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The Whole 9 Yards: Visualization Workflow from AutoCAD to 3ds Max

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Description

In the real world, a single program just can’t do it all when it comes to sketching, massing models, final design, animation, and rendering of architectural models. This class will discuss the workflow for using multiple Autodesk products in a production environment. Discover the ins and outs of this workflow, starting with an AutoCAD sketch, going to a FormIt massing model, and on to Revit software for final design—then using 3ds Max 2019 software and Arnold to render the final animation. Learn methods for creating models in FormIt and discover how it affects working with Revit downstream. Review the Revit-to-3ds Max linking process and how to render photo-quality images. Use Physical Materials and the Sun Positioner to simulate outdoor lighting. Learn photographic techniques and composition to create compelling images. Utilize the Physical Camera controls to adjust scene exposure and depth of field. Get ahead of the competition by learning how to create your renderings using photographic composition in a streamlined workflow.

Key Learnings

  • Understand the connections between AutoCAD, FormIt, and Revit for an optimal design workflow
  • Learn how to properly link a Revit model into 3ds Max 2019 for use with the Arnold renderer
  • Learn how to create and configure the Sun Positioner and camera exposure
  • Learn how to place cameras and create simple fly-through animations of the Revit design

Speakers

  • Steven Schain
    Steven is the Post Production Supervisor and Media & Entertainment Content Manager for CADLearning products at 4D Technologies, where he develops content standards and creates content for Autodesk 3ds Max, Maya, Inventor, and Fusion 360 users that is used in AI and machine learning solutions, in-application performance support, and desktop and mobile apps. Steven is also the Post-Production Supervisor for all CADLearning products from 4D Technologies. Since 1998, Steven has contributed to Autodesk's certified courseware for 9 releases of 3ds Max, was a co-developer of the Autodesk ACI Program and 3ds Max fundamental standards, and is currently an Autodesk Certified Instructor. As a premier Autodesk trainer, he has continued teaching end users, companies, and many others, including The Walt Disney Company, Guess, and the United States Army. As an 8-year veteran of Autodesk University, Steven has taught classes ranging from creating particle fountains in 3ds Max, to classes on 3D printing and entrepreneurship.
  • Avatar for Jason Boehning
    Jason Boehning
    Jason is passionate about helping people and organizations in the AECO industry. As a trusted consultant, he has helped organizations implement digital technologies to improve processes and deliver exceptional results. He has made a career of helping building professionals use digital tools to increase productivity for sustainable design and construction. Jason speaks at events and conferences all around the world. He is a repeat, top-rated speaker at both BILT North America and Autodesk University. Jason is a member of the Autodesk Expert Elite program and is an Autodesk Certified Professional for Revit MEP Mechanical, Revit MEP Electrical, Revit Architecture, and Revit Structure. He also served as an Autodesk Revit Mentor All-Star.
  • Avatar for Katie Watton
    Katie Watton
    Katie Watton is a Building Content Specialist for all BIM and architectural CADLearning products from 4D Technologies. She specializes in the development of Autodesk Revit and BIM 360 training solutions, and is a regular contributing author to The Blast magazine. Katie earned her Associate's Degree in Applied Science from ITT Technical Institute. Before joining 4D Technologies, Katie worked as a BIM Specialist for a Houston-based BIM consulting firm. During that time, she helped numerous design firms implement Revit. Katie also assisted in the modeling process and trained several staffs on modeling best practices. She has also worked with design firms on multi-disciplinary coordination to help expedite construction. In addition to helping design professionals, Katie’s teaching experience includes a Revit class at the University of Houston, as well as Revit and BIM 360 classes at Autodesk University.
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Transcript

STEVEN SCHAIN: So we'll get started. I'm going to do some introductions and then we'll get right on into the class. So this is the whole nine yards, á la the football theme.

We're going to go through and just talk about the workflow of going from AutoCAD into 3ds Max. My name is Steven Schain, AKA the 3D Professor. I'm the post-production supervisor and media and entertainment content manager for CADLearning. This is my colleague David Cohn. I'm going to pass it off to you.

DAVID COHN: So as Steve said, my name's David Cohn. I'm an architect. I started using AutoCAD in 1984 in my practice in Memphis and then quit practicing, joined Catalyst as their senior editor. I've written for a number of other magazines. And in 2008 I joined 4D Technologies to work on their AutoCAD course.

Since then I've worked on courses for ReCap, FormIt, Advanced Steel, Revit before Jason Boehning joined the company. I'd like to introduce my colleague Jason Boehning.

JASON BOEHNING: Thanks, David. My name is Jason Boehning. I'm an AEC consultant for 4D Technologies. So essentially, I work with our clients to help them be successful using the tools that they have. And I also work with our CAD learning products and oversee the development of the content related to building, design, and construction. And another valuable member of our team is Katie Watton.

KATIE WATTON: Like Jason, said I work for 4D Technologies as well. My main focus is Revit and BIM 360 CADLearning content.

STEVEN SCHAIN: All right, so we're going to welcome everybody. Hope everybody is having a good morning. Just the obligatory learning objectives. It's the slide everybody has to see in the morning or in the afternoon.

So this is what we're going to really go through today. We're going to hit a little bit on 3ds Max. But we're going to really look at going from AutoCAD to FormIt to Revit to 3ds Max. And Katie is going to discuss using BIM 360 to sort of take all that stuff and wrap it up into one place. And then we'll look at linking a model into 3ds Max.

And I'm going through these quick because I want to get to the rest of the presentation. And we'll place the Sun, place a camera, and do a quick fly through animation. So a quick question-- is anybody using a multi software workflow right now? So a couple of people?

Is anybody just using a single product in their department? Nobody, great. How many people are using FormIt? Anybody? No? OK. How many people use BIM 360? So a handful? Revit? 3ds Max?

Ah, that's good. That's like an equal number there. [INAUDIBLE]. So I am going to pass this off to David. He's going to talk about the project and what we did.

DAVID COHN: Thanks, Steve. [INAUDIBLE] The project that we're talking about was an actual project. I didn't [INAUDIBLE].

STEVEN SCHAIN: Is your mic on?

DAVID COHN: [INAUDIBLE]. Yeah, I know [INAUDIBLE].

STEVEN SCHAIN: What number are you?

DAVID COHN: Five.

STEVEN SCHAIN: Make sure it's not muted.

DAVID COHN: There we go. Thanks. So this is an actual project located in Washington. I had nothing to do with the project. But when I drove by this I said, wow, this would be a great project to use it as a FormIt data set and bring into Revit. So it's a pair of duplex townhomes, two story townhomes.

So again, those of you using SketchUp, Autodesk came out with this program called FormIt several years ago. And what FormIt is is basically their version of SketchUp. So this is a conceptual design tool that enables you to do work much like you work in SketchUp. Work with 2D geometry, very quickly touch that 2D geometry, extrude it, turn it into 3D geometry, subdivide it to be able to break elements into different faces.

But the nice thing about FormIt is it runs in a web browser. So it's available as a Windows app, it's available as a web browser app, and it's also available on the iPad and Android devices. And the beauty of this is, you can start working on a project any time you want to. Anytime inspiration strikes you, start working on your mobile device. From the mobile device it saves it into the cloud and then you can open up on a browser on any program, any type of computer that you're writing a web browser.

You can incorporate actual site information. So you'll see as I start developing this project one of the first things I'm going to do is locate this at an actual address because we know where this project is going to be built. That will automatically set everything up so that it understands the location so we can do shadow studies. If I'm working in the browser based version I can also immediately see various weather stations where weather data has been accumulated and incorporate that in. So at a very early stage of my design I can start to do environmental analysis on this building and determine if I reorient the building a certain way, how is that likely to impact the energy performance of the building, day lighting performance of the building?

Again that's only available in the browser version, not in the tablet or Windows app version. But again, with all but the Windows app you store your data in the cloud and then you can open it up on any other device. On the Windows version you have a choice of storing locally or storing to the cloud. And as I'll discuss a little later, there are some advantages when you store to the cloud.

And then once you've finished your design, for those of you that have been using SketchUp and then moving the SketchUp model into Revit you know that that can oftentimes be very cumbersome. The data that you bring over comes in as this big amorphous block and then you've got to start breaking it up before you can do anything with it. Because FormIt's an Autodesk product, that FormIt model when you bring it into Revit, Revit already understands what that model is and you can immediately start turning surfaces into walls, or roofs, or if you've put levels in the model immediately start to subdivide that and create floors inside the Revit model. There's nothing that you have to do to convert that file.

