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Sm4sh 3ds Max Rendering Guide

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Version 1.0
  • now contains all necessary workflow information for Mental Ray
  • physically based rendering information
  • diagrams, screenshots, etc
  • more information to come
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Added 6 days ago

Mental Ray & ART Renderer


Before Starting

This guide assumes you:
  1. Own 3ds Max (student licenses are free)
  2. Have basic knowledge of how to operate 3ds Max
  3. A model with proper normals and UVs
  4. A computer that isn’t a toaster. CPU usage will be at 99-100% while rendering. Memory usage should be low.


This guide will cover how to render a custom model in 3ds Max using an art style similar to that used for the csp renders. It’s not perfect, but this method is very fast and produces good results. This will work in other versions of 3ds Max, provided that you have the Mental Ray plugin installed. This is not software specific, but I will only be covering Mental Ray for 3ds Max (and eventually node setups for other applications). I won’t be covering Blender Internal or Cycles. Before starting, I recommend you familiarize yourself with materials (links at bottom). Rendering is quite complicated, so I’ll do my best to provide pictures and videos to demonstrate the setups. There are minor steps that aren’t covered in this guide to save space, so feel free to PM me or leave a comment if you still have questions. 3ds Max help can also readily be found on Google or YouTube. 

Rendering Methods - Biased vs Unbiased

There are two main methods of rendering: biased (unrealistic, older videogames, Sm4sh) and unbiased (much of CGI in movies, Avatar, Gravity, etc). Many of the techniques covered in this tutorial are not at all realistic. Realistic, or unbiased, rendering takes longer to render, but produces much more accurate and repeatable results. Biased renderers are often much more flexible. Non realistic rendering is often very fast, but requires significant setup to look correct. It's a trade-off between artist time or render time. There is no "correct" way to render, but some methods work better for certain images.  These rendering techniques recreate the overall look of the materials and textures in the game with methods that are very fast to render. 

Installing Mental Ray (Should be Installed Already)

Mental Ray should already be installed with 3ds Max. If you go to the render setup window (teapot with gear icon), “NVIDIA mental ray” should be listed as an available renderer. If not, check to see if the plugin is present on your machine. Under customize>plugin manager, you should see “MENTALRAY…” with a green circle next to it. The forum post contains a link to the Mental Ray installer for 3ds Max 2017. This should make the renderer available after running the installer and restarting 3ds Max.

Scene and Geometry Setup

I don’t recommend using the same scene you used to rig and export the model to work in game. You don’t want to risk accidentally messing something up. You can duplicate the scene or import into a new scene and save it.

Ground Plane for Shadows

Once you have your character model loaded in a 3ds max scene file, you can add a plane. The plane will display the shadows for the model and reflect some light back into the scene when global illumination is enabled later on. Under create>standard primitives>plane. Make sure the plane just touches the bottom of your character to ensure proper shadows. Scale the plane to be relatively large. If you are using this render for csps, don't use a ground plane. This will allow you to avoid masking the characters and shadows out. Note that this will affect the FG later on.

This is the basic scene setup. You will want to pose your model and position the camera to create a pleasing compositing. I may cover this at a later date.

Creating & Locking a Camera View

When rendering a scene, 3ds Max renders the currently selected view. Once you have create a pleasing composition, it's easy to accidentally move the camera. You can use the perspective camera to render, but this prevents you from freely using the perspective view to navigate the scene. A better method is to create a good composition with the perspective camera and then create and lock a new camera of this view. 

Be sure to set the aspect ratio of your render in Render Setup before positioning the camera in the viewport. Use ActiveShade to quickly preview changes in the camera view. When you have a camera angle that you like, create a camera of this view by selecting Create>Camera>Create Standard Camera From View. This new camera will appear in the Scene Explorer. Select the new camera and select Link Info under the Hierarchy Tab of the modifier panel. Enable the locks for Move XYZ, Rotate XYZ, and Scale XYZ. In the perspective view, click Perspective at the top corner of the view and select your new camera. Switch to this new camera every time you want to render. Switch back to perspective for navigating the scene. 

