Discreet官方发布Combustion 4免费视频教学

Discreet官方发布Combustion 4免费视频教学


Diamond Keyer


Setting Up and Tweaking a Key
QuickTime [14.7MB]



Refining Your Key
QuickTime [14.9MB]



Paint Enhancements


Using B-splines
QuickTime [11.1MB]



Using Grouped Points
QuickTime [16.6MB]




Timewarp


Animating the Timing of a Curve
QuickTime [14.9MB]



Learning Various Blend Modes
QuickTime [22.0MB]



RPF Building

Exploring the G-Buffer Builder
QuickTime [24.2MB]



Working with the G-Buffer Builder
QuickTime [15.0MB]



Building Capsules


Building and Saving Capsules
QuickTime [22.7MB]



Exporting Controllers
QuickTime [43.6MB]



Workflow Enhancements


Setting Up Your Workspace Environment
QuickTime [9.2MB]



Using Various Compare Setups
QuickTime [13.9MB]



Filtering Channels
QuickTime [20.0MB]



Working with the Grid, Guides and Ruler
QuickTime [23.4MB]

Combustion 快捷键大全

Combustion 快捷键大全

Combustion 快捷键大全
文件菜单

New Ctrl+N
Open Ctrl+O
Open Woekspace Ctrl+Shift+O
Impoet Woekspace Ctrl+Shift+I
Save Woekspace Ctrl+S
Save Woekspace as Ctrl+Shift+S
Close Woekspace Ctrl+W
Save Image Ctrl+Alt+S
Render Ctrl+R
Render To Ram Ctrl+Shift+R
Preferences Ctrl+P
Quit(Exit in Windows)Ctrl+Q

编辑菜单

Undo Ctrl+Z
Redo Ctrl+Shift+Z
Select All Ctrl+A
Select None Ctrl+D
Cut Ctrl+X
Copy Ctrl+C
Paste Ctrl+V
Duplicate Ctrl+Alt+D
Delete Delete Or Backspace
Delete All Shift+Delete Or Shift+Backspace

浏览和回放控制

Previous Frame Page Up
Next Frame Page Down
Play Forward Space Or Enter
Play Backward Shift+Space Or Shift+Enter
Go To Time /
Go To Start Home
Go To End End
Feedback On/Off Caps Lock
Next Keyframe Shift+Page Down
Previous Keyframe Shift+ Page Up
Go To In Point I
Go To Out Point O
Go To Playback In Point Shift+Home
Go To Playback Out Point Shift+End

窗口菜单

Back Ctrl+ ” [ ”
Forward Ctrl+ ” ] ”
Zoom In Ctrl+ ” + ”
Zoom Out Ctrl+ ” - ”
Show Safe Zones ” ‘ ”
Onion Skin ” ] ”
Onion Skin Setting Shift+ ” ] ”
Hide/Show Marquee Ctrl+H
Show Viewports Only F12
Expand Timeline Shift+F12

显示选择

Normal Ctrl+Shift+1
Transparent Ctrl+Shift+2
Alpha Overlay Ctrl+Shift+3
Color Only Ctrl+Shift+4
Red Ctrl+Shift+5
Green Ctrl+Shift+6
Blue Ctrl+Shift+7
Alpha Ctrl+Shift+8
Inverted Alpha Ctrl+Shift+9

面板选择

Toolbar面板 F2
Workspace面板 F3
Timeline面板 F4
Audio面板 F5
Tracker面板 F6
Operator Controls面板 F7
Effect Controls面板（在Paint模块下） F8

*作选择

显示 Store 1 1
显示 Store 2 2
显示 Store 3 3
显示 Store 4 4
显示 Store 5 5

对象菜单

Send Backward Ctrl+B
Send To Back Ctrl+Shift+B
Send Forward Ctrl+F
Send To Front Ctrl+Shift+F

移动控制

Left Left
Right Right
Up Up
Down Down

一般*作

OK Enter Or O
Cancel Esc Or C
Yes Y
No N
Don’t Save D
Abort Esc
Help F1

合成图像*作

Import Footage Ctrl+I
Toggle Layer Visibility Ctrl+T
Perspective视窗 Ctrl+1
Camera视窗 Ctrl+2
Layer视窗 Ctrl+3
Footage视窗 Ctrl+4
Arrow工具 M
Rotate工具 R
Scale工具 S
Pivot工具 P
Perspective Rotate工具 V
Perspective Zoom工具 Shift+Z
Magnify工具 Z
Grab工具 H


绘图命令

缺省背景和前景色 D
反转背景和前景色 X
Select Entire Image Ctrl+Shift+A
Remove Selection Ctrl+Shift+D
Paste Into Ctrl+Shift+V
Paste And Fit Into Ctrl+Alt+V
Fill Ctrl+Delete Or Ctrl+Backspace
Invert Selection Ctrl+Alt+I
Group Ctrl+G
Ungroup Ctrl+U
Lock Ctrl+L
Lock All Ctrl+Shift+L
Unlock All Ctrl+K
Show Reveal Source ” ; ”
Reveal Overlay Settings Shift+ ” ; ”
Copy Motion Path Ctrl+M

绘图工具

Freehand Stroke F
Filled Freehand Stroke Shift+F
Line L
Rectangle R
Filled Rectangle Shift+R
Ellipse E Or C
Filled Ellipse Shift+E Or Shift+C
Polygon/Bezier P
Filled Polygon/Bezier Shift+P
Text T
Arrow Tab
Switch Arrow Tool Alt+Tab
Zoom Z
Paint Bucket/Fill K
Pan H
Magic Wand W


[转帖]premiere快捷键

作者 ： heise13 　
请对premiere快捷键有研究的批评指正并加以补充！


premiere快捷键
。。。。。。。。。。。。。。。。。。。。。。。。。。。。。。。。。。。。。
timeline时间线上*做：
ctrl+a ： 全选
ctrl+c ：拷贝
ctrl+v ： 粘贴
ctrl+shift+v：将拷贝的剪辑适合粘贴到其它剪辑中
ctrl+alt+v：将拷贝的剪辑中的某一属性粘贴到其它剪辑中
+、- ：时间单位缩放
\ ：全部素材显示。
v: 移动剪辑工具
c ：剪切 、多层剪切
n ：剪切掉出入点{、}工具
z：时间单位放大镜工具 按alt缩小
h:平移观看时间线。
空格键: 播放 或 停止
j: 倒放
ctrl+r持续时间
ctrl+shift+r：速度
按住shift在导航器中移动鼠标可实时找到某一剪辑。
m： 选择并移动、虚拟剪接、单层全部位移、多层位移
home end 到全部剪接的开头与结尾
page up page down或是ctrl+shift+左右键 ：时间线到每一个剪接的开头与结尾
ctrl+t：修整模式可在monitor(监视器）中实时修整剪辑的出入点并带涟漪模式（随着
剪辑的缩放这个剪辑后面的文件跟着后移或前移）。
左右键 ：向前向后一帧
shift+左右键：向前向后五帧
ctrl+点击片断 ：多重选择
按住ctrl+shift+alt :带标示百分量的视、音频减弱工具
按住ctrl+alt移动视、音频锁定变为暂时解锁
shift+alt移动解锁的视、音频剪辑后出现链式图标，点击鼠标重新编组锁定视、音频。
ctrl+shift+alt+左右键：以五帧的变量改变剪辑的出入点但剪辑长度不变。
alt+退格键：涟漪模式删除剪辑
按住alt：在剪辑层前后出现代箭头的E在监视器中出现涟漪模式的外划帧
tab:隐藏 转场之类的。。。。。
t:打开剪辑
i o:设出入点
q w :到出入点
d f g: 清除出入点
标记：（选中剪辑）ctrl+alt+(0-9)
ctrl+左右键或ctrl+(0-9):寻找标记点
ctrl+shift+alt+c:清除选中剪辑全部标记点。
在ab轨中将时间线拖到两层之间ctrl+d键出现默认转场（淡出淡入）
双击转场击入设置按住shift移动鼠标客将转场出入点定格为同一转场画面方式
...........................................................
ctrl+tab出现monitor(监视器）栏
，将剪辑以涟漪模式插入timeline轨道
.将剪辑覆盖插入timeline轨道。
..............................................................
字幕快捷键
f9:字幕快捷键
ctrl+a ： 全选
shift+左右键：在插入光标前后一个一个字选择
shift+上下键：向上下一行一行选择
alt+上下键：行距一个单位调整。
shift+alt+左右键：字距五个单位调整
alt+左右键：字距一个单位调整。
shift+alt+上下键：字距五个单位调整。
ctrl+alt+左右键：字体以小单位数量缩放
ctrl+shift+alt+左右键：字体以大单位数量缩放。
w:白背景
b:黑背景
。。。。。。。。。。。。。。。。。。。。。。。。。。。。。。。。。。。。。。。。
f3导入
f5 f6 采集 与 批量采集
f8 输出影片


DigitalFusion 3 主要特点:

喷修
A.完整64bit的喷修向量式系统.
B.喷修可记录.编辑更改.
C.支援各种笔触数位板.
D.支援动态喷修.
E.即时预视功能.

字幕
A.路径排序.
B.对齐,比例...均可设定.
C.可设定材质对照.
D.提供3D的字幕.

其他新的特点
A.网路分散式算图.并可预视
B.多CPU加速处理功能.
C.64bit色泽度.
D.不受解析度限制.
E.编辑控制.A/B抹拭暂存bufter.
F.可输入EDL及PSD档.
G.新的散焦功能.
H.字幕的设定方式.
I.更强的Anti-aliasing功能.
J.新的以HUE控制的颜色处理方式.
K.提供Ultra key.chroma key及matte控制的色料校正方式.
L.新的镜头震动特效.
M.新的影象追踪处理模式.
N.新的影象合并,动态柔焦放大.拖尾功能及渐增抹拭效果.
O. 可设定key frame.并可存为具Audio的Avi格式.


快捷键

F5---显示大击活窗口* F6---最大化合成面板*
F7---最大化时间线控制区* F8---最大化曲线控制区*
F9---显示小显示区窗口* F10---在控制区最大化遮罩和路径控制区*
F11---最大化控制面板* ]---向前一祯*
[---向后一祯* Ctrl+N---创建一个新的工作流程*
Ctrl+O---打开一个已有的工作流程* Ctrl+S---存储当前工作流程*
Ctrl+R---开始渲染当前工作流程* Ctrl+Z---恢复原来*作*
Ctrl+Y---重做*作* Ctrl+X---剪切*作*
Ctrl+C---拷贝当前项到剪贴板* Ctrl+V---粘贴剪贴板中内容到当前项*
Ctrl+B---显示或隐藏素材库* Ctrl+T---连接当前工具到另一个*
1---把当前工具内容显示在大显示区* 2-----把当前工具内容显示在大显示区*
3---把当前工具内容显示在外接显示器* 4-把当前工具内容显示在附加显示窗口*
Ctrl+1--缩放选择的显示窗口到100%* Ctrl+F--缩放选择的显示窗口贴合适显示区大小*
Ctrl+R--缩放选择区域的图像* +-----以两倍比率放大显示窗口*
- -- 以两倍比率减小显示窗口* R---在显示窗口显示图像的红色通道*
G---在显示窗口显示图像的绿色通道*灯 B---在显示窗口显示图像的蓝色通道*
A---在显示窗口显示图像的ALPHA通道* C---在显示窗口显示图像的所有通道*
TBA---跳转到下一个输入框* Shift+TBA---跳转到前一个输入框*
→ ---鼠标向前一位* ← --- 鼠标向后一位*
↑----鼠标向后一位* ↓ ---鼠标向前一位*
Shift+→ --向前一位选择改变的数字* Shift+← --向后一位选择改变的数字*
Shift+↑---向后一位选择改变的数字* Shift+↓ --向前一位选择改变的数字*
Ctrl+→ ---鼠标跳转到数字的右边* Ctrl+← --鼠标跳转到数字的左边*
Ctrl+↑ ---鼠标跳转到数字的左边* Ctrl+↓ ---鼠标跳转到数字的右边*

Autodesk Maya详细介绍

最全的CG影视特效资源:AfterEffects Fusion Shake 5Dcyborg Boujou Flame
--------------------------------------------------------------------------------------
特效合成资源：AfterEffects Fusion Shake 5dcyborg Boujou Flame Assimilate
scratch Avid media Illusion Avid Liquid Avid Softimage/DS
Avid Xpress Pro HD D2 Nuke Discreet Combustion Discreet Edit
Discreet Fire Discreet Flame Discreet Flint Discreet Inferno
Discreet Lustre Discreet Smoke Discreet Toxik Eyeon Fusion
Kcirasoft Roach Nothing Real Shake Nucoda FilmMaster Commotion
Pinnacle Studio Piranha Cinema Chrom imaging SGO Mistika
三维动画资源：Avid Softimage Alias Maya Side Houdini Newtek Lightwave
Maxon Cinema 4D Discreet 3DMax Alias Studio
特效跟踪资源：2D3 Boujou Mokey Realviz MatchMover PF Track SynthEyes 2D3 Monet

－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－

更多资源可见:http://www.itmgvfx.com/
视频教学资源:http://www.itmgvfx.com/itmgvfxChinese/new_page_2.htm
教学资源下载:http://www.itmgvfx.com/itmgvfxChinese/new_page_6.htm
高速资源下载:http://itmg.ys168.com/


软件　教学　培训　特效　　影视　　CG 动画







详细功能
这套在经过制作实践检验的工作流程中集成了建模、动画和渲染的 3D 工具包是成功的数字艺术家和动画师的首选。


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Autodesk Maya Unlimited
包含 Autodesk Maya Complete 的所有功能，另加：

Maya Fluid Effects
Maya nCloth
Maya Hair
Maya Fur
Maya Live




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Autodesk Maya Complete

Maya 用户界面
数据和场景管理工具
多边形建模
NURBS 建模
细分部分表面和多边形代理建模
基本动画
角色动画
变形器
刚体和柔体动力学
粒子和场
Maya Paint Effects
卡通材质
Maya Artisan
3D Paint
多个渲染选项
渲染控制和效果
集成的脚本
The OpenMaya API/SDK
日本语本地化
连通性和集成
Maya 用户界面
最大化您的生产力。

通过性能和工作流程功能的组合，包括标记菜单、3D 操纵器、选择性显示、选择管理工具以及无限层的撤销 (undo) 功能，获得无可匹敌的生产力。


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数据和场景管理工具
超图结构和场景分割工具提高了生产力和工作流程灵活性。

完全可编辑和可动画的构造历史支持对建模的数据进行广泛修改，而不必重建您的模型。
文件参照、场景分割和材质组织功能支持复杂场景的高效管理以及可交换的详细程度。
场景工作流程工具包括沿曲线定位物体、替换场景内的物体以及把引用转换为物体的功能。
返回页首


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多边形建模
Maya® 软件提供了全套补充高级多边形建模工具和 UV 编辑工具。

基本多边形架构

非流形架构，着重于多边形模型的创建、编辑和纹理制作，包括多组可动画的每顶点颜色 (CPV)、预灯光、用户定义的法线以及适合游戏/交互式用户的法线贴图生成。
一整套的编辑工具，包括：bridge、poke、cut、wedge、bevel、extrude、chamfer vertex、extrude along a curve、mirror cut、edge loop、edge ring、slide edge 和 pick-walk 工具。
多边形纹理指定/编辑

改进的创造性纹理制作工作流程—包括 UV 制作和编辑、自动投影和松弛、交互式格点和涂抹 (smudge) 工具，并能通过 UV 纹理编辑器工具栏快速调用常用的工具。
多组 UV 支持独立纹理通道的独立纹理坐标。
每引用 UV 组允许使用单一网格来表示多个物体，从而减少了场景开销。
传递多边形属性

使造型师能够在不同拓扑多边形网格之间传递 UV、每顶点颜色和顶点位置信息—即使是那些散布在不同空间或呈现不同的比例或规模。
艺术家可以使用绘图工具对源变形和目标变形进行融合。
优化工具
多边形减少、数据清理、盲区数据标记以及细节层级工具使艺术家能够优化场景，进行交互显示。

