation.
5. Create a default Particle Flow system.
6. In Particle View, delete the Rotation operator.
7. Replace the Shape operator with a Shape Instance operator.
8. In the Shape operator parameters, designate the dummy as the Particle Geometry Object.
9. Turn on Animated Shape.
10. For sequential animation, which can be more interesting visually, in Animation Offset Keying,
set Sync By to Particle Age or Event Duration.
See also
Shape Operator
Shape Mark Operator
Interface

Particle Geometry group
Use this control for defining the object to be used as the particle geometry. This object is known as
the reference object.
[button]Click this button, and then select a geometry object in the scene to be used as the
particle shape. The mouse cursor changes to a cross shape when positioned over an object that's
valid for use as a reference object. Valid objects include multi-shape objects such as groups and
hierarchies; see Separate Particles For group.
After picking a reference object, its name appears on the button.
You can use almost any geometry object as a reference object. By default, the operator
automatically converts closed splines to rendering geometry by filling in the area defined by the
shape outline. To use the shape outline instead, select the original shape and, on the Modify panel >
Rendering rollout, turn on Display Render Mesh. You needn't turn on Renderable, but changes to all

other Rendering rollout settings, such Thickness and Sides, are reflected in the rendered particles.
Particle Flow does not automatically fill in open shapes such as Line (non-closed) and Arc. To
render these shapes when using them as particles, turn on Modify panel > Rendering rollout >
Display Render Mesh.
If a Shape Instance operator is in effect for which the geometry object is not defined, and the
viewport display type is set to Geometry, then the particles appear in the viewports as X characters.
Note: If a multi-shape object used as a reference object comprises objects both with and without
materials applied, and Acquire Material is on, Particle Flow will apply the first available material to
any objects without materials applied.
Note: You can use a NURBS surface as a reference object, but not a NURBS curve. To use a NURBS
curve as particle geometry, first convert it to a surface using a method such as the Cap function.
Tip: For best results, when using an animated reference object, it's highly recommended that you
hide the original object before rendering, or use Object Properties to turn off its Renderable check
box.
Note: If using a group as a reference object, make sure the group is closed before selecting it.
Selecting an open group will add only the group member you click, not the entire group.
Separate Particles For group
3ds max provides a number of methods for combining disparate objects into single entities,
including grouping, building hierarchies with linking, and attaching. By default, when using such a
multi-shape object as particle geometry, each particle comprises all member objects. Alternatively,
you can instruct Particle Flow to treat each member object as a separate particle with these options.
When on, the software uses each member object as a single particle, in left-to-right order according
to its X-axis position, by default. So, for example, if you create text in the Front viewport, assign it
as reference geometry, and turn on Object Elements, the letters come out in the proper order.
You can vary the order randomly by turning on Multi-Shape Random Order.
You can turn on any combination of Separate Particles items. All are off by default.
Group MembersWhen on, group members are treated as separate particles.
Object and ChildrenWhen on, linked objects are treated as separate particles.
Object ElementsWhen on, element sub-objects of a single mesh object are treated as separate
particles.
Vertices/FacesShow the number of vertices and triangles per particle. If the reference geometry
is multi-shape and the appropriate check boxes in the Separate Particles are on, then these displays
show an average vertex/face count.
Number of ShapesShows number of different particle shapes. This number is always 1 unless the
reference geometry is multi-shape and the appropriate check boxes in the Separate Particles For
group are on, in which case this displays the number of resulting different shapes.

Scale (%)Specifies a uniform scaling factor for all particles. Range=0 to 100000. Default=on,
100.
The center of scaling for multi-shape object members treated individually depends on how the
objects are combined. For grouped and linked objects, the scaling is done about the objects' pivot
points. For object elements, the scaling center is the geometric center of each object; that is, the
averaged location of all the vertices.
This value cannot be animated. To animate particle size, use the Scale operator.
Variation (%)Specifies a randomized percentage of scaling variation. Use the Uniqueness setting
to change the randomization. Range=0 to 100. Default=0.
This value cannot be animated. To animate scaling variation, use the Scale operator operator.
Acquire MappingWhen on, all mapping data from the reference object is transferred to particles.
Default=on.
Acquire MaterialWhen on, material data from the reference object is transferred to particles.
Default=on.
If the reference object is a group, with different materials applied to the group members, the
software creates a new Multi/Sub-Object material containing all of the materials and uses it as the
particle material.
Tip: Because materials are sticky in Particle Flow, if you turn off Acquire Material after specifying a
reference object with an attached material, the material remains applied to the particles. To avoid
applying the instanced shape's material to the particles, turn off Acquire Material before specifying
the reference object.
Multi-Shape Random OrderWhen on, assigns shapes to particles in random order. When off,
Particle Flow emits each shape in the multi-shape object as a single particle, in the order of the
shape's X coordinate. In other words, the shape with the lowest X-axis coordinate is emitted first,
then the one with the next highest, and so on. The option is available only if at least one of Separate
Particles For group check boxes is on. Default=off.
For example, if you want the particles to spell out a word or phrase, use extruded text created in the
Front viewport as the reference object, turn on Separate Particles For > Group Elements, but leave
Multi-Shape Random Order off.
Animated ShapeWhen on, particles use any animation in the reference object, including cyclic
animation applied with the Parameter Curve Out-of-Range Types controls. When off, the particles
are not animated.
With this option, you can use the Animation Offset Keying controls to specify how to synchronize the
reference-object animation with the particles. See the next section.
Note: A particle that uses this option is animated only while in the event containing the Shape
Instance operator. If it moves to another event that doesn't contain a shape operator, it keeps the
same shape, but the animation stops. The easiest way to keep the animation going from event to
event is to place the Shape Instance operator in the global event. Otherwise, you need to place the
operator in each event in which the particle should be animated.

Acquire Current ShapeWhen on, Particle Flow acquires the particle shape from the reference
object as each particle enters the event. Thus, if the reference object is animated, particles that
enter at different times get different shapes. However, these shapes are not animated. When the
option is off, the shape is acquired from frame 0. Default=off.
This option is available only when Animated Shape is off.
Animation Offset Keying group
These controls are available only when Animated Shape is on.

Sync ByLets you choose how to synchronize reference-object animation with the particles.
Absolute TimeAll particles have the same shape at any given moment.
Particle AgeAnimation of the reference object is synchronized with particle age: Frame 0 of the
reference-object animation corresponds to the frame of each particle's birth.
Event DurationFrame 0 of the reference-object animation corresponds to the moment the

particle enters the event.
Rand OffsetWhen on, randomly varies the start of each particle's animation. Use the numeric
setting to specify the number of frames by which the animation start can vary.
Update Particle ShapeRefreshes instanced particle shapes from the reference object. Use this
after changing an object in a hierarchical reference object.
In most cases, Particle Flow automatically updates instanced particles when changes are made to
the reference object. However, in some cases, when you change an object deep in a hierarchy, the
particle instances might not be updated. In such a case, click Update Particle Shape to refresh the
instances.
Uniqueness group
The Uniqueness setting enables changing the randomization of the scale variation, animation offset,
and the multi-shape random order.
Comments

Reference Object
Glossary
Reference Object
A reference object is a geometry object or collection of objects used as particles by the Shape
Instance operator. It can be a single object, a group, a hierarchy, or even a compound object
consisting of several elements.
Comments
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Particle View > Click Shape Facing in an event or add a Shape Facing operator to the particle
The Shape Facing operator creates each particle as a rectangle that always faces a particular object,
camera, or direction. For effects like smoke, fire, water, bubbles, or snowflakes, use Shape Facing
with a material containing appropriate opacity and diffuse maps.
By default, the particles' top and bottom sides are parallel to the horizontal plane. The Orientation
setting lets you change this default alignment.
Note: For the Shape Facing operator to be able to calculate the particle orientation, it must know the
current particle position. For this reason, always place the Shape Facing operator below a Position
operator in an event.
See also
Shape Operator
Shape Mark Operator
Interface
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Look At Camera/Object group
Use this control for defining the camera or object toward which the particle will face. This object is
known as the Look At object. For the technically minded, the facing is maintained by keeping each
particle's local Z axis pointed at the Look At object, or when Use Parallel Direction is on, aligned with
the vector between the Particle Source icon and the Look At object.
NameAfter picking a Look At object, its name appears here.
Pick Camera or ObjectClick this button, and then select a camera or object in the scene to use
as the Look At object. The mouse cursor changes to a cross shape when positioned over a valid
object.
Use Parallel DirectionWhen off, all particles continuously rotate to stay facing toward the Look
At object. Each particle's orientation varies because its location differs from those of the others.
When on, all particles face in the same direction, defined by an imaginary line between the Particle
Source gizmo center and the Look At object. Default=off.
Size/Width group
Use these settings to specify the coordinate system for setting the size, as well as the size

parameters. The numeric settings in this group are not animatable.

In World SpaceSets the absolute size in system units, using the World coordinate system.
UnitsWith the In World Space option, sets the particle size in system units. Range=0 to
1000000000. Default=1.
In Local SpaceSets particle size relative to the existing size, in local space. The software uses the
dimensions of the existing shape to determine the size of the facing rectangle.
Inherited %Sets the facing particles' size as a percentage of the existing size. Range=0 to 100.
Default=100.
In Screen SpaceSets the facing particles' size as a percentage of the screen width. The actual
size of each particle changes as necessary throughout the animation, depending its distance from
the camera, to maintain a constant size from the camera's point of view.
This option is available only when the Look At object is a camera, and Use Parallel Direction is off.
Proportion %Sets the particle size as a percentage of the screen width. Default=1.
Variation %Sets the percentage by which particle size can vary. Default=0.
Pivot AtSpecifies the part of the particle around which rotation is performed when maintaining the
facing direction. The choices, available from the drop-down list, are Top, Center, and Bottom.
Default=Center.
With Top and Bottom, the center of the corresponding side is used as the particle center for rotation.
This option is useful, for example, when particles are lying on a surface, and each particle is an
explosion. In this situation, you'd probably want the entire particle rectangle to appear above the
surface, so you'd set Pivot At to Bottom.
W/H RatioDefines the aspect (width-to-height) ratio of the shape rectangle.
Adjust this ratio to that of the particle-map imagery. For the commonly used TV aspect ratio of 4:3,
set W/H Ratio=1.33. The parameter is not animatable. Range=0.001 to 1000. Default=1 (square
particles).
This value is not animatable.
Orientation
Use this drop-down list to choose how particles rotate on the axes not specified by the Look At
direction. Default=Align to Horizon.
Align to HorizonKeeps the top edge aligned with the horizon (the world XY plane).
Align to Speed FollowUses the right side of each particle as the leading edge, so the top and
bottom edges are aligned with the direction of particle motion.
RandomOrients the top edge at random.
Allow SpinningTo spin the particles, choose this option, and in the same event use a Spin

operator. In the latter, set Rotation Axis to Particle Space and use the default axis values: X=0,
Y=0 , Z=1.
Uniqueness group
The Uniqueness setting enables changing the randomization of the size/width variation.
Comments

Spin Operator
Spin Operator
Particle View > Click a Spin operator in an event or add a Spin operator to the particle system and
then select it.
The Spin operator gives an angular velocity to particles in an event, with optional random variation.
Spin is applied once per event per particle, except when using the Speed Space Follow option;
however, the settings can be animated.
To simply specify particle orientation, use the Rotation operator.
Interface
Spin RateThe rate of revolution in degrees per second.
VariationThe maximum amount, in degrees per second, by which the spin rate can vary. The
actual variation is calculated once, at random, for each particle.
Spin Axis group
The Spin Axis setting includes options that let you apply the spin on a random or specific axis, with
optional random variation of the spin axis. Default=Random 3D.
Random 3DSpins each particle about an arbitrary, random 3D axis.
World SpaceThe spin axis is specified in the world coordinate space.
Use the X/Y/Z settings to specify the spin axis.
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Spin Operator
Particle SpaceThe spin axis is specified in the local coordinate space of each particle.
Use the X/Y/Z settings to specify the spin axis.
Speed SpaceThe coordinate space for particle orientation is determined by the particles' direction
upon entering the event.
The X axis is aligned with the particle direction, while the Z axis is perpendicular to the X axis and is
pointed upward with respect to world space as much as possible.
Use the X/Y/Z settings to specify the orientation for all particles.
Speed Space FollowThe coordinate space for particle orientation is determined by the particles'
direction throughout the event. Use this option to allow particles that change direction during the
event to keep the spin axis aligned with their direction.
The X axis is aligned with the particle direction, while the Z axis is perpendicular to the X axis and is
pointed upward with respect to world space as much as possible.
X/Y/ZUse these to set the spin axis. Unavailable for the Random 3D option. Default=0,0,1.
Range=-1.0 to 1.0.
To specify a single axis, set the corresponding parameter to any non-zero value, and the others to 0.
A negative value flips the axis, and reverses the direction of rotation. The numeric values come into
play when you give more than one axis a non-zero value, in which case their effect is relative to one
another. For example, if you want the spin axis to be oriented halfway between the positive X and Y
axes, you would set X and Y to the same positive amount. The actual value doesn't matter.
Similarly, to set the spin axis to 30 degrees (1/3 of the angle) from the X axis to the Y axis, you'd
set the Y value to twice that of the X value. For example, X=0.2 and Y=0.4, or X=0.5 and Y=1.0.
DivergenceDefines the range of variation (in degrees) for spin-axis orientation. The actual
deviation is calculated at random within this range. Unavailable for the Random 3D option.
Default=0. Range=0 to 180.
Uniqueness group
The Uniqueness setting affects the randomization of spin rate variation, spin axis with the Random
3D option, and Divergence with the other options.
Comments

Spin Operator

Rotation Operator
Rotation Operator
Particle View > Click a Rotation operator in an event or add a Rotation operator to the particle
The Rotation operator lets you set and animate particle orientation during an event, with optional
random variation. You can apply orientation in any of five different matrices: two random and three
explicit. For some options you can set a degree of random variation or divergence from the specified
orientation.
To cause particles to spin, use the Spin operator.
Interface
Orientation Matrix group
The Orientation Matrix setting includes options that give particles random orientations, or let you
specify orientation in any of three different ways. Default=Random 3D.
Random 3DGives each particle an arbitrary, random 3D orientation.
Random HorizontalGives each particle an arbitrary, random 3D orientation about the Z axis only.
Rotation about the X and Y axes doesn't change (unless Divergence is used), so the particles remain
vertical.
World SpaceOrientation is specified in the world coordinate space.
Speed SpaceThe coordinate space for particle orientation is determined by the particles' direction
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Rotation Operator
upon entering the event.

By default, using the Speed operator > Along Icon Arrow option, particles are aimed straight down
when born.
Speed Space FollowThe coordinate space for particle orientation is determined continually while
the particles are in the event. Thus, by default, particles constantly reorient themselves to aim in
the direction they're traveling.
For example, if you add a Find Target test to the end of the default Event 01, move the target
sideways, and set Rotation to Speed Space Follow, the particles start out pointing straight down, as
oriented by the Speed operator, and then gradually reorient themselves to point in the direction
they're traveling: toward the target.
Use the X/Y/Z settings to specify the orientation for all particles. The Divergence setting is
unavailable when using Speed Space Follow.
X/Y/ZSet the basic orientation about the particles' local axes. Unavailable with the Random 3D
and Random Horizontal options.
DivergenceDefines the range of variation (in degrees) for particle orientation. The actual
deviation is calculated at random within this range. Unavailable with the Random 3D or Speed Space
Follow option. Default=0.0.
Restrict Diverg[ence] To AxisWhen on, lets you use the Divergence Axis controls to set the axis
to which divergence will be applied. When off, the software uses a random axis for each particle.
Unavailable with the Random 3D or Speed Space Follow option. Default=off.
Divergence AxisUse the X/Y/Z settings to set the axis to which divergence will be applied.
Default=1,0,0. Range=-1.0 to 1.0.
To specify one of the world axes, set the corresponding parameter to any non-zero value, and the
others to 0. A negative value flips the axis. The numeric values come into play when you want to use
an axis that's not aligned with the X, Y, or Z axis. In that case, you specify multiple non-zero values
whose effect is relative to one another. For example, if you want the axis to be oriented halfway
between the positive X and Y axes, you would set X and Y to the same positive amount. The actual
value doesn't matter. Similarly, to set the axis to 30 degrees (1/3 of the angle) from the X axis to
the Y axis, you'd set the Y value to twice that of the X value. For example, X=0.2 and Y=0.4, or
X=0.5 and Y=1.0.
Uniqueness group
The Uniqueness setting affects the randomization of orientation with the Random 3D and Random
Horizontal options, and also Divergence.

Rotation Operator
Comments

Speed Operator
Speed Operator
Particle View > Click Speed in an event or add a Speed operator to the particle system and then
select it.
This is the default Speed operator, which appears in the first event when you create a new Particle
Flow icon. It provides basic controls over particle speed and direction.
Directional controls provided by the Speed operator are based on the position and orientation of the
Particle Flow icon. For best results when using other objects as emitters, use the Speed By Surface
Operator operator instead.
See also

Keep Apart Operator
Procedure
Example: To change particles' speed:

The Speed operator works on an instantaneous basis: It sets each particle's speed once only, when
it enters the event. Even if you animate the Speed value, each particle moves at a constant rate of
speed, defined by the value at the time it enters the event. This procedure demonstrates a trick you
can use to change particle speed with an animated Speed value, thanks to Particle Flow's looping
ability.
1. Create a default particle system, and position it at the top of the Perspective viewport.

The particles fall downward at the default rate: 300 units per second.
3. Add a Send Out test at the bottom of Event 01.
4. Add a Speed operator to an empty area of the event display.

This creates a new event.
5. Turn on Auto Key, and move the time slider to frame 30.
6. In Particle View, click the new Speed 02 operator, and then in the Particle View parameters
panel, set Speed to 0.
This animates the Speed value from 300 at frame 0 to 0 at frame 30.
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Speed Operator
8. Wire the Send Out test in Event 01 to Event 02.

The particles born later move slower, but all still move at a constant rate of speed.
10. Add a Send Out test at the end of Event 02.
11. Create a new event using an Age Test. Click the Age Test to display its parameters, and then
set the following:
Event Age
Test Value=1
Variation=0
13. Wire the Age Test in Event 03 to Event 02.

All the particles slow down simultaneously and eventually come to a stop.
Here's how it works: As each particle enters Event 02, its speed is set to the current Speed
value in the Speed operator. Particle Flow then sends the particle immediately to Event 03,
where it sits for one frame. Event 03 then returns the particle to Event 02, whose Speed value
is now lower. Particle Flow perceives the returned particle as newly entering the event, so it
changes its speed to the current Speed value. Thus, the particles continually return to Event 02
one frame later than before, and are assigned a progressively lower speed.
If you wanted the particles to do something else after they stop, you could add a Speed Test to
Event 02, above the Send Out test, set Test True If Particle Value to Is Less Than Test Value,
and set Test Value to a very low value, such as 0.01. Then wire the Speed Test to a different
event.
Interface

Speed Operator
SpeedThe particle speed in system units per second. Default=300.
A positive Speed value moves the particles in the direction determined by the Direction setting; a
negative Speed value moves the particles in the opposite direction.
Note: Speed sets each particle's speed once only: when the particle enters the event (or is born, in
the case of a birth event). If you animate the Speed value, particle speed does not vary: rather,
each particle is given a constant speed equal to the current Speed value when it enters the event.
VariationThe amount by which particle speed can vary, in system units per second. Default=0.0.
To obtain each particle's speed, the system multiplies the Variation value by a random number
between -1.0 and 1.0, and then adds the result to the Speed value. For example, if Speed=300 and
Variation=100, then each particle's speed would be between 200 and 400.
Direction group
The Direction drop-down list lets you specify which way the particles go after they're born.
Default=Along Icon Arrow. In most cases, the actual direction also depends on the icon orientation.
The primary exception is when Position > Location is set to Pivot.
Particle movement is always in a straight line unless influenced by other factors.
Along Icon ArrowParticles move parallel to the icon arrow. Rotate the icon to change the
direction.
Icon Center OutEach particle moves along an imaginary line drawn between the particle's
location and the icon center.
With the flat icon types (Rectangle and Circle), this results in all the particles moving in one plane,
unless you increase Divergence above 0.0. With icons that have height (Box and Sphere), the
particles move outward in three dimensions.
Particles at the center, as is the case when the Position operator's Location parameter is set to Pivot,
arbitrarily move along the world X axis.
Icon Arrow OutEach particle moves along an imaginary line drawn between the particle's location

Speed Operator
and the icon arrow. The line is perpendicular to the icon arrow, which is considered an infinite line
for this purpose.
With the flat icon types (Rectangle and Circle), this results in all the particles moving in one plane,
unless you increase Divergence above 0.0. With icons that have height (Box and Sphere), the
particles move outward in a cylindrical formation.
Random 3DParticles move in all directions. This option is affected by the Uniqueness setting.
Random HorizontalEach particle moves in a random horizontal direction; that is, parallel to the
world XY plane. This option is affected by the Uniqueness setting.
Inherit PreviousUses the current direction of motion.
If you choose Inherit Previous but no direction was previously specified, the speed and direction are
undefined; the particles don't move.
ReverseWhen on, the direction is reversed. Default=off.

Using Reverse is the equivalent of multiplying the Speed value by -1. This option is unavailable if
Random 3D or Random Horizontal is chosen.
DivergenceWhen on, spreads out the particle stream. Use the numeric setting to define the
extent of the divergence, in degrees. Range=0 to 180. Default=0. The value can be animated.
This option is unavailable if Random 3D is chosen.
Tip: For a fountain-like spray, set Position > Location to Pivot, set Direction to Along Icon Arrow, set
Divergence to the desired angle, and rotate the icon so its arrow points upward.
Uniqueness group
The Uniqueness setting enables randomization of speed variation, and randomization of direction
with the Random 3D and Random Horizontal options.
Comments

Particle View > Click Speed By Surface in an event or add a Speed By Surface operator to the
The Speed By Surface operator lets you control particle speed and direction with any object or
objects in the scene. This is in contrast to the default Speed operator, which uses the Particle Flow
icon to control particle speed and direction. Speed By Surface also provides options for controlling
speed by materials in the scene, and continuous speed control.
Typically, you use Speed By Surface to assign speed and direction characteristics based on the
objects used as emitters with the Position Object operator. That is, you assign the same objects as
emitters with Position Object and as Surface Geometry objects with Speed By Surface.
Tip: For greater control over particle motion on the surface, apply a Speed operator before the
Speed By Surface operator in the same event. Use the Speed operator to specify particle direction
on the surface, and the Speed By Surface operator to adjust the vertical component of the speed
vector to follow the contour of the surface.
See also

Keep Apart Operator
Procedure
Example: To use Speed By Surface:

The Speed By Surface operator offers a wealth of possibilities for usage. This procedure will lead you
through several examples, but you're encouraged to explore the operator further on your own to
learn more about it.
1. Start or reset the software, and add a Particle Flow system. Position the source icon at the
world origin (X/Y/Z=0), and set the icon's Length and Width values both to 30.
2. Add a Cylinder primitive to the scene. Position it above the source icon: X/Y=0 and Z=30. Set
Radius=20 and Height=40.
3. Play the animation, and then stop.

The particles move downward, using the default starting setup.
4. Open Particle View and add a Speed By Surface operator to the end of Event 01. Click the
operator in the event to display its parameters panel in Particle View.
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5. In the Surface Geometry group, click Add, and then select the cylinder.
6. Play the animation again, and then stop.

The particles still move downward.
7. Go to frame 15, so you can see the particles, and then slowly move the cylinder downward
along the Z axis, while watching the particles in the Perspective and Front viewports. Stop
when the emitter is above the cylinder.
As the bottom of the cylinder passes below the emitter, more and more particles start moving
on the XY plane rather than perpendicular to it. That's because they eventually become closer
to one of the vertical sides of the cylinder, rather than the bottom, at which point they move
perpendicular to the vertical sides. When the top becomes the closest side, the particles again
move vertically, but upward instead of downward.
8. Move the cylinder back up until the emitter is at its vertical center. Then, on the Modify panel,
click the lower part of the Sides spinner to decrease the number of sides, one at a time.
Each time you click, the particle streams traveling outward change, to move perpendicular to
the vertical sides as they change position. You might also try rotating the cylinder, and note
that the particle streams also rotate, like the spokes of a wheel.
9. In the Speed By Surface parameters, change Direction to Out Of Surface, and then move the
cylinder up and down.
The overall behavior doesn't change much. Out Of Surface becomes more useful when you use
the Control Speed Continuously option, as you'll observe shortly.
10. In the Speed By Surface parameters, change Direction to Parallel To Surface, and then move
the cylinder up and down.
Now the particle behavior is effectively opposite of that with the other two options. When the
particles are closer to the top or bottom, they move along the XY plane, and when they're
closer to the vertical sides, they move downward. If you want them to move upward instead,
set Speed to a negative value.
Next, you'll discover how the Control Speed Continuously option alters particle behavior.
11. In the Speed By Surface parameters, choose Control Speed Continuously, and then drag the
time slider.
The particles spread out from the emitter, and then start orbiting the cylinder in a roughly
cylindrical overall formation. The software continually checks to see which side of the cylinder a
particle is closest to, and, if necessary, changes its direction to make it travel parallel to that
side. You can affect the size of the particles' orbits by changing their speed.
Lastly, you'll see how to contain particle motion within the cylinder.
12. Make the cylinder considerably larger: Radius=60 and Height=90. Activate the Perspective
viewport, if necessary, and then press F3 to set it to Wireframe view.
13. In Particle View, click the Speed 01 operator and set Direction to Random 3D.

14. Click the Speed By Surface operator. Set Speed to 300 if necessary. In the Direction group,
choose Out Of Surface, and then drag the time slider.
After exiting the emitter, the particles always move away from the nearest surface, with the
result that they end up milling about in the center of the cylinder.
15. Gradually increase the Speed value, up to 1,000 or so.

The particles start to spread out vertically, and eventually start moving so fast that they escape
the cylinder. You can make them stay inside the cylinder by letting them accelerate more
quickly, so they can turn before moving past the nearest surface.
16. Increase the Accel Limit setting until the particles no longer exit the cylinder.
17. Try giving the particles more room to move about in by increasing the size of the emitter. Also
try changing other settings throughout the particle system to see their effects. The possibilities
don't end here, and the more you experiment, the more you'll learn about how this powerful
operator works.
Interface

The first setting lets you choose whether the operator controls speed once or continuously.
Set Speed OnceThe operator sets the speed for each particle once: when the particle enters the
event.

Control Speed ContinuouslyThe operator sets particle speed throughout the event. When you
choose this option, the Continuous Speed Control group becomes available.
SpeedThe particle speed in system units per second. Default=300.
With the Control Speed Continuously option, you can turn off Speed. This causes Particle Flow to use
the current particle speed.
Using a negative Speed value causes particles to move in the opposite direction of that effected by a
positive speed.
VariationThe amount by which particle speed can vary, in system units per second. Default=0.0.
To obtain each particle's speed, the system multiplies the Variation value by a random number
between -1.0 and 1.0, and then adds the result to the Speed value. For example, if Speed=300 and
Variation=100, then each particle's speed would be between 200 and 400.
Surface Geometry group
Use these controls to assign objects to affect particle speed and direction. The list in this group
shows the objects, or reference geometry, that the operator uses to control speed and direction.
If you don't assign any objects, the current particle speed and direction are not affected.
You can assign multiple Surface Geometry objects, but if they're not all emitters as well, the results
can be difficult to interpret. In general, assign the same objects as Surface Geometry that your
system uses as emitters.
Tip: For optimal performance, when moving particles with respect to high-polygon objects, create a
low-poly proxy version to use as surface geometry, link it as a child of the high-poly object if
necessary, and then hide the low-poly proxy.
Use the Add and Remove buttons to edit this list.
AddAdds an object to the list. Click Add, and then click an object in the viewport.
By ListAdds multiple objects to the list. Click By List to open the Select Surface Objects dialog.
This works just like the Select Objects dialog; highlight the objects to use to control speed and
direction, and then click the Select button.
RemoveRemoves an object from the list. Highlight the object in the list, and then click Remove.
Animated ShapeTurn on to allow particles to follow the surface of an object whose form is
animated by morphing or with modifiers.
Subframe SamplingWhen on, the operator acquires animation of the Surface Geometry shape on
a tick basis (every 1/4,800th of a second) rather than a frame basis. This provides greater precision
in allowing the particle positions to follow animation of the Surface Geometry object's form.
Speed by MaterialVaries particles' existing speed and direction based on properties of the
material applied to each Surface Geometry object. For example, if an object is assigned a black-and-
white checkered diffuse map and you choose the Grayscale Multiplier option, particles near the white-
checked areas move faster than those from the black-checked areas.
Note: For material-influenced speed to appear properly in the viewports, two conditions are

required: at least one viewport must be set to a shaded display mode, and the material or map must
have Show Map In Viewport turned on in the Material Editor.
The options are as follows:
Grayscale MultiplierLets material luminance control speed, with darker areas producing slower
particles and lighter areas producing faster ones. The software multiplies the luminance of the
material near each particle, converted to a percentage, by the particle's current speed. A
luminance of 0 converts to 0%, of 128 converts to 50%, and of 255 converts to 100%.
For example, if the speed of a particle traveling at 50 units per second is influenced by a pixel
whose luminance is 90, the resulting speed is 90/255*50, or about 17.6 units per second.
Signed GrayscaleWorks like Grayscale Multiplier, but the multiplier can be negative as well,
causing reversal of motion. Signed Grayscale uses a material luminance value of 128 as the
midpoint, and assigns it a multiplier of 0%. Luminance values from 0 to 127 result in multipliers
of -100% to about -1%, respectively, and values of 129 to 255 result in multipliers of about 1%
to 100%, respectively.
RGB as World XYZ Mult.Works like Grayscale Multiplier, but uses the intensity of the
material's red, green, and blue channels to affect particle speed on the world X, Y, and Z axes,
respectively. So, for example, if the material pixel is pure red, that is, its RGB value is (255,0,0),
then the particle will retain its current speed on the world X axis, but its speed on the Y and Z
axes will be reduced to 0. Similarly, a medium-yellow pixel (128,128,0) will cause speed on the
world X and Y axes to be reduced by half, and will cut speed on the Z axis to 0.
RGB as Local XYZ Mult.Works like RGB as World XYZ Mult., but uses the object's local
coordinates rather than world coordinates.
Use Sub-MaterialWhen on, uses a sub-material from the Multi/Sub-Object material assigned to
the Surface Geometry object to define speed.
This option allows usage of invisible materials for controlling particle speed. If the emitter uses a
Multi/Sub-Object material but its geometry doesn't use the ID that corresponds one of the sub-
materials, the sub-material doesn't appear. However, the operator can use it to calculate the density
of particle placement. The software assumes the material to be applied to the entire object surface.
Mtl IDSpecifies the material ID of the sub-material to be used for particle speed control.
Direction group
The Direction drop-down list lets you specify which way the particles go after they're born.
Default=Surface Normals. In most cases, the actual direction also depends on the icon orientation.
The primary exception is when Position > Location is set to Pivot.
Particle movement is always in a straight line unless influenced by other factors.
Surface NormalsEach particle moves along a line perpendicular to the nearest face. The direction
the surface faces doesn't matter.
Out Of SurfaceParticles move away from the closest face.

Tip: You can use this option to confine particles to the interior of an object. Position the emitter
inside the object, designate the object as the Surface Geometry, choose Control Speed Continuously,
and choose Out Of Surface. Each time a particle comes close to a surface, it turns to travel directly
away from the surface. Control the particles' travel range with the Speed setting, but keep in mind
that particles moving very fast might escape their container. If this happens, increase the Accel
Limit setting; this lets the particles turn more quickly.
Parallel To SurfaceEach particle travels parallel to the nearest face.
To make particles orbit an object, use this with Control Speed Continuously, and set appropriate
Continuous Speed Control values (see the following section).
DivergenceWhen on, spreads out the particle stream. Use the numeric setting to define the
extent of the divergence. Range=0 to 180. Default=0. The value can be animated.
This option is unavailable if Control Speed Continuously is chosen.
Tip: For a fountain-like spray, set Position > Location to Pivot, set Direction to Along Icon Arrow, set
Divergence to the desired angle, and rotate the icon so its arrow points upward.
Continuous Speed Control group
When you choose the Control Speed Continuously option, these controls become available. Basically,
these controls let the particles move about within the region of the Surface Geometry object rather
than in a straight line away from the emitter.
Accel LimitSets the maximum acceleration. The higher this value, the more quickly particles can
turn and change speed.
Tip: Use a lower Accel Limit value for smooth motion, and a higher value when greater accuracy is
needed, such as when the particles should hit a small target. You can animate this setting (use Sync
By > Event Duration) to specify different appropriate values, depending on the required results.
Unlimited RangeWhen on, the surface controls speed and direction of particles at any distance.
When off, particles must be within a specified range. Default=on.
RangeThe maximum distance, in system units, between the particles and controlling surface. The
Surface Geometry will not control particles beyond this distance.
Falloff ZoneThe distance, in system units, beyond the Range value within which the Surface
Geometry exerts partial control over particles. The degree of control diminishes from 100% at the
Range distance to 0% at the Range+Falloff Zone distance.
Choose the time frame for applying animated parameters. For an explanation, see Animation Offset
Keying group.
Absolute TimeAny keys set for parameters are applied at the actual frames for which they're set.

enters the event.
Uniqueness group
The Uniqueness setting enables randomization of speed variation, and randomization of direction
with the Random 3D and Random Horizontal options.
Comments

Particle View > Click Position Object in an event or add a Position Object operator to the particle
By default, particles are born, or emitted, from the Particle Flow icon. The Position Object operator
lets you emit particles from any other object or objects in the scene instead. This topic uses the term
emitter to refer to an object or objects used to emit particles with this operator. For example, use it
to create a meteor's fiery trail.
Use the Position Object settings to control the initial placement of particles on the emitter. You can
set the emitter to emit particles from its surface, volume, edges, vertices, or pivot, or from a sub-
object selection. You can also control particle emission with a material applied to the object.
Alternatively, you can use the Position Icon operator to emit particles from the Particle Flow icon.
Note: Typically, you would use Position Object in a birth event, so the particles appear initially at the
emitter object(s). If you use it in a non-birth event, the particles jump to the designated emitter(s)
upon entering the event. This could be useful for a teleportation effect.
Tip: The default speed operator, Speed, typically uses the Particle Flow icon to control the direction
of the particle flow, so if the emitter object(s) and the icon aren't coincident and aligned, you might
get unexpected results. For better control over the direction of particle movement when using
Position Object, use the Speed By Surface operator instead and designate as Surface Geometry the
same object(s) as with Position Object.
Procedure
To use Position Object:
1. Create a Particle Flow system and one or more mesh objects to use as emitters. Animate the
emitter objects and set particle system parameters as necessary.
2. In Particle View, add a Position Object operator to the birth event, replacing the Position Icon
operator if one exists. Click the operator to display its parameters.
3. In the Emitter Objects group, click Add, and then select an object to serve as the emitter.
Alternatively, click By List and then use the Select Emitter Objects dialog to designate one or
more objects as emitters.
4. Use the Location drop-down list to choose where the particles should appear on the emitter:
surface, vertices, and so forth.
5. Set other options as necessary. For example, if you want the particles to use the same motion
as the emitter at the time of emission, turn on Inherit Emitter Movement. Or if you're using an
emitter object whose shape is animated, turn on Animated Shape.
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Interface

Lock On EmitterWhen on, causes all particles to remain at their initial positions on the emitter. In
effect, they're glued to the emitter. When off, each particle's birth position is determined by the
emitter's current location. Default=off.
Inherit Emitter MovementWhen on, the software sets each particle's speed and direction of
motion to those of the emitter at the time of birth. When off, the emitter movement doesn't affect
that of the particles. Available only when Lock On Emitter is off. Default=off.
Note: If a Speed operator exists later in the event, it overrides any motion imparted by Inherit
Emitter Movement.
MultiplierDetermines, as a percentage, the extent to which particles inherit the emitter's motion.
Available only when Inherit Emitter Movement is on. Default=100.
To have the particles move half as fast as the emitter, set Multiplier to 50. To have them move the
same speed, use the default setting of 100. To make the particles move twice as fast as the emitter,
set Multiplier to 200.
VariationDetermines, as a percentage, the extent to which inherited emitter motion can vary per
particle. To determine the final multiplier for each particle, the Variation value is multiplied by a
random number between -1.0 and 1.0, and then added to the Multiplier value. Default=0.
Emitter Objects group
Use these controls to assign objects to be used as particle emitters. The list in this group shows the
objects, or reference geometry, that the operator uses as emitters.
If you don't assign any objects, Particle Flow uses the world origin (0,0,0) as the emitter source.
With more than one emitter object, the division of particles among the objects depends on which
option you choose for Location. If you set Location to Pivot, then each object has one emission point
and each object emits the same number of particles (total number of particles/number of objects).
But if you set Location to any other option, each object emits a number of particles proportionate to
the number of available emission points per object. For instance, if you set Location to Volume, then
a larger object will emit more particles than a smaller one. Similarly, with Location set to Vertices,
an object with 100 vertices will emit twice as many particles as an object with 50.
If you delete from the scene an object designated as an emitter, its entry in the list is replaced with
<deleted>.
Use the Add and Remove buttons to edit this list.
AddAdds an object to the list. Click Add, and then click an object in the viewport.
By ListAdds multiple objects to the list. Click By List to open the Select Emitter Objects dialog.
This works just like the Select Objects dialog; highlight the objects to use as emitters, and then click
the Select button.
RemoveRemoves an object from the list. Highlight the object in the list, and then click Remove.

Animated ShapeTurn on to allow particles to follow the surface of an object whose form is
animated by morphing or with modifiers.
Subframe SamplingWhen on, the operator acquires animation of the emitter shape on a tick
basis (every 1/4800th of a second) rather than a frame basis. This provides greater precision in
allowing the particle positions to follow animation of the emitter object's form.
Location group
The Location drop-down list lets you specify where on each emitter the particles appear. This choice
applies to all emitter objects. Default=Surface.
The Selected Vertices/Edges/Faces options in this list let you emit particles from a specific part of
the emitter object by using an existing sub-object selection. To create this selection, first convert the
object to an editable mesh or poly, or apply a Mesh Select or Poly Select modifier (or equivalent),
select the sub-objects that are to emit particles, and then choose the corresponding Location option.
If the software doesn't find a sub-object selection, it uses all sub-objects of the indicated type.
PivotEmits particles from the original position of the emitter object's pivot. Moving the pivot does
not affect this option.
VerticesEmits particles from randomly selected vertices of the emitter objects.
EdgesEmits particles from random points along the edge sub-objects of the emitter objects.
SurfaceEmits particles from random points on the surface of the icon.
VolumeEmits particles from random points within the volume of the icon.
Selected VerticesEmits particles from the current vertex sub-object selection.
Selected EdgesEmits particles from the current edge sub-object selection.
Selected FacesEmits particles from the current face or polygon sub-object selection.
You can modify the Location choice with any combination of the following:
Surface OffsetLets you specify a range of distances from the object surface for particle
placement.
Surface Offset is unavailable when Location is set to Pivot or Volume. Use the Min and Max
parameters to set the range.
Note: Negative values offset the particles below the surface.
Min/MaxWhen Surface Offset is on, these let you specify the range of offset distances from the
object surface. The Min value cannot exceed the Max value, and vice-versa. If you try to raise Min
above Max, or lower Max below Min, both values change equally.
Density by MaterialVaries emission over the emitter surface based on properties of the material
applied to the emitter. For example, if the object is assigned a black-and-white checkered diffuse
map and you choose the Grayscale option, particles are emitted only from the white checks.

Important: For material-influenced emission to appear properly in the viewports, two

conditions are required:
At least one viewport must be set to a shaded display mode.
The material or map must have Show Map In Viewport turned on in the Material Editor.
The options are as follows:
GrayscaleThe software internally converts the material-based coloring (diffuse) to grayscale,

and then emits more particles in lighter areas and fewer in darker areas.
The box emitter is mapped with a gradient. With Position Object set to Density By Material >
Grayscale, the particles appear with greater frequency in the lighter areas of the box.
OpacityParticles are more likely to appear on opaque areas than on transparent areas.
Grayscale & OpacityCombines the two: More particles appear on light, opaque areas than on
dark, transparent areas.
Red/Green/BlueConsiders only the specified color channel. The higher its value at any given
pixel, the more likely particles are to appear there.
Use Sub-MaterialWhen on, uses a sub-material from the Multi/Sub-Object material assigned to
the emitter to define density values.
This option allows usage of invisible materials for particle placement. If the emitter uses a Multi/
Sub-Object material but its geometry doesn't use the ID that corresponds to one of the sub-
materials, the sub-material doesn't appear. However, the operator can use it to calculate the density

of particle placement. The software assumes the material to be applied to the entire object surface.
Mtl IDSpecifies the material ID of the sub-material to be used for particle emission.
SeparationWhen on, the software attempts to keep the particles apart by the amount specified in
Distance. The likelihood of successfully separating particles depends on the number of particles, the
specified distance, and the Attempts Max value.
DistanceSpecifies the distance, in system units, by which the software should try to keep the
particles separate. Default=1.0.
Distinct Points OnlyLimits emission to a specific number of points (see Total, below) on the
specified Location type.
Emission points are still randomized; change the Uniqueness setting to alter these.
TotalSets the number of emission points. Available only when Distinct Points Only is on.
Default=10.
If Location Is Invalid group
Delete ParticlesWhen on, if the software cannot place a particle according to the current option,
it deletes the particle. When off, particle placement is undefined; that is, it depends on other
variables. Default=off.
If the number of particles is more important than the position on the object, leave this off. However,
if exact placement is of higher priority than the number of particles, turn Delete Particles on.
Uniqueness group
The Uniqueness setting enables randomization of placement on the emitters.

Attempts MaxWhen using the Separation option, this specifies the maximum number of times
Particle Flow will try to set particle positions that maintain the requested distance. If unsuccessful
within this number of attempts, particles might be closer together than the requested distance. Also
affects placement with Density By Material using either of the Grayscale options.
Comments

Particle View > Click Position in an event or add a Position operator to the particle system and
then select it.
By default, particles are born, or emitted, from the Particle Flow icon. This topic uses the term
emitter to refer to this icon. Use the Position Icon operator to control the initial placement of
particles on the emitter. You can set the emitter to emit particles from its surface, volume, edges,
vertices, or center. And, if you animate the emitter, you can cause its motion to be imparted to the
particles it emits.
Alternatively, you can use Position Object to emit particles from any other object.
Interface
Lock On EmitterWhen on, causes all particles to remain at their initial positions on the emitter. In
effect, they're glued to the emitter. When off, each particle's birth position is determined by the
emitter's current location. Default=off.
Inherit Emitter MovementWhen on, the software sets each particle's rate and direction of
motion to that of the emitter at the time of birth. When off, the emitter movement doesn't affect
that of the particles. Available only when Lock On Emitter is off. Default=off.
Note: If a Speed operator exists later in the event, it overrides any motion imparted by Inherit
Emitter Movement.
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MultiplierDetermines, as a percentage, the extent to which particles inherit the emitter's motion.
Available only when Inherit Emitter Movement is on. Default=100.
To have the particles move half as fast as the emitter, set Multiplier to 50. To have them move the
same speed, use the default setting of 100. To make the particles move twice as fast as the emitter,
set Multiplier to 200.
Location group
The Location drop-down list lets you specify where on the emitter the particles appear. You can
create a variety of emission behaviors by varying the icon type, Location setting, and direction of
emission. Default=Volume.
PivotEmits particles from the center of the icon.
VerticesFor the Box and Rectangle icon types, emits particles from the corners of the icon. For
the Sphere icon type, emits particles from the six intersections of the three circles that define the
sphere. For the Circle icon type, emits particles from the center.
EdgesEmits particles from random points along the edges of the icon.
SurfaceEmits particles from random points on the surface of the icon.
VolumeEmits particles from random points within the volume of the icon.
Distinct Points OnlyLimits emission to a specific number of points (see Total, below) on the
specified Location type.
Emission points are still randomized; change the Uniqueness setting to alter these.
TotalSets the number of emission points. Available only when Distinct Points Only is on.
Default=10.
Subframe SamplingWhen on, the operator acquires animation of the emitter icon on a tick basis
(every 1/4800th of a second) rather than a frame basis. This provides greater precision in allowing
the particle positions to follow animation of the emitter icon. Default=off.
Uniqueness group
The Uniqueness setting lets you alter the randomization of emission points.

Comments

Particle View > Click Speed By Icon in an event or add a Speed By Icon operator to the particle
Click a Speed By Icon operator icon in the viewport > Modify panel
Create panel > Helpers > Particle Flow > SpeedByIcon
The Speed By Icon operator lets you use a special, non-rendering icon to control particle speed and
direction.
Speed By Icon operator icon
When you add a Speed By Icon operator to the particle system in Particle View, the Speed By Icon
operator icon icon appears in the scene at the world origin (0,0,0). When animated, the operator
icon's motion is imparted to the particles. If you delete the icon, the software also deletes the
operator.
Note: If you add Speed By Icon from the Create panel, Particle Flow creates a separate event for the
operator in the particle diagram.
Warning: If you delete a Speed By Icon operator icon in the viewport, you also delete the
corresponding operator in the Particle Flow system.
See also
Speed Operator
Keep Apart Operator
Procedures
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To use the Speed By Icon operator:
1. Add a Speed By Icon operator to an event. Be sure to add it after any existing Speed operators
in the event. Alternatively, delete or turn off any existing Speed operators.
The Speed By Icon operator icon appears at the world origin (0,0,0).
2. Animate the icon as you would any object. You can do this manually, or with a controller such
as Path Constraint. See the following procedure for an example of this.
The particles' motion is now under the influence of the animated icon.
3. Set the Speed By Icon parameters. With the icon selected, you can do this in the Modify panel.
In general, the default Icon Animation > Sync By setting, Event Duration, works best. It causes
the icon animation to be applied to the particles within the time frame of the event containing
the Speed By Icon operator.
Example: To send particles along a path:
1. Reset the software, and then add a Particle Flow system in the Perspective viewport.
2. On the Create panel, choose Shapes > Splines > Helix, and then, in the Perspective viewport,
at the center of the grid, create a helix shape. Then, on the Parameters rollout, set the
following:
Radius 1=100
Radius 2=20
Height=20
Turns=3
Bias=0
This will serve as the particle path.
3. Move and rotate the Particle Flow source icon so that it's at the start of the helical path, and
aimed along the path, as shown. Get the base of the arrow as close as possible to the start of
the path.

4. Open Particle View (press 6).
5. In Event 01, click the Position Icon operator and set Location to Pivot.
This causes the particles to be emitted in a thin stream.
6. Insert a Speed By Icon operator at the end of Event 01.

The operator icon appears at the world origin.
7. Select the operator icon, and then, from the Animation menu, choose Position Controllers >
Path Constraint.
When you move the mouse cursor into the viewport, a rubber-band line joins the cursor to the
icon.
8. Select the Helix object.

The command panel switches to the Motion tab, and the controls indicate that the software has
applied a Position List controller to the icon, with the listed controllers being a Position XYZ and
a Path Constraint. You can delete the former if you like, but it doesn't make any difference for

the purposes of this procedure.
9. Close Particle View, and then drag the time slider back and forth between its extents a few
times.
Tip: The best way to view the results is from the Top viewport.
The particles follow the path fairly closely, but diverge noticeably at the end of the path, where
the turns are tightest. Correcting divergence in tight turns typically requires an increase in the
acceleration limit.
The particle stream diverges from the path at its endpoint.
10. Stop at frame 100.

This will let you see the results of changing the Speed By Icon parameters as you make the
changes.
11. Open the Modify panel, and, if necessary, select the Speed By Icon operator icon.
The operator parameters appear on the Modify panel. This is the case with any action that uses
a unique icon, and lets you adjust the parameters without using Particle View.
12. On the Parameters rollout, use the Accel Limit spinner to slowly increase the value as you
observe the changes to the particle path.
As you approach a value of 150, the end of the particle path comes closer and closer to the
Helix. You shouldn't see much change above 150.

The endpoints now coincide.
13. Drag the time slider again.

The particle path remains similar to that of the Helix for the entire duration of the animation.
With other setups, you might need to use different values for Influence %, and for paths with
tight twists and turns, you might need to increase Accel Limit as well.
You might be wondering why you didn't simply replace the default Speed operator with the
Speed By Icon operator. To see why not, try this:
14. Go to frame 100, open Particle View, and click the Speed 01 operator's icon to turn it off. Play
the animation.
The entire particle path is offset from the Helix, so it's difficult to tell how closely it follows the
latter's curves.
15. Try adjusting the Speed By Icon's Accel Limit and Influence % setting to get the particles to
follow the helical path more closely.
It's not easy. You get more reliable results using the Speed operator to set the initial speed,
and then Speed By Icon to set the particle path.
To use the Use Icon Orientation option:

The Use Icon Orientation option applies arc-like motion to the particles based on rotation animation
of the icon. To best understand how it works, it's necessary to isolate its influence by eliminating any
potentially conflicting factors.
1. Reset the software, and then add a Particle Flow system in the Perspective viewport. Set its
position to the world origin: (0,0,0).
2. Open Particle View and click the Birth operator. Set Emit Stop=0.
This causes all particles to appear at frame 0.

3. Click the Speed operator and press the DELETE key to delete it.
4. Drag a Speed By Icon operator from the Depot to the end of Event 01.
The Speed By Icon operator icon appears at the world origin.
5. Select the Speed By Icon operator icon, and then right-click the icon and choose
Rotate from the menu. Go to frame 20, turn on Auto Key, and rotate the icon 180 degrees
about the X axis.
7. Drag the time slider.

The particles aren't affected by the icon animation.
Because the Speed By Icon operator icon is selected, the operator's parameters appear on the
Modify panel.
8. On the Modify panel, turn on Use Icon Orientation. Drag the time slider again.
This time, the particles move in unison with the icon rotation, as if they were glued to an
infinite plane coincident with the icon.
9. Go to frame 10, select the Particle Flow source icon (not the Speed By Icon operator icon), and
then right-click the icon and choose Move from the menu. Move the icon straight up, on the Z
axis, about 100 units.
As you drag upward, the particles move away from the icon.
10. Drag the time slider again. This time the particles move in an arc around the icon.
11. Try moving and rotating the two icons, playing the animation each time you make a change.
Also set Emit Stop back to 30.
As you can see, the possibilities with just this simple setup are myriad. In combination with the
many other variables and options in Particle Flow, they're endless.
Interface

When the icon is selected, the parameters also appear on the Modify panel.
Accel(eration) LimitThe maximum amount, in system units per second per second, by which the
particles' speed can change in order to match the speed of the operator icon. Default=100.0.
If the operator icon changes speed or direction rapidly, increase this value to let the particles follow
it more closely.
Influence %Determines the mix of the previous speed with the speed of the operator icon.
Default=100.0. Range=0.0 to 100.0.
At the default value of 100, the speed is controlled only by that of the icon. At 0, the icon speed
doesn't affect particle speed at all. At in-between values, the mix proportion is determined by the
Influence % value.
Speed VariationEnables random variation of the particles' speed, so they don't all move at
exactly the same rate as the icon. Turn this on, and then set the minimum and maximum
percentages of variation. Default=off.
Using Speed Variation can help keep the particles from bunching up as they travel along the

animation path. Note, however, that each individual particle's speed doesn't vary; it travels at a
constant speed.
Min %/Max %Set the minimum and maximum percentages, respectively, of particle speed
variation. Default=50.0 (Min %), 100.0 (Max %).
For example, if you set Min % to 50 and Max % to 200, the particles will vary in speed between half
and two times the speed of the icon.
Use Icon OrientationApplies animation of the icon's orientation to the particles.
By default, Speed By Icon controls particle motion only by animation of the icon's position. If you
turn on Use Icon Orientation, the software also applies rotation of the icon to the particle motion. In
essence, this motion is circular, and its extent depends on the distance between each particle and
the icon. Default=off.
The best way to understand how this works is by using it. To try out Use Icon Orientation, see this
procedure.
Steer Towards TrajectoryParticles farther away than the Distance value from the icon are
moved directly toward the icon. Default=off.
DistanceSets the distance between the particles and the operator icon beyond which Steer
Towards Trajectory takes effect. Default=10.0.
Parameters Animation group
If you animate the operator settings, the software can begin applying this animation to all particles
as of the start frame of the animation or the first frame of the current event, or to each particle
based on its age. For instance, if you set Sync By to Particle Age, and set Speed Variation keys at
frames 0 and 30, then the software will animate the speed variation for each particle born while the
event is active between its birth and its 30th frame of existence. Alternatively, if you set Sync By to
Absolute Time, the speed variation is animated from frame 0 to frame 30 of the animation, even if
no particles are in the event at that time. Or, if you set Sync By to Event Duration, the speed
variation animation is applied to each particle as of the time that it enters the event. For further
information, see Animation Offset Keying group.
Sync ByChoose the time frame for applying animated parameters:
set.
Event DurationAny keys set for parameters are applied to each particle relative to the frame
at which it first enters the event.
Icon Animation group
The software can begin applying animation of the Speed By Icon operator icon to all particles as of

the start frame of the animation or the first frame of the current event, or to each particle based on
its age. For an explanation, see Animation Offset Keying group.
Sync ByChoose the time frame for applying animation of the icon to the particles:
Absolute TimeAny keys set for icon motion are applied at the actual frames for which they're
set.
Particle AgeAny keys set for icon motion are applied at the corresponding frames of each
Event DurationAny keys set for icon motion are applied to each particle relative to the frame
at which it first enters the event.
Icon SizeSets the size of the operator icon. This setting is for visibility only; it doesn't affect
particle behavior.
Uniqueness group
The Uniqueness setting enables randomization of the speed variation range.

Comments

Keep Apart Operator
Keep Apart Operator
Particle View > Click Keep Apart in an event or add a Keep Apart operator to the particle system
and then select it.
The Keep Apart operator, a member of the Speed operator family, lets you apply forces to particles
to cause them to separate, in order to prevent or minimize collisions among particles. Alternatively,
you can use a negative force to keep particles from separating too much. The operator works by
controlling particle speed and acceleration.
Note: Keep Apart doesn't use particle geometry; rather, it creates a spherical force field centered on
the pivot of each particle. You can adjust the size of the force field by changing the particle size.
Tip: In certain cases, the default settings might not be sufficient to keep particles from
interpenetrating. For increased separation, use higher values for Force and Accel Limit, choose
Relative To Particle Size, and increase the Core % value.
See also
Speed Operator
Interface
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Keep Apart Operator
ForceThe amount of force applied to the particles. Use positive values to separate particles, or
negative values to move them closer together. Default=100.0
Accel(eration) LimitWhen on, lets you set a maximum acceleration value that can be applied to
particles' motion. When off, the software uses any necessary acceleration. Default=on, 1000.0.

Keep Apart Operator
Speed LimitWhen on, lets you set a maximum speed value that can be applied to particles'
motion. When off, the software uses any necessary speed. Default=off, 600.0.
Range group
You can set a volume and falloff within which the force takes effect, either as absolute distances or
relative to particle size. Default=Absolute Size.
Absolute SizeChoose this to set the core radius and falloff zone as absolute distances, in system
units.
Core RadiusThe distance from each particle's pivot point, in system units, within which the force
is applied at full strength. Default=10.0
Falloff ZoneThe distance beyond the core radius, in system units, over which the force diminishes
from full strength to 0. Default=10.0
Relative to Particle SizeChoose this to set the core radius and falloff zone as percentages,
relative to the radius of each particle. The particle radius is determined by measuring the distance
from the pivot point to the farthest corner of its bounding box.
Core %The distance from each particle, as a percentage of the particle radius, within which the
force is applied at full strength. Default=200.0
Falloff %The distance beyond the core radius, as a percentage of the radius, over which the force
diminishes from full strength to 0. Default=100.0
Variation %The amount by which range values can vary randomly, as a percentage of the
specified values. The software uses the same random variation value for both Core and Falloff
values, whether absolute or relative. Default=0.0
For example, if you choose Absolute Size, set Core Radius to 40 and Falloff Zone to 20, and set
Variation % to 50, then each particle's actual core radius will be a random number in the range 20 to
60, and the falloff zone a random number in the range 10 to 30. For each particle, the software uses
the same Variation % value, so if Core Radius is determined to be 20, then Falloff Zone would be 10.
Scope group
By default, the Keep Apart force keeps particles only in the current event (that is, the event that
contains the Keep Apart operator) apart from each other when used locally, or particles in each
event in the current flow apart when used globally. These settings let you alternatively keep particles
away from particles in other events or flows without affecting the behavior of latter. Default=Current
Event.
Current EventKeeps particles in the current event only away from each other.
When used globally, keeps particles in each event in the current flow apart from each other, but not
apart from particles in other events in the flow.
Current Particle SystemKeeps particles in the current event away from each other, and away

Keep Apart Operator
from all other particles in the current flow. The particles not in the current event are not influenced
by the Keep Apart operator.
When used globally, keeps apart and influences all particles in the current flow.
Selected EventsKeeps particles in the current event away from all particles in the events
highlighted in the list below this choice. Particles not in the current event are not influenced by the
Keep Apart operator.
When used globally, keeps all particles in the current flow apart from all particles in the events
highlighted in the list below this choice, but influences only particles in the current flow.
After choosing this option, click items in the list to highlight them.
Selected Particle SystemsKeeps particles in the current event away from all particles in the
flows highlighted in the list below this choice. The particles not in the current event are not
influenced by the Keep Apart operator.
When used globally, keeps all particles in the current flow apart from all particles in the flows
highlighted in the list below this choice, but influences only particles in the current flow.
After choosing this option, click items in the list to highlight them.
Uniqueness group
The Uniqueness setting enables randomization of the Range > Variation % calculations.
Script Wiring rollout
This rollout appears in the parameters panel below the main operator rollout after you highlight the
operator, right-click it, and then choose Use Script Wiring. Thereafter, a check mark appears next to
the Use Script Wiring in the right-click menu, and the rollout appears whenever you highlight the
operator. To turn off script wiring, choose Use Script Wiring again from the right-click menu.
Script wiring lets you use a script to control the Force and Range parameters, which you normally
specify in the operator's parameters. Place a Script operator before the Keep Apart operator in the
event, and then use it to define values in the particleFloat and particleVector channels. For an
example of a script that sets particleFloat values, see particleFloat Sample Script.
On the Script Wiring rollout, choose either of the following:
Use Script Float AsChoose either of the following:
Not UsedParticle Flow uses the Force setting specified in the Parameters rollout.
InfluenceParticle Flow applies the script particleFloat value to the Force value.
Use Script Vector AsChoose one of the following. Choosing Absolute Size Range or Relative Size

Keep Apart Operator
Range makes the Range settings on the Parameters rollout unavailable.
Not UsedParticle Flow uses the Range settings specified in the Parameters rollout.
Absolute Size RangeParticle Flow applies the script particleVector values to the Absolute Size
Range values. The X component of the vector value is used for the core radius, and the Y
component for the falloff radius.
Relative Size RangeParticle Flow applies the script particleVector values to the Relative Size
Range values. The X component of the vector value is used for the core percent, and the Y
component for the falloff percent.
Comments

Script Operator
Script Operator
Particle View > Click Script Operator in an event or add a Script Operator to the particle system
and then select it.
The Script operator enables control of particles within the Particle Flow system using a MAXScript
script. The script can use any program functionality available to MAXScript.
When you add a new Script operator, it contains a default script that slows particles, and then, when
they are slow enough, splits off the first 50 particles into a stream traveling in a negative direction
on the world X axis, and the remainder traveling in the opposite direction.
Tip: You can use MAXScript to align particle scale with the underlying bitmap, thus providing a scale
bitmap function. This requires a sandwich with three operators: two Script operators, and a Speed
By Surface operator in between. The first Script operator reads the current speed vector into the
MXVector channel, thus caching the current speed. The Speed By Surface operator changes the
speed according to the underlying bitmap. And the second Script operator reads the speed channel
into a temporary variable, restores the speed from the MXVector channel (the cached value), and
uses the temporary variable to define the scale. This way, the original speed is restored, and the
scale value is defined by the bitmap.
Interface
Uniqueness group
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Script Operator
Comments
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Force Operator
Force Operator
Particle View > Click a Force operator in an event or add a Force operator to the particle system
and then select it.
The Force operator lets you influence particle motion with one or more space warps from the Forces
category. Use this operator along with different forces to simulate the effects of wind, gravity, and
so on. The following force space warps work with the Force operator:
Displace
Drag
Gravity
Motor
PBomb
Push
Vortex
Wind
Note: By default, the influence of these space warps on Particle Flow particles is equivalent to their
influence on the 3ds max 2 particle systems: PArray, Super Spray, Blizzard, and PCloud. To obtain
an influence on Particle Flow particles equivalent to that of the 3ds max 1 particle systems Snow
and Spray, set Influence to 100.0.
Tip: To make the particles follow a path, use the Speed By Icon operator and use Path Constraint to
assign its icon to the path. For a procedure, see Example: To send particles along a path:.
To employ deflectors for particle dynamics, with or without the Force operator, use the Collision test
and Collision Spawn test.
Procedure
To affect particle motion with force space warps:
1. Add one or more force space warps to the scene, and set them up as necessary.
2. In Particle View, add a Force operator to any events in which particles are to be affected by the
forces. To affect particles in all events, add the Force operator to the PF Source instead.
3. Highlight the Force operator, and then use the Add or By List button to apply the force space
warps to the operator.
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Force Operator
Interface
Force Space Warps group
This group displays the forces currently in effect, and let you add and remove forces.
[List]Shows the forces that apply to this operator. If more than three forces apply, a scroll bar
appears at the right side of the list.
<deleted>.
Note: Particle Flow applies the forces to particle motion in the order in which the space warps appear
in the list; the effect is cumulative in top-to-bottom order. First, the topmost space warp is applied
to particle motion, then the second space warp is applied to the result of the first space warp, and so
on. Changing the order can alter the final result.
AddClick this button, and then select a force space warp in the scene to add it to the end of the
list.
By ListClick this button, and then use the Select Force Space Warps dialog to add one or more
space warps to the list. The space warps must already exist in the scene.
The software adds space warps to the list in same order in which they appear in the dialog. To effect
a different order, use the Add button to add them one at a time.
RemoveHighlight a space warp in the list, and then click this button to remove it from the list.
Any removed space warps remain in the scene.

Force Operator
Force Field OverlappingDetermines how multiple forces that occupy the same volume of space
affect the particles. With Additive, the forces are combined according to their relative strengths. With
Maximum, only the force with the greatest strength affects the particles.
For example, you might apply Wind and Gravity space warps to particles, and set their Strength
parameters to 1.5 and 1.0, respectively. If you choose Additive, the Wind space warp will have
approximately 50 percent more influence over the particles than the Gravity space warp. But if you
choose Maximum, only the Wind space warp will affect the particles.
InfluenceSpecifies the strength with which the force or forces are applied to the particles as a
percentage. Default=1000.0.
A negative Influence value reverses the force effects.
Note: By default, the influence of the Force space warps on Particle Flow particles is equivalent to
their influence on the 3ds max 2 particle systems PArray, Super Spray, Blizzard, and PCloud. To
obtain an influence on Particle Flow particles equivalent to that of the 3ds max 1 particle systems
Snow and Spray, set Influence=100.0.
Offset Influence group
Choose the time frame for applying animated parameters. For an explanation, see Animation Offset
Keying group.
set.
enters the event.
Script Wiring rollout
This rollout appears in the parameters panel below the main operator rollout after you highlight the
operator, right-click it, and then choose Use Script Wiring. Thereafter, a check mark appears next to
the Use Script Wiring in the right-click menu, and the rollout appears whenever you highlight the
operator. To turn off script wiring, choose Use Script Wiring again from the right-click menu.
Script wiring lets you use a script to control parameters that you normally specify in the operator's
parameters. Place a Script operator before the Force operator in the event, and then use it to define
values in the particleFloat channel. You'll find an example script below.
Use Script Float AsChoose either of the following:
Not UsedParticle Flow uses the Influence setting specified in the Parameters rollout.

Force Operator
InfluenceParticle Flow applies the script to the Influence setting.
particleFloat Sample Script
The following script sets each particle's float value as one tenth of its particle ID, or birth index
number. The first particles get a low float value, and thus a low Influence value, and each successive
particle gets a larger float value than the one before. As a result, the later a particle is born, the
more subject it is to the space warp(s) in the Force operator.
on ChannelsUsed pCont do
(
pCont.useFloat = true
)
on Init pCont do
(
on Proceed pCont do
(
count = pCont.NumParticles()
for i in 1 to count do
(
pCont.particleIndex = i
j = pCont.particleID
pCont.particleFloat = pCont.particleID/10.0
)
)
Comments

Drag Space Warp
Drag Space Warp
Create panel > Space Warps > Forces > Object Type rollout > Drag
The Drag space warp is a particle motion damper that reduces particle velocity by a specified
amount within a specified range. The damping can be applied linearly, spherically, or cylindrically.
Drag is useful for simulating wind resistance, transfers into dense media (like water), impacts with
force fields, and other, similar situations.
With each damping type, you can control the damping effect along several vectors. The damping is
also affected by particle system settings, such as speed.
Drag slows down a stream of particles.
Procedure
To create a Drag space warp:
1. On the Create panel, click Space Warps. Choose Forces from the list, and then click
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Drag Space Warp
Drag.
2. Drag in a viewport to create the space warp.

The space warp appears initially as a box within a box, indicating that it's using the default
Linear Damping mode.
3. To apply the damping spherically or cylindrically, choose Spherical Damping or Cylindrical

Damping in the command panel.
Note: The position and orientation of the space warp plays an important role for all three
damping types.
4. Change the settings for the current damping type as necessary.
Interface

Drag Space Warp
Timing group
Time On/Time OffThe frame numbers at which the space warp becomes active and becomes
inactive.
Damping Characteristics group
This group lets you choose Linear Damping, Spherical Damping, or Cylindrical Damping, plus a set of
parameters for each.
Unlimited RangeWhen on, Drag exerts full damping strength over an unlimited range. When off,
the Range and Falloff settings for the current damping type take effect.
Linear DampingMotion for each particle is separated into vectors for the space warp's local X, Y,
and Z axes. The area over which damping is exerted for each vector is an infinite plane whose
thickness is determined by the corresponding Range setting.
X Axis/Y Axis/Z AxisSpecifies the percentage of particle motion along the local Drag space warp
axis that's affected by the damping.
RangeSets the thickness of the "range plane," or the infinite plane perpendicular to the specified
axis. Takes effect only when Unlimited Range is turned off.
FalloffSpecifies the distance beyond the X, Y, or Z Range within which Linear Damping is applied.
Damping is strongest at the Range distance, decreases linearly out to the limit of the Falloff, and has
no effect beyond that. While Falloff takes effect only beyond the Range, it is measured from the
center of the icon, and always has a minimum value equal to the Range value. Takes effect only

Drag Space Warp
when Unlimited Range is turned off.

Spherical DampingWhen Drag operates in Spherical Damping mode, its icon is a sphere within a
sphere. Particle motion is broken up into radial and tangential vectors. Damping is applied for each
vector within a spherical volume whose radius is set by the Range setting, when Unlimited Range is
off.
Radial/TangentialRadial specifies the percentage of particle motion toward or away from the
center of the Drag icon that's affected by the damping. Tangential specifies the percentage of
particle motion across the body of the Drag icon that's affected by the damping.
RangeSpecifies the distance from the center of the Drag icon, in system units, within which
damping is in full effect. Takes effect only when Unlimited Range is turned off.
FalloffSpecifies the distance beyond the Radial/Tangential Range within which Linear Damping is
applied. Damping is strongest at the Range distance, decreases linearly out to the limit of the Falloff,
and has no effect beyond that. While Falloff takes effect only beyond the Range, it is measured from
the center of the icon, and always has a minimum value equal to the Range value. Takes effect only
when Unlimited Range is turned off.
Cylindrical DampingWhen Drag operates in Spherical Cylindrical mode, its icon is a cylinder
within a cylinder. Particle motion is broken up into radial, tangential, and axial vectors. Damping is
applied within a spherical volume for the radial and tangential vectors and on a planar basis for the
axial vector.
Radial/Tangential/AxialDamping controls the percentage of particle motion toward or away
from the center of the circular portion of the icon (Radial), across the radial vector (Tangential), or
along the length of the icon's long axis (Axial) that's affected by the damping, on a per-frame basis.
RangeSpecifies the distance from the center of the Drag icon, in system units, within which Radial
and Axial damping are in full effect. Range also specifies the thickness of the infinite plane that
governs the range of Axial damping. Takes effect only when Unlimited Range is turned off.
FalloffSpecifies the distance beyond the Radial/Tangential/Axial Range within which Linear
Damping is applied. Damping is strongest at the Range distance, decreases linearly out to the limit
of the Falloff, and has no effect beyond that. While Falloff takes effect only beyond the Range, it is
measured from the center of the icon, and always has a minimum value equal to the Range value.
Takes effect only when Unlimited Range is turned off.
Display group
Icon Size Specifies the size of the icon.
Comments

Gravity Space Warp
Gravity Space Warp
Create panel > Space Warps > Forces > Object Type rollout > Gravity
Particles falling because of gravity
The Gravity space warp simulates the effect of natural gravity on particles generated by a particle
system. Gravity is directional. Particles moving in the direction of the gravity arrow accelerate.
Particles moving against the arrow decelerate. In the case of spherical gravity, motion is toward the
icon. Gravity can also be used as an effect in dynamics simulations. See Dynamics Utility.
Gravity effect on snow
Procedure
To create gravity:
1. On the Create panel, click Space Warps. Choose Forces from the list, then on the
Object Type rollout, click Gravity.
2. Drag in a viewport.
The Gravity icon appears. For planar gravity (the default), the icon is a wireframe square with a
direction arrow on one side. For spherical gravity, the icon is a wireframe sphere.
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Gravity Space Warp
The initial direction of planar gravity is along the negative Z axis of the construction grid that is
active in the viewport where you drag. You can rotate the gravity object to change the
direction.
Interface
Force group
StrengthIncreasing Strength increases the effect of gravity; that is, how objects move in relation
to the Gravity icon's direction arrow. Strength less than 0.0 creates negative gravity, which repels
particles moving in the same direction and attracts particles moving in the opposite direction. When
Strength is set to 0.0, the Gravity space warp has no effect.
DecayWhen Decay is set to 0.0, the Gravity space warp has the same strength throughout world
space. Increasing the Decay value causes gravity strength to diminish as distance increases from the
position of the gravity warp object. Default=0.0.
PlanarGravity effect is perpendicular to the plane of the Gravity warp object throughout the
scene.
SphericalGravity effect is spherical, centered on the Gravity warp object. This choice is effective
for creating water fountain or planetary effects.
Display group
Range IndicatorsWhen on, and when the Decay value is greater than 0.0, icons in the viewports
indicate the range at which the force of gravity is half the maximum value. For the Planar option, the
indicators are two planes; for use the Spherical option, the indicator is a double-hooped sphere.
Icon SizeSize of the Gravity warp object icon, in active units. You set the initial size when you
drag to create the Gravity object. This value does not change the gravity effect.

Gravity Space Warp
Comments

Dynamics Utility
Dynamics Utility
Utilities panel > Utilities rollout > More button > Utilities dialog > Choose Dynamics.
The term dynamics refers to a system of controls that generate keys to produce animation that
simulates real-world physics. For example, using standard keyframing techniques to animate a
bouncing ball, you create keys that move the ball down to the floor, squash the ball, move the ball
back up, and so on.
Using a dynamics system, you assign physical properties to the ball and the floor (such as friction or
amount of bounce), specify which object will collide against another object (for example, the ball
with the floor), place an effect (such as gravity), in the scene, and then calculate a solution over a
range of frames. The result is a number of keys that produce an animation in which the ball drops
due to the gravity effect, collides with the floor and reacts naturally based on its surface
characteristics.
Note: As of 3ds max 5, the preferred tool for dynamics simulation is reactor, available from the
Utilities panel. The reactor plug-in lets you control and simulate complex physical scenes with ease.
reactor supports fully integrated rigid and soft-body dynamics, cloth simulation, and fluid
simulation. A printed manual for reactor is included with the 3ds max package, and you can find an
electronic version of the manual, Reactor_Reference_and_Tutorials.pdf, in the 3dsmax5\help
directory.
Objects and Space Warps Used to Create Dynamics Simulations
A very basic simulation would involve creating a sphere and a gravity space warp, adding the sphere
to a new simulation, assigning gravity as an effect on the sphere and solving the simulation. The
result is that the sphere falls under the force of gravity.
You can use dynamics objects, dynamics space warp deflectors (PDynaFlect, SDynaFlect, and
UDynaFlect), and space warp forces such as Gravity and Wind to add complexity to a simulation. You
can use a particle stream from a particle emitter as a force on an object: the particles can collide
with and be deflected by the object, as well as move it. You can attach special dynamics objects to
objects, such as Spring to simulate the effects of a spring.
You can combine effects: Wind, gravity, a spring object, collision, particle deflection and collision, as
well as surface properties such as friction, can all work on an object in a simulation. For a full
understanding of what dynamics can do, explore this topic and areas of 3ds max that pertain to
dynamics.
Dynamics-Specific Areas in 3ds max
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Dynamics Utility
The Dynamics Utility (this topic)
The Dynamics Utility is the main control center for dynamics simulations. You specify which objects
are used in the simulation, what their interactivity is with each other and with the effects in the
scene. The simulation is then "solved," generating the keyframes.
The effects of collisions between objects depend on the velocity of the objects and their properties.
For collision to work between two objects, each object must have the other object assigned for
collision. For example, when bouncing a ball, both the floor and the ball are assigned collisions.
The Material Editor: The Dynamics Properties rollout in the Material Editor lets you assign the
dynamics properties to the surface of an object, like friction and bounce. Using a multi/sub-object
material, you can have different surface properties at the face level of any object.
Note: You can override material surface dynamic properties with controls on the Edit Object dialog in
the Dynamics utility.
Dynamics Objects, Particles and Dynamics, Dynamics Interface: Special objects like Spring
and Damper, Space Warp forces like Gravity and Wind, as well as Space Warp deflectors like
PDynaFlect can all influence a dynamics simulation. You must create these objects and space warps
first in other areas of 3ds max before you can use them in a dynamics simulation. See the following
topics for details on their creation and use:
Create panel > Geometry > Dynamics Objects

You can use the Spring and Damper objects for dynamics effects.
Create panel > Space Warps > Particles and Dynamics.

Effects (forces) are special space-warp objects that emulate natural phenomena, such as wind or
gravity. In a dynamics simulation, you must place gravity in the scene if you want the objects in
your simulation to fall.
Create panel > Space Warps > Dynamics Interface.

The Dynamics Interface space warps can cause particles to deflect from and affect an object in a
simulation.
Combine Keyframed Objects in a Simulation: Keyframe an object and have it interact with other
objects in a dynamics simulation by turning on the This Object is Unyielding check box in the Edit
Object dialog for the keyframed object. Objects can bounce off of a keyframed sphere for example.
Dynamics Controller: When a Dynamics simulation is solved, a new list controller is created that
holds both the generated dynamics keys and the original keys. This allows you to restore your
original keys, if necessary. Undo is not supported by Dynamics.
For example, if a sphere is bouncing in a Dynamics simulation, and the sphere already contains
position keys from a previous animation, the following tracks display in Track View:
Transform
Position

Dynamics Utility
Dynamic Position Controller

Old Position
Rotation
Dynamic Rotation Controller
Old Rotation
Procedures
Example: To create a basic simulation of bouncing boxes:
1. Create a thin box in the Top viewport.

Have the box almost the same height and width as the viewport. This will act as the ground
plane.
2. In the Front viewport, create six small boxes above the "ground" box.
Position some of them to collide with each other when they fall.
3. On the Create panel > Space Warps > Particles and Dynamics > Object Type rollout, click
Gravity.
4. Drag in the Top viewport to create a Gravity gizmo.
5. On the Utilities panel, click Dynamics.
6. On the Dynamics rollout, click New.

Dynamics00 appears in the Simulation Name field.
7. Click Edit Object List.

The Edit Object List dialog displays.
8. Select all the boxes in the dialog and click the > button, then click OK.
All the objects are moved to the Objects in Simulation list on the right side of the dialog.
9. On the Dynamics rollout, click Edit Object.

The Edit Object dialog displays.
10. In the list under Object, choose Box01.
11. Turn on Dynamics Controls group > This Object is Unyielding.
12. Click Ok to close the Edit Object dialog.

The "ground" box wont move when the other objects collide with it.
13. On the Dynamics rollout, in the Effects group, turn on Global Effects.
14. Click Assign Global Effects, select Gravity in the dialog and click > (right arrow), then click Ok.
This assigns gravity to all objects in the simulation.

Dynamics Utility
15. On the Dynamics rollout, in the Collisions group, turn on Global Collisions.
16. Click Assign Global Collisions, select all the boxes in the dialog and click > (right arrow), then
click OK.
Collisions are active for all the boxes.
17. Turn on Update Display with Solve, and then click Solve.
In the viewports the objects fall and collide with each other and the ground plane.
18. Turn on the Auto Key button, move the Time Slider to frame 15, and then select and move the
"ground" box upward along the Z axis.
The ground will "move" during the simulation.
19. Click Solve.

The keyframed "ground" box moves up and collides with the boxes. The ability of a keyframed
object to be part of a simulation is one of the useful features in 3ds max. You could use this
capability to strike a ball with a bat, for example.
For further experimentation, create a spring object in Create panel > Geometry > Dynamics
Objects and attach the ends of the spring object to two of the boxes and then solve the
simulation. The spring will stretch and follow the bouncing boxes.
You can use the space warps in Create panel > Space Warps > Dynamics Interface, such as
SDynaFlect (Spherical Dynamics Deflector) to cause a particle stream to "push" an object in a
dynamics simulation.
To remove the dynamics tracks and restore the original animation tracks in Track View:
When you solve a dynamics simulation, 3ds max creates a list controller that holds both the
generated dynamics keys and the original keys. This lets you easily restore the original keys. Undo is
not supported by Dynamics.
To layer simulations, reverse this method. In other words, after you've solved the first simulation,
copy its controllers to the old tracks, and then set up the next level of the simulation. The new
simulation will base its actions on the previous one instead of overwriting it, as it normally does. You
can repeat this as many times as you like to layer simulations ad infinitum.
Since Undo is not supported by Dynamics, you can also use Hold and Fetch in its place.
1. In Track View, open the Position track for an object animated by a dynamics simulation.
2. Select the Old Position track, and click Copy Controller on the Track View toolbar (the second
button from the left).
3. Select the Position track (the parent), and click Paste Controller (to the right of Copy
Controller).
4. Click OK in the Paste dialog.

Dynamics Utility
The two sub-tracks and the Position parent track are replaced by a single Position track
containing the original keys that were in the Old Position track.
Repeat the above steps with the Rotation track.
To set up dynamics:
1. Assign materials to the objects included in the simulation and adjust the surface characteristics
in the Dynamics Properties rollout of the Material Editor. (For a bouncing ball, you'd use this to
create a rubber-like surface.)
2. If you're using a linked hierarchy, set the Move and Rotate locks in the Hierarchy/Link Info
panel to limit the motion and rotation of the linked objects.
3. Create space warp effects in the scene where needed. (For a bouncing ball, you'd need a
Gravity space warp.)
4. Use the Dynamics utility to create a new simulation. Specify which objects are included in the
simulation, which effects influence which objects, and which objects should collide with which.
(For the bouncing ball, the ball and the floor are in the simulation because one collides with the
other. You assign the ball the floor to collide with each other, and assign the gravity effect to
the ball.)
5. Use the Dynamics utility to specify the range of frames to which keys will be generated, and to
calculate the animation and generate the keys. (In the case of a bouncing ball, a number of
position and rotation keys are generated for the ball.)
6. Play the animation to see if the effect is what you were looking for. If one or more objects fly
off into space, or move through objects they should have bounced off, it's likely that you need
to increase the Calc Intervals Per Frame value.
To reduce the number of keys generated by the Dynamics utility:

When you solve a dynamics simulation, Position and Rotation keys are generated at every frame of
the specified range for every object affected in the simulation. Not only does this result in an excess
of keys for later editing, but it can increase the size of the .max file tremendously. The following
steps show how to reduce the number of keys using Track View.
1. After solving the simulation, check the animation to make sure it's what you want, and then
save that version of the scene.
2. Deselect every object in the scene.
3. In the Dynamics panel > Objects in Simulation group, click the Select Objects In Sim button.
All objects included in the simulation are selected.
4. Open a Track View window, and then set its filter to show Animated Tracks Only and Selected
Objects Only.
5. Right-click the top object in the hierarchy list (Objects), and choose Expand All.

Dynamics Utility
Track View now shows all tracks in the simulation that have keys.
6. Go to Edit Time display mode and select all of the tracks containing keys (or right-click over the
hierarchy, and choose Select All).
7. Double-click any key to select all keys in all tracks.
8. Click the Reduce Keys button, set the Threshold to what you want, and then click OK.
All selected keys are reduced.
9. Save the reduced version of the scene either under a new name, or by replacing the original
file.
To use linked hierarchies in a simulation:

When linked hierarchies are included in your simulation, you must set locks for the children in the
simulation to confine the dynamics results to specific axes. Do this on the Hierarchy panel > Link
Info > Locks rollout.
The Locks rollout contains three rows of check boxes affecting the XYZ axes of the three possible
transforms: Move, Rotate, and Scale. The Scale transforms are ignored, and only the Move and
Rotate locks are used. When a check box is turned on, that axis of the specific transform is locked.
When you manipulate a forward-kinematics hierarchy directly using the Move or Rotate tools, you
might not bother with the Link Info locks, because you can specify axis constraints using the X, Y ,
Z, and XY buttons in the toolbar. However, when you use that same hierarchy in a dynamics
simulation, where there are several forces at work (gravity, wind, collisions), the only thing that
maintains the linkage between the objects is the locks you set in the Link Info > Locks rollout. As a
result, no matter what combination of Move and Rotate locks you use, you'll always want at least
one Move lock in place, or your objects wont really be linked.
The following lists all of the combinations of Move and Rotate locks that make sense within a
dynamics simulation, and the effect on the link of such combinations. An asterisk (*) indicates those
combinations that are more typically useful.
The format of this list is as follows:
X=check box on.
O=check box off.
One group of settings is made up of the three Move check boxes over the three Rotate check boxes.
Here's an example:
XXO=X and Y Move check boxes on, and Z off.
OXO=Y Rotate check box on, and X and Z off.
1. 1 Move Lock: Turn on any single Move. (This is like a long pin sliding in a loose, long slot.)
The joint can transmit force in one direction only. The objects can slide with respect to each
other in two directions and rotate freely.
2. 2 Move Locks: Turn on any two Moves. (This is like a sliding ball joint; a freely rotating joint

Dynamics Utility
at the end of a sliding shaft, which can slide and rotate in a hole.)
3. * 3 Move Locks: Turn on three Moves. (This is like a ball joint, or the theoretical "pin joint" of
the statics and dynamics texts, in that it transmits any force but never transmits any torque.)
4. 1 Move + 1 Rotate (unique): Turn on any one Move and any one Rotate, but not in the same
column. (This is like two long pins, parallel, sliding in a single long slot.) The joint can transmit
force in one direction only and restrain rotation about the axis of the "pins." This combination is
of limited application.
5. 2 Moves + 1 Rotate (matching): Turn on two Moves, plus one Rotate turned on that's in the
same column as one of the selected Moves. (This is the same as 1 Move + 1 Rotate, above,
except that the pins can no longer slide vertically in their slot.) If the assembly rotates so that
one pin travels further into the slot, the other must ride higher in the slot. This is of limited
application. The possible check box combinations are: XXO XXO XOX XOX OXX OXX OXO XOO
XOO OOX OOX OXO
6. * 2 Moves + 1 Rotate (complementary): Turn on two Moves, plus one Rotate that's not in
the same column as any of the selected Moves. (This is a sliding universal joint like the splined
output shaft between the automatic transmission of a rear-drive car and the drive shaft.) It can
transmit torque and constrain translation in two directions, both orthogonal to the axis of
rotation. The possible check box combinations are: XOX XXO OXX OXO OOX XOO
7. 3 Moves + 1 Rotate: Turn on three Moves plus one Rotate. (This is a universal joint without
the sliding.) It's typical of automotive applications where the rear axle is located with the
trailing driveshaft. This is an uncommon application.
8. * 1 Move (complementary) + 2 Rotates: Turn on one Move that's complementary to two

Rotates. (This is like a hockey puck on ice.) The joint can slide anywhere on a plane, but
cannot fall or tip, and it cannot leave the surface of the plane. The possible check box
combinations are: XOO OXO OOX OXX XOX XXO
9. 2 Moves (one complementary) + 2 Rotates: Turn on two Moves, one of which is

complementary to one of the two Rotates that are selected. (This is like a hockey puck with a
nail through it, and the nail is sliding along a groove in the ice.) It's free to travel in one
direction, and to rotate about an orthogonal axis. One possible check box combination is: XXO
XOX
10. * 2 Moves + 2 Rotates (matching): Turn on two Moves and two matching Rotates. This
results in a sliding axle (a shaft that can both slide in and out of a hole, and rotate with the
hole). The clear Move and Rotate axis specifies the axis along which the joint can slide and
rotate. The possible check box combinations are: XXO XOX OXX XXO XOX OXX
11. * 2 Moves + 3 Rotates: Turn on two Moves and all three Rotates. (This is a prismatic or
sliding joint.) The joint transmits no torque, and force in only one direction. You can use this in
conjunction with the Push effect to make a hydraulic cylinder. The one clear Move specifies the
axis of movement.
12. * 3 Moves + 2 Rotates: Turn on all three Moves, and any two Rotates. This is an axle (the

Dynamics Utility
most common type of joint.) The one clear Rotate specifies the axis of rotation.
13. All Locked: All six check boxes are on. This is a completely rigid joint.
Interface
Dynamics rollout
Contains all of the surface dynamics controls.
Simulation NameDisplays the name of the current simulation. You can edit the name to rename
any existing simulation.

Dynamics Utility
You can create any number of simulations in your scene. Each must have a unique name and is
stored in the .max file. For example, you might have a simulation named Bouncing Ball that bounces
a ball down a flight of stairs, while another simulation named Paper Airplane flies a paper airplane
across the room.
ListDisplays the name of the current dynamics simulation, and lists all simulations in the scene. If
the list contains two or more simulations, choose one from the list to make it current. All remaining
panel settings are specific to the current simulation.
NewCreates a new simulation. Its name consists of the word "Dynamics" appended by a number,
starting with 00. This number is incremented by one for each new simulation.
RemoveDeletes the current simulation. Dynamic simulations can use a lot of memory. Removing
old or unused simulations reduces the size of your .max files. When you remove a simulation, all
timings and other settings are deleted. However, any keys generated by the simulation remain.
CopyCreates a duplicate of the current dynamics simulation. All of the settings are identical to the
original simulation, with the addition of 01 appended to the name.
Objects in Simulation group
Lets you add and remove objects from the simulation, and edit the properties of objects in the
simulation.
Edit Object ListDisplays the Edit Object List dialog, which lets you specify which scene objects
are to be included in the simulation.
Edit ObjectDisplays the Edit Object dialog.
The Edit Object dialog is the main interface for object dynamics attributes. Use this dialog to set
collisions, effects, surface properties and mass for each object in the simulation.
Select Objects in SimAdds all objects in the simulation to the current selection set. One use for
this function is to bring selected objects into Track View for further manipulation, keyframe
reduction, and so on.
Effects group
Specifies which effects are included in the dynamics calculation.

Effects by ObjectOnly effects assigned to specific objects with the Edit Object dialog > Assign
Object Effects button are considered in the calculation.
Global EffectsOnly effects included in the Assign Global Effects dialog (accessed by clicking the
button of the same name) are included in the calculation.
Assign Global EffectsDisplays the Assign Global Effects dialog.
Select effects (space warps) in the list on the left and use the > button to move them to the list on
the right. Effects thus chosen affect all objects in the simulation except unyielding ones.
The Assign Global Effects dialog functions similarly to the Edit Object List dialog.

Dynamics Utility
Collisions group
Specifies which collisions are included in the dynamics calculation.

Collisions by ObjectCollisions assigned to specific objects through the Edit Object dialog > Assign
Object Collisions button are included in the calculation.
Global CollisionsCollisions assigned in the Assign Global Collisions dialog (accessed by clicking
the button of the same name) are included in the calculation.
Assign Global CollisionsDisplays the Assign Global Collisions dialog.
Select the objects in the list on the left and use the > button to move them to the list on the right.
All objects thus chosen collide with each other in the simulation.
The Assign Global Collisions dialog functions similarly to the Edit Object List dialog.
Solve group
Update Display w/ SolveDisplays each frame of the solution in the wireframe viewports during
the calculations. This slows down the calculation process.
SolveCalculates the dynamics solution, generating keys over the range of frames specified in the
Timing area. A progress bar appears in the status/prompt line. Press ESC to cancel the calculation.
Note: You cannot undo the generation of a dynamics simulation solution. If there's a chance you
might want to restore the scene to its state prior to the solution, either save the scene or use Hold
before solving it.
Timing and Simulation rollout
Lets you specify the range included in the calculation, how IK is included in the simulation, and what
the air density is for the simulation.

Dynamics Utility
Timing group
Controls how keys are generated over time.

Start TimeSpecifies the first frame to generate keys, which is the first frame to be considered for
the solution. Default=0.
Tip: If you set a start time that's later than a keyframe-animated object's last animation frame, you
may get unexpected motion during the interim frames. For example, if you animate a box's position
from frames 0 to 10, and then use the box in a dynamics simulation that starts at frame 20, the box
will move between frames 10 and 20 because of the Bezier controller's default interpolation. To
avoid this, before solving the simulation, set the last animation keyframe's Out tangent type to
Linear or Step; see Bezier Controllers. Alternatively, set the last key of the keyframed "input motion"
after the start time of the simulation, or set a start time before the last key.
End TimeSpecifies the last key considered for the solution. This spinner is set to the last frame of
the active segment when you create a new simulation. For example, if your active segment ends at
frame 200, when you click New to create a new simulation, End Time is set to 200.
Calc Intervals Per FrameSpecifies how many calculations are performed for each frame of the
simulation time range. Range=1 to 160.
Finding the right number for this spinner is a matter of experimentation. As a general rule, the faster

Dynamics Utility
things are moving in the simulation, the higher you should set this value.
Note: If you find that some objects aren't colliding properly with others (they're going through
them), increase the Calc Intervals Per Frame value.
Keys Every N FramesSpecifies the frequency with which keys are generated, per object. If this
were set to 2, keys would be generated in every other frame.
Warning: When you reduce the key count by increasing this setting, important information
can be lost. For example, if a collision occurs on frame n, the Dynamics utility normally
sets keys at frames n, n+1, and n-1. But if you've set Keys Every N Frames to 2, a
keyframe for the impact itself might not be generated, while keys for the sudden reversal
of motion would be generated on either side of the (missing) impact. Thus, the motion
controller is left to interpolate motion in a region where the motion should be sharply
defined. When this happens, motion can be incorrect and the remainder of the solve is
affected. In the aforementioned example, a key describing the impact is lost and the
motion controller interpolates motion so that objects that should collide actually intersect,
ruining the simulation.
Time ScaleSlows down or speeds up the overall effect of the simulation. It applies a linear scale
factor to the outside forces affecting each object (gravity, wind, and so on).
The default value of 1 results in normal speed. You can scale down the simulation (make it slower)
by using values below 1 (from 0.1 to 1), and you can scale up the simulation (make it faster) by
using values greater than 1 (from 1 to 100). If you speed up your simulation and objects begin to
behave incorrectly (going through objects, for example), increase the Calc Intervals Per Frame value
to compensate.
Simulation Controls group
Relates to IK settings and the transfer of momentum.

Use IK Joint LimitsUses the current IK joint limit settings as constraints for hierarchies in the
simulation.
Use IK Joint DampingUses the IK damping settings as constraints for hierarchies in the
simulation.
Air Resistance group
Density percentSets the air density in the simulation. A setting of 100 is the air at sea level. A
setting of 0 is a total vacuum.
When anything moves, it hits air resistance (except in space). The faster it moves, the higher the
relative air resistance with the square of the speed. Thus, air resistance imposes an upper limit on
the speed of things that are falling with gravity, and also makes objects tumble due to the effect of
air resistance on each face of the object.
CloseCloses the Dynamics utility.

Dynamics Utility
Dynamics Properties Material Editor rollout
The three spinners in the Dynamics Properties rollout in the Material Editor let you specify surface
properties that affect the animation of an object upon collision with another object. If there are no
collisions in your simulation, these settings have no effect.
Because the Dynamics Properties rollout is available at the top level of any material (including sub-
materials), you can specify different surface dynamic properties for each face in an object. There are
also controls in the Dynamics utility that let you adjust the surface properties at the object level, but
only the Material Editor lets you alter the surface properties at the sub-object level (through use of a
Multi/Sub-Object material).
As a default, the values in the Dynamics Properties rollout provide a surface that's similar to Teflon-
coated hardened steel. This is with values of Bounce Coefficient equal to 1; with both Static Friction
and Dynamic Friction set to 0.
Bounce CoefficientDetermines how far an object bounces after pressing a surface (the higher the
value, the greater the bounce.) A value of 1 represents a bounce in which no kinetic energy is lost.
Static FrictionDetermines how difficult it is for an object to start moving along a surface (the
higher this value, the more difficult the movement). If something weighs 10 pounds and sits on
Teflon (a static friction of near zero), it takes almost no force to make it move sideways. On the
other hand, if it sits on sandpaper, then the static friction might be very high, around .5 to .8.
Sliding FrictionDetermines how difficult it is for an object to keep moving over a surface (the
higher this value, the more difficult for the object to keep moving). Once two objects begin to slide
over one another, static friction disappears and sliding friction takes over. Generally, sliding friction
is lower than static friction due to surface tension effects. For example, once steel starts sliding over
brass (a value of static friction that might run from .05 to .2), the sliding friction drops to a
significantly lower value: .01 to .1.
Comments

Dynamics Objects
Dynamics Objects
Create panel > Geometry > Dynamics Objects
Create menu > Dynamics
Dynamics objects are similar to other mesh objects, except that they can be made to react to the
motion of objects to which they are bound, or they can provide dynamic forces when included in a
dynamics simulation.
The following topics describe the types of dynamics objects and how to create and use them:
Spring Dynamics Object
Damper Dynamics Object
Comments
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Create panel > Geometry > Dynamics Objects > Object Type rollout > Spring button
Create menu > Dynamics > Spring
The Spring object is a dynamics object in the shape of a coiled spring that lets you simulate a
flexible spring in dynamics simulations. You can specify the overall diameter and length of the
spring, the number of turns, and the diameter and shape of its wire. When used in a dynamics
simulation, the compression and extension pressure of the spring are calculated as well.
Procedures
To create a spring:
1. Drag and release to specify the outside diameter.
2. Move the mouse and click to specify the overall length of the spring.
To use a spring in a dynamics simulation:

The following must be in place to use the spring forces in a dynamics simulation:
1. Bind two objects to the ends of the spring, and choose Bound to Object Pivots in the End Point
Method group box at the top of the command panel.
2. In the dynamics simulation, add the spring to the Object List. (The spring itself is not
adjustable in the dynamics Edit Object dialog, so all of the dynamics parameters will be
disabled for the spring object.)
3. Include at least one of the bound objects or a parent of one of the bound objects in the
simulation. For example, you can bind the ends of a spring to two dummy objects, and one of
the dummies can be the child of an object thats included in the simulation. The dummy
without a parent will be stationary and the spring will pass its force through the other dummy
to its parent.
Note: Spring is an "ideal" object with no mass. While it can be used in dynamics simulations, it
cannot participate directly in collisions or effects. A spring can only exert force on other objects
in simulations. As a result, when you assign a spring object to a dynamics simulation, and then
view it in the Edit Object dialog, all of the parameter settings are disabled.
Interface
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Spring Parameters rollout
End Point Method group
Free SpringChoose this when using the spring as a simple object thats not bound to other
objects or used in a dynamics simulation.
Bound to Object PivotsChoose this when binding the spring to two objects, using the buttons
described next.
Binding Objects group
Use these controls to pick the objects to which the spring is bound. "Top" and "Bottom" are arbitrary
descriptors; the two bound objects can have any positional relationship to each other. To complete
the binding, select two binding objects, and then click Bound to Object Pivots.
Each end point of the spring is defined by the center of the overall diameter and the center of the
wire. This end point is placed at the pivot point of the object to which it is bound. You can adjust the
relative position of the binding object to the spring by transforming the binding object while the
Affect Object Only button is turned on in the Hierarchy > Pivot panel.
Top (label)Displays the name of the "top" binding object.
Pick Top ObjectClick this button and then select the "top" object.
Bottom (label)Displays the name of the "bottom" binding object.
Pick Bottom ObjectClick this button and then select the "bottom" object.
Free Spring Parameters group
HeightUse this field/spinner to set the straight-line height or length of the spring when it is not

bound. This is not the actual length of the spring's wire.
Common Spring Parameters group
DiameterThe overall diameter of the spring, as measured at the center of the wire. (The diameter
of the wire itself has no effect on this setting.)
TurnsThe number of full 360-degree turns in the spring.
CCW/CWSpecifies whether the coils of the spring are counterclockwise (CCW) or clockwise (CW).
Automatic SegmentsChoose this option to force each turn of the spring to contains the same
number of segments, as specified in the Segs/Turn spinner. Thus, if you increase the number of
turns, the number of segments also increases.
Segs/TurnThis spinner lets you specify the number of segments in each 360-degree turn of the
spring.
Manual SegmentsWhen this option is chosen, the length of the spring contains a fixed number of
segments, no matter how many turns in the spring. Thus, as you increase the number of turns, you
must manually increase the number of segments to maintain a smooth curve.
SegmentsThis spinner lets you specify the total number of manual segments in the spring.
SmoothingProvides various methods of smoothing the object. The options here work the same as
those in the Torus primitive.
AllAll surfaces are smoothed.
SidesSmoothing runs along the length of the wire, but not around its perimeter.
SegmentsSmoothing runs around the perimeter of the wire, but not along its length.

NoneNo smoothing is applied.
RenderableWhen on, the object appears in the rendering; when off, the object does not appear.
Generate Mapping CoordsAssigns mapping coordinates to the object. Default=on.
Wire Shape group
Provides three different types of wire cross-sections for the spring: round, rectangular, or D-shaped.
Each type has its own set of parameters.
Round WireSpecifies a round wire for the spring.
DiameterThe diameter of the wire.
SidesThe number of sides that make up the cross section.
Rectangular WireSpecifies a rectangular wire.
WidthDetermines the width of the cross section.
DepthDetermines the depth of the cross section.
FilletWhen combined with Fillet Segs (below), this lets you fillet (round) the corners of the

cross section.
Fillet SegsSpecifies the number of segments in the fillet.
RotationRotates the angle of the cross section along the entire length of the spring.
D-Section WireSpecifies a D-shaped wire.
WidthDetermines the width of the cross section.
DepthDetermines the depth of the cross section.
Round SidesSpecifies the number of segments that make up the rounded side of the D-shape.
FilletWhen combined with Fillet Segs (below), this lets you fillet (round) the corners of the
cross section.
Fillet SegsSpecifies the number of segments in the fillet.
RotationRotates the angle of the cross section along the entire length of the spring.
Dynamics Parameters group
These parameters specify the forces that the spring contributes to a dynamic simulation.
Relaxed HgtSpecifies the height (or length) at which the spring is "relaxed" and therefore
contributes no force--either compression or extension. For example, if the placement of the binding
objects stretches the spring to a length of 50 units but the Relaxed Len is set to 30, then an
extension force is in effect because the spring is stretched further than its relaxed length.
Constant kThe amount of force exerted per unit change in length with respect to the Relaxed Hgt
value. This could also be described as the measure of force-per-units-change in length as compared
to the Relaxed Length. For example, if your spring is set to a Spring Constant of k=10 lb per in, and
you stretch it to be ten inches longer than the Relaxed Hgt value, it will try to close with a force of

100 pounds. If you compress it two inches shorter than the Relaxed Hgt value, it will push back with
20 pounds of force.
Spring constant is inLets you specify the measurement of force to use: Pounds per inch or
Newtons per meter.
Spring works inLets you specify the type of force you want the spring to exert. While most
springs actually provide both compression and extension force, if your simulation requires only one,
you can save calculation time by using one instead of both.
Compression OnlyThis type of spring provides only expansive force when its length is shorter
than the specified Free Length.
Extension OnlyProvides contractive force when its length is greater than the specified Free
Length.
BothProvides both expansive and contractive force, depending on the variation from Relaxed
Hgt.
Enable NonlinearityWhen on, the compression and extension of the spring are non-linear, based
on the assumption that a spring has physical limits to the amount it can stretch or contract. Thus,
the further the spring gets from the Relaxed Hgt setting, the less linear the feedback. The non-linear
compression is calculated using the relationship between the coil dimensions, wire diameter, and
length. Extension compares the relationship between the wire diameter and overall spring diameter.
Comments

Create panel > Geometry > Dynamics Objects > Object Type rollout > Damper button
Create menu > Dynamics > Damper
The Damper object provides a dynamic object that can behave as either a shock-absorber or an
actuator. It consists of a base, a main housing, and a piston, with an optional boot. The piston slides
within the main housing, providing different heights. The overall height can be affected by binding
objects, in the same way as the Spring dynamic object.
Note: Damper is similar to Spring in many respects. See Spring object for more detailed descriptions
of similar parameters and procedures.
Procedures
To create a damper:
1. Drag and release to specify the diameter.
2. Move the mouse and click to specify the overall height of the damper.
To use a damper in a dynamics simulation:

The following must be in place to use the damper forces in a dynamics simulation:
1. Bind two objects to the ends of the damper, and choose Bound to Object Pivots in the End Point
Method group box at the top of the command panel.
2. In the dynamics simulation, add the damper to the Object List. (The damper itself is not
adjusted in the dynamics simulation, so all of the dynamics parameters will be disabled for the
damper object.)
3. Include at least one of the bound objects or a parent of one of the bound objects in the
simulation. For example, you can bind two dummy objects to the ends of a damper, and one of
the dummies can be the child of an object thats included in the simulation. In this case, the
dummy itself does not need to be in the simulation.
Note: Damper is an "ideal" object with no mass. While it can be used in dynamics simulations,
it cannot participate directly in collisions or effects. As a result, when you assign a damper
object to a dynamics simulation, and then view it in the Edit Object dialog, all of the parameter
settings are disabled.
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Interface
End Point Method group
Free Damper/ActuatorChoose this when using the damper as a simple object thats not bound
to others or used in a dynamics simulation.
Bound to Object PivotsChoose this option when binding the damper to two objects, using the
buttons described next.
Binding Objects group
Use these controls to pick the objects to which the damper is bound. To complete the binding, you
must select two binding objects, and then click Bound to Object Pivots.
Piston (label)Displays the name of the object bound to the piston of the damper.
Pick Piston ObjectClick this button and then select the object to be bound to the piston of the
damper.
Base (label)Displays the name of the object bound to the base of the damper.
Pick Base ObjectClick this button and then select the object to be bound to the base of the
damper.

Free Damper Parameters group
Pin-to-Pin HeightUse this field/spinner to specify the distance between the bottom center of the
base and the top center of the piston when the damper is not bound.
Common Damper Parameters group
RenderableWhen on, the object appears in the rendering; when off, the object does not appear.
Material IDs are assigned to the damper object as follows:
1: Base
2: Main housing
3: Piston
4: Boot Stop (appears only if you enable Boot Parameters)
5: Boot (appears only if you enable Boot Parameters)
Generate Mapping CoordsSets up the required coordinates for applying mapped materials to the
object. Default=on.
Cylinder Parameters group
Provides parameters for the base and main cylinder of the damper.
Base DiaThe diameter of the base, or "mount" of the damper.
HeightThe height of the base.
Main DiaThe diameter of the main housing of the damper.
HeightThe height of the main housing.

SidesThe number of sides of both the base and the main housing.
Fillet 1The size of the fillet on the lower edge of the main housing.
Fillet SegsThe number of segments for Fillet 1. The higher this setting, the rounder the fillet
profile appears.
Fillet 2The size of the fillet on the upper edge of the main housing.
Fillet SegsThe number of segments for Fillet 2. The higher this setting, the rounder the fillet
profile appears.
Inside DiaSpecifies the inside diameter of the main housing, which is actually a tube rather than
a cylinder.
Smooth CylinderWhen on, smoothing is applied to both the base and the main housing.
Piston Parameters group
Provides parameters for the piston of the damper.

DiameterThe diameter of the piston.
HeightThe height of the piston.
SidesThe number of sides in the piston.
Smooth PistonWhen on, smoothing is applied to the piston.
Boot Parameters group

The boot is an optional component of the damper thats similar to the rubber "accordion" boot found
on various types of dampers, such as shock absorbers. The boot acts like a bound dynamic object, in
that one of its ends is bound to the main housing, while the other is bound to the piston. Thus, as
the piston moves within the housing, the boot expands and contracts to follow.
EnableTurn this on to add the boot to the damper.
Min DiaThe minimum diameter of the boot. This and the next parameter affect the depth of the
accordion folds in the boot.
Max DiaThe maximum diameter of the boot.
SidesThe number of sides making up the boot.
FoldsThe number of accordion folds (bulges) along the height of the boot.
ResolutionThe number of segments in each fold.
Stop DiaThe diameter of the stop, which is the ring at the top of the boot.
Stop ThickThe thickness (height) of the stop ring.
SetbackThe distance of the stop ring from the top of the piston.
Stop FilletThe size of the fillet on the upper edge of the stop ring.
Fillet SegsThe number of segments the stop fillet. The higher this setting, the round the fillet
profile appears.
Smooth BootWhen on, smoothing is applied to the boot.
Dynamics Parameters group

Unlike the Spring object, the damper can also be used as an actuator. Basically, a damper absorbs
force (like a shock absorber) while an actuator applies force.
The parameters in this group box, available only when End Point Method is set to Bound to Object
Pivots, specify how forces are applied by the damper object in a dynamics simulation.
Damper ParametersProvides parameters for a damper type of object. Specifically, this simulates
a viscous linear damper, which provides linear resistance to motion (between the two binding
objects) proportional to the rate at which the damper experiences displacement. The faster it gets
hit, the harder it fights back. Push it slowly, and theres almost no resistance.
Object is DamperSelect this option to use the damper object as a damper rather than an
actuator.
DragSpecifies the force per unit linear speed, measured in one of the methods specified below.
Drag is measured inLets you specify the measurement of drag to use: Pounds per in(ch)/sec
or Newtons per m(eter)/sec.
Damper works inProvides directional options for the damper.
Compression OnlyThe damper reacts only to compression forces.

Extension OnlyThe damper reacts only to expansion forces.

BothThe damper reacts to both compression and expansion forces.

Actuator ParametersProvides parameters for an actuator. When used as an actuator, the
damper object exerts force between the two binding objects. A real-world example might be the
thrusting piston in a log splitter. When used in a simulation, the force is applied by adjusting the
value in the Force spinner. You can see the result only after solving the dynamics simulation.
Object is ActuatorChoose this when using the damper object as an Actuator.
ForceSpecifies the amount of force exerted between the two bound objects. Positive values push
the objects apart, while negative values pull them together.
Force is measured in Lets you specify the measurement of force to use: Pounds per inch or
Newtons per meter.
Comments

Create panel > Space Warps > Deflectors > Object Type rollout > PDynaFlect
PDynaFlect (planar dynamics deflector) is a planar version of the dynaflector, a special class of space
warp that lets particles affect objects in a dynamics situation. For example, if you want a stream of
particles to strike an object and knock it over, like the stream from a firehose striking a stack of
boxes, use a dynaflector.
Note: You use dynaflectors in the same way as omniflectors; that is, you can use them as deflectors
alone, with no dynamics simulation. Because they take physics into account, dynaflectors are slower
than omniflectors. Therefore, it is recommended that you use dynaflectors only when a dynamics
simulation is involved.
PDynaflect viewport icon
Procedure
Many dynaflector parameters are the same as those for omniflectors. However, the procedure of
associating the dynaflector with both the particle system and the object to be affected is more
complex than the simple binding used by omniflector.
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To create a particle/dynamics system:
1. Create or load a scene containing a non-event-driven particle system and an object to be

affected by the particles (hereafter called "the object"). Position and orient the two as desired
so that the particles strike the object.
The icon for the particle system must be visible in at least one non-disabled viewport.
On the Basic Parameters rollout of the particle system, set Percentage of Particles to 100%.
Otherwise, only those particles displayed in the viewport will be calculated.
2. On the Create panel, click Space Warps. Choose Deflectors from the drop-down list,
and then click one of the dynaflector buttons (PDynaFlect, SDynaFlect, or UDynaFlect). Drag in
a viewport to create the deflector.
3. Do either of the following:
If using a PDynaFlect or SDynaFlect, position the space warp icon where the particles strike
(or will strike) the object. Resize and orient it as needed.
Also, link the PDynaFlect or SDynaFlect as a child of the object. This step isn't
absolutely necessary, but allows the deflector to follow the object as it moves.
If using a UDynaFlect, go to the Modify panel > Parameters rollout, click the Pick Object
button, and then select the object. The position of the space warp icon doesn't matter, and
it's not necessary to link the two.
4. Bind the particle system to the dynaflector using the toolbar Bind to Space Warp button.
5. Go to the Utilities panel and open the Dynamics utility.

6. On the Dynamics rollout, click New to create a new simulation.
7. Click Edit Object List, and add the object to the dynamics simulation.
8. Click Edit Object. On the Edit Object dialog, click Assign Object Effects and assign the
dynaflector to the object.
Note: Because only those particles displayed in viewports are used in the dynaflector
calculations, solving the dynamics involves three requirements:
9. On the Dynamics rollout, turn on the Update Display w/Solve check box above the Solve
button.
10. Solve the simulation.

Interface
Timing group
The two spinners specify the start frame and end frame of the deflection effect.
Time On/OffTime On specifies the frame at which the deflection begins, and Time Off specifies
the frame at which the deflection ends.
Particle Bounce group
These settings affect the reflection of particles from the space warp.
ReflectsSpecifies the percentage of particles to be reflected by the PDynaFlect.
This affects both the particles and the dynamics reaction of the object struck by the particles. The
more particles that strike the affected object, the more force applied to that object. If set to 0.0, the
particles have no effect on the object.
BounceThis is a multiplier that specifies how much of the initial speed of the particle is maintained
after collision with the PDynaFlect.

Using the default setting of 1.0 causes the particle to rebound with the same speed as it collides. A
real-world effect would usually be less than 1.0. For a "flubber" effect, set greater than 1.0.
VariationSpecifies the variation of Bounce applied to the range of particles.
For example, a Variation setting of 50% applied to a Bounce setting of 1.0 would result in randomly
applied Bounce values ranging from 0.5 to 1.5.
ChaosApplies a random variation to the bounce angle.
When you set Chaos to 0.0 (no chaos), all particles bounce off the PDynaFlect surface perfectly (like
banking pool balls). A non-zero setting causes the deflected particles to scatter.
Range=0% to 100%.
than 90 degrees.
Inherit Vel(Velocity Inheritance) Determines how much of a moving PDynaFlects speed is applied
to reflected or refracted particles.
For example, if Inherit Vel is 1.0, particles with no motion that are hit by a moving PDynaFlect
inherit the speed of the PDynaFlect at the point of collision.
Physical Properties group
These options let you set the mass of each particle.

MassSpecifies the mass based on the chosen unit.
gramOne gram equals 1/1000 kg or 22/1000 Lbm at a gravity of 1.0.
KgOne kg (kilogram) equals 1000 grams or 2.2 Lbm at a gravity of 1.0.
LbmOne Lbm (pounds-mass) equals 5/11 kg or 454 5/11 grams at a gravity of 1.0. (Pounds-
mass, the amount of mass in one pound of weight, is dependent on gravity. For pounds-mass values
at a gravity other than 1.0, multiply the pounds-mass value by the gravity factor.)
Display Icon group
Width/HeightSpecify the width and height of the PDynaFlect icon. This is for display purposes
only and does not influence the deflector effect.
Comments

Create panel > Geometry > Particle Systems
Create menu > Particles
Fountain spray created as a particle system
Non-event-driven particle systems provide relatively simple, straightforward methods for generating
particle sub-objects over time for the purpose of simulating snow, rain, dust, and so on. You use
particle systems primarily in animations.
3ds max provides six built-in, non-event-driven particle systems:
Spray Particle System
Snow Particle System
Super Spray Particle System
PArray Particle System
PCloud Particle System
Note: You can take advantage of the AutoGrid feature to orient and position new particle systems
with respect to existing objects. For details, see AutoGrid.
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Interface
Snowstorm created as a particle system
This topic describes only the general properties of particle systems. Other plug-in particle systems
might be available in your configuration.
The built-in particle systems share these controls:
EmitterSpecifies where in the scene the particles are generated. The emitter is the particle
system's main sub-object. It doesn't render. Particles appear on the surface of the emitter and fall
(or drift, drop, flurry, spray) from the emitter in a particular direction.
TimingThe timing parameters control the dynamics of particles in the system. They specify how
quickly particles appear, how quickly they disappear, whether the emission rate is constant, and so
on.
Particle-specific parametersThese parameters are specific to the kind of particle system.
Examples are particle size and speed.
Rendering propertiesThese parameters are also specific to the kind of particle system. There are
options for displaying particles in viewports and rendering them in scenes and animations. Particles
do not necessarily appear the same in renderings as they do in viewports.
You can modify and animate particle system parameters. You can also affect particle system
behavior with space warps. In addition, you can deform particle systems with the Mesher compound
object.
Note: Particles can participate in dynamics simulations.
See also
Creating a Non-Event-Driven Particle System

Creating a Particle Emitter
Particle Flow

Comments

Type rollout > Spray
Create menu > Particles > Spray
Spray simulates water drops such as rain, a fountain, the spray from a garden hose, and so on.
Kinds of Spray
Note: SuperSpray is a more powerful and advanced version of Spray. It provides all the functionality
of Spray, plus additional features.
Tip: To animate particles following a path through space, use the Path Follow space warp.
Procedure
To create spray:
1. On the Create panel, make sure the Geometry button is active and Particle
Systems is chosen in the object category list, then click Spray.
From the Create menu, choose Particles > Spray.
2. Drag in a viewport to create the Spray emitter; see Creating a Particle Emitter.
The emitter's direction vector points in the negative Z direction of the active construction plane.
For example, if you create the emitter in the Top viewport, the particles will move downward in
the Front and Left viewports.
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Interface
Particles group
Viewport CountMaximum number of particles displayed in viewports at any given frame.

Tip: Setting the viewport count less than the render count can improve viewport performance.
Render CountMaximum number of particles that can appear in a single frame when you render it.
Works in combination with the particle system's timing parameters.
When the number of particles reaches the Render Count value, particle creation is suspended until
some particles die.
When enough particles die, particle creation resumes until Render Count is reached again.

Drop SizeSize of a particle in the active units.

SpeedInitial velocity of each particle as it leaves the emitter. Particles travel at this speed unless
they are affected by a particle system space warp.
VariationVaries the initial speed and direction of particles. The greater the Variation, the stronger
and broader the spray.
Drops, Dots, or TicksChoose how particles are displayed in viewports. The display setting does
not affect how particles are rendered. Drops are streaks that appear like raindrops, dots are points,
ticks are small plus signs.
Render group
TetrahedronParticles are rendered as long tetrahedrons, with the length you specify in the Drop
Size parameter. Tetrahedron is the default setting for rendering. It provides a basic simulation of
water drops.
FacingParticles are rendered as square faces whose width and height equals the Drop Size. Facing
particles always face the camera (or the user's perspective). They are provided especially for use
with material maps. Use with an appropriate opacity map for bubbles or snowflakes.
Note: Facing works correctly only in a perspective or camera view.
Timing group
Timing parameters control the "birth and death" rates of emitted particles.
At the bottom of the Timing group is a line that displays the maximum sustainable rate. This value is
based on the Render Count and the lifetime of each particle. To be precise:
maximum sustainable rate=Render Count/Life
Because the number of particles in a frame never exceeds Render Count, if the Birth Rate exceeds
the maximum rate, the system will run out of particles, pause until some die off, and then start
again, generating particles in bursts or spurts.
StartNumber of the first frame where particles appear.
LifeThe lifetime of each particle, in number of frames.
Birth RateThe number of new particles born per frame.
If this is less than or equal to the maximum sustainable rate, the particle system generates an even
flow of particles. If it is greater than the maximum rate, the particle system generates particles in
bursts.
You can animate the Birth Rate parameter.
ConstantWhen on, Birth Rate is unavailable and the birth rate used equals the maximum
sustainable rate. When off, Birth Rate is available. Default=on.
Turning Constant off does not mean that the birth rate varies automatically; the birth rate remains
constant unless you animate the Birth Rate parameter.