And then once you're working inside of FormIt, again for those of you that do use SketchUp, it works much the same way that SketchUp does. You sketch in 2D, you grab things, you start extruding them up to convert pieces into 3D, you subdivide faces. And once you've created a new face you can grab that face and start pulling on it or grab the line and start pulling that up to create a roof. So you're essentially using push pull operations, Boolean transforms, and other types of transforms to take this very simple model and start turning it into a very accurate study model for your project.

So if I start this project, the first thing I'm going to do is set the actual location of the project. This is important for downstream accuracy, it's important if you want to do environmental analysis. It also establishes all the coordinates when you start working in Revit and then bring it down. Later on as you'll see when you bring it into 3ds Max and you want to start animating and you want to see how the sun is going to move through the sky, it's already setting all that information up for you.

You can also bring in scaled satellite information as a background. So this is the site. We got a pointer on this?

STEVEN SCHAIN: The green button at the top.

DAVID COHN: The green but-- oh, OK. Oh, right there. So--

STEVEN SCHAIN: No, no, that's the on/off. That button, that button.

DAVID COHN: Thank you. So that is the vacant lot. I captured this a while ago. All the satellite images are based on Google Earth satellite imagery. So every few years, the satellite will fly over the same area.

And so if you look at it now you'll see the actual townhomes on this site. And now why is this not working?

STEVEN SCHAIN: Oh, Let's see. Check that we turned it off. There we go.

DAVID COHN: Once you've got your satellite data in there, you've got various display options. So you can turn terrain view on and off. If you turn the terrain view off you just get the streets. You no longer see any of the adjacent buildings. When you turn the terrain on you not only see terrain but you see any adjacent buildings as outlines as they were scanned on that site.

If you go to a satellite view, then you can turn labels on and off. When you turn labels on then the streets are highlighted and the names of the streets appear on that satellite view. You can also switch between a top down 2D view of that satellite imagery or start to look at that location as a 3D image and orient your way around. And because again this data is collected as part of Google Earth, you can go into a Street View and then literally walk down the street and examine that site. So even if you haven't been to the site yet, you get a pretty good idea of what that site looks like.

So the first thing I'm going to do as I locate this project is go into the location tool and I'm going to type in the actual address. I could just zoom in and find it. But I can just go up to that field at the top of the screen there and type in the street address. So this is it, 551 Halleck Street in Bellingham, Washington. Bellingham is a town of about 80,000 people about 90 miles north of Seattle. It happens to be where I live.

AUDIENCE: [INAUDIBLE].

DAVID COHN: What's that?

AUDIENCE: [INAUDIBLE]

DAVID COHN: Yeah, really nice town. So anyway, there is the site. I'll go ahead and move that pin out into the middle of the site, but we've just located that building that easily. And as I say, you can turn the terrain data on and off, turn the satellite image on and off, or switch to the satellite image. And then once you're in the satellite image, turn the labels on and off.

A little button down here in the lower right to switch into the 3D view. And then once you're in the 3D view you can reorient that view to the four various isometric points-- the northeast, southeast, southwest, northwest. Or while you're either in that 3D view or the 2D top down view you click on the little man and drop immediately into a Google Earth Street View.

So there's the site before the townhomes were built on it. And again, just orbit around or start walking down the street. And if you look real closely-- so there's a guy on a bicycle that got scanned there. And if you watch as it pans around here, you can see the camera mounted on the top of the car when they went down the street to scan that in Google Earth.

So anyway, at that point I'll zoom in, get everything set up the way I want to see it. And now I can bring that satellite image in as the base view. Now this is the browser version. So I switched from the Windows version of the browser version to show you, now you can see these various weather stations showing up. And so when I select that weather station now I can look at temperature or I can look at wind patterns at various dates throughout the year.

So again, be able to start understanding how this building is likely to respond in the real world because I've got this real world data. And it doesn't matter whether you've started in the Windows version, or in the browser version, or on your tablet, because you're storing the data in the cloud. So now I've brought my satellite image into FormIt and I can position it on the site.

Now when I select it, it's being treated inside of FormIt as an image. So when I go into the pallet over here I can now take that image and let's shade it down about 50% so it's truly going to be a background to everything else that I'm building on top of it. OK, so once I've got that site located if I happen to have started sketching, say, the floor plan of this building in a program like AutoCAD, again because it's an Autodesk program I can immediately read that AutoCAD DWG file-- either a 2D DWG or even a 3D DWG-- directly into FormIt. So I can import DWG and then because it's DWG it's already going to have the scale set up, but I may have to reorient that sketch that I did in AutoCAD on the site.

The nice thing about working with AutoCAD as a base drawing is, I can now start snapping my FormIt geometry to the vector geometry that I brought in from AutoCAD. But if I happened to have been out somewhere and I sketched on the back of a napkin or the back of an envelope or something, I can scan that in as an image file and then bring that image file into FormIt. And again, I can't snap to it and I may need to actually re-scale it. So I'll draw something on. If I'm re-scaling a sketched damage I'll draw a line of a known distance that corresponds to the model in FormIt and then take the image and scale the image so that that sketch geometry in my image approximately matches what I've drawn in the FormIt model and then reorient it.

Of course you can't snap to the vector geometry that was scanned in but you can easily trace over it. And so I'll do that quite often if I just happen to have been sketching a project and then bring it out on the site. So here's how that would look. So again, inside of FormIt I can import. And it says import 3D model.

And you've got various file formats. So one of the things you'll notice is, I can bring in a SketchUp file. I can bring my SKP in that way as well. But also an SAT file, an STL file. In this case, I'm going to bring in an AutoCAD DWG file that's nothing more than a 2D outline that somebody in the firm created of what the base first floor plan of these townhomes might look like. And then I can reorient that.

So what I'll do is, I'll snap that around so it aligns with my street orientation. So you notice it already understands where project North is, where True North is. And then if I want, I can reorient the model and set my project North in here, although project North is one thing that does not necessarily transfer into Revit when you get to that point. But there's my first floor plan.

You can see this satellite view actually had the site because I did this with a newer, more recently and the satellite imagery now incorporated the new site. But when I did it with my sketched version, I'm working on the older satellite image.

And you can see the various image file formats-- I think it's a JPEG and PNG. So I had a PNG version of that floor plan and I'll bring that in. And then again I'll scale it. And I happen to have figured out that it was a scale factor of 38, so again you can scale it down. Then I'll reorient it the same way I did as when working with the DWG file.

And then once I've got it reoriented so it does align with the street, then I can simply grab it and move it over and place it approximately where that building is located on the site. And then again there are two iterations of these townhomes. Again when I bring in my file as an image, you can see that it's showing up over there in the image panel. And so I can now control the layering of the image so I can move the sketch below the satellite image or above the satellite image. And if I select it in the palette I can adjust the transparency of that sketch.

And I'll go ahead and take the satellite image and move it down below the sketched image. OK, so that's kind of my starting point. I've got my basic geometry that I'm going to start building my FormIt model. And now I'm going to use the tools in FormIt to start developing that 3D model.

So the first thing I'm going to do is sketch a basic outline of the building in 2D. Once I've got that 2D model then I can select either that face that gets created, because every time in FormIt you create closed geometry it automatically creates face in the middle of that closed geometry. And then I can select the face and start pushing and pulling it, or I can select those lines I've sketched and start pulling those lines, or I can select any vertex to start pulling and pushing on the vertex.

And then by combining these actions with snaps and referencing other geometry I've already created I can very quickly start to develop this into the actual geometry of this project. So I've created my basic outline of the building. And then just simply click the face, drag it up. And I tap the Tab key I get a dialog box, and then I can put in and start entering precise geometry. So if I know the height of the building at that point, I can tell FormIt that this building's exactly 19 feet high.

Then I'll use the line tool-- or actually, so there's a little recess here between the two units. So the first thing I'll do is sketch a rectangle just in a general location. Again, press the Tab key to get a dialog box so I can specify precise dimensions. Once I've located that rectangle, then I need to move it to the precise location. So if I select the rectangle and go up and use the Measure tool, I can then measure along that side of the building from the corner to the start of that rectangle, press the Tab key or click that dimension, and locate that.

Now of course, I could have sketched the recess as well. But I just want to show you the other tool, possibility of moving it over. And then once I've got that there, if I click on it, drag it down through the building, through that mass, I've now subtracted that from the model so I've created my recess.

