Modo 601 was recently released and with it some welcome changes. In this video we’ll be going over a slight change with area light properties.
Today we’ll be looking at a way of creating an alpha mask for mapped graphics in modo, and thought it requires a separate render pass, our method is compatible with both still images and animations, and with anti-aliasing effects like depth of field or motion blur.
Today we have a very special treat thanks to our EvD guest Sky Greenawalt! Sky sent us a 3D scan of his Audi A3′s hood for us to play with. In this video, we’ll be taking a look at importing a 3D scan into Rhino, exporting to modo for a rebuild, then finally pull it into SolidWorks using T-Splines so it’s ready for some intense modeling-action! Thanks Sky!!
Now that we have a good understanding of our three light types in modo, we’ll take a look at how subtle changes in the global illumination tab can have drastic differences in the final render result.
Today we’re going to take a look at light objects and compare them to the previous lighting methods we’ve been testing. Why use an area light versus a luminous object? Take a look at and we’ll find out.
Let’s take a look at some other ways to control the lighting with creating a ‘light blocker’ as well as luminous polygons. This way, no matter what the scene, we’ll always be prepared to set up the best light possible.
There are effectively three ways of lighting in modo. We have environment maps, luminous polygons, and light items. We’ll take a look at what each of these mean and how even a subtle difference in the light type can drastically change the most subtle of light details.
One thing I love about modo is the ease of playing around with the wealth of material properties in the render tree. But what if I find some material settings that I want to save and keep for another project? In this video I’ll guide you through proper material preset saving and organizing.
We’re going to do something a little fancier today, and it is super cool! I’ll walk you through step-by-step how we’ll be using replicators to complete a stained-glass effect. By using replicators for our windows, we’ll be able to easily shift our stained-glass colors to our desired result. Let’s do it!
Whew! Now that we have our french doors in place, we can start installing our top windows. We’ll use the same geometry-snapping and edge-profile techniques we used for the doors to accurately space out our window segments. We’re gettin’ there!
By using the instance feature in modo, we’ll be adding the original french doors we built to the other walls of our room. Additionally, we’ll be able to update subtle features such as a door handle to our original french door, while having it update in real-time across all of our instances.
Now that we have our basic framework set up, we can begin to start finalizing our french doors. We’ll begin by locating the center of axis for the doors on their door hinges, so that this way, we can open and close the french doors as needed for our final scene.
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