3D Tutorial: Noctis Lucis Caelum(1)

3D Tutorial Noctis Lucis Caelum

This time, your TPN-Accredited cloud render farm, Fox Renderfarm shares with you a 3d tutorial about Noctis Lucis Caelum. Software used:3ds Max、Hair Farm、V-Ray、Photoshop、Mudbox、Substance Painter

Introduction

Character artist Weilong Zhang has been in the CG industry for five years. He shared the production process of the work "Noctis Lucis Caelum" and explained the problems encountered and its solutions.

Pre-production

Before starting, I had a general idea, and then I drew the idea in my mind into a sketch.

3D Tutorial Noctis Lucis Caelum

Before starting to make a model, you also need to consider the composition of the scene, such as the position of the characters.

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At the same time, glass is used to replace the existence of the visual focus behind the character, and the existence of lines is expressed by the halo and some windows in the background.

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The bright surface of the window allows the visual center point to be concentrated on the black dark part on the upper right side, which enhances the pressure of the scene and highlights the role.

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The light of the character gradually changes from right to left, and the background changes from left to right, so that the scene will not be focused and a halo is added to the left in the later stage.

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Building the model

To save time, the model uses a head model modification from a previous project, making sure that the scale of the model is similar to the scale in the design diagram. But the most important point is to pay attention to the direction of the bones and muscles for a more attractive character. Of course, in some cases, in order to achieve better results, appropriate modifications can be made while ensuring that the planning structure is correct.

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Weilong Zhang has been engaged in the production of CG characters for many years, and he has his own production method. His method is to draw all the bones and muscles of the head in his own way, taking into account the angle of the scene, lighting, and the lines of the face.

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The clothes are also sculpted in ZBrush, but you need to pay attention to the distribution of folds on the fabric to be reasonable.

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In order to speed up, Weilong Zhang still uses some alpha.

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The insert stitch 01 brush is used on the clothesline, and the zipper chain uses a brush called IMM ZipperM.

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Once you are satisfied with the carving of the clothes, use the topology tool ZRemesher to perform automatic topology, and then import it into 3ds Max for adjustment.

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Skin details

The details on the face such as pores can be drawn manually, or you can find some alpha to make the pores.

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This is the final step, but pay attention to leaving a layer.

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The glass behind the character is made with the Rayfire.

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The UV processing is very simple, and it is made by UV Master directly.

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To be continue..