Emitter group
The emitter specifies the area where particles appear in the scene. It has a geometry you can
display in viewports, but it isn't renderable.
The emitter is displayed as a rectangle with a vector pointing out of one side. The vector shows the
direction in which the system emits particles.
Width and LengthYou implicitly set the initial value of these parameters when you drag in a
viewport to create the emitter. You can adjust the values in the rollout.
The space occupied by the particle system at any given time is the result of a combination of its
initial parameters (such as size of the emitter, and speed and variation of emission) and any space
warps that have been applied.
HideTurn on to hide the emitter in viewports. When Hide is off, the emitter is displayed in
viewports. The emitter is never rendered. Default=off.
Comments

Type rollout > Super Spray
Create menu > Particles > Super Spray
Super Spray emits a controlled spray of particles. This particle system is like the simple Spray
particle system with the added power provided by all the newer particle systems.
Super Spray viewport icon (emitter)
Particles emerging from a super spray system
Procedure
To create a super spray particle system:
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Systems is chosen in the object category list, then click Super Spray.
2. Drag in any viewport to create the Super Spray emitter icon; see Creating a Particle Emitter.
The icon appears as an intersecting plane and circle with an arrow. The initial direction of the
spray (based on the orientation of the emitter icon and indicated by the icon arrow) depends on
the viewport in which you create the icon. Generally, the particles spray toward you when
created in an orthographic viewport, or spray upward when created in a Perspective viewport.
3. Adjust the various parameters to alter the spray effect.
Interface
Note: This section describes the Particle Formation group in the Basic Parameters rollout, and the
Particle Motion group in the Particle Generation rollout. These are the only controls unique to Super
Spray. The other Super Spray rollouts and their contents are identical with those in Particle Array,
except that Object Fragments and associated settings are not available on the Particle Type rollout.
See PArray Particle System for details or choose from the following list for rollout information.
Rotation and Collision Rollout
Object Motion Inheritance Rollout
Particle Spawn Rollout
Load/Save Presets Rollout
Basic Parameters rollout > Particle Formation group

These items control the direction and spread of particles.

Off AxisAffects the angle of the particle stream off the Z axis (along the plane of the X axis).
SpreadAffects the spread of the particles away from the emission vector (along the plane of the X
axis).
Off PlaneAffects the angle of emission about the Z axis. This has no effect if Off Axis is set to 0.
SpreadAffects the spread of the particles about the Off Plane axis. This has no effect if Off Axis is
set to 0.
Particle Generation rollout > Particle Motion group
SpeedThe speed of the particle at birth, in units per frame.

Comments

Create panel > Space Warps > Forces > Object Type rollout > Path Follow
Particles following a spiral path
The Path Follow space warp forces particles to follow a spline path.
Procedures
To create a Path Follow space warp:
Object Type rollout, click Path Follow.
2. Click and drag in a viewport to define the size.

The Path Follow warp appears as a box-shaped icon containing curved lines that indicate
hypothetical paths.
To set up and use Path Follow:
1. Create a shape consisting of a single spline. (You can use shapes with multiple splines, but the
software uses only one spline for the path.)
2. Create a particle system and set its parameters to emit particles over a range of frames.
3. On the Create panel, click Path Follow, and drag in a viewport to create the Path Follow icon (a
cube with wavy lines). The display and position of this icon don't affect the particles.
4. On the Basic Parameters rollout, click Pick Shape Object and select the spline you created
earlier.
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5. Bind the Path Follow icon to the particle system.
6. Adjust the Path Follow parameters to create the particle movement you want.
Note: You can further animate the particle effect by animating the spline vertices.
Tip: To adjust the position of the path or particle system while maintaining access to the Path
Follow parameters, turn on Modifier Stack rollout > Pin Stack while the Path Follow space warp
is selected.
If the particles don't follow the emitter after it's moved, then change any PathFollow parameter, and
the motion will be corrected.
Interface

Current Path group
Lets you choose the path for the particles, and specify the range of influence of the Space Warp.
ObjectDisplays the name of the currently assigned path.
Pick Shape ObjectClick this, and then click a shape in the scene to select it as a path. You can
use any shape object as a path; if you select a multiple-spline shape, only one the lowest-number
spline is used. You can also use NURBS curves as paths.
Unlimited RangeWhen off, the range of influence of the space warp is limited to the value set in
the Distance spinner. When on, the space warp influences all bound particles in the scene,
regardless of their distance from the path object.
RangeSpecifies the range of influence when Unlimited Range is off. This is the distance between
the path object and the particle system. The position of the Path Follow space warp's icon is ignored.
Motion Timing group
These controls affect how long particles are influenced by Path Follow.
Start FrameThe frame at which Path Follow begins to influence the particles.
Travel TimeThe time each particle takes to traverse the path.
VariationThe amount by which each particle's travel time can vary.
Last FrameThe frame at which Path Follow releases the particles and no longer influences them.
Particle Motion group
The controls in this area determine the motion of particles.

Along Offset SplinesThe distance between the particle system and the path alter the effect of
the particle motion. If the first vertex of the spline is at the birthplace of the particle, the particle
follows the spline path. If you move the path away from the particle system, the particles are
affected by the offset.
Along Parallel SplinesParticles follow a copy of the selected path, parallel to the particle system.

In this mode, the position of the path relative to the particle system does not matter. The orientation
of the path, however, affects the particle stream.
Constant SpeedWhen on, all particles travel at the same speed.
Stream TaperCauses particles to converge or diverge toward the path over time, or to
simultaneously converge and diverge. You specify the effect by choosing Converge, Diverge, or Both
(see following). This provides a tapering effect over the length of the path.
VariationThe amount by which Stream Taper can vary for each particle.
ConvergeWhen Stream Taper is greater than 0, the particles move in toward the path as they
follow the path. The effect is that the stream tapers from larger to smaller over time.
DivergeProvides the opposite effect of Converge. The particles diverge from the path over time.
BothSplits the particle stream, causing some particles to converge and others to diverge.
Stream SwirlSpecifies the number of turns by which particles spiral about the path. In
conjunction with Stream Taper, alters the diameter of the spiral.
Stream Swirl is generally more effective when you choose Along Offset Splines.
VariationThe amount by which each particle can vary from the Spiral value.
ClockwiseParticles spiral in a clockwise direction.
CounterclockwiseParticles spiral in a counterclockwise direction.
BidirectionalThe stream is split so that particles spiral in both directions.
Uniqueness group
Provides a seed number for unique generation of the particle pattern.

SeedSpecifies the seed number for the current Path Follow.
Display Icon group
Affects the display of the Path Follow icon.

Icon SizeSpecifies the size of the Path Follow icon. Does not alter the Path Follow effect.
Comments


After you choose a particle system type to add, you create the particle system icon in the scene. The
icon serves different purposes depending on the type of particle system.
As an emitter: The icon defines the starting location and direction of the particles. Spray, Snow,
Super Spray, Blizzard, and Particle Cloud use the icon as the particle emitter.
As a placeholder: The icon serves only to hold the parameters for the particle system. The particles
are emitted from another selected object. Particle Array and Particle Cloud use the icon as a
placeholder.
You can choose whether Particle Cloud uses its icon or another selected object as the emitter.
Procedures
To create emitter icons:
Drag in a viewport to set the size and orientation of the particle emitter icon for Spray, Snow,
Super Spray, Blizzard, and Particle Cloud.
Spray, Snow, Blizzard, and Particle Cloud use the icon size as the area of particle emission. Super
Spray emits particles from its center regardless of its icon size.
All particle systems align the particle direction with the Z axis of the creation grid.
To create placeholder icons:
1. Drag in a viewport to set the size of the placeholder icon for Particle Array and Particle Cloud.
The size and location of the particle system icon has no effect on the particles.
2. After placing the particle system icon, click Pick Object on the Basic Parameters rollout to select
the object to use as the particle emitter.
Comments
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Type rollout > PArray
Create menu > Particles > PArray
Basket used as a distribution object for random particles over its surface
The PArray (Particle Array) particle system provides two types of particle effects:
You can use it to emit particles using a selected geometric object as the emitter template (or
pattern) for the emission. This object is referred to here as the distribution object.
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How particles can be distributed on an object:

Left: Edges
Center: Vertices
Right: Faces
You can use it to create sophisticated object explosions.

Tip: A good way to create explosions is to set the particle type to Object Fragments and then
apply a PBomb space warp.
See also

Using Materials with Particle Array
Achieving Particle Motion Blur
Using Mapped Materials with Particle Systems
Using Multi/Sub-Object Materials with Particle Systems
Using Spawned Particles
Using Interparticle Collision
Procedures
To set up a particle array:
1. Create an object that will become the distribution object, providing the emitter pattern (or

exploded object) for the particle array.
Systems is chosen in the object category list, then click Spray.
3. Drag anywhere in a viewport to create the particle-system object; see Creating a Particle
Emitter.
4. On the Basic Parameters rollout, click Pick Object, and then click the object to use as the
distribution object.
5. Adjust the various options in the Particle Array rollouts to achieve the effect you want.
The distribution object can be any object containing renderable faces.
The particle-system object does not appear in the rendered scene. Its placement, orientation or
size in the scene has no influence on the particle effect. To access the Particle Array
parameters after creation, open the Modify panel and select the particle-system object (or click
any visible particles in the viewport). To transform or otherwise modify the distribution object,
select the distribution object itself.
Also, you can share a single distribution object among more than one particle-system object.
The distribution object merely provides the template for the particles, which are actually
generated by the particle system.
Example: To assign three different mapped materials to fragments:
1. Apply mapping coordinates to the distribution object, either by turning on Generate Mapping
Coords, if necessary, or by applying a UVW Map modifier.
2. Assign a Multi/Sub-Object material to the distribution object.
3. Set up the first three sub-materials to be mapped materials.
4. Select the PArray icon.
5. On the Particle Type rollout in the Mat'l Mapping And Source group, choose Picked Emitter.
6. In the Particle Type rollout > Particle Types group, turn on Object Fragments.
7. Make sure the three spinners in the Fragment Materials group are set to 1, 2, and 3,
respectively (or match the numbers with the sub-materials you've assigned in your multi/sub-
object material).
Tip: Using a complex distribution object for object-fragment particles can really slow down
viewport interactivity. You can use a simple stand-in object as the distribution object, and then
later use the File/Replace command to replace the distribution object with a more complex
object of the same name.

Interface
Basic Parameters Rollout (PArray)

Comments

PBomb Space Warp
PBomb Space Warp
Create panel > Space Warps > Forces > Object Type rollout > PBomb
The PBomb space warp creates an impulse wave to blow up a particle system, as distinguished from
the Bomb space warp, which blows up geometry. The PBomb is particularly well suited to the Particle
Array (PArray) system with Particle Types set to Object Fragments. This space warp also applies an
impulse as a dynamics effect.
The general usage is as follows:
Create a particle system (recommended: a PArray system set to Object Fragments).
Create a PBomb and use Bind to Space Warp to bind it to a non-event-driven particle
system. Be sure to bind the PBomb to the particle system and not to the distribution object. Or, if
using Particle Flow, use a Force operator to apply the space warp to the particle system.
Adjust the parameters of both the PBomb and the particle system.
Right: PBomb viewport icon

Above: PArray particle system
Below: Torus knot used as the PArray's distribution object
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PBomb Space Warp
Effect of blowing up the torus knot
Procedure
Example: To use PBomb with PArray:

You can use the Particle Bomb bound to a Particle Array to blow an object into fragments. The
following steps demonstrate the basic setup.
Begin by binding a particle array to an object, and setting parameters.
1. Create the object you want to blow up.
2. Create a PArray and use Pick Object to assign the object to blow up as the PArray object-based
emitter.
3. In the Basic Parameters rollout > Viewport Display group, choose Mesh to display the
fragments as mesh objects in the viewports.
4. On the Particle Generation rollout of PArray, set Speed and Divergence to 0.0. This prevents
PArray from moving the particles, letting PBomb do the work.
5. On the Particle Generation rollout, set Life to the length of the active time segment, so that the
fragments appear during the entire animation.
6. In the Particle Type rollout > Particle Types group, choose Object Fragments. In the Object
Fragment Controls group, choose Number of Chunks, and set the Minimum to about 50,
depending on your distribution object and the effect you want.
Now create a particle bomb, and bind it to the particle array.
1. In the Space Warps panel > Particles & Dynamics category, click the PBomb button and drag in
a viewport to create the PBomb icon.
2. Use Bind to Space Warp to bind the PArray icon to the PBomb icon. (Don't bind the distribution

PBomb Space Warp
object by mistake.)
3. Select the PBomb icon and move to the Modify panel.
4. In the Explosion Parameters group, set Blast Symmetry to Spherical, Start Time to 10,
Duration to 1, and Strength to 1.0. Choose Linear, if it's not already chosen.
5. Drag the time slider between frames 9 and 20 to see the effect.
6. Go to frame 12 and try out various settings. Notice that increasing Strength expands the
explosion effect at the current frame. If you decrease Range enough, the bomb no longer
affects all or part of the object (depending on the placement of the PBomb icon). Test the three
Blast Symmetry settings by placing the bomb in the center of the object and then seeing the
different blast patterns.
Once you get an explosive effect you like, you can return to the PArray settings, add spin or
thickness to the fragments, and so on.
Interface

PBomb Space Warp
Blast Symmetry group
These options specify the shape, or pattern of the blast effect.

SphericalThe blast force radiates outward from the PBomb icon in all directions. The icon looks
like a spherical anarchist's bomb.
CylindricalThe blast force radiates outward from and normal to the central axis, or core of the
cylindrical icon. The icon looks like a stick of dynamite with a fuse.
PlanarThe blast force radiates both up and down, perpendicular to the plane of the planar icon.
The icon looks like a plane with arrows pointing up and down along the direction of the blast force.
ChaosThe blast forces vary for each particle or each frame, an effect similar to Brownian motion,
with a rate of change in the direction of force equal to the rendering interval rate. Note: This setting
is effective only when the Duration spinner is set to 0.
Explosion Parameters group
Start TimeThe frame number at which the impulse forces are first applied to the particles.
DurationThe number of frames, beyond the first, over which the forces are applied. This value
should typically be a small number, such as between 0 and 3.
StrengthThe change in velocity along the blast vector, in units per frame. Increasing Strength
increases the speed with which the particles are blown away from the bomb icon.
Unlimited RangeThe effects of the bomb icon reach all bound particles throughout the scene.
This option ignores the Range setting (which specifies the distance of the PBomb effect).
LinearThe impulse forces decay linearly between the full Strength setting to a value of 0 at the
specified Range setting.
ExponentialThe impulse forces decay exponentially between the full Strength setting to a value of
0 at the specified Range setting.
RangeThe maximum distance, in units, over which the PBomb icon affects the bound particle
system. If the Range is large enough to reach only a portion of the particle system, only that part of
the system is affected.
If you turn on Range Indicator (see following), the extent of the range is indicated by a tri-hooped
sphere. If you choose Unlimited Range, this parameter has no effect.
Display Icon group
These options affect the visual display of the PBomb icon.

Icon SizeAlters the overall size of the PBomb icon.
Range IndicatorDisplays a wireframe sphere that indicates the volume of the particle bomb's
influence. If you choose Unlimited Range, turning this on has no effect.

PBomb Space Warp
Comments

Bomb Space Warp
Bomb Space Warp
Create panel > Space Warps > Geometric/Deformable > Object Type rollout > Bomb
The Bomb space warp explodes objects into their individual faces.
Right: Bomb viewport icon

Left: Torus knot
Effect of exploding the torus knot
Procedure
To create a Bomb space warp:
list, and then on the Object Type rollout, click Bomb.
2. Create mesh objects to be exploded.
3. On the toolbar, click the Bind to Space Warp button.
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Bomb Space Warp
4. Drag the mouse between each object and the Bomb space warp.
5. Adjust Bomb parameters to achieve different effects.
Interface
Explosion group
StrengthSets the power of the bomb. Larger values make the particles fly farther. The closer an
object is to the bomb, the greater the effect of the bomb.
SpinThe rate at which fragments rotate, in revolutions per second. This is also affected by the
Chaos parameter (which causes different fragments to rotate at different speeds), and by the Falloff
parameter (which causes the force of the explosion to be weaker the farther the fragment is from
the bomb).
FalloffThe distance from the bomb, in world units, of the effect of the bomb. Fragments past this
distance are not affected by the Strength and Spin settings, but are affected by the Gravity setting.
For example, this is useful for blowing up the base of a building, and having the top of the building
topple. To see the effect, place a bomb at the base of a tall cylinder with many height segments, and
adjust Falloff to be less than the height of the cylinder.
Falloff OnTurn on to use the Falloff setting. The falloff range appears as a yellow, tri-hooped
sphere.

Bomb Space Warp
Fragment Size group
These two parameters define the number of faces per fragment. Any given fragment will have a
number of faces, randomly determined, between the Min and Max values.
MinSpecifies the minimum number of faces per fragment to be randomly generated by the
"explosion."
MaxSpecifies the maximum number of faces per fragment to be randomly generated by the
"explosion."
General group
GravitySpecifies the acceleration due to gravity. Note that gravity is always in the direction of the
world Z axis. You can have negative gravity.
ChaosAdds random variation to the explosion to make it less uniform. A setting of 0.0 is totally
uniform; 1.0 is a realistic setting. A value greater than 1.0 makes the explosion extra chaotic.
Range=0.0 to 10.0.
DetonationSpecifies the frame at which the bomb goes off. Bound objects are unaffected before
this time.
SeedChange to alter randomly generated numbers in the bomb. You can achieve a different bomb
effect by changing Seed while maintaining the other settings.
Although you can animate strength and gravity, the equations used for projectile motion assume
they are constant. Therefore, the motion will not be physically correct, but it might look interesting.
Also, if the bomb object is in motion during the blast, the result is not physically correct.
Comments

Motor Space Warp
Motor Space Warp
Create panel > Space Warps > Forces > Object Type rollout > Motor
Create menu > Space Warps > Forces > Motor
Motor disperses a cloud of particles
The Motor space warp works like Push, but applies rotational torque to the affected particles or
objects rather than a directional force. Both the position and orientation of the Motor icon affect
particles, which swirl around the Motor icon. When used in dynamics, the position of the icon relative
to the affected object has no effect, but the orientation of the icon does.
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Motor Space Warp
Motor viewport icon (with particle system on the left)
Procedure
To create a motor space warp:
1. On the Create panel, click Space Warps > Forces > Motor. Choose Forces from the
list, then on the Object Type rollout, click Motor.
2. Click and drag in a viewport to define the size.

The Motor warp appears as a box-shaped icon with an arrow indicating the direction of the
torque.
Interface
Timing group
On Time/Off TimeThe numbers of the frames in which the space warp begins and ends its effect.
Because Motor moves the objects to which it's applied over time, no keyframes are created.
Strength Control group
Basic TorqueThe amount of force exerted by the space warp.

N-m/Lb-ft/Lb-inSpecify the unit of measure for the Basic Torque setting, using common world

Motor Space Warp
measurements of torque. N-m stands for Newton-meters, Lb-ft stands for pounds-feet, and Lb-in
stands for pounds-inch.
Feedback OnWhen on, the force varies depending on the speed of the affected objects relative to
the specified Target Speed. When off, the force remains constant, regardless of the speed of the
affected objects.
ReversibleWhen on, if the object's speed exceeds the Target Speed setting, the force is reversed.
Available only if you turn on Feedback On.
Target RevsSpecifies the maximum revolutions before the feedback takes effect. Speed is
specified in units traveled per frame. Available only if you turn on Feedback On.
RPH/RPM/RPSSpecifies the units of measure for Target Revs in revolutions per hour, minute, or
second. Available only if you turn on Feedback On.
GainSpecifies how quickly the force adjusts to approaching the target speed. If set to 100%, the
correction is immediate. If set lower, a slower and "looser" response occurs. Available only if you
turn on Feedback On.
Note: Setting Gain above 100% can result in over-correction, but is sometimes necessary to
overcome damping from other system settings, such as IK damping.
Periodic Variation group
These settings introduce variations into the force by affecting the Basic Torque value randomly. You
can set two waveforms to produce a noise effect.
EnableTurn on to enable the variations.
Period 1The time over which the noise variation makes a full cycle. For example, a setting of 20

Motor Space Warp
means one cycle per 20 frames.

Amplitude 1The strength of the variation (in percent). This option uses the same types of units as
the Basic Torque spinner.
Phase 1Offsets the variation pattern.
Period 2The next two spinners provide an additional variation pattern to increase the noise.
Amplitude 2The strength of the variation of the second wave in (percent). This option uses the
same types of units as the Basic Torque spinner.
Phase 2Offsets the variation pattern of the second wave.
Particle Effect Range group
Lets you restrict the Motor effect's range to a specific spherical volume. This affects particles
systems only; it has no effect on dynamics.
EnableWhen on, limits the range of the effect to a sphere, displayed as a tri-hooped sphere. The
effect falls off increasingly as the particles near the boundary of the sphere.
RangeSpecifies the radius of the range of the effect, in units.
Display Icon group
Icon SizeSets the size of the Motor icon. This is for display purposes only, and does not alter the
Motor effect.
Comments

Push Space Warp
Push Space Warp
Create panel > Space Warps > Forces > Object Type rollout > Push
Create menu > Space Warps > Forces > Push
Push disperses a cloud of particles
The Push space warp applies a force to either particle systems or dynamics systems. The effect is
slightly different, depending on the system.
Particles: Applies a uniform, unidirectional force in a positive or negative direction. A positive

force moves in the direction of the pad on the hydraulic jack. The breadth of the force is infinite,
perpendicular to the direction; you can limit it using the Range option.
Dynamics: Provides a point force (also called a point load) away from the pad of the hydraulic
jack icon. A negative force pulls in the opposite direction. In dynamics, applying a force is the
same as pushing something with your finger.
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Push Space Warp
Push viewport icon
Procedure
To create a Push space warp:
1. On the Create panel, click Space Warps. Choose Forces from the list, and then on
the Object Type rollout, click Push.
2. Drag in a viewport to define the size.

The Push warp appears as a hydraulic jack icon.
Interface

Push Space Warp
Timing group
On Time/Off TimeThe numbers of the frames in which the space warp begins and ends its effect.
Because Push moves the particles to which it's applied over time, no keyframes are created.
Strength Control group
Basic ForceThe amount of force exerted by the space warp.

Newtons/PoundsThis option specifies the units of force used by the Basic Force spinner.
A pound is about 4.5 Newtons, and one newton is one kilogram-per-second-squared. When Push is

Push Space Warp
applied to particle systems, these values have only subjective meaning because they depend on the
built-in weighting factors and time scaling used by the particle system. However, when used in a
dynamics system, the value listed is precisely the value used.
Feedback OnWhen on, the force varies depending on the speed of the affected particles relative
to the specified Target Speed. When off, the force remains constant, regardless of the speed of the
affected particles.
ReversibleWhen on, if the particle's speed exceeds the Target Speed setting, the force is
reversed. Available only if you turn on Feedback On.
Target SpeedSpecifies the maximum speed in units per frame before the Feedback takes effect.
Available only if you turn on Feedback On.
GainSpecifies how quickly the force adjusts to approaching the target speed. If set to 100 percent,
the correction is immediate. If set lower, a slower and "looser" response occurs. Available only if you
turn on Feedback On.
Note: Setting Gain above 100 percent can result in over-correction, but is sometimes necessary to
overcome damping from other system settings, such as IK damping.
Periodic Variation group
These settings introduce variations into the force by affecting the Basic Force value randomly. You
can set two waveforms to produce a noise effect.
EnableTurns on the variations.
Period 1The time over which the noise variation makes a full cycle. For example, a setting of 20
means one cycle per 20 frames.
Amplitude 1The strength of the variation (in percent). This option uses the same types of units as
the Basic Force spinner.
Phase 1Offsets the variation pattern.
Period 2Provides an additional variation pattern (a second wave) to increase the noise.
Amplitude 2The strength of the variation of the second wave (in percent). This option uses the
same types of units as the Basic Force spinner.
Phase 2Offsets the variation pattern of the second wave.
Particle Effect Range group
Lets you restrict the Push effect's range to a specific volume. This affects particle systems only; it
has no effect on dynamics.
EnableWhen on, limits the range of the effect to a sphere, displayed as a tri-hooped sphere. The
effect falls off increasingly as the particles near the boundary of the sphere.
RangeSpecifies the radius of the range of the effect, in units.
Display Icon group

Push Space Warp
Icon SizeSets the size of the Push icon. This is for display purposes only, and does not alter the
Push effect.
Comments

Introduction to Particle Systems
Introduction to Particle Systems

Particle systems are useful for a variety of animation tasks. Primarily, they're employed when
animating a large number of small objects using procedural methods; for instance, creating a
snowstorm, a stream of water, or an explosion. 3ds max provides two different types of particle
systems: event-driven and non-event-driven. The event-driven particle system, also known as
Particle Flow, tests particle properties, and, based on the test results, sends them to different
events. Each event assigns various attributes and behaviors to the particles while they're in the
event. In the non-event-driven systems, particles typically exhibit similar properties throughout the
animation.
Which Particle System to Use?
Having access to a wealth of particle systems in 3ds max leads to the need to decide which system
to use for a particular application. In general, for a simple animation, such as falling snow or a water
fountain, setup is faster and easier with a non-event-driven particle system. With more complex
animations, such as an explosion that generates different types of particles over time (for example:
fragments, fire, and smoke), use Particle Flow for greatest flexibility and control.
Comments
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Type rollout > SuperSpray/Blizzard/Parray/PCloud > Rotation and Collision rollout
Select a SuperSpray/Blizzard/Parray/PCloud emitter. > Modify panel > Rotation and Collision
rollout
Particles often move at high rates of speed. In such cases, you might want to add motion blur to the
particles to enhance their motion. Also, real-world particles typically rotate as they move, and collide
with each other.
The options on this rollout affect the rotation of the particles, provide motion blur effects, and
control inter-particle collisions.
Interface
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Spin Speed Controls group
Spin TimeThe number of frames for one rotation of a particle. If set to 0, no rotation takes place.
VariationThe percent of variation of the Spin Time.
PhaseSets the initial particle rotation, in degrees. This has no meaning for fragments, which
always begin with zero rotation.
VariationThe percent of variation of the Phase.
Spin Axis Controls group
These options determine the spin axis for the particles, and provide a partial method of applying
motion blur to the particles.
RandomThe spin axis for each of the particles is random.

Direction of Travel/Mblur(Not available with the Blizzard particle system.) Rotates the particles
about a vector formed by the direction in which they're moving. This option also lets you apply a
form of motion blur to the particles by using the Stretch spinner. For further information, see
Achieving Particle Motion Blur.
StretchWhen greater than 0, the particles stretch along the travel axis, depending on their speed.
Specifically, the Stretch value specifies the percent of their length per each unit of the Speed setting
(in the Particle Motion group). Thus, if you set Stretch to 2 while Speed is set at 10, the particles are
stretched 20 percent longer than their original size along the axis of their travel. This spinner is
available only when you choose Direction of Travel/Mblur.
Note: For best results when using Stretch, you should also assign the Particle MBlur map as an
opacity map of the material assigned to the particle system.
User DefinedUses a vector defined in the three X, Y, and Z axis spinners.
X/Y/Z AxisSpecifies the spin vector of the X, Y, or Z axis, respectively. These spinners are
available only when User Defined is chosen.
VariationThe amount, in degrees, by which the spin axis of each particle may vary from the
specified X Axis, Y Axis, and Z Axis settings. This spinner is available only when you choose User
Defined.
Interparticle Collisions group
These options enable collisions between particles, and control how the collisions occur. Note that this
involves intensive calculation, particularly when large numbers of particles are involved.
EnableEnables inter-particle collisions in the calculation of the particle movements.
Calc Intervals Per FrameThe number of intervals per rendering interval, during which an inter-
particle collision test is conducted. The higher the value, the more accurate the simulation, but the
slower the simulation will run.
BounceThe degree to which speed is recovered after a collision.
VariationThe percentage of random variation of the Bounce value, applied to the particles.
Comments


Particle motion blur is actually the result of varying the opacity and the length of particles based on
their speed. To accomplish this requires coordination between material assignment and the settings
in the particle systems. Follow these instructions:
Use the Particle MBlur map in the material that you assigned to the particles. For best results,
assign it as an opacity map.
Make sure that the particle system, PArray, PCloud, and Super Spray, or Spray, supports the
Particle MBlur map.
Choose Rotation and Collision rollout > Spin Axis Controls group > Direction of Travel/Mblur
option.
In this same group, set the Stretch spinner greater than 0 to stretch the particles as a percent of
their length based on the particle Speed setting.
Use the correct type of particle. MBlur works on all particle types except Constant and Facing.
Note: Instanced objects with multi/sub-object materials cannot be image motion blurred.
Comments
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Particle MBlur Map
Particle MBlur Map
Material Editor > Maps rollout > Click a Map button. > Material/Map Browser > Particle MBlur
Particle MBlur makes particles blur as they move.
The Particle MBlur (Motion Blur) map is for use with particle systems. The map alters the opacity of
the leading and trailing ends of particles based on their rate of motion. The map is usually applied as
an opacity map, but you can use it as a diffuse map for special effects.
The following conditions must be in effect to achieve particle motion blur:
The Particle MBlur map must be in the same material that is assigned to the particles. For best
results, it should be assigned as an opacity map
The particle system must support the Particle MBlur map. Particle systems that support Particle
MBlur include PArray, PCloud, Super Spray, and Spray.
In the particle system's Particle Rotation rollout, in the Spin Axis Controls group, the Direction of
Travel/MBlur option must be on.
In this same group, the Stretch spinner must be greater than 0 to stretch the particles as a
percent of their length based on the particle Speed setting.
The correct type of particle must be used. MBlur works on all particle types except Constant,
Facing, Metaparticles, and PArray Object Fragments. Also, in the Standard Particles category,
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Particle MBlur Map
MBlur does not support the Triangle and SixPoint particle types.
The material assigned to the particle system must not be a Multi/Sub-Object material.
Interface
Color #1A particle approaches this color as it reaches its slowest speed. By default, this color is
white to provide the opaque end of the range for an opacity map.
Color #2A particle approaches this color as it speeds up. As a default, this color is black to
provide transparency in an opacity map.
Typically, you don't need to change either of these two colors.
SharpnessControls the transparency, relative to the speed. If Sharpness is set to 0, the entire
particle is blurry and transparent, no matter how slow it is traveling. The default works well in many
cases. Default=2.0.
Comments
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Particle System
Glossary
Particle System
Particle systems are objects that generate non-editable sub-objects called particles, for the purpose
of simulating snow, rain, dust, and so on.
The particle system object generates the particles over time. You use particle systems primarily in
animations.
3ds max provides several built-in particle systems: Spray and Snow. You may have installed other
plug-in particle systems.
The Deflector, Gravity, and Wind space warps are for use with particle systems. (Gravity and Wind
also work with Dynamics.)
3ds max also offers an event-driven particle system called Particle Flow.
Comments
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Type rollout > Parray > Basic Parameters rollout
The items on the Basic Parameters rollout let you create and adjust the size of the particle system,
and pick the distribution object. In addition, they let you specify the initial distribution of the
particles in relation to the geometry of the distribution object, and the initial velocity of the particles
from the distribution object. From here, you can also specify how the particles appear in the
viewport.
Interface
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Object-Based Emitter group
Pick ObjectAfter you create the particle-system object, the Pick Object button becomes available.
Click this button, and then click to select an object in your scene. The selected object becomes the
object-based emitter, and is used either as the source geometry over which particles form, or the
source geometry used to create particles that appear to be fragments of the object.
Object text fieldDisplays the name of the picked object.
Particle Formation group
These options determine how standard particles are initially distributed over the surface of the
object-based emitter. These controls are available only when the picked object is used as a
distribution grid for standard particles, MetaParticles, or instanced geometry; see Particle Type
rollout. When Object Fragments is chosen in the Particle Type rollout, these controls are unavailable.
Over Entire SurfaceEmits particles randomly over the entire surface of the object-based emitter.
This is the default choice.
Along Visible EdgesEmits particles randomly from the visible edges of the object.
At All VerticesEmits particles from the vertices of the object.
At Distinct PointsPlaces a specified number of emitter points randomly over the surface of the
object.
TotalSpecifies the number of emitter points used when At Distinct Points is chosen.
At Face CentersEmits particles from the center of each triangular face.
Use Selected SubObjectsWith mesh-based emitters, and to a limited extent with patch-based
emitters, limits the source of the particle stream to the sub-object selection passed up the modifier
stack in the object-based emitter. For example, if your emitter object is a cylinder converted to an
editable mesh, and the top cap of that cylinder is selected at the Face or Polygon sub-object level, if
Use Selected SubObjects is on and Particle Formation group > At Face Centers is on, the particles
will stream only from the top cap of the cylinder. Default=off.
The type of particle formation you specify determines the type of sub-object geometry used, as
follows:
Over Entire SurfaceFaces
Along Visible EdgesEdges
At All VerticesVertices
At Distinct PointsFaces
At Face CentersFaces
If youve converted your object to an editable mesh, and selected different sub-object sections of
it with vertex, edge, and face selection, as you switch particle formation options, youll see the

particles emit from different areas of the object.

Note: Use Selected SubObjects is applicable to patch object emitters only at the patch and
element sub-object levels, and is not applicable NURBS objects used as emitters.
Tip: You can best see the emission patterns by first setting Speed on the Particle Generation
rollout > Particle Motion group to 0. Move to a frame in which the particles appear, and then
choose the various particle formation options.
Display Icon group
Adjusts the display of the particle-system icon in the viewports. (The particle-system icon is usually
called the "emitter." In this case, however, it doesn't actually emit particles, so we're avoiding the
term.)
Icon SizeSets the overall size of the icon, in units.
Icon HiddenWhen on, the PArray icon is hidden in the viewports. Note that the icon does not
render, in any case. Default=off.
Viewport Display group
Specifies how the particles are displayed in the viewports.

DotsDisplays the particles as dots.
TicksDisplays the particles as crosses.
MeshDisplays the particles as mesh objects. This results in slower viewport redraws.
BBoxFor instanced geometry only, this displays each instanced particle, whether a single object, a
hierarchy, or a group, as a bounding box.
Percentage of ParticlesThis spinner specifies the number particles displayed in the viewports as
a percentage of the number of rendered particles. Default=10 percent.
Set the display percentage to 100 percent if you want to see the same number of particles as will be
rendered in your scene. However, this can considerably slow viewport display.
Comments


Mapped materials affect particles differently, depending on the source of the material.
Particles with a diffuse-mapped material
When you choose Icon, the mapping coordinates of the material are applied across the V (vertical)
axis, from V=0 (the bottom edge of the map) to V=1 (the top edge of the map). The bottom edge of
the map is applied at the birth of the particle, and the top edge at either the death of the particle (if
Time is on) or the distance of the particle at its death (if Distance is on).
The Time spinner specifies the number of frames from birth that it takes to complete one mapping of
a particle. Thus, if set to 15, the particle uses the bottom edge of the map at its birth, and moves
through to the top edge of the map at frame 15.
The Distance spinner specifies the distance, in units, from birth that it takes to complete one
mapping of a particle. Thus, if set to 50, as the particle moves along the normal vector, it displays
the bottom edge of the map at birth, and the top edge at 50 units along the normal vector.
The one exception to this is when you use the Tetra particle type. In this case, each particle is
always constantly mapped with V=0 at the head and V=1 at the tail.
When you choose Picked Emitter, the particles take on the color of the object at the point at which
they're created. If the mapped surface is yellow where the particle emerges, then the particle is
yellow.
Again, Tetra particles are an exception and the distribution-object material is mapped from head to
tail.
Fragment particles use the same technique, with additional options when the Thickness setting is
greater than 0.
When Thickness is 0, all faces in the fragment are mapped the same as the portion of the object
surface from which they're derived.
When Thickness is greater than 0, the outer faces of the fragment copy the surface of the
distribution object, and are assigned the material ID specified in the Outside ID spinner in the
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Particle Type rollout > Fragment Materials group. The thickness edges use the Edge ID number, and
the inner faces use Backside ID. Thus, by assigning a multi/sub-object material to the object-based
emitter, you can specify a different material for the outer fragment surfaces, the edges, and the
inner surfaces. Note that the Outside ID spinner defaults to a value of 0, which means "use whatever
material is currently assigned." Change this to a specific sub-material number to assign a sub-
material to the outside edges of the fragments.
Comments
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Type rollout > SuperSpray/Blizzard/Parray/PCloud > Object Motion Inheritance rollout
Select a SuperSpray/Blizzard/Parray/PCloud emitter. > Modify panel > Object Motion Inheritance
rollout
Each particle's position and direction of movement are determined by the position and orientation of
the emitter at the time the particle is created. If the emitter is moving through the scene, particles
are scattered along the emitter's path.
Use these options to affect the motion of the particles by the motion of the emitter.
Procedure
Example: To observe object motion inheritance:
1. Create a Super Spray particle system.
2. Animate the emitter moving sideways (perpendicular to the direction of the particle stream)
between frames 1 and 15.
3. Play the animation while observing it from the Top viewport.

The emitter stops at frame 15, while the particles it has emitted up to that point continue
moving along the diagonal between the emitter's path and that of the particles. The remaining
particles move straight out from the emitter.
4. On the Object Motion Inheritance rollout, set Influence to 50.
5. Play the animation again.

This time, only some of the particles inherit the emitter's motion, while the rest move straight
out from the emitter. Note that the latter form a diagonal stream because each particle
emerges at a subsequent point on the emitter path.
Interface
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InfluenceThe percent of particles that inherit the motion of the object-based emitter at the
moment of particle formation. For example, when this is set at 100 (the default), all particles travel
along with a moving object; when it's set at 0, none of the particles are affected by the translation of
the object and fall behind its movement.
MultiplierModifies the amount by which the emitter motion affects the particle motion. This can
be a positive or negative number.
VariationProvides a percentage of variation of the Multiplier value.
Comments
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Type rollout > SuperSpray/Blizzard/Parray/PCloud > Particle Spawn rollout
Select a SuperSpray/Blizzard/Parray/PCloud emitter. > Modify panel > Particle Spawn rollout
The options on the Particle Spawn rollout let you specify what happens to particles when they die, or
when they collide with a particle deflector. Using the options on this rollout, you can have particles
generate additional generations of particles upon collision or death.
Interface
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Particle Spawning Effects group
Choose one of these options to determine what happens to the particles at either collision or death.
NoneUses none of the spawning controls, and the particles act as they normally would. That is,
upon collision, they either bounce or stick, depending on Particle Bounce settings in the deflector,
and on death they disappear.
Die After CollisionParticles disappear when they strike a deflector to which they're bound, such
as the SDeflector.
PersistThe life, in frames, that the particle will persist after the collision. Setting this to 0 (the
default) causes particles to vanish immediately after the collision.
VariationVaries the Persist value of each particle, when Persist is greater than 0. This lets you
"feather" the dying off of particle density.
Spawn on CollisionSpawn effects take place upon collision with a bound deflector.
Spawn on DeathSpawn effects take place at the end of each particle's life.
Spawn TrailsParticles are spawned from existing particles at each frame of that particle's life. The
Multiplier spinner specifies the number of particles that are spawned from each particle. The base
direction of the spawned particles is opposite that of the parent's velocity. The Scale, Direction, and
Speed Chaos factors are applied to that base direction.
Note: If the Multiplier is greater than 1, at least one of the three Chaos factors must be greater than
0 in order to see the additional spawned particles. Otherwise, the multiples will occupy the same
space.
Warning: This option can produce many particles. For best results, begin by setting
Particle Quantity on the Particle Generation rollout to Use Rate and to 1.
SpawnsThe number of spawns beyond the original particle generation. For example, if this is set
to 1, and you're spawning at death, one spawning will occur beyond the original lifespan of each
particle.
AffectsSpecifies the percentage of particles that will spawn. Reducing this reduces the number of
particles that produce spawned particles.
MultiplierMultiplies the number of particles spawned at each spawning event.
VariationSpecifies a percentage range by which the Multiplier value will vary, frame by frame.
Direction Chaos group
ChaosSpecifies the amount by which the direction of the spawned particle can vary from the
direction of the parent particle. A setting of 0 means no variance. A setting of 100 causes the

spawned particle to travel in any random direction. A setting of 50 causes the spawned particle to
deviate from its parent's path by up to 90 degrees.
Speed Chaos group
These options let you vary the spawned particles' speed randomly in relation to their parents' speed.
FactorThis is the range of a percentage of change in the speed of the spawned particle relative to
its parent. A value of 0 means no change.
SlowApplies the speed factor randomly to slow the speed of the spawned particles.
FastRandomly speeds up particles based on the speed factor.
BothSome particles speed up, while others slow down, based on the speed factor.
Inherit Parent VelocitySpawned particles inherit the speed of their parents, in addition to the
effect of the speed factor.
Use Fixed ValueUses the Factor value as a set value, rather than as a range applied randomly to
each particle.
Scale Chaos group
These options apply random scaling to the particles.

FactorDetermines a random percentage range of scaling of the spawned particles relative to their

parents, and dependent on the options below.

DownRandomly scales down spawned particles to be smaller than their parents, based on the
Factor value.
UpRandomly scales up spawned particles to be larger than their parents.
BothScales spawned particles both larger and smaller than their parents.
Use Fixed ValueUses the Factor value as a fixed value, rather than a range of values.
Lifespan Value Queue group
These options let you specify a list of alternative lifespan values for each spawned generation of
particles. The spawned particles use these lifespans rather than the lifespan specified for the original
particles in the Life spinner on the Particle Generation rollout.
List windowDisplays a list of lifespan values. The first value on the list is used for the first
generation of spawned particles, the next value is used for the next generation, and so on. If there
are fewer values on the list than there are spawnings, then the last value is used repeatedly for all
remaining spawnings.
AddAdds the value in the Lifespan spinner to the list window.
DeleteDeletes the currently highlighted value in the list window.
ReplaceLets you replace a value in the queue with a value in the Lifespan spinner. To use, first
place a new value in the Lifespan spinner, then select the value in the queue you want to replace,
and click the Replace button.
LifespanUse this to set a value, and then click the Add button to add the value to the list window.
Object Mutation Queue group
The options in this group let you switch between instanced-object particles with each spawning (as
set with the Spawns spinner). These options are available only if Instanced Geometry is the current
particle type.
List windowDisplays a list of objects to be instanced as particles. The first object on the list is
used for the first spawning, the second for the second spawning, and so on. If there are fewer
objects on the list than there are spawnings, then the last object on the list is used for all remaining
spawnings.
PickClick this, and then select an object in the viewport to add to the list. Note that the type of
object you use is based on the settings in the Instancing Parameters group of the Particle Type
rollout. For example, if you've turned on Subtree in that group, you can pick object hierarchies.
Likewise, if you've picked a group, you can use groups as your spawned particles.
DeleteDeletes the currently highlighted object in the list window.
ReplaceReplaces an object in the queue with a different object. Select an object in the queue to
enable the Replace button. Click Replace, and then pick an object in the scene to replace the
highlighted item in the queue.

Comments

Type rollout > SuperSpray/Blizzard/Parray/PCloud > Load/Save Presets rollout
Select a SuperSpray/Blizzard/Parray/PCloud emitter. > Modify panel > Load/Save Presets rollout
These options let you store preset values that can be used in other, related particle systems. For
example, after setting parameters for a PArray and saving it under a specific name, you can then
select another PArray system, and load the preset values into the new system.
Interface
Preset NameAn editable field in which you can define a name for your settings. Click the Save
button to save the preset name.
Saved PresetsContains all the saved preset names. A number of presets are included with
3ds max; to see what they do, create a particle system, load a preset, and play back the animation.
Some of the presets, such as Particle Array's Shimmer Trail, are most effective with moving particle
systems.
LoadLoads the preset currently highlighted in the Saved Presets list. Alternatively, double-click the
preset name in the list to load it.
SaveSaves the current name in the Preset Name field and places it in the Saved Presets window.
DeleteDeletes the selected items in the Save Presets window.
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Note: Animated parameter values subsequent to frame 0 are not stored.
Comments
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Type rollout > Snow
Create menu > Particles > Snow
Snow simulates falling snow or confetti. The snow system is similar to Spray, but it has additional
parameters to generate tumbling snowflakes, and its rendering options are different.
Kinds of Snow
Note: Blizzard is a more powerful and advanced version of Snow. It provides all the functionality of
Snow, plus additional features.
Procedure
To create snow:
1. In the Create panel, make sure the Geometry button is active and Particle Systems
is selected from the object category dropdown list, then click Snow.
2. Drag in a viewport to create the Snow emitter; see Creating a Particle Emitter.
The emitter's direction vector points in the negative Z direction of the active construction plane.
Interface
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Particles group
Viewport CountMaximum number of particles displayed in viewports at any given frame.

Tip: Setting the viewport count less than the render count can improve viewport performance.
Render CountMaximum number of particles that can appear in a single frame when you render it.
Works in combination with the particle system's timing parameters.
When the number of particles reaches the Render Count value, particle creation is suspended until
some particles die.
When enough particles die, particle creation resumes until Render Count is reached again.

Flake SizeSize of a particle in the active units.

SpeedInitial velocity of each particle as it leaves the emitter. Particles travel at this speed unless
they are affected by a particle system space warp.
VariationVaries the initial speed and direction of particles. The greater the Variation, the broader
the area of snowfall.
TumbleAmount of random rotation for snowflake particles. This parameter can range from 0 to 1.
At 0, flakes do not rotate; at 1, they rotate the most. The axis of rotation is generated randomly for
each particle.
Tumble RateSpeed at which snowflakes rotate. The greater the Tumble Rate, the faster the
rotation.
Flakes, Dots, or TicksSelect how particles are displayed in viewports. The display setting does
not affect how particles are rendered. Flakes are star-shaped snowflakes, dots are points, ticks are
small plus signs.
Render group
Six PointEach particle is rendered as a six-pointed star. Each side of the star is a face to which
you can assign a material. This is the default setting for rendering.
TriangleEach particle is rendered as a triangle. Only one side of the triangle is a face to which you
can assign a material.
FacingParticles are rendered as square faces whose width and height equals the Drop Size. Facing
particles always face the camera (or the user's perspective). They are provided especially for use
with material maps. Use with an appropriate opacity map for bubbles or snowflakes.
Note: Facing works correctly only in a perspective or camera view.
Timing group
Timing parameters control the "birth and death" rates of emitted particles.
At the bottom of the Timing group is a line that displays the maximum sustainable rate. This value is
based on the Render Count and the lifetime of each particle. To be precise:
maximum sustainable rate=Render Count/Life
Because the number of particles in a frame never exceeds Render Count, if the Birth Rate exceeds
the maximum rate, the system will run out of particles, pause until some die off, and then start
again, generating bursts or spurts of particles.
StartNumber of the first frame where particles appear.
LifeThe lifetime of a particle, in number of frames.
Birth RateThe number of new particles born per frame.
If this is less than or equal to the maximum sustainable rate, the particle system generates an even
flow of particles. If it is greater than the maximum rate, the particle system generates particles in

bursts.
You can animate the Birth Rate parameter.
ConstantWhen on, Birth Rate is unavailable and the birth rate used equals the maximum
sustainable rate. When off, Birth Rate is available. Default=on.
Turning Constant off does not mean that the birth rate varies automatically; the birth rate remains
constant unless you animate the Birth Rate parameter.
Emitter Group
The emitter specifies the area where particles appear in the scene. It has a geometry you can
display in viewports, but it isn't renderable.
You set emitter parameters in the Emitter group of the particle system's Parameters rollout.
viewport to create the emitter. You can adjust the values in the rollout.
initial parameters (size of the emitter, and speed and variation of emission) and any space warps
that have been applied.
HideTurn on to hide the emitter in viewports. When off, the emitter is displayed in viewports. The
emitter is never rendered. Default=off.
Comments

Type rollout > Blizzard
Create menu > Particles > Blizzard
This is an advanced version of the original Snow particle system.

Blizzard viewport icon (emitter)
Snowflake particles in a blizzard
Procedures
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To create a blizzard particle system:
Systems is chosen in the object category list, then click Blizzard.
2. Drag in a viewport to create the Blizzard emitter; see Creating a Particle Emitter.
The icon appears as a plane with a perpendicular line pointing in the direction of emission.
3. Adjust the various parameters on the command panel.
Interface
This section describes the Display Icon group in the Basic Parameters rollout, the Particle Motion
group in the Particle Generation rollout, and the Material Mapping and Source group in the Particle
Type rollout. These are the only controls unique to Blizzard. The other Blizzard rollouts and their
contents are identical with those in Particle Array, except that Object Fragments and associated
settings are not available on the Particle Type rollout. See PArray for details or choose from the
following list for rollout information.
Basic Parameters rollout > Display Icon group

The emitter specifies the location where particles are generated in the scene. It has a geometry you
can display in viewports, but it isn't renderable.
You set emitter parameters on the particle system's Basic Parameters rollout, in the Display Icon
group.
viewport to create the emitter. You can adjust the values on the rollout.
initial parameters (such as size of the emitter, and speed and variation of emission) and any space
warps that have been applied.
Emitter HiddenHides the emitter in viewports. When off, the emitter is displayed in viewports.
The emitter is never rendered. Default=off.
Specifies the number, size, and motion of particles.

SpeedThe speed of the particle at birth, in units per frame.

TumbleAmount of random rotation of the particles.
Tumble RateSpeed at which the particles rotate.
Particle Type rollout > Mat'l Mapping and Source group

Emitter Fit PlanarMaps particles at birth, based on their point of emission from the rectangular
Blizzard emitter icon. The UV range of the mapped material runs from 0 to 1 over the width and
length of the emitter.
Comments

Type rollout > PCloud
Create menu > Particles > PCloud
Use the PCloud (or Particle Cloud) particle system when you want a "cloud" of particles that fill a
specific volume. PCloud can provide a flock of birds, a starfield, or a troup of soldiers marching over
terrain. You can confine the particles using basic supplied volumes of a box, sphere, or cylinder, or
you can use any renderable object in the scene as a volume as long as that object has depth. Two-
dimensional objects do not work with PCloud.
Tip: There is no automatic way to hide the object chosen as the object-based emitter. Hide it by
using Hide Selected on the Display panel, or by applying a Hide key in Track View.
PCloud viewport icon (default emitter)
PCloud viewport icon (object-based emitter)
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PCloud used to form a school of fish (each fish is a particle)
Procedure
To create a particle cloud:
Systems is chosen in the object category list, then click PCloud.
2. Drag in a viewport to create the PCloud emitter; see Creating a Particle Emitter.
Adding a PCloud emitter works the same way as creating a box primitive: First drag out the
length and width, then release the mouse button and move the mouse vertically to set the
height, and then click to finish.
The emitter appears with a letter "C" representing the particle cloud.
3. Adjust the various parameters on the command panel.
Interface
This section describes the Object-Based Emitter, Particle Formation, and Display Icon groups in the
Basic Parameters rollout, and the Particle Motion group in the Particle Generation rollout. These are
the only controls unique to PCloud. The other PCloud rollouts and their contents are identical with
those in Particle Array, except that Object Fragments and associated settings are not available on
the Particle Type rollout. See PArray for details or choose from the following list for rollout
information.


Object-Based Emitter group
This button lets you select a renderable mesh object to use as a particle emitter. This object is used
only when the Object-Based Emitter option is chosen in the Particle Formation group.
Pick ObjectClick this, and then select a renderable mesh object to be used as a custom emitter.

Particle Formation group
These options let you specify the shape of the emitter.

Box EmitterChooses a box-shaped emitter.
Sphere EmitterChooses a sphere-shaped emitter.
Cylinder EmitterChooses a cylindrical emitter.
Object-Based EmitterChooses the object selected in the Object-Based Emitter group.
Note: With regard to animation of the object-based emitter, the particles will properly fill a deformed
object at frame 0, but they can't stay with the emitter while it's moving. If the emitter moves in a
straight line, this can give the appearance of the cloud moving with the emitter.
Display Icon group
These options let you adjust the dimensions of the emitter icon when a custom object is not used as
an emitter. When a custom object is used you can still resize the "Fill" icon using these options.
Rad/LenAdjusts the radius of a spherical or cylindrical icon, and the length of a box icon.
WidthSets the width of a box emitter.
HeightSets the height of a box or cylindrical emitter.
Emitter HiddenHides the emitter.
SpeedThe speed of the particle at birth along the normal, in units per frame.
Note: For the correct volume effect, Speed should be set to 0.

Random DirectionOne of three options that affect the direction of the particles. This option emits
particles in random directions.
Direction VectorSpecifies the direction of the particles by a vector defined by the three X, Y, and
Z spinners.
X/Y/ZDisplays the particle direction vectors.
Reference ObjectEmits particles in the direction of the local Z axis of a specified object.
Pick ObjectClick this, and then select an object in the scene to use as a reference object. This
button is available only when you choose Reference Object.
VariationApplies a percentage of variation to the direction when you choose either the Direction
Vector or Reference Object option. This spinner is unavailable and has no effect when you choose
Random Direction.
Comments

Create panel > Geometry > Compound Objects > Object Type rollout > Mesher
Create menu > Compound > Mesher
The Mesher compound object converts procedural objects to mesh objects on a per-frame basis so
that you can apply modifiers such as Bend or UVW Map. It can be used with any type of object, but
is designed primarily to work with particle systems. Mesher is also useful for low-overhead
instancing of objects with complex modifier stacks.
Procedure
To use a Mesher object:
1. Add and set up a particle system.
2. Click the Create panel> Geometry > Compound Objects > Object Type rollout > Mesher
button.
3. Drag in a viewport to add the Mesher object. The size doesn't matter, but the orientation
should be the same as that of the particle system.
4. Go to the Modify panel, click the Pick Object button, and then select the particle system.
The Mesher object becomes a clone of the particle system, and shows the particles as mesh
objects in the viewports no matter what the particle system's Viewport Display setting is.
5. Apply a modifier to the Mesher object, and set its parameters. For example, you might apply a
Bend modifier and set its Angle parameter to 180.

Depending on the original particle system and its settings, as well as any modifiers applied to
the Mesher object, you might be getting unexpected results. This typically occurs because the
bounding box for the modifier, as applied to the particle system, is recalculated at each frame.
For example, with a bent Super Spray particle system set to spread out over time, as the
particles stream away and separate, the bounding box becomes longer and thicker, potentially
causing unexpected results. To resolve this, you can use another object to specify a static
bounding box.
7. To use another object's bounding box to limit the modified Mesher object, first add and set up
the object. Its position, orientation, and size are all used in calculating the bounding box.
8. Select the Mesher object, and go to the Mesher stack level.
9. In the Parameters rollout, turn on Custom Bounding Box, click the Pick Bounding box button,
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and then select the bounding box object.

The particle stream uses the new, static bounding box.
Tip: You can use any object as a bounding box, so it is often fastest to use the particle system
itself. Move to the frame where the particle system is the size you want and pick it.
In the following illustration, you can see a Super Spray particle system (left) and a Mesher
object derived from the Super Spray (right). A Bend modifier is applied to the Mesher. In the
center is a box object being used as a custom bounding box. The bounding box applied to the
Bend modifier is visible as an orange wireframe when the modifier is highlighted in the stack.
Using a custom bounding box with a bent particle system
To modify the particles aspect of the Mesher, edit the original particle system.
To modify the custom bounding box, move, rotate, or scale the bounding box object, and then
reapply it using the Mesher object.
At this point, both particle systems will render. The original particle system must exist in order
to be able to be used by the Mesher object, so if you want only the Mesher replica to render,
you should hide the original system before rendering.

Interface
Parameters rollout
Pick ObjectClick this button and then select the object to be instanced by the Mesher object.
After doing so, the name of the instanced object appears on the button.
Time OffsetThe number of frames ahead of or behind the original particle system that the
Mesher's particle system will run. Default=0.
Build Only At Render TimeWhen on, the Mesher systems do not appear in the viewports, but
only when you render the scene. Default=off.
Build Only At Render TimeWhen on, the Mesher particles do not appear in the viewports, but
only when you render the scene. Default=off.
Use this option to reduce the amount of computation required for the viewport display.
UpdateAfter editing the original particle system settings or changing the Mesher Time Offset
setting, click this button to see the changes in the Mesher system.
Custom Bounding BoxWhen on, Mesher replaces the dynamic bounding box derived from the
particle system and modifier with a static bounding box of the user's choice.
Pick Bounding BoxTo specify a custom bounding box object, click this button and then select the
object.
The custom bounding box appears as an orange wireframe when the modifier is highlighted in the
stack.

Tip: You can use any object as a bounding box, so it is often fastest to use the particle system itself.
Move to the frame where the particle system is the size you want and pick it.
(coordinate values)Displays the coordinates of the opposite corners of the custom bounding box.
Comments


You create particle systems when you want to model an object or effect that can best be described
as a large collection of similar objects behaving in a similar fashion. Obvious examples of such
effects include rain and snow, but other equally valid examples include water, smoke, ants, and even
crowds of people.
On the Create panel, click Spray, Snow, Super Spray, Blizzard, PArray, or PCloud to create a particle
system. Spray and Snow exist primarily for compatibility with earlier releases of 3ds max, and are
superseded by Super Spray and Blizzard.
To create a particle system, first choose Create menu > Particles > Spray or Snow.
These are the basic steps for creating a particle system:
1. Create a particle emitter. All particle systems require an emitter. Some particle systems use
the particle system icon as the emitter while others use an object you select from the scene as
the emitter.
2. Determine the number of particles. You set parameters such as birth rate and life span to
control how many particles can exist at any given time.
3. Set particle shape and size. You can select from many standard particle types (including
metaballs) or you can select an object to be emitted as a particle.
4. Set initial particle motion. You can set the speed, direction, rotation, and randomness of
particles as they leave the emitter. Particles can also be affected by animation of the emitter.
5. Modify particle motion. You can further modify the motion of particles after they leave the
emitter by binding the particle system to a space warp in the Forces group, such as Path
Follow, or make them bounce off a deflector in the Deflectors space warp group, such as
UDeflector.
Important: When you use forces and deflectors together, always bind the forces
before the deflectors.
Tip: If the particles don't follow the emitter after it's moved, then change any Path Follow
parameter. The motion will be applied to the particles.
Rain and Snow
Create rain and snow using Super Spray and Blizzard. These particle systems are optimized for
droplet (Super Spray) and tumbling flake (Blizzard) effects. Add space warps such as Wind to create
spring rains or winter storms.
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Bubbles
Create bubbles by using the Bubble Motion options of Super Spray. If you require good rendering
speed, consider using constant or tetra particles. If you require bubble detail, consider using opacity-
mapped facing particles, instanced spheres, or metaparticles.
Flowing Water
You generate flowing liquid effects by setting Super Spray to generate closely packed metaparticles.
The metaparticles blob together forming a stream. Add a Path Follow space warp to send the stream
down a trough.
Explosions
Particle Array (PArray) uses another object as its particle emitter. You can set the particle type to
use fragments of the emitter object to simulate the object exploding.
Volume Effects
Particle Cloud (PCloud) constrains its particles within a specified volume. You can use Particle Cloud
to generate bubbles in a glass of soda, or bees buzzing inside a jar.
Crowds
Super Spray, Blizzard, Particle Array, and Particle Cloud can use instanced geometry as their particle
type. You can create a stream of ants, a flock of birds, or a cloud of dandelion seeds using instanced
geometry particles.
Comments
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Wind Space Warp
Wind Space Warp
Create panel > Space Warps > Forces > Object Type rollout > Wind
Wind changing the direction of the spray of a fountain
The Wind space warp simulates the effect of wind blowing particles generated by a particle system.
Wind is directional. Particles moving in the direction of the wind arrow accelerate. Particles moving
against the arrow decelerate. In the case of spherical wind, motion is toward or away from the icon.
Wind is similar in effect to the Gravity space warp, but has added parameters for turbulence and
other features characteristic of wind in the natural world. Wind can also be used as an effect in
dynamics simulations. See Dynamics Utility.
Wind effect on snow and spray
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Wind Space Warp
Procedure
To create wind:
Object Type rollout, click Wind.
2. Drag in a viewport.
The wind icon appears. For planar wind (the default), the icon is a wireframe square with a
direction arrow coming out of one side. For spherical wind, the icon is a wireframe sphere.
The initial direction of planar wind is along the negative Z axis of the construction grid that is
active in the viewport where you drag. You can rotate the wind object to change the direction.
Interface
Force group
These settings are comparable to the Gravity parameters.

StrengthIncreasing Strength increases the wind effect. Strength less than 0.0 creates a suction.
It repels particles moving in the same direction and attracts particles moving in the opposite
direction. When Strength is 0.0, the Wind warp has no effect.

Wind Space Warp
DecayWhen Decay is set to 0.0, the Wind warp has the same strength throughout world space.
Increasing the Decay value causes wind strength to diminish as distance increases from the position
of the Wind warp object. Default=0.0.
PlanarWind effect is perpendicular to the plane of the Wind warp object, throughout the scene.
SphericalWind effect is spherical, centered on the Wind warp object.
Wind group
These settings are specific to the Wind space warp.

TurbulenceCauses particles to change course randomly as the wind blows them. The greater the
value, the greater the turbulence effect.
FrequencyWhen set greater than 0.0, causes turbulence to vary periodically over time. This
subtle effect is probably not visible unless your bound particle system generates a large number of
particles.
ScaleScales the turbulence effect. When Scale is small, turbulence is smoother and more regular.
As Scale increases, turbulence grows more irregular and wild.
Display group
Range IndicatorsWhen the Decay value is greater than zero, icons appear in the viewports that
represent the range at which the force of wind is half the maximum value. When you use the Planar
option, the indicators are two planes; when you use the Spherical option, the indicator is a double-
hooped sphere.
Icon SizeSize of the Wind warp object icon, in active units. You set the initial Icon Size value
when you drag to create the wind object. This value does not change the wind effect.
Comments

Vortex Space Warp
Vortex Space Warp
Create panel > Space Warps > Forces > Object Type rollout > Vortex
The Vortex space warp applies a force to particle systems, spinning them through a whirling vortex,
and then moving them down a long, thin spout or vortex well. Vortex is useful for creating black
holes, whirlpools, tornadoes, and other funnel-like objects.
The space warp settings let you control the vortex shape, the well characteristics, and rate and
range of particle capture. The shape of the vortex is also affected by particle system settings, such
as speed.
Particle stream caught in a vortex
Procedure
To create a Vortex space warp:
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Vortex Space Warp
1. On the Create panel, click Space Warps. Choose Forces from the list, and then click
Vortex.
2. Determine which world axis you want the vortex to spiral around, and then drag in the
appropriate viewport to create the space warp. For example, if you want the vortex to spin
around the vertical world axis, create the space warp in the Top viewport. You can rotate the
warp later to change the vortex direction, and animate the warp orientation.
The Vortex warp appears as a curved-arrow icon in the plane you drag in, with a second,
perpendicular arrow indicating the axis of rotation as well as the direction of the well. This
second axis is called the drop axis.
Note: The position of the space warp plays an important role in the results. The vertical
position affects the shape of the vortex, and the horizontal position determines its location. If
you want the particles to spiral around the particle emitter, place both at the same location.
Interface

Vortex Space Warp
Timing group
Time On/Time OffThe frame numbers at which the space warp becomes active and becomes
inactive.
Vortex Shape group
Taper LengthControls the length of the vortex, as well as its shape. Lower settings give you a
"tighter" vortex, while higher settings give you a "looser" vortex. Default=100.
Taper CurveControls the shape of the vortex. Low values create a vortex with a wide, flared

Vortex Space Warp
mouth, while high values create a vortex with nearly vertical sides. Default=100. Range=1.0 to 4.0.
Capture and Motion group
This group contains basic settings for Axial Drop, Orbital Speed, and Radial Pull, with Range, Falloff,
and Damping modifiers for each.
Unlimited RangeWhen on, Vortex exerts full damping strength over an unlimited range. When
off, the Range and Falloff settings take effect.
Axial DropSpecifies how quickly particles move in the direction of the drop axis.
RangeThe distance from the center of the Vortex icon, in system units, at which Axial Damping
has its full effect. Takes effect only when Unlimited Range is turned off.
FalloffSpecifies the distance beyond the Axial Range within which Axial Damping is applied. Axial
Damping is strongest at the Range distance, decreases linearly out to the limit of the Axial Falloff,
and has no effect beyond that. Takes effect only when Unlimited Range is turned off.
DampingControls the degree to which particle motion parallel to the drop axis is restrained per
frame. Default=5.0. Range=0 to 100.
For subtle effects, use values of less than 10%. For more overt effects, try using higher values that
increase to 100% over the course of a few frames.
Orbital SpeedSpecifies how quickly the particles rotate.
RangeThe distance from the center of the Vortex icon, in system units, at which Orbital Damping
FalloffSpecifies the distance beyond the Orbital Range within which Orbital Damping is applied.
Orbital Damping is strongest at the Range distance, decreases linearly out to the limit of the Orbital
Falloff, and has no effect beyond that. Takes effect only when Unlimited Range is turned off.
DampingControls the degree to which orbital particle motion is restrained per frame. Smaller
values produce a wide spiral, while larger values produce a thin spiral. Default=5.0. Range=0 to
100.
Radial PullSpecifies the distance from the drop axis at which the particles rotate.
RangeThe distance from the center of the Vortex icon, in system units, at which Radial Damping
FalloffSpecifies the distance beyond the Radial Range within which Radial Damping is applied.
Radial Damping is strongest at the Range distance, decreases linearly out to the limit of the Radial
Falloff, and has no effect beyond that. Takes effect only when Unlimited Range is turned off.
DampingControls the degree to which Radial Pull is restrained per frame. Default=5.0. Range=0
to 100.
CW/CCWDetermines whether particles rotate clockwise or counterclockwise.
Display group

Vortex Space Warp
Icon SizeSpecifies the size of the icon.
Comments

Scale Operator
Scale Operator
Particle View > Click a Scale operator in an event or add a Scale operator to the particle system
and then select it.
The Scale operator lets you set and animate particle size during an event, with optional random
variation. Options for how scaling and animation are applied give this operator a great deal of
flexibility.
Procedure
Example: To animate particle scale:

This procedure gives an overview of animating particles to grow for 30 frames, remain at full size for
the next 30 frames, and then shrink for 30 frames. It also gives an option for having the particles
pulsate in size during the middle period. To follow this procedure, you should be familiar with the
basic usage of Particle Flow and Track View.
1. Set up a default Particle Flow system. Set the Shape operator to Sphere, and set the Display
operator to Geometry.
2. Add a Send Out test to Event 01.
3. Add a new Scale operator to the event display, creating a new event. Set the new event's
Display operator to Geometry, and make sure it's a different color than the one in Event 01.
5. In the Event 02 > Scale operator, set Type to Absolute, and animate the Scale Factor values
from 10 to 100 over frames 0 to 30. In the Animation Offset Keying group, set Sync By to
Event Duration.
6. Add an Age Test to Event 02. Set it to Event Age, set Test Value to 30, and Variation to 0.
In this event, particles grow from 10 percent of their original size to full size over the first 30
frames of their existence, which is the same as their duration in the event. At that point, they'll
be eligible to move to the next event.
7. Use a new Scale operator to create a new event, Event 03. Set the new event's Display
operator to Geometry, and make sure it's a different color than the others.
9. In the Event 03 > Scale operator, Set Type to Absolute, and in the Animation Offset Keying
group, set Sync By to Event Duration.
10. Copy and paste the Age Test as an instance from Event 02 to Event 03.
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Scale Operator
Particles in Event 03 remain at full scale for 30 frames, and then move on to the next event.
11. Use a new Scale operator to create a new event: Event 04. Set the new event's Display
operator to Geometry, and make sure it's a different color than the others.
13. In the Event 04 > Scale operator, set Type to Absolute, and animate the Scale Factor values
from 100 to 10 over frames 0 to 30. In the Animation Offset Keying group, set Sync By to
Event Duration.
14. Copy and paste the Age Test as an instance from Event 03 to Event 04.
In this event, particles shrink from full size to 10 percent of their original size over 30 frames.

Next, you'll use a Noise controller to cause the particles in Event 03 to pulsate in size.
16. Add a second Scale operator to Event 03, below the existing Scale operator. Set it to Relative
Successive, and set Sync By to Event Duration.
The name of this operator should be Scale 04.
17. In Particle view, right-click the Scale Factor X % parameter field on the Scale 04 rollout, and
choose Show In Track View.
The Curve Editor opens with the X Scale Factor parameter highlighted.
18. Right-click the X Scale Factor item and choose Assign Controller from the menu.
19. In the Assign Float Controller dialog, double-click Noise Float.

The Noise Controller dialog opens.
20. Set Strength to 200, and to the right of Strength, turn on the >0 check box.
21. Copy this controller, and then paste it as instances to Y Scale Factor and Z Scale Factor.
Although the Scale operator defaults to constraining all scale factors to the same value, thus
scaling particles uniformly, changing controllers in Track View works on a per-parameter basis.

This time, the particles grow in size for 30 frames, then pulsate in size for the next 30 frames,
and then shrink from the size at the end of Event 03 to 10 percent of that over the next 30
frames.
Interface

Scale Operator
Type
The scaling Type setting includes options that let you scale particles once in an event or repeatedly,
and apply scaling as an absolute or relative factor. Default=Overwrite Once.
Overwrite OnceSets the scale one time only as an absolute percentage value, disregarding any
previous scaling.
To produce a range of different birth sizes, and specify the scaling explicitly, use Overwrite Once
with animated scale factors.
Inherit OnceSets the scale one time only as a percentage of existing scaling. The existing scaling
should be specified with a previous Scale operator, the Scale setting in the Shape operator, or a
Shape Instance operator.
For instance, if you previously used Scale with Overwrite Once to scale particles' birth size within a
range, and then want to scale them to half their previous size, use Inherit Once and set Scale Factor
to 50%.
AbsoluteSets the scale continuously, while the particle is in the event, as an absolute percentage
value, disregarding any previous scaling.

Scale Operator
Use Absolute if you want to animate the particles' scale explicitly.

Relative FirstSets the scale continuously, while the particle is in the event, as a percentage of
existing scaling. The existing scaling should be specified with a previous Scale operator, or a Shape
Instance.
Use Relative First when you want to scale the particles relative to the scaling at which they enter the
event, and optionally animate the scaling, or before a Relative Successive operator.
Relative SuccessiveScales the particles continuously, relative to scaling set earlier in the same
event.
Note: Always precede Relative Successive in the same event with an operator that modifies the scale
channel all the time, such as a Scale operator set to Absolute or Relative First, or a Shape Instance
operator with the Scale check box turned on (it's on by default).
Scale Factor group
The operator performs scaling on each particle's local axes. It can scale particles on a single axis or
on any combination of axes.
X/Y/ZSets the scaling as a percentage of the particle's current size. To scale uniformly, turn on
Constrain Proportions, and then change any axis setting. Range=0 to 10000000. Default=100.
Constrain ProportionsWhen on, retains the current ratio of scale factor settings, so that
changing any axis setting changes all of them. Default=on.
Scale Variation group
X/Y/ZSets the scaling variation as a percentage of the particle's previous size. To scale uniformly,
turn on Constrain Proportions, and then change any axis setting. Range=0 to 100. Default=0.
Constrain ProportionsWhen on, retains the current ratio of scale variation settings, so that
changing any axis setting changes all of them. Default=on.
BiasLets you choose how to distribute the scaling variation within the specified range or ranges.
Default=None.
NoneNo bias; scaling variation is distributed equally through the range.
CenteredScaling variation is concentrated near the middle of the range; that is, at 0.0%.
With this choice, scaling will occur more frequently with low percentage values than with ones
near the values you set. In other words, most scaling variants will be close to the specified scaling
value.
Towards MinimumScaling variation is concentrated near the lower end of the range (base-
variation); that is, most scaling variants will be smaller than the scaling value.
Towards MaximumScaling variation is concentrated near the upper end of the range (base
+variation); that is, most scaling variants will be larger than the scaling value.

Scale Operator
If you animate the Scale Factor or the Scale Variation settings or both, the software can begin
applying this animation to all particles as of the start frame of the animation or the first frame of the
current event, or to each particle based on its age. For instance, if you set Sync By to Particle Age,
and set Scale Factor keys at frames 0 and 30, then the software will animate the scaling factor for
each particle between its birth and its 30th frame of existence, if the particle is in the scaling event
or a prior event. Following this example, any particle that has already reached its 30th frame of
existence before reaching the event will enter the event fully scaled. That is, the software will apply
the Scale Factor value that you set at frame 30 to each particle aged 30 or above at the moment it
enters the scaling event. However, any particle that leaves the scaling event before reaching age 30
will stop scaling as of its exit frame. In other words, with respect to particles in other events,
animation of action parameters is retroactive, but not post-active.
Alternatively, if you set Sync By to Absolute Time, the scaling is animated from frame 0 to frame 30
of the animation, regardless of particle age, and even if no particles are in the event at that time.
Or, if you set Sync By to Event Duration, the scaling animation is applied to each particle as of the
time that it enters the event.
Note: With the Overwrite Once and Inherit Once scaling types, scaling always occurs with respect to
the entire animation; that is, in Absolute Time mode. Thus, when either of those scaling types is in
effect, the Sync By setting is unavailable. Also, if you animate Scale Factor or Scale Variation when
using Overwrite Once or Inherit Once, it doesn't cause scaling animation in the particles, but rather
applies one-time scaling to particles born during that period. For instance, if you animate Scale
Factor on all three axes from 100% to 200% over frames 0 to 30, particles born at frame 0 are
normal size, particles born at frame 15 are one-and-one-half times normal size, and particles born at
frame 30 (and thereafter) are twice normal size.
set.
enters the event.
Uniqueness group
The Uniqueness setting affects the randomization of scale variation.


Scale Operator
Comments


The material that appears on the particles comes from one of three places:
The particle system itself
The material assigned to the distribution object (PArray only)
The material assigned to the instanced objects
Particles with various materials assigned to them
You make this choice in the Material Mapping and Source group near the bottom of the Particle Type
rollout. Choose Icon to use the material assigned to the particle system, choose Picked Emitter to
use the material assigned to the distribution object, or choose Instanced Geometry to use the
material assigned to the instanced objects. Note that this third option is available only when
Instanced Geometry is the current particle type (selected in the Particle Types group at the top of
the Particle Type rollout).
Note: SuperSpray and Blizzard don't have distribution objects. PCloud has a distribution object but
you can't get the material from it. In these cases, a radio button lets you use the material from the
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instanced geometry. Only PArray lets you get the material from the distribution object.
Important: A particle-system object, like any other object, can carry only a single material
at any time. Thus, if you choose either Picked Emitter or Instanced Geometry, an instance
of the chosen material is actually copied to the particle system, overwriting the material
assigned to the emitter. If you want to restore the emitter material, choose Icon, and then
reassign the material from the Material Editor or the Browser.
No matter what choice you make, if the material used is not mapped, then all particles take on the
surface properties of the material, regardless of which object is used as the source of the material.
Comments
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Particles with a Multi/Sub-Object material
If the assigned material is a Multi/Sub-Object material, particles are affected in the following ways,
depending on the source of the material:
Icon: In most cases, each particle, at its birth, is assigned a different sub-material, cycling
through each available sub-material. For example, if there are only three sub-materials, the first
particle receives sub-material #1, the second #2, the third #3, the fourth #1, and so on. The
exceptions to this are as follows:
MetaParticles use only the first sub-material.
Object fragments are born at once, so all of them use only the first sub-material.
Picked Emitter: When used with object fragments as particles, each particle uses the three ID
numbers in the Fragment Materials group. If this source is used with the other particle types, the
particles are assigned sub-materials in the same way as when Icon is chosen.
Instanced Geometry: When used with Instanced Geometry particles, each particle is assigned a
sub-material in exactly the same way as the source object, so each particle looks just like the
source object. When used with other particle types, the particles are assigned sub-materials in the
same way as when Icon is chosen.
Note: Instanced objects with Multi/Sub-Object materials cannot be image motion blurred.
Comments
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The examples in this topic start you out with a very simple spawning using the Super Spray particle
system.
Example: Setting up the particle system:
1. In the Perspective viewport, create a pyramid that's 5 units in all dimensions.
2. Create a cylinder with a radius and height of 3, and 6 sides.
3. In the center of the Perspective viewport, create a Super Spray emitter.
4. Set Speed in the Particle Motion group (Particle Generation rollout) to 3.0.
5. On the Particle Type rollout, choose Instanced Geometry, then in the Instancing Parameters
group click Pick Object, and select the pyramid.
6. In the Viewport Display group of the Basic Parameters rollout, choose Mesh and set the
Percentage of Particles to 100.
7. On the Particle Generation rollout, choose Use Rate, and set the spinner to 1.
8. Set Emit Start and Emit Stop to 0, set Display Until to 100, set Life to 10, and leave Variation
at 0.
9. Under Particle Size, set Grow For and Fade For to 0.
10. Drag the time slider between frames 0 and 15.

A single pyramid particle emerges from the emitter, moves up, and then dies and disappears at
frame 10.
Example: Adding spawning effects:
1. On the Particle Spawn rollout, choose Spawn on Death.
2. Leave Spawns spinner at 1, and set the Multiplier to 2.
3. Set the Direction Chaos spinner to 50.
4. Drag the time slider slowly over frames 8 to 25 (approximately).

At frame 10, two pyramids appear at the death of the original particle (because of the Multiplier
setting), and move off in different directions (because of the Direction Chaos setting). All
particles die after frame 20 because only one generation of spawned particles is specified.
5. Set Spawns to 4, and the Multiplier to 4.
6. Drag the time slider over frames 8 to 50.

With each spawned generation the particles increase exponentially.
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Example: To mutate the objects:
1. In the Object Mutation Queue group, click Pick Object, and then select the cylinder.
The name of the cylinder appears in the list window.
2. Click Pick Object and select the pyramid. Then click Pick Object again, and select the cylinder.
Your list now reads: Cylinder01, Pyramid01, Cylinder01.
3. Drag the time slider over frames 0 to 50.

The pyramid appears over frames 0 to 10, then changes to four cylinders at frame 11, then 16
pyramids at the next spawning, and so on.
Comments
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Particles colliding and then rebounding
You can set up particles to detect collisions with each other. This can be useful when the particles
are meant to model solid objects such as marbles.
Procedure
Example: To create particles that collide with each other:
1. Create a Super Spray particle emitter, and place a Deflector space warp a short distance from it
with the surface of the deflector perpendicular to the stream of the particles. Bind the deflector
to the Super Spray.
2. Set the Super Spray values as follows:
Off Axis: 1, Spread: 1, Off Plane: 180, Spread: 180
Mesh: chosen, Percent of Particles: 100
Particle Quantity: Use Rate chosen and set to: 1
Speed: 3, Variation: 100%
Emit Start: 0, Emit Stop: 5, Display Until: 100, Life: 100
Size: 4.0, Grow For: 0, Fade For: 0
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Particle Type: Sphere
3. Drag the time slider so you can see the particle spheres bounce off the deflector. Note that the
rebounding particles move through each other.
4. On the Rotation & Collision rollout, turn on Enable in the Interparticle Collisions group. View the
animation again. This time, the particles bounce off each other.
Tip: InterParticle Collisions, Deflector Binding, and Bubble Noise do not get along well together.
Particles may leak through the deflector when these three are used together. Instead of bubble
motion use animated mapping. Use facing particles with an animated map of a bubble, where
the bubble is smaller than the map size. The bubble is animated moving around the map. This
simulates bubble motion at the map level.
Comments
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Create panel > Space Warps > Deflectors > Object Type rollout > Deflector
Two streams of particles striking two deflectors
The Deflector space warp acts as a planar shield to repel the particles generated by a particle
system. For example, you can use Deflector to simulate pavement being struck by rain. You can
combine a Deflector space warp with a Gravity space warp to produce waterfall and fountain effects.
See also

Procedure
To create a deflector:
the Object Type rollout, click Deflector.
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2. Drag in a viewport to define the deflection area.

The deflector appears as a wireframe rectangle.
parameters.
icon.
Interface
The deflector's effect is controlled mainly by its size and orientation in the scene, relative to the
particle system that is bound to it. You can also adjust how strongly the deflector deflects particles.
BounceControls the speed at which particles bounce off the deflector. At a setting of 1.0, particles
bounce off the deflector at the same speed they struck it. At 0.0, particles do not bounce at all. At
values between 0.0 and 1.0, particles bounce off the deflector at a speed reduced from their initial
speed. At values greater than 1.0, particles bounce off the deflector at a speed greater than their
initial speed. Default=1.0.
VariationThe amount by which each particle can vary from the Bounce setting.
ChaosThe amount of variation from the perfect angle of reflection (found when Chaos is set to
0.0). 100% induces a variation in reflection angle of up to 90 degrees
Range=0% to 100%.

than 90 degrees.
Inherit Vel(Velocity Inheritance) When the value is greater than 0, the motion of the deflector
affects particles as well as the other settings. For example, if you want an animated SDeflector
passing through an array of particles to affect the particles, turn up this value.
WidthSets the deflector's width.
LengthSets the deflector's length.
Comments

Create panel > Space Warps > Deflectors > Object Type rollout > SDeflector
The SDeflector space warp serves as a spherical deflector of particles.
SDeflector viewport icon (with particle system on the left)
SDeflector repelling particles
Procedure
To create an SDeflector:
the Object Type rollout, click SDeflector.
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2. Drag in a viewport to create the spherical icon.

Note: Because particles bounce off the perimeter of the spherical icon, the size of the icon
affects particle deflection.
parameters.
icon.
4. Position the SDeflector icon to interrupt the particle stream.
5. Adjust the SDeflector parameters as necessary.
Interface
These settings determine how the deflector affects the bound particles.
BounceDetermines the speed with which particles bounce off the deflector. At 1.0, the particles
bounce at the same speed as they approach. At 0, they don't deflect at all.
0.0). 100% induces a variation in reflection angle of up to 90 degrees

Range=0% to 100%.
than 90 degrees.
Inherit Vel(Velocity Inheritance) When the value is greater than 0, the motion of the deflector
affects particles as well as the other settings. For example, to animate the SDeflector passing
through a passive array of particles, turn up this value to affect the particles.
Display Icon group
This option affects the display of the icon.

DiameterSpecifies the diameter of the SDeflector icon. This setting also alters the effect of the
deflection, because particles bounce off the perimeter of the icon. The scale of the icon also affects
the particles.
Comments

Create panel > Space Warps > Deflectors > Object Type rollout > UDeflector
Particles scatter when they strike a UDeflector object
The UDeflector is a universal deflector that lets you use any object as a particle deflector.
Procedure
To create a UDeflector:
the Object Type rollout, click UDeflector.
2. Click the Pick Object button and select an object to be a particle deflector.
parameters.
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icon.
4. Position the UDeflector icon to interrupt the particle stream.
5. Adjust the UDeflector parameters as necessary.
Interface
Object-Based Deflector group
Specifies the object to use as a deflector.

ItemDisplays the name of the selected object.
Pick ObjectClick this, and then click any renderable mesh object to be used as a deflector.
BounceDetermines the speed with which particles bounce off the deflector. At 1.0, the particles
bounce at the same speed as they approach. At 0, they don't deflect at all.
0.0). 100% induces a variation in reflection angle of up to 90 degrees.
Range=0% to 100%.

than 90 degrees.
Inherit Vel(Velocity Inheritance) When greater than 0, the motion of the deflector affects
particles as well as the other settings. For example, to animate the SDeflector passing through a
passive array of particles, turn up this value to affect the particles.
Display Icon group
Icon SizeThis spinner displays and lets you change the size of the icon.
Comments

Create panel > Space Warps > Deflectors > Object Type rollout > SDynaFlect
The SDynaFlect space warp is a spherical dynamics deflector. Its like the PDynaFlect warp, except
that its spherical, and its Display Icon spinner specifies the icon's Radius value.
SDynaFlect viewport icon
Comments
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Create panel > Space Warps > Deflectors > Object Type rollout > UDynaFlect
The UDynaFlect space warp is a universal dynamics deflector that lets you use the surface of any
object as both the particles deflector and the surface that reacts dynamically to the particle impact.
The procedures and options for using UDynaFlect are the same as for PDynaFlect, with the following
changes and additions.
UDynaFlect viewport icon
Procedure
When you use UDynaFlect, you must indicate the object to be affected with the Pick Object button.
Linking is not necessary.
Interface
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Object-Based DynaFlector group
Lets you choose the object to use as a deflector.

Pick ObjectClick this, and then select any renderable object to use as a deflector.
Display Icon group
Icon SizeSpecifies the size of the UDynaFlect icon.
Comments
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Material Editor > Standard material > Dynamics Properties rollout
The Dynamics Properties rollout lets you specify surface properties that affect the animation of an
object upon collision with another object. If there are no collisions in your simulation, these settings
have no effect. The dynamics properties are used by the Dynamics utility.
Since the Dynamics Properties rollout is available at the top level of any material (including
submaterials), you can specify different surface dynamic properties for each face in an object. There
are also controls in the Dynamics utility that let you adjust the surface properties at the object level,
but only the Materials Editor lets you alter the surface properties at the sub-object level, through use
of a Multi/Sub-Object material.
As a default, the values in the Dynamics Properties rollout provide a surface that's similar to Teflon-
coated hardened steel.
Interface
Bounce CoefficientSets how far an object bounces after hitting a surface. The higher the value,
the greater the bounce. A value of 1 represents a "perfectly elastic collision," or a bounce in which
no kinetic energy is lost. Default=1.0.
If you've seen the desktop toy with four ball bearings swinging back and forth on strings and hitting
one another, you've seen an example that comes very close to a bounce coefficient of 1. Generally,
hardened steel or a super ball have a bounce near 1, while lead has a bounce near 0.
Static FrictionSets how difficult it is for the object to start moving along a surface. The higher
this value, the more difficult. Default=0.0.
If something weighs ten pounds and sits on Teflon (a static friction of near 0), it takes almost no
force to make it move sideways. On the other hand, if it sits on sandpaper, then the static friction
might be very high, on the order of 0.5 to 0.8. A static friction near 1 is very difficult to create in the
real world without adhesives or friction material.
Sliding FrictionSets how difficult it is for the object to keep moving over a surface. The higher
this value, the more difficult for the object to keep moving. Default=0.0.
Once two objects begin to slide over one another, static friction disappears and sliding friction takes
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over. Generally, sliding friction is lower than static friction due to surface tension effects. For
example, once steel starts sliding over brass (a value of static friction that might run from 0.05 to
0.2), the sliding friction drops to a significantly lower value, on the order of .01 to 0.1. For some
materials, such as specific friction materials like brake linings, sliding friction is just as high as static
friction because it is used in conjunction with a nearly frictionless material such as hardened polished
steel.
Comments
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Edit Object Dialog
Edit Object Dialog
Utilities panel > Utilities rollout > More button > Dynamics > Dynamics rollout > Edit Object
button > Edit Object dialog
The Edit Object dialog is the main interface for setting dynamic properties for any object in the
simulation. You assign dynamics properties one object at a time. Select an object in the list under
Object, and then set that object's parameters. For example, you can cause the object to be affected
by gravity or wind, and specify collisions with other objects.
Interface
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Edit Object Dialog
ObjectDisplays the name of the object for which you're setting the dynamic properties. All
settings in the Edit Object dialog affect the object listed here. To change the object you're affecting,
open the list, and choose from a list of all objects assigned to the simulation.
Dynamic Controls group
Use Initial StateWhen turned on, the simulation solves for the motion, energy, and momentum
of the object at the simulation's starting frame (specified in the Start Time spinner in the Time and
Simulation rollout > Timing group.) If Use Initial State is turned off, the object is assumed to be
sitting motionless at the starting frame. The Dynamics utility overwrites keys. Either the object's
keys are clocked with the simulation, or it's not moving (or both). If you don't solve for the initial
state, the object's keys are interpolated at the instant the simulation starts and all subsequent
motion comes from the interaction of the simulation itself.
This Object is UnyieldingLets you use keyframe-animated objects in dynamics simulations.
Objects with this option turned on are immovable relative to other objects that collide with them, but
can be animated (keyframed).
You can animate objects with this option turned on by themselves or as part of a keyframed
hierarchy. For collisions, objects with Use Initial State turned on cannot move objects with This
Object is Unyielding turned on.
Move Pivot to CentroidWhen this button is on (green) and you exit the Edit Object dialog by
clicking OK, the object's pivot point is moved to its center of mass. Having the pivot aligned with the
center of mass speeds up the dynamics calculation and makes manual keyframing of the objects
appear more natural. However, if the pivot point is already positioned as part of a linked hierarchy,
turning on Move Pivot to Centroid will alter the positioning of your hierarchical linkage.
Load/Save Parameters Sets group
Saves the current Edit Object parameter settings, or loads previously saved parameter settings. You
can use these controls to save the settings for one object, and then apply them to another object.
Set NameAccepts a new name for a parameter set. Click Save to save the parameter set with this
name.
Available Parameters SetsLists previously saved parameter sets.
LoadLoads the selected parameter set.
SaveSaves the named parameter set. The saved parameter sets appear in the list.
DeleteDeletes the selected parameter set.
Assign Effects/Collisions group
Let you specify which effects in the scene will affect the current object, or which objects in the scene
can collide with the current object.
Assign Object EffectsDisplays a sub-dialog that lets you specify which effects in the scene will

Edit Object Dialog
affect the current object. The dialog consists of two list windows. All effects (typically space warps)
in the scene are listed in the window on the left. Select effects in the list, and then click the > button
to transfer the highlighted effects to the window at right.
The Assign Object Effects dialog functions similarly to the Edit Object List dialog.
Assign Object CollisionsDisplays a sub-dialog that lets you choose which objects in the scene
are considered for collision with the current object. This dialog works the same as the Assign Object
Effects dialog, except that it lists only objects in the simulation. Objects included for collision in this
dialog can collide with the current object.
Note: For every potential collision, you should explicitly specify both colliding objects. For example, if
you specify that that Box01 is to collide with Box02, you should also specify that Box02 is to collide
with Box01. This is primarily for keeping track of your simulation; if you specify the collision for only
one object, it works for the other as well. While it is not necessary to specify that Box02 collides with
Box01, this is the only way to update the Assign Object Collision list for Box02.
The Assign Object Effects dialog functions similarly to the Edit Object List dialog.
Collision Test group
Specifies the type of boundary used for collision testing.

BoxA bounding box is used to test collision. This is the fastest method. If your object is a box or
close to a box shape, this option is both fast and accurate.
CylinderA cylindrical form is used to test collision. The "height" axis of the cylinder is aligned with
the local Z axis of the object.
SphereA spherical form is used to test collision.
MeshUses the surface of the object to calculate the collision. This option is the most accurate, but
also takes far longer to calculate than the previous three methods. Use this only when your object is
too complex to work properly with the first three options.
Recalculate Properties group
Specifies when to recalculate the properties of an object that changes over the course of the
animation. Specifically, the properties refer to the mass moment of the object. The mass moment of
an object can be defined as the measure of how the mass in an object is distributed with respect to
the center of mass of that object. Altering the mass moment changes the way an object responds to
torque. If your object is changing shape over time, and you want to take this into account for the
simulation, you should recalculate the properties.
NeverNo calculation is performed beyond the first calculation for the dynamics solution.
Every FrameThe object's properties are recalculated for every frame.
Every Calc IntervalThe object's properties are recalculated at each "Calc Interval." You set the
Calc Interval (interval of calculation) in the Time Parameters rollout; it specifies how many
calculations are performed for each frame of the simulation time range.

Edit Object Dialog
Material Editor Physical Properties group
Three of an object's physical properties are taken by default from its material: bounce, static friction,
and sliding friction; see Dynamics Properties Rollout. Use these settings in this group to accept or
override the material's dynamics properties.
BounceSpecifies how far the object bounces after collision. Available only if Override Material
Bounce is on.
Override Material BounceEnables the Bounce spinner when you want to use a specific value
that's different than that assigned by the object's material. When using a multi/sub-object material,
you can assign different Bounce values to the sub-materials, and thus to different faces of an object.
But if you use an override value, it affects the whole object only.
Copy to Object's MaterialCopies the value in the Bounce spinner to the material assigned to the
object.
Static FrictionSpecifies how hard it is to start moving on a surface. Available only if Override
Material Static Friction is on.
Override Material Static FrictionEnables the Static Friction spinner when you want to use a
specific value that's different than that assigned by the object's material. When using a multi/sub-
object material, you can assign different Static Friction values to the sub-materials, and thus to
different faces of an object. But if you use an override value, it affects the whole object only.
Copy to Object's MaterialCopies the value in the Static Friction spinner to the material assigned
to the object.
Sliding FrictionSliding friction determines how hard its for an object to keep moving over a
surface. Available only if Override Material Bounce is on.
Override Material Sliding FrictionEnables the Sliding Friction spinner when you want to use a
specific value that's different than that assigned by the object's material. When using a multi/sub-
object material, you can assign different Sliding Friction values to the sub-materials, and thus to
different faces of an object. But if you use an override value, it affects the whole object only.
Copy to Object's MaterialCopies the value in the Sliding Friction spinner to the material assigned
to the object.
Physical Properties group
Provides controls that specify the physical properties of the current object.
DensitySpecifies the density of the object in grams per cc. A setting of 1 is the equivalent of
water, and useful for anything wooden, plastic, or organic. The more dense an object, the slower it
will react to forces. There is a direct relationship between density and mass, so when you alter the
Density setting, the Mass value changes (when its automatic value is not overridden).
MassTechnically, mass is the measure of how many subatomic particles are in an object. In
3ds max, it's calculated as a result of density times volume. Mass can is the resistance to
acceleration given a constant force. The greater the mass, the more resistance. The Mass value,
when not overridden, is derived from the density and volume, and the volume, when automatically

Edit Object Dialog
calculated, is affected by the Calculate Properties Using option.

Override Automatic MassEnables the Mass spinner so you can specify the object's mass. When
you override the automatic value, the Mass value is no longer affected by the Density or Volume
values.
Mass is affected by the Calculate Properties Using options.
VolumeThe volume of the object, measured in cubic centimeters. When automatically calculated,
this value depends on the option chosen under Calculate Properties Using.
Override Automatic VolumeEnables the Volume spinner so you can specify the object's volume.
When you override the automatic Volume value, it's no longer affected by the Calculate Properties
Using options, and it no longer affects the Mass value.
Calculate Properties Using options
Specifies the type of geometry the simulation will use to calculate the mass, the volume, and the
mass moment. When the Mass and Volume values are automatically calculated (their overrides are
turned off), changing these options affects the volume, and thus the mass.
VerticesTreats an object as a "point cloud," or a collection of vertices without segments. Each
vertex is given a mass of 1 gram, but the object itself has no volume.
SurfaceTreats the object as a hollow shell whose thickness is 1 centimeter. The mass is derived
from the surface area and the 1-centimeter thickness, but the object has no volume.
Bounding BoxA bounding box surrounding the extents of the object is used to calculate both the
volume (of a solid bounding box) and the mass (based on the volume).
Bounding CylinderSimilar to the Bounding Box option, except that a bounding cylinder is used,
whose Z height axis is aligned with the local Z axis of the object.
Bounding SphereSimilar to Bounding Box, except that a bounding sphere is used.
Mesh SolidThe geometry of the object is used to calculate both the volume and the mass,
according.
Property Estimate Resolution options
Available only when the Mesh Solid option is chosen. The Property Estimate Resolution settings
affect the accuracy with which the mass moment is calculated. This determines how accurately the
rotation of the object responds to torque.
GridA sample grid is used to calculate the mass moment. The smaller the cells in the grid, the
more accurate the calculation. The grid cells are measured in centimeters, regardless of the current
display unit.
Override Automatic ResolutionLets the Dynamics utility automatically set the grid size based on
the complexity and size of the object. In addition, the lowest value that will be automatically
calculated is plugged into the Grid spinner (which is also unavailable). If you want to specify your
own grid value using the Grid spinner, but want some idea of where to start, turn off Automatic
Resolution and then turn it back on again.

Edit Object Dialog
Comments

Edit Object List Dialog
Utilities panel > Utilities rollout > More button > Dynamics > Dynamics rollout > Edit Object List
button > Edit Object List dialog
The Edit Object List dialog lets you select the objects to include in a dynamics simulation. Highlight
objects from the Objects in the Scene list on the left, and then click the > button to place them in
the Objects in the Simulation list on the right side of the dialog.
The Exclude and Include option buttons above the right window determine whether the items listed
are excluded from or included in the simulation.
Note: All the selection and inclusion dialogs in the Dynamics Utility are displayed and function
similarly.
Interface
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Objects in the SceneTo add scene objects to the simulation (assuming Include is chosen), select
objects from the list on the left, then use the > button to move them to the list on the right.
Search FieldThe edit box above the Scene Objects list lets you search for object names by
entering names that use wildcards. For example, searching for "sphere*" finds all objects whose
names start with "sphere".
Objects in the SimulationTo exclude objects from the simulation (assuming Include is chosen),
select objects from the list on the right, then use the < button to move them to the list on the left.
Exclude/IncludeChoose whether the simulation will exclude or include the objects named in the
list on the right. If you choose Exclude, only objects in the list on the left are included in the
simulation.
All/None/InvertAffect the list on the left. All selects all objects, None deselects all objects, and
Invert selects unselected objects and deselects selected objects.
Display SubtreeTurn on to indent the list according to the object hierarchy.
Case SensitiveTurn on to use case sensitivity when searching for object names.
Select SubtreeSelects all objects in a hierarchy at the level you click and below.
Comments
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Save
Save
File menu > Save
Keyboard > CTRL+S
Save updates the current scene by overwriting the last save of the scene. If no scene was previously
saved, this command works like Save As.
See also
Save As
Save Copy As
Saving to an Obsolete File
When you open a file that was created with an earlier version of 3ds max, and then attempt to save
it in 3ds max, an alert is displayed, warning you are about to overwrite the obsolete file.
Choose Yes to go ahead and overwrite the original file, No to stop the Save. If you choose No, you
can use Save As to save the file under a different name.
Click OK to open the file and then use Save As to save the file under a different name. If you do not
want the dialog to appear the next time you open a file from a previous version of 3ds max, click
Don't display this message.
If you save the original file, an alert is displayed that warns you that you are about to overwrite a
file that has been created in a previous version of the program. If you click Yes, you can still edit it
using 3ds max 5, but you will no longer be able to edit it in earlier versions of 3ds max.
Interface
When you save a scene, you also save the program settings. When you open the file again, it is
opened with the same viewport configuration, view and zoom levels, snap and grid settings, and so
on.
The software lets you incrementally number saved files and to make automatic backup files at
specified time intervals. The options to set up Increment on Save and Backup on Save are on the
Files panel of the Preference Settings dialog.
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Save
Comments
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Save As
Save As
File menu > Save As
Save As saves the current scene, .max or .chr, under a different file name.
A .chr file is a character file saved with Character menu > Save Character. For more information on
the .chr file format, see Character Assembly and Save Character.
Note: The software allows you to number saved files incrementally and to make automatic backup
files at specified time intervals. The options to set up Increment on Save and Backup on Save are in
the Files panel of the Preference Settings dialog.
See also
Save
Save Copy As
Procedure
To save a file to a different name:
1. Choose File > Save As.
Enter a name in the File Name field.
Click the Increment button.
Interface
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Save As
The Save File As dialog has standard Windows file save controls. At the right, the Thumbnail area
shows a preview of the scene whose file name is highlighted in the list on the left.
Clicking the plus button appends a sequence number to the file name you entered, or
increments the sequence number if the name already has one, and then saves the file to that name.
For example, if you have highlighted a file named test00.max, clicking the plus button changes the
name to test01.max and then saves test01.max.
Comments
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Save Character
Save Character
Character menu > Save Character
Saving a character saves a character assembly at its current location, including its node, all
members, and any animation on its members. This command is primarily used for saving a character
assembly prior to inserting it into another scene.
Saving a character with this command saves the assembly as a .chr file. The .chr file can later be
inserted into a scene by choosing Character menu > Insert Character.
This option is available only when a character assembly node is selected.
Comments
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Insert Character
Insert Character
Character menu > Insert Character
Choose this command to insert a previously saved character into the current scene.
A character assembly can be saved as a .chr file by choosing Character menu > Save Character. A .
chr file contains the character assembly node, all members of the assembly and any animation on
the members.
When a character is inserted into the scene, it is placed at the same world-space location it had
when saved.
See also
Character Assembly
Save Character
Comments
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Save Copy As
Save Copy As
File menu > Save Copy As
Save Copy As allows you to save a copy of the current scene under a different file name. It does not
change the name of the file being worked on.
Important: Save Copy As does not update the original file name as Save does, and Save
does not update the file you last saved using Saved Copy As. For example, if you make
edits to a 3ds max scene named filename.max, then use Save Copy As with the file name
filename01.max, make additional edits, and then click Save, your second set of edits will
be saved as filename.max but not as filename01.max.
See also
Save
Auto Backup
Procedure
To save a copy of the file to a different name:
1. Choose File > Save Copy As.
2. Browse or type the name of the file you want to create or update.
3. Click the Save button.
Interface
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Save Copy As
Save Copy As displays a standard Windows save dialog. Save Copy As increments the number at the
end of the file name in order to propose unique but similarly-named files each time the command is
used.
Clicking the Save button saves the file to the name displayed in the File Name text box.
Clicking the plus button saves the file with a name ending in a number one increment greater
than that displayed in the File Name text box.
Comments
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Find Target Test
Find Target Test
Particle View > Click Find Target in an event or add Find Target to the particle system and then
select it.
Select a Find Target icon in the viewport. > Modify panel > Parameters rollout
Create panel > Helpers > Particle Flow > Find Target
By default, Find Target sends particles to a specified target or targets. Upon reaching a target, the
particles become eligible for redirection to another event. You can specify that the particles should
use a particular speed or time frame in moving toward the target. You can also specify where on the
target the particles should go.
Alternatively, you can use Find Target as a simple proximity test: If a particle comes within a certain
distance of its target, it becomes eligible for redirection to the next event.
Find Target icon
When you add a Find Target test to the particle system in Particle View, a spherical Find Target icon
appears in the scene at the world origin (0,0,0). You can use this icon as a target, or you can use
one or more mesh objects in the scene as targets. To display the Find Target parameters on the
Modify panel, select the icon. If you delete the icon, the software also deletes the test.
Note: If you add Find Target from the Create panel, Particle Flow creates a separate event for the
test in the particle diagram.
Tip: In a particle loop, all particles end up at their respective starting positions, enabling seamless
repetition of the resulting animation. You can make particle loops with Particle Flow using a Script
operator and a Find Target operator. At the start of the loop, the Script operator should read all
particle positions and write them into the MXS Vector channel. Then, at the end of the loop, set the
Find Target operator to Control by Time, set Timing to Absolute Time, set Time to the end of the
loop, and in the Target group, set Point to By Script Vector. Particle Flow will direct particles to the
previously cached position at the specified frame.
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Find Target Test
Interface

Find Target Test
Control By ...The drop-down list at the top of the parameters panel lets you choose whether to
send particles to a target by specifying the speed and acceleration, or by specifying the amount of
time they should take. Alternatively, by choosing No Control, you can test particles' distance from a
target.
Control By SpeedSpecify speed and acceleration settings for the particles to follow while
traveling to the target. Use the Control By Speed group to set the parameters.
Control By TimeSpecify time-based settings for the particles to follow while traveling to the
target. Use the Control By Time group to set the parameters.
No ControlWith this option, Find Target functions only as a proximity test. When a particle
comes within the specified distance of the target, the particles become eligible for redirection to
the next event.
Note: When you choose No Control, the Find Target test does not affect particle speed or
direction.
Test True If Distance To group
These settings let you choose which distance the Find Target test measures and specify the
measured distance. You can choose Target Pivot or Target Point, and specify a distance with the Is
Less Than setting.
Target PivotMeasures the distance between the particle and the target pivot.
If the particles are directed to the outside of the target and the Is Less Than value is small, this
condition might never be satisfied.
Target PointMeasures the distance between the particle and the target point.
Is Less ThanWhen particles are closer than this distance from target pivot or point, they test True
and become eligible for redirection to the next event. Measured in scene units.
Note: If you set Is Less Than to 0, the particles might never test True. This might be desirable for an
animation of, for example, bees buzzing around a flower but not landing on it. In this case, you
might want to use a low value for Accel Limit so the bees dont circle too close to the flower.
Control By Speed group
Use these settings to specify speed and acceleration parameters when using Control By Speed or
Speed Then Time. This group is available only when using Control By Speed.
Use Cruise SpeedWhen on, the software gives you explicit control over particle speed and speed
variation. When off, the software calculates particle speed automatically using the Accel Limit value.
Default=on.
SpeedParticle speed in scene units per second. Default=300.0.

Find Target Test
VariationThe amount by which the actual Speed value can vary randomly. Default=0.0.
To obtain the actual speed for each particle, the system multiplies the Variation value by a random
number between -1.0 and 1.0, and then applies the result as a percentage of the Speed setting. For
example, if Speed=200 and Variation=10, then the actual speed for each particle would vary
randomly between 190 and 210.
Accel LimitSets the acceleration limit. This value impacts the inertia and speed of the particles.
Default=1000.0.
The default acceleration limit value is based on the default Speed value of 300.0. If you change the
Speed value, it is recommended that you also change the Accel Limit value proportionately.
Ease In %Controls the rate by which particles slow down when it approaches the target point.
The software calculates the final speed with this formula: (100% - Ease In) * Speed. Therefore, if
the Ease In value is 100%, a particle should approach the target with a speed of 0, and if Ease In is
0%, the particle doesn't slow down at all when approaching the target. At intermediate values, the
speed is calculated according to the distance to the target point, as linear interpolation between the
initial (cruise) speed, and the final speed. When a particle enters the event, the distance to the
target point is calculated and later used for the interpolation. Default=0.0.
Sync ByChoose the time frame to use when animating Speed, Variation, and Accel Limit:
set.
enters the event.
Control By Time group

Find Target Test
Lets you specify the amount of time particles should take to reach the target.
This group is unavailable when using Control By Speed.
TimingDetermines how the software applies the specified timing, defined by the Time and
Variation values. The possible options are:
Absolute TimeTime refers to the overall time of the system. Each particle will reach its target
at the frame number specified by Time.
Particle AgeTime refers to the time elapsed since the birth of the particle. Each particle will
reach its target when its age reaches the value specified by Time.
Event DurationTime refers to the time elapsed since the particle entered the current event.
Each particle will reach its target when it has been in the current for the number of frames
specified by Time.
TimeThe number of frames particles should take to reach the target. Default=60.
VariationThe number of frames by which Time can vary randomly. Default=5.
To obtain the actual time to the target for each spawned particle, the system multiplies the Variation
value by a random number between -1.0 and 1.0, and then adds the result to the Time value. For
example, if Time=60 and Variation=20, then the time to target for each particle would be between
40 and 80 frames.
Subframe SamplingTurning this on helps avoid particle "puffing" by timing particles at a much
higher subframe resolution (that is, throughout each frame), rather than using the relatively coarse
frame resolution. Default=on.
"Puffing" is the effect of clustering particles, rather than producing a continuous stream. This effect
is especially noticeable when the emitter is animated.
Use Docking SpeedLets you specify particles' speed when they reach the target.
A particle might be required to reach the target from a specific direction at a specific speed. When
Use Docking Speed is off, the software calculates a path for particles to reach the target in the
shortest distance with the least acceleration along the path. When Use Docking Speed is on, the
software calculates particles' final speed when they reach the target using the Speed and Variation
parameters. Therefore if you want a smooth landing, set Speed to 0.0. Default=off.
SpeedThe speed of particles when they reach the target in scene units per second. Default=100.0.
VariationThe amount by which the actual Speed value can vary randomly. Default=0.0.
Target group
By default, Find Target uses its own target icon, but you can use these controls to designate other
scene objects as targets instead.
IconUse the Find Target icon as the target.
Each Find Target test has its own target icon. Even if you don't use it as a target, it still influences
particle behavior if you set the docking type to Parallel, Spherical, or Cylindrical.

Find Target Test
Mesh ObjectsUse one or more scene mesh objects as targets. Choose this to make the list and
list-management buttons available.
If you designate more than one target, the target used by each particle is determined by the choice
in the Object drop-down list in this group.
[list]Shows the mesh objects used as targets. If more than three target objects apply, a scroll bar
appears at the right side of the list.
AddClick this button, and then select a mesh object in the scene to add it to the list as a target.
By ListClick this button, and then use the Select Target Objects dialog to add one or more mesh
objects to the list. The objects must already exist in the scene, and the dialog shows only eligible
objects.
RemoveTo remove a target object from the list, first highlight it and then click this button. Any
removed objects remain in the scene.
Sync ByChoose the time frame to use when sending particles toward animated objects when
using Animated Shape or Follow Target Animation:
Absolute TimeAnimation derived from the target is applied to particles immediately.
Particle AgeAnimation derived from the target is applied to particles at the corresponding
frames of each particle's existence.
Event DurationAnimation derived from the target is applied to particles is applied to each
particle starting when it first enters the event.
Animated ShapeTurn on to allow particles to target the surface of an object whose form is
animated by scaling, by morphing, or with modifiers. This requires more computation, because the
destination must be updated at every integration step.
Follow Target AnimationTurn on to allow particles to follow a moving target; that is, a target
whose location is animated. This requires more computation, because the destination must be
updated at every integration step.
PointLets you specify where on its target a particle should land.
RandomEach particle targets a random point on the target.
Closest SurfaceEach particle targets the nearest point of the targets surface.
By Script VectorThe target point or points are defined using a Script operator that defines
values in the particleVector channel. The Script operator can be anywhere upstream of the Find
Target test.
Note: When using By Script Vector to target absolute positions, such as vertex locations, be sure
to set Target to Icon. If you set it to Mesh, the positions specified by the script will be relative to
the position of the mesh object. This latter option is useful for placing scripted targets on the
surface of a moving object.

Find Target Test
ObjectWith multiple mesh targets, lets you specify how the software should choose among them.
Available only when targeting more than one object.
RandomFor each particle, the software chooses a target object at random.
Closest PivotFor each particle, the software chooses as its target the object whose pivot is
nearest to the particle.
Closest SurfaceFor each particle, the software chooses as its target the object whose surface
is nearest to the particle.
Least DeviationFor each particle, the software chooses as its target the object that requires
the least change in its current direction (or resteering) to reach.
By Script IntegerFor each particle, the choice of a targeted object is defined by a script
operator that sets an index. This index corresponds to a target-object entry position in the target
list. See Script Operator Example.
Lock On Target ObjectWhen on, the software calculates each particle's target object once: when
the particle enters the event. Thereafter, the particle is locked on to its target object. When off,
the software can continually recalculate the target object for each particle. Available only when
multiple target objects are designated.
For example, if you set particles to target the closest surface, due to the target animation and
particle movement, the definition of the closest surface is constantly changing. Thus the particle may
change the target object due to the circumstances.
Note: Each time Find Target sets a target object, it locks on to a specific point on that object. This
point can change only if the target object changes. Thus, with a single target object, the target point
always remains constant relative to the target object. That is, if the target object or its surface is
animated, and Follow Target Animation or Animated Shape is on, the absolute coordinates of the
target point may change.
Note: When Lock On Target Object is off, more calculation is required because the system might
have to recalculate each particle's optimal target point in each frame.
Docking Direction group
Docking typeLets you specify from which direction particles should approach targets.
None SpecifiedNo docking constraints. Particles reach their targets in the most efficient way,
based on their assigned parameters and their current attributes.
Along Icon ArrowThe final direction is the same as the Find Target icon arrow.
Note: When using this option, arrows appear on the Find Target icon to indicate the direction
particles will use for docking. You can change the docking direction by reorienting the icon. This
applies even when using mesh objects as targets.
Icon SphericalThe final direction points toward the center of the operator icon.

Find Target Test
Note: When using this option, arrows appear on the Find Target icon to indicate the directions
particles will use for docking. You can change the docking directions by reorienting the icon. This
Icon CylindricalThe final direction points toward the icon arrow as a line, thus forming a
cylindrical field with the arrow as the cylinder's main axis.
Note: When using this option, arrows appear on the Find Target icon to indicate the directions
particles will use for docking. You can change the docking directions by reorienting the icon. This
Surface NormalsEach particle reaches its target point from a direction perpendicular to the
surface at that point.
Note: When using this option, arrows appear on the Find Target icon to indicate that particles will
use surface normals for docking; the actual directions they will use depends on the target surface.
This applies even when using mesh objects as targets.
DistanceThe distance from the target at which particles begin docking behavior. This includes the
docking direction, and, when using Control By Time, the docking speed.
Icon SizeSet the size of the Find Target icon. This affects particle behavior when using the icon as
the target.
Color CoordinatedWhen on, the Find Target icon uses the color of the event containing the test
as defined by its local Display operator, if one exists. This applies even if the Display operator is
turned off. When off, the Find Target icon uses the default Test Gizmos color as defined in Customize
User Interface > Colors > Particle Flow. Default=on.
Turn on Color Coordinated to make it easier to spot the Find Target icon, because the particles in the
event use the same color as the icon.
Uniqueness group
The Uniqueness setting enables randomization of the Random options and the Variation options.
Script Operator Example
Following is an example of the script operator that can be used when the Target group > Object >
By Script Integer option is active. It assigns the target objects according to particle speed. If the
speed is below 1 unit per frame, then the particle is assigned to the first target (index=0). If the
speed is higher than 10 units per frame then the particle is assigned to the third target (index=2).
All other particles are assigned to the second target (index=1).

Find Target Test
on ChannelsUsed pCont do
(
pCont.useTime = true
pCont.useSpeed = true
pCont.useInteger = true
)
on Init pCont do
(
on Proceed pCont do
(
count = pCont.NumParticles()
slowSpeed = 1/160.0
fastSpeed = 10/160.0
for i in 1 to count do
(
pCont.particleIndex = i
if length(pCont.particleSpeed) < slowSpeed then pCont.particleInteger = 0
else (
if (length(pCont.particleSpeed) > fastSpeed) then pCont.particleInteger
= 2
else pCont.particleInteger = 1
)
)
)
on Release pCont do
(
Comments

Create panel > Space Warps > Deflectors > Object Type rollout > SOmniFlect
SOmniFlect is the spherical version of the omniflector type of space warp. It provides more options
than the original SDeflector. Most settings are the same as those in POmniFlect. The difference is
that this space warp provides a spherical deflection surface rather than the planar surface. The only
settings that are different are in the Display Icon area, in which you set the Radius, instead of the
Width and Height.
Note: Opposite sides of the deflectors reverse the distortion effect. Thus, a refracted particle passing
through the SOmniFlect hits its outside surface first, and then its inside surface. A positive Distortion
value warps the particles toward the perpendicular; then, as the particles pass through the inside
surface, the same positive Distortion value warps them toward the parallel.
SOmniFlect viewport icon
Procedure
To create an SOmniFlect space warp:
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the Object Type rollout, click SOmniFlect.
2. Drag in a viewport to create the spherical icon.

Note: Because particles bounce off the icon, the size of the icon affects particle deflection.
parameters.
icon.
4. Position the SOmniFlect icon to interrupt the particle stream.
5. Adjust the SOmniFlect parameters as necessary.
Comments
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Create panel > Space Warps > Deflectors > Object Type rollout > UOmniFlect
UOmniFlect, the universal omniflector, provides more options than the original UDeflector. This
space warp lets you use any other geometric object as a particle deflector. The deflections are face
accurate, so the geometry can be static, animated, or even morphing or otherwise deforming over
time.
Note: Some particle leakage can occur with this deflector, particularly when you use many
particles and a complex deflector object. To avoid this, perform a test render to check for leaking
particles, and then add POmniFlects to catch the strays.
UOmniFlect viewport icon
Procedure
To use the UOmniFlect space warp:

To use a universal omniflector, you need a minimum of three objects in the scene:
The particle system
The UOmniFlect space warp
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The object used as the deflector
1. Add or select an object used as the deflector.
2. Create a particle system whose particles intersect the deflector object.
3. On the Create panel, click Space Warps. Choose Deflectors from the list, and then
click UOmniFlect.
4. Click and drag in a viewport to place the space warp icon.

Note: The size and position of the UOmniFlect icon do not alter the effect.
parameters.
icon.
6. On the Modify panel > Parameters rollout > Object-Based OmniFlector group, click Pick
Object, and then select the object to use as a deflector.
7. Adjust the particle system and UOmniFlect parameters as necessary.
Interface
Parameters rollout
The settings for the UOmniFlect are the same as those for POmniFlect, with the following additions:
Object-Based OmniFlector group
Lets you choose the object to use as a deflector.

