How do you design for a space, not just a screen? This talk will explore how to think outside of the box (literally) when creating immersive experiences for physical environments. We'll share insights into how our team approaches spatial design—from the earliest concept art to the final install—while always keeping the visitor experience a priority. We’ll cover the importance of prototyping early and often, we’ll look at strategies for working efficiently on small multidisciplinary teams, and we’ll discuss how stepping away from the computer can help creative problem-solving. Whether you're an artist designing with projections, VR/AR/XR, or touchscreens, this session will cover the framework involved in building immersive, accessible, people-first experiences.

В последних версиях продуктов Autodesk были добавлены новые средства визуализации, которые пришли на смену Mental Ray: Autodesk Raytracer и Arnold. Теперь в распоряжении пользователя есть удобные современные материалы, расширенные возможности работы с камерами и экспозицией. А современный подход к визуализации позволяет проще переключаться (переносить проекты) между приложениями.

Through Maya software, we can solve the limits of digitally shooting both on-set and recreated environments so that the initial ideas can come to life. Whether it's recreating a museum for Missy Elliott or the Staples Center for rapper Cal Scruby, Maya has played an essential role in making these ideas happen. This class will show you how the speaker placed the live-action talent into new environments, and how those environments were built from the ground up. You will see what went into creating the interior of the Staples Center from scratch—including modeling, texturing, lighting, and rendering—and how the artist was placed inside with the camera sweeping all around. You will also see how we overcame some obstacles on Missy Elliott's latest music video, "Cool Off," by digitally recreating a museum.

Synchronizing two robotic motion-control camera rigs, we’ve been able to create a new visual effect never attempted before: time displacement, which involves having the image reflected in a mirror show the reflection of an action 10 seconds after that action happens on the screen. We can detach the time of the reflection, but maintain the physics of a coherent reflection angle—all in a single take.

Layout in the animation and VFX (visual effects) industry utilizes a broad scope of tools to bring cinematic ideas to fruition. This session will be a deep dive into the benefits found using Maya software and Bifrost to boost creative film making and ultimately save time and money. In this course we will capitalize on the latest toolsets and features to compose content that aligns with the director's vision at an early stage of production.

Now you can use Arnold 6 software for production rendering on both the CPU and GPU. John Paul Giancarlo will show you how to take advantage of the latest technology and add GPUs for increased rendering power. Learn about Arnold in the USD ecosystem, including Hydra render delegate, Arnold USD procedural, and USD schemas for Arnold nodes and properties.

Arnold is a powerful production renderer used across the industry for realistic imagery. However, you can use Arnold for much more than rendering. The film Spider-Man: Into the Spider-Verse is a good example of Arnold software’s versatility. NPR (nonphotorealistic rendering) can be a solution for fast-turnaround visualization projects, such as initial briefs or competitions. In this class, we will explore how to use traditional 2D illustration techniques in 3ds Max software with the powerful and versatile Arnold Toon Shader, with the help of some OSL nodes. To streamline the process, you will learn how to use Arnold Operators to create templates and efficiently apply different illustration styles that are perfect for fast-paced projects. From adjusting linework quality to hatching styles, we will cover tips and tricks to start implementing NPR and stylized looks into your workflow.

365 Materials Challenge started as a case study to create realistic materials. The goal: create one physically based rendering (PBR) material per day. In this demo, we'll learn how Open Shading Language (OSL) maps and Arnold Renderer helped us achieve this goal. We'll explain how to make the transition from 3ds Max legacy maps to OSL maps, and describe some tips and techniques for making the best use of OSL maps. Then we'll show how to create photorealistic materials with Arnold Renderer with OSL maps and Arnold's Standard Surface. Then, we'll see how Autodesk’s Physical Material is the best software for studios and individuals handling multiple renderers. Last, we'll look at techniques for starting to use Arnold Renderer for architectural visualization, and explore why it is such a powerful tool.

This class will teach you a typical workflow for creating a basic rendering of a scene using the highly efficient renderer Arnold, which was incorporated into 3ds Max 2018 software. The class will begin with a brief overview of the Arnold renderer before learning to use Arnold-specific lights to illuminate the scene. You will learn about the shaders provided for Arnold and how to modify the parameters of the Arnold Standard Surface shader to create different kinds of materials. Finally, we will use the Arnold renderer to render the scene.

In the real world, one program just can’t do it all. Sketching, massing models, final design, animation, and rendering of engineering 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 a SketchBook, moving to a massing model, then Inventor software for final design, and finally 3ds Max software and Arnold software to render the final animation. Learn how Drive can help manage the workflow files, review the Inventor-to-3ds-Max import process, and learn how to render photo-quality images. Use Physical Materials and the Sun Positioner to simulate outdoor lighting and composition to create compelling images. Utilize the Physical Camera controls to adjust the scene exposure and depth of field. Get ahead of the competition by learning to create your renderings using photographic composition in a streamlined workflow.