Mental Ray Render Setup

The render setup window can be found by clicking on the teapot with a gear icon, under Rendering>Render Setup, or by hitting F10. We’ll be using Mental Ray with both ActiveShade Mode and the Production Rendering Mode. The Target: option selects which version of the renderer to use. ActiveShade updates in real time and is useful for tweaking the lighting, materials, and camera angle. The Production Rendering Mode is used to render and save the final image. Be sure that Mental Ray is set as the Renderer for both rendering targets. Under the common settings, you can adjust the resolution and other basic settings. I’d recommend using a low resolution for ActiveShade (512x512) and a higher resolution for the final production render (1500x1500). To switch between render targets, press and hold the teapot and select either the play button (ActiveShade) or lighting bolt (production). Pressing the button will start the render. ActiveShade doesn’t always update, so you may need to click render more than once to see changes in the scene. Don’t try to do major edits to geometry while rendering; 3ds Max may crash.

Lighting in Mental Ray

Directional Light

Under create>lights make a directional light. The directional light mimics an infinitely distant light source, so all the light rays will be in the same direction (like the sun). Directional lights do not have light decay, meaning that the light does not get darker farther from the light source. I only use one directional light source in the example renders. You can use a second light if you wish, but don't overdo it. Directional lights produce hard shadows unless you soften the shadows in the shadow map settings.

Directional lights can be positioned by rotating the light with the rotate tool or using a target. Be sure to move the light above the top of the character so no light is blocked. Use the rotate tool to change where the light is coming from. With a targeted light, you can move the target to change where the light is pointing. Moving the light itself changes where the light comes from. I personally find targeted lights more intuitive.  If you notice that parts of the ground plane are black, you can scale the directional light to light a larger area.

Directional Light Shadows

If you click render, you will notice that there are no shadows. Select the light and click on the modify panel. You should see a long list of light attributes. If you enable the shadow check box and render, you will see rendered shadows. Change the shadow method to mental ray shadow map, which will enable control of the softness of the shadows. If the shadows look blocky, increase the resolution of the shadow map. 1024x1024 should look smooth enough. Higher resolutions look cleaner, but use more memory and become unnecessary with very soft shadows. To control the softness of the shadows, adjust the sample range under the mental ray Shadow Map tab. The higher the value, the softer the shadows will be. Don’t make the value too high, so that the shadow will still be visible. Increasing the samples later on will make the shadows less noisy. 

Mental Ray Physical Sun & Sky

The above rendering method uses a directional light with Final Gather and/or ambient color for the indirect lighting. The results are very fast and look nice but are just fast approximations of a sun and sky setup. The MR sun and sky uses physically based sun and sky models to simulate the directional lighting of the sun and soft lighting from the atmosphere.

Creation & Light Positioning

This lighting setup is created under Create>Lights>Daylight System. Click and drag once on the viewport to create a compass rose, which will determine which direction is north. Click and drag again to create the sun/sky light. The arrow indicates the direction of the sun. The hemisphere indicates the sky, which you will not have to move. Select the sun/sky light and set the Position attribute to Manual in the modifier panel. You can move the sun/sky light with the move tool to change the direction of the light. 

You may be prompted to create a photographic exposure control. This allows you to control the brightness of the light in the environment window (8 on keyboard). The exposure value can change the exposure of the rendered image to make the render not too dark or too bright.

Sun & Sky Settings

Be sure that Sunlight and Skylight are both set to Active in the light settings. Change the Sunlight type to mr Sun and the Skylight type to mr Sky. The Softness and Softness Samples of the sun parameters controls the shadow softness and quality. You shouldn't need to change the light intensity values; use exposure control instead. Under mr Sky Advanced Parameters>Non-Physical Tuning set the Saturation to 0.0. This will make the sky grey and not cast a blue color shift on the scene. Note that you won't need Final Gather or ambient color with the physical sun and sky setup, so disable these options.