Pick ObjectClick this, and then select any renderable object to use as a deflector.
Display Icon group
Icon SizeSpecifies the size of one side of the square UOmniFlect icon.

Comments

Spawn Test
Spawn Test
Particle View > Click Spawn in an event or add Spawn to the particle system and then select it.
Spawn creates new particles from existing ones. Each spawned particle is born at the same location
as its parent, and has the same orientation and shape. Spawn can give the spawned particles a
different speed and scaling factor. If you wire the Spawn test to another event, spawned particles
are sent to that event, where you can specify different properties for the new particles.
Spawn is a test only in that it sends the spawned particles to another event (if wired); it doesn't
actually test any properties. All particles that encounter Spawn are immediately affected by it. Thus,
if you want particles to spawn based on the results of a test, use a different test that branches to an
event containing the Spawn. In such a case, you might want to then send the spawned particles to
yet another event, or the particles will continually respawn. Alternatively, to spawn particles after a
collision, use Collision Spawn Test.
See also
Interface
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Spawn Test
In the context of Spawn, a parent is the original particle from which new particles are spawned.
Spawn Rate And Amount group
Use these settings to specify how often particles are to spawn, the measurement system to use, and
other values related to how many particles are spawned.
OnceParticles spawn one time only. For each existing particle, one new one is born.
Delete ParentWhen on, deletes each original particle from which a new one is spawned. Available
only with the Once option.
Per SecondLets you specify a number of particles to spawn every second. For example, if you use
the default Rate setting of 10.0, at 30 fps a new particle is born every three frames.
RateThe number of particles to spawn per second. Available only with the Per Second option.

Spawn Test
By Travel DistanceLets you spawn new particles at regular intervals over the path of a moving
parent particle.
Step SizeThe system spawns a new particle every time the parent moves this distance, in system
units.
SpawnableThe percentage of particles in the current event that will spawn new particles. This is
determined once for each particle, when it enters the event. However, the parameter is animatable.
Default=100.0.
For values other than 100.0, Spawnable uses a randomized selection process, which is affected by
the Uniqueness Seed value. For example, with five parent particles, Offspring #=1, and
Spawnable=80.0, you might get any number of spawned particles between two and five. The
average per spawning would be four, however.
Offspring #The number of new particles the system creates from each parent particle for each
spawning event. Default=1.
VariationThe amount by which the Offspring # value can vary randomly. Default=0.0.
random number between -1.0 and 1.0, and then applies the result as a percentage of the Offspring
# setting. For example, if Offspring #=20 and Variation=10, then the actual number of offspring for
each particle would be between 18 and 22.
Sync ByChoose the time frame to use when animating Rate, Step Size, Offspring #, and
Variation:
set.
enters the event.
Restart Particle AgeWhen on, sets the age of each newly spawned particle at 0. When off, each
spawned particle inherits its parent's age. Default=on.
Speed group
Lets you specify the speed of spawned particles in absolute terms or relative to the parents' speed,
with optional random variation. The direction of a spawned particle is always in relation to that of its
parent, but you can set a Divergence so they eventually spread out. Default=Inherited.
In UnitsChoose this to specify the speed of spawned particles in system units per second.
Default=100.0.

Spawn Test
InheritedChoose this to specify each spawned particle's speed as a percentage of its parent's
speed. Default=100.0
VariationThe amount by which a spawned particle's speed can vary randomly. Default=0.0.
To obtain the actual speed for each spawned particle, the system multiplies the Variation value by a
random number between -1.0 and 1.0, and then adds the result to the particle's speed as specified
or inherited. For example, if a particle's speed is 100 units/second and Variation=20, then the tested
value for each particle would be between 80 and 120 units/second.
DivergenceWhen on, spreads out the stream of spawned particles. Use the numeric setting to
define the extent of the divergence in degrees. Range=0 to 180. Default=0.
Size group
Scale FactorThe amount of uniform scaling to apply to each spawned particle, as a percentage of
its parent's size. Default=100.0.
VariationThe amount by which a spawned particle's scale can vary randomly. Default=0.0.
To obtain the actual scaling for each spawned particle, the system multiplies the Variation value by a
random number between -1.0 and 1.0, and then adds the result to the Scale Factor value. For
example, if Scale Factor=100 and Variation=20, then each spawned particle would be between 80
and 120 percent of its parent's size.
Uniqueness group
The Uniqueness setting enables randomization of the Spawnable result, when less than 100.0, as
well as of the Variation values.
Comments

Split Selected Test
Split Selected Test
Particle View > Click Split Selected in an event or add Split Selected to the particle system and
then select it.
The Split Selected test lets you split the particle stream based on particles' selection status. For
information about selecting particles, see Selection rollout.
Note: This test considers only particles selected at the Particle sub-object level. To use all particles in
an event at a specific frame, go to that frame, go to the Event sub-object level, and highlight the
event. Then go to the Particle sub-object level, and on the Selection rollout, click Get From Event
Level.
Interface
Lets you choose how to split the particle stream. Default=Is Selected.
Is SelectedAll selected particles are eligible for redirection to another event.
Is Not SelectedAll non-selected particles are eligible for redirection to another event.
Comments
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Mapping Operator
Mapping Operator
Particle View > Click Mapping in an event or add a Mapping operator to the particle system and
then select it.
The Mapping operator lets you assign a constant UVW mapping to the entire surface of the particles.
It works in conjunction with a map specified in a material operator in the current event. By
animating the mapping coordinates, you can vary the location on the material map from which the
particle color is taken, thus changing the particle color in a predictable way over time.
The Mapping operator was designed primarily to be used with gradient maps, although you can use
it with any map you like. The procedure below describes a recommended method for using the
Mapping operator.
See also

Procedure
Example: To animate particle coloring using the Mapping operator:
1. Open the Material Editor, and create a material that uses Gradient Ramp as the Diffuse
map.
2. On the map's Gradient Ramp Parameters rollout, make sure Gradient Type is set to Linear.
3. Create a colorful gradient. The Mapping operator uses the colors in left-to-right order as the U
value increases from 0.0 to 1.0.
4. Add a Particle Flow Source object to the scene.
6. In Event 01, click the Speed operator and set Speed to 100.
7. In Event 01, click Display and set Type to Geometry.
8. Add a Material Static operator to Event 01, and then click the operator in the event.
9. Drag the material you created from its Material Editor sample slot to the button (labeled
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Mapping Operator
None) on the Material Static parameters rollout in Particle View.
10. Add a Mapping operator to Event 01, and then click the operator in the event.
11. On the Mapping rollout in Particle View, turn on Show Map In Viewport.
12. Go to frame 100 and turn on Auto Key.
13. On the Mapping rollout in Particle View, set Map Values > U=1.0.
14. For Sync By, choose Particle Age.
15. Turn off Auto Key, and click Play Animation.

As each particle is born and falls, its U mapping coordinate gradually changes from 0.0 to 1.0,
while its color changes to match the corresponding position across the Gradient Ramp map.
To vary the effect, try changing the Gradient Type setting, and animate the V and W values as
well. Or, for more sophisticated effects, assign animation controllers such as Noise Float to the
Mapping coordinate values, or wire them to other changing parameters in the scene (Animation
menu > Wire Parameters > Parameter Wire Dialog).
Tip: In the Material Editor, it's easier to see the result of the Gradient Type choice if you set
Sample Type to Cube.
Interface
Map Values group
U/V/WSet the coordinates on the map from which the particle color is taken. One pixel from this
location is used to color the entire particle.

Mapping Operator
In general, U and V represent the horizontal and vertical dimensions, respectively, beginning at the
upper-left corner of the map, and W is useful only with three-dimensional maps, in which context it
specifies depth.
Sync ByChoose the time frame for applying animated parameters. For further information, see
Animation Offset Keying group.
set.
enters the event.
Channel group
The Channel setting determines whether the mapping is applied to a map channel or to a vertex
color channel.
Map ChannelThe mapping is applied to the specified map channel.
Vertex Color ChannelThe mapping is applied to the particles' vertex color channel.
Show Map In ViewportThe map coloring is visible in the viewports.
Comments

Cache Operator
Cache Operator
Particle View > Click Cache in an event or add a Cache operator to the particle system and then
select it.
The Cache operator records and stores particle states to memory. When it's in effect, the first time
you play or go to a frame, the particle motion up to and including the frame is calculated and
recorded in the cache. Thereafter, playing the frame or any previous frames uses the data in the
cache, rather than recalculating the particle action. This is particularly useful with large or complex
particle systems, where playback, and particularly backtracking, are slow because of the large
amount of processing required. With caching on, the particle system needs to be calculated only
once for each frame, and thereafter playback and moving among frames is significantly faster.
To cache an entire flow, add a Cache operator to the global event. To cache an individual local
event, add a Cache operator to it.
To determine how best to implement caching in your particle system, turn on Particle View > Track
Update > Update Progress, and then play the animation or go to a frame relatively distant from the
current frame. Observe the particle diagram, and watch for events with actions that highlight longer
than a fraction of a second, or events with more activity than the rest. Any such events could benefit
from caching.
Note: Use no more than one Cache operator per event, unless youre using two: one set up for
viewports, and the other for rendering. Similarly, dont use global and local Cache operators in the
same flow, unless one is set up for viewports, and the other for rendering.
Tip: When using real-time playback, if playback isn't fast enough, you can use the Cache operator to
speed it up. For best results, set the Viewport integration step to the same value as the real-time
playback speed, and set cache sampling to Integration Step. For example, if the real-time playback
speed is set to 1/4x, then the Viewport Integration Step for viewport should be also set to 1/4
Frame, and the Cache operator Sampling parameter should be set to Integration step. Thus,
because real-time playback is showing four times as many frames per second, and the Cache
operator has stored four times as many frames per second, the two are synchronized. If the real-
time playback speed is set to 2x or 4x, set the Viewport Integration Step to Frame.
Procedure
Example: To use the Cache operator:
1. Start or reset the software, and then add a Particle Flow system.
3. In Particle View, go to Options menu > Track Update and turn on Update Progress.
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Cache Operator
This lets you monitor calculation of the particle system by highlighting actions in Particle View
as the system executes them.
4. In Particle View, Add a Keep Apart operator to Event 01.

Keep Apart is a fairly calculation-intensive operator.
5. Go to frame 100 by clicking the right end of the time slider track.
There is a delay as the system calculates all particle motion between frames 0 and 100. This is
necessary because Particle Flow is a history-dependent system. At the same time, the actions
in the system highlight briefly in Particle View as they're executed at each frame.
6. Go to frame 50 by clicking the center of the time slider track.

There is a another delay as the system calculates all particle motion between frames 0 and 50.
7. In Particle View, drag a Cache operator from the depot to Event 01. Insert it anywhere in the
event.
When you release the mouse button, there is a delay as the Cache operator automatically
caches particle motion from the start of the animation to the current frame. Meanwhile, each
action highlights briefly at each frame.
8. Go to frame 20 or so.
The only operators that highlight are Cache (very fast) and Display; there is no delay for
calculation. All frames between 0 and 50 have been cached.
9. Go to frame 100.
The delay this time is a result of caching particle motion for frames 50 to 100.
10. Jump to different frames, and drag the time slider.

All particle motion is now cached, so no delays occur. But if you change a setting's value, the
Cache operator automatically recalculates and stores the particle motion.
11. Go to frame 100, and then, in Particle View, click the Keep Apart operator and use the
keyboard to change the Falloff Zone value to 8.0.
By default, the Cache operator automatically updates the cache when you change any
parameters it stores. Thus, when you change the Falloff Zone value at frame 100, it
recalculates and recaches the entire animation.
Next, you'll briefly explore how manual caching works.
12. Click the Cache operator and set Update to Manually.

The Cache operator no longer updates the stored data automatically when you change a
parameter.
13. Click the Keep Apart operator, change the Falloff Zone value to 9.0, and then drag the time
slider.
There is no delay, because the animation is still playing back from the cached data. However,

Cache Operator
the cached data is now invalid, because you changed a parameter in the particle system.
14. Click the Cache operator, and in the Manual Update group, click Update.
The software closes Particle View, updates the cache for the active segment, and then reopens
Particle View. The cached data is now accurate.
Other manual update options let you update the cache for the entire animation or a custom
frame range.
As you can see, the Cache operator is quite powerful. When present and active, by default it
overrides recalculation of the particle system, except when you change any action parameters,
whereupon it automatically updates the cached data. Used appropriately, it can save a good
deal of time in setting up and testing particle systems.
Interface

Cache Operator
Use AtCaches particle motion when playing back in the viewports, or at render time, or both.
Default=Viewport.
Important: Choose the Viewport/Render option only when using the same number of
particles in the viewports and for rendering (see Quantity Multiplier group). Otherwise,
unpredictable results can occur.
UpdateIf you change a parameter in the particle system, the cached data might become invalid.
This setting determines whether Particle Flow should update the cache automatically, or let you do it
manually. Default=Always.
AlwaysChanging any parameter under the Cache operator's purview causes it automatically to
update stored data from the start of the current range (see next parameter) to the current frame.
ManuallyUpdating occurs only when you click the Update button, or clear the cache and then
move to a different frame.
RangeSets the frame range within which the Cache operator operates. Default=Active Segment.
CompleteThe software caches the entire animation.
Active SegmentThe software caches only frames in the active segment, as defined by the
Start Time and End Time settings on the Time Configuration dialog. This is the frame range shown
on the track bar. You can also change the active segment by holding down ALT and CTRL and
dragging the track bar with the left, middle, or right mouse button.
CustomThe software caches only frames in the custom range, as defined by the Cache
operator's Start Time and End Time settings (see following).
Note: If you cache only part of the animation, Particle Flow calculates particle behavior in
subsequent, non-cached frames using the cached data. For example, if you cache frames 0 to 50,
and then jump to frame 60, Particle flow will calculate frame 51 based on the cached data, and
frames 52 to 60 based on each previous frame.
Start/End TimeThe first and last frames of the range considered for caching when
Range=Custom (see above). Default=0, 30.
Note: The frame range time frame is in absolute time; that is, in terms of the entire animation. If
you use a Cache operator locally, and specify a frame range during which no particles are present in
the event, Particle Flow won't use the cache.
SamplingDetermines how often the Cache operator samples and caches the animation.
Default=Every Frame.
Every FrameThe software caches animation data once per frame.
Integration StepThe software caches animation data at each integration step, using the
Integration Step setting as specified in the Use At setting (see above). If Use At is set to Viewport/
Render, it uses lower of the two Integration Step values. For example, if Viewport is set to Half

Cache Operator
Frame, and Render to 1/8 Frame, the sampling rate would be eight per frame.
Every Nth FrameThe software caches animation data at frame intervals specified by the N
value, below.
NDetermines the frame interval for caching when Sampling (above) is set to Every Nth Frame.
Default=5.
For example, with N set to the default value of 5, the cache stores animation data for every fifth
frame.
Cache Test ResultsWhen caching particle data, this caches the results of test actions as well.
Default=on.
This is important if Cache is used as a local operator, and the next event doesnt have a Cache
operator. For the next event to work properly, it should receive particles from the current event.
Those particles result from the activity of a test action. The Cache operator can record the test
activity to play it back later.
If the Cache operator is used as a global operator, there is no need to cache the test results. This is
because the system has cache data for every event, and is able to jump to an arbitrary frame
without the need for test results.
Save Cache with FileWhen on, the software Includes the cached data with scenes that you save
to disk. This can significantly increase the size of saved files, but saves the time of recalculating the
particle motion upon reloading the file. Default=off.
Normally, the cache data is saved only in disk files that you create with the Save or Save As
commands. You can also instruct the software to include cached data with other types of files using
the two following options.
Save Cache with HoldSaves cached data in the Hold file, created with Edit menu > Hold.
Default=off.
Manual Update group
These controls let you update or clear the cache manually within a frame range, or clear the entire
cache.
UpdateCalculates particle motion within the current range (defined below) and stores it in the
cache, replacing any existing cached data. Available only when Range is set to Active Segment or
Custom.
During the update, the software temporarily closes Particle View and displays a Cache Update
Progress bar, while moving the time slider through the cached range. At the same time, by default,
the animation plays in the viewports. To prevent this, and speed calculation, turn off Update
Viewports.
If the cache runs out of memory during a manual update, Particle Flow halts the update operation
and displays an alert. Click OK to continue, and then, if possible, increase the Limit value before
updating the cache again.

Cache Operator
ClearDeletes any cached data.

After you clear the cache buffer, if you go to a different frame or change any action parameters, the
software automatically caches particle motion even if Update is set to Manually.
RangeSets the frame range within which the Cache operator recalculates data when you click
Update. Default=Active Segment.
CompleteThe software clears the cache for entire animation. Choosing Complete makes the
Update button unavailable; this option is for clearing the cache only.
To update the entire animation, set the active segment or the custom range to encompass all
frames, and then use the corresponding choice and click Update.
Active SegmentThe software updates the cache only for frames in the active segment, as
defined by the Start Time and End Time settings on the Time Configuration dialog. This is the
frame range shown on the track bar. You can also change the active segment by holding down ALT
+CTRL and dragging the track bar with the left, middle, or right mouse button.
CustomThe software updates the cache only for only frames in the custom range, as defined by
the Start Time and End Time settings (see following).
Start/End TimeThe first and last frames of the range that's updated when Range=Custom (see
above). Defaults=0, 30.
Update ViewportsWhen on, the animation plays in the viewports during manual updating of the
cache. Turn this off to disable playing the animation in the viewports during manual caching; this
can speed up the caching process, especially with large or complex particle systems. Default=on.
Memory Used (K) group
The Cache operator stores data in system memory; you can specify an upper limit for the amount of
memory it uses. If the Limit setting and the amount of cached data exceeds the available free
memory, the computer system might use virtual (hard disk-based) memory instead, which slows
down the caching. If Particle Flow fills the cache, any remaining frames are calculated on the fly.
This group also lets you monitor the amount of memory used for caching data.
LimitThe maximum amount of system memory used to cache particle data, in kilobytes.
Default=100,000, or 97.6 MB.
TotalThe amount of memory currently used by the cached data, in kilobytes. Read-only.
Note: Even animation frames with no particles will probably consume a certain amount of cache
memory. The reason for this is that the cache also stores states for randomly calculated values such
as Variation, to ensure that particle activity is consistent across a rendering network, and with
machines that might not have regular access to all frames.
Current FrameThe amount of memory used by the data cached for the current frame, in
kilobytes. Read-only.

Cache Operator
Comments

Go To Rotation Test
Go To Rotation Test
Particle View > Click Go To Rotation in an event or add Go To Rotation to the particle system and
then select it.
The Go To Rotation test enables a smooth transition in the rotational component of a particle, so
that the particle can gradually rotate to a specific orientation over a specific period. An example of
its usage would be with falling leaves, which spin chaotically as they fall, but land on a flat side
rather than an edge. The test aspect lets you direct the particle to a new event when the transition
period ends.
To set a target orientation, place the Go To Rotation test before an orientation-type operator
(Rotation or a Script operator if it defines the rotation channel) in the same event. In this situation,
the Go To Rotation test can grab the particle rotational component before the orientation-type
operator overwrites it. The Go To Rotation operator modifies the particle orientation and spinning in
the post-evaluation cycle. For an example, see the procedure below.
Warning: The Go To Rotation test is not compatible with the Spin, Shape Facing, and
Shape Mark operators. Do not use any of these operators in the same event with a Go To
Rotation test.
Note: You can define the transition period only in terms of time. You cannot set the test to come to a
specific rotation by the time of another test, such as a collision test. Also, limited control is provided
over the axis of spinning when a particle comes to the final rotation.
Procedure
Example: To make falling particles land smoothly, face up:

This procedure assumes a basic knowledge of Particle Flow usage.
1. In the Perspective viewport, add a Particle Flow system and raise its icon about 80 units on the
Z axis.
2. In Event 01, make the following changes:
Birth > Amount=50
Speed=100
Shape=Cube (or use Shape Instance with a custom object, such as a coin-shaped cylinder)
Display > Type=Geometry
This reduces the number of particles and slows them down, making it easier to see what's
going on.
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Go To Rotation Test
3. Add a Spin operator to Event 01, and set both Spin Rate and Variation to 150.
This gives the particles random spinning behavior as they fall.
4. Add an Age test to the end of Event 01, and set Test Value=15.
This allows each particle to fall and tumble for 15 frames before Go To Rotation takes effect.
5. From the Depot, drag a Go To Rotation test to an empty area in Event Display. Set
Duration=15 and keep all other default settings.
6. Insert a Rotation operator immediately after the Go To Rotation test. Choose Random
Horizontal as the orientation matrix. Keep the other default settings.
The Go To Rotation test will use this as the final orientation for the particles.
7. Use a Speed event to create a third event. Set Speed=0.0.

This stops the particles at the end of the animation.
8. In both new events, set Display > Type=Geometry.
9. Wire the Age Test in Event 01 to Event 02, and then wire the Go To Rotation test in Event 02 to
Event 03.

The particles tumble chaotically as they fall for about 30 frames, and then come to a smooth
stop, facing up.
Interface

Go To Rotation Test
Test True When group
Transition Period EndsWhen on, the particles test True at the end of the specified transition
period, and become eligible for redirection to the next event. When off, particles will not go to the
next event, even if wired. Turn off to disable the test aspect of Go To Rotation. Default=on.
Transition By group
Determines how the software applies the specified timing, defined by the Time and Variation values.
Default=Event Duration.
The possible options are:
Absolute TimeTime refers to the overall time of the system. Each particle will reach its target
orientation at the frame number specified by Time.
Particle AgeTime refers to the time elapsed since the birth of the particle. Each particle will
reach its target orientation when its age reaches the value specified by Time.
Event DurationTime refers to the time elapsed since the particle entered the current event.

Go To Rotation Test
Each particle will reach its target orientation when it has been in the current for the number of
frames specified by Time.
DurationThe number of frames particles should take to reach the target orientation. Default=30.
VariationThe number of frames by which Duration can vary randomly. Default=0.
To obtain the actual time to the target orientation for each particle, the system multiplies the
Variation value by a random number between -1.0 and 1.0, and then adds the result to the Duration
value. For example, if Duration=60 and Variation=20, then the time to target orientation for each
particle would be between 40 and 80 frames.
Target Rotation group
When you use an orientation-type operator with Go To Rotation, this setting lets you determine
whether the test sets the target orientation on a one-time or ongoing basis. Default=Constant.
ConstantDefines that the orientation-type operator sets a constant orientation for a particle.
For example, when using a Rotation operator set to an orientation matrix other than Speed Space
Follow, the Go To Rotation operator would acquire the target orientation only once, and then use it
as its goal.
ChangingDefines that the orientation-type operator sets a changing rotation for a particle. At
each frame the desirable final rotation may be different.
For example, if you use the test with a Rotation operator set to Speed Space Follow, the test will
adjust the particle rotation constantly to aim at the changing final rotation.
Target Rotation Spin group
Defines the angular velocity for each particle when it reaches the target orientation.
Match Initial SpinSets the angular velocity at the end of the transition period to the same as the
angular velocity when particle enters the event.
Note: The axis of rotation might still be different, because it is calculated on the fly to let the particle
come to the target orientation.
Spin RateDefines each particle's angular velocity, in degrees per second, when it reaches the
target orientation. Available only when Match Initial Spin is off. Default=0.0.
For a smooth transition to the target orientation, set to 0.0.
VariationDefines a random variation in the Spin Rate value when a particle reaches the target
orientation. Default=0.0.
To obtain the final angular velocity for each particle, the system multiplies the Variation value by a
random number between -1.0 and 1.0, and then adds the result to the Spin Rate value. For
example, if Spin Rate=6.0 and Variation=1.0, then the final angular velocity for each particle would
be between 5.0 and 7.0 degrees per second.
Ease In %Defines a curve in achieving the final spin rate. Default=0.0

Go To Rotation Test
When set to 0.0, the test produces a linear interpolation between the initial and final spin rate, and
when set to 100.0, the final spin rate is achieved earlier. For the smoothest approach to the target
orientation, set Spin Rate and Variation to 0.0, and Ease In to 100.0.
Transition End group
Stop SpinningWhen on, halts particle rotation when it reaches the target orientation. Default=on.
Even with Spin Rate spinner set to 0.0, we recommend that you keep this check box on to avoid
slow spinning at the end, due to computational averaging and marginal errors.
Uniqueness group
The Uniqueness setting enables randomization of the Variation options.

Comments

Scale Test
Scale Test
Particle View > Click Scale Test in an event or add Scale Test to the particle system and then
select it.
Scale Test lets the particle system check particle scaling, or particle size before or after scaling, and
branch accordingly. The test provides a variety of axis options for measuring scale or size.
You can use this test to cause a change in behavior based on size. For example, a bubble could grow
to a certain size, and then pop. Or an object could shrink in size until it falls under the influence of a
force, like wind.
Interface
TypeChoose the type of measurement to test. You can test actual scaling, or the size before or
after scaling. Default=Scale.
For example, if the X-axis size of a particle's bounding box starts out at 10 system units, and you
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Scale Test
then use the Scale operator to scale it by 150% on the X axis, the pre-scale size is 10, and the post-
scale size is 15. And, of course, the scale is 150.
Note: The software measures particle size based on each particles bounding-box dimensions in the
particle's local coordinate space. With the low-polygon Shape options Tetra and Sphere, the result of
this measurement might not be the same as the Shape operators Size value.
PreScale SizeTests the size before scaling.
PostScale SizeTests the size after scaling.
ScaleTests the scaling percentage.
AxisChoose the axis to measure. Default=Average.
AverageObtains an average measurement by adding the sizes on all three axes and then
dividing by three.
MinimumUses the smallest dimension.
MedianUses the middle dimension in order of size. For example, if the particle dimensions are
X=5, Y=6, Z=12, then the number compared to Test Value would be 6.
MaximumUses the largest dimension.
X/Y/ZUses the specified dimension.
event if the speed test succeeds or fails. Available for all tests except True When Accelerates/
Decelerates. Default=Is Greater Than Test Value.
By default, Scale Test returns True if the value tested for exceeds the Test Value quantity, but you
can alternatively choose Is Less Than Test Value. For example, if you set Type to Scale and set Test
Value=150 and Variation=0, and choose Is Less Than Test Value, a particle will move to the next
event only when its scaling factor is less than 150%.
Size group
These settings are available when Type is set to PreScale Size or PostScale Size.
Test ValueThe specific size to test for. Default=10.0.
VariationThe amount by which the value tested for can vary randomly. Default=0.0.
example, if Test Value=10 and Variation=5, then the tested value for each particle would be
between 5 and 15.
Scale group
These settings are available when Type is set to Scale.

Scale Test
Test ValueThe specific scaling factor to test for. Default=100%.

VariationThe amount by which the value tested for can vary randomly. Default=0.0%.
example, if Test Value=100% and Variation=10%, then the tested value for each particle would be
between 90% and 110%.
Test Value Offset Keying group
Sync ByChoose the time frame to use when animating Test Value and Variation:
set.
enters the event.
Uniqueness group
The Uniqueness setting enables randomization of the test value variation. Available only when either
Variation value exceeds 0.0.
Comments

Script Test
Script Test
Particle View > Click Script Test in an event or add a Script Test operator to the particle system
and then select it.
Script Test lets you test particle conditions using a MAXScript script. The script can use any program
functionality available to MAXScript.
The default test script tests for the presence of all particles within a spherical volume of radius 20.
Interface
Uniqueness group
Comments
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Send Out Test
Send Out Test
Particle View > Click Send Out in an event or add Send Out to the particle system and then select
it.
The Send Out test simply sends all particles to the next event, or, conversely, keeps all particles in
the current event. Use Send Out when you simply want to send particles to another event without
any conditions.
Tip: You can temporarily convert any test to Send Out. To specify that a test should send all
particles out without any conditions, click the left side of its icon in Particle view; the icon changes to
a green light bulb to indicate that all particles automatically test True. Or, if you click the right side
of the icon, it changes to a red light bulb, indicating that all particles test False and thus will stay in
the current event. To revert to the test's original function, click its icon again.
Interface
Test True ForLets you specify whether the test passes all particles on to the next event or keeps
them in the current event. Default=All Particles.
All ParticlesAll particles are passed on to the next event.
No ParticlesAll particles are retained in the current event.
Comments
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Speed Test
Speed Test
Particle View > Click Speed Test in an event or add Speed Test to the particle system and then
select it.
Speed Test lets the particle system check particle speed, acceleration, or the rate of circular travel,
and branch accordingly. The test provides a number of variants that let you test speed or
acceleration on specific axes, or simply whether the particle is accelerating or decelerating.
Interface
The first interface element is a drop-down list that lets you choose the type of measurement to test:
Velocity MagnitudeTests the particle velocity, in system units per second, without
consideration of direction. This is the default test type.
Velocity X/Y/ZTests the particle velocity on the specified axis, in system units per second,
using the world coordinate system.
An example of this option would be with fireworks: As the particles move upward, their velocity on
the world Z axis is positive. When the reach the top of their trajectory and begin to move
downward, their velocity on the world Z axis slows to 0, and then becomes negative. If you
choose Velocity Z and Is Less Than Test Value, and set Test Value to 0.0, you can send particles
to another event at the moment they begin to move downward.
Acceleration MagnitudeTests the particle acceleration (change in velocity), in system units

per second per second, without respect to direction.
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Speed Test
Acceleration X/Y/ZTests the particle acceleration (change in velocity) on the specified axis, in
system units per second per second, using the world coordinate system.
Steering RateTests the circular component of particle travel in degrees per second, without
consideration of rotation or spinning.
For example, if a particle travels along a parabolic path, its motion has both linear and circular
components. The circular component is greatest at the top of the parabola. If a particle travels in
a full circle in one second, the rate is 360; if it travels in a half circle, the rate is 180.
Potential usage: When a particle is forced to turn too sharply, it might explode or change its type
of movement. For example, missiles chase a jet fighter, which maneuvers to elude the missiles.
The missiles are forced to change their course rapidly, but the missile construction cannot stand
the fast change in steering, so the missiles blow up or disintegrate.
Tip: You can test steering rate by setting the particle speed with Speed By Icon, and linking the
Speed By Icon operator icon to a circular path.
True When AcceleratesReturns a True value when the particle velocity is increasing in value.
True When DeceleratesReturns a True value when the particle velocity is decreasing in value.
event if the speed test succeeds or fails. Available for all tests except True When Accelerates/
Decelerates. Default=Is Greater Than Test Value.
By default, Speed Test returns True if the value tested for exceeds the Test Value quantity, but you
can choose Is Less Than Test Value as well. For example, if you use the Velocity Magnitude test type
and set Test Value=200 and Variation=0, and choose Is Less Than Test Value, then particles will
move to the next event only when they travel faster than 200 units per second. Any particles
traveling 200 units per second or slower stay in the current event unless they later exceed that
speed or another test returns True.
Test ValueThe specific speed or acceleration to test for. The unit of measurement depends on the
type of test; see above. Default=300.0.
VariationThe amount by which value tested for can vary randomly. Default=0.0.
example, if Test Value=300 and Variation=10, then tested value for each particle would be between
290 and 310.
Sync ByChoose the time frame to use when animating Test Value and Variation. For further
information, see Animation Offset Keying group.
set.

Speed Test
enters the event.
Uniqueness group
The Uniqueness setting enables randomization of the test value variation.

Comments

Split Amount Test
Split Amount Test
Particle View > Click Split Amount in an event or add Split Amount to the particle system and then
select it.
The Split Amount test lets you send a specific number of particles to the next event, keeping all
remaining particles in the current event. You can split the particle stream by a specific number or
percentage, or by every Nth particle. With a specific number of particles, the splitting takes place
once per event, but you can animate the percentage and every Nth values to vary the amount of
split-off particles over time.
Interface
Test True For group
Lets you choose how to split the particle stream. Default=Fraction Of Particles, 50%.
Fraction Of ParticlesSplit the particle stream on a percentage basis, specified with the Ratio
value. With Ratio greater than 0.0, whether a particular particle is split off depends on a
randomization factor; change this with the Uniqueness Seed value.
RatioSpecify the percentage of particles that will test True. Animatable. Default=50.0.
Available only with the Fraction Of Particles option.
Every Nth ParticleSplits off a regular sample of particles.
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Split Amount Test
NSpecify how often to split off a particle. Animatable. Default=3.

For example, enter 8 to split off every eighth particle.
Available only with the Every Nth Particle option.
First N ParticlesSplits off the number of particles specified as the N value (below), starting with
the first particle to enter the event, and retains the rest.
Particles After N FirstSplits off all particles starting with the first one after N particles, as
specified with the N parameter (below). All particles starting with the first to enter the event up to N
are retained in the event.
NSpecify the number of particles to split off, with First N Particles, or to retain in the event, with
Particles After N First.
Available only with the First N Particles or the Particles After N First option.
Per Emission SourceWhen on, the software applies the N value for the options First N Particles
and Particles After N First separately for each emission source.
Use this option with multiple Particle Flow sources converging into a single Split Amount test.
Uniqueness group
The Uniqueness setting enables randomization of particle retention with the Fraction Of Particles
option.
Comments
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Split Source Test
Split Source Test
Particle View > Click Split Source in an event or add Split Source to the particle system and then
select it.
The Split Source test lets you split the particle stream based on particles' origin. You can specify that
particles from one or more specific Particle Flow sources should or should not be eligible for
redirection to the next event.
Interface
Lets you choose how to split the particle stream. Default=Is From Selected Source.
Is From Selected SourceAll particles from sources highlighted in the Selected Emission Sources
list are eligible for redirection to another event.
Is Not From Sel(ected) SourceAll particles from sources not highlighted in the Selected
Emission Sources list are eligible for redirection to another event.
Selected Emission SourcesLists all emission sources in the system. Highlight the sources to be
considered by the test.
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Split Source Test
Comments
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Flows
Flows
The flows category contains two operators for creating initial particle system setups. These are:
Empty Flow
Standard Flow
See also
Operators
Tests
Comments
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Empty Flow
Empty Flow
Particle View > depot
Empty Flow provides a starting point for a particle system consisting of a single global event
containing a Render operator. This lets you build a system completely from scratch, without having
first to delete the default operators provided by the Standard Flow system.
To use Empty Flow, drag it from the depot to the event display. In Particle View, this creates a global
event containing a single Render operator. If the Global default display option is active in the Particle
View > Options menu, the global event will also contain a Display operator. Adding an Empty Flow
also creates a Particle Flow Source icon in the viewports, at the world origin (0,0,0).
Note: If an orthogonal viewport is active when you add an Empty Flow to the system, the software
orients the new source icon parallel to the plane of the active viewport, with the default emission
direction pointing forward. For example, if the Front viewport is active, the icon is oriented parallel to
the XZ plane in the world coordinate system, with the default emission direction along the positive Y
axis. If a Camera or Perspective viewport is active, Particle Flow uses the default orientation: parallel
to the XY plane, pointing in the negative Z direction.
See also
Standard Flow
Comments
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Standard Flow
Standard Flow
Particle View > depot
Standard Flow provides a starting point for a particle system consisting of a global event containing
a Render operator, wired to a birth event containing a Birth, a Position, a Speed, a Rotation, a
Shape, and a Display operator, with all parameters set to default values. This is the same system
that the software creates automatically when you add a Particle Flow icon to the viewport.
To use Standard Flow, drag it from the depot to the event display. In Particle View, this creates the
particle system described above. If the Global default display option is active in the Particle View >
Options menu, the global event will also contain a Display operator. Adding a Standard Flow also
creates a Particle Flow Source icon in the viewports, at the world origin (0,0,0).
Note: If an orthogonal viewport is active when you add a Standard Flow to the system, the software
orients the new source icon parallel to the plane of the active viewport, with the default emission
direction pointing forward. For example, if the Front viewport is active, the icon is oriented parallel to
the XZ plane in the world coordinate system, with the default emission direction along the positive Y
axis. If a Camera or Perspective viewport is active, Particle Flow uses the default orientation: parallel
to the XY plane, pointing in the negative Z direction.
See also
Empty Flow
Comments
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Event Display
Glossary
Event Display
The event display, the main window in the Particle View dialog, contains the particle diagram. This is
where you build and edit the particle system.
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Event Display
Comments
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How Particle Flow Works

Particle View is the primary interface for building and modifying Particle Flow systems. The first
event in the system is always a global event, whose contents affect all particles in the system. It has
the same name as the Particle Flow source icon. By default, the global event contains a single
Render operator that specifies rendering properties for all particles in the system. You can add other
operators here to have them act globally, such as Material, Display, and Speed. When you use an
operator globally, be sure not to use the same operator locally (that is, in any other events in the
system) to avoid potential conflicts.
The global event also serves as the Particle View representation of the particle system. You can
create a new system by duplicating this event, or by adding an Empty Flow or Standard Flow.
Conversely, if you clone the Particle Flow icon in a viewport, or add a new PF Source, the new
system appears in Particle View as well.
The second event is called the birth event, because it must contain a Birth operator. The Birth
operator should exist at the top of the birth event, and in no other place. The default birth event also
contains a number of operators that act locally to specify properties of particles while in that event.
The default particle system provides a basic global event and birth event that serve as a useful
starting point for creating your own system. If you like, you can instead start with an empty system
that lets you build a particle system from scratch.
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1. Event display
2. Particle diagram
3. Global event
4. Birth event
5. Depot
To add an action to the particle diagram, you drag it to the event display from the depot (the area at
the bottom of the Particle View dialog). If you drag an action to an event, you can add it to the
event or replace an existing action, depending on where you drop it. If you drop it in an empty area,
it creates a new event. Then, to customize the action, you click its event entry, and then edit its
settings in the parameters panel at the side of Particle View.
To add complexity to the particle system, you can add a test to an event, and then wire the test to
another event. You can adjust the test parameters to affect particle behavior, as well as determine
whether specific conditions exist. When particles meet these conditions, they become eligible for
redirection to the next event.
Particle Flow provides a number of tools for determining where in the system particles currently
reside, including the ability to change particle color and shape on an event-by-event basis. You can
also easily enable and disable actions and events, and determine the number of particles in each
event. To speed up checking particle activity at different times during the animation, you can cache
particle motion in memory. Using these tools, plus the ability to create custom actions with scripting,
you can create particle systems of a level of sophistication previously unachievable.
Next
The Life of a Particle
Comments


Another way of looking at Particle Flow is from the perspective of an individual particle. Each particle
first comes into existence, or is born, via the Birth operator, which lets you specify when to start and
stop creating particles, and how many to create.
The particles first appear at an object called an emitter. By default, the emitter is the Particle Flow
source icon using the Position Icon operator, but you can alternatively use the Position Object
operator to specify that particles should be born on the surface of or within any mesh object in the
scene.
After being born, particles can remain stationary at the emission point, or start moving in two
different ways. First, they can move, physically, within the scene at a speed and in a direction
specified by various actions. These are typically Speed operators, but other actions can also affect
particle motion, including Spin and Find Target. In addition, you can use the Force operator to affect
their motion with outside forces.
1. Particle immediately after creation, with no speed.

2. The Speed operator sets the particle in motion.
3. The particle continues moving until acted upon by another action.
The second way that particles move is logically, from event to event through the particle diagram, as
constructed in Particle View. Each event can contain any number of operators that can affect, in
addition to motion, a particle's surface appearance, its shape and size, and others.
The particles start out in the birth event, which typically is the first event after the global event.
During a particle's residence in an event, Particle Flow evaluates each of the event's actions from top
to bottom, once per integration step, and makes any applicable changes to the particle. If the event
contains a test, Particle Flow determines whether the particle tests True for the test's parameters,
such as whether it has collided with an object in the scene. If it does, and if the test is wired to
another event, Particle Flow sends the particle to the next event. If it doesn't, the particle remains in
the current event, and may be further acted upon by its operators and tests. Thus, each particle
exists in only one event at a time.
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An action in an event can change the particle shape (1), or the particle spin (2), or spawn new particles (3).
Actions can also apply forces to particles (1), specify collision effects (2), and alter surface properties (3).
In this way, the particle continues to travel through the system. Due to the flexible nature of
schematic construction in Particle Flow, a particle may be redirected to the same event several
times. But at some point, you might want the particle's life to end. For this purpose, you'd use the
Delete operator or the Collision Spawn test or Spawn test. Otherwise, the particle lives throughout
the entire animation.

Particle age can be used to kill a particle.
As a particle moves through the system, it's accompanied by a number of channels. For example,
each particle has a speed channel that defines how fast it moves, and a material ID channel that lets
Particle Flow know which sub-material to apply to it. However, the material itself is not defined by a
channel, but by a Material operator that acts locally or globally. Properties that are defined by
channels persist, unless altered by an action. For example, the Material Dynamic operator can
change a particle's material ID. In effect, by setting up a particle diagram and modifying how
particles look and act during the animation, youre deciding how channel values change based on
events and animation keyframes.
Comments

Actions
Actions
The Particle Flow components for creating particle systems are known collectively as actions. These
are subdivided into three main categories:
Operators
Flows
Tests
Comments
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Introductory Tutorial
The best way to understand Particle Flow is by using it. This tutorial will acquaint you with some of
the basic methods of working with Particle Flow.
Create the Particle Flow system:
1. Start 3ds max or reset the program.
2. On the Create panel > Geometry category, click the drop-down list and choose Particle
Systems.
3. On the Object Type rollout, click PF Source.
4. In the Perspective viewport, drag out a rectangle.
This is the Particle Flow icon, or source, named PF Source 01. By default, it acts as an emitter,
but you can also use any other object as an emitter.
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5. Drag the time slider.
By default, the icon emits particles downward from its entire surface. In the viewport, the
particles appear as ticks.
6. Go to frame 10, and press SHIFT+Q to render the Perspective viewport.

The rendered particles appear in a window. The default particle shape is a tetrahedron, a four-
sided triangular solid. Its geometry is very simple, so the system can handle many particles
quickly and efficiently, but it gives a good idea of how particles are behaving. Other basic
shapes are a low-poly sphere and a cube; Particle Flow also lets you use any scene object as
particle geometry.
Modify the particle system in Particle View:
1. Press the 6 key to open Particle View. The particle source icon need not be selected.
Tip: You can also open Particle View from the command panel when a Particle Flow source icon
is selected.


1. Event display
2. Particle diagram
3. Global event
4. Birth event
5. Depot
Particle View is where you manage and edit the particle system. The main window, known as
the event display, contains the particle diagram, which describes the particle system. The
default system starts with a global event, with the same name as the Particle Flow icon,
followed by a birth event, containing a Birth operator and several others that define the
system's initial properties. Each operator's name is followed by its most important setting or
settings in parentheses. Above the event display is a menu bar, and below is the depot,
containing all operators available for use in the particle system. For more information about
this dialog, see Particle View.
2. In the global event, PF Source 01, click the name of the Render 01 (Geometry) operator to
highlight it and access its parameters. Be sure to click the text area; clicking the icon simply
toggles the operator's active state.
Because this operator is in the global event, it affects the entire particle system. Any operator
you place here does likewise. For example, you can define a global material here, or you can
define different materials locally in each event. For best results, don't combine global and local
operators of the same type in a single system; use one or the other.
The settings for the Render operator appear in a rollout on the parameters panel, on the right
side of the Particle View dialog. These include a drop-down list for how particles are to render,
the percentage of particles that will render, and how to split up the particles into individual
meshes.
Next, you'll change the particle display type.
3. In the birth event, Event 01, click the Display 01 (Ticks) operator at the bottom of the list.
The display type is set to Ticks, as noted in the operator name in the event.
4. Next to the Type label, click Ticks, and from the drop-down list, choose Geometry.

Now the particles appear as tetrahedrons in the viewports.
Wire two events together:

Next, you'll add a test and use it to wire the birth event to a new event.
1. In the depot at the bottom of the Particle View dialog, find Age Test. It's the first item that uses
a yellow, diamond-shaped icon.
2. Drag an Age Test from the depot into the Event 01 list, at the bottom of the list.

Before you release the mouse button, make sure you see a solid blue line in Event 01 under the
Display operator. If the line is red and goes through an existing operator, the Age Test will
replace that operator. If you drop the Age Test outside of Event 01 it will create a new event.
Age Test appears in the list, with its test output sticking out to the left. This is the part you use
to connect the test to the next event.
3. Click the Age Test item in the list, and then in the Age Test 01 rollout on the right side of
Particle View, set Test Value=15 and Variation=0.

The test type is Particle Age, so this means that all particles that have existed for more than 15
frames will test True, and be passed on to the next event.
Next, you'll create a new event and wire it to the test.
4. From the depot, drag the Shape operator (Shape) to an empty part of the event display,
below Event 01.

The Shape operator appears in a new event, named Event 02. Like Event 01, the event has a
circular event input sticking out from the top. Also, Particle Flow automatically adds a local
Display operator to the event so its particles will be visible in the viewports. You can disable the
automatic creation of local Display operators by choosing Options menu > Default Display >
Global.
The actual location of an event in the event display doesn't matter; the recommended
placement is for the sake of convenience when wiring the events. It also helps to make sense
of complex schematics if the events are arranged logically.
You can move an event by dragging its title bar.
Next, you'll perform the actual wiring of the Age Test to the new event.
5. Position the mouse cursor over the blue dot at the left end of the Age Test's test output.

The cursor image changes to an icon depicting three arrows pointing inward toward a circular
connector.
6. Drag from the event output on the Age Test in Event 01 to the Event 02 input, and then
release the mouse button.
As you drag, the cursor image changes from a three-arrow icon to a circular connector by itself
when it's over an empty space in the event display area, and then to a four-arrow icon when
it's over the Event 02 input.
When you release the mouse button, a blue wire appears connecting the two events. This
wire indicates that particles that meet the Age Test conditions will pass through this wire to
Event 02, to be affected by its actions.
Tip: You can delete a wire (and anything else in the particle diagram) by selecting it and
pressing the DELETE key. Feel free to try this now, but undo any changes when you're finished.
7. Click the Shape 02 operator and set Shape=Cube. Also, click the Display 02 operator and set
Type=Geometry.

View the wiring results:
1. Play the animation. Adjust the viewports so you can see the entire particle stream, if
necessary.
Starting at frame 16, the particles at the head of the stream change into cubes, indicating that
they've entered Event 02. As time goes on, more and more particles pass the age of 15 and
become eligible to go to the next event.
2. While the animation is playing, try modifying the different operator settings to see what
happens. For instance, click Speed 01 and change the Speed and Direction settings. When you
change a setting, the change is reflected in the viewports in real time, even during playback.
Try right-clicking actions and events and using Rename to give them custom names. Even with
a custom name, an action's tooltip reveals its type.
Another facility of the right-click menu is to add comments to actions and events. Once you do
so, a small red triangle indicates the comment's presence.

Congratulations! You now have a working knowledge of Particle Flow. If you'd like to try some more
tutorials, go to the Particle Flow tutorials.
Comments

Notes Operator
Notes Operator
Particle View > Click Notes in an event or add a Notes operator to the particle system and then
select it.
The Notes operator lets you add a textual comment to any event. It doesn't have any direct effect
on the particle system, but it helps you keep track of the overall function of each event.
Note: You can also add a comment directly to an event or action by right-clicking it and choosing
Comments.
Interface
The interface is a simple text box. Click in the box and enter your text.
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Notes Operator
Comments
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Particle View Menu Bar
Select a Particle Flow source icon. > Modify panel > Setup rollout > Click Particle View (or press
6).
Create panel > Geometry > Particle Systems > Object Type rollout > Click PF Source. > Setup
rollout > Click Particle View (or press 6).
The menu bar provides access to a number of important Particle View functions.
Procedure
To render only particles in specific events:
1. In Particle View, highlight the events containing the particles you want to render.
2. Choose Select menu > Assign Selection To Viewport.
3. Render using one of the Render Type > Selected options.
To bring a Particle Flow setup into a different scene:
1. In Particle View, highlight the events containing the particles you want to merge with a
different scene. For example, to designate only a particular flow, you might highlight its global
event, and then choose Select menu > Select Downstreams.
2. Choose Select menu > Save Selected, and use the file dialog to specify a file to save.
Note: Any scene objects on which Particle Flow depends are also saved. For instance, if a
Shape Instance operator in one of the highlighted events refers to a certain object, that object
is saved along with the designated events.
3. Open or create the scene with which the saved Particle Flow setup will be combined, and then
use Merge to merge the file from step 2.
Interface
Edit menu
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Each of the first three commands on this menu presents a submenu containing all actions. Choose
the command, and then choose an action from the submenu.
Note: The Undo and Redo commands are available from the main 3ds max Edit menu, and their
default keyboard shortcuts are the same: CTRL+Z and CTRL+Y, respectively.
NewAdds a new event containing the chosen action to the event display.
Insert BeforeInserts the chosen item above each highlighted action. Available only when one or
more actions are highlighted.
Append ToInserts the chosen item at then end of each highlighted event. Available only when one
or more events are highlighted.
Turn On AllTurns on all actions and events.
Turn Off AllTurns off all actions and events.
Turn On SelectedTurns on any highlighted, turned-off actions or events. Available only when one
or more highlighted items are turned off.
Turn Off SelectedTurns off any highlighted, turned-on actions or events. Available only when one
or more highlighted items are turned on.
Make UniqueConverts an instanced action to a copy that's unique to its event. Available only
when one or more instanced actions are highlighted.
Wire SelectedWires one or more highlighted tests to a highlighted event, or one or more
highlighted global events to a highlighted birth event. Available only when one or more tests and a
single event are highlighted, or when one or more global events and a single birth event are
highlighted.
CopyCopies any highlighted events, actions, and wires to the paste buffer. Keyboard equivalent:
CTRL+C.

PastePastes the contents of the paste buffer to the event display. Keyboard equivalent: CTRL+V.
The result of copying and then pasting multiple items depends on what you copied:
If you copied multiple actions, pasting adds them all to a single new event, even if they originally
came from different events.
Copying multiple events or wires pastes them exactly as copied.
If you copied a combination of actions and events, pasting creates a new event for each group of
actions from a single event. For example, if you highlight event A, some actions from event B, and
some actions from event C, copying and then pasting would add three events: a copy of event A,
a second event with the actions from event B, and a third event with the actions from event C.
Paste InstancedPastes the contents of the paste buffer to the event display, making instances of
any pasted actions and their originals.
For the results of pasting multiple copied items, see Paste, above.
DeleteDeletes any highlighted items. Keyboard equivalent: DELETE.
Deleting an event also deletes all of its actions.
RenameLets you enter a new name for any single highlighted item in the event display. Available
only when one action or test is highlighted
Select menu
By default, the Select tool is active when Particle View is open, as indicated by the arrow-shaped
mouse cursor. You can use this tool to highlight, move, and copy events, actions, tools, and wires.
You can also use the commands on this menu to highlight all elements, no elements, or elements by
category.

Note: When you render using any of the Selected options, the software renders only events that are
selected in the viewports. You can use the last three commands on this menu to manage and
coordinate selection of events and flows between Particle View and the viewports. This also applies
to use of the Views menu > Shade Selected command.
Select ToolActivates the Select tool. Choose this to return to the Select tool after using interactive
tools for panning and zooming the event display. Alternatively, simply right-click anywhere in the
event display to activate the Select tool.
Select AllHighlights all items in the event display.
Select NoneDeselects all items in the event display. Alternatively, click an empty area in the
event display.
Select ActionsHighlights all operators and tests in the event display.
Select OperatorsHighlights all operators in the event display.
Select TestsHighlights all tests in the event display.
Select EventsHighlights all events in the event display.
Select WiresHighlights all wires in the event display.
Select DownstreamsHighlights all events after currently highlighted events. Available only when
one or more events are highlighted.
Save SelectedSaves only highlighted elements in the event display to a .max file. You can then
open this file, or combine it with an existing scene with File menu > Merge.
Note: The Particle View > Save Selected command saves all items selected in Particle View and in
the scene. So if a PF Source icon is selected in the scene, then this command will save its global
event as well as any birth events associated with it. if you want to save only parts of a Particle Flow
setup, first unselect everything in the scene.
Also, if an action references an object (for example, a Shape Instance operator uses a geometry
object), and the action or its parent event is highlighted when you use Save Selected, then the
reference object is saved as well.
Get Selection From ViewportHighlights global events whose source icons are selected in the
viewports.
Assign Selection To ViewportTransfers an event selection to the viewports. Use this to render
only particles in specific events. First, in Particle View, highlight the events to render. Next, choose
this command, and finally, render using one of the Render Type > Selected options.
Sync Source/Events Selection In ViewportSelects all events of any source icons selected in
the viewports. You can then propagate this selection to Particle View with the Get Selection From
Viewport command.
Use this function to render a specific particle flow using one of the Render > Selected options.
Display menu

The first five commands on this menu are also available as icons, in the Display tools section on the
right side of the bottom border of the Particle View dialog. Each command's Display tools icon is
shown below.
Pan ToolDrag in the event display to move the view. The mouse cursor changes to a hand
icon. You can also pan the view by dragging with the middle mouse button or wheel button held
down.
To exit this mode, right-click in the event view or choose the command again.
Zoom ToolDrag in the event display to zoom the view. The mouse cursor changes to a
magnifying-glass icon. Drag upward to zoom in, or downward to zoom out.
Region Zoom ToolDrag in the event display to define a zoom rectangle. The mouse cursor
changes to the image of a magnifying glass inside a zoom region. When you release the mouse
button, the display zooms to show only the area defined by the region.
Zoom ExtentsSets the zoom to show the entire particle diagram in the event display.
No ZoomSets the zoom to the default level. This is the level displayed when you first open
Particle View in a given session.
ParametersToggles display of the parameters panel, on the right side of the Particle View dialog.
Default=on.
DepotToggles display of the depot, below the Particle View dialog. Default=on.
DescriptionToggles the Description panel, to the right of the depot. Default=on.
The Description panel displays a brief description of any action highlighted in the depot.
Options menu

This menu contains a number of options useful in analyzing and debugging particle systems.
Default DisplayDetermines whether the Display operator is applied locally or globally to new
particle systems and events. Default=Local.
GlobalWhen you create a new particle system, Particle Flow adds a single Display operator to
the global event. It does not add a Display operator to each new event.
LocalParticle Flow adds a Display operator to each new event. This lets you easily distinguish
particles in different events in the viewports.
Action OrderFor predictable results, don't use similar actions in the global and local events.
However, if comparable actions do exist in both the global event and other events, Particle Flow
applies them to the system in the order specified here. Typically, the effect that's applied last is the
one that's visible in the particle system. Default=Locals First.
For example, consider a situation in which the global event contains a Shape operator set to Cube,
and the other events in the same system contain Shape operators set to Tetra or Sphere. By default,
Particle Flow applies the global Shape operator last at each integration step, overwriting any local
shapes, so all particles would be cubes. But if you set Action Order to Globals First, the local shapes
are applied last, and particles appear as tetrahedrons or spheres, depending on which event they're
in.
Globals FirstAt each integration step, Particle Flow first applies actions in the global event, and
then actions in the other (local) events. Typically, the result is that actions in the local events
override comparable actions in the global event.
Locals FirstAt each integration step, Particle Flow first applies actions in the local events, and
then actions in the global event. Typically, the result is that actions in the global event override
comparable actions in the local events.
Update TypeThis setting determines how Particle Flow updates the system when you change a
parameter during playback. Because the state of the particle system at any given frame can depend
on events in previous frames, using the Complete option can provide a more accurate depiction of
the result of the change, at a cost in speed; it takes more time to recalculate the entire system
starting at the first frame. Default=Complete.
CompleteWhen you change a setting during playback, Particle Flow updates the entire system,
starting at the first frame.
ForwardWhen you change a setting during playback, Particle Flow updates the system starting
at the current frame.

Track UpdateProvides options for visualizing the particle system status in Particle View.
Particle CountAdds a tab above each event that shows the number of particles in the event.
The global event's count shows the total number of particles in the particle system.
Use this, in addition to the ability to display particles differently in each event, to trace particle
progress through the system.
Update ProgressHighlights each action in color whenever Particle Flow evaluates it.
The highlighting is very fast, but this option can add significant computational overhead to the
particle system, with the result that real-time playback might skip a greater number of frames. To
see all frames, turn off Time Configuration > Real Time.
Use Dynamic NamesWhen on, action names in events are followed by their most important
setting or settings, in parentheses. When off, only the names appear. Default=on.
Comments

Render Type
Render Type
Main toolbar > Render Type drop-down list
Render Type lets you render only a portion of the scene.
The Render Type list lets you specify the portion of the scene that will be rendered.
Procedures
To render selected objects:
1. Choose Selected from the list.
2. Make the viewport active.
3. Select the objects.
4. Click Render Scene or Quick Render (Production).

3ds max displays a progress dialog that shows the progress of rendering and the rendering
parameter settings. To stop rendering, click Cancel in this dialog, or press ESC.
To render a region:
2. Choose Region from the list.
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Render Type
A window is displayed in the active viewport, and an OK button appears in the viewport's lower-
right corner.
4. Drag in the middle of the window to move it. Drag the window's handles to adjust its size.
To preserve the window's aspect ratio, you can hold down CTRL while you drag a handle.
5. Click OK.
To render a blowup:
2. Choose Blowup from the list.

A window is displayed in the active viewport and an OK button is displayed in the viewport's
lower-right corner.
4. Drag in the middle of the window to move it. Drag the window's handles to adjust its size.
The window is constrained to the aspect ratio of the current output size.
5. Click OK.
Interface
View(The default.) Renders the active viewport.

Render Type
SelectedRenders the currently selected object or objects only, and leaves the remainder of the
rendered frame window intact.
Tip: Use the Clear button before rendering to remove any existing image from the window.
RegionRenders a region within the active viewport, and leaves the remainder of the rendered
frame window intact. Use this option when you need to test render a part of the scene.
Tip: Use the Clear button before rendering to remove any existing image from the window.
Note: Region rendering is meant to create a draft rendering of a selected area of a view. As such,
Region rendering uses only an Area filter for antialiasing, regardless of which antialiasing is chosen
in the Render Scene dialog.

Render Type
CropLets you specify the size of the output image using the same region box that appears for the
Region and Blowup categories.
BlowupRenders a region within the active viewport and enlarges it to fill the output display.
A rectangular selection region appears when you render with either Blowup or Region selected in the
Render Type list. You can change the size of the region by dragging its handles.
Box SelectedCalculates the aspect ratio of the current selections bounding box, and then

Render Type
displays the Render Bounding Box/Selected dialog, which lets you specify a width and height for the
rendering, and provides the option of maintaining the aspect ratio.
Region SelectedWhen an object or objects are selected, renders those objects and other objects
within the selection's bounding boxes, but does not change the rendering outside the bounding
boxes.
Objects within the bounding boxes, including objects in front of or behind the selection, are
rendered.
When no objects are selected, Region Selected renders the entire frame.
Crop SelectedWhen an object or objects are selected, renders those objects and other objects
within the selection's bounding boxes. The rendering is cropped around the region defined by the
bounding boxes.
Objects within the bounding boxes, including objects in front of or behind the selection, are
rendered.
When no objects are selected, Crop Selected renders the entire frame.

Render Type
Comments

Render Bounding Box/Selected Dialog
Render Bounding Box/Selected Dialog
Select objects. > Main toolbar > Choose Box Selected from the Render Type drop-down list. >
Click Quick Render (Production) > Render Bounding Box/Selected dialog
Select objects. > Main toolbar > Choose Box Selected from the Render Type drop-down list. >
Click Render Scene, and then click Render. > Render Bounding Box/Selected dialog.
This dialog appears when you render a scene while the Box Selected render type is active. Box
Selected renders an area that corresponds to the bounding box of the currently active selection.
See also
Render Type
Interface
Width and HeightLet you set the size of the rendering, in pixels.
Constrain Aspect RatioWhen on, constrains the original aspect ratio of the selection's bounding
box. Changing the Width value also changes Height, and vice versa. Default=on.
Selection Aspect RatioDisplays the original aspect ratio of the selection's bounding box.
Comments
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Particle View Event Display
6).
rollout > Click Particle View (or press 6).
The event display in Particle View contains the particle diagram, and provides a complete range of
intuitive functions for editing the particle system.
Note: A number of these functions are also available from the event display right-click menu, as well
as the menu bar.
Editing the Particle Diagram and Particle System
Interactive functionality in event display includes the following:
General
To add an action to the particle system, drag it from the depot to the event display. If you drop it
in an empty area of the event display, it creates a new event. If you drag it to an existing event,
the result depends on whether a red line or a blue line appears when you drop it. If a red line, the
new action replaces the underlying action. If a blue line, the action is inserted in the list.
To edit an action's parameters, click its name in an event. The parameters appear on the right
side of Particle View. If not, it means the parameters panel is hidden; to display it, choose Display
menu > Parameters.
To wire a test to an event, drag from its test output, the blue dot that by default
sticks out to the left of the test, to the event's event input, which sticks out from the top, or vice-
versa. Similarly, you can wire a global event to a birth event by dragging between the source
output on the bottom of the global event and the event input. The mouse cursor changes to the
first depicted image when you can begin this operation, and to the second image when you can
complete it.
To pan or zoom the event display, use the controls available from the Display menu, the right-
click menu, or as icons at the bottom-right of the dialog.
Modifying Actions and Events in the Event Display
To change the color used by a Display operator, click its color swatch to the right of its name.
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To toggle an operator (that is, turn it off and on), click its icon in the event. The mouse
cursor changes to the depicted image when this action is possible.
A turned-off operator does not affect the particle system, and appears as gray in the event
list; however, its parameters are still available for editing.
Toggling an instanced operator doesn't affect its other instances.
To toggle an event (that is, turn it off and on), click the light-bulb icon next to
its name in the title bar. Turning off an event is equivalent to turning off all of its operators and
tests, although you cannot turn the operators and tests back on individually. The event's items do
not affect the particle system, and appear as gray in the event list. All particles entering a turned-
off event are immediately passed on to the next event, if any.
To make a test result always True or False, click its icon's left or right side,
respectively. The mouse cursor changes to the first image at the left (with the left-pointing arrow)
when you can click for always True, and to the second image at the left (without the left-pointing
arrow) when you can click for always False.
The test icon changes to a green or red light bulb to indicate current functionality:
green for always True, and red for always False.
To return to the original functionality, click the icon again. The mouse cursor changes to the
depicted image when this action is possible.
Selecting, Moving, and Copying
To copy an action or event, first press and hold the SHIFT key and position the mouse cursor over
the item to copy. When the plus sign (+) appears next to the mouse cursor arrow, drag the item
to a new location. When you release the mouse button, the Clone Options dialog appears; choose
Copy or Instance and click OK. In the Clone Options dialog, the Event And Particle System group
is unavailable, as a reminder that you cannot instance these elements. Reference is not an option
when cloning Particle System elements. Cloning an event or particle system simply creates a new
event or particle system containing clones of the original's actions.
Any instanced actions have identical properties. Changing one instance's values changes them all.
On the other hand, copied actions can have different values.
To clone multiple items, highlight them all before SHIFT+dragging. If you attempt to clone a
combination of actions and events, or actions from different events, the result depends on where
you start dragging from. If you drag a highlighted action, you'll clone only actions from that

event. If you drag an event, only highlighted events are cloned.

Note: When you highlight an instanced action, Particle View indicates all of its other instances by
changing their background color to a lighter shade of gray.
To move an event, drag its title bar, or the icon of any of its actions. If you drag the event to an
edge of the display, and scrolling is possible, the display window will automatically scroll in that
direction.
To resize an event, drag its right edge.
To highlight multiple items, drag a rectangle around them, or CTRL+click them individually.
To delete an event, action, or wire, highlight it and then press DELETE. Be sure the Particle Dialog
is active, or you might inadvertently delete a selection in the scene instead.
To move an action, drag its name (not its icon) to the new location. If you drag the event to an
edge of the display, and scrolling is possible, the display window will automatically scroll in that
direction.
If you drag an action to an event, you can insert the action or replace an existing action,
depending on where you position the mouse cursor before releasing the button. A blue line
(before releasing) indicates that it will be inserted at that location, and a red line indicates that it
will replace the underlying action. If you drag the action to an empty space in the event display, it
will form a new event, and, by default, the system will add a new Display operator.
Note: Particle Flow doesn't let you perform illegal operations. For instance, a Birth operator must
always be the first item in a birth event; the system doesn't let you position it elsewhere. You can
place a Birth operator in an isolated event, but you can't then wire that event into a particle
system, except in parallel with another birth event. For more information, see the Birth operator
topic.
To move a test output or switch it to the opposite side of the event, drag from just inside
the test output to the desired new location. The mouse cursor changes to the depicted image
when this operation is possible.
Getting Information
To see a renamed action's original type, position the mouse cursor over its event list entry until
the tooltip appears.
To see a brief description of an action, click it in the depot. The description appears on the
Description panel, to the right of the depot.

Comments

Event Display Right-Click Menu
6). > Right-click in event display.
rollout > Click Particle View (or press 6). > Right-click in event display.
The event display right-click menu provides handy access to a number of contextual commands. The
contents of the menu, as well as the results of its commands, depend in some cases on where you
click, in other cases on what's highlighted, and in still other cases, on both.
In the following descriptions, item means an action or event, or, in some cases, a wire.
Interface
InsertDisplays a submenu of all actions, and when you choose a new action, inserts it where you
originally right-clicked. Available only when you right-click over an event or action.
If you right-click over an action, and then insert an action, the inserted action replaces the old one.
If you right-click above or below an action (no tooltip appears), the new action is added to the event
at that location. If you right-click over an event, the action is inserted at the first available position.
AppendDisplays a submenu of all actions, and when you choose a new action, inserts it at the end
of the event. Available only when you right-click over an event or action.
Turn OnTurns on the event or action under the mouse cursor. Available only when the item under
the mouse cursor is turned on.
To affect an event, the mouse cursor must be over its title bar.
Turning on a highlighted item affects all highlighted items.
Turn OffTurns off the event or action under the mouse cursor. Available only when the item under
the mouse cursor is turned off.
To affect an event, the mouse cursor must be over its title bar.
Turning off a highlighted item affects all highlighted items.
Make UniqueConverts an instanced action to a copy that's unique to its event. Available only
when the mouse cursor is over an instanced action.
If you right-click over a highlighted, instanced action, Make Unique affects all such actions.
WireWires one or more highlighted tests to a highlighted event, or one or more highlighted global
events to a highlighted birth event. Available only when one or more tests and a single event are
highlighted, or when one or more global events and a single birth event are highlighted, and when
you right-click over an eligible, highlighted item.
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CopyCopies any highlighted events, actions, and wires to the paste buffer. Available only when the
mouse cursor is over an highlighted action, but affects all highlighted items.
PastePastes the contents of the paste buffer to the event display at the mouse cursor.
If the cursor is over a list, and you copied actions, the actions are added to the event. If the cursor
is over an empty area of the event display, the software creates a new event containing the pasted
actions. A copied event can be pasted only in an empty area of the event display.
The result of copying and then pasting multiple items depend on what you copied and the position of
the mouse cursor:
If you copied multiple actions, pasting adds them all to the event under the mouse cursor, or, if
the cursor is over an empty area, to a new event, even if they originally came from different
events.
Copying multiple events and/or wires pastes them exactly as copied, but in this case Paste is
available only when the mouse cursor is over an empty area.
If you copied a combination of actions and events, you can paste them only when the mouse
cursor is over an empty area. Pasting creates a new event for each group of actions from a single
event. For example, if you highlight event A, some actions from event B, and some actions from
event C, copying and then pasting would add three events: a copy of event A, a second event
with the actions from event B, and a third event with the actions from event C.
Paste InstancedPastes the contents of the paste buffer to the event display, making instances of
any pasted actions and their originals.
For the results of pasting multiple copied items, and the limitations based on mouse position, see
Paste, above.
NewAdd a new item to the event display from the submenu. The submenu contents are identical
to that of the depot. Available only when the mouse cursor is over an empty area.
DeleteDeletes the item under the mouse cursor. Available only when the mouse cursor is over an
item.
If the mouse cursor is over a highlighted item, choosing Delete deletes all highlighted items.
RenameLets you rename the item under the mouse cursor. Enter a new name from the keyboard.
PropertiesOpens the Object Properties dialog for the event under the mouse cursor. Available
only when the mouse cursor is over the title bar of a highlighted event.
Particle Flow lets you set object properties on a per-event basis. This lets you set attributes such as
Hide, Renderable, and Motion Blur separately for each event. Alternatively, you can set properties
for the entire particle system from the global event.
For more information, see Object Properties.
Note: Set properties for events and the particle system only within Particle View, not via the source
icon in the viewports (using the right-click menu > Properties or Edit menu > Object Properties).
Use Script WiringLets you use a script to specify certain parameters in the Force operator and

Keep Apart operator. This command appears only when you right-click either of the specified,
highlighted operators in an event.
CommentsLets you add comments to each action and event, and view existing comments.
Available only when the mouse cursor is over an action or the title bar of an event.
Choosing Comments opens a window for entering text from the keyboard. Begin typing, and click OK
to finish. A commented event or action has a red triangle near its name to indicate the presence of
the comment. You can click this triangle to open the comment.
Commented actions; click the triangle to view a comment.
Note: A comment is specific to the action or event to which it's applied. If you copy a commented
event or action, the comment is not included in the copy, because it's probably not applicable to the
copy.
PanSwitches to the Pan tool. Drag in the event display to change the view; right-click to exit.
Available only when you click over an empty area of the event display.
ZoomSwitches to the Zoom tool. Drag upward in the event display to zoom in, and downward to
zoom out; right-click to exit. Available only when you click over an empty area of the event display.
Region ZoomSwitches to the Region Zoom tool. Drag a rectangle in the event display to specify
the area to zoom into; right-click to exit. Available only when you click over an empty area of the
event display.
Comments

DDS Files
DDS Files
The DirectDraw Surface (DDS) file format is used to store textures and cubic environment maps,
both with and without mipmap levels. This format can store uncompressed and compressed pixel
formats, and is the preferred file format for storing DXTn compressed data. Microsoft is the
developer of this file format.
DDS is supported only as an input file format. You can use DDS files as texture maps, but you can't
render to a DDS file.
Comments
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Double-click a map type to apply it to sample slot. > Coordinates rollout is displayed in Material
Editor.
In the Coordinates rollout, by adjusting coordinate parameters, you can move a map relative to the
surface of the object to which it is applied and achieve other effects.
Tiling
Often when you apply a bitmap, especially as a texture pattern, you want the pattern to repeat. This
effect is known as tiling, as in a tiled floor or fountain. You control tiling directly from the
Coordinates rollout for any 2D map.
Tiling a map
In default mapping, tiling is active, but because the map is scaled to fit the object, you don't see the
effect of tiling unless you offset the UV coordinates or rotate the map. In this case, the portions of
the surface from which the bitmap has moved away are filled by other portions of the map. Tiling
wraps the object with the map image.
Mirroring
Mirroring a map is an effect related to tiling. It repeats the map and flips the repeated copy.
As with tiling, you can mirror in the U dimension, the V dimension, or both. The Tiling parameter for
each dimension specifies how many copies of the map are shown. Each copy is flipped relative to its
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neighbors.
Mirroring a map
Tiling and Mirroring Combined
Because mirroring defaults to two reflected images of the map, the meaning of the Tiling value
differs when Mirror is set.
In a single mapping dimension (U or V), a value of 1.0, the default, shows two copies of the bitmap;
a value of 2.0 shows four copies; a value of 1.5 shows three copies; and so on. Mirroring in both
dimensions multiplies the effect.
Mirroring and tiling a map

Decals
Decals are useful for mapping single designs, small elements such as stickers, or light switches.
A 2D map used as a decal appears only once and is not repeated as with tiling. Wherever the decal
doesn't appear on the surface, the surface is rendered as a basic material, with the component
colors specified at the material level. With map trees, a decal might appear on top of a different
bitmap or other map type.
Decal mapping
Procedures
To set tiling:
1. In the Coordinates rollout, make sure Tile is turned on for the U or V coordinate, or for both.
2. Set the Tiling value for the corresponding coordinates.

In the Material Editor, the sample slot changes to show the tiling value you chose.
The Tiling value is the number of times the bitmap repeats along the specified dimension. A
value of 1.0, the default, maps the bitmap exactly once; a value of 2.0 maps the bitmap
twice, and so on. Fractional values map a fractional portion of the bitmap in addition to
copies of the whole map. For example, a value of 2.5 maps the bitmap two and a half times.
Tiling values less than one increase the size of the map relative to the object. For example, a
value of 0.5 maps half of the bitmap.
Tiling is uniform if both the U and V dimensions are tiled by the same amount.

To preview the effect of tiling:
In the Material Editor, use the Tiling flyout to choose a 1x, 2x, 3x, or 4x tiling preview.
The button you choose changes tiling in the active sample slot to 1.0, 2.0, 3.0, or 4.0 in both U
and V.
The flyout setting has no effect on the material or its mapping. It does not change the Tiling value
or the check box setting. It only helps you preview the effect of changing these settings.
To set mirroring:
1. In the Coordinates rollout, make sure Mirror is turned on for the U or V coordinate, or both.
Mirror and Tile are exclusive settings: if one is set when you choose the other, the original
setting turns off.
2. Set the Mirror value for the corresponding coordinate or coordinates.

The material preview changes to show the Mirror value you chose.
To create a decal:
1. In the Material Editor, choose a bitmap as a diffuse map.
2. In the map's Coordinates rollout, turn off both Mirror and Tile for both the U and V coordinates.
Change the mapping to Planar from Object XYZ.
3. Adjust the U and V Tiling parameters to scale the decal.

Changing the Tiling value changes the size of the mapped bitmap as it does when you tile the
map, but with Mirror and Tile turned off, the bitmap appears only once.
4. Adjust the U and V Offset parameters to position the decal.

Note: You can also use the Parameters rollout's Cropping and Placement controls to achieve a
decal effect.
To offset the position of a map:
In the Coordinates rollout, set the U and V values to be between 0.0 and 100, or between -100
and 0.0.
On the surface of the object, the map shifts in the directions you chose.
UV offsets are especially useful when you have turned tiling off and want the bitmap to appear in
a single location.
To rotate the map:
In the Coordinates rollout, set the Angle U, V, and W spinners.

Positive angles rotate the map in the clockwise direction; negative angles rotate it

counterclockwise.
The angle can be up to 360 degrees, which rotates the map completely and has no visible effect
unless you are animating the map's rotation.
You can also click Rotate to use the Rotate Mapping Coordinates dialog, which lets you change the
rotation by dragging the mouse.
To increase or decrease antialiasing:
In the map's Coordinates rollout, increase or decrease the Blur value.

For diffuse maps and other maps besides bump maps, the Blur value is most effective in the 0.5-
20 range. Lower values decrease antialiasing; higher values increase it.
The Blur Offset parameter adjusts the image before antialiasing Blur is applied. If all you need is
antialiasing, leave Blur Offset at its default of 0.0.
To make a map image fuzzier:
In the map's Coordinate's rollout, increase the Blur Offset value.

Blur Offset is a very strong parameter. The Blur Offset spinner has increments of 0.001 Values
greater than 0.1 are likely to be too high.
To make a map image sharper:
In the map's Coordinates rollout, decrease the Blur Offset value to a value below 0.0.
The negative Blur Offset value sharpens the image.
Interface
These controls appear on the Coordinates rollout for many 2D maps:

TextureApplies the map as a texture map to a surface. Select the type of coordinates from the

Mapping list:
EnvironUses the map as an environment map. Select the type of coordinates from the Mapping
list:
Mapping listOptions vary depending on choice of Texture or Environ mapping:
Explicit Map ChannelUses any map channel. When selected, the Map Channel field becomes
active, and you can choose any channel from 1 to 99.
Vertex Color ChannelUses assigned vertex colors as a channel. See Editable Mesh for details
on assigning vertex color.
See also Vertex Color Map and Assign Vertex Colors Utility.
Planar from Object XYZUses planar mapping based on the object's local coordinates
(disregarding the pivot point location). For rendering purposes, planar mapping doesn't project
through to the back of the object unless you turn on Show Map On Back.
Planar from World XYZUses planar mapping based on the scenes world coordinates
(disregarding the objects bounding box). For rendering purposes, planar mapping doesn't project
through to the back of the object unless you turn on Show Map On Back.
Spherical Environment, Cylindrical Environment, Shrink-wrap EnvironmentProject the

map into the scene as though it were mapped to an invisible object in the background. See
Environment Map.
ScreenProjects as a flat backdrop in the scene.
Show Map on BackWhen on, planar mapping (Planar from Object XYZ, or with the UVW Map
modifier) projects through to render on the back of the object. When off, planar mapping doesn't
render on the object's back. Default=on.
This toggle is available only when Tiling is off in both dimensions. Its effect is visible only when you
render the scene.
Note: In viewports, planar mapping always projects to the back of the object, whether Show Map On
Back is turned on or not. To override this, turn off Tiling.
OffsetChanges the position of the map in UV coordinates. The map moves in relation to its size.
For example, if you want to shift the map its full width to the left, and half its width downward from
its original position, you enter -1 in the U Offset field and 0.5 in the V offset field.
UV/VW/WUChanges the mapping coordinate system used for the map. The default UV
coordinates project the map onto the surface like a slide projector. The VW and WU coordinates
rotate the map so that it is perpendicular to the surface.
TilingDetermines the number of times the map is tiled (repeated) along each axis.
MirrorMirrors the map left-to-right (U axis) and/or top-to-bottom (V axis).
TileTurns tiling on or off in the U or V axis.
Angle U/V/WRotates the map about the U, V, or W axis (in degrees).

RotateDisplays a schematic Rotate Mapping Coordinates dialog that lets you rotate the map by
dragging on an arcball diagram (similar to the arcball used to rotate viewports, although dragging
inside the circle rotates along all three axes, and dragging outside it rotates about the W axis only).
The Angle UVW values change as you drag in the dialog.
BlurAffects the sharpness or blurriness of the map based on its distance from the view. The
farther away the map is, the greater the blurring. The Blur value blurs maps in world space. Blur is
primarily used to avoid aliasing.
view. Blur Offset blurs the image itself in object space. Use this option when you want to soften or
defocus the details in a map to achieve the effect of a blurred image.
See Blur/Blur Offset.
Comments

Environment Map
Glossary
Environment Map
Above: Image uses a picture in screen coordinates as a background.

Below: Image shows spherical mapping coordinates applied using a checker map.
Texture coordinates lock a map to geometry. Environment coordinates, on the other hand, lock a
map to the world. If you move the object, the map remains in place. If you move the view (or
camera), the map changes. This type of mapping system is used with reflection, refraction, and
environment maps.
There are four types of environment coordinates:
Spherical
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Environment Map
Cylindrical
Shrink-Wrap
Screen
The first three are the same as those used by the UVW Map modifier. If you imagine a sphere,
infinite in size, surrounding your scene and mapped with spherical mapping coordinates, you can
visualize the effect you get with spherical environment mapping. Shrink-wrap wraps the map around
a giant sphere, leaving only one singularity. Cylindrical is like a giant cylinder.
The Screen system maps the image directly to the view, with no distortion. It's similar to planar, in
that it's like a giant backdrop hung in the scene. Unlike the other environment mapping methods,
Screen is locked to the view. When you move the camera, the map moves with it. Therefore, you
can only use it for still renderings, or animations in which the camera doesn't move.
To use a bitmap with any environmental mapping system other than Screen, you need a high-
resolution map because of the size of the virtual sphere, or cylinder.
An environment map is not assigned in the Material Editor, because it's not applied to the geometry
of an object, but rather to the scene itself. Environment maps appear in the background, as seen
from the camera or perspective view.
When you assign a map to the environment, it's the same as if you'd assigned a mapped material to
an object in your scene. To edit or adjust the assigned map, you need to place it in one of the
sample slots in the Material Editor. You can do that in one of two ways:
Click the Get Material button in the Material Editor, and then get the map from the scene.
Put the map from the Environment dialog to one of the sample slots in the Material Editor. You
can do this by dragging and dropping from the Environment dialog map button to the sample slot.
the alpha for the rendered image, choose Customize > Preferences > Rendering ,and then turn on
Use Environment Alpha in the Background Antialiasing group. If Use Environment Alpha is turned off
(the default) the background receives an alpha of 0 (completely transparent). If Use Environment
Alpha is turned on, the alpha of the resulting image is a combination of the scene and background
image's alpha. Also, when writing TGA files with Pre-Multiplied Alpha set to off, turning on Use
Environment Alpha prevents incorrect results. Note that only background images with alpha channels
or black backgrounds are supported when compositing in other programs such as Photoshop.
Comments
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UVW Coordinates
Glossary
UVW Coordinates
Local UV coordinates shown on a surface
Most material maps are a 2D plane assigned to a 3D surface. Consequently, the coordinate system
used to describe the placement and transformation of maps is different from the X, Y, and Z axis
coordinates used in 3D space. Specifically, mapping coordinates use the letters U, V, and W; the
three letters preceding X, Y, and Z in the alphabet.
The U, V, and W coordinates parallel the relative directions of X, Y, and Z coordinates. If you look at
a 2D map image, U is the equivalent of X, and represents the horizontal direction of the map. V is
the equivalent of Y, and represents the vertical direction of the map. W is the equivalent of Z and
represents a direction perpendicular to the UV plane of the map.
You might question why you need a depth coordinate like W for a 2D plane. One reason is because
it's sometimes useful to be able to flip the orientation of a map, relative to its geometry. To do this,
you need the third coordinate. The W coordinate also has a meaning for 3-dimensional procedural
materials.
Comments
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Tile/Mirror
Glossary
Tile/Mirror
Left: A bitmap
Middle: Tiling the bitmap
Right: Tiling and mirroring the bitmap
Tiling and mirroring are useful for creating patterns based on a simple image. Use them when you
need wallpaper and other repetitive designs.
The Tile option in the Material Editor is on by default, repeating the image along the U and V
directions. You can use the Tiling values to scale the map image. Setting negative Tiling values
increases the size of the image.
You can also set tiling values in the UVW Map modifier. These settings are in addition to the tiling
values you set for the map in the Material Editor. If the map's base tiling parameter has a value of
2.0 and the UVW Map modifier has a tiling value of 3.0 for the same axis, the net result is 2.0 x 3.0
= 6.0. To avoid confusion about where the tiling is coming from, you may want to set the map's
tiling in its base parameters or with the UVW Map modifier, but not in both locations.
The Mirror option is a variation on the Tile option. Tile repeats the image side-by-side, while Mirror
flips the image repeatedly.
Comments
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Filtering
Glossary
Filtering
Filtering is a technique of antialiasing the bitmaps in mapped materials by averaging pixels. The
Pyramidal and Summed Area options provide two methods of pixel averaging. Only one can be
active at a time.
Both methods require approximately the same rendering time. Summed-area filtering generally
yields superior results but requires much more memory. Pyramidal filtering requires the program to
allocate memory equal to approximately 133% of the size of the bitmap. By comparison, summed-
area filtering requires the program to allocate approximately 400% of the size of the bitmap.
Use summed-area filtering only for smaller bitmaps, and avoid using any more such bitmaps in a
scene than necessary.
Pyramidal filtering is quite adequate for most purposes. However, because it applies filtering as a
function of distance, irregular antialiasing might occur on detailed texture maps that are applied to a
plane receding into the distance. The effect of pyramidal filtering on extreme perspectives such as
this is even more noticeable in animations, where portions of the texture map appear to "swim." If
this occurs, turn on summed-area filtering for the material.
Antialiasing group.
Comments
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Tiles Map
Tiles Map
Material Editor > Maps rollout > Click a Map button.> Material/Map Browser > Tiles
Tiles used for the walls of a house
Using the Tiles procedural map, you can create brick or stacked tiling of colors or material mappings.
There are commonly defined architectural brick patterns available, or you can design custom
patterns. With the Tiles map, you can:
Assign many of the maps available through the Material Editor.
Load textures and use colors in the pattern.
Control the number of tiles in columns and rows.
Control the size of the grout gap and its roughness.
Apply random variance in the pattern.
Control the stacking layout by shifting how the tiles line up.
See also
For functionality shared with other 2D maps, see:
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Tiles Map

Noise Rollout (2D)
Procedures
Example: To create a brick wall:
1. Create a wall using a Box primitive, or use an existing surface in one of your scenes.
2. Open theMaterial Editor. Select an unused sample slot.
3. Click the Maps rollout to open it. Click the Map button for Diffuse to display the Material/Map
Browser.
4. In the map list, select Tiles, then click OK.

The Tiles map is now assigned to the sample slot. On the Material Editor, you see new rollouts
appear for this map.
5. On the Standard Controls rollout, use Preset Type to select the type of tiles for the wall. Stack
Bond is the default.
6. On the Material Editor toolbar, click Assign Material To Selection to apply the tile map
to the wall. Then click Show Map In Viewport to see the applied map.
7. Open the Advanced Controls rollout. Under Tiles Setup, adjust Horizontal and Vertical Count.
The default is eight rows high, with three repeats of the pattern in each row. Visually scale the
size of the tiles to your scene. Also adjust Texture as well as Color and Fade Variance to fine-
tune the appearance of the tiles.
8. Under Grout Setup, adjust parameters for the texture of the grout, gap spacing between tiles,
and roughness of the grout. You can also create missing bricks in the map by setting % Holes
to a value above 0.
9. Under Miscellaneous, you can vary the color of the tiles by using the Random Seed option.
Example: To match the tiles on the top and side of a wall:
1. Select a wall mapped with tile.
2. On the Modify panel, choose Editable Mesh.
3. Turn on Sub-Object > Face.
4. Select the top face of the wall.
5. Open the Material Editor. Drag the walls tile material to an unused sample slot to duplicate the
material.

Tiles Map
6. Under Tiles Setup, adjust the horizontal and vertical count of the new material to match the
side of the wall.
7. Apply the new tile material to the selected faces on the top of the wall.
8. Under Stacking Layout, align the tiles by using the Line Shift option.
Interface
Standard Controls rollout
Preset TypeLists the commonly defined architectural tile bonds, or patterns, plus a custom
pattern, which you design by selecting options under the Advanced Controls and Stacking Layout
rollouts. The following illustrations show some of the different bonds:
Common Flemish
Fine Running

Tiles Map
Fine Stack
1/2 Running
Running
Stack
Advanced Controls rollout

Tiles Map
Show Texture SwatchesUpdates to show the texture assigned by a map for Tiles or Grout.
Tiles Setup group
TextureControls the display of the current texture map for the tiles. When on, the texture is used
as the tile pattern instead of the color swatch. When turned off, the color of the tiles is displayed;
clicking the color swatch displays the Color Selector.
NoneActs as a target where you drag and drop maps for the tiles. When you click this button with
a map assigned, the software displays the rollout for the map. You return this button to None
(removing the assigned map) by dragging and dropping a None map from the Map/Material Browser.

Tiles Map
Horiz. CountControls the number of tiles in a row.

Vert. CountControls the number of tiles in a column.
Color VarianceControls the color variation among the tiles.
Fade VarianceControls the fading variation among the tiles.
Grout Setup group
TextureControls the display of the current texture map for the grout. When on, the texture is
used as the grout pattern instead of the color swatch. When off, the color of the grout is displayed,
and clicking the color swatch displays the Color Selector.
NoneActs as a target where you drag and drop maps for the grout. When you click this button
with a map assigned, the software displays the rollout for the map. You return this button to None
(removing the assigned map) by dragging and dropping a None map from the Map/Material Browser.
Horizontal GapControls the horizontal size of the grout between the tiles. This value is locked by
default to the vertical gap, so that both values change as you edit one or the other. To unlock them,
click the lock icon.
Vertical GapControls the vertical size of the grout between the tiles. This value is locked by
default to the horizontal gap, so that both values change as you edit one or the other. To unlock
them, click the lock icon.
% HolesSets the percentage of holes in the tiled surface caused by missing tiles. The grout shows
through the holes.
RoughControls the roughness of the edges of the grout.
Miscellaneous group
Random SeedRandomly applies patterns of color variation to the tiles. Does not require any other
setting to generate completely different patterns.
Swap Texture EntriesSwaps the texture maps or colors between the tiles and the grout.
Stacking Layout group
Note: This group of controls is active only when Custom Tiles is selected in Standard Controls rollout
> Pattern Setup > Preset Type.
Line ShiftShifts every second row of tiles a distance of one unit.
Random ShiftRandomly shifts all rows of tiles a distance of one unit.
Row and Column Editing group
Note: This group of controls is enabled only when Custom Tiles is selected in Standard Controls
rollout > Pattern Setup > Preset Type.

Tiles Map
Row ModifyWhen on, creates a custom pattern for rows, based on the values of Per Row and
Change. Default=off.
Per RowSpecifies which rows to change. When Per Row equals 0, no rows change. When Per
Row equals 1, every row changes. When Per Row is a value greater than 1, the change appears
every N rows: a value of 2 changes every second row, a value of three changes every third row,
and so on. Default=2.
ChangeChanges the width of tiles in the affected rows. A value of 1.0 is the default tile width.
Values greater than 1.0 increase the width of tiles, and values less than 1.0 decrease it.
A value of 0.0 is a special case: When the Change value is 0.0, no tiles appears in that row, and
the underlying material shows through.
Column ModifyWhen on, creates a custom pattern for columns, based on the values of Per
Column and Change. Default=off.
Per ColumnSpecifies which columns to change. When Per Column equals 0, no columns
change. When Per Column equals 1, every column changes. When Per Column is a value greater
than 1, the change appears every N columns: a value of 2 changes every second column, a value
of three changes every third column and so on. Default=2.
ChangeChanges the height of tiles in the affected columns. A value of 1.0 is the default tile
height. Values greater than 1.0 increase the height of tiles, and values less than 1.0 decrease it.
A value of 0.0 is a special case: When the Change value is 0.0, no tile appears in that column, and
the underlying material shows through.
Comments

Checker Map
Checker Map
Material Editor > Maps rollout > Click a Map button. > Material/Map Browser > Checker
Checker map used for the tablecloth and (in a composite) for the floor of the ice-cream shop
The Checker map applies a two-color checkerboard pattern to the material. The default checker map
is a pattern of black and white squares. Checker maps are 2D procedural maps. The component
checkers can be either colors or maps.
Tip: Turning on Noise for a Checker map can be an effective way to create irregular patterns with a
natural appearance.
See also

Noise Rollout (2D)
Procedures
To create a Checker map:
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Checker Map
1. Click a map button to assign a map.
2. Choose Checker in the Material/Map browser, and then click OK.
To change the color of one set of squares:
1. In the Checker Parameters rollout, click a color swatch to display the Color Selector.
3. Click Close.
To use a map for one set of squares:
In the Checker Parameters rollout, click a map button to assign a map to a color.
To soften the edge between the two checker colors:
In the Checker Parameters rollout, increase the value of Soften.

When Soften equals 0.0, there is a hard edge between the checker colors. Low positive values
soften or blur the checker boundary. Larger Soften values can blur the entire material.
To swap the two checker components:
In the Checker Parameters rollout, click Swap.
Interface
SoftenBlurs the edges between the checkers. A little blurs a lot.

SwapSwitches the position of the two checkers.
Color #1Sets the color of one of the checkers. Click to display the Color Selector.
Color #2Sets the color of one of the checkers. Click to display the Color Selector.
MapsSelects a map to use within the area of the checker color. For example, you could put an
additional checkerboard within one of the checker colors.
The check boxes enable or disable their associated map.

Checker Map
Comments

Gradient Map
Gradient Map
Material Editor > Maps rollout > Click a Map button. > Material/Map Browser > Gradient
Gradient maps used for the stoplight lamps, and for the background of the scene
Gradients shade from one color to another. You specify two or three colors for the gradient; the
software interpolates intermediate values. Gradient maps are 2D maps.
Tip: You can swap colors by dragging one color swatch over another, then clicking Swap in the Copy
or Swap Colors dialog. To reverse the overall direction of the gradient, swap the first and third
colors.
See also

Noise Rollout (2D)
Output Rollout
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Gradient Map
Gradient-mapped material tiled and with noise
Procedures
To create a Gradient map:
2. Choose Gradient in the Material/Map Browser, and then click OK.
To change a gradient color:
1. In the Gradient Parameters rollout, click a color swatch to display the Color Selector.
3. Click one of the other color swatches.
To choose the kind of gradient:
Choose either Linear or Radial.

A linear gradient shades from one color to another along a line. A radial gradient has one color on
the inside and another on the outside, shading in a circular pattern.
To use a map for a color in the gradient:
In the Gradient Parameters rollout, click a map button to assign a map to a color.
To adjust the position of the second color:
Change the Color 2 Position value.

At the default value of 0.5, the second color is between the first and third colors. For a linear
gradient, the second color's position ranges from the bottom at 0.0 to the top at 1.0. For a radial

Gradient Map
gradient, the second color's position ranges from the inside at 0.0 to the outside at 1.0.
Interface
Color #1-3Sets the three colors that the gradient interpolates between. Displays the Color
Selector. You can drag and drop the colors from one swatch to another.
MapsDisplays a map instead of the color. Maps are blended into the gradient in the same way that
the gradient colors are blended. You can add nested procedural gradients in each window to make
5-, 7-, 9-color gradients, or more.
The check boxes enable or disable their associated maps.
Color 2 PositionControls the center point of the middle color. The position ranges from 0 to 1.
When it is 0, color 2 replaces color 3. When it is 1, color 2 replaces color 1.
Gradient TypeLinear interpolates the color based on the vertical position (V coordinate) while
radial interpolates based on the distance from the center of the map (center is: U=0.5,V=0.5). With
both of these, you can rotate the gradient using the angle parameter under Coordinates, which is
animatable.
Noise group
AmountWhen nonzero (ranges from 0 to 1), applies a noise effect. This perturbs the color
interpolation parameter using a 3D noise function based on U, V, and Phase. For example, a given
pixel is halfway between the first and second color (the interpolation parameter is 0.5). If noise is

Gradient Map
added, the interpolation parameter would be perturbed by some amount so that it may become less
or more than 0.5.
RegularGenerates plain noise. This is the same as Fractal noise with the Levels setting at 1. When
the noise type is set to Regular, the Levels spinner becomes disabled (because Regular is not a
fractal function).
FractalGenerates noise using a fractal algorithm. The Levels option sets the number of iterations
for the fractal noise.
TurbulenceGenerates fractal noise with an absolute value function applied to it to make fault
lines. The noise amount must be greater than 0 to see any effects of turbulence.
SizeScales the noise function. Smaller values give smaller chunks of noise.
PhaseControls the speed of the animation of the noise function. A 3D noise function is used for
the noise. The first two parameters are U and V and the third is phase.
LevelsSets the number of fractal iterations or turbulence (as a continuous function).
Noise Threshold group
When the noise value is above the Low threshold and below the High threshold, the dynamic range
is stretched to fill 01. This produces a smaller discontinuity at the threshold transition and thus
causes less potential aliasing.
SmoothHelps make a smoother transition from the threshold value to the noise value. When
smooth is 0, no smoothing is applied. When it is 1, the maximum amount of smoothing is applied.
Comments

Gradient Ramp Map
Gradient Ramp Map
Material Editor > Maps rollout > Click a Map button. > Material/Map Browser > Gradient Ramp
Gradient ramp used for the layers of the cake
Gradient Ramp is a 2D map similar to the Gradient map. It shades from one color to another. In this
map, however, you can specify any number of colors or maps for the gradient. There are a variety of
controls, making highly customized gradients possible. Almost any parameter of Gradient Ramp can
be animated.
See also

Noise Rollout (2D)
Output Rollout
Procedure
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Gradient Ramp Map
To create a material with a Gradient Ramp map:
1. Open the Material Editor, and choose an unused sample slot.
2. Close the Basic Parameters rollout, and open the Maps rollout.
3. Click the Map button for Diffuse to display the Material/Map Browser.
4. In the Browser list, click Gradient Ramp. The map appears in the upper-left of the Browser
window. Click OK.
Gradient Ramp map is applied to the sample slot as the Browser closes.
5. In the Material Editor, under its toolbar, give the material a name to identify its use in your
scene.
When you replace an existing map with a gradient ramp map, choosing to Keep Old Map as
Submap in the Replace Map dialog, the old map becomes assigned to the first flag as a texture.
Gradient Ramp-mapped material with a colored gradient
Interface

Gradient Ramp Map
Gradient bar shows default gradient and interpolation types
Gradient barPresents an editable representation of the gradient being created. The effect of the
gradient moves from left (start point) to right (end point).
By default, three flags appear along the bottom edge of a red/green/blue gradient. Each flag controls
a color (or map). The currently selected flag is green, and its RGB value and its position in the
gradient (in the range 0 to 100) appear above the gradient bar. Each gradient can have any number
of flags.
The gradient bar has the following features:
Click anywhere along the bottom edge to create additional flags.
Drag any flag to adjust the position of its color (or map) within the gradient. The start and end
flags (Flag #1 at 0 and Flag #2 at 100) cannot be moved. However, other flags can occupy these
positions and still be moved.
More than one flag can occupy a given position. If two flags are at the same position, a slight
edge appears between the colors. With three or more flags at the same position, the edge is a
hard line.
Right-click options for gradient barRight-click in the gradient bar to display a menu with these
options:
ResetReturns gradient bar to defaults.
Load GradientLoads an existing gradient (.dgr file) into the gradient bar.
Save GradientLoads your current gradient bar as a .dgr file.
Copy, PasteCopies a gradient and pastes it into another Gradient Ramp map.

Gradient Ramp Map
Load UV MapSelects a UV map.

Load BitmapSelects a bitmap.
Flag ModeToggles flag display.
Right-click options for flagsRight-click any flag to display a menu with the following options:
Copy and PasteLets you copy the current key and paste it to replace another key. The other key
could be in another Gradient Ramp as well as the current one.
Edit PropertiesChoose this option to display the Flag Properties dialog.
DeleteDeletes the flag.
Gradient TypeChooses the type of gradient. The following Gradient types are available. These
affect the entire gradient.
4 CornerAn asymmetrical linear transition of colors.
BoxA box.
DiagonalA linear diagonal transition of colors.
LightingBased on the light intensity value. No light=far left; brightest light=far right.
LinearA smooth, linear transition of colors.
NormalBased on the angle between the vector from the camera to the object and the surface
normal vector at the sample point. The leftmost flag of the gradient is 0 degrees; the rightmost
flag is 90 degrees.
PongA diagonal sweep that repeats in the middle.
RadialA radial transition of colors.
SpiralA smooth, circular transition of colors.
SweepA linear sweep transition of colors.
TartanA plaid.
InterpolationChooses the type of interpolation. The following Interpolation types are available.
These affect the entire gradient.
Note: Gradients are ordered from left to right. The next flag is to the right of the current flag; the
previous flag is to the left.
CustomSets an individual interpolation type for each flag. Right-click the flag to display the Flag
Properties dialog and set the interpolation.
Ease InWeighted more toward the next flag than the current flag.
Ease In OutWeighted more toward the current flag than the next flag.
Ease OutWeighted more toward the previous flag than the next flag.
LinearConstant from one flag to the next. (Default.)

Gradient Ramp Map
SolidNo interpolation. Transitions are a sharp line.

Source MapClick to assign a map to a mapped gradient. The check box turns the map on or off.
The Source Map controls are available only when Mapped is the chosen gradient type.
Noise group
AmountWhen nonzero, a random noise effect is applied to the gradient, based on the interaction
of the gradient ramp colors (and maps, if present). The higher this value, the greater the effect.
Range=0 to 1.
RegularGenerates plain noise. Basically the same as fractal noise with levels disabled (because
Regular is not a fractal function).
FractalGenerates noise using a fractal algorithm. The Levels option sets the number of iterations
for the fractal noise.
lines. Note that the noise amount must be greater than 0 to see any effects of turbulence.
SizeSets the scale of the noise function. Smaller values give smaller chunks of noise.
the noise; the first two parameters are U and V and the third is phase.
Noise Threshold group
When the noise value is above the Low threshold and below the High threshold, the dynamic range
is stretched to fill 0 to 1. This causes a smaller discontinuity at the threshold transition and produces
less potential aliasing.
SmoothHelps make a smoother transition from the threshold value to the noise value. When
Smooth is 0, no smoothing is applied. When Smooth is 1, the maximum amount of smoothing is
applied.
Comments

Flag Properties Dialog
Material Editor > Maps rollout > Click a Map button. > Material/Map Browser > Gradient Ramp >
Gradient Ramp Parameters rollout > Right-click a flag at the bottom of the gradient bar. > Edit
Properties > Flag Properties dialog
By setting parameters on the Flag Properties dialog, you can customize the effect of each flag on the
Gradient Ramp map. You have access to all flags from this dialog.
See also
Gradient Ramp Map
Interface
Name fieldSelect any flag with the spinners. The selected flag turns green on the gradient bar.
Use this field to rename a flag to represent its use in the gradient.
InterpolationDisabled unless the Interpolation type for the Gradient Ramp map is set to Custom.
The available interpolation types for flags are similar to the corresponding ones in the Gradient
Ramp map:
Note: Gradients are ordered from left to right. The next flag is to the right of the current flag; the
previous flag is to the left.
Ease InWeighted more toward the next flag than the current flag.
Ease In OutWeighted more toward the current flag than the next flag.
Ease OutWeighted more toward the previous flag than the next flag.
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LinearConstant from one flag to the next. (Default.)

SolidNo interpolation. Transitions are a sharp line.
TextureAssigns a map in place of a color. When unselected, the flag turns blue to indicate a map
assignment.
ColorClick the color swatch to change the color controlled by the selected flag.
PositionShows the current position of the selected flag. Use the spinners to reposition the flag, or
enter a value directly. Position is grayed out for the start and end flags, because these flags cant be
moved.
Animation keysAnimation keys are created by default for Color and Position, and the keys
are active, indicated by the green triangles next to the Color and Position labels. You can turn these
keys off if you dont intend to animate the gradient.
Comments
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Swirl Map
Swirl Map
Material Editor > Maps rollout > Click a Map button. > Material/Map Browser > Swirl
Swirl used to create the whirlpool
Swirl is a 2D procedural map that generates patterns similar to the swirls in two-flavor ice creams.
Like other two-color maps, either color can be replaced with other maps, so its possible to swirl
marble with wood, for example.
See also

Noise Rollout (2D)
Procedure
To create a Swirl-mapped material:
1. Open the Material Editor, and choose an unused sample slot.
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Swirl Map
2. Close the Basic Parameters rollout, and open the Maps rollout.
3. Turn on Diffuse Color. Click its Map button to display the Material/Map Browser.
4. In the Browser list, click Swirl. The map appears in the upper-left of the Browser window. Click
OK.
Swirl map is applied to the sample slot as the Material/Map broswer closes.
5. In the Material Editor, under its toolbar, give the material a name to identify its use in your
scene.
Interface
Swirl Color Setup group
BaseThe underlying layer for the swirl effect. Click the color swatch to change. Click None to
assign a map in place of a color. The check box enables or disables the map.
SwirlMixed with the Base color or map, produces the swirl effect. Click the color swatch to change
this color. Click None to assign a map in place of a color.
SwapReverses the color or map assignments for Base and Swirl.

Swirl Map
Color ContrastControls the contrast between Base and Swirl. At 0, the swirl is blurred. Higher
values increase the contrast until all colors become black and white, even if Swirl Intensity and Swirl
Amount are very high. Range=0 to 4.0; Default=0.4.
Swirl IntensityControls the intensity of the swirl color. Higher values create a more vibrant mix
of colors. At 0, the swirl effect disappears. Range=-10 to 10.0; Default=2.0.
Swirl AmountControls the quantity of the Swirl color that gets mixed into the Base color. If set to
0, only the base color is used. Range=0 to 3.0; Default=1.0.
Swirl Appearance group
TwistChanges the number of spirals in the swirl effect. Higher values increase the number of
spirals. Negative values change the direction of the twist. At 0, the colors are randomly distributed,
not swirled. Range=-20.0 to 20.0; Default=1.0.
Constant DetailChanges the level of detail within a swirl. Lower values minimize the level of
detail within the swirl. At 0, all detail is lost. Higher values increase detail until the swirl effect
disappears. Values are in whole numbers. Range=0 to 10; Default=4.
Swirl Location group
Center Position X and YAdjusts the location of the swirls center on the object.
LockX and Y values remain identical as you adjust them. By turning off Lock and adjusting either
the X or Y position, you can slide the swirl effect across the object. Default=on.
Configuration group
Random SeedSets a new starting point for the swirl effect. Changes the swirl pattern while
maintaining other parameters. Range=0 to 65,535; No default.
Comments

3D Maps
3D Maps
3D maps are patterns generated procedurally in three dimensions. For example, Marble has a grain
that goes through the assigned geometry. If you cut away part of an object with marble assigned as
its texture, the grain in the cutaway portion matches the grain on the object's exterior. The following
3D maps are available in 3ds max:
Cellular: Generates a cellular pattern that's useful for a variety of visual effects, including mosaic
tiling, pebbled surfaces, and ocean surfaces.
Dent: Generates three-dimensional bumps over a surface.
Falloff: Generates a value from white to black based on the angular falloff of the face normals on the
surface of the geometry. The Falloff map provides greater flexibility when creating opacity falloff
effects. Other effects include Shadow/Light, Distance Blend, and Fresnel.
Marble: Simulates the grain of marble with two explicit colors and a third intermediate color.
Noise: Noise is a turbulence pattern in three dimensions. Like Checker in 2D, it is based on two
colors, either of which can be mapped.
Particle Age: Alters the color (or map) of a particle based on the particle's life.
Particle MBlur: (MBlur is short for Motion Blur.) Alters the opacity of the leading and trailing ends of
particles based on their rate of movement.
Perlin Marble: An alternative, procedural marble map with a turbulence pattern.
Planet: Simulates the contours of a planet as seen from space.
Smoke: Generates fractal-based turbulence patterns to simulate the effects of smoke in a beam of
light, or other cloudy, flowing mapping effects.
Speckle: Generates a speckled surface for creating patterned surfaces that can simulate granite and
similar materials.
Splat: Generates a fractal pattern similar to splattered paint.
Stucco: Generates a fractal pattern similar to stucco.
Water: Creates watery or wavy effects by generating a number of spherical wave centers and
randomly distributing them.
Wood: Creates a 3D wood grain pattern.
Comments
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Cellular Map
Cellular Map
Material Editor > Maps rollout > Click a Map button. > Material/Map Browser > Cellular
Cellular maps create the goblet textures.
Cellular map is a procedural map that generates a pattern that's useful for a variety of visual effects,
including mosaic tiling, pebbled surfaces, and even ocean surfaces.
Tip: The Material Editor sample slot doesn't show the cellular effect very clearly. Assigning the map
to geometry and rendering the scene will help you get the effect you want.
See also
Output Rollout
Procedures
Example: To create confetti:
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Cellular Map
1. Assign the Cellular map as a Diffuse map.
2. Set the parameters as follows:

Cell Color (use RGB values after clicking color swatch): 202, 75, 171
Variation: 55
Division Colors (use RGB values after clicking the color swatch):
First: 127, 150, 197
Second: 0, 119, 163
Cell Characteristics:
Circular
Size: 2.4
Spread: 0.43
Fractal: off
Thresholds:
Low: 0.19
Mid: 0.65
High: 0.86
Example: To create alien skin:

Cell Color (use RGB values after clicking the color swatch): 52, 107, 58
Variation: 0
First: 112, 119, 64
Second: 143, 137, 112
Circular
Size: 7.9
Spread: 0.61
Fractal: on
Iterations: 2.0
Thresholds:
Low: 0.17

Cellular Map
Mid: 0.64
High: 1.0
3. Copy the Diffuse map to the Bump map.

If you increase the Bump amount, increase the Cellular bump map's Bump Smoothing value as
well.
Example: To create a tile mosaic:

Cell Color (use RGB values after clicking the color swatch): 141, 120, 87
Variation: 54
First: 128, 128, 128
Second: 221, 221, 221
Chips
Size: 7.0
Spread: 0.35
Fractal: off
Thresholds:
Low: 0.42
Mid: 0.76
High: 1.0
3. Assign a Mix map as the Bump map.
4. Click Material/Map Navigator to display the Navigator. Copy the Cellular Diffuse map by
dragging it from the Navigator to the Color #2 map window of the Mix map.
5. A dialog is displayed. You are asked if this should be an instance or a copy. Select Copy and
click OK.
6. Assign a Noise map to the Color #1 map window of the Mix map.
7. Set the Noise parameters as follows:

Noise Type: Fractal
Levels: 6.0
Size: 9.3

Cellular Map
8. In the Mix Parameters rollout of the Mix map, set the Mix Amount to 0.5.
9. Go to top level of the material. In the Maps rollout, set Bump Amount to 82.
Interface
Cell Color group
These controls specify the color of the cells.

Color swatchDisplays the Color Selector. Choose a color for the cells.
Map buttonAssigns a map to the cells, rather than a solid color.
Check boxWhen on, enables the map. When off, disables the map (cell color reverts to the color
swatch).
VariationVaries the color of the cells by randomly altering RGB values. The higher the variation,
the greater the random effect. This percentage value can range from 0 to 100. At 0, the color
swatch or the map completely determines the cell color. Default=0.

Cellular Map
Division Colors group
These controls specify the color of the divisions between cells. Cell divisions are a ramp between two
colors or two maps.
Color swatchesDisplay the Color Selector for choosing a cell division color.
Map buttonsAssigns a map to one of the cell division colors.
Check boxesWhen on, enables the associated map. When off, disables the associated map (the
division color reverts to the color swatch).
Cell Characteristics group
These controls change the shape and size of the cells.

Circular / ChipsWith Circular, the cells are circular. This gives a more organic, or bubbly look.
With Chips, the cells have linear edges. This gives a more chipped or mosaic appearance.
Default=Circular.
SizeAlters the overall scale of the map. Adjust this value to fit the map to your geometry.
Default=5.0.
SpreadAlters the size of individual cells. Default=.05.
Bump SmoothingWhen you use a cellular map as a bump map, you might encounter aliasing or
jagginess at the boundaries of the cells. If this occurs, increase this value. Default=0.1.
FractalMakes the cellular pattern a fractal pattern. Default=off.
The remaining three controls are active only when Fractal is on:
IterationsSets the number of times the fractal function is applied. Caution: Increasing this value
increases rendering time. Default=3.0.
AdaptiveWhen on, the number of fractal iterations is set adaptively. That is, the number of
iterations increases the closer the geometry is to the scene's point of view, and decreases in the
distance. This reduces aliasing and also saves time while rendering. Default=on.
RoughnessWhen you use the Cellular map as a bump map, this parameter controls how rough
the bumps are. When Roughness is zero, each iteration is half the strength of the previous iteration,
and half the size. As Roughness increases, each iteration is closer in strength and size to the
previous iteration. When Roughness is at its maximum value of 1.0, each iteration is the same size
and strength as the previous. In effect, this turns off the fractalization. Roughness has no effect
unless Iterations is greater than 1.0. Default=0.0.
Thresholds group
These controls affect the relative size of cells and divisions. They are expressed as normalized
percentages (0 to 1) of the sizes specified by the default algorithm.
LowAdjusts the size of the cells. Default=0.0.
MidAdjusts the size of the first division color, relative to the second. Default=0.5.

Cellular Map
HighAdjusts the overall size of divisions. Default=1.0.
Comments

Double-click a map type to apply it to sample slot. > Coordinates rollout is displayed in Material
Editor.
By adjusting coordinate parameters, you can move a map relative to the volume of the object to
which it is applied.
Interface
SourceChooses the coordinate system to use. There are four options:
Object XYZUses the objects local coordinate system.
World XYZUses the scenes world coordinate system.
Explicit Map ChannelActivates the Map Channel field. You can choose any channel from 1 to
99.
Vertex Color ChannelAssigns vertex colors as a channel. See Editable Mesh for details on
assigning vertex color.
See also Vertex Color Map.
When one of the map channels is set, it locks the map into position on the vertices of the object so
that the map "sticks" to the object as it deforms during animation.
When an object is deforming through its own local space (for example, when it is bending or
twisting), the object appears to move through the map, because it passes through the XYZ
coordinates of the 3D texture.
Map ChannelGrayed out unless the source is Explicit Map Channel. When active, you can choose
any channel from 1 to 99.

OffsetMoves the map pattern along the specified axis.

TilingTiles the map pattern along the specified axis and makes the pattern narrower.
AngleRotates the map pattern along the specified axis.
BlurAffects the sharpness or blurriness of the map based on its distance from the view. The
farther away the map is, the greater the blurring. The Blur value blurs maps in world space. Blur is
primarily used to avoid aliasing.
view. Blur Offset blurs the image itself in object space. Use when you want to soften or defocus the
details in a map to achieve the effect of a blurred image.
Comments

Dent Map
Dent Map
Material Editor > Maps rollout > Click a Map button. > Material/Map Browser > Dent
Dent map gives texture to the cup on the left; cup on the right has same pattern, but without dents.
Dent is a 3D procedural map. During scanline rendering, Dent creates a random pattern based on
fractal noise. The effect of the pattern depends on the map type.
Effect of default parameters

Defaults: Iterations=2, Size=200, Strength=20
Dent was designed primarily as a Bump map, and its default parameters are optimized for this use.
As a bump map, Dent renders three-dimensional dents over the surface of an object. Editable
parameters control the size, depth, and complexity of the denting effect.
Dent can also be used with other maps. With a diffuse color map, for example, the two colors
assigned to Dent mix in random swirls over the surface of the object. Either of the colors can be
replaced by other maps.
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Dent Map
Dent bump maps

At left, default parameters produce fairly uniform dents over surface.
At right, increased Strength parameter creates a deeper and more irregular pitting effect.
Dent diffuse maps

At left, Dent as a two-color diffuse map.
At right, colors replaced with Dent and Marble maps.
See also
For functionality shared with other 3D maps, see the following topic:
Procedures
To make a Dent map:
1. In the Material Editor, click a sample slot to make it active.
2. Open the Maps rollout.
3. Click Bump or other map button to display the Material/Map Browser.
4. Double-click Dent in the list of map types.

The Material Editor displays the Coordinates and Dent Parameters rollouts.
5. Set parameters on the Dent Parameters rollout.

The active sample slot updates to show the Dent effect.
To replace a color:
1. Click a color swatch labeled Color #1 or Color #2.
2. In the standard Color Selector, choose a replacement color.

The color updates in the color box and sample slot.

Dent Map
To swap a color:
Click Swap.
The position of the two colors is reversed in the color boxes and sample slot.
To replace a color with a map:
1. Click a Map bar marked None next to one of the color swatches.
2. Select a map from the list.

The sample slot updates to show the map in place of the color.
Interface
SizeSets the relative size of dents. As the size increases, the number of dents decreases when
other settings are the same. Default=200.
Decreasing Size creates the appearance of tiny dents spaced fairly evenly. The effect can resemble a
"sand-covered" surface.
Increasing Size creates the appearance of distinct grooves and gouges on a surface. The effect
sometimes has a "hardened lava" look.
Size=10, 500, and 1000

Iterations=1, Strength=20 (default)

Dent Map
Size=10, 500, and 1000

Iterations=3, Strength=20 (default)
Each set of three spheres uses the same size range, but varies the number of iterations. Strength is
held constant in both sets.
StrengthHigher values increase the number of dents, lower values decrease the number of dents.
Default=20.
Decreasing Strength reduces the number of dents over a surface. At 0, the surface is smooth (no
dents).
Increasing Strength increases the number of dents over a surface. 100 is maximum.
Strength=5, 20 (default), and 100

Size=10, Iterations=3
Strength=5, 20 (default), and 100

Each set of three spheres uses the same strength range, but varies the size. Iterations are held
constant in both sets.
IterationsSets the number of calculations used to create the dents. Default=2.
Dent is based on a fractal-noise equation. During rendering, a dented surface is calculated one or
more times to produce the finished effect. Each calculation pass is an iteration.
As a surface is calculated, each iteration adds to the number of dents and the complexity and
randomness of the final surface (dents become dented).
The Dent texture requires heavy calculation, especially at higher iterations. This can slow down
rendering time considerably.

Dent Map
Iterations=1, 3, and 6
Size=500, Strength=20
The three spheres have uniform settings for size and strength. Only the number of iterations varies.
SwapReverses the position of colors or maps.
ColorsAllows choice of two colors where appropriate for a color component (such as Diffuse).
Defaults=black for Color #1 and white for Color #2.
Dent can create patterns in an object's color as well as its surface. By using Dent as a diffuse color
map, the entire surface is affected.
Iterations=2
Two colors are mixed to produce a random pattern, governed by size, strength, and iteration
settings. The default colors are black and white, but either can be replaced or swapped.
Left sphere: Sets the color to black and white.
Middle sphere: Replaces white with red.
Right sphere: Swap black and red.
By adjusting Strength, Size, and Iterations parameters, you vary the Dent patterns on a diffuse color
map.
Size sets the density of the dent pattern. At low settings, the pattern is dense. As Size increases
with other settings held constant, the pattern becomes increasingly sparse.
Strength sets the color strength in the dent pattern. At low settings, Color #1 (black) dominates
the pattern. As Strength increases, Color #2 (white) replaces Color #1.
Iterations sets the color iterations in the dent pattern. At low settings, Color #1 is dominant. As
iterations increase, Color #2 gradually increases in the pattern.
Dent is applied as a diffuse map in the following examples. Colors are default black and white.