返回页首



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NURBS 建模
Maya® 软件提供无与伦比的精确表面建模工具。

基于精确样条的曲线和表面构造工具
包括放样、双轨迹、斜角、拉伸、修剪、边界、偏移、Booleans、圆角、方形以及其他许多工具。

表面编辑和缝合

通过对参数化和连续性的高度控制，表面可以附加、拆开、对齐、缝合、拉伸、制作圆角或重建。
多个 NURBS 面片可以合并到一个多边形网格中。
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细分部分表面和多边形代理建模
获取广泛的通用细分部分表面工具。

细分代理

迅速建造高分辨率多边形网格：艺术家现在可以在编辑网格骨架的同时预览平滑的网格。
平滑技术选择提供了对最终网格多边形数的精细控制，以用于渲染或细节层级。
顶点上支持的可变折缝以及细分部分代理和平滑网格预览的边缘。
分级细分表面

独特的分级本地精调方法允许艺术家使用一个简单的物体开始建模，只在需要时有选择地生成更高的细节层级。
部分和全部折缝工具使得可以更加简便地建造圆形、有机形状和硬边物体。
用于创造性纹理制作的改进工作流程，包括 UV 自动投影工具和 UV 快照。
简单地转换成多边形或 NURBS。
返回页首


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基本动画
Maya® 软件为关键帧和程序性动画提供了广泛的专用工具。播放速度可以定位，以实现精确的帧速率。

基本关键帧
快速、直观的关键帧控制，包括裁剪、复制和粘贴，使您可以轻松地制作动画。

路径动画

通过自动转弯、滚动和偏转，沿一个曲线或表面制作物体的动画。
在播放期间编辑运动路径或其他动画参数。
动画曲线表示

Euler 和 Quaternion 数学选项能在所有情形下提供精确的结果。
动画曲线可以做成模板，以防止意外修改。
图形和摄影表编辑器

强大、精确的功能曲线，用于控制动画属性的改变。
快速、直观的全局关键帧定时编辑。
格点和衰减工具有助于操作密集的关键帧数据，例如来自运动捕捉设备的数据。
普遍的约束
一应俱全的约束，包括父子约束、点约束、目标约束、方向约束（带有可动画的偏移）以及比例、几何体、法线、切线和极向量约束。

融合通道
多个动画通道可以相互混合，或者与约束一起融合到一个结果中。

程序性动画
使用 MEL 程序和表达式来制作复杂的动画，作为传统关键帧的替代选项。

驱动关键帧

使用这个强大、直观的工具，对动画参数之间的复杂关系进行关键帧处理。多个属性可以使用一个滑块控制。
Trax 非线性动画

姿势与动画剪辑的无损混合和编辑（包括约束和表达式），全面控制运动融合的所有方面。
可以存储和编辑表演库。
静音和单声道功能可使您独立或在其他动画环境中控制每个动画序列。
多个声轨能够以可视方式与动画匹配，并进行播放，以满足角色嘴唇同步和其他音频匹配要求。
动画和动力学静音
可以临时禁用选定通道或关键帧上的动画，以专注于某个特定的运动。

图像重影
在当前帧之前或之后观看动画，使您能够评估动作。

几何体缓存

缓存多边形、NURBS（包括曲线）和细分表面几何体的变形，从而支持场景的更快回放和渲染，并传递到其他 3D 软件包，例如 Autodesk® 3ds Max® 软件。
缓存可以在 Trax 中编辑和融合。
返回页首


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角色动画
Maya® 软件为您制作复杂的数字角色动画提供了所需的工具。

骨骼和反向运动学 (IK)

7 个内置的 IK 解算器减少了制作高质量角色动画所需的时间；属性包括关节限制、首选角度和关节镜像等。
Spline IK 解算器支持简单的骨骼链动画，例如角色的脊骨或尾部，并包含易用的扭曲和滚动控制。
单个链和轻量2骨解算器针对实时交互进行了优化。
Spring IK 解算器支持精确控制多关节附肢，例如昆虫腿。
全身反向运动学系统

快速且轻松地对角色进行搭建与调姿。
实现两足动物和四足动物模型的自然清晰度。
可融合的反向运动学/正向运动学系统
在反向运动学和正向运动学动画之间进行流畅的融合。

蒙皮

皮肤表现可进行精确控制，即使在像肩部这样的难度最大的部位也能实现。
平滑绑定蒙皮能实现与骨骼相联系的几何体，因而角色能够随着关节的变迁而平稳变形。
替代几何体工具能在模型之间轻松编辑并传递皮肤构建信息。
刚性绑定蒙皮能通过各个关节对几何体进行直接操纵。
皮肤编辑功能的无损工作流程包括在一个绑定骨骼上插入、移动、删除、连接和断开关节的功能（无需在进行修改后重新绑定）。
支持多个绑定姿势。
密度数据编辑和再取样的运动捕捉
运动捕捉数据可以很容易地输入 Maya 进行处理。

运动目标重置
应用于一个角色的运动捕捉数据或其他动画数据也能重复应用于其他完全不同的角色，甚至是一个具有不同骨骼层次的角色。

运动方向重置
现有动作捕捉数据或其他动画数据的最初运动方向无论何时都可改变。

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变形器
把几何体或粒子处理成任何想要的形状。

变形工具

能用于静态的建模和形体塑造。
动画变形器能为生物及其他物体增添栩栩如生的效果。
包括 Lattices、Sculpt Objects、Skin Clusters、Point on Curve Constraints、Blend Shapes、Wires、Wrinkle Tool、Bind/Detach Skin、Flow、Jiggle 以及 Wrap 变形器。
软性修改工具可实现环绕顶部或顶点的可控制的衰减变形。
大多变形工作可用于所有支持的几何体，包括粒子。
Clusters、Sculpt Objects、Blend Shapes、Jiggle 和 Wires 的可绘画权重使您能够控制变形的区域和范围。
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刚体和柔体动力学
通过几何体的动态交互，包括刚体和柔体之间的碰撞，来制作特效。

刚体动力学

多个刚体的逼真的高速模拟。
包括各种动态约束效果，例如钉子、铰链、栅栏、别针和弹簧等。
柔体动力学

对柔体的精确及迅速的模拟可以快速创建次级运动效果，例如肌肉微动和松软的帽子等。
强大的弹性体系对任何柔性表面直至个别弹性体提供精确的控制。
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粒子和场
完全集成的粒子特效可以由基于实际物理学的力或变形器来控制。

可扩展的集成粒子系统

全面集成，对粒子属性、运动和动力学的基于表达式的控制。
向导能对粒子子画面进行轻松设置。
直接操纵器提供粒子、场和发生器的交互式控制。
粒子能通过纹理值来进行控制。
几何体引用能实现将个别物体、物体序列或一批不同的物体放置到任何粒子系统上。
碰撞事件能激发多个程序动画效果。
体积控制和发生器

通过几何体对粒子进行直观控制更容易实现在所需的时间与地点放置粒子。
标准的 Maya® 变形器能分层应用—包括格点、集群、软性修改以及非线性—以实现非物理性的现实效果。
场控制

场力—例如重力、涡流、空气和紊流——能应用于刚体、柔体或粒子对象。
可通过广泛的动力学 API 增加自定义场。
预制特效
现成的效果库中的效果包括火焰、曲线和表面流动、破碎、焰火和闪电。


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Maya Paint Effects
突破性的绘画技术，可在连接到多边形或 NURBS 表面的二维图像（包括纹理）或三维物体上制作令人难以置信的自然细节。

功能强大的绘画技术

能用于创建可动画的效果，例如植物生长、伸展或随风摇摆。
艺术家能在油漆中定义一个标识，并在屏幕上观看它的绘制。
游戏内容创作者能绘制重复性纹理并将其立即更新至模型上。
Maya Paint Effects 画笔

Maya 应用程序中全面集成了500多种可编辑的压敏式预设画笔。
广泛的传统绘画画笔，包括喷枪、油画颜料、粉笔、彩色蜡笔、铅笔、水彩、湿刷和标记。
广泛的逼真特效可供选择，包括树木、花草、逼真的头发、眉毛和胡须。
特殊效果有闪电、云、雨、星空、焰火、火和火花等。
网格画笔类型能创建逼真的或轮廓鲜明的几何体，即使凑近了看效果也令人信服。与环境反射合用时，它能表现出诸如镀铬表面、玻璃和亮光漆或位移/凹凸贴图。
细线画笔能用于在可高效渲染的高质量毛发上进行快速绘画。
画笔属性

所有的画笔都能用于真实效果的 3D 空间（在一个场景的 3D 对象之上或之间进行绘画）、2D 画布（创建图像和纹理）或在 3D 绘画工具（通过直接在模型上绘画来制作纹理）。
画笔可融合在一起使用以生成无限的用户定制新预置。
画笔完全可动画，并且内建了诸如紊流和重力等预置动力学。
画笔生长属性包括弯曲、卷曲和捻转等。
将 Maya Paint Effects 转换至多边形和 NURBS
数据能采用传统的建模工具进行编辑以输出至任何渲染器。

绘图效果渲染

在即刻反馈的情况下，交互式绘图过程中可得到完全经过渲染的笔划。
特点是快速、独立于解析度的最终渲染，可包括 3D 投影、景深、烟雾以及运动模糊效果。
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卡通材质
支持广泛的非照片式写实渲染风格，可用于传统 2D 卡通、连环画式图像、日本动漫等等。
Maya Paint Effects 画笔可以在轮廓上使用 – 提供对广泛的绘画效果以及线型、布局和宽度的访问。
几乎实时的交互式预览。
可在 mental ray®为Maya 或 Maya 软件或硬件渲染器进行渲染。
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Maya Artisan
Maya® 软件提供了一套具有内置镜像功能的集成式压力敏感的画笔工具。

造型
自然画笔界面可用于以交互方式塑造多边形、NURBS 和细部表面。

绘图选择
可以进行复杂的组件（例如顶部、面部以及边缘）选择，而无需一直选到模型的背部。

属性和脚本绘画
编辑平滑皮肤或柔体目标权重，绘制每顶点颜色或盲区数据，以及在场景和其他复杂任务中增加几何体，这些都能快速执行。

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3D Paint
在表面上直接描绘颜色、凹凸、位移、透明以及其他纹理。

在多边形、NURBS 和细分表面上直接进行颜色、凹凸、透明、位移以及其他效果的集成纹理绘制
能够与基于图像的画笔轮廓或任何 Maya Paint Effect 画笔一起使用。
画笔模式包括绘画、涂抹、模糊、克隆和擦除。
程序性纹理和 PSD 文件的自动转换。
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多个渲染选项
多个渲染器通过一个一致的渲染界面紧密集成在一起，能让您制作从逼真图像到简单矢量图形的任何效果。

Maya 软件渲染器
混合设计使用快速、选择性的光线追踪来实现最高效率。
带有内建存储器处理的多线程、多处理器支持使生产力最大化并提供大场景渲染能力。
全面特效，包括景深、运动模糊、软阴影和镜头眩光。
诸如光吸收率和色差等高级属性提供更微妙、更具创意的选择。
诸如喧嚣和烟雾等空间素材帮助创建环境效果。
Ramp Shader 效果包括玻璃、石头、卡通着色、x 射线等。
包括各向异性和衍射材质。
高质量软件粒子渲染以及全面的特效，包括气泡、管状和云状渲染，用于气体云、火、流体等。~
用于 Maya 的 mental ray（3.6 内核）



友好的用户界面和工作流程。
高级写实灯光功能，例如全局照明、焦散、环境遮断、模糊反射和折射，以及运动模糊的粒子。
可使用自定义 mental ray® 材质。
配有许多有用的材质预置，包括自然逼真的太阳和天空材质，一套用于一些难以表现的材质的建筑材质，一个圆角材质（对几何精度的角部作软化处理），等等。
阴影和灯光的照明烘焙（包括全局照明和最终聚合）可以转换成文件纹理或每顶点颜色数据。
基于图像的灯光支持光子辐射、焦散或球形图像映射的直接照明灯光。
HDR 图像可以通过 mental ray 的批烘焙选项进行烘焙。
支持光度学灯光，允许使用真实的灯光轮廓。
直接渲染 Maya Fur、Maya Hair、Maya Fluid Effects 和材质光亮的功能。
光子可视化工具能让在三维场景中预演光子和 final gather 点的放置。
mental ray for Maya Satellite


包含与 mental ray® for Maya® 相同的功能。
帮助在网络中的不同处理器上分配渲染作业。
Maya® Complete 和 Maya® Unlimited 分别附带2个和8个免费许可证。

硬件渲染器
利用新一代显卡不断增加的功能。
以明显更快的渲染时间生成接近软件质量的图像，以满足播出或预览需求。
视口中的高质量渲染能让您立即观看结果变化，而无需单独的渲染计算。
同时在离线和交互式视口中支持每顶点颜色。
支持 DirectX HLSL、CgFX 和 ASHLI 材质—包括友好的用户界面和工作流程。硬件材质 API 可通过 OpenMaya API 调用。
视口可以使用第三方或专用渲染器覆盖，例如游戏引擎。

矢量渲染器
仅限 Windows® 32位和 PowerPC® 系统上的 Mac OS® X。

可以用于把 3D 内容转换成 2D 内容，以用于网络或打印。
输出为 Macromedia Flash®（SWF 或 SWFT）、Adobe® Illustrator® (.ai)、SVG、EPS 或位图格式。
提供一系列非写实效果，包括隐藏线渲染。
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渲染控制和效果
这些高效的工具可以帮助您设置和评估场景或创造流行的风格化特效。

IPR（交互式写实渲染）



在最终渲染质量的图像中即时编辑颜色、纹理、灯光、阴影、发光、运动模糊以及其他许多特效。
多线程，可最大化生产力和创造力。
得到 mental ray for Maya 和 Maya 软件渲染器的支持。
HyperShade 和 Visor



可以用于设计和编辑简单乃至复杂的着色网络。
可视化轮廓器 (Visor) 显示纹理和图像库或图像样本，方便了管理和选择。
Bins 允许分类和组织渲染节点，例如材质、纹理和灯光。
通用渲染
包括在运行相同操作系统的无限数量的网络计算机上进行渲染的功能（mental ray 除外）。

传递贴图



艺术家可在不同拓扑的模型之间传递法向、位移、扩散、着色、环境遮断和自定义 mental ray 材质信息。
HDR 图像可通过 Transfer Map 功能进行烘焙。
另请参见渲染层

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集成的脚本
两种完全集成的脚本语言使脚本编写者和程序师可以定制、延伸或操纵 Maya® 软件。

MEL
提供任何 Maya 软件功能的完全脚本能力 – 可以调用一切功能。
艺术家和技术总监可以轻松地创建自定义窗口和脚本，或者重新配置 Maya 用户界面，建立一个完全自定义的应用程序。
命令可以从 HTML 页发布—脚本可以通过 Maya web 浏览器插件被外部 web 浏览器识别。
Python® 命令允许 MEL 脚本调用 Python 代码。这使得 MEL 用户可以选择将 Python 脚本与其 MEL 脚本相混合——这是转变为使用 Python 的良好途径。

Python



集成在 Maya 中，并与 MEL 处在同一级别。
更高层次的语言结构可以强化开发员生产力和简化代码维护。
现成的脚本资源和知识丰富的用户群。
高度的可扩展性，并有众多可用的第三方工具和模块。
对 OpenMaya API 的绑定使程序员有另一种可选语言进行插件开发。
Maya Python 模块能被输入外部单立的 Python 译码器以进行批处理。
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The OpenMaya API/SDK
这个密钥为编程人员和技术总监释放了 Maya® 软件结构的功能。

