3D Tutorials: Making a Sci-fi Scene in 3ds Max(1)

3D Tutorials Making a Sci-fi Scene in 3ds Max -14

Your powerful CPU & GPU cloud rendering services, Fox Renderfarm still shares with you the 3ds Max tutorial. In this tutorial, I conceived a sci-fi style scene, and named it "Fortress".

Introduction

Before I started production, I just made a preliminary idea. Because I didn't have too much time to create, I didn't draw a conceptual drawing. I just made a model while conceiving, so it took some time for the model to determine the final form. In the end, I rearranged it before finally making all the models.

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The first thing I made was the head model of the robot. This model refers to the works of other artists. I defined the function of this robot as combat, so I changed its right hand to a firearm. The left and right are changed to claws according to the need to grasp things. In order to highlight the bright spots on the body, several red lights have been added.

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After the building behind the robot is made, the composition problem needs to be considered. I prefer the wide composition. Originally, I didn't plan to place a spaceship behind the robot but made a large-scale crawler machine that walks on the ground.

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However, I tried placing the composition in the lens, and after several attempts, I was not satisfied with the result. Later I thought of another method. I drew a diagonal line from the upper left corner to the lower right corner of the screen. The triangle in the upper right corner of the screen would be empty, and the composition on the left would be very crowded and the scene elements would appear impenetrable. So I referred to a conceptual drawing drawn by Mr. Sebastien Larroude, removed the track of the second main body, and added a sail to turn it into a spaceship. In this way, the composition in the camera becomes a stable triangle.

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Lighting

After the composition is determined, it is the lighting work. In this project, I use the V-ray renderer for lighting and rendering. V-ray is very easy to use and can save money. I think it is very suitable for this project.

The main light source I use is the V-Ray sun in the V-ray rendering plug-in. The V-Ray sun can simulate the real sunlight effect. At the same time, I use the V-Rsky texture lighting method here and use the dome to simulate the skylight and form a more realistic shadow. They are the different effects produced by ordinary spotlights and V-Ray light.

The parameters of VRaySun are very simple. What needs attention is the light intensity. It is recommended to use VRayPhysicalCamera when using VRay Sun. If you use MaxCamera, it is best to change the Intensity multiplier to a small value. The size of the size multiplier area reflects the intensity of the sun's direct illumination range. The smaller the value, the smaller the straight-line light shadow range. On the contrary, the larger the shadow range, its the numerical unit is set according to the scene size.

The parameters of the V-Ray Sun are as follows.

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The most important part of lighting is that the colors of the cold light source and the warm light source complement each other. For example, when making some relatively large scenes, the foreground and the background need to be separated, and the more we separate, the stronger the sense of perspective. A reasonable main light source will be the key to success. So in this step, we need to repeatedly test the rendering results.