Dent Map
Size=100, 500, and 1000

Strength=20, Iterations=2
Color #1, #2=black, white (defaults)
Strength=20, 50, and 100

Iterations=2, 4, and 8
MapsReplaces colors with maps in the dent pattern. The check boxes enable or disable their
associated map.
You can assign maps to one or both of the Dent color slots. Any kind of map can be used, including
Dent. The map overrides the assigned color, which has no effect.
In the three spheres below, the assigned colors are progressively replaced with maps. Parameters of
the original Dent map are the same for all spheres.
Size=500, Strength=60, Iterations=2

Left sphere: Applies Dent as a diffuse map. Color #1 is black; Color #2 is red.
Middle sphere: Replaces black with Dent map (all defaults).
Right sphere: Replaces red with Marble map (all defaults).
Comments

Falloff Map
Falloff Map
Material Editor > Maps rollout > Click a Map button. > Material/Map Browser > Falloff
Falloff map creates the appearance of translucency.
The Falloff map generates a value from white to black, based on the angular falloff of the face
normals on the surface of the geometry. The direction used to specify the angular falloff varies,
depending on the methods you choose. However, with the default settings, the map generates white
on faces whose normals point outward from the current view, and black on faces whose normals are
parallel to the current view.
Falloff map provides a greater variety of opacity falloff effects than those in the Falloff settings in a
standard material's Extended Parameters rollout. You assign the Falloff map as an opacity map.
However, you can also use Falloff for special effects, such as an iridescent look.
Note: When old files that use Falloff maps are brought into 3ds max, the old Falloff interface is
displayed, replacing the new Falloff interface.
See also
For functionality shared with other 3D maps, see Output Rollout
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Falloff Map
Procedure
To control opacity using a Falloff map:
1. Assign the Falloff map as an opacity map.
2. Render to see the effect.
3. Adjust the falloff parameters to vary the effect.
Interface
Falloff Parameters rollout
Front : SideBy default, "Front : Side" is the name of the group at the top of this rollout. Front :
Side indicates Perpendicular/Parallel falloff. This name changes depending on the falloff type
selected. In all cases, the name on the left refers to the top set of controls, and the name on the
right to the bottom set.
Click the color swatches to assign colors.
Use the spinners to adjust the relative strength of the colors.
Click the buttons marked None to assign maps.

Falloff Map
Turn on the check boxes to activate the maps (otherwise the colors are used).
Click Swap Colors/Maps (the curved arrow) to reverse the assignments.
Falloff TypeChooses the kind of falloff. There are five options:

Perpendicular/ParallelSets the angular falloff ranges between face normals that are
perpendicular to the falloff direction and normals that are parallel to the falloff direction. The falloff
range is based on a 90-degree change in face normal direction. (Default.)
Towards/AwaySets the angular falloff ranges between face normals that face toward (parallel to)
the falloff direction and normals that face away from the falloff direction. The falloff range is based
on a 180-degree change in face normal direction.
FresnelBased on adjustments to the Index of Refraction (IOR). Results in dim reflections on
surfaces facing the view, with much brighter reflections on angled faces, creating highlights like
those on the sides of a glass.
Shadow/LightAdjusts between two subtextures based on how much light is falling on the object.
Distance BlendAdjusts between two subtextures based on Near Distance and Far Distance
values. Uses include reducing aliasing on large terrain objects and controlling the shading in non-
photorealistic environments.
Falloff DirectionChooses the direction of falloff. There are five options:
Viewing Direction (Camera Z-Axis)Sets the falloff direction relative to the camera (or screen).
Changing object orientation doesn't affect the falloff map. (Default.)
Camera X/Y AxisSimilar to Camera Z-Axis. For example, using Camera X-Axis with the Toward/
Away falloff type runs the gradient from left (Toward) to right (Away).
ObjectPicks an object whose orientation determines the falloff direction. Click Pick, and then pick
an object in the scene. The falloff direction is the direction from the point being shaded toward the
object's center. Points on the side toward the object center get the Towards value, and those away
from the object get the Away value.
Local X/Y/Z AxisSets the falloff direction to one of the object's local axes. Changing the
orientation of the object changes the falloff direction.
When no object is chosen, the falloff direction uses the local X, Y, or Z axis of the object being
shaded.
World X/Y/Z AxisSets the falloff direction to one of the world coordinate system axes. Changing
object orientation doesn't affect the falloff map.
Mode Specific Parameters group
The following are parameters for the Object falloff type:

ObjectPicks object from scene and puts its name on the button.
The following are parameters for the Fresnel falloff type:

Falloff Map
Override Material IORAllows change to the Index of Refraction set by the material.
Index of RefractionSets a new Index of Refraction. This option is grayed out unless Override
Material IOR is turned on.
The following are parameters for the Distance Blend falloff type:
Near DistanceSets the distance at which the blend effect begins.
Far DistanceSets the distance at which the blend effect ends.
ExtrapolateAllows the effect to continue beyond the Near and Far settings.
Mix Curve rollout
Using the graph on the Mix Curve rollout, you can precisely control the gradient produced by any
falloff type. You see the resulting gradient in the bar below the graph.
Move flyout
Moves a selected point in any direction, limited by the unselected points on either side.
Constrains movement to the horizontal.
Constrains movement to the vertical.
Scale PointScales the selected point within the range of its gradient. On a Bezier corner
point, this control is effectively the same as a vertical move. On a Bezier smooth point, you can scale
the point itself or either handle. As with the move controls, scale is limited by the unselected points
on either side.
Add Point flyout

Falloff Map
Adds a Bezier corner point anywhere on the graph line. The point makes a sharp angle when
moved.
Adds a Bezier smooth point anywhere on the graph line. Handles attached to the point create
smooth curves when moved. On a Bezier smooth point, you can move the point or either handle.
Delete PointRemoves selected points.
Reset CurvesReturns graph to its default, a straight line between 0 and 1.
Comments

Material Editor > Standard material > Extended Parameters rollout
The Extended Parameters rollout is the same for all shading types of Standard material. It has
controls related to transparency and reflection, as well as options for Wire mode.
This topic contains tables of the Index of Refraction for some common physical materials. These can
be used to create Standard materials with realistic transparency.
Additive Opacity and the Alpha Channel
By default, additive opacity does not generate an alpha value. In other words, the alpha value is
zero, indicating no transparency. This gives correct results with backgrounds in renderings, but if
you want to composite objects with additive opacity using video post or a different compositing
program, you might want to have additive opacity render with transparency. To do so, add the
following line to the [Renderer] section of the 3dsmax.ini file, and then restart 3ds max:
AlphaOutOnAdditive=1
To revert to the default method of rendering additive opacity, in the 3dsmax.ini file, change the
value of AlphaOutOnAdditive back to 0 (zero), and then restart 3ds max.
Interface
Advanced Transparency group
These controls affect the opacity falloff of a transparent material.

Note: For the Translucent shader, these controls do not appear. They are replaced by the
Translucency controls on the Basic Parameters rollout.
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FalloffChooses whether falloff is in or out, and how great it is.
InIncreases transparency toward the inside of the object, as in a glass bottle.
OutIncreases transparency toward the outside of the object, as in a cloud of smoke.
Amt (Amount)Specifies the amount of transparency at the outside or inside extreme.

TypeThese controls choose how transparency is applied.
Filter computes a filter color that it multiplies by the color behind the transparent surface. Click
the color swatch to change the filter color. Click the button to assign a map to the filter color
component.
The filter, or transmissive color, is the color transmitted through transparent or semi-transparent
materials such as glass. You can use the filter color with volumetric lighting to create effects such
as colored light through a stained-glass window. Ray-traced shadows cast by transparent objects
are tinted with the filter color.
A shadow's color is changed with a red filter color.
Subtractive subtracts from the color behind the transparent surface.
Additive adds to the color behind the transparent surface.
Index of RefractionSets the index of refraction (IOR) used by refraction maps and raytracing.
The IOR controls how severely the material refracts transmitted light. Left at 1.0, the IOR of air, the
object behind the transparent object does not distort. At 1.5 the object behind distorts greatly, like a
glass marble. At an IOR slightly less than 1.0, the object reflects along its edges, like a bubble seen

from under water. Default=1.0.

Material IOR Value
Air 1.0003
Water 1.333
Glass 1.5 to 1.7
Diamond 2.419
material and the medium the eye or the camera is in. Typically this is related to the object's density;
the higher the IOR, the denser the object.
You can also use a map to control the index of refraction. IOR maps always interpolate between 1.0
(the IOR of air) and the setting in the IOR parameter. For example, if the IOR is set to 3.55 and you
use a black-and-white Noise map to control IOR, the IORs rendered on the object will be set to
values between 1.0 and 3.55; the object will appear denser than air. If, on the other hand, your IOR
is set to 0.5, then the same map values will render between 0.5 and 1.0, as if the camera were
under water and the object was less dense than the water.
Material IOR Value
Ice 1.309
Acetone 1.360
Ethyl Alcohol 1.360
Alcohol 1.329
Flourite 1.434
Quartz, Fused 1.460
Calspar2 1.486
Glass 1.500
Glass, Crown 1.520

Polystyrene 1.550
Quartz 2 1.553
Emerald 1.570
Lapis Lazuli 1.610
Topaz 1.610
Quartz 1 1.644
Ruby 1.770
Sapphire 1.770
Crystal 2.000
Diamond 2.417
Copper Oxide 2.705
Wire group
SizeSets the size of the wire in wireframe mode. You can set either pixels or current units.
InChooses how to measure wire.
Pixels(The default.) Measures wire in pixels. With pixels, wires maintain the same apparent
thickness regardless of the scale of the geometry or how near or far the object is positioned.
UnitsMeasures wire in 3ds max units. With units, the wires appear thinner at a distance and
thicker at close range, as if they were modeled in the geometry.
Reflection Dimming group
These controls dim reflection maps that are in shadow.

Reflection dimming
Above: None
Below: 1.0 (100%)
ApplyTurn on to use reflection dimming. When off, the reflection-mapped material is not affected
by the presence or absence of direct light. Default=off.
Dim LevelThe amount of dimming that takes place in shadow. At 0.0, the reflection map is
completely dark in shadow. At 0.5, the reflection map is half dimmed. At 1.0, the reflection map is
not dimmed and the material appears as if Apply were turned off. Default=0.0.
Dim Level values less than 1.0 affect reflections in areas that are directly lit, as well. Use the second
value, Reflection Level, to compensate for this effect.
Refl. LevelAffects the intensity of the reflection that is not in shadow. The Reflection Level value
multiplies the illumination level of the lit area of the reflection, to compensate for dimming. In most
cases, the default value of 3.0 keeps the reflection in the lit area at about the same level it would
appear if reflection dimming were not on.
Comments

Opacity Falloff
Glossary
Opacity Falloff
Real transparent surfaces vary their opacity, depending on the angle of the material to your point of
view. For example, a bottle appears more transparent at its center than at its edge because you're
looking through more glass at its edge.
In the Extended Parameters rollout, you can specify the falloff of the transparency, based on the
angle of the face normals to the view. If a face is perpendicular to the viewer, the angle of its normal
is 0 degrees. If the face is edge-on to the viewer, its normal angle is 90 degrees.
Falloff is either inward or outward:
InTransparency increases as the normal angle approaches 0 degrees and decreases as the angle
approaches 90 degrees. This gives the appearance of a hollow object such as a glass ball or bottle.
Inward opacity falloff

Top: None
Bottom: 100%
OutTransparency increases as the normal angle approaches 90 degrees and decreases as the
angle approaches 0 degrees. This gives the appearance of a solid object such as a cloudy glass
marble.
Outward opacity falloff

Top: None
Bottom: 100%
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Opacity Falloff
The falloff amount never makes the object less opaque than the value of the Opacity spinner. For
example, if Opacity were set to 50, and Falloff set to In, the inner portions would remain at 50
percent opacity, and the Amt. spinner would change the outer edges, until they became opaque at
100.
Comments
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Translucent Shader
Translucent Shader
Material Editor > Standard material > Shader Basic Parameters rollout > Translucent shader >
Translucent Basic Parameters rollout
The bust on the right has been made translucent.
Translucent shading is similar to Blinn shading, but it also lets you specify translucency. A
translucent object allows light to pass through, and also scatters light within the object. You can use
translucency to simulate frosted and etched glass.
Translucency is inherently a two-sided effect: with the translucent shader, backface illumination
appears on front faces. To generate translucency, both sides of the material receive diffuse light,
though only one side is visible in renderings and shaded viewports unless you turn on 2-Sided (in
the Shader Basic Parameters rollout).
If you use radiosity, it will process light transmitted by translucency. The accuracy of this depends
on the mesh: the more subdivided the faces are, the more accurate the solution will be (at a cost of
processing time).
For specular highlights, you have a choice: to model materials like translucent plastic, you can
choose to have highlights on both sides; to model materials like frosted glass, which is reflective on
one side only, you can choose to have highlights on only one side. This is controlled by the Backside
Specular toggle in the translucent highlight controls.
Tip: To simulate frosted glass, a fine-grained bump map can also help.
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Translucent Shader
The translucent effect appears only in renderings. It does not appear in shaded viewports.
Note: The translucent shader does not simulate the scattering of light within the object. Because of
this, it is better at simulating thin objects such as glass or paper, than at thick objects. For thicker
objects, the light passing through might saturate excessively. To avoid this, try reducing the HSV
Value of the material's Translucent Color.
Translucent materials also capture shadows cast on the backfaces of the material. However, because
the translucent shader doesn't scatter light, for thicker objects the effect is not an accurate
simulation of real-world translucency.
Warning: Do not use shadow maps with the translucent shader. Shadow maps result in
artifacts at the edge of translucent objects.
See also

Translucency Setting
Translucent Highlights
Comments
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Color Controls
Color Controls
Material Editor > Standard material > Anisotropic, Blinn, Metal, Multi-Layer, Oren-Nayar-Blinn, or
Phong Basic Parameters rollout > First group in the rollout (unlabeled)
Color controls set the colors for different color components. You can set the color by clicking the
color swatch to display the Color Selector.
Note: The Metal shader does not have a Specular component, because it generates the specular
color automatically. The Multi-Layer shader can have two different Specular color components, so for
this material the Specular color swatches are found in the Specular Highlights group. The Strauss
shader has only a single color component, which corresponds to Diffuse.
1. Specular color
2. Diffuse color
3. Ambient color
Procedures
To change a color component:
1. Click the color swatch next to the color component you want to change.
The Material Editor displays a Color Selector.
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Color Controls
Right-clicking the color swatch also displays the Color Selector.
2. Use the Color Selector to change the values of the color component.
As you change color values, the color component also changes in the sample slot.
To copy one color component to another:
1. Drag the color swatch of the color you want to copy to the color swatch of the other color
component.
A Copy or Swap Colors dialog is displayed.
2. Click Copy to replace the second color swatch with the color you dragged. Click Swap to swap
the two color components.
To lock two color components:
1. Click the lock button between Ambient and Diffuse or between Diffuse and Specular.
The Material Editor displays an alert that asks whether you want to lock the two color
components.
2. Click Yes.
The color above replaces the color below. In other words, Ambient replaces Diffuse and Diffuse
replaces Specular.
If two colors are locked, and you lock the other two, all three component colors are replaced by
the active color.
While two colors are locked, adjustments to one color component affect the other as well.
To unlock two color components:
Click the lock button to turn it off.

The two colors remain the same until you change one of them, or both.
Interface
AmbientControls the ambient color. The ambient color is the color in shadow (indirect light).

Color Controls
DiffuseControls the diffuse color. The diffuse color is the color in direct light.
SpecularControls the specular color. The specular color is the color of the highlight on a shiny
object. You can control the size and shape of highlights in the Specular Highlights group, described
below.
Copying and Locking Color Components
For convenience in changing color components, the Material Editor lets you copy one color
component to another by dragging, and to lock two color components together with the lock buttons
to the left of the Ambient and Diffuse, and Diffuse and Specular color swatches.
When you drag and drop a color swatch, the Copy or Swap Colors dialog asks if you want to copy
the color or swap the two colors.
In general, materials with two identical color components do not look realistic, and except for
materials that are close to solid black, you should avoid using copied or locked color components in
materials you use in a scene. Color copying and locking are best used as conveniences when you
design a new basic material.
Shortcut Map Buttons
The small buttons to the right of the color swatches access the Material/Map Browser, where you
select a map for that component. These buttons are shortcuts: you can also use the corresponding
buttons in the Maps rollout If you have assigned a map to one of these color components, the button
displays the letter M. An uppercase M means that the corresponding map is assigned and active. A
lowercase m means that the map is assigned and inactive (turned off).
The lock button to the right of the Diffuse map button locks Ambient mapping to Diffuse
mapping. It is on by default. Usually it makes sense to use the same map for the ambient and
diffuse components. To use different maps for ambient and diffuse, turn off the lock button. A map
shortcut button for Ambient appears.
Comments

Copy or Swap Colors Dialog
Copy or Swap Colors Dialog
Material Editor > Basic Parameters rollout or Extended Parameters rollout or both > Drag one
color swatch to another.
The Copy or Swap Colors dialog is displayed when you copy a color by dragging and dropping a color
swatch. It gives you the choice of copying the color or swapping the colors, trading one for the
other.
Interface
SwapSwaps the colors.

CopyCopies the color you dragged.
Comments
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Ambient Color
Glossary
Ambient Color
Ambient color is the color of an object where it is in shadow. This color is what the object reflects
when illuminated by ambient light rather than direct light.
Ambient color areas in the scene will not appear any darker than the ambient light setting.
You can lock a material's ambient color to its diffuse color so that changing one automatically
changes the other.
Comments
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Specular Color
Glossary
Specular Color
Changing specular color tints highlights on the shiny surface of the spacecraft.
Specular color is the color of highlights on a shiny surface. The highlights are reflections of the lights
that illuminate the surface. For a naturalistic effect, set the specular color to the same color as the
key light source, or make it a high-value, low-saturation version of the diffuse color.
In 3ds max, you can set the specular color to match the diffuse color. This gives a matte effect,
making the material appear less shiny.
Matching specular color to the diffuse color makes the surface less shiny.
Comments
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Material Editor > Material/Map Navigator
The Material/Map Navigator is a modeless dialog that provides quick navigation through the
hierarchy of maps in a material, or of sub-materials in a compound material.
The Navigator displays the material and maps in the currently active sample slot. You can navigate
the hierarchy of the current material by clicking the material or map listed in the Navigator.
Conversely, as you navigate the material in the Material Editor, the current level is highlighted in the
Navigator. The selected material or map becomes active in the sample slot, while the rollouts for the
selected material or map are displayed below.
You can also drag from the Navigator to any valid sample slot or button in the user interface.
Use the view buttons at the top to change the display. The list displayed in the Navigator is similar
to the one displayed in the Track View hierarchy.
See also
Interface
These are the view buttons:
View ListDisplays the materials and maps in list format. Blue spheres are materials. Green
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parallelograms are maps. The green parallelograms turn red if Show Map in Viewport is turned on for
a material.
View List + IconsDisplays the materials and maps as small icons in a list.
View Small IconsDisplays the materials and maps as small icons. As you move the mouse
over the icons, tooltip labels show you the name of the material or map.
View Large IconsDisplays the materials and maps as large icons. As you move the mouse
over the icons, tooltip labels show you the name of the material or map.
The large icons are labeled with the name of the material or map and are displayed using
progressive refinement. That is, samples are rendered quickly, with large pixels, then rendered a
second time in greater detail.
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Compound Materials
Glossary
Compound Materials
House on right uses a compound material.

(House on left uses the default standard material).
Compound (or complex) materials let you create a material consisting of two or more sub-materials.
The real power in using compound materials is that each sub-material can be as complex as any
standard material.
The Multi/Sub-Object compound material lets you assign different materials to different sub-objects,
at the sub-object level of your geometry.
You load or create compound materials using the Material/Map Browser.
Comments
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Material Editor > Standard material > Shader Basic Parameters rollout > Translucent shader >
Translucent Basic Parameters rollout > Translucency group
The translucency controls are available for the Translucent shader.

Warning: Do not use shadow maps with the translucent shader. Shadow maps result in
artifacts at the edge of translucent objects.
Procedure
To make a material translucent:
Increase the HSV Value (V) of the Translucent Color.

As the Value increases, the material becomes more translucent. The Hue of the Translucent Color
tints the light that is scattered within the material.
Translucent materials render more realistically when you turn on 2-Sided in the material's Shader
Basic Parameters. The translucent effect does not appear in shaded viewports.
Example of translucency
Interface
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Translucent Clr (Color)Specifies a translucency color. This is the color of light that is scattered
within the material. It does not need to be the same as the filter color, which is light transmitted by
the material. The two color values are multiplied. Click the color swatch to change the translucent
color. Click the button to assign a map to the translucent color component.
Filter ColorSpecifies a filter color that is multiplied by the translucent color. Click the color swatch
to change the filter color. Click the button to assign a map to the filter color component.
materials such as glass. You can use the filter color with volumetric lighting to create effects such as
colored light through a stained-glass window. Ray-traced shadows cast by transparent objects are
tinted with the filter color.
previewed against a pattern background in the sample slot.
Comments
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Filter Color / Filter Opacity
Glossary
Filter Color / Filter Opacity
Sphere on the right has a light green opacity filter color.
Filter opacity tints the colors behind the material using a specified transmission color.
Filter opacity is the default system, because it provides a more realistic transparency effect. When
the Filter option is set in the Extended Parameters rollout, the color used by the Filter Color swatch
tints the transparency of the material.
In life, a transparent material, such as colored glass, affects the colors behind it not by the diffuse or
ambient colors (which are reflected colors), but by the transmission color.
The transmission color is that property of a substance that filters certain colors, and allows others to
pass. For example, a sheet of red cellophane is a filter that blocks all light not in the red wavelength
of the spectrum. By using filter opacity, you can specify a transmission color and achieve strong,
saturated colors, no matter how transparent the material.
Comments
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Opacity
Opacity
Phong Basic Parameters rollout > Opacity group (unlabeled)
Opacity controls whether a material is opaque, transparent, or translucent. (A more physically

accurate way to generate translucency is to use the Translucent shader.)
Controlling opacity using the Opacity setting (left) or an opacity map (right).
Procedure
To reduce a material's opacity:
Change Opacity to a value less than 100%.

The material becomes more transparent. An object that is fully transparent (0% Opacity) is nearly
invisible except for the light it reflects (the specular highlights).
To preview transparency in the sample slots, view the sample object against a background. Click
the checkered Background button to the right of the sample slots.
Transparent materials render more realistically when you turn on 2-Sided in the material's Shader
Basic Parameters.
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Opacity
Interface

previewed against a pattern background in the sample slot. You can control opacity falloff in the
Extended Parameters.
Comments
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Opacity Mapping
Opacity Mapping
Material Editor > Standard material > Maps rollout > Opacity button
The gray levels of an opacity map determine the amount of opacity.
You can select a bitmap file or procedural map to make an object partially transparent. Lighter
(higher-value) areas of the map render as opaque; darker areas render as transparent; and values
in between are semi-transparent.
Setting the opacity map's Amount to 100 applies all of the map. Transparent areas are fully
transparent. Setting the Amount to 0 is the equivalent of turning the map off. Intermediate Amount
values are blended with the Opacity value on the Basic Parameters rollout. Transparent areas of the
map become more opaque.
Specular highlights are applied to transparent areas of the opacity map, as well as to opaque areas,
creating the effect of glass. If you want the transparent areas to look like holes, map the specular
level as well.
Procedure
To map the opacity value:
1. Click the Map button for Opacity.
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Opacity Mapping
Comments
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Glossiness Mapping
Glossiness Mapping
Material Editor > Standard material > Maps rollout > Glossiness button
An object with glossiness mapping. The sea appears more reflective than the land.
You can select a bitmap file or procedural map that affects where specular highlights appear. A map
assigned to glossiness determines which areas of the whole surface are more glossy and which areas
are less glossy, depending on the intensity of colors in the map. Black pixels in the map produce full
glossiness. White pixels remove glossiness completely, and intermediate values reduce the size of
the highlight.
Mapping the glossiness component is different from mapping specular color. Mapping glossiness
alters the location of highlights, while specular mapping alters the color of highlights.
Glossiness mapping usually works best when you assign the same map to both Glossiness and
Specular Level. (In the Maps rollout, you can do this by dragging from one map button to the other.)
(Glossiness was known as Shininess prior to 3ds max 3.)
Procedure
To map the glossiness value:
1. Click the Map button for the Glossiness value.
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Glossiness Mapping
Comments
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Material Editor > Standard material > Translucent Basic Parameters rollout > Specular Highlight
group
Like the Blinn shader, the Translucent shader has circular highlights.
Procedures

there is no highlight. At values greater than 100%, the curve is overloaded: it grows wider, and a
wider area is at the maximum highlight intensity. At 100% specular level, the curve is at its
maximum height with no overloading.

The width of the Highlight curve and the highlight in the preview change. At 0% glossiness, the
Interface
Click the map button next to the spinner to assign a map to the specular level component. See
Specular Level Mapping. This button is a shortcut: you can also assign specular level mapping in the
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Maps rollout.
Click the map button next to the spinner to assign a map to the glossiness component. See
Glossiness Mapping. This button is a shortcut: you can also assign specular level mapping in the
Maps rollout.
Backside specularWhen on, both sides of the material receive a specular highlight. When off,
only the front side of the material receives a highlight. Default=on.
Leave Backside Specular turned on to model materials like translucent plastic. Turn it off to model
materials like frosted glass.
Tip: When Backside Specular is turned off, the front side is always the one that receives a specular
highlight. You can change this by reversing the normals of surfaces that have the translucent-shaded
material.
Comments
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Subtractive Opacity
Glossary
Subtractive Opacity
Sphere on the right uses subtractive opacity.
Subtractive opacity darkens colors behind the material by subtracting the material's colors from the
background colors.
If you simply want to reduce the apparent opacity of a material, while maintaining the color values
of its diffuse (or mapped) properties, use subtractive opacity.
Comments
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Additive
Glossary
Additive
An additive process adds two values together, such as two colors. When you add colors in 3ds max,
the result is brighter than either of the two original colors.
Additive Opacity
Sphere on the right uses additive opacity.
Additive opacity brightens the colors behind the material by adding the material's colors to the
background colors. Additive opacity is good for special effects such as light beams or smoke. You
specify the use of additive opacity on the Extended Parameters rollout.
Additive Opacity and the Alpha Channel
By default, additive opacity does not generate an alpha value. In other words, the alpha value is
zero, indicating no transparency. This gives correct results with backgrounds in renderings, but if
you want to composite objects with additive opacity using video post or a different program, you
might want to have additive opacity render with transparency. To do so, add the following line to the
[Renderer] section of the 3dsmax.ini file, and then restart 3ds max:
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Additive
AlphaOutOnAdditive=1
To revert to the default method of rendering additive opacity, in the 3dsmax.ini file, change the
value of AlphaOutOnAdditive back to 0 (zero), and then restart 3ds max.
See Also
Subtractive
Comments
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Marble Map
Marble Map
Material Editor > Maps rollout > Click a Map button. > Material/Map Browser > Marble
Marble map used for the balusters
The Marble map produces a marbled surface with colored veins against a colored background. A
third color is automatically generated.
Note: Another way to create marble is to use the Perlin Marble Map.
See also
For functionality shared with other 3D maps, see Coordinates Rollout (3D).
Procedures
To create a Marble map:
2. Choose Marble in the Material/Map Browser, and then click OK.
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Marble Map
To adjust the size of Marble veins:
In the Marble Parameters rollout, change the Size value to change the overall scale of the vein
pattern, and change Vein Width to change the width of veins relative to the overall scale.
The larger the Size value, the wider the veins. The larger the Vein Width value, the more veins
appear relative to the overall pattern.
To change vein color:
1. In the Marble Parameters rollout, click a color swatch to display the Color Selector.
3. Click Close to dismiss the dialog.
To use a map for a vein:
In the Marble Parameters rollout, click a map button to assign a map to a color.
To swap the two vein colors:
In the Marble Parameters rollout, click Swap.
To adjust mapping coordinates:
In the Coordinates rollout, adjust Offset, Tiling, or Angle.
Interface
SizeSets the spacing between the veins.

Vein WidthSets the width of the veins.
SwapSwitches the position of the two colors or maps.
Color # 1 and Color # 2Displays the Color Selector. Select one color for the veins (color 1) and
another for the background (color 2). A third color is generated from the two colors you select.
MapsSelects the bitmaps or procedural maps to appear in the veins or in the background color.

Marble Map
Turn on the check boxes to make the maps active.
Comments

Perlin Marble Map
Perlin Marble Map
Material Editor > Maps rollout > Click a Map button. > Material/Map Browser > Perlin Marble
Perlin marble used for the texture of the goblet
The Perlin Marble map generates a marble pattern using the Perline Turbulence algorithm. This map
is an alternative to Marble, which is also a 3D material.
See also
Interface
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Perlin Marble Map
SizeSets the size of the marble pattern. Change this to change the scale of marble, relative to the
object's geometry. Default=50.
LevelsSets the number of times the turbulence algorithm is applied. Can range from 1.0 to 10.0.
The higher the value, the more complicated the marble pattern. Default=8.0.
Color 1 and Color 2 groups
The controls in these groups are identical. They determine the two main colors of the marble.
Color swatchClick to display the Color Selector. and change the color.
MapClick to assign a map instead of a solid color. The check box turns the map on or off.
SaturationControls the saturation of the color in the map, without altering the color displayed in
the color swatch. Lower values darken the color, and higher values lighten it. Range=1 to 100;
Default=85 for Color 1, 70 for Color 2.
SwapClick to swap Color 1 and Color 2.
Comments
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Noise Map
Noise Map
Material Editor > Maps rollout > Click a Map button. > Material/Map Browser > Noise
Noise map used for the edges of the street
The Noise map creates random perturbation of a surface based on the interaction of two colors or
materials.
See also
Output Rollout
Procedures
To change a component color:
1. In the Noise Parameters rollout, click a color swatch to display the Color Selector.
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Noise Map
3. Click OK to dismiss the dialog.
To use a map for a component:
In the Noise Parameters rollout, click a map button to assign a map to a color.
To swap the two component colors:
In the Noise Parameters rollout, click Swap.
To adjust mapping coordinates:
In the Coordinates rollout, adjust Offset, Tiling, or Angle.
Interface
Note: For the Noise map, the tiling and mirroring controls are disabled in the Texture Tiling And
Output rollout.
Noise Type
RegularGenerates plain noise. Basically the same as fractal noise with the Levels setting at 1.
When the noise type is set to Regular, the Levels spinner is inactive (because Regular is not a
fractal function).
FractalGenerates noise using a fractal algorithm. The Levels option sets the number of
iterations for the fractal noise.
lines.

Noise Map
Regular, Fractal, Turbulence
SizeSets the scale of the noise function.

Noise ThresholdWhen the noise value is above the Low threshold and below the High threshold,
the dynamic range is stretched to fill 0-1. This creates a smaller discontinuity (technically, 1st order
instead of 0 order) at the threshold transition and produces less potential aliasing.
LevelsDetermines how much fractal energy is used for the Fractal and Turbulence noise functions.
You can set the exact amount of turbulence you want, and also animate the number of fractal levels.
PhaseControls the speed of the animation of the noise function. Use this option to animate the
noise function.
SwapSwitches the position of the two colors or maps.
Color # 1 and Color # 2Display the Color Selector so you can choose one or the other of the two
principal noise colors. Intermediate color values are generated from the two colors you select.
MapsSelect the bitmaps or procedural maps to appear in one or the other noise color.
Turn on the check boxes to make the maps active.
Comments

Particle Age Map
Particle Age Map
Material Editor > Maps rollout > Click a Map button. > Material/Map Browser > Particle Age
Particle age changes the appearance of particles over time.
The Particle Age map is for use with particle systems. Typically you assign the Particle Age map as a
Diffuse map, or in Particle Flow with the Material Dynamic operator. It alters the color (or map) of a
particle based on the particle's life. The particles in a system begin as one color. At a specified age,
they begin changing (by interpolation) to a second color, and then they change again to a third color
before they die out.
Tip: This map works well with the Particle MBlur map. For example, you could assign Particle Age as
a diffuse map and Particle MBlur as an Opacity map. Another way to use Particle Age is in the mask
channel of a Blend material. In this case, you could set up two of the colors to white, and one to
black, which would make the particles change materials over their age. In addition, you could set up
one of the two materials with an effects channel and use a Glow filter on it through Video Post.
See also
For functionality shared with other 3D maps, see Output Rollout.
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Particle Age Map
Interface
Color #1Sets the color of a particle at its birth.

Click the button to the right of the color swatch to assign a map instead of a solid color. The check
box turns the map on or off.
Age #1Sets the age where a particle starts changing from Color #1 to Color #2, expressed as a
percentage of the particle's entire life.
Color #2Sets the color of a particle in mid-life. You can also assign a map to this color.
Age #2Sets the age where a particle's color equals Color #2, expressed as a percentage of the
particle's entire life.
Color #3Sets the color of a particle at its death. You can also assign a map to this color.
Age #3Sets the age where a particle changes to Color #3, expressed as a percentage of the
particle's entire life.
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Material Editor > Standard material > Maps rollout > Diffuse button (or Color button for the
Strauss shader)
Applying a texture by mapping the diffuse color
You can select a bitmap file or procedural map to assign a pattern or texture to a material's diffuse
color. The colors of the map replace the material's diffuse color component. This is the most
common kind of mapping.
Mapping the diffuse color is like painting an image on the surface of the object. For example, if you
want a wall to be made out of brick, you can choose a map with an image of bricks, such as Bricks.
By default, diffuse mapping applies the same map to the ambient color as well. You seldom need to
use a different map for diffuse and ambient components.
It isn't strictly necessary to lock the ambient and diffuse maps. By turning the lock off and using a
different map for each component, you can obtain interesting blend effects. But in general, the
purpose of diffuse mapping is to simulate a single surface that is more complex than a basic
material, and for this purpose the lock should be on.
Procedure
To map the diffuse color:
1. Make sure the ambient and diffuse components have their maps locked. This button is to the
right of the map shortcut buttons for Ambient and Diffuse on the Basic Parameters rollout, and
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on the Maps rollout in a similar position. It is on by default. When it is on, the map button for
the ambient color component is unavailable.
2. Click the Map button for Diffuse color.

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Flare Glow Parameters
Rendering menu > Video Post > Video Post toolbar > Add Image Filter Event > Choose Lens
Effects Flare from Filter Plug-In list. > Setup > Glow tab
The glow of a lens flare is centered around the source object of the flare. The parameters on the
Glow panel let you control each aspect of the glow.
Interface
SizeSpecifies the diameter of the glow of the lens flare as a percentage of the overall size of the
frame. This value is separate from the overall size value set in the Flare Properties. This parameter
can be animated.
HueSpecifies the gradation of color for the glow. Clicking the green arrow button lets you animate
this control. This parameter can be animated.
Hide Behind GeometryPlaces the glow behind the geometric forms.
GradientsUse radial, circular, transparency, and size gradients. Glow gradients are subtler than
flare gradients, because they are glowing an area larger than a pixel.
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Lens Effects Flare Filter
Rendering menu > Video Post > Video Post toolbar > Add Image Filter Event > Choose Lens Effects Flare from Filter Plug-In list. >
Setup
The Lens Effects Flare dialog lets you add lens flare effects as a post process to rendering. Flares are usually applied to lights in your
scene. The lens flare will then be generated around that object. You can control all aspects of the lens flare in the Lens Effects Flare
dialog.
Procedure
To save your flare settings, do one of the following:

You can save all of your lens flare settings to a file, so you can reload them any time. Lens Effects Flare files are saved to an LZF file (.
lzf).
Click the Reset button.

This resets Lens Effects Flare to its default settings.
Click the Load button.

This displays a Windows-standard file open dialog from which you can select the settings file you want to load.
Click the Save button.

This displays a Windows-standard Save As dialog in which you specify a directory and filename.
Interface
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Preview group
The large black window in the left corner is the main preview window. To the right of this window are smaller preview windows for each
part of the flare. You can generate continual previews by clicking the Preview button under the main preview window.
There are nine Lens Effects Flare preview windows. The main preview window in the upper left corner of the Lens Effects dialog shows
you the complete scene. The eight smaller preview windows in the upper right corner show the individual parts of the lens flare. Each
small preview window has a check box below the window to display the flare effect.
You might notice that an individual part of the lens flare effect might not appear as bright in the smaller preview windows, compared to
the main preview. This is because the brightness of a lens flare in the main preview is a result of combining the brightness of multiple
effects, the total brightness being greater than a single part.
All of the preview windows are multi-threaded to increase redraw speed and take advantage of multi-processor systems. When you
make an adjustment to a lens flare property and the preview window is active, the preview updates automatically. A white line at the
bottom of the main preview window indicates that it is updating a change made within the lens flare dialog.
PreviewWhen you click the Preview button, the window displays your flare in the upper left corner if your flare has automatic or
manual secondary elements. If your flare does not contain these elements, the flare is centered in the preview window. If the VP Queue
button is not on, the preview displays a generic flare to which you can make adjustments. Each time you change a setting, the preview
automatically updates. A white line appears at the bottom of the preview window to indicate the preview is updating.
UpdateRedraws the entire Main Preview window, as well as the smaller windows each time you click this button. This function is
critical when you need to view changes you have made in the Video Post queue, such as moving the Time Slider to a different frame,
changing your geometry or a light, or changing another filter that precedes the current one in the Video Post queue. The VP Queue
button must be on to preview the contents of the Video Post queue. In this case, clicking the Update button causes a small dialog to
appear, with an indicator showing the progress of the update.
VP QueueDisplays the contents of the Video Post queue in the main preview window. The Preview button must also be turned on.
Rather than having to test render every time you want to see the result of the effect in the scene, VP Queue displays a final composite,
combining the effect you are editing with the contents of the Video Post queue.
Note: If you leave the Preview and VP Queue buttons active when you exit Lens Effects Flare, it will take several seconds to re-render
the scene in the main preview window the next time you start Lens Effects Flare.
The view in the main preview window also depends upon which lens flare options you have set in the Preferences panel.
Lens Flare Properties group
Specifies global settings for the flare, such as the source for the flare(s), the size, seed number, rotation, and so on.
SeedGives the random number generator in Lens Effects a different starting point, which creates slightly different lens flares without
changing any settings. Using Seed guarantees a different lens flare, even if the differences are very small. For example, if you set up a
ray effect for your lens flare, you will get slightly different rays in the lens flare if you adjust the seed value.
SizeAffects the size of the overall lens flare. This value is a percentage of the size of the rendered frame. Default = 30.
Other parts of the lens flare, such as glow, ring, etc., also have size adjustments, but this size setting affects the entire lens flare,
including secondary flares. Adjusting individual sizes does not affect this size variable, or vice versa. This parameter can be animated.
Animating the Size parameter causes flares to grow or diminish in size over the course of your animation.
HueIf Apply Hue Globally is selected, it controls the amount of Hue applied to the Lens Flare effect. This parameter can be animated.
Apply Hue GloballyGlobally applies the Hue of the Node Source to the other Flare effects.
AngleAffects the amount that the flare rotates from its default position, as the position of the flare changes relative to the camera.
This parameter can be animated. The lock button to the right of the Auto Key button locks the secondary flares so they do rotate. When
the button is disabled, the secondary flares will not rotate.
Animating the Angle parameter does not animate the manual and automatic secondary flares unless you turn on the L button. The
default behavior mimics a camera, in which the aperture does not rotate.

Rays, stars, and streaks don't animate either unless you turn on their individual Auto Rotate toggles.
IntensityControls the overall brightness and opacity of the flare. Higher values produce bright, more opaque flares, and lower values
produce dim, transparent flares. This parameter can be animated.
SqueezeSqueezes the size of the lens flare, either horizontally or vertically to compensate for different frame aspect ratios. You can
set Squeeze from 100 to -100. Positive values stretch the flare horizontally, and negative values stretch it vertically. The value is a
percentage of the size of the flare. This parameter can be animated.
For example, if you convert a film for use on TV, applying Squeeze would cause the lens flare to look correct on the smaller screen, and
not thin and tall, although a wide-screen 35-MM film image is much wider than a regular TV.
Although Squeeze is a global setting, you can apply this effect to selected portions of your flare through the Preferences panel so that
only the flare elements you want are distorted. The Squeeze spinner value is given as a percentage of the size of the flare.
Node SourcesLets you select the source object for the lens flare effect. The source of the lens flare may be any object in the scene,
but is generally a light, such as a target spot light, or an omni light. Clicking this button displays the Select Flare Objects dialog. You
must select a source for the flare to key off.
Note: If you select a source object, then rename the object later, you must reselect the object to ensure the correct generation of the
lens flare.
Lens Flare Effects group
Controls specific effects for the flare, such as fades, brightness, softening, and so on.
BrightenLets you set an overall brightness that affects the whole image. When a bright effect, such as a lens flare, appears in an
image, the whole image should appear brighter. This effect is available only when the Brighten option is enabled under the Render
section of the Preferences panel. This parameter can be animated. Animating the Brighten spinner is an easy way to create flares that
"flash" the scene as they appear.
Dist FadeCauses the effect of the lens flare to fade with its distance from the camera. This option is used only when the Dist Fade
button is turned on. The values are in 3ds max world units. This option is used when you want to create the effect of flares
disappearing at a certain point away from the camera.
Cent FadeFades the secondary flares near the center of the row of flares along the main axis of the flare. This is an effect that can be
seen in many lens flares seen through a real camera lens. This value is in 3ds max world units. This setting is only active when the
Cent Fade button is selected.
Dist BlurBlurs the flare based on its distance from the camera. This value is in 3ds max world units. This parameter can be
animated.
Blur IntControls the strength of the blur when it is applied to the lens flare. The value set in this spinner takes full effect as the flare
reaches the Dist Blur distance in your scene. Flares closer to the camera plane get a percentage of the intensity setting. This parameter
can be animated.
SoftenProvides an overall softening effect for the lens flare This parameter can be animated.
Flare Parameter tabs
Let you create and control the lens flare. Each of the nine tabs controls a specific aspect of the lens flare.
Warning: When you animate Lens Effects parameters, this creates pointers into the actual scene, so Lens Effects
animation is lost if you save the Video Post queue in a VPX file. To preserve the animation, save the Video Post data,
including Lens Effects animation, in the MAX file.
A flare is composed of eight basic parts. Each part of a flare is controlled on its own panel in the Lens Effects Flare interface. Each part
of the lens flare can be individually activated and deactivated to create different effects.
Prefs: This page lets you control which parts of a lens flare are active and how they effect the overall image.
Glow: A general glow centered around the source object of the flare. You can control the color, size, shape, and other aspects of the
glow.
Ring: A circular color band that surrounds the center of the source object. You can control the color, size, shape, and other aspects of
the ring.
A Sec: Auto Secondary Flares. The small circles you would normally see coming out from the source of the lens flare. As the camera
position changes relative to the source object, the secondary flares move. The secondary flares are automatically generated when this
option is active.
M Sec: Manual Secondary Flares. Additional secondary flares added to the lens flare effect. They appear in the same axis as the

automatic secondary flares and look very similar.

Rays: Bright lines that radiate out from the center of the source object, providing the illusion of extreme brightness for the object.
Star: Bright lines that radiate out from the center of the source object, generally composed of 6 or more spokes, (instead of hundreds,
like a ray). Stars are generally thicker and extend out farther from the center of the source object than rays.
Streak: Wide horizontal bands that run through the center of the source object.
Inferno: Lets you add special effects, such as explosions, to your flare effect.
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LZF Files
Glossary
LZF Files
LZF (Lens Effects Flare) files allow you to store all of the settings for a Flare effect in one file. The
settings are also saved with the MAX file, however saving them to a separate file allows you to use
the same Lens Effects settings in different scenes, and also allows you to share settings with other
3ds max users.
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Flare Preferences
Flare Preferences
Effects Flare from Filter Plug-In list. > Setup > Prefs tab
In the Prefs panel, you can control whether or not specific parts of the lens flare, such as the rays or
the star are rendered by turning them on or off. You can also control the axial transparency of the
lens flare.
Interface
Affect AlphaSpecifies whether or not the lens flare affects the alpha channel of an image, when
the image is rendered in a 32-bit file format. The alpha channel is an extra 8 bits of color (256
colors) that indicate transparency in an image. Alpha channels are used to composite one image
seamlessly over the top of another. If you want to composite a lens flare, or an image that contains
a lens flare, over the top of another image, enable this option. If you are not rendering to a 32-bit
file, do not enable this option.
Affect Z BufferThe Z-Buffer stores an object's distance from the camera. The Z-Buffer is useful
for optical effects such as fog. When this option is enabled, the linear distance of the lens flare is
recorded, and can be used in special effects that make use of the Z-Buffer, for example, the Focus
effect. To use Focus with a lens flare, enable this option.
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Flare Preferences
Occlusion RadiusA radius around the center of the flare that determines when the lens flare
effect will begin to fade as it passes behind another object. This radius is measured in pixels.
When the lens flare or scene is animated and the source of the lens flare goes behind another
object, if occlusion is enabled, the flare dies down and disappears until the source object reappears
on the other side of the hiding object. The radius makes the flare gently fade when it is occluded,
instead of blinking out.
Motion BlurDetermines whether or not an animated lens flare is rendered using Motion Blur.
Motion Blur renders multiple copies in short increments to the same frame, which gives the illusion
of a blurred object in motion. When an object is moving rapidly across the screen, it animates more
smoothly if motion blur is turned on. Using motion blur can add considerable time to your rendering.
You can set the amount of blur with the Motion Blur spinner. Values range from 0 to 100, and are
based on the number of samples the motion blur should use.
Axial TransparencyA standard circular transparency gradient that affects the transparency of the
lens flare secondary elements along their axis and relative to their source. This lets your secondary
elements be brighter on one side than the other, adding extra realism to your flare effects.
RenderSpecifies whether or not each part of the lens flare is rendered in the final image. Use this
set of check boxes to turn parts of the lens flare on and off.
Note: Effects such as secondary flares are available in sets. The Render button and Off Scene
determine whether the secondary flares are present in the scene. The individual secondary flare sets
are controlled on their respective pages.
Off SceneSpecifies whether or not lens flares that have their sources outside the scene will affect
the image. For example, if a lens flare source is just off the edge of a frame, the secondary flares,
and possibly the star or ring, could still be showing on the screen. Without Off Scene, the lens flare
does not appear at all. You can turn this option on or off for each part of the flare.
SqueezeSpecifies whether the Squeeze setting affects a particular part of the lens flare. This
setting depends on the Squeeze setting in the lens flare properties.
InfernoDefines whether the inferno settings are active for this portion of the lens flare.
OcclusionDefines the percentage of the flare part that appears when it is occluded by another
object. A value of 100 indicates that the whole object will disappear. Lower settings cause the lens
flare to wrap around the occluding object, making it fade, but not disappear entirely. For example, if
you look at a cylinder with a bright light behind it, the light makes the cylinder appear thinner at the
brightest areas.
Note: The Occlusion spinners work in conjunction with the Occlusion Radius spinner in the top right
of the Preferences panel.
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Flare Preferences

Lens Effect Focus Filter
Video Post toolbar > Add Image Filter Event > Choose Lens Effects Focus from Filter Plug-In list. >
Setup
The Lens Effects Focus dialog lets you blur objects based on their distance from the camera. Focus
uses the Z-Buffer information from the scene to create its blurring effects. You can use Focus to
create effects such as foreground elements in focus and background elements out of focus.
Like Flare, Glow, and Highlight, you can load and save your focus settings for future use. Focus
settings are saved to LZO files (.lzo).
Warning: This filter is not supported by the mental ray renderer.
Procedure
To save your focus settings, do one of the following:

You can save all of your lens focus settings to a file, so you can reload them any time. Lens Effects
Focus settings are saved as LZO files.
Click the Reset button.

This resets Lens Effects Focus to its default settings.
Click the Load button.

This displays a Windows-standard file open dialog from which you can select the settings file you
want to load.
Click the Save button.

This displays a Windows-standard Save As dialog in which you specify a directory and filename.
Interface
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The Lens Effects Focus dialog contains a preview window, and an area below to control the
parameters of Focus.
Preview group
Preview windowLets you quickly preview the Focus effect.

PreviewDisplays a generic scene to which you can quickly set up a Focus effect. Appears light

green when selected.

VP QueueLets you preview the scene in the Video Post queue. Preview must be selected for the
VP Queue function to work.
Focus Control group
The settings on the left side of the panel let you select a method for blurring your scene. The
settings on the right side of the dialog let you determine how much blurring is applied to the scene.
Scene BlurApplies the blurring effect to the entire scene, not just a portion of it.
Radial BlurApplies the blurring effect to the entire scene in a radial fashion, starting at the center
of the frame. This is useful for emphasizing fish-eye lens effects and effects where the edges of the
frame are blurred. This type of Focus depends on the Focal Range and Limit settings.
A scene with a radial blur is applied.
Focal NodeLets you select a specific object in the scene as the focal point for blurring. The
selected objects remains in focus, while objects outside of the set Focal Limit are blurred.
SelectDisplays the Select Focal Object dialog so you can select a single 3ds max object to use as
the focal object. The object you select can be animated over time, which results in animated follow
focus effects. You can also choose your camera target as the focal object so its depth in the scene
determines the focus.
Affect AlphaWhen this option is selected, the blur effect is also applied to the Alpha channel of
the image when you render to a 32-bit format. Select this option to composite the blurred image
over another.
Horiz. Focal LossSpecifies the amount of blur applied to the image in the horizontal (X-axis)
direction. Values range from 0 to 100% focal loss. This parameter can be animated.
LockLocks the horizontal and vertical loss settings together. When selected, the vertical focal loss
is automatically updated to match your changes to the horizontal loss.
Vert. Focal LossSpecifies the amount of blur applied to the image in the vertical (Y-axis)
direction. Values range from 0 to 100% focal loss. This parameter can be animated.
Focal RangeSpecifies how far away from the center of the image (Radial Blur) or from the camera
(Focal Object) the blur effect begins. Increasing values move the radius of the effect farther away
from the camera or the center of the image. This parameter can be animated.
Focal LimitSpecifies the distance from the center of the image (Radial Blur) or the distance from
the camera (Focal Object) at which the blur effect is at full strength. Setting a high Focal Limit with a
low Focal Range, produces a gradual increase in the amount of blur in the scene, while setting Focal
Limit and Range close together produces a rapid blur effect over a short distance. This parameter
can be animated.
Note: Do not set Focal Range and Focal Limit to the same value. This produces an abrupt change
from a blur to a sharp focus, producing an undesirable visual effect.
Warning: When you animate Lens Effects parameters, this creates pointers into the actual

scene, so Lens Effects animation is lost if you save the Video Post queue in a VPX file. To
preserve the animation, save the Video Post data, including Lens Effects animation, in the
MAX file.
Button group
ResetResets Lens Effects Flare to its default settings.

LoadDisplays a Windows-standard file open dialog from which you can select the settings file you
want to load.
SaveDisplays a Windows-standard Save As dialog in which you specify a directory and filename.
Lens Effects Focus settings are saved as LZO files.
Comments

LZO Files
Glossary
LZO Files
LZO (Lens Effects Focus) files allow you to store all of the settings for a Focus effect in one file. The
settings are also saved with the MAX file, however saving them to a separate file allows you to use
the same Lens Effects settings in different scenes, and also allows you to share settings with other
3ds max users.
Comments
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Animating Lens Effects Properties

Lens Effects lets you use Track View to control parameters which can be animated while Video Post
remains open. Any parameter with a green arrow button next to it can be animated.
When the Auto Key button is selected, the associated spinner or variable is displayed in Track View
and can be animated. If it is not selected, the green button turns gray to indicate the parameter can
no longer be animated.
There are two ways to set Lens Effects parameters for use in animation:
Enable the Auto Key button, set the frame in which you want to create a key, and set the value.
Use Track View.
Using Track View
To use Track View with Lens Effects, one of the Lens Effects dialogs for a particular filter must be
open when you start Track View.
Note: If you open Track View without one of the Lens Effects dialogs being open, the first Lens
Effects object does not appear in the Track View List. If you have more than one Lens Effects object
in the scene, you will see multiple Lens Effects objects in Track View.
When Track View is open, the Lens Effects filters you have applied are listed under Video Post on the
left side of the Track View interface. Under each filter are the parameters which can be animated.
These are displayed individually. You can animate only the parameters you need to.
When viewing Gradients in Track View, notice that the first two flags have only a color track
associated with them. This is because they are the start and end points of the gradient and never
move. Any flags created after the first two will also have a position track associated with them. This
means that you can animate not only the color of any flag in any gradient, but also its position over
time as well.
If you disable the animation capabilities for a particular lens flare parameter, the corresponding
entry in Track View immediately disappears. For more information, see Track View.
MAX file.
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VPX Files
Glossary
VPX Files
VPX (Video Post sequence) files contain all the information relating to the queue and all associated
settings and references. They have the file extension .vpx and are stored by default in the 3ds max
\vpost folder.
All of the Video Post configuration data, queue events, and queue event external data is saved with
the MAX file also, however saving it to a separate file allows you to use the same Video Post settings
in different scenes, and also allows you to share sequences with other 3ds max users.
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Flare Inferno Parameters
Effects Flare from Filter Plug-In list. > Setup > Inferno tab
Infernos let you use lens flare to create explosions, fire, and smoke effects and add a bit of fractal
noise to any part of the lens flare. This noise comes in three types: Gaseous, Electric, and Fiery.
Interface
You add the Inferno effect to other lens flare effects. Inferno is selected in the Preferences panel.
The lens flare effect you are adding Inferno to, such as glow, must also be selected for Inferno to
work correctly. The Inferno panel is divided into two sections: Settings and Parameters.
Settings group
GaseousA loose and soft pattern, often used for clouds and smoke.
FieryFractal patterns with bright, well-defined areas, often used for fires.
ElectricLong, well-defined tendril pattern that can be used to produce arcing electricity, when
animated. By adjusting the quality of the pattern to 0, you can create the effect of water reflection.
Lock EffectLocks the inferno effect to the lens flare. When the lens flare moves across the screen,
the inferno effect moves with it. Use this option when you want the noise pattern to move with the
flare for effects like torches.
Lock NoiseLocks the inferno noise patterns into the screen. When the lens flare is animated and
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moving across the screen, the noise pattern stays in one spot and the flare moves through it. This is
often used for creating plasma trails and cloud patterns.
MotionWhen you animate the inferno, motion specifies how fast the inferno patterns move in the
direction set by the Direction spinner. For example, if you want to simulate a raging fire, you want
the fractal patterns to move upward. This parameter can be animated.
DirectionSpecifies the direction, in degrees, of the inferno effect motion. By default, 0 is aligned
in the 12 o'clock position, and works clockwise. This parameter can be animated.
Note: The Motion and Direction spinners control the motion of the fractal pattern in the X and Y
directions. You can control the Z direction using the Speed option under Inferno Parameters.
QualitySpecifies the overall quality of the fractal noise patterns in the inferno effect. Higher values
result in more iterations of the fractals, more detail in the effect, and slightly longer render times.
This parameter can be animated.
ReseedThe number that the fractal routines use as a starting point. Set this spinner to any
number to create different fractal effects. The Reseed button randomly selects a new number.
Parameters group
SizeSpecifies the overall size of the fractal patterns. Smaller numbers produce small, grainy
fractals. Higher numbers produce larger patterns. This option can be animated.
SpeedSets the overall speed of the turbulence in the fractal patterns as they are animated. Higher
numbers produce faster turbulence in the pattern. This parameter can be animated.
BaseSpecifies the brightness of the colors in the inferno effect. Higher values result in brighter
color ranges and brighter infernos. Lower values result in dark, softer effects. The Base spinner only
affects Fiery and Electric inferno types This parameter can be animated.
AmplitudeWith the Base spinner, controls the maximum brightness for each portion of the fractal
inferno patterns. Higher values result in fractal patterns with brighter colors. Lower values result in
the same patterns, with muted colors. This parameter can be animated.
BiasShifts the colors of the effect toward one end of the color range or the other. At a setting of
50, Bias has no effect. Above 50, the colors are brighter, and below 50, they are darker and softer.
EdgeControls the contrast between the light and dark areas of the fractal patterns. High values
produce a high contrast and more well-defined fractal patterns. Low values result in less defined,
subtler effects. This parameter can be animated.
Radial DensityControls the density of the inferno effect in a radial fashion from the center of the
effect to the edge. Wherever there is white in the gradient, you only see inferno noise. Where the
gradient is black, you can see the underlying flare. If you set the right side of the gradient to black
and the left side to white, and apply the Inferno to the Glow effect of a flare, the inferno effect
appears toward the outer edges of the glow, while the center of the glow is still visible.

Comments

Flare Ring Parameters
Effects Flare from Filter Plug-In list. > Setup > Ring tab
The ring is a circular color band that surrounds the center of the source object. You set ring options
on the Ring panel of the Lens Effects Flare dialog.
Interface
SizeSpecifies the overall size of the ring as a percentage of the overall frame and represents the
diameter of the ring. The ring radius should be larger than the glow radius to make the lens flare
look convincing. This parameter is separate from the overall size spinner in the Lens Flare Effects
section of the dialog. This parameter can be animated.
ThickSpecifies the overall thickness of the ring, as a percentage of the overall size of the frame.
When the ring is fairly thick, the size of the ring is measured to the inner radius. The thickness
controls how thick the ring is from that point outward. This parameter can be animated.
HueSpecifies the gradation of color for the ring. This parameter can be animated.
GradientsUse radial, circular, transparency, and size gradients.
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Comments
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Lens Effects Gradients
Video Post toolbar > Add Image Filter Event > Choose Lens Effects Highlight from Filter Plug-In
list > Setup > Gradients tab
A gradient is a smooth linear transition from one color or brightness to another, as shown below.
Lens Effects use gradients to control aspects of the lens flares, such as colors and transparency.
Lens Effects use several gradient types.
Lens Effects Gradients are always interpreted from left to right.
Gradient Flags
Gradients use Flags to indicate points along the gradient bar where you want different colors or
brightness values to be. The colors between the flags are interpolated automatically by Lens Effects.
Each Gradient inside Lens Effects can contain up to 100 flags. The current flag is highlighted and
green. The position number above the gradient bar indicates the position of the current flag, in
relation to the overall length of the gradient.
A gradient always has non-moveable start and end flags. You can add up to 98 intermediate flags to
alter the overall appearance of your gradients. You can also change the color or brightness of the
end flags to suit your needs.
When you place two gradient flags on top of one another, you create a sharp break in the gradient.
When a third flag is placed on top of the second flag, a sharp edge appears in the gradient.
MAX file.
Procedures
To add an intermediate flag:
Click the gradient bar where you want to place the new flag.
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The flag uses the color of the gradient at the point where you placed it. To adjust the color,
double-click to display the Color Selector.
To adjust the position of a flag:
Drag the flag left or right.

The gradient updates to show you the changes.
To delete a flag:
Drag the flag outside the gradient bar.

The flag turns red, and the mouse point changes to a down arrow pointing to a bucket. When you
let go of the mouse button, the flag is deleted.
To change a flag's properties:
1. Right-click the flag to display a menu.
2. Click Properties and change any settings you want.
Interface
Right-clicking a gradient flag and selecting Edit Properties displays the Flag Properties dialog. To
change gradient options, right-click the gradient bar, not the flags.
The Flag Properties dialog lets you change the name of the flag, its color, and its position.
NameBy default, flags are named Flag #. You can enter a different name for the current flag. The
arrows to the right of the name box let you choose other flags on the same gradient.
ColorThe Color swatch lets you control the color or brightness component of the gradient at the
position where the flag is located. Click the color swatch to display the color picker and choose a
different color. The green arrow to the left of the color swatch indicates that this flag parameter can

be animated.
PositionEach gradient has 100 possible positions from left to right. The number in the spinner
represents the position of the flag along the gradient. Gradients are read from left to right so a value
of zero aligns the flag with the left edge of the gradient. This flag parameter can be animated.
Comments

Types of Gradients
Types of Gradients
Rendering menu > Video Post > Video Post toolbar > Add Image Filter Event > Choose a Lens
Effects Filter from the Filter Plug-In list. > Setup > Gradient tab
There are two different kinds of gradients in Lens Effects, Radial and Circular. Between the two
types, you can achieve almost limitless effects.
Interface
RadialRadial gradients work from the center point to the outer edge of a Lens Effects feature,
changing color or brightness in a straight line from left to right as you scan the gradient bar. The left
edge of the gradient is aligned with the center of the effect and the right edge is aligned with the
outer edge of the effect.
Scheme of a radial gradient
CircularChanges colors in a circular manner, working clockwise around a Lens Effects feature. If
you mark North, East, South, and West on a circle, these points represent the 0%, 25%, 50%, and
75% marks of the gradient.
Each parameter panel in Flare, Glow, and Highlight that utilizes gradients contain five gradient
controls. The five controls are:
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Types of Gradients
Scheme of a circular gradient
Color (Radial and Circular)Defines the colors used for an effect. This is based on the RGB color
system, but can also be set with HSV. Within each set of gradient controls, there is a Radial and
Circular Color gradient. Radial Color works with Circular Color to produce the overall color for the
Lens Effects element.
Transparency (Radial and Circular)Varies the visibility of parts of the effect. The transparency
gradients only make use of brightness (or luminance) values, which are essentially grayscale values.
This black-to-white ramp of values provides you with 256 levels of transparency for your effects.
Just like the Color gradients, both Transparency gradients are tied together to generate the overall
visibility of effect. See Gradient Options.
SizeVaries the size of specific parts of the Lens Effect. Most size gradients are used to affect the
radius of a lens flare part, such as a glow. Like transparency gradients, only the brightness values
are used to provide you with 256 different sizes.
The Radial Size gradient, for example, works both like a Radial and Circular gradient. This gradient is
applied in a clockwise fashion, starting at 12 o'clock. The values in the gradient are applied from the
center of the effect toward the outer edge, with brighter values producing bigger sizes and darker
values producing shorter sizes.
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Gradient Colors
Gradient Colors
Rendering menu > Video Post > Video Post toolbar > Add Image Filter Event > Choose a lens
effects filter from the Filter plug-in list. > Setup > Gradient tab
Colors in 3ds max are interpreted in two different ways: RGB and HSV. In RGB (red, green, blue),
you can select one of 256 shades of red, green, and blue, giving you a palette of 16.7 million colors
(24 Bit). In HSV (Hue, Saturation, Value), you can select one of 256 hues of color, then adjust the
saturation or the value of the color. The saturation can also be considered the blackness of a color
and value can be considered the whiteness of a color.
For transparent and size gradients, you adjust the vertical whiteness slider just to the left of the RGB
and HSV sliders. The white triangle on the right side of the vertical bar is the slider. This controls the
overall value of the color in terms of HSV. In RGB terms, it is the same as adjusting all three colors
equally at the same time. Higher values on the whiteness scale represent more transparency, or
smaller sizes.
See also
Comments
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Gradient Options
Gradient Options
Rendering menu > Video Post > Video Post toolbar > Add Image Filter Event > Choose a Lens
Effects Filter from the Filter Plug-In list. > Setup > Gradient tab
Each gradient in Lens Effects has a set of common options. Right-clicking the gradient bar displays a
shortcut menu with the following options.
Interface
ResetResets the gradient back to its default parameters. This action cannot be undone.
Load GradientDisplays a file open dialog in which you can load a particular gradient. Gradients
are saved with a .dgr extension.
Save GradientDisplays a file save as dialog where you specify the path and filename for the
gradient.
Load UV MapLets you load a bitmap image and use each row of pixels of the bitmap as an
animated gradient. When a bitmap is loaded into a gradient control, Lens Effects reads the first 100
pixels across the top row of the image (for the 100 divisions of its gradient controls) and makes
them the gradient. With each successive frame, Lens Effects reads in the next row of pixels as the
gradient. When you scrub the animation slider, you can see the gradient change over time.
Note: If the animation is longer than the chosen bitmap is tall, then the bitmap pattern is repeated.
Load BitmapDisplays a 3ds max file browser so you can select a bitmap to use as your gradient.
Unlike UV Map, the Load Bitmap option only reads the first row of pixels for the entire animation.
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Gradient Options
This is a good option when you need to have a complex but static gradient.
Flag ModeIndicates you are using flags to set the colors of your gradient instead of using a
bitmap as the source. Flag Mode is selected by default.
Compositing Methods
The last five options on the shortcut menu are different types of compositing methods. When you
work with Color and Transparency gradient controls in any of the Lens Effects filters, you must be
aware of both the Radial and Circular gradients. Both Lens Effects color gradients and both
Transparency gradients are "locked together" and will work together based on the compositing
method you choose to create an effect.
Each compositing method works on a pixel-by-pixel basis on the positional value in both gradients.
The compositing methods define how the colors and brightness values are combined to form a single
color. When combining the colors, the algorithms evaluate each color channel of the color to find the
end result. This lets you create five very different looking effects with the same two gradients.
High ValueWhen this option is selected, the higher color or brightness value between the two
gradients is selected. For example, if you had a color with RGB values of 255,210,255 and another
with 225,240,225, the resulting color would be 255,240,255. This option generally results in a
slightly brighter lens flare than the default settings.
This is the most common way of using only one gradient. Set one gradient to the color or brightness
you desire, then set the other gradient to pure black. This assures that all of the values you set in
one gradient are used exclusively to achieve the effect.
AverageCalculates an average value between the colors. In the example above, the resulting
color would be 175, 225, 225. This option is good if you want to mix gradient values and results in
effects that are not as bright as High Value.
Low ValueSelects the lower color values, resulting in a less intense lens flare and a more subtle
overall effect. In the example above, the resulting color would be 100,210,295.
AdditiveAdds colors values together, pushing their composite value toward pure white, producing
the brightest but most washed-out effects. Additive compositing is good when you want to burn
effects out.
SubtractiveSubtracts colors values from each other, resulting in slightly muted and less intense
colors.
These compositing methods may be applied to all types of gradients, except size gradients. The type
of compositing being used for a gradient is noted above the gradient bar.
Compositing methods are applied to every gradient. Some gradients are linked together, so if you
assign a specific compositing method to one, the compositing method is automatically assigned to
the other.

Gradient Options
Comments

Automatic Secondary Flare Parameters
Effects Flare from Filter Plug-In list. > Setup > A Sec tab
Secondary flares are the small circles you would normally see coming out from the source of the lens
flare along an axis relative to the camera position. These are caused by light refracting off the
different lens elements in the camera. As the camera position changes relative to the source object,
the secondary flares move. These secondary flares are automatically generated when this option is
selected in the Preferences section of the dialog.
You create sets of secondary elements that share common parameters instead of building them one
at a time. Many of the controls on the A Sec panel are for individual sets of elements, not all sets.
Interface
MinControls the minimum size of secondary flares in the current set. This number is defined as a
percentage of the overall image. This parameter can be animated.
MaxControls the maximum size of secondary flares in the current set. This number is defined as a
percentage of the overall image. This parameter can be animated.
SetsSpecifies which set of secondary flares you are working with. You can have as many sets of
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automatic secondary elements as you wish, each having their own properties. By default, seven sets
are available. You can scroll through them by clicking the forward and reverse arrow icons beside the
name of the set.
To add another set to your flare, click the Add button beneath the On check box. To delete a set,
click the Del button.
AxisDefines the overall length of the axis the automatic secondary flares will be distributed along.
Increasing the value creates more space between the flares, while decreasing the value creates less
space between the flares. You can set the axis from 0 to 5 degrees. This parameter can be
animated.
OnDefines whether a group or set of secondary flares is active or not.
FadeDetermines whether or not axial fade is active for the current set of secondary flares.
HueSpecifies the gradation of color of the secondary flares. This parameter can be animated.
QtyControls the number of secondary flares that appear in the current set of flares. This
parameter can be animated.
ShapeControls the shape of the secondary flares for the current set. The default value is circular,
but you can choose from 3 to 8 sided secondary flares.
GradientsDefines the gradient for the secondary flare.
Comments
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Manual Secondary Flare Parameters
Effects Flare from Filter Plug-In list. > Setup > M Sec tab
Manual secondary flares are additional secondary flares that are individually added to the lens flare.
These can be used in addition to, or in place of automatic secondary flares.
You use Manual secondary flares when you want to add unique flares that you don't want repeated.
You can have groups of secondary flares, instead of just one set. Many of the controls in this dialog
are for a specific set of flares, not all sets.
Interface
SizeControls the size, as a percentage of the overall image, of the manual secondary lens flare.
OnTurns manual secondary flares on or off. This option must be selected in both the Manual
Secondary and Preferences tabs for the manual secondary flares to render.
PlaneControls the distance, in degrees, between the flare source and the manual secondary flare.
By default, the flare plane exists at the center of the chosen node source. Positive values place the
flare in front of the source, while negative values place the flare behind the flare source. This
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Tip: In live camera work, there are often one or two secondary elements behind the light source, so
you should have one or two as well.
OnTurns the current set of manual secondary flares on or off.
FadeSpecifies whether or not the current set of secondary flares has axial fade.
SetsSpecifies which set of secondary flares you are working with. You can have as many sets of
manual secondary elements as you wish, each having their own properties. By default, seven sets
are available. You can scroll through them by clicking the forward and reverse arrow buttons next to
the name of the set.
To add another set to your flare, click the Add button beneath the On check box. To delete a set,
click the Del button.
HueSpecifies the gradation of color of secondary flares. This parameter can be animated.
ScaleSpecifies how to scale secondary flares. This parameter can be animated.
ShapeThis menu controls the overall shape of the secondary flares.
GradientsDefines the gradient for the secondary flare.
Comments
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Flare Ray Parameters
Effects Flare from Filter Plug-In list. > Setup > Rays tab
Rays are bright single-pixel lines that radiate from the center of the source object, providing the
illusion of extreme brightness for the object. Rays let you emulate scratches in the lens elements of
a camera.
You control the parameters for rays in the Rays panel of the Lens Effects Flare dialog.
Interface
SizeSpecifies the overall length of the rays as they radiate from the center, as a percentage of the
frame size. This parameter can be animated.
AngleSpecifies the angle for the rays. You can enter both positive and negative values so, when
animated, the rays rotate in a clockwise or counter-clockwise direction. This parameter can be
animated.
GroupForces the grouping of rays into eight equidistant groups of equal size. Rays that are part of
a group are evenly distributed within that group. Increasing the number of rays makes each
grouping more dense, and therefore more bright.
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NumberSpecifies the overall number of rays that appear in the lens flare. Rays are randomly
spaced around the radius. This parameter can be animated.
Auto RotateAdds the angle specified in the Angle spinner on the Rays panel to the angle set in
the Angle spinner under Lens Flare Properties. Auto Rotate also ensures that the rays maintain their
relative position to the flare as it is being animated.
HueSpecifies the gradation of the color of the rays. This parameter can be animated.
SharpSpecifies the overall sharpness of the rays. Higher numbers produce crisp, clean, and clear
rays. Lower numbers produce more of a secondary glow look. Values range from 0 to 10. This
GradientsDefines the gradient for the rays.
Comments
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Flare Star Parameters
Effects Flare from Filter Plug-In list. > Setup > Star tab
A Star is larger than a ray effect and is composed of six or more spokes, instead of hundreds like a
ray. Stars are thicker and extend out farther from the center of the source object than rays. You
control the settings for stars on the Star panel of the Lens Effects Flare dialog.
Interface
SizeSpecifies the overall size of the star effect, as a percentage of the overall frame. This
AngleSets the starting angle in degrees in which the star spokes point. You can enter both
positive and negative values so, when animated, the star spokes rotate in a clockwise or counter-
clockwise direction. This parameter can be animated.
RandomEnables random spacing of star spokes around the flare center.
QtySpecifies the number of spokes in the star effect. Default = 6.
Spokes are spaced at equidistant points about the center of the flare. This parameter can be
animated.
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WidthSpecifies the width of the individual spokes, as a percentage of the overall frame. This
option can be animated.
Auto RotateAdds the angle specified in the Angle spinner on the Rays panel to the angle set in
Angle spinner under Lens Flare Properties. Auto Rotate also ensures that the stars maintain their
HueSpecifies the gradation of the color of the star. This parameter can be animated.
SharpSpecifies the overall sharpness of the star. Higher numbers produce crisp, clean, and clear
stars. Lower numbers produce more of a secondary glow look. This parameter can be animated.
Range = 0 to 10.
TaperControls the taper of the individual spokes of the star. Taper widens or narrows the tips of
the individual star points. Low numbers create a sharp point, while high numbers flare the points.
This parameter can be animated. Default = 0.
GradientsThe gradients are the same for the Star effect as for others, except for two gradients:
Section Color and Section Transparency. These options are useful when you want to create a
"soft" look to the spokes. Both gradients work from the center of each spoke to the outer edge of
the spoke.
Comments
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Flare Streak Parameters
Effects Flare from Filter Plug-In list. > Setup > Streak tab
A streak is a wide horizontal band that runs through the center of the source object. In real camera
work, it is produced when using anamorphic lenses to film a scene. You set streak options on the
Streak panel of the Lens Effects Flare dialog.
Interface
SizeSpecifies the overall size of the streak, as a percentage of the overall frame. This parameter
can be animated.
AngleSpecifies the angle for the streak. You can enter both positive and negative values so, when
animated, the streak rotates in a clockwise or counter-clockwise direction. This parameter can be
animated.
Axial AlignForces the streak to align itself to the axis of the secondary flares and the lens flare
itself.
WidthSpecifies the width of the streak, as a percentage of the frame. This parameter can be
animated.
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Auto RotateAdds the angle specified in the Angle spinner on the Streak panel to the angle set in
Angle spinner under Lens Flare Properties. Auto Rotate also ensures that the stars maintain their
HueSpecifies the gradation of the color of the streak. This parameter can be animated.
SharpSpecifies the overall sharpness of the streak. Higher numbers produce crisp, clean, and
clear streaks. Lower numbers produce more of a secondary glow look. Valid values are from 0 to 10.
TaperControls the taper of the individual spokes of the streak. Taper widens or narrows the tips of
the individual streak points. Low numbers create a sharp point, while high numbers flare the points.
Default = 0. This parameter can be animated.
GradientsThe gradients are the same for the Streak effect as for others, except for two gradients:
Section Color and Section Transparency. These options are useful when you want to create a
"soft" look to the streak spokes. Both gradients work from the center of each spoke to the outer
edge of the spoke.
Comments
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Planet Map
Planet Map
Material Editor > Maps rollout > Click a Map button. > Material/Map Browser > Planet
Planet map used to create another world
Planet is a 3D map that uses fractal math to simulate the colors on the surfaces of a planet. You can
control the size of continents, percent of ocean coverage, and so on. This map is meant to be used
as a diffuse map. It does not work well as a bump map.
Tip: The Material Editor's sample slot doesn't show the planet effect very clearly. To help get the
effect you want, double-click the sample slot to get a larger sample slot, or assign the map to
geometry and render the scene. Another way to preview the planet map is to use the Material Editor
Options dialog to set the 3D Map Sample Scale to equal a main dimension of the object you are
applying the map to. For example, if you want to use the planet map on a sphere with a radius of
20, change the map scale from 100 (the default) to 20.
See also
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Planet Map
Interface
Continent SizeSets the size of the fractal noise pattern used to generate the continents. Can
range from 0 to 100. The higher the value, the larger the continents. Default=40.
Island FactorSets the size of the fractal noise pattern used to generate islands and mountains.
Can range from 0 to 100. At 0, the geography is very low. Higher settings create a more rugged
landscape. Default=0.5.
Ocean %Sets the percentage of the planet's surface that is covered by water. Default=60.0.
Random SeedSets the seed for pseudo-random generation of the pattern. Changing this number
can completely change the pattern, even if other settings remain the same. On the other hand, a
different Planet map with the same settings including the same Random Seed will appear the same.
Water Colors group
The colors in these three swatches are applied to the water areas of the planet surface.
Water colorsClick a swatch to display the Color Selector and change the color. Color #1 is the
"center" area of the water mass, Color #2 surrounds Color #1, and Color #3 surrounds Color #2,
meeting the land.
Land Colors group
The colors in these five swatches are applied to the land areas of the planet surface. Their
arrangement continues that of the water colors.
Land colorsClick a swatch to display the Color Selector and change the color. Color #4 is the
shoreline of the land, meeting the water; Color #5 comes next, working toward the center of the
land mass. Color # 8 is at the center of the land mass.
Blend Water/LandWhen on, the boundary between water and land is blended, giving a hazy
appearance. When off, the boundary between water and land is sharp.

Planet Map
Comments

Smoke Map
Smoke Map
Material Editor > Maps rollout > Click a Map button. > Material/Map Browser > Smoke
Smoke map used to create clouds in the sky
Smoke is a 3D map that generates amorphous, fractal-based turbulent patterns. It's primarily
designed for animated opacity mapping to simulate the effects of smoke in a beam of light, or other
cloudy, flowing mapping effects.
See also
Interface
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Smoke Map
SizeChanges the scale of the smoke "clumps." Default=40.

# IterationsSets the number of times the fractal function is applied. The higher the value, the
more detail within the smoke, but the longer the calculation time. Default=5.
PhaseShifts the turbulence within the smoke pattern. Animate this parameter to animate the
movement of the smoke. Default=0.0.
ExponentMakes color #2, representing the smoke, sharper and more wispy. As this value
increases, the smoke "tendrils" become smaller within the pattern. Default=1.5.
SwapExchanges the colors.
Color #1Represents the smokeless portion of the effect.
Color #2Represents the smoke.
Because this map is usually used as an opacity map, you can adjust the luminance of the color
values to alter the contrast of the smoke effect.
Click a color swatch to change the color. Usually you only need to do this to adjust luminance.
Click a map button to assign a map instead of a solid color. Turn on the check box to activate the
map.
Comments
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Speckle Map
Speckle Map
Material Editor > Maps rollout > Click a Map button. > Material/Map Browser > Speckle
Speckle map used for rocks
Speckle is a 3D map that generates a speckled surface pattern that's useful for diffuse mapping and
bump mapping to create granite-like and other patterned surfaces.
See also
Interface
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Speckle Map
SizeAdjusts the size of the speckles. Use this to make the speckles match your geometry.
Default=60.
SwapExchanges the two color components.
Color #1Represents the color of the speckles.
Color #2Represents the color of the background.
Click one of the swatches to display the Color Selector and change one of these component colors.
MapsClick a button to assign a map that replaces one of the color components. Turning off the
check box turns off the associated map (the Speckle map reverts to the associated color
component).
Comments
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Splat Map
Splat Map
Material Editor > Maps rollout > Click a Map button. > Material/Map Browser > Splat
Splat map used for the patterns in ice cream
Splat is a 3D map that generates a fractal surface pattern that is useful as a Diffuse map for creating
a pattern similar to splattered paint.
See also
Interface
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Splat Map
SizeAdjusts the size of the splats. Use this to make the splats match your geometry. Default=40.
# IterationsSets the number of times the fractal function is evaluated. The higher the number,
the more detailed the splats, but the longer the calculation time. Default=4.
ThresholdDetermines how much of Color #1 is mixed with Color #2. At 0, only Color #1 is
displayed; at 1, only Color #2 is displayed. Default=0.2.
Color #1Represents the color of the background.
Color #2Represents the color of the splats.
Click one of the swatches to display the Color Selector and change one of these colors.
MapsAssigns a map to replace one of the color components. Turning off the check box turns off
the associated map (the Splat map reverts to the associated color component).
Comments
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Stucco Map
Stucco Map
Material Editor > Maps rollout > Click a Map button. > Material/Map Browser > Stucco
Stucco map used for a plaster wall
Stucco is a 3D map that generates a surface pattern that is useful for bump mapping for creating the
effect of a stuccoed surface.
See also
Interface
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Stucco Map
SizeAdjusts the size of the indentations. Use this to make the scale of the stucco match your
geometry. Default=20.
ThicknessBlurs the border between the two colors. At 0, the borders are sharp. The higher the
Thickness, the more the borders are blurred and the less distinct the indentations are. When you use
Stucco as a bump map, the indentations are very faint at 0.5 and disappear at values not much
greater. Default=0.15.
ThresholdDetermines how much of Color #1 is mixed with Color #2. At 0, only Color #2 is
displayed; at 1, only Color #1 is displayed. Default=0.57.
Color #1Represents the color of the indentations.
Color #2Represents the background stucco color.
Click one of the swatches to display the Color Selector and change one of these component colors.
Tip: Because the Stucco map is meant to be used as a bump map, usually you don't need to adjust
the default colors.
MapsAssigns a map to replace one of the color components. Turning off the check box turns off
the associated map (the Stucco map reverts to the associated color component).
Comments
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Waves Map
Waves Map
Material Editor > Maps rollout > Click a Map button. > Material/Map Browser > Waves
Waves map used for the pool in the fountain
Waves is a 3D map that creates watery or wavy effects. It generates a number of spherical wave
centers and randomly distributes them over a sphere. You can control the number of wave sets, the
amplitude, and the speed of the waves. This map works effectively as both a diffuse and bump map
at the same time. It can also be useful in combination with an opacity map.
Interface
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Waves Map
Num Wave SetsSpecifies how many wave sets are used in the pattern. Wave sets are groups of
radially symmetrical waves that originate from randomly computed points along the surface of an
imaginary sphere inside the object (a circle, in the case of 2D wave distribution). For calm water, set
this to a low number. Use a high number for choppy water. Range= 1 to 50; Default=10.
Wave RadiusSpecifies the radius, in 3ds max units, of the imaginary sphere (3D distribution) or
circle (2D distribution) whose surface is the origin of each wave set. A large radius produces large
circular wave patterns, while a small radius produces dense, smaller waves. Default=800.
Wave Len Max and Wave Len MinDefine the interval used to randomly chose each wave center.
If these two values are close together, the water appears more regular. If they're farther apart, the
water is less regular. Default Max=50.0; Default Min=5.0.
AmplitudeAdjusts the strength and the depth of the waves by increasing the contrast between
the two colors. Default=1.0.
PhaseShifts the wave pattern. Animate this parameter to animate the motion of the pattern.
Distribution 3D/2D3D distributes the wave centers on the surface of an imaginary sphere,
affecting all sides of a 3D object. 2D distributes the wave in circles centered on the XY plane, which
is more appropriate for flat water surfaces such as oceans and lakes.
Random Number SeedProvides a seed number to generate the water pattern. The pattern
changes with each seed, but all other settings are maintained.
SwapExchanges the colors.
Color #1 and #2Click the color swatches to change the colors used in the pattern. Use one color
for the wave troughs and the other for the wave peaks.
You can also click the map buttons to replace one or both colors with a mapped pattern. The check
box enables or disables the map.

Waves Map
Comments

Wood Map
Wood Map
Material Editor > Maps rollout > Click a Map button. > Material/Map Browser > Wood
Wood map used for the seat of the bench
Wood is a 3D procedural map that renders a wavy grain-like pattern throughout the volume of an
object. You can control the direction, thickness, and complexity of the grain.
Wood is primarily intended as a diffuse color map. Two colors assigned to Wood mix to form the
grain pattern. Either of the colors can be replaced by other maps.
Wood can also be applied to other map types. When used as a bump map, Wood renders the grain
pattern as a three-dimensional engraving of the surface.
Wood mapped to a box and cylinder
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Wood Map
Wood used as a bump map
Procedures
To replace a color:
1. Click a color swatch labeled Color #1 or Color #2.
2. In the standard Color Selector, choose a replacement color.

The color updates in the color box and sample slot.
To exchange colors:
Click Swap.
The position of the two colors is reversed in the color boxes and sample slot.
To replace a color with a map:
1. Click a Map bar marked None next to one of the color swatches. This displays the Material/Map
Browser.
2. Select a map from the list.

The sample slot updates to show the map in place of the color.
Interface
Coordinates rollout

Wood Map
TilingControls grain complexity or "distortion." By increasing this parameter along a given axis,
the grain becomes increasingly compressed and wavy along that axis. Default=1.0 (X,Y, and Z
axes).
Box A shows the default on all three axes. Boxes B and C show progressively higher Tile settings for
the X axis. Increasing Tile on other axes produces similar effects.
A: Tile, X axis=1.0 (default)

B: Tile, X axis=4.0
C: Tile, X axis=8.0
Grain Thickness=3
Tile, X axis=4.0 for both

Axial Noise=1 (left), 4 (right)
Grain Thickness=3
By combining Tile with Axial Noise, even greater distortion is possible. The bottom left box is the
same as B, with Tile at 4.0 on the X axis. The bottom right box adds Axial Noise at 4.0.
AngleControls grain direction.
Default Grain: Wood is rendered with the grain running along the X axis of the object. This is
illustrated by the left cube below. The default angle is 0 for X, Y, and Z axes.

Wood Map
Rotated Grain: By rotating the direction of the grain around an axis, you change the rendered effect.
In the right cube, the Y axis is set to 90. This rotates the grain direction 90 degrees around the Y
axis so that the grain is now running along the Z axis.
Other Angle Effects: Varying a single angle can create distorted grain effects (cylinder at left).
Varying the three angles by a uniform amount keeps the grain running parallel through an object
(cylinder at right).
Angle=0,0,0 (defaults) and 0,90,0

Radial, Axial Noise=1 (defaults)
Grain Thickness=3
Angle=0,30,0 and 30,30,30

Grain Thickness=3
(See Coordinates Rollout (3D) for a description of the other parameters in this rollout.)
Wood Parameters rollout
Defaults: Grain Thickness=7, Radial Noise=1.0, Axial Noise=1.0

Wood Map
Grain ThicknessSets the relative thickness of the color bands that make up the grain. Default=7.
The effect of thickness is relative to the context of the object. A grain that appears unrealistically
wide on a small table might be acceptable on a large overhead beam.
Decreasing Grain Thickness creates grain lines that are closer together. The effect can resemble the
fine grain of slow-growth hardwoods. At 0, grain disappears, resulting in what can look like
composition board made from sawdust.
Increasing Grain Thickness creates grain lines that are farther apart. The effect can resemble tropical
woods that grow continuously.
Grain thickness is shown increasing with identical noise settings.
Grain Thickness=1, 3
Grain Thickness=7 (default), 14

Radial NoiseSets the relative randomness of the pattern on a plane perpendicular to the grain,
the circular ring structure (cylinder B). Default=1.0.
Axial NoiseSets the relative randomness of the pattern on a plane parallel with the grain, along
the length of the grain (cylinder A). Default=1.0.
Noise settings let you set the randomness or "irregularity" of the grain pattern in two directions.
Without any noise, rings and grain are uniform and look inorganic (upper-left cylinder). The defaults
for both parameters produce moderate irregularities (upper-right cylinder).
Radial, Axial Noise=0,0 and 1,1

Angle Y=90, Grain Thickness=3

Wood Map
A: Radial, Axial Noise=0,2

B: Radial, Axial Noise=2,0
C: Radial, Axial Noise=2,2
Angle Y=90, Grain Thickness=3
Cylinders A and B show each parameter acting alone. Cylinder C shows the combination of the same
settings.
SwapExchanges the position of the colors.
ColorsSelects any two colors for the grain pattern. Defaults=brownish yellow for Color #1 and
dark brown for Color #2. Either color can be replaced or swapped.
The choice of colors, along with grain pattern, is the primary way to represent different types of
wood. In fairly uniform woods like yellow pine or redwood, the two colors are often near the same
settings (examples B and C). Lighting also makes a difference in the apparent colors.
A: Default colors
B: Color #1=RGB 160,125,50
Color #2=RGB 170,135,25
C: Color #1=RGB 140,90,0
Color #2=RGB 130,80,50
Grain Thickness=3
Other settings at defaults
MapsReplace colors with maps. The check boxes enable or disable their associated maps.
You can assign maps to one or both of the Wood color slots. Any kind of map can be used, including
Wood. The map overrides the assigned color, which has no effect.
The left box uses defaults. The right box is the same, except that Color #1 has been replaced with a

Wood Map
Checker map, whose colors have been changed to wood tones.
Left: Default
Right: Color #1 replaced with Checker map
Grain Thickness=3
Other settings at defaults
Comments

Compositor Maps
Compositor Maps
Compositors are meant specifically for compositing other colors or maps. In image processing,
compositing images refers to superimposing two or more images to combine them.
The following compositor maps are supplied with the software:
Composite: Composites multiple maps. Unlike Mix, Composite doesn't have explicit controls for the
amount of mixing. Instead, it bases the mix amount on the maps' alpha channel.
Mask: A mask is a map itself, used in this case to control where a second map is applied to the
surface.
Mix: Mix mixes two colors or two maps. You can adjust the amount of mixing using a blend level you
specify. The blend level can be mapped.
RGB Multiply: Combines two maps by multiplying their RGB and alpha values.
Comments
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Mask Map
Mask Map
Material Editor > Maps rollout > Click a Map button. > Material/Map Browser > Mask
Mask map applies labels to the fire extinguisher.
With the Mask map, you can view one material through another on the surface. The mask controls
where a second map is applied to the surface.
By default, lighter (whiter) areas of the mask are opaque, showing the map. Darker (blacker) areas
of the mask are transparent, showing the underlying material. You can use Invert Mask to reverse
the mask's effect.
Interface
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Mask Map
These are the controls for the Mask map:

MapSelects or creates the map to be viewed through the mask.
MaskSelects or creates the map to use as a mask.
Invert MaskInverts the effect of the mask.
Comments
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RGB Multiply Map
RGB Multiply Map
Material Editor > Maps rollout > Click a Map button. > Material/Map Browser > RGB Multiply
RGB Multiply enhances the texture of the ashtray.
The RGB Multiply map is typically used for bump maps, where you might want to combine two maps
to achieve the correct result.
This map combines two maps by multiplying their RGB values. For each pixel, the red of one map is
multiplied times the red of the second map, the blue times the blue, and the green times the green.
If the maps have alpha channels, RGB Multiply can output either map's alpha channel, or a new
alpha channel created by multiplying the alpha channel values of the two maps.
You can also make one of the maps a solid color. This tints the other map.
Interface
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RGB Multiply Map
Color #1, Color #2Click a map button to assign one of the maps. The check box disables or
enables the map. To tint one of the maps, turn off the other map and click its color swatch to choose
the tint color, using the Color Selector.
Alpha From group
The buttons in this group let you determine how to generate alpha for the map. If neither map has
an alpha channel, these options have no effect.
Map #1Uses the first map's alpha channel.
Map #2Uses the second map's alpha channel.
Multiply AlphasGenerates a new alpha channel by multiplying the alpha channels of the two
maps.
Comments
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Color Modifier Maps
Color Modifier Maps

Color Modifier maps alter the color of pixels in a material. Each of the following maps uses a specific
method to modify the color:
Output: Applies bitmap output functions to parametric maps, such as Checker, that don't have these
settings. These functions adjust the colors of the map.
RGB Tint: Tints the color of a map based on red, green, and blue values.
Vertex Color: Displays the effects of assigned vertex colors in the rendered scene. You assign vertex
colors from the editable mesh.
Comments
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Output Map
Output Map
Material Editor > Maps rollout > Click a Map button. > Material/Map Browser > Output
With Output map, you can apply output settings to procedural maps, such as Checker or Marble,
that don't have these settings.
Interface
Output Parameters rollout
In this rollout, you choose the map to apply the output controls to.
MapDisplays a modal version of the Material/Map Browser so you can choose the map type.
The check box turns the map on or off.
Output rollout
The controls in this rollout are the same as for maps with a built-in output option. See Output
Rollout.
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Output Map
Comments
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RGB Tint Map
RGB Tint Map
Material Editor > Maps rollout > Click a Map button. > Material/Map Browser > RGB Tint
RGB Tint map
RGB Tint adjusts the value of the three color channels in an image. Three color swatches represent
these channels. Changing a color swatch adjusts the value of its associated color channel.
The channels are named Red, Green, and Blue for their default colors, but you can assign them any
color. You are not limited to variations of red, green, and blue.
Procedures
To tint a map:
1. In the RGB Tint Parameters rollout, click the Map button marked None.
2. Select the map you want to tint
3. Click the R, G, or B color swatch.

The Color Selector is displayed.
4. Choose a new color.

The red, green, or blue value of each pixel in the underlying map changes accordingly.
To change the saturation of one color in an image:
2. On the Color Selector, increase or decrease Value to vary the color from light to dark.
To replace one color with another:
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RGB Tint Map
2. On the Color Selector, increase or decrease Hue to change the color.
Interface
R/G/BThe red, green, and blue color swatches display the Color Selector to adjust the value of
the specific channel.
MapDisplays the Material/Map Browser to select the map to be tinted.
The check box turns the effect of the map on or off.
Comments
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Reflection and Refraction Maps
Reflection and Refraction Maps

These maps, grouped as "Other" in the Material/Map Browser, are maps that create reflections and
refractions. Each of the following maps has specific uses:
Flat Mirror: Generates reflections for flat surfaces. You assign it to faces rather than to the object as
a whole.
Raytrace: Creates accurate, fully raytraced reflections and refractions.
Reflect/Refract: Generates reflections or refractions automatically, based on surrounding objects and
the environment.
Thin Wall Refraction: Generates refractions automatically, simulating objects and the environment
seen through a refractive material such as glass or water.
Comments
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Flat Mirror Map
Flat Mirror Map
Material Editor > Maps rollout > Click a Map button. > Material/Map Browser > Flat Mirror
Flat mirror map reflects the ice-cream shop's interior.
The Flat Mirror map produces a material that reflects surrounding objects when it is applied to a
collection of coplanar faces. You assign it as a material's reflection map.
Reflect/Refract maps don't work well for flat surfaces because each face reflects part of the
environment based on where its surface normal points. Using this technique, a large flat face can
reflect only a small part of the environment. Flat Mirror automatically generates a reflection that
encompasses a larger part of the environment, to better simulate a mirror-like surface.
Rules for Using Flat Mirror
Flat Mirror cannot generate reflections correctly unless you observe these rules:
Assign Flat Mirror to selected faces only.

There are two ways to do this. You can make the Flat Mirror material a sub-material of a multi/
sub-object material, or you can use the Apply To Faces With ID control.
If you assign Flat Mirror to multiple faces, the faces must lie in a plane.
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Flat Mirror Map
Non-coplanar faces in the same object cannot have the same Flat Mirror material.
In other words, if you want two different planes of an object to have flat reflections, you must use
a multi/sub-object material. Assign Flat Mirror to two different sub-materials, and assign different
material IDs to the to different planar faces.
The material ID used by the Flat Mirror sub-material must be unique to the coplanar faces in the
object.
If you assign Flat Mirror using Apply to Faces with ID, faces without that ID display the
nonreflective components (diffuse color, and so on) of the material with the Flat Mirror reflection
map.
Procedures
To assign a flat mirror to one face of an object:
1. In the Material Editor, create a standard material.
2. Assign a Flat Mirror map as the material's reflection map.
3. In the Flat Mirror Parameters rollout > Render group, turn on Apply To Faces With ID, and
choose the material ID number the mirrored face will have.
4. Follow the next set of steps for assigning the material to the object.
To assign the mirror to a flat surface:
2. In the Modify command panel, apply Edit Mesh to the object.
3. Make sure Sub-Object is selected, and choose Face as the sub-object level.
4. Select a single face or multiple faces that lie in a single plane.
5. Assign the faces the material ID you chose for the Flat Mirror map.
6. Assign the material to the object.
To assign a flat mirror using a multi/sub-object material:
1. In the Material Editor, create a multi/sub-object material.
2. Click one of the unused material buttons in the multi/sub-object material's parameters.
3. In the new Standard sub-material, open the Maps rollout and click the map button for
Reflection.
4. In the Material/Map Browser, choose Flat Mirror, and then click OK.

Flat Mirror Map
Flat Mirror controls are similar to those for automatic reflection and refraction.
5. Apply Edit Mesh to the object, and then in the stack view area of the modifier stack display,
choose Face as the sub-object level.
6. Select a single face or multiple faces that lie in a single plane.
7. Assign the faces the material ID corresponding to the Flat Mirror sub-material slot.
Using multi/sub-object material, you can apply Flat Mirror to different faces of the object that
are not coplanar. However, faces that are not coplanar must use different sub-material slots,
otherwise the software doesn't correctly generate the flat mirror reflections.
Interface
Blur group
Apply BlurTurns on filtering to blur the maps.

Antialiasing is also applied to the Distortion effect, if any, when Apply Blur is turned on.

Flat Mirror Map
aliasing that can occur when pixel details are reduced off in the distance. Default=1.0.
Render group
First Frame OnlyThe renderer creates the automatic flat mirror only on the first frame.
Every Nth FrameThe renderer creates the automatic flat mirror based on the frame rate set by
the spinner.
Use Environment MapWhen off, environment maps are ignored by the mirror during rendering.
It's useful to turn this off when you have mirrors in the scene and you're rotoscoping against a flat
screen environment map. A screen environment map does not exist in 3D space the way the other
environment-map types do, and will not render properly. Default=on.
Apply to Faces with IDSpecifies the material ID number where you want the mirror assigned.
You can assign a flat-mirror material to an object without having to make it a component of a multi/
sub-object material. The restriction is that the other faces on the object must be able to use the
nonmirrored properties of the same material (its diffuse color, and so on). If the other faces need
completely different material characteristics, you need to use a multi/sub-object material.
For example, if you have an object, such as a box, with unique material IDs for each side, you can
use Apply To Faces With ID to specify the side of the box that will show the mirror reflection. The
remaining sides of the box will have the same material characteristics, but without the reflection.
Distortion group
To simulate irregular surfaces, you can distort the flat-mirror reflections. Distortion can be based on
a bump map or on noise controls built into Flat Mirror material.
NoneNo distortion.
Use Bump MapDistorts the reflection using the material's bump map.
A flat mirror surface that has a Bump map will appear bumpy, but its reflection won't be distorted by
the bumps unless you use this option.
Use Built-In NoiseDistorts the reflection using the settings in the Noise group.
Distortion AmountAdjusts the amount of distortion to the reflected image. This is the only value
that affects the amount of distortion. No matter how high the Bump map's Amount spinner is set, or
how extreme the Noise settings, if this Distortion Amount is set to 0, no distortion appears in the
reflection itself. This control is inactive when None is chosen.
Noise group
The controls in this group are inactive unless you choose Use Built-In Noise as the active distortion
type.

Flat Mirror Map
RegularGenerates plain noise. Basically the same as Fractal noise with the Levels setting at 1.
When the noise type is set to Regular, the Levels spinner is inactive (because Regular is not a fractal
function).
FractalGenerates noise using a fractal algorithm. The Levels setting determines the number of
iterations for the fractal noise.
lines.
the noise, so that the first two parameters are U and V and the third is phase.
You can animate this parameter to animate the noise effect.
SizeSets the scale of the noise function. Smaller values give smaller chunks of noise.
Comments

Thin Wall Refraction Map
Material Editor > Maps rollout > Click a Map button. > Material/Map Browser > Thin Wall
Refraction
Thin wall refraction
Thin Wall Refraction simulates the "jog," or offset effect, you find when you view part of an image
through a plate of glass. For objects that model glass, such as a Box in the shape of a window pane,
this map is faster, uses less memory, and provides a much better visual effect than the Reflect/
Refract map.
Tip: At 100% refraction and opacity, you can see no diffuse color or mapping, and there is not much
illusion of a refractive material. The effect is invisible. In the Maps rollout of the parent material, set
Refraction Amount to 50%, and in the Basic Parameters rollout, set Opacity to a value greater than
0.
Procedure
To assign the Thin Wall Refraction map to a material:
1. Click the Map button for Refraction in the material's Maps rollout.
2. In the Material/Map Browser, choose Thin Wall Refraction.
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3. Adjust the map's parameters.
4. In the parent material, set the Refraction Map Amount to 50%.
5. Assign the material to an object.
Interface
Blur group
These controls are for antialiasing.

Apply BlurTurns on filtering to blur the maps.
aliasing that can occur when pixel details are reduced off in the distance. Default=1.0.
Render group
These controls affect how the refraction should behave in animations.

First Frame OnlyTells the renderer to create the refracted image only on the first frame.
This is the fastest option. You can use it if the camera and refractive object don't move.
Every Nth FrameTells the renderer to regenerate the refracted image based on the frame rate
set by the spinner.
Every single frame provides the most accurate result, but takes longest to render.
Use Environment MapWhen off, environment maps are ignored by the refraction during
rendering. It's useful to turn it this off when you have refractions in the scene and you're

rotoscoping against a flat screen environment map. A screen environment map does not exist in 3D
space the way the other environment map types do, and will not render properly. Default=on.
Refraction group
These controls are specific to the Thin Wall Refraction effect:

Thickness OffsetAffects the size of the refractive offset, or jog effect. At 0, there's no offset, and
the object can appear invisible in the rendered scene. At 10.0, the offset is at its greatest. Range
from 0.0 to 10.0; Default=0.5.
Note: The IOR (index of refraction) spinner in the parent material's Extended Parameters rollout also
affects the offset effect.
Bump Map EffectAffects the magnitude of refraction due to the presence of a bump map. This
parameter multiplies the current bump map Amount in the parent material. Reduce this value to
reduce the effect of the secondary refraction; increase this value to increase the effect. If there is no
bump map assigned, this value has no effect. Default=1.0.
If there is unevenness in the surface of the glass, there is a secondary refraction. Thin Wall
Refraction generates this secondary refraction if the material also has a bump map present. The
algorithm guesses at the scaling of the secondary refraction, and can create too large an effect. If
this happens, scale the effect down by reducing this value to less than one.
Comments

Mapping Coordinates
Mapping Coordinates
An object assigned a 2D mapped material (or a material that contains 2D maps) must have mapping
coordinates. These coordinates specify how the map is projected onto the material, and whether it is
projected as a "decal," or is tiled or mirrored. Mapping coordinates are also known as UV or UVW
coordinates. These letters refer to coordinates in the object's own space, as opposed to the XYZ
coordinates that describe the scene as a whole.
Most renderable objects have a Generate Mapping Coordinates parameter. If you don't turn this on,
but apply a mapped material to the object, you get a warning when you try to render.
Some objects, such as editable meshes, don't have automatic mapping coordinates. For these types
of objects, you can assign coordinates by applying a UVW MapMapping modifier.
If the material appears the way you want it with the default mapping, you don't need to adjust the
mapping. If you need to adjust it, use the map's Coordinates rollout. There are two typical sets of
coordinates parameters: one for 2D maps such as Bitmaps, and another for 3D maps such as Noise.
See Coordinates Rollout (2D) and Coordinates Rollout (3D).
Note: The UVW Remove utility provides a way to remove mapping coordinates or an entire material
from selected objects.
Note: Mapping coordinates are local to each object, so they are termed UV or UVW coordinates, as
opposed to the XYZ coordinates of the scene as a whole.
Comments
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UVW Remove Utility
UVW Remove Utility
Utilities panel > Utilities rollout > More button > Utilities dialog > UVW Remove
The UVW Remove utility removes mapping coordinates or materials from the currently selected
objects.
Interface
UVWClick to remove UVW mapping from this object.

MaterialsClick to remove material assignment from the selected objects.
Set GrayIf this is on when you click the Materials button, the object color is set to a neutral gray.
Default=off.
Comments
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Copy (Instance) Map Dialog
Copy (Instance) Map Dialog
Material Editor > Maps rollout > Drag one map button to another.
The Copy (Instance) Map dialog is displayed when you copy a map by dragging and dropping a map
button. It gives you the choice of copying the map, making the newly assigned map an instance of
the one you dragged, or swapping maps.
You can drag map buttons in the Maps rollout, in the Basic Parameters rollout, or from one rollout to
the other.
Tip: Usually when you use the same map for multiple parameters, such as both self-illumination and
opacity, it is easier to work with an instance rather than a copy.
Interface
InstanceMakes an instance of the map you dragged. The newly assigned map is not independent.
Adjusting the parameters of one map or the other changes both of them.
CopyCopies the map you dragged. The newly assigned map is a copy whose parameters you can
adjust independently.
SwapSwaps the maps. This option isn't displayed when you drag from one rollout to another.
Comments
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Show End Result
Show End Result
Material Editor > Show End Result
Material Editor menu > Material menu > Show End Result
Show End Result lets you look at the material at the level you're on instead of looking at the end
result of all the other maps and settings.
When this button is off, the sample slot shows only the current level of the material. This tool is
useful when you are working with compound materials. It would be difficult to see exactly what
effect you're creating on a particular level if you didn't have the ability to turn off the display of the
other levels.
Comments
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Go to Parent
Go to Parent
Material Editor > Go to Parent
Material Editor menu > Navigation menu > Go to Parent
Go To Parent moves up one level in the current material.

This button is available only when you are not at the top level of a compound material. You can tell
you're at the top level when this button is unavailable and the name in the edit field matches the
name in the Material Editor title bar.
A typical situation is one in which you have a material with a Diffuse map. The Material level is the
parent and the Diffuse map is the child. The Go To Parent button becomes available at the level of
the Diffuse map.
Tip: You can also navigate through the levels of a material with the Material/Map Navigator.
Comments
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Name Field (Materials and Maps)
Name Field (Materials and Maps)
Material Editor > Material Name field
The Name field displays the name of the material or map. Default material names are "01 Default,"
and so on, the number changing to reflect the material's sample slot. Maps are named "Map #1,"
and so on.
You can edit this field to change the name of the material in the active sample slot. You can also edit
the names of maps and sub-materials assigned at lower levels of the map or material hierarchy.
The name of the material is not a file name: it can contain spaces, numbers, and special characters.
It can be of any length.
Note: In releases prior to 3ds max 4, material names were limited to 16 characters. As of 3ds max
5, you can assign material names of arbitrary length.
This field also functions as a drop-down list. At the top level, it shows only the material or map
name. At lower levels of the hierarchy, drop the list down to see the names of ancestors to the map
or material. The top level is at the top of the list, the current level is at the bottom, and intermediate
levels appear between them.
Procedure
To give a material a different name:
Edit the name field that appears below the Material Editor toolbar.
The name of the active material appears in the title bar of the Material Editor dialog.
Comments
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Go Forward to Sibling
Material Editor > Go Forward to Sibling
Material Editor menu > Navigation menu > Go Forward to Sibling
Go Forward To Sibling moves to the next map or material at the same level in the current material.
This button is available only when you are not at the top level of a compound material, and there is
more than one map or material at the current level.
A typical situation is one in which you have a material with a Diffuse map, a Bump map, and a
Glossiness map. The Material level is the parent and the Diffuse map, Bump map, and Glossiness
map are its children. Go Forward To Sibling becomes available at the level of the children and allows
you to go from one to another.
You can also navigate through the levels of a material with the Material/Map Navigator.
Comments
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Material Editor > Standard material > Maps rollout > Ambient button
Mapping the ambient color
You can select a bitmap file or procedural map to map an image to the material's ambient color. The
image is painted on the shaded parts of the object.
By default, diffuse mapping maps the ambient component as well, so you seldom need to use a
different map for diffuse and ambient components. If you do want to apply a separate ambient map,
first click to turn off the lock button to the right of the long Map buttons in the Maps rollout. This
unlocks ambient and diffuse mapping. The Map button for ambient color becomes available. You can
then click the ambient button to select a map.
Note: Ambient color mapping is not visible in viewports or renderings unless the level of ambient
light is greater than default value of black. Choose Rendering > Environment, then adjust the level
of ambient light using the Environment dialog.
Procedure
To map the ambient color:
1. Make sure the ambient and diffuse components have their maps unlocked. Click to turn off
the lock button. The Map button for ambient color becomes available.
2. Click the Map button for Ambient color.
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Comments
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Material Editor > Standard material > Shader Basic Parameters rollout > Anisotropic, Oren-Nayar-
Blinn, or Multi-Level shader > Maps rollout > Diffuse Level button
Mapping diffuse level

Top: No mapping
Bottom: Mapping diffuse level with a bitmap
You can select a bitmap file or procedural map to control the Diffuse Level parameter. White pixels in
the map leave the diffuse level unchanged. Black pixels reduce the diffuse level to 0. Intermediate
values adjust the diffuse level accordingly.
The diffuse level parameter is available with the Anisotropic, Oren-Nayar-Blinn, and Multi-Level
shaders.
Reducing the Amount of the diffuse level map reduces the map's effect, and increases the effect of
the Diffuse Level value on the Basic Parameters rollout. When the Amount is 0 percent, the map isn't
used at all.
Procedure
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To map the diffuse level value:
1. Click the Map button for Diffuse Level.

Comments
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Multi-Layer Shader
Multi-Layer Shader
Material Editor > Standard material > Shader Basic Parameters rollout > Multi-Layer shader >
Multi-Layer Basic Parameters rollout
Upper left: No highlights

Upper right: Single highlight
Lower middle: Multiple highlights from the multi-layer shader
The Multi-Layer shader is similar to the Anisotropic shader, but it has a set of two specular highlight
controls. The highlights are layered, letting you create complex highlights that are good for highly
polished surfaces, special effects, and so on.
Highlights in the Multi-Layer shader can be anisotropic. Anisotropy measures the difference between
sizes of the highlight as seen from two perpendicular directions. When anisotropy is 0, there is no
difference at all. The highlight is circular, as in Blinn or Phong shading. When anisotropy is 100, the
difference is at its maximum. In one direction the highlight is very sharp; in the other direction it is
controlled solely by Glossiness.
See also

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Multi-Layer Shader
Comments
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Material Editor > Standard material > Anisotropic Basic Parameters rollout > First Specular Layer
and Second Specular Layer groups
Multi-layer highlights consist of two layers, each of them anisotropic. The highlights are transparent
to each other. Where they overlap, the Multi-Layer shader blends their colors.
Procedures
To increase or decrease the size of a highlight (specular) layer:

The width of the Highlight curves and the highlights in the preview change. At 0% glossiness, the
curves are at their maximum width. At 100% glossiness, both curves are extremely narrow.
To increase or decrease the strength of a highlight (specular) layer:

The intensity of the Highlight curves and the highlights in the preview change. At 0% specular
level, there is no highlight. At 100% specular level, the curves are at their maximum height with
no overloading. At values greater than 100%, the curves are overloaded: they grow wider, and a
wider area is at the maximum highlight intensity.
The shape of the Highlight curves affects the blending between the specular and diffuse color
To adjust the shape (anisotropy) of a highlight (specular) layer:
Change the value of Anisotropy.

The width of the white highlight curve and the highlights in the preview change. At 0%
anisotropy, both highlight curves are the same and the highlight is circular, as in Blinn and Phong
shading. At 100% anisotropy, the white highlight curve and the highlights are extremely narrow.
To adjust the orientation of a highlight (specular) layer:
Change the value of Orientation.

Highlights in the preview show the change in orientation. The display of the highlight curve does
not change.
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Interface
The First Specular Layer and Second Specular Layer groups have identical controls, which can have
different settings.
ColorControls the specular color of this highlight. The specular color is the color of the highlight on
a shiny surface.
LevelAffects the intensity of this specular highlight. As you increase the value, the highlight grows
brighter. Default: First layer=5, Second layer=0.
GlossinessAffects the size of this specular highlight. As you increase the value, the highlight gets
AnisotropyControls the anisotropy, or shape, of this highlight. At 0, the highlight is round. At
100, the highlight is extremely narrow. One axis of the Highlight graph changes to show changes in
this parameter. Default=0.
OrientationChanges the orientation of this highlight. The sample slot shows changes in
orientation. This is a value in degrees that can range from 0 to 9,999. Default=0.
Highlight graphThese two intersecting curves show the effect of adjusting the values of Level,
Glossiness, and Anisotropy. As you decrease Glossiness, the curves grow wider; as you increase
Specular Level, the curves grow taller. As you adjust Anisotropy, the white curve changes to show
how wide or narrow the highlight is.

Comments

Material Editor > Standard material > Shader Basic Parameters rollout > Oren-Nayar-Blinn or
Multi-Level shader > Maps rollout > Diff. Roughness button
You can select a bitmap file or procedural map to control the Roughness parameter on the Basic
Parameters rollout. White pixels in the map increase roughness. Black pixels reduce roughness to 0.
Intermediate values adjust roughness accordingly.
Note: The Roughness parameter is available only with the Oren-Nayar-Blinn and Multi-Level shaders.
Reducing the Amount of the Diffuse Roughness map reduces the map's effect, and increases the
effect of the Roughness value on the Basic Parameters rollout. When the Amount is 0 percent, the
map isn't used at all.
Procedure
To map the roughness value:
1. Click the Map button for Diffuse Roughness (Diff. Roughness).

Comments
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Material Editor > Standard material > Maps rollout > Specular button
Mapping the specular highlight
You can select a bitmap file or procedural map to apply an image to the material's specular color
component. The map's image appears only in the specular highlight areas.
When the amount spinner is at 100, all specular color is provided by the map.
Specular mapping is used primarily for special effects such as placing an image in a reflection. The
important thing to remember is that, unlike Specular Level or Glossiness mapping, which alter the
intensity and location of specular highlights, specular mapping alters the color of specular highlights.
Procedure
To map the specular color:
1. Click the Map button for Specular color.

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Comments
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Glossary
Extremes of the Glossiness and Specular Level settings (Phong shader):

Top sphere: Glossiness=100; Specular Level=100
Left sphere: Glossiness=50; Specular Level=50
Right sphere: Glossiness=0; Specular Level=0
A material's glossiness (or dullness) depends on the size and intensity of its specular highlight. In
the Material Editor, the Glossiness spinner affects the size of the specular area, and the Specular
Level spinner affects the intensity of the glossiness.
When the Specular Level is too high, and Glossiness is too low, you can get harsh backlights on your
surfaces. The Soften option mitigates this.
Comments
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Material Editor > Standard material > Maps rollout > Self-Illumination button
Mapping self-illumination
You can select a bitmap file or procedural map to map the self-illumination value. This makes
portions of an object appear to glow. White areas of the map render as fully self illuminating. Black
areas render with no self-illumination. Gray areas render as partially self illuminating, depending on
the grayscale value.
Self-illumination means that the glowing area is not affected by lights in the scene (its ambient color
component goes away), and does not receive shadows.
Procedure
To map the self-illumination value:
1. Click the Map button for Self-Illumination.

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Comments
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Material Editor > Standard material > Maps rollout > Filter Color button
Mapping filter color
materials such as glass.
You can select a bitmap file or procedural map to map the filter color component. This map applies a
transparent-color effect based on the intensity of the map's pixels.
You can combine a mapped filter color with volumetric lighting to create effects such as colored light
through a stained-glass window. Ray-traced shadows cast by transparent objects are tinted by the
filter color.
(In prior releases of the software, you specified the filter color on the Basic Parameters rollout. As of
version 3, the filter color is specified in the Extended Parameters rollout.)
Procedure
To map the filter color:
1. Click the Map button for Filter color.
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Comments
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Anisotropy Mapping
Anisotropy Mapping
Material Editor > Standard material > Shader Basic Parameters rollout > Anisotropic or Multi-
Level shader > Maps rollout > Anisotropy button
Mapping anisotropy. The stretch of the highlight depends on the level of gray in the map.
You can select a bitmap file or procedural map to control the Anisotropy parameter. The map
controls the shape of the anisotropic highlight, roughly (but not necessarily) within the area specified
by the glossiness parameter. Black and white values have little effect. Maps with a good deal of
grayscale values, such as Noise or Falloff, can be very effective.
The anisotropy parameter is available with the Anisotropic and Multi-Level shaders.
The effect of mapping anisotropy is not very apparent unless the specular level is fairly high and
glossiness is fairly low.
Reducing the Amount of the anisotropy map reduces the map's effect, and increases the effect of the
Anisotropy value on the Basic Parameters rollout. When the Amount is 0 percent, the map isn't used
at all.
Procedure
To map the anisotropy value:
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Anisotropy Mapping
1. Click the Map button for Anisotropy.

Comments
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Orientation Mapping
Orientation Mapping
Material Editor > Standard material > Shader Basic Parameters rollout > Anisotropic or Multi-
Level shader > Maps rollout > Orientation button
Mapping anisotropy orientation
You can select a bitmap file or procedural map to control the Orientation parameter. Orientation
controls the position of the anisotropic highlight. Mapping orientation changes the highlight's
position. Black and white values have little effect. Maps with a good deal of grayscale values, such as
Noise or Falloff, can be very effective. You can also get a good effect using the same map for
orientation mapping and bump mapping.
The orientation parameter is available with the Anisotropic and Multi-Level shaders.
Reducing the Amount of the orientation map reduces the map's effect, and increases the effect of
the Orientation value on the Basic Parameters rollout. When the Amount is 0 percent, the map isn't
used at all.
The effect of mapping orientation, like anisotropy, is not very apparent unless the specular level is
fairly high and glossiness is fairly low.
Tip: Using an instance of the same map to control both anisotropy and orientation can give you good
control over anisotropic highlights.
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Orientation Mapping
Procedure
To map the orientation value:
1. Click the Map button for Orientation.

