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This assumes all the machines that you use in your renderfarm are running OSX. I think the biggest stumbling block I had with screamernet setup was the basic conceptual stuff about how it works. Once you know this, it all makes a lot more sense. So here are the most important things you need to realise:. Firstly, screamernet does not communicate directly between the render controller the screamernet panel in Lightwave and the render nodes.
Screamernet was developed almost 20 years ago, so it obviously predates any modern niceties like zero-conf or bonjour. Instead it uses a shared network folder into which it writes little text files that the nodes and controller read periodically to find the status of the controller or node.
It's a staggeringly basic system, but it does work. What this means in terms of getting it working is that both the controller and all the render nodes need to be able to access the same folder on the network and be able to read and write to that folder. The screamernet controller writes " job " files for each node to this folder, which the render nodes read. In response each render node writes to an " ack " acknowledgement file.
This is then read by the controller, which then overwrites the original job file with updated instructions. And so the process loops. These preference files contain some very important settings like the size of the render buffer only 32mb by default - which is too small for HD as well as links to all plugins. The final shared folder you need is the aforementioned Content Directory containing the scene and all related files you need in order to render.
The most important first step - enable file-sharing on all machines that you want to use in the render network. I'm doing this in On your main machine the one you'll use as the render controller , create a new folder at the root level of one of your hard drives. I strongly advise against putting any spaces or non-ASCI characters in the folder name or names for anything else in this tutorial!
We now need to create the config files pointing to the Content Directory. To generate this, open up Layout and choose the correct Content Directory from the Edit popup. Then quit Layout as it only saves the config file when you quit. The location of config files changed during the LW10 to LW With one ol the bes! Average length: 2. LumeTwIs' five sets of modules aflow you to ueate highly realistic landscapes, water effects.
Ihghting and atmospheric effects and much more' Dynamic Realitfes [DH. Features include - a 12a-bi! Plug-ins included: Gravity. Osailalor Folower, Serpen! Create digital illusions wilh optimized model coilections ready tor your animaiion or illuslrat on masterpiece. Sum -Spin CT, Sat. Open the Surfaces Panel and click the Basic Parameters tab.
When rendered, this will make the gem appear to be darker in the center where it's thicker. Figure 5 TVy other colors and experiment with the Transparency value. Remember to save the surface settings you like. You never know when you'll want to use them again. There is another method '. This is very similar to the Interference plug- in, but much more selec- tive. Click the option but- ton and a small interface will open with a full color spectrum displayed across the top.
Click anywhere in this spectrum to select a color, which will show up as a value measured in nanometers nm appear- ing in the Primary Wavelength field. This is the color that will appear on the surface when viewed at 90 degrees. The second value. Angle Variation, tells the shader how much of the spec- trum will be visible across the 90 degree arc, where figure 7. Adding a second layer of polygons creates a clear coat, aliowing interesting and powerful surfacing tricks, as seen in ttiis opal.
Again, this is measured in nanometers, and is added to the Primary Wavelength. This value may also be negative, so you can have a range start with a dark red and span to light orange, or go from dark blue to light blue. The color can be applied in one of three ways: Add, Multiply and Blend. Now, the colors we select in this panel will completely overwrite the Surface Color We can recreate our ruby surface here lay set- ting the Primary Wavelength to nm and setting the Angle Variation to nm.
Figure 7 shows a ruby surface created with the Thin Film shader. Following are a few set- tings to create other gem- stone surfaces. Gemstone Primary Angle Ruby Sapphire 50 Topaz Amethyst 70 Now that we've created a few transparent gem- stones, let's try some opaque ones.
Go back into Modeler and activate the Ball tool. Open the numeric panel for the tool and raise the Ttessellation Level to 3. The sizes you used for the gem should still be in memory, so click OK and then press 'Enter' Open the Surface Panel and create a new surface named Clear, then click Apply Copy this object by typing 'c' and then open the Surface Panel again.
A panel will open asking for an offset. Enter Now, paste the copy we made into the layer You will now have two balls, one slightly smaller than the other, residing in the same layer Each ball has its own surface, the small- er one called Stone and the outer one called Clear. This double surface win let us create even more interesting effects, Save this object as. Select the SmoothStone we just created and then open the Surface Panel. We're going to create an iridescent stone here, similar to a 34!
Change the Glossiness to Low and activate the Color Highlights option. Finally, activate Smoothing, using the default Maximum Smoothing Angle of 89 degrees. As this surface stands, it is completely black, including its highlights, making it very uninterest- ing. Make this sur- face a bright red and increase the Frequencies to 6.