直接访问 Maya 软件功能性



可以使用 C++ 语言编写从 Maya 命令行运行的 Maya 插件和独立应用程序。
Maya 场景树状结构可以通过迭代器浏览。
Maya 插件可以注册接收全面的 Maya 消息。
可以创建 Maya 操纵器和定位器。
可以开发新的 Maya 对象类型，包括文件转换器、硬件材质、表面形状和 MEL 命令。
可以查询和修改现有的 Maya 对象，例如几何体、灯光、材质、转换、场景树状结构和相关性图形节点。
MEL 脚本可以从 C++ 执行。
OpenMaya API 的可用语言为 Python® 脚本和 C++。
开发资源
OpenMaya API 指南。
Maya 运动捕捉 API 指南。
MEL 命令参考指南。
OpenMaya API 类参考文档：命名每个 OpenMaya API / SDK 类，并且完全可搜索和索引。
源代码、项目 Makefiles 和 Windows 向导，用于建立示例和生成插件模板。
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日本语本地化
艺术家可以选择使用日语用户界面*来操作 Maya®，或定制化他们的工具和用户界面。

用户界面包括日语菜单、标签、错误提示、注解、智能显示、提示和串属性。
用户可通过调整其语言设置在各部分之间选择切换英语和日语用户界面。
英语和日语 Maya 文件之间的数据兼容性促进了同时使用两种语言的制作机构和项目的协作。
艺术家可以创建使用内建日语字体的 3D 文本（韩语和中文字体也同样适用）。
* 在 Windows® 和 Mac OS® X 系统上运行的 Maya® 均提供。

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连通性和集成
Maya® 软件提供了把 Maya 内容集成到制作流程中的工具。

Adobe Photoshop 集成

艺术家可创建连接至 PSD 文件中的层设置的着色网络，加入程序性或 3D 绘画纹理作为起点，加入 UV 布局作为参考。
渲染层现在可以渲染到分层的 PSD 文件。
任何 PSD 文件都可以用作纹理贴图，直接在 Maya 软件和硬件渲染器以及 mental ray® for Maya® 中渲染。
包含层设置的 PSD 文件可以在 Maya 中转换成分层纹理。
多层 PSD 文件可以自动连接到多个材质属性。
通过渲染层功能实现集成式合成

允许在一个场景中管理来自任何 Maya 四个渲染器中的多个传递以及后期处理，例如 Maya Fur 和 Maya Paint Effects。
每层和每对象覆盖系统意味着对象在不同的层上可以有不同的阴影和渲染属性。
通过为最优化输出到所选的合成器 – 或 Photoshop (PSD) 或 Flash (SWFT) 输出 – 准备渲染，其中物体和元素隔离在不同的层中，工作流程简化了渲染。
预置允许简单地设置常用的用户自定义的传递，例如镜面反射、阴影和法向贴图。
深度和运动矢量数据可以独立存储，并在后期处理中使用。
根据场景中的渲染层从 Maya 中生成 Autodesk® Toxik™ 合成，从而简化了工作流程，并允许多次迭代。
Adobe Illustrator 物体节点

支持倒角和曲线。
维持构造历史支持替换或编辑 Illustrator 文件，同时保持倒角历史。
Web 集成
支持在Maya 与基于 Mozilla 的浏览器和 Internet Explorer® 网络浏览器之间进行通信交流，使艺术家能制作和查看交互式网页，为扩展 Maya 用户界面或管理资产和场景数据提供了一种简便的方法。

支持的几何体/场景格式*
mayaAscii、mayaBinary、MEL、Autodesk® FBX®、aliasWire (Autodesk® AliasStudio™)、IGES、DXF、OBJ、VRML2、MOV (ascii motion) 、GE2、RTG、OpenFlight、VRML2、mental ray、RIB 和Open Inventor2。

支持的图像格式*
Maya IFF、Maya IFF 16、AVI、Apple® QuickTime®、GIF、Softimage® PIC、Wavefront RLA、BMP、TIFF、TIFF16、SGI®、SGI16、Alias PIX、JPEG、EPS、Cineon™、Quantel®、Targa®、DDS、PSD、PNG、QuickDraw™、MacPaint®、HDR、OpenEXR、MAP、Sony® Playstation® TIM、Dassault® Picture、PPM 和 mental ray® 格式（CT、ST、NT、MT、ZT、TT、BIT、CTH)。

支持的矢量格式*
PostScript、EPS、Macromedia® SWF、Swfit3D、Adobe® Illustrator 和 SVG。

*并非所有格式在所有平台上都受支持。并非所有格式的输入和输出都支持。有些格式只适用于某些渲染器。





Autodesk Maya Complete Features
Autodesk® Maya® Complete software, a comprehensive suite of tools for 3D modeling, animation, and rendering within a single, production-proven workflow, is the choice of award-winning digital artists and animators.
Intuitive User Interface
Data and Scene Management Tools
Polygon Modeling
NURBS Modeling
Subdivision Surface Modeling and Polygon Proxy Modeling
General Animation
Character Animation
Muscle and Skin System
Deformers
Rigid and Soft Body Dynamics
Particles and Fields

Maya Paint Effects
Toon Shader
Maya Artisan
3D Paint
Multiple Rendering Options
Rendering Controls and Effects
Integrated Scripting
OpenMaya API/SDK
Japanese Localization
Connectivity and Integration
CAD Data Transfer
Plug-ins



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Maya User Interface
Maximize your productivity.

Get unmatched productivity through a combination of performance and workflow features, including marking menus, 3D manipulators, selective display, stereo display, selection management tools, and unlimited levels of undo.


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Data and Scene Management Tools
Dependency graph architecture and scene segmentation tools boost productivity and workflow flexibility.

Fully editable and animatable construction history allows for extensive modification of modeled data—no need to rebuild models.
File referencing, scene segmentation, and shader organization features enable efficient management of complex scenes with interchangeable levels of detail.
Scene workflow tools include the ability to position objects along a curve, replace objects within a scene, and convert instances to objects.
Maya Assets provides highly intelligent grouping of nodes into containers, with support for custom and user-specific views, a flexible referencing system, and support for Asset libraries.
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Polygon Modeling
Maya provides a full complement of sophisticated polygon modeling tools and UV editing tools.

General Polygon Architecture

Nonmanifold architecture, focused on the details of creating, editing, and texturing polygonal models, includes multiple sets of animatable color-per-vertex (CPV), prelighting, user-defined normals, and normal map generation suitable for games/interactive users.
A complete set of editing tools, including bridge, poke, cut, wedge, bevel, extrude, chamfer vertex, extrude along a curve, mirror cut, edge loop, edge ring, slide edge, and pick-walk tools.
Intuitive polygon workflow through a host of intelligent selection features, such as true soft selection, preselection highlighting, and camera-based selection culling.
Polygon Texture Assignment/Editing

Streamlined workflow for creative texturing—including UV creation and editing, auto-projection and relaxation, interactive lattice and smudge tools, along with quick access to commonly used tools via the UV Texture Editor toolbar.
Multiple UV sets allow separate texture coordinates for separate texture channels.
Per-instance UV sets allow a single mesh to be used to represent multiple objects, reducing scene overhead.
An interactive mode is available for UV unfolding and layout.
Transfer Polygon Attributes

Enables modelers to transfer UV, color-per-vertex, and vertex position information between polygon meshes of differing topologies, even if they are separated in space or of different proportion/scale.
Artists can use the paint tool to blend between source and target deformations.
Optimization Tools
Polygon reduction, data cleanup, blind data tagging, and level-of-detail tools enable artists to optimize scenes for interactive display.

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NURBS Modeling
Maya delivers unparalleled, precision surface-modeling tools.

Precise Spline-Based Curve and Surface Construction Tools
Includes lofting, birail, beveling, extrusion, trim, boundary, offset, Booleans, rounding, square, and many other tools.

Surface Editing and Stitching

Surfaces can be attached, detached, aligned, stitched together, extended, filleted, or rebuilt with a high degree of control over parameterization and continuity.
Multiple NURBS patches can be merged into a single polygon mesh.
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Subdivision Surface and Polygon Proxy Modeling
Get access to a wide range of versatile subdivision surface tools.

Subdiv Proxy

Rapid construction of high-resolution polygon meshes allows artists to preview smoothed mesh while editing the mesh cage.
Choice of smoothing techniques provides fine control over the polygon count of the final mesh for rendering or level-of-detail.
Variable creasing is supported on vertices as well as edges for both the Subdiv Proxy and Smooth Mesh preview.
Hierarchical Subdivision Surfaces

A distinctive hierarchical approach for local refinement allows artists to begin modeling with a simple object and selectively generate increasing levels of detail only where needed.
Partial and full creasing tools make it easier to construct both rounded, organic forms and hard-edged objects.
Streamlined workflow for creative texturing, including UV auto-projection tools and UV Snapshot.
Easy conversion to polygons or NURBS.
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General Animation
Maya delivers a broad range of specialized tools for keyframe and procedural animation. Playback speed can be clamped to implement accurate frame rate.

General Keyframing
Fast and intuitive controls for keyframing—including cut, copy, and paste—allow animations to be created with ease.

Path Animation

Animation of an object along a curve or surface with automatic bank, roll, and yaw.
Editing of motion path or other animation parameters during playback.
Animation Curve Representation

A choice of Euler and quaternion math options provide accurate results in all situations.
Animation curves can be templated to prevent accidental modification.
Graph and Dope Sheet Editors

Powerful, precise function curves to control how animated attributes change over time.
Rapid and intuitive global editing of keyframe timing.
Lattice and falloff tools aid the manipulation of dense keyframe data, such as data from motion capture devices.
Generalized Constraints
A comprehensive assortment of constraints, including parent, point, aim, orient (with animatable offsets), as well as scale, geometry, normal, tangent, and pole vector.

Blend Channels
Multiple animation channels can be mixed with each other, or with constraints, into a single result.

Procedural Animation
Maya Embedded Language (MEL) procedures and expressions can be used to create complex animation as an alternative to traditional keyframing.

Animation Layering
Nondestructive, highly controllable animation layering feature set works with any attribute. Animation layers can be blended, merged, grouped, and reordered, and can override or add to preceding layers.

Set Driven Key
Complex relationships between animated parameters can be keyframed with this powerful and intuitive tool. Multiple attributes can be controlled with a single slider.

Trax Nonlinear Animation

Nondestructive mixing and editing of poses and animation clips (including constraints and expressions) with total control over all aspects of motion blending.
Libraries of performances can be stored and edited.
Muting and soloing capabilities provide control over each animation sequence in isolation or in the context of other animations.
Multiple sound tracks can be matched up visually with animation and played back to facilitate character lip-synching, as well as other audio-matching requirements.
Animation and Dynamics Muting
Animation on selected channels or keyframes may be temporarily disabled to focus on a specific motion.

Ghosting
Animation can be viewed prior to, and after, the current frame, so you can evaluate motion.

Geometry Caching

Deformations on polygon, NURBS (including curves), and subdivision surface geometry can be cached for faster playback and rendering of scenes, as well as for transfer to other 3D packages such as Autodesk® 3ds Max® software.
Caches can be edited and blended together in Trax.
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Character Animation
Maya gives you the tools you need to animate sophisticated digital characters.

Skeletons and Inverse Kinematics (IK)

Seven built-in IK solvers reduce the time it takes to create high-quality character animation; attributes include joint limits, preferred angles, and joint mirroring.
Spline IK solver allows for the easy animation of skeletal chains, like a character’s spine or tail, and includes easy-to-use twist and roll controls.
Single chain and lightweight 2-bone solvers are optimized for real-time interactivity.
Spring IK solver allows for precise control over multijointed appendages such as insect legs.
Full Body IK System

Fast and easy rigging and posing of characters.
Delivers natural articulation of biped and quadruped models.
Blendable IK/FK System
Smooth blending between IK and FK animation.

Skinning

Precise control of skin behavior, even in the most challenging areas such as shoulders.
Smooth Bind Skinning allows geometry to be connected to skeletons so that the character deforms smoothly as joints are moved.
Substitute Geometry tool allows for easy editing and transferring of skinning information between models.
Rigid Bind Skinning provides direct manipulation of geometry by individual joints.
Nondestructive workflow for skin editing capabilities, including the ability to insert, move, delete, connect, and disconnect joints on a bound skeleton (no need to rebind after changes have been made).
Support for multiple bind poses.
Motion Capture with Dense Data Editing and Resampling
Motion capture data can be easily incorporated into and manipulated inside Maya.

Motion Retargeting
Motion capture, or other animation data, applied to one character can be reapplied to an entirely different character, even one with a different skeletal hierarchy.

Motion Redirection
Original direction of existing motion capture, or other animation data, can be changed at any point in time.

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Muscle and Skin System
Maya Muscle
Maya delivers advanced muscle and skin deformation tools that allow you to quickly and easily create realistic or highly stylized muscle and skin motion.

Choice of Muscle Types

Simple and parametric NURBS muscles available.
NURBS muscles offer advanced sculpting and posing possibilities, and can be mirrored after initial setup.
Jiggle

Highly controllable, built-in Jiggle deformation.
Separate values available along the muscle, directional damping settings, and the ability to specify thresholds control how sudden movements affect jiggling.
Wrinkles
The behavior of the skin when relaxed can be precisely defined, enabling the creation of life-like wrinkling in specific areas.

Sliding and Stickiness

Precise control over the behavior of the skin on top of the muscle can be achieved by painting weight maps for both Sliding and Stickiness.
Up to three different Sticky maps can be created and blended between, allowing multiple weights to be stored in a single rig for maximum flexibility.
A Displacement function allows texture maps to be used to simulate sliding, optionally at render time only, for optimum performance.
Collisions

A choice of different collision methods makes it possible to create the effect of skin colliding with skin and of one mesh colliding with another.
Collisions are deformer based, rather than simulation based, and therefore require no runup or preprocessing.
Performance
Muscle calculations can be cached for faster playback.



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Deformers
Manipulate geometry or particles into any desired shape.

Deformation Tools

Can be used statically for modeling and sculpting.
Animated deformers can add life to creatures and other objects.
Includes Lattices, Sculpt Objects, Skin Clusters, Point on Curve Constraints, Blend Shapes, Wires, Wrinkle Tool, Bind/Detach Skin, Flow, Jiggle, and Wrap deformers.
Soft Modification tool allows for controllable falloff around vertices or points.
Most deformations work on all supported geometry types, including particles.
Paintable weights on Clusters, Sculpt Objects, Blend Shapes, Jiggle, and Wires allow you to control the region and extent of the deformation.
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Rigid and Soft Body Dynamics
Create effects through the dynamic interaction of geometry, including collisions between rigid and soft bodies.

Rigid-Body Dynamics

Realistic, high-speed simulation of multiple rigid objects.
Includes dynamic constraints such as nails, hinges, barriers, pins, and springs.
Soft-Body Dynamics

Accurate, fast simulation of flexible objects allows for the rapid creation of secondary motion effects, such as muscle jiggle and floppy hats.
Powerful spring architecture offers precise control of any flexible surface down to the individual spring.
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Particles and Fields
Fully integrated particle effects can be controlled by forces based on real-world physics or by deformers.

Extensible Integrated Particle System

Fully integrated, with expression-based control over particle attributes, motion, and dynamics.
Wizard enables easy particle sprite setup.
Direct manipulators provide interactive control of particles, fields, and emitters.
Particles can be controlled by texture values.
Geometry instancing allows for the placement of individual objects, a sequence of objects, or an array of different objects onto any particle system.
Collision events can trigger multiple procedural animation effects.
Volume Controls and Emitters

Intuitive control of particles via geometric shapes makes it easier to place particles where and when you want them.
Standard Maya deformers can be applied and layered—including lattices, clusters, soft modifications, and nonlinears—for nonphysically realistic effects.
Field Controls

Field forces—such as gravity, vortex, air, and turbulence—can be applied to rigid bodies, soft bodies, or particle objects.
Custom fields may be added via the extensive dynamics API (application programming interface).
Clip Effects
Library of ready-made effects, such as fire, curve and surface flow, shatter, fireworks, and lightning.