Comments
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Metalness Mapping
Metalness Mapping
Material Editor > Standard material > Shader Basic Parameters rollout > Strauss shader > Maps
rollout > Metalness button
Mapping metalness
Top: No mapping
Bottom: Mapping metalness with noise map
You can select a bitmap file or procedural map to control the Metalness parameter. White pixels in
the map increase metalness. Black pixels reduce metalness to 0. Intermediate values adjust
metalness accordingly.
The metalness parameter is available with the Strauss shader.
Reducing the Amount of the metalness map reduces the map's effect, and increases the effect of the
Metalness value on the Basic Parameters rollout. When the Amount is 0 percent, the map isn't used
at all.
Procedure
To map the metalness value:
1. Click the Map button for Metalness.

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Metalness Mapping
Comments
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Refraction Mapping
Refraction Mapping
Material Editor > Standard material > Maps rollout > Refraction button
Refractions show the scene or background through a refractive object.
You can select a bitmap file or a procedural map such as Reflect/Refract to use for refraction
mapping.
Refraction mapping is similar to reflection mapping. It maps the view onto the surface in such a way
that the image looks like you're seeing it through the surface, rather than being reflected off it.
Like a reflection map, a refraction map's orientation is locked to the view rather than to the object.
That is, as you move or rotate the object, the position of the refracted image remains fixed.
Setting the Index of Refraction
The physical properties of refractive objects often distort the image. A special parameter adjusts this
distortion. It is in the parent material's Extended Parameters rollout.
Index of RefractionThe index of refraction (IOR) controls how severely the material refracts
transmitted light. Left at 1.0, the IOR of air, the object behind the transparent object does not
distort. At 1.5 the object behind distorts greatly (like a glass marble). At an IOR slightly less than
1.0, the object reflects along its edges (like a bubble seen from under water). Default=1.5 (the IOR
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Refraction Mapping
of typical glass).
Material IOR Value
Air 1.0003
Water 1.333
Glass 1.5 to 1.7
Diamond 2.419
material and the medium the eye or the camera is in. Typically this is related to the object's density.
The higher the IOR, the denser the object.
You can also use a map to control the index of refraction. IOR maps always interpolate between 1.0
(the IOR of air) and the setting in the IOR parameter. For example, if you set the IOR to 3.55 and
use a black-and-white Noise map to control IOR, the IORs rendered on the object will be set to
values between 1.0 and 3.55; the object will appear denser than air. If, on the other hand, you set
the IOR to 0.5, then the same map values will render between 0.5 and 1.0: as if the camera is under
water and the object is less dense than the water.
Material IOR Value
Ice 1.309
Acetone 1.360
Ethyl Alcohol 1.360
Alcohol 1.329
Flourite 1.434
Quartz, Fused 1.460
Calspar2 1.486
Glass 1.500
Glass, Crown 1.520

Refraction Mapping
Polystyrene 1.550
Quartz 2 1.553
Emerald 1.570
Lapis Lazuli 1.610
Topaz 1.610
Quartz 1 1.644
Ruby 1.770
Sapphire 1.770
Crystal 2.000
Diamond 2.417
Copper Oxide 2.705
Tip: The Reflect/Refract map type used as a Refraction map doesn't effectively model a material
surrounding an object, such as a pencil in a glass of water. For this effect, use either the Thin Wall
Refraction or the Raytrace map type.
Procedures
To create an automatic refraction:
1. In the Maps rollout, click the Map button labeled Refraction.
2. In the Material/Map Browser, choose the Reflect/Refract map type, and then click OK.
At a Refraction Amount of 100 percent, the material is extremely refractive, regardless of the
material's Opacity setting. At a Refraction Amount of 0 percent, the map is turned off. When

Refraction Mapping
the Amount is less than 100 percent, both the Reflect/Refract map and the Opacity setting
control transparency.
To assign a bitmap as a refraction map:
1. In the Maps rollout, click the Refraction map button.
2. Use the Material/Map Browser to choose the Bitmap type.
3. Use the file dialog to choose the bitmap file.

For bitmapped refractions, you don't necessarily want to reduce the map strength.
Comments

Self-Illumination Setting
Phong Basic Parameters rollout > Self-Illumination group
These controls make the material self illuminated. Self-illumination creates the illusion of
incandescence by replacing shadows on the surface with the diffuse color. As you increase self-
illumination, the self-illumination color takes over from the ambient color. At a setting of 100, the
material shows no shaded areas, although it can show specular highlights.
The self-illumination color appears in viewports. (In releases prior to 3ds max 5,, viewports showed
the self-illumination value but not the color.)
Note: The Strauss shader does not have self-illumination.
There are two ways to specify self-illumination. You can turn on the check box and use a self-
illumination color, or turn off the check box and use a monochrome spinner, which is comparable to
using a gray scale self-illumination color.
Self-illuminated materials do not show shadows cast onto them, and they are unaffected by the
lights in the scene. The brightness (Value in the HSV color description) remains the same regardless
of the scene's lighting.
To make a visible light source in a scene, you can combine a geometric object with a light object,
and give the geometric object a self-illuminating surface. For example, you could create a lofted light
bulb shape, assign it a self-illuminating white or yellowish material, and place an omni light in the
same location.
To make a material both self-illuminating and transparent, use the Additive transparency type in
combination with self-illumination. See Extended Parameters.
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An object that is self-illuminated using a percentage value and a color
Procedure
To make a material self-illuminating:
1. Click the color swatch in the Self-Illumination group.
2. In the Color Selector, choose a color for self-illumination.
3. Use the color's Value parameter (in the HSV model) to increase or decrease the amount of self-
illumination.
You can also set self-illumination with a monochrome spinner. To do so, turn off the self-
illumination check box and adjust the spinner.
The self-illumination color is mixed with the material's diffuse color. The closer to black the self-
illumination color, the more diffuse color is used.
As self-illumination increases, the sample object appears flatter and more luminous.
Interface

Color check boxWhen on, the material uses a special self-illumination color. When off, the
material uses the diffuse color for self-illumination, and displays a spinner to control the self-
illumination amount. Default=off.
Color swatchWhen Color is on, the color swatch shows the self-illumination color. To change the
color, click the swatch and then use the Color Selector. Adjusting the Value (in the color's HSV
description) adjusts the amount of self-illumination. The greater the Value, the more the self-
illumination color dominates both the ambient and diffuse color components.
Mono spinnerWhen Color is off, the diffuse component is used as the self-illumination color, and
this spinner lets you adjust the amount of self-illumination. At 0, there is no self-illumination. At
100, the diffuse color takes over from the ambient color.
Click the map button to assign a map to the self-illumination component. See Self-Illumination
Mapping. This button is a shortcut: you can also assign self-illumination mapping in the Maps rollout.
Comments

Diffuse Level
Diffuse Level
Material Editor > Standard material > Anisotropic, Multi-Layer, or Oren-Nayar-Blinn Basic
Parameters rollout > Diffuse Level group (unlabeled) or Advanced Diffuse group
Diffuse Level controls the brightness of the material's diffuse component.

Note: The Blinn, Metal, Phong, and Strauss shaders do not have Diffuse Level control.
Adjusting diffuse level
Procedure
To adjust the diffuse level:
Change the value of Diffuse Level.

The material grows lighter or darker. Lowering the Diffuse Level dims the material's diffuse color
without affecting the specular highlight. Diffuse Level is intended primarily so you can create a
map that makes portions of the material very dark.
Interface
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Diffuse Level
Diffuse LevelIncreasing this value increases diffuse brightness, and decreasing it reduces diffuse
brightness without affecting the specular highlight. You can increase the diffuse level over and above
the diffuse color's Value (in its HSV description). This parameter can range from 0 to 400.
Default=100.
Click the map button to assign a map to the diffuse level parameter. See Diffuse Level Mapping. This
button is a shortcut: you can also assign diffuse level mapping in the Maps rollout.
Comments
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Roughness
Roughness
Material Editor > Standard material > Multi-Layer or Oren-Nayar-Blinn Basic Parameters rollout >
Advanced Diffuse group (unlabeled for Multi-Layer)
Roughness controls how quickly the diffuse component blends into the ambient component.
Note: Only the Multi-Layer and Oren-Nayar-Blinn shaders have roughness.
Increasing the blending area between diffuse and ambient with Roughness
Procedure
To adjust the roughness:
Change the value of Roughness.

Increasing roughness makes the material have a flatter, more matte appearance.
Interface
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Roughness
RoughnessAs you increase this value, the matte appearance of the material increases. It also
grows darker and appears more flat. At 0, the roughness is the same as it is with Blinn shading.
Default=50.
Click the map button to assign a map to Roughness. This button is a shortcut: you can also assign
Diffuse Roughness mapping in the Maps rollout. See Diffuse Roughness Mapping.
Comments
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Metal Highlights
Metal Highlights
Material Editor > Standard material > Metal Basic Parameters rollout > Specular Highlight group
Material Editor > Raytrace material > Raytrace Basic Parameters rollout > Shading: Metal >
Metal-shaded materials generate their own specular color. Also, the highlight curve for the Metal
shader differs in shape from the curve for Blinn Oren-Nayar-Blinn, and Phong highlights.
group. Also, highlight controls that dont pertain to the current shader are labeled N/A.
Procedures
To increase or decrease the size and intensity of a highlight:

The width of the Highlight curve and the highlights in the preview change. At 0% glossiness, the

there is no highlight. At 100% specular level, the curve is at its maximum height with no
overloading. At values greater than 100%, the curve is overloaded: it grows wider, and a wider
area is at the maximum highlight intensity.
Increasing the Specular Level also dims the diffuse color.
of specular and glancing highlights.
Interface
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Metal Highlights
highlight grows brighter and the diffuse color grows dimmer. Default=5.
GlossinessAffects the size of the specular highlight. As you increase the value, the highlight curve
grows narrower and the highlight gets smaller. Default=25.
Highlight graphThis curve shows the effect of adjusting the values of Specular Level and
Glossiness. As you decrease Glossiness, the curve grows wider; as you increase Specular Level, the
curve grows taller.
Comments
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Material Editor > Type button > Material/Map Browser > Raytrace material > Maps rollout
As with a standard material, the Maps rollout for a Raytrace material contains map buttons for the
components of the Raytrace material that can be mapped.
You can choose from a large variety of map types. See Map Types to find descriptions of these
types, and how to set their parameters.
Assigning the Same Map to Different Parameters
Applying the same map to different parameters is useful in some cases. For example, using a
pattern as both a self-illumination map and an opacity map can make the pattern appear to glow
and hover in space.
Blending Map Amounts for Opacity and Other Material Components
The Specular Level, Glossiness, Self-Illumination, and Opacity values in the four spinners in the
Basic Parameters rollout are blended with their associated map Amount values in the Maps rollout.
When the Opacity spinner is set to 0, the map Amount spinner completely controls Opacity. That is,
reducing the Amount value increases the transparency of the entire surface. On the other hand,
when Opacity is 100, reducing the map Amount value increases the opacity of the areas where the
Opacity map is less than 1. For example, you can now adjust a Checker Opacity map so that the
solid areas remain solid, while the clear areas are semi-transparent.
The Specular Level, Glossiness, and Self-Illumination channels all behave in the same way. A setting
of 100 applies all of the map; a setting of 0 is the equivalent of turning the map off.
When you load old 3ds max files or bring earlier materials from the Browser into the Materials
Editor, the spinner values for Opacity, Specular Level, Glossiness, and Self-illumination are altered,
where necessary, to maintain the equivalent material effect.
Procedures
To assign a map:
1. Click a map button.

A modal Material/Map Browser is displayed.
2. Use the Browse From buttons to choose where you want to look.
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If you choose Material Library and the dialog's display area is blank, you need to open a library
file. Click the Open button and then choose the library to browse.
3. Use the display buttons to choose how you view maps.
View List shows each map by name.
View List + Icons shows a small preview and each map's name.
View Small Icons shows a small preview for each map.
View Large Icons shows a large preview for each map, along with the map's name.
Tip: You can resize the Browser dialog to increase the size of the display area. This is
especially useful when you view large icons.
4. Double-click the map you want.
To use the same map for different parameters:
1. In the Maps rollout, use a map button to assign a map.

2. Click Go To Parent to return to the material level, and then open the Maps rollout.
3. Drag the assigned map button to another map button.

The Copy (Instance) Map dialog is displayed.
4. Choose Copy or Instance, and then click OK.

If you choose Swap, the Material Editor swaps the two button assignments.
To view the parent material's parameters:
If you are currently at the map level in the Material Editor, click Go To Parent.
The parameters for the map's parent material are displayed. Also, the Show End Result and Go to
Parent buttons become unavailable.
To view a map's parameters:
If you are currently at the material level in the Material Editor, click the button that corresponds
to the map.
The parameters for the map are displayed. Also, the Show End Result and Go to Parent buttons
become available.
In the Basic Parameters rollout, if a map has been assigned to a color component or parameter,
the corresponding button displays a letter M. In the Maps rollout, if a map has been assigned, the
corresponding button displays the map name.

To view a map's location:
Click Material/Map Navigator to view the Navigator.

The Material/Map Navigator displays the hierarchy of the current material, which contains the
map.
To go to a map using the Navigator:
In the Material/Map Navigator, click the name of the map, or the green or red parallelogram to
the left of the map's name.
The Navigator goes to the level of the map, and the Material Editor displays the controls for the
map you clicked.
As the Navigator's map tree shows, maps for basic material components and parameters are one
level below the material itself.
To preview a map in a sample slot:
1. Go to the level of the map, as described in previous procedures.

The Material Editor displays the map's parameters.
2. Turn off Show End Result.

The sample slot shows the map instead of the material. If the map contains sub-maps, these
are also visible.
To view the map interactively:
2. In the object's creation parameters, make sure that Generate Mapping Coords is turned on.
If the object type does not have a Generate Mapping Coordinates toggle, you need to assign
mapping coordinates by applying a UVW Map modifier.
3. In the Material Editor, assign the mapped material to the object.
4. If you are at the material level (the top level), click the appropriate map button to go to the
map level.
5. Turn on Show Map in Viewport.

adjust the map, the viewports update to display the adjustments.
Turning on Show Map In Viewport for one map automatically turns this button off for all other

maps the material has.

Viewports can display 2D maps such as Checker and Bitmap. They cannot display other kinds of
maps such as 3D maps. Show Map in Viewport is unavailable if the active map type cannot
display in viewports.
Tip: Displaying mapped materials in a viewport can slow performance. If you don't need to
view the texture, turn off its viewport display.
1. Go to the map level.

If you are at the material level, click the appropriate map button to go to the map level.
2. Turn off Show Map in Viewport.

To turn a map off:
Turn off the map's check box.

The check box is to the left of the map's name on the Maps rollout.
To turn a map on:
Turn on the map's check box.

The check box is to the left of the map's name on the Maps rollout.
To change a map's strength:
Adjust the map's Amount spinner in the Maps rollout.

The material's sample slot reflects the change.
Note: Adjusting a map's output (in the map's Output rollout) can also change the map's strength.
To move directly to an ancestor:
1. Click the arrow to the right of the map's name field.

A drop-down list of ancestors is displayed.
2. Click a name in the Ancestor list.

With this list, you can skip intermediate levels in the tree.
The Ancestor drop-down list shows only part of the tree. It does not show side branches and
siblings. To view these, use the Material/Map Navigator.
You can also use the Go Forward to Sibling and Go to Parent buttons.

To change a map type:
1. At the level of a map, click the button labeled Type below the Material Editor toolbar.
A modal Material/Map Browser is displayed. If you were at a map, it lists only maps (if you
were at a material when you clicked Type, the Browser lists only materials).
2. Choose a map type from the list, and then click OK.
If you change a map type and the new map type can have component maps, a Replace Map
dialog is displayed. This dialog gives you a choice between discarding the original map or using
it as a component map.
If the new map type does not have components, it simply replaces the original map type.
Interface

The Maps rollout for Raytrace contains a wide button for each map type. Click this button to select a
bitmap file stored on disk or to select a procedural-map type. After you select a map, its name and
type appears on the button. Use the check box to the left of the button to turn the effect of the map
off and on. When the check box is off, the map is not computed and has no effect in the renderer.
The Amount spinner determines the amount that the map affects the material, expressed as a
percentage of full intensity. For example, a diffuse map at 100% is completely opaque and covers
the base material. At 50%, it is semi-transparent and the base material (the diffuse, ambient, and
other colors of the material without mapping) shows through.
Lock buttonLocks the Environment map to the Transparency Environment map. When on, the
Transparency Environment map controls are disabled, and a map applied to the Raytrace
Environment applies to the Transparency Environment as well. When off, the Transparency
Environment map controls are enabled, and the Transparency Environment can have a different map
assigned to it. Default=on.
Changing this buttons setting here also changes it on the Basic Parameters rollout, and the
Extended Parameters rollout.
Diffusion Mapping
The Diffusion map component lets you apply an additional, second texture to modify the Diffuse
component. Typically, you will want to reduce the Amount of this map to allow the main Diffuse map
to show through.
For example, you might have a clean, bright image for a billboard. You use this image as the Diffuse
map, and then use a second map as a Diffusion map to apply soot and city grime.
Tip: Animating the Amount can change the appearance of the material over time, letting the
Diffusion map either conceal or reveal the underlying Diffuse map.
Note: Show Map In Viewport does not display the Diffusion map.
Comments

Material Editor > Type button > Material/Map Browser > Raytrace > Extended Parameters rollout
The Extended Parameters rollout for a Raytrace material controls the material's special effects,
transparency properties, and advanced reflectivity.
Interface
Except for the wireframe controls, the controls in the Extended Parameters rollout for Raytrace
material are specific to the Raytrace material.
Special Effects group
The controls in this group are special effects. They are powerful, but you might need to experiment
to use them effectively.
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Object with raytrace material using translucency and fluorescence
Extra LightingAdds light to the surface of objects with the Raytrace material. You can view this
as an ambient lighting color that you can control on a per-material basis, but don't confuse it with
the ambient absorption from the Basic Parameters rollout.
By mapping this parameter, you can simulate radiosity: the ambient light that results from reflected
light in a scene. One effect of radiosity is color bleeding. For example, in strong light a white shirt
next to an orange wall will show a reflected orange color.
TranslucencyCreates a translucent effect. The Translucency color is a non-directional diffuse
reflection. The diffuse color on an object depends upon the angle between the surface normal and
the position of the light source. By ignoring the surface normal alignment, this color component
simulates translucent materials.
For thin objects, the appearance can be like shining a light on the back of a piece of rice paper. You
can cast shadows onto the back of the paper and see them projected through the paper; this works
well with a projector light. On thicker objects, you can get some good wax-like effects.
Fluorescence and Fluor. BiasCreates an effect similar to black light on a black light poster. The
light from a black light is largely ultraviolet, outside the visible spectrum. Under black light,
fluorescent paints flare or glow. The fluorescence in Raytrace material takes whatever light it sees in
the scene, applies the Bias to it, and then, regardless of the color of the lights in the scene,
illuminates the fluorescent material as if it were lit by white light.
At 0.5, The Bias makes Fluorescence behave just like diffuse coloring. Bias values higher than 0.5
increase the fluorescent effect, making the object brighter than other objects in the scene. Bias
values lower than 0.5 make the object dimmer than other objects in the scene. You can get some
chromatic shifting effects with this.
Tip: Full saturation and value for the Fluorescence color help give the effect of commercial
fluorescent paints.

Tip: A slight amount of Fluorescence can add to the realism of skin and eyes.
Wire group
SizeSets the size of the wire in wireframe mode. You can set either pixels (the default) or current
units.
InChooses how to measure wire. With pixels, wires maintain the same apparent thickness
regardless of the scale of the geometry or how near or far the object is positioned. With units, the
wires appear thinner at a distance and thicker at close range, as if they were modeled in the
geometry.
Pixels(The default.) Measures wire in pixels.
UnitsMeasures wire in 3ds max units.
Advanced Transparency group
The controls in this group let you further tune transparency effects.
Transp. (Transparency Environment)Similar to the environment map in Basic Parameters, but
overrides the scene's environment map for transparency (refraction) only. Transparent objects
refract this map, while reflections still reflect the scene (or the Basic Parameters Environment map,
if one is chosen).
Click the button to choose the Transparency Environment map. Use the check box to toggle the
effect of the map.
Lock buttonLocks the Transparency Environment map to the Environment map (found on the
Basic Parameters rollout). When on, the Transparency Environment map controls are disabled, and a
map applied to the Raytrace Environment applies to the Transparency Environment as well. When
off, the Transparency Environment map controls are enabled, and the Transparency Environment
can have a different map assigned to it. Default=on.
Changing this buttons setting here also changes it on the Basic Parameters rollout and the Maps
rollout.
DensityThe density controls are for transparent materials. If the material is opaque (the default),
they have no effect.
ColorSets a transmission color based on thickness. While filter (Transparency) color tints objects
behind the transparent object, the density color gives the appearance of color within the object
itself, like tinted glass.
To use, first make sure the object is transparent. Click the color swatch to display the Color Selector.
Choose a color, and then turn on the check box.
The Amount controls the amount of density color. Reducing this value reduces the density color
effect. Range=0 to 1.0. Default=1.0.
A thin piece of tinted glass is mainly clear, while a thick piece of the same glass has more color. The
Start and End controls help you simulate this effect. They are expressed in world units. Start is the

position in the object where the density color begins to appear. (Default=0.0.) End is the position in
the object where the density color reaches its full Amount value. (Default=25.0) To have a lighter
effect, increase the End value. To have a heavier effect, reduce the End value.
The object must be at least as thick as the Start value before the density color is visible.
You can map this color component.
FogDensity fog is also a thickness-based effect. It fills the object with a fog that is both opaque
and self illuminated. The effect is like smoke trapped in a glass, or wax at the tip of a candle.
Colored fog in tubular objects can resemble neon tubes.
To use, first make sure the object is transparent. Click the color swatch to display the Color Selector.
Choose a color, and then turn on the check box.
The Amount controls the amount of density fog. Reducing this value reduces the density fog effect
and makes the fog translucent. Range=0 to 1.0. Default=1.0.
The Start and End controls let you adjust the fog effect based on the object's dimensions. They are
expressed in world units. Start is the position in the object where the density fog begins to appear.
(Default=0.0.) End is the position in the object where the density fog reaches its full Amount value.
(Default=25.0) To have a lighter effect, increase the End value. To have a heavier effect, reduce the
End value.
You can map this color component.
Render objects inside raytraced objectsTurns the rendering of objects inside raytraced objects
on or off. Default=on.
Render atmospherics inside raytraced objectsTurns the rendering of atmospheric effects
inside raytraced objects on or off. Atmospheric effects include fire, fog, volume light, and so on.
Default=on.
Reflections group
Controls in this group give you finer control over reflections.

TypeWhen set to Default, reflections are layered with the Diffuse color. For example, if the
material is not transparent and completely reflective, no diffuse color is visible. When set to
Additive, reflections are added to the Diffuse color, as in Standard materials. The diffuse component
is always visible.
GainControls reflection brightness. The lower the gain value, the brighter the reflection. At a gain
of 1.0, no reflection is visible. Default=0.5.
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Fluorescence
Glossary
Fluorescence
Glass on the right has a light green fluorescence.
Fluorescence is light emitted from an object when it absorbs radiation (for example, ultraviolet light)
from another source.
Raytrace materials have the ability to simulate fluorescence.
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Rendering menu > Raytracer Settings > Render Scene dialog > Raytracer panel > Global Raytracer
Settings rollout > Global Raytrace Engine Options group > Acceleration Controls button
The controls in this dialog let you override the default acceleration values and specify your own
requirements. Typically you don't need to use them, but if you are familiar with the requirements of
your scene, they can help you optimize raytrace rendering for your specific needs and time
constraints.
Raytracing subdivides the scene, organizing it into a tree for raytrace purposes. A node in this tree is
known as a "voxel." Voxel trees are dynamic, and you can't explicitly specify the structure of the
tree. (If you set Max. Divisions to 2, the tree is an octree, which is possibly a more familiar data
structure.)
Tip: If your scene is very unbalanced (for example, it has a giant planet object and a cluster of small
spacecraft objects) keep the Balance setting low.
Interface
Face LimitSets the maximum number of faces allowed in a lattice voxel before it is subdivided.
Default=10.
BalanceDetermines the sensitivity of the subdivision algorithm. Increasing this value uses more
memory but can increase performance. Default=4.0.
Max. DivisionsSets the initial lattice dimension. For example, 4 is a 4 x 4 x 4 lattice. Default=30.
Max. DepthSets the maximum number of lattice subdivisions. Default=8.
Comments
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Z Element Parameters Rollout
Z Element Parameters Rollout
Elements rollout > New button > Render Elements dialog > Add Z Depth element to the elements
list (or select an existing Z Depth element in the list).
rollout > New button > Render Elements dialog > Add Z Depth element to the elements list (or
select an existing Z Depth element in the list).
The Z-depth element is a grayscale representation of the Z depth, or depth within the view, of
objects within the scene. The nearest objects appear in white, and the depth of the scene in black.
Intermediate objects are in gray. The darker the gray, the deeper the object is, within the view.
This rollout lets you adjust what portion of the scene is shown in the Z-depth rendering. By default,
the rendering includes objects at the front of the view (Z Min=0.0), and extends for 100 3ds max
units into the scene (Z Max=100.0). If your scene is deeper than 100 units, you need to increase the
value of Z.
Interface
Z MinThe minimum distance to include in the Z-depth rendering. This is a value in 3ds max units.
Default=0.0 (cannot be less than zero).
Z MaxThe maximum distance to include in the Z-depth rendering. This is a value in 3ds max
units. Default=300.0.
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Lighting Texture Element Rollout
Lighting Texture Element Rollout
Elements rollout > Add button > Render Elements dialog > Add Lighting element to the elements
list (or select an existing Lighting element in the list).
rollout > Add button > Render Elements dialog > Add Lighting element to the elements list (or
select an existing Lighting element in the list).
The lighting element contains the effects of lighting within the scene, including color, shadows, direct
and indirect light.
This rollout lets you determine which parts of the lighting are included in the rendering.
Interface
Direct Light On When on, the render element includes information from any direct lights in the
scene. The lights color and projection map should appear.
Note: The final color for direct lighting takes surface normals into consideration.
Indirect Light On When on, the render element includes information from ambient or bounced
lighting in the scene.
Note: When using radiosity, you should expect things such as color bleed.
Shadows On When on, the render element includes shadows.
Comments
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Matte Texture Element Rollout
Elements rollout > Add button > Render Elements dialog > Add Matte element to the elements list
(or select an existing Matte element in the list).
rollout > Add button > Render Elements dialog > Add Matte element to the elements list (or select
an existing Matte element in the list).
The Matte render element displays a matte mask for a selected object, material effects channel
(effect ID), or G-Buffer ID. Each matching element is represented with a white pixel on the mask.
For more info on matte behavior, see Matte Object.
Warning: The Matte render element does not work when the mental ray material is
applied to objects.
Interface
Effect ID Sets the material effects channel to include in the Matte render element.
G-Buffer IDSets the G-Buffer ID to include in the Matte render element.
Include Opens the Exclude/Include dialog, where you can select objects in the scene to exclude or
include in your Matte mask.
When including, all selected objects are rendered with white pixels.
When excluding, all pixels are white, by default. Selected objects are rendered as black pixels.
Warning: If you use Exclude, make sure the Effect ID and G-Buffer ID parameters are not
turned on. These modes do not provide good results when used in combination.
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Matte Object
Glossary
Matte Object
Matte object reveals part of the background, making the hamburger geometry appear to be inside the
oven.
A matte object is invisible but blocks any geometry behind it. However, it does not block the
background.
For example, you might make a complex scene for the background of your animation, render it
once, then assign the resulting bitmap as a background using only a few animated objects during
the rendering of the animation. If you then needed one of your objects to appear from behind some
portion of the background, such as a building, you would create a matte object that matches the
building. You then place the animated object behind it. The bitmap image of the building appears,
but the animated object is blocked until it moves from behind the matte object.
Matte objects, though invisible, can cast shadows.
Matte objects can also receive shadows. When the Matte/Shadow material's Affect Alpha check box
is set, shadows cast on the matte object are applied to the alpha channel. This lets you render maps
with alpha shadows that you can composite later. To properly generate shadows on a matte object,
turn off the Opaque Alpha check box and then set the Affect Alpha check box.
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Matte Object
Comments
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Exclude/Include Dialog
Create a light. > General Parameters rollout > Exclude button
rollout > Add button > Render Elements dialog > Select an existing Matte element in the list. >
Matte Texture Element rollout > Include button
The Exclude/Include dialog determines which objects are not illuminated by a selected light, or which
objects are considered in a Matte render element.
Although light exclusion does not occur in nature, this feature is useful when you need exact control
over the lighting in your scene. Sometimes, for example, you'll want to add lights specifically to
illuminate a single object but not its surroundings, or you'll want a light to cast shadows from one
object but not from another.
Procedures
To exclude objects from a light:
1. In the General Parameters rollout, click Exclude.

The Exclude/Include dialog is displayed.
2. Make sure Exclude is on.
3. Choose to exclude objects from Illumination, Shadow Casting, or Both.
4. In the list of object names on the left, highlight the objects you want to exclude.
5. Click the arrow pointing to the right to move the selected object names into the right-hand list.
Objects in the right-hand list will be excluded. To remove an object from this list, highlight its
name and click the arrow pointing to the left. To remove all objects from this list, click Clear.
6. Click OK.
Now when you shade or render the scene, the light will have no effect on the objects you
chose.
The object still appears lit in shaded viewports. Exclusion takes effect only when you render the
scene.
To include objects that were excluded:
1. Click Exclude.
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2. Select the names of objects in the right-hand list, and then click the arrow pointing to the left.
3. Click OK.
To include all excluded objects at once:
1. Click Exclude or Include.

2. Click Clear.
3. Click OK.
Interface
The Exclude/Include dialog contains the following controls:

Exclude/IncludeDetermines whether the light (or Matte render element) will exclude or include
the objects named in the list on the right.
IlluminationExcludes or includes illumination of the object's surface.
Note: This control has no effect on the matte render element.

Shadow CastingExcludes or includes creation of the object's shadow.

Note: This control is not available with the matte render element.
BothExcludes or includes both of the above.

Note: This control is not available with the matte render element.
Scene ObjectsSelect objects from the Scene Objects list on the left, then use the arrow buttons
to add them to the exclusion list on the right.
The Exclude/Include dialog treats a group as an object. You can exclude or include all objects in a
group by selecting the group's name in the Scene Objects list. If a group is nested within another
group, it isn't visible in the Scene Objects list. To exclude a nested group or individual objects within
the group, you have to ungroup them before you use this dialog.
Search fieldThe edit box below the Scene Objects list searches for objects by name. You can
enter names that use wildcards.
Display SubtreeIndents the Scene Objects list according to the object hierarchy.
Case SensitiveUses case sensitivity when searching object names.
Comments

Notifications Dialog
Rendering menu > Render > Render Scene dialog > Turn on Net Render (Render Output group) >
Render > Network Job Assignment dialog > Options group > Turn on Enabled Notifications. >
Define
Settings group) > Render > Network Job Assignment dialog > Options group > Turn on Enabled
Notifications. > Define
Render (Output group) > Render > Network Job Assignment dialog > Options group > Turn on
Enabled Notifications. > Define
This dialog lets a network rendering job send notifications via email. Such notifications can be useful
when you launch a lengthy render, such as an animation, and don't care to spend all your time near
the network manager system.
Interface
Categories group
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Notify ProgressTriggers a notification to indicate rendering progress. A notification is triggered

every time the number of frames specified in Every Nth Frame has completed rendering.
Default=off.
Every Nth FrameThe number of frames used by Notify Progress. Default=1.
Notify FailuresSends an email notification only if something occurs to prevent the completion of a
Notify CompletionSends an email notification when a rendering job is complete. Default=on.
Email Options group
Send EmailNotifies via email.

Include SummaryIncludes a summary of the network rendering progress with the notification
email. Available only when Send Email is turned on.
FromEnter the email address of the person who initiates the rendering job.
ToEnter the email address of the person who needs to know the rendering status.
SMTP ServerEnter the numeric IP address of the system you use as a mail server.
Comments
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Whenever different groups need to cooperate on a project, accurate communication and common
procedures are essential. A rendering farm is such a project.
Network setup is hardest to achieve, but you only need to do it once. Take your time to get the right
setup. Take each topic in order and complete the steps described.
These instructions are for creating a new network dedicated specifically to network rendering. If you
are configuring network rendering for an existing network or for a network that will be used for other
purposes, these instructions are intended as a reference example only.
Next Step
Setting Up TCP/IP
See also

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Execute Sequence
Execute Sequence
Rendering menu > Video Post > Video Post toolbar > Execute Sequence
You execute the Video Post queue as the final step in creating a post-produced video. Execution is
different from rendering because rendering is done for scenes only and you can use Video Post to
composite images and animations without including the current 3ds max scene.
Although the Execute Video Post controls are similar to those in the Render Scene dialog, the setting
are independent, and do not affect each other.
During execution, you can move or close the rendered frame window, but you can't use the rest of
3ds max until the execution is completed or cancelled.
The rendering time for the last rendered frame in the Video Post sequence is displayed in the prompt
line of the main 3ds max window.
Procedure
To execute the queue:
1. Click Execute Sequence.

An Execute Video Post dialog appears.
2. Set the time range and output size, and then click Render to create the video.
3. When execution is done, click Close to dismiss the Video Post progress dialog if it is still open.
Interface
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Execute Sequence
Time Output group
Select the frames to execute:

SingleCurrent frame only.
You can execute a single frame only if it falls within the current range.
RangeAll the frames between and including the two numbers.
Every Nth frameRegular sample of frames. For example, enter 8 to execute every 8th frame.
Output Size group
FormatChoose Custom or a standard film or video format from the list. For Custom, you can set
the aperture width of the camera, the rendering output resolution, and the image aspect ratio or
pixel aspect ratio. When you choose a standard format, the aperture width and aspect ratios are
locked, but you can change the resolution.
Width/HeightSpecify the width and height of the image, in pixels. For Custom, you can set these
two spinners independently. For other formats, the two spinners are locked to the specified aspect
ratio, so changing one changes the other.
Resolution ButtonsSpecifies a preset resolution. Right-click a button to display a subdialog that
lets you change the resolution specified by that button.
Image AspectSets the aspect ratio of the image. As you alter the Image Aspect, you also alter
the Height value to maintain the correct aspect ratio. For standard formats, the image aspect ratio is
locked, and this spinner is replaced by a text display.

Execute Sequence
If you lock the Image Aspect (by clicking the Lock button), Width and Height are locked to each
other, so that changing one changes the other to maintain the image aspect ratio, and changing the
Pixel Aspect value changes the Height value to maintain the image aspect ratio.
Pixel AspectSets the aspect ratio of the pixels of the image. For standard formats, the pixel
aspect ratio is determined by the format and this spinner is replaced by a text display.
If you lock the pixel aspect ratio (by clicking the Lock button), the Pixel Aspect spinner is replaced by
a text display. The Lock button is available only for the Custom format.
Output group
Keep Progress DialogForces the Video Post Progress dialog to remain displayed when the Video
Post sequence has finished executing. By default, it closes automatically. If this option is selected,
you must click the Close button to close the dialog.
Rendered Frame WindowDisplays the Video Post execution in a window on the screen.
Net RenderEnables network rendering. If Net Render is turned on, when you render you'll see the
Comments

Configure Presets
Configure Presets
Rendering menu > Video Post > Video Post toolbar > Execute Sequence > Right-click any
Resolution button. > Configure Presets dialog
If you use the Custom format for Execute Sequence, you can change the values for any preset
resolution button by right-clicking the button.
If you use one of the standard formats, the Width and Height spinners are locked to the standard's
image aspect ratio, and the Aspect Ratio spinner is replaced by a text display.
After you change these values and exit the Configure Presets dialog, you must click the button to
apply the new values to the Execute Sequence dialog.
Interface
WidthSpecifies the width of the image, in pixels.

HeightSpecifies the height of the image, in pixels.
Aspect RatioSets the aspect ratio of the image. As you alter the Image Aspect value, you also
alter the Height value so that the correct aspect ratio is maintained for the resolution.
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Network Rendering
Glossary
Network Rendering
Network Rendering is the rendering of animations using more than one computer connected by a
network.
Large and complex animations take many hours to render, even on the fastest PCs. Network
rendering allows you to use the power of other computers to speed up the process. Any network-
connected PCs that have the software installed can participate. You can even render using
computers connected only by the Internet.
Setting up network rendering involves installing three kinds of programs:
The Network Manager, which should be installed on a central file-server PC.
The Network Rendering Server, which must be installed on all participating PCs.
The Queue Monitor client provides a user-interface to monitor and control network rendering. It
can be installed on any of the participating PCs.
Comments
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Windows Start button > Programs > discreet > backburner2 > Manager
The application version of the network rendering Manager provides a graphical user interface for
control and monitoring purposes. It runs as a foreground process on your desktop, and remains
active unless specifically shut down. Its components include a menu bar, list window, and status bar.
Once you initially set up the Manager using the application version, you can run it as a service from
then on. The service version provides no user interface, but once it's installed as a service and
started, it's always available when the system is booted. Whichever version you use, you can
monitor and control the rendering queue and system with the Queue Monitor.
To start the Manager service, execute the following from a Command Prompt window or the Start
menu > Run function:
[drive letter]:\3dsmax6\backburner2\managersvc.exe -i
Replace "[drive letter]" with the letter of the drive the software is installed on. If you used a different
install path, change the command line accordingly.
Then either reboot the computer or go to Control Panel > Administrative Tools > Services and start
the service. Thereafter the service will remain resident and active, even surviving reboots.
Note: When you run the Manager program, you might see this warning message: Job share not
defined. This happens if neither the program folder nor the drive on which it resides is shared.
Normally, the servers copy files to be network rendered from the source machine using standard
Windows file-copy routines, which require sharing to be in effect. If sharing is not in effect, the
manager issues the warning, and then the servers use TCP/IP to copy the files. To avoid getting the
warning message, you can implement sharing, but it's not really necessary.
To remove the manager service from memory, execute the following from a Command Prompt
window or the Start menu > Run function:
[drive letter]:\3dsmax6\backburner2\managersvc.exe -r
Tip: You can run multiple Managers on the same network. This is especially useful when using many
rendering Servers, to lessen the burden on individual Managers. When using multiple Managers, it is
best to turn off Automatic Search on the rendering servers and specify a Manager to which to
connect, otherwise the rendering servers will connect to the first Manager they find.
Interface
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Menu bar
The menu bar provides access to the functions available in the Network Rendering Manager
application.
File menu
CloseCloses the window and minimizes the application to the taskbar tray. The application
remains active when you close it with this menu item or the close box (X) in the upper-right corner.
ShutdownQuits the application and removes it from memory.
Edit menu
General SettingsOpens the backburner Manager General Properties dialog.

Log SettingsOpens the backburner Manager Logging Properties dialog, which lets you filter the
types of messages to appear in the list window, and specify whether the messages are sent to the
list window or a log file.
View menu
Status BarToggles the display of the status bar, which appears at the bottom of the Server
window. When on, a check mark appears next to this menu item. Default=on.
Font SizeLets you choose the size of text that appears in the list window. Choices range from
Smallest to Largest.
Autoscroll ListToggles automatic scrolling of the list window. When on, new items that appear in
the list window cause previous contents to scroll up. When off, you must scroll the window manually
to see the latest entries after it fills up. Default=on.

Help menu
About ManagerDisplays information about the Manager program, including version and copyright.
List Window
This area of the Manager interface lists different types of information regarding the current status of
the Manager. Depending on the selections made in the Logging Properties dialog, messages are
displayed alerting the user, for example, to the following:
Connection and registration between the Manager and Server(s)
New job assignments
Which machine is the queue controller (that is, running Queue Monitor)
Frames assigned/rendered
Acknowledge packets sent between the Manager and Server(s)
Manager/Server(s) shutting down
Any rendering errors encountered

This information can be filtered using the Logging Properties dialog.
Comments

Network Manager
Glossary
Network Manager
The Network Manager service (Network Manager) is a service that must be installed on at least one
computer in each group of computers that will participate in network rendering.
The Network Manager communicates with a specified group of Network Rendering Servers to assign
jobs and monitor rendering progress. The Network Manager also handles the scheduling of jobs and
the configuration of servers through the Queue Monitor client.
It's often best to place the Network Manager on a computer that isn't in use as a workstation and
isnt shut down regularly. The Manager Service can impact CPU and network performance when
network rendering is taking place, and the Network Manager must be present at all times for
network rendering to work.
The ideal place to install the Network Manager is on a file server. If you have a PC already set up as
a texture-map file server, this would be an ideal place for it.
You specify which PC is to be the Network Manager in the Network Job Assignment dialog, a
subdialog of the Render Scene and Video Post Execute Sequence dialogs.
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Job Dependencies Dialog
Rendering menu > Render > Render Scene dialog > Turn on Net Render (Render Output group) >
Render > Network Job Assignment dialog > Connect to a Manager. > Priority group >
Dependencies
Settings group) > Render > Network Job Assignment dialog > Connect to a Manager. > Priority
group > Dependencies
Render (Output group) > Render > Network Job Assignment dialog > Connect to a Manager. >
Priority group > Dependencies
This dialog lets you specify jobs that shouldn't begin rendering until other jobs finish. Use the two
lists and the Add and Remove buttons to build a list of jobs that must finish rendering before the
current job can start.
Interface
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Existing Jobs listLists all previously submitted jobs. To specify a dependency for the current job,
add one or more of these to the Jobs Your Job Depends On list.
AddSelect one or more jobs your job is to depend on, and then click Add to add them to the Jobs
Your Job Depends On list.
Add AllAdds all jobs in the Existing Jobs list to the Jobs Your Job Depends On list.
RemoveRemoves highlighted jobs from the Jobs Your Job Depends On list.
Remove AllRemoves all jobs from the Jobs Your Job Depends On list.
Jobs Your Job Depends On listLists all previously submitted jobs. To specify a dependency for
the current job, add one or more of these to the Jobs Your Job Depends On list.
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Strips Setup Dialog
Strips Setup Dialog
Rendering menu > Render > Render Scene dialog > Common tab > Turn on Net Render (Render
Output group) > Render > Network Job Assignment dialog > Options group > Turn on Split Scan
Lines. > Define
The Strips Setup dialog lets you specify how to split up the rendering of a single, large image among
several different servers on the network. The software automatically subdivides the rendering based
on settings you provide, and then fits the pieces together into the final image.
Note: A version of this feature was known as Region Net Render in previous versions of the
software.
Procedure
To render a large image with a networked render farm:
1. Set up a scene to render.
2. Set up your system for network rendering.
3. From the Rendering menu, choose Render.

The Render Scene dialog appears, with the Common tab active.
4. In the Output Size group, specify the size to render.
5. In the Render Output group, specify an output file name and location, and turn on Net Render.
6. Click the Render button.

7. In the Options group, turn on Split Scan Lines, and then click Define.
The Strips Setup dialog appears. The dialog displays the output resolution, and lets you
determine how to split up the rendering job by specifying the number of horizontal strips into
which the image will be subdivided.
8. Specify the vertical size of each strip in pixels or as a percentage of the total image height, or
set the number of strips. Changing one also changes the other.
9. Set the overlap in pixels or as a percentage.

Using overlap isn't always necessary, but if you notice anomalies where the strips meet,
increase this value.
10. Connect to the manager, specify a job name, choose one or more servers on which to render,
and then click Submit.
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Strips Setup Dialog
The job is sent to the network rendering manager, which supervises the network rendering job.
The job consists of first rendering each slice, and then combining, or stitching, the slices into
the final image.
11. Monitor the job via the backburner Queue Monitor dialog.
Rendering and stitching passes are designated Slice Pass and Stitch Pass, respectively.
When all slices are finished, the job status will be Complete.
Interface
Output ResolutionThis read-only field displays the horizontal and vertical resolution of the final
image, in pixels.
Strip HeightSets the height of each horizontal strip in pixels or as a percentage of the total
height. Default=10 percent of the total image height, in pixels.
This setting is interdependent with and inversely proportional to the Number Of Strips setting;
increase one, and the software decreases the other.
Number of StripsSets the number of horizontal strips to be rendered by the available servers.
Default=10.
The value determines the maximum number of machines to which the job can be farmed out. For
example, if you use the default setting of 10 strips, the job can be performed by 10 machines at
most. In that case, assuming equal performance of all 10, rendering would take approximately one-
tenth the time required by one machine.
Tip: For optimal results with render farms that comprise machines of different speeds, use a value
high enough that the job can be completed most efficiently. For example, consider a two-server
network with one machine four times as fast as the other. If you set Number Of Strips to 2, the job
won't be finished until the slower machine renders its half of the final image. But if you set Number
Of Strips to 4, the faster machine can render three of the strips while the slower machine renders

Strips Setup Dialog
one, effectively halving the total render time.

This setting is interdependent with and inversely proportional to the Strip Height setting; increase
one, and the software decreases the other.
OverlapSet the amount by which each strip overlaps the adjoining one(s). You can set this in
pixels or as a percentage of the final image height.
A certain amount of overlap is necessary to compensate for image artifacts created by antialiasing
and render effects. If you notice anomalies where the image slices meet, try increasing the Overlap
setting.
Pixels/PercentageDetermines whether the Strip Height and Overlap settings represent pixels or
a percentage of the final image height. Choosing a different option automatically changes the two
values accordingly.
Delete Temporary Images Upon CompletionDeletes the slice images after the final image is
created. Default=off.
Comments

In This Topic
Overview
Summary of Procedures
Special Considerations for Procedures 2 and 3
Basic Procedure 1: Single System Network Rendering
Basic Procedure 2: Network Rendering from Server (not Manager)
Basic Procedure 3: Network Rendering from Servers and Manager
Overview
This topic contains basic procedures to follow when network rendering with 3ds max 6. The following conditions are
assumed:
3ds max has been installed on all machines to use as rendering servers. Note: You needn't license the software on
machines to be used only as rendering servers. When installing, choose the Compact installation type.
All network communications and protocols are installed and operating correctly.
The computers run Windows XP Pro, Windows 2000, or NT 4.0. Limitations of other operating systems could cause
network rendering to be unreliable.
All of the computers have names that start with letters. Machine names that start with a number will fail.
You haven't previous attempted network rendering. If you have already attempted network rendering and want to
return to an original state, delete everything in the 3dsmax6\backburner2\network subdirectory except nrres.dat.
Manager and Server have not been installed as services.
Summary of Procedures
Procedure 1 - Use this procedure for configuring a single system to render jobs to itself; in other words, to do batch
rendering.
Procedure 2 - Use this procedure for configuring a Manager system to render to a Server system. The Manager will
not be involved in the rendering job.
Procedure 3 - Use this procedure for configuring the Manager and Server systems to render jobs together.
Special Consideration for Procedures 2 and 3
To use a render farm, you must output a frame sequence in a still-image file format; for example, a series of BMP files.
You cannot render animated file formats such as AVI, MOV, and FLC to multiple systems. You must render animated
files to a single system. When rendering to an animated file format, the Use All Servers check box in the Network Job
Assignment dialog is unavailable.
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Basic Procedure 1: Single-System Network Rendering
This procedure describes usage of network rendering on a single computer. The main advantage to this method over
standard rendering is that you can submit multiple rendering jobs for the computer to render. In effect, this lets you
perform batch rendering.
1. Go to Start menu > Programs > discreet > backburner2 and choose the Manager menu item.
This starts Manager and creates the backburner.xml file in the backburner2\network folder.
When you run Manager for the first time, you will see the backburner Manager General Properties dialog, shown
below.
backburner Manager General Properties dialog.
2. Click OK to accept the default settings.

The backburner Manager dialog displays.
3. Go to Start menu > Programs > discreet > backburner2 and choose the Server menu item.
This starts Server and creates the server data that is stored in the backburner.xml file.
You will see the backburner Server General Properties dialog, shown below, when you run Server for the first time.

backburner Server General Properties dialog.

The backburner Server dialog displays. After a few moments, messages appear in both the Server and Manager
windows indicating that the Server has successfully registered with the Manager.
5. Start 3ds max and load the first scene you want to render.
6. From the Rendering menu, choose Render, or click the toolbar Render Scene button.
7. Set the rendering parameters and specify an output file name. In the Render Output group, turn on Net Render,
and then click the Render button.

Network Job Assignment dialog showing the server station that is also running Manager.
8. Enter a job name (it's a good idea to change the default name) and then click the Connect button.
The name of your computer (that is, the Server) appears in the Server window to the right. It has a green dot
next to it meaning that it is a Server system that is ready to start rendering.
9. Click the Server name to highlight it in the list window, and then click the Submit button.
The Manager submits the job to the Server, both running only on this system, and the Server begins rendering
each still frame or the animation.
10. To render additional jobs, load each into 3ds max, and then repeat steps 6-9.
You can submit as many jobs as you like. The software will queue the jobs up and render them in the order that
you submitted them.

Basic Procedure 2: Network Rendering from Server (not Manager)
When rendering across a network, you first assign one machine to be Manager, and then any number of others as
Servers. In this procedure, you won't use the Manager as a rendering Server.
below; this is normal.

3. Move to a Server system.
4. Go to Start menu > Programs > discreet > backburner2 and choose the Server menu item.
You will see the backburner Server General Properties dialog box, shown below, when you run Server for the first
time.

backburner Server General Properties dialog.

6. Repeat steps 3-5 on all the Server systems you intend to make available for your rendering jobs.
7. Return to the Manager system, start 3ds max, and load the first scene you want to render.
9. Set the rendering parameters and specify an output path and file name.
Tip: So that the Servers can find the output path, specify the path in the Render Output File dialog starting with
Save In > My Network Places. Then navigate to the output folder, specify a file name and output format (Save As
Type), and click Save.
10. In the Render Output group, turn on Net Render, and then click the Render button.

Network Job Assignment dialog showing all the server stations. The manager station is excluded.
The names of all Servers appear in the Server window to the right. Those with green dots next to their names are
ready to start rendering.
By default, all the Servers that are listed will take part in the rendering job. To assign a specific Server to render a
job, first turn off Use All Servers in the Options group, and then highlight the server(s) that you want to render the
job.

The Manager submits the job to the Servers, which begin rendering .
At this point, you can load and submit additional scenes. When the first job is complete, the next job will
automatically begin rendering on the Servers.

Basic Procedure 3: Network Rendering from Manager and Servers
When rendering across a network, you first assign one machine to be Manager, and then any number of others as
Servers. In this procedure, you'll use the Manager computer as a rendering Server as well.
below; this is normal.

3. On the same computer, go to Start menu > Programs > discreet > backburner2 and choose the Server
menu item.
You will see the backburner Server General Properties dialog box, shown below, when you run Server for the first
time.

backburner Server General Properties dialog

5. Repeat steps 3-4 on all the Server systems you intend to make available for your rendering jobs.
6. Return to the Manager system, start 3ds max, and load the first scene you want to render.
8. Set the rendering parameters and specify an output path and file name.
Tip: So that the Servers can find the output path, specify the path in the Render Output File dialog starting with
Save In > My Network Places. Then navigate to the output folder, specify a file name and output format (Save As
Type), and click Save.
9. In the Render Output group, turn on Net Render, and then click the Render button.

Network Job Assignment dialog showing all the server station plus the manager station that is running Server.
The names of all Servers appear in the Server window to the right. Those with green dots next to their names are
ready to start rendering.
By default, all the Servers that are listed will take part in the rendering job. To assign a specific Server to render a
job, first turn off Use All Servers in the Options group, and then highlight the server that you want to render the
job.

The Manager submits the job to the Servers, which begin rendering .
At this point, you can load and submit additional scenes. When the first job is complete, the next job will
automatically begin rendering on the Servers.

Comments

Glossary

The Network Rendering Server must be running on any computer dedicated to rendering a job
remotely.
The Server communicates with the Network Manager and starts the program on that computer to
render network processes. The Server has no user interface itself, but you can set various options
for it from the Queue Monitor client. For example, you can specify the times of day that the Server is
available to do network rendering.
You specify which PCs are to be servers in the Job Assignment dialog, a subdialog of Render Scene.
Comments
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Job Report Dialog
Job Report Dialog
Report
You can generate ASCII reports containing detailed statistics about a particular job selected in the
Job Queue list.
Interface
Header group
Specifies the type of header to include in the report file, in addition to the body information.
LongIncludes information above the body of information, including Job Name, Submitted by,
Frame Start/End, Output Width/Height, Pixel Aspect Ratio, and Image Aspect Ratio.
ShortIncludes only the column titles in the report.
Record Delimitation group
Specifies the type of delimiter used between the fields. For example, if you use a tab delimiter, the
report will import correctly into Microsoft's Excel or Access applications.
TabInserts a tab between fields in the report.
SpaceInserts a space between fields in the report.
CommaInserts a comma between fields in the report.
Use QuotesBrackets each field with double quotes.
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Job Report Dialog
Output File group
(Text Field)Specifies the report's file name. You can specify a complete path, if you want. By
default, the path is the directory containing the monitor.exe file.
Tip: If you use a shortcut icon to launch Queue Monitor, you can specify the path for your report's
output file in the Start In field in the Properties dialog for the shortcut.
Tip: BrowseDisplays a file selector where you can specify a file path for the report.
See also
Comments
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Job Archives Dialog
Job Archives Dialog
Windows Start button > Programs > Discreet > Queue Monitor > Highlight a job. > Jobs menu > Job
Archives
Windows Start button > Programs > Discreet > Queue Monitor > Highlight a job. > right-click menu > Job
Archives
Use the Job Archives dialog to delete, activate and refresh jobs that have been archived. Jobs are placed
here when you select a job from the Job list on the Queue Monitor and click the Archive Job command. This
brings up the Backburner Job Archives dialog Jobs are also placed in the Job Archives if you set them to
automatically archive when the rendering is completed.
Interface
This dialog consists of a toolbar and list of archived jobs.
Toolbar
The Job Archives toolbar has three commands.

DeleteDeletes a selected job from the archive. You are warned and must accept confirmation before the
deletion to occurs. This button is active only when a job is selected.
ActivateWhen you select a job from the list, you can click the Activate button. When a job is activated, it
is removed from the Job Archives and placed back in the Job list in the Queue Monitor. Then you can choose
to Edit Settings and restart the job.
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Job Archives Dialog
RefreshForces the Job Archives dialog to update the information shown in the job list
Job List
The Job List shows the Job Name, Owner, Description, Type (render plugin), original Submission date, and
Completion date. Unlike other lists in the Queue Monitor, you cannot add or remove columns. You can make
multiple selections of jobs by holding down either the SHIFT or CTRL keys.
Comments
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All rendering jobs submitted to the network rendering queue are shown in the Job list window,
located on the upper-left side of the Queue Monitor dialog, immediately below the toolbar. Below it is
the Server list window, which shows all servers attached to the manager and their status.
Interface
Each job is denoted by an icon reflecting its current status. The servers are also denoted by specific
icons that reflect their current status.
Job Icons
Job is started and has rendered one or more frames. The job is either currently rendering or is
awaiting an available server.
Job is active, but has not yet rendered any frames.
Job is suspended.
The job was submitted as suspended or was suspended with the Queue Monitor. Suspended jobs
must be manually reactivated to give them a started or active status.
Job is in an error condition.

In the Queue Monitor, check the Errors tab in job information window, to the right of the jobs list,
for details regarding the error, such as missing bitmaps, plug-ins, texture coordinates. See
Troubleshooting.
Job is completed.
All frames in the sequence have been rendered successfully. You may delete this job from the queue
if you want.
Server Icons
A bar through the server icon indicates that it's assigned to the currently highlighted job or jobs.
Server is active.
The server is rendering the current started job.
Server is absent.
The server is assigned to the rendering task but is not currently rendering. This can occur, for
example, when the server is turned off or is not running the Server application.
Server is in an error condition.

Check the Server list Job Status column in the Queue Monitor for details regarding the error, such as
missing bitmaps, plug-ins, texture coordinates. See Troubleshooting.
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Server is idle.
The server can be assigned the highlighted job with the toolbar Assign Server button.
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As requirements change, you can deactivate an active or pending job in the rendering queue, or
reverse the process and restart jobs that are inactive.
When you deactivate a job, the servers assigned to the job either drop the frame they are rendering
or finish writing the frame, depending on where they are in the rendering process. The next pending
job becomes active and begins to render.
You can reactivate a suspended job, or a job that was submitted as Initially Suspended from the
Procedures
To deactivate a job:
1. Select a started or active job in the Job list.
Click the Suspend button on the toolbar (the red light-bulb icon).
Choose Jobs menu > Suspend.
Right-click the job name to display a pop-up menu, and then choose Suspend.
If necessary, click the toolbar Refresh button to view the new queue status.
To activate a suspended job:
1. Select the inactive job (denoted by a gray box).

The Activate button on the toolbar becomes active.
2. Click Activate, or use the menu bar or right-click menu.

The job becomes either started or active in the queue, depending on whether or not another
job is currently rendering and whether or not any of the job's frames have already rendered.
Comments
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When prioritizing jobs and dividing up the network render load, you might need to pull individual
servers off one job and place them on another.
When you remove a server from the current rendering job, and the server is assigned to another
started or active job, it is used by that job. If the server has no further job assignments, it stops
rendering.
You can assign machines that become available for network rendering to any job.
You can tell whether a server is assigned to a particular job by highlighting the job in the Queue
Monitor > Job list and looking at the server's icon in the Server list. If a horizontal bar appears
through the server icon, then it is assigned to the job; if no bar appears, then it isn't assigned to the
job.
Alternatively, just highlight the job and then click Selected Job in the Server Tree view, to list only
servers assigned to that job.
Procedures
To remove a server or servers from the highlighted rendering job or jobs:
Highlight the server in the Server list and click the Remove Server icon on the toolbar.
To assign an unassigned server or servers to highlighted rendering job(s), do one of the

following:
Highlight the unassigned server(s) in the servers list and choose Assign To Selected Jobs from the
Servers menu.
Right-click the server name in the queue list to display the pop-up menu and choose Assign To
Selected Jobs.
Next Step
Comments
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Reordering lets you change the job order in the queue to meet changing deadlines or priorities. You
can delete jobs from the queue at any time.
Procedures
To re-order a job in the queue:
1. In the Job list window of the Queue Monitor, right-click the job to move.
2. Choose Change Priority, and use the Change Job Priority dialog to set a new Priority value.
Note: You can reorder multiple jobs at the same time. They will end up with the same priority.
To delete a single job from the job queue, do one of the following:
Highlight the job and then click Delete on the toolbar.
Use the right-click menu > Delete command.
You can delete multiple jobs by first highlighting the jobs by using the CTRL or SHIFT keys and then
clicking the Delete button or Jobs menu > Delete.
Comments
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Utilities panel > Utilities rollout > More button > Utilities dialog > Resource Collector
The Resource Collector gathers the resource files used by a scene (bitmaps, photometric distribution
files (IES), and optionally, the scene itself into a single directory.
Warning: The Resource Collector does not collect maps used for displacement mapping or
as light projections.
See also
Interface
Output PathDisplays the current output path. This can be changed using the Browse button.
BrowseClick to display a Windows file dialog that lets you choose the output path.
Resource Options group
Collect Bitmaps/Photometric FilesWhen on, the Resource Collector places the scene's bitmaps,
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and photometric files, in the output directory. Default=on.

Include MAX FileWhen on, the Resource Collector places the scene itself (the .max file) in the
output directory. Default=off.
Compress FilesWhen on, compresses the files into a ZIP file, saved in the output directory.
Default=off.
Copy or MoveChoose Copy to make a copy of the files in the output directory. Choose Move to
move the files (they are deleted from the directory in which they originally were saved).
Default=Copy.
Update MaterialsWhen on, updates material paths. Default=off.
BeginClick to collect the resource files according to the settings above this button.
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Bitmap / Photometric Path Editor Dialog
Utilities panel > Utilities rollout > More button > Utilities dialog > Bitmap/Photometric Paths >
Edit Resources button
This dialog is the main part of the interface to the Bitmap / Photometric Path Editor utility.
See also

Missing External Files Dialog
Procedure
To correct the path name for a missing map:

You must first locate the missing bitmap or photometric files. The Windows Search program can help
you with this.
1. On the Bitmap / Photometric Path Editor dialog, click Select Missing Files.
2. Click to select a single missing file in the list.

If a group of missing files are in the same directory, you can leave all of them selected.
3. Click Strip Selected Paths.
4. Click Set Path.
5. Enter the correct path in the New Path field, or click the "..." button to browse to the correct
path in a Windows file dialog.
The Bitmap/Photometric Path Editor updates the selected maps' path to use the new path.
Interface
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List of mapsShows all bitmaps used in the scene, along with their current path.
When no file is selected in the list, the only controls available in the dialog are Close, Select Missing
Maps, and Strip All Paths.
CloseClick to close the dialog.
InfoClick to display a Resource Information dialog.
This button is available only when a single file is selected in the list.
Double-clicking a name in the list is another way to display the Resource Information dialog.
Copy FilesCopies the selected files to a directory you choose. This button displays a Windows file
dialog that lets you choose the destination directory.
Select Missing FilesHighlights the names of missing files in the list.
Find FilesClick to search for the maps in the current selection. This button displays an alert that
shows how many files are findable, how many files are missing.
Strip Selected PathsClick to strip the path from the selected files. An alert appears to warn you
that the scene will lose this information.
Strip All PathsClick to strip the path from all files in the list. An alert appears to warn you that
the scene will lose this information.
Set PathClick to apply the New Path field to the selected files.
If the New Path field is identical to the selected file or files, clicking Set Path clears New Path.
New PathLets you enter a path for the currently selected file or files. Default=The path of the
currently selected file, or none if multiple files with differing paths are selected.
"..." button(To the right of the New Path field.) Displays a Windows file dialog to let you browse

for a path.
Comments


This dialog appears when you attempt to open or render a scene with bitmaps or photometric files
(IES, CIBSE, LTLI) whose path is no longer current. This can happen if the bitmaps have been
moved or deleted, or if the scene has been placed on a system with a different drive mapping than
the system on which it was created.
See also

Interface
List of external filesLists the bitmaps or photometric files that cannot be located, along with
their path names.
ContinueOpens or renders the file anyway, without loading the missing bitmaps or photometric
files.
If you continue rendering the scene, the bitmaps do not appear, or the lights assigned missing
photometric files will render using the default isotropic distribution.
BrowseDisplays a Configure External File Paths dialog, to let you add the missing files' paths to
the search sequence. This dialog has the same controls as the External Files panel of the Configure
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Paths dialog.
Comments
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Resource Information Dialog
Resource Information Dialog
> Edit Resources button > Select a single bitmap or photometric file name. > Info button
> Edit Resources button > Double-click a bitmap or photometric file name.
The Resource Information dialog displays information about where a bitmap is used in other
materials or photometric distribution files and shows an image of the bitmap.
Interface
Referenced by NodesLists the objects ("nodes") that are assigned materials that use this bitmap
or use a given photometric distribution file.
CloseCloses the dialog.
View BitmapDisplays a rendered frame window that shows the bitmap. This button is unavailable
if the file is a photometric file, and it has no effect if the map is missing.
Comments
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Utilities panel > Utilities rollout > Camera Match button
The Camera Match utility uses a bitmap background photo and five or more special "CamPoint"
objects to create or modify a camera so that its position, orientation, and field-of-view matches that
of the camera that originally created the photo.
Procedures
The Camera Matching tutorial takes you through steps to match a camera to a bitmap background
photo. Its an involved process, but the results are worth the work. The general process that you
follow in that tutorial is described in the following procedures.
To use camera matching:
1. Load a bitmap as a background for the renderer.
2. Load a bitmap as a background for the viewport.
3. Identify on the bitmap at least five features that will be used for the match. These should be
objects or corners of objects in the scene that can be identified and tracked. They should
remain visually throughout the scene, and should not change their shape too much or they
wont work.
4. Create CameraPoints, which are helper objects found in these locations: Create panel > Helpers
> Camera Match > Object Type rollout > CamPoint, and Create menu > Helpers > Camera
Point.
You must have accurate measurements of distances between at least five features in your
scene, which cant be all on a single plane. Try to use points that are distributed throughout the
scene rather than features that are all clustered in the front or back. This will give the most
accurate results.
5. Position these CameraPoints to correspond to points in your photo. You can use the Transform
Type-In to position the points in the correct locations in 3D space.
6. Use the Camera Match utility to assign the CameraPoints to pixel locations on the bitmap.
7. Choose Create Camera and a camera is created to match the one that took the picture.
If there are errors and the camera cannot be created, readjust the point positions in 3D space,
and reassign them to the bitmap. Its easy to make a mistake doing either, but once you get it
right the match should work.
To establish the bitmap background for the renderer:
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1. Reset the software and enlarge the Perspective viewport to full screen.
2. From the Rendering menu choose Environment.
3. In the Common Parameters rollout, under Environment Map, click the gray box marked None.
This launches the Material/Map Browser.
4. Be sure to set Browse From to New; if it isnt set already, then choose Bitmap from the list and
click OK. The Select Bitmap Image File dialog appears.
5. Navigate and select the appropriate bitmap and then choose Open.
Use Map is turned on automatically.
6. Render the viewport to verify that the background appears in the rendering. Press SHIFT+R to
render.
To establish the bitmap background to display in the viewport:
1. Choose Views menu > Viewport Image > Select Background.
2. Under Background Source, click Files. This launches the Select Background Image dialog.
3. Navigate and select the appropriate bitmap and then choose Open.
4. Set Aspect Ratio to Match Bitmap.
5. Make sure Display Background is turned on, and then choose OK.
The background appears in the viewport.
Note: You can click the Use Environment Background button, but then you dont have the
Aspect Ratio controls.
To create CamPoint objects:
1. In the Helpers group of the Create panel, open the list and select Camera Match.
2. On the Object Type rollout, click the CamPoint button.
3. Open the Keyboard Entry rollout.
4. Enter the coordinates of the first CamPoint object (0,0,0), click the Create button, and then
enter the name in the name field.
Tip: To use the keyboard, first click in the X field, enter its value, and then press TAB to move
to the next field and enter its value. Continue this until you tab to the Create button, and then
press ENTER to create the CamPoint, followed by TAB to move back to the X field, where you
can start again. You can create all the CamPoint objects with default names, and then use the
Select By Name floater (Tools > Selection Floater) to select and rename the six pointers.
5. Repeat the above steps for the remaining CamPoint objects.

Note: An alternative method is to create the CamPoint objects anywhere in the scene, and then

reselect each of them and enter their absolute coordinates using the Transform Type-In.
You now have the CamPoint objects occupying real-world coordinate positions that correspond to the
structure in the bitmap image. The last sequence of steps involves using the Camera Match utility to
specify the screen coordinate points, one for each CamPoint object, and generating a camera
position based on the data.
To use the Camera Match utility:
1. On the Utilities panel, click the Camera Match button.

The Camera Match utility appears, listing the CamPoint objects.
2. Select the first CamPoint object and click the Assign Position button.
3. Place the cursor over the corresponding feature in the bitmap and click.
A small, red cross appears.
4. If the dot is not in the right position, you can either click again with the mouse or adjust the
Input Screen Coordinates to tweak its position.
5. Select the second object in the list, and repeat steps 3 and 4.
6. Repeat for all the points. By setting the red crosses, youve indicated the X and Y pixel position
on the bitmap and correlated it with each CamPoint as it exists in 3D space.
7. Once you have all of the points set, click the Create Camera button.
A camera is created in the scene based on the location of the CamPoint objects and the
specifications of the screen coordinates points.
Note: If the Current Camera Error reading is greater than five, at least one of your screen
coordinate points is placed wrong. Check each of them, and review the description following
step 5. After reassigning the points, select the existing camera and click the Modify Camera
button to recalculate the camera position.
8. Press C to switch the Perspective view to that of the new camera.
Interface
CamPoint Info rollout

List windowDisplays a list of the CamPoint helper objects in the scene. You select the CamPoint
objects from this list to assign screen coordinate points. Note that if you select a CamPoint object in
the viewport, its highlighted in this list as well.
Input Screen Coordinates
X/YFine-tunes the position of the screen coordinate points in 2D space.
Use This PointTurns off a specific coordinate point without deleting it. Select the corresponding
CamPoint in the list, and then turn off Use This Point. This feature is typically used for
troubleshooting when the Current Camera Error is too high (greater than five, for example).
Assign PositionClick a location on the viewport bitmap to place a screen coordinate point visually
against the background image. The point you place corresponds to the currently selected CamPoint
object. After activating the Assign Position button, select a CamPoint object from the list, and then
click in the viewport at a position on the bitmap background that corresponds with where the
associate CamPoint object should be in the 3D scene. After repeating this process with each
CamPoint object in the list, you can click the Create Camera button to create a camera that matches
the placed coordinates with their associate CamPoint objects.
Camera Match rollout
Create CameraCreates a camera in the scene whose position, orientation, and field of view is

based on the current location of the CamPoint helpers and the assigned screen coordinate points.
Modify CameraModifies the position, orientation and FOV of an existing, selected camera based
on the CamPoint helpers and assigned screen coordinate points.
IterationsMaximum number of iterations used to calculate the camera position. Default is 500,
though a stable solution is usually found in less than 100 iterations.
Freeze FOVPrevents the FOV (field of view) of the camera from being changed when using the
Create Camera or Modify Camera buttons. Use if the FOV of the camera that took the photograph is
known and you want to preserve it.
Current Camera ErrorDisplays the total error that remains between the placed screen coordinate
points, the CamPoint helpers, and the camera position after the final computation. The calculations
involved in the camera match are seldom perfect. A good error range is about 0 to 1.5.
CloseExits the Camera Match utility.
Comments

Utilities panel > Utilities rollout > More button > Utilities dialog > Camera Tracker
The Camera Tracker utility animates the movement of a camera inside 3ds max to match the
movement of a real camera that was used to shoot a background movie.
For detailed Reference information about each Camera Tracker Utility rollout see:
Camera Tracker: Movie Rollout
Camera Tracker: Movie Window
Camera Tracker: Motion Trackers Rollout
Camera Tracker: Movie Stepper Rollout
Camera Tracker: Batch Track Rollout
Camera Tracker: Error Thresholds Rollout
Camera Tracker: Position Data Rollout
Camera Tracker: Match Move Rollout
Camera Tracker: Move Smoothing Rollout
Camera Tracker: Object Pinning Rollout
For additional information on using the Camera Tracker Utility see:
Requirements for Camera Tracking
Camera Tracker: Troubleshooting
Procedure
See the Camera Tracking tutorial for hands-on instruction about using the Camera Tracker.
To generate a camera match-move:
1. Open the working scene in 3ds max.

The scene should have a Free camera to be match-moved, as the tracker does not create one.
The scene also should have a set of Point or CamPoint helper objects positioned in 3D to
correspond to the tracking features. Optionally install the movie as an environment map-based
background image in the match camera viewport. This is needed if you want to render a
composite using the match-move or checking match accuracy. This doesnt automatically
display the background image in the viewport. Use Views > Background Image to select the
background movie and display it in the viewport.
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Real-world camera films a scene (the white dots will be tracking points).
2. Open the movie file in the Camera Tracker utility and create a set of feature tracking gizmos for
each of the tracking features in the scene.
Resulting footage to be tracked and used as a background.
3. Position the Feature Selection box and Motion Search box for each gizmo so that theyre

centered on the features and have motion search bounds large enough to accommodate the
biggest frame-to-frame move of the features throughout the frames that will be tracked.
4. Associate each tracker with its corresponding scene point object.
The associated scene point objects are set up in 3D space based on real-world dimensions.
5. (Optional) Use the Movie Stepper rollout to set the start and stop frames for each tracker if its
out-of-view for any of the frames that will be matched. These specify the frame range during
which the tracker is visible in the scene and will be tracked as part of the matching process.
This mechanism allows you to match a move in which the view passes through a field of
features with only some of them (at least six) visible at any time.
6. (Optional) Set up manual keyframes for each tracker at frames in which the feature radically
changes motion or shape or is briefly occluded and so might be difficult for the computer to
track. If you want, you can do this after a tracking attempt indicates where tracking errors
occurred.
7. Perform the feature track using the Batch Track rollout. This is often an iterative process:
correcting for tracking errors by tuning start and stop frames or manually repositioning the
gizmo and motion search boxes at error frames. When you reposition a gizmo at some frame,
you establish a new target feature image and subsequent frames up to the next keyframe will
be retracked. You can use the error detecting features in the tracker to step through possible
tracking errors. When complete, this process builds a table of 2D motion positions for each
feature. You can save this to disk using the Save button on the Movie rollout.
8. Choose the camera that will be matched in the Match-Move rollout, select which camera
parameters you want to estimate, set the movie and scene animation frame ranges and

perform the match. This generates a keyframed animation of the selected camera parameters.
After camera tracking, scene geometry (the character) matches the filmed background.
9. Check the match for obvious errors and review the tracker gizmo positions at these frames.
You can manually adjust gizmos at these frames and the matcher interactively recomputes the
camera position.
10. (Optional) Apply smoothing to selected camera parameters and recompute a compensating
match for the other parameters.
The Camera Tracker also has the ability to animate 3ds max geometry to follow or match the video
by following the movement of a tracker in a 2D plane. For this type of animation scene
measurements arent required. Use the Object Pinning rollout of the Camera Tracker to create this
type of tracking.
Comments

Utilities panel > Utilities rollout > More button > Utilities dialog > Camera Tracker > Movie rollout
Opens the movie for tracking. Also provides controls for the display of the movie, including fade
display to improve the visibility of the trackers. Provides controls for loading and saving MOT files in
which tracker information is stored.
Interface
Movie fileSelects and opens the movie that will be tracked. You can open any image file format
that 3ds max supports. If you use sequential still-image files, you will use an .ifl (image file list) file.
You can create the .ifl file using the IFL Manager or using any bitmap selector dialog by choosing
Sequence. When you open the movie file, its displayed in a Movie window.
Display MovieReopens a closed or minimized Movie window. You use the Movie window to setup
and adjust feature tracking gizmos and to browse through the movie. For more details on working
with the Movie window, see Motion Tracker rollout.
Show frameAllows you to step through the movie displayed in the Movie window. Alternatively,
use the Movie Stepper rollout, which provides additional browsing controls.
DeinterlaceCauses the tracker to apply a video deinterlacing filter to the movie frames. If the
movie comes from a video source and the features youre tracking show marked interlacing, you
should deinterlace the video to improve tracking accuracy. If the movie was digitized from film, you
should not perform deinterlacing because the results will be less accurate. The deinterlacing is
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performed temporarily on loaded frames and doesnt affect the original movie file.
OffDisables deinterlacing. When no filtering is required click this.
OddInterpolates using the odd lines.
EvenInterpolates using the even lines.
Fade DisplayFades the movie in a Movie window by 50 percent. Use this to see the tracker
gizmos more clearly.
Auto Load/ SaveSaves the state of a tracking setup and any position data youve produced to a
special file associated with each movie. Selecting Auto Load/Save Settings causes the tracker to
keep this settings file up-to-date automatically as you work in the tracker. You can force a save at
any time by pressing the Save button. Whenever you open a movie file in the Camera Tracker with
Auto Load/Save turned on, the tracker reloads the state of the tracking session from this settings
file.
With Auto Load/Save Settings turned on, the tracker constructs the setting file automatically and
places it in the same folder as the movie, named with the same prefix as the movie but with file type
MOT. If you move the movie file to a new folder, move the .mot file with it so the tracker can find it.
You can delete this file if you want to clear the settings or if the file becomes corrupted for any
reason.
When AutoLoad/Save is turned off, you can open a different movie file either with an empty tracker
state or into the existing tracker state or save the current tracker state into a new file. The name of
the current tracker file is displayed at the bottom of the Movie rollout.
SaveSaves the state of the tracking setup, and any position data produced to the current .mot
file.
Save AsSaves the current setup into a new .mot file. This file becomes the destination for
subsequent Save operations.
LoadLoad the tracker setup and position data from another file.
Comments
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Utilities panel > Utilities rollout > More button > Utilities dialog > Camera Tracker > Motion
Trackers rollout
The Camera Tracker utility's Motion Trackers rollout sets up and controls the image feature trackers.
All the trackers created are listed here: showing enable check mark, tracker number, associated
scene point object name, and active frame range. To select a tracker, click in the list. Provides
controls for subpixel tracking as well.
Interface
OnWhen turned on, the feature will be tracked in the image when the movie is stepped through in
the Movie Stepper, or when a full track is performed. An X appears in the tracker list when turned
on.
OffWhen turned off, the tracker will sit at the closest known position prior to the current frame.
Because feature tracking is computationally intensive, sometimes its useful to disable the trackers
youre not working on to speed up movie stepping.
AllEnables all the trackers.
NoneDisables all the trackers.
New TrackerCreates a new movie feature tracker. This places a feature tracker gizmo in the
center of the Movie window and a new entry in the tracker list. The new tracker takes on the
parameters currently displayed under Tracker Setup. You can change these parameters after you
create the tracker, but its often useful to set the Max Move Per Frame parameter prior to creating
the new tracker as this automatically establishes an initial search bound for the tracker gizmo.
Delete TrackerDeletes the selected tracker from the list and the Movie window.
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Tracker Setup group
Sets up the parameters for the currently selected tracker. Any tracker you create will take its initial
parameters from the current values in this group.
Scene objectAssociates a tracker with a scene point object that corresponds to the image feature
in the Movie window. Pressing this button puts 3ds max into standard object picking mode. When
youve selected the object, the entry in the tracker list and the text in the button change to the
name of the selected object. You can change the connected object at any time by pressing this
button.
Its recommended that you use point or CamPoint helper objects, although you can use any
3ds max object. The tracker uses the pivot point of the selected object as the correlation reference
point during the match computation.
When you set up a tracking project, you can make the tracker save the setup in a .mot settings file.
The association between tracker and scene point object that you set up here is saved as a scene
object name. If you reload the movie in the tracker, the object association is reestablished using the
object's name. This means you must be careful to name the point objects uniquely, otherwise you
might establish incorrect associations. Further, you must load the working scene in 3ds max before
opening the movie in the camera tracker utility, so the named objects can be found. If you happen
to open the movie first, the object names in the Tracker list will all read "<none>". Simply reopen
the movie in the tracker and it will establish the connections correctly.
Match weightSets the camera matching priority separately for each tracker. Use this to improve
the match accuracy for features close to where a computer graphics generated element will be
inserted. It helps to minimize sliding and jitter in that part of the scene.
The match-move algorithm works by adjusting the camera to minimize the error between the
feature objects seen through the camera and their associated feature points in the movie plate. With
all weights set to 1, the algorithm randomly distributes the error between all the object projections
and their tracking features. If you bump the Match Weight of a tracker, it redistributes the error in
favor of that tracker, reducing the distance between that tracker's feature and object projection,
while possibly increasing the error in other trackers. If you bump weights on two or more features,

the locking may progressively lessen, since the algorithm distributes the improvements between the
high-weight trackers. Use weights of two to six to get a good lock.
Max Move/FrameSets the maximum number of pixels that the tracked feature moves from
frame-to-frame over the entire tracking range and establishes an initial motion search bounds box
for newly created trackers. You can also set this dynamically by adjusting the motion search bounds
box directly in the Movie window.
Resample on errorYou can make the tracker identify possible tracking errors and you can use
this during a manual tracking review and during actual tracking to correct errors. Typical sources of
error include frame-to-frame jumps greater than the search bounds, image contrast changes, or a
feature changing shape over a sequence of frames, such as a corner might if the camera moves by
it. The error detector is controlled by measurement thresholds set in the Error Thresholds rollout.
When you place a gizmo on some frame, a keyframe is created and a new target feature image is
sampled at that frame for searching in subsequent frames. Turning on Resample On Error causes the
tracker to detect errors during tracking. If one is found, it backs up to the last good frame and
places a new keyframe there causing a new target feature image to be sampled at that frame and
continues tracking from that frame.
Subpixel TrackingUsually, an image feature wont move an integral number of pixels from frame-
to-frame. With pixel-level tracking, however, the nearest estimate for a feature center is always at a
pixel boundary. This can lead to camera match errors. With subpixel tracking you can zoom in on a
feature and position its gizmo within a pixel. This makes the tracker attempt to track at that
resolution by up-sampling the target image and search bounds, thereby improving match accuracy.
You can turn on subpixel tracking selectively for each tracker by choosing a level in the Subpixel
Tracking drop-down menu on the Motion Trackers rollout. This defines the resolution at which
feature tracking is performed in the tracker up to 1/32 of a pixel.
Two things happen when you select a subpixel level:
The grid over which you can position a tracker gizmo in the image window is adjusted to the new
subpixel level. You can position the gizmo can be positioned inside pixels in zoomed views. You
can zoom in on a tracker gizmo by selecting it and pressing the I or i key (O or o for
zooming out).
Feature searching is performed on internally scaled-up versions of the target image feature and
portions of the search window. These versions are scaled up in inverse proportion to the subpixel
level using bicubic interpolation, which allows the feature tracker to search at this scaled pixel
level.
When manually positioning gizmos at keyframes, its crucial that you zoom in enough so you can
place the gizmo in the center of the feature to the degree of accuracy allowed by the selected
subpixel level. If you dont do this, the tracker wont be able to track the correct center at the
selected resolution.
Tip: Even though the feature is first tracked to the nearest pixel at whole pixel increments and then
tracked at the subpixel level within that one pixel range, the tracking time can increase significantly

in proportion to the inverse square of the subpixel level. For this reason its suggested that you set
the subpixel level to as low as possible. Usually 1/8 of a pixel is adequate for features well
distributed around the scene. Use greater levels if the features are fairly close together, or move
very slowly within the frame.
You can also reduce feature tracking times by making the inner feature bounds box in the gizmo as
tight as you can while still retaining a couple of pixels worth of surrounding contrast. Search times
are proportional to the feature bounds box size.
Track Range
Use these when a feature moves off-screen or is not visible in the Movie window.
Set StartSets the start of the active frame range for a tracker.
Set StopSets the end of the active frame range for a tracker.
You use the Set Start and Set Stop buttons in the Setup box together with the Movie Stepper rollout
to set the active range. Pressing the buttons will set the start or stop point at the frame currently
shown in the Movie Stepper.
Tracker Keyframes and Position Data
Any time you manually position a tracker gizmo, such as at the first frame or at some tracking error,
you create a special keyframe position. The tracker never attempts to reposition these keyframes,
but uses them as start points for the frames that follow them up to the next keyframe. At
keyframes, you can adjust the position and the feature or search bounds.
During tracking, the selected feature at a keyframe is sampled and that feature becomes the search
target for subsequent frames. Using any adjusted search bounds up until the next keyframe,
provides the start point, target feature, and search bounds box for the frames that follow.
The position data for each frame in each gizmo can be one of three possibilities:
A keyframe defining a new start position, target feature image, and search bounds box.
A tracked position.
Unknown.
All frame positions except the first are initially unknown and will be named as tracking proceeds or
gizmos are positioned. When you manually set a keyframe, any previously tracked positions
following that keyframe up until the next keyframe are deleted and so become unknown. The
Complete Tracking button in the Batch Track rollout searches for unknown positions in the currently
enabled trackers and tracks those frames. The Check Status button in the same rollout checks for
any currently unknown positions as well as tracking errors. See Batch Track Rollout.

Comments

Utilities panel > Utilities rollout > More button > Utilities dialog > Camera Tracker > Batch Track
rollout
The Camera Tracker utility's Batch Track rollout performs feature hands-off tracking once the
trackers have been set up. You can set up a set of trackers, start a batch tracking of them all, and
then use the other tools in this panel to check for and review detected tracking errors. This panel
also checks for tracking completion.
Procedure
To review and correct tracking errors:
1. Select an error in the list.
2. Browse through the errors in sequence by pressing Next under the list.
3. When youve selected an error, the associated tracker gizmo is selected and brought into view
and the movie is set to the frame at which the potential error was detected.
4. If there is indeed an error, adjust the gizmo in the Movie window to correct it, and place a new
keyframe.
5. If inspection shows that there isn't an error, the thresholds may be set too finely, so try
adjusting the associated threshold and running Check Status again. This is often a good way to
calibrate the thresholds for your scene, but be careful not to increase them too much and miss
a real error.
6. To clear an entry out of the list, press the Clear button. This is basically a cosmetic action that
removes items from the list that you've either fixed or determined are not errors while working
through the potential errors. If you perform a Check Status again, some of the errors may
show up as well.
Interface
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Complete TrackingSearches for unknown positions in enabled trackers and undertakes tracking
for those frames. It performs this optimally, and only tracks the frames for which enabled trackers
have no position data.
Tracking Status group
Check StatusScans for tracking errors and untracked frames. It displays two lines of information
underneath it in the Status box:
IncompleteLists the tracker numbers with untracked frames in their active frame ranges.
ErrorsLists the tracker numbers containing one or more tracking errors as determined by the
current error threshold settings.
Tracking Error Review group
Displays all the potential errors in a list. For each error the list shows a tracker number, error frame
and details about the error. The details include a code identifying the thresholds and the error
measure.
Error Codes
MeMatch error threshold exceeded.

VdColor variance delta threshold exceeded.
JdJump delta threshold exceeded.
In each case, the number following the code is the actual error measure. You can see how the error
measure compares to the current thresholds in the Error Thresholds rollout. If you adjust the
thresholds in this rollout and then rerun the Check Status again, the list is refilled with those points

in the tracking that exceed the newly adjusted thresholds.

NextMoves to the next error in the list.
ClearClears an entry out of the list.
Comments


The tracker gizmo displayed in the Movie window consists of two enclosed boxes, a central pair of
cross hairs, and a tracker number. The inner box surrounds the feature that will be tracked and is
called the feature bounds box. The outer box defines the frame-to-frame search and is called the
motion search bounds box. You should place the central cross-hair over the feature as close as
possible to the point corresponding to the placement of its scene point object. Its this center
coordinate thats used in the camera match-move correlation between image feature and scene Point
coordinates.
You should make the feature bounds box large enough to enclose the feature and some of the
surrounding images enough to give the feature a contrasting background of several pixels.
The motion search bounds defines the are in which the feature will be searched for from frame-to-
frame. This bounds box moves with the feature box, so the area is relative to the current feature at
each frame. Its important to estimate this search area well. If its too large, the matching process
will be unnecessarily slow and theres more chance of other features in the search area making the
search ambiguous; if its too small, tracking errors will occur. It might be useful to review the movie
that will tracked on a real-time playback device like a video deck and estimate feature moves
beforehand. If you set the Max Move/Frame spinner to the maximum move before creating the
tracker, its motion search bounds box will be set to accommodate this move for you. You can also
adjust this box at any time in the Movie window.
Note: Its possible to change the search bounds box for different frame ranges in the movie, so you
can optimize your search capabilities. See Keyframes and Position Data.
Working with the Movie Window
Displays the current frame of the movie being tracked and any active tracker gizmos for that frame.
You can open and close the window using the Display Movie check box in the Movie rollout or
minimize it using the standard window title bar controls.
When you first open a movie, 3ds max sizes the window so it will fit on the screen and this might
result in an automatic zoom out if the image is too big.
You can resize the window by dragging its sides or corners. You can zoom around in and out of the
window using the tracker gizmo controls.
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Working with the Tracker Gizmos
There are several ways to work with gizmos in the Movie window.
Selecting: You need to select a gizmo to work on it. You do this by clicking anywhere inside its
bounds in the Movie window or by clicking its entry in the tracker list box in the Motion trackers
rollout. The selected gizmo displays positioning handles at the corners of both its bounds boxes.
You can also select a gizmo by typing its number on the keyboard. A selected gizmo has click-
selection priority in the Movie window. If several gizmos overlap, they make it hard to select and
adjust the gizmo you want. You can select it first in the Motion Trackers rollout list; it remains
selected for adjustment when you click it in the Movie window.
Zooming: You can zoom in and out on the selected gizmo by pressing the I and O keys. Each
time you press I (for in) or O (for out), the window zooms in or out by a factor of two and
centers the selected gizmo in the window. Pressing 'R' resets the zoom factor to 100 percent
whether you have a gizmo selected or not. The Movie window has to be the active window for any
keyboard commands to work. You can make it active by clicking it.
Tabbing: You can tab between successively numbered gizmos by pressing the tab key. If the
gizmo youre searching for is out of view, because youre zoomed in, the image will be
repositioned in the window to bring the newly selected gizmo into view. Tabbing while youre
zoomed-in provides a quick way to step through the gizmos to check their fine positioning.
Positioning: You can reposition a gizmo by dragging anywhere within its bounding boxes,
providing you don't click one of the eight box-corner handles. You can nudge a gizmo in single
increments by pressing one of the arrow keys on the keyboard. The minimum increment that a
gizmo will move depends on the zoom factor and the subpixel-tracking level. The increment is the
smaller of either a single screen pixel in the current window or the subpixel increment selected.
So, if youre zoomed out two times and the subpixel increment is 1/16 of a pixel, the nudge
increment is four image pixels, due to the zoom. However, if youre zoomed in five times, the
nudge increment is 1/16 of an image pixel, due to the subpixel level.
Bounds: You adjust the bounding boxes by pressing and dragging the handles of the box you
want to adjust in the selected gizmo. Dragging the handles of the inner feature bounds box
adjusts the opposite corner symmetrically to keep the gizmo center fixed.
Typically when setting up tracker gizmos you should create and position them all roughly in a
zoomed-out view, then zoom in on one of them, fine-tune its position and bounds, then tab to the
next gizmo and repeat.
Movie Window Keyboard Shortcuts
You can use the following keyboard shortcuts in the Movie window:
I, i: Zooms in on a selected gizmo.
O,o: Zooms out on a selected gizmo.

R, r: Resets zoom level to 100 percent.
TAB: Selects next numbered gizmo, cycles back to first gizmo after the last.
Digit: Selects the numbered gizmo, only works for gizmos 1 to 10 (0=10).
Arrow Keys: Nudges the gizmo in the direction of the arrow.
Comments

Utilities panel > Utilities rollout > More button > Utilities dialog > Camera Tracker > Position Data
rollout
Interface
Apply to group
Contains three radio buttons that control which trackers will be operated on by the action buttons
below it.
Selected TrackerOperates on the currently selected tracker.
Enabled TrackersOperates on all the enabled trackers in the Motion Trackers rollout.
AllOperates on all the trackers.
Clear to EndClears the position data in the trackers specified in the Apply To group from the
current Movie Stepper frame onward. This is useful for clearing out and redoing a portion of the
tracking.
Clear AllClears all the position data in the trackers specified in the Apply To group.
Show DataOpens a text window that displays the position data for the trackers specified in the
Apply To box. The display includes some title lines showing the tracker number and associated
tracking object followed by comma separated columns of numbers for the position data one row per
frame. All rows contain at least three columns: frame number, X position, Y position. Keyframe
frames also contain another eight columns: feature bounds left, top, right, and bottom, and Search
bounds left, top, right, and bottom. The coordinates in decimal pixels show any subpixel tracking as
decimal fractions.
The text window is a standard MAXScript source editor and you can copy, edit or save the contents
to file.
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ExportCreates a text file containing position data for the trackers specified in the Apply To group.
Pressing this button displays a standard Save File dialog asking for the location and name of the file
youre creating. The file type defaults to .csv, the comma-separated value format readable by Excel
and other data processing applications. The format of the data is exactly as for the Show Data
command described previously.
Comments
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Utilities panel > Utilities rollout > More button > Utilities dialog > Camera Tracker > Movie
Stepper rollout
The Camera Tracker utility's Movie Stepper rollout browses through the movie during the tracking
phase either to set start and stop frames, to review tracking results or to manually perform a track
over a sequence of frames. The Movie Stepper rollout consists of a frame counter, a set of stepper
buttons, and some option check boxes.
Interface
Movie Frame CounterAdvances the Movie window to the designated frame.

VCR controlsNavigates through the movie in the Movie window:
<<Steps to the start frame of the selected tracker.
<10Steps back 10 frames.
<Steps back one frame or keyframe if Step Keyframes is turned on.
>Steps forward one frame or keyframe if Step Keyframes is turned on.
>10Steps forward 10 frames, either directly or one frame at a time if the Master Track Enable
check box is turned on.
>>Steps forward to the end frame of the selected tracker, either directly or one frame at a time if
the Master Track Enable check box is turned on.
Feature TrackingIf turned on, any forward steps will cause frame-by-frame feature tracking to
be performed for all enabled trackers with unknown position data at the frames you previously
stepped through. You can use this to perform a tracking check while testing bounds settings or to
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review tracked positions one frame at a time. The tracker also moves the gizmos to previously
tracked positions, so you can review tracking results a few frames at a time. If you want, you can
force a retrack by nudging a keyframe gizmo back-and-forth which causes the gizmos to drop all
subsequent tracked positions up to the next keyframe.
Note: Make sure this button is turned off if you just want to step through the movie without
tracking, such as when browsing through the movie to find and place Start and Stop frames for
trackers that come on screen or go off screen during the tracking range.
Clear Tracking to EndRemoves all tracked positions and keyframes from the current stepper
frame onward for the currently selected tracker. This is often helpful if you have too many errors and
error correcting keyframes at the end of a track and you want to clear them and track to the end
again.
Step KeyframesModifies the operations of the single-step buttons in the Movie Stepper. If turned
on, the single step buttons step immediately to the next or previous keyframes, allowing you to
browse through them quickly. In this mode, feature tracking is disabled.
Show TrackDisplays a visible tracking line in the Movie window for the currently selected tracker.
This button shows where the tracker has currently tracked. A red line is displayed for tracked
segments, a white dashed line for segments still to be tracked. White dots are centered on each
frame position with a green box around each frame position at which you or the tracker create
keyframes.
Live Camera MatchEnabled after you set up the match parameters and select a match camera in
the Match rollout. If turned on, the match camera position is recomputed and adjusted as you move
gizmos in the Movie window. This can be useful for making corrections to bad match frames by
adjusting the trackers or to check the effect of tracker placement on the match computations. This is
best done with the nudge arrows. Turn on the 3ds max Auto Key button to record adjusted match
camera positions.
Sync AnimationControls whether the scene time slider is advanced in step with the movie frames
during stepping. This is sometimes useful if you have the movie set up as an animated background
image in the match camera window. Check camera positioning at the same time you check feature
positioning. This can slow stepping substantially, so its turned off by default.
Comments
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Utilities panel > Utilities rollout > More button > Utilities dialog > Camera Tracker > Error
Thresholds rollout
The Camera Tracker utility's Error Thresholds rollout attempts to identify feature tracking errors by
taking measurements and comparing them to the thresholds that you set up in this rollout. You can
use this detection can be used both during a manual tracking review (see Batch Track Rollout) or
during actual tracking to correct errors using the Resample On Error control in the Motion Trackers
setup rollout.
Interface
Match ErrorA sum-of-differences-squared measure in RGB space of the best match in the current
frame to the feature target from the previous keyframe. The error shown is a percentage of the
maximum possible image difference. Good matches are usually below 0.05 percent.
Variance DeltaThe difference in RGB color variance between the feature target image and the
current best match. This measures whether the target and match have similar color ranges and can
compensate for mistakes made by the sum-of-differences measure.
Jump DeltaThe tracker computes a moving average for the preceding five frames and measures
the difference between that average and the jump in the current frame. If this difference exceeds
the current Jump delta threshold, a potential error is flagged. If the threshold is set to five, any jump
in the current frame thats five pixels more than the average jump in the last five frames is flagged.
This picks up sudden accelerations rather than just large jumps.
You can adjust the thresholds as needed and enable or disabled individual measures in the detector
using the check boxes to the left of each measure.
Comments
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Utilities panel > Utilities rollout > More button > Utilities dialog > Camera Tracker > Match Move
rollout
The Camera Tracker utility's Match Move rollout automatically generates a camera animation by
correlating the 2D position data of the movie features gathered during the tracking phase with the
associated 3D feature points in the 3ds max scene.
Interface
CameraEnters an object-picking mode for you to select the camera that you will match-move. You
can either select the camera directly in the scene or press H to bring up select by name dialog.
Once selected, the camera name is placed in the picker button, and other buttons and controls are
enabled in the utility. The selected camera is remembered in the .mot settings file and restored on
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reopening the movie in the camera tracker. As with the tracker point scene objects, the camera
name is stored and used when reloading, so make sure its unique. The camera selected must be a
Free camera. It can be at any position and orientation in the scene.
Match group
Lets you choose which camera parameters will be estimated during the match-move. Those
parameters turned off will be derived from the current Camera animation or position, so its possible
to pre-position or pre-animate the match camera with known moves or parameter settings and have
the matcher estimate just the missing parameters. The accuracy of the estimation process increases
substantially as the number of parameters that need estimation decreases.
FOVCamera FOV (field-of-view).
PanRotation about the local camera Z axis.
TiltRotation about the local camera X axis.
RollRotation about the local camera Y axis.
DollyMovement along the local camera Y axis.
Truck-HMovement along the local camera X axis.
Truck-VMovement along the local camera Z axis.
Match Range group
Lets you set the range of frames that will be matched to set up the relationship between the movie
frames and the 3ds max scene animation frames. By default, the start frames are both set to zero
and the frame count is set to the smaller of the number of frames in the movie or the scene
animation. Setting a different Movie Start or Animation Start frame lets you position the movie
frame range relative to the animation frame range. The position data for a match will be taken from
the tracker frames starting at the Movie Start spinner value and the camera will be matched and
animated starting from those frames.
Movie StartSets the start of the range to be matched in the movie.
Animation StartSets the start of the range in the animation. Use this if the animation range is
different from the movie range.
Frame CountSets the number of frames to be matched.
Reset RangesReloads the maximum frame number and count ranges into the match range
spinners from the current movie and 3ds max scene settings. This is useful if you change the
animation frame range in the scene while the tracker is open.
Animate DisplaysControls whether the 3ds max viewport appears and if the Movie window
updates frame-by-frame to show the match results. This display update can be very time-
consuming, so its often best to leave this turned off and review the match results by looking at the
Camera function curves in Track View or by stepping through the 3ds max animation a frame at a
time after the match.

Generate KeyframesGenerates keyframes for the estimated parameters on each frame.

Match-MoveStarts the match process.
Max. Pixel ErrorDisplays the running maximum tracking error and frame. The error is shown in
pixel fractions, and gives the largest distance between any feature and the viewed position of its
associated tracking object over all the frames matched. You can use this to give a general estimate
of how good the match is and the frame to investigate if errors are problematic. The pixel error
display also interactively updates as you nudge tracker gizmos in Live Camera Match mode, showing
the current maximum match distance for the camera; see Movie Stepper Rollout.
Note that this error might be exaggerated when you employ match point weighting, as this tends to
distribute the errors toward the nonweight points.
Show ErrorsOpens a text window containing a list of the maximum errors for each of the
matched frames, so you can look over the whole set of match frames and identify which frames to
check.
Comments

Utilities panel > Utilities rollout > More button > Utilities dialog > Camera Tracker > Move
Smoothing rollout
Because the match-move algorithm is not always exact and is highly susceptible to field
measurement error or feature tracking errors, and because the match for each frame is computed
independently, the results can be "noisy", particularly if field of view is estimated. In match-move
situations where the real camera performs smooth moves, it might be useful to filter the match
results to eliminate this noise.
You use the Move Smoothing rollout to control and perform these smoothing operations after a
match has been created.
Interface
Channel To Smooth group
Lets you choose which parameter or set of parameters to smooth. You can choose to smooth the
entire Rotation or all the Position tracks at once, or you can smooth individual parameters or axes.
RotationPan, Tilt, and Roll.
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PositionDolly, Truck-H, and Truck-V.

FOVCamera FOV (field-of-view).
PanRotation about the local camera Z axis.
TiltRotation about the local camera X axis.
RollRotation about the local camera Y axis.
DollyMovement along the local camera Y axis.
Truck-HMovement along the local camera X axis.
Truck-VMovement along the local camera Z axis.
Smooth Type group
Straight line averageCauses Move smoothing to generate a straight line average for each of the
selected parameters. This is useful when you know a parameter is fixed, but dont know its actual
value. Examples might include field-of-view or vertical position. Use the camera matcher to initially
estimate the parameter, then construct a straight line average fit and rematch the remaining
parameters
Low pass filterCauses Move smoothing to apply a low-pass filter to the selected parameters,
eliminating high-frequency noise.
Smooth amountImplements smoothing using a Gaussian low-pass filter whose width and
variance are controlled by the Smooth Amount spinner. Increase this value to increase the
smoothing.
Smooth Range group
Controls the range of frames over which the smoothing will be performed.
Match-Move RangeApplies the smoothing to the range of animation frames specified in the
Match Move rollout. This allows you to break up a match-moving job into several frame ranges. Use
this to isolate and experiment on a troublesome range of frames, without disturbing other
satisfactory frames.
All FramesApplies the smoothing to all the keyframes in the selected parameters.
Rematch After SmoothControls whether a compensating match-move is performed after the
filtering. If this is turned on, the parameters that were smoothed are disabled in the Match rollout
and another match-move is performed. Performing this re-match again is advised because it adjusts
the other camera parameters to compensate for the smoothing and often results in a smoother
estimation for the unsmoothed parameters.
SmoothPerforms the move smoothing based on the smooth type, range, and amount settings. If
this button is disabled, no current match camera is assigned.

Comments

Utilities panel > Utilities rollout > More button > Utilities dialog > Camera Tracker > Object
Pinning rollout
Object Pinning lets you use the 2D image feature tracking data to directly animate objects in the
3ds max scene. This is useful for replacing moving features in the scene with 3D objects when the
movements is approximately planar. After the tracking data is created you can use this function to
do such things as synchronizing the movement of 3D objects with feature movements in the
background movie. If the 3D objects are directly covering the background features, they will appear
to replace them. For example you could take the video of a juggler juggling balls and replace the
balls with 3D balls of fire or synchronize the movement of an animals head with a 3D jaw to create
talking animal animations.
Procedure
Example: To create a juggler juggling 3D balls of fire:
1. Load a video of a juggler. (This assumes you have a video of a juggler. Otherwise find a juggler
and a video camera).
2. Create tracker gizmos to associate with the juggling balls.
3. Use the Movie Stepper to track the gizmos.
4. Go to Object Pinning and choose the tracker.
5. Under Object to pin, associate an object with a tracker. In this case create a 3D ball of fire
using fire or an animated map to generate the fire.
6. Adjust the Pin Range, and then press the Pin button to move the object to follow the tracker.
Interface
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Choose TrackerShows all the current trackers as set up in the Motion Trackers rollout. Use this to
select the tracker whose feature movements you will use to control the pinned 3ds max object. The
feature must have been tracked already over the frames you want to use, with the Track and/or
Movie Stepper rollouts. Note that the accuracy of the pinning is determined by the accuracy of the
match, so subpixel tracking is highly recommended.
Object To PinA Node Picker button that lets you choose the object in 3ds max scene for pinning
and animating. By default the tracking object associated with the selected tracker is preloaded into
this button. You can use this picker if you wish to pin a different object.
Pin Range group
Movie StartSets the movie frame from which to start using tracked feature positions.
Animation StartSets the frame in the 3ds max animation at which to start keyframing the move
of the pinned object.
Frame CountSets the number of frames to animate. There must be enough tracked positions in
the selected tracker to cover this number of frames.
Reset RangesReloads the maximum frame number and count ranges into the above spinners
from the current movie and 3ds max scene settings.
Pin Space group
Lets you select the plane of motion in which the keyframed pinning will occur.
ScreenMoves and animates the pinned object in the plane of the screen at its current depth in the
scene. This is equivalent to dragging an object around in the Screen reference coordinate system in

3ds max.
GridMoves and animates the pinned object in the plane of the currently active grid. This lets you
set up an arbitrary plane of motion for the pinning by constructing a grid helper object in the desired
place and making it the active grid. If you don't have a grid helper set up and active, the pinning will
occur on the 3ds max Home Grid.
Pin Mode Group
Lets you choose between two different pinning modes: absolute and relative.
AbsolutePlaces and moves the pinned object exactly over the tracked feature. If combined with
grid space, the object is also placed and moved directly on the active grid plane.
RelativeLeaves the pinned object at its current position in space and moves it so that its projected
position relative to the tracked feature remains the same throughout the pinning frame range. This
makes it possible to animate an object that you dont want placed exactly over a feature, or to
animate an object using several features in successive frame ranges. (For example, a computer
generated jaw can track an ear for some frames, then a nose for others in a talking animal shot). If
combined with grid space, the object is not moved onto the grid plane, but keeps its height above
the grid and is moved parallel to it.
PinPerforms the actual pinning, moves the object to follow the selected feature and places a
keyframe at each frame in the pin frame range. As with the other keyframing operations in the
tracker, you can undo a pin using the 3ds max Undo function. You might also find it useful to
perform keyframe reduction afterwards in Track View.
Comments


To use the camera tracker, you need the following:
Movie footage in one of the file formats that 3ds max supports such as AVI, MOV, or FLC. If you
have sequential still images, you can use an IFL (Image File List). The file selector can
automatically generate an IFL file by selecting the file name and turning on the sequence button.
Or use the IFL Manager Utility to create an IFL file.
A set of trackable features in the movie, such as wall markers, balls, corner points and so on, for
which position measurements are known. The tracker will track most small features with good
contrast to their surroundings, have a well-defined position in space, and are unique within their
frame-to-frame areas of movement. There must be six or more tracking features in the scene at
any one time, at least two of which must be non-coplanar with the others, for example four on the
ground and two elevated or three on one wall and three on another. For maximum match
accuracy, you should use as many features as you can and select the features that are distributed
as widely as possible over the scene. The features dont have to be in any particular planes.
A 3ds max scene file in which a set of point objects have been created and positioned in 3D
corresponding to all the tracking features in the scene. The objects should be point or CamPoint
helper objects. The tracker will match-move a selected Free camera in the scene, so you need to
have at least one Free camera. You can place and orient it anywhere in the scene.
Comments
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Feature Tracking Halts Immediately
If the feature tracker attempts to match the first couple of frames but halts immediately, check
these steps:
1. One of the enabled error thresholds might be set too low. Perform a Check Status in the Batch
Track rollout and look at the reports in the Tracking Error Review list. Also try disabling the
thresholds in the Error Thresholds rollout one at a time and see if this fixes the problem. Adjust
the problematic threshold as needed. You can also disable error threshold checking altogether
by turning off the Resample On Error check box in each of the trackers.
2. Make sure the search bounds box for each tracker is big enough to accommodate the frame-to-
frame motion of the feature. This needs to be at least big enough to enclose the moved feature
and the surrounding contrast area youve selected in the feature bounds box.
3. Make sure the scene objects are associated correctly with their trackers. You can verify this by
checking the entries in the list at the top of the Motion Trackers rollout. If there is an object
associated, you will see its name in the list entry, if not you will see <no object>. If you open
a movie file for which you have previously set up trackers in the camera tracker before you
open the associated 3ds max scene, the objects wont be associated with their trackers. You
should make sure the correct 3ds max scene is open then close and reopen the movie file in
the Camera Tracker so that it can now find the scene objects.
4. If you have inadvertently swapped the scene objects for one or more pairs of trackers, the
match-move cant find a solution.
Repeated Match-Move Errors
If you get repeated camera match-move errors, heres a list of things to check:
1. Make sure there are at least six features actively being tracked at the error frame and that at
least two of them are a good distance out the plane of the others.
2. Check the tracker gizmos in the Movie window around the frame on which the error occurs to
ensure that no obvious feature tracking errors exist.
3. If youve disabled any parameters in the Match section of the Match-Move rollout prior to a
match-move, the camera being matched must be already set correctly in the scene for those
parameters. For example, if you disable roll and FOV, you must already have set the camera to
the correct FOV and roll orientation, either directly in 3ds max, or as a result of a previous
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match-move. The matching algorithm uses all the fixed camera parameters to compute the
ones being estimated and simply wont work if theyre fixed at incorrect values.
4. You may know that some of the camera parameters dont vary during a match sequence, but
you arent sure of their values. One approach to this situation is to enable all parameters for an
initial match and then apply a straight-line average filter to them in the Move Smoothing
rollout. This automatically disables them in the Match section and with luck sets them at a good
estimate of the fixed position.
Comments
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Tools menu > Color Clipboard
Utilities panel > Utilities rollout > More button > Utilities dialog > Color Clipboard button
The Color Clipboard utility stores color swatches for copying from one map or material to another.
For example, if in the Material Editor, you want to copy a color from a swatch in one level of a
material to a swatch in another level (or from another material), there would be no way to do it with
drag and drop. This is because you can't have two materials/maps visible at the same time.
However, you can drag the color from one material to the color clipboard, switch to the other
material, and then drag the color from the clipboard to the swatch in the new material.
Procedure
To copy a color from a swatch to the color clipboard:
1. On the Utilities panel, click Color Clipboard.
3. Select a color from any swatch in a material.
4. Drag the color to a swatch in the color clipboard.
5. A dialog appears asking if you want to copy or swap the material. Choose copy to replace the
swatch in the color clipboard with the swatch from the material you selected. Choose swap to
swap colors on the Color Clipboard swatch and material swatch.
You can Save and load color clipboard files. The saved file, which is given a .ccb (color clip board)
extension, is an ASCII file containing 12 lines of three RGB numbers, so you can easily edit or create
your own clipboard files.
Interface
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New FloaterDisplays a floating clipboard with 12 slots. You can open up as many of these floaters
as you want and you can minimize them. If you exit the Utilities panel or select the Close button to
exit the Color Clipboard utility, any visible floaters are kept.
CloseExits the Clipboard utility.
Comments
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Utilities panel > Utilities rollout > More button > COM/DCOM Server Control
The COM/DCOM Server Control utility supports plug-ins and third-party programs that use the COM
(Component Object Model). The idea behind the COM is to expose the core of 3ds max so
applications can invoke 3ds max to generate images.
The COM facility is intended for application developers. For more information about applications
development with 3ds max, see the description of the COM object interface in the help file (maxsdk.
chm) for the 3ds max Plug-In Software Development Kit (SDK).
Procedure
To register 3ds max as a DCOM server:
1. Build \maxsdk\samples\utility\comsrv.mak and copy the resulting comsrvui.dlu to the 3ds max
\plugins directory.
2. Start 3ds max and go the Utility panel. Click More, choose COM/DCOM Server Control, and
then click OK.
3. If the button in the COM/DCOM Server Control rollout says Register, then click it. If it says
Unregister, then do nothing, as 3ds max is already registered.
Now 3ds max is registered as a DCOM server and an instance of it can be created from any
COM client.
It is also possible to register and unregister from the command line. There are two command-line
options that can be passed to 3ds max:
3DSMAX -RegisterMAXRenderer
3DSMAX -UnregisterMAXRenderer
Comments
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Fix Ambient Utility
Fix Ambient Utility
Utilities panel > Utilities rollout > More button > Utilities dialog > Fix Ambient
The Fix Ambient utility solves a compatibility problem that sometimes occurs when you use
3ds max to open files from earlier versions of 3ds max or Autodesk VIZ.
In 3ds max, the ambient and diffuse color channels are locked for standard materials. However, this
was not always the case with earlier versions of 3ds max and Autodesk VIZ. As a result, files
might render differently than expected.
The Fix Ambient utility looks for standard materials in the current scene whose ambient and diffuse
colors are different, presenting you with the option to copy the diffuse color to the ambient color
channel. This will ensure that your renderings are consistent with earlier versions of products.
Interface
Find All The utility searches the entire scene for materials with different ambient and diffuse
colors.
Find Selected The utility searches the current selection for materials with different ambient and
diffuse colors.
Help Opens the help file to this topic.
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Fix Ambient Utility
Different Ambient and Diffuse Materials
This dialog appears after clicking Find All or Find Selected.
Status Message This area displays a message indicating whether your scene (or selection) has
materials with different ambient and diffuse values.
Material List Lists all of the materials with different ambient and diffuse values.
Fix Selected Locks the ambient and diffuse channel for the materials selected in the dialog.
Cancel Closes the dialog without making any changes.
Comments
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Follow/Bank Utility
Follow/Bank Utility
Utilities panel > Utilities rollout > More button > Utilities dialog > Follow/Bank
The Follow/Bank utility applies rotation keys to an object that already has a motion trajectory. The
settings are similar to those found in the Path constraint. Use this when you have an object for
which you've already assigned motion and want it to follow or bank along its trajectory, but dont
want to use a Path constraint.
The utility aligns the object's X axis to the direction of motion. To change the orientation, change the
pivot orientation in the Hierarchy > Pivot panel before using this utility.
Although many of the settings are the same as in the Path constraint, this utility is not dynamic; you
have to click the Apply Follow button each time you change an object's animation or the utility
settings. When adjusting banking settings, move to the point at which the object is at the sharpest
turn, then alternately click Apply Follow and adjust the banking settings to get the right affect at the
extreme corner.
Procedure
1. On the Utilities panel, click the More button, and choose Follow/Bank from the list.
2. Adjust the options in the Follow/Bank Parameters rollout.
3. Select the objects you want to follow/bank.
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Follow/Bank Utility
4. Click the Apply Follow button.

The objects orient themselves at the start frame, and follow or bank along their trajectories.
Interface
Selected Object group
Displays the name of the current selection. If more than one object is selected, "Multiple Selected"
displays.
Apply Follow button
Apply FollowApplies the settings and generates rotation keys. Each time you click this button,
rotation keys in the specified range of frames (set in the Samples group) are deleted and
regenerated.
Follow Options group
Contains the parameters that specify whether or not to use banking, and the banking settings.
BankTurn on to cause the objects to bank as well as follow the trajectory.

Follow/Bank Utility
SmoothnessControls how rapidly the roll angle changes as an object moves through bends in the
trajectory. Smaller values make an object more responsive to subtle changes in the curve while
larger values minimize jerkiness.
Allow Upside DownAvoids the situation where an object flips when going around a vertically
oriented path.
Samples group
Specifies the range of frames over which rotation keys are generated, and the number of keys to be
generated.
StartSpecifies the first frame rotation keys are generated.
EndSpecifies the last frame rotation keys are generated.
SamplesSpecifies the number of rotation keys to be generated in the specified range.
Close button
CloseExits the Follow/Bank utility.
Comments

Utilities panel > Utilities rollout > Lighting Data Export
The Lighting Data Exporter renders the active viewport to images that include luminance and
illuminance data that can be used for lighting analysis.
The Lighting Data Exporter does not render the files unless you have applied an exposure control to
the scene.
You can render to either the TIFF file or PIC file format. If you export to a TIFF file, the utility
renders a single image file that has separate channels for luminance and illuminance (the file is of
the 32-bit SGI LogLUV image type). If you export to a PIC file, the utility renders two images: one
containing luminance data, and the other containing illuminance data (see the description of the File
Name button, below).
Interface
File NameClick the button to specify a file name for the rendering.
When you export to the PIC format, the Lighting Data Exporter renders two files. It appends the
string _Illuminance to the name of one file, and _Luminance to the other. For example, if you
type house as the file name, the exporter renders to house_illuminance.pic and house_luminance.
pic.
Image Size group
WidthSets the output width, in pixels. Default=640.

HeightSets the output height, in pixels. Default=480.
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ExportClick to render luminance and illuminance data.

Warning: Unlike the renderer, if you click Export more than once, this overwrites
previously rendered files.
Comments
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Create panel > Systems > Create a Daylight system in your scene. > Modify panel > Daylight
Parameters rollout > Sunlight > Choose IES Sun.
Create panel > Lights > Photometric > IES Sun
Create menu > Lights > IES Sun
Outdoor scene illuminated by the IES Sun light
IES Sun is a physically-based light object that simulates sunlight. When used in conjunction with a
daylight system, its values are set automatically based on geographic location, time, and date. (IES
stands for Illuminating Engineering Society; see IES Standard File Format.)
Warning: When you render with the mental ray renderer, objects illuminated by an IES
Sun light appear dark unless you turn on Final Gathering. The toggle for Final Gathering is
on the Indirect Illumination rollout of the Render Scene dialog.
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Note: While you can create daylight lights manually, you should use them in conjunction with the
Daylight system to get the best results. The Daylight system combines the two daylight components
of sun and sky in a unified interface.
Tip: If you use the IES sun or sky with the Logarithmic Exposure Control, turn on both the Daylight
and Exterior options. This will provide greater control for properly mapping the higher energy levels
to RGB colors. In addition, it is important to set the Physical Scale to the brightest light source in
your scene. If the IES Sun is used, set the Physical Scale to 90000 cd.
Note: When you add an IES Sun light, the software automatically assigns a Look At controller to it,
with the light's target object assigned as the Look At target. You can use the controller settings on
the Motion panel to assign any other object in the scene as the Look At target.
Interface
OnTurns sunlight on and off in the viewport.

