As such, I am listing links for the plugin for each version of Max: Now with Open Source, Cyan's Plugin is available for more recent versions of 3ds Max. The FBX Plugin for 3DS Max is what allows you to import FBX files into your scene in Max. You need the FBX Plugin for 3DS Max, and you will need the FBX Converter. There are 2 things that you will need in order to do this. The nice thing about using this method, is the fact that you export multiple objects (a whole Age if you want to), and they will be kept separate, maintaining their UV mapping. GPNMilano first brought this up as a way to export objects from Blender so that you can import them into Max. The method I'll be explaining here I refer to as the "FBX Method" The images below show the difference when rendering with and without multiple importance sampling.There are several different ways that one can use to go about this. Multiple importance sampling (MIS) is enabled by default in Arnold. If there is no change, light samples are not responsible for the noise. Increasing the number of light samples should have an immediate and quantitive effect on the smoothness of the specular highlight and the shadow. The key, again, is to modify the sampling and observe the changes. If the issue is shadow noise, then we can simply toggle ignore shadows in the Arnold render settings, and the noise will completely resolve. If the noise is still there, we know it is the specular component of the illumination model. This is easy to achieve by turning off global illumination set the Diffuse Depth and Specular Depth to zero (this essentially turns off all global illumination). If the issue is noise in a specular highlight, you will need to confirm that the source is the direct light and not a secondary ray type (such as specular). Specular roughness from top to bottom: 0, 0.1, 0.2, 0.3 If you are not used to working with exposure in the lights, you can simply leave the exposure parameter at its default value of 0 (since 2 0 = 1, the formula then simplifies to: color * intensity * 1). Also, working with exposure means you won't have to type in huge values like 10,000 in the intensity input if your lights have quadratic falloff (which they should). Other than that, this light parameter has nothing to do with a real camera's f-stop control. You may be asked by the director of photography (who is used to working with camera f-stop values) to increase or decrease a certain light by 'one-stop'. The reasoning behind this apparent redundancy is that, for some people, f-stops are a much more intuitive way of describing light brightness than raw intensity values, especially when you're directly matching values to a plate. You can get the same output by modifying either the intensity or the exposure. For example, intensity=1, exposure=4 is the same as intensity=16, exposure=0. In Arnold, the total intensity of the light is computed with the following formula: Exposure (f-stop)Įxposure is an f-stop value that multiplies the intensity by 2 to the power of the f-stop. Increasing the exposure by 1 results in double the amount of light. Intensity controls the brightness of light emitted by the light source by multiplying the color.