Well, once I've got that basic footprint I need to start creating the gable shapes for the roof of the building. And so again I'll just snap to geometry. Notice that when I align with one of the axes once I get within a couple of degrees of that axis, FormIt will automatically snap on the line with the y-axis in this point. By drawing that line to subdivide it I've now created a face. And I can take that face and pull it up three feet because there's some articulation to the roof.

OK, now I need to create my gable. And so I'll simply snap to the midpoint of that line on that side of the building, again snap into alignment on the y-axis. Once I've created that line I've now split that face into two faces. And if I select the line itself I can drag that. And again, if you've used SketchUp, SketchUp works much the same way.

So I'll quickly go through and finish creating the rest of the roof geometry. I just generally created this but I happen to know that this is going to be a 5 and 12 slope. And so I sat down on my calculator and found out what the angle of the 5 and 12 slope is. And so I'll use the Rotate tool, align it with the face of the building, grab the grip so that I can align it with the actual geometry, and then very quickly go ahead and click on that angle and reduce the angle so I've got that slope at a 5 and 12 slope.

And then I'll just, while I'm still in the angle command, move it over to that side, repeat it the other way, and reduce the slope on that side. That's the tallest part of the building. I still have some other intersecting roofs to create. So again, I'll sketch some geometry, align with the x-axis in this case, and then snap to the midpoint on that side. And since I've established the height of the roof, what I can do now is grab that center line, start dragging it up, but then move my cursor over to snap to that vertex that I've already created.

And now it's already snapped in alignment so it's at the same height. And then I can just grab that face, drag it over, and create my roof intersection. So there's a little bit more geometry. This is actually a flat roof with a parapet. And so we'll raise that up. And then I'll use the Offset tool-- let's bring that over so it connects to the roof.

Now I'll use the Offset tool. So again, I'm just right clicking, selecting the offset face. There's an eight inch parapet because there's a wood framed. I'll remove these two lines because they're not really there and then snap that geometry over. And now I can push on that and drag it down to create my parapet. And the last piece I need to do is a similar operation over here on the flat roof on that side.

So again close the geometry so I end up with a contiguous face that I can then tap and push down. And again, all these operations that you're seeing I can do in the Windows version, I can do on my browser, I can do on my iPhone, I can do on my Android tablet. OK, each object that you create in FormIt has properties. So I can now start to subdivide that and add levels.

And once I've added the levels I can display the floor area of the building. So again, at a very early stage if I know that the client has given me a target floor area for each floor, I can start to analyze the building, make sure that I meet the client's criteria. And if I need to, I can start going in and adjusting it. If I include site information in the Properties palette as I'm doing this, I can now actually calculate site usage. So in this case the city says that the building can't occupy more than a certain percentage of the site so I get that information again out of FormIt immediately.

And then because it's been located accurately in the exact location, I can also start to perform sun and shadow studies even though all I've really got right now is some basic building mass. So there's the two townhomes. So I'll enter the target area. I've actually already established-- so if I double click on it now you're looking at the building. So you can see the cubic volume but I don't have any layers turned on yet. So I'll go over to my layers palette and I've already established a ground floor layer level of 0 and the second floor level of 10 feet.

But I'll tell FormIt now for that particular object to use levels. And as soon as I do that, you'll see that the levels have been added to the model. And then I'll double click on that one, because this was simply a duplicate that I then mirrored. And I'll name this one East Townhome, and again tell it to use levels. It's going to use the same levels that I've already established for the other townhome and it's calculated my floor area.

And now I'll go in and tell it that the actual site area is 10,500 square feet. And as soon as I put that information in, it'll tell me that I've got a floor area ratio of 0.7. So I know what my site usage is and I can go to the city and say no, no, you say that I can't be over 80% of the site. I'm at 70% of the site. And simply by turning the sun on, I can start adjusting date and time of day and quickly see how that building's going to cast shadows over the course of the year.

So there's actually a lot more I can do inside of FormIt. If I wanted to do a quick presentation to my client so that he could start to promote this project, I can go ahead and start on the face, sketch in the windows, and then start applying materials to the various surfaces inside of the model. And you'll see I did add a lot more detail to an iteration of that model. And again, at that point I can start to create realistic images. And FormIt even has tools to enable me to create little animation walkthroughs and flythroughs of the project.

But you don't want to necessarily do that to the version you're going to pass off to Revit. So here's a more articulated version of that model. And these are the same materials that are in the Autodesk material library so they do transfer from one program to the other, although as Steve will explain later you probably want to replace them when you start working in 3ds Max. But by simply selecting the material off my palette I can start just tapping on the various services and drop those materials onto those surfaces.

And the glass material I created, I didn't create an opening. I simply drew a rectangle, said there's with the window is, and I'll drag and drop the glass material onto that window shape. And as you can see, I can create really nice little quick study walkthroughs and flythroughs of that project. So this would be useful as a proof of concept for my client but not necessarily something I would use if I'm going to then start walking down the path of taking my model into Revit and into 3ds Max, because any unwanted complexity you add to that is simply going to interfere with what you're going to do downstream when you work in Revit.

So what I'll typically do is, once I've got my massing model completed I'll save that as one version of the project. And then I'll save another version that I'll go in and articulate and add more, add some entourage objects. So at this point, I'm going to hand the project off to the person who's going to start working it up and creating the actual construction documents inside of Revit. Remember I said that there's some things that are more useful when you save your model to the cloud than when you save locally?

Two different ways to hand off the project that you've started working on inside of FormIt. If you save the FormIt model locally it saves it as a .axm file, which is FormIt's file format. And then to get it into Revit you have to use the FormIt converter, which is an add on that you can download from the app store and put into Revit. And that allows you-- actually, I recommend that you download that even if you're working with SketchUp because it does have a SketchUp converter as well as part of that.

So if you've ever worked with SketchUp trying to bring that SKP file into just basic Revit and then you have to break it up and kind of rebuild it, right? So the plug-in will eliminate that step. But if you save it to the cloud onto an Autodesk A360 driver into BIM 360, it creates both the FormIt AXM file and a Revit RDT file. So then you can open that RDT file up from the cloud directly in Revit and start working on it in Revit, whereas if you save it as an AXM file you do need to use that format converter inside of Revit. So at this point I want to hand off to Katie, who's going to talk about how BIM 360 starts to play into this.

KATIE WATTON: OK, so show of hands, how many are using BIM 360 right now? OK, Great. So anyway, first off the BIM 360 platform is not needed for this workflow. You can send what the guys are showing today from AutoCAD 3ds Max. But we can use it.

Since they're all working in different offices, we can use it as a document management, as a file storage system. And so you can upload and download files. And even we'll get into markups and issues a little bit. But all that is able.

So I mean, yes you can use SharePoint, Dropbox, A360, but those are just file storage systems. Document management offers way more. So to begin, BIM 360 is a project delivery and construction management workflow-- it assists with workflows. And so what BIM 360 is, is it's made up of multiple modules and they're all connected. And so what allows these modules to stay connected is BIM 360.

So that's why Autodesk calls BIM 360 the single source of truth. That is because of document management. And so that's basically what I'm going to cover today. But document management supports a wide range of file types.

And so in document management, there are two predefined folders-- there's the plans folder and there's the project files folder. And so the plans folder only supports just a limited number of files as you can see here. That is because it uses OCR technology which I'll cover a little bit more in a little bit. But with the project files folder, it supports more. And this isn't even all of them-- there's 30 plus.

And so even though they support these uploads, some aren't viewable such as FormIt models. You can't really view them in document management. But you can't upload them and Jason can download them and begin working in Revit. And so it allows all these files to be in one platform.

Also you can create additional folders. So BIM 360 allows you to have a custom workflow. So however you want to create your folders and upload these files to, it allows you to create that custom workflow. So with that, project permissions are very important so that only the people that you want to have access on those files and folders have access to them. And also, let's say you want to view a 3ds Max file in document management, you simply click the-- it didn't start from the beginning, I'm sorry.

But anyway, so you can select the folder in document management and it opens. And then from there you can create a markup if you want. So the sidewalk isn't really a line right now, you want to create a markup on that. And so this allows you to create, share, and manage markups in issues. And last week, there was a unified issues that was released for the BIM 360.

So it creates even more capabilities. So with the plans folder, along with issues and markups that you can add, it uses OCR technology which, when you upload design files such as Revit or even PDFs that contain title blocks, that information is extracted. So with that it automatically creates hyperlinks. But also in Plans folder you can create additional hyperlinks, let's say to a fixture within a plan. You can add a hyperlink to that, to the fixture spec.