Drop the Contrast to 0. A preview sample will show a black sphere with a speckled red highlight. Let's add a little more color. A preview sample right now would show a green version of the last sample because our green texture is an exact copy of the red one and sits right on top of it. Now a 50 mix of red and green are visible, but this now results in a yellow pattern because both textures still line up.
Click the Texture Center button and type in some random number. This will offset the green texture so the red one can be seen around it. Click the Add New Texture but- ton once again and type 'Ctrl-v' to paste another copy of the red texture here.
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Change this to a rich blue color, and once again, give this a random Texture Center. Click the use Tfexture button to close this panel. Select the surface we '. Increase the Refractive Index to 1. This just created an outer clear coat around the Stone surface, which allows us to keep a very smooth appearance to the gem, even if we apply bumps to the surface inside.
Currently, the Stone surface has a wide, intense, color highlight that win now have the smaller white highlight of the outer surface located in its center, lype F9 to see the two surfaces inter- acting with one another Figure 7. First, select the Stone surface again, and change the name to Fractal Opal, then switch over to the Objects Panel and save the object under that same name. Open the Surfaces Panel and click the Texture button for the Color channel and remove the three fractal textures. Another version of our opal this time with a more iridescent appear- ar CB. Figure S.
Iridescence, as applied to this sphere, creates a believ- 3blB pearl. This surface is very smooth right now, so what we'll see is simply a series of spectral bands. What we want to do is disturb these bands a little. To do that, click the Basic Parameters tab and click the Bump Map button. Select the Fractal Bumps Texture and give it a size of 1 mm. Since a bump map changes the angle of the surface normal at each pixel in the image, the effects of the Interference plug-m, or any other plug- in that reads the surface normal Fast Presnel, Water, Snow, Thin Film, etc.
A test render will show the formerly even- spaced color bands are now distorted, creating a pearlescent looking effect. Figure 8 Speaking of pearls, let's try our hand at one of these. We need to handle these a bit different from the opal since the diffract- ed colors of pearls is actu- ally located on the surface as opposed to opal, where the colors are reflected from inside. Load the. The following values will create a good base pearl color for us. Tb set it up. Now we'll add the colors,. Simply add three Fractal Noise color tex- tures, just as we did in step With the Color Highlights activated, all Figure W.
Many other effects are possible, including this Tiger's Eye, which requires no plug-ins at all. Now when we render our pearl, we'll get a slight coloration applied around the highlights while the base color shows through the rest of the surface Figure 9. Well, that covers a few variations on a theme. With two specular high- lights like this, endless effects can be created, from pearlescent swirls to crystalline sparkles.
In fact, with a bit of playing, virtually any gem type can be created, from metallic-looking ,, , hematite to Tiger's 'Eye quartz, complete with the "eye" as seen in Figure No, Gaffer is not requited for that, but it doesn't hurt either! The secret? That and more are revealed in the upcoming Lightwave Applied.
Hey I have to save something for the book! Dave Jerrard is the lead tutorial writer for NewTekniques magazine. His Web site is at wvm. Be sore to also check out the NewTekniques online bonus section for more tips. The UghtWave Applied Web site can be reached at www. Condnued from page 23 set Save Project as "Birdies. Once saved, click Continue to return to Particle Storm. Now let's set the relation- ships between LightWave and Particle Storm. You will also notice that there are particles buzzing around at the origin.
Let's fix that. Actually, what Death Wish does is set an arbitrary life span for each particle. All you have to do is set the Death Wish time span to kQl the particle when it hits the water. It would then get in line to be launched again. To create a Drag force on our particles click on Create. If you play the preview now you will see the particles spray out and then hang m the air This is because there is not a force acting upon the particles yet.
This is the emana- tion point of our particles. The next few steps are going to change that. Generally this is used to create flocks of birds in the air or bees and the like. When doing this, it is not a good idea to let the particles actually attain their goal pohit but always be seeking it Therefore, for a true swarm or flock the goal should always be moving.
We on the other hand will be using them as traps to catch our paitioies in a location of our choosing. To do this we need to make a force strong enough to hold them. Now if you play the scene you will see the particles making their way to the flock- ing point. Currently they don't get to the final spot fast enough and they don't have much character to their movement.