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Maya Paint Effects
Maya provides groundbreaking paint technology for creating amazing natural detail on 2D images (including textures) or 3D objects attached to polygonal and NURBS surfaces.

Powerful Painting Techniques

Can be used to create animatable effects, such as plants growing, unfurling, or swaying in the wind.
Artists can define a logotype in oil paint and watch it draw on the screen.
Game-content artists can paint repeating textures for levels that update right on the model.
Maya Paint Effects Brushes

More than 500 editable, pressure-sensitive, preset brushes completely integrated within the Maya application.
Extensive range of traditional painterly brushes, including airbrushes, oil paint, chalk, pastels, pencils, watercolors, wet brushes, and markers.
Options for a vast range of realistic effects, including trees, grass and flowers, realistic hair, eyebrows, and beards.
Special effects, such as lightning, clouds, rain, star fields, fireworks, fire, and sparks.
Mesh brush type creates organic or hard-edged geometry that is convincing even close up. Used with environment reflections, it can create looks such as chrome, glass, and shiny paint or displacement/bump mapping.
Thin Line brush can be used to quickly paint on high-quality hair that can be efficiently rendered.
Brush Attributes

All brushes can be used in true 3D space (to paint on or between 3D objects in a scene), on a 2D canvas (to create images and textures), or within the 3D Paint tool (to create textures by painting directly on the model).
Brushes can be blended together to make an infinite range of new, user-customized presets.
Brushes are fully animatable and have built-in preset dynamics such as turbulence and gravity.
Brush growth attributes include bend, curl, and twirl.
Convert Maya Paint Effects to Polygons and NURBS
Data can be edited using traditional modeling tools for output to any renderer.

Paint Effects Rendering

Strokes can be drawn fully rendered during interactive painting, providing immediate feedback.
Features fast, resolution-independent final rendering that can include 3D cast shadows, depth-of-field, fog effects, and motion blur.
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Toon Shader
Supports a wide range of nonphotorealistic rendering styles for traditional 2D cartoons, comic book-style imagery, Japanese manga/anime, and others.
Maya Paint Effects brushes can be used on an outline with access to an extensive range of painterly effects, as well as line style, placement, and width.
Near real-time interactive previews.
Can be rendered in mental ray® for Maya, or the Maya software or hardware renderers.
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Maya Artisan
Maya gives you a suite of integrated, pressure-sensitive brush tools with built-in mirroring.

Sculpting
Natural brush interface can be used to interactively sculpt polygon, NURBS, and subdivision surfaces.

Paint Selection
Complex selections of components, such as vertices, faces, and edges, can be made without selecting through to the back of the model.

Attribute and Script Painting
Editing smooth skin or soft-body goal weights, painting per vertex color or blind data, adding geometry to the scene, and other complex tasks can be quickly performed.

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3D Paint
Paint color, bump, displacement, transparency, and other textures directly on surfaces.

Integrated texture painting of color, bump, transparency, displacement, and other effects directly onto polygon, NURBS, and subdivision surfaces.
Can be used with either image-based brush profiles or any Maya Paint Effects brush.
Brush modes include paint, smear, blur, clone, and erase.
Automatic conversion of procedural textures and PSD files.
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Multiple Rendering Options
Multiple renderers, tightly integrated through a consistent rendering interface, let you create any look from photo-realistic imagery to a simple vector graphic.

Maya Software Renderer
Hybrid design uses fast, selective raytracing for maximum efficiency.
Multithreaded, multiprocessor support with built-in memory handling maximizes productivity and provides large scene rendering capabilities.
Full range of effects, including depth of field, motion blur, soft shadows, and lens flares.
Advanced attributes, such as light absorbance and chromatic aberration, provide sophisticated, creative options.
Volumetric materials, such as noise and fog, aid in the creation of environmental effects.
Ramp Shader effects include glass, stone, cartoon-like shading, and X-ray.
Anisotropic and diffraction shaders are also available.
Provides high-quality software particle rendering with a comprehensive assortment of effects—including blob, tube, and cloud rendering—for gas clouds, fire, liquids, etc.
mental ray (3.7 core) for Maya
User-friendly UI and workflow.
Advanced photorealistic lighting features, such as global illumination, caustics, ambient occlusion, blurry reflections and refractions, and motion-blurred particles.
Custom mental ray shaders can be used.
Ships with a number of useful shader presets, including physically accurate sun and sky shaders, a set of architectural shaders for hard-to-realize materials, and a round corner shader (softens geometrically precise corners).
Light baking of shadows and lights, including global illumination and final gather, can be converted to file textures or to color-per-vertex data.
Image-based lighting allows for the emission of photons, caustics, or direct illumination lights from spherical image maps.
High dynamic range (HDR) images can be baked from the mental ray batch bake option.
Photometric lighting support allows for the use of real-world lighting profiles.
Photon visualization supports previews of the placement of photons and final gather points in the 3D scene.
Render Proxy allows for the replacement of scene elements with a simple, low-resolution mesh. Pre-translated data is loaded only when required for rendering.
mental ray for Maya Satellite
Contains the same functionality as mental ray for Maya.
Assists in distributing render jobs over processors located across a network.
Two free licenses* with Autodesk® Maya® Complete, eight with Autodesk® Maya® Unlimited software.
Hardware Renderer
Takes advantage of the ever-increasing power of next-generation graphics cards.
Generates near-software-quality images at significantly faster render times for broadcast or pre-visualization needs.
High-quality rendering in the viewport enables you to immediately see the results to changes, with no need for a separate rendering calculation.
Support for color-per-vertex in both offline rendering and the interactive viewport.
Support for DirectX® HLSL, CgFX, and Advanced Shading Language Interface (ASHLI) shaders—includes a user-friendly UI and workflow. Hardware shader API accessible through the OpenMaya API.
Viewport can be overridden with a third-party or proprietary renderer, such as a game engine.
Vector Renderer
Windows® 32-bit configuration only.

Can be used to turn 3D content into 2D content for the web or print.
Output to Macromedia® Flash® (SWF or SWFT), Adobe® Illustrator® (.ai), SVG, EPS, or bitmap formats.
Provides a range of nonphotorealistic looks, including hidden-line rendering.
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Rendering Controls and Effects
These efficient tools help you set up and evaluate your scene or create popular stylized effects.

Stereo 3D Support
A flexible stereo camera rig comes complete with in-viewport stereo viewing.

IPR (Interactive Photorealistic Rendering)
Instantaneous editing of color, texture, lights, shadows, glows, motion blur, and many other effects in final-rendered-quality imagery.
Multi-threaded to maximize productivity and creativity.
Supported by mental ray for Maya and the Maya software renderer.
HyperShade and Visor
Can be used to design and edit simple to complex shading networks.
Visual outliner (Visor) displays libraries of textures and images, or image swatches for easy management and selection.
Bins allow for sorting and organization of rendering nodes, such as materials, textures, and lights.
Universal Rendering
Includes the ability to render on an unlimited number of networked machines of the same operating system (mental ray excepted).

Transfer Maps
Artists can transfer normal, displacement, diffuse, shaded, ambient occlusion, and custom mental ray shader information between models of differing topologies.
An HDR image can be baked from the Transfer Map feature.
See also Render Layers

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Integrated Scripting
Two fully integrated scripting languages let script writers and programmers customize, extend, or manipulate Maya.

MEL
Offers full scripting of any Maya feature. Everything can be accessed.
Artists and technical directors can easily create custom windows and scripts, or reconfigure the Maya user interface, to make a completely custom application.
Commands can be issued from an HTML page. Scripts can be recognized by an external web browser via the Maya web browser plug-in.
A Python® command allows MEL scripts to call Python code. This gives MEL users the option to mix Python scripts with their MEL scripts—a good way to transition into using Python.
Python
Integrated into Maya at the same level as MEL.
Higher-level language constructs allow for increased developer productivity and easier maintenance of code.
Readily available scripting resources and knowledgeable community of users.
Highly extensible, with a collection of third-party tools and modules available.
Bindings to the OpenMaya API give programmers an alternate language for plug-in development.
The Maya Python modules can be imported into an external stand-alone Python interpreter for batch processing.
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The OpenMaya API/SDK
OpenMaya API/SDK unlocks the power of the Maya architecture for programmers and technical directors.

Direct Access to Maya Software Functionality
Maya plug-ins and stand-alone applications that run from the Maya command line can be written using C++.
Maya scene hierarchy can be traversed with iterators.
Maya plug-ins can be registered to receive a comprehensive range of Maya messages.
Maya manipulators and locators can be created.
New types of Maya objects can be developed, including file translators, hardware shaders, surface shapes, and MEL commands.
Existing Maya objects, such as geometry, lights, shaders, transforms, scene hierarchy, and dependency graph nodes can be queried and modified.
MEL scripts can be executed from C++.
The OpenMaya API is available from Python scripting as well as C++.
Development Resources
OpenMaya API guide.
Maya Motion Capture API guide.
MEL Command reference guide.
OpenMaya API Class reference documentation: names each OpenMaya API/SDK class and is fully searchable and indexed.
Source code, project Makefiles, and a Wizard on Windows for building examples and generating plug-in templates.
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Japanese Localization
Artists have the option to navigate Maya, or customize their tools and user interface, using a Japanese UI*.

UI includes Japanese-language menus, labels, error messages, annotations, heads-up displays, notes, and string attributes.
Users can switch between the English and Japanese UI by adjusting their language setting between sessions.
Data compatibility between English and Japanese Maya files promotes collaboration in facilities on projects where both languages are in use.
Artists can create 3D text using resident Japanese fonts (also functions with Korean and Chinese fonts).
* Available for Maya on Windows® and Mac OS® X operating systems.

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Connectivity and Integration
Maya delivers tools for integrating Maya content into the production pipeline.

Adobe Photoshop Integration

Artists can create shading networks with connections to layers sets in a PSD file and include procedural or 3D painted textures as starting points and UV layouts for reference.
Render layers can now be rendered to layered PSD files.
Any PSD file can be used as a texture map and rendered directly in the Maya software and hardware renderers and in mental ray for Maya.
PSD files containing layer sets can be converted into a layered texture within Maya.
A multilayered PSD file can be automatically connected to multiple material attributes.
Compositing Integration

Render Layers

Allows multiple passes from any of the four Maya renderers, as well as post processes, such as Maya Fur and Maya Paint Effects, to be managed in a single scene.
A system of per-layer and per-object overrides means that objects can have different shading and rendering attributes on different layers.
Workflow streamlines rendering by preparing renders for optimal output to the compositor of choice—or Photoshop (PSD) or Flash (SWFT) output—with objects and elements isolated in individual layers.
Presets allow for easy setup of commonly used user-defined passes, such as specularity, shadows, and normal maps.
Depth and motion vector data can be stored separately and used in post processes.
Artists can generate an Autodesk® Toxik™ software composition from within Maya based on the render layers in the scene, streamlining the workflow and allowing for multiple iterations.
Render Pass

Render Pass toolset offers precise control over render output and can optimize integration with compositing packages, such as Autodesk Toxik.
Adobe Illustrator Object Nodes

Supports both beveling and curves.
Maintain Construction History enables Illustrator files to be substituted or edited while maintaining the bevel history.
Web Integration
Support for communication between Maya and Internet Explorer® as well as Mozilla®-based web browsers allows technical users to create web pages, which may be used to drive Maya.

Supported Geometry/Scene Formats*
mayaAscii, mayaBinary, MEL, Autodesk® FBX®, aliasWire (Autodesk® AliasStudio™), IGES, DXF, OBJ, VRML2, MOV (ascii motion), GE2, RTG, OpenFlight, VRML2, mental ray, RIB, Open Inventor® 2.

Supported Image Formats*
Maya IFF, Maya IFF 16, AVI, Apple® QuickTime®, GIF, Softimage® PIC, Wavefront RLA, BMP, TIFF, TIFF16, SGI®, SGI16, Alias® PIX, JPEG, EPS, Cineon®, Quantel®, Targa®, DDS, PSD, PNG, QuickDraw®, MacPaint, HDR, OpenEXR, MAP, Sony® PlayStation® TIM, Dassault® Picture, PPM, mental ray® formats (CT, ST, NT, MT, ZT, TT, BIT, CTH)

Supported Vector Formats*
Adobe® PostScript®, EPS, Macromedia® SWF, Swfit3D, Adobe Illustrator, SVG.

* Not all formats supported on all platforms. Not all formats supported for both import and export. Some formats applicable to certain renderers only.

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CAD Data Transfer
Learn how you can share your design files between Maya software and the most popular solid modelers.


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Plug-ins
See the extensive list of ADN Sparks® third-party plug-ins for Maya.

mental ray is a registered trademark of mental images GmbH licensed for use by Autodesk, Inc.

Python is a registered trademark of Python Software Foundation.

Autodesk 3ds Max详细介绍

最全的CG影视特效资源:AfterEffects Fusion Shake 5Dcyborg Boujou Flame
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特效合成资源：AfterEffects Fusion Shake 5dcyborg Boujou Flame Assimilate
scratch Avid media Illusion Avid Liquid Avid Softimage/DS
Avid Xpress Pro HD D2 Nuke Discreet Combustion Discreet Edit
Discreet Fire Discreet Flame Discreet Flint Discreet Inferno
Discreet Lustre Discreet Smoke Discreet Toxik Eyeon Fusion
Kcirasoft Roach Nothing Real Shake Nucoda FilmMaster Commotion
Pinnacle Studio Piranha Cinema Chrom imaging SGO Mistika
三维动画资源：Avid Softimage Alias Maya Side Houdini Newtek Lightwave
Maxon Cinema 4D Discreet 3DMax Alias Studio
特效跟踪资源：2D3 Boujou Mokey Realviz MatchMover PF Track SynthEyes 2D3 Monet

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更多资源可见:http://www.itmgvfx.com/
视频教学资源:http://www.itmgvfx.com/itmgvfxChinese/new_page_2.htm
教学资源下载:http://www.itmgvfx.com/itmgvfxChinese/new_page_6.htm
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软件　教学　培训　特效　　影视　　CG 动画



3ds Max 用户界面
最大化您的生产力。

艺术家可以通过组合的性能和工作流程功能获得无敌的生产力，例如快速、高效的 WYSIWYG（所见即所得）视窗环境、结构视图、多个坐标系、交互式轴约束、可自定义的菜单和按钮、视窗夹/操纵器以及无模式的键盘输入。他们还可以通过创建热键和应用程序内工作流程、通过使用 ViewCube™ 和 SteeringWheels™ 等跨应用程序导航工具来简化工作流程。

独特的修改器堆栈为艺术家提供了使用强大、可视的参数工作流程的选项：在修改器堆栈任何地方所做的修改（不管程度如何）都会自动传播到最终作品中。此功能使艺术家能够以非线性方式进行工作 — 例如在某个已完成的高分辨率角色模型上，还原到堆栈底部的原始低分辨率几何体，并添加细节，比如衬衫上的纽扣或捏鼻子。这些更改通过所有完成修改器（例如平滑、贴图和蒙皮）向上传递，以便在完成的角色中显示。

使用鼠标或基于输入板的画笔界面，进行物体选择和变形、顶点颜色及光能传递润饰。



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数据和场景管理工具
使用内外部数据与场景管理功能提高生产力和工作流程灵活性。

文件管理实用程序 — 例如项目文件夹、相对路径、路径重设工具、资源跟踪、保存增量、自动备份、资源收集器、动态纹理重新加载及日志文件—在文件迭代、用户和位置之间管理 3ds Max 数据的日常使用及传递。
场景管理 — Scene Explorer 面板使用户能够使用可堆叠的过滤、分类和搜索标准，根据任何物体类型或属性（包括元数据）来分类、过滤和搜索场景。用户可以保存和存储多个 Explorer 引用，关联、解除关联、重命名、隐藏、冻结和删除物体，而不管场景中当前选择的物体是什么。用户也可以配置栏来显示和编辑任何物体属性—此功能可以使用 MAXScript 进行扩展。
智能的外部文件参照功能（用于场景、物体或材质）支持复杂场景和动画的高效团队管理。
层管理器使艺术家能够通过层管理器在层中进行工作，从而快速隔离相关的场景元素。
资源跟踪器提供在用资源的来源控制管理。该功能与 Autodesk® Vault 资源管理软件紧密集成，并与大多数第三方资源管理解决方案兼容。
Recognize™ 场景加载技术支持快速精确地把 Revit® 2009 场景数据传递到 3ds Max 中。

