2. As this was a clean version of the Sci-Fi scene which was predominantly metallic I needed to make sure that the floor was quite shiny. In the below image you can see a render in the bottom left which shows a pretty clean surface with a few subtle highlights and some tarnishing. The textures used to make up this template are on the left of the image and on the right you can see how the lighter areas on the specular map help show some interest around the grooves and catch the light. The small oval lights were actual geometry in order that a glow could be applied in video post.
3.
When it came to the pipework I made sure to tick the generate mapping co-ordinates box when I made the cylinders in order that they wouldn't require mapping later on. It is then a case of applying our three textures in the relevant mapping channels. We have the colour map in the diffuse slot and so on and next to the labels are the amounts at which these textures are visible. When clicking on the map button you will be taken to a Co-ordinates dialog box where you can set the tiling of the texture. In order to avoid stretching here it was necessary to alter the amount along the length of the pipe to 9 (the default being 1). This is then repeated for all three maps to ensure they align properly.
4.
The ceiling, wall panels and doorway were all done using the same techniques as those used on the pipe supports and involve the cropping and pasting together of numerous areas of other textures on the collection. When each of the diffuse maps was resolved it was a question of making the specular and bump maps to match and deciding on the lighting solution. Once again to save on render time I opted for a manual set up which although probably not as accurate was satisfactory. The lighting in this version is in sharp contrast to the stone scene as here we only have artificial light with far more sources in the form of wall mounted lamps that line the corridor. The lamps themselves have spots above them directing at the floor and I took the liberty of altering the parameters to show soft pools of light that form a pattern along the length of the scene. This is not a particularly realistic set up but it created a subtle mood which I liked. I provided the bounce and fill light with groups of omni's, some of which were simply used to form highlights on the pipework.
5.
The final stage was to provide a glow effect around the ceiling and floor lights which was done in Max using video post. With the lamp material selected go into the material editor and click on the material effects channel button (ringed in red on the left) and select a number - in this case 2. Then in video post under properties assign the same number in the effects ID box and you should see the results in the viewing window above. You can then go into preferences and specify the size and intensity of the glow as well as the color which in this case is a user defined green / blue hue. As the floor lights have different glow parameters it means that you need a separate filter event in the queue as well as a different effects channel in the material editor.
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