TargetedWhen on, the IES Sun is targeted to the center of the compass rose created by the
Daylight system. If this is off, the position of the sun can be set manually.
Cast ShadowsSets whether the sunlight casts shadows or not.
IntensityThe intensity of the sunlight. The color swatch to the right of the spinner opens the Color
Selector to set the color of the light. Typical intensities in a clear sky are around 90,000 lux.
Note: Intensity is set automatically and cannot be set manually if the sun is under the control of a
daylight system.
Shadows group
OnDetermines whether the sunlight casts shadows or not.

Shadow Method drop-down listDetermines whether the renderer uses shadow maps, ray-
traced shadows, advanced ray-traced shadows, or area shadows to generate shadows for this light.
Each shadow type has a rollout with its associated controls.
Use Global SettingsTurn on to use global settings for shadows cast by this light. Turn off to

enable individual control of the shadows. If you choose not to use the global settings, you must
choose which method the renderer will use to generate shadows for this particular light.
When Use Global Settings is on, the shadow parameters switch over to show you what the current
global setting is. This data is shared by every other light of this class. When Use Global Settings is
off, the shadow parameters are specific to that particular light.
ExcludeExcludes selected objects from the effects of the light. Click this button to display the
Exclude/Include dialog.
Excluded objects still appear lit in shaded viewports. Exclusion takes effect only when you render the
scene.
ContrastAdjusts the contrast between the diffuse and ambient areas of the surface. Leave this set
to 0 for normal contrast. Increase the value to increase the contrast for special effects: for example,
the harsh light of outer space. Default=0.0.
Soften Diffuse EdgeIncreasing the value of Soften Diffuse Edge softens the edge between the
diffuse and ambient portions of a surface. This helps eliminate edges that can appear on a surface
under certain circumstances. Default=50.
Note: Soften Diffuse Edge slightly reduces the intensity of the light. You can counter this, to some
extent, by increasing the Multiplier value.
DiffuseWhen on, the light affects the diffuse properties of an object's surface. When off, the light
has no effect on the diffuse surface. Default=on.
SpecularWhen on, the light affects the specular properties of an object's surface. When off, the
light has no effect on the specular properties. Default=on.
For example, by using the Diffuse and Specular check boxes you can have one light color the
specular highlights of an object, while not coloring its diffuse component, and then have a second
light color the diffuse component of the surface while not creating specular highlights.
Optimizations rollout
This rollout is identical to the Optimizations rollout for advanced ray-traced and area shadows.

Comments

Sunlight
Glossary
Sunlight
The Sun is modeled as a parallel light source, which makes the incident direction of sunlight constant
over all surfaces in the scene. You can specify the direction and intensity of the sun directly.
Alternatively, the direction and intensity of the sun can be calculated based on geographical location,
time, and sky condition settings.
See also
Skylight
Sunlight and Daylight Systems
Comments
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Skylight
Glossary
Skylight
In the real world, daylight does not just come from direct sunlight; it also comes from skylight that
is scattered through the atmosphere. 3ds max offers great realism and accuracy by calculating not
only sunlight, but calculating this scattered light as well.
In 3ds max, the sky is modeled as a dome of infinite radius placed around the scene. Daylight
computes the illumination of a point in the scene with reference to all directions around the point
where the sky is visible. The sky brightness is not constant over the sky dome, but rather it changes
depending upon the position of the sun.
See also
Sunlight
Comments
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Create panel > Systems > Sunlight button and Daylight button
Create menu > Lights > Daylight System
Create menu > Systems > Daylight System
The Sunlight and Daylight systems use light in a system that follows the geographically correct angle
and movement of the sun over the earth at a given location. You can choose location, date, time,
and compass orientation. You can also animate the date and time. This system is suitable for
shadow studies of proposed and existing structures. Latitude, Longitude, North Direction, and Orbital
Scale can be animated as well.
Sunlight and Daylight have a similar user interface. The difference is that:
Sunlight uses a directional light.
Daylight combines sunlight and skylight. The sunlight component can be either an IES Sun light,
or a standard light (a target direct light). The sky component can be either an IES Sky light or a
Skylight.
The IES Sun and IES Sky lights are photometric lights. It is appropriate to use them if you are
creating a rendering that uses radiosity with exposure control.
The Standard light and Skylight are not photometric. It is appropriate to use them if your scene
uses standard lighting (Sunlight with its Directional light works for this, too), or if you are using
light tracing.
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Large view shows compass and light in a viewport. The resulting rendered images are seen above it.
When you create a sunlight or daylight system, the directional light's hotspot is set to
encompass all geometry in the scene, so that shadows will render correctly. Specifically, the
diameter of the hotspot is set to 65 per cent of the longest diagonal length of the scene extents.
Procedures
To create the sunlight or daylight system:To create a daylight system:
1. From the Create menu, select Daylight System.
On the Create panel, click Systems and then click Sunlight or Daylight.
2. Choose a viewport in which to create a compass rose (the compass direction of your "world").
This should be a Top or Perspective view.
3. Drag to create the radius of a compass rose (the radius is for display purposes only), and then
click and move to set the orbital scale of the directional light over the compass rose. This can
be any distance you find convenient, since a directional light produces parallel illumination
regardless of where its icon is located.
The default "sun" position is created based on the current time, date, and time zone location
set in your computer.
Upon creation you have two objects in your scene:
The compass rose, which is a helper object that provides the world direction for your sun.

The daylight assembly head, which is a child of the compass rose, and is permanently
targeted on the center of the compass rose.
In the Daylight Parameters rollout, the Sunlight list offers options for IES Sun, Skylight, or
No Sunlight.
You can then use the system's parameters to adjust these settings. The default location is San
Francisco, CA.
The directional light created by the system is managed by two special controllers: Solar Date and
Solar Time. After you create your system, you can access its creation parameters (time and date,
location, orbital scale, and location) in the Motion panel for the directional light. The parameters are
interrelated, so you can adjust them in any order. Generally, it's easiest to choose a location first,
and then adjust the date and time. You can access the parameters for selected sunlight or skylight
objects in the Modify panel. The radius of the compass rose is also editable from the Modify panel,
after selecting the compass rose object.
If Date/Time position is selected the Sun and Sky multipliers are automatically set and animated
according to their position. They can only be edited by using the Manual Position override.
Tip: Use Exposure Control with Daylight if your scene is too bright or too dark.
Example: To create a shadow study:
1. Create a Daylight system.
2. In the Modify panel > Daylight Parameters rollout > Position group, choose Date, Time and
Location, then click Setup.
4. In the Control Parameters Time group, adjust the Hours spinner to a start time in early
morning.
5. Click the Go To End button.
6. Animate the end time to late afternoon.
7. Render to an animation from a Top view, or a view above your scene to get a complete view of
your environment, and its shadows.
Interface
Daylight Parameters rollout (Daylight system only)
The Daylight Parameters rollout lets you define the daylight assembly head object. You can set the

sunlight and skylight behaviors.

This rollout appears on the Modify panel when the light component of the Daylight system is
selected.
SunlightSelect one of three options for sunlight in your scene:
IES SunUses an IES Sun object to simulate the sun.
StandardUses a Target Direct light to simulate the sun.
No SunlightNo sunlight is simulated.
ActiveTurns sunlight on and off in the viewport.
Position group
ManualWhen on, you can manually adjust the location of the daylight assembly head object in
your scene, as well as the intensity value of the sunlight.
Date, Time and LocationWhen on, uses the geographically correct angle and movement of the
sun over the earth at a given location.
Note: When Date, Time And Location is chosen, adjusting the light's intensity has no effect.
SetupOpens the Motion panel, allowing you to adjust the time, location, and site of your daylight
system.
SkylightSelect one of three options for skylight in your scene:
IES SkyUses an IES Sky object to simulate skylight.
SkylightUses a Skylight object to simulate skylight.
No SkylightNo skylight is simulated.
ActiveTurns skylight on and off in the viewport.

Motion panel, Daylight and Sunlight system Control Parameters rollout
This rollout appears on the Create panel, and on the Motion panel when the light component of the
Daylight or Sunlight system is selected.
Azimuth/AltitudeDisplays the azimuth and altitude of the sun. Azimuth is the compass direction
of the sun in degrees (North=0, East=90). Altitude is the height of the sun above the horizon in
degrees (Sunrise or Sunset=0).
Time group
Provides spinners for setting the time, date, and time zone.
If the location you choose uses Daylight Savings Time, turn on the Daylight Savings toggle. The
Sunlight system adjusts the sun's azimuth and altitude accordingly, during the summer months.
Hours/Mins/SecsSpecify the time of day.
Month/Day/YearSpecify the date.
Time ZoneTime zones range from 12 to 12. If you're uncertain about a time zone, you can look

them up in Window's Date > Time Properties dialog (available through My Computer > Control Panel
> Date > Time). Click the Time Zone tab, and then display the list of world locations and their time
zones.
Daylight Savings TimeWhen on, calculates daylight savings by adjusting azimuth and altitude
during the summer months.
Location group
Provides controls for setting the location of your scene in the world.
Get LocationDisplays the Geographic Location dialog, which lets you set the latitude and
longitude values by selecting a location from a map or a list of cities.
Note: For precise locations, enter exact coordinates using Latitude/Longitude.
Latitude/LongitudeSpecify the location based on the latitude and longitude.
Site group
Orbital ScaleSets the distance of the sun (the directional light) from the compass rose. Because a
directional light casts parallel beams, this distance has no effect on the accuracy of the sunlight.
However, the light must point toward your model (not away from it), and the light's hotspot and
falloff do have an effect. The best way to ensure that the light is set up correctly is to change one
viewport to the light's view (for example, Sun 01). Then adjust the light's location using Dolly, and
set the hotspot so it illuminates the whole model, with no falloff.
North DirectionSets the rotational direction of the compass rose in the scene. This is the
geographical orientation of the compass rose. By default, north is 0 and points along the positive Y
axis of the ground plane. Positive X (East) is 90 degrees. Adjust the North Direction to correspond to
your site. Accuracy of the system depends on this correspondence.
Comments

Free Direct Light
Free Direct Light
Create panel > Lights > Standard > Free Direct button
Create menu > Lights > Directional Light
Top: Perspective view of a free directional light

Bottom: Top view of the same light
Directional lights cast parallel light rays in a single direction, as the sun does (for all practical
purposes) at the surface of the earth. Directional lights are primarily used to simulate sunlight. You
can adjust the color of the light and position and rotate the light in 3D space.
Unlike a targeted directional light, a Free Direct light has no target object. You can move and rotate
the light object to aim it in any direction.
A Free Direct light is used when you select a Standard sun in your Daylight system.
Because directional rays are parallel, directional lights have a beam in the shape of a circular or
rectangular prism instead of a "cone."
Note: Direct lights are supported in a radiosity solution only if they are pointed downwards, outside
the boundary box of the scene geometry.
Note: The mental ray renderer assumes that all directional lights come from infiinity, so objects that
are behind the direct light object in the 3ds max scene will also be illuminated.
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Free Direct Light
See also
Lights
Shadow Parameters
Procedures
To create a free direct light:

2. In the Object Type rollout, click Free Direct.
The light is now part of the scene. It points away from you in the viewport you clicked.

To adjust the light's direction, you can rotate it as you would any object.
To change a viewport to a Light view:

2. Choose Views.
The name of each spotlight or directional light appears in the Views list.

adjust the light.
The default keyboard shortcut for switching to a Light viewport is $.

Free Direct Light
Interface
Directional Parameters rollout
When you create a Free Direct light, the Targeted parameter is adjustable on the General
Parameters rollout. This is a fixed value for target lights.
TargetedWhen on, 3ds max sets a point to use as an invisible target about which the Free Direct
light can orbit. The spinner adjusts the distance to the target.
This parameter also affects the length of the light's cone display.
Comments

Create a standard Target Direct or Free Direct light. > Directional Parameters rollout
The Directional Parameters rollout appears when you create or select a target direct or free direct
light. These parameters control hotspots and falloff.
Procedures
To see the directional cone in viewports:

The cone is always visible while the light is selected. This setting keeps the cone visible when the
light is unselected.
1. Select the spotlight.
2. In the Directional Parameters rollout > Light Cone group, turn on Show Cone.
3. Select another object, deselecting the light.

A wireframe outline of the light's cone appears. The hotspot region is outlined in light blue, and
the falloff region is outlined in dark gray.
The cone is always visible while the light is selected.
Tip: The hotspot and falloff borders are not visible in shaded viewports. Use the cone values to
adjust hotspot and falloff in the viewport. Render the scene to see the full effect of the light's
border.
To adjust the hotspot and falloff:
Use the Hotspot and Falloff spinners to increase or decrease the size of the hotspot and falloff
regions. For directional lights, Hotspot and Falloff are expressed in units.
By default, the falloff value is always constrained to be at least two degrees or two units greater
than the hotspot value. The size of this constraint is a preference that you can change in the
Rendering panel of the Preferences dialog. The falloff value can range from 0 to 10,000 units.
When the hotspot and falloff values are equal, the light casts a hard-edged beam.
To set the shape of the light beam:
1. Choose either Rectangle or Circle.

The shape of the light's cone changes to reflect the shape you chose.
2. If you chose Circle, you are done. If you chose Rectangle, you can now adjust the aspect ratio
of the rectangular light using the spinner labeled Aspect.
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To change a rectangular light's aspect ratio:
1. Choose Rectangle, as described above.
2. Change the Aspect value to the aspect ratio that you want.
The Bitmap Fit button is another way to set the aspect ratio. It is mainly used with projections.
Interface
Light Cone group
These parameters control hotspots and falloff for spotlights.

Show ConeTurns display of the cone on or off.
Note: The cone is always visible when a light is selected, so clearing this check box has no apparent
effect until you deselect the light.
OvershootWhen Overshoot is set, the light casts light in all directions. However, projections and
shadows occur only within its falloff cone.
Hotspot/BeamAdjusts the size of a light's cone. The Hotspot value is measured in 3ds max
units. Default=43.0.
Falloff/FieldAdjusts the size of a light's falloff. The Falloff value is measured in 3ds max units.
Default=45.0.
You can also adjust hotspot and falloff angles in a Light viewport (looking at the scene from the point
of view of the spotlight).
Circle/RectangleDetermine the shape of the falloff and hotspot areas. Set Circle when you want
a standard, circular light. Set Rectangle when you want a rectangular beam of light, such as light
cast through a window or doorway.
AspectSets the aspect ratio for the rectangular light beam. The Bitmap Fit button lets you make
the aspect ratio match a specified bitmap. Default=1.0.
Bitmap FitIf the light's projection aspect is rectangular, sets the aspect ratio to match a particular

bitmap. This is useful when you are using the light as a projector light.
Comments

Target Direct Light
Target Direct Light
Create panel > Lights > Standard > Target Direct button
Create menu > Lights > Target Directional Light
Top: Top view of a target directional light

Directional lights cast parallel light rays in a single direction, as the sun does (for all practical
purposes) at the surface of the earth. Directional lights are primarily used to simulate sunlight. You
can adjust the color of the light and position and rotate the light in 3D space.
A target directional light uses a target object to aim the light.
Because directional rays are parallel, directional lights have a beam in the shape of a circular or
rectangular prism instead of a "cone."
Note: When you add a target directional light, the software automatically assigns a Look At
controller to it, with the the light's target object assigned as the Look At target. You can use the
controller settings on the Motion panel to assign any other object in the scene as the Look At target.
Note: Direct lights are supported in a radiosity solution only if they are pointed downwards, outside
the boundary box of the scene geometry.
Note: The mental ray renderer assumes that all directional lights come from infiinity, so objects that
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Target Direct Light
are behind the direct light object in the 3ds max scene will also be illuminated.
See also
Lights
Shadow Parameters
Procedures
To create a target direct light:

2. In the Object Type rollout, click Target Direct.

To adjust the light's direction, move the target object.

2. Choose Views.
The name of each spotlight or directional light is displayed in the Views list.

adjust the light.

Target Direct Light
Interface
Clicking the line that connects the light and its target selects both objects. However, region selection
doesn't recognize the link line.
When you rename a target directional light, the target is automatically renamed to match. For
example, renaming Light01 to Sol causes Light01.Target to become Sol.Target. The target's name
must have the extension .Target. Renaming the target object does not rename the light object.
Comments

Create a standard Target Spotlight or Free Spotlight, or a photometric light with Spotlight
distribution. > Spotlight Parameters rollout
The Spotlight Parameters rollout appears when you create or select a Target Spot or Free Spot, or a
photometric light with spotlight distribution.
Procedures
To see the spotlight cone in viewports:

The cone is always visible while the light is selected. This setting keeps the cone visible when the
light is unselected.
2. In the Spotlight Parameters rollout > Light Cone group, turn on Show Cone.
3. Select another object, deselecting the light.

A wireframe outline of the light's cone appears. The hotspot region is outlined in light blue, and
the falloff region is outlined in dark gray.
Note: The cone is always visible while the light is selected.
Tip: The hotspot and falloff borders are not visible in shaded viewports. Use controls in the
Light Cone group to adjust hotspot and falloff in the viewport. Render the scene to see the full
effect of the light's border.
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Spotlight cone displayed in a viewport
To adjust the hotspot and falloff, do one of the following:
Use the Hotspot and Falloff spinners to increase or decrease the size of the hotspot and falloff
regions. For spotlights, Hotspot and Falloff are expressed in degrees.
Use manipulators to adjust hotspot and falloff by dragging in a viewport, as described in the
procedure that follows.
By default, falloff value is always constrained to be at least two degrees or two units greater than
the hotspot value. The size of this constraint is a preference that you can change in the Rendering
panel of the Preferences dialog. The falloff value can range from 0 to 10,000 units.
When the hotspot and falloff values are close in value, the light casts a hard-edged beam.
To use manipulators to control hotspot and falloff:

Tip: When you select multiple spotlights, all their manipulators are accessible.

Now when you move the mouse over the hotspot or falloff circle, the circle turns red to show
you can adjust it by dragging. Also, a tooltip displays the spotlight name, the parameter, and
its value.
3. Drag the hotspot or falloff circle to adjust the value.

The hotspot and falloff constrain each other, as their spinner controls do.
Spotlight manipulators are described at the end of this topic.
To set the shape of the light beam:
1. Choose either Rectangle or Circle.

The shape of the light's cone changes to reflect the shape you chose.
2. If you chose Circle, you are done. If you chose Rectangle, you can now adjust the aspect ratio
of the rectangular light in the Aspect field.
To change a rectangular light's aspect ratio:
1. Choose Rectangle, as described above.
2. Change the Aspect value to the aspect ratio that you want.
The Bitmap Fit button is another way to set the aspect ratio. It is mainly used with projections.
Interface
Light Cone group
These parameters control hotspots and falloff for spotlights.

Show ConeTurns display of the cone on or off.
Note: The cone is always visible when a light is selected, so turning off this check box has no
apparent effect until you deselect the light.
OvershootWhen Overshoot is set, the light casts light in all directions. However, projections and
shadows occur only within its falloff cone.
Hotspot/BeamAdjusts the angle of a light's cone. The Hotspot value is measured in degrees.
Default=43.0.
For photometric lights, the Beam angle is the angle at which the light's intensity has fallen to 50 per

cent of its full intensity. (As opposed to the Hotspot, where intensity is still 100 per cent.)
Falloff/FieldAdjusts the angle of a light's falloff. The Falloff value is measured in degrees.
Default=45.0.
For photometric lights, the Field angle is comparable to the Falloff angle. It is the angle at which the
light's intensity has fallen to zero.
You can manipulate the hotspot and falloff by dragging manipulators in viewports, as described in
the previous procedures, and the later section "Manipulators for Spotlights."
You can also adjust hotspot and falloff angles in a Light viewport (looking at the scene from the point
of view of the spotlight).
Circle/RectangleDetermine the shape of the falloff and hotspot areas. Set Circle when you want
a standard, circular light. Set Rectangle when you want a rectangular beam of light, such as light
cast through a window or doorway.
AspectSets the aspect ratio for the rectangular light beam. The Bitmap Fit button lets you make
the aspect ratio match a specified bitmap. Default=1.0.
Bitmap FitIf the light's projection aspect is rectangular, sets the aspect ratio to match a particular
bitmap. This is useful when you are using the light as a projector light..
Manipulators for Spotlights
Manipulators are visible and usable while the Select And Manipulate button is turned on. This
button is on the default main toolbar. When you move the mouse over a manipulator, the
manipulator turns red to show that dragging or clicking it will have an effect. Also, a tooltip appears,
showing the name of the object, the parameter, and its value.
Tip: When you select multiple spotlights, all their manipulators are accessible.
For more information on using the spotlight manipulators, see the Procedures section at the top of
this topic.
Hotspot manipulator: In a viewport, drag the hotspot circle to adjust the hotspot value.
Falloff manipulator: In a viewport, drag the falloff to adjust the falloff value.
The hotspot and falloff constrain each other, as their spinner controls do.
Comments

Target Spotlight
Target Spotlight
Create menu > Standard Lights > Target Spotlight
Create menu > Lights > Target Spotlight
Top: Top view of a target spotlight

A spotlight casts a focused beam of light like a flashlight, a follow spot in a theater, or a headlight. A
target spotlight uses a target object to aim the camera.
Note: When you add a target spotlight, the software automatically assigns a Look At controller to it,
with the the light's target object assigned as the Look At target. You can use the controller settings
See also
Lights
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Target Spotlight

Shadow Parameters
Procedures
To create a target spotlight:
2. In the Object Type rollout, click Target Spot.
3. Drag in a viewport. The initial point of the drag is the location of the spotlight, and the point
where you release the mouse is the location of the target.
To adjust a target spotlight:
1. Select the light.
2. Use Move on the main toolbar to adjust the light. As an alternative, right-click the light
and choose Move.
Because the spotlight is always aimed at its target, you can't rotate it about its local X or Y
axis. However, you can select and move the target object as well as the light itself. When you
move either the light or the target, the light's orientation changes so it always points at the
target.
Note: The targets distance from the light does not affect the attenuation or brightness of the
light.

1. Select the spotlight itself.
2. Right-click the light and choose Select Target from the upper-left (Tools 1) quadrant of the
quad menu.
Clicking the line that connects the light and its target selects both objects. However, region
selection doesn't recognize the link line.
Another way to adjust a spotlight is to use a Light viewport.

Target Spotlight

2. Choose Views.

adjust the light.
Interface
When you rename a target spotlight, the target is automatically renamed to match. For example,
renaming Light01 to Klieg causes Light01.Target to become Klieg.Target. The target's name must
have the extension .Target. Renaming the target object does not rename the light object.
Comments

Free Spotlight
Free Spotlight
Create panel > Lights > Standard > Free Spot button
Create menu > Lights > Free Spotlight
Top: Perspective view of a free spotlight

Bottom: Top view of the same light
A spotlight casts a focused beam of light like a flashlight, a follow spot in a theater, or a headlight.
Unlike a targeted spotlight, a Free Spot has no target object. You can move and rotate the free spot
to aim it in any direction.
See also
Lights
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Free Spotlight
Shadow Parameters
Procedures
To create a free spotlight:

2. In the Object Type rollout, click Free Spot.
3. Click the viewport location where you want the light to be.
You can adjust the light's direction with Move and Rotate or by using a Light viewport.

2. Choose Views.

adjust the light.
Interface
You aim a free spotlight by adjusting its orientation in a scene using Move and Rotate.
The free spotlight is useful when you want a spotlight to follow a path and either don't want to
bother with linking a spotlight and target to a dummy object, or you need banking along the path.
General Parameters rollout
When you create a Free Spot light, the Targeted parameter is adjustable on the General Parameters
rollout. This is a fixed value for target lights.

Free Spotlight
TargetedWhen on, 3ds max sets a point to use as an invisible target about which the Free Spot
can orbit. The spinner adjusts the distance to the target.
The target distance is animatable.
Comments

Dummy Object
Glossary
Dummy Object
A dummy object is a non-rendering object that you use as an animation helper. The primary use of
the dummy helper object is to assist you in creating complex motions and building complex
hierarchies. Because dummies are invisible in the rendered scene, they are an excellent choice for
offset joints, connectors between objects, and handles for manipulating complex hierarchies.
Breaking complex motions into simple components often makes it easier to go back and edit your
animations. For example, consider animating a bouncing ball moving around your scene. You could
animate the ball by properly positioning it throughout the scene on many frames. The drawback is
that it would be very difficult for you to go back and adjust the height of the bounce or the path the
ball takes through the scene. You would have to edit the motion of the ball on many frames to make
even a simple change.
Using a dummy object easily solves this problem by breaking the motion into two simple
components. One component is the bounce of the ball. The other is the path through the scene.
Comments
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Create panel > Lights > Photometric Lights > Click Target Point or Free Point. > Intensity/Color/
Distribution rollout > Choose Spotlight in Distribution list. > Click in viewport to create light.
A spotlight distribution casts a focused beam of light like a flashlight, a follow spot in a theater or a
headlight. At the light's beam angle, intensity has fallen to 50 per cent. At its field angle, intensity
has fallen to zero. (The beam angle is similar to the hotspot angle for standard lights, but all of a
hotspot is at 100 per cent intensity. The field angle is comparable to the falloff angle for standard
lights.)
Spotlight distribution
Icon for Target Point light with spotlight distribution
See also
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Lights
Procedures
To create a light with a spotlight distribution:
2. Choose Photometric from the drop-down list. (Standard is the default.)
3. In the Object Type rollout, click Target Point or Free Point.
4. In the Intensity/Color/Distribution rollout, select Spotlight from the Distribution list.
5. If you are creating a Target Point light, drag in a viewport. The initial point of the drag is the
location of the light, and the point where you release the mouse is the location of the target. If
you are creating a Free Point light, click in a Viewport to position the light.

You can also use the Place Highlight command to change a light's position.
To adjust a target point spotlight:
2. Use Move on the Main toolbar to adjust the light.

Because the spotlight is always aimed at its target, you can't rotate it about its local X or Y
axis. However, you can select and move the target object as well as the light itself. When you
move either the light or the target, the light's orientation changes so it always points at the
target.
You can use the Place Highlight command to change a light's position. Another way to adjust a
spotlight is to use a Light viewport.

If the spotlight distribution is on a target point light, you can move the target to adjust the direction

of the spotlight. The target, displayed as a small square, is often in the same area as objects that
you want to illuminate. It can be difficult to select it by clicking.
1. First select the spotlight itself.
2. Right-click the light and choose Select Target from the pop-up menu. Clicking the line that
connects the light and its target selects both objects.

The Viewport Right-Click menu is displayed.
2. Choose Views.
The name of each light is displayed in the Views list. By default, photometric lights are named
Point01, Point02, and so on.

adjust the light.
The default keyboard shortcut for Light viewports is $.
Comments

Create panel > Lights > Photometric Lights > Free Point button
Create menu > Lights > Free Point Light
A Free Point light, like a standard omni light, emits light from a geometric point. You can set the
light distribution; this light has three types of distribution, with corresponding icons. A free point
light has no target object. You use transforms to aim the light.
Icons for Free Point light with isotropic, spotlight and web distribution
See also
Lights
Shadow Parameters
Procedures
To create a Free Point light:
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3. In the Object Type rollout, click Free Point.

You can position the light and adjust its direction with the transform tools or by using a Light
viewport. You can also adjust the light's position with the Place Highlights command.
To adjust the light:
3. On the Main toolbar, click Rotate. Drag the selection to adjust the light.
Tip: You can also adjust the light's position with the Place Highlights command.

Note: This is only available for lights with Spot distribution.

2. Choose Views.
The name of each light is displayed in the Views list. By default, Free Point lights are named
FPoint01, FPoint02, and so on.

adjust the light.
The default keyboard shortcut for Light viewports is $.
Comments
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Create panel > Lights > Photometric Lights > Click Target Point or Free Point. > Intensity/Color/
Distribution rollout > Choose Isotropic in Distribution list. > Click in viewport to create light.
An Isotropic light distributes the light equally in all directions.
Isotropic light distribution
Icon for Target Point light with isotropic distribution
See also
Lights
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Procedure
To create a light with an Isotropic distribution:
3. In the Object Type rollout, select Free Point.
4. In the Intensity/Color/Distribution rollout, select Isotropic from the Distribution list.
5. Click in a viewport to position the light.


You can also use the Place Highlight command to change a light's position.
Comments
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Create panel > Lights > Create a Photometric light. > Intensity/Color/Distribution rollout
The Intensity/Color/Distribution rollout lets you set the type of distribution for photometric lights.
You can also define the color and intensity of lights.
See also
Lights
Photometric Lights
Diffuse Distribution (Photometric Lights)
Procedure
To change the distribution type of a photometric light:
2. In the Modify panel > Intensity/Color/Distribution rollout, choose a type from the Distribution
list.
Interface
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DistributionDescribes the directional distribution of the light emitted by a source. There are
several different distributions:
Isotropic
Spotlight
Web
Diffuse
Note: Target Point and Free Point lights can have either Isotropic, Spotlight, or Web distribution. All
other photometric lights use either Web or Diffuse distribution.
Color group
LightPick a common lamp specification to approximate the spectral character of your light. The
color swatch next to the Kelvin parameter is updated to reflect the light you select.
KelvinSet the color of the light by adjusting the color temperature spinners. The color
temperature is displayed in degrees Kelvin. The corresponding color is visible in the color swatch
next to the temperature spinners.
FilterUse a color filter to simulate the effect of a color filter placed over the light source. For
example, a red filter over a white light source casts red light. Set the filter color by clicking the color
swatch to display the Color Selector. Default=white (RGB=255,255,255; HSV=0,0,255).
Intensity group
These controls specify the strength or brightness of photometric lights in physically based quantities.
You set the intensity of a light source using one of the following units:

lm (lumen)Measures the overall output power of the light (luminous flux). A 100-watt general
purpose light bulb has a luminous flux of about 1750 lm.
cd (candela)Measures the maximum luminous intensity of the light, usually along the direction of
aim. a 100-watt general purpose light bulb has a luminous intensity of about 139 cd.
lx at (lux)Measures illuminance caused by the light shining on a surface at a certain distance and
facing in the direction of the source. The lux is the International Scene unit, which is equivalent to 1
lumen per square meter. The AS unit for illuminance is the footcandle (fc) which is equivalent to 1
lumen per square foot. To convert from footcandles to lux, multiply by 10.76. For example, to
specify an illuminance of 35 fc, set illuminance to 376.6 lx.
To specify the illuminance of a light, you must set the lx value, and enter the distance at which that
illuminance is measured.
Note: You can obtain these values directly from lighting manufacturers. A table of some common
lamp types is provided in Photometric Lights: Common Lamp Values.
Comments

Create panel > Lights > Photometric Lights > Click Target Linear, Free Linear, Target Area, or Free
Area. > Intensity/Color/Distribution rollout > Choose Diffuse in Distribution list. > Click in
viewport to create light.
Diffuse distribution emits light from a surface. Light that leaves the surface at a right angle is at the
light's greatest intensity. At increasingly oblique angles, the intensity of the emitted light diminishes.
Comments
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A Web distribution uses a photometric web definition to distribute the light. A photometric web is a
3D representation of the light intensity distribution of a light source. Web definitions are stored in
files. Many lighting manufacturers provide web files that model their products; these are often
available on the Internet. A web file can be in the IES, LTLI, or CIBSE format. Controls for assigning
the web file are on the Web Parameters rollout.
Example of web distribution
Various web distributions
See also
Lights
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Web Parameters Rollout
Procedure
To create a light from a manufacturer's IES file:
3. In the Object Type rollout, select any photometric light type.
4. In the Intensity/Color/Distribution rollout, select Web from the Distribution list.
5. If you are creating a Target Point, Linear, or Area light, drag in a viewport. The initial point of
the drag is the location of the light, and the point where you release the mouse is the location
of the target. If you are creating a Free Point, Linear or Area light, click in a viewport to
position the light.
A light is created using the default photometric web which is a diffuse distribution shining from
one edge.
6. Go to the Web Parameters rollout, and select the IES file that you want to use. See Web
Parameters.

You can use the Move transform to position the light. You can also use the Place Highlight
command to change a light's position.
Comments
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Photometric Webs
Photometric Webs
Light that uses a photometric web
A photometric web is a 3D representation of the light intensity distribution of a light source. This
directional light distribution information is stored in a photometric data file in the IES format using
the IES LM-63-1991 standard file format, or in the LTLI or CIBSE formats for photometric data. You
can load photometric data files provided by various manufacturers as web parameters. The light icon
represents the photometric web you select.
To describe the directional distribution of the light emitted by a source, 3ds max approximates the
source by a point light placed at its photometric center. With this approximation, the distribution is
characterized as a function of the outgoing direction only. The luminous intensity of the source for a
predetermined set of horizontal and vertical angles is provided, and the system can compute the
luminous intensity along an arbitrary direction by interpolation.
Goniometric Diagrams
Photometric data is often depicted using a goniometric diagram.
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Photometric Webs
Goniometric diagram of a web distribution
This type of diagram visually represents how the luminous intensity of a source varies with the
vertical angle. However, the horizontal angle is fixed and, unless the distribution is axially
symmetric, more than one goniometric diagram may be needed to describe the complete
distribution.
Photometric Web
The photometric web is a three-dimensional representation of the light distribution. It extends the
goniometric diagram to three dimensions, so that the dependencies of the luminous intensity on
both the vertical and horizontal angles can be examined simultaneously. The center of the
photometric web represents the center of the light object.
The luminous intensity in any given direction is proportional to the distance between this web and
the photometric center, measured along a line leaving the center in the specified direction.
Example 1: Isotropic Distribution

Photometric Webs
Example of isotropic distribution
A sphere centered around the origin is a representation of an isotropic distribution. All the points in
the diagram are equidistant from the center and therefore light is emitted equally in all directions.
Example 2: Ellipsoidal Distribution

Photometric Webs
Example of ellipsoidal distribution
In this example, the points in the negative Z direction are the same distance from the origin as the
corresponding points in the positive Z direction, so the same amount of light shines upward and
downward. No point has a very large X or Y component, either positive or negative, so less light is
cast laterally from the light source.
Comments

Create panel > Lights > Photometric Lights > Create a photometric light. > Intensity/Color/
Distribution Parameters rollout > Choose Web distribution type.
The Web Parameters rollout is displayed on the Modify panel when you create or select a
photometric light with a web distribution. Use these parameters to select a photometric web file and
to adjust the orientation of the web.
3ds max can use the IES, CIBSE, or LTLI photometric web formatting.
See also

Procedures
To select a photometric web file:
1. On the Web Parameters rollout for a selected light, click the Web File button.
The Open A Photometric Web dialog is displayed.
2. Navigate to the location of the file you want to import. Select the file and click Open.
If you are modifying a light, the light's icon is replaced by a wireframe outline of the
photometric web. If you are creating a light, the photometric web icon appears when you drag
your cursor in the viewport to create the light.
Note: You can obtain photometric web files from various lighting manufacturers. You can use
the Content Browser to download IES files or use IES files available in the Lightscape Libraries
provided with Discreet's Lightscape software.
To change the orientation of the photometric web:
Use the rotation spinners to change the X, Y, or Z rotation or the photometric web.
Note: These parameters cannot be animated.
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To change the direction of a light, you can also use the Rotation transform or for target point
lights, move the light's target point.
Tip: To see the shape of the photometric web, you can make the light icon larger by increasing
the Non Scaling Object size in Tools menu > Options dialog > Viewports panel > Viewport
Parameters.
Interface
Web FileSelects an IES file to use as a photometric web. The default web is a diffuse distribution
shining from one edge.
X RotationRotates the photometric web about the X axis. The center of rotation is the
photometric center of the web. Range=-180 degrees to 180 degrees.
Y RotationRotates the photometric web about the Y axis. The center of rotation is the photometric
center of the web. Range=-180 degrees to 180 degrees.
Z RotationRotates the photometric web about the Z axis. The center of rotation is the
photometric center of the web. Range=-180 degrees to 180 degrees.
Photometric web iconShows a three-dimensional representation of the light distribution. See
Web Distribution.
Comments
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Create panel > Lights > Photometric Lights > Target Linear button
Create menu > Lights > Target Linear Light
A Target Linear light emits light from a line, like a fluorescent tube. You can set the light
distribution; this light has two types of distribution, with corresponding icons. A target linear light
uses a target object to aim the light.
Note: When you add a Target Linear light, the software automatically assigns a Look At controller to
it, with the light's target object assigned as the Look At target. You can use the controller settings on
the Motion panel to assign any other object in the scene as the Look At target.
Note: When you rename a Target Linear light, the target is automatically renamed to match. For
example, renaming Linear01 to Klieg causes Linear01.Target to become Klieg.Target. The target's
name must have the extension .Target. Renaming the target object does not rename the light
object.
Icons for Target Linear light with diffuse and web distribution
See also
Lights
Shadow Parameters
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Procedures
To create a Target Linear light:
3. In the Object Type rollout, click Target Linear.


1. First select the light itself.
2. Right-click the light to open the quad menu. From the tools quadrant, choose Select Target.
Comments
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Create panel > Lights > Photometric Lights > Free Linear button
Create menu > Lights > Free Linear Light
A Free Linear light emits light from a line, like a fluorescent tube. You can set the light distribution;
this light has two types of distribution, with corresponding icons. A free linear light has no target
object. You use transforms to aim the light.
Icons for Free Linear light with diffuse and web distribution
See also
Lights
Shadow Parameters
Procedures
To create a Free Linear light:
3. In the Object Type rollout, click Free Linear.
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You can position the light and adjust its direction with the transform tools. You can also adjust
the light's position with the Place Highlights command.
2. On the Main toolbar, click Move. Drag the selection to position the light.
Comments
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Positioning Light Objects

Once you have placed lights in your scene, you can use transforms to change a light's position or
orientation.
Transforming Lights
Use transforms on light objects as follows:
Move: Use Move to change the position of lights. You can also use it to change the position of
light targets.
Rotate: Use Rotate to change the orientation of lights.

Note: You can't rotate a target light about its local X or Y axes. Instead, use Move to move the light
or its target. Rotating the light about its local Z axis can be useful if the light uses a rectangular
beam or projects a bitmap.
Rotating a plain omni light or a photometric isotropic light has no effect as these lights cast light
uniformly in all directions. However, rotating an omni or isotropic projector light causes the
projected image to rotate.
Rotating a photometric isotropic light has no effect as these lights cast light uniformly in all
directions. However, rotating an isotropic projector light causes the projected image to rotate.
Scale: Scaling Point, Linear, or Area lights has no effect. Using Scale with spotlights and
directional lights changes the size of their light beam and attenuation ranges. Scaling omni lights
changes only the attenuation ranges. Scaling photometric lights changes their attenuation rate.
Light viewports are another convenient way to transform and change parameters of spotlights and
directional lights.
Tip: When you adjust lights, it can be useful to turn on Degradation Override. If Override is off
and shaded viewports begin to display in wireframe, you can't see the result of the changes you
make to lights.
Placing Highlights
You use Place Highlight to position a light to create a specular highlight at a designated point on an
object. Place Highlight is one of the buttons on the Align flyout. Place Highlight moves or rotates the
selected light object to aim it at a face on an object you pick. The light maintains its original distance
from the face. Place Highlight works with any kind of selected object. You can also use Place
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Highlight with a selection set that contains more than one object. All objects maintain their initial
distance from the face.
Comments
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Create panel > Lights > Photometric Lights > Target Area button
Create menu > Lights > Target Area Light
A Target Area light emits light from a rectangular area, like a skylight. You can set the light
distribution; this light has two types of distribution, with corresponding icons. A target area light
uses a target object to aim the light.
Note: When you add a Target Area light, the software automatically assigns a Look At controller to
it, with the the light's target object assigned as the Look At target. You can use the controller
settings on the Motion panel to assign any other object in the scene as the Look At target.
Note: When you rename a Target Area light, the target is automatically renamed to match. For
example, renaming Area01 to Klieg causes Area01.Target to become Klieg.Target. The target's name
must have the extension .Target. Renaming the target object does not rename the light object.
Icons for Target Area light with diffuse and web distribution
See also
Lights
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Shadow Parameters
Procedures
To create a Target Area light:
3. In the Object Type rollout, click Target Area.


1. First select the light itself.
2. Right-click the light to open the quad menu. In the Tools quadrant, choose Select Target from
the pop-up menu.

Comments

Create panel > Lights > Photometric Lights > Free Area button
Create menu > Lights > Free Area Light
A Free Area light emits light from a rectangular area, like a skylight. You can set the light
distribution; this light has two types of distribution, with corresponding icons. A free area light has
no target object. You use transforms to aim the light.
Icons for Free Area light with diffuse and web distribution
See also
Lights
Shadow Parameters
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Procedures
To create a Free Area light:
3. In the Object Type rollout, click Free Area.

You can position the light and adjust its direction with the transform tools. You can also adjust
the light's position with the Place Highlights command.
Comments
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Luminous Intensity
Glossary
Luminous Intensity
Luminous intensity is the light energy per unit time emitted by a point source in a particular
direction. Luminous intensity is used to describe the directional distribution of a light source, that is,
to specify how the luminous intensity of a light source varies as a function of the outgoing direction.
The Candela (cd) is the unit of luminous intensity.
Comments
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The following table lists some commonly used lamps values that you can use as a guide for defining
photometric lights. The information in the table is approximate; however, you can refer to
manufacturers documentation for more precise photometric data for these lamps.
General Purpose Lamps
Note: In the tables below, Class. stands for Classification; the values under Intensity are
expressed in candelas.
Class. Watts Type Intensity Beam Field
A-19/ Med 60 Point 70
A-19/ Med 75 Point 95
A-19/ Med 100 Point 139
M16 Low Voltage Lamps
Narrow Beam 20 Spot 3300 6 12
Medium Beam 50 Spot 3000 25 50
Wide Beam 20 Spot 460 38 75
Par36 Low Voltage Lamps
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Par56 Line Voltage Lamps
Par38 Line Voltage Lamps

R40 Line Voltage Lamps
Comments

Light Viewport Controls
Right-click any viewport label. > Views > Choose a light.
Keyboard > $
A Light viewport shows the view from a spotlight or directional light, looking at its target.
Light viewport controls include:

Dolly Light, Target, or Both
Light Hotspot
Roll Light
Zoom Extents All, Zoom Extents All Selected
Light Falloff
Truck Light
Orbit/Pan Light
Min/Max Toggle
Note: For photometric lights, the Light Hotspot control actually adjusts the beam angle. At the beam
angle, the light is 50 per cent of the maximum intensity.
Note: Targeted photometric lights can only be used as views when the light's distribution is set to
spotlight.
Note: Switching to or from a light view clears the Undo/Redo lists.
Procedures
To set a Light viewport:
1. Activate the viewport you want to show the view from a spotlight or directional light in the
scene.
Press the keyboard shortcut $.
Right-click the Viewport label. Choose Views and then choose the light from the Views
submenu.
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3. If you have more than one spotlight or directional light in the scene (and none is selected), the
Select Light dialog is displayed: choose the light you want.
4. If there are more than 10 lights listed, the last entry is "More Lights." Choose this to display
the Choose a View dialog, which shows the complete list.
To undo changes to a Light viewport, do one of the following:
1. Click Undo on the main toolbar.
2. Press CTRL+Z.
Note: This is different from orthographic viewports, which require the use of Views menu >
Undo, or SHIFT+Z.
Comments
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Activate a Light viewport. > Viewport navigation controls > Dolly Light
Dollying a light
Dolly Light, on the Dolly Light flyout (see below) moves the light or its target or both along the
lights main axis, toward or away from what the light is pointing at. A free light moves along its
depth axis in the direction its lens is pointing. On a target light, the target distance remains fixed, no
matter how far you dolly.
When you dolly a light, the light source moves closer to and away from its target. Because spotlights
have conical beams, dollying a spotlight closer to its target shrinks the area illuminated at the
target. Similarly, dollying a spotlight away from its target expands the area illuminated at the target.
Note: The three buttons of the Dolly Light flyout are available when a target light viewport is active.
When a free light viewport is active, the button appears as a flyout, but only Dolly Light is available
for this type of light. If you activate a target light viewport, the three buttons are again available.
Note: The buttons on this flyout replace the Zoom button when a Light viewport is active.
See also
Dolly Camera, Target, or Both
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Procedure
To dolly a light:
1. Activate a Light viewport.
2. Click Dolly Light.

The button highlights when it is on.
3. Drag to move the light.
Drag up to move the light forward along its line of sight.
Drag down to move the light backward along its line of sight.
4. Press ESC or right-click to turn off the button.
Interface
The Dolly Light flyout consists of the following buttons:
Dolly LightMoves only the light to and from its target. If you go past the target, the light
flips 180 degrees and moves away from its target.
Dolly TargetMoves only the target to and from the light. You see no visual change in the
light viewport, unless you dolly the target to where it passes through the light to the other side, at
which point the light view is reversed. However, changing the relative position of the target to the
light affects other adjustments, such as Orbit Light, which uses the target as its rotational pivot.
This option is available only if the viewports light is a target light.
Dolly Light + TargetMoves both the target and the light to and from the light.
This option is available only if the viewports light is a target light.
Comments
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Activate a Camera viewport. > Viewport navigation controls > Dolly Camera or Dolly Target or
Dolly Camera + Target
Dollying a camera
The buttons on this flyout replace the Zoom button when a Camera viewport is active. Use them to
move the camera and/or its target along the camera's main axis, toward or away from what the
camera is pointing at.
A free camera moves along its depth axis in the direction its lens is pointing. Unlike a target camera,
its target distance remains fixed, no matter how far you dolly.
Note: The three buttons of the Dolly Camera flyout are available when a target camera viewport is
active. When a free camera viewport is active, the button appears as a flyout, but only Dolly Camera
is available for this type of camera. If you activate a target camera viewport, the three buttons are
again available.
See also
Procedure
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To dolly a camera:
1. Activate a Camera viewport.
2. Click one of the buttons on the Dolly Camera flyout.
3. Drag to move the camera.
Drag up to move the camera forward along its line of sight.
Drag down to move the camera backward along its line of sight.
Interface
The Dolly Camera flyout consists of the following individual buttons:
Dolly CameraMoves only the camera to and from its target. If you go past the target, the
camera flips 180 degrees and moves away from its target.
Dolly TargetMoves only the target to and from the camera. You see no visual change in the
camera viewport, unless you dolly the target to where it passes through the camera to the other
side, at which point the camera view is reversed. However, changing the relative position of the
target to the camera affects other adjustments, such as Orbit Camera, which uses the target as its
rotational pivot.
This option is available only if the viewports camera is a target camera.
Dolly Camera + TargetMoves both the target and the camera to and from the camera.
This option is available only if the viewports camera is a target camera.
Comments
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Light Hotspot
Light Hotspot
Activate a Light viewport. > Viewport navigation controls > Light Hotspot
The streetlight has a narrow hotspot but a wide falloff area.
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Light Hotspot
Widening the hotspot creates a brighter light.
Light Hotspot lets you adjust the angle of a light's hotspot. This button replaces the Zoom All button
when a light viewport is active.
Click this button, then move the mouse in the light viewport to make the cone of the hotspot
narrower or wider (the hotspot cone is shown in blue, the falloff cone is in gray).
Hold down the CTRL key while moving the mouse to lock the initial angle separation of the hotspot
and falloff cones.
You can't adjust the hotspot larger than the falloff, because that would change the falloff value.
Likewise, when you reduce the falloff, it stops at the hotspot size (in both cases, separated by the
Angle Separation, specified on the Rendering page of the Preferences dialog).
To override the separation of the hotspot and falloff parameters and cause the parameters to affect
each other, hold down the SHIFT key.
For more information on the hotspot and falloff parameters, see Spotlight Parameters and
Directional Parameters.
Note: If the light is a photometric light with spotlight distribution, this button controls the light's
beam angle. At the beam angle, the light's intensity has fallen to 50 per cent (rather than 100 per
cent at the hotspot angle for a standard light).
Procedure
To change a light's hotspot:

Light Hotspot
1. Set up a Perspective viewport so you can see the light in 3D space.
3. Press H to display the Select Objects dialog. Select the light.

The light and its cones should be visible in the Perspective viewport.
4. Click Light Hotspot.

5. Drag in the Light viewport to change the hotspot angle.

The blue hotspot cone expands and contracts as you drag.
Drag down to widen (increase) the hotspot angle and illuminate more of the scene. The
hotspot grows inside the falloff as its angle increases. By default, the hotspot can be no
larger than the falloff cone.
Hold down SHIFT as you drag to override the default. This lets the falloff cone increase in
size as you increase the size of the hotspot cone.
Drag up to narrow (decrease) the hotspot angle and illuminate less of the scene.
Hold down CTRL as you drag to lock the initial angle separation of the hotspot and falloff
cones.
Comments

Roll Light
Roll Light
Activate a light viewport. > Viewport navigation controls > Roll Light
Rolling a light
Roll Light rotates the light about its own line of sight (the light's local Z axis).
Although Roll does change the light view, it affects the light object only if the light casts a
rectangular beam or is a projector.
Drag the mouse horizontally to roll a target light or rotate a free light about its local Z axis.
Note: This button replaces the Zoom Extents button when a light viewport is active.
Procedure
To roll a light:
2. Click Roll Light.

3. Drag horizontally to roll the view.
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Roll Light
Comments
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Projector Light
Glossary
Projector Light
Shadows created by projecting image of palm trees
By adding a map to a light, you turn it into a projector. You can assign a single image, or you can
assign an animation to create the effect of either a slide projector or a movie projector.
You can also use projector maps to project black and white bitmaps to simulate shadows seen
through leaves or window frames, in the same way that gobos are used in theater lighting.
You're not limited to circular projectors. Since you're usually projecting a rectangular image, you can
use a rectangular light to project it. You can use the Bitmap Fit option to adjust the aspect ratio of
the light beam to match that of the projected image.
When you use projection lights, it's often helpful to adjust their roll angle. You can do this with the
navigation controls.
Comments
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Activate any viewport. > Viewport Navigation controls > Zoom Extents All flyout
Keyboard > SHIFT+CTRL+Z
The Zoom Extents All flyout is available in all viewports. The flyout has two options:
Zoom Extents All centers all visible objects in all viewports. This control is useful when you
want to see every object in a scene in every available viewport.
Zoom Extents All Selected centers a selected object, or set of objects, in all viewports.
This control is useful when you want to navigate to small objects lost in a complex scene.
Procedures
To zoom all objects in a scene:
1. Activate any viewport.
2. Click Zoom Extents All.

The viewports display all objects in the scene.
To zoom on a specific object:
1. In any viewport, select the object by clicking it, or press H to select it by name.
2. Click Zoom Extents All Selected.

The viewports display the selected object.
Interface
Zoom Extents AllCenters and magnifies views so all the visible objects in the scene are
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shown in all viewports.
Zoom Extents All SelectedCenters and magnifies views so just the selected objects or sub-
object selections in the scene are shown in all viewports. If no objects are selected, the effect is the
same as Zoom Extents All.
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Light Falloff
Light Falloff
Activate a Light viewport. > Viewport navigation controls > Light Falloff
The light has a narrow hotspot but a wide falloff area.
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Light Falloff
Making the falloff even wider illuminates a larger area.
Light Falloff adjusts the angle of a light's falloff. This button replaces the Region Zoom button when
a light viewport is active.
Click Light Falloff, then move the mouse in the light viewport to make the falloff narrower or wider
(the falloff extents are shown in gray, the hotspot is in blue).
Hold down the CTRL key while moving the mouse to lock the initial angle separation of the hotspot
and falloff cones.
You can't adjust the hotspot larger than the falloff, because that would change the falloff value.
Likewise, when you reduce the falloff, it stops at the hotspot size (in both cases, separated by the
angle separation, specified on the Rendering page of the Preferences dialog).
To override the separation of the hotspot and falloff parameters and cause the parameters to affect
each other, hold down the SHIFT key.
For more information on the hotspot and falloff parameters, see Spotlight Parameters and
Directional Parameters.
Procedure
To change a light's falloff:
1. Set up a Perspective viewport so you can see the light in 3D space.

Light Falloff
3. Press H to display the Select Object dialog. Select the light.

The light and its cones should be visible in the Perspective viewport.
4. Click Light Falloff.

5. Drag in the Light viewport to change the falloff angle.

The gray falloff cone expands and contracts as you drag.
Drag down to widen (increase) the falloff angle and illuminate more of the scene.
Drag up to narrow (decrease) the falloff angle and illuminate less of the scene. As its angle
decreases, the falloff shrinks around the hotspot. By default, the falloff cone can be no
smaller than the hotspot cone.
Hold down SHIFT as you drag to override the default. This lets the hotspot cone decrease in
size as you decrease the size of the falloff cone.
Hold down CTRL as you drag to lock the initial angle separation of the hotspot and falloff
cones.
Comments

Truck Light
Truck Light
Activate a light viewport. > Viewport navigation controls > Truck Light
Trucking a light
Truck Light moves a target light and its target parallel to the light view, and moves a free light along
its XY axis.
To constrain trucking of any viewport to a single axis, hold down the SHIFT key. The truck is
constrained to the first axis you move while the SHIFT key is down.
To accelerate trucking, hold down the CTRL key.
Note: This button replaces the Pan button when a light viewport is active.
Procedures
To truck a light:
2. Click Truck Light.

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Truck Light
3. Drag to move the light and its target.

The camera and its target move parallel to the view plane, which is perpendicular to the
camera's line of sight.
To constrain trucking to a single axis:
Hold down the SHIFT key.

The truck is constrained to the first axis you use.
Comments
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Orbit/Pan Light
Orbit/Pan Light
Activate a light viewport. > Viewport navigation controls > Orbit/Pan Light flyout
Orbiting a light
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Orbit/Pan Light
Panning a light
Orbit rotates a light about the target. Pan rotates the target about the light.
To constrain panning or orbiting to a single axis, hold down the SHIFT key. The pan or orbit is
constrained to the axis you first move while the SHIFT key is down.
To accelerate panning or orbiting, hold down the CTRL key before you pan or orbit.
Note: This button replaces the Arc Rotate button when a light viewport is active.
Procedures
To orbit a light:
2. Click Orbit Light.

3. Drag to rotate the view around the target.
Dragging rotates the view freely using the world X and Y axes.
Press SHIFT and drag horizontally to lock view rotation about the world Y axis. This produces
a horizontal orbit.
Press SHIFT and drag vertically to lock rotation about the world X axis. This produces a
vertical orbit.

Orbit/Pan Light
To pan a light:
1. Activate a Camera or Light viewport.
2. Click Pan Light.

3. Drag to rotate the view about the camera or light.
a horizontal pan.
vertical pan.
To pan with the middle mouse button:
Hold down the middle mouse button and drag.

Pan mode is automatically switched on.
Interface
Orbit LightRotates the light about its target. Free lights use the invisible target, set to the
target distance specified in the Modify panel > Spotlight Parameters or Directional Parameters
rollout.
Pan LightFor a target light, rotates the target about the light. For a free light, rotates the
light about its local axes.
Comments

Min/Max Toggle
Min/Max Toggle
Activate any viewport. > Viewport navigation controls> Min/Max Toggle
Keyboard > ALT+W
Min/Max Toggle switches any active viewport between its normal size and full-screen size.
Tip: The keyboard shortcut ALT+W is especially useful for quick toggles.
Comments
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Aspect Ratio
Glossary
Aspect Ratio
Various aspect ratios
Aspect ratio describes the proportions of a still image or the frames in a movie, expressed as the
ratio of width to height, regardless of the image's resolution.
Aspect ratio is usually expressed either as a ratio of width over height (for example, 4:3) or as a real
value relative to 1 (for example, 1.333). For example, pre-1950s movies and 35 mm slides have an
aspect ratio of 4:3.
Aspect ratios are used anywhere a bitmap is created or used. For example:
When preparing to render, you can specify an aspect ratio for your rendered images with the
Image Aspect parameter on the Render Scene dialog.
When setting up a viewport background, you can specify whether to use the viewport, bitmap or
rendering output aspect ratio to display the bitmap.
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Aspect Ratio
When you make a spotlight a projector, you can use the Bitmap Fit option to match the spotlight's
aspect ratio to the bitmap's, and thus prevent the bitmap from distorting.
Comments
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Resolution
Glossary
Resolution
The horizontal and vertical number of pixels in a 2D image. For example, a 640x480 resolution
describes an image that is 640 pixels across by 480 pixels down. Resolution can also refer to an
images bit depth, such as 24-bit or 32-bit.
You set the resolution of the image you are going to render on the Render Scene dialog.
Comments
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Viewport Background Dialog
Views menu > Viewport Background > Viewport Background dialog
Keyboard > ALT+B
The Viewport Background dialog controls display of an image or animation as the background for one
or all viewports, for example for alignment or rotoscoping. You can assign different background
images to different viewports.
You select the image or animation to display in the active viewport, set the frame synchronization
between the animated image file and the current scene, and turn the assigned image on and off.
These changes do not affect the rendered scene.
To place an image in the background of the rendered scene, use the Environment And Effects dialog
> Environment panel, accessed from the Rendering menu.
Note: When safe frames are displayed in a viewport, and the Aspect Ratio options are set to either
Match Viewport or Match Rendering Output, the assigned viewport background image is confined to
the Live area of the safe frames and will correctly match the rendered background bitmap.
Tip: If you are using a viewport driver with hardware acceleration (OpenGL or Direct3D), the
viewport background might not appear. If this happens, choose Customize > Preferences. In the
Viewports preferences, click Configure Driver. Then in the Configure OpenGL dialog or the Configure
Direct3D dialog, go to the Background Texture Size group and turn on Match Bitmap Size As Closely
As Possible (do not change the numeric setting). Click OK in both dialogs to accept your change.
See also
Select Background Image Dialog

Update Background Image
Procedures
To assign an image to one or all viewports:
1. Activate a viewport where you want the background image.
2. Choose Views menu > Viewport Background to display the Viewport Background dialog.
3. In the Background Source group, click Files to display the Select Background Image dialog.
4. Select the image or animation you want to use.
5. If you want to display the image in all viewports, click All Views in the Apply Source And
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Display To group.
6. Click OK.
The image is displayed in a single viewport or all viewports.
To update the image or map in the viewport:

Because of the time it takes to render the image or map in the viewport, the map is not
automatically updated when you alter the bitmap or assign a new bitmap.
Choose Views menu > Update Background Image.

The revised image or map is displayed in the viewport.
To display the environment map in a viewport:
1. In the Environment dialog, assign an environment map. (See the procedure To choose an
environment map in Environment dialog.)
2. In the Environment dialog > Background group, be sure Use Map is turned on (the default).
3. Activate the viewport where you want the map displayed.
4. Choose Views menu > Background Image.
5. In the Viewport Background dialog > Background Source group, turn on Use Environment
Background.
6. Click OK.
The map is displayed in the viewport.
To display an animated background:
1. Assign an animation file (AVI, FLC, MOV, or IFL file) as the viewport background.
2. Turn on Animate Background.
3. Choose Customize > Preferences. In the Viewports tab, turn on Update Background While
Playing.
Now the background plays when you click Play, or when you drag the time slider.
Tip: If you follow these steps and the background still doesn't appear to animate, open the
Time Configuration dialog and in the Playback group, turn off Real Time.
To use the environment map with animation controls:

This procedure is useful if youve assigned an animated environment map and want access to the
animation controls in the Viewport Background dialog.
1. In the Viewport Background dialog > Background Source group, turn off Use Environment
Background.

2. In the same group, click File.
3. Select the same map youre using as the environment map.
4. Set parameters in the Animation Synchronization group.
5. Click OK.
The environment map appears in the viewport. The image is renderable.
To match your viewport background with the rendered background:
1. Activate the viewport you plan to render.
2. Right-click the viewport label and choose Show Safe Frame.

This turns on Safe Frames in the viewport.
Note: You can also use View menu > Configure > Safe Frame tab. In the Application group,
turn on Show Safe Frames In Active View.
3. In the Material Editor, create a material that contains the bitmap for your rendered
background.
4. In the Material Editor > Coordinates rollout, turn on Environ.

In the Mapping field, Screen is automatically selected. This is the only mapping type you can
use for this purpose.
5. On the main menu, choose Rendering > Environment.
6. Drag the map from the Material Editor > Maps rollout to the Environment Map button in the
Environment dialog. Click OK on the Instance (Copy) Map dialog.
7. In the Viewport Background dialog > Background Source group, click Files to assign the same
bitmap.
8. In the Aspect Ratio group, turn on either Match Viewport or Match Rendering Output. Click OK.
9. Render the viewport.

The background displayed in the rendered scene should exactly match the background
displayed in the Live area of the safe frames.
Note: When you use the Match Bitmap option, the bitmap reverts to its original aspect ratio
and does not match the rendered scene, unless you're rendering to the same aspect ratio.
To remove a background image:
1. Activate the viewport with the background image visible.
2. On the Views menu choose Viewport Background.

Notice the name and path of the background file is displayed in the Current field in the
Background Source group

3. In the Background Source group, click Devices.
4. In the Select Image Input Device dialog, choose No I/O Handlers from the drop-down list, then
click OK.
5. In the Bitmap Manager Error dialog, click OK.

The current field no longer displays the background file name. Instead No I/O Handler is listed
in the Current field.
6. Click OK to close the Viewport Background dialog.

Next time you open up the Viewport Background dialog, no filename will be displayed in the
Current field.
Tip: This technique will only work on systems that don't have any other Image Input Devices
installed.
Interface

Background Source group
Options let you select the background image, either from a bitmap image file, a video file, or from a
device such as a video recorder.
FilesDisplays the Select Background Image dialog, which lets you select a file or sequence of files
for your background.
DevicesDisplays the Select Image Input Device dialog. This lets you use a background from a
digital device. (No device is supported by the default 3ds max installation.)
Use Environment BackgroundLets you display in the viewports the map you've assigned as
your environment background. If no environment map has been assigned in the Environment dialog,
or Use Map in that dialog is off, then the Use Environment Background check box is not available.
Animation Synchronization group
Controls how sequences of images (for example, from IFL, AVI, or FLC files) are synchronized to the

viewport for rotoscoping.

Use FrameThe first field sets the first frame of the incoming sequence that you want to use, and
the second field sets the last one.
StepSets the interval between the frames you want to use. For example, if this spinner is set to 7,
the software uses every seventh frame.
Start AtSpecifies the frame number at which you want the first input frame to appear. What
happens in the viewport before the start frame depends on the option you choose for "Start
Processing," below.
Sync Start To FrameDetermines which frame from your incoming sequence is displayed at the
Start At frame. For example, you could have a 30-frame .ifl sequence that starts in your scene at
frame 10, but you could use the 5th frame from the .ifl on frame 10 by setting Sync Start to 5.
Start Processing group
Determines what happens in the viewport background before the start frame.
Blank Before StartMakes the viewport background blank before the start frame.
Hold Before StartSpecifies that the viewport background will contain the start frame.
End Processing group
Determines what happens in the viewport background after the last input frame.
Blank After EndMakes the viewport background blank after the last input frame.
Hold After EndSpecifies that the viewport background will contain the last input frame until the
last frame in the animation.
Loop After EndSpecifies that the viewport background will loop from the end frame back to the
start frame, ad infinitum.
Aspect Ratio group
Controls the proportions of the viewport background by matching it to the bitmap, rendering output,
or to the viewport itself.
Match ViewportChanges the aspect ratio of the image to match the aspect ratio of the viewport.
Match BitmapLocks the aspect ratio of the image to the native aspect ratio of the bitmap.
Match Rendering OutputChanges the aspect ratio of the image to match the aspect ratio of the
currently chosen rendering output device.
Note: When the Match Bitmap or Match Rendering Output option is chosen, the software centers the
image and clears the edges of the viewport to the background color.
Display Background
Turns on display of the background image or animation in the viewport.

Lock Zoom/Pan
Locks the background to the geometry during zoom and pan operations in orthographic or user
viewports. When you Zoom or Pan the viewport, the background zooms and pans along with it.
When Lock Zoom/Pan is turned off, the background stays where it is, and the geometry moves
independently of it. Use Match Bitmap or Match Rendering Output to enable Lock Zoom/Pan. This
control is disabled if you select Match Viewport.
Warning: If you zoom in too far, you can exceed the limit of virtual memory in Windows
NT, and crash the software. When you perform a zoom that requires more than 16
megabytes of virtual memory, an alert asks if you want to display the background during
the zoom. Choose No to perform the zoom and turn off the background. Choose Yes to
zoom with the background image. Your machine might run out of memory as a result.
Animate Background
Turns on animation of the background. Shows the appropriate frame of the background video in the
scene.
Apply Source And Display To group
All ViewsAssigns the background image to all viewports.

Active OnlyAssigns the background image to only the active viewport.
Viewport
The name of the currently active viewport appears in a list to the left of the OK and Cancel buttons.
This reminds you which viewport you're working with and lets you change the active viewport by
selecting its name from the list.
Note: When you use different images for different viewports, the settings for each viewport are
stored separately. Each time you display the Viewport Background dialog, the settings of the
currently active viewport are displayed. If you switch the viewport using the list, the settings remain
the same. This is useful for copying settings from one viewport to another.
Comments

Rotoscoping
Glossary
Rotoscoping
Boat is an object composited over video of breaking wave.
Rotoscoping is the process of bringing video frames into a scene to use as the background for
matching objects.
The way to use rotoscoping is to specify a digital disk recorder or movie file and read the frames into
the viewport using the Animation Synchronization controls in the Viewport Background dialog.
Once you've specified your source device or file in the Viewport Background dialog, one frame of the
video displays for each scene frame by default. Remember to check the Animate background box as
well as the Show Background box to have your video frames appear in sequence in the viewport.
To produce the composited, rendered image, use 3ds max Video Post to composite the background
image and the rendered scene together.
Comments
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Environment
Environment
Rendering menu > Environment > Environment and Effects dialog > Environment panel
Environment displays the Environment panel, which is used for setting up atmospheric and
background effects.
You can use the environment functions to:
Set and animate the background color.
Use an image in the background of the rendered scene (screen environment) or use texture maps
as spherical, cylindrical, or shrinkwrap environments.
Set and animate the ambient light.
Use atmospheric plug-ins, such as volumetric light, in the scene.
Apply exposure controls to renderings.
Atmospheres
Atmospheres are plug-in components that create lighting effects such as fog, fire, and so on.
See Environment dialog for all environment parameters.
Exposure Controls
One of the limitations of rendering perceptually accurate images is the limited dynamic range of
computer monitors. Dynamic range is the ratio of the highest to lowest intensity a monitor can
produce. In a dark room this ratio is approximately 100 to 1. In a bright room, this drops to
approximately 30 to 1. Real environments can have dynamic ranges of 10,000 to 1, or larger.
Exposure Controls map light energy values to colors. They affect the brightness and contrast of both
rendered images and viewport displays. They dont affect the actual lighting levels in the scene, but
only how those levels are mapped to a valid display range.
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Environment
Comments
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Views menu > Viewport Background > Background Source group > Files > Select Background
Image dialog
UFO model rendered against a background
The Select Background Image dialog allows you to choose a file or sequence of files for a viewport
background.
You can also convert a set of sequentially numbered files to an Image File List (IFL). This is the
same process used by the IFL Manager Utility.
Procedures
To select a background image for a viewport:
1. Activate the viewport where you want the image.
3. Under Background Source in the dialog that displays, click Files.
4. In the Look In field, navigate to the directory containing the file you want to use for the
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background.
Note: The Select Background Image File dialog uses the last location where a bitmap was
chosen, rather than the default bitmap path defined in the Configure Paths dialog.
5. Highlight the file name in the file list window.
6. Click Open to select the image and close the dialog.
7. Click OK to close the Viewport Background dialog and display the background image.
To select a set of still images as a viewport background:
1. Activate the viewport where you want the image.
3. Under Background Source, click Files.
4. In the Look In field, navigate to the directory containing the sequence of files.
The files must be sequentially numbered (for example, image01.bmp, image02.bmp, image03.
bmp).
Tip: If necessary, change Files Of Type to match the file extension of the sequence, or choose
All Formats.
5. Turn on Sequence, and choose the name of the first sequential file (for example, image01.
bmp).
Tip: Click the Setup button to display the Image File List Control dialog.
6. In the Image File List Control dialog, use the Browse button to set the Target Path to a
directory on your hard disk. Do not set this path to a CD-ROM drive, because you cannot save
the file there.
7. Choose the options you want, and then click OK.

The Image File List (IFL) file is saved to the target directory.
Interface

HistoryDisplays a list of the directories most recently searched.

Look InOpens a navigation window to move to other directories or drives.
Up One LevelMove up a level in the directory structure.
ListDisplays the contents of a directory by file name.
DetailsDisplays the contents of a directory including all the file details.

List WindowWhen Details is on, the contents of the directory are displayed with Name, Size,
Type, Date Modified, and Attributes. You can sort the files by clicking the label of each parameter.
File NameDisplays the name of the file selected in the list.
Files of TypeDisplays all the file types that can be displayed. This serves as a filter for the list.

OpenSelects the highlighted file and closes the dialog.

CancelCancels the selection and closes the dialog.
DevicesLets you select a background image from a digital device. (No device is supported by the
default 3ds max installation.)
SetupDisplays the Image File List Control dialog to create an IFL file. Available only when
Sequence is on and there are sequentially numbered files in the displayed directory.
InfoDisplays expanded information about the file, such as frame rate, compression quality, file
size, and resolution. The information here is dependent on the type of information that is saved with
the file type.
ViewDisplays the file at its actual resolution. If the file is a movie, the Media Player is opened to
play the file.
GammaSelects the type of gamma to be used for the selected file. Available only when Enable
Gamma Selection is turned on in the Gamma panel.
Use Images Own GammaUses the gamma of the incoming bitmap.
gamma instead, as set in the Gamma panel.
default.
SequenceCreates an "Image File List" to your specifications. Each selected image is checked to
see if a valid IFL sequence can be created. If the selected image doesnt yield a list, this option is
still available, but doesnt do anything.
PreviewDisplays the image as a thumbnail in the Image Window.
Image WindowDisplays a thumbnail of the selected file if Preview is on.
StatisticsDisplays the resolution, color depth, file type and number of frames of the selected file.
LocationDisplays the full path for the file. With this information at the bottom of the dialog, you
always know exactly where you are.
Comments

Views menu > Update Background Image (available only when a viewport background is
displayed)
This command updates the background image displayed in the active viewport. If the active viewport
is not displaying a background image, this command is unavailable.
Use this command to update the background for changes that are not updated automatically, such
as the following:
Reassigning the map, or changing any parameters affecting the map in the Materials Editor, the
Environment dialog, or the Viewport Background dialog.
Changing the rendering resolution and aspect ratio.

The following changes update the viewport background image automatically:
Changing the camera view.
Undo (for views).
Undo (for objects).
Assigning a different view type.
Toggling Safe Frames display on or off.
Changing the rendering parameters.
Moving the time slider when the viewport contains an animated background image.
Procedure
To update the background image displayed in a viewport:
1. Activate a viewport that contains a background image.
2. Choose Views menu > Update Background Image.
Comments
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Safe Frames
Safe Frames
Customize menu > Viewport Configuration > Viewport Configuration dialog > Safe Frames tab
Right-click a viewport label. > Configure > Viewport Configuration dialog > Safe Frames tab
Keyboard > SHIFT+F
Safe frame borders show which portions of a viewport will be visible when rendered to video.
You toggle the status of the video safe frame for the current viewport and adjust its parameters on
the Safe Frames panel of the Viewport Configuration dialog.
Video Safe Frame displays a series of concentric rectangular frames in the viewport. Use Safe Frame
to see the proportions of your rendered output within the viewport. This is particularly useful when
you are rendering to output that doesnt match the viewports aspect ratio.
The primary purpose of Safe Frames is to suggest safe areas for work intended for display on TV
monitors. It is likely that the bezel will cover about 10% of the image so you dont want important
objects or action to fall outside the Action Safe area. High contrast titles falling outside the Title Safe
area are likely to bleed or be obstructed by the bezel of the TV screen.
When Safe Frames are displayed in the viewport and a bitmap image is assigned as a viewport
background using either the Match Viewport or Match Rendering Output options, the image is
confined to the Live area of the safe frames and matches the rendered background. This assumes
that the same bitmap is assigned to the Environment background using Environment/Screen
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Safe Frames
coordinates.
You can toggle the status of safe frames on or off for the current viewport, and use the Safe Frames
panel of the Viewport Configuration dialog to adjust the parameters.
When Safe Frame is displayed in the viewport and a bitmap image is assigned as a background, and
Show Background is turned on, the image is confined to the Live area of the safe frame. If you are
using a background image in your rendering, make sure your rendering output size matches the
background image size. This will avoid distortion.
Interface
Setup group
The Safe Frames panel contains settings for the following frame types:
Live Area(yellow)The area that will actually be rendered, regardless of the size or aspect ratio of
the viewport.
Action Safe(green)The area in which it's safe to include your rendered action. The Lock check
box lets you lock the aspect ratio of the Action frame. When Lock is turned on, use the Both spinner
to set the percentage of the live area that's trimmed within the safe frame. When Lock is off, you
can use the Horizontal and Vertical spinners to set these parameters independently. Default=10%.
Title Safe(cyan)The area where it's safe to include titles or other information. When used
correctly, this is smaller than the Action frame. The Lock check box lets you lock the aspect ratio of

Safe Frames
the Title frame. When Lock is turned on, use the Both spinner to set the percentage size of the title
frame relative to the action area. When Lock is turned off, you can use the Horizontal and Vertical
spinners to set these parameters independently. Default=20% of Live Area.
User SafeDisplays an additional safe frame that you can use for any custom requirements. The
Lock check box lets you lock the aspect ratio of the User frame. When Lock is turned on, use the
Both spinner to set the percentage size of the user frame relative to the action area. When Lock is
turned off, you can use the Horizontal and Vertical spinners to set these parameters independently.
Default=20% of Live Area.
12-Field GridDisplays a grid of cells (or fields) in the viewport. In this case, "fields" are cells in
the grid, and not scanline fields.
The "12-field grid" is a method used by video directors to refer to specific areas of the screen. A
director might ask you to move an object two fields to the left and four fields down. The 12-field grid
is a reference for this type of placement.
4 x 3/12 x 9Lets you choose between two matrices of either 12 or 108 cells.
Application group
Show Safe Frames in Active ViewToggles the frame displays on or off for the current viewport.
This option is duplicated by the Show Safe Frame item in the viewport right-click menu.
Ungrouped
Default SettingsResets all values to the default values.
Comments

Video Safe Frame
Glossary
Video Safe Frame
Safe frame borders show which portions of a viewport will be visible when rendered to video.
The Video Safe Frame provides a guide to help avoid rendering portions of your image that might be
blocked in the final output.
For example, to ensure that no unintentional black areas are visible on a television screen,
broadcasters intentionally "overscan" the video image. The result is that portions of an image around
the edges are not visible on a typical set. In addition, portions of images on 35mm slides can be
partially covered by the slide mounts.
You can adjust the size of the safe frame as a percentage of the outer display rectangle with the
Safe-Frame controls in the Viewport Configuration dialog. Depending upon its size, the safe frame
can be used as the equivalent of a "title safe frame" (the area inside which it is safe to display
titles), or an "action safe frame" (the area inside which action may occur without significant loss of
information).
To view the frames, choose Show Safe Frame from the viewport right-click menu (displayed when
you right-click the viewport label). Three rectangles, one yellow, one green, and one pale blue,
appear in the camera viewport. The outer, yellow video rectangle is the area and aspect ratio of your
current display. The middle, green rectangle is the action safe zone. The inner, pale blue rectangle is
the title safe zone.
Choose Show Safe Frame again to turn off the display.
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Video Safe Frame
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Overshoot
Glossary
Overshoot
Above: No overshoot
Below: Overshoot turned on
The Overshoot option causes a spotlight to flood beyond its falloff area, and cast light in all
directions. With Overshoot turned on, the spotlight casts light in all directions but casts shadows
only within its falloff cone.
The Overshoot control effectively turns the spotlight into a hybrid between an Omni light and a
spotlight. With Overshoot set, the spotlight casts light in all directions as an Omni light does but still
casts shadows or projections as other spotlights do. The shadows and projections are limited to the
falloff region: outside the cone of the spotlight, Overshoot casts light but does not cast shadows or
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Overshoot
projections.
Overshoot is useful when you want to light a large area but need to cast shadows in only a small
part of that area. Set the falloff to include the area where shadows must appear, and then turn on
Overshoot to light the rest of the scene. This technique can reduce the size of shadow maps and
thereby improve rendering speed.
Comments
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Create panel > Systems > Create a Daylight system in your scene. > Modify panel > Daylight
Parameters rollout > Skylight > IES Sky
Create panel > Lights > Photometric > IES Sky
Create menu > Lights > IES Sky
Outdoor scene lit by the IES sky light
IES Sky is a physically-based light object that simulates atmospheric effects on skylight.
Note: (IES stands for Illuminating Engineering Society; see IES Standard File Format.)
You can create daylight lights manually, but to get the best results, you should use them in
conjunction with the Daylight system. The Daylight system combines the two daylight components of
sun and sky in a unified interface. It allows you to set date and time positions with the light type you
want to use.
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IES Sky works correctly only when the sky object is pointing down from the Z axis, meaning that it
points down when looking from the Top view.
When using the default scanline renderer, IES Sky produces the best results when used in
conjunction with one of the advanced lighting options: radiosity or light tracing.
Warning: When you render with the mental ray renderer, objects illuminated by IES
Sky appear dark unless you turn on Final Gathering. The toggle for Final Gathering is on
the Indirect Illumination rollout of the Render Scene dialog.
When you add an IES Sky light, 3ds max automatically assigns a Look At controller to it, with the
light's target object assigned as the Look At target. You can use the controller settings on the Motion
panel to assign any other object in the scene as the Look At target.
Using Render Elements with an IES Sky Light
If you use Render Elements to output the lighting element of an IES Sky light in a scene using either
radiosity or the light tracer, you cannot separate the direct, indirect, and shadow channels of the
light. All three elements of the IES Sky lighting are output to the Indirect Light channel.
See also
Interface
OnTurns the sky light on and off in the viewport.

MultiplierAdjusts the intensity of the skylight.
When this is set to 1.0, the intensity will be physically accurate based on angle. You can, however,

override this by changing the value. This is useful for doing night shots with artificial lighting.
Sky ColorThe color swatch opens the Color Selector, which lets you set the color of the sky.
Coverage group
Clear, Partly Cloudy, CloudyThis choice determines how much light is scattered through the sky.
Render group
Cast ShadowsCauses the sky light to cast shadows.

A great deal of processing is dedicated to the calculation of the subtle shadows cast by skylight. If
shadows are not important in your model, you can disable them and save substantial amounts of
processing time. However, the results will not be as realistic.
Note: The Cast Shadows toggle has no effect when using radiosity or light tracer.
Note: IES Sky objects will not cast shadows in an Activeshade rendering.
Rays per SampleThe number of rays used to calculate skylight falling on a given point in the
scene. For animation you should set this to a high value to eliminate flickering. A value of around 30
should eliminate flickering.
Increasing the number of rays increases the quality of your image. However, it also increases
rendering time.
Ray BiasThe closest distance at which objects can cast shadows on a given point in the scene.
Setting this value to 0 can cause the point to cast shadows upon itself, and setting it to a large value
can prevent objects close to a point from casting shadows on the point.
Comments

active production renderer. > Advanced Lighting panel > Select Advanced Lighting rollout
active production renderer. > Advanced Lighting panel > Select Advanced Lighting rollout
The Advanced Lighting rollout lets you select one of the advanced lighting options. Two are provided
with the default scanline renderer:
Light Tracer
Radiosity
The Light Tracer provides soft-edged shadows and color bleeding for brightly-lit scenes such as
outdoor scenes. Radiosity provides physically accurate modeling of the light in a scene.
Interface
Until you choose an advanced lighting option, the Advanced Lighting panel displays a single rollout,
Select Advanced Lighting.
List of plug-insChoose an advanced lighting option from this drop-down list. Default=No
advanced lighting chosen.
ActiveWhen an advanced lighting option is chosen, use Active to toggle whether the advanced
lighting is used when you render your scene. Default=On.
Comments
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Skylight
Skylight
Create panel > Lights > Standard > Skylight button
Create menu > Lights > Skylight
Model rendered with a single skylight, and light tracing
The Skylight light models daylight. It is meant for use with the Light Tracer. You can set the color of
the sky or assign it a map. The sky is modeled as a dome above the scene.
Important: When you render with the default scanline renderer, Skylight works best with
advanced lighting: either the Light Tracer, or radiosity.
Warning: When you render with the mental ray renderer, objects illuminated by a
Skylight appear dark unless you turn on Final Gathering. The toggle for Final Gathering is
on the Indirect Illumination rollout of the Render Scene dialog.
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Skylight
A skylight is modeled as a dome above the scene.
Tip: There are several ways to model daylight in 3ds max, but if you use the Light Tracer, a
Skylight often gives the best results.
Using a Map with the Skylight
If you use a map with a Skylight, the following guidelines can improve its effect:
Make sure that the mapping coordinates are spherical or cylindrical.
For light tracing, make sure you use sufficient samples. A good rule of thumb is to use at least
1,000 samples: set Initial Sample Spacing to 8x8 or 4x4, and increase the value of Filter Size to
2.0.
Use an image-processing application to blur the map before you use it. With a blurred map, you
can use fewer samples to obtain good results. When used with Skylight, a blurred map will still
render well.
Be aware that using sufficient samples with a mapped Skylight will take longer to render than if the
light were not mapped.
Using Render Elements with a Skylight
If you use Render Elements to output the lighting element of a skylight in a scene using either
radiosity or the light tracer, you cannot separate the direct, indirect, and shadow channels of the
light. All three elements of the skylight lighting are output to the Indirect Light channel.
Procedures

Skylight
To create a Skylight:

2. In the Object Type rollout, click Skylight.
Note: The position of the Skylight, and its distance from objects, has no effect. The Skylight
object is simply a helper. Skylight always comes from overhead.
Interface
OnTurns the light on and off. When On is on, shading and rendering use the light to illuminate the
scene. When off, the light is not used in shading or rendering. Default=on.
MultiplierAmplifies the power of the light by a positive or negative amount. For example, if you
set the multiplier to 2, the light will be twice as bright. Default=1.0.
Using this parameter to increase intensity can cause colors to appear "burned out." It can also
generate colors not usable in videos. In general, leave Multiplier set to its default of 1.0 except for
special effects and special cases.
Sky Color group

Skylight
Use Scene EnvironmentColors the light using the environment set up on the Environment panel.
This setting has no effect unless light tracing is active.
Sky ColorClick the color swatch to display a Color Selector and choose a tint for the Skylight.
Map controlsThese let you use a map to affect Skylight color. The button assigns a map, the
toggle sets whether the map is active, and the spinner sets the percentage of the map to use (when
the value is less than 100%, map colors are mixed with the Sky Color).
Tip: For best results, use an HDR File for illumination.
The map has no effect unless light tracing is active.
Render group
Note: If the renderer is not set to Default Scanline, or if the Light Tracer is active, these controls are
disabled.
Cast ShadowsCauses the skylight to cast shadows.
Note: Cast Shadows is off by default.
Note: The Cast Shadows toggle has no effect when using radiosity or light tracer.
Note: Skylight objects will not cast shadows in an Activeshade rendering.
Rays per SampleThe number of rays used to calculate skylight falling on a given point in the
scene. For animation, you should set this to a high value to eliminate flickering. A value of around 30
should eliminate flickering.
Increasing the number of rays increases the quality of your image. However, it also increases
rendering time.
Ray BiasThe closest distance at which objects can cast shadows on a given point in the scene.
Setting this value to 0 can cause the point to cast shadows upon itself, and setting it to a large value

Skylight
can prevent objects close to a point from casting shadows on the point.
Comments

Compass Helper
Compass Helper
Create panel > Helpers > Standard > Object Type rollout > Compass
Compass displays as a non-rendering compass rose, with indicators for North, South, East, and
West. A compass is part of a Sunlight system; you create a compass automatically when you create
sunlight. In a Sunlight system, the orientation of the compass indicates the orientation of the scene,
relative to the path of the sun (the ecliptic).
Use the Compass helper object if you want to create an orientation symbol in your scene, but dont
need to create a sunlight system.
Procedure
To create a compass object:
1. Choose Compass in the Create panel > Helpers section.
2. Click and drag to define the radius of the compass.
3. Select and rotate the compass object to orient it.
Interface
Parameters rollout
Show Compass RoseDisplays the non-rendering compass rose in the viewport.

RadiusSpecifies the radius of the compass object.
Comments
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Motion Panel
Motion Panel
Select an object. > Command panels > Motion panel
The Motion panel provides tools to adjust the motion of the selected object. Key timing and easing in
and out of a key are parameters that you can adjust with tools on the Motion panel, for example.
The Motion panel also provides an alternative to Track View for assigning animation controllers.
Additional rollouts display in the Motion panel if an assigned animation controller has parameters. If
a Path constraint is assigned to the position track of an object, then a Path Parameters rollout is
added to the Motion panel. A Link constraint displays a Link Parameters rollout, a Position XYZ
controller displays a Position XYZ Parameters rollout, and so on.
Trajectories
Click Trajectories to chart a path that an object will travel along in the viewports. Yellow dots along
the path represent frames, giving you an idea of velocity and easing. By turning on Sub-Object
Keys, keys can be moved in space, key properties can be changed, the trajectories will reflect all the
adjustments you make. You can also convert to and from splines and collapse transforms using
trajectories.
Interface
Parameters
Provides an alternative to Track View for adjusting transform controllers and key information.
Assign Controller Rollout
PRS Parameters Rollout
Trajectories
Provides tools for working with objects' trajectories.

Trajectories
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Motion Panel
Comments
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Select an object. > Motion panel > Parameters > Assign Controller rollout
The Assign Controller rollout assigns and appends different transform controllers to individual
objects. You can also assign controllers in Track View.
Animation controllers are plug-ins that handle all of the animation tasks in the software. For a
complete list of available Animation controllers, see Assign Controller (Track View).
Procedure
To assign a TCB Rotation controller:
2. On the Motion panel, click Parameters, and open the Assign Controller rollout.
3. Select the rotation track in the Assign Controller list.
4. Click the Assign Controller button, and then select TCB Rotation from the Assign Controller
dialog.
The default Euler XYZ Rotation controller is replaced with the TCB Rotation controller.
Interface
Assign ControllerDisplays the Assign Controller dialog. If no track is selected, the Assign
Controller button is unavailable.
Assign Controller dialogSelect a controller from a list of available controllers in this dialog.
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Depending on the type of track you've selected, the Choose Controller dialog displays a subset of the
different types of controllers. Rotation controllers, for example, are available only for rotation tracks.
Comments
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Select an object > Motion panel > Parameters > PRS Parameters rollout
The PRS Parameters rollout provides tools for creating and deleting keys. PRS stands for the three
basic transform controllers: Position, Rotation, and Scale.
Procedure
To create a PRS transform key:
1. Select an object in the viewports.
2. Drag the time slider to the frame where you want to place a key.
3. On the Motion panel, choose Parameters > PRS Parameters rollout.
4. Click one of the following buttons under Create Key PRS Parameters rollout:
Click Position to create a Position key.
Click Rotation to create a Rotation key.
Click Scale to create a Scale key.

If a particular Position, Rotation, or Scale controller doesn't use keys, then that button is not
available under Create Key. For example, you cant create Position keys if you're using a
Noise Position controller.
Interface
Create Key/Delete KeyCreates or deletes a move, rotate, or scale key at the current frame.
These buttons become active or inactive depending on the existence of a key type at the current
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frame.
For example, if you're on a frame containing a Scale key, the Scale button is inactive in the Create
column because a key already exists. At the same time, the Position and Rotation buttons are
inactive in the Delete column because there are no keys of that type to delete.
Position/Rotation/ScaleDetermines the contents of the Key Info rollouts that appear below the
PRS Parameters rollout on the Motion panel.
Comments
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Boolean Controller
Boolean Controller
Main toolbar > Curve Editor (Open) > Select a track containing a float value in the Track View
hierarchy > Track View menubar > Controller menu > Assign > Boolean controller
Graph Editors > Track View Dope Sheet > Select a track containing a float value in the Track
View hierarchy > Track View menubar > Controller menu > Assign > Boolean controller
The Boolean controller is similar to the On/Off controller. By default, it is assigned to tracks (such as
an object's Visibility track) that provide only binary on and off control.
Note: The Boolean controller is useful for controlling the Enabled state in the History Independent
(HI) IK system.
It differs from the On/Off controller in two ways: first, each key has its own float value, either 1.0 or
0.0, signifying its on or off state. This enhancement leads to the second component that
differentiates the Boolean controller from its On/Off cousin: the ability to lay down sequential keys
without inadvertantly changing the on/off state of any keys downstream.
The Boolean controller can be assigned to any parameter that would normally be controlled by a
float or boolean class controller, such as sphere's Hemisphere or Smooth track.
Boolean controller key values can be changed in on of two ways: through Track View's Dope Sheet
editor or through MAXScript.
Note: Although the Boolean controller displays a function curve in Track View's Curve Editor, it does
not display keys. Key time and value must be changed in the Dope Sheet editor.
Procedures
To assign a Boolean controller and add keys:
1. Open Track View's Dope Sheet editor and select any track that would normally be assigned a
float or boolean class controller.
2. Right-click and select Assign Controller. Pick the Boolean controller from the Assign Controller
dialog, and click OK
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Boolean Controller
3. From the main Track View toolbar, select the Add Keys button and click anywhere on the
selected track.
New keys with a value of 0.0 are added.
To change Boolean controller key values in track view:
1. Open the Track View Dope Sheet editor and select a track that contains a Boolean controller.
2. Select any key and enter 1.0 or 0.0 into the key value field at the bottom of the Track View
dialog.
Note: Values greater than 0.0 will automatically be clamped to 1.0
To change Boolean controller key values via MAXScript:
Enter the following into either the MAXScript listener or mini-listener:<node>.

<animatable_property>.keys[<index_integer>].value = <float> where <node> is the
object containing the Boolean-controlled parameter (for example, $Sphere01,
<animatable_property> is the parameter itself (for example, Smooth, <index_integer> is the
actual sequential number of the key in the key array, and <float> is either 1.0 or 0.0.
Comments
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On/Off Controller
On/Off Controller
menubar > Controller menu > Assign > On/Off
View menubar > Controller menu > Assign > On/Off
The On/Off controller provides binary on and off control. It is similar to the Boolean controller. For
example, you can apply an On/Off controller to the Visibility track of an object.
You can view the curve for this controller in the Function Curve display, but it's not editable. In
addition, there's no Properties dialog for this controller.
Note: When you load a scene from version 1.x of the software that contains a Visibility controller,
the controller is automatically converted to an On/Off controller.
See also
Boolean Controller
Procedure
Example: To use the On/Off controller to control an object's visibility:
1. Create a cylinder, and open Track View.
2. In Track View, select the Cylinder track and click Tracks > Visibility Track > Add.
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On/Off Controller
A Visibility and Transform track are now added.
3. Select the track named Visibility and click the Assign Controller button.
4. From the Track View toolbar > Controller menu > Assign and select On/Off in the Assign
Controller dialog. Click OK.
If you change modes to Dope Sheet, note that the entire track region is filled by a blue bar.
5. Click the Add Keys button in Track View Dope Sheet and add a key at frame 20.
The blue bar stops at frame 20.
6. Add another key at frame 60.

The track is now blue again following frame 60.
7. Add some additional keys in the Visibility Track. Each added key reverses the on/off blue
pattern following the added key.
Tip: You can select two or more keys and copy them to different positions. This allows you to create
even intervals for the On/Off effect.
Interface
You assign the On/Off Controller in Track View.
The On/Off track displays a solid blue color in frames that are On, and no blue in frames that are
Off. When you add a key to an On section of the track, the section following that key is turned off.
When you add a key to an Off section, the following section is turned on and colored blue.
Comments
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Linear Controller
Linear Controller
menubar > Controller menu > Assign > Linear
View toolbar > Controller menu > Assign > Linear
Animation menu > Position, Rotation or Scale controllers > Linear
The Linear controller interpolates between animation keys by evenly dividing the change from one
key value to the next by the amount of time between the keys.
Linear controllers do not display a properties dialog. The only information stored in a linear key are
the time and animation values.
Use Linear controllers whenever you want a very regular, even transition from one key to the next.
For example, use a Linear controller for:
A color parameter to change from one color to another at a constant rate of change.
Transforms to produce mechanical, robot-like motion.
Procedure
To assign a Linear controller:
1. Select an animated object.
2. In the Motion panel > Parameters > Assign Controller rollout, select the Position track in the
list window.
3. Click Assign Controller, and then select Linear Position in the Assign Controller dialog.
The animated object has a mechanical motion.
You can also assign this controller in Track View.
Interface
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Linear Controller
No Properties dialog is available for Linear controllers. You can, however, move keys in Track View to
change the animation.
TimeChange linear key time. Move keys horizontally in Track View Edit Keys or Function Curves
mode.
ValueChange linear animation values by moving keys vertically in Track View Function Curves
mode, change the parameter value in the viewport with Auto Key on.
Comments
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toolbar > Controller menu > Assign > Motion Capture
View menubar > Controller menu > Assign > Motion Capture
You can control an object's position, rotation, or other parameters using an external device with the
Motion Capture controller.
Note: Rotation Motion Capture uses Euler rotations with an X, Y, Z axis order and is subject to the
limitations of Euler rotations. See Euler XYZ Rotation Controller.
The Motion Capture System
To use motion capture in 3ds max, you follow these steps:
1. In Track View Dope Sheet or Motion panel, you assign motion capture animation controllers
to the specific tracks you want controlled by external devices.
2. After assigning the motion capture controller, you open the Properties dialog for the track and
bind the type of peripheral device(s) that you want. Currently supported devices are mouse,
keyboard, MIDI device, and joystick. Each device has specific properties.
3. After binding the devices, adjust their settings and parameters in the lower portion of the Track
Properties dialog. These controls vary depending on the type of device.
4. In the Utilities panel, access the Motion Capture utility. You can test and record your motion for
any combination of tracks over any range of frames.
5. When you assign a Motion Capture controller, the previously assigned controller is maintained
as a child of the Rotation controller. You can continue to adjust the rotation of the object using
standard transform controls, while still making motion-capture control available.
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Procedure
To use your mouse as an input device to animate the position of a box:
1. Create a box.
2. In Motion panel > Assign Controller, select the position track for the box in the list window, and
then click the Assign Controller.
3. Select Position Motion Capture in the Assign Position Controller dialog, and then click OK.
4. Select X Position in the Motion Capture dialog, select mouse input device, and then click OK.
Note: You can open the Motion Capture dialog by selecting the Position track in the Assign
Controller list window, and then right-click and select Properties.
5. In the Mouse Input Device rollout, make sure that horizontal is turned on and Scale is set to 1.
6. In Utilities panel > Motion Capture, select Box01\Position in the Track list window. Click Start in
the Record Controls group.
Real-time recording is in effect; move the mouse horizontally back and forth. The box moves
back and forth along the X axis.
Play the animation to view the recorded movement.
By default, a key is generated at every frame.
Interface
Motion Capture Controller rollout
Right-click the transform track in the Track View Dope Sheet hierarchy to display the properties
dialog.
XYZ BindingsDisplays the Choose Device dialog.

Choose Device dialogSelect a device from a list of devices.

Edit Bindings XYZDisplays device controls in the device rollout in the lower part of the Motion
Capture dialog. If no device has been assigned to an axis, this option is not available.
Track NameNames the Motion Capture Data track. This overrides the default naming convention.
This rollout controls animation using the horizontal or vertical motion of the mouse. The available
settings include:
Horizontal/VerticalSpecifies which mouse motion drives the animation.
ScaleScales the relative effect of the mouse movement to the animation response. Spinner
Value=float, 0 to 999,999
FlipFlips the direction of the response relative to the mouse movement. For example, if moving
the mouse horizontally to the right produces a clockwise effect on a Rotation controller, activating
Flip will reverse the rotation to counterclockwise.
This rollout lets you assign most keyboard keys to drive the animation.

AssignClick and then press any key. The assigned key is displayed in the list window at right.
ListOpen the list to select a key.
Envelope Graph group
The Envelope Graph group displays a representation of the amplitude curve over time.
Envelope Parameters group
These options specify the time the envelope of the action takes effect. This relates to the duration of
pressing and releasing the key.
AttackSpecifies the time, after pressing the key, for the value to reach its maximum level.
DecaySpecifies the time, after having reached maximum, for the value to fall to that specified by
the Sustain spinner.
SustainAfter the Attack and Decay, specifies the value sustained until you release the key.
ReleaseAfter releasing the key, specifies the time for the value to fade out to zero.
Provides controls for setting the scale of the envelope and the range of the output value.
TimeSpecifies the scale of the Attack, Decay, and Release parameters. The value represents the
number of seconds for 1 unit. For example, if this value is 1.0, then an Attack value of 1.0 equals 1

second.
RangeSets the maximum output value of the controller.
Note: This controller ignores the state of the CTRL, ALT, and SHIFT keys.
The Joystick Input Device driver was designed for the Microsoft Sidewinder joystick, which contains
more controls than the standard joystick. You can use this device driver for standard joysticks as
well.
X, Y, ZSpecifies which joystick direction drives the animation. (Standard joysticks provide X and Y
axes only. The Sidewinder provides the Z axis when you twist the joystick.)
ThrottleOn the Sidewinder, this is a slider next to the stick.
ScaleScales the relative effect of the joystick action to the animation response. Spinner
Value=float, 0 to 999,999
FlipFlips the direction of the response.
AccumulateWhen off, the joystick position represents an absolute position, and you're limited to
the "rectangle" defined by the limits of the joystick. When the joystick returns to its rest position,
the value generated returns to zero. When on, the joystick represents a change in the current
position. Moving the joystick forward, for example, can cause an object to start moving, and it will
continue to move until you return the joystick to its rest position.
Joystick Buttons group
Point-of-View Hat (Left-Right, Up-Down)A mini joystick on the tip of the main joystick that
specifies the direction of the animation
1, 2, 3, 4Specifies one of four buttons in the Sidewinder joystick. They work similarly to the Point-
of-View Hat, except that each button increases a direction value only while pressed. When you

release the button, the value returns to zero (centered).

Inc./DecOne of three options that are only available when one of the numbered joystick button
options is turned on. This option (Increment/Decrement) means that the value is incremented when
the button is down, and decremented when the button is up.
IncWhen on, the value increments when the button is down, and stays at that value when the
button is released.
AbsoluteWhen on, the assigned parameters jumps to the value set in the Speed spinner when the
button is down, and then jumps back to zero when the button is released. Use this for on/off
animations, such as blinking lights.
SpeedControls the rate at which the value changes when using either the Point-of-View Hat or the
four buttons. When using a button option and the Absolute option, this specifies the value that's
output when the button is pressed. Spinner Value=float, -999,999 to 999,999
Increment Based On Direction group
This group provides controls that let you derive the direction of movement from a Rotation
controller. These options are used primarily when you're animating a first-person fly-through such as
when you're controlling a camera.
Note: The items in this group are only available when Accumulate is selected in the Joystick Axis
group.
ControllerAssigns a Rotation Motion Capture controller where the direction will be derived.
Typically, this would be the Rotation controller of the camera you're moving.
Note: You can only use a Rotation Motion Capture controller here.
ClearRemoves the assigned controller.
Direction X/Y/ZSpecifies the local axis that will be used as the direction. For a Free Camera, for
example, this would be Z, because the camera points in the Z direction. However, if you had a car
that pointed along its Y axis, you'd use Y.
Component X/Y/ZSpecifies which edit binding to use. Match this to the Edit Binding button in
the Device Bindings group. For example, if the Y Edit Binding button is selected, choose the Y
Component option.
MIDI Device rollout

MIDI Channel group
This group contains 16 buttons. You can assign a channel to your MIDI device.
MIDI Trigger group
Here, you define the type of MIDI event (message) that will drive the motion. There are four
options; Note, Velocity, Pitch Bend and MIDI controller.
Note: Turn on to let the note number or pitch define the output value. The value is derived from
where the note falls within the Note Range, specified in the group below. When the note is at the
bottom of the range, the value takes on the Min value specified in the Parameter Scaling group.
When the note is at the top of the range, the value takes on the Max value from the same group.
Anything in between is interpolated between the Min and Max values. (Note that Min doesn't have to
be less than Max.) The generated value will slide around as different keys are pressed. The harder a
key is pressed, the faster the value changes.
SpeedDefines how fast the value changes as keys are pressed.
VelocityDetermines the output value based on the velocity that the note pressed. The notes set in

the Note Range group specify which notes are valid to press. The value takes on the Min value until
a key within the Note Range is pressed. When the key is pressed, the value approaches the Max
value based on how hard the key was pressed. (The value actually travels along a parabola toward
the Max value.)
SustainDefines how long it takes the value to move through the parabola.
VariableSustain duration is scaled by how hard the key is pressed.
Pitch BendValue is defined by the MIDI instrument's pitch bend knob. The Note Range doesn't
apply in this case and is not available.
MIDI ControllerSpecifies a note event when you're hooked up to a different type of MIDI
controller than the typical keyboard. For example, if you're using a MIDI slider box, you would select
the MIDI Controller option, and then use the # spinner to specify the note event for the specify
slider.
Note Range group
Turn on Note or Velocity, and then set the note range here. A value is derived from where the note
falls within the Note Range.
Low NoteSet a note and octave for the lower range.
High NoteSet a note and octave for the higher range.
See Note parameter in the MIDI Trigger group, above.
Contains the Min and Max spinners, which specify the range of generated values. See Note and
Velocity above.
MIDI Channel ViewerDisplays a dialog that lets you test your MIDI device to see which MIDI
channel is receiving events and which notes are being triggered.
Midi Viewer Dialog

MIDI Channel group
Provides a column of 16 buttons and progress bars representing the 16 MIDI channels. Select the
channel where you want to view note activity. The channel progress bars light up when any channel
has an event.
MIDI Note group
The 11 Octave buttons let you select which octave you want to view. When a note is played in that
octave, a corresponding progress bar lights up in the Note column.
MIDI ControllerWhen using a different type of MIDI controller, such as a slider box, you can
specify a note event, and then watch the corresponding progress bar light up when you activate that
event. (You can find the correct note number by activating the event while watching the Note
Number field in the group below.)

ChannelDisplays the currently selected channel. This is one of four text fields that display all of
the values being generated by the MIDI device as you activate an event.
EventDisplays the type of MIDI event being sent. For example:
Note On: 9
Note Off: 8
Pitch Bend: 14
MIDI Controller: 11
VelocityDisplays the velocity, which has a different meaning depending on the event. For the
most common event, a note being pressed, this value represents the velocity at which the key was
struck. Other events, however, might generate a continuous value. For example, a pitch bend event
transmits the position of the pitch bend.
Note NumberDisplays the corresponding note number for the event. When you're using a non
keyboard MIDI device, such as a slider box, you can use this to identify the note number of a
specific slider.
Comments

Main toolbar > Curve Editor (Open) > Expand tracks on an object with animated vertices or
vectors in the Track View hierarchy. > Master Point Controller
Graph Editors > Track View Curve Editor > Open Track View > Expand tracks on an object with
animated vertices or vectors in the Track View hierarchy. > Master Point Controller
The Master Point controller is assigned automatically whenever control points, vertices, or vectors
(tangent handles) are animated in the sub-object mode of an Editable Spline, Editable Patch,
Editable Mesh, Editable Poly, NURBS surface, or FFD. By allowing you to select and move all the sub
keys, visually correlate keys to points in the viewports, and change key properties quickly, this
controller helps to manage the numerous tracks created when animating vertices, control points,
and vectors.
The Master Point controller is displayed as a track with green keys in Track View. Sub tracks below
the Master track contain all the animated vertices, control points, and vectors.
Procedure
Example: To animate vertices, viewing the Master Point controller track:
1. In the Front viewport, create a sphere.
2. Right-click the sphere and select Convert to Editable Mesh in the dialog.
3. On the Editable Mesh > Selection rollout, click Vertex.
4. On the Editable Mesh > Soft Selection rollout, click Use Soft Selection.
5. Turn on Auto Key, and move the time slider to frame 10.
6. In the viewports, select and move some vertices on the sphere.

A key appears on the track bar at frame 10.
7. Right-click the sphere, and select Curve Editor in the dialog.

Track View Curve Editor is displayed with the sphere at the top of the Controller window.
8. Change modes to Dope Sheet and expand all the sphere tracks in the Track View hierarchy.
The Master Point Controller track is displayed, with tracks for the animated vertices below it.
Interface
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Master Track KeysWhile in the Track View Dope Sheet, selecting a master key (green) selects
all the sub keys at that frame.
If hundreds of vertices are animated, collapse the master track so that only the master track is
visible. Moving the green keys will move all the sub keys.
Master Track Key Info dialog
Right-click a green master key in Track View to display the Master Track Key Info dialog.
Comments
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Master Track Key Info Dialog (Master Point Controller)
Main toolbar > Curve Editor (Open) > Right-click a master track key in the Dope Sheet Key
window. > Master Track Key Info dialog
Graph Editors > Track View Curve Editor > Open Track View > Right-click a master track key in
the Dope Sheet Key window. > Master Track Key Info dialog
Right-click a green master key in Track View to display the Master Track Key Info dialog.
Interface
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Key ArrowsMoves to the next or previous key.

TimeMoves the master key to a new time.
List WindowDisplays all the animated sub keys at a particular keyframe.
Select PointSelect a node in the List Window and the corresponding node in the viewports is
selected.
Key Frame PropertiesControls interpolation and position. See Bezier Controller.
Comments
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Noise Controller
Noise Controller
menubar > Controller menu > Assign > Noise
View menubar > Controller menu > Assign > Noise
The Noise controller produces random, fractal-based animation over a range of frames. Noise
controllers are parametric; they work on a range of frames, but do not use keys.
When you assign a Noise controller in Track View or the Motion panel, it is initially applied to all
frames in the current time segment. You can change the range of frames by dragging the Noise
range bar in Track View.
Use Noise whenever you need completely random animation around a given value. For example,
use a Noise Rotation controller when you want an object to wobble in place.
Use Noise as part of a compound List controller to apply noise variations to the result of another
controller. For example, use a List controller to combine Noise Position with Bezier Position. The
Bezier controller moves the object through your scene while the Noise controller makes the object
shake and stray a little from the path.
Procedure
Example: To apply a Noise controller to a rotation track:
1. Create a box in any viewport.
2. In the Motion panel > Parameters > Assign Controller rollout, select the rotation track in the
list window.
4. Select Noise rotation from the list of controllers.

The Noise Controller dialog automatically displays.
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Noise Controller
The box rotates randomly around all three axes.
Interface
Characteristic GraphShows a stylized graph of how changing Noise properties affects the Noise
curve.
SeedStarts the noise calculations. Changing the seed creates a new curve.
FrequencyControls the peaks and valleys of the noise curve. The useful range is from 0.01 to 1.0.
High values create jagged, heavily oscillating noise curves. Low values create soft, gentle noise
curves.
Strength fieldsSets the value range for noise output. These values can be animated.
The number and meaning of the fields vary with different parameter data types. Some typical field
arrangements are:
XYZ fields for Position and Point3 keys
XYZ percentage fields for Scale keys
A single value field for Float keys
>0 Value constraintForces Noise values to stay positive. Each strength field has its own >0
constraint.
When turned on, the application of the Strength field is changed. Noise values will range from 0 to
the value of Strength; most values will hover around Strength/2.
Ramp InSets the amount of time Noise takes to build to its full strength. A value of 0 causes

Noise Controller
Noise to start immediately at full strength at the start of its range. Any other value causes Noise to
start at 0 strength and then build to full strength by the elapsed time set in the Ramp In field.
Ramp OutSets the amount of time Noise takes to fall to 0 strength. A value of 0 causes Noise to
stop immediately at the end of its range. Any other value causes Noise to fall off to 0 strength by the
end of its range. The value in the Ramp Out field sets the amount of time before the end of the
range that Noise begins to fall off.
Fractal NoiseGenerated noise using a fractal Brownian motion. The main value of using Fractal
Noise is that it activates the Roughness field.
RoughnessChanges the roughness of the Noise curve (when Fractal Noise is turned on). Where
Frequency sets the smoothness of the overall Noise effect, Roughness changes the smoothness of
the Noise curve itself.
Comments

Main toolbar > Curve Editor (Open) > Select a scale track in the Track View hierarchy > Track
View menubar > Controller menu > Assign > Scale XYZ
Graph Editors > Track View Curve Editor > Select a scale track in the Track View hierarchy >
Track View menubar > Controller menu > Assign > Scale XYZ
The Scale XYZ controller has independent float controllers for each scale axis of an object's
transform. With three separate tracks for scale, you can create scale keys for each axis
independently, change interpolation settings for a single axis, or assign a controller on an axis. For
example, after applying a Scale XYZ controller, you could apply a Noise or Waveform controller to an
axis to animate that axis independently.
The Scale XYZ controller assigns three keys (one for each axis), by default. In previous versions of
the software, you had to manually edit the keys in order to create explicit axis keys. However, there
are now actions available from the Customize User Interface dialog that let you create explicit axis
keys.
Tip: Open Track View to view and edit the three scale tracks.
Procedure
Example: To assign the Scale XYZ controller to an object:
1. In the Top viewport, create a sphere.
2. Right-click over the sphere and choose Curve Editor from the quad menu.
Track View Curve Editor is displayed with the sphere as the first item in the hierarchy.
3. In the Track View hierarchy, select the Scale track.
4. From the Track View menus, choose Controller > Assign and select Scale XYZ from the Assign
Controller dialog.
Three tracks are displayed and are available to control the object's scale.
5. In the Track View hierarchy, select the Z Scale track, click Controller > Assign from the Track
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View menus, and then choose Noise Float from the dialog.
The Noise Controller dialog automatically displays.
6. Click Play. The sphere scales along the Z axis, controlled by the Noise controller.
Interface
After applying the Scale XYZ controller to an object, Scale XYZ parameters appear in a rollout on the
Motion panel.
Scale AxisAdjusts an axis using controls in the Motion panel > Key Info rollout.
An axis should already have a key to adjust. To create keys, either turn on Auto Key and scale the
object, or, click Scale in the Create Key group on the PRS Parameters rollout.
Comments
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Script Controller
Script Controller
menubar > Controller menu > Assign > Script
View menubar > Controller menu > Assign > Script
The following Script controllers are available in the software:
Float Script - float controller
Position Script - position Point3 controller
Point3 Script - Point3 controller
Rotation Script - rotation Quaternion controller
Scale Script - scale Point3 controller
Transform Script matrix3 PRS controller
The Script controllers work similarly to Expression controllers. They provide a Properties dialog
where a script can be entered for computing the controller value. The primary advantages of Script
controllers are:
They can use all the features of the MAXScript language, including loops, scripted functions, and
pathnames.
Almost any property of any object in a scene can be used to help compute controller values,
including mesh vertices, values of properties at arbitrary frame times, and other non-animatable
properties that are not accessible in Expression controllers.
They can use MAXScript global variables to communicate and coordinate with other controllers
and scripts in the software.
Refer to the MAXScript Reference for a complete explanation of this scripting language.
Writing Controller Scripts
The software interprets the text you type into the Script text box as the body of a MAXScript block
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Script Controller
expression. You can type as many expressions as you want on as many lines as you want, and they
are evaluated in turn. The value of the last expression is taken as the controller value. This value
must yield the right type for the controller: Float for float, Point3 for position, Quat for rotation, and
so on.
Since the text is inside a block expression, you can declare local variables that are visible only within
the script and are temporary for one evaluation. You can also declare or access global variables that
are shared with all other scripts in MAXScript and hold their values from one evaluation to the next.
A controller is always evaluated by the software with respect to a specific animation time. This might
be the current time slider or incrementing frame time if an animation is playing, or a rendering is
under way. In the case of Script controllers, the time being evaluated is used to establish an
automatic "at time" context around the controller script, so any properties you access (outside of
other explicit at time expressions) yield the correct values for the current controller evaluation
time. This means you don't have to do anything special in your scripts to work at the correct time.
You can access the evaluation time with the standard MAXScript variable, current Time. You can also
reference scene property values at other times by using "at time" expressions in your scripts, as in
regular MAXScript programming.
See also
MAXScript Reference
Procedure
Example: To keep an object centered relative to other objects in the scene during an
animation:
1. Assign a Script controller to the Position track of the object that should remain centered.
2. Right-click the Position track in the Track View hierarchy and select Properties.
3. Type the following script in the Script Controller dialog window:

local pos=[0,0,0]
for o in objects where o != $foo do
pos += o.pos
pos / (objects.count - 1)
This script computes the average position of all objects, except the current one (written as $foo
here) by setting up a local, iterating over all objects except $foo, accumulating a total position
vector, and computing the average in the last line, which is the final result of the script.

Script Controller
Interface
After assigning a Script controller, a Properties dialog is available by right-clicking the track in the
Track View hierarchy and selecting properties or clicking the Properties button on the Track View
toolbar.
Script Controller dialog
ScriptType the script to compute the controller value here.
ResultShows the results of an evaluation or any error messages caused by errors in your script.
EvaluateEvaluates the controller script and prints the result in the Result box. The evaluation is
computed for the current position of the time slider.
CloseCompiles and checks the controller script. If everything works, the Properties dialog is
closed. Any problems result in a query box asking whether you really want to close the box with an
incorrect script. If you do, the controller will yield a null value (0, [0,0,0],) when evaluated.
Comments

Main toolbar > Curve Editor (Open) > Select a transform track in the Track View hierarchy. >
Track View menubar > Controller menu > Assign > Transform Script
Graph Editors > Track View Curve Editor > Select a transform track in the Track View hierarchy.
> Track View menubar > Controller menu > Assign > Transform Script
Animation menu > Transform Controllers > Script
The Transform Script controller contains all of the information contained in a Position/Rotation/Scale
(PRS) controller in one scripted matrix value. Instead of having three separate tracks for position,
rotation, and scale, all three values can be simultaneously accessed from one script controller dialog.
Because the transform values are defined by a script, they are easier to animate.
The value of the controller script must be a matrix3 value. A matrix3 value is a 4x3 3D
transformation matrix. For more information, see the Matrix3 Values topic in the MAXScript
reference.
Writing Controller Scripts
The software interprets the text you type into the Script text box as the body of a MAXScript block
expression. You can type as many expressions as you want on as many lines as you want, and they
are evaluated in turn. The value of the last expression is taken as the controller value. This must
yield a matrix3 value.
Since the text is inside a block expression, you can declare local variables that are visible only within
the script and are temporary for one evaluation. You can also declare or access global variables that
are shared with all other scripts in MAXScript and hold their values from one evaluation to the next.
A controller is always evaluated with respect to a specific animation time by the software. This might
be the current time slider or incrementing frame time if an animation is playing, or a rendering is
under way. In the case of Script controllers, the time being evaluated is used to establish an
automatic "at time" context around the controller script, so any properties you access (outside of
other explicit at time expressions) yield the correct values for the current controller evaluation
time. This means you don't have to do anything special in your scripts to work at the correct time.
You can access the evaluation time with the standard MAXScript variable, current Time. You can also
reference scene property values at other times by using "at time" expressions in your scripts, as in
regular MAXScript programming.
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See also
MAXScript Reference
Procedure
To use a Transform Script controller:
2. Right-click to open the quad menu.
3. In Transform quadrant, click Curve Editor.
4. Select the Transform track of the selected object in Track View.
5. Select Transform Script from the Assign Transform Controller dialog and press OK.
The Script Controller dialog opens.
6. Edit the matrix3 value in the Script Controller dialog, and click Evaluate when you are finished.
Interface
After assigning a Transform Script controller, a Properties dialog is available by right-clicking the
track in the Track View hierarchy and choosing Properties.

ScriptType the script to compute the controller value here.