欲了解详细信息，请参见连通性和集成。



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建模
高效创建参数形状和物体，以快速开始建模。

大量精选的现成几何元素，包括标准图元、扩展图元、2D 形状和建筑元素（例如门、窗和楼梯）。
混合物体可以使用以下任何操作来创建：Scatter、Connect、Booleans、ShapeMerge、Morph、BlobMesh、Terrain 和 Loft。
参数和混合物体可以转换成以下任何基本几何类型，以进行更详细的编辑：可编辑的网格、可编辑的多边形、可编辑的面片或 NURBS 物体。
2D 形状可以用作创建可编辑样条和样条架构 (spline cage) 的起点，以转换为任何 3D 几何体类型。


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多边形建模与纹理制
多边形/三角网格结构能让艺术家高效地创建、编辑网格模型和制作纹理。这些模型可以包含每顶点颜色通道、贴图通道、选择通道和显式法线，这些元素全部都能在修改器堆栈中制作动画。

多边形建模工具

一整套的制作和编辑工具，包括 create、collapse、attach、bridge、flip、hinge from edge、turn、cut、split、slice、quick slice、wedge、bevel、extrude、chamfer vertex、extrude along a curve、mirror、edge loop 和 edge ring 工具。
ProBooleans 可以用于重新评估和优化网格的拓扑。ProCutter 工具能让艺术家把几何体快速打碎成多个较小的块。
工作流程功能包括：Preserve UV，用于从多边形顶点分离纹理坐标，以便在不毁坏 UV 数据的情况编辑网格；子物体（例如顶点、边、面）选择集，用于在不同类型的选择之间进行智能转换（例如边到顶点）；编辑和动画编辑的交互式预览；以及让建模热键和基准点变成临时覆盖的功能。
为处理修改器堆栈中的几何体和子物体提供大量的建模修改器，包括 Projection、Edit Normals、Vertex Paint 以及那些能让您弯曲、导角、封洞、横截、置换、拉伸和细分多边形的修改器。

细分表面和多边形平滑

细分方法包括：NURMS 细分，可以生成类似 NURBS 物体的物体；经典细分，就象 MeshSmooth 一样生成三边和四边的面；以及四元输入，只生成四边的面。多边形物体的网格平滑提供了对最终网格多边形数的控制，以用于渲染优化或细节层级。可供使用修改器进行建模的人员使用的细分表面和多边形平滑工具包括分层细分表面修改器、MeshSmooth 和 TurboSmooth。
优化工具

几何体清理和细节层级工具支持场景优化以进行交互式显示。
纹理指定/编辑

3ds Max 为创造性纹理和平面贴图提供广泛的操作，包括重复、镜像、贴花、角度调节、旋转、模糊、样条贴图、UV 拉伸和松弛；消除变形；保存UV；以及 UV 模板图像导出。
改进的纹理工作流程包括组合无限数量纹理的功能、支持拖放指定的材质/贴图浏览器以及带有缩略图的树状结构。
UV 工作流程功能包括：Pelt 贴图，定义定制接缝并支持用户根据这些接缝展开 UV；复制/粘贴材质、贴图和颜色；调用快速贴图类型（框、圆柱形、球形）。
艺术家可以使用多达 99 组 UV 来进行纹理层制作。
广泛的 UVW 贴图工具包括纹理贴图坐标的直接操纵。
在修改器堆栈中使用的纹理修改器包括像机贴图、材质修改器、UVW 贴图修改器、UV Xform、Map Scaler 和 Surface Mapper。
着色器/材质：参见渲染


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样条线/延伸样条线建模
精确的样条曲线和表面构造工具包括 loft、one- and two-rail sweep、beveling、extrude、filet、cap、offset、lathe、ruled、mirror、multisided blend 以及其它工具。
通过对参数化和连续性的高度控制，表面可以合并、拆开、对齐、缝合、拉伸、制作圆角或重建。样条修改器—适合那些使用修改器堆栈进行建模的人员—能让用户变形、切割、标准化样条、设置样条渲染属性、冲光和修剪/拉伸样条。为直接操纵子物体几何体提供众多的修改器（例如曲线 CV、表面 CV、表面）。

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基本动画
从能够用于在您的场景中制作几乎任何参数动画的广泛关键帧和程序性动画工具中获益。

基本关键帧

两种键模式 — set key 和 auto key — 提供对不同关键帧工作流程的支持。
快速、直观的关键帧控制—包括剪切、复制和粘贴—能让用户轻松制作动画。
动画轨迹可以直接在视窗中查看和编辑。
动画控制器

广泛的控制器（包括基于键的控制器和参数控制器）可以用于对完整转换或物体的位置、旋转和比例制作动画。
基于键的控制器（例如 Bézier 和 TCB）在每个键中存储能够使用这些控件进行编辑的值和插值方法。
约束性动画

物体可以使用对齐、倾斜、速度、平滑度和循环控制沿曲线制作动画，使用对齐控制沿表面制作动画。对多个曲线之间的路径控制动画计算权重，并制作权重动画。
物体可以通过其它物体以许多方式制作约束动画，包括观看、不同坐标空间中的方向以及在不同的时间点进行关联。这些约束也支持多个目标之间的动画权重。
生成的所有约束性动画都可以塌陷到标准关键帧中以进一步编辑。
程序性动画

参数控制器存储影响整个动画的值：每个类型的控制器都有独特的控制。
用户可以根据众多的内置控制器制作程序性动画，包括噪音、表达式、波形、弹力和音频。
生成的所有程序性动画都可以塌陷到标准关键帧中以进一步编辑。
脚本和表达式控制器

自定义控制器可以用作脚本和表达式。
表达式允许由任何数学函数以及任何 MAXScript 来控制动画。
脚本控制器允许由任何可使用 MAXScripts 描述的关系来控制动画。
生成的所有脚本或表达式动画都可以塌陷到标准关键帧中以进一步编辑。
列表控制器

多个动画轨道可以使用列表中的控制器树状结构融合到一个结果中。
列表控制器可以用于在同一个物体或多个物体上存储动画的不同姿势和版本。
列表中每个控制器的影响可以随时间推移计算权重和制作动画。
反应控制器

可以设置反应来让物体响应其它物体的动画。
可以使用想要的值设置和触发反应的状态，因此反应物体将得到控制，而不必用手进行关键帧操作。
参数绑定

控制器之间的单向和双向关系可以绑定在一起，从而提供一种更加可自定义的动画键操作方法。
通过把 UI 元素（例如滑块和旋转器）绑定到物体的可动画轨道，可以实现自定义动画控制。
多个属性可以使用一个滑块控制。
轨迹视图：曲线编辑器和轨迹窗拟定图表编辑器

关键帧动画可以使用沿时间线的曲线逐轨进行编辑，因此动画师可以更轻松地形象化显示插值的分量。
曲线编辑工具包括限制、曲线绘制和曲线修改器。
关键帧可以单独编辑，也可以使用轨迹窗拟定图表编辑器
按组和范围进行编辑。
关键帧或关键帧组可以滑动、移动以及进行时间和值的缩放。
动画可以通过复制、粘贴和引用控制器进行逐轨编辑。
Track Sets 可以用于把复杂的动画组织到离散的实体中，以简化编辑。
密集动画可以使用软性选择衰减进行精确控制，并减键为稀疏的键，从而保持原始动画的完整性。
声轨可以加载到轨道视图中，以轻松地与目标动画同步。图像重影
可以在当前帧之前和之后观看动画，以便评估物体运动。
修改器动画

由于所有修改器参数都可以进行关键帧操作，因此修改器堆栈为动画师提供了另一种程序性动画方法。
点缓存修改器可以用于保存和加载表面变形，以实现轻松交换和快速回放。
Morpher 修改器是组织和动画变形目标的一个界面，支持逐行扫描变形。
蒙皮

可以使用皮肤或体形修改器来实现骨骼变形的精确控制，这样角色就能随关节移动平稳变形，即使在像肩部这样的难度最大的部位也能实现。
皮肤变形可以使用直接顶点权重、封套定义的顶点体积或两者来控制。
权重表、可绘画的权重以及权重的保存和加载等功能在模型之间提供简便的编辑和基于就近性的传递，从而为复杂的角色制作提供了所需的精确性和灵活性。
刚性绑定蒙皮选项既能用于制作低多边形模型动画，也可以用作正常骨骼动画的诊断工具。
其它修改器（例如 Skin Wrap 和 Skin Morph）可以用于驱动网格以及在棘手部位进行目标权重调整。


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角色动画
获得制作复杂的数字角色动画所需的工具。

Biped 概述

集成的 Biped 工具包提供快速、智能的两足动物、体格和群组动画功能。
Biped 可以自动创建两足和四足角色骨骼，因而使用户能够在确定骨骼结构之前制作动画并重新定向到不同结构的两足/四足动物。
Biped 提供先进、直观的 FK/IK 融合以及一个强大的 IK轴心点动画系统，能让手和脚围绕其轴心点之外的点滚动和旋转。
Biped Xtras 能让用户通过可以附加在任何地方并能与任何 Biped 物体建立父子关系（且在旋转和位置方面可动画）的 FK 链条在骨架上的任何地方制作和动画外来的 Biped 功能。Xtras 可以另存为 .bip 文件。
Biped 为资源共享、动画层和非线性编辑提供了高级工具。
独特的 Biped 和样条动力学工具使动画师能够精确控制角色上的物理力，并能用于计算两足动物的空中飞行轨迹线、着地时的膝盖弯曲以及总体平衡。
体格可以用于自动把皮肤几何体附加到两足或骨骼树状结构。
集成的群组系统能让用户使用智能的行为交互（比如目标搜寻和规避）来控制 Biped 角色或任何 3ds Max 物体。
行为可以编成脚本或编写为 C++ 插件，而且用户可以使用认知控制器根据任何可脚本或可编程的标准在它们之间切换。
骨骼和反向运动学 (IK)

角色可以使用 3ds Max 骨骼、IK 解算器和骨骼搭建工具搭建自定义骨架。
所有动画工具（包括表达式、脚本、列表控制器和绑定）都能与用来建立任何结构 rig 的一套骨骼专用实用程序以及自定义控制一起使用，因此动画师只会看到制作其角色动画所必需的 UI。
3ds Max 配备了四个插件 IK 解算器：历史不相关的解算器、历史相关的解算器、肢体解算器和样条 IK 解算器。这些强大的解算器可以减少制作高质量角色动画所需的时间。
历史不相关的解算器在 IK 和 FK 动画之间提供平滑的融合，并使用首选的角度让动画师更好地控制受影响骨骼的定位。
历史相关的解算器可以在关节限制内进行解算，并用于类似机器的动画。
IK 肢体是一种轻量的两骨骼解算器，针对实时交互进行了优化，对于处理角色的一条胳臂或腿十分理想。
样条 IK 解算器提供了一个灵活的动画系统，其中节点可以移动到 3D 空间中的任何地方。它支持高效的骨骼链动画，例如角色的脊骨或尾部，并包含易用的扭曲和卷曲控制。

高级动画工具
动画资源

Biped 和 3ds Max 物体都有用来存储、加载和重定向动画资源的系统，使艺术家能够重用他们的内容，并大大扩展了每个素材的效用。
虽然 Biped 文件格式专用其自身—因而提供了重构和重定向的无敌功能和简便性—但它也能包含两足动物可以倚重的 3ds Max 动画。
动画数据可以从任何物体或角色导出到 XML 文件，然后使用轨道间贴图重新导入，或者在角色情况下，使用逐物体控制重定向到比例不同于原始动画的角色上。
Motion Mixer

Biped 和 3ds Max 物体都得到非线性动画混合器的支持。可以存储动作库以便与混合器配合使用，而且动作可应用和重定向到单一物体、整个角色或角色内的特定物体和轨道组。
Motion Mixer 能让用户根据素材自身的模式智能地在动作素材之间移动，从而实现最高的平滑性。
静音和单声道功能可使您独立或在其他动画环境中控制每个动画序列。
动画层

Biped 和 3ds Max 物体都能在层中制作动画，因而支持在最密集的动画数据上进行针对性调整，而不会影响基本关键帧。
参数收集器

用于收集、管理和共享特定动画控制组的直观界面。
Biped Motion Flow

Biped 素材网状界面可以用于设置动作之间的转场和定义一系列移动。
Motion Flow 可以与群组系统配合使用，以确定群组驱动的两足动物必须从中选择的动画行为。
Biped 复制/粘贴

强大的复制和粘贴系统，可以存储、共享和检索整个两足动物或物体组上的姿势、体态和轨迹，因而方便了动画块设置和手动调节姿态。
Biped 工作台

轨迹视图的专业化版本，可用于根据高级标准（例如加速、峰值和噪波）编辑、分析和修改 Biped 动画。
Biped 脚步

可以使用代表和控制 IK 运动约束位置的脚步技巧来制作两足动物角色动画。
动作捕捉

动作捕捉数据（包括分级数据和标记）可以轻松导入和重定向到两足动物及 3ds Max Design 物体上。
3ds Max 物体通过使用 HTR 和 TRC 导入格式得到支持，这些格式可以转换为 XML 或 Biped 格式，以便在任何角色上重用和重定向。
Biped 支持 BVH 和 CSM 数据，并有提取 IK 约束的工具，可在设定容差范围内减少身体任何部位上的键，并定义角色内的偏移。


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修改器
使用修改器堆栈选择、建模、贴图和动画物体及子物体。

选择

子物体选择可以使用 Mesh Select、Poly Select、Patch Select 和 Volume Select 沿堆栈上移到其它修改器。
动画变形

动画变形器可以增加人物的逼真度，模拟流体特效，等等。变形器可用于所有类似的几何体，包括粒子。
用于制作动画变形的修改器包括 free form、ripple、wave、squeeze、twist、bend、stretch、spherify、noise、displace、skew 和 relax。
World Space 修改器在修改器堆栈的顶端运行，并把物体绑定到动画世界条件，比如表面、力、场和偏转。
建模与贴图

编辑网格、多边形、面片和样条修改器能让艺术家在参数物体上使用基本形几何体编辑工具。
Meshsmooth、Turbosmooth、Subdivide、Tessellate 和 HSDS 修改器可以增加物体或子物体的分辨率，并提供每种技术专用的控制。
优化和多分辨率工具可以降低物体的分辨率，同时保持重要的特征。
UV 贴图和 UV 展开工具可以把纹理坐标操纵工具添加到任何物体的堆栈中。
其它参数流程（例如添加自定义属性、在几何体中开孔、绘画顶点颜色、覆盖材质 ID 和调整表面法线）可从修改器堆栈的灵活性中获益。


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空间扭曲
添加世界空间条件来控制所有场景物体的行为和交互。

Space Warps—可以绑定到几何体和粒子的物体—引入了世界空间动画特效。
基于力的 Space Warps（例如风和重力）可以向选定的物体添加自然行为。
变形器包含物体和粒子的动画，支持参数跳动和摩擦。
基于修改器的 Space Warps 可以用于相互关联地变形许多物体。
Space Warps 可以包含在动力学模拟中，以增强物理逼真度。


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动力学
通过几何体的动态交互，包括刚体和柔体之间的碰撞，来制作特效。

集成的 Reactor 插件（基于 Havok 3.2 解算器）能让用户制作全系列的刚体和柔体动力学模拟，并且与 3ds Max Space Warp 修改器兼容。
可以使用多个约束在物体之间创建复杂、精确的物理关系。
简单约束（比如弹簧和减振器）几乎不需要计算，并能在两个物体之间创造逼真的动态连接。
协作性约束（比如铰链、车轮、点到点和 rag-doll）虽然需要的计算更多，但是能使用户生成更复杂和更精确的多物体模拟。
实时模拟窗口方便了边试边改的迭代。
模拟结果写入 3ds Max PRS 键，并且可以添加到列表控制器或 Biped 层，以便不覆盖现有的动画。
刚体动力学 (reactor)