Slate Material Editor

All of the material setup will be done in 3ds Max’s Slate Material Editor. You can access the material editor by pressing the “M” key. If the window that pops up does not say Slate Material Editor, you can change this by clicking and holding on the material editor button and selecting the Slate Material Editor. 

In the material editor under Tools, be sure to enable all of the windows. The material/map browser allows you to drag and drop materials, textures, and other nodes into the material editing workspace. The material parameter editor allows editing of node settings. The navigator displays a zoomed out view of all the nodes in your scene and allows quick navigation. Be sure to stay organized by arranging the nodes.

Material Nodes

The materials affect how the model will respond to the lighting in the scene. There isn’t space to cover how shading and materials work in Smash 4, so I recommend reading both of the material editing guides linked at the bottom under Resources. Most of the Sm4sh material values will be used to create the materials in 3ds Max. 

Nodes are a way to establish relationships between the textures and materials in the scene. Nodes have inputs and outputs, depending on whether the node is a texture, material, or float value. If you can’t establish a connection between the output of one node and the input of the other, the data types most likely don’t match. 

If you have not done so already, you will need all of the textures for the model. The diffuse, ambient occlusion, and normal maps will be connected to the main material. I recommend saving the alpha channels (AO, transparency, etc) as separate files to make the node process simpler. 

Ground Plane and Shadow Catching

The Matte/Shadow/Reflection material will enable the plane to only display the shadow cast by the character model. Create a Matte/Shadow/Reflection material found under Materials>mental ray in the Slate Material Editor. The only option you'll need to edit is the Camera Mapped Background attribute. Be sure that Receive Shadows is checked as well. The plane won't affect the final render, it will only receive the shadows.

Sun and Sky:
 Drag the environment map into the material editor as an instance. Connect the output of this map to the Camera Mapped Background input of the material.
No Environment: In this case, simply set the Camera Mapped Background color to the same color as the background color of the environment settings. This should usually be white.

Phong Shading

Smash 4 uses Phong shading for the vast majority of character models. Create a standard material found under Materials>Scanline>Standard. Drag the standard material into the workspace. If you double click the material node, the properties will show up in the properties panel. Be sure to name all your nodes appropriately. Under the Shader Basic Parameters tab, select Phong from the drop down menu. You’ll be using the Specular Highlights tab and all of the options under the Basic Parameters tab except for Self-Illumination.

Specular Highlights Settings

Physical Metal Materials - Mental Ray A&D WIP

The above image was rendered in Mental Ray using the physically based Architecture and Design material. This material accurately simulates materials such as wood, metal, etc when set up properly. You can render the cubemaps used for metal reflections in Sm4sh, but this only works with the Scanline renderer. Using MR materials offers more realistic results and more control. Use the Chrome preset as a starting point. Be sure to enable an environment map in the Environment window. Metals need something interesting to reflect to look metallic. The texture will connect to the diffuse input of the A&D material. I'll be covering settings at a later date.


Maps for Material Inputs

The standard material node will have a bunch of grey circles on the left. These are all of the material parameters that can use texture maps as inputs. If you don’t see the inputs, expand the material by pressing the plus sign. Only the Ambient Color, Diffuse Color, Opacity, and Bump input will need texture maps. Not all models will need opacity or bump maps.

Diffuse Color Input - Diffuse x AO

The diffuse color input controls the overall color of the model. Under Maps>General, drag a Bitmap into the workspace. Select the file location for the diffuse texture for the model. Bitmaps will be used for all the image file textures. Drag the output from the Bitmap node to the diffuse input of the standard material. The texture should show up in the material preview thumbnail. You can expand/collapse the thumbnail by double clicking on it. To apply the material to objects in your scene, select the object(s), right click on the material in the material editor and select Assign Material to selection. If you want to see the textures in the viewport, right click on the material and select Show Shaded Material in Viewport. This preview won’t work as the nodes become more complicated, however.

