3D Tutorials: Making a Sci-fi Scene in 3ds Max(2)

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Continue the 3D Tutorials: Making a Sci-fi Scene in 3ds Max(1), the fastest GPU and CPU cloud rendering services provider, Fox Renderfarm still share with you the part of texturing and rendering in making a Sci-fi scene.

Texturing

Making textures is the most interesting part of the work, but realistic textures are also the most difficult to make. Understanding the texture we want to make is the first thing to do. The more common items in life, the more troublesome it is to make. So it is very important to find a reasonable reference.

For this project, I used the V-Ray shader to set the material. First of all, I chose the V-Ray Mtl material type, paying attention to the highlight setting.

For the metal material setting, first, add a texture to the diffuse, reflect the falloff to simulate Fresnel, and fine-tune the color in the curve and falloff parameters.

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Because of the difference in metal texture, the robot's metal texture drawing has been slightly adjusted. For example, the metal texture of this robot is divided into three types, and their highlights will be somewhat different. I have used the Reflect glossiness adjustment in V-Ray Mtl.

Rendering

When the model, textures, and lights are all made, we can start rendering. As a 3D artist, rendering time is an issue that cannot be ignored. The rendering of this project uses layered rendering, which facilitates the post-processing of files and also speeds up rendering time, but the downside is that the lighting is not well controlled. If the lighting is adjusted, many files need to be re-rendered.

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As for the production of CG scenes, it is crucial to the tone and atmosphere of the whole scene. Whether we can grasp the overall picture feeling is the key to the success or failure of creating CG scenes. The atmosphere can be created by adding special effects such as atmosphere, and the adjustment of the overall color of the picture is often achieved through color correction. There are two commonly used color correction methods, one is to directly color correct in 3ds Max, and the other is to color correct in PHOTOSHOP. I personally prefer to use PHOTOSHOP.

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After the 3ds Max rendering work is completed, it is now the work of entering PHOTOSHOP, we need to further add details to the picture.

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I adjusted the color, brightness, saturation, etc. to make the picture look more comfortable. Next, add details to the picture, including weeds, smoke, light-emitting energy bars, etc. I made a variety of attempts but finally chose red.

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The final adjustment was the background. I wanted to add a distant city to the background, so I used 3ds Max to build a simple background city, then rendered it into PHOTOSHOP, and directly found some image materials to superimpose on it. The next step is to add a distant city to the screen. Because it is a faraway view, the city can quickly create a few boxes in Max, and then roughly render it, import it into PHOTOSHOP, and find the material to be directly superimposed on it. This saves the time to show the UV texture.

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Finally, I want to add some clouds to the sky to make it look more natural. I used a brush to paint the clouds in PHOTOSHOP.

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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. Rendering The 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, The 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. After background synthesis, The 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. The final rendering effect, It 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. Finally, add some small details: add lights.
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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. Introduction This 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. Modeling After 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. The 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. In 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)! All 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. Because I have previous experience in industrial design, the design of the spaceship engine is not too difficult for me. The final model is completed! As long as the overall shape and parts are reasonable, well, the overall shape looks streamlined and comfortable. Texturing When 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.
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2020-12-14
3D Tutorials: Making a Sci-fi Scene in 3ds Max(1)
3D Tutorials: Making a Sci-fi Scene in 3ds Max(1)
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. 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. 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. 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. 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. 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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2020-12-08
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