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Creation Analysis: Using 3D to Make 2D Style Scene(1)
Creation Analysis: Using 3D to Make 2D Style Scene(1)
The best cloud rendering services provider and 3ds Max render farm, Fox Renderfarm will share with you a tutorial of using 3D to make 2D style scene. In this case, we show the use of 3ds Max to create 2D animated movie-style scenes and will focus on explaining the Makoto Shinkai-style picture performance. From his animation works, we can feel a strong personal style, exquisite light, and shadow applications, strong light and dark contrast and gorgeous colors are the biggest features of his works, these features make his works look more real. Reference material from Makoto Shinkai’s animated film "Koto no ha no niwa".Some pictures material comes from the 2D animated film "Koto no ha no niwa", and some screenshots are found for reference.!Creation Analysis Using 3D to Make 2D Style Scene 2The whole idea:1. Composition layout and lighting test2. Material adjustment and rendering settings3. Use of channels4. Color comparison and synthesis Composition layout and lighting testIt is very important to make scene lights in this style, often in small details, such as the bright and dark junction of very bright objects, reflections in small details, the color gradient of objects under the influence of light, and the objects interspersing and blocking, the resulting changes in light are all things we need to pay attention to. Every time I watch an animation, I am always moved by these nuances. The models used in this tutorial are very simple. When doing interior scenes, it is often to build a simple BOX first and modify the approximate shape to test the lights to see if they meet the expectations. But when making, it is better to have an imaginary picture first, so that you can judge whether you have achieved the desired effect when you are done, but you must know what kind of effect you want before you do it.This is a scene from the animated movie "Koto no ha no niwa", which is real in Shinjuku Gyoen Park, Japan. What I want to do now is to make the 2D animation feel with 3D. First, use a simple model to determine the main pavilion. And the location of the surrounding trees, place the camera, as the picture shows:!Creation Analysis Using 3D to Make 2D Style Scene 3Then we can see through the original animation that the light is shining from the bottom left corner.Here, a standard target parallel light is used as the main light source. The angle of light and the attenuation range of the illuminated area are adjusted. The shadow length and direction of the trees are observed and adjusted to a suitable position. Adjust the UVW in the shadow parameters to blur the tree projection to make it unreal.!Creation Analysis Using 3D to Make 2D Style Scene 4 !Creation Analysis Using 3D to Make 2D Style Scene 5Open the environment and effects panel, add a VRaySky map to the environment map, drag it to the material panel by example, check the first column, pick the target parallel light in the scene, and set the map light intensity to 0.03. You will get a sky environment that matches the scene lighting, making the rendering more realistic.A high light and dark contrast picture is needed here, so no ambient light is used in this scene. In addition, a VRayLight was created in the direction of the light to simulate a small range of strong sunlight. It can produce more intense light and shade. The parameter settings are the shape of the light is spherical, the intensity is 200, the color is warm, and the light is not visible.!Creation Analysis Using 3D to Make 2D Style Scene 6Open GI and test the lighting effect, as follows:!Creation Analysis Using 3D to Make 2D Style Scene 7After the lights are almost well, we start to refine the scene, and finally, it looks like this:!Creation Analysis Using 3D to Make 2D Style Scene 8In order to simulate the feeling of the rainy season in the original animation, I used the 3ds Max particle system to simulate some raindrops, created a standard particle flow source, and added a random rotation to make the raindrops have some random changes.!Creation Analysis Using 3D to Make 2D Style Scene 9I also used the MultiScatter plugin to plant some grass.!Creation Analysis Using 3D to Make 2D Style Scene 10 Material adjustment and rendering settingsIn terms of materials, I will focus on the material of the pavilion and the surface of the water. The material of the pavilion must be rendered wet and wet. Because the scene is rainy, I chose mirror high reflection on the material. I did not check Fresnel. The top will be completely reflected in the surrounding trees, plus the projection of the tree occlusion to get a similar effect.!Creation Analysis Using 3D to Make 2D Style Scene 11The water surface did not make it reflect the sky and clouds like the original painting, but chose a green that matches the scene, as shown in the following figure:!Creation Analysis Using 3D to Make 2D Style Scene 12The material of water is as follows:!Creation Analysis Using 3D to Make 2D Style Scene 13 Next, we can adjust the rendering parameters. Anti-aliasing uses Catmull-Rom with a certain