INSIDE 3DS MAX® 7 [Electronic resources] نسخه متنی

اینجــــا یک کتابخانه دیجیتالی است

با بیش از 100000 منبع الکترونیکی رایگان به زبان فارسی ، عربی و انگلیسی

INSIDE 3DS MAX® 7 [Electronic resources] - نسخه متنی

Adobe Creative Team

| نمايش فراداده ، افزودن یک نقد و بررسی
افزودن به کتابخانه شخصی
ارسال به دوستان
جستجو در متن کتاب
بیشتر
تنظیمات قلم

فونت

اندازه قلم

+ - پیش فرض

حالت نمایش

روز نیمروز شب
جستجو در لغت نامه
بیشتر
لیست موضوعات
توضیحات
افزودن یادداشت جدید











  • Modeling Microscopic Worlds


    In this section, we will examine a battle on a microscopic scale: the attack of the macrophage! One of the most dramatic images seen in biology textbooks is that of a macrophage (a type of white blood cell) using its filopodia (tentacle-like arms) to reach out and grab bacteria it then devours. Macrophages are the guardians that protect our bodies from internal threats like bacteria, tiny parasites, and other foreign invaders.

    Images of cells can be taken with a variety of lab instruments, such as light microscopes, scanning electron microscopes, and so on. Each type of instrument reveals unique data about a cell and also produces its own distinctive visual look. The look we will be shooting for here is that created by a scanning electron microscope (SEM). SEMs use electrons rather than light waves to create an image. Surface features too small to be detailed by light waves are easily captured by the much smaller electrons, which are beamed onto the surface of the cell and bounce off onto a collection plate.

    However, in SEM images there's no reflection, refraction, or absorption of different wavelengths of light from the cell surface, so there is no transparency or color information. An original SEM image is in black and white, but it is usually artificially colored for a more exciting presentation. For example, the cell might be shown as bright red and the bacteria as bright yellow, both against a stark dark ground showcasing the power and complexity of the cellular forms. Such images can be very dramatic!

    Building a Cell


    Let's create our own cell wars with some of the great new tools in 3ds max 7. We'll begin with the macrophage.


    1.

    Start with a new 3ds max scene, and in the Top viewport, create a Sphere primitive with a radius of 30 units and 18 segments.

    2.

    Apply an FFD (box) modifier to the sphere. Activate the Control Points sub-object mode in the FFD (box) modifier, and then move the lattice to obtain the desired shape. This is going to be the macrophage cell body (Figure 8.70).

    Figure 8.70. Creating the macrophage cell body from a sphere.

    [View full size image]

    3.

    Draw a spline in the Left viewport that curves up and away as it gets further from the cell body (Figure 8.71). This will define the curve of the first of the filopodia.

    Figure 8.71. Drawing a spline for the path of the filopodia.

    [View full size image]

    4.

    Add an Edit Poly modifier on top of the FFD (box) modifier in the Modifier Stack. Select a number of polygons and extrude them to a height of 0 units. This probably seems odd, but when these polygons are scaled in their local coordinate system, they will allow us to create a smaller polygon inside a bigger polygon. Or you could use the Inset tool which does the same thing, followed by the scale tool for adjusting the shape of the new inset polygon (Figure 9.72).

    Figure 8.72. Creating localized detail on the cell-body model.

    [View full size image]

    5.

    Use the Extrude Along Spline tool to extrude small filopodia from each of these polygon selections. If you do them one at a time, you can give each of the extrusions a different rotation so that they'll point generally upward. Use a Taper Amount of 0.8 for the filopodia (Figure 8.73).

    Figure 8.73. Creating filopodia with the Extrude Along Spline tool.

    [View full size image]

    6.

    For more variety, create another, smaller curved spline similar to the first one and add some more filopodia in other places along the base of the cell body. Also create a long, undulating spline and use the Extrude Along Spline tool to create some longer, more stretched-out filopodia with this new spline (Figure 8.74).

    Figure 8.74. Creating more filopodia.

    [View full size image]

    7.

    Marquee-select the end of one of these filopodia and click the Grow button in the Selection rollout until the whole filopodium is selected. Shift-Move the selected polygons to copy the filopodium. Move this unattached selection of polygons to another part of the cell body. Delete the face on the cell body where you would like to connect the filopodium polygons and select the borders on the open face in the cell body and on the end of the filopodium. In the Edit Borders rollout, click the Bridge settings button. This will connect the two borders with a "bridge" of polygons (Figure 8.75).

