Use Revit Cloud and 3ds Max to Create a Tangible Immersive Experience in Unity

FELIX CAMBOU: Hello and welcome to "Learning How to use Cloud Sharing in Revit and 3ds Max to Create a Tangible Immersive Experience in Unity." We will be looking at design strategies, interoperability workflows, and how to establish a more inclusive collaboration process. My name is Felix. And I'm a BIM and Creative Technology Specialist for Microdesk. Today, we're going to look at the process used to create a fully immersive VR experience with your AEC projects.

The emphasis will be on how to leverage your existing technology and workflows so that it can be a tangible enhancement instead of a complete upending procedure. With a small learning curve, we can use gaming technology to reach a larger audience that will broaden your visibility and create your distinctiveness. So who does this apply to? This presentation will apply to anyone involved on an AEC project, from managers to content creators and from IT to designers.

No matter what your role is on a VR project, being aware of the big picture will help you succeed. As you are planning out the schedule for the big unveiling, you want to give yourself the ability to respond to unexpected challenges. You may start off with the goal of creating a full-on walkaround game with special effects and interactive objects. However, due to unscheduled events, distracted designers, or maybe another project requires all hands on deck, the project could fail. If you set up the project correctly, you can easily pivot to a different outcome that is just as impactful.

I like to keep a pie-in-the-sky goal to increase excitement and nurture innovation. But it is important to bake into your calculation a plan B when things go sideways because I don't think I've ever seen a design team finish on time. I always start off by working backwards from the end goal-- what type of devices are we going to have? Depending on that answer, that might completely change the project if you're trying to reach a huge audience. A lot of people won't have access to high-end equipment. That means you'll need to keep the game size and processing power extremely low.

You might also consider hosting the game online so that they don't need to do any downloading and they can view it on any device. Some companies will set up a space capable of a plug-and-play virtual game. This, however, requires a huge system with expensive graphics capabilities and installing a built-in sensor with straight wire to the headset. Or maybe you aren't anticipating and Oculus-only audience. I chose this because it's only $300, and my computer graphics are terrible.

And it's completely wireless, with everything built into the headset itself. So if you already have the AEC collection, you might as well use the best programs to get you there. In terms of training hours, it's always beneficial to spend the time to get your entire production staff at 100% proficiency with Revit. But you only need to know maybe 10% of 3ds Max to use it for this process. I know a lot of companies that let Max collect dust because they are intimidated by what it can do, even though 3ds Max can provide so many solutions.

Another big mistake I see is when managers refuse to use BIM 360. The team will jump through hoops-- printing, preparing, and wasting a lot of time trying to convert a perfectly executed 3D model into a stagnant, instantly outdated document. The technology is here for all stakeholders to be involved at every level of the process. So make this part of your design phase workflow. Consolidate programs to ones that are useful for multiple outcomes.

All the time spent amassing in one program then remodeling in others is a terrible waste of time. I know everyone has grown accustomed to their own tools, but this industry's greatest challenge right now is convincing people to use tools that will benefit everyone on the team. Breaking habits and challenging your comfort level will only result in positive gains. When it comes to architecture and construction, as an expert in SketchUp, Rhino, and Revit, I know that if someone already has the skill to model in each of these, you will always produce a building faster in Revit than the other programs.

If you choose to model in Revit from the beginning of SD, you now have the foundation to take that initial design into DD and CD. Then, with 3ds Max, you can directly link the model from Revit for a cleaner transfer. By using Revit and 3ds Max, you will have the ability to pivot your efforts on the fly. From 3ds Max, you have the option to export those assets to a huge list of programs and file types. You can also create your high-end renderings directly in the program with the Arnold renderer.

The Unity game experience is sort of the carrot down the road. If you run out of time to do that, having the direct link from REvit to 3ds Max will give you that flexible contingency plan. Revit's adaptive modeling tool can create fantastic shapes, but 3ds Max will always push it further. Max can quickly model complex elements that have clean model integrity, which can be properly consumed by receiving programs. I've made crazy Baroque designs in Revit that look beautiful on sheets but are completely unusable in any other program.

I would show you images of these, but I'm prevented from sharing those with you due to various NDAs. However, if you ever need a bedazzled pumpkin remodeled and beautifully made in Revit, remember that it is totally doable to do so. Another great aspect of Max is that you can add motion to your work. The more you develop this process, the more interactive assets you will start to make-- opening doors, custom buttons, CFD airflow diagrams, character rigs, and so on. We use other visualizer programs with our clients all the time.

And they are still an important enhancement to our projects. However, they restrict your experiences to a single output with limited customizations. Plus, the virtual environments require equipment that is hardwired to a very expensive computer. With Unity, we can export the executable directly into a totally portable headset, no wires required. When it comes to game engines, there is also no limit on our creative output. It gives us a vast choice of project types to develop.