We fix the speed issues by adding another flocking point. Change the following values to make a new flocking point: Parent; BiidCatcherJNO Strength max : 10 N We made the Strength of this point higher so that the particles will stick in place when they arrive. Check out the Bonus section of NewTekniques on the Web at www. Most importantly, take a bow you have graduated from LightWave ! Prepare for the next year! Although our example is fairly simple to illustrate the methods used, these two tools, in combination with simple manipulation tools like Move, Drag, and Rotate, can produce very complex models limited only by your imagina- tion.
So let's get started on making character designs. NURBS are the best way to get organic shapes, and the only thing you need to know is how to moid them, and the rest is like sculpting clay Bevel the bottom poly of the bcx with Inset and Shift set to 0'. Smooth Shift them with the Offset set to 0. Shrink the four polygons, then Smooth Shift them again. Enlarge them to the size shown in Figures. Bevel the bottom again and move it straight down without resizing it. This makes up the pelvic area shape.
To prepare the leg, bevel the bottom, and resize it so that it is to the left of its original place like in Figure 4. To make the pant leg look like it is overlapping the ankle, Bevel the bottom of the leg, shrink it, move it into the leg, Bevel it again, and pull it out. Miiror it slightly to the right of the Y- axis. Holding the Alt key allowra you to rotate the preview. Select corresponding points in the leg and hip two at a time. Smooth Shift the top polys of the torso and pull them up.
Next, select the polys where the aims will come out. Smooth Shift them, then use the stretch tool to push them out, forming the arms. After Beveling and puUing out the hand portion of the arm, bevel the end poly then arrange the corners Wke in Figure 9 Bevel the center poly again and arrange it so that there are four sections to Bevel for the fingers.
Smooth Shift these four to make room for the thumb. Bevel and pull the thumb out '. Pull each finger out of the top where the four separate polys are. Shape and refine the fingers The last thing to do is Smooth Shift the top of the torso and shrink those polys. Smooth Shift them again and pull them dovm. To make a neck, Smooth Shift them again and pull them up. Weld points to attach a head. This box will form the torso of our character. Because we will be using the Bevel and Smooth Shift tools to produce mote polygons, it is best to start with the smallest number of polys possible.
This will give us more control later on. Before moving on, we must understand exactly how these two tools differ from one another The Bevel tool takes a polygon and duplicates it either in the same spot as the original was, or by pushing it out. Either way, you end up with five new polygons If you Bevel more than one polygon at once, each individual poly- gon gets raised up and separated from the main object, like the bottom of the box in Figure 1.
If you beveled two polygons, you would end up with two humps. That is how Smooth Shifting is different. If you were to Smooth Shift two or more polygons, they would come away from the main object as a whole. Bevel the new bottom and move it down like m Figure 2, Now we will have a good example of the difference between Bevel and Smooth Shift. Select the four polygons located around the bottom section of our object.
Be sure you do not include the bottom face of the object. If you were to Bevel these four polygons, you would get four new polys that went in opposite directions if you were to resize them.
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This is solved by Smooth Shifting them. Now Smooth Shift the polys again, and make them large like in Figure 3, If you were to NURB the object now, you would begin to see the character taking shape. We have a deformed torso and a belt. We will work our way down, and worry about the torso later. Bevel it again, and move it down again. This gives the pelvic area its general shape, so let's prepare "he leg. Bevel the very bottom poly of the object, resize it, and move it so that it is on the left side of where it used to be. Figure 4 shows you where it should be.
Figure S Figure 7 pant leg effect, you must first Bevel the bottom poly, make it smaller, then Bevel it once again, but this time go up instead of down, so that you "suck in" the end of the leg. Bevel it again, pull it out of the hole you have created, and you should be able to continue as you were doing before. Once you have completed the leg, rotate the leg out slightly so that boning will be easier. Now mirror it. Here's how: Getting the second leg is probably the easiest part of the modeling process. Select the leg be sure not to include any part of the hips and mirror it on the Y- axis.
It is a good idea to mirror it slightly to the right of the Y-axis so that welding will be easier. Your new ieg should end up somewhere around the location shown in Figure 6, Now you m. Once we are finished with the legs, v;e can move on to the torso. First, though, note how the object is coming along when we switch to NURB mode in Figure 7, This is my personal favorite way to model. Do it in standard mode, then switch to NURB mode to see how it looks from time to time.
There are instances where this will not work very well, like when modeling a head, but that is a different topic. So here, we have the torso shaped a little better than before. Just move the "shoulder polys" dovm to where the rib cage would be, and resize them slightly to make sure that it is proportionate to the body Now we have to make the shoulders and actually pull out the arms To do this, we need to first Smooth Shift the top polys in our character's torso and move them up so that we now have polys on each side that can be Smooth Shifted.
