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Two kinds of edge detection combined: normals and depth edge detection, resulting in clean predictable lines. A look typical of s "op-art" optical printing. Makes a texture appear as if its "beheath" the surface.
The dots are pre-calculated and are fetched, according to the desired intensity, from a small volume texture. HLSL noise implementation for an animated vertex program. Similar to the classic "RenderMan Companion" wood shader, though for realtime performance we use a noise texture rather than calls to a numeric noise function. This new version is updated to support varying shininess for light and dark bands in the wood.
A noisy halftoning pattern, based on noisy pre-calculated an indexed out of a 3D volume texture. A helpful tool for artists to optimize their texture sizes, so that textures created by artists wont be too small looking bad or too big wasting artist time on texture detail that will never be seen.
Render-to-Texture RTT glow example. Blurs is done in two separable passes. Simple tone mapping shader with exposure and gamma controls. Place a gradient background into the scene. Clear screen to a flat color. Completely shaderless! Renders the scene to an offscreen texture then re-renders it to the screen, with pulsing, changing, on-screen texture coordinates. Clicking the mouse in the screen will also change the effect slightly. Combines two different methods of edge detection to make a more-robust line drawing.
Shadow-map for all geometry thats overlaid on white and composited. This trick provides simple shadowing across multiple materials without editing their shaders. Use the indicated map to distort the current scene. Texture is pre-calculated by HLSL. Wires are aligned to world coordinates in this sample. It is, however, able to anti-alias regardless of the view scale.
For a fast texture-based version, see "checker3d. A surface using "blinn" shading, which is especially appropriate for some metal finishes and sometimes even for materials like skin. A surface using "blinn" shading, which is especially appropriate for some true finishes and sometimes even for materials like skin. Brick pattern, with controls, using texture-based patterning. Glossiness is controlled not only by the usual power function, but also by applying a set of gloss controls that cause a sharp falloff across a specified range.
The falloff will occur in the highlight range [glossBot-glossTop] and the amount of falloff is specified by "glossDrop. Align as a quad to screen according to the original tex coords -- as a sprite, best applied to simple quads with tex coords.
Then apply "Numbers. This effect is intended to look like pen crosshatching -- it was inspired by the British Museums Durer exhibit of Some of Durer's most famous drawings were made in two colors of ink on medium-colored paper. Creates the illusion that the surface is covered with a thin film of transparent material, as in oily water, thin shellacs, dirty layered ice, etc. Just draw a shadow map ONLY -- dont display or otherwise use it! For use in backgrounds, or to cut "holes" through other objects.
The surface of any model will be replaced by the colors of the background environment map. Simplistic, but useful as an input render style for many scene-level render and defered-render techniques. Depth as color - the values Hither' and 'Yon' Near and Far must be set explicitly.
The result will be an image where the depth will be coded as a blend between foreground and background colors. The "rolloff" parameter can be used to bias values toward the front or back. A simple diffuse example that shows some texture positioning capabilities. A simple way to view 1D Textures e. Simple sinusoidal vertex animation on a phong-shaded plastic surface. Make a 3D volume of color by intersecting a projected rgb texture by its own alpha, where the alpha is projected at right angles.
To see the effect. Controls are much like those on your TV: Brightness, Contrast, etc. Ignore selection geometry, but use its orientation to rotate the colors of a texture mapped to a full-screen quad. In FX Composer, assign this effect to any node, and then spin the node to rotate the color matrix of the overall image. Different techniques provide gradients against each of the R, G, B channels or against an overall grayscale.
Render-to-Texture RTT glow example - glow is overlaid on top of the current scene. The render target is a fixed size. Fire, smoke, water and more Corona Renderer is compatible with most features of Phoenix FD, letting you use its simulations directly inside 3ds Max — for example, a Phoenix FD explosion is shown below:.
Once again, even if you have never rendered hair or fur before, you will get great results even from the defaults. Dispersion Some refractive materials bend light by a different amount depending on the wavelength of the light.
This is called dispersion and creates a rainbow effect in the refracted light. Dispersion can be enabled in the standard Corona Material, and is controlled by the single Abbe number parameter. Enabling it adds realism to gemstones, glass, liquids and other materials. Dispersion also works with Caustics. Bump Converter By default, 3ds Max treats bump maps differently, so that some maps do not work as inputs to bump mapping.
The Corona Bump Converter resolves this, allowing you to use any map as an input to the bump map channel in a shader. It also lets you use the 3ds Max native Output to apply adjustments to your bump map and get the results you would expect. First, it lets you randomize the UVW positioning, rotation, and scaling of a texture across different instances, objects, material ids, etc. Corona Distance Map This flexible map can be used with Corona Scatter to easily achieve effects like keeping paths, roads, etc clear of plants and trees, and can also be used for creative effects such as adjusting materials based on distance to place ripples around an object in water, to cause objects to start glowing as they move close to each other, and more — it really is only limited by your creativity!
Material Overrides For quick tests, or even for debugging a scene, it can be useful to override the materials with one simple material. This is easy to set up in Corona, with options that let you leave some materials such as portals, glass, or light materials unaffected by the override, in both 3ds Max and Cinema 4D. Get the demo. Back to Features. Next: Distributed Rendering. Newsletter Subsciption Don't miss any latest major news and announcements about Corona Renderer, subscribe to our Newsletter!
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