And so with the project files folder, though, you simply just upload the file, nothing is extracted. And so with that, when you're uploading and downloading files, yes you can download them from here, from document management. But you can also just download desktop connector. And so what this allows you to do is manage your BIM 360 account directly from your desktop. And so you can view and open files, upload and download files, edit and delete files, and create and delete project folders.

And so this allowed the guys here to just quickly upload and download those files. And so also keep in mind that the project files folder is only integrated with Desktop Connector. Jason's going to talk a little bit in a little bit about Revit. And so whenever you-- let's say he has a team, a Revit team, and he wants all of them to collaborate on one Revit model. He can then enable Revit cloud worksharing.

And so this allows all the team to work on one model known as the central model. And so also enabling Revit cloud worksharing, and so this is using BIM 360 design which is the next generation of C4R. And if you needed, you can activate the design collaboration module. If multiple disciplinary firms are working on one Revit model you can activate that design collaboration module. And so with that we're going to take a little break, a two minute break.

STEVEN SCHAIN: So stretch. Just take a quick break. We'll actually take a one minute break instead of a two minute break. Well, do we want to do one giveaway now?

DAVID COHN: No, then they'll leave.

STEVEN SCHAIN: Oh yeah. Well, no, we have two things to give away.

DAVID COHN: Oh, we have two things to give away.

STEVEN SCHAIN: So you guys are stuck here.

DAVID COHN: A few people left. We'll wait till they come back. They took a bio break. Must be present to win.

STEVEN SCHAIN: Yeah. It's early in the morning so we give everybody a few, like a minute or two just to stretch. And if you have any questions, feel free to ask. We've got-- yes.

AUDIENCE: [INAUDIBLE]

STEVEN SCHAIN: Right, yes.

AUDIENCE: [INAUDIBLE].

DAVID COHN: No. FormIt is available for free if you're running it on an Android or iOS or in a browser. The only one that you have to actually pay for eventually is the desktop app. Like most Autodesk products, you can download a 30 day free trial.

There is a pro version of FormIt. What the pro version of FormIt allows you to do is integrate with the inside analysis. So almost everything that you saw me do you can do for free in the browser version or the iOS or Android version. If you want to start incorporating the weather information, then you have to have the pro version.

There's a few other things that are only available in the pro version. But 90% of the program is available for free. And again, the only one that you actually have to pay for is the desktop app. So if you want to run the desktop app, which does have some additional tools, then you get a 30 day free trial then you pay for the pro version.

Of course, FormIt comes as part of a lot of the Autodesk packages. So if you buy the engineering construction suite, FormIt is part of that suite along with AutoCAD, and Revit, and 3ds Max, and ReCap, and Advanced Steel. I was amazed when I looked at what's available inside of the suite.

AUDIENCE: [INAUDIBLE]

DAVID COHN: Excuse me?

AUDIENCE: [INAUDIBLE]?

DAVID COHN: I don't know if rainfall totals are in there. I know that temperature is in there and various wind analyses. I don't know if rainfall totals are in there or not.

STEVEN SCHAIN: All right, let's-- we'll have some more questions at the end. We want to move on to Revit?

DAVID COHN: Yeah, all right.

STEVEN SCHAIN: And Introduce Jason.

JASON BOEHNING: All right, welcome back guys. Can you hear me all right? OK. All right, now let's jump into the Revit portion of this. And so essentially what I'm going to show is creating the model.

And so when you use Revit you have to kind of have the end goal in mind, right? Like, what are you going to be using Revit for? Are you just creating a model so you can take it into 3ds Max? Or are you working on construction documents? Are going to be fabricating off of that model?

So that's going to determine the extent that you build out your Revit model. In this case, we're simply looking to create some nice construction documents and then creating a nice accurate model that we can use in 3ds Max as well. And so we're actually going to-- I'm actually going to jump into a live demo here. And just like David talked about using the mobile version of FormIt, I'll show you how to use the mobile version of Revit to create a model.

Just kidding, just kidding. Just seeing if you guys are still with me here. So OK, all right. Let's jump into Revit here. Can we switch over. Oh, sorry, OK.

All right, so here's the end goal. Sorry I'm sitting here in the corner now. But here is our final Revit model, but I'm going to show how we got to that point. And so I'm going to start from scratch creating a new Revit file here.

And so if you're working with FormIt, you're going to need to use this FormIt converter add in. And so there are actually several tools here. You can download this add in from the Autodesk FormIt website. But you can convert your family files to FormIt models and then you can actually use this add in to convert SketchUp files to FormIt as well. And then here's the tool that we're going to use where we can import FormIt into Revit.

And then the last one that's available here is reload families. So if you're using a workflow where you're converting your family files into FormIt models and then bringing them back in, then you can use this tool to reload those families back in and replace those FormIt models. So that's if you're using a full FormIt Revit workflow.

Right now we're just going to import FormIt into Revit. And I have this AXM file right here. Real quick, I'm going to show the Desktop Connector. And so if you have the Desktop Connector here you're going to be able to see it on your hard drive here, and then you can navigate to BIM 360. And it is cloud based.

It's going to take a little bit. But when you log in here you're going to see your accounts. So any accounts that you're added to in BIM 360, they're going to pop up here. And you can just navigate into there and find any files that you're looking for. Let me go back, though, and-- I just have this on my hard drive here.

And so when you import a FormIt model it should go pretty quick because it's pretty light files. And as David said, you want to bring in a file that does not contain a lot of openings, and I'll show you why here in a minute. But right now we brought in the FormIt model. And True North, it brought that over from FormIt. And if we go over here to the Manage ribbon and open up the location, weather, and site dialog, I'll show you here that the location came in that David set in FormIt.

So we can see that our address is here in Bellingham, Washington. And our weather station is selected here. And so at this point, we want to build out the Revit model. And then we can continue our analysis using the Insight service.

So FormIt is connected to Autodesk Insight, so is Revit. All the energy analysis tools inside of Revit are connected to Insight. And so in FormIt you're using a mass model. Then once you build it out inside of Revit with your building elements and you're actually assigning insulating values and wall thicknesses and materials, then you can just continue that analysis using your detailed building model.

And then also you're going to want to do some basic things like rotate project North and-- I'll just show you this, some of this minor stuff real quick here. So the project North does not come over but True North does. And so here now we have True North and project North in our project. And you're going to have to redo your elevations and all that good stuff.

I'm going to go ahead and close this down. And I'm going to switch over to a model where I've already imported, I've already got the view set up and all that good stuff. So I'm actually going to delete one of these and we're just going to work on one here. And then we can mirror it over. But just a couple of quick things right here.

I don't know if you guys-- how many of you work with masses often? Anybody work with masses often? Show of hands? One person?

OK, all right, so I'll walk through some of the basics here of how masses can be used inside of Revit. So even if you're using another program to create some type of 3D model and then bringing it into Revit, more than likely it's going to end up as a mass regardless of what program you're using. It's just going to be a basic 3D shape here. So as you can see, it's just, like I said, it's one shape here, a mass model.

But I also have these mass floors. So those did come over from FormIt as well. In terms of basic visibility here, I'm sure if you use Revit you're familiar with the visibility graphic overrides. And so you can control masses here. But there's also a setting that's important to pay attention to. And on your massing and site ribbon, over here there's this Show Mass by View Settings.

So you can choose to use the view settings or you can choose to just show mass forms and floors regardless of the view settings. And so it can be a little tricky dealing with masses inside of Revit, and visibility can always be a little tricky. But anyways, so here's our mass model. And I'm going to pull up an image here just to show you once again what we are working with. And so this was the project that we were trying to model.

So you can see that there are different types of walls here. So the structure is all the same. It's a wood stick frame duplex. But you can see there's different types of walls here. And so I went ahead and pre created some wall types here. And I'll just do a quick overview of those.

But essentially, my structure was the same except for the exterior surface because that's how it's actually going to be constructed here. And I didn't use a wood layer. I just used the generic metal. But anyways, this is where you can come in and adjust your materials for your wall types.

And now once again, you've got to be thinking about the end goal. And so if you know that you're not going to create any detailed renderings inside of Revit, then you can just specify some basic information like I have here. And on the Graphics tab you can adjust the shading and some of that stuff so that you can see what you're dealing with inside of Revit. And if you're not going to render in Revit, then you don't have to mess too much with the appearance assets inside your types.