Ambient Occlusion Map

The ambient occlusion map is multiplied by the diffuse color to create the final diffuse map. If the model has an ambient occlusion map, it’s almost always found in the alpha channel of the normal map. Instead of plugging the diffuse map directly to the Diffuse Color input, both the diffuse map and ambient occlusion map will be connected to an RGB Multiply node found under Maps>General. The output of the RGB Multiply node will then connect to the Diffuse Color Input. The AO map adds detail to the render, but will most likely make the model too dark. You can brighten either the diffuse or AO map by increasing the RGB Level under the Output tab of the Bitmap node.

Bump Maps (Normal Maps)

Bump mapping uses an image texture to simulate fine surface detail. You can read more in another tutorial. Normal maps are the bump mapping method used in Smash 4. The Bitmap node will need to be connected to a Normal Bump node under General>Maps to work properly. The Normal Bump node output connects to the Bump input of the standard material. Double click on the Normal Bump node and ensure that the method is set to tangent space. 

Fresnel (Optional)

Most character models use fresnel. Fresnel in Sm4sh creates a fake “rim light” effect by brightening the surfaces of the model perpendicular to the camera. The fresnel color is added to the underlying model color. This effect can be achieved in 3ds Max using compositing nodes similar to Photoshop’s layer blend modes. It takes time to set up, and is by no means necessary.

Create a Falloff map. The falloff map transitions between two colors uses a predefined method. In this case, use either the Perpendicular/Parallel or Fresnel Falloff Type. Fresnel produces a sharper falloff. Under the mix curve tab, you can adjust the curve to control the fresnel falloff. You can add, delete, and move points to control the curve. Be sure to not make the curve too​ shallow to avoid making the model look washed out. The top color in the first tab should be set to black. The bottom color will be the fresnel color, found in the material settings. You may need to lower the fresnel color value from the in game value.

The Falloff Node will be connected the the Camera/Mapped Background input of a Matte/Shadow/Reflection material found under the mental ray tab. This creates a material with no shading. Both the matte material and standard material need to be connected to Material to Shader nodes. This allows the Composite Map node to be used. In the Composite Map node, add a new layer (page and plus icon). The standard material to shader will connect to layer 1. The fresnel material to shader connects to layer 2. Set the blend mode of layer 2 to addition. You can lower the opacity to decrease the overall effect.

The resulting Composite Map node can’t be applied to the geometry in the scene. If the Composite Map node connects to the Camera/Mapped Background input of  Matte/Shadow/Reflection material, you can assign this new material to the model. 

Global Illumination and Ambient Lighting

The directional light will create very dark shadowed areas on the model, even after softening the shadows. Naturally in a scene, light reflects off of surfaces and illuminates the entire scene. This effect can be accurately simulated, but requires a long time to render. Ambient color uses a texture map to establish the darkest color of a model. This is similar to how models appear in game. You shouldn't notice any impact on render time. Final gather simulates actual light bounces and looks nicer, but renders significantly slower. In the above image, the lighting is more accurate for Gogoat's hooves and other areas in the FG render. You can try one or both at the same time and decide what produces the best balance between speed and accuracy. The FG render was brightened slightly to better show the differences. You can brighten the FG effect with the multiplier setting in the FG settings (usually best left at 1).

Ambient Color (fast but fake)

Directional lights produce harsh shadows on the model. Simulating reflected light can help improve the overall quality, but takes a long time to render. Ambient color fakes the indirect light in a scene by brightening the model. In order to see the effect of the ambient color attribute of the standard material, you'll need to increase the ambient color in the environment window under rendering>environment or by pressing “8” on the keyboard. This is the global setting for ambient color. You can set it to white and then adjust the ambient color contribution on a per material basis. 

In the slate material editor, the overall diffuse color (including ao if you have it) will be used as the ambient color input. I recommend first connecting the diffuse output to an output node to limit the brightness of the ambient color. Be sure to uncheck the lock icon on the standard material properties next to ambient color. You should see an “M” next to both ambient and diffuse color, meaning both are using an image map. If you decide to combine this with final gather later on, you may want to tweak this effect. This is helpful if the render still contains very dark areas.