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How to Use 3ds Max to Make a Game Environmental Scene
How to Use 3ds Max to Make a Game Environmental Scene
Hi, this is Cassie from the best cloud renders farm, Fox Renderfarm. This time, I will share with you an article about how to use 3ds Max to make a game environmental scene.!How to Use 3ds Max to Make a Game Environmental Scene!How to Use 3ds Max to Make a Game Environmental Scene!How to Use 3ds Max to Make a Game Environmental Scene!How to Use 3ds Max to Make a Game Environmental Scene!How to Use 3ds Max to Make a Game Environmental Scene!How to Use 3ds Max to Make a Game Environmental Scene Observe and analyze the original painting and asset allocationThis is a case of the PBR process, specifically used 3ds Max to complete the low-poly model, ZBrush to complete the high-poly model sculpting, V-Ray rendering during the high-poly model, Substance Painter, Photoshop to complete the texture production, and finally using UE4 rendering.In order to ensure that everyone can match the model proportions after the division of labour. In the early stage, the rough model was constructed based on the original painting and used as a reference for proportion. We divide the modeling work into three parts according to the overall situation, including house, props and environment construction.!How to Use 3ds Max to Make a Game Environmental Scene Making of Mid-poly modelHouse: As the main body of the scene, the time-consuming experience is naturally the most. I divide the house into three parts: roof, wall and floor.Props: The props of the scene include a three-faced Buddha, stone lamps, wood carvings in the house, etc. There are not too many types of props, but they basically require ZBrush carving and production.Environment: The main part in charge is the stone steps at the door, the green plants at the door, the mountain behind the house, the spider webs in the house, etc. My requirement is to find the available materials according to my needs.The production process of the mid-poly model is to continuously refine on the basis of the rough model, adding more details, and try to use the loop line as the main wiring in the wiring, mainly to facilitate the card line in the later high mold stage. When making a mid-poly model, you must not forget the relationship between a single part and the whole, and the ratio is constantly adjusted and optimized. Because I made the house model separately, I need to compare before I refine it, otherwise, it will be a big disaster for the proportion in the later stage.!How to Use 3ds Max to Make a Game Environmental SceneThe high-poly model production process is relatively smooth, and everyone is doing their own work step by step. Because the proportions are the most basic before, it is relatively easy to adjust the scene.!How to Use 3ds Max to Make a Game Environmental SceneHouse sculpting Because the whole house is made up of boxes, the mid-poly model is relatively simple. Its highlight is the high-poly model sculpting. To restore the original flavor of the ancient architecture, there are more places to carve. Because the style of the overall scene is rather dilapidated, my idea of sculpting is to try to ensure the hardness of the wooden structure and make it old with more surface details. Due to lack of experience, the sculpting was relatively slow at the beginning, and some patterns could not be restored. The method used for sculpting many details may not be correct. After many attempts, a lot of time was wasted; in the end, I found a way to use grayscale images, which saved a lot of time. First find a suitable grayscale image, which is conducive to mask generation in ZBrush.!How to Use 3ds Max to Make a Game Environmental Scene!How to Use 3ds Max to Make a Game Environmental SceneProp sculpting I also need to hand in homework in the high-poly model stage! Because the scene models are all high-poly models during rendering, and in order to ensure the rendering effect, it was decided to copy and place the recurring models of flowers and plants. Use VRAY to render directly in 3ds Max. But I didn't expect it to be that simple. The two pictures were rendered on two computers for more than four hours.!How to Use 3ds Max to Make a Game Environmental Scene!How to Use 3ds Max to Make a Game Environmental Scene Making of low-poly modelFor those early stages, the topology production of a low-poly model is actually more like a test of operating specifications and file sorting, which is mainly obtained by using the previous mid-model addition and subtraction lines. The human headstone lamp and statue in the scene used Topogun. Low-poly model topology is simple but patient work. There are two ideas,1. Simply use editing and adjustment tools, and patiently realize the silhouette and structure. 