So you can have customizable buttons, you can visualize passive energy solutions, or even give us the ability to have X-ray vision through subterranean piping systems when you're going through on-site location walks. Imagine having multiple project types, each one specific to the phase you're in, prepackaged and ready to receive any 3D model that you're developing. So let's walk through the general timeline for a VR project. First, we start with coordination. We start off the project hitting the ground early, giving everyone access to BIM 360 and making sure everyone is comfortable with the tools.

We show everyone how to navigate across the website. We explain the folder structure and file-sharing process. Then, we show examples of how to open up all file types, adjust visibility settings, and create markups to compare versions. It's also good to make sure every Revit user is aware of the publishing settings so that it is as comfortable for managers or reviewers to use it on all devices-- computers, iPads, phones, et cetera-- because remember, we really want to incorporate all of this with every stakeholder. Every meeting should center around the cloud.

Markups are done in real time. We assign tasks to people. We assign tasks to people and create lists on the call. We set expectations early on with time estimates. Make sure every stakeholder is a part of the process.

Do everything you can to keep everyone communicating without the fear of saying something wrong. And definitely be more open with stakeholders in the working process, instead of waiting until things are presentable at certain points along the way. So we use the Autodesk Desktop Connector for every shared file. It's so much easier to keep everything in one location. Revit obviously has the cloud-syncing capability. But for all other file types, you can only have one person using them at the same time.

So we want to split those tasks accordingly. In most cases, we are sharing linked assets and not opening the files directly. You can also create a central receptacle file that links to several satellite files if we need a lot of people working in them. So for 3D modeling, when multiple programs and files are used, it is paramount to set a clear 0, 0 and orientation in all of the programs before anything is built. Normally, I start off by creating the levels and project basepoint in Revit.

Then, I create a simple cube with walls and floors. And that is to be exported into as many 3D file types as possible-- so CAD, FBX, detached Revit. Then, I import that into all the other programs, reposition everything around that shared point. But the point is to do it as soon and early as possible. When it comes to modeling in Revit, shortcuts will always punish you later.

Model health and quality control results in cleaner geometry, slimmer files, and smoother export processes. Always keep the warning down to zero. Overlapping geometry is the biggest issue when transferring to other programs. And this sounds silly, but regularly checking the file in 3D is what I have found to capture many of the issues that are easily spotted when you toggle over to the 3D view. So remember to build with purpose.

By working backwards with the purpose of transferring models to the endgame, it will change the way you create those components. You should test the process in 3ds Max first to see how the file is consumed. I like to import elements by materials. That means that all materials in Revit should be grouped by a simple naming standard. Identical materials should not be splintered into different offshoots.

The less material types you have, the easier it will be to manage later. Limiting the level of detail in your SD model will also make the file more manageable in 3ds Max and Unity. I also find that massing elements have a hard time being read in other programs. So instead, I create a skeleton object with reference edges. Any complex shapes are kept for 3ds Max. We stay organized with LiveLink Excel spreadsheets with time estimates for each element.

It's important to schedule what it would take in separate programs for the same items. That way, we can remain flexible depending on everyone's skill set and availability. I like to lean on people's skills, so identifying the task people love to do and encouraging them to tackle it. Don't underestimate someone struggling with the program. You can always help by scheduling more trainings or changing the assignments around.

And keep experimental tasks for people that are hungry to learn. Linking and binding-- 3ds Max directly links to Revit. After importing the geometry by material type, you can split up the groups later if the objects need a more refined material or if the elements need to move separately from the rest. Everything is organized and managed in the Scene Explorer. I check for any junk geometry and clear it out.

Then, I apply the standard materials before moving to the next program. Skeleton modeling, as I mentioned before, I keep the organic shapes for Max because the surfaces render better when modeled there. So I create temporary skeleton geometry in Revit with clearly-defined edges to reference important point locations. These elements should have their own material to make it easier to manage down the line. The final elements can snap to the desired points.

And the reference object will be purged before we export that to Unity. So when transferring, when sharing 3D objects, all of the non-moving pieces can be exported to the same file with animations turned off and z or y pointing up, based on the receiving program. It's better to refine materials in the final Unity scene. If we are creating a 360 video rendering using the Arnold renderer, I think it might be better to create a whole new 3ds Max project because this will require a whole new set of Arnold-specific materials.

With a new scene, you can create cameras, apply the Arnold rendering materials, and set the specific lighting. That camera rendering will then be exported as an image sequence and patched together into a video from Adobe Photoshop. So when you're making a 360 video, the 360 video gives you the ability to look around as if you were on a theme park ride. It doesn't let you walk around, but it solves the issue of processing power. It can be imported into YouTube for an easily-shared VR experience with Google Cardboard, Oculus, and so on.

You can also use it to set up triggers in Unity so that the main game lets you walk around freely in the low-poly space. Then, it would trigger a high definition movie once you pass through a portal. This is how we solve the processing power issues for users that didn't have high-end equipment. The 360 video requires animating the cameras on a line-based track connected to the timeline, then setting the frame rate and key frames after that. For animating objects in unity, they can be set up in a similar fashion using keyframes on the timeline.