Final Gather - (more accurate but slower)

Final Gather computes ray bounces, meaning that light can bounce off of objects and illuminate other objects in the scene. This produces more realistic lighting, but at the cost of longer renders. Final gather can be enabled under the Global Illumination tab of Render Setup. Draft quality should be a good starting point under the FG Precision Presets. Note that FG has a significant impact on render times. Scenes can render more than 2x slower with FG enabled.

Ambient Occlusion Pass 

Ambient occlusion is a lighting effect to simulate shadowed areas, you can read more about it here. In 3ds Max, we will be using a material override to create an ambient occlusion render. A material override will replace all the materials in our scene, but it can easily be toggled on or off. You can set a material override in the render setup window under the Processing tab. After clicking on the material button, scroll down to the mental ray tab and create a mental ray material. In order to edit this material, drag the material button from the Processing tab to the Slate Material Editor and select "instance". This will create a copy of the material and share the settings between them to allow editing.

To render the ambient occlusion pass, connect an Ambient/Reflective Occlusion map to the Surface Shader input of the mental ray material. Enable the material override and render the scene. The scene should now be rendered in black and white. In order for the ambient occlusion to work properly, disable the light under the modifier tab by unchecking "On". Disable FG and any global illumination as well. For some reason, the ao map is affected by lights. You can increase the samples of the Ambient/Reflective Occlusion map to make the ao render cleaner. After you've saved this image, be sure to disable the material override in the processing tab. 

Render Optimization

Optimization of the render settings will greatly improve render times without sacrificing too much on quality. In general, you can use lower sample settings for higher resolution renders. Final gather will be much faster when set to the lowest quality setting (Draft) without having a noticeable impact on quality. Noise reduction and blurring in an image editor will allow you to use fewer samples for the ambient occlusion pass and shadow map. 

Render Quality Settings

Optimizing a scene for the best render times can be extremely complicated. Thankfully, low render settings will look fine for simple scenes such as Smash 4 models. In the above image, increasing the render settings of the production render mode from low to very high produces negligible improvements in image quality. The high quality render does look cleaner, but renders roughly 103x slower.  Start at low settings and gradually increase them until the render looks clean enough to clean up in Photoshop, Gimp, etc.

Noise Reduction of AO & Shadows

The biggest factors in render time for this setup will be the soft shadows and final gather. In a realistic scene and lighting setup, noise reduction can make the render look blurry and destroy fine details. For a rendered ambient occlusion pass and soft shadows, blurring the render in an image editor can improve image quality and save on render times. Photoshop's noise reduction filter works well, but you can use a blur tool in another image editor as well. Be careful not to blur the edges of the model. You should only need to clean up the shadows and ambient occlusion layer.

Render Elements & Compositing Workflow WIP

This workflow is relatively advanced but offers unparalleled levels of control over the final render in post. Rendering each element of the render to a separate image enables the elements to be adjusted and recombined in post. This allows you to make major changes (recolors, color correction, etc)  without rendering the scene again.

3ds Max Render Elements

Render Elements render all the components that add up to make the final render as separate images. Light in a scene can be refracted, reflected, scattered, etc. When the light off all these images is added up, the final rendered image is formed. Render elements allow you to combine these elements manually in an image editor. I recommend using Photoshop. 

Render elements can be enabled under the Render Elements tab of Render Setup. This not available for ART Renderer and only works in production mode. You can't use render elements with ActiveShade. Correct compositing require a linear workflow, which is easiest with openEXR in Photoshop. I will be researching more accessible alternatives. If you use sRGB (most of monitors, devices, and the internet), the passes will not work correctly with additive blending.