Select the side polys in the torso that you just made and select the stretch tool h key - Now, in the Ffece view, place the mouse pointer directly between the shoulder blades. Drag the pointer to the right. This will cause the Smooth Shifted polygons to move outward and define the arms. Then at the ends, Smooth Shift again, shrink the polys, and pull them in like we did to make the pant ends. After pulling out the polygon inside the sleeve, the nejct step is creating the hand.
The end of the arm where the hand will be is a quadrilateral at the moment, and we need more polys while maintaining three- or four-sided polys for MetaNURBS. The best way to do this is Beveling and Smooth Shifting. First, bevel the end polygon and move it over. Then take the corners in Top view and move them together slightly so that you end up with Figure 9. Next, Bevel the center polygon and respace the corners so that you end up with four segments place the fifth so it is out of the way — we won't need it. Now to mode! Smooth Shift the four sections you made and move them out a bit.
For the thumb, we can use one of the polys on the side of the hand- Just Bevel it out and shape it like the rest. Now do the same to the four poly- gons on the edge of the hand. After you reshape the fingers, we can do the same as we did with the leg and mirror the hand. Again, select the hand, and mirror it slightly to the right of the Y-axis. Then just weld the corresponding points togeth- er as we did in Figure 6, Our model is complete with the exception of one thing: defining the neck. Simply Smooth Shift the top of our model's torso, and puli it up a bit while shrinking it slightly.
Then, all there is to do is to Smooth Shift it and move it down. You can also Bevel it and pull it up to form a neck, but since we had our own head, we chose sim- ply to Weld it on instead. The steps here are simply a refer- ence for techniques involved in char- acter modeling. Once you completely master Beveling and Smooth Shiftmg, there will be very few organic shapes that you cannot model. Mike Sorice is an epic softwaie group artist. Tired of paying inflated prices for quality 3D models? The epic software group is now offering a library of over royalty free 3D models and is selling the entire library for what you might expect to pay for a single model from the other guys!
There's more. This library also includes a handy viewer to preview each model. Want Proof? How about some I Free Samples? Just point your web browser at: www. Order today by calling epic software at I No matter how complex the models are, they will not look as good as they could unless the scene is lit properly. Although ambient lighting is useful out- doors, it rarely makes the scene come alive indoors.
In this tutorial, we will look at some of the aspects of realistic indoor lighting including point iight options, glow effects, and image projection with lights. In other words, place the point lights where the lamps are, and the spot- lights where the window is. Refer to the right for more detaite. Find a stained glass texture high resolution and apply it 4.
For the lamps, it is most effective to use point lights, but for the window, place two identical spotlights next to each other. One of the lights will be used as a source of light, and the other will be used to project the image of the stained glass onto the carpet below. Since spotlights originate from one point, it will supply much more realistic lighting than ambient hghtmg. Figure 1 shows where the lights were placed in our scene. Figure 2 shows the Light panel for light 9, Here is what to do with the rest of them: Lights 1 through 8 are the point lights that are located in the lamps throughout the room.
They also have an Intensity Fklloff with a maximum range of 15 m.
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Central Glow and Glow Behind Ob ects. They have no Lens Flare, or Intensity Falloff. In Figure 3. Load the window object into Modeler, and note that the glass has its own surface. In the Surfaces panel, press the "T" next to Surface Color for the windowglass surface. Select Planar Image map, go to the box where it says Texture Image, and select load.
Locate the davemap. Click on Use Surface, and then go to the Advanced Options tab. This wiU make the glass look backlit. Now go back to the Lights panel. Also, notice the positioning of the light in Figure 4. It is important to project the Projection Image on the floor in a maimer that it is visible to the camera. If the angle is too sharp, the image will be spread across the floor and will look deformed. Finally, go to the Effects panel and then the Image Processing tab. Michael Sorice is a 3D animator at epic software group, inc. In addition to the tutorials included in NewTekniques, he has written the majority of the tutorials for www.
Visual Inspirations Batch Factory, Amiga Intel, or Amiga-based Video Editing Facility Corporate Video Backgrounds. Fraclalizer, DEC ,00 Fractalizer. It is a totally integrated hardware and softvwre system! FX Accelerator. Intel ,00 Particle Storm 2,0. NetShow 3. Also includes simplified loop editing and new features for manipulating rhythmic audio Call Sound Forge XP 4. Record, edit and process mono or stereo files quickly and easily Call Acoustic Mirror - Recreate acoustic environments Vviith this signal-process- ing tool.