And so in this case, I really didn't mess with it because it can take a long time to go into here and fully detail these things out. But it just depends on what your goal is. In this case, we're going to take it to 3ds Max so I didn't mess with trying to specify these out too much. All right, so I'm going to cancel out of this.

And to actually start placing our building components on this mass model, we'll go back here to the Massing and Site ribbon. And in the model by face panel, you can see there four tools-- curtain system by face, roof by face, wall by face, and floor by face. So essentially what these do is you just activate one of these tools and you can just begin clicking surfaces here and placing building elements. But before that, just like creating any Revit element, you want to check your type and make sure that you have the correct type selected.

And then we also want to make sure that our location line is set to Finish Face Exterior so that-- because David modeled to the exterior of the building with his mass model. And so when we place building elements we want to make sure that they align with the exterior face. So now I'm going to come in here and just begin selecting surfaces. If I selected a roof face, it will place a wall up on the roof because it doesn't know what's what, right? It's just it's just recognizing surfaces here.

So you do got to pay attention and make sure you're selecting things appropriately. And so I have my gray siding walls here. And now I'll switch to the green siding and just zoom in here real quick and we'll get these placed. And just to show you what we have going on here, this is a view without the mass model. So you can see the wall starting to just take shape here.

Now let's come in and place those orange panel walls here. And this is where it's going to get a little tricky. And I'll show you some tips here. You'll notice when I place this wall we're going to get an error here. So it says, "can't keep elements joined."

So when you're working with mass models and placing elements by face, this is probably going to happen quite a bit because Revit's trying to connect things up but it really doesn't know how to do it. And so in this case it's OK that everything does stay joined. We can go back and fix some of that stuff. But essentially that's what a lot of things are going to say.

And then you'll even see things like, line is too short. It can't create that element. Well, only option you have is to delete it and keep going, and you can come back and fix it later. So here's what we have right now as far as our walls go. So it looks OK but as I zoom in here, you can see that this is not connected and that obviously needs to be connected here.

And then if I go to a floor plan view, it looks OK. But as I come in here, you can see that this is not exactly what I want here, right? Because it's the same structure. I'm not changing my structure here so I need these walls to connect, I need these to connect up here. But here at that corner, this is a simple fix.

In some cases you can just drag it and extend it and it will connect up automatically. In other cases, you're going to need to maybe modify the wall profile. So let me create a section view here. And let's take a look at what Revit created for us.

So here's one wall and here's another wall. So you can see I have this weird notch here and it's not exactly where I want it to. So this is a little bit weird and not exactly how it's going to be constructed. So let me just edit this profile here and we'll just fix this. Can use some modify tools here and just clean this up.

We'll align it to the inside face of this wall. And now when I come back to my floor plan view, now it's looking like I want it to. So it's showing that my structure is continuous here in these other layers of my wall. But then we have a different exterior face just like in this case we're just changing the siding that's being used. And so we'll do the same thing over here with this other connection.

Just flip it over here and we'll jump back in here. And you can see a similar situation where we have this little notch so we'll edit this profile here. Just use our modify tools and clean this up. And there we go.

And so now we have a decent looking floor plan view here, where it shows our continuous structure and then we have our notches here where we're changing the siding on the exterior faces. And so now we can continue building out the interior and modeling those walls as needed, putting our spacing here between the duplexes and so on and so forth. So let's go back to-- let's take a look at this. So it looks OK.

So now let's take a quick peek at creating the roof here. So I'll use roof by face, and let's just use a generic roof for right now. So in this case, I'm going to need to create multiple roofs because if I were to select all these, Revit's going to get confused and it's not going to be able to create it for you. And so we'll come in here and just continue selecting faces. And each individual roof will have to be a separate roof element.

OK, so now let's come in here and take a look here at what's going on. So you can see here that these are starting to merge together. And so this is where it gets a little tricky as far as the cleanup goes. But I want to show you some of the things that's going on here. I'm going to activate or enable the select elements by face so I can select this wall here.

And when I edit this profile, you can come in here and see that it's-- I don't know if you can see this really well, but it's actually going to the top of our roof here but then coming down to the middle. And so you get some-- yeah. Sometimes Revit just doesn't know exactly what it needs to do, right? And so we could do something like, you can align it to the bottom side of the roof here. And then that'll help it look a little bit better.

And so I know that there's the attach the top of the wall to a roof. And that doesn't really work too well with elements by face because really what it is, it's just what Revit is trying to do is match the profile of the wall to whatever face you selected. And so you're going to get things that don't look too great. But if you just go in there and start modifying wall profiles, you can start to clean it up and it can start to look pretty decent.

And so as you can see here, we have the start of a decent looking model here. This wall is actually a different type. We could split that and change that type. But I'll come in here to our final version and we'll take a look at some of the other things here. And also, if you don't want to go in here and modify the wall profiles you can just start modeling your faces and just covering some of that stuff up.

It just depends on how detailed you need your model to be. If you're going to be using this for something like fabrication and you need actual wall profiles, then obviously you want to get those set. If you're just looking for some nice renderings, just cover it up with some faces, some reveals, sweeps, whatever it may be, and just move on.

OK, a couple more things here. You'll notice here that we have some different little cutouts here to make this building look a little bit nicer. So you don't have to embed another wall. You can actually use the split face tool. So let me disabled select elements by face. You can create these little cutouts here just by splitting the face of the element and then painting on a material.

So I don't know if you guys have ever used those tools before but there is this split face and then the paint tool. So essentially what you're doing is, you're just saying, hey, I'm going to carve out this little area right here, like this little square here. And then I'm just going to put a new material on the face of it. And so that will create another surface that we can then take to 3ds Max. And inside there we can apply materials to that.

So it doesn't have to be a separate wall type or a separate wall. So right now this is all one wall. I just split the face and assigned a new material. But once again, it just depends on how detailed you need your model to be. If you need for scheduling purpose or something like that, you may want to embed a wall, join the geometry. Once again just depends on what your end goal is.

All right, so I think that is the basis of it. I'm just trying to remember if we got everything here. So yeah, our final version here we have a nice model that looks OK. Our floor plans look good for our construction documents. And so we are ready to send this off to 3ds Max. So let me jump back over here and this-- just a quick recap here.

And so I guess one thing that I didn't actually show, but if David were to send me a model that had all the openings in it already and then I come in here and I try to place the walls by face, I'm going to get something that looks like this. And so if I try to place windows in this opening it's not going to work because there's nothing there. There's no wall geometry that I can place a window in.

And so that's what David-- because he sent me a model that didn't have any openings in it so that I can then come in here and start to detail it out. So once again, it just kind of depends on that workflow. There are some ways to get around that but it gets a little more detailed in FormIt.

And I've already showed this. I'm going to skip some of these videos here. And so just once again, just to summarize, sometimes the joins and connections when working with the by face tools can be a little tricky. And so you can edit the wall profile, so that always works pretty well. And you can even use the wall joins tool in some situations.

And then just add some additional elements to cover up some of those imperfections-- facias, sweeps, reveals, whatever it may be. So then once we have a model where we have a good handle on our construction documents and then we're going to take it off to 3ds Max to create some detailed renderings, we can just hand off a Revit file, whatever it may be, in BIM 360 or another cloud service. And then Steve is going to link it into 3ds Max and continue.

STEVEN SCHAIN: Great. Thanks, Jason. So like real production pipelines, 3ds Max is sort of the end of the line, right? And we get the last few minutes of every production. It's like, oh, wait, wait, wait! No, we've got changes. Here we go.

So when the project gets handed off to 3ds Max the idea is to do a really high quality final render. Or you're going to go out to some other application. So whether it's real time, nowadays you've got AR and VR that you can export directly from 3ds Max. So some of the advantages of using 3ds Max are, you have the ability to create physically real materials.

Now I'm not talking about, the wall is made of wood and this is made of this. It's the way things look. So if you have a specific material that you want to create, you can easily create it. You can apply textures that are unique to individual surfaces. I don't know if you saw in the photo but-- and I'll show you in the model-- but some of the walls have areas where there's lines between panels in the walls.

So you can draw those and you can create those panels in Revit. If you're going to be detailed and create detailed drawings you're going to need those. So those might come over as geometry, but for what we're doing we're taking a simple model and we can just use an image as a texture map and get a bump for that. The other one is, we can create really dynamic camera animation really simply. And then also we can use different rendering engines.