Each animated item element should be exported individually. We can animate things like doors openings, buttons and menu effects, character rigging, visualizing airflow. Each single element might have multiple input responses that require several animation exports. Those assets can then be coded to play after a specific trigger in Unity. So let's dive into Unity.

It's a good idea to start developing the infrastructure of your Unity game at the same time, or even before, the work has started in Revit and Max. Here are the highlights of what I'm going to discuss. So the interface and project set up-- you will first create your project from the hub. Remember to research the editor's version. It's not always the case that you want the latest version.

Sometimes, specific workflows or packages have not yet been upgraded or been fully tested yet. So once that's opened, you should see this default layout. It's completely customizable. And you can toggle through your saved layouts right here. The scene viewer and game mode are in the middle. And this will automatically change.

However, it's good to be aware when you're in the game mode because all your scene development will be lost if the game is running and you're making any changes. On the bottom, we have the project folder. That gives you access to everything. This is where we will import and manage all of our assets. And here, you'll save your scenes and structure your projects.

The more organized, the better. This project folder can also be accessed directly on the computer. You can click and drag components directly to this or in the File Explorer. On the left, we have the Active Scene Hierarchy that has all the working assets in this specific game. You click and drag the components from the various project folders to copy all the things that you have developed over time into this game.

And then, the Inspector gives you the object properties with all of its adjustable settings. So with the folder structure and importing, over time, you will build these folders up and reuse a lot of the assets. Again, it's important to keep these as simple to navigate as possible. Always think of the others that are going to join the project after you, and you'll definitely think yourself later when you haven't been working on a project for a while.

With all the initial 3ds Max setup, your primary importing file type will be an FBX. I organize all of my objects into clear material groups plus any individual components that you will need to select on its own in the game. So with assets and materials, I like to have a folder for stagnant assets, animated objects, and in texture maps. Your materials will need to be remade in Unity. So you can transfer image files to this folder, but just plan on losing all of the textures from previous programs.

The material setups in 3ds Max and Revit should be done to allow you to have the objects organized correctly in Unity. And then, we have the Asset Stores and packages. The Asset Store will be an important first step. There are thousands of downloads, both free and paid. From these installations, you will be able to see how materials are set up and learn basic tips and tricks from the pre-built assets. Each package offers a variety of systems that will transform your scene.

So for example, the Oculus XR plugin provides cameras, controllers, materials, and example scenes that you can copy and paste into your existing projects to prepare it for the final VR export. Your package manager will help you install the latest versions of each one. Once installed, you can start to developing your own creative design off of pre-existing assets. You don't need to know how to script in order to make something really nice.

So when you're connecting the devices and going into gameplay, the build settings is the final stage where you will choose the platform intended for viewing. You can create a desktop console or web-based executable. I like to use the Oculus, like I've said before. I don't have an excellent graphics card, but I was able to run the Oculus Desktop Support and Oculus Developer Hub that connects the hardware via the USB C. Once connected, you can test run the game directly off the computer.

All functionalities will work in the game mode, so you can make sure it's ready before the final export. This is where you will test to see if all the custom changes have been successful. So once the Oculus is connected, the build settings for the Android device will appear. And it can be adjusted to export to the game. So this executable will work as a standalone game if you're using the Developer Mode on your Oculus account.

I will provide useful links from various YouTube channels that have helped me get started. Once you understand that workflow, you'll be able to export the APKs straight to the headset for on-site presentation, completely cable-free. And then, finally, I wanted to talk about last year, when I worked on a wonderful project for the Black Artists and Designers Guild in partnership with the Autodesk Foundation. And we helped develop the Obsidian project.

The Black Artists and Designers Guild was founded in 2018 to combat the lack of representation of Black talent and culture in the design industry.

The group is comprised of artists, makers, and designers, and hosts exhibitions, project collaborations, and events tailored towards fostering the next generation of artists, makers, and designers by working with leaders of institutions, design firms, publications and manufacturers to create an inclusive design culture The Obsidian experience was first conceived as a virtual replacement for the show house projects that were getting canceled due to COVID.

It evolved into a concept house virtual experience for Black families to reimagine domestic life by setting it a few years into the future, similar to the concept cars that you might see at the car show. The project celebrates the amazing work from the designers in the Guild. It provides a platform for discussion around the issues of representation in design, as well as Black domestic life. It has broadened their reach and visibility. Due to a hectic time frame and unforeseen challenges, we were unable to use Unity as the final output.

But because the project had been created with the digital infrastructure to handle rapid change, BADG was quickly able to shift gears and deliver this remarkable project on time. With digitalization, a strong foundation of work, the immersive experience was able to reach thousands of people and allow them to see this incredible cause. Once again, my name is Felix Cambou, and I'd like to thank you for your time.