ResultShows the results of an evaluation or any error messages caused by errors in your script.
EvaluateEvaluates the controller script and prints the result in the Result box. The evaluation is
computed for the current position of the time slider.
CloseCompiles and checks the transform controller script. If everything works, the Properties
dialog is closed. Any problems result in a query box asking whether you really want to close the box
with an incorrect script. If you do, the controller will yield a null value (0, [0,0,0],) when evaluated.
Comments

Main toolbar > Curve Editor (Open) > Select a rotation track in the Track View hierarchy. > Track
View menubar > Controller menu > Assign > Smooth Rotation
Graph Editors > Track View Curve Editor > Select a rotation track in the Track View hierarchy. >
Track View menubar > Controller menu > Assign > Smooth Rotation
Animation menu > Rotation controllers > Smooth
Use Smooth Rotation when you want rotation to have a smooth and natural look. Smooth rotation
functions the same as Linear Rotation, but uses non-adjustable curved interpolation, and has the
following characteristics:
Displays no controllers, key properties, or function curves
Move keys in Track View to change timing
Directly rotate objects in the viewports to change rotation values
Comments
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Spring Controller
Spring Controller
menu bar > Controller menu > Assign > Spring
View toolbar > Controller menu > Assign > Spring
Animation menu > Position controllers > Spring
The Spring controller adds secondary dynamics effects to any point or object position. The end result
is secondary mass/spring dynamics similar to Flex. This constraint adds realism to generally static
animations.
When you apply Spring to an animated object, its original motion is preserved and secondary,
velocity-based dynamics are applied. You can control the object's mass and drag. When you first
apply the controller, it constructs a virtual spring between the object's original position and where it
would end up after forces are applied to it.
You can adjust spring tension and dampening. Increasing the tension creates a tighter spring, while
increasing the dampening smooths out jitters in the motion. You can add external forces like Gravity
and Wind to affect the motion, and also add additional objects whose motions act as springs.
Note: You can also assign the Spring controller to animated vertices in Track View: Open the object's
Master Point Controller hierarchy, select the vertices, and assign the Spring controller.
Interface
When you assign a Spring controller to an object, its rollouts automatically appear in the Motion
panel. In addition, the rollouts open in a floating dialog. If you close the dialog, you can reopen it by
right-clicking the track in the Motion panel Assign Controller rollout or in the Track View hierarchy
and choosing Properties, or clicking the Properties button on the Track View toolbar.
Spring Dynamics rollout
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Spring Controller
Point group
MassThe mass of the object to which the Spring controller is applied. Increasing the mass causes
the "bouncing" spring motion to become more exaggerated.
DragActs as air friction on the spring motion. A low Drag setting results in a greater "bouncing"
effect, while a high Drag results in subdued bouncing. Default=1. Range=0 to 10.
Springs group
Add springs to an object using the Spring controller when you want the object to be affected by the
motion of other objects in your scene. This effectively creates virtual springs between objects.
AddClick this button, and then select one or more objects whose motion relative to the spring-
controlled object will act as springs on that object. To finish adding springs, click Add again, right-
click in a viewport, or press ESC.
RemoveRemoves highlighted spring objects from the list.
Note: You cannot remove the Self Influence list entry, which is the spring-controlled object's
influence on itself.
(List)Lists all spring objects by name, and displays each object's Tension and Dampening settings
separated by a slash (/). The spring-controlled object's influence on itself appears as Self Influence,
and cannot be deleted. However, you can effectively remove the object's influence on itself by
setting Tension and Dampening to 0, resulting in no motion.
To set Tension and Dampening for one or more objects in the list, highlight them in the list and then
adjust the settings.
TensionThe "stiffness" of the virtual spring between the controlled object and the highlighted

Spring Controller
spring object(s).
DampeningActs as a multiplier of an internal factor that determines how quickly the object comes
to rest.
With the Self Influence spring, changing Dampening has the same effect as changing Drag. With
other springs, Dampening affects only the movement caused by that spring.
Internally, the dampening value is proportional to the tension, so as you increase the tension and
make the solution more stiff, the dampening is increased to maintain system stability.
Relative/AbsoluteWith Relative chosen, changing the Tension and Dampening settings causes
the new settings to be added to the existing values. With Absolute chosen, the new settings replace
the existing values.
Forces Limits and Precision rollout
External Forces group
AddClick this button, and then select one or more space warps in the Forces category that are to
affect the object's motion. To finish adding space warps, click Add again, right-click in a viewport, or
press ESC.
RemoveRemoves highlighted space warps from the list.
(List)Lists all spring space warps by name.
Calculation Parameters group
Start FrameThe frame at which the Spring controller first takes effect. Default=0.

Spring Controller
IterationsThe accuracy of the controller application. If you get unexpected results, try increasing
this setting. Default=2. Range=0 to 4.
X/Y/Z Effect These settings let you control the percentage of the effect on the individual world
axes. Default=100. Range=0 to 200.
Comments

Waveform Controller
Waveform Controller
menubar > Controller menu > Assign > Waveform Float
Graph Editors > Track View Curve Editor > Select a track in the Track View hierarchy. > Track View
toolbar > Controller menu > Assign > Waveform Float
The Waveform controller is a float controller that provides regular, periodic waveforms. Created
originally to control blinking lights, you can use it on any float value.
To view how the trajectory of an object is being affected by the Waveform controller, turn on Motion
panel > Trajectories.
Procedure
To use the Waveform controller to animate the visibility of a sphere:
1. Create a sphere.
2. Open Track View, and select the Sphere track.
3. Click Controller > Assign from the Track View menu and choose On/Off from the Assign Controller
dialog.
4. Select the Visibility track, click Controller > Assign, and select Waveform Float.
5. Play the animation to see the effect.
To use the Waveform controller to animate the radius of a sphere:
1. Create a sphere.
2. Open Track View Dope Sheet, and expand the Object (Sphere) track.
3. Select the Radius track, click Controller > Assign, and choose Waveform Float from the Assign
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Waveform Controller
Controller dialog.
4. Play the animation to see the effect.
Interface
After assigning the Waveform controller, in Track View, right-click its track to display its properties in
the Waveform Controller dialog.
List WindowDisplays waveforms in a list.

AddAdds a new waveform to the end of the list. The default waveform is a sine wave with a period of
10 frames and with an amplitude of 100.
InsertInserts a new waveform before the selected waveform slot.
RemoveDeletes the selected waveform. This is not available when only one waveform remains.
Move Up and Move DownShifts the selected waveform up and down in the list, allowing the
waveform order to be altered.
DisableDisables the selected waveform.
Waveform group
This group provides control parameters for the currently selected waveform.
Tip: Using the Sphere example, you can observe the waveform in the Function Curve displays of the

Waveform Controller
Track View, and watch changes in the waveform while testing the parameters described below.
NameContains the name of the waveform.
Waveform IconsSpecifies five waveform types: Sine, Square, Triangle, Sawtooth, and Half Sine.
InvertedFlips the waveform vertically.
FlippedFlips the waveform horizontally.
PeriodSets the number of frames to complete one waveform pattern. Spinner Value=float, 0.01 to
9,999,999
Duty CycleFor square waves only, specifies the percentage of time the square wave is "on."
Default=50, Spinner Value=float, 0 to 100
AmplitudeSets the height of the wave. Spinner Value=float, 0 to 9,999,999
PhaseSets the offset of the wave. Spinner Value=float, 0 to 1
Vertical Bias group
A waveform's output value can be altered by adjusting the Vertical Bias parameter. Spinner Value=float,
-9,999,999 to 9,999,999
CenteredCenters the waveforms vertical bias about zero. For example, a 100 unit amplitude
waveform would range from -100 to 100.
Auto > 0Shifts the waveform above the zero line.
Auto < 0Shifts the waveform below the zero line.
ManualLets you set the waveform manually by adjusting the spinner.
Effect group
Each waveform has an Effect parameter, which can be one of the following:
AddCauses the current waveform's value to be added to the previous waveform's output. This is the
default.
MultiplyMultiplies the previous waveform's output by this waveform's value.
Clamp AboveLimits the previous waveform's output to be above this waveform's value.
Clamp BelowLimits the previous waveform's output to be below this waveform's value.
Characteristic Graph
Characteristic Graph shows one of three displays, controlled by the radio buttons below the display.
This WaveShows the current waveform only, independent of all other waveforms.
This OutputShows the output of the current waveform, including all previous waveforms.
Final OutputShows the output of all the waveforms in the list. You can also see the final output by
turning on the Track View Curve Editor display for the track which has the waveform controller
assigned.
All displays show the output graph of the controller waveforms in a solid dark line, with the zero line

Waveform Controller
drawn in a dotted gray line. Two numeric displays to the right show the high and low range of the
waveform curve. The graph automatically scales vertically to fit the waveform output curve, and scales
horizontally to two times the period of the longest-period waveform.
Comments


Everything you animate in 3ds max is handled by a controller. A controller is a plug-in that handles
the storage and interpolation of all animated values.
The default controllers are
Position: Position XYZ
Rotation: Euler XYZ
Scale: Bezier Scale
The default controller for Rotation is now Euler XYZ, rather than Bezier as it was in earlier versions.
The default controller for Position is Position X,Y,Z. Only the Scale controller default remains as
Bezier. If you load in files made in earlier versions of the software, their existing controllers will be
maintained.
Warning: Be aware that Euler rotations behave differently than TCB rotations. If you are
used to using TCB controllers, you can reassign TCB Rotation as the controller and you will
get the same behavior you are used to.
The software has a specialized type of controller, called a constraint, that is commonly used to help
automate the animation process. A constraint can be used to control an objects position, rotation, or
scale through a binding relationship with another object.
You apply constraints and controllers using commands on the Animation menu. When you assign a
controller from this menu, a weighted list controller is automatically applied, with the controller
you've selected appearing first in the list. The weighted list controller gives you the ability to blend
controllers, similar to a nonlinear animation system. If you assign a controller through the Motion
panel or Track View, this automatic assignment does not take place.
This section explains techniques for working with controllers. For details about the parameters and
use of each controller type, see Animation Controllers.
Following is a list of topics in this section:
Understanding Controllers
Changing Controller Properties
Assigning Controllers
Specifying Default Controllers
Special-Purpose Controllers
Float Controllers
Controlling Transforms
Controlling Position
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Controlling Rotation
Controlling Colors
Morph Controllers
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Controllers are plug-ins that handle all of the animation tasks in 3ds max, including:
Storing animation key values.
Storing procedural animation settings.
Interpolating between animation key values.
Most parameters don't receive a controller until you animate them. As soon as you change a
parameter at any frame other than 0 with the Auto Key button on, or click in its track using Curve
Editor > Add Keys, a default controller is assigned to the parameter.
Accessing Controllers
There are two places where you work directly with controllers:
Track View Curve Editor: Controllers are indicated in the Hierarchy list by the various
controller icons. Each controller has it's own individual icon. Using Track View Curve Editor you
can view and work with the controllers for all objects and all parameters. See Track View .
Motion panel: Contains special tools for working with transform controllers. The Motion
panel contains many of the same controller functions as the Curve Editor, plus controls necessary
for working with special controllers such as IK Solvers. Using the Motion panel you can view and
work with the transform controllers of a single selected object. See Motion Panel.
Categories of Controllers
There are two main categories of controllers. These categories are easy to identify when looking at
the Track View - Curve Editor Hierarchy list.
Single-Parameter Controllers: Control animation values of a single parameter. Regardless of
whether the parameter has a single component, such as the number of sides of a cylinder, or
multiple components, such as the RGB values of a color, the controller is handling a single
parameter.
Compound Controllers: Combine or manage multiple controllers. Compound controllers include
high-level Transform controllers, such as PRS, the Euler XYZ Rotation controller, the Transform
Script controller, and the List controller.
A compound controller appears in the Hierarchy list as a controller icon with subordinate-level
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branches of other controllers.
Controllers and Constraints
In addition to controllers, the software can animate using constraints. These items are located in the
Animation > Constraints menu. The constraints include the following: Attachment, Surface, Path,
Link, Position, Orientation, and Look-At.
When you assign a controller in the Motion panel or in Track View, you will see these constraints
appearing in the list of available controllers. You can assign them the same as the other controllers,
but they are also assignable from the Animation > Constraints submenu. For more information, see
Animation Constraints.
Note: If you assign an controller using the Animation > Controller submenu, a list controller is
automatically applied to the object, with the selected controller applied beneath the list controller.
This is different than controllers that are applied via the Motion panel.
Viewing Controller Types
You can view the controller type assigned to a parameter in both the Curve Editor and in the Motion
panel. Before you can view the controller types in Track View, you must do the following:
1. On the Curve Editor toolbar, click the Filters icon. Then in the Filters dialog > Show
group, turn on Controller Types.
You can then see the name of the Controller type in the Hierarchy view.
2. Assign controllers to parameters. You can do this on the Assign Controller rollout of the
Motion panel, or through the right-click menu in the Hierarchy window of Track View.
The Parameters mode of the Motion panel always displays the transform controller types for the
selected object.
Reading Controller Types
You can tell a lot about how a parameter is animated by looking at the controller type.
Parameter Name: Is always visible and is always to the right of the controller icon. It tells you
what is animated.
Interpolation Type: Usually follows the parameter name. It tells how animation values are
calculated. The label Diffuse: Bezier Color indicates a Diffuse color parameter using Bezier
interpolation with Color data.
Data Type: Usually follows the interpolation type. It tells what type of data is used. The label

Height: Linear Float indicates a Height parameter using Linear interpolation with a floating point
value.
Comments


You can analyze and change your animation by editing controller properties. Some controllers
display a properties dialog where you can change animation values. Whether or not a controller
displays a properties dialog, and the type of information displayed, depends on the controller type.
Using Curve Editor you can view controller properties dialogs for multiple tracks simultaneously. The
following rules govern viewing multiple controller properties dialogs:
Each track displays only one properties dialog in each Track View window.
When properties dialogs for multiple tracks are visible, only one dialog can be active.
Properties dialogs for tracks that use keys are disabled unless keys are selected.
Some controllers do not use keys, using instead a properties dialog that affects the entire animation.
Such controllers are usually parametric controllers like Noise, or compound controllers like List.
To view controller properties in Curve Editor:
1. Select the controller track you wish to view.
2. On the Track View menu bar, choose Controller > Properties.

The controller properties dialog is displayed.
You can also view global properties for some transform controllers in the Motion panel.
Controller properties can also be viewed from the track bar. Right-click any key and choose
Controller Properties.
Changing Controller Key Information
Some controllers interpolate between keys that you set on specific frames. Such controllers are
always single parameter controllers such as a Bezier Float controller for Height or TCB for Rotation.
These controllers use a Key Info dialog that contains settings for one of more selected keys.
To view key information in the Curve Editor:
Right-click a selected key to display the Key Info dialog.

If more than one key is selected, Key Info displays common information for all of the selected
keys. Settings that contain values indicate values common to all of the selected keys. Settings
that are blank indicate values that change from key to key.
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Viewing key information in the Motion panel always displays the settings for a single transform key.
To view key information for transform controllers in the Motion panel:
2. On the Motion panel, click Parameters, if it's not already turned on.
3. Click Position, Rotation, or Scale on the Parameters rollout.

If the transform controller uses keys, Key Info rollouts appear below the Parameters rollout.
To view key information for transform controllers in the track bar:
1. Select an object that is already animated.
2. Right-click any key in the track bar.
3. Choose Controller Properties from the right-click menu.
Changing Controllers That Do Not Display Properties
Some controller types do not display any properties in Track View or the Motion panel. You change
the animation values of these controllers using the Auto Key button in the viewports and using the
tools in the Curve Editor Keys and Curves menus, and in the track bar.
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Every parameter has a default controller type that gets assigned the moment the parameter is
animated. You can choose from multiple controller types for any parameter and change controllers
after the parameter is animated.
Assigning Controllers in Track View
You can assign controllers to any parameter in the Curve Editor by selecting controller items and
then choosing Assign Controller on the Controller menu.
You can also assign controllers to any parameter in the Track View Curve Editor by selecting the
parameter in the Hierarchy List then right-clicking and choose Assign Controller from the quad
menu.
You can also assign the same controller type to a selection of multiple parameters as long as all the
selected parameters can use the same type of controller. For example, you could select the Length,
Width, and Height parameters for multiple Box objects and assign the same controller type to all of
them. This is because they all use controllers that work on floating point data.
If a parameter has already been animated, then assigning a new controller has one of the following
effects:
The existing animation values are recalculated to produce a similar animation with the new
controller. For example, replacing TCB Position with Bezier Position closely preserves the
animation.
The existing animation values are discarded. For example, replacing Smooth Rotation with Noise
Rotation discards the Smooth Rotation animation values.
Assigning Controllers in the Motion Panel
You can assign controllers on the Motion panel by selecting an object and then, on the Assign
Controller rollout, choosing a controller and clicking the Assign Controller button. You can change the
controllers of only one selected object.
Assigning Controllers Using the Animation Menu
You can assign controllers using the Animation menu. All the controllers and constraints are available
by going to the menu bar and choosing Animation, and then selecting the type of Controller you
want and picking the controller from the submenu that displays.
When you assign a controller in this method, a list controller is automatically assigned, and the
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controller you have selected appears as the first entry in the list. This automatic list controller
assignment does not occur if you assign controllers using the motion panel or track view. Weighted
list controllers allow you to blend between various tracks by animating the weights.
Copying and Pasting Controllers
Right-click any blank area on the Track View toolbars, then choose Show Toolbars > Controller
toolbar. This will display the Controller toolbar which contains buttons for quick access to controller
tools.
To copy and Paste controllers in the Curve Editor, select the controller track you wish to copy, then
right-click and choose Copy from the Track View quad menu. Navigate the Hierarchy list to the
target object, select the track, right-click and choose Paste.
Rules for using Copy and Paste are as follows:
You can copy only single controllers. Compound controllers like List or PRS Transform controllers
are considered single controllers for Copy and Paste operations.
You can paste a copied controller into one or more controllers using the same data type.
You can choose to make an instance or a copy of the pasted controller.
You can choose to convert other controller instances in the scene automatically.
Clicking Paste displays the Paste dialog, with three controls for determining how the Paste operation
is carried out.
CopyPastes the controller as a copy.
InstancePastes the controller as an instance of the source controller. Any change you make to
either controller will affect the other.
For example, you can paste a box's Length controller as an instance into its Height and Width
parameters. This makes the box a cube. Changing either of the Length, Width, or Height parameters
changes the other two.
Paste Target: Replace All InstancesWhen selected, all instances of the target controller receive
the paste controller, whether or not they are selected. This keeps all instances of the target
controller as instances. When off, the target controller is made unique and the remaining instances
are unchanged.
Comments
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You can specify the permanent defaults for controller types and controller settings to match the way
you prefer to work. The following defaults are written to the 3dsmax.ini file:
The default controller used for each data type
The default controller settings
You specify default controllers by choosing Controller > Assign from on the Track View menubar (see
Assigning Controllers). When you choose a controller in the Assign Controller dialog you have the
option to click Make Default before clicking OK.
Clicking Make Default assigns the chosen controller as the default for all parameters using that data
type. It has the following effects:
The default controller is listed at the bottom of the Assign Controller dialog.
Many different parameters might share the same data type. For example, selecting the Length
parameter of a Box and specifying Linear Float as the default sets the default controller for all
parameters that use the Float data type. This includes, Width, Camera FOV, and Scale
Deformation Curves.
Default controller choices are written to the 3dsmax.ini file and become the default for all new
scenes.
Previously assigned controllers are not affected.
Specifying Default Controller Values
You can specify the default settings for many controller types, or reset controllers to their factory
settings on the Preferences dialog.
To specify default controller settings:
1. Choose Customize menu > Preferences.
2. In the Preferences dialog > Animation panel > Controller Defaults group, click Set Defaults to
display the Set Controller Defaults dialog.
3. From the list of available controllers, choose a controller type and click the Set button to
display the default settings supported by the selected controller. For example, with a Bezier
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controller you can set the In and Out tangents.

Note: In 3ds max 6 the default controllers have changed from versions 4 and before. The
default Rotation controller is now Euler XYZ instead of TCB (Quaternion). The default Position
controller is now Position XYZ, instead of TCB Position. Only Scale is still Bezier as a default.
Note: Euler XYZ Rotation acts quite differently than TCB. It gives you 3 function curves to
manipulate, but does not allow rotations of greater than 180 degrees at a key. If you are used
to working with TCB controllers, you can change the default rotation controller back to TCB.
Once you click OK, the controller defaults are changed. Changes to the controller default settings are
written to your 3dsmax.ini file and become the defaults for all newly assigned controllers and all new
scenes.
You can also revert to the original program defaults for all controllers by clicking Preferences
Settings dialog > Animation panel > Controller Defaults group > Restore To Factory Settings.
Comments
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The controllers described in this topic are also applied to parameters of different data types, but they
are used for special purposes.
List Controllers
List controllers combine multiple controllers into a single effect. It is a compound controller with
tools for managing the order in which its internal controllers are calculated. List controllers are
weighted, by animating the weights of the different layers you can create an effective non-linear
animation system.
Use List controllers to combine controllers as in the following examples:
Combine Noise Rotation and TCB Rotation controllers to introduce random orbital motion as an
object rotates.
Combine Bezier Position and Path Constraint to make an object follow a path with manually
keyframed variation away from the path.
When you apply any controller from the Animation menu, a list controller is automatically placed
on the object and the selected controller placed first in the list.
For hands-on experience using weighted list controllers see the bouncing ball exercise in the
tutorials.
Expression/Script Controllers
You write custom code for Expression controllers and Script controllers in an Expression or Script
controller dialog. You specify parameters using mathematical expressions, functions, and variables.
The code can include values based on the controllers of other objects in the animation.
Note: You can replicate some functions of Expression and Script controllers without having to write
code by using parameter wiring or Reactor controllers. See Parameter Wiring Dialog and Reactor
Controllers.
See also

Vectors
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Motion Capture Controllers
A Motion Capture controller controls parameters in real time from the input of external devices.
Currently supported devices are mouse, keyboard, MIDI device and joystick. Each device has specific
properties that must be set:
After assigning the motion-capture controller, open the controller Properties dialog and bind the
type of peripheral device and set device parameters.
Use the Motion Capture utility to test and record captured motion.
Comments
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This topic summarizes some useful expression techniques. The following topics review trigonometric
functions and vector arithmetic. If youre familiar with these subjects you can skip the review topics.
Use these expressions when you have applied an Expression controller using the Assign Controller
rollout in the Motion panel.
Commonly Used Expressions
This topic lists some expressions that you might find useful in situations when you animate.
Circular Path
[ Radius * cos(360*Time),
Radius * sin(360*Time), 0 ]
where Time is one of the predefined time variables such as NT or S.

If you make the two Radius values unequal, you get an elliptical path.
If you specify a nonzero Z component, the path is no longer planar.
Following Another Object
[X, Y, Z] + Position
where Position is the Position controller of the second object.

The vector [X, Y, Z] can be an offset from the second object. (If its [0,0,0], the two objects occupy
the same position.) It can also be a vector expression that specifies some movement in itself.
Keeping an Object Between Two Objects
(Position1 + Position2) / 2
where Position1 and Position2 are the Position controllers of two objects.
The divisor 2 constrains the object to be halfway between the two other objects. Other values
constrain the object to other locations.
Bouncing Between Other Objects
(1+sin(360*Time))/2 * (Pos1-Pos2) + Pos2
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where Time is one of the predefined time variables such as NT or S; Pos1 and Pos2 are the Position
controllers of two other objects.
The subexpression (1+sin(360*Time))/2 is a value that oscillates between 0 and 1 over time. (Pos1-
Pos2) is the vector between the two other objects. Multiplying the two and then adding Pos2 as an
offset locates the object along this vector.
Changing the Number of an Objects Segments Based on Camera Distance
This expression varies the number of segments in a cylinder based on the distance of a camera. It is
assigned to the cylinders Segments creation parameter.
if ( (length(Camera-Myself) > 35),

3 + (50*Height) / length(Camera-Myself),
MaxSegs)
where Camera is the position controller of the camera; Myself is the cylinders position controller;
Height (= 70) is the cylinders height; MaxSegs (=100) is the maximum number of segments.
When the camera is closer, more segments make the cylinder smoother; when the camera is
distant, the smoothing is less important and fewer segments render more quickly.
The if() function returns its second argument if the first argument is true; otherwise, it returns its
third argument. In this example, if the camera is more than 35 units away from the cylinder, the
expression calculates the number of segments; if the camera is 35 units away or closer, the number
of segments is the MaxSegs constant.
The values in the second argument are chosen so that as the distance decreases toward the
threshold of 35, the number of segments increases toward MaxSegs. The addition "3+" ensures that
the cylinder always has at least three segments, even when the division rounds to zero (Segments is
an integer).
Note: To the expression, it doesnt matter whether the camera is moving, or the cylinder, or both.
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This topic is a quick review for readers who need a reminder about this area of mathematics. If
youre familiar with trigonometry, you can skip this topic. If you find this topic difficult to follow, you
might consult a more basic reference on mathematics.
Trigonometric functions are principally used to model or describe:
The relation between angles in a triangle (hence the name).
Rotations about a circle, including locations given in polar coordinates.
Cyclical or periodic values, such as sound waves.
The three basic trigonometric functions are derived from an angle rotating about a unit circle.
Trigonometric functions based on the unit circle
The tangent function is undefined for x=0. Another way to define the target is:
Because XYR defines a right-angled triangle, the relation between the sine and cosine is:
The graphs of the basic trigonometric functions illustrate their cyclical nature.
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Graphs of basic trigonometric functions
The sine and cosine functions yield the same values, but the phase differs along the X axis by /2:
in other words, 90 degrees.
The inverse functions for the trigonometric functions are the arc functions; the inverse only applies
to values of x restricted by /2 X /2. The graphs for these functions appear like the basic
trigonometric function graphs, but turned on their sides.
Graphs of basic arc functions
The hyperbolic functions are based on the exponential constant e instead of on circular
measurement. However, they behave similarly to the trigonometric functions and are named for
them. The basic hyperbolic functions are:

Graphs of basic hyperbolic functions
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Vectors
Vectors
This topic is a quick review for readers who need a reminder about vector arithmetic. If youre
familiar with vectors and vector calculations, you can skip this topic. If this topic is difficult to follow,
you might consult a more basic reference on mathematics.
A vector expresses a length and a direction in a particular space. The vector is expressed as a point;
for example, [5, 5, 7]. The length is the distance from the origin to that point, and the direction is
similarly from the origin to (and through) the point.
In 3ds max, vectors have three values and describe positions in three-dimensional space. They can
also represent percent scaling in X, Y, and Z; and (more abstractly) describe locations in RGB color
space.
Unit Vectors and Basic Vectors
A unit vector has a length of one. Unit vectors are often used to express direction only. The three
basic vectors are unit vectors that describe the three axes (X, Y, and Z) of 3D space.
Basic vectors and the XYZ axes
Adding and Subtracting Vectors
Adding two vectors creates a new vector that combines the length and direction of the original two.
Vector addition is commutative: V+W=W+V.
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Vectors
Adding two vectors
Subtracting two vectors gives the vector between the two points.
Subtracting two vectors
Scalar Multiplication and Division
Multiplying a vector by a scalar changes the vectors length, as does dividing the vector by a scalar.

Vectors
Vector Length and Direction
The length of a vector is obtained from the Pythagorean theorem.
In 3ds max expressions, the length() function returns this value.

The direction of the vector is the vector divided by its length; this gives you a unit vector with the
same direction.
The distance between two points is the length of the vector between them.
Subtracting vectors to obtain a distance
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Float Controllers
Float Controllers
The following controllers are available only for parameters that use the Float data type.
On/Off Controller
An On/Off controller controls parameters using binary on and off values. The On/Off track displays a
solid blue color in frames that are on, and the background in frames that are off. The on/off state of
the parameter switches every time you add a key.
Use for binary parameters such as the Smooth object parameter, or for Visibility tracks.
Boolean Controller
The Boolean Controller is a variation on the On/Off controller. It provides a similar functionality, but
with one significant difference. The on/off state of the parameter does not switch automatically
every time you add a key. This allows you to effectively add keys in the middle of a sequence
without creating unintended drastic changes.
Waveform Controller
A Waveform controller generates values by combining periodic waveforms. You can specify different
types of waveforms and add waveforms together to create complex animation.
Waveform was originally created to control blinking lights. Use it for any value that you want to vary
in a regular, oscillating pattern.
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Transform controllers are compound controllers. They set the type and behavior of the controllers
used for Position, Rotation, and Scale.
You assign Transform controllers using either Track View Curve Editor or the Motion panel.
Compound Transform controllers do not display properties in Track View. You can access the
parameters of Transform controllers only in the Motion panel.
Position/Rotation/Scale Controller
The Position/Rotation/Scale (PRS) controller is a simple Transform controller applicable for most
objects. It created a single function curve for XYZ values. When applied the PRS Transform controller
sets up default Bezier Position, TCB Rotation, and Bezier Scale controllers.
Use a PRS controller whenever you want a standard transform set up or when you want single
function curve control over the Position, Rotation, and Scale controllers.
Note: PRS controller is no longer the default controller applied to all objects. The latest version of
the software uses Position XYZ and Euler XYZ as the new default controllers for position and rotation
transforms.
The Transform Script controller contains all of the information contained in a PRS Controller in one
scripted matrix value. Instead of having three separate tracks for position, rotation, and scale, all
three values can be simultaneously accessed from one script controller dialog. Because the
transform values are defined by a script, they are easier to animate.
The value of the controller script must be a matrix3 value. A matrix3 value is a 4x3 3D
transformation matrix. For more information, see the Matrix3 Values topic in the MAXScript
Reference.
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Below the Transform controller is the Position controller. Position is a data type that can use most of
the standard controllers such as Bezier, TCB, and Noise.
The controllers described in this topic can be used only as position controllers.
XYZ Controller
The XYZ controller breaks a Position controller into three separate Bezier Float controllers. Each of
the X, Y, and Z components of position receives its own track.
Use the XYZ controller when you want to have separate key patterns or controller types for each
position component.
See Euler XYZ Rotation Controller, Position XYZ Controller, and Scale XYZ Controller.
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Animation Controllers / Transform Controllers
Glossary
Animation Controllers / Transform Controllers

All animation in the software is performed through animation controllers. The most common
animation controllers, those for move (position), rotate, and scale, are also referred to as transform
controllers.
Each animation track has its own controller, and each controller can be different.
In the hierarchy list, the controller tracks are represented by the green-arrow icons. You can see
which specific controllers are assigned to each track by turning on the controllers display in the Track
View (right-click Filters in the Track View toolbar, and choose Controller Types from the list). The
controller names appear beside the tracks to which they're assigned.
You can assign different controllers to the tracks, affecting the way they respond. The Bezier
Controller, assigned by default to all the Position tracks, lets you move objects using the Select and
Move transform tool, and converts those movements into Bezier splines. You can adjust the splines
in Function Curve editing mode.
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Below the Transform controller is the Rotation controller. Rotation is a data type that can use most
of the standard controllers such as TCB, Linear, and Noise.
Rotations in 3D are very complex. Even the standard controller types behave a differently when used
for rotation. The most common way of calculating rotations in 3D animation uses four components to
define rotation about an arbitrary axis. This is the quaternion method.
The benefits of using quaternion rotation include:
It produces a direct one-to-one relationship between the quaternion values and how objects
interactively rotate in the scene.
It produces smoother rotation than other methods.
The drawbacks of using quaternion rotation include:
Rotation values in key information can be difficult to understand.
Quaternion rotation controllers do not display function curves in Track View Curve Editor. For
this reason Euler XYZ is now the default rotation controller assigned to all objects.
You can use the following controllers only as rotation controllers.
Smooth Rotation
Use Smooth Rotation when you want rotation to have a smooth and natural look. Smooth rotation
uses nonadjustable curved interpolation, and has the following characteristics:
You can move keys in Track View to change timing.
You can directly rotate objects in the viewports to change rotation values.
Euler XYZ Rotation
Use the Euler XYZ Rotation controller when you want individual function curve control for each axis
of rotation. Euler XYZ is a compound controller that combines separate, single-value float controllers
to specify an angle of rotation about each of the X, Y, and Z axes. Euler XYZ Rotation is the default
controller applied to all objects.
Euler XYZ is not as smooth as quaternion rotation, but it is the only rotation type that you can use to
edit rotation function curves.
Euler angles are well suited for animating mechanical rotations. They can also be a good choice for
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an object in an inverse kinematics chain because IK Rotational joints are defined as Euler angles. X,
Y, and Z function curves displayed by this controller in Track View represent rotations in "world" or
"parent" space which is the rotation system used by most 3D animation packages.
Customers upgrading from versions 4 or earlier might find some difficulty in adapting to using Euler
XYZ rotation controllers. If you find yourself experiencing unexpected rotation behavior, this might
be the reason. Reassign TCB rotation as the default rotation controller and you will be able to regain
your customary workflow.
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Controlling Colors
Controlling Colors
You can animate colors in 3ds max just like most other parameters. There are two data types used
for controlling colors.
Point3: A general-purpose, three-component data type that works with RGB color values. It uses
most of the standard controllers.
Color: A special data type designed specifically for working with RGB and HSV color values. Color
uses the Bezier and RGB controllers.
Color Point3 Controller
You can assign any of a variety of Point3 controllers to a material's color channels, including Point3
Expression, Point3 List, Color RGB (described later in this topic), and so on. When using Point3
controllers for color parameters, an important issue is behavior of the Key Value fields, labeled X, Y,
Z. They store color values using only the RGB color model.
The X value field stores Red color values.
The Y value field stores Green color values.
The Z value field stores Blue color values.
The Point3 Key Value fields do not clamp at the valid color range of 0 to 255. Values that drop below
0 or exceed 255 are ignored by the color parameter but are still displayed in Track View.
Bezier Color Controller
The Bezier Color controller (see Bezier Controllers) is a data type that uses Bezier key interpolation.
You can use RGB or HSV color models with the Bezier Color controller.
The choice of color model is global for all keys used by the controller. You can switch between color
models anytime and color key values are correctly converted.
The Color Value fields are limited to a range of 0 to 255. You can drag the color keys above 255 in
Track View Curve Editor, but the values are clamped at 255.
Color RGB Controller
Assign a Color RGB controller to break a Color controller into three separate Bezier Float controllers.
Each of the R, G, and B components of color uses its own track.
Use the Color RGB controller when you want to have separate key patterns or controller types for
each color component.
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Controlling Colors
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Morph Controllers
Morph Controllers
You can choose from two morph controllers. These controllers manage how morph targets blend
from one target to another. Morphing can also be achieved by applying a Morpher modfier to an
object.
Cubic Morph Controller
A Cubic Morph controller is a TCB-style controller. It uses Tension, Continuity, and Bias controls
much like the generic TCB controller.
The Cubic Morph controller manages only the interpolation from one morph target to the next. If you
want to add Morph keys or change the morph target, you must use the Pick Targets and Current
Targets rollouts in the Modify panel.
The Barycentric Morph controller is also a TCB controller like the Cubic Morph controller, except that
instead of each key representing a single target, each key represents a series of weights for all
targets. A Barycentric Morph key represents a new object which is a blending of all targets.
You can adjust each morph key to percentages of the available morph targets, creating subtle
adjustments in the animation.
You can also click Add Keys in Track View to create new Barycentric Morph keys. The added keys
contain interpolated values for all targets.
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Geographic Location Dialog
Create panel > Systems > Sunlight or Daylight button > Location group > Get Location button
The Geographic Location dialog is part of the Sunlight and Daylight systems' interface. It lets you set
the latitude and longitude values by selecting a location from a map or a list of cities. The dialog
displays a list of cities at left, and a map on the right.
Procedures
To use a map:
1. In the Location group on the Control Parameters rollout, click the Get Location button.
2. On the Geographic Location dialog choose a map from the Map list.
3. Click in the map to specify a location.

3ds max displays a small cross at the location you picked. If Nearest Big City is on, it places
the cross at the nearest large city on the list, and highlights the city's name in the list.
4. Click OK to set the Latitude and Longitude to the location of the cross.
To choose a city by name:
1. Choose a map from the Map list.

The City list updates to show cities in the region of the map.
2. Choose the name of a city from the list.
3. Click OK to set the Latitude and Longitude to the location of the city.
Interface
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CityDisplays a list of cities within the selected Map region. As an alternative to selecting a location
by clicking the map, you can select a city directly from this list. The cross on the map moves to the
location of the selected city.
MapLets you choose a map for a portion of the world, or you can choose the World map, which
includes the entire world.
Nearest Big CityWhen on, clicking the map moves the cross to the nearest listed city, which
becomes highlighted in the list. When off, clicking the map places the cross exactly where you
clicked, and its position generates the Latitude and Longitude values for that position, regardless of
any cities that might be nearby.
City Name Text BoxDisplays the name of the city you select. If you adjust the Latitude or
Longitude spinners after selecting a location, this area becomes blank.
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PIC Files
PIC Files
3ds max has the ability to export to the Picture (PIC) file format. PIC files are another lighting-
analysis format used for the same purpose as LogLUV TIFF files. The PIC format differs from the
LogLUV TIFF format by creating separate files for luminance and illuminance channel data (the
LogLUV TIFF format creates one file containing both channels).
PIC files are created by using the Lighting Data Exporter utility. You specify a file name by clicking
the File Name button. When you click Export, the Lighting Data Exporter renders two files. The string
_Illuminance is appended to the name of one file, and _luminance is appended to the other. For
example, if you type house as the file name, the exporter renders to house_illuminance.pic and
house_luminance.pic.
See also
Radiosity Workflows
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Radiosity Workflows
Radiosity Workflows
Set Units Correctly Before Processing Radiosity
For imported geometry, you must make sure that units are consistent in your scene before
processing radiosity (for example, a wall is 8 feet high, not 8 kilometers high). Units in 3ds max
must match the units of the model because the radiosity engine always uses an inverse square falloff
for lights. Therefore, distance is crucial.
To make sure your units are setup correctly, use the Units Setup dialog. The Scene Unit is the most
important unit in this dialog. This is the unit that 3ds max uses for its calculations. The Display Unit
is just a tool that lets you customize how units are displayed in the user interface.
The following two scenarios show how to set unit scales after importing geometry that has been
created using different units than what is currently set in 3ds max:
Example 1: You import a table that was created in AutoCAD using metric scale. The table is 9 units
long, which corresponds to an actual length of 90 centimeters. When the table is imported into
3ds max, it will measure 9 scene units. Therefore, in the Units Setup dialog, you must set Scene
Unit Scale to 1 Unit=10 centimeters. Your table is now the correct units because it is 90 centimeters
long in 3ds max model.
Example 2: You have an AutoCAD model that was created using Architectural Units. The model is a
room measuring 20-4 long. In AutoCAD, Architectural Units are stored as inches. Therefore, before
importing the model to 3ds max, make sure to set the Scene Unit Scale to 1 Unit=1 inch. Once
imported to 3ds max, the room will measure 244 units long (20*12+4).
Tip: Use the Measure Distance tool to quickly check dimensions in 3ds max.
Physically Based Workflow
Use radiosity to create physically based lighting simulations. When doing so, keep in mind the
following:
Scene dimensions: Make sure your scenes are accurately dimensioned, with consistent units (a
light bulb in a room 120 meters high would look a lot different than it would in a room 120 inches
high).
Lights: You should work exclusively with Photometric lights. You should also make sure that the
light intensities are within a normal range.
Natural Lighting: To simulate natural light, you should only use IES sun and IES Sky. These
provide accurate photometric representations of sunlight and skylight based on a specified
location, date and time.
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Radiosity Workflows
Material Reflectance: You should ensure that the materials you use in your scene have a
reflectance value within the range of the physical materials they represent. For example, a
painted white wall should have a maximum reflectance of approximately 80%; however, a pure
white color material (RGB:255, 255, 255) would have a reflectance of 100%. This means that the
material reflects 100% of the energy received.
Exposure Control: The exposure control is the equivalent of the aperture of a camera. Make
sure you enable the exposure control and set a value that provides the final results you desire.
To process radiosity for photometric lights using a physically based workflow:
1. Ensure that your geometry is set to a physically correct scale and that the materials have valid
reflectance values.
2. Place photometric lights in your scene. The benefit of this workflow is that it allows you to place
lights in your scene the same way you would in the real world. You can create new photometric
lights or, using the asset browser, drag and drop preset luminaire objects from the included
library.
You can also refer to Common Lamp Values.
3. Choose Rendering > Environment to display the Environment panel. Select the type of
exposure control you want to use (typically Logarithmic).
4. Click Render Scene to preview the lighting. At this stage, the radiosity will not be
processed but you can quickly confirm that the direct lighting is correct. Adjust the position of
the lights if desired.
5. Choose Rendering > Radiosity to display the Radiosity Control panel.

Choose Rendering > Advanced Lighting > Radiosity. Make sure that Active is turned on.
6. On the Radiosity Parameters rollout, click Start to process radiosity. Once the Radiosity
calculation has been completed, you should see your results in the viewports. The light levels
are stored with the geometry and you can interactively navigate around the model without
reprocessing the scene.
7. Click Render Scene again. The renderer will calculate the direct lighting and shadows,
and the radiosity solution (indirect lighting) will be integrated as a modulated ambient light.
Lighting Analysis
After you generate a radiosity solution, you can use the Lighting Analysis tool to analyze the lighting
levels in your scene. This dialog provides data on material reflectance, transmittance, and
luminance.
You can also interactively visualize the light levels in the scene by using the Pseudo Color Exposure
Control. Rendering to a rendered frame window displays an additional rendered frame with a legend

Radiosity Workflows
below the image. The legend correlates lighting levels and color values.
If you need to generate a lighting report, you can use the Lighting Data Exporter utility to export the
luminance and illuminance data to a 32-bit LogLUV TIFF file or a pair of PIC files (one each for
luminance and illuminance).
Note: To obtain the most accurate quantitative analysis of lighting levels, you should avoid using
colored materials and diffuse maps.
Non-Physically Based Workflow
You dont necessarily have to work with physically based lights and materials in order to incorporate
radiosity effects into your renderings. But there are a number of issues that you need to consider:
Lights: Because the radiosity engine is physically based, Standard lights are be interpreted by the
engine as Photometric lights. For example, a Standard Spot light with a multiplier value of 1.0 will
be translated as a Physically Based Spot light with an intensity value of 1500 candelas (default
value). This translation value corresponds to the Physical Scale value in the various exposure
controls.
In addition, if your Standard lights use custom attenuation settings (for example, no attenuation,
manual attenuation, or linear decay), the radiosity engine will always solve for these lights using
the physically correct Inverse Square attenuation. This means that the amount of energy that
bounces between surfaces might not be equivalent to the way the Standard lights render.
Natural Lighting: To simulate natural lighting without using the physically based workflow
described above, you can only use a Direct Light for the Sun and Skylight to produce skylight.
Exposure Control: Since Standard lights are not physically based, you should only use exposure
controls for the radiosity solution. Use the Logarithmic Exposure Control, making sure to turn on
Affect Indirect Only. The Brightness and Contrast controls of the exposure control will only affect
the radiosity solution and your lights will render as usual.
To process radiosity with standard lighting:
1. Ensure that your geometry is set to a physically correct scale.
2. On the Create panel, click Lights. Create and position standard lights in your scene.
3. Click Render Scene to preview the lighting. At this stage, the radiosity will not be
processed, but you can quickly confirm that the direct lighting is correct. Adjust the position of
the lights if desired.
4. Choose Rendering > Radiosity to display the Radiosity Control panel.

Choose Rendering > Advanced Lighting > Radiosity. Make sure that Active is turned on.

Radiosity Workflows
5. On the Radiosity Parameters rollout, click Start to process radiosity. Once the Radiosity
calculation has been completed, you should see your results in the viewports.
6. In the Interactive Tools group of the Radiosity Processing rollout, click Setup to display the
Environment panel, where you set exposure controls.
7. When working with non-physically based lights, always use the Logarithmic Exposure Control.
On the Logarithmic Exposure Control rollout, select Affect Indirect Only. This will cause the
exposure control to affect only the results of the radiosity solution. By doing so, you will
maintain the way your direct lights render without radiosity. Use the Brightness and Contrast
controls of the exposure control to adjust the intensity of the radiosity solution to match the
lighting at an appropriate level.
Tip: You can use the thumbnail preview to adjust brightness and contrast interactively.
8. Click Render Scene to render the scene after radiosity processing.
Summary
The following table will help you obtain good results with radiosity.
Physically Based Workflow Non Physically Based Workflow
Lights Photometric Lights Standard Lights
Daylight IES Sun and IES Sky Directional Light and Skylight
Logarithmic turn on Affect Indirect

Exposure Control Any
Only.
Make sure your scene is set to the Make sure your scene is set to the
Units
appropriate scale. appropriate scale.
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Measure Distance Tool
Tools menu > Measure Distance
The Measure Distance tool lets you quickly calculate the distance between two points, using just two
clicks. The calculated distance is displayed (in display units) in the in the status bar.
Procedure
To measure the distance between two points:
1. Choose Tools menu > Measure Distance.
2. Click in the viewport where you want to start measuring from.
3. Click again in the viewport where you want to measure to.

A distance is returned in the status bar. Additional information, detailing the distance along the
X, Y, and Z coordinates is displayed as well.
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Luminaire Helper Object
Create panel > Helpers > Assembly Heads > Object Type rollout > Luminaire
The Luminaire helper object serves primarily as a head, or control, object for light fixtures. When
you assemble a set of objects into a light fixture, you specify that a new luminaire object should be
used as the assembly head object. The luminaire's parameters, available from the Modify panel, let
you control the light sources in the fixture. See Using Assemblies for more information.
You can also add a Luminaire object separately from the Create panel, but in general it's not
necessary.
A luminaire object groups and manage the components as a whole.
Interface
When a selected assembly is closed, the Modify panel displays the Luminaire parameters. However,
when you open an assembly, 3ds max shows you the parameters of the whichever object is
selected. The Luminaire object provides Dimmer and Filter Color parameters. You wire these to the
light objects that are part of the assembly.
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Luminaire icon in the viewport
Luminaire rollout
DimmerEmulates the dimmer switch of a real-world lighting fixture. The setting determines the
percentage of the default light intensity is emitted by the light source of a lighting fixture. You wire
this parameter to one or more light sources' Multiplier settings.
Filter ColorAn RGB color parameter that you link to a light source's color or filter color.
The Dimmer option can control the intensity of all the lights in the luminaire
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Assemble
Assemble
Select the objects to assemble. > Group menu > Assembly > Assemble
The Assemble command combines a selection set of objects, assemblies, and/or groups into a single assembly, and adds a
Luminaire helper object as a head object.
Once you assemble objects, you can treat them as a single object in your scene. You can click any object in the group to
select the entire assembly. You can transform the assembly as a single object, and you can apply modifiers as if it were a
single object.
Assemblies can contain other assemblies and/or groups, up to any level.
Assembly names are similar to object names, except that theyre carried by the assembly. In lists like the one in the ,
assembly names appear in square brackets. For example: [Assembly01].
Each member of an assembly inherits the visibility of the parent when a visibility controller is assigned to the parent,
providing its Object Properties > Rendering Control group > Inherit Visibility check box is turned on, or if its Rendering
Control is set to By Layer and Inherit Visibility is turned on for its layer.
Assemblies are considered whole objects in the Light Exclude/Include dialog, so you can exclude (or include) all objects in
an assembly by selecting the assembly in the list. If an assembly is nested within another assembly, only the "outer"
assembly is available in the list. To exclude only certain objects in an assembly, open the assembly before displaying the
Exclude/Include dialog.
See also
Using Assemblies
Procedures
To define an assembly:
1. Select two or more objects.
2. Choose Group menu > Assembly > Assemble.

The Create Assembly dialog appears requesting a name for the assembly and that you specify a head object. The
default head object type is Luminaire.
3. Enter a name for the assembly, choose Luminaire from the list, and click OK.
The selected objects are assembled. The assembly head object position and orientation is determined as follows:
If there are multiple immediate children of the assembly head (for example, you're assembling several non-
hierarchical objects), the head object is aligned with center of bottom face of the assembly bounding box.
If there's only one immediate child of the assembly head, the assembly head pivot point is aligned with that
object's pivot point. For example, if you're assembling a single hierarchy, the topmost object in the hierarchy
would be the single immediate child of the assembly head.
To define a nested assembly:
1. Select two or more assemblies or any combination of assemblies and objects.
2. Choose Group menu > Assembly > Assemble.

The Create Assembly dialog appears requesting a name for the assembly and a head object.
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Assemble
3. Enter a name for the new assembly object and click OK.
To wire a head object to a light source:
1. Create a hierarchy of lights and geometrical objects that models a lighting fixture. Sets up all the necessary IK chains
and other constraints that make the model behave properly when the user interacts with it (orients, positions, aims,
etc.).
Important: For any photometric lights that you want to control with the head object, be sure to turn on
the Multiplier check box on the Intensity/Color/Distribution rollout.
2. Select all objects in the fixture and define them as an assembly.

When the assembly is selected, the luminaire parameters Dimmer and Filter Color appear in the Modify panel.
3. From the Animation menu, choose Wire Parameters > Parameter Wire Dialog.
4. The Parameter Wiring dialog appears.
5. On one side of the dialog, find the assembly and expand the branch titled Object (LuminaireHelper). Click the
Dimmer item to highlight it.
6. On the other side, find the assembly and expand its hierarchy branch (click the + symbol in the square box). Find
and expand the branch for the light source, and then expand its Object branch. Click the Multiplier item to highlight
it.
7. Between the two hierarchy lists, click the Control Direction arrow button that points from the selected Dimmer item
to the selected Multiplier item.
8. If you're wiring a photometric light, skip this step. If you're wiring a standard light, or any light whose default
Multiplier setting is 1.0, do this:
The Expression box below the selected Multiplier item contains the word "Dimmer." Edit this to read
"Dimmer/100". This divides the Dimmer value by 100, giving a 1:1 value ratio between it and the Multiplier
setting.

Assemble
9. Click the Connect button.

Now, when you change the luminaire's Dimmer setting, the light source intensity changes as well.
10. If you like, use the same method to wire the luminaire to any additional light sources in the light fixture.
You can also use this method to wire the luminaire's Filter Color parameter to any light sources' color settings.
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Head Object
Head Object
When you create an assembly in 3ds max, the program automatically adds a special type of helper
object called a head object, or assembly head. This object serves as the fulcrum of the assembly and
also exposes parameters, available in the Modify panel when the assembly is selected, that you can
wire to properties of objects inside the assembly. Thus, you can change and animate parameters of
assembly member objects without having to open the assembly, as you would with a group.
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Using Assemblies
Using Assemblies
Object on the right is an assembly and is treated as a single entity.
Assemblies are useful for creating combinations of geometry and light objects that act as lighting
fixtures; you use them to represent the housing of a lamp and its light source or sources. You can
use assemblies to represent lighting fixtures such as simple desk lamps, lighting strips, track
systems, wall sconces with fluorescent or incandescent lights, chandelier systems, line voltage cable
systems, and so on.
When you create light assemblies, first you create your objects and build a hierarchy, then set joint
parameters and assign inverse kinematics (IK). As a final step, you assemble the object hierarchy.
The lights you use in the assembly have light-multiplier and filter color controls. You wire the
Dimmer and Filter Color parameters of the Luminaire helper object to the parameters of the light
sources that are members of the light assembly.
Note: In order to wire the Luminaire controls to the light parameters, you must first open the
assembly; then, after wiring, you close it.
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Using Assemblies
You can use IK to point a luminaires beam by simply moving the lights target object.
Assemblies and Groups
Assembly functionality is a superset of grouping. Like grouping, creating an assembly lets you
combine two or more objects and treat them as a single object. The assembled object is given a
name, and then treated much like any other object.
The main difference with assemblies is that, when you assemble the member objects, you specify a
head object: a Luminaire helper object. The head object acts as a front end for the assembly, and its
parameters appear in the Modify panel when the assembly is selected. You can use these
parameters to control the light sources in the assembly via parameter wiring. You can create other
types of head objects with MAXScript; for further information, open the MAXScript Reference,
available from the Help menu, and look in Creating MAXScript Tools > Scripted Plug-ins > Scripted
Helper Plug-ins.
Assembly names are similar to object names, except that theyre carried by the assembly. In lists
like the one in the Select Object dialog, assembly names appear in square brackets, for example
[Assembly01].
You'll find the commands to manage assemblies on the Group menu > Assembly submenu.
Tip: After you've created one fixture and assembled the parts, use instancing to copy the fixture,
and then distribute them in your scene. That way, if you change the attributes for a light source in
an assembly, the change will be reflected in all the instanced light sources. For example, in the early
design stages, you might use shadow maps, but later you might want to switch to advanced ray-
trace shadows for greater accuracy in rendering. Using instancing makes it easier to change such
settings globally.
General Features of Assemblies
Once you assemble objects, you can treat them as a single object in your scene. You can click any

Using Assemblies
object in the assembly to select the entire assembly.

When you create an assembly, all of its member objects are rigidly linked to an invisible Luminaire
helper object. The assembly uses the pivot point and the local transform coordinate system of this
helper object.
You can nest assemblies. That is, assemblies can contain other assemblies (or groups), up to any
level.
The head object parameters appear in the Modify panel when the assembly is selected. You can use
the 3ds max Wire Parameters functionality to connect these parameters to those of light objects in
the assembly. For a step-by-step procedure, see To wire a head object to a light source.
Luminaire types
Left: Fixed
Middle: Orientable
Right: Multiple lights
Transforming and Modifying an Assembly
You can transform or modify an assembly as if it were a single object, and you can animate the
transforms.
Unlike a group, when you apply a modifier to the assembly, only the luminaire receives the modifier.
Thus, deforming modifiers such as Bend don't have any effect on assemblies.
When you apply a transform to the assembly, it applies to the assembly as a whole. More precisely,
the software applies transforms to the dummy object that represents the assembly. To modify
member objects, you must first open the assembly, select the objects, and then apply modifiers.
Such modifiers do not appear in the modifier stack when the assembly is closed.
You can transform and animate individual objects within an assembly independently from the
assembly itself. However, when you transform the assembly itself, the transform affects all
assembled objects equally. The assembly transform is uniformly added to objects that have

Using Assemblies
independent motions. An analogy is a cage of birds, each flying around on its own, while the cage
itself is being moved. In the case of assemblies, the "cage" (the dummy object) expands to surround
all objects in the assembly, wherever the objects independent transforms take them.
Accessing Objects in an Assembly
You can open and close assemblies to access the individual objects contained in them without
dissolving the assembly. These commands maintain the integrity of the assembly.
Open: Temporarily opens the assembly so that you can access its member objects. While an
assembly is open, you can treat the objects (or nested assemblies/groups) as individuals. You can
transform them, apply modifiers, and access their modifier stacks.
Close: Restores the assembly when youre finished working with the individual objects.
Using Make Unique with Assemblies
When you clone assemblies using instancing, and then make the clones unique, it's important to
consider how this affects parameter wiring. Consider the following typical usage case:
1. Drag an assembly, such as a light fixture, into the scene.
2. Clone the assembly several times using the Instance option and position the instances in the
scene.
3. To make the scene look more realistic, giving the appearance of randomness to the objects in
the scene, make some of the assembly instances unique and adjust their parameters to differ
from the rest of the instances.
When you clone-instance an assembly, all objects in the assembly, along with all the parameter
wires, are instanced. So if you change a wired luminaire parameter, all instanced assemblies are
affected.
When the modifier stack displays an assembly head that is an instance or reference, the Make
Unique button is active. By clicking it, the assembly head object is made unique with respect to its
instances and all the assembly members are also made unique.
The parameter wiring between the unique assembly head and its members is de-coupled from the
other instances of the assembly. Changing the parameters of the unique assembly head object
affects only the parameters of its own members, not the members of the other instances of the
assembly.
When multiple assembly instances are selected, the Make Unique command works the same as when
multiple instances of an object are selected. You're asked whether you want to make the selected
assemblies unique one with respect to each other.

Using Assemblies
If you answer Yes, the software makes the assemblies unique one with respect to another and
parameter wires are reconnected inside each unique assembly. That is, the parameters of each
unique assembly head drives only the parameters of its own members, not that of the members
in any other assembly instances.
If you answer No, then the selected assemblies are made unique only with respect to the other
assembly instances. The parameters of unique assembly heads drive only the parameters of their
members, not the members of the other assembly instances.
Note: If you chose to instance the controllers when you instanced the assembly, the Modify panel
> Make Unique command does not make the controllers unique. You can make them unique by
doing the following: Open Track View, select the Transform track for object whose controller you
want to make unique, and click the Make Unique button in the Track View toolbar.
Dissolving Assemblies
You can permanently dissolve assemblies by either disassembling or exploding them. Both
commands dissolve assemblies, but to different levels.
Disassemble: Goes one level deep in the assembly hierarchy. It separates the current assembly
into its component objects (or assemblies/groups), and deletes the assembly head object.
Explode: Similar to Disassemble, but dissolves all nested assemblies and groups as well, leaving
independent objects.
When you disassemble or explode an assembly, any transform animation applied to the assembly is
lost, and objects remain as they were in the frame at which the dissolution is performed. However,
objects retain any individual animation.
To transform or modify the objects within an assembly, you must first remove them from the
assembly, either temporarily or permanently. The Open command lets you do this.
Comparing Assemblies with Other Selection Methods
Compared to the other methods you can use to combine objects in the software, assembling is more
permanent than selection sets, but less permanent than attaching objects.
Selection sets: Form a temporary collection of objects to which you apply the current commands.
As soon as you select another object, the selection set is gone.
Named selection sets: Let you reselect the same pattern of objects, but the positional relationship
between those objects (their transforms) might be different each time you recall the named set.
Assembled and grouped objects: Maintain their positional relationships unless you open the
assembly and rearrange them. An assembly also keeps its identity as an individual object.

Using Assemblies
Each object in an assembly retains its modifier stack, including its base parameters. At any time,
you can open the assembly to edit an object, and then close the assembly to restore the assembly
identity.
Attached objects (see Editable Mesh (Object)): Attached objects form a single object. The
modifier stacks of the original objects are lost, including their base parameters. You can regain
the form of the original objects by detaching them, but they become plain meshes.
See also
Lights
Procedures
To insert and place an existing assembly:
1. Turn on AutoGrid.
2. Drag the assembly from a Web page (if its an i-drop object) or from your local disk and drop it
into your scene, placing it on any existing surface.
3. On the main toolbar, click Use Pivot Point Center.
4. Position the assembly as you would any other object to aim it in a specific direction.
5. If necessary, wire the assembly luminaire to its light source or sources.
6. Select the assembly, and then use the Modify panel settings to adjust the intensity of the light
with the Dimmer control.
To create your own luminaire:
1. Create the geometry of the lighting fixture.
2. Create a light source or on the Create panel, click Lights to add a standard or photometric light
to the geometry of the lighting fixture you just made.
3. Select all the objects in the assembly, including geometrical objects and lights.
Note: If using IK, leave the light targets out of the assembly so that you can manipulate them
independently.
4. Choose Assembly menu > Assemble.

A dialog appears requesting a name for the assembly and that you specify a head object. The
only head object type available by default is Luminaire.

Using Assemblies
5. Enter a name for the assembly and click OK.
6. Wire the assembly luminaire to its light source or sources. More information on parameter
wiring is available at the link in this step.
If more than one light source is present inside the assembly, create a chain of wired
parameters. Then enter the desired relationship expression in the expression text box.
To adjust the pivot location of an assembly:
When you adjust the pivot point of a closed group or assembly, the pivot point of all group and
assembly members are affected, not only the pivot point of the group or assembly head object.
Therefore, we recommend that you open the assembly, adjust the pivot of the head object, and
then close the assembly.
To use an assembly with radiosity:
Right-click the Luminaire, choose Properties, and on the Object Properties dialog choose the
Radiosity tab. You can exclude and control radiosity parameters of the geometry and lights
independently.
To adjust the properties of an assembly:
1. After wiring the Dimmer and Filter Color parameters, select the Luminaire, and then go to
Modify panel to display the luminaire parameters.
2. Adjust the parameters.

The effect is visible in the viewport.
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Open
Open
Select one or more assemblies. > Group menu > Assembly > Open
The Open command lets you temporarily disassemble an assembly and access its head and member
objects individually.
You can transform and modify the head and member objects within the assembly independently
from the rest of the assembly, then restore the original assembly using the Close command.
Procedure
To open nested assemblies:
1. Select the assembly within the opened assembly.
2. Choose Group menu > Assembly > Open.
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Close
Close
Select the luminaire. > Group menu > > Assembly > Close
The Close command reassembles an opened assembly. For nested assemblies, closing the outermost
assembly object closes all open inner assemblies.
When you link an object to a closed assembly, the object becomes a child of the assembly parent
rather than of any member of the assembly. The entire assembly flashes to show that you've linked
to the assembly.
Procedures
To close all opened assemblies nested within a main assembly:
1. Select any object in the main assembly or its luminaire head object.
Note: If you select an object within an opened inner assembly, using Close will close only that
assembly.
2. Choose Group menu > Assembly > Close.
To close a nested assembly:
1. Select any object in the nested assembly or its luminaire.
2. Choose Group menu > Assembly > Close.
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Groups
Groups
Object on the right is a group and treated as a single entity.
Grouping lets you combine two or more objects into a single grouped object. The grouped object is
given a name, and then treated much like any other object.
Group names are similar to object names, except that theyre carried by the group object. In lists
like the one for the Select Object dialog, group names appear in square brackets, for example
[Group01].
The commands to manage groups are on the .
General Features of Groups
can treat as a single object in your scene. You can click any object in the group to select the group
object.
ll of its member objects are rigidly linked to an invisible dummy object. The group object uses the
pivot point and the local transform coordinate system of this dummy object.
Groups can be nested. That is, groups can contain other groups, up to any level.
Transforming and Modifying a Group
You can transform or modify a group as if it were a single object, and you can animate the
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Groups
transforms and the modifiers.

When you apply a modifier to the group, this applies an instance of the modifier to each object in the
group. A grouped object retains its modifier instance, even if you later remove it from the group.
When you apply a transform to the group, on the other hand, this applies only to the group as a
whole. More precisely, the software applies transforms to the dummy object that represents the
group.
You can transform and animate individual objects within a group independently from the group itself.
However, when you transform the group itself, the transform affects all grouped objects equally. The
group transform is uniformly added to objects that have independent motions. An analogy is a cage
of birds, each flying around on its own, while the cage itself is being moved. In the case of groups,
the "cage" (the dummy object) expands to surround all objects in the group, wherever the objects
independent transforms take them.
Accessing Objects in a Group
You can open and close groups to access the individual objects contained in them without dissolving
the group. These commands maintain the integrity of the group.
Open: Temporarily opens the group so that you can access its member objects. While a group is
open, you can treat the objects (or nested groups) as individuals. You can transform them, apply
modifiers, and access their modifier stacks.
Close: Restores the group when youre finished working with the individual objects.
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Open Group
Open Group
Select one or more groups. > menu > Open
The Open command lets you ungroup a group temporarily, and access objects within a group.
You can transform and modify the objects within the group independently from the rest of the group,
then restore the original group using the Close command.
Procedures
To open a group:
1. Select one or more groups.
2. Choose Group > Open. A pink bounding box appears, and the objects in the group are now
accessible.
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Close Group
Close Group
Select the pink dummy object of an opened group. > menu > Close
The Close command regroups an opened group. For nested groups, closing the outermost group
object closes all open inner groups.
When you link an object to a closed group, the object becomes a child of the group parent rather
than of any member of the group. The entire group flashes to show that you've linked to the group.
Procedures
To close all opened groups nested within a main group:
1. Select the pink bounding box representing the main group.
2. Choose Group > Close.
To close a nested group:
1. Select any object in the nested group or its dummy.
2. Choose Group > Close.
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Group Menu
Group Menu
Menu bar > Group
The Group menu contains functions for grouping and ungrouping objects in the scene.
Group
Ungroup
Open Group
Close Group
Attach
Detach
Explode
Assembly
See also
Groups
Using Assemblies
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Group
Group
Group menu > Group
The Group command combines a selection set of objects or groups into a single group.
Once you group objects, you can treat them as a single object in your scene. You can click any
object in the group to select the group object. You can transform the group as a single object, and
you can apply modifiers as if it were a single object.
Groups can contain other groups, up to any level.
Group names are similar to object names, except that theyre carried by the group object. In lists
like the one in the Select by Name dialog, group names appear in square brackets. For example:
[Group01].
If a group is selected, its name will appear in bolded text in the Name And Color rollout.
All members of a group inherit the visibility of the parent when a visibility controller is assigned to
the parent.
Groups are considered whole objects in the Light Exclude/Include dialog, so you can exclude (or
include) all objects in a group by selecting the group in the list. If a group is nested within another
group, only the "outer" group is available in the list. To exclude only certain objects in a group, open
the group before displaying the Exclude/Include dialog.
Procedures
To define a group:
2. Choose Group menu > Group.

A dialog appears requesting a name for the group.
3. Enter a name for the group and click OK.
To define a nested group:
1. Select two or more groups or any combination of groups and objects.
2. Choose Group > Group.

A dialog appears requesting a name for the group.
3. Enter a name for the new group object and click OK.
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Group
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Ungroup
Ungroup
Select one or more groups. > Group menu > Ungroup
Ungroup separates the current group into its component objects or groups.
The Ungroup command ungroups one level, unlike Explode, which ungroups all levels of nested
groups.
When you Ungroup a group, the objects within the group lose all group transforms that were applied
on nonzero frames, but they retain any individual animation.
All ungrouped entities remain in the current selection set.
Procedure
To ungroup a group:
2. Choose Group > Ungroup.

All components of the group remain selected, but are no longer part of the group. The group
dummy is deleted.
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Explode
Explode
Select one or more groups. > Group menu > Explode
The Explode command ungroups all objects in a group, regardless of the number of nested groups,
unlike Ungroup, which ungroups one level only.
As with the Ungroup command, all exploded entities remain in the current selection set.
Warning: Ungroup and Explode remove all transform animations that have been applied to
the group as a whole. As with the Ungroup command, all exploded entities remain in the
current selection set.
Procedure
To explode a group:
2. Choose Group > Explode.

All objects in the groups remain selected but no longer belong to groups. All nested groups are
exploded. All group dummies in the selection are deleted.
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Attach
Attach
Select one or more objects. > Group menu > Attach
The Attach command makes the selected object part of an existing group.
With an object selected, choose this command, and then click a group in the scene.
Procedure
To attach an object to a group:
1. Select one or more objects to attach.
2. Choose Group > Attach.
3. Click any member of a closed group.

The selected objects become part of the group, which is now selected.
Note: To attach an object to an open group, click the pink bounding box.
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Detach
Detach
Select a group. > Group menu > Open > Select one or more objects detach. > Group menu >
Detach
The Detach command detaches the selected object from its group.
This command becomes active when you open the group by choosing the Open command from the
Group menu.
Procedure
To detach an object from a group:
1. Open the group.
2. Choose Group > Detach.

The selected objects are now separate, independent objects, no longer members of the group.
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Assembly Commands
Assembly Commands
The commands to manage assemblies are available from the Group > Assembly submenu.
Assemble
Disassemble
Open
Close
Attach
Detach
Explode
See also
Using Assemblies
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Disassemble
Disassemble
Select one or more assemblies. > Group menu > Assembly > Disassemble
Disassemble separates the current assembly into its component objects or assemblies.
The Disassemble command separates one level, unlike Explode, which separates all levels of nested
assemblies.
When you disassemble an assembly, all components of the assembly remain selected, but are no
longer part of the assembly. Any transform animation applied to the assembly is lost, and objects
remain as they were in the frame at which the dissolution is performed. However, objects retain any
individual animation.
All disassembled entities remain in the current selection set.
Note: If you have wired the luminaire head to any other parameters, those parameters are still
controlled by the wiring setup after disassembly and are not adjustable until you apply a standard
controller, such as Bezier Float. Use Track View to do this.
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Explode
Explode
Select one or more assemblies. > Group menu > Assembly > Explode
The Explode command separates all objects in an assembly, regardless of the number of nested
assemblies and/or groups, unlike Disassemble, which separates one level only.
When you explode an assembly, all components of the assembly remain selected, but are no longer
part of the assembly. Any transform animation applied to the assembly is lost, and objects remain as
they were in the frame at which the dissolution is performed. However, objects retain any individual
animation.
Note: If you have wired the luminaire head to any other parameters, those parameters are still
controlled by the wiring setup after exploding and are not adjustable until you apply a standard
controller, such as Bezier Float. Use Track View to do this.
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Attach
Attach
Select one or more objects. > Group menu > Assembly > Attach
The Attach command makes the selected object part of an existing assembly.
With an object selected, choose this command, and then click either a closed assembly in the scene,
or the head object of an open assembly.
Procedure
To attach an object to an assembly:
1. Select one or more objects to attach.
2. Choose Group menu > Assembly > Attach.
3. Click any member of an assembly.

The selected objects become part of the assembly, which is now selected.
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Detach
Detach
Select an assembly. > Group menu > Assembly menu > Open > Select one or more objects to
detach. > Assembly menu > Detach
Select one or more objects to detach in an open assembly. > Group menu > Assembly > Detach
The Detach command detaches the selected object from its assembly. If the object is a member of a
nested assembly, after you detach it, it is no longer a member of any assembly.
This command becomes active when you open the assembly by choosing the Open command from
the Assembly menu.
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Portico created from arrays of columns
With 3ds max, you can quickly create multiple versions of one or more selected objects. You do this
by holding down the SHIFT key while you move, rotate, or scale the selection.
The general term for duplicating objects is cloning. This section presents all the methods and choices
available for cloning objects. In addition to the transform method, the tools include the following:
Array lets you set all three transforms, in all three dimensions, at the same time. The results are
precise linear and circular arrays in 2D or 3D space.
Mirror produces a "reflected" clone about one or more axes. If you mirror an object without
cloning, the result is a "flip" to a new location.
Snapshot lets you create clones equally spaced over time or distance, based on an animation
path.
Spacing Tool distributes objects based on the current selection along a path defined by a spline or
pair of points.
You can animate any of the cloning techniques. These topics supply overview information, as well as
specifics of animation for each of them:
Techniques for Cloning Objects
Overview of Copies, Instances, and References
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Understanding Object Copies, Instances, and References

Using SHIFT+Clone
Animating SHIFT+Rotate and SHIFT+Scale

Cloning Objects Over Time with Snapshot
Arraying Objects
Using the Array Dialog
Creating Linear Arrays
Creating Circular and Spiral Arrays
Mirroring Objects
Using the Spacing Tool
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The software provides different techniques for copying or duplicating objects; cloning is the general
term for this process.
There are five three distinct techniques. They can be used to clone any selection set.
SHIFT+Clone
Snapshot
Array
Mirror
Spacing Tool
Shared Features
While each technique has distinct uses and advantages in cloning objects, they share some
similarities in how they work:
You can apply a transform when you clone. New objects are moved, rotated, or scaled as they are
created.
The transform is relative to the current coordinate system, axis constraint, and transform center.
When cloning creates new objects, you have the choice of making them copies, instances, or
references.
Each of the following items is discussed later in this section.
SHIFT+Clone
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SHIFT+Clone clones an object when you transform it.
You can clone an object as you transform it. The process is referred to as SHIFT+Clone: the
technique of holding down the SHIFT key while transforming a selected object with the mouse.
Quick and versatile, this technique is probably the one youll use most often to duplicate objects.
Snap settings give you precise results.
How you set the center and axes for the transforms determines the arrangement of the cloned
objects. Depending on the settings, you can create both linear and radial arrays.
You need a working knowledge of transform features to take full advantage of SHIFT+Clone. See
Using Transforms.
Snapshot

Using an ice-cream cone animated along a path, Snapshot creates a stack of cones.
Snapshot clones an animated object over time. You can create a single clone on any frame, or space
multiple clones along the animation path. The spacing is a uniform time interval; it can also be a
uniform distance.
Array

A one-dimensional array
Array creates repeating design elements: for example, the gondolas of a Ferris wheel, the treads of
a spiral stair, or the battlements along a castle wall.
Array gives you precise control over all three transforms and in all three dimensions, including the
ability to scale along one or more axes. It is the combination of transforms and dimensions, coupled
with different centers, that gives you so many options with a single tool. A spiral stair, for example,
would be a combination of Move and Rotate around a common center. Another array using Move and
Rotate might produce the interlocked links of a chain.
See Arraying Objects.
Mirror

Mirroring an object
Mirror produces a symmetrical copy around any combination of axes. There is also a "No Clone"
option that performs the mirror operation without copying. The effect is a flip or move of the object
to a new orientation.
Mirror has an interactive dialog. As you change settings, you see the effect in the active viewport; in
other words, a preview of what the mirror will look like.
There is also a Mirror modifier that gives you parametric control of the mirror effect.
See Mirroring Objects.
Spacing Tool

The Spacing Tool distributes the vases along the sides of the curved street.
The Spacing Tool distributes along a path defined by a spline or pair of points. You define a path by
picking a spline or two points and by setting a number of parameters. You can also specify how the
spacing between objects is determined and whether the insertion points of the objects align to the
tangent of the spline.
See Spacing Tool.
Comments

Make a selection. > Hierarchy panel > Pivot button > Adjust Transform rollout
You can transform an object and its pivot without affecting its children using the buttons in Adjust
Transform rollout. Adjusting an object's transforms has no effect on any children linked to that
object.
Procedure
To reinitialize the scale of an object:
2. In the Adjust Transform rollout > Reset group, click Scale.

The XYZ values are re-initialized to 100%. This operation will prevent Non Uniform Scale
inheritance if a child object is linked to this object.
Interface
Move/Rotate/Scale group
Don't Affect ChildrenLimits transforms to the selected object and its axis, not to its children.
This is very useful when working with Bones. If you need to make a particular bone longer or
shorter, select the bone, then turn on Don't Affect Children. You can readjust the bone and the other
bones in the hierarchy will stretch or shrink to compensate to the new dimension of the selected
bone.
Reset group
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TransformResets the orientation of an objects local axis coordinates to align with the world
coordinate system, regardless of the current orientation of the object.
This does not affect descendants.
When applied to closed groups, it aligns the dummy node of the parent, but keeps the children in the
same place. It reorients and resizes the dummy node to correctly bind the children of the group.
ScaleResets the scale values in the transformation matrix to reflect the new scale of the object.
There is no visual change in the object.
You can use the Scale to correct Non Uniform Scale inheritance problems. If Non Uniform Scale is
inherited by a child object in a hierarchy, it can result in an undesirable deformation in the child
object. To correct for this, use Reset: Scale in the Adjust Transform rollout on an object before
linking.
You can view the scale values of the transformation matrix of a selected object. On the toolbar
Toolbox, turn on Scale, then right-click any of the three toolbar Transform buttons (Move, Rotate, or
Scale).
There is also a Reset XForm utility to do the same tasks.
See also
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Utilities panel > Utilities rollout > Reset XForm button
Use the Reset Transform utility to push object Rotation and Scale values onto the Modifier Stack
display and align object pivot points and bounding boxes with the World coordinate system. Reset
Transform removes all Rotation and Scale values from selected objects and places those transforms
in an XForm modifier.
To reset the transform of a group, use the Transform button in the Reset group box of the Hierarchy
> Pivot command panel.
Procedure
To reset an object's transform:
2. On the Utilities panel, click Reset XForm.
3. In the Reset Transform rollout, click Reset Selected.

Object rotation and scaling are now carried by an XForm modifier placed at the top of the
Modifier Stack.
When you apply the Reset Transform from the Utilities panel, a XForm modifier that carries the
rotation and scale values is placed at the top of the Modifier Stack display. You can apply other
modifiers above and below the XForm modifier. You can select the XForm modifier and add
other Move, Rotate, and Scale transforms. You can delete the XForm modifier to completely
remove the transforms from the object. You can collapse the object to absorb the rotation and
scale values into the object mesh.
Interface
Reset selectedRemoves all Rotation and Scale values from selected objects and places those
transforms in an XForm modifier.
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When the Auto Key button is on, the transform center defaults to local pivot, and the flyout on the
toolbar is unavailable. If you choose one of the other centers and turn on the Auto Key button, the
center returns to the local pivot. This means you cant directly animate with SHIFT+Rotate and SHIFT
+Scale. For example, you can't use this method to create clones in an arc or circular array around a
common center.
Using Non-Local Centers
To use a center separate from the object youre cloning, you can do any of the following:
Use a dummy object.
Offset the local pivot.
Change the default animation center.
Using a Dummy Object as Center
In this procedure, you use the axis tripod of the dummy object as the center for rotation or scale.
To use a dummy object as center:
1. Create a dummy object at the center of rotation or scaling.
2. Link the object you want to clone to the dummy object, which becomes the parent.
3. Select both the dummy and the object, then transform them with SHIFT+Rotate or SHIFT
+Scale.
For SHIFT+Rotate, the dummys center becomes the pivot.
For SHIFT+Scale, the dummy and selected object scale together toward a common center.
For details of dummy object use in hierarchies, see Using Dummies.
Offsetting the Local Pivot
In this procedure, you move the objects pivot to the center of rotation or scale. This works much
like using a dummy object.
To offset the local pivot:
1. On the Hierarchy command panel, choose Pivot and then Affect Pivot Only.
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2. Select and move the local pivot of the original object to another location in your scene.
3. On the Hierarchy panel, deactivate Affect Pivot Only.

SHIFT+Rotate or SHIFT+Scale now animates around the offset center. This works with the
default setting for local center.
Note: Moving the local pivot can adversely affect linking and inverse kinematics. If this is a
possibility, consider changing the default instead of moving the local pivot.
To change the default axis while animating:

In this procedure, you change the default of animating only around the local axis.
1. Choose Customize menu > Preferences and open the Animation panel of the Preference
Settings dialog.
2. Turn off Local Center During Animate.

This changes the default and activates all the transform center buttons. You can now animate
around either the selection or coordinate center, as well as local pivot.
Note: Changing the default animates the rotation you see in viewports as a rotation plus
translation, which might not be the effect you wanted.
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Dummy Helper
Dummy Helper
Create panel > Helpers > Standard > Object Type rollout > Dummy
Create menu > Helpers > Dummy
A Dummy helper object is a wireframe cube with a pivot point at its geometric center. It has a name
but no parameters, you can't modify it, and it doesn't render. Its only real feature is its pivot, used
as a center for transforms. The wireframe acts as a reference for transform effects.
The dummy object is used primarily in hierarchical linkages. For example, you can use a dummy
object as a center of rotation by linking a number of different objects to it. When you rotate the
dummy, all of its linked children rotate with it. A dummy is often used this way to animate linked
motion.
Another common usage of a dummy object is in the animation of target cameras. You can create a
dummy and position a target camera within the dummy object. Then you can link both the camera
and its target to the dummy, and animate the dummy with a path constraint. The target camera will
follow the dummy along the path.
Dummy objects are always created as cubes. You can change the proportions of dummies by using
non-uniform scaling, but avoid this on dummies that are within a hierarchical linkage; this can
introduce unexpected results.
Procedure
To create a dummy object:
Click Dummy and drag a cube to any convenient size.
Interface
Dummy objects don't have any parameter rollouts or settings.
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Using Dummy Objects
Using Dummy Objects

The primary use of dummy helper objects is to assist in creating complex motions and building
complex hierarchies. Because dummies are invisible when rendered, they are an excellent choice for
offset joints, connectors between objects, and handles for complex hierarchies. Dummies and Points
can act as null objects that function as controls for transforming parts of an IK chain.
Using a Dummy to Control Motion
Breaking complex motions into simple components often makes it easier to go back and edit your
animations.
Consider a bouncing ball that moves along a path. You could animate the ball by positioning it on
many frames, but it would be very difficult for you to go back and adjust the height of the bounce or
the path of the ball. You have to edit the motion of the ball on many frames to make even a simple
change.
Using a dummy object solves this problem by breaking the motion into simple components. One
component is the up and down bounce of the ball. The other is movement on the path.
Combining the bouncing motion of a ball with the forward motion of a dummy results in a moving
bouncing ball.
Using a Dummy as a Handle
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Using Dummy Objects
You might want to move and animate a selection of objects individually but also have the ability to
transform them as a single object.
A good example of this is a camera on a tripod. You want to adjust both the camera and its target
individually but also want to move them together as a single unit.
Procedures
To create a complex bounce motion using a dummy object:
1. Start with a sphere, then create a dummy object below the sphere, and link the sphere as a
child of the dummy.
2. Animate the sphere bouncing up and down above the dummy.
3. Animate the dummy moving.

The sphere bounces on top of the dummy object as the dummy moves around the scene. You
can easily change the height and speed of the bounce by changing the sphere animation. You
can change the path through the scene by changing the dummy animation.
To create a camera tripod:
Create a dummy object below a target camera and link the camera and target as children of the
dummy object.
The camera and the target follow the dummy object. You can quickly position the camera by
placing the dummy object and compose your view by adjusting the camera and its target.
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SHIFT+Scale creates a clone of a different size.
Cloning objects while scaling them can produce a variety of nested objects and arrays, depending on
the center you choose.
To clone with SHIFT+Scale:
1. Click a Scale button on the main toolbar.
2. Choose a coordinate system, axis constraint, and transform center.
4. Hold down SHIFT and drag to scale the selection.
5. Use the Clone Options dialog to choose the number of clones you want to make and whether
you want them to be copies, instances, or references.
Effects of Transform Settings
Transform settings determine how 3ds max distributes clones of a selection during SHIFT+Scale. In
all scaling operations, the transform center acts as the center of scaling:
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When clone objects decrease in size, they shrink toward the transform center.
When clone objects increase in size, they expand away from the transform center.
The distance between cloned objects is scaled like the clones themselves, based on the initial
distance from the original to the first clone. The spacing increases or decreases proportionately with
respect to the transform center.
Nested Copies
When the selection center is used as the transform center for a single object, scaling occurs
symmetrically around that center, producing nested copies.
As you scale in toward the center, smaller and smaller copies are created.
In the other direction, the original object is enclosed by increasingly larger copies.
Variations are possible, depending on the type of scale and axis limitations. For example, you can
scale a flat box into a progressively stepped pyramid by using Squash and cloning inward on the Z
axis.
Offset Centers
For SHIFT+Scale, any center other than the local pivot has the effect of creating an array of
progressively scaled objects. Again, objects scale down in size toward the center, while increasing in
size further away. However, this effect is limited by the particular scale option and the axis
constraints, as discussed next.
Axis Constraints
Uniform Scale is unaffected by axis constraints, which you can set with the Transform Gizmo. Copies
are always arrayed in or out from the center of the current coordinate system.
For Non-Uniform Scale and Squash, scaling occurs only along the axis or axes set with the restricted
axes.
Note: With 3ds max, the Restrict To ... buttons (also called the Axis Constraints buttons) are
displayed on the Axis Constraints toolbar, which is off, by default. You can toggle display of this
toolbar by right-clicking any toolbar and choosing Axis Constraints from the Customize Display right-
click menu.
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Using Transforms
Using Transforms
Changing a model by changing its position, rotation, or scale
A transform is an adjustment of an objects position, orientation, or scale, relative to the 3D world

(or world space) in which youre working. You can apply three types of transform to an object:
Position
Rotation
Scale
This section presents these brief topics designed to help you quickly start learning how to transform
objects, and how to animate your transforms:
Applying Transforms
Moving and Rotating Objects
Scaling Objects
Animating Transforms
Transform Managers
Specifying a Reference Coordinate System
Choosing a Transform Center
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Using Transforms
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Applying Transforms
Applying Transforms
To use a transform, you click one of the three transform buttons on the Main toolbar or choose a
transform from the quad menu. You then apply the transform to a selected object using the mouse,
a type-in dialog, or both.
Using the Transform Type-In
The Transform Type-In is a small dialog you can keep on your screen while you work. Its contents
update to match the currently active transform and selected object.
There is also a coordinate display area on the status bar where you can monitor and update objects
position, rotation, and scale values.
Using Type-In with Sub-Object Selection
You can use Transform Type-In with any sub-object selection or gizmo. The transform affects the
axis tripod for the selection.
Absolute and offset world coordinates are those of the object's or selection's coordinate system,
whose origin is indicated by the axis tripod. If multiple vertices are selected, the tripod is at the
center of the selection and its location is given in world coordinates.
Because axis tripods cannot be scaled, Absolute Scale fields are unavailable when you are at a sub-
object level.
See Basics of Creating and Modifying Objects for information on sub-object selection and gizmos.
Procedures
To transform an object using the main toolbar:
1. On the main toolbar, click one of the three transform buttons: Select And
Move, Select And Rotate, or Select And Scale. These buttons are usually referred to as Move,
Rotate, and Scale.
2. Position the mouse over the object you want to transform.
If the object is already selected, the cursor changes to indicate the transform.
If the object is not selected, the cursor changes to a small plus sign to show that the object
can be selected.
3. Drag the mouse to apply the transform.

If you drag the mouse over an unselected object, it becomes selected and is also transformed.
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Applying Transforms
You can use the Transform gizmo to easily restrict transforms to one or two axes. See Using
Transform Gizmos.
To cancel a transform:
Right-click while youre dragging the mouse.
To transform an object from the quad menu:
1. Right-click a selected object. The quad menu lists the three transforms.
2. Choose one of the transforms. The equivalent transform button is selected on the main toolbar.
3. Drag the object to apply the transform.
1. Choose Tools menu > Transform Type-In to display the dialog.
2. Apply a transform to a selected object.
3. You can do any of the following, switching from one to the other as required.
Type a value in an axis field and press ENTER to apply the transform change to the selection.
Drag a spinner in an axis field to update the selection.
Drag the object to apply the transform and read the resulting change in the dialog.
For example, if Move is active, the dialog fields read out both the absolute and offset positions of the
selected object in world space. If no object is selected, the fields turn gray.
To use transform type-in on the status bar:
1. Select an object or a group of objects.
2. On the main toolbar, choose a transform (Move, Rotate, or Scale) to perform on the objects.
3. On the status bar, you can do any of the following, switching from one to another as required:
Type a value in an axis field and press ENTER to apply the transform change to the
selection. The Absolute/Offset toggle, to the right of the X, Y, and Z fields, lets you switch
between entering values that are absolute (in world space) or offset (relative to the
selection's present position, orientation, and dimensions).
Drag a spinner in an axis field to update the selection.
Drag the object to apply the transform and read the resulting change in the X, Y, and Z
fields.
Tip: To see the Z field, drag the transform type-in portion of the toolbar while a pan hand is
visible.

Applying Transforms
Comments


The Create panel provides the controls for creating objects and adjusting their parameters.
To access the Create panel:
1. Click the Create tab in the command panels.

By default, this panel is open when you start the program. If the command panel isn't visible,
choose it from the Customize Display right-click menu.
2. Click an object type to display its Parameters rollout.
The Creation Process
The actual creation of objects is accomplished with a single click of the mouse, a drag, or some
combination, depending on the object type. This is the general sequence:
Choose an object type.
Click or drag in a viewport to create an object of approximate size and location.
Adjust the objects parameters and position, either immediately or later.
See Creating an Object.
Create Panel Interface
Controls in the Create panel vary depending on the kind of object you are creating. However, certain
controls are always present, and others are shared by nearly all object types.
CategoryButtons at the top of the panel access the seven main categories of objects. Geometry is
the default category.
SubcategoryA list lets you select subcategories. For example, subcategories under Geometry
include Standard Primitives, Extended Primitives, Compound Objects, Particle Systems, Patch Grids,
NURBS Surfaces, and Dynamics Objects.
Each subcategory contains one or more object types. If youve installed plug-in components for
additional object types, these might be grouped as a single subcategory.
Object TypeA rollout contains labeled buttons for creating objects in a particular subcategory,
plus the AutoGrid check box.
Name and ColorThe Name shows the automatically assigned name of the object. You can edit
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this name or replace it with another. (Different objects can have the same name, though this is not
recommended.) Clicking the square color swatch brings up an Object Color dialog to change the
color of the object as it appears in viewports (the wireframe color).
Creation MethodThis rollout provides a choice of how you use the mouse to create an object. For
example, you can use either the center (radius) or edge (diameter) to define the size of a Circle
shape.
A default creation method is always selected when you access the tool. If you want to use an
alternate method, choose the option before you create the object. The creation method has no effect
on a finished object; the options are for your convenience during creation.
Keyboard EntryThis rollout lets you enter creation parameters from the keyboard for geometric
primitive and shape objects.
ParametersThis rollout shows creation parameters: the defining values for an object. Some
parameters can be preset, while others are only for adjustment after an object has been created.
Other rolloutsAdditional rollouts can appear on the Create panel, depending on what kind of
object you create.
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Lock UI Layout
Lock UI Layout
Customize menu > Lock UI Layout
When the Lock UI Layout toggle is active, you cannot modify the user interface layout by dragging
interface elements. (You can still use the right-click menu to do so, however.) Use this command to
prevent user interface changes or inadvertent actions, such as floating toolbars, from happening due
to mouse clicks.
Tip: Use this command if you find you are inadvertently selecting and floating UI elements such as
the Command panel.
Procedure
To lock the UI layout:
Choose Lock UI Layout from the Customize menu.

You can no longer move or resize the UI elements. Use this command to prevent user interface
changes or if you find yourself accidentally floating toolbars or the command panels on mouse
clicks.
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Creating an Object
Creating an Object
1. Diameter defined
2. Height defined
3. Sides increased
4. Height segments defined
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Creating an Object
With some variations, the steps shown in the previous image apply to creating any type of object on
the Create panel. For specific examples, see the Procedures section in any object's topic.
To choose an object category:
1. Click the Create tab to view the Create panel.
2. Click one of the buttons at the top of the Create panel. For example, Geometry.
3. Choose the subcategory Standard Primitives from the list.

A number of buttons appear on the Object Type rollout.
To choose an object type:
Click the button for the type of object you want to create.
The button highlights, showing that it is active. Four rollouts appear: Name and Color, Creation
Method, Keyboard Entry, and Parameters.
To choose a creation method (optional):

You can accept the default method and skip this step.
Choose a method in the Creation Method rollout.
To preset the creation parameters (optional):

You can adjust all creation parameters after you create an object. Skip this step if you prefer.
In the Parameters rollout, you can set parameters before you create an object. However, the
values of parameters you set by dragging the mouse (for example, the Radius and Height of a
cylinder) have no effect until after you create the object.
To create the object:
1. Put the cursor at a point in any viewport where you want to place the object, and hold the
mouse button down (do not release the button).
2. Drag the mouse to define the first parameter of the object; for example, the circular base of a
cylinder.
3. Release the mouse button. The first parameter is set with this release.
4. Move up or down without touching the mouse button. This sets the next parameter; for
example, the height of a cylinder.
If you want to cancel: Until you complete the next step, you can cancel the creation process
with a right-click.

Creating an Object
5. Click when the second parameter has the value you want, and so on.
The number of times you press or release the mouse button depends on how many spatial
dimensions are required to define the object. (For some kinds of objects, such as Line and
Bones, the number is open-ended.)
When the object is complete, it is in a selected state and ready for adjustments.
To name the object (optional):
Highlight the default object name in the Name and Color rollout, and then enter a name. This
option is available only when a single object is selected.
Naming objects is a good practice for organizing your scenes. To name a set of selected objects,
see Named Selection Sets.
To change the objects display color (optional):
The color swatch next to the object name field displays the selected object's color and lets you
select a new one. The color is the one used to display the object in viewports. Click the color
swatch to display the Object Color dialog.
To adjust the object's parameters:
You can change the creation parameters immediately after you complete an object, while its still
selected. Or, you can select the object later and adjust its creation parameters on the Modify
panel.
While making adjustments, you can use viewport navigation controls like Zoom, Pan, and Arc Rotate
to change your view of the selected object. You can also adjust the time slider.
To end the creation process:

While the object type button remains active, you can continue creating objects of the same type
until you do one of the following:
Select an object other than the one you created most recently.
Transform an object.
Change to another command panel.
Use commands other than viewport navigation or the time slider.
After you end the creation process, changing parameters on the Create panel will have no effect on
the object; you must go to the Modify panel to adjust the objects parameters. See Using the Modify
Panel.

Creating an Object
Comments


On the Create panel, the categories for Geometry and Shapes supply the "building blocks" to
combine and modify into more sophisticated objects. These parametric objects are ready to use. By
adjusting values and turning some buttons on or off, you can create dozens of "new" building blocks
from the ones listed here.
You can choose these types from the sub-categories list on the Create panel.
Geometry Types
Standard PrimitivesRelatively simple 3D objects such as Box, Sphere, and Cylinder, as well as
Torus, Plane, Cone, GeoSphere, Tube,Teapot, and Pyramid.
Extended PrimitivesMore complex 3D objects such as a Capsule, OilTank, Spindle, Hedra, Torus
Knot, and Prism.
Compound ObjectsCompound objects include Booleans, Morph, ShapeMerge, BlobMesh, and
Loft. Booleans combine the geometry of two objects using union, intersection, and difference
operations. Morphs are animated objects that change one geometric shape into other shapes over
time. ShapeMerge lets you embed a spline shape into a geometric mesh. Loft uses shapes as cross
sections along a path to produce a 3D object.
Particle SystemsAnimated objects that simulate spray, snow, blizzard, and similar collections of
small objects.
Patch GridsSimple 2D surfaces ready for modeling or repairing existing meshes.
NURBS SurfacesAnalytically generated surfaces especially suited for modeling surfaces with
complicated curves.
Dynamics ObjectsObjects designed for use in dynamics simulations.
Shape Types
SplinesCommon 2D shapes such as a Line, Rectangle, Circle, Ellipse, Arc, Donut, NGon, and Star.
Text shapes support TrueType fonts. Section creates a spline from the cross-section of an object.
Helix is a 3D shape.
NURBS CurvesA Point Curve and CV Curve provide the starting points for complex surfaces. See
Introduction to NURBS Modeling.
Varying the Parameters
Unlike physical building blocks, with fixed shape and size, you can change the parameters of objects
and shapes to dramatically alter topology. Here are some examples of changes you can make:
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Turn a cone into a four-sided pyramid by reducing the number of sides and turning the Smooth
option off.
Slice any circular object as if it were a pie.
Animate almost all creation parameters, and interactively change their settings during animation
playback.
Render splines directly at any assigned width.
Collapsing Primitives to Base Geometry
You can collapse a building-block object to one of a variety of base geometric types once you no
longer need access to its creation parameters. For example, you can convert any standard primitive
to an editable mesh, editable poly, editable patch, or NURBS object, and you can convert a spline
shape to an editable mesh, editable spline, or NURBS object. The easiest way to collapse an object is
to select it, right-click it, and choose a "Convert to" option from the quad menu > Transform
quadrant. This lets you use explicit editing methods with the object, such as transforming vertices.
You can also use the Modify panel to collapse a primitive.
Mapping Coordinates
Most Geometry objects have an option for generating mapping coordinates. Objects need these
mapping coordinates if you plan to apply a mapped material to them. Mapped materials include a
wide range of rendered effects, from 2D bitmaps to reflections and refractions. See Mapping
Coordinates and Using Maps to Enhance a Material. If mapping coordinates have already been
applied to an object, the check box for this feature is turned on.
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Using Maps to Enhance a Material

Maps provide images, patterns, color adjustments, and other effects you can apply to the visual/
optical components of a material. Without maps, material design in 3ds max is limited. Maps give
the Material Editor its full flexibility, and can give you dramatic results.
Spheres with various maps appplied to them (as well as a reflection map applied to the surface
beneath them)
The simplest use of a map is to assign a pattern to a material's Diffuse color. Diffuse mapping is also
known as "texture mapping." It applies an image or pattern to geometry the material is applied to.
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Example of designing a mapped material:
Warning: When you change the shading type of a material, you lose the settings
(including map assignments) for any parameters that the new shader does not support. If
you want to experiment with different shaders for a material with the same general
parameters, copy the material to a different sample slot before you change its shading
type. That way, you can still use the original material if the new shader doesn't give you
the effect you want.

Map Terminology
The term "material map" is sometimes used to describe a map assigned in the material editor. A
material map applies a color or pattern to a surface. This is different from maps used for
displacement mapping with the Displace modifier, environment mapping for backgrounds, or
projection mapping from lights.
The term "texture map" is sometimes used as well. It is interchangeable with "diffuse map"; that is,
with a map that applies colors to geometry, as opposed to a map that create reflections, bumps, and
so on.
In the Material/Map Browser, maps are categorized according to how the map software functions.
The categories are:
2D maps
A bitmap is the prototypical 2D map. 2D maps apply pictures and patterns to the surface of
objects.
3D maps
3D maps are generated procedurally. 3D maps apply patterns throughout an object's geometry.
Compositors
Compositors combine other maps.
Color Modifiers
Color modifiers are usually composited with another map to adjust its color. The Vertex Color map
is a special case that displays the colors you assign to vertices in a mesh.
Other
"Other" maps include maps that simulate reflection or refraction.
The names of individual map types describe the pattern or effect they create, such as Checker map,
Bitmap, Gradient, Flat Reflection, and so on.
Note: In some cases the user interface also uses "map" to describe not the map type, but the visual
component being mapped. For example, a "diffuse map" means a map of any type applied to a
material's diffuse component. This is an ambiguity in the use of "map" that can be a bit confusing
when you first encounter it.
Assigning Maps
For a standard material, you assign maps using the Maps rollout. Click the Map button in line with
the name of the visual component you want to map. The Material/Map Browser is displayed. Select
the map type (for example, Bitmap) from the list of maps, and then click OK. Double-clicking the
map's name in the Browser also assigns the map type.
The Browse From group box in the Browser creates new maps by default. You can also use it to

obtain maps from a library (see Saving A Material), from the current scene, from objects selected in
the scene, or from elsewhere in the material editor.
In the Browser, you can turn on icons of differing sizes to preview maps before you assign them.
A Standard material's Basic Parameters rollout has shortcut buttons for assigning a map to some of
the material's visual components. These small buttons are equivalent to the buttons in the Maps
rollout. Assigning a map to a button in one rollout changes the corresponding button in the other.
Each type of map has its own set of parameters and controls. If the map is a Checker map, for
example, you can choose the colors of the checkers, and whether a checker color has a map of its
own. You can change tiling values to affect the scale of the checkers, adjust noise parameters to
make the checkers irregular, and so on.
Navigating the Material/Map Tree
When you build a material of any complexity, you are building a material/map tree. The root of the
tree is the material itself. The branches are the maps you have assigned to the material's
components. Some maps can themselves contain maps, as in a map applied to one color of a
Checker material, so the tree can be more than two levels deep, and can actually be as deep as you
need it to be.
The Material/Map Navigator is a dialog that displays the tree for the current material. It is very
useful for finding a map and displaying its parameters. Click the map to display its rollouts in the
Material Editor. To copy a map to a different component of the same material, you can also drag the
map's name from the Navigator to a map button in the Material Editor.
The Go Forward To Sibling and Go To Parent buttons also navigate the map tree. Go
Forward To Sibling moves laterally in the map tree, while Go To Parent moves up the tree. (To move
down the tree, click a map button that has a map assigned to it.) Another way to move between
parents and children in the tree is to drop down the material name field and click the name of a map
or material.
Comments

Shading Type
Shading Type
The Standard and Raytrace materials both let you specify a shading type. Shading types are handled
by a "shader," which offers you variations on how the surface responds to light.
Warning: When you change the shading type of a material, you lose the settings
(including map assignments) for any parameters that the new shader does not support. If
you want to experiment with different shaders for a material with the same general
parameters, copy the material to a different sample slot before you change its shading
type. That way, you can still use the original material if the new shader doesn't give you
the effect you want.
Samples of different shading for a standard material

1. Anisotropic
2. Blinn
3. Metal
4. Multi-layer
5. Oren-Nayar-Blinn
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Shading Type
6. Phong
7. Strauss
8. Translucent
Several different shaders are available. Some of these are not available for Raytrace material, as
indicated. Blinn is the most general purpose of these shaders. The others have special purposes,
especially regarding how the material creates highlights.
Anisotropic
Creates surfaces with noncircular, "anisotropic" highlights; good for modeling hair, glass, or
metal.
Blinn
Creates smooth surfaces with some shininess; a general-purpose shader.
Metal
Creates a lustrous metallic effect.
Multi-Layer
Creates more complex highlights than Anisotropic by layering two anisotropic highlights.
Not available for Raytrace material.
Oren-Nayar-Blinn
Creates good matte surfaces such as fabric or terra-cotta; similar to Blinn.
Phong
Creates smooth surfaces with some shininess; similar to Blinn, but doesn't handle highlights
(especially glancing highlights) as well.
Strauss
Creates both nonmetallic and metallic surfaces; has a simple set of controls.
Translucent
Translucent shading is similar to Blinn shading, but it also lets you specify translucency, where
light is scattered as it passes through the material. You can use translucency to simulate frosted
and etched glass.
Comments
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The modifier stack and its editing dialog are the keys to managing all aspects of modification. You
use these tools to:
Find a particular modifier and adjust its parameters.
View and manipulate the sequence of modifiers.
Copy, cut, and paste modifiers between objects, or sets of objects.
Deactivate the effect of a modifier in the stack, the viewport display, or both.
Select a modifiers components, such as gizmo or center.
Delete modifiers.
See also
Editing the Stack

Examining the Modifier Stack
The modifier stack (or "stack" for short) is a list on the Modify panel. It contains the accumulated
history of a selected object and any modifiers you have applied to it.
Internally, the software "evaluates" an object beginning at the bottom of the stack and applies
changes to the object by moving sequentially to the top of the stack. You should therefore "read" the
stack from bottom up to follow the sequence used by the software in displaying or rendering the
final object.
Here is an example of stack entries for a capsule object (an extended primitive):
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At the bottom of the stack, the first entry always lists the object type (in this case, Capsule). You
click this entry to display the objects creation parameters so you can adjust them. If you havent
applied any modifiers yet, this is the only entry in the stack.
Object-space modifiers appear above the object type. You click a modifier entry to display the
modifiers parameters so you can adjust them, or to delete the modifier.
Modifiers are preceded by a plus or minus icon if they have sub-object (or sub-modifier)
levels. See Using the Stack at Sub-Object Level.
At the top of the stack are world-space modifiers and space warps bound to the object. (In the
illustration, Displace Mesh is a world-space modifier.) These always appear at the top, and are
described as "bindings."
Basics of Using the Stack
With the stack feature, no modification has to be permanent. By clicking an entry in the stack, you
can go back to the point where you made that modification. You can then rework your decisions,
temporarily turn off the modifier, or discard the modifier entirely by deleting it. You can also insert a
new modifier in the stack at that point. The changes you make ripple upward through the stack,
changing the current state of the object.
Adding Multiple Modifiers
You can apply any number of modifiers to an object, including repeated applications of the same
modifier. As you start applying object modifiers to an object, the modifiers "stack up" in the order
theyre applied. The first modifier appears just above the object type at the bottom of the stack.
The program inserts a new modifier in the stack just above the current selection, but always in
the proper location. If you try to insert a world-space modifier between two object-space
modifiers, the program automatically places it at the top of the stack.

If you select the object type on the stack and apply a new object-space modifier, it appears just
above the object type and becomes the first modifier evaluated.
Effect of Stack Sequence
The software applies modifiers in their stack order (beginning at the bottom and carrying the
cumulative change upward), so a modifier's location in the stack can be critical.
The following figure shows the difference between the objects based entirely on a reversal in the
stack order of two modifiers. On the left-hand tube, a Taper modifier is applied before a Bend
modifier, and on the right-hand tube, the Bend is applied first.
Results of reversing stack order of two modifiers
Using the Buttons
The Modifier Stack rollout has the following buttons to help you manage the stack:
Pin StackLocks the stack and all Modify panel controls to the selected objects stack. You can
continue to edit the object even if you select a different object in the viewports.
Show End ResultWhen on, shows the effect of the entire stack on the selected object. When
off, shows the effect of the stack only up to the currently highlighted modifier.
Make UniqueMakes an instanced object unique, or an instanced modifier unique to a

selected object. See details in Editing the Stack. This option is also available from the right-click
menu.
Remove ModifierDeletes the current modifier from the stack, eliminating all changes caused
by that modifier.
Configure Modifier SetsClick to display a pop-up menu that lets you configure how to
display and choose modifiers on the Modify panel.

Comments


With editable objects such as meshes and splines, or modifiers with sub-object levels such as Mesh
Select and Spline Select, you can continue to model a single sub-object selection by applying any
number of other modifiers. When you go back and change the original selection, the new selection is
"passed up the stack" to the modifiers that follow.
Editable meshes and splines have "built-in" sub-object selection at their base level. But the
selections you make with Mesh Select and Spline Select work exactly the same way on the stack.
This topic uses meshes for its examples. You can apply the same concepts to editable splines,
patches, and poly objects.
Working at Two Levels
When you select an object and apply modifiers (for example, Bend and Taper), youre working with
the object as a single unit, or "whole object", at the object level.
When you make a sub-object selection, the stack display changes to show you are no longer working
with the whole object. Consider the effect of a Mesh Select applied between Bend and Taper
modifiers (Bend is below Taper). To the right of the Mesh Select and Taper modifiers, a sub-object
icon (similar to the sub-object button in the Selection rollout) appears to show that sub-object
selection is now in effect.
The vertex sub-object selection made at the Mesh Select level is passed up the stack to the Taper
modifier. This means the Taper modifier is applied only to the vertices selected at the Mesh Select
level.
Sub-object icon (in this case, for Vertex) to the right of modifier names in the stack display
Sub-object selection carries upward through the stack. If you add more modifiers, each shows the
sub-object icon to indicate this state.
By learning to "read the stack," you can move back and forth between the object and sub-object
levels while you work on an object.
Returning to Whole-Object Level
When you finish modeling a certain sub-object selection, you can return to work on the whole object.
To return the stack to object level:
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1. At any point in the stack, apply another Mesh Select modifier.
2. Leave this Mesh Select modifier at the top level (the object level, which highlights in gray). Any
modifiers already on the stack above this modifier no longer show the sub-object icon. Any
modifiers you add above the second Mesh Select now apply to the whole object.
3. To continue sending the sub-object selection up the stack, delete the second Mesh Select.
Naming Sub-Object Selections
Sub-object selections are often quite complex, involving a great many small elements that would be
difficult to select a second time. For this reason, its a good idea to name important selection sets
using the Named Selection Sets list on the Main toolbar.
Named sub-object selections only appear at the type of level where they were first named. For
example, if you select a set of vertices, you can name the selection at that vertex sub-object level.
Then, when you later go to retrieve the named selection, you can access it only from the same
modifier's vertex sub-object level.
Copying Sub-Object Selections
Once you name a sub-object selection set, you can copy it between modifiers in the same stack, or
to the stack of another object of the same type. Editable meshes and Mesh Select (and their spline ,
patch, and poly counterparts) have buttons for Copy and Paste at each level of geometry, in the
Modify panel > Selection rollout.
To copy/paste named sub-object selections:
1. Make a sub-object selection.
2. In the Selection rollout, click Copy. From the dialog, choose any available named selection set
for that level of geometry.
3. Go to another Select modifier or to an editable mesh or poly, at the same level of geometry.
Click Paste to complete the copy.
Comments
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You can apply modifiers to multiple objects. In general, the process is parallel to modifying a single
object. You make a selection set and apply an available modifier. The modifier then appears on a
special stack that refers only to the commonality of that selection set.
Top: Original objects

Bottom: Single modifier applied to objects
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Original objects
Single modifier applied to all objects

Single modifier applied with Use Pivot Points turned on
The Principle of Commonality
When you select multiple objects, 3ds max determines what the particular selected set of geometry
has in common, if anything.
Given any "commonality" among objects, 3ds max presents the options as available modifiers.
Unavailable modifiers represent areas where commonality does not hold.
You can apply modifiers to different categories of objects, depending on the modifier. For example,
you might apply a Bend to both a 3D object and a 2D shape. You can apply Mesh Select to a spline
primitive and convert it to a mesh, but the reverse is not true: Spline Select is restricted to objects
of the spline category.
To modify multiple objects:

For selection sets, the name at the top of the Modify panel changes to read "Multiple Selected."
If the objects are grouped, the group name appears.
2. Choose the kind of pivot point you want to use. See Using Pivot Points, (below).
3. Apply a modifier and adjust its parameters.

If you apply a Mesh Select modifier, you can select geometry on one or more of the objects to
use as a sub-object selection set.

Using Pivot Points
The first item in the Modifier List is a toggle called Use Pivot Points. This toggle is unavailable unless
multiple objects are selected.
When turned on, the program uses the pivot point of each object as the center of a modifiers
operation. If you bend a line of trees around the Z axis, they all bend along their trunks.
When turned off, the program calculates a central pivot point for the entire selection set, and
modifies the selection as a whole. For a Z-axis bend, trees at the end of a line would deform more
than those at the center where the pivot is located.
Tip: Choose the pivot setting before you apply the modifier. You cant change the pivot point
afterward, although you can delete the modifier and start over without deselecting the selection
set.
Instanced Modifiers
When you apply a modifier to multiple objects, each object receives an identical version of the
modifier. These are called instanced modifiers. They are interchangeable. A change to any one of the
instances affects all the other instances. How Instanced Modifiers Work covers instanced modifiers in
detail.
Tip: Sometimes you might apply modifiers to a selection set, perform some other operations, and
select the set again, only to find its modifier stack is empty. This happens if you applied another
modifier to an individual object in the original selection set. When you select the set again, the
modifier stack is empty because all members of the set no longer have all modifiers in common. You
can still access the instanced modifiers by selecting a single object in the set. The individual objects
stacks still contain the modifiers you applied to the set as a whole.
Comments


Once you have defined an object, 3ds max evaluates changes affecting the base object and displays
the result in the scene. What these changes are, and the order in which they are evaluated, is called
the object data flow.
Diagram of data flow
Master Object
Master object refers to an object defined by a set of creation parameters and the original position
and orientation of its pivot point. You never see the master object. What you see in the viewport is
always the result of at least the following data flow:
Master Object
-> Object Transforms
-> Object Properties
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Object creation parameters in the Create panel and Track View

An example of master objects with different creation parameters.
The object-space modifiers are the next group evaluated in the data flow. Each modifier is evaluated
in the order it was placed on the modifier stack. The modifications all occur in the objects object
space and the result is called the modified object.

Object modifiers in the Modify panel and Track View

The effect of modifiers on a master object.
Object Transforms
Once the modified object has been evaluated, it is transformed within the world coordinate system.
Transforms cover the position, rotation, and scale changes applied from the transform buttons on
the toolbar.
The method of evaluating all modifiers first and then evaluating the combined transforms has
ramifications for the way you work with 3ds max. The effect of transforms is independent of the
order in which they are applied. The order in which you apply modifiers, on the other hand, does
affect the resulting geometry. If you want to apply a transform that is evaluated in a specific order in
the modifier stack, use the XForm modifier.

Transforming a modified object.
Space Warps
Space warps are evaluated after transforms. They distort objects bound to the space warp based on
the position of the object in world space. For example, a Wave space warp causes the surface of an
object to undulate in the form of a wave. As the object or the space warp moves through world
space, the waves move across the objects surface.
Like space warps, world-space modifiers are evaluated after transforms. A world-space modifier is
like a space warp bound to a single object.
Object Properties
Object properties are the last to be evaluated before the object is displayed. These are values
specific to an object such as its name or settings you specify on the Object Properties dialog, such as
shadow-casting properties; and materials you have applied to the object.
This is the end of the data flow, and the result is the named object you see in your scene.

Right-click an object and choose Properties to display its Object Properties dialog.

Object Properties affect the look of an object's rendered output.
Comments

Object-space modifiers directly affect an object's geometry in local object space.
When you apply an object-space modifier, it appears directly above the object with other object-
space modifiers in the modifier stack. The order in which the modifiers appear in the stack can affect
the resulting geometry.
For a list of object-space modifiers, see List of Available Modifiers.
Comments
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Wave Space Warp
Wave Space Warp
Create panel > Space Warps > Geometric/Deformable > Object Type rollout > Wave
The Wave space warp creates a linear wave through world space. It affects geometry and behaves
the same as the Wave modifier. Use the Wave space warp when you want the wave to affect a large
number of objects, or to affect an object relative to its position in world space.
Using a wave to deform a box
See also
Ripple Space Warp
Procedure
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Wave Space Warp
To create a Wave space warp:
list, then on the Object Type rollout, click Wave.
2. Drag in a viewport to define the initial size of the wave object icon.
The icon is displayed as a flat mesh wireframe.
3. Release the mouse button to set the icon size; then move the mouse to define the initial
amplitude of the wave.
4. Click to set the wave amplitude.
Interface
The initial amplitude sets both Amplitude 1 and Amplitude 2. Set these parameters to unequal values
to create a cross wave.
Wave group
These options control the wave effect.

Amplitude 1Sets wave amplitude along the wave warp object's local X axis.
Amplitude 2Sets wave amplitude along the wave warp object's local Y axis.
Amplitude is expressed in units. The wave is a sine wave along its Y axis and parabolic along its X
axis. Another way to think of the difference between the amplitudes is that Amplitude 1 is at the

Wave Space Warp
center of the wave gizmo and Amplitude 2 is at the edge of the gizmo.
Wave LengthSets the length of each wave along the wave's local Y axis, in active units.
PhaseOffsets the phase of the wave from its origin at the wave object's center. Whole values have
no effect; only fractional values do. Animating this parameter makes the wave appear to travel
through space.
DecayWhen set to 0.0, the wave has the same amplitude or amplitudes throughout world space.
Increasing the Decay value causes amplitude to diminish as distance increases from the position of
the wave warp object. Default=0.0.
Display group
These options control the geometry of the Wave warp gizmo. In some cases, such as when the two
Amplitude values differ, they change the effect of the wave.
SidesSets the number of side segments along the wave object's local X dimension.
SegmentsSets the number of segments along the wave object's local Y dimension.
DivisionsAdjusts the size of the wave icon without altering the wave effect as scaling would.
Flexibility parameter (Modify panel)
The Wave space warp also has a Flexibility parameter that you can adjust individually in each bound
object's stack, at the Wave Binding level. The parameter belongs to each binding; it doesn't appear
with the Wave warp parameters.
FlexibilityMakes the bound object more or less responsive to the wave by multiplying the
amplitude by this value.

Wave Space Warp
Comments

Wave Modifier
Wave Modifier
Modify panel > Make a selection. > Modifier List > Object-Space Modifiers > Wave
Make a selection. > Modifiers menu > Parametric Deformers > Wave
The Wave modifier produces a wave effect in an object's geometry. You can use either of two waves,
or combine them. Wave uses a standard gizmo and center, which you can transform to increase the
possible wave effects.
The Wave space warp has similar features, and is useful for applying effects to a large number of
objects.
An object with the Wave modifier applied. Amplitude 1 and 2 can be changed, creating different
profiles.
See also
Ripple Modifier
Procedures
To wave an object:
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Wave Modifier
1. Select an object and apply the Wave modifier.

Tip: To see the effect clearly, apply Wave to a broad, flat object that has many segments.
2. Set one or both values for amplitude, or the vertical height of the wave in current units.
Amplitude 1 produces a sine wave from one edge to the other, while Amplitude 2 creates a
wave between the opposite edges. Switching a value from positive to negative reverses the
position of peaks and troughs.
3. Set the length of the wave and the distance in current units between crests of both waves.
The greater the length, the smoother and more shallow the wave for a given amplitude.
To add a phase effect:
Set a phase value to shift the wave pattern over the object. Positive numbers move the pattern in
one direction, while negative numbers move them in the other. This effect is especially clear when
animated.
Phase effect on a wave
To add a decay effect:
Set a decay value to increase or decrease the amplitude.

A decay value decreases the amplitude as the distance from the center increases. As the Decay
value increases, the wave is concentrated at the center and flattens until it disappears
(completely decays).

Wave Modifier
Interface
Modifier Stack
altering the effect of the Wave modifier. Translating the gizmo translates its center an equal
CenterAt this sub-object level, you can translate and animate the center, altering the Wave
gizmo's shape, and thus the shape of the wavy object.
Parameters rollout
Amplitude 1/Amplitude 2Amplitude 1 produces a sine wave along the gizmo's Y axis, while
Amplitude 2 creates a wave along the X axis (although peaks and troughs appear in the same
direction with both). Switching a value from positive to negative reverses the positions of peaks and
troughs.
Wave LengthSpecifies the distance in current units between the crests of both waves.
PhaseShifts the wave pattern over the object. Positive numbers move the pattern in one direction,
while negative numbers move it in the other. This effect is especially clear when animated.
DecayLimits the effect of the wave generated from its origin. A decay value decreases the
amplitude at increasing distance from the center. As this value increases, the wave is concentrated
at the center and flattened until it disappears (completely decays).

Wave Modifier
Comments

Ripple Modifier
Ripple Modifier
Modify panel > Make a selection. > Modifier List > Object-Space Modifiers > Ripple
Make a selection. > Modifiers menu > Parametric Deformers > Ripple
The Ripple modifier lets you produce a concentric rippling effect in an object's geometry. You can set
either of two ripples or a combination of both. Ripple uses a standard gizmo and center, which you
can transform to increase the possible ripple effects.
The Ripple space warp has similar features. It is useful for applying effects to a large number of
objects.
An object with the Ripple modifier applied.

Top (from left to right): Amplitude 1 only, Amplitude 2 only and both amplitudes.
Bottom: Both amplitudes with the Decay effect.
See also
Wave Modifier
Procedure
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Ripple Modifier
Example: To use the Ripple modifier:
1. Start with an empty scene, and add a Plane object in the Perspective viewport. Set Length and
Width both to 100.0, and set Length Segs and Width Segs both to 10.
The Plane object is useful as the basis for the surface of a body of water in which ripples form.
2. Go to the Modify panel, click Modifier List, and, from the Object-Space Modifiers list,
choose Ripple.
This applies the modifier to the Plane object.
3. On the Parameters rollout, set Amplitude 1 to 10.0.