PtoMIx keeps you from running out of audio tracks. Preserve audio levels, pans, balance, fades, and timing while mixing clips, PfoMii 80,00 Bring back those neat Toaster tricks with Render FX. Transform any Toaster effect into a single Flyer dip. Render FX , All this for a low price! Aussie's Fast Frames 2,0, Amiga ,. InteiyWac For control over tne posi- lioning and movement ol objecls, bones, and light sources. Requires: LighiWave 5. Full integration, total control ovh direction, strength, extinction, and recycling of the particles and gravity effects.
Includes a sirader plug-In to change color, and a collision plug-in to control the impact of the particles with Ohiects LighiWave Call Lightwave 5. M V 1 Lightwave 3D 5. Features lens flares, lightning, gas clouds, space effecls, and more!
DarlTree Textures B ImageFX 3. Easy and powerful interface; fanfastic special effects. ImageFX 3. To enhance creativity, the Jens can accommodate set- lings whjch include focus, gain, wjhite balancG. TopScan lunction linds any shot easily. Boih ms are adjustable in tour speeds [3, sec.
Weighing ust 1. Move from vvide-angle to full zoom in 1. Offers siK digital etiects: Wipe. A Multi-Function Pusfi Dial alipw? Mic input level can also be set in steps t There iS also a fjve-mode white tjaiance Set. Oilers full automatic as well as manual control ol locus. The manual zoom rocker is continuously vatiabla right up to where the digiul 20X zoom kjcks in. SteadyShot uses horizontal and vertical motion sensors that allow it to work accuralely while zooming, moving even shooting Irom a car , and shooting In low light conditions.
Shutter Speed, ins, Gain and f- itop lor easy recall So it you have to rs'ShoQl, you know your original settings for every scene and frame. DV standard The [ SRtan record op to index points on tfie Cassette Memorv thanks to its 16Kbitscapahiikty. VCR and edit function buttons. The PVrutM? For more accurate color reproduc- tion, the component le-'el can be adjusted according to the input syslem.
Ideal VCR for animation and computer graphics creation, where trame- t'y-lrame edihiifl is indispensable. The ppssLbiliiies are limiied only by your imagination! And this power has not Seen added a the expense ot program complexity, indeed there are no lists ol parameters with cryptic names and wherever possible real lime previews are available lo relied the cianges being madfi For LighlWave 3D Inlel S CTi dish.
Unparalfcled lealures tor model ing, surlacing. Bones, field rendering, lens llares. Learn how to take simple models and create complex surface geometry like Sci-Fi panels, vents, pipes, rivets, and all kinds of gadgets and nurnies. In this second volume on Color Maps you will learn how create realistic looking weathered down hull along with battle damage.
Tips and tricks on how to use the different brush types along with alpha brush collections is covered in great detail. The concepts learned from this video can be used for all sorts of other projects like machinery, vehicles of all types, and architecture. Great for detailing hard surface models, but not limited to. You can also apply what you learned for organic objects as well. Just wanted to announce that Learn3DSoftware.
Those of you who are interested in some Free Beginner Tutorials for 3D Coat, Lightwave and other Software Packages can visit our You-Tube Channel for hours and hours of mini-tutorials at the link below. Hope everyone is doing well:. Also this can be a huge time saver as trying to paint a texture from scratch can be very tedious, time-consuming, and require great skill.
Learning how to use the photo-painting tool can save hours and hours of texturing work and speed up your work-flow.
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So if you are looking for a quick way to texture your creatures and animals this is the training course for you. In this videos series we show 3D students how to use 3D Coat and Lightwave 3D together as an easy and functional workflow and pipeline in your 3D projects. Although this video series uses Lightwave 3D as the final output for your 3D Coat work, the concepts and principles used here will work with all the most popular 3D programs like 3D Max, Maya, Softimage, Modo, Cinema 4D and many others.
Painting Colors on a 3D object is extremely fun and also an art form that can constantly be developed. Let Adam show you some beginning techniques to get you started on detailing your own 3D Models. Learn how to take plain and low-detailed models and spice them up by adding muscle, bone, tendon, skin folds, bumps and scales to their surface. Then the video finishes off by showing the secrets of taking the normal and displacement maps created in 3D Coat and exporting them out for use in Lightwave 3D.
Although setting up Normal Maps in Lightwave is relatively easy, Displacement Maps can be slightly challenging. Displacement Map set-up using the Node Editor is shown in great detail. Have a Safe and Happy Holiday Season!! On the 15th of every month we announce the winner and send them links to download a free video of their choice!!!