In this case, we're going to use Arnold which is built into 3ds Max. But does anybody use V-Ray? OK. Anybody use like Corona Render or any other renderer? How many people are using Arnold? Couple of people. Super easy, it's really nice.

So linking the Revit model, when you bring a Revit model into 3ds Max there's two options. You can import or you can link. My recommendation is to link it. And the reason is that you can always update that model if there are changes. So the link into 3ds Max is really helpful because you can go in.

You can also set how you combine everything together. As a general rule of thumb, I don't combine entities. But on a big model, not combining entities can mean you have like 30,000 plus parts in your file. So 3ds Max the more parts you have, the more memory it uses.

So the advantages to linking, you can update the model anytime. And the animators can ensure they're working with the latest version. You'll get a little flag in the link dialogue if you update the file. If your Revit file is updated, inside of 3ds Max you'll get a little flag that says, hey, this file's been updated. Do you want to update it?

So this is the process. You go up and you select Import, Link Revit. You're going to come, select the Revit file. It's going to preprocess it. So it'll take a few seconds to preprocess the file.

And what it's doing is essentially doing a preconversion. It's reading in what views you have. And then once you have the view, you can select which view you want. In this case it's going to be the KD One View. I could select how I combine everything and then attach the file.

Once it attaches you want to create a daylight system. So if you use sunlight in Revit, you'll create a daylight system in 3ds Max. And that daylight system will come in and you can work with it and then convert it afterwards. So once you have the file in, you need to convert the scene. And converting the scene-- how many people are using Scene Converter to convert?

How many people are doing it manually? Don't do anything manually if you don't have to. So the scene converter is just that, it converts materials that are not compatible with whatever renderer you're using. It also converts things like lights, cameras, scene exposure.

In this case, I have a Convert to Arnold script that I wrote, that I created. And it literally converts everything. So this is my catch all script for converting everything that's not compatible with Arnold and removing anything that's old. So if I open an old 3ds Max file, there might be legacy stuff from, say, Mental Ray, that's in there. And I just convert everything to Arnold and it does a good job.

So when I convert it, you see I have the old camera and the old sunlight. Run through the conversion, open the file, conversion takes seconds. It doesn't take a long time. So you can see that it's just converting all of those from, to.

When I run through its 246 elements, it converted the scene. It changed the original camera to a physical camera, the daylight system to a sun positioner which is compatible with Arnold. And then I'm able to move on from here and work with my file.

So then you start detailing the scene and it's, how do you want to detail it, right? Do you want to use a high resolution texture? Or do you just want to use an image? So in here you can get rid of unnecessary elements. I just made a couple of buildings, threw those in.

And then how detailed do you want the terrain? How detailed do you want the surroundings? Some people want high detail, some people don't. It's just entirely up to what your needs are.

And then adding additional scene elements, you can add things. How many people have used Civil View in 3ds Max? Couple of people? Do you know that-- how many people use 3ds Max again? Show of hands?

All right, you know you can use Civil View to add things like cars, trees? You don't need to use Civil 3D to add Civil View models into 3ds Max. Initialize Civil View, set up whatever units you need, and then you can open the pallets and bring those models in. And then once you to bring your models in, once you have everything set, you can decide on how you want to create the surfaces.

So here you've got basically the same siding, just different sizes. So I could use the exact same texture map-- just tile it differently or size it differently. Over here, and I don't know how well you could see but there are lines in the panels. So I created a texture map in Photoshop that just had lines on. And I used a photograph from Street View, Google Street View, to get like as straight on as I could just to draw the lines.

And then these are just tiled-- same texture map, it's just a gradient. And it just is the right size. And then setting your terrain, this is one way to do it. Go to Google Street View or go to Google Maps and grab a view of the terrain.

This just happens to be like 20 shots zoomed in. Just take it into Photoshop or any other program you have that can stitch images together. And then this is one that's just manually created by hand.

So the next thing is, you edit your materials. And I want to get through this. We've got about 10 minutes, 15 minutes, right? What time do we go to? Oh, 10:00, so we have plenty of time.

We're good. OK, good. I'm rushing around thinking I had no time. How many people feel like that when they get their model from Revit? They go, oh, my god my boss needs this rendering in like an hour?

So when you start editing your materials, I use physical materials in the Slate Material Editor. That's my go to material. 99% of the renderers out there render physical materials. It's a good way to work.

If you start using Arnold or V-Ray and it's dedicated, you're only going to use those renderers, go ahead and use the native materials. So V-Ray materials are great, Arnold materials are great. The physical material is a really easy material to use and it's really flexible.

And then the other one is substance textures. Anybody use those? They're really cool. And if you have Substance Designer, Substance Painter, there's a lot of really cool tools that Allegorithmic has for creating amazing textures.

And they have their new-- it's called Alchemy or something like that, Alchemist? I don't know. But they have a new one where you can go and take a photograph and make a tiling texture out of it. What's that?

AUDIENCE: [INAUDIBLE]

STEVEN SCHAIN: No, no, it's still a-- I think it's a closed beta right now. But the other one is, I did a class on Tuesday for using OSL shaders. And OSL shaders are new to 3ds Max. They work now with release five of Arnold. And they are super flexible as well.

If you're a shader programmer, OSL shaders are fairly simple if you're a programmer to program. If you're not, just find one. So then we'll look at creating cameras and animation. So the physical camera is new. Has anybody use Maya in the past? Or is anybody using Maya now?

All right, so Maya-- the advantage Maya had with cameras is, each camera was able to have its own exposure control. So when you rendered an interior camera in Maya, you could have an interior and external exterior camera. Both had different exposure values.

So with 3ds Max and the physical camera, you now have that same capability. So the physical camera has the ability to have its own exposure. So as you're animating the camera, if you have a camera that's animated for exterior and a camera that's animated for interior, your exposure values are going to be different. So an exterior exposure value would be 14 or 15, interior could be anywhere from 3 to 6 depending on how bright your room is.

If you're not familiar with exposure, think about a camera, right? So when you walk into a room that's dimly lit and you take a photograph, your exposure is going to be set for that interior space. If you walk outside on a sunny day and you don't adjust the exposure, you're just going to get a bright white image because you're over exposing the scene.

The same goes for the opposite. If you're outside and you take a picture, it's exposing for really bright daylight. If you walk inside and you take that same picture you're going to get a black image because you're exposing for the wrong brightness level.

So there's a couple of ways to do it. You can do it manually, you can adjust ISO, or this is the target just exposure value. The higher the value, the smaller the camera iris, the less light that gets in. The lower the value, the larger the camera iris, the more light.

So you can also adjust if you're trying to match film. So if you're doing this for, like, Hollywood where you're doing Revit for a set design and then you're taking that set design into 3ds Max to do Hollywood level rendering, you have the ability to actually go in and simulate the exact camera that's being used to shoot whatever scene you're shooting. So you can simulate the back plane. There's all kinds of really cool stuff you can do that go beyond just adjusting exposure.

So we'll create some animation. And I'll go through creating-- well, assigning a camera to a dummy object. And I'll talk a little bit about that for folks who don't use 3ds Max. So we'll look at detailing the scene and switch over to-- whoops. [INAUDIBLE].

So we'll switch over to 3ds Max. And I have a lot of things in here. So I already have things like this. I have a white Prius and there happened to be a Prius in the Civil View. So I stuck my car in the driveway. I just didn't put my 3D Professor license plate on there.

But if you come up to Civil View, just want to show you you can initialize it. I'm going to set it to feet with US imperial. I'm going to have it start manually because I don't want it to start all the time. And I'm not going to do it because I'll have to restart 3ds Max, but I wanted to show you how to initialize it.

And then once you initialize it, you can go back and start it. And you'll see it disappeared. When I restarted 3ds Max, if we have a few minutes at the end I'll restart it and show you. But you can just bring in cars. They have like one airplane, they have other trees.

The other way of bringing stuff in is-- and how many people have used the AEC foliage? Nobody? If you're in a pinch and you don't have Forest Pack Pro or any other foliage, so the AEC foliage is a great way to add foliage. So these are garlic-- oops.

So I just added whatever I had, a banyan tree there. So this is like society garlic. These shrubs are banyan trees, just shrunk down really small. And the nice thing about them is that if I come in, let's say I have these two next to each other. Change this to a user view so it's easier.