sharpening effect, which can make the details of the trees richer. Turn on the reflection environment. A VRayHDRI map is added to the reflection environment. The exposure selection is the last one. The term Reinhard mixed exposure is similar to the combination of exponential exposure and linear exposure. Set the blend value to 0.7.VRayHDRI is displayed as a sphere with an intensity of 4.Using the VRayHDRI map can increase the reflection details of some scenes. Turn on the GI and use the Irradiance Map for the first bounce. The first bounce is the first global light calculation for the direct light. The second bounce uses the Light Cache. Actual calculation, turn on display calculation phase. As the picture shows:!Creation Analysis Using 3D to Make 2D Style Scene 14Open the rollout of the light cache, set the light subdivision to 1500, and check the options in the figure. !Creation Analysis Using 3D to Make 2D Style Scene 15The rendering effect is as follows:!Creation Analysis Using 3D to Make 2D Style Scene 16Now please follow the best CPU & GPU render farm and cloud rendering services provider to our next part: Creation Analysis: Using 3D to Make 2D Style Scene(2).
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2020-01-17
Creation Analysis: Using 3D to Make 2D Style Scene(2)
Creation Analysis: Using 3D to Make 2D Style Scene(2)
As the leading cloud rendering services provider and GPU & CPU render farm, Fox Renderfarm is here to continue to share with you how to make 2D scene with 3D.- Creation Analysis: Using 3D to Make 2D Style Scene(1)In this article, we still show the use of 3ds Max to create 2D animated movie-style scenes and will focus on explaining the Makoto Shinkai-style picture performance. The use of channelsWhen rendering into a map, we need to add some channels to the rendering elements to help us post-process the scene. I added VRGI channels, VR lighting channels, VR reflection channels, VR shadow channels, VR highlight channels, and Z channel. The Z channel needs to test the distance of the camera in advance. It can be measured directly with a tape measure, or the camera's ambient range display can be turned on. The rendering results are as follows: !Creation Analysis Using 3D to Make 2D Style Scene 17!Creation Analysis Using 3D to Make 2D Style Scene 18 !Creation Analysis Using 3D to Make 2D Style Scene 19 !Creation Analysis Using 3D to Make 2D Style Scene 20!Creation Analysis Using 3D to Make 2D Style Scene 21 Adjust the color and compositionIn the last step of color processing, you must first have a clear understanding of the overall picture effect processing ideas. Let's analyze the original picture of Makoto Shinkai first. "Koto no ha no niwa" uses the delicate design and delicate application of color elements to enhance the overall expression of the work. In the picture, the author uses a variety of green and gray with different purity and brightness. Multi-tones such as blue, white, and white are painted and painted. The crystal clear and colorful colors contrast with each other, forming the vivid art style of the film. The courtyard scene uses high-purity dark green forest leaves as the main thing, and the dark parts are generally biased to cool gray, so we must focus on these factors in the post-processing.!Creation Analysis Using 3D to Make 2D Style Scene 22Select the color of the GI channel and the reflection channel for the superposition method, and select the soft light for the superposition method of the light channel. Adjust the opacity of the screen overlay according to the picture conditions. The Z channel is reserved, and then the center of the picture is brightened with warm colors. The colored sky map gives the original image a soft light overlay. The opacity is set to 50% to make the picture breathable. Then adjust the color balance, saturation, and curve of the overall picture to improve the overall color purity and contrast of the picture. Warm color filter, as shown below:!Creation Analysis Using 3D to Make 2D Style Scene 23Next, use the Z channel to create the blue fog effect in the dark part at the top of the screen. Display the Z channel separately, adjust the color level to make the black and white obvious. Then, in the RGB channel, Ctrl + left mouse button to select the white selection area. One layer, fill it with blue-gray, and adjust the opacity as shown:!Creation Analysis Using 3D to Make 2D Style Scene 24Create a new layer, use the radial gradient in the gradient to make a rainbow in the upper left corner, wipe out the desired shape, and then add a Gaussian blur to give the rainbow a foggy feel.!Creation Analysis Using 3D to Make 2D Style Scene 25Next, create a soft light effect for the overall screen. Ctrl + Alt + Shift + E stamps all visible layers duplicates one layer and uses Image-Adjust- Threshold to change the image to black and white. Similarly, select the white part of the selection, Ctrl + J duplicates one layer, uses soft light for the superposition method, and gives a Gaussian blur with a value of 10, so that you can get a soft light effect that enhances the bright part of the overall picture, adding a depth of field effect, and the final effect is shown in the figure:!Creation Analysis Using 3D to Make 2D Style Scene 26Fox Renderfarm hopes it will be of some help to you. It is well known that Fox Renderfarm is an excellent cloud rendering services provider in the CG world, so if you need to find a 3ds Max render farm, why not try Fox Renderfarm, which is offering a free $25 trial for new users? Thanks for reading!
