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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3D Tutorial: Noctis Lucis Caelum(2)
3D Tutorial: Noctis Lucis Caelum(2)
Continue to the 3D Tutorial: Noctis Lucis Caelum(1), your TPN-Accredited cloud render farm, Fox Renderfarm still shares with you the tutorial. Grooming After the UV is completed, the next step is to make the hair. The hair production in this project uses Hair Farm, which can easily simulate a large number of hair effects in 3ds Max. Perform rough modeling according to the hairstyle in the sketch, and then adjust the shape of the hair through the modifier. Create a rough model first, then adjust the shape. Rendering test, Then use 3ds Max's default hair and fur to make some short hairs. Final render, Texturing Next is the processing of the background props of the character. The texturing is drawn using Substance Design, and 3 textures of AO, CURVITY, and Normal are baked. In Substance Painter, the 3 textures were used for processing. Output: The material of the leather jacket, Skin texture The skin texture is processed in Mudbox. Firstly, projection maps are used, and some high-quality real-life skin scan materials are used to make bump maps. On the basis of some materials, a better projection material was obtained by modifying the highlights and shadows and then imported into Mudbox for projection. The displacement map was baked in ZBrush. All materials include an Overal Color map, Base specular map, Oil specular map, Scatter color map, Sub-Surface-Scattering, Bump map, Displacement map. Displacement Map Lighting settings The rendering is done by V-Ray. The basic light is composed of three-point light sources, covering a key light, a fill light, a rim light, but you need to pay attention to the color. For example, if you want white clothes to look textured, the auxiliary lighting needs to be a little blue. The environment uses the following HDR. Final render and compositing The scene and the characters are rendered separately and finally composited in PS. Finally, I added some halo and motion blur to the scenes, adjusted the contrast and color, and darkened the background, and brightened the upper left corner. When adjusting the color, you should pay attention to integrity. Many of these aspects are related to art theory and basic knowledge. This needs to be accumulated gradually in daily learning.
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V-Ray 5 for 3ds Max is now shipping — and it’s more than a renderer! V-Ray 5 for 3ds Max brings a modern and efficient material library workflow, faster look-development with material presets and flexible post-processing features that save you time and let you go beyond just rendering. V-Ray 5 lets you do more with your renderer than ever before. Composite renders and interactively relight your scenes in the new V-Ray Frame Buffer. Set up materials fast with new presets and over 500 ready-made shaders. V-Ray 5 helps you save time and make your renders look even better. Download and try it now at: https://www.chaosgroup.com/vray/3ds-maxnew
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V-Ray for Maya: Male Character 3D Avatar Production
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This time, Fox Renderfarm, your TPN-Accredited cloud render farm, will bring you a tutorial on how V-Ray for Maya and ZBrush makes a male character and layered rendering in Nuke, which is shared by 3d artist Ciqujingnian. This tutorial uses V-Ray, Maya 2018, ZBrush, Substance Painter, Mari, Nuke 11 and other software. The article will talk about how to make high poly and low poly 3D model in Maya and ZBrush, as well as baking rendering, Substance paint and Mari to make material maps, and finally render the map in Maya. High poly 3D modeling The high poly 3d model uses a medium-sized head model that was previously made. The initial carving took about half a day. After that, the UV was split and the XYZ texturing was done in Mari to make the ZBrush detail. The following picture is after the projection. There are some personal experiences here. I am used to changing the perspective window of ZBrush according to the reference picture when sculpting to be consistent. It may be helpful for the sculpting to be closer to the reference picture. The commonly used ZBrush perspective value is about 35 or 50. After that, I chose Mari to project the texture, because he supports up to 32000 pixels, and the resolution is very good. After the projection is completed, output three channels of RGB respectively, and then create a new layer in ZBrush, and paste RGB to the displacement map position in ZBrush, adjust the intensity and apply the high poly 3d model to the displacement map. Texturing The basic skin of human skin is made using matte textures and then projected in Mari. As for the background images without light, you can use the existing ones, or find or buy them on some texture websites. The projection of the background color map can basically ensure that we do not have too much chromatic aberration and highlight exposure after the projection, and the remaining small chromatic aberration and defects can be modified in PS. The projection method is very simple. You can use a seamless skin texture as the base layer at the bottom layer, with a higher repetition rate, and then project it. Pay attention to the retention of details. This greatly improves the details of the model after rendering. As for baking, it is baking displacement and normal effect in ZBrush, and then enter the Substance Painter to draw the details. After importing Substance Painter, first, create a new layer and paste the projected texture on the color layer. Afterward, the character beard and eyebrows are mainly drawn in Substance Painter. Here I recommend the brush in Substance Painter for hair. In this project, I don't want to overlay the faces to make a beard, so I used several brushes to draw the beard in the Substance Painter. The result is not bad. Afterward, what was done in Substance Painter was the drawing of metallicity and roughness, mainly by adding a layer of bloodstains first. 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