A large ripple forms in the Plane object.
You can change the horizontal scale by adjusting the wave length.
4. Set Wave Length to 20.0. The waves become smaller, but now it's apparent that the Plane
object needs greater geometric resolution to properly display the number of waves.
5. In the modifier stack, click the Plane item, and then set Length Segs and Width Segs both to
30.
The smaller waves become more apparent. The Ripple modifier needs a relatively high number
of subdivisions in the geometry it's applied to in order to work properly.
You can use the Amplitude 2 parameter to add complexity to the wave forms created by Ripple.
6. Return to the Ripple level of the modifier stack, and then click and hold on the Amplitude 2 and
drag downward.
As you drag, a new set of wave forms are combined with the existing ones. The farther you
drag, the more dominant the second set becomes. Using a negative value for Amplitude 2 (or a
positive one if Amplitude 1 is negative) produces more of an interference effect between the
two sets of waves.
You can animate the waves with the Phase control.
7. Drag slowly upward or downward on the Phase spinner.

Increasing the Phase value moves the waves inward, and decreasing it moves the outward. To
animate the waves, create keyframes for the Phase value.
To simulate an object dropping in liquid, use the Decay setting.
8. Drag slowly upward on the Decay spinner.

The farther you drag, the more the wave sizes decrease with the distance from the center of
the effect. This is the effect you get when an object perturbs the water surface, and the waves
lose energy as they move away from the point of impact.

Ripple Modifier
Interface
Modifier Stack
altering the effect of the Ripple modifier. Translating the gizmo translates its center an equal
CenterAt this sub-object level, you can translate and animate the center of the ripple effect, and
thus the shape and positions of the ripples.
Parameters rollout
Amplitude 1/ Amplitude 2Amplitude 1 produces a ripple across the object in one direction, while
Amplitude 2 creates a similar ripple at right angles to the first (that is, rotated 90 degrees about the
vertical axis).
Wave LengthSpecifies the distance between the peaks of the wave. The greater the length, the
smoother and more shallow the ripple for a given amplitude. Default=50.0.
PhaseShifts the ripple pattern over the object. Positive numbers move the pattern inward, while
negative numbers move it outward. This effect becomes especially clear when animated.
DecayLimits the effect of the wave generated from its center.
The default value of 0.0 means that the wave will generate infinitely from its center. Increasing the
Decay value causes the wave amplitudes to decrease with distance from the center, thus limiting the
distance over which the waves are generated.

Ripple Modifier
Comments

Ripple Space Warp
Ripple Space Warp
Create panel > Space Warps > Geometric/Deformable > Object Type rollout > Ripple
Using a ripple to deform a surface
The Ripple space warp creates a concentric ripple through world space. It affects geometry and
behaves the same as the Ripple modifier. Use the Ripple space warp when you want the ripple to
affect a large number of objects, or to affect an object relative to its position in world space.
See also
Wave Space Warp
Procedure
To create a Ripple space warp:
list, then on the Object Type rollout, click Ripple.
2. Drag in a viewport to define the initial size of the ripple object icon.
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Ripple Space Warp
The icon is displayed as a wireframe spider web.
3. Release the mouse button to set the icon size, and then move the mouse to define the initial
amplitude of the ripple wave.
4. Click to set the wave amplitude.
Interface
The amplitude value set by dragging applies equally in all directions. The ripple's Amplitude 1 and
Amplitude 2 parameters are initially equal. Set these parameters to unequal values to create a ripple
whose amplitude varies relative to the local X and Y axes of the space warp.
Ripple group
Amplitude 1Sets ripple amplitude along the ripple warp object's local X axis. Amplitude is
expressed in active units.
Amplitude 2Sets ripple amplitude along the ripple warp object's local Y axis. Amplitude is
expressed in active units.
Wave LengthSets the length of each wave, in active units.
PhaseOffsets the phase of the wave from its origin at the ripple object's center. Whole values
have no effect; only fractional values do. Animating this parameter makes the ripple appear to travel
through space.
DecayWhen set to 0.0, the ripple has the same amplitude or amplitudes throughout world space.
Increasing the Decay value causes amplitude to diminish as distance increases from the position of

Ripple Space Warp
the ripple warp object. Default=0.0.
Display group
The options control display of the Ripple warp object's icon. They don't change the effect of the
ripple.
CirclesSets the number of circles in the ripple icon.
SegmentsSets the number of segments (pie slices) in the ripple icon.
DivisionsAdjusts the size of the ripple icon without altering the ripple effect as scaling would.
Flexibility parameter (Modify panel)
The Ripple space warp also has a Flexibility parameter that you can adjust individually in each bound
object's stack, at the Ripple Binding level. The parameter belongs to each binding; it doesn't appear
with the Ripple warp parameters.
FlexibilityMakes the bound object more or less responsive to the wave by multiplying the
amplitude by this value.
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World-space modifiers act as object-specific space warps. They are carried with the object, but like
space warps use world space rather than object space for their effects. World-space modifiers
eliminate the need for binding to a separate space-warp gizmo, making them convenient for
modifying a single object or selection set.
You apply world-space modifier like you apply standard object-space modifier. You can access world-
space modifiers from the Modifiers menu, the Modifier List in the Modify panel, and applicable
modifier sets. A world-space modifier is indicated by either an asterisk or the letters WSM next to
its name. (The asterisk or WSM distinguish the world-space version from the object-space version
of the same modifier, if one exists.)
When you assign a world-space modifier to an object, it appears at the top of the modifier stack,
listed as a binding, in the same area as the space warp bindings.
For a list of world-space modifiers, see List of Available Modifiers.
World-Space Modifiers and Earlier Space Warps
3ds max 1 provided PathDeform and MapScaler space warps. In subsequent versions, these were
replaced by comparable world-space modifiers. When you open a v1 MAX file in a later version of
3ds max, objects bound to the v1 space warps are automatically assigned the corresponding world-
space modifiers.
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Modifier Sets Menu
Modifier Sets Menu
Modify panel > Configure Modifier Sets button
The button sets menu gives you options for managing and customizing shortcut buttons for applying
modifiers.
Procedures
To display the current button set on the Modify panel:
Click Configure Modifier Sets, and then choose Show Buttons to turn on this item.
This item is a toggle. Choosing Show Buttons a second time turns off the button display, and so
on.
To configure a new modifier set:
Click Configure Modifier Sets, and then choose Configure Modifier Sets.
To change from one button set to another:
Click Configure Modifier Sets, and then choose the modifier set name from the lower part of the
menu.
Interface
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Modifier Sets Menu
Configure Modifier SetsDisplays the Configure Modifier Sets dialog to let you create a new,
customized button set.
Show ButtonsWhen on, buttons for the current modifier set are displayed between the modifier
list and the stack display. Default=off.
Show All Sets in ListWhen on, the Modifier List is organized by sets. When off, the Modifier List
is organized simply into World-Space Modifiers and Object-Space Modifiers, and is otherwise
alphabetical except that the current set appears at the top of the list. Default=off.
Saved button setsThe bottom part of the Button Sets menu lists the names of saved button sets.
Choose one of these sets to make it the current button set. The current set is displayed as buttons
when Show Buttons is on. The Modifier List drop-down is organized by sets when Show All Sets In
List is on.
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Configure Modifier Sets Dialog
Modify panel > Configure Modifier Sets button > Configure Modifier Sets
This dialog lets you create custom modifier and button sets for the Modify panel.
Procedures
To choose a modifier and button set to edit:
Choose a button set from the Sets drop-down list.
To create a new modifier and button set:
1. Create a custom button set in the Modifiers group box. You use these controls:
Use Total Buttons to change the number of buttons.
Drag a modifier from the Modifiers list to a button.
Highlight a button, and then double-click a modifier in the Modifiers list. (When you assign a
button by double-clicking, the highlight moves to the next button in the Modifiers group.)
2. Enter the new set's name in the Sets edit field.
3. Click Save.
4. Click OK to leave the Configure Modifier Sets dialog.
To customize the current modifier and button set:
1. Use Total Buttons to choose the number of buttons in the set.
2. Assign buttons by dragging the names of modifiers in the dialog's Modifiers list to buttons in
the Modifiers group box.
3. Click OK.
3ds max updates the Modifiers list. You can customize the set without saving it, but if you
save a new set under a new name, you can use it later.
Interface
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ModifiersLists all modifiers currently available. It's organized into these categories: Channel Info,
MAX EDIT, MAX STANDARD, Deformations, MAX SURFACE, Surface Tools, Modifiers, Discreet
Radiosity, LIGHT, MAX ADDITIONAL, Shell, SPLINE EDITS, and WORLD SPACE MODIFIERS. To add a
modifier to the current button set, drag the modifier's name from this list onto a button in the
Modifiers group box.
SetsThis edit field and drop-down list lets you choose the modifier set to edit. To create a new
button set, enter the name in the edit field, and then click Save.
SaveSaves the current button set.
DeleteDeletes the current button set.
Important: You can't undo deleting a button set.
Total ButtonsSets the number of buttons in the button set. A button set can have up to 32
buttons.
Modifiers group
Previews how the button set will appear on the Modify panel. Because the box shows only 16 buttons

at a time, a scroll bar on the right lets you see any remaining buttons.
To change a button, drag the name of a modifier from the Modifiers list to a button in this group
box, or click the button (its border highlights) and then double-click the modifier name.
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Moving translates, or repositions, an object in the 3D world. Rotation changes the orientation of an
object.
To move an object:
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Click Select And Move on the toolbar. The button highlights. You can now select objects,
move previously selected objects, or both select and move objects in a single mouse action.
The direction of the movement is determined both by your mouse and by the current Transform
Coordinate System. In addition, the Axis Constraint buttons limit movement along one or two axes.
See later topics in this section for details.
To rotate an object:

Click Select And Rotate on the toolbar. The button highlights. You can now select objects,
rotate previously selected objects, or both select and rotate objects in a single mouse action.
The axis about which the rotation takes place is determined by the Axis Constraint setting, which can
be selected with the transform gizmo, or can be locked on the Axis Constraints toolbar. The center of
rotation is determined by the Transform Center setting. See later topics in this section for details.
See also
Move Gizmo
Rotate Gizmo
Scale Gizmo
Failure to Move or Rotate
In some cases, an object might fail to move or rotate, even when the proper button is on and the
object is selected. This could be due to one of the following reasons:
The object is frozen. See Selecting Objects.
A transform controller has been assigned to the object. See Animation Controllers.
Inverse Kinematics mode is on and the preference called Always Transform Children of the World

is off. See Introduction to Inverse Kinematics (IK).
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Selecting Objects
Selecting Objects
Most actions in 3ds max are performed on selected objects in your scene. You must select an object
in a viewport before you can apply a command. As a result, the act of selection is an essential part
of the process.
This section presents the selection tools available in 3ds max. Besides the basic techniques of
selecting single and multiple objects using mouse and keyboard, these topics cover the use of
named selection sets and other features that help you manage object selection, such as hiding and
freezing objects. Also included is an introduction to sub-object selection, essential to working with an
objects underlying geometry.
This section presents the following topics:
Introducing Object Selection
Basics of Selecting Objects
Selecting by Region
Using Select By Name
Selecting with Schematic View
Hiding and Unhiding Objects by Selection
Hiding and Unhiding Objects by Category
Isolate Selection
Using Assemblies
Groups
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3ds max is an object-oriented program. This means that each object in the 3D scene carries
instructions that tell the program what you can do with it. These instructions vary with the type of
object.
Because each object can respond to a different set of commands, you apply commands by first
selecting the object and then selecting the command. This is known as a noun-verb interface,
because you first select the object (the noun) and then select the command (the verb).
Identifying the Selection Interface
In the user interface, selection commands or functions appear in the following areas:
Main toolbar
Edit menu
Quad menu (while objects are selected)
Tools menu
Display panel
Schematic View
The buttons on the main toolbar are the most direct means of selection. The Selection Floater,
available from the Tools menu, is easy to use, while the Edit menu provides more general selection
commands, plus methods of selecting objects by property. Track View and Schematic View let you
select objects from a hierarchical list.
Selecting From the Quad Menu
The quickest way to select an object is from the Transform quadrant of the quad menu, where you
can easily move between the Select, Move, Rotate, and Scale modes.
Selecting by Name
Another quick way to select an object is to use keyboard shortcuts for the Select by Name
command. Press H on the keyboard then select the object by name from the list. This is the most
foolproof way to ensure you select the correct object when you have many overlapping objects in
the scene.
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Toolbar Selection Buttons
Another way to select an object is to click one of these buttons, then click the object.
Select Object
Selection Floater
Select And Move
Select And Rotate
Select And Scale

The main toolbar has several selection-mode buttons. When any of the selection buttons is active,
the program is in a state where you can select objects by clicking them.
Of the selection buttons, you use Select Object or Selection Floater when you want selection only.
The remaining buttons let you both select and transform or manipulate your selection. Use
transforms to move, rotate, and scale your selection. See Moving, Rotating, and Scaling Objects and
Select and Manipulate.
Crossing Versus Window Selection
The Selection toggle, available from the toolbar, switches between Window and Crossing
modes when you select by region. In Window mode, you select only the objects within the selection.
In Crossing mode, you select all objects within the region, plus any objects crossing the boundaries
of the region.
Edit Menu Commands
The Edit menu contains selection commands that operate globally on your objects.
Edit menu selection commands include:
Select All
Select None
Select Invert
Select By Color

Select By Name (Edit Menu) (also a toolbar button)

Region Window (also a toolbar button)
Edit Named Selections
Tools Menu Commands
The Tools menu contains two options for modeless selection dialogs or "floaters." You can place
them anywhere on the screen, or minimize them by right-clicking the title bar and choosing
Minimize.
Selection Floater
Same features as Select By Name. See Selection Floater.
Display Floater
Provides options for hiding and freezing selections as well as some display options. See Display
Floater.
Track/Schematic View Selection
Track View is primarily designed as an animation tool, but you can also use its Hierarchy List window
as an alternative method of selecting objects by name and hierarchy.
Schematic View is specifically designed to let you navigate your scene efficiently, presenting a
hierarchical view and letting you select objects and their properties by name.
Display Panel Selection
The Display panel provides options for hiding and freezing objects. These techniques exclude objects

from other selection methods, and are useful in simplifying complex scenes. Frozen objects are still
visible, but hidden objects are not.
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The column can be moved, rotated, and scaled.
To change an objects position, orientation, or scale, click one of the three transform buttons on the
main toolbar or choose a transform from a shortcut menu. Apply the transform to a selected object
using the mouse, the status bar Coordinate Display fields, a type-in dialog, or any combination of
the above.
These topics describe the basics of using transforms and animating them:
Scaling Objects
Animating Transforms
Transform Managers
Specifying a Reference Coordinate System
Choosing a Transform Center
Transform Commands
Transform Coordinates and Coordinate Center
Transform Constraints
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Transform Tools
See also

Using SHIFT+Clone
Procedures
To transform an object using the controls on the toolbar:
1. On the toolbar, click one of the three transform buttons: Select And Move,
Select And Rotate, or Select And Scale. These buttons are usually referred to as Move, Rotate,
and Scale.
2. Position the mouse over the object you want to transform.
If the object is already selected, the cursor changes to indicate the transform.
If the object is not selected, the cursor changes to a plus sign to show that the object can be
selected.
3. Drag the mouse to apply the transform.

If you drag the mouse over an unselected object, it becomes selected and is also transformed.
Tip: You can use the Transform gizmo to easily restrict transforms to one or two axes. See
Using the Transform Gizmo.
To cancel a transform:
Right-click while youre dragging the mouse.
To transform a selected object from the quad menu:
1. Right-click the selected object.

The quad menu appears, showing the three transforms on its Transform (lower-right)
quadrant.
2. Choose one of the transforms.

The equivalent transform button is selected on the toolbar.
3. Drag the object or its transform gizmo to apply the transform.

Using Transform Type-In
The Transform Type-In allows you to enter precise transform values to apply to selected objects.
You can access equivalent controls as the Coordinate Display on the status bar, or you can open a
small dialog that remains on your screen while you work. The contents update to match the
currently active transform and object selection.
1. Apply a transform to a selected object.
2. Either use the Coordinate Display type-in fields on the status bar, or choose Tools menu >
Transform Type-In.
The keyboard shortcut for accessing the dialog is F12. You can also open the Transform Type-
In by right-clicking a transform button on the main toolbar.
3. You can do any of the following, switching from one to the other as required:
Type a value in an axis field and press ENTER to apply the transform change to the object in
the viewport.
Drag a spinner in an axis field to update the object in the viewport.
Drag the object to apply the transform and read the resulting change in the dialog.
For example, if Move is active, the dialog fields read out both the absolute and offset
positions of the selected object in world space. If no object is selected, the fields turn gray.
Using Type-In with Sub-Object Selection
You can use the Transform Type-In with any sub-object selection or gizmo. The transform affects
the axis tripod for the selection.
Absolute and offset world coordinates are those of the tripod. If multiple vertices are selected, the
tripod is at the center of the selection and its location is given in world coordinates.
Because axis tripods cannot be scaled, Absolute Scale fields are unavailable when in sub-object
mode.
See Basics of Creating and Modifying Objects for information on sub-object selection and gizmos.
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Scaling Objects
Scaling Objects
Scaling changes the size of an object.
The Scale transform button is a flyout that provides three types of scale. The type of scale visible on
the toolbar is the type that appears in the quad menu, accessed by right-clicking a selected object.
With the new transform gizmo, you don't need to select a scale type for Uniform or Non-Uniform
scaling. You can perform both types by selecting different axes on the transform. For more
information, see Using the Transform Gizmo.
To scale an object:
Set the Select And Scale button to the scale type you want to use, then click it. The button
highlights.
You can now select objects, scale previously selected objects, or both select and scale objects in a
single mouse action.
See also
Scale Gizmo
Uniform Scale
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Scaling Objects
Uniform scale does not change an object's proportions.
Use Uniform Scale to scale the selection equally along all three axes.
The center of the scale is determined by the Transform Center setting. The axis constraint setting
and the Transform Coordinate system have no effect on uniform scaling. See topics later in this
section.
Non-Uniform Scale

Scaling Objects
Non-uniform scale can change proportions by having different values for different axes.
Use Non-Uniform Scale to scale the selection differently along the three axes.
The Axis Constraint setting determines the axis or axes along which the scaling occurs. The
Transform Coordinate system determines the direction of the scaling, and the Transform Center
button determines the center from and to which the scaling takes place.
Squash

Scaling Objects
Squash scales two axes in opposite directions, maintaining the object's original volume.
Use Squash to scale the selection in one direction along one axis and in the opposite direction along
the other axes. Squash gives the appearance of maintaining the volume of the selection.
The Axis Constraint setting specifies the axis of scale, while the remaining axes scale in the opposite
direction. If you use a double-axis constraint, the single remaining axis scales in the opposite
direction.
Notes on Scaling
If you scale an object and later check its base parameters in the Modify panel, you see the
dimensions of the object before it was scaled. The base object exists independently of the scaled
object that is visible in your scene.
You can use a tape measure helper object to measure the current dimensions of an object that has
been scaled or changed by a modifier. See Precision and Drawing Aids.
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3ds max provides tools that give you control over the positioning and alignment of objects in 3D
space. With these tools, you can do the following:
Choose display units from the most common real-world measuring systems or define your own.
Use the home grid as a construction plane, or use grid objects to position custom construction
planes.
Select different options to align objects with grids, points, and normals.
Use 3D object snaps on a modeless dialog as you build and move geometry in your scene. Grid
points and lines are among the many snap options.
Use "helper objects" in your work. Grid objects are in this category, along with objects used for
positioning and measurement.
This section presents these brief topics designed to help you quickly start learning how to use the
tools that make precision possible:
Tools for Precision
Using Units
Using Grids
Using the Home Grid
Using Grid Objects
Aligning Objects
Aligning Normals
Setting Standard Snaps
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Tools for Precision
Tools for Precision

A set of interrelated tools in the program gives you precise control of the scale, placement, and
movement of objects in your scene. These are especially important tools for those who build precise
models in real-world units of measurement.
Basic Tools
The tools for precision are grouped as follows:

UnitsDefine different measurement systems. Besides the generic unit, you have your choice of
feet and inches in both decimals and fractions. Metric units range from millimeters to kilometers. You
can also define other units.
GridsInclude the home grid and special grid objects. Both types of grid can act as construction
planes. The software constructs objects using the orientation and position of the active grid. While
the home grid is fixed in world space, you can rotate grid objects and place them anywhere in a
scene, and align them to other objects and surfaces. You can also give each grid object its own
spacing, and display any grid as a dedicated viewport.
Object alignmentMatches an object with the position, orientation, or normal of another object, or
to a point in space.
Object snapsEnsure precise placement when creating and rearranging objects. Keyboard
shortcuts let you change object snaps as you work. You can also set snaps to find grid lines and
intersections. An angle snap sets the increment for rotation, and a percent snap sets the increment
for scaling.
HelpersProvide useful assistance, as the name implies. These are specialized tools in the same
category as grid objects. A Tape object measures distances in current units, and a Protractor object
measure angles. A Point object marks a particular spot in 3D space.
How the Tools Work Together
The tools themselves establish a general order of use and interaction, although you can always
change settings as needed without following this sequence.
Choose a measuring unit. The default is generic units, sufficient for many purposes.
Set grid spacing (the size of the smallest square), based on the measuring unit. The home grid
and grid objects can have their own spacing, separate from the grid spacing.
Move and align grid objects to a useful orientation.
Set or vary snap settings as needed in your work.
Use other helper objects like Point and Tape as part of the precision process.
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Tools for Precision
As you work, you can change your settings (including the measuring unit) without losing any
precision.
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Using Units
Using Units
Units are the key to connecting the three-dimensional world of 3ds max with the physical world.
You define the units you want to use from the Units Setup dialog.
Changing Display Units
When you change display units, the program displays measurements in the new unit for your
convenience. All dimensions in the program read out in the new unit. Essentially, youre using a new
"measuring stick." No object is changed in this process. As in the physical world, objects in the
software maintain their absolute size, regardless of how you measure them.
Type-In Entry
When you enter any dimension in 3ds max, the program always assumes the number you enter is
expressed in the current units. You can also enter a series of numbers, and the software then
converts the sum into the current unit. Here are some examples that assume the current units are in
centimeters:
When you enter a dimension of 1 (one US foot), the software converts it to 30.48cm.
If you enter a series of numbers like 14 286 175 (separated by spaces), the software totals the
series to 475.0cm.
If you enter 1 1 (one US foot and 1 centimeter), the software converts and combines the two into
31.48cm.
When you use US Standard, you can select either feet or inches as the default for type-in entry. If
you select feet and enter 12, the result is 12 0". However, if you enter 1 2, the software identifies
the second digit as inches, producing 1 2" as the result.
In any unit system, you can enter fractional amounts. Assume youre working in US Standard with
feet as the default:
If you enter 18/3, the result is 60".
You can change units on the fly. If you enter 18/3", the result is 06". Similarly, you can change
the fraction to centimeters. If you enter 18/3cm, the result is 0'2.362".
Understanding the System Unit
3ds max keeps track of all measurements in its own internal system unit. No matter what kind of
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Using Units
units you use, the program maintains measurements in this absolute unit for storage and
computation. This means you can merge a model created with any standard unit into your scene at
true scale. The software converts the model to the units currently active in your scene.
You can change the system unit setting on the System Unit Setup dialog, available from the Units
Setup dialog.
Important: The system unit should only be changed before creating or importing
The default system unit is defined as 1.000 inch. As long as the system unit is left at one inch, you
can freely share models and change units on the fly with no effect on the underlying geometry.
Except in rare circumstances, you never need to change this default scale.
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Using Grids
Using Grids
One grid establishes the pitch of the boat, another the pitch of the ship
Grids are two-dimensional arrays of lines similar to graph paper, except that you can adjust the
spacing and other features of the grid to the needs of your work.
Grids have these primary uses:
As an aid in visualizing space, scale, and distance.
As construction planes where you create and align objects in your scene.
As a reference system for using the Snap feature.
Home Grid and Grid Objects
The program provides two kinds of grids: the home grid and grid objects. Additionally, it includes the
AutoGrid feature, an automated way of creating grid objects.
Home gridThe basic reference system, defined by three planes along the world X, Y and Z axes,
each of which passes through the world coordinate system's origin point (0,0,0). The home grid is
fixed; it cannot be moved or rotated.
The home grid is visible by default when you start 3ds max, but its display can be turned off.
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Using Grids
You can use any view of the home grid as a construction plane by drawing in the viewport in
which the view appears.
See Viewing and Navigating 3D Space for a complete introduction to the home grid.
Grid objectsA type of helper object you can create whenever you need a local reference grid or
construction plane somewhere other than the home grid.
The following are features of grid objects:
You can have any number of grid objects in your scene, but only one can be active at a time.
When active, a grid object replaces the home grid in all viewports.
Each grid object has its own set of XY, YZ, and ZX planes. You can freely move and rotate grid
objects, placing them at any angle in space, or attach them to objects and surfaces.
You can change viewports to display a plan or top view of any active grid object.
Grid objects can be named and saved like other objects, or used once and deleted.
AutoGridThis feature lets you create new objects and grid objects off the surfaces of other objects
on the fly. See AutoGrid.
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Everything you create in 3ds max is located in a three-dimensional world. You have a variety of
options for viewing this enormous stage-like space, from the details of the smallest object to the full
extent of your scene.
Using the view options discussed in this section you move from one view to another, as your work
and imagination require. You can fill your screen with a single, large viewport, or set multiple
viewports to track various aspects of your scene. For exact positioning, flat drawing views are
available, as are 3D perspective and axonometric views.
You navigate 3D space by adjusting the position, rotation and magnification of your views. You have
full control over how objects are rendered and displayed on the screen.
You can also use the Grab Viewport command to create snapshots of your work as you go.
This section presents these brief topics designed to help you quickly start learning how to organize
viewports and navigate through 3D space:
General Viewport Concepts
Home Grid: Views Based on the World Coordinate Axes
Understanding Views
Setting Viewport Layout
Controlling Viewport Rendering
Controlling Display Performance
Using Standard View Navigation
Zooming, Panning, and Rotating Views
Navigating Camera and Light Views
Grab Viewport
For details about viewport commands, see Viewports and Viewport Controls.
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Grab Viewport
Grab Viewport
Tools menu > Grab Viewport
Grab Viewport creates a snapshot of the active viewport in the Rendered Frame Window, where you
can save it as an Image file.
Procedure
To create a snapshot of a viewport:
1. Activate the viewport you want to capture.
2. Choose Tools menu > Grab Viewport.

A dialog appears that allows you to add a label to your snapshot.
3. Enter a label for your snapshot, if desired.

The label appears in the lower-right corner of the image as you enter it into the dialog.
4. Click Grab.
The Rendered Frame Window opens to display a snapshot of your viewport.
5. Use the controls in the Rendered Frame Window to save your image.
Interface
LabelEnter text here to add a label to your screenshot. The text you enter is displayed in the
lower-right corner of your screenshot.
GrabOpens the Rendered Frame Window with a snapshot of the active viewport.
CancelCancels the Grab Viewport command.
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Grab Viewport
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Viewports are openings into the three-dimensional space of your scene, like windows looking into an
enclosed garden or atrium. But viewports are more than passive observation points. While creating a
scene, you can use them as dynamic and flexible tools to understand the 3D relationships among
objects.
At times you might want to look at your scene through a large, undivided viewport, giving you a
"picture-window" view of the world youre creating. More often, you use multiple viewports, each set
to a different orientation.
If you want to move an object horizontally in the world space, you might do this in a top viewport,
looking directly down on the object as you move it. At the same time, you could be watching a
shaded perspective viewport to see when the object youre moving slides behind another. Using the
two windows together, you can get exactly the position and alignment you want.
You also have pan and zoom features available in either view, as well as grid alignment. With a few
mouse clicks or keystrokes, you can reach any level of detail you need for the next step in your
work.
Another way to use viewports is to place a camera in your scene and set a viewport to look through
its lens. When you move the camera, the viewport tracks the change. You can do the same thing
with spotlights.
In addition to geometry, viewports can display other views such as Track View and Schematic View,
which display the structure of the scene and the animation. Viewports can be extended to display
other tools such as the MAXScript Listener and the Asset Browser. For interactive rendering, the
viewport can display the ActiveShade window.
Active Viewport
One viewport, marked with a highlighted border, is always active. The active viewport is where
commands and other actions take effect. Only one viewport can be in the active state at a time.
Other viewports are set for observation only; unless disabled, they simultaneously track actions
taken in the active viewport.
Saving the Active Viewport
You can save the view in any active viewport and later restore it with the Views menu's Save Active
View and Restore Active View commands. One view can be saved for each of the following view
types: Top, Bottom, Left, Right, Front, Back, User, Perspective.
For example, while in the Front view, you choose Save Active Front View, and then zoom and pan
that view. You then activate the Top viewport, choose Save Active Top View, and then click Zoom
Extents. You return to the Front view, and choose Restore Active Front View to return to its original
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zoom and pan. At any time, you can activate the Top viewport, and then choose Restore Active Top
View to restore its saved view.
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Save Active View
Save Active View
Views menu > Save Active View (the name of the active viewport is part of the command)
Save Active View stores the active view to an internal buffer. If you have framed a shot in any view
other than a camera, use Save Active View to preserve the viewports appearance. The saved active
view is saved with the scene file. Once saved, you can retrieve it using Restore Active View.
The viewport that will be restored is displayed in the menu item (for example, "Save Active
Perspective View"). You can save and restore up to eight different views (Top, Bottom, Left, Right,
Front, Back, User, Perspective).
Viewport changes that are saved include viewport type, zoom and rotations, and field-of-view (FOV).
The options available on the viewport right-click menu, such as Show Safe Frame and Viewport
Clipping, are not saved. If these settings are important to the view, make a note of what they are so
you can reset them after restoring the view.
Procedure
To save an active view:
1. Activate the viewport with the view you want to save.
2. Choose Views menu > Save Active View. The view is now saved and can be recalled using
Restore Active View.
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Restore Active View
Restore Active View
Views menu > Restore Active View (the name of the active viewport is part of the command.)
Restore Active View displays the view previously stored with Save Active View.
The viewport to be restored is displayed in the menu item (for example, "Restore Active Perspective
View").
The active view is restored if the same viewport and layout are active.
If an active view wont restore with this command, check the following:
Be sure the viewport is active.
Make sure the layout is the same as before. Use Viewport Configuration (right-click any viewport
label and choose Configure) and choose Layout.
If the layout and active viewport are the same, be sure Viewport Clipping is set the same as it
was when the viewport was saved.
Procedure
To restore a saved view:
1. Activate the viewport where you saved the view.
2. Choose Views menu > Restore Active View. This option is available only in a viewport with a
saved view.
3. The viewport returns to the saved view.

If you're not sure whether a viewport has a saved view, check the Views menu. Restore Active
View is unavailable unless a view is saved in the active viewport.
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The grid you see in each viewport represents one of three planes that intersect at right angles to one
another at a common point called the origin. Intersection occurs along three lines (the world
coordinate axes: X, Y, and Z) familiar from geometry as the basis of the Cartesian coordinate
system.
Home Grid
Using the home grid to position houses
The three planes based on the world coordinate axes are called the home grid; this is the basic
reference system of the 3D world.
To simplify the positioning of objects, only one plane of the home grid is visible in each viewport.
The figure shows all three planes as they would appear if you could see them in a single perspective
viewport.
Axes, Planes, and Views
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Home grid axes and planes
Two axes define each plane of the home grid. In the default Perspective viewport, you are looking
across the XY plane (ground plane), with the X axis running left-to-right, and the Y axis running
front-to-back. The third axis, Z, runs vertically through this plane at the origin.
Home Grid and Grid Objects

Above: Inactive grid object in a scene

Below: Activated grid object
The home grid is aligned with the world coordinate axes. You can turn it on and off for any viewport,
but you cant change its orientation.
For flexibility, the home grid is supplemented by grid objects: independent grids you can place
anywhere, at any angle, aligned with any object or surface. They function as "construction planes"
you can use once and discard or save for reuse. See Precision and Drawing Aids.
AutoGrid
The AutoGrid feature lets you create and activate temporary grid objects on the fly. This lets you
create geometry off the face of any object by first creating the temporary grid, then the object. You
also have the option to make the temporary grids permanent. See AutoGrid.

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Understanding Views
Understanding Views
There are two types of views visible in viewports:
Axonometric views show the scene without perspective. All lines in the model are parallel to one
another. The Top, Front, Left, and User viewports are axonometric views.
Axonometric view of a scene
Perspective views show the scene with lines that converge at the horizon. The Perspective and
Camera viewports are examples of perspective views.
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Understanding Views
Perspective view of the same model
Perspective views most closely resemble human vision, where objects appear to recede into the
distance, creating a sense of depth and space. Axonometric views provide an undistorted view of the
scene for accurate scaling and placement. A common workflow is to use axonometric views to create
the scene, then use a perspective view to render the final output.
Axonometric Views
There are two types of axonometric views you can use in viewports: orthographic and rotated.
An orthographic view is a straight-on view of the scene, such as the view shown in the Top, Front,
and Left viewports. You can set a viewport to a specific orthographic view using the viewport right-
click menu or keyboard shortcuts. For example, to set an active viewport to Left view, press the L
key.
You can also rotate an orthographic view to see the scene from an angle while retaining parallel
projection. This type of view is represented by a User viewport.
Perspective Views
A perspective viewport, labeled Perspective, is one of the startup viewports in 3ds max. You can
change any active viewport to this "eye-like" point of view by pressing the keyboard shortcut P.

Understanding Views
Camera View
Camera view requires that you first create a camera object in your scene. After making a camera,
you can change the active viewport to a camera view by pressing the keyboard shortcut C and then
selecting from a list of cameras in your scene.
A camera viewport tracks the view through the lens of the selected camera. As you move the
camera (or target) in another viewport, you see the scene move accordingly. This is the advantage
of the Camera view over the Perspective view, which can't be animated over time.
If you turn on Orthographic Projection on a cameras Parameters rollout, that camera produces an
axonometric view like a User view. See Cameras.
The viewport on the right is seen through a camera in the scene.
Two and Three-Point Perspective and the Camera Correction Modifier
By default, camera views use three-point perspective, in which vertical lines appear to converge with
height (in traditional photography this is known as keystoning). The Camera Correction modifier
applies two-point perspective to a camera view. In two-point perspective, vertical lines remain
vertical. A similar effect can be attained by putting a Skew modifier on a camera.
Light View
Light view works much like a targeted camera view. You first create a spotlight or directional light
and then set the active viewport to that spotlight. The easiest way is to press the keyboard shortcut
$. See Lights.

Understanding Views
The viewport on the right looks through the lens of a spotlight in the scene.
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Cameras
Cameras
Create panel > Cameras
Create menu > Cameras
Cameras present a scene from a particular point of view. Camera objects simulate still-image,
motion picture, or video cameras in the real world.
With a Camera viewport you can adjust the camera as if you were looking through its lens. Camera
viewports can be useful for editing geometry as well as setting up a scene for rendering. Multiple
cameras can give different views of the same scene.
The Camera Correction modifier lets you correct a camera view to 2-point perspective, in which
vertical lines remain vertical.
If you want to animate the point of view, you can create a camera and animate its position. For
example, you might want to fly over a landscape or walk through a building. You can animate other
camera parameters as well. For example, you can animate the camera's field of view to give the
effect of zooming in on a scene.
The Display panel's Hide By Category rollout has a toggle that lets you turn the display of camera
objects on and off.
A convenient way to control the display of camera objects is to create them on a separate layer. You
can hide them quickly by turning off the layer.
Tip: The Camera Match utility allows you to start with a background photograph and create a camera
object that has the same point of view. This is useful for site-specific scenes.
There are two kinds of camera objects:
Target cameras view the area around a target object. When you create a target camera, you
see a two-part icon representing the camera and its target (a white box). The camera and the
camera target can be animated independently, so target cameras are easier to use when the
camera does not move along a path.
Free cameras view the area in the direction the camera is aimed. When you create a free
camera, you see a singe icon representing the camera and its field of view. The camera icon
appears the same as a target camera icon, but there is no separate target icon to animate. Free
cameras are easier to use when the camera's position is animated along a path.
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Cameras
An example of a camera in a scene.
The result after rendering through the camera.
You can create cameras from the Create menu > Cameras submenu, or by clicking the Cameras
button on the Create panel.
After you have created a camera, you can change viewports to display the camera's point of view.

Cameras
While a camera viewport is active, the navigation buttons change to camera navigation buttons. You
use the Modify panel in conjunction with a camera viewport to change the camera's settings.
While you use the navigation controls for a camera viewport, you can constrain Truck, Pan, and Orbit
movement to be vertical or horizontal only with the SHIFT key.
You can move a selected camera so its view matches that of a Perspective, Spotlight, or another
Camera view.
Choosing a Camera for Vertical Views
If you need an animated camera to look vertically upward or downward, use a free camera. If you
use a target camera you might run into a problem of unexpected movement. The program
constrains a target camera's up-vector (its local positive Y axis) to be as close as possible to the
world positive Z axis. This is no problem when you are working with a static camera. However, if you
animate the camera and put it in a nearly vertical position, either up or down, the program flips the
Camera view to prevent the up-vector from becoming undefined. This creates sudden changes of
view.
Camera Object Icons
Camera objects are visible in viewports unless you choose not to display them. However, the
geometry that appears in the viewport is only an icon meant to show you where the camera is
located and how it is oriented.
Target cameras create a double icon, representing the camera (a blue box intersecting a blue
triangle) and the camera target (a blue box). Free cameras create a single icon, representing the
camera and its field of view.
A free camera has no target. A target camera has a target sub-object.
You cannot shade camera objects. However, you can render their icons using Animation menu >

Cameras
Make Preview and turning on Cameras in the Display In Preview group.

The display of camera object icons is not scaled when you change the scale of the viewport. When
you zoom in on a camera, for example, the icon size does not change.
Scale transforms have the following effects on a camera object:
Uniform Scale has no effect on a target camera, but does change the free camera's Target
Distance setting.
Non-Uniform Scale and Squash change the size and shape of the free camera's FOV cone. You see
the effect in the viewport, but the camera's parameters do not update. Non-Uniform Scale and
Squash will change the size and shape of a target cameras icon, but have no visible effect in the
viewport.
mental ray Camera Shaders
When you use the mental ray renderer, you can apply shaders to the camera used to render the
scene. Specifically, you can assign shaders to modify the camera's lens, its output, or its volume
(effectively making a volume out of the entire scene).
A dimly lit scene

Cameras
The scene's colors desaturated using the Night shader

Lens shader: lume Night shader with Multiplier set to 0.5
You assign camera shaders using the Render Scene dialog's Camera Effects rollout while the mental
ray renderer is active.
Note: No camera output shaders are provided with 3ds max. You might have access to light map
shaders if you have obtained them from other shader libraries or custom shader code.
See also

Characteristics of Cameras
Using Transforms to Aim a Camera
Using Clipping Planes to Exclude Geometry
Using the Horizon to Match Perspective
Animating Cameras
Procedures
To render a scene using a camera:
1. Create the camera and aim it at the geometry you want to be the subject of your scene. To aim
a target camera, drag the target in the direction you want the camera to look. To aim a free

Cameras
camera, rotate and move the camera icon.
2. With one camera selected, or if only one exists in the scene, set a Camera viewport for that
camera by activating the viewport, then press C. If multiple cameras exist and none or more
than one are selected, the software prompts you to choose which camera to use.
You can also change to a Camera viewport by right-clicking the viewport label and then
selecting Views and the camera of choice.
3. Adjust the camera's position, rotation, and parameters using the Camera viewports navigation
controls. Simply activate the viewport, then use the Truck, Orbit, and Dolly Camera buttons.
Alternately you can select the camera components in another viewport and use the move or
rotate icons.
If you do this while the Auto Key button is on, you animate the camera.
4. Render the camera viewport.
To change a viewport to a Camera view:

The Viewport Properties menu is displayed.
2. Choose Views.
The name of each camera is displayed at the top of the Views sub-menu.
3. Choose the name of the camera you want.

The viewport now shows the camera's point of view.
The default keyboard shortcut for camera viewports is C.
Making a camera viewport active does not automatically select the camera. To adjust a camera
by using its viewport and the Modify panel at the same time, select the camera and then make
the Camera viewport active.
As in other viewports, in Camera viewports you can opt to see a display of safe frame areas to help
you compose the final rendered output.
To control the display of camera objects, do one of the following:
Go to the Display panel and in the Hide By Category rollout, turn Cameras on or off.
Choose Views > Hide > Hide By Category, and toggle the menu item Hide Cameras.
Choose Tools menu > Display Floater, and on the Object Level tab turn Cameras on or off.
Cameras appear in viewports if Cameras is off; if Cameras is on, they don't appear.
When camera icons are displayed, the Zoom Extents commands include them in views. When
camera icons are not displayed, the Zoom Extents commands ignore them.

Cameras
To change the display size of camera icons:
Choose Customize > Preferences > Viewports, and set Non-Scaling Object Size (default=1.0 in
current units).
Note: This also changes the size of light icons, helper objects, and other non-scaling objects in the
scene.
To use the Modify panel in conjunction with a Camera viewport:
1. Select the camera in any viewport.
2. Right-click the Camera viewport to activate the viewport without deselecting the camera.
The Camera viewport becomes active, but the camera is still selected in the other viewports.
3. Adjust the camera using its Parameters rollout in the Modify panel and the navigation
buttons.
The Camera viewport updates as the parameters are changed.
To constrain Pan and Orbit to be vertical or horizontal:
Hold down SHIFT as you drag in the viewport.

The initial direction of the drag sets the constraint. If you drag vertically at first, the pan or orbit
is constrained to be vertical; if you drag horizontally at first, the constraint is horizontal.
The Zoom Extents All flyout and the Min/Max toggles remain visible. These controls aren't specific to
camera views. Clicking Zoom Extents All affects other kinds of viewports, but does not affect Camera
viewports.
To see the safe frame:
Right-click the viewport label and choose Show Safe Frame.

The safe frames are displayed in three concentric boxes. The outermost safe frame matches the
render output resolution.
The safe frame matches the render output resolution.

Cameras
Boxes in the viewport indicate safe frames.
To match a camera to a viewport:
1. Select a camera in any viewport.
2. Activate a Perspective, Spotlight, or other Camera viewport.

(If you match a camera to another camera's view, the two cameras occupy the same location in
the scene.)
3. From the Views menu, choose Match Camera To View.

The selected camera (and target) are moved to match the active viewport.
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Camera Viewport Controls
Right-click any viewport label. > Views > Choose a camera.
Keyboard > C
A camera viewport shows the view from the camera, looking at its target (even free cameras).
Camera viewport controls include:

Perspective
Roll Camera
Field of View Button
Truck Camera
Orbit/Pan Camera
Min/Max Toggle
Activate camera or light views from the viewport right-click menu, under Views. If there are more
than ten cameras or lights listed, the last entry in the list is "More Cameras " or "More Lights."
Choose this to display the Choose a View dialog, which shows the complete list.
If you press C to activate a Camera view and you have more than one camera in the scene (and no
camera is selected), choose a camera from the Select Camera dialog that appears.
Note: Switching to or from a camera view clears the Undo/Redo lists.
Procedure
To undo changes to a camera viewport, do one of the following:
Click Undo on the main toolbar.
Press CTRL+Z.
Note: This is different behavior from orthographic viewports, which require the use of Views menu
> Undo, or SHIFT+Z.
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Perspective
Perspective
Activate a Camera viewport. > Viewport navigation controls > Perspective
Adjusting perspective
Perspective performs a combination of FOV and Dolly for target cameras and free cameras. It
increases the amount of perspective flare, while maintaining the composition of the scene.
Note: This button replaces the Zoom All button when a Camera viewport is active.
Tip: Hold down the CTRL key to magnify the effect of the mouse on perspective adjustment.
Tip: A target camera can pass through its target object while you are using Perspective . When this
happens the FOV reaches its maximum angle of 180 degrees at the target location and cursor
motion is reversed until you release the drag.
Tip: A free camera continues moving along an infinite path but uses an implied target position to
control the FOV change rate. This implied target is defined as a point specified by the Target
Distance field in the Parameters rollout for the free camera.
Procedure
To change perspective for a camera:
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Perspective
2. Click Perspective.
The button turns yellow when it is on.
3. Drag to change FOV and dolly simultaneously.
Drag up to move the camera closer to its target, widen the FOV, and increase perspective
flare.
Drag down to move the camera away from its target, narrow the FOV, and decrease
perspective flare.
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Roll Camera
Roll Camera
Activate a Camera viewport. > Viewport navigation controls > Roll Camera
Rolling a camera
Roll Camera rotates a target camera about its line of sight, and rotates a free camera about its local
Z axis.
Procedure
To roll a camera:
2. Click Roll Camera.

3. Drag horizontally to roll the view.
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Roll Camera
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Activate a Camera viewport. > Viewport controls > Field of View
Activate a Perspective viewport. > Viewport controls > Field of View (on Field of View flyout)
Above: Narrow field of view

Below: Wide field of view
Field-of-View (FOV) adjusts the amount of the scene that is visible in a viewport and the amount of
perspective flare. The effect of changing FOV is similar to changing the lens on a camera:
As the FOV gets larger, you see more of your scene and the perspective becomes distorted,
similar to using a wide-angle lens.
As the FOV gets smaller, you see less of your scene and the perspective flattens, similar to using
a telephoto lens.
Although the effect of Field of View appears similar to a zoom, the perspective is actually changing,
resulting in increased or decreased distortion in the viewport.
In a Perspective viewport, Field of View defines the width of your view as an angle with its apex at
your eyepoint and the ends at the sides of the view.
In a Camera viewport, Field-of-View controls the width of the area a camera views, and represents
the arc of the camera's horizon in degrees. For a selected camera, you can adjust its FOV and Lens
parameters directly to fine-tune the FOV you set in the viewport. See To use Field of View with
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Camera parameters in the following procedures.
Procedures
To adjust the field of view in a viewport:
1. Activate a Perspective or Camera viewport.
2. Click Field-of-View.
3. Drag in the viewport to adjust the FOV angle.
Dragging down widens (increases) the FOV angle, reduces lens length, displays more of your
scene, and exaggerates perspective.
Dragging up narrows (decreases) the FOV angle, increases lens length, displays less of your
scene, and flattens perspective.
To enter an FOV value in a Perspective view:
1. Activate a Perspective viewport.
2. Right-click Field-of-View to display the Viewport Configuration dialog.
3. Click the Rendering Method tab.
4. In the Perspective User View group, enter an angle in the FOV field.
5. Click OK to make the change.
To use FOV with Camera parameters:
2. Press H and select the viewports camera in the Select Objects dialog.
3. Open the Modify panel to view the cameras Parameters rollout.
4. As you drag Field-of-View in the viewport, the FOV and Lens parameters update interactively.
5. Set the FOV and Lens parameters directly, or click a button in the Stock Lenses group.
Note: Only the FOV value is saved with the camera. The Lens value (focal length) is another
way to express and select the FOV.
Note: See Common Camera Parameters.
Note: Using the Perspective button in a Camera viewport also changes the FOV in concert with
dollying the camera.

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Truck Camera
Truck Camera
Activate a Camera viewport. > Viewport navigation controls > Truck Camera
Trucking a camera
Truck Camera moves the camera parallel to the view plane.

For a target camera, dragging the mouse moves both the camera and its target parallel to the
Camera view.
This button replaces the Pan button when a Camera viewport is active.
Procedure
To truck a camera:
2. Click Truck Camera.

3. Drag to move the camera and its target.

The camera and its target move parallel to the view plane, which is perpendicular to the
camera's line of sight.
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Truck Camera
To constrain trucking to a single axis:
Hold down the SHIFT key.

The truck is constrained to the first axis you move while the SHIFT key is down.
To accelerate trucking:
Hold down the CTRL key.
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Orbit/Pan Camera
Orbit/Pan Camera
Activate a Camera viewport. > Viewport navigation controls > Orbit Camera
Orbiting a camera
Panning a camera
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Orbit/Pan Camera
Orbit rotates a camera about the target. Pan rotates the target about the camera.
Note: This button replaces the Arc Rotate button when a Camera viewport is active.
You can constrain the rotation to a single axis by first pressing SHIFT before beginning the rotation.
The rotation is constrained to the axis you begin rotating about.
To accelerate panning, hold down the CTRL key before you pan.
Procedures
To pan a camera:
2. Click Pan Camera.

3. Drag to rotate the view about the camera.
a horizontal pan.
vertical pan.
To pan with the middle mouse button:
Hold down the middle mouse button and drag.

Pan mode is automatically switched on.
To orbit a camera:
2. Click Orbit Camera.
3. Drag to rotate the view around the target.
a horizontal orbit.
vertical orbit.

Orbit/Pan Camera
Interface
Orbit CameraRotates a target camera about its target. Free cameras use the invisible target,
set to the target distance specified in the camera Parameters rollout.
Pan CameraRotates the target about a target camera. For a free camera, rotates the camera
about its local axes.
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Select a camera. > Right-click. > Tools 1 (upper-left) quadrant of the quad menu > Apply Camera
Correction Modifier
The Camera Correction modifier applies two-point perspective to a camera view. By default, camera
views use three-point perspective, in which vertical lines appear to converge with height. In two-
point perspective, vertical lines remain vertical.
The amount of correction you need to use depends on how steeply the camera tilts. For example, a
camera that looks up from ground level to the top of a high building will need more correction than a
camera that looks toward the horizon.
Note: This modifier doesnt appear on the Modify panels Modifier List.
Normal camera view (left) and corrected camera view (right)
Procedure
To apply two-point perspective to a camera:
1. Select a camera.
Tip: For best results, set a viewport to this cameras view. The change in perspective appears
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both in the viewport and when you render this view.
2. Apply the Camera Correction modifier.
3. On the 2-Point Perspective Correction rollout, click Guess.

The Camera Correction modifier creates a first-guess Amount value for the two-point
perspective.
4. Adjust the Amount and Direction to get the effect you want.
In the viewports, the cameras field-of-view cone distorts or moves to show the perspective
adjustments.
5. Render the view.
Interface
AmountSets the amount of correction for two-point perspective. Default=0.0.

DirectionBiases the correction. Default=90.0.
Setting Direction greater than 90.0 biases the correction to the left. Setting it less than 90.0 biases
it to the right.
Guess Click to have the Camera Correction modifier set a first-guess Amount value.
Comments
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Free Camera
Free Camera
Create panel > Cameras > Free
Create menu > Cameras > Free Camera
Free cameras view the area in the direction where the camera is aimed. Unlike target cameras,
which have two independent icons for the target and the camera, free cameras are represented by a
single icon, making them easier to animate. Free cameras can be used when the camera's position is
animated along a trajectory, as in a walkthrough of a building or when the camera is attached to a
moving vehicle. The free camera can bank as it travels along the path. If the camera needs to be
directly overhead in a scene, use a free camera to prevent it from spinning.
A free camera can move and be oriented without restrictions.
Initial Direction of a Free Camera
A free cameras initial direction is along the negative Z axis of the active construction grid of the
viewport you click.
In other words, if you click in an orthogonal viewport, the initial camera direction is directly away
from you. Clicking the Top viewport aims the camera downward, clicking the Front viewport aims the
camera at the scene from the front, and so on.
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Free Camera
Clicking in a Perspective, User, Light, or Camera viewport aims the free camera downward, along the
negative Z axis of the World Coordinate System.
Because the camera is created on the active construction plane, where you also create geometry,
you might have to move the camera before you can see objects in its Camera viewport. Check the
cameras position from several viewports to correct.
Procedure
To create a free camera:
1. From the Create menu, choose Cameras > Free Camera, or click Cameras on the Create
panel, then click Free on the Object Type rollout.
2. Click the viewport location where you want the camera to be.
The kind of viewport you click determines the free camera's initial direction.
The camera is now part of the scene.
4. Rotate and move the camera to adjust the point of view.
Interface
See Common Camera Parameters.
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Real-world cameras use lenses to focus the light reflected by a scene onto a focal plane that has a
light-sensitive surface.
Real-world camera measurements.

A: Focal length
B: Field of view (FOV)
Focal Length
The distance between the lens and the light-sensitive surface, whether film or video electronics, is
called the focal length of the lens. Focal length affects how much of the subject appears in the
picture. Lower focal lengths include more of the scene in the picture. Higher focal lengths include
less of the scene but show greater detail of more distant objects.
Focal length is always measured in millimeters. A 50mm lens is a common standard for
photography. A lens with a focal length less than 50mm is called a short or wide-angle lens. A lens
with a focal length longer than 50mm is called a long or telephoto lens.
Field of View (FOV)
The field of view (FOV) controls how much of the scene is visible. The FOV is measured in degrees of
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the horizon. It is directly related to the focal length of the lens. For example, a 50mm lens shows 46
degrees of the horizon. The longer the lens, the narrower the FOV. The shorter the lens, the wider
the FOV.
Relationship Between FOV and Perspective
Short focal lengths (wide FOV) emphasize the distortions of perspective, making objects seem in-
depth, looming toward the viewer.
Long focal lengths (narrow FOV) reduce perspective distortion, making objects appear flattened and
parallel to the viewer.
Upper left: Long focal length, narrow FOV

Lower right: Short focal length, wide FOV
The perspective associated with 50 mm lenses appears normal, partly because it is close to what the
eye sees, and partly because such lenses are so widely used for snapshots, news photos, cinema,
and so on.
Differences Between Camera Objects and Real-World Cameras
Many other controls on real-world cameras (such as those for focusing a lens, and advancing film)
arent needed for computer rendering and have no counterpart in the camera objects.
The program does have counterparts for the camera movements used in movie making, such as
truck, dolly, and pan. See Camera Viewport Controls.

Procedure
To match a real-world camera frame proportion:
1. Choose Rendering > Render.

The Render Scene dialog is displayed.
2. In the Output Size group, click the arrow to display the list of real world output sizes.
3. Select the type you want (both film and video output sizes are available).
4. Right-click the Camera viewport label, and turn on Show Safe Frame.
The Safe Frame proportions will match those of the selected output size.
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You can use transforms to aim a camera and change its orientation in the scene.
Move adjusts the position of the camera object or the position of a target cameras target.
Because the target is displayed as a small square, and because it is often in the same area as
objects that are the subject of the camera, it can be hard to select by clicking. Select the camera
object, right-click, then choose Select Target from the Tools 1 (upper-left) quadrant of the quad
menu. You can also choose Cameras from the Selection Filters list on the toolbar, and then click the
target.
Rotate adjusts the orientation of the camera object. This transform is most useful with free
cameras.
You cant rotate a Target camera about its local X and Y axes, because it is constrained to aim at its
target. Use Move to move the camera or its target.
Also, if you rotate a Target camera to a nearly vertical position, either up or down, the program
must flip the Camera view to prevent the up-vector from becoming undefined. If you need a camera
to look vertically upward or downward, use a Free camera.
In a Camera viewport, you can also use the navigation buttons to adjust the camera interactively.
Some navigation buttons, such as Dolly and Orbit actually move the camera or its target.
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Clipping planes let you exclude some of a scenes geometry and view or render only certain portions
of the scene. Each camera object has a near and a far clipping plane. Objects closer than the near
clipping plane or farther than the far clipping plane are invisible to the camera.
Clipping planes are useful for rendering selected portions of a scene that has a lot of complex
geometry. They can also help you create cutaway views.
Left: Clipping plane excludes the foreground chair and the front of the table.
Right: Clipping plane excludes the background chair and the rear of the table.
Clipping plane settings are part of the cameras parameters. The location of each clipping plane is
measured along the cameras line of sight (its local Z axis) in the current units for the scene.
You can set the near clipping plane close to the camera so that it doesnt exclude any geometry, and
still use the far plane to exclude objects. Similarly, you can set the far clipping plane far enough
from the camera that it doesnt exclude any geometry, and still use the near plane to exclude
objects.
The near value is constrained to be less than the far value.
If the clipping plane intersects an object, it cuts through that object, creating a cutaway view. (How
much of the cutaway object is visible depends on whether the objects material is two-sided or not.)
You can also use clipping planes in non-camera viewports. Simply right-click the viewport label and
choose Viewport Clipping.
Warning: If you use the mental ray renderer, geometry outside the clipping planes might
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still appear in renderings.
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The horizon of a scene is the edge of vision at the height of the camera, parallel with the world
coordinate plane. You can view the horizon in camera viewports.
Horizon line displayed in a camera viewport
A camera is level when it and its target are the same height from the world coordinate plane. In
other words, the cameras local Z axis is parallel to the world plane. When the camera is level, the
horizon line is centered in the viewport. As the camera tilts up, the horizon line lowers; as it tilts
down, the horizon line raises.
The horizon line control is in the cameras Parameters rollout.
The horizon line can help you match the perspective of your scene to the perspective of a still image.
In general, matching perspective involves the following steps:
1. Display the horizon line. Use it to help you adjust the camera and target so they are level.
2. Display the image in the camera viewport. Use Views > Viewport Background and choose Files
in the Background Source group.
If the image's horizon and the camera horizon don't match, you have to offset the image,
perhaps by using a paint program.
3. Use Orbit to move the camera until the perspective of the scene roughly matches that of
the still image.
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4. Adjust the camera's perspective to fine-tune the perspective match.
5. Use Move with the camera or target to position the scene against the background.
If you raise or lower the camera, raise or lower the target by an equal amount, in order to keep
them level and maintain the horizon.
You can also use the Camera Match utility to match the perspective of a camera to a
photograph. You will need accurate scene measurements to do so.
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Animating Cameras
Animating Cameras
You animate a camera by using transforms or changing its creation parameters in different
keyframes while the Set Key/ Auto Key button is on. The program interpolates camera transforms
and parameter values between keyframes, as it does for object geometry.
See Auto Key Animation Mode and Track View for further descriptions of animation. This topic
summarizes some possibilities and suggests some techniques.
In general, its best to use a free camera when the camera is to move within the scene; use a target
camera when camera position is fixed.
Moving a Camera Along a Path
Having a camera follow a path is a common way to create architectural walkthroughs, roller coaster
rides, and so on.
If the camera must bank or tilt close to the vertical (as on a roller coaster), use a free camera.
Assign the Path constraint directly to the camera object. The camera follows the path, and you
can adjust its point of view by adding pans or rotate transforms. This is comparable to filming
with a hand-held camera.
For a target camera, link both the camera and its target to a dummy object, then assign the path
constraint to the dummy object. This is comparable to mounting the camera on a tripod on a
dolly. It is easier to manage than having, for example, separate paths for the camera and its
target.
Following a Moving Object
You can use a Look-At constraint to have the camera automatically follow a moving object.
The Look-At constraint makes the object replace the cameras target.
If the camera is a target camera, its previous target is ignored.
If the camera is a free camera, it effectively becomes a target camera. While the Look-At
constraint assignment is in effect, the free camera cannot rotate around its local X and Y axes,
and cant be aimed vertically because of the up-vector constraint.
An alternative is to link a target cameras target to the object.
Panning
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Animating Cameras
You can animate the pan of any camera very easily by following these steps:
1. Select the camera.
2. Activate the Camera viewport.
3. Turn on the Auto Key button and advance the time slider to any frame.
4. Use the Pan button (in the viewport navigation tools) and pan.
Orbiting
You can animate the orbiting of any camera very easily by following these steps:
1. Select the camera.
2. Activate the Camera viewport.
3. Turn on the Auto Key button and advance the time slider to any frame.
4. Use the Orbit button (in the viewport navigation tools) and orbit.
The target camera revolves around its target; the Free camera revolves around its target
distance.
Zooming
Zooming moves toward or away from the cameras subject matter by changing the focal length of
the lens. It differs from dollying, which physically moves the camera but leaves the focal length
unchanged. You can zoom by animating the value of the cameras FOV parameter.
Creating Animated Cutaway Views
You can animate the creation of a cutaway view by animating the location of the near or far clipping
planes, or both.
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3ds max defaults to a two-over-two arrangement of viewports. Thirteen other layouts are possible,
but the maximum number of viewports on the screen remains four.
Using the Layout panel of the Viewport Configuration dialog, you can pick from the different layouts
and customize the viewports in each. Your viewport configuration is saved with your work.
Resizing the Viewport
After choosing a layout you can resize the viewports so they have different proportions by moving
the splitter bars that separate the viewports. This is only available when multiple viewports are
displayed.
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Resized viewport
Changing the View Type
As you work, you can quickly change the view in any viewport. For example, you can switch from
front view to back view. You can use either of two methods: menu or keyboard shortcut.
Right-click the label of the viewport you want to change and click Views. Then, click the view type
that you want.
Click in the viewport you want to change, and then press one of the keyboard shortcuts in the
following table.
Key View type
T Top view
B Bottom view
F Front view
L Left view
Camera view. If your scene has only one camera, or you select a camera before using this
C keyboard shortcut, that camera supplies the view. If your scene has more than one
camera, and none are selected, a list of cameras appears.
P Perspective view. Retains viewing angle of previous view.
User (axonometric) view. Retains viewing angle of previous view. Allows use of region
U
zoom.
None Right view. Use viewport right-click menu.
Shape view . Use viewport right-click menu. Automatically aligns view to the extents of a
None
selected shape and its local XY axes.

See also
Viewport Layout
Track View
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Viewport Layout
Viewport Layout
Customize menu > Viewport Configuration > Viewport Configuration dialog > Layout tab
Right-click a viewport label. > Configure > Viewport Configuration dialog > Layout tab
You specify the division method of viewports, and assign specific types of views to each viewport on
the Layout panel of the Viewport Configuration dialog.
The layout is saved with the .max file, so you can store different layouts in separate scene files.
Load the file you want, then merge in the contents of other files to maintain the layout.
Tip: Through MAXScript, there are commands to set the current layout to any of the 14 available
setups. You can also activate any viewport and set the view type. This enables you to create macros
and custom user interface buttons to set any layout you choose.
Interface
The Layout panel is arranged in two general areas. At the top are icons representing the possible
division methods. Below these is a screen representation of the currently selected layout. Click an
icon to select the division method, which appears in the larger screen representation.
To assign specific views, click the viewport in the screen representation. Choose a viewport type
from the menu that appears.
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Viewport Layout
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Box display, wireframe display, and smooth shading
You can choose from multiple options to display your scene. You can display objects as simple
boxes, or render them with smooth shading and texture mapping. If you want, you can choose a
different display method for each viewport.
Tip: If you want to display individual objects as wireframe, you can use Wireframe materials. If you
want individual objects to display as boxes, you can select the object and choose Display as Box on
the Display properties rollout on the display panel.
Using Viewport Rendering Controls
Viewport rendering options are found on the Rendering Methods panel of the Viewport Configuration
dialog. Using this panel you choose a rendering level and any options associated with that level. You
can then choose whether to apply those settings to the active viewport or all viewports.
The rendering level you choose is determined by your need for realistic display, accuracy, and speed.
For example, Box Mode display is much faster than Smooth Shading with Highlights. The more
realistic the rendering level, the slower the display speed.
After choosing a rendering level, you can set rendering options. Different options are available for
different rendering levels.
You can also use ActiveShade in a viewport. This feature helps you quickly preview changes you
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make to lighting and materials.

Viewport rendering has no effect on final renderings produced by clicking Render Scene.
Rendering Methods and Display Speed
The rendering methods not only affect the quality of your view display, they can also have a
profound effect on display performance. Using higher quality rendering levels and realistic options
slows display performance.
After setting a rendering method, you can choose additional options that adjust display performance.
One of these controls, Adaptive Degradation, speeds up display performance when you use realistic
rendering levels.
Tip: If your scene mysteriously disappears and only displays as boxes when you rotate your
viewport, you have pressed the o key on the keyboard, and unintentionally turned on Adaptive
Degradation.
See Rendering Method.
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3ds max contains controls to help you adjust display performance: the balance between quality and
time in displaying objects.
Depending on your needs, you might give up some display speed to work at higher levels of
rendering quality, or you might choose to maximize display speed by using Wireframe or Bounding
Box display. Which method you choose depends on your preferences and the requirements of your
work.
Display Performance Controls
You use display performance controls to determine how objects are rendered and displayed.
The Preferences dialog's Viewports panel contains options for fine-tuning the performance of the
viewport display software. See Viewport Preferences.
How Objects Are Rendered
The Adaptive Degradation panel on the Viewport Configuration dialog dynamically drops the
rendering level on display performance. You set the parameters controlling the trade-off between
display quality and display speed.
How Objects Are Displayed
To see and modify an object's display properties, right-click the object, select Properties, and go to
the Display Properties group box; see Properties. These options affect display performance much the
same way as viewport rendering options. For example, turning on Vertex Ticks for an object with a
lot of vertices will slow performance.
Which Objects Are Displayed
One way to increase display speed is not to display something. You use the Hide and Freeze features
on the Display panel to change the display state of objects in your scene. The Hide and Freeze
features also affect final Rendering and Video Post output. See Hide Rollout and Freeze Rollout.
Setting Adaptive Degradation
Adaptive Degradation dynamically adjusts your rendering levels to maintain a desired level of display
speed. You have direct control over how much "degradation" occurs and when it occurs.
Active and General Degradation use the same choices as the viewport Rendering Levels panel. Active
Degradation controls rendering in the active viewport while General Degradation controls rendering
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in all other viewports.

The selected levels determine which rendering levels 3ds max falls back to when it cannot maintain
the desired display speed. You can choose as many levels as you want but you are advised to choose
only one or two levels for each type of degradation.
See Adaptive Degradation.
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To navigate through your scene, use the view navigation buttons located at the lower-right corner of
the program window. All view types, except Camera and Light views, use a standard set of view
navigation buttons.
The standard navigation controls
Button Operation
Clicking standard view navigation buttons produces one of two results:
Executes the command and returns to your previous action.
Activates a view navigation mode.
You can tell that you are in a mode because the button remains selected and is highlighted. This
mode remains active until you right-click or choose another command.
While in a navigation mode, you can activate other viewports of the same type, without exiting the
mode, by clicking in any viewport. See Viewport Controls.
Undoing Standard View Navigation Commands
Use the Undo View Change and Redo View Change commands on the Views menu to reset standard
view navigation commands without affecting other viewports or the geometry in your scene. These
commands are also found in the menu displayed when you right-click a viewport label.
Views menu > Undo and Views menu > Redo are separate from Undo and Redo on the Edit menu or
the toolbar. 3ds max maintains separate Undo/Redo buffers for scene editing and for each viewport.
The View Undo/Redo buffer stores your last 20 view navigation commands for each viewport. You
can step back through the Undo View/Redo View buffer until you have undone all of the stored view-
navigation commands.
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Viewport Controls
Viewport Controls
At the right end of the status bar are the buttons that control the display and navigation of the
viewport.
Some of the buttons change for camera and light viewports. The Field Of View button changes for
Perspective viewports.
The state of the navigation-button flyouts for all viewport types is saved in the [Performance]
section of the 3dsmax.ini file.
Viewport Navigation Controls
The navigation controls depend on the active viewport. Perspective, orthographic, camera, and light
viewports all have specialized controls. Orthographic includes User viewports as well as viewports
like Top, Front, and so on. The Zoom Extents All flyout and Min/Max Toggle, available in all
viewports, are included with the perspective and orthographic viewport controls.
Many of these controls are modal, meaning they stay on for repeated use. The buttons highlights
when on. To turn them off, press ESC, right-click in a viewport, or choose another tool.
Controls Available in All Viewports
Min/Max Toggle
Perspective and Orthographic Viewport Controls
Zoom Viewport
Zoom All
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Viewport Controls
Field of View Button (Perspective) or Region Zoom
Pan Viewport
Perspective
Roll Camera
Truck Camera
Orbit/Pan Camera
Light Hotspot
Roll Light
Light Falloff
Truck Light

Viewport Controls
Orbit/Pan Light
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Right-click any viewport label. > Views > Choose a perspective or orthographic view.
Right-click any viewport label. > Views > Grid > Choose any grid view.
Select a shape. > Right-click any viewport label. > Views > Shape
Keyboard > V (to open the Viewports quad menu), then P (Perspective), U (User), F (Front), K
(Back), T (Top), B (Bottom), L (Left), or R (Right)
Perspective, orthographic, user, grid, and shape viewports all share the same viewport controls.
Perspective and orthographic viewport controls include the following. Two of these controls are
available in all viewports.
Zoom Viewport
Zoom All
Zoom Extents, Zoom Extents Selected (available in all viewports)
Region Zoom
Pan Viewport
Min/Max Toggle (available in all viewports)
Procedure
To undo changes to a perspective or orthographic viewport, do one of the following:
Right-click the viewport label and choose Undo. The type of Undo is specifically named on the
menu (for example, Undo Zoom Extents).
Press SHIFT+Z.
Note: This is different from camera and light viewports, which require the use of Undo on the
main toolbar, or CTRL+Z.
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Zoom Viewport
Zoom Viewport
Activate a Perspective or Orthographic viewport. > Viewport Navigation controls > Zoom
Keyboard > Z turns on Zoom ; [ zooms in; ] zooms out
Keyboard > CTRL+ALT+middle mouse button
Roll your mouse scroll wheel.
Zoom adjusts view magnification when you drag in a Perspective or Orthographic viewport. By
default, the zoom is in and out of from the pointer of your mouse.
Tip: If you use the Microsoft IntelliMouse or a compatible pointing device, you can roll the wheel to
zoom in and out in the active viewport. The zoom center is the current cursor position.
In the latest version, the Zoom tool has been improved for better performance on scenes of all
scales. In previous versions, zoom was difficult to control when the scenes were very small or very
large, or if you were very far from the origin. Now Zoom moves incrementally, based on the distance
between the Perspective view and its virtual target, an inaccessible hidden target used for
calculation purposes only. Use the CTRL and ALT keys to increase or decrease the increments. You
can move the virtual target by holding down the SHIFT key during a zoom operation. Otherwise you
will zoom increasingly closer to the target which will not move.
Procedures
To zoom a view:
2. Click Zoom.
3. Drag in a viewport to change magnification.
Drag up to increase magnification.
Drag down to decrease magnification.
To increase zoom speed:
Hold down CTRL while you drag in a viewport.
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Zoom Viewport
To decrease zoom speed:
Hold down ALT while you drag in a viewport.
To turn on an automatic zoom mode:
On the keyboard, hold down CTRL+ALT, then hold down the middle mouse button and drag in a
viewport. This does not activate the Zoom button.
To zoom to the cursor position:
On the keyboard, press [ (left bracket) to zoom in, and ] (right bracket) to zoom out.
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Zoom All
Zoom All
Activate a Perspective or Orthographic viewport. > Viewport Navigation controls > Zoom All
Zoom All lets you adjust view magnification in all Perspective and Orthographic viewports at the
same time.
By default, Zoom All zooms in and out of the center of the viewports.
Procedures
To zoom all views:
2. Click Zoom All.

3. Drag in a viewport to change magnification in all viewports.
Drag up to increase magnification.
Drag down to decrease magnification.
To zoom all viewports except the Perspective viewport:
1. Hold down the SHIFT key and click Zoom All.
2. Drag in a viewport to zoom all the viewports except the Perspective.

Note: You can drag in a Perspective viewport, but you only see the zoom in Orthographic
viewports.
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Region Zoom
Region Zoom
Activate an Orthographic viewport. > Viewport navigation controls > Region Zoom
Activate a Perspective viewport. > Viewport navigation controls > Region Zoom (from Field of
View flyout)
Keyboard > CTRL+W
Region Zoom magnifies a rectangular area you drag within a viewport. This control is available only
when the active viewport is an Orthographic, Perspective or User-Axonometric view. It is not
available for Camera viewports.
Zoom Region stays active until you right-click or select another command.
Procedures
To zoom a region:
1. Activate an Orthographic or Perspective viewport.
2. Click Zoom Region or press CTRL+W.

When you zoom a region in a perspective viewport, select Zoom Region from the Field of View
flyout.
3. Drag a rectangular region in any viewport displaying a non-camera view.

When you release, the region is magnified to fill the viewport.
Note: When using the Region Zoom in Perspective view, the zoom rectangle is at a fixed
distance from the camera. For this reason, if you draw the rectangle large enough, you can
zoom out from the scene.
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Pan Viewport
Pan Viewport
Activate a Perspective or Orthographic viewport. > Viewport Navigation controls> Pan
Keyboard > CTRL+P; I pans so the cursor location becomes the center of the viewport.
Middle mouse button > press in the viewport with the middle mouse button for instant access to
pan the viewport.
Pan moves the view parallel to the current viewport plane.

Pan is modal: it stays active until you right-click or select another command).
To constrain panning of any viewport to a single axis, hold down the SHIFT key. The pan is
constrained to the axis you first move while the SHIFT key is down.
To accelerate panning, hold down the CTRL key.
You can also pan by dragging in a viewport while pressing the middle button of a three-button
mouse. This lets you pan without turning on the Pan button.
Procedures
To pan a viewport:
1. Activate a Perspective or Orthographic viewport, and click Pan.
2. Drag in the viewport in the direction you want to move.
To pan a non-Camera viewport:
Click Pan.
Press CTRL+P.
Press the middle mouse button.
3. Drag in the viewport in the direction you want to move.
To accelerate panning:
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Pan Viewport
Hold down the CTRL key as you pan.
To constrain panning to a single axis:
Hold down the SHIFT key as you pan.

The pan is constrained to the first axis you use.
If you drag vertically at first, the pan or orbit is constrained to be vertical; if you drag horizontally
at first, the constraint is horizontal.
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Undo View Change / Redo View Change
Undo View Change / Redo View Change
Views menu > Undo View Change or Redo View Change
Keyboard > SHIFT+Z (Undo) or SHIFT+Y (Redo)
Undo View Change cancels the last change made to the current viewport. Redo View Change cancels
the last Undo in the current viewport.
These commands act like Undo and Redo on the Main toolbar and Edit menu, but operate on a
different list of events. They affect changes made to the viewport, rather than changes made to
objects in the viewport.
Use Undo View Change and Redo View Change when you have inadvertently made a view unusable
by zooming in too close, or rotating the wrong way. You can keep stepping back until a useful view
appears. The keyboard shortcuts are handy for multiple commands.
You can also access Undo View Change and Redo View Change of view changes by right-clicking the
viewport label and choosing Undo View or Redo View. The last change made in that viewport will be
indicated (for example, "Undo View Zoom"). Each viewport has its own independent undo/redo
stack.
Camera or Spotlight viewports use object-based Undo and Redo, because the viewport change is
actually a change to the spotlight or camera object. In these viewports, use Edit > Undo (CTRL+Z)
or Edit > Redo (CTRL+Y).
Interface
Undo View ChangeCancels viewport changes. The name of the change you're undoing is
displayed in the View menu beside the command.
Undo is useful when you are working with a background image in the viewport. You can zoom into
the geometry to adjust it, then use Undo Viewport Zoom to restore the original alignment of the
geometry with the background.
Redo View ChangeCancels the previous Undo View Change. The name of the change you're
redoing appears in the View menu beside the command.
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Before and after zooming a viewport
Before and after rotating a viewport
When you click one of the view navigation buttons, you can change these basic view properties:
View magnificationControls zooming in and out.
View positionControls panning in any direction.
View rotationControls rotating in any direction
Zooming a View
Click Zoom or Zoom All and drag in a viewport to change the view magnification. Zoom
changes only the active view, while Zoom All simultaneously changes all non-camera views.
If a perspective view is active, you can also click Field of View (FOV). The effect of changing FOV is
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similar to changing the lens on a camera. As FOV gets larger you see more of your scene and perspective
becomes distorted, similar to using a wide-angle lens. As FOV gets smaller you see less of your scene
and the perspective flattens, similar to using a telephoto lens.
Zooming a Region
Click Zoom Region mode to drag a rectangular region within the active viewport and magnify that
region to fill the viewport. Region Zoom is available for all standard views.
In a perspective viewport, Zoom Region mode is available from the Field of View Flyout.
Zooming to Extents
Click the Zoom Extents or Zoom Extents All flyout buttons to change the magnification and
position of your view to display the extents of objects in your scene. Your view is centered on the objects
and the magnification changed so the objects fill the viewport.
The Zoom Extents, Zoom Extents Selected buttons zoom the active viewport to the extents of all
visible or selected objects in the scene.
The Zoom Extents All, Zoom Extents All Selected buttons zoom all viewports to the extents of all
objects or the current selection.
Panning a View
Click Pan and drag in a viewport to move your view parallel to the viewport plane. You can also pan
a viewport by dragging with the middle mouse button held down while any tool is active.
Rotating a View
Click Arc Rotate, Arc Rotate on Selection, or Arc Rotate Sub-Object to rotate your view around the
view center, the selection, or the current sub-object selection respectively. When you rotate an
orthogonal view, such as a Top view, it is converted to a User view.
With Arc Rotate, if objects are near the edges of the viewport they might rotate out of view.
With Arc Rotate Selected, selected objects remain at the same position in the viewport while the view
rotates around them. If no objects are selected, the function reverts to the standard Arc Rotate.
With Arc Rotate Sub-Object, selected sub-objects or objects remain at the same position in the

viewport while the view rotates around them.

Note: You can rotate a view by holding down the ALT key while you drag in a viewport using middle-
button. This uses the current Arc Rotate mode, whether or not the Arc Rotate button is active. You can
also activate Arc Rotate by pressing CTRL+R.
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The camera navigation buttons
The Camera and Light view navigation buttons are the same with a few exceptions. The buttons are
visible when a viewport with a Camera or Light view is active. The Camera and Light view navigation
buttons do more than adjust your view. They transform and change the parameters of the
associated camera or light object.
Light views treat the light (spotlight or directional light) as if it were a camera. The light falloff is
treated the same as the camera field of view.
Keep in mind the following:
Using the Camera and Light viewport navigation buttons is the same as moving or rotating the
camera or Light, or changing their base parameters.
Changes made with Camera or Light view navigation buttons can be animated the same as other
object changes.
Zooming a Camera or Light View
Zooming a camera
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You zoom a camera view by clicking FOV and then dragging in the Camera viewport.
The field of view defines the width of your view as an angle with its apex at eye level and the ends
at the sides of the view. The effect of changing FOV is exactly like changing the lens on a camera. As
the FOV gets larger you see more of your scene and the perspective becomes distorted, similar to
using a wide-angle lens. As the FOV gets smaller you see less of your scene and the perspective
flattens, similar to using a telephoto lens. See Cameras.
Click Light Hotspot for a light viewport to achieve the same effect as zooming.
The hotspot is the inner of the two circles or rectangles visible in a light viewport. Objects inside the
hotspot are illuminated with the full intensity of the light. Objects between the hotspot and falloff are
illuminated with decreasing intensity as objects approach the falloff boundary. See Using Lights.
Moving a Camera or Light View
You move a camera or light view by clicking one of the following buttons and dragging in the camera
or light viewport.
Dolly moves the camera or light along its line of sight.
Truck moves the camera or light and its target parallel to the view plane.
Pan moves the target in a circle around the camera or light. This button is a flyout that
shares the same location with Orbit.
Orbit moves the camera or light in a circle around the target. The effect is similar to Arc
Rotate for non-camera viewports.
Rolling a Camera or Light View

Rolling a camera
Click Roll, and drag in a camera or a light viewport to rotate the camera or light about its line of
sight. The line of sight is defined as the line drawn from the camera or light to its target. The line of
sight is also the same as the cameras or the light's local Z axis.
Changing Camera Perspective
Changing perspective

Click Perspective, and drag in a camera viewport to change the Field of View (FOV) and dolly
the camera simultaneously. The effect is to change the amount of perspective flare while
maintaining the composition of the view.
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Using Lights
Using Lights
In general, these are the reasons to use light objects:
To improve the illumination of a scene.

The default illumination in viewports might not be bright enough, or it might not illuminate all
faces of a complicated object.
To enhance a scene's realism through realistic lighting effects.

Guidelines for Lighting has suggestions about making lighting appear realistic.
To enhance a scene's realism by having lights cast shadows.

All kinds of lights can cast shadows. Also, you can selectively control whether an object casts or
receives shadows. See Shadow Parameters.
To cast projections in a scene.

All kinds of lights can project still or animated maps. See the Projector Map group in the Advanced
Effects rollout.
To help model a source of illumination in the scene, such as a flashlight.

Light objects don't render, so to model a source of illumination, you also need to create geometry
that corresponds to the light source. Use a self-illuminating material to make the geometry
appear as if it's emitting light.
To create lighting scenes using manufacturers' IES, CIBSE, or LTLI files.

You can visualize commercially available lighting in your model by creating photometric lights
based on manufacturer's photometric data files. By experimenting with different fixtures, and
varying the light intensity and color temperature, you can design a lighting system that produces
the results you want. See Photometric Lights: Web Distribution.
Lights are absolutely necessary to provide illumination to a scene.

If you have no lights in your scene, any rendering will appear completely black.
Lights enhance the realism of a scene by providing realistic lighting effects.
Lights enhance the realism of a scene by casting shadows.

All lights cast shadows. You can control whether an object casts or receives shadows. See Object
Properties Dialog.
Lights can cast projections in a scene.

All lights can project still or animated maps. See Advanced Effects Rollout.
Lights can use manufacturers' IES, CIBSE, or LTLI files.

You can visualize commercially available lighting in your model by creating photometric lights
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Using Lights
based on a manufacturer's photometric data files. By experimenting with different fixtures, and
varying the light intensity and color temperature, you can design a lighting system that produces
the results you want. See Web Distribution (Photometric Lights).
See also
Properties of Light
Lighting in 3ds max
Guidelines for Lighting
Animating Lights
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The guidelines for lighting used by photographers, filmmakers, and stage designers can also help
you set up the lighting for scenes in 3ds max.
Your choice of lighting depends on whether your scene simulates natural or artificial illumination.
Naturally lit scenes, such as daylight or moonlight, get their most important illumination from a
single light source. Artificially lit scenes, on the other hand, often have multiple light sources of
similar intensity. In 3ds max, both kinds of scenes require multiple secondary light sources for
effective illumination.
Whether a scene is indoors or outdoors can also affect your choice of material colors. See Designing
Materials.
Natural Light
Outdoor scene with natural sunlight
For practical purposes at ground level, sunlight has parallel rays coming from a single direction. The
direction and angle vary depending on the time of day, the latitude, and the season.
In clear weather, the color of sunlight is a pale yellow: for example, RGB values of 250, 255, 175
(HSV 45, 80, 255). Cloudy weather can tint sunlight blue, shading into dark gray for stormy
weather. Particles in the air can give sunlight an orange or brownish tint. At sunrise and sunset, the
color can be more orange or red than yellow.
3ds max specifically provides daylight system to simulate the sun. See Target Direct and Free
Direct. A single daylight system is appropriate as the main light source for sunlit scenes.
Shadows are more distinct the clearer the day is, and can be essential for bringing out the three-
dimensionality of a naturally lit scene.
A directional light can also simulate moonlight, which is white but dim compared to the sun.
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Artificial Light
Outdoor scene with natural twilight and one streetlight
Artificial light, whether used indoors or outdoors at night, uses multiple lights. The following
guidelines are for creating normally lit, easily legible scenes. You dont have to follow the guidelines,
of course, but then you call attention to the lighting itself, rather than to the subject of the scene.
The subject of a scene should be lit by a single bright light, known as the key light. Position the key
light in front of the subject and slightly above.
In addition to the key light, position one or more other lights to illuminate the background and the
side of the subject. These are known as fill lights. Fill lights are less bright than the key light.
When you use only one fill light, the angle at ground level between it, the subject, and the key light
should be approximately 90 degrees.
Key-and-fill lighting emphasizes the subject of a scene. It also emphasizes the three-dimensionality
of the scene.
In 3ds max, a spotlight is usually best for the key light, and either spotlights or omni lights are
good for creating the fill lighting. See Target Spot, Free Spot, and Omni. Ambient light can be
another element of your fill lighting.
You can also add lights to emphasize secondary subjects in a scene. In stage terminology, these
lights are known as specials. Special lights are usually brighter than the fill light but less bright than
the main key light.
To design using physically based energy values, distributions, and color temperature, you can create
photometric lights.
Ambient Light

Left: No ambient light

Middle: Default ambient light
Right: User-adjusted ambient light
Ambient light in 3ds max simulates the general illumination from light reflecting off diffuse surfaces.
Ambient settings determine the illumination level of surfaces in shadow, or those not receiving direct
illumination from light sources. The Ambient level on the Environment dialog establishes the scenes
basic illumination level before any light sources are taken into account, and is the dimmest any
portion of the scene can ever become.
Ambient light is most often used for exterior scenes, when the skys broad lighting produces an even
distribution of reflected light to surfaces not in direct sun. A common technique for deepening the
shadows is to tint the ambient light color to be the complement of the scenes key light.
Unlike the outside, interior scenes typically have numerous lights, and a general ambient light level
is not ideal for simulating the diffuse reflection of local light sources. For interiors, its common to set
the scenes environment ambient level to black, and use lights that effect ambient only to simulate
the regional areas of diffuse reflection.
You set the scenes ambient light using the Environment And Effects dialog > Environment panel.
You set a light to affect only ambient illumination with its Advanced Effects rollout > Ambient Only
check box.
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Designing Materials
Designing Materials
Materials make objects more convincing.
These topics give you an overview of using the Material Editor to design materials. The Material
Editor gives you a huge number of options in material design. It also has a large number of controls.
If you aren't already familiar with using it, read this topic for a general idea of working with
materials, and what the most important options are.
For more details, follow the links in the workflow outline.
Workflow Outline
In general, when you create a new material and apply it to an object, you follow these steps:
1. Make a sample slot active, and enter a name for the material you are about to design.
2. Choose the material type.
Tip: 3ds max 6 provides two renderers, the default scanline renderer and the mental ray
renderer. Each has its own capabilities. In general, for each scene, you will decide which
renderer you want to use. It is a good idea to design materials with a particular renderer in
mind. The mental ray Connection rollout lets you add features unique to the mental ray
renderer to basic 3ds max materials.
3. For a Standard or Raytrace material, choose the shading type.
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Designing Materials
4. Enter settings for the various material components: diffuse color, glossiness, opacity, and so
on.
Note: Lights and Shading describes how lights affect the appearance of a material. Choosing
Colors for Realism gives guidelines on getting good results from unmapped materials.
5. Assign maps to the components you want to map, and adjust their parameters.
6. Apply the material to the object.
7. If necessary, adjust the UV mapping coordinates in order to orient maps with objects correctly.
8. Save the material.
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Main toolbar > Material Editor
Material Editor tools below and to the right of the sample slots
Above the sample slots is the menu bar. Below and to the right of the Material Editor sample slots
are buttons and other controls that you use to manage and change maps and materials.
Note: These fields are not displayed unless you change a toggle in Preferences > Advanced Lighting.
Buttons below the sample slots (the "toolbar")
Get Material
Reset Map/Mtl to Default Settings
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Make Material Copy
Make Unique
Put to Library
Show End Result
Go to Parent
Buttons to the right of the sample slots
Sample Type
Backlight
Pattern Background
Sample UV Tiling
Video Color Check
Material Editor Options
Select By Material
Controls below the toolbar
Pick Material from Object

Material name field
Material Type button

Procedures
To use the Material Editor Options dialog:
1. Click Options to the right of the sample slots.
2. Set the options as you want, and then click OK.
To change the preview shape:
1. Activate the sample slot of the material you want to view.
2. Use the Sample Type flyout to choose the shape you want to view.
The new shape is displayed in the sample slot, with the material mapped to it.
The flyout gives you three options: sphere (the default), cylinder, or box. An additional custom
object option is available if you define a custom object as described in Creating a Custom
Sample Object.
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Material Editor > Menu bar
The Material Editor menu bar appears at the top of the Material Editor window. It provides another
way to invoke the various Material Editor tools.
Material Menu
The Material menu provides the most commonly used Material Editor tools.
Get Material
Pick from Object
Assign to Selection
Put to Scene
Put to Library
Change Material/Map Type

Equivalent to clicking the Material Type Button.
Make Material Copy
Launch Magnify Window

Equivalent to double-clicking the active sample slot, or choosing Magnify on its right-click menu.
Make Preview
View Preview
Save Preview
Show End Result
Reset Sample Slot Rotation

Equivalent to choosing Reset Rotation on the sample slot right-click menu.
Update Active Material

If Update Active Only has been turned on in the Material Editor Options dialog, choosing this
updates the active material in its sample slot.
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Navigation Menu
The Navigation menu provides tools that navigate a material's hierarchy.
Go to Parent
Go Backward to Sibling
Like Go Forward To Sibling, but navigates to the preceding sibling map in the tree, instead of the
succeeding one.
Options Menu
The Options menu provides some additional tools and display choices.
Propagate Materials to Instances
Manual Update Toggle

Equivalent to the Manual Update toggle in the Material Editor Options dialog.
Copy/Rotate Drag Mode Toggle

Equivalent to choosing either Drag/Copy or Drag/Rotate on the sample slot right-click menu.
Background
Custom Background Toggle

If you have used the Material Editor Options dialog to assign a custom background, this toggles its
display.
Backlight
Cycle 3X2, 5X3, 6X4 Sample Slots

Cycles through the equivalent choices on the sample slot right-click menu.
Options
Displays the Material Editor Options dialog.
Utilities Menu
The Utilities menu provides map rendering and selecting objects by material.
Render Map
Equivalent to choosing Render Map on the sample slot right-click menu.

Select Objects by Material
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Pick Material From Object (Eyedropper)
Pick Material From Object (Eyedropper)
Material Editor > Pick Material From Object
Material Editor menu > Material menu > Pick from Object
Pick Material From Object lets you select a material from an object in the scene. Click the
eyedropper button, and then move the eyedropper cursor over the objects in the scene. When the
eyedropper cursor is over an object containing a material, it fills with "ink" and a tooltip with the
name of the object pops up. Click the object. The material is placed in the active sample slot.
If the material is already in the active sample slot, the eyedropper has no effect.
If the eyedropper cursor is over an editable mesh with faces selected at the sub-object level, and the
mesh has a multi/sub-object material applied to it, then the eyedropper picks up the sub-material.
However, if the selected faces have more than one sub-material assigned to them, then the
eyedropper picks up the entire multi/sub-object material.
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Put to Library
Put to Library
Material Editor > Put to Library
Material Editor menu > Material menu > Put to Library
Put to Library adds the selected material to the current library.

A Put to Library dialog is displayed, which lets you enter a name for the material thats different from
the one you used in the Material Editor.
The material becomes visible in the material library display in the Material/Map Browser. The
material is saved to the library file on disk. (You can also save a library by using the Save button in
the Material/Map Browser.)
Procedure
To save a material in a library:
1. Click to select the sample slot that has the material you want to save.
2. On the Material Editor toolbar, click Put To Library.
3. A Put To Library dialog is displayed.
4. Either change the material name or leave it as is, and then click OK.
The material is saved in the currently open library. If no library is open, a new library is
created. You can save the new library as a file using the Material/Map Browser file controls.
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Put to Library Dialog
Put to Library Dialog
Material Editor > Put To Library
The Put To Library dialog is displayed when you want to save the material in an active sample slot
into a material library file. It lets you change the material's name before you save it.
Interface
NameShows the name of the material to save. You can edit this name to save it under a different
name.
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Replace Material Dialog
Replace Material Dialog
Material Editor > Type button > Material/Map Browser > Choose a compound material.
The Replace Material dialog is displayed when you change a material type to one of the compound
material types. It gives you the choice of replacing the original ("old") material completely, or using
the original material as a sub-material of the new material.
Interface
Discard old materialDiscards the old material.

Keep old material as sub-materialRetains the old material as a sub-material.
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Kinds of Compound Materials

Compound materials combine two or more sub-materials. Compound materials are similar to
compositor maps, but they exist at the material level. Applying a compound material to an object
creates a compound effect that often uses mapping. You load or create compound materials using
the Material/Map Browser.
Using a filter control, you can choose whether the Browser lists maps or materials or both.
Different types of materials create different effects, behave in particular ways, or are provided as
ways to combine multiple materials.
Note: The sub-material buttons and sub-map buttons for most materials and maps have check
boxes beside each button. These let you turn that branch of the material or map on or off. For
example, in the Top/Bottom material, the Top Material and Bottom Material buttons each have check
boxes. Similarly, the Checker map has two map buttons, one for each color. Each button has a check
box beside it that lets you disable that color's map.
These are the different types of compound materials:
Blend: Combines two materials by mixing their pixel colors, as Mix maps do.
Composite: Mixes up to 10 materials, using additive colors, subtractive colors, or opacity mixing.
Double-Sided: Stores two materials. One material is rendered on the object's outer faces (the usual
side for one-sided materials, as determined by face normals), and the other is rendered on the
object's inner faces.
Morpher Material: Morpher materials use the Morpher modifier to manage multiple materials over
time.
Multi/Sub-Object: Lets you assign more than one material to the same object. Stores two or more
sub-materials, which you assign at the sub-object level by using the Mesh Select modifier. You can
also assign the sub-materials to whole objects by using the Material modifier.
Shellac: Superimposes one material on another.
Top/Bottom: Stores two materials. One material is rendered on an object's top faces and the other is
rendered on the object's bottom faces, depending on whether a face normal points up or down.
Procedure
To have the Browser list only materials:
In the upper set of Show radio buttons, choose Materials.

Note: This option is available only when you're at the material level in the Material Editor;
otherwise, it's unavailable.
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Composite Material
Composite Material
Material Editor > Type button > Material/Map Browser > Composite
Composite material composites up to 10 materials. The materials are superimposed from top to
bottom, as listed in the rollout. Materials are combined using additive opacity, subtractive opacity, or
mixed using an Amount value.
Interface
Base MaterialDisplays the Material/Map Browser, where you assign the base material. By default,
the base material is a Standard material. The other materials are composited by superimposing
them on top of this material, in order from top to bottom.
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Composite Material
Mat 1 through Mat 9Each of these nine groups contains controls for a material to composite. By
default, no materials are assigned.
Check boxWhen on, uses the material in the composite. When off, doesn't use it. Default=on.
ButtonDisplays the Material/Map Browser, where you assign a material to composite.
ASM buttonsThese buttons control how the material is composited. Default=A.
AWhen on, this material uses additive opacity. Colors in the material are summed based on their
opacity.
SWhen on, this material uses subtractive opacity. Colors in the material are subtracted based on
their opacity.
MWhen on, this material mixes materials based on the Amount. Both color and opacity are
blended as they are when you use a Blend material with no mask.
Amount spinnerControls the amount of mixing. Default=100.0.
For additive (A) and subtractive (S) compositing, the Amount can range from 0 to 200. When the
Amount is 0, no compositing happens, and the material below is not visible. When the Amount is
100, the composite is complete. When the amount is greater than 100, compositing is "overloaded":
transparent portions of the material become more opaque, until the material below is no longer
visible.
For mix (M) compositing, the Amount can range from 0 to 100. When the Amount is 0, no
compositing happens, and the material below is not visible. When the amount is 100, compositing is
complete, and only the material below is visible.
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Composite
Glossary
Composite
The mailbox with its shadow is composited with the wall and sidewalk to make the finished scene.
(noun) A still image or a motion picture created by overlaying one image or motion picture with
another.
(verb) To combine still images or motion pictures by laying one over the other.
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Double-Sided Material
Material Editor > Type button > Material/Map Browser > Double-Sided
On the right, a double-sided material creates a pattern for the inside of the trash can.
The Double-Sided material lets you assign two different materials to the front and back faces of an
object.
Procedures
To create a double-sided material:
3. In the Material/Map Browser, choose Double-Sided and then click OK.

The Double-Sided material controls let you choose the two materials, and the translucency of
the material overall.
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To choose the outer material:
Click the button labeled Facing Material.

To choose the inner material:
1. Go back to the parent material (parameters for the Double-Sided material).
2. On the Double-Sided Basic Parameters rollout, click the button labeled Back Material.
To make the material translucent:
Set Translucency to a value greater than 0.

The Translucency control affects the blending of the two materials. When Translucency is 0, there
is no blend. When Translucency is 100.0 percent, the outer material is visible on inner faces and
the inner material is visible on outer faces. At intermediate values, the specified percentage of the
inner material "bleeds through" and is visible on outer faces.
Interface
TranslucencySets the amount that one material shows through the other. This is a percentage
that can range from 0.0 to 100.0. At 100 percent, the outer material is visible on inner faces and the
inner material is visible on outer faces. At intermediate values, the specified percentage of the inner
material "bleeds through" and is visible on outer faces. Default=0.0.
You can animate this parameter.
Facing Material and Back MaterialClick to display the Material/Map Browser and choose a
material for one side or the other.
Use the check boxes to turn the materials on or off.

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Shellac Material
Shellac Material
Material Editor > Type button > Material/Map Browser > Shellac
Top: Base material

Middle: Shellac material
Bottom: Materials combined with a shellac color blend value of 50%
Shellac material mixes two materials by superimposing one over the other. Colors in the
superimposed material, called the "shellac" material, are added to colors in the base material. A
Shellac Color Blend parameter controls the amount of color mixing.
Interface
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Shellac Material
Base MaterialGoes to the level of the base sub-material. By default, the base material is a
Standard material with Blinn shading.
Shellac MaterialGoes to the level of the shellac material. By default, the shellac material is a
Standard material with Blinn shading.
Shellac Color BlendControls the amount of color mixing. At 0.0, the shellac material has no
effect. Increasing the Shellac Color Blend value increases the amount of shellac material color
blended into the base material color. There is no upper limit on this parameter. Large values
"overload" the shellac material colors. Default=0.0.
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Top/Bottom Material
Top/Bottom Material
Material Editor > Type button > Material/Map Browser > Top/Bottom
Top/bottom material gives the pot a charred bottom.
The Top/Bottom material lets you assign two different materials to the top and bottom portions of an
object. You can blend the materials into one another.
The object's top faces are those whose normals point up. The bottom faces have normals that point
down. You can choose whether "up" and "down" refer to the scene's world coordinates or to the
object's local coordinates.
Procedures
To create a top/bottom material:
3. In the Material/Map Browser, choose Top/Bottom and then click OK.

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Top/Bottom Material
The Top/Bottom material controls let you choose the two materials, and also the transition
between them.
To choose the top or bottom material:
On the Top/Bottom Basic Parameters rollout, click the Top Material button or the Bottom Material
button.
The parameters for the sub-material appear. By default, a sub-material is a Standard material
with Blinn shading.
To swap the two component materials:
In the Basic Parameters rollout, click Swap.

The remaining controls, described in the "Interface" section, affect the transition between top and
bottom.
Interface
Top Material and Bottom MaterialClick to display the parameters for the top or bottom sub-
material. By default, a sub-material is a Standard material with Blinn shading.
The check box to the right of each button lets you turn off that material, making it invisible in the
scene and in the sample slot.
SwapSwaps the position of the top and bottom materials
Coordinates group
Controls in this group let you choose how the software determines the boundary between top and
bottom.
WorldFaces point up or down according to the scene's world coordinates. When you rotate the

Top/Bottom Material
object, the boundary between top and bottom faces remains in place.
LocalFaces point up or down according to the object's local coordinates. When you rotate the
object, the material rotates with it.
BlendBlends the edge between the top and bottom sub-materials. This is a percentage that can
range from 0 to 100. At 0, there is a sharp line between the top and bottom sub-materials. At 100,
the top and bottom sub-materials tint each other. Default=0.
PositionDetermines where the division between the two materials lies on an object. This is a
percentage that can range from 0 to 100. 0 is at the bottom of the object, and displays only the top
material. 100 is at the top of the object, and displays only the bottom material. Default=50.
Comments

Material Editor > Right-click active sample slot.
When you right-click the active sample slot, a pop-up menu is displayed. For other sample slots,
click or right-click once to select them, then right-click to use the pop-up menu.
The pop-up menu is available in magnified sample slot windows. See the "Magnify" option, below.
Interface
The pop-up menu has these options:

Drag/CopySets dragging a sample slot to copy mode. When on, dragging a sample slot copies
the material from one sample slot to another, or from the sample slot to an object in the scene or a
material button.
Drag/RotateSets dragging a sample slot to rotate mode. When on, dragging in the sample slot
rotates the sample object. This helps you preview the material. Drag over the object to rotate it
about its X or Y axis; drag in the corners of the sample slot to rotate the object about its Z axis. In
addition, if you press SHIFT before dragging in the center, the rotation is constrained to the vertical
or horizontal axis, depending on your initial drag direction.
If you have a 3-button mouse and are using Windows NT, the middle mouse button rotates the
sample object while Drag/Copy mode is active. This doesn't work in Windows 95.
Reset RotationResets the sample object to its default orientation.
Render MapRenders the current map, creating a bitmap or an AVI file (if the map is animated).
Only the current map level renders. That is, the rendering shows the image displayed when Show
End Result is turned off.
If you're at a material level instead of a map level, this menu item is disabled.
OptionsDisplays the Material Editor Options dialog. This is an alternative to clicking the Options
button.
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MagnifyGenerates a magnified view of the current sample slot. The magnified sample is displayed
in its own, floating (modeless) window. You can display up to 24 magnified windows, but you can't
display the same sample slot in more than one magnified window at a time. You can resize magnify
windows. Clicking a magnify window activates the sample slot, and vice versa.
ShortcutDouble-click a sample slot to display the magnified window.
The magnify window's title bar displays the contents of the editable material name field. It varies
depending on which level of the material is active.
AutoTurn off to prevent the magnified window from updating automatically. This can save
rendering time, especially when you have resized the magnified window to make it larger.
Default=on.
UpdateClick to update the magnified window. This button is unavailable unless Auto is turned off.
Dragging a different sample slot to the magnify window changes the contents of the magnify
window.
Sample Windows options
The Material Editor always has 24 sample slots available. You can choose to display fewer sample
slots at a larger size. When you do, scroll bars let you move around among the sample slots.
3 X 2 Sample WindowsDisplays a 3 x 2 array of sample slots. (The default: 6 windows.)
5 X 3 Sample WindowsDisplays a 5 X 3 array of sample slots. (15 windows.)
6 X 4 Sample WindowsDisplays a 6 X 4 array of sample slots. (24 windows.)
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Material Editor > Options menu > Propagate Materials to Instances
When Propagate Materials to Instances is on, any material assignment you make will be propagated
to all instances of the object in your scene, including imported AutoCAD blocks or ADT style-based
objects; the latter two object types are common in DRF files.
When Propagate Materials to Instances is off, materials are assigned in traditional 3ds max fashion;
each object has a unique material assignment.
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Select By Material
Select By Material
Material Editor > Select By Material
Material Editor menu > Utilities menu > Select Objects by Material
Select By Material allows you to select objects in the scene, based on the active material in the
Material Editor. This button is unavailable unless the active sample slot contains a material used in
the scene.
Clicking this button displays a Select Objects dialog. All objects that have the selected material
applied to them are highlighted in the list.
Note: Hidden objects don't appear in this list, even if the material is applied to them. However, in
the Material/Map Browser, you can browse from the scene with By Object turned on. This lists all
objects in the scene, hidden or unhidden, along with their assigned materials.
Procedure
To select objects that have the same material applied:
1. Click a sample slot that contains a material in the scene.

White corner brackets indicate materials that are in the scene.
2. Click Select By Material in the Material Editor.

This button is unavailable unless the active sample slot contains a material in the scene.
A Select Objects dialog is displayed. The names of objects with the active material applied are
highlighted.
3. Click Select to select objects with the active material applied.

You can also change the selection by choosing other objects. If you change the selection, you
must then click Assign Material to Selection to apply the active material to newly selected
objects.
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Material Editor > Reset Map/Mtl to Default Settings
Reset Map/Mtl to Default Settings resets the values for the map or material in the active sample slot.
The material colors are removed and set to shades of gray. Glossiness, opacity, and so on are reset
to their default values. Maps assigned to the material are removed.
If you are at a map level, this button resets the map to default values.
Reset changes the name only when this field names a material used in the scene.
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Sample UV Tiling
Sample UV Tiling
Material Editor > Sample UV Tiling
1x1, 2x2, and 3x3 sample tiling
The buttons on the Sample UV Tiling flyout adjust the repetition of the map pattern on the sample
object in the active sample slot.
The tiling pattern you set with this option affects only the sample slot. It has no effect on the tiling
on the geometry in the scene, which you control with parameters in the map's own coordinates
rollout.
1 x 1 (the default)Tile once in the U dimension and once in V. This is equivalent to no

tiling at all.
2 x 2Tile twice in U and twice in V.
3 x 3Tile three times in U and three times in V.
4 x 4Tile four times in U and four times in V.
The buttons specify the number of times the pattern repeats over the surface of the sample object.
Because maps are mapped spherically around the sample sphere, the tiling repetition covers the
entire surface of the sphere. The sample cylinder maps cylindrically. The sample cube uses box
mapping: the tiling appears on each side of the cube. Custom sample objects use the default
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Sample UV Tiling
mapping coordinates for that kind of object, unless the object has a UVW Map modifier applied to it,
in which case the modifier controls the mapping.
This flyout is unavailable when the sample slot displays a standalone (top-level) map.
See also
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Video Color Check
Video Color Check
Material Editor > Video Color Check
Left: Material with oversaturated colors

Right: Video color check shows black areas that are beyond the video threshold
Video Color Check checks the material on the sample object for colors that are beyond the safe
NTSC or PAL threshold.
Such colors tend to blur or fuzz when transferred from computer to video. Pixels containing these
"illegal" or "hot" colors are flagged on the sample object.
You can have the software correct illegal colors automatically when you render, depending on the
settings in the Rendering tab of the Customize/Preferences dialog.
Use this option as a guide only. The colors in a rendered scene depend not only on the material color
but also on the intensity and color of the lighting. A material that shows as safe in the sample slot
might become illegal if rendered under several bright lights. A safe practice for video is to use colors
whose saturation is less than 80 to 85 percent.
Procedures
To check for illegal video colors:
1. In the Material Editor, turn on Video Color Check.

The active sample slot now renders "illegal" pixels as black. Illegal pixels have a color that is
beyond the safe video threshold.
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Video Color Check
If Video Color Check detects illegal colors, try reducing the saturation of the material colors in
question.
2. You can also check for legal video colors when you render a scene.
To change the video system:

NTSC is the default video system to check. You can change the video checking to PAL.
In Tools menu > Options > Options dialog > Rendering tab > Video Color Check group, change
the setting to PAL.
The sample slot does not automatically update when you change the video system preference.
Turn video checking off and back on to see the change.
Note: The Rendering tab also shows options for choosing alternate ways to display illegal pixels.
These apply to renderings only, not to the sample slots in the Material Editor.
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Sample Slots and Material Name
The sample slots display previews of materials. They are the most prominent feature of the Material
Editor interface. Below and to the right of the sample slots are various tool buttons for the Material
Editor. Below the tool buttons is a name field that shows the name of the material.
Tip: Always give a material a unique, intelligible name as soon as you begin to work on it.
By default, six sample slots are visible at once. The Material Editor actually holds 24 materials at one
time. You can use the scrollbars to move among the sample slots, or you can change the number of
sample slots visible at once to 15 or 24 slots. Seeing more slots at once can be helpful if you are
working with a complex scene.
Important: While the Material Editor can edit no more than 24 materials at a time, a scene
can contain an unlimited number of materials. When you are through editing one material,
and have applied it to objects in the scene, you can use that sample slot to get a different
material from the scene (or create a new one) and then edit it.
To increase the number of sample slots visible at once, right-click a slot and then choose 5 X 3
Sample Windows or 6 X 4 Sample Windows from the pop-up menu.
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Note: The right-click menu also has an Options choice. This displays a dialog with various options for
sample display. Exploring these options can help you learn to preview materials effectively.
However, keep in mind that these settings affect the sample display only. They change nothing in
the 3ds max scene.
When more sample slots are visible, the images are smaller, but you can display a larger, floating,
and resizable material sample by double-clicking the slot you want to see better.
Click a sample slot to make it active. Now you can design a new material from scratch, or you can
load a previously stored material by clicking Get Material, which displays the Material/Map Browser.
The Browser is a dialog that lets you choose materials and maps from a material library, from the
scene, and so on.
You can also copy a material from one sample slot to another. Drag the slot with the material to
another slot. To avoid confusion, rename the copy in the new sample slot before you begin to make
changes to it.
If the \matlibs subdirectory contains a material library called medit.mat, the sample slots show the
first 24 materials in this library file. If the library contains fewer than 24 materials, the remaining
slots contain Standard materials of various colors, as they do if no medit.mat library is found.
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Material Type
Material Type
Every material has a type. The default is Standard, which is the material type you will probably use
most often. In general, other material types are for special purposes. The other material types are:
Advanced Lighting Override

Used to fine-tune the effects of a material on Advanced Lighting, including light tracing and
radiosity solutions. Radiosity Override is not required for calculating advanced lighting, but it can
enhance the result.
Blend
Mixes two other materials together. Can use a mask or a simple amount control.
Composite
Mixes up to 10 materials.
Double-Sided
Contains two materials, one for the front and one for the back faces of an object.
Ink 'n Paint

Creates cartoon effects with flat shading and inked borders.
Lightscape
Supports import and export of data from the Lightscape product.
Matte/Shadow
Displays the environment but receives shadows. This is a special-purpose material. The effect is
similar to using a matte in filmmaking.
Morpher
Lets you morph between materials using the Morpher modifier.
Multi/Sub-Object
Lets you apply multiple sub-materials to a single object's sub-objects.
Raytrace
Supports the same kind of diffuse mapping as Standard material, but also provides fully raytraced
reflections and refractions, along with other effects such as fluorescence.
Shell
Contains a material that has been rendered to a texture, as well as the original material upon
which the texture is based.
Shellac
Mixes two materials by applying a "shellac" material to another.
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Material Type
Top/Bottom
Contains two materials, one for faces that point upward, the other for faces that point downward.
Standard materials let you set a material's color components, and other components such as
glossiness or opacity. They also let you apply maps to the components, which can give you an
enormous variety of effects. Some other material types have these features as well. Some, like
multi/sub-object or double-sided, only have controls for combining other materials.
mental ray Materials
This group of materials is provided for use with the mental ray renderer.
[DETAILS TBD. RC 27 March 03]
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Lightscape Material
Lightscape Material
Material Editor > Type button > Material/Map Browser > Lightscape Mtl
The Lightscape material lets you set radiosity behavior for 3ds max materials you want to use in
existing Lightscape radiosity meshes.
Note: This material is for use with Lightscape. It is not meant for use with the advanced lighting
solution in 3ds max. For adjusting a material's radiosity properties in 3ds max, use the Advanced
Lighting Override material.
Important: The mental ray renderer does not support the Lightscape material.
Interface
Radiosity Mapping group
BrightnessControls the brightness of the displayed image on your monitor. The setting of this
control does not affect the actual lighting levels in the model. Note: The default value is exactly the
same as the values set in the Import Lightscape Solution dialog.
ContrastControls the contrast between light and dark regions in the model. Note: The default
value is exactly the same as the values set in the Import Lightscape Solution dialog.
Ambient LightControls the amount of 3ds max ambient light that will be mixed in with the
radiosity calculations. If the value is 0, none of the 3ds max ambient light is used. If the value is 1,
the 3ds max ambient light value is added into the radiosity calculations. Default=0.0.
Bump AmountThis value controls the strength of the bump map that is applied to the lighting
from Lightscape, as opposed to lighting done by 3ds max. It can be separately controlled from the
bump amount in the 3ds max material, so you can adjust the bumps in Lightscape lighting to match
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Lightscape Material
the bumps in 3ds max lighting. Default=5.0.

DaylightDetermines whether you want natural daylight to be used in the calculation. Note: The
default value is exactly the same as the values set in the Import Lightscape Solution dialog.
Exterior SceneUsed for exterior daylight simulations. Note: The default value is exactly the same
as the values set in the Import Lightscape Solution dialog.
Apply Changes to All Lightscape MaterialsDetermines whether or not the changes you make in
this dialog are applied to every Lightscape Radiosity material. Default=off.
Disable RadiosityDetermines whether or not the radiosity is calculated. This option provides a
quick way to see the effect of the Lightscape-specific illumination. Default-off.
Base MaterialDisplays the base 3ds max material to which the radiosity illumination is applied.
(The base material displays on the object while the Lightscape Radiosity material adds radiosity
effects.) Use this button to change the base material on the object.
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Importing Lightscape Files

Just as you can export a Lightscape Preparation (LP) file, you can also import one into 3ds max.
You can also import Lightscape Solution (LS) and Lightscape View (VW) files.
The steps to import a Lightscape file include:
Accessing the import dialog.
Choosing to replace the current scene.
Choosing how to group the imported objects.
(LS files.) Specifying a prefix for imported Lightscape objects.
(LS files.) Choosing which Lightscape objects to import.
(LS files.) Choosing the conditions for importing Lightscape lights.
(LS files.) Choosing the radiosity mapping settings.
Note: The Lightscape importer does not convert Lightscape layers into 3ds max scene layers,
because it was written before that feature was implemented.
Procedures
To import a Lightscape (LS, VW, or LP) file:
1. Choose File > Import.

The Select File To Import dialog is displayed.
2. Choose Lightscape (*.LS, *.VW, *.LP) from the Files Of Type drop-down list.
3. Use the dialog's controls to browse to the directory that contains the file you want to use.
Highlight the name of that file, and then click Open.
Depending on the type of file you chose, an Import Lightscape Preparation dialog or an Import
Lightscape Solution dialog is displayed.
No dialog is displayed when you import a Lightscape view (VW) file.
To replace the current scene:

When you import a Lightscape Solution or Preparation file, you can choose to add the imported
objects to the current scene, or to replace entire scene.
In the Import Lightscape Preparation dialog, turn on Replace Current Scene.
In the Import Lightscape Solution dialog, turn on Replace Scene Contents.
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To group imported objects:
In the Import Lightscape Preparation or the Import Lightscape Solution dialog, use the controls in
the Entity Grouping group to choose how imported Lightscape objects are grouped.
See each dialog's description for details about these options.
To get version information about the Lightscape file importer:
1. Access the Import Lightscape Solution dialog.
2. Click About.
An About Lightscape LS File Import dialog is displayed. This shows the version of the importer
that is currently installed.
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Importing Lightscape Solution Files
Importing Lightscape Solution Files
File menu > Import > Lightscape (*.LS, *.VW, *.LP) > Choose an LS file. > Import Lightscape
Solution dialog
A Lightscape Solution file contains lights, geometry, and a radiosity mesh. When you import a
Lightscape Solution file, you have a wide range of options about which data to import, and how.
See also
Import Lightscape Solution Dialog
Importing Lights
There are two sets of options for how you import lights from the LS file. These are in the Lights
group of the Import Lightscape Solution dialog.
The first set lets you choose the on/off status of lights: all on, all off, or on or off as they were set
in Lightscape.
The second set begins with the toggle, Make Lightscape Lights. When this is on, Lightscape lights
(luminaires) are imported as photometric lights; there are no further options to set.
Make Lightscape Lights is on by default. When you turn off Make Lightscape Lights, other options
become available: these have to do with how luminaires are converted to standard lights. See the
Lights group description for details.
Luminaires and Photometric Lights
When you

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Welcome

King Vega by Alessandro Baldasseroni

Welcome to the 3ds max User Reference.

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Viewing and Navigating 3D Space

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What's New in 3ds max 6?

Image by Michael McCarthy

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Major Additions to 3ds max 6

This version of 3ds max includes two large feature sets:

mental ray Rendering

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Scene Management Improvements

Schematic View has been enhanced to make it easier to use.

Custom UI and Defaults Switcher

Improved support for Autodesk VIZ 4 files

Support for VIZ Render (DRF) files

Improved support for AutoCAD DWG files .

Lighting Data Exporter Utility

Schematic View Window

Menu bar > Graph Editors > New Schematic View

Main toolbar > Schematic View button

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Schematic View Features

Text remains readable during window navigation.

You can see and edit wired parameters.

You can now copy and instance controllers.

You can assign new controller types.

Schematic View offers extensive MAXScript exposure.

Performance has been substantially improved.

View Components and Their Behavior

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Solid EndSignifies that the entity is arranged.

Open endSignifies that the entity is free.

Red BorderSignifies that the entity is animated.

White Border Signifies that the entity is selected in the viewport.

See Using Schematic View

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New Schematic View

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Using Schematic View

To create hierarchies with Schematic View:

1. Select the objects you want to work with in the viewport.

3. On the Schematic View toolbar, click the Connect button.

To assign controllers with Schematic View:

1. On the Schematic View toolbar, click Display.

To wire parameters with Schematic View:

3. Right-click the selected object and choose Wire Parameters.

5. Drag to the other object you want to wire to.

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To save a Schematic View layout:

2. Close the Schematic View window.

To add a background image:

1. On the Schematic View Options menu, choose Preferences.

To navigate complex scenes:

1. Open Schematic View

3. On the window navigation tools press Zoom Selected.

4. On the List Views menu, choose Show Occurrences.

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To arrange the nodes in Schematic View to match the viewport:

1. Using Windows Explorer, copy \3dsmax6\scripts\maxscripttools\macro_schematicviewtools.mcr

2. Restart 3ds max.