So I have these two next to each other. If I want them to look different, I can come up and just change the C value and it will change the C. It'll change it so it'll be a different plant. I can prune this so if it's wintertime-- actually these trees don't prune quite as well. But if I take, like this is a-- I think this is a maple or oak.

But here I can prune it. So if I want to get rid of all the-- it's just a stick, right? The density, so I can get rid of the leaves. If I bring it to zero maybe it's a winter scene, put a crackling fire in the fireplace. That's really nice.

Or if I want to change it and have it look different. I can also turn the leaves off. I can have, if there's any fruit on the tree. I can turn the branches off, any flowers, trunk so I just have a floating tree. It's like Na'vi, if anybody gets that reference. Yeah?

So adding entourage to your scene can be done fairly quickly and fairly easily. You don't have to spend a lot of time building stuff. I recommend if you do this all the time, get libraries. There's amazing libraries out there.

So the next part is lighting and rendering. So when we talk about lighting and rendering we're talking, about in this case, the sun positioner, and the orientation of the sun positioner, and the time and location. Then we're talking about setting your render parameters. And for those of you who are using V-Ray, ignore the next few minutes.

But this is working with the Arnold renderer. V-Ray is going to give you the same result. So we'll look at lighting and rendering from the standpoint of using the sun positioner. Now in this case, the sun positioner actually came in with North oriented correctly. If North is oriented correctly in Revit you will get this oriented correctly in 3ds Max.

So it comes in and it's oriented. If I just hit the E key and rotate, its 44.532 degrees. So whatever that came in as, that's the way it came in. I didn't rotate that. Now when I work with the sun positioner, I'm working with it in the Modify panel.

So the Command-- if you're not familiar with 3ds Max this is called the Command Panel. And you can create and modify objects. You can do other things in it. This is the Modify panel.

If I need to adjust north, so let's say this comes in and it's not oriented correctly. I can come in and rotate this. And what'd I say it was? Minus 44-- I'll just do minus 44, so minus 44. And that will reorient it.

So if it comes in and it's not oriented correctly, changing your north offset will automatically-- that will reorient your daylight. So I'll also adjust the time. So it is now 9:44. So we'll say 9:44. What's today? It is the 15th of-- so it's 11/15 2018, right?

And this is in--

AUDIENCE: [INAUDIBLE].

STEVEN SCHAIN: Oh, what did I-- 1583? That is-- let's make sure Number Lock is on. 2018, there we go. Yes. 1583-- I wonder what it was like back then. Yeah.

AUDIENCE: Cloudy.

STEVEN SCHAIN: It was a cloudy day. Bellingham, Washington was not established yet. So it would not be on this map. So if I know where Bellingham is, I can sort of click on here and try and figure it out. But it gets me to Victoria-- there's a lot of places there.

Or I can scroll up and come up here and look. And every time I do this, I have to get like, six inches from the screen. That's one thing that sucks about getting older. There it is, Bellingham.

It's a good thing this isn't a 4K display. Otherwise I'd have my head buried in it. So Bellingham, Washington-- so what that does now is that orients and positions the sun positioner for the time of day and location. Now if I want to animate this, I can easily animate it and do a sun study.

If daylight savings time is on-- it's not on right now so you don't need to worry about it. It also will give me the ability to adjust the azimuth and attitude if I use manual or the ability to use a weather data file that you can get from like, the National Weather Service. So you can get a weather data file and that data file has the weather for a given time period.

You can animate the sun positioner based on that weather data file. So you can actually get the real conditions. It doesn't show clouds or rain or anything like that, but it does adjust the sky and the daylight.

So let's set up the renderer. So we'll set up at the renderer. We're just going to render a small image, 1280 by 720. What time is it? We've got about 10 minutes. Set the Arnold renderer.

All I'm worried about for this are these parameters. The samples are going to give me a cleaner image. The number of rays will give me better lighting. So the higher the number of rays, the better your lighting, the more light bounces around the scene. The higher the samples, the less noise you will have in the image.

It's a balance between adjusting those values and getting the image that you want.

AUDIENCE: [INAUDIBLE].

STEVEN SCHAIN: Yeah. Yeah, what's your time frame that you need? How many frames are you rendering? How big is your render farm? And how fast are the machines that you have? If you're rendering on one machine-- sorry.

But you know, I mean, we do. I remember taking render breaks and going home. You'd be reading a book and the boss would come over, what are you doing? I'm rendering. Sure, OK.

So you set up your scene and you're good to go. I'm not going to go too deeply into the parameters because it's all based on what renderer you're using. You're adjusting those parameters.

So that's the result. So what I want to show you is now adding a camera into the scene and doing a couple of different things. So I'm going to add a camera. I'm going to pick physical camera and I'm just going to drag this out over here. All right, I'm going to align the physical camera with this dummy object.

Now this dummy object, or this helper object, is a point helper. And if I had scrubbed the timeline you'll see it's animating along that path. So I've already preset the animation. Since we're not really showing how to do this I just want to show you that if you have an animated object you can assign a camera to it.

So we'll align the camera to that helper object in the x, y, and z, pivot point to pivot point. Then I'm going to link that camera to that helper. What that's going to do is, now that camera is going to move along with that helper object. And I can look through that camera by pressing C on the keyboard.

I can go and say, oh, that's good. But my point of view is not exactly where I want it. So I'll come in-- it's finicky, nice. Select a camera target, press W on the keyboard to move it. And I'll move this up a little bit, get a little better view.

I'll go back and select the camera. And I'm going to set this to be a slightly wider angle. So I want the width here to be wider. I could also use the focal length. So if only as a 35 millimeter lens, I can.

Just keeping an eye on the time here. So as I scrub this, I'm looking, going, ah, that looks good but I get, like 50% of this scene is street. So going to turn on Auto Key. And I'm going to, again, right click, slide camera target. And in here I'm going to move this over a little bit so these are more centered.

Turn off Auto Key. And what that did was that animated-- and you can see it here, that animated the target so that my target is now moving. Now if I have another camera in here, let's say I set up a camera here, and I'll look through that and zoom in or move in. And if I have a view like this, now I have a three point perspective going on here.

How many people don't like three point perspectives in your architectural renderings? Right. So I'll just come up and I'll select camera from here, select camera. And there is an option called Perspective Control. Click Auto Tilt Correction and that will automatically adjust your three point perspective to a two point perspective.

So it replaces a $2,000 tilt shift lens that you would take out into the field and allows you to adjust it. Let's say I move the camera here low, it will automatically adjust that value. So as I move the camera, it's automatically adjusting for that. So I don't have to worry about, oh, yeah, I rendered this and I forgot all about that.

So I'm going to load up a RAM Player file here, open that. And this is the final animation. How many people have used RAM Player? Couple? So RAM Player is a great way to just preview an animation. It'll load all the frames into memory.

This is rendered at 1280 by 720. And this is not actually the final version. But it was the version I was able to get rendered by the time I got here, again because it rendered on this machine. So this computer is an eighth generation core i7 running at 3.4 gigahertz. It's got 16 gigs of RAM and an NVidia 1060 graphics card.

So it's a fairly good machine for what you're doing.

AUDIENCE: How long [INAUDIBLE]?

STEVEN SCHAIN: 14 hours, so not too bad. And then you can preview it. But you can also see that there's a considerable amount of noise. My system at home is an AMD. It's got 16 cores. Well, it's got eight cores, 16 threads. This has six cores, 12 threads.

And the other one at home is a 4 gigahertz system with a W7100 AMD graphics card. But the nice thing is, you can see the cars actually look pretty good. Those cars are really nicely done. They're easy to add in. And then from here, I could actually save this out as an AVI file if I wanted to.

So what I want to do is, we've got a couple minutes. Anybody have any questions? I'm going to close down 3ds Max and reopen it and show you the Civil View.

AUDIENCE: [INAUDIBLE]

STEVEN SCHAIN: Yeah, what's that? Yeah.

AUDIENCE: [INAUDIBLE]

DAVID COHN: SketchUp has a warehouse. Yeah, so FormIt does not have the warehouse, but again--

AUDIENCE: [INAUDIBLE].

DAVID COHN: Exactly. Because you can open any SketchUp file inside of FormIt. So you don't have to abandon the warehouse just because you've switched from--

JASON BOEHNING: Want to have somebody--

DAVID COHN: SketchUp to FormIt.

JASON BOEHNING: --from the-- like, random person from the audience pick?

STEVEN SCHAIN: Sure.

JASON BOEHNING: OK.

STEVEN SCHAIN: So we're going to give away the football first and then we'll give away the electronic game.