Diffuse Pass

Specular Pass

Ambient Color & Ambient Occlusion Pass

Compositing Render Elements in Photoshop

Skin Shading in Photoshop

Even after setting up the textures correctly, the skin material for renders often look "lifeless." Skin naturally scatters red light, such as when you shine a flashlight under your hand. This effect is known as subsurface scattering and is very slow to render. Sm4sh uses a ramp (also called a gradient) to fake this technique. In Photoshop, create a gradient map. Not all characters use one, so be sure to check the model.nut for a ramp (ABGR8888). Set the end colors to black and the middle color to a deep red. This will remap the luminance values from black to red to black again. Setting the gradient map to a linear dodge blending mode will add red to the midtones, but leave the shadows and highlights untouched. This creates the appearance of a healthy red glow to the skin. This effect only works correctly if you're working space is set to linear. If you don't know what this is, just know that you will instead have to lower the opacity of the gradient map a lot.

Physically Based Rendering with ART Renderer

In the above example, rendered in 3ds Max's physically based ART renderer, a photometric spotlight source provides the lighting for the scene. ART uses path tracing to render images. In path tracing, light rays bounce all around the scene, creating accurate lighting and shadows but grainy images. ART will be significantly slower than the Mental Ray method. The Dialga comparison shows the same scene rendered in ART vs Mental Ray.

Photometric Lights

Photometric lights use realistic intensity values and quadratic falloff. Quadratic falloff uses an inverse-square falloff, meaning that doubling the distance to a light results in 1/4 of the light intensity. This means your light intensities will be very high (often in the thousands) but look more realistic. The Dialga renders both use photometric lights. ART requires photometric lights. It won't work with standard lights. 

Light Distribution Type

Shape/Area Shadows

The Shape/Area Shadows setting found in the modifier tab for a photometric light controls the shape of the light source. A point source produces harsh shadows. The other shapes create soft shadows. The larger the shape, the softer the light and shadows will be. Some shapes are only compatible with certain Light Distribution Types.

Environment Lighting

Environment lighting can be enabled in the environment tab by pressing "8" on the keyboard or under the rendering menu. Unlike Mental Ray, the Background Color has a significant impact on the scene lighting. Setting the background color to white will cast uniform, white lighting on the scene. This will fill in shadow areas and make the render look "flat". Use a reflective object (such as a plane with a standard material) to have more control over the indirect lighting.

Render Quality & Sampling

The render quality in ART Renderer is very simple. There are only two import settings: Render Quality and Noise Filtering. The render quality sliders adjusts the signal to noise ratio. A higher value means the render will be less noisy. The noise reduction can make renders look much cleaner. Using settings of 30.0 dB for quality and 50% noise reduction are a good starting point for final renders. Just use Draft quality for ActiveShade previews.

Conclusion & Additional Rendering Engines

This guide should provide all the information necessary to create clean renders of custom models for Smash 4. I will updating this guide with an improved workflow and additional information. I will not do requests, but feel free to leave a comment if you have questions on rendering.

Node Setup for Other Applications

This is a general node diagram for setting up the materials. You may not have fresnel, ao maps, or normal maps. The exact nodes you use will vary based on the appliacation. I've used a similar setup in Arnold for Maya and Blender Cycles.

Physically Based Lighting Setup

Smash 4 looks very bright because of the high ambient lighting used in the game. The other key component is soft shadows from a directional light source, such as a spotlight/directional light or a sun/sky model. For physically based rendering, indirect and/or environment lighting will supply the ambient light. Examples could include a sphere with emission, a physical sky model, an hdri map, or simply the reflections from the plane. Reflections can be rendered from an hdri or by placing textures/models in the scene. The render should be lit mostly by the ambient light. The directional light will mainly provide the highlights and shadows. 


Material Parameters Tutorial | Material Shading Tutorial | AO/Normals Tutorial


compositing ao pass + color correction
videos for setup
shortening of text sections (if possible)
advanced compositing workflow (render elements)
more complex lighting/rim lighting
ART physical sun and sky
more beginner friendly



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Date Added
10 days ago
Mar 18 2017 @ 3:37am UTC
Date Modified
14 hours ago
Mar 27 2017 @ 2:15am UTC
Date Updated
6 days ago
Mar 22 2017 @ 1:27am UTC