2. Use the automatic topology tool, and then manually adjust the wiring slightly. Low-mode production wiring requirements are more stringent, the wiring is as simple as possible, in line with the wiring principle, but without losing the structure.!How to Use 3ds Max to Make a Game Environmental SceneThere are not many difficulties encountered in the low-poly model topology stage. The difficulty lies in the development of UV and texture distribution. After the entire low-poly model is finished, it is time to show the UV. Before the UV is displayed, the smooth group needs to be distinguished, and then the UV is exploded according to the smooth group, and then find the place that needs to be disconnected again and cut it. A good seam problem, because if the seams are too obvious or too broken, there will be many flaws in the post-production of the texture. After all, you haven't collaborated on the production of scenes before, so they are relatively unfamiliar with the unification of checkerboards and the allocation of texture resources.Finally, I used 1m³/256 pixels as the standard to make textures, and the house was divided into more than 30 textures. When I first divided the shader, I was divided into a circle; secondly, although there is an automatic placement to adjust the size of the checkerboard to just right, it is still necessary to check carefully. UV is a normal job; it is easy because it is moderately good. A minor error occurred, so that rework was needed to adjust the UV later.!How to Use 3ds Max to Make a Game Environmental SceneThe next step is to bake the normals and other textures. I need to match the high-poly and low-poly models in 3ds Max. The edge silhouettes must be carefully matched and overlapped. Then the high and low-poly models of the same part are named and matched, and then the normals are baked in SP. I use Substance Painter to name the baking method for baking. In order to get a better normal map, I will bake an average normal and a vertical normal, and then retain the inner part of the vertical normal and the edge part of the average normal in PS. Although I have been careful in the early stage, some of the baked normals will still have problems. Most of them are due to the wrapper problem, but some need to be manually changed. The modification needs to export the UV selection in 3ds Max, and then go to Select the area in PS to modify the normal of the problem.For the distinction between different materials, I still use the method of making ID maps. For the part of the model of different materials, I use different colored shaders to distinguish MaterialsAs a next-generation realistic style work, the material is actually good. However, some special experiences can be summed up in scene cooperation. For example, the material of some props can actually be packaged into a shader and used directly on another prop of the same material. In addition, in order to ensure the harmony and unity of the final results, communication among the team is extremely important, and you must not do it alone. When making materials, our plan is to do the volume first and then the details. After all, after the volume comes out, adding details will make the effect easier. First of all, I first separate out a few materials and create a few large layer groups to make selections. One point worth noting here is the occlusion and dirt relationship between objects. When the material is almost the same, I will sharpen the top edge to make the details more obvious, that is, create a new layer and add a sharpening filter, and change the overlay method to pass through.!How to Use 3ds Max to Make a Game Environmental Scene!How to Use 3ds Max to Make a Game Environmental Scene!How to Use 3ds Max to Make a Game Environmental Scene!How to Use 3ds Max to Make a Game Environmental Scene!How to Use 3ds Max to Make a Game Environmental Scene RenderingFirst of all, the file organization must be done well, otherwise, it will be messy when rendering the textures and the work cannot be carried out. Qualified file organization can make the rendering work twice the result with half the effort, and it will be more convenient if you want to replace the textures later.!How to Use 3ds Max to Make a Game Environmental Scene!How to Use 3ds Max to Make a Game Environmental Scene
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2021-09-24
How to Make a Sci-fi Spaceship with 3ds Max(2)
How to Make a Sci-fi Spaceship with 3ds Max(2)
Your private cloud rendering service provider, Fox Renderfarm, is still sharing with you the production of how to make a Sci-fi spaceship with 3ds max. RenderingThe background production directly used a previous project and made some modifications according to the reference diagram. The lighting adopts the sunlight and skylight of V-Ray. When rendering, the spaceship and the background are rendered in layers, and the background does not require too high parameter settings.The final rendering of the background,!How to Make a Sci-fi Spaceship with 3ds Max -18!How to Make a Sci-fi Spaceship with 3ds Max -4The sky in the background is not directly rendered, but a sky map is directly synthesized in Photoshop. What needs attention is the color of the water surface. If the sky is blue, then the water, buildings, and especially the reflection-sensitive things in the scene must be changed to blue.!How to Make a Sci-fi Spaceship with 3ds Max -8After background synthesis,!How to Make a Sci-fi Spaceship with 3ds Max -19The last is the rendering and post-production of the main spaceship.The rendering settings of the spaceship are the same as those of the background. Several important points to note are,First of all, the material of the spaceship is a reflective material similar to car paint, so the layout of the environment is to better reflect the texture of the car paint. When I tried to render the car paint in the initial stage, it felt very fake, without texture, and the actual material is not necessarily the material. It is not adjusted properly, but