JASON BOEHNING: If it's you will be a little suspicious. All right, ticket number 632251. All right-- two, right?

STEVEN SCHAIN: Yep. We've got the second one. We're giving away the--

JASON BOEHNING: The electronic football game.

STEVEN SCHAIN: We autographed it. So Civil View is up here. When I start Civil View it's going to run and initialize it. And I can add things like, I can go into the object placement style editor. And here I have vehicles-- wait until it comes up here.

So-- oh, my library didn't load. Oh, well. Well, hang on because it's still-- huh, let's see. Go ahead.

JASON BOEHNING: Yeah. While you're doing that, OK, 632231.

STEVEN SCHAIN: Oh!

AUDIENCE: That's [INAUDIBLE].

STEVEN SCHAIN: So I'm not sure why my library-- this is a live demo. I'm not sure why the library didn't load.

DAVID COHN: Because it's a live demo.

STEVEN SCHAIN: It is. Oh, here, add a new element. So I take apparent surface and then I can pick the ambulance and put that in there. See, I've still got that, parent surface. Add a line.

DAVID COHN: While Steve's finding that component, any other questions?

AUDIENCE: Is there any hook to put the library Civil View library into the asset?

DAVID COHN: Steve question.

STEVEN SCHAIN: The Civil View library is accessible. Let me see if I can remember where it is.

AUDIENCE: [INAUDIBLE].

DAVID COHN: For those of you leaving, please remember to fill out the survey.

AUDIENCE: --asset store manager?

STEVEN SCHAIN: Oh, you probably could. You'd have to set it up.

AUDIENCE: Just set it up?

STEVEN SCHAIN: Yeah. You'd just have to set it up because, yeah.

AUDIENCE: If you've seen the thumbnails [INAUDIBLE]

STEVEN SCHAIN: Yeah.

AUDIENCE: Remembering a name?

STEVEN SCHAIN: Yeah. So you can go in. And I want to say it's in Program Data, Autodesk.

AUDIENCE: It's somewhere [INAUDIBLE].

STEVEN SCHAIN: Yeah.

JASON BOEHNING: Thank you guys for coming.

STEVEN SCHAIN: Civil View--

[INTERPOSING VOICES]

STEVEN SCHAIN: Oh yeah, appreciate it.

______
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We use Bing to deploy digital advertising on sites supported by Bing. Ads are based on both Bing data and behavioral data that we collect while you’re on our sites. The data we collect may include pages you’ve visited, trials you’ve initiated, videos you’ve played, purchases you’ve made, and your IP address or device ID. This information may be combined with data that Bing has collected from you. We use the data that we provide to Bing to better customize your digital advertising experience and present you with more relevant ads. Bing Privacy Policy
G2Crowd
We use G2Crowd to deploy digital advertising on sites supported by G2Crowd. Ads are based on both G2Crowd data and behavioral data that we collect while you’re on our sites. The data we collect may include pages you’ve visited, trials you’ve initiated, videos you’ve played, purchases you’ve made, and your IP address or device ID. This information may be combined with data that G2Crowd has collected from you. We use the data that we provide to G2Crowd to better customize your digital advertising experience and present you with more relevant ads. G2Crowd Privacy Policy
NMPI Display
We use NMPI Display to deploy digital advertising on sites supported by NMPI Display. Ads are based on both NMPI Display data and behavioral data that we collect while you’re on our sites. The data we collect may include pages you’ve visited, trials you’ve initiated, videos you’ve played, purchases you’ve made, and your IP address or device ID. This information may be combined with data that NMPI Display has collected from you. We use the data that we provide to NMPI Display to better customize your digital advertising experience and present you with more relevant ads. NMPI Display Privacy Policy
VK
We use VK to deploy digital advertising on sites supported by VK. Ads are based on both VK data and behavioral data that we collect while you’re on our sites. The data we collect may include pages you’ve visited, trials you’ve initiated, videos you’ve played, purchases you’ve made, and your IP address or device ID. This information may be combined with data that VK has collected from you. We use the data that we provide to VK to better customize your digital advertising experience and present you with more relevant ads. VK Privacy Policy
Adobe Target
We use Adobe Target to test new features on our sites and customize your experience of these features. To do this, we collect behavioral data while you’re on our sites. This data may include pages you’ve visited, trials you’ve initiated, videos you’ve played, purchases you’ve made, your IP address or device ID, your Autodesk ID, and others. You may experience a different version of our sites based on feature testing, or view personalized content based on your visitor attributes. Adobe Target Privacy Policy
Google Analytics (Advertising)
We use Google Analytics (Advertising) to deploy digital advertising on sites supported by Google Analytics (Advertising). Ads are based on both Google Analytics (Advertising) data and behavioral data that we collect while you’re on our sites. The data we collect may include pages you’ve visited, trials you’ve initiated, videos you’ve played, purchases you’ve made, and your IP address or device ID. This information may be combined with data that Google Analytics (Advertising) has collected from you. We use the data that we provide to Google Analytics (Advertising) to better customize your digital advertising experience and present you with more relevant ads. Google Analytics (Advertising) Privacy Policy
Trendkite
We use Trendkite to deploy digital advertising on sites supported by Trendkite. Ads are based on both Trendkite data and behavioral data that we collect while you’re on our sites. The data we collect may include pages you’ve visited, trials you’ve initiated, videos you’ve played, purchases you’ve made, and your IP address or device ID. This information may be combined with data that Trendkite has collected from you. We use the data that we provide to Trendkite to better customize your digital advertising experience and present you with more relevant ads. Trendkite Privacy Policy
Hotjar
We use Hotjar to deploy digital advertising on sites supported by Hotjar. Ads are based on both Hotjar data and behavioral data that we collect while you’re on our sites. The data we collect may include pages you’ve visited, trials you’ve initiated, videos you’ve played, purchases you’ve made, and your IP address or device ID. This information may be combined with data that Hotjar has collected from you. We use the data that we provide to Hotjar to better customize your digital advertising experience and present you with more relevant ads. Hotjar Privacy Policy
6 Sense
We use 6 Sense to deploy digital advertising on sites supported by 6 Sense. Ads are based on both 6 Sense data and behavioral data that we collect while you’re on our sites. The data we collect may include pages you’ve visited, trials you’ve initiated, videos you’ve played, purchases you’ve made, and your IP address or device ID. This information may be combined with data that 6 Sense has collected from you. We use the data that we provide to 6 Sense to better customize your digital advertising experience and present you with more relevant ads. 6 Sense Privacy Policy
Terminus
We use Terminus to deploy digital advertising on sites supported by Terminus. Ads are based on both Terminus data and behavioral data that we collect while you’re on our sites. The data we collect may include pages you’ve visited, trials you’ve initiated, videos you’ve played, purchases you’ve made, and your IP address or device ID. This information may be combined with data that Terminus has collected from you. We use the data that we provide to Terminus to better customize your digital advertising experience and present you with more relevant ads. Terminus Privacy Policy
StackAdapt
We use StackAdapt to deploy digital advertising on sites supported by StackAdapt. Ads are based on both StackAdapt data and behavioral data that we collect while you’re on our sites. The data we collect may include pages you’ve visited, trials you’ve initiated, videos you’ve played, purchases you’ve made, and your IP address or device ID. This information may be combined with data that StackAdapt has collected from you. We use the data that we provide to StackAdapt to better customize your digital advertising experience and present you with more relevant ads. StackAdapt Privacy Policy
The Trade Desk
We use The Trade Desk to deploy digital advertising on sites supported by The Trade Desk. Ads are based on both The Trade Desk data and behavioral data that we collect while you’re on our sites. The data we collect may include pages you’ve visited, trials you’ve initiated, videos you’ve played, purchases you’ve made, and your IP address or device ID. This information may be combined with data that The Trade Desk has collected from you. We use the data that we provide to The Trade Desk to better customize your digital advertising experience and present you with more relevant ads. The Trade Desk Privacy Policy
RollWorks
We use RollWorks to deploy digital advertising on sites supported by RollWorks. Ads are based on both RollWorks data and behavioral data that we collect while you’re on our sites. The data we collect may include pages you’ve visited, trials you’ve initiated, videos you’ve played, purchases you’ve made, and your IP address or device ID. This information may be combined with data that RollWorks has collected from you. We use the data that we provide to RollWorks to better customize your digital advertising experience and present you with more relevant ads. RollWorks Privacy Policy

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