Arnold 5.0 represents an evolution in rendering for artists everywhere. With a significant update to the Arnold core, faster rendering, new feature additions, enhancements to existing workflows, and exciting new capabilities, Arnold 5 will help artists create more stunning imagery than ever. Join Autodesk Technical Specialists John Paul Giancarlo and Morgan Evans for this hands-on class, where you will experience the power and simplicity of rendering with Arnold in Maya for yourself. Arnold 5 is available now as a stand-alone renderer, as well as a plugin for Maya (MtoA), 3ds Max (MAXtoA), and Cinema4D (C4DtoA).

This class will present a fast, easy-to-use workflow for creating great-looking textures using Maya software and Substance Painter. This hands-on class has the indie artist and 3D generalist in mind, instead of the big company with an army of specialized artists. Substance Painter has become the industry standard tool for creating textures for games and films, but it's a very complex and daunting software, and its integration with Maya is not always straightforward. This class will cut to the chase and show you how to prepare your model in Maya, set your materials, export, procedurally create the texture in Substance Painter, and then—finally—bring it all back to Maya and render beautifully with Arnold.

A modern VFX (visual effects) rendering pipeline is made up of many materials with detailed descriptions called looks. Looks need to be passed across different software products without loss of fidelity. Current workflows involve duplication across complex pipeline tasks that are hard and laborious to maintain. Arnold software lets you author asset looks in any supported software and then reuse the same looks in another software using the Arnold data format, which is fully extensible. Arnold furthers this approach by capitalizing on open-source back ends like MaterialX and USD, enabling users to build a very flexible, reusable, and connected pipeline. Arnold users can take advantage of this interoperability right out of the box. The data is always live, enabling users to make alterations (major or minor) at any point in the pipeline. In this talk, you will learn about setting up your pipeline to capitalize on reusability of looks. You will also see examples of taking your asset looks through different software.

Getting your client to understand the intent of your design is one of the most difficult obstacles in the architecture business. As an architecture visualization expert, the speaker has spent the past 14 years finding ways to creatively show architectural designs in a way that the client can understand. One of the best ways is to show that design preconceptually over the proposed site it will live on. In this class, you’ll learn how to set up a drone and how to best control it for applying 3D compositing. We’ll cover the basics (as well as some tricks) to get the best possible drone match animation, covering preproduction to postproduction and everything in between.

3ds Max 2018 software introduces the Arnold 5.0 rendering engine as one of the default rendering engines, replacing the mental ray engine that many Revit users are accustomed to using. This has ramifications for workflow, materials, and lighting when linking or importing Revit models into 3ds Max software. You might be tempted to stick to the ART renderer to avoid the change, however the Arnold renderer can provide stunning still images, as well as 360°, virtual-reality, stereo panorama images when configured properly. This class will provide you with the tips and tricks you'll need to successfully pair your Revit model with the new features of 3ds Max. Come get acquainted with Arnold!

The kids are all grown up! The gamer generation has entered the workforce and they are not afraid to push technology to the limits for fast, high-quality results. In this class, you will see how the Autodesk Media and Entertainment collection can take AEC storytelling, visualization and simulation to the next level. Additionally, we will explore game engine workflows to create immersive experiences that help projects get to a finished state faster. Join us!

As technology continues to evolve, the intersection of 3D design and artificial intelligence (AI) presents exciting opportunities for innovation in content creation. In this session, we'll showcase experimentation with innovative techniques—namely, ComfyUI, ControlNet, and Stable Diffusion—to forge a future pipeline that seamlessly integrates 3D rendering with AI-driven processes. We'll outline a visionary approach toward empowering artists and streamlining the content creation process. By using advanced AI algorithms and data-driven insights, we aspire to give artists greater control over their creations as they enhance their efficiency and creativity while using Autodesk tools, specifically Maya and Arnold software. Our vision for the future pipeline revolves around achieving a seamless transition from 3D design to AI render, while empowering artists with unprecedented control over their creations.

We believe every content creation organization (CG-VFX) using Flow Production Tracking software in some way faces challenges when transferring data between its offices or with its outsourced vendors and clients. To address these challenges, we designed and developed a UDP-based high-speed application in sync with Flow Production Tracking. FastX is highly reliable for all types of data movements—transfers of scans, work files, final output, multisite/remote renders, CG Files, vendor output, files to DI, disaster safe backup, and final output to clients. Most of the transfers mentioned resemble work related to the CG-VFX industry. But FastX was actually designed to address many industries that deal with high-volume data transfers in daily operations.