使用 reactor 物体集合可以轻松设置和迭代多个刚体物体的逼真高速模拟。
对质量、摩擦和弹性的详细控制能让用户确定每个物体的物理特征。柔体动力学 (reactor)
可变形的物体和表面可以与刚体交互，并添加辅助动作特效，比如着装、摇晃的脂肪和松垂的耳朵。


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衣物
使用强大的衣物模拟工具为角色创造逼真的布料模拟和定制的衣物。集成的衣物解算器

除了 reactor 的衣物修改器之外，3ds Max 软件还有一个集成的衣物模拟引擎，使用户能够把几乎任何 3D 物体转变成衣物，或者从头建立着装。
碰撞解算快速而且精确，甚至在复杂的模拟中也是如此。
本地模拟能让艺术家实时披盖衣物，从而在设置动画键之间建立初始衣物状态。
衣物模拟可以与其它 3ds Max 动力一起使用，比如 Space Warps。
多个独立的衣物系统可以使用它们自己的对象和力制作动画。
衣物变形数据可以缓存到硬盘，以便支持无损迭代和改进播放性能。
服装设计

有几重预设的衣物类型可供选择，并且可以在一个着装上混合织物类型和权重。
支持直观地缝合平面衣物图案，与传统的服装组合方法相似。
真实图案可以用作衣物的基础，包括带有领子、开衩和翻领的上衣，带有翻边和口袋的裤子，以及宽松或贴身的衣物样式。接缝可以快速定义和缝合，以构造角色的着装。
可以使用标准建模方法在堆栈中定制衣物 — 缩短摺边、收缩尖缝、拉紧袖子，等等，从而快速定制合体的着装。
衣物固定解决方案解决了固定在两个物体之间的衣物问题，例如臂下。
动画

任何衣物物体都可以制作动画，以实现帆、皮肤、帐篷、帷幕、被褥等的效果。
只要角色移动，衣物随时移动、折叠和聚合。
纹理贴图可以用于创造皱褶，从而变形衣物。
各种可动画的衣物约束支持更好地控制逼真的衣物行为。这些约束可以用于创造诸如打湿（粘着）或滑溜衣物之类的效果。
在缓存之间查看、编辑和融合

艺术家可以使用多个衣物缓存，并在它们之间融合和插值。


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粒子
通过基于实际物理学的力或变形器来控制完全集成的粒子特效。

可扩展的集成粒子系统

7 个不同的粒子发射器为艺术家提供了广泛的事件驱动和非事件驱动的粒子行为，包括 spray、snow、blizzard 和 super spray。
粒子流提供了一个先进的事件驱动的粒子工具包，能让用户根据一系列定义的事件来设计粒子的行为。
工作流程功能包括脚本以及基于表达式的粒子属性、动作和动力学控制；用于交互式控制粒子、场和发射器的直接操纵器；以及让纹理值来控制粒子的功能。
艺术家可以使用几何体引用把单个物体或一系列物体放置到任何粒子上。
通过几何体对粒子进行直观控制更容易实现在所需的时间与地点放置粒子。
可以针对非物理真实的粒子特效应用和分层标准 3ds Max 变形器修改器，例如弯曲、扭曲和变细。
碰撞事件能够激发多个程序性动画特效。
操作器和测试

可以使用控制粒子特征（例如发射、速度、几何体和材质）的操作器来建立粒子系统。
艺术家可以使用测试来建立粒子事件系统 — 根据年龄、速度和碰撞触发行为变化和产生。
操作器和测试可以使用脚本或粒子流 API 进行自定义。
力

用户可以把 Space Warps（例如风、重力和漩涡）绑定到粒子系统和操作器，以生成世界空间条件。
可通过广泛的动力学 API 增加自定义力。


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多个渲染选项
通过基于实际物理学的力或变形器来控制完全集成的粒子特效。

可扩展的集成粒子系统

7 个不同的粒子发射器为艺术家提供了广泛的事件驱动和非事件驱动的粒子行为，包括 spray、snow、blizzard 和 super spray。
粒子流提供了一个先进的事件驱动的粒子工具包，能让用户根据一系列定义的事件来设计粒子的行为。
工作流程功能包括脚本以及基于表达式的粒子属性、动作和动力学控制；用于交互式控制粒子、场和发射器的直接操纵器；以及让纹理值来控制粒子的功能。
艺术家可以使用几何体引用把单个物体或一系列物体放置到任何粒子上。
通过几何体对粒子进行直观控制更容易实现在所需的时间与地点放置粒子。
可以针对非物理真实的粒子特效应用和分层标准 3ds Max 变形器修改器，例如弯曲、扭曲和变细。
碰撞事件能够激发多个程序性动画特效。
操作器和测试

可以使用控制粒子特征（例如发射、速度、几何体和材质）的操作器来建立粒子系统。
艺术家可以使用测试来建立粒子事件系统 — 根据年龄、速度和碰撞触发行为变化和产生。
操作器和测试可以使用脚本或粒子流 API 进行自定义。
力

用户可以把 Space Warps（例如风、重力和漩涡）绑定到粒子系统和操作器，以生成世界空间条件。
可通过广泛的动力学 API 增加自定义力。

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渲染控制和特效
设置和评估您的场景或创造流行的特效。

视窗渲染器

多线程视窗可最大化您的生产力和创造力；自适应降级技术能够自动简化场景显示，从而满足用户定义的目标帧速率。
DirectX® 视窗着色能够在材质出现在其它实时软件中时显示材质。
通过 MAXScript 提供对所有着色器类型的支持，包括 HLSL 和 Cg 着色器，并支持着色器性能改进。在视窗中并行处理 CgFX 文件和 .fx 文件。
Review：用户可以立即获得各种渲染设置的反馈，包括：
基于 GPU 的实时阴影支持，包括支持自身阴影和同时支持多达 64 个灯光
太阳/天空工作流程支持：使用 3ds Max 太阳/天空系统交互式预览物体/场景
支持 mental ray 建筑和设计材质设置
完全支持光度学灯光，包括支持 IES 文件
Reveal

Reveal 能让艺术家同时在视窗和帧缓冲区中可视化和操纵某个给定区域。
渲染图像帧缓冲区现在包含一套简化的工具，通过随意过滤物体、区域和进程、平衡质量、速度和完整性，可以快速有效达到渲染设置中的变化：例如，通过根据用户希望更新的内容切换几何体转换、灯光计算和图像质量设置，可以调整渲染速度。
使艺术家能够自动生成围绕选择周围的区域。
支持随时重用临时 Final Gather 贴图。
ActiveShade

预览窗口能让用户评估场景的灯光和材质更改。
渲染元素

用户可以从任何软件渲染器同时输出多个分量，然后在合成器中重新组装。
输出元素包括扩散色、灯光、alpha、反射、折射和阴影。
Z-深度和运动矢量数据可以独立存储，以便在后期处理中使用。
有一个从建筑和设计材质提取 HDR 数据的 mental ray 渲染元素和另一个从着色器树提取用户定义数据的元素。
渲染到纹理

每个物体的材质和灯光都可以烘焙到新的纹理贴图中。
支持每元素输出，允许简单地生成特定的特征，比如扩散色、高度、法线、灯光和 mental ray 环境遮断。
材质设计工作流程

艺术家可以使用材质编辑器来设计和编辑简单乃至复杂的着色层级。
材质/贴图导航器显示纹理和图像库或图像样本，方便了管理和选择。
广泛的 3D 程序性贴图库包括 cellular、dent、falloff、marble、noise、particle age、particle motion blur、planet、smoke、stucco、wood、waves，等等。
渲染管理

Autodesk® Backburner™ 渲染管理软件能让您在运行相同操作系统（mental ray 除外）的无限数量的网络计算机上进行渲染。
用户可以加载和保存包含活动渲染器、灯光模式和总体渲染质量设置的渲染预置。这使制作工作室能在艺术家之间共享渲染设置，从而缩短了场景设置时间，并有助于在整个制作中保持大多数渲染参数的一致性。


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毛发和毛皮系统



通过毛发和毛皮修改器轻松制作毛发、毛皮或其它衍生效果。

创作工具

Hair 集成在 3ds Max 界面中，使艺术家能够使用 Hair 的选择和风格化工具直接在视窗中制作和操纵毛发。
可以在物体之间复制和粘贴毛发。
艺术家可以从样条导出毛发并把它转换为样条或网格。
任何源物体都可以引用为毛发束。
风格化

为创建毛发和毛皮样式提供一个基于画笔的界面：可以使用传统转换（移动、旋转和缩放）以及切割、绘制和丛发等工具，沿物体的轮廓直接把控制毛发操纵到任意数量的样式中，包括以单个、组或全局方式。
可以添加打结和卷曲，并制作频率和速度动画。
艺术家可以保存和加载预置的样式。产品配备了超过 10 个样本。
渲染

艺术家可以选择直接在 3ds Max 扫描线渲染器或 mental ray 中渲染毛发。
动力学和碰撞

毛发能够与多边形或隐含球形碰撞。
毛发可以响应重力、硬度、发根保持和阻尼参数。
毛发和毛皮系统可以连接到现有的动力，例如 Space Warps。


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MAXScript
使用一个开放式界面来自定义和编写 3ds Max 脚本。

3ds Max 的大多数功能都可以通过脚本调用。
艺术家和开发人员可以轻松扩展用户界面和自动化操作以执行批处理。
用户可以通过 OLE Automation 建立外部系统的实时接口。
MAXScript ProEditor 为用户提供了一个使用 MAXScript 的智能界面，简化了脚本工作流程。


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3ds Max API/SDK
为编程人员释放 3ds Max 软件结构的功能。

直接使用 3ds Max 软件功能

开发人员能以几乎任何方式扩展 3ds Max 功能。
可以创建任何类型的几何体，包括基于三角形的网格、样条、NURBS 和其它几何形状。用户可以在命令面板中创建程序性几何体和参数控制。
可以开发新的物体修改器来修改整个物体或物体的外表，例如纹理坐标和材质指定。可以实现编辑修改器来支持特定物体类型的编辑。
可以实现新的 Space Warps—在世界空间中影响物体的物体修改器。
可以创建控制不同类型动画数据的控制器。
用户可以创建新的系统来集合项目的各种组合，例如程序性物体、控制器、修改器和 Space Warps。
可以开发新的材质、着色器和纹理。
可以编写实现不同类型滤镜的图像处理插件。
开发人员可以利用文件导入/导出插件和图像加载/保存插件增加软件的文件类型支持。也可以开发插件渲染器、抗锯齿滤镜和渲染特效插件。
可以实现模态实用程序（例如 3D 绘画）。
mental ray 数据可以通过 mental ray for 3ds Max SDK 获取。
Biped 和粒子流可以通过单独的界面调用。
可以使用 3ds Max Data Exchange Interface (3DXI)—针对游戏开发人员优化的改进界面—来创建一种把 3ds Max 数据高效传递到游戏引擎中的方法。
开发资源

通过 Visual Studio 集成提供的 Autodesk 3ds Max SDK 帮助包括：

3ds Max 编程指南和 SDK 参考 3DXI 编程指南
粒子流参考
mental ray 编程指南
Biped 编程指南和参考
MAXScript 编程指南
项目文件的样例源代码以及可从模板生成插件项目的 Visual Studio 向导。



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连通性和集成
实现把 3ds Max 内容集成到制作流程中的工具

Xref— 一种智能外部文件参照功能（用于场景、物体或材质）—支持复杂场景和动画的高效团队管理。
用户可以管理绝对和相对文件路径（适用于所有资源类型，包括 xrefs），或指定新路径，以便在艺术家共享文件时保持外部参照完好无损。
可以通过 Asset Tracker（与 Autodesk Vault 紧密集成的一项功能），针对在用资源使用来源控制管理。
FBX 插件

Autodesk® FBX® 平台不受限制的 3D 制作与交换格式能让您访问大多数 3D 供应商和平台的 3D 内容。FBX 文件格式支持所有主要的 3D 数据元素以及 2D、音频和视频媒体元素。
可免费下载的 FBX 插件可以用于把 3ds Max 集成到任何制作流程中，并且数据完整性得到保护。
现行的插件更新使得可以空前容易地在 3ds Max 和其它软件（例如 Autodesk® Maya® 和 Autodesk® MotionBuilder™）之间传递文件。
与 Revit 2009 集成

基于 FBX 的Recognize 场景加载技术支持快速精确地把 Revit 2009 场景数据传递到 3ds Max 中，例如几何体、像机、灯光和材质。
与 Autodesk Vault 集成

随 3ds Max 附带提供的 Autodesk Vault 插件可以把用户的 3ds Max 资源合并到一个位置，从而使他们能够自动跟踪文件和管理正在进行的工作。
用户可以在一个大规模制作或可视化环境中轻松安全地共享、查找和重用 3ds Max（和设计）资源。
Autodesk Combustion 集成

通过材质编辑器与 Autodesk® Combustion® 合成软件实时集成，能让艺术家和可视化专业人员把正在制作的合成用作纹理贴图。
RPF 位图格式包含 3D 数据通道，例如 Z 深度、材质 ID、UV 坐标和速度，Combustion 可以使用它们更好地描绘合成数据。
Autodesk Toxik 集成

与 Autodesk® Toxik™ 合成软件集成，能让艺术家在协作环境下快速合成他们的场景元素，包括 HDR 渲染的元素。
支持改进的内容制作/合成工作流程，避免了由于灯光强度错误或某个层需要更改透视图而重新渲染场景。
Adobe Photoshop 集成

可以使用整个合成图像或单独的层把 Adobe® Photoshop® PSD 文件导入为纹理贴图。
Adobe Illustrator 物体节点

Adobe® Illustrator® 矢量元素可以作为曲线或组导入。
Web 集成

嵌入式 web 浏览器 — Asset Browser 能让用户浏览网页，快速把支持的几何体和位图纹理文件拖拽到场景中。
支持的场景导入格式

3DS、AI、DDF、DEM、DWG、DXF™、HTR、IAM、IGES、IPT、LP、LS、MTL、OBJ、PRJ、SHP、STL、TRC、VW、WRL、WRZ
支持的场景导出格式

3DS、AI、ASE、ATR、BLK、DF、DWF™、DWG、DXF、HTR、IGES、LAY、LP、M3G、MTL、OBJ、STL、VW、WRL
支持的纹理导入格式

AVI、BMP、CIN、CWS、DDS、EXR、GIF、HDR、ICB、IFL、JPEG、MPEG、MOV、PIC、PNG、PSD、RGB、RLA、RPF、SGI、TGA、TIF、VDA、VST、YUV
支持的位图输出格式

AVI、BMP、CIN、DDS、EPS、EXR、HDR、ICB、JPEG、MOV、PIC、PNG、PS、RGB、RLA、RPF、SGI、TGA、TIF、VDA、VST、YUV。有些格式只适用于某些渲染器。


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插件
请访问 ADN Sparks 站点获取扩展的 3ds Max 第三方插件列表。




Detailed Features
Autodesk® 3ds Max® software is a powerful, integrated 3D modeling, animation, and rendering application. Its accessible tools enable artists to quickly ramp up for production. 3ds Max software is used by game developers, film and video artists, and 3D enthusiasts to achieve stunning results in less time.

3ds Max User Interface
Data and Scene Management Tools
Modeling
Polygon Modeling and Texturing
Spline/Extended Spline and NURBS Modeling
General Animation
Character Animation
Modifiers
Space Warps
Dynamics
Cloth
Particles
Multiple Rendering Options
Rendering Controls and Effects
Hair and Fur System
MAXScripts
3ds Max API/SDK
Connectivity and Integration

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3ds Max User Interface
Maximize your productivity.