    Figure 8.75. Using the Bridge tool to connect a filopodium copy to the cell body.

    [View full size image]

    8.

    Switch to Vertex sub-object level, then use the Paint Selection Region with the Select Object tool to select the end vertices of some of the filopodia and turn on Use Soft Selection. Turn up the Falloff value and Edge Distance high enough that you can influence about half the filopodia's lengths with the vertices selected at the ends. You can also paint the soft selection with the Paint button in the Soft Selection rollout. Pull the vertices into more random positions so that they don't all look the same (Figure 8.76).

    Figure 8.76. Using Soft Selection to randomize the macrophage model.

    [View full size image]

    9.

    While we're on the topic of painting, let's take a quick look at using Paint Deformations (Figure 8.77). These will help you add more organic irregularitiesto the cell body and the filopodia. Exit sub-object mode, open the Paint Deformation rollout, and click the Push/Pull Value button. Click and drag with the left mouse button on the mesh and watch the mesh deform. A positive Push/Pull value pushes the mesh, while a negative value pulls it. The Brush Size is the area of the brush's influence, and the Brush Strength value determines how far the mesh is pushed or pulled. There are also brush options similar to the Paint Skin Weights brush. The Revert button in the same rollout allows location-specific undo of the mesh manipulation done by the Paint Deformation brush. It's a very useful and intuitive tool that makes modeling feel more like working with pieces of clay.

    Figure 8.77. Using the Paint Deformation tool to modify the macrophage model further.

    [View full size image]


    Texturing the Cell


    We're now done with the polygon modeling and we're next going to add more detail to the mesh by displacing it.


    1.

    First, right-click the macrophage model and select Convert To > Convert to Editable Poly in the lower right Quad menu.

    2.

    In Polygon sub-object mode, select the tips of all the filopodia and click the Grow button until they're all selected. All the polygons for the filopodia have a Face ID of 2, and they can stay that way. Now go the Edit menu on the Main toolbar and choose Select Invert. The cell body also has a Face ID of 2, but we will change it to 1.

    3.

    Do a rough unwrap of the macrophage model with the Unwrap UVW modifier, and then collapse it back to an Editable Poly (Figure 8.78).

    Figure 8.78. A quick unwrap of the macrophage model.

    [View full size image]

    4.

    Take a look at the Multi/Sub-Object material in the Material Editor for the Macrophage_Material.max file. The first material is for the cell body, and the second is for the filopodia. Save this material and apply it to the model in your own scene file, or continue the exercise with this file (Figure 8.79).

    Figure 8.79. The macrophage material.

    [View full size image]

    5.

    Apply a TurboSmooth modifier and a Displace Mesh (WSM) modifier to the macrophage model. Enable Custom Settings and Subdivision Displacement, and choose Spatial and Curvature as the Subdivision Method. For the Edge and Distance values, enter 60, and for the Angle, enter 25. Click on the Advanced Parameters button, then in the Advanced Displacement Approx. dialog, choose Delaunay as the Subdivision Style and click OK (Figure 8.80).

    Figure 8.80. Displacing the macrophage model.

    [View full size image]


    The Micro Environment


    We're ready to add the final touches and put our macrophage into an appropriate environment.


    1.

    Put a plane below the macrophage in the scene to function as a ground plane. You can also add a reflective material to the Plane if you want add extra dimension to the scene.

    2.

    The last step is to add the bacteria in clusters around the scene. Use the Capsule primitive with the Melt modifier to give the bacteria the appearance of being saggy, flexible, and somewhat irregular (Figure 8.81).

    Figure 8.81. Using Capsule primitives with the Melt modifier to create simple bacteria models.

    [View full size image]

    3.

    Open the file entitled Macrophage_Final.max to see the final look. Make the camera viewport active and render the scene. You can add depth of field, as was done here. Anything in optical microscopy is seen with an extremely shallow depth of field. Adding a shallow depth of field to this scene reinforces the small size of these organic objects, even though, strictly speaking, there is neither depth of field nor reflections in a scanning electron microscope image (Figure 8.82).

    Figure 8.82. The final render of the macrophage scene.



    • / 193