Liren Large Software Subsidy 11/11.iso/m/m398/10.ddi/SAMPLES.DOC

Text File | 1993-10-01 | 8.0 KB | 274 lines

SAMPLES.DOC
(Additional samples for 3D Studio Release 3)

We recommend that you print this file and use it as a reference
while you go load and examine each of the sample files.  After you've
read through the documentation, feel free to experiment.


THING.3DS

This demonstrates metallics and face-mapping

It uses a face-mapped material on an object that was built
by tessellating a cube and then scaling various vertices
around. It has no UV coordinates applied.

The bitmap TRIPAT.GIF has been applied as a texture map, and
then repeated four times across each face by doing UV
scaling in the Mapping Parameters dialog of 0.25%.

A b/w version of this bitmap was used to create TRIBUMP.CEL,
and the Negative button in the Mapping Parameters dialog was
turned on so that the bumps came out instead of in.

A metallic material was used to create the illusion that
this is made out of stamped foil.  To see the full effect of
this, make a 640x480 flic out of it (using Medium palette
mode).

If you want to go truly insane, double the time-scale (up to
120 frames) and run it at a speed of 1 in AA Pro.

For a quick change, try setting the Negative button ON in
the texture map's Mapping Parameters dialog.  This will make
the material orange instead of blue (although I like the
blue version better).


DECAL.3DS

This file demonstrates:

combining 2 texture maps
overlaying a decal'd texture map over a tiled one
summed-area tables

The bitmap PAT0003.JPG is used as a texture map in Texture
slot #1. In order for it to tile 4 times around the
sphere, its UV scaling is set to 0.25.  Mirroring is turned
ON so that each of the four tiles contains a complete 4-way
mirror of the texture.  (note that all this is happening in
0-1 UV space -- as defined by the texture-mapping icon
in the Editor... magic)

Also note that Texture #1 (PAT0003.TGA) is being filter
using Summed-Area Tables.  This will provide rock-solid
filtering when animating... Try it!

Since the texture-mapping icon has defined the UV space as
0-1 (no tiling), we can now overlay a non-tiled decal in the
Texture slot #2.  We've used X29DECL2.CEL, and have set it's
state to decal mode.  We've shrunk it way way down by
setting its UV scaling to 0.1, and we've moved it down and
to the right by setting the U-offset to 0.05 (a 20th to the
right), and the V-offset to 0.1 (a 10th down).

We've dragged and dropped the texture #2 map into the bump
map slot, which has copied all of its parameters with it.



GOLD.3DS

This file demonstrates:

gold metallic text
tinting the reflection map with the diffuse color
adaptive reflection blur
light viewports

Render the camera view in Metal mode with AA on. (This file
uses the GOLD.GIF reflection map and the the TEAK.JPG files
supplied with this release)

Notice that the highlights on the text are shades of the
diffuse material (a dielectric property of metals).  This
material also demonstrates how you can heavily tint a
texture map with the diffuse color, as long as the ambient
color is black.  This examples how you can use this to
produce very luminous effects.

Also notice that there is a subtle transition in the amount
of reflection blur between the front, chamfered, and side
faces of the text.  This provides a little extra reflection
definition, and a generally more realistic reflection.
(Note that due to this adaptive blur system, you'll
generally only need a very small amount of blur on the
reflection map.  In this case, I'm using a blur value of
10.)

This reflection map (gold.gif) is a simple example of
guidelines that you should use in order to create a real
24-bit, high-res map.  Make your own!  Note that since this
map had a bunch of red in it, and I wanted GOLD (not brass),
I had to add quite a bit of green to the diffuse color of
the material.

Also notice, in the Editor, that the lower-left viewport is
showing the point of view of the spotlight.

Some useful techniques to make this surface look even more
like gold would be to add a very subtle shininess map and
possibly even a super-subtle bump map to the material.
Experiment!


SHINY.3DS

This demonstrates:

shininess mapping

In this file, a sphere is mapped with CHECKOP.CEL as an
opacity map and as a shininess map.  Note how the shininess
map's black areas force the highlight to only where the
opaque parts of the object are.


MASK.3DS

This demonstrates:

multiple texture mapping
texture masking

A sphere is mapped with JUPITER.GIF and MARBTEAL.GIF (both
supplied with 3DSr2).  CHECKOP.CEL is now used as a mask
for Texture #2.

Try pumping the Texture filtering in CHECKOP.CEL's mask
parameters dialog up to 60-70 to create a beautiful
soft-edged mask.  Incredible possibilities here with
animated soft-edged masks for blending multiple materials!


FACEMAP.3DS

This demonstrates

face-mapping and mapping parameters

A Torus is mapped with FACEMAP.CEL (a filled square frame).
The left half of the torus is mapped with no UV rotation on
the texture.  The right half is mapped with 45-degrees of UV
rotation on the texture.  (UV rotation is applied inside of
the Mapping Parameters dialog (S-buttons in Medit).)


FACECUBE.3DS

This demonstrates:

face-mapping

A cube is mapped with ASHSEN.GIF (supplied with 3DSr2) using
the Face-mapping technique (no UV coordinates).  Note how
the wood texture map is tiled on each face of the cube.


TINT1.3DS

This file demonstrates:

RGB Luma tinting
extreme bump mapping
metallic foil effects

This uses the APE.CEL file that ships with 3DS (you already have
it).  Note that the RGB Luma Tint button is selected in the
Texture map's Mapping Parameters dialog.  This selects the Tint
Colors to be used to "colorize" the texture map.  All the
original color is stripped out, and the luma channel of the
texture map is mapped into the gradient defined by the orange and
purple colors.


TINT2.3DS

This file demonstrates:

Everything that TINT1.3DS demonstrates, and
Texture map MASKING effects.

In this file, the checkop.cel file is used as a mask on Texture 1
to create a checkerboard mix of two different tintings of the ape
map.


TUBER.3DS

This file is described on page 76 of the Advanced User's Guide.

TUBER2.3DS

This file is similar to TUBER.3DS, and demonstrates:

tuber.axp
stucco.sxp on a metal object

In this example, stucco is used to bump-map a metal tuber object
(note that tuber objects can only take sxp textures).

HAND.3DS

This file is described on page 77 of the Advanced User's Guide.


STUCCO1.3DS

This file demonstrates:

stucco.sxp

Traditional stucco application / parameters.


STUCCO2.3DS

This file demonstrates:

stucco.sxp

This time, stucco is used to create a blistered texture effect.
Very cool.


SOFTEN.3DS

This file demonstrates the use of the PHONG/SOFTEN button in
the Materials Editor.

As the docs say (in the Materials Editor section), the Soften
button next to the hilight sliders is very important to use
when you're got a light hitting a Phong-shaded object at a
glancing angle -- IF THE SHININESS SLIDER IS LESS THAN 35%.

If you render the camera view, you'll see that the top
sphere (with SOFTEN ON) renders fine, while the bottom
(selected) sphere (NO SOFTEN) has a heavily aliased hilight.
This graphically demonstrates why you need to use the Soften
button in Medit.

Note that Metal materials don't have this problem, and
that's why the Soften button doesn't show up in Metal mode.


AMBRTRAN.VP

This file demonstrates:

How Solid and Gradient colors can now be applied using
alpha and transition masking in Video Post. This is an
extremely powerful feature.

How Alpha and transition Negative buttons operate.
They are indicated in the Video Post editor by "-"
signs in front of the Alpha and Transition indicators.

This Video Post sequence uses a GIF file of Amber as an
alpha mask for various solid color queue entries, and it uses an
animated flic (in positive and negative alpha states) to
transition between them.