Artists gain unmatched productivity through a combination of performance and workflow features, including a fast, efficient, WYSIWYG (what you see is what you get) viewport environment, schematic view, multiple coordinate systems, interactive axis constraints, customizable menus and buttons, viewport grips/manipulators, and modeless keyboard entry. They can also streamline workflows–through the creation of hotkeys–and intra-application workflows by using such cross-application navigation tools as the ViewCube™ and SteeringWheels™ technologies.
The unique modifier stack gives artists the option of using a powerful, visual, parametric workflow; changes made anywhere in the modifier stack, no matter how significant, are automatically propagated to the end result. This feature enables artists to work in a nonlinear fashion, for example, on a completed high-resolution character model; revert to the original low-resolution geometry at the bottom of the stack; and add details, such as buttons on a shirt or tweaks to the nose. Those changes pass up through all the finishing modifiers (such as smoothing, mapping, and skinning) to appear in the completed character.
Artists use a mouse or tablet-based paintbrush interface for object selection and deformation, vertex color, and radiosity touchup.

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Data and Scene Management Tools
Boost productivity and workflow flexibility with external and internal data and scene management features.

File management utilities, such as project folders, relative paths, repathing tools, asset tracking, increment on save, auto-backup, resource collector, dynamic texture reloading, and log files, manage daily use and transfer of 3ds Max data between file iterations, users, and locations.
Scene Management—the Scene Explorer Panel enables users to sort, filter, and search a scene by any object type or property (including metadata) with stackable filtering, sorting, and searching criteria. Users can save and store multiple explorer instances and link, unlink, rename, hide, freeze, and delete objects regardless of what objects are currently selected in the scene. Users can also configure columns to display and edit any object property—a feature that can be extended using MAXScript.
An intelligent, external file referencing feature (for scenes, objects, or materials) enables efficient team management of complex scenes and animations.
The Layer Manager enables artists to quickly isolate related scene elements by working in layers via the Layer Manager.
Asset Tracker provides source control management for in-use assets. This feature is tightly integrated with Autodesk® Vault asset management software and compatible with most third-party asset management solutions.
The Recognize™ scene loading technology enables fast and accurate transfer of Revit® 2009 scene data into 3ds Max.
See Connectivity and Integration for more information.


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Modeling
Efficiently create parametric shapes and objects to begin modeling quickly.

The vast selection of ready-to-use geometry includes standard primitives, extended primitives, 2D shapes, and architectural elements, such as doors, windows, and stairs.
Compound objects can be created using any of the following operations: Scatter, Connect, Booleans, ShapeMerge, Morph, BlobMesh, Terrain, and Loft.
Parametric and compound objects can be converted to any of the following base geometric types for more detailed editing: editable mesh, editable poly, editable patch, or NURBS objects.
2D shapes can be used as a starting point for creating editable splines and spline cages to convert to any of the 3D geometry types.

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Polygon Modeling and Texturing

A polygon/tri-mesh architecture lets artists efficiently create, edit, and texture mesh models. These models can contain color-per-vertex channels, mapping channels, selection channels, and explicit normals, all of which can be animated in the modifier stack.
Polygon Modeling Tools

A complete set of creation and editing tools includes create, collapse, attach, bridge, flip, hinge from edge, turn, cut, split, slice, quick slice, wedge, bevel, extrude, chamfer vertex, extrude along a curve, mirror, edge loop, and edge ring tools.
Pro Booleans can be used to re-evaluate and optimize the topology of meshes, and more. The ProCutter tool lets artists quickly fracture geometry into smaller, individual chunks.
Workflow features include Preserve UVs, which separates texture coordinates from the polygon vertices to edit the mesh without destroying UV data; sub-object (for example, vertices, edges, faces) selection sets, which intelligently convert between different types of selections (for example, edges to vertices); interactive previewing of edits and animated edits; and the ability to make modeling hotkeys and pivots become temporary overrides.
A large range of modeling modifiers is available for working with geometry and sub-object geometry in the modifier stack, including Projection, Edit Normals, Vertex Paint, and those that let you bend, bevel, cap holes, cross section, displace, extrude, and subdivide polygons.
Subdivision Surfaces and Polygon Smoothing

Subdivision methods include NURMS Subdivision, which produces an object similar to a NURBS object; classic, which like MeshSmooth produces three- and four-sided facets; and quad output, which produces only four-sided facets. Mesh smoothing of polygon objects provides control over the polygon count of the final mesh for render optimization or level of detail. Subdivision surface and polygon smoothing tools available to those modeling with the modifier stack include a hierarchical subdivisions surface modifier, MeshSmooth, and TurboSmooth.
Optimization Tools

Geometry cleanup and level-of-detail tools enable scene optimization for interactive display.
Texture Assignment/Editing

3ds Max offers a wide range of operations for creative texture and planar mapping, including tiling, mirroring, decals, angle, rotate, blur, spline mapping, UV stretching, and relaxation; Remove Distortion; Preserve UV; and UV template image export.
The streamlined texture workflow includes the ability to combine an unlimited number of textures, a material/map browser with support for drag-and-drop assignment, and hierarchies with thumbnails.
UV workflow features include Pelt mapping, which defines custom seams and enables users to unfold UVs according to those seams; copy/paste materials, maps and colors; and access to quick mapping types (box, cylindrical, spherical).
Artists can use up to 99 UV sets for texture layering.
Extensive UVW mapping tools include direct manipulation of texture mapping coordinates.
Texture modifiers for working in the modifier stack include Camera Map, Material Modifier, UVW mapping modifiers, UV Xform, Map Scaler, and Surface Mapper.
Shaders/Materials: see Rendering


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Spline/Extended Spline Modeling

Precise spline-based curve and surface construction tools include loft, one- and two-rail sweep, beveling, extrude, filet, cap, offset, lathe, ruled, mirror, multisided blend, and other tools.
Surfaces can be attached, detached, aligned, stitched together, extended, filleted, or rebuilt, with a high degree of control over parameterization and continuity. Spline modifiers—for those modeling with the modifier stack—let the user deform, lathe, normalize spline, set spline render properties, sweep, and trim/extend. A range of modifiers is provided for direct manipulation of subobject geometry (for example, Curve CV, Surface CV, surface).

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General Animation
Benefit from a broad range of tools for keyframe and procedural animation that can be used to animate almost any parameter in your scene.

General Keyframing

Two keying modes—set key and auto key—offer support for different keyframing workflows.
Fast and intuitive controls for keyframing—including cut, copy, and paste—let the user create animations with ease.
Animation trajectories may be viewed and edited directly in the viewport.
Animation Controllers

A wide range of controllers, both key-based and parametric, may be used to animate the full transform or the position, rotation, or scale of objects.
Key-based controllers, such as Bézier and TCB, store values and interpolation methods in each key, which can be edited with those controls.
Constrained Animation

Objects can be animated along curves with controls for alignment, banking, velocity, smoothness, and looping, and along surfaces with controls for alignment. Weight path-controlled animation between multiple curves, and animate the weight.
Objects can be constrained to animate with other objects in many ways—including look at, orientation in different coordinate spaces, and linking at different points in time. These constraints also support animated weighting between more than one target.
All resulting constrained animation can be collapsed into standard keyframes for further editing.
Procedural Animation

Parametric controllers store values that affect the animation throughout: controls are unique to each controller type.
Users can create procedural animation based on numerous built-in controllers including noise, expressions, waveform, spring, and audio.
All resulting procedural animation can be collapsed into standard keyframes for further editing.
Script and Expression Controllers

Custom controllers can be used as scripts and expressions.
Expressions allow the animation to be controlled by any math function as well as by any MAXScript.
Scripted controllers allow the animation to be controlled by any relationship describable using MAXScript.
All resulting script or expression-based animation can be collapsed into standard keyframes for further editing.
List Controllers

Multiple animation tracks can be blended into a single result using a hierarchy of controllers in a list.
List controllers can be used to store different poses and versions of animation on the same object or objects.
The influence of each controller in the list can be weighted and animated over time.
Reaction Controllers

Reactions can be set up to make objects respond to the animation of other objects.
States for reactions can be set up and triggered with desired values, so the reacting object will be controlled without having to be keyed by hand.
Parameter Wiring

One- and two-way relationships between controllers may be wired together to offer a more custom method of keying animation.
Custom animation controls can be implemented by wiring UI elements such as sliders and spinners to objects’ animatable tracks.
Multiple attributes can be controlled with a single slider.
Track View: Curve Editor and Dope Sheet

Keyframe animation can be edited track by track using curves along the timeline, so the animator can more easily visualize the components of the interpolation.
Tools for editing curves include limiting, curve drawing, and curve modifiers.
Keys can be edited individually or in groups and ranges using the Dope Sheet.
Keys or sets of keys can be slid, moved, and scaled in both time and value.
Animation may be edited track by track by copying, pasting, and instancing controllers.
Track Sets can be used to organize complex animation into discrete entities for easier editing.
Dense animation can be precisely controlled using soft selection falloff and key-reduced into sparse keys that maintain the integrity of the original animation.
Sound tracks can be loaded into a Track View for easy syncing with the target animation.
Animation can be viewed before and after the current frame, for evaluation of object motion.
Modifier Animation

The modifier stack offers animators another procedural approach to animation as all modifier parameters can be keyed.
The Point Cache modifier can be used to save and load surface deformations for easy swapping and fast playback.
The Morpher modifier is an interface for organizing and animating morphing targets and includes support for progressive morphing.
Skinning

Either the Skin or Physique modifier may be used to achieve precise control of skeletal deformation, so the character deforms smoothly as joints are moved, even in the most challenging areas, such as shoulders.
Skin deformation can be controlled using direct vertex weights, volumes of vertices defined by envelopes, or both.
Capabilities such as weight tables, paintable weights, and saving and loading of weights offer easy editing and proximity-based transfer between models, providing the accuracy and flexibility needed for complicated characters.
The rigid bind skinning option is useful for animating low-polygon models or as a diagnostic tool for regular skeleton animation.
Additional modifiers, such as Skin Wrap and Skin Morph, can be used to drive meshes with other meshes and make targeted weighting adjustments in tricky areas.

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Character Animation
Get the tools you need to animate sophisticated digital characters.

Biped Overview

Integrated Biped toolset provides fast, intelligent biped, physique, and crowd animation functionality.
Biped automates the creation of bipedal and quadrupedal character skeletons, enabling the user to animate before the biped skeleton structure has been determined and retarget onto bipeds/quadrupeds of differing structures.
Biped delivers state-of-the-art, intuitive FK/IK blending as well as a powerful IK pivot animating system that lets hands and feet roll and rotate around points other than their base pivots.
Biped Xtras let the user create and animate extraneous Biped features anywhere on the rig via FK chains that can be attached anywhere and which are parentable to any Biped object (and are animatable in rotation and position). Xtras can be saved as .bip files.
Biped provides high-level tools for asset sharing, animation layering, and nonlinear editing.
Unique Biped and spline dynamics tools enable animators to precisely control the physical forces acting on a character, and can be used to calculate biped airborne trajectory, knee bend on landing, and overall balance.
Physique can be used to attach skin geometry automatically to a biped or bones hierarchy.
Integrated crowd system lets users control Biped characters or any 3ds Max object using intelligent behavioral interactions, like goal seeking and avoidance.
Behaviors can be scripted or written as C++ plug-ins and users can move between them based on any scriptable or programmable criteria using cognitive controllers.
Skeletons and Inverse Kinematics (IK)

Characters can be rigged with custom skeletons using 3ds Max bones, IK solvers, and rigging tools.
All animation tools—including expressions, scripts, list controllers, and wiring—can be used along with a set of utilities specific to bones to build rigs of any structure and with custom controls, so animators see only the UI necessary to get their characters animated.
Four plug-in IK solvers ship with 3ds Max: history-independent solver, history-dependent solver, limb solver, and spline IK solver. These powerful solvers reduce the time it takes to create high-quality character animation.
The history-independent solver delivers smooth blending between IK and FK animation and uses preferred angles to give animators more control over the positioning of affected bones.
The history-dependent solver can solve within joint limits and is used for machine-like animation.
IK limb is a lightweight two-bone solver, optimized for real-time interactivity, ideal for working with a character arm or leg.
Spline IK solver provides a flexible animation system with nodes that can be moved anywhere in 3D space. It allows for efficient animation of skeletal chains, such as a character’s spine or tail, and includes easy-to-use twist and roll controls.
High-Level Animation Tools

Animation Assets

Both Biped and 3ds Max objects have systems for storing, loading, and retargeting animation assets, enabling artists to reuse their content and greatly expanding the usefulness of each clip.
Though the Biped file format is specific to itself—thereby offering unparalleled power and ease of restructuring and retargeting—it can also contain 3ds Max animation that a Biped may depend on.
Animation data can be exported from any object or character to an XML file and then re-imported with track-to-track mapping, or in the case of a character, object-by-object control for retargeting onto characters whose proportions differ from the original.
Motion Mixer

Both Biped and 3ds Max objects are supported by the nonlinear animation mixer. Libraries of motions can be stored for use with the mixer, and motions applied and retargeted to single objects, entire characters, or specific sets of objects and tracks within characters.
Motion Mixer lets users intelligently move between motion clips based on the patterns of the clips themselves—for ultimate smoothness.
Muting and soloing capabilities provide control over each animation sequence in isolation or in the context of other animations.
Animation Layers

Both Biped and 3ds Max objects can be animated in layers, allowing for targeted tweaks on even the densest of animation data without compromising the underlying keyframes.
Parameter Collector

An intuitive interface for collecting, managing, and sharing specific sets of animation controls.
Biped Motion Flow

The Biped clip network interface can be used for setting up transitions between motions and defining a sequence of movements.
Motion Flow can be used with the crowd system to determine the animation behaviors that the crowd-driven Biped has to choose from.
Biped Copy/Paste

A powerful copy and paste system for storing, sharing, and retrieving poses, postures, and tracks on whole bipeds or sets of objects therein, thereby facilitating animation blocking and hand posing.
Biped Workbench

A specialized version of the track view is available for editing, analyzing, and modifying Biped animation based on high-level criteria such as acceleration, spikes, and noise.
Biped Footsteps

Bipedal characters can be animated with footstep gizmos that represent and control the placement of IK constraints for locomotion.
Motion Capture

Motion capture data—both hierarchical and marker—can be easily imported and retargeted onto both Bipeds and 3ds Max objects.
3ds Max objects are supported using the HTR and TRC import formats, which can be converted into XML or Biped formats for reuse and retargeting on any character.
Biped supports BVH and CSM data and has tools for extracting IK constraints, reducing keys on any body part within set tolerances, and defining offsets within the character figure.


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Modifiers
Select, model, map, and animate objects and subobjects using the modifier stack.

Selection

Sub-object selections can be moved up the stack to other modifiers using Mesh Select, Poly Select, Patch Select, and Volume Select.
Animated Deformations

Animated deformers add life to creatures, simulate fluidic effects, and more. Deformers work on all geometry types, including particles.
Modifiers for creating animated deformations include free form, ripple, wave, squeeze, twist, bend, stretch, spherify, noise, displace, skew, and relax.
World Space modifiers operate at the top of the modifier stack and bind objects to animated world conditions, such as surfaces, forces, fields, and deflections.
Modeling and Mapping

Edit mesh, poly, patch, and spline modifiers let the artist use base-level geometry editing tools on parametric objects.
Meshsmooth, Turbosmooth, Subdivide, Tessellate, and HSDS modifiers increase the resolution of objects or subobjects and offer controls specific to each technology.
Optimize and Multi-Res reduce the resolution of objects while maintaining important characteristics.
UV Map and UV Unwrap add texture coordinate manipulation tools into the stack of any object.
Other parametric processes—such as adding custom attributes, capping holes in geometry, painting vertex colors, overriding material IDs, and adjusting surface normals—benefit from the modifier stack’s flexibility.

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Space Warps
Add world space conditions to control the behavior and interactions of all scene objects.