it just ignores the influence of the environment on the reflective material.At the bottom of the spaceship, I made a "plate" whose function is to give a darker reflection to the bottom of the spaceship to achieve the effect of the virtual ground. The key point is to pay attention to the height, and remember not to exceed half of the spaceship.!How to Make a Sci-fi Spaceship with 3ds Max -22The final rendering effect,!How to Make a Sci-fi Spaceship with 3ds Max -6It can be seen that the background and the spaceship are too integrated. Next, I used a few basic tools to adjust the color of the entire scene. After adjusting the color, it can be seen that the sky contrast has been strengthened and the overall tone has been unified.!How to Make a Sci-fi Spaceship with 3ds Max -17Finally, add some small details: add lights.!How to Make a Sci-fi Spaceship with 3ds Max -12
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2020-12-16
How to Make a Sci-fi Spaceship with 3ds Max(1)
How to Make a Sci-fi Spaceship with 3ds Max(1)
Your private cloud rendering service provider, Fox Renderfarm, is sharing an article for you this time on how to make a fish-shaped spaceship with 3ds max.IntroductionThis work is inspired by spoons. One day, I saw the spoons when I was eating in the restaurant, I suddenly felt that the spoons turned upside down looked like some kind of fish, and some of them looked like a science fiction-style spaceship. Suddenly I wanted to make this inspiration into a spaceship that can travel in the sky and water.ModelingAfter returning home, I spent one night combining some handsome sea creatures, such as whales, sharks, etc. and drew this manuscript with a pencil. Later, I thought the shape looked good, and finally decided to make it into a model with 3ds Max.!How to Make a Sci-fi Spaceship with 3ds Max -2The next step is more challenging for me because it is very challenging to make a 2D concept map into a 3D model. In particular, the 2D concept map will only serve as a reference work, while other angles and details need to be found from references and other materials. The road to spaceship design has just begun.!How to Make a Sci-fi Spaceship with 3ds Max -15!How to Make a Sci-fi Spaceship with 3ds Max -21In the production, I constantly modify the details, such as changing the original single tail to a double tail. I also tried to add a co-pilot position next to the tail, but after adding it, it felt unreasonable. Later, the cockpit was changed to a jet engine compartment. Two red fuel tanks were added on both sides of the tail (although some people say they are like batteries)!!How to Make a Sci-fi Spaceship with 3ds Max -16!How to Make a Sci-fi Spaceship with 3ds Max -13All models are not very difficult, but they are constantly adjusting their shapes during the production process. But this may have something to do with the person who made it, and I like it very much from the angle in the picture below, the eyes look very imposing.!How to Make a Sci-fi Spaceship with 3ds Max -11Because I have previous experience in industrial design, the design of the spaceship engine is not too difficult for me.!How to Make a Sci-fi Spaceship with 3ds Max -1!How to Make a Sci-fi Spaceship with 3ds Max -9!How to Make a Sci-fi Spaceship with 3ds Max -3The final model is completed! As long as the overall shape and parts are reasonable, well, the overall shape looks streamlined and comfortable.!How to Make a Sci-fi Spaceship with 3ds Max -14!How to Make a Sci-fi Spaceship with 3ds Max -10TexturingWhen designing the concept map, I have already considered the material of the spaceship. First of all, the main body of the ship is made of car paint, which is very common in industrial styling, and it is not very difficult to make.The texture of the spaceship mainly uses the standard material of V-Ray, and then some blending. This part is mainly to add different materials and textures to the 1 and 2 masks in the mixed material. The important point is that the "Falloff" map is used in the mask, and the default color sorting of attenuation is white on black. Here you should use the invert button to reverse it and turn it into black on white.1.The setting of "Material 1" is relatively simple. It is the color displayed in the dark part after the "Attenuation" mask, so the color is black (or a dark color in a certain color system, which is close to black). "Diffuse" is pure black and "Reflection" is pure white, which means 100% complete reflection. Pay attention to check Fresnel reflection. Keep the refraction options as default.2." Material 2" is relatively complicated. The reason for saying this is because the material in Material 2 is the "Shellac" material. You should know that its function is to change the color, highlight, and Reflection of "Base Material" and “Shellac Material”, and mixed them by the value of "Shellac Color Blend".In fact, the settings of the two materials are almost the same, but it should be noted that the diffuse color of "Shellac Material" is the color of the car paint. For example, if you want the model to be yellow, then change it to yellow here. And the diffuse black of "Base Material" is an attenuation color, so that the material can richly reflect the contrast of different angles.!How to Make a Sci-fi Spaceship with 3ds Max -20
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2020-12-14
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