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2020-02-05
Rainy Scene Performance of Building Exterior
Rainy Scene Performance of Building Exterior
The best cloud rendering services provider and GPU & CPU render farm, Fox Renderfarm will share with you a good 3D tutorial to make rainy scene.This is a rainy scene performance of building exterior, from 3D artist Han Shilin. The software used is SketchUp, 3ds Max, V-Ray for 3ds Max, Photoshop, and Substance Painter, etc. How to be "realistic"?"Realism" doesn't just give each material a very accurate parameter that can be applied to any environment, so that it can render a very realistic effect. It also refers to realistic performance = according to your own visual experience, controlling parameters to make the map in line with expectations.The difference between the two understandings is that the former has no control and expectation of the final result, and is based on the idea that "parameters are correct.". Reference The reference picture is very important, this is an expectation of the final effect, such as light and shadow, atmosphere, composition. And it is recommended to combine all the reference pictures into one plate.!Rainy-Scene-Performance-of-Building-Exterior 1In order to show a sense of tranquility and quietness, a darker, rainy weather was set. The architectural details of this scene are not many, the atmosphere of light and the treatment of the ground part are very important. ModelingGrasshopper makes the appearance, imports SketchUp to make the main body of the building, and then imports into 3ds Max, and rendered with V-Ray. The process is very simple. The important thing is to do a good job of layering, otherwise, it will become more troublesome when importing into 3ds Max.As for the composition, a very low angle was used, as much as possible to expose the ground material and the wider sky. TextureThe main body of the building is far away from the lens, so only ordinary materials are needed, and the texture of the materials can be maintained. Taking the skin material as an example, the rest of the building materials are very basic.!Rainy-Scene-Performance-of-Building-Exterior 2Sidewalk and road eaves: indoor concrete texture package, because there will be a lot of dirt in the outdoor scene, so the concrete texture and the dirt texture are mixed together. The area in the close shot is relatively small, so the repeatability of the material is serious. Since it is a rainy scene, the roughness value is also very low.!Rainy-Scene-Performance-of-Building-Exterior 3PS. The main building can be modeled in SketchUp and then imported into 3ds Max. The environment and settings of the scene are best created with 3ds Max because the SketchUp model will have some problems when imported into 3ds Max, such as the UV will be messed up.Performance details (Substance Painter draws some textures)From the perspective of the camera, the pavement greatly affects the picture, so its material is very important. You need to import this pavement into Substance to draw textures.Import the mesh file that needs to draw textures into Substance Painter.!Rainy-Scene-Performance-of-Building-Exterior 4Remember to turn off the channels other than the natural color when drawing the natural color map. After drawing the natural color map, create a new layer and draw the bump.!Rainy-Scene-Performance-of-Building-Exterior 5Then you can add some standing water to both sides of the road.!Rainy-Scene-Performance-of-Building-Exterior 6There are many ways to draw. One of the simpler methods is to add a material to adjust a very flat height and then apply it several times with a dirt brush to get a better random effect. Because what to do is a rainy scene, there is no wet feeling. So adjust the level of the roughness layer.!Rainy-Scene-Performance-of-Building-Exterior 7One thing to note is that if you want to get the same effect in 3ds Max as in Substance Painter when importing the texture, adjust the blur to 0.2. For sharper effects, lower it. In addition, the imported map gamma needs to pay attention to, the map color of the natural color is selected automatically, and the rest are all 1.0.!Rainy-Scene-Performance-of-Building-Exterior 8Then it is relatively simple work and found some model-rich scenes from Evermotion's model library.Such as the middle and lower left cars. After that, I used V-Ray rendering in 3ds Max, and finally adjusted it in Photoshop.Fox Renderfarm hopes it will be of some help to you. It is well known that Fox Renderfarm is an excellent cloud rendering services provider in the CG world, so if you need to find a render farm, why not try Fox Renderfarm, which is offering a free $25 trial for new users? Thanks for reading!
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2020-01-15
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