Space Warps—objects that can be bound to geometry and particles—introduce world space animation effects.
Force-based Space Warps, such as wind and gravity, add natural behavior to selections of objects.
Deflectors contain the animation of objects and particles to enable parametric bouncing and friction.
Modifier-based Space Warps can be used to deform many objects in relation to each other.
Space Warps can be included in dynamics simulations to enhance physical realism.

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Dynamics
Create effects through the dynamic interaction of geometry, including collisions between rigid and soft bodies.

The integrated reactor plug-in, based on the Havok 3.2 solver, lets users create a full range of rigid and soft-body dynamics simulations, and is compatible with the 3ds Max Space Warp modifiers.
Multiple constraints can be used to create intricate and accurate physical relationships between objects.
Simple constraints, such as springs and dashpots, require little computation and create realistic dynamic connections between two objects.
Cooperative constraints, such as hinge, car wheel, point-to-point, and rag-doll, although more computationally intensive, enable the user to generate more complex and accurate multiobject simulations.
A real-time simulation window facilitates trial-and-error iteration.
Simulation results are written into 3ds Max PRS keys and can be optionally added to list controllers or Biped layers so as to not overwrite existing animation.
Rigid-Body Dynamics (reactor)

Realistic, high-speed simulations of multiple rigid objects are easy to set up and iterate upon using reactor object collections.
Detailed control over mass, friction, and elasticity lets the user determine each object’s physical characteristics.
Soft-Body Dynamics (reactor)

Deformable objects and surfaces can interact with rigid bodies and add secondary motion effects, such as clothing, jiggling fat, and floppy ears.

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Cloth
Use powerful cloth simulation tools to create realistic fabric simulations and tailor-made clothing for characters with the Integrated Cloth Solver.

In addition to reactor’s cloth modifier, 3ds Max software has an integrated cloth-simulation engine that enables the user to turn almost any 3D object into clothing, or build garments from scratch.
Collision solving is fast and accurate even in complex simulations.
Local simulation lets artists drape cloth in real time to set up an initial clothing state before setting animation keys.
Cloth simulations can be used in conjunction with other 3ds Max dynamic forces, such as Space Warps.
Multiple independent cloth systems can be animated with their own objects and forces.
Cloth deformation data can be cached to the hard drive to allow for nondestructive iterations and to improve playback performance.
Fashion Design

There are several preset cloth types to choose from—and fabric types and weights can be mixed on one garment.
Intuitive stitching of flat clothing patterns similar to traditional garment assembly methods is supported.
Real-world patterns can be used as the basis for clothing—including jackets with collars, vents. and lapels, and pants with cuffs and pockets, as well as loose or tight-fitting clothing styles. Seams can be quickly defined and stitched to construct garments on characters.
Clothing can be tailored in the stack—hems shortened, darts pinched, sleeves tightened, and more—using standard modeling techniques to quickly customize the fit.
The cloth pinching solution addresses the problem of cloth pinched between two objects, such as under the arm.
Animation

Any cloth object can be animated to achieve the effect of sails, skins, tents, drapery, bedding, and so forth.
Clothing moves, folds, and gathers whenever characters move.
Texture maps can be used to create wrinkles, deforming the cloth.
A variety of animatable cloth constraints allow for greater control of realistic clothing behavior. These constraints can be used to create effects such as wet (clingy) or slippery cloth.
View, Edit, and Blend Between Caches

Artists can use multiple cloth caches, and blend and interpolate between them.

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Particles
Control fully integrated particle effects by forces based on real-world physics or by deformers.

Extensible Integrated Particle System

Seven different particle emitters give artists a wide range of event-driven and non-event-driven particle behaviors, including spray, snow, blizzard, and super spray.
Particle Flow provides a sophisticated event-driven particle toolset that lets the user design the behavior of a particle based on a series of defined events.
Workflow features include script and expression-based control over particle attributes, motion, and dynamics; direct manipulators for interactive control of particles, fields, and emitters; and the ability to have particles controlled by texture values.
Artists can use geometry instancing to place individual objects, or a sequence of objects, onto any particle.
Intuitive control of particles via geometric shapes makes it easier to place particles where and when the user wants them.
Standard 3ds Max deformer modifiers—such as bend, twist, and taper—can be applied and layered for non-physically based particle effects.
Collision events can trigger multiple procedural animation effects.
Operators and Tests

Particle systems can be built using operators that control particle characteristics, such as emission, speed, geometry, and materials.
Artists can build particle event systems using tests—which trigger changes in behavior—and spawning based on characteristics such as age, speed, and collision.
Operators and tests can be customized using scripts or the particle flow API.
Forces

Users can bind Space Warps—such as wind, gravity, and vortex—to particle systems and operators to generate world space conditions.
Custom forces may be added via the extensive dynamics API.

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Multiple Rendering Options
Use multiple renderers, tightly integrated through a consistent rendering interface, to create any look.

3ds Max Production Renderer

Fast scanline renderering for efficient, production-quality software renders.
Raytrace materials and maps provide realistic reflections and refractions.
A full range of effects include depth of field, motion blur, film grain, hair, fur, and lens-based effects.
Photometric lighting support allows for the use of real-world lighting profiles.
Artists can create atmospheric effects using plug-ins available for volumetric light and fog, as well as for fire.
Advanced software shader types include anisotropic, metal, and ink ‘n paint (for cartoon looks).
High-quality software particle rendering provides fine control over the assignment of materials to particles.
mental ray® shading is available for use with conventional 3ds Max materials.
Integrated mental ray Renderer

High level of integration with the mental ray renderer results in significantly shorter render setup times and improved overall usability.
3ds Max physical sun and sky workflow are available via mental ray.
Included advanced photorealistic lighting features, such as Global Illumination, caustics, blurry reflections and refractions, ambient occlusion, and motion blurred particles and contours shading.
Artists and programmers can create custom mental ray shaders.
Users can convert light baking of shadows and lights, including Global Illumination and Final Gather, to file textures or to color-per-vertex data.
Photometric lighting support allows for the use of real-world lighting profiles for rendering or lighting analysis.
Supports direct rendering of fur and hair.
Architectural and car paint shaders provide rich, easy-to-use rendering capabilities.
Sky Portal simplifies the process of lighting indoor scenes with outdoor lighting, recreating the lighting of windows, skylights, open doors and more.
ProMaterials library offers a wide variety of physically-based mental ray materials–based on manufacturing-supplied data and professional images. Materials include wall paint–with glossy or matte finishes–solid glass, and concrete.
Support for Proxy Objects saves memory.
mental ray Satellite Software®

Contains the same functionality as the integrated mental ray renderer.
Assists in distributing render jobs over processors located across a network.
Eight licenses with each 3ds Max license, at no additional charge.
VUE File Renderer

VUE files can be created in an editable ASCII format.

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Rendering Controls and Effects
Set up and evaluate your scene or create popular effects.

Viewport Renderer

The multithreaded viewport maximizes productivity and creativity; adaptive degradation technology automatically simplifies the scene display to meet user-defined target frame rates.
DirectX® viewport shading displays materials as they would appear in other real-time applications.
Support for all shader types is available via MAXScript—including HLSL and Cg shaders—along with shader performance enhancements. Work with CgFX files alongside .fx files in the viewport.
Review: Users get immediate feedback on various render settings, including:
GPU-based, real-time shadow support, including support for self-shadowing and up to 64 lights simultaneously
Sun/Sky Workflow support: interactive previewing of objects/scenes using the 3ds Max Sun/Sky system
Support for mental ray Architectural and Design material settings.
Full Photometric light support, including support for IES files.
Reveal

Reveal lets artists visualize and manipulate a given region in both the Viewport and the Framebuffer.
The rendered image Framebuffer contains a set of tools to quickly validate changes in a render, by optionally filtering out objects, regions and/or processes to temporarily balance quality versus speed versus completeness: for example, render speed can be modulated by toggling geometry translation, lighting calculation and image-quality settings, based on what the user desires to update.
Enables artists to autogenerate regions around selections.
Supports the reuse of temporary Final Gather maps at any time.
ActiveShade

Preview window lets the user evaluate lighting and material changes to a scene.
Render Elements

Users can output multiple components from any software renderer simultaneously for reassembly in a compositor.
Output elements include diffuse color, lighting, alpha, reflection, refraction, and shadow.
Z-depth and motion vector data can be stored separately for use in post processes.
There is a mental ray render element for extracting HDR data from architecture and design materials, and another element that extracts user-defined data from a shader tree.
Render to Texture

Each object’s material and lighting can be baked into new texture maps.
Supports output per element to allow for easy generation of specific characteristics, such as diffuse color, height, normal, lighting, and mental ray ambient occlusion.
Material Design Workflow

Artists can use the Material Editor to design and edit simple to complex shading hierarchies.
Material/Map Navigator displays libraries of textures and images or image swatches for easy management and selection.
An extensive library of 3D procedural maps includes cellular, dent, falloff, marble, noise, particle age, particle motion blur, planet, smoke, stucco, wood, waves, and more.
Render Management

Autodesk® Backburner™ render management software gives you the ability to render on an unlimited number of networked machines running the same operating system (mental ray excepted).
Users can load and save Render Presets that contain settings for active renderers, lighting schemes, and overall render quality. This enables studios to share render settings between artists, reducing scene setup times and helping maintain consistency across the entire production for most rendering parameters.

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Hair and Fur System
Easily create hair, fur, and other strand-derived effects via the Hair and Fur modifier.

Creation Tools

Hair is integrated into the 3ds Max interface, enabling artists to create and manipulate hair directly in the viewports using Hair’s selection and styling tools.
Hair can be copied and pasted from one object to another.
Artists can derive hair from splines and convert it to splines or meshes.
Any source object may be instanced as hair strands.
Styling

Delivers a brush-based interface for the creation of hair and fur styles: control hairs can be directly manipulated along the contours of an object—individually, in groups, or globally—into any number of styles using traditional transformations (move, rotate, and scale) as well as tools for cutting, brushing, clumping, and more.
Kinkiness and frizziness can be added and frequency and speed animated.
Artists can save and load preset styles. More than 10 samples ship with the product.
Rendering

Artists can choose to render hair directly in the 3ds Max scanline renderer or mental ray.
Dynamics and Collisions

Hair can collide with polygons or implicit spheres.
Hair can respond to the dynamic parameters of gravity, stiffness, root holding, and dampening.
Hair and fur systems can be connected to existing dynamic forces such as Space Warps.

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MAXScript
Use an open interface for customizing and scripting 3ds Max.

Most features in 3ds Max are accessible through scripting.
Artists and developers can easily extend the user interface and automate operations to perform batch processing.
Users can establish live interfaces to external systems through OLE Automation.
MAXScript ProEditor provides users with an intelligent interface for working with MAXScript that streamlines the scripting workflow.

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3ds Max API/SDK
Unlock the power of the 3ds Max software architecture for programmers.

Direct Access to 3ds Max Software Functionality

Developers can extend 3ds Max functionality in almost any way.
Any type of geometry can be created, including triangle-based meshes, splines, NURBS, and other geometric forms. Users can create procedural geometry and parameter controls in the command panel.
New object modifiers that alter entire objects, or aspects of objects, such as texture coordinates and material assignments, can be developed. Edit Modifiers can be implemented to enable editing of specific object types.
New Space Warps—object modifiers that affect objects in world space—can be implemented.
Controllers that control animation data of various types can be created.
Users can create new systems that bring together combinations of items such as procedural objects, controllers, modifiers, and Space Warps.
New materials, shaders, and textures can be developed.
Image-processing plug-ins that implement different types of filters can be written.
Developers can increase the software’s file-type support with file import/export plug-ins and image loading/saving plug-ins. Plug-in renderers, antialiasing filters, and rendering effects plug-ins can also be developed.
Modal utilities (for example, 3D paint) can be implemented.
mental ray data is accessible via the mental ray for 3ds Max SDK.
Biped and Particle Flow can be accessed through separate interfaces.
3ds Max Data Exchange Interface (3DXI)—a streamlined interface fine-tuned for game developers—can be used to create a method of efficiently transferring 3ds Max data into a game engine.
Development Resources
Autodesk 3ds Max SDK Help, available with Visual Studio integration, includes the following:

3ds Max Programmer’s Guide and SDK Reference 3DXI Programming Guide
Particle Flow Reference
mental ray Programmer’s Guide
Biped Programmer’s Guide and Reference
MAXScript Programmer’s Guide
Sample source code with project files and a Visual Studio wizard for generating plug-in projects from templates.

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Connectivity and Integration
Implement tools for integrating 3ds Max content into production pipelines.

Xref—an intelligent, external file-referencing feature for scenes, objects, or materials—enables efficient team management of complex scenes and animations.
Users can manage absolute and relative file paths (for all asset types, including xrefs), or assign new paths, to keep external references intact when artists share files.
Source control management can be utilized for in-use assets through Asset Tracker, a feature closely integrated with Autodesk Vault.
FBX Plug-in

The Autodesk® FBX® platform-independent 3D authoring and interchange format provides access to 3D content from most 3D vendors and platforms. The FBX file format supports all major 3D data elements, as well as 2D, audio, and video media elements.
The free, downloadable FBX plug-in can be used to integrate 3ds Max into production pipelines—with data integrity safeguarded.
Ongoing plug-in updates make it easier than ever to transfer files between 3ds Max and applications such as Autodesk® Maya® and Autodesk® MotionBuilder™ software.
Integration with Revit 2009

The FBX-based Recognize™ scene loading technology enables fast and accurate transfer of Revit 2009 scene data–geometry, cameras, lights and materials–into 3ds Max Design.
Integration with Autodesk Vault

Autodesk Vault plug-in, which ships with 3ds Max, consolidates users’ 3ds Max assets in a single location, enabling them to automatically track files and manage work in progress.
Users can easily and safely share, find, and reuse 3ds Max assets in a large-scale production or visualization environment.
Autodesk Combustion Integration

Live integration with Autodesk® Combustion® compositing software via the Material Editor lets artists and visualization professionals use in-progress composites as texture maps.
The RPF bitmap format contains channels for 3D data—such as Z-depth, material IDs, UV coordinates, and velocity—that Combustion can use to better delineate data for compositing.
Autodesk Toxik Integration

Integration with the Autodesk® Toxik™ compositing software lets artists quickly composite their scene elements, including HDR-rendered elements, in a collaborative setting.
Supports a streamlined content creation/compositing workflow in which there is no need to re-render scenes if lighting intensity is incorrect or a layer needs a perspective change.
Adobe Photoshop Integration

Adobe® Photoshop® software PSD files may be imported as texture maps using the entire composited image or individual layers.
Adobe Illustrator Object Nodes

Adobe® Illustrator® software vector elements can be imported as either curves or groups.
Web Integration

The embedded web browser, Asset Browser, lets the user view web pages and quickly drag supported geometry and bitmap texture files into a scene.
Supported Scene Import Formats

3DS, AI, DDF, DEM, DWG, DXF™, HTR, IAM, IGES, IPT, LP, LS, MTL, OBJ, PRJ, SHP, STL, TRC, VW, WRL, WRZ
Supported Scene Export Formats

3DS, AI, ASE, ATR, BLK, DF, DWF™, DWG, DXF, HTR, IGES, LAY, LP, M3G, MTL, OBJ, STL, VW, WRL
Supported Texture Import Formats

AVI, BMP, CIN, CWS, DDS, EXR, GIF, HDR, ICB, IFL, JPEG, MPEG, MOV, PIC, PNG, PSD, RGB, RLA, RPF, SGI, TGA, TIF, VDA, VST, YUV
Supported Bitmap Output Formats

AVI, BMP, CIN, DDS, EPS, EXR, HDR, ICB, JPEG, MOV, PIC, PNG, PS, RGB, RLA, RPF, SGI, TGS, TIF, VDA, VST, VUE. Some formats applicable to certain renderers only.

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Plug-ins
Visit the ADN Sparks site for an extensive list of third-party plug-ins for 3ds Max.




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