3D Tutorial: "Water Temple" Scene Production
In this article, Fox Renderfarm, a leading cloud rendering service provider and render farm, brings you a collaborative 3D scene "Water Temple" created by four students. This project was inspired by artist Sergei PaninPRO.
1. Analyze Original Painting and Asset Allocation
The entire scene is a PBR process case. First, we used 3ds Max's gray box to build the overall framework of the entire scene, in order to ensure that the overall proportion structure is correct. Then, we evenly distributed various asset models inside the framework to each team member, allowing them to improve the details of their responsible models, and then used ZBrush to complete the refinement of the entire high-poly model. We used the Decimation Master and TopoGun 3 Beta in ZBrush for retopology. Afterwards, we used Marmoset Toolbag 4 for high-poly and low-poly matching, and the resulting low-poly model was taken into Substance Painter to complete material production. Finally, we used UE4 to render the images.
2. Making Mid-poly Model
The production of the mid-poly model involves continuous modification and improvement based on the white-box model. During the early stages of production, various issues such as wiring, sculpting, topology, and which models can be reused to avoid wasting resources must be considered. Since the objects in our scene are made separately, after the team members modify their models, the team leader needs to constantly control the overall proportion of the scene on a large scale. During the production process, the model is continuously refined to achieve a general appearance with reasonable and symmetrical wiring, which is convenient for subsequent high-poly carding and sculpting. And individual components and the overall effect are repeatedly observed, while the proportion size is continuously adjusted to ensure that the model's proportions are not disordered when integrated later.
3. Making High-poly Model
The high-poly modeling process went relatively smoothly, and everyone was working step by step on their own tasks. Because the low-poly model served as the basis for proportion, everyone did not encounter many problems when integrating the scene.
The entire scene was built up from stacked boxes, and there were no major issues in constructing the low-poly model. The key focus was on high-poly sculpting to recreate the mysterious atmosphere of the ruins, which required a significant amount of stone sculpting. The sculpting approach aimed to ensure uniformity of the stone material and enhance the surface details. Due to a lack of experience, the sculpting process was initially slow, and some patterns could not be reproduced. Some of the methods used for detailing may have been wrong. Finally, with the guidance of the teacher, a method using grayscale maps was found, which saved a lot of time. First find suitable grayscale maps and then generate masks using ZBrush.
High-poly models were used for rendering the scene, and to ensure a good rendering effect, we decided to duplicate and place models of flowers, grass, and other vegetation that appeared repeatedly. Finally, we rendered the scene and set up the lighting using Marmoset Toolbag for easy observation of the overall effect.
4. Making Low-poly Model
Since most of our models were sculpted, the face count is usually very high. When creating low-poly models, reducing the face count is a very important task that must be prioritized. Therefore, we first used the Decimation Master in ZBrush to perform an initial reduction of the face count for our high-poly models.
The purpose of this retopology was to reduce the extremely high number of faces in the high-poly model all at once, while also preserving the structure and preventing deformation during the reduction process. However, one disadvantage is that after using the decimation master to reduce the face count, the topology becomes very messy. Therefore, it is necessary to do a secondary retopology in TopoGun 3 Beta while organizing the topology. Extra topology should be added to areas with important structures, prioritizing structural integrity.
In areas without structure or where there is only one flat plane, such as the following stake, the topology can be simply optimized to further reduce the face count while optimizing.
The retopology process is time-consuming, and if one is impatient, not only will the face count be reduced poorly, but it may also cause issues with the low-poly model. Therefore, it is important to have a lot of patience when it comes to retopology.
5. Making Material
For materials, we used Substance Painter for sculpting and texturing. Since this was our first time collaborating to create materials of scenes, initially there were no problems when looking at each person's materials. However, after merging them together, we found issues with the differences in color and style between the materials not matching each other. Afterwards, we discussed and determined the color schemes and textures together, which made the material creation process much smoother.
6. Final Render
Why did we choose to render in UE4 instead of Marmoset Toolbag? Because it's more convenient to use the waterfall, river resources, and arrange some vegetation in UE4. Additionally, texturing in UE4 is also faster.
After all preparations were completed, the only thing left was file integration. Everyone had been naming and organizing files since the beginning, so the final integration stage went relatively smoothly. Although there were some minor problems, they were all caused by models not being named clearly enough, so it's important to pay attention to proper file naming. The remaining work involved leisurely placing textures, arranging vegetation, and setting up lighting. One point to note about lighting is not to let the scene have areas that are completely black, as this will affect the overall effect of the scene.
The above is our production process for the entire scene. This experience is truly invaluable, and we hope that everyone can cherish this process. When encountering difficulties or differences of opinion, don't give up. Keep working together to solve problems, because your persistence will definitely lead to better results.
How to Render High-quality Images in Blender
Top 9 Best And Free Blender Render Farms of 2024
Revealing the Techniques Behind the Production of Jibaro "Love, Death & Robots", Which Took Two Years to Draw the Storyboard
How to Render Large Scenes with Redshift in Cinema 4D
Top 10 Free And Best Cloud Rendering Services in 2024
Top 8 After Effects Render Farm Recommended of 2023
How to Reduce Noise in Corona Renderer - Corona Denoising
Arnold for Maya Tutorial: How to Render Wireframe
Previous: 3D Tutorial of Making 'God Statue Corridor' Scene
Next: How to use Maya Render Farm or Render Maya with Cloud Rendering?