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3ds Max Tutorial: How to Make a Land Rover 3D Model

2021-08-06

3ds Max Render Farm | 3ds Max Tutorials

3ds Max Tutorial How to Make a Land Rover 3D Model

This time, your trusted GPU & CPU render farm, Fox Renderfarm will share with you a tutorial made by 3d artist Mars. This tutorial is about the modelling process of making a 3D car, which doesn't use difficult skills or special software. In this process, he covered modelling, texturing, lighting, and rendering of the environment model.

References

First of all, I'll collect a lot of similar vehicle references before making them, especially in invisible places, such as the site, the roof, etc. But be careful, perfection needs to avoid accumulating too many pictures and preventing confusion in the production.

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Style

With the references, I used some simple geometry to build a large car-scale shape, and then divided the doors and glass frames with lines before refining. This gives you great control over the mesh density so you can try different shapes without damaging my model. When I start shaping, I try to adjust the loop in the best way possible, controlling the number of faces in the model as much as possible.

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Details

It is necessary to pay attention to some problems when making. The lines are horizontal and vertical as far as possible. Remember to reserve annular protection lines in places with structures, such as glass frames and door frames, etc., To have such annular protection lines, so as to make it convenient to make high polygons.

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When making high polygons, lines are mainly added to the previous model, and more details are made on the structure without changing the outline. There are roughly several ways to add lines:

Corner cutting
Annular wire addition
Annular wire addition in graphite tool

Because I couldn't find the right tire, I decided to make it myself. First make a tire tread, then copy it into a whole, and use the tire Bend command to get the final effect.

When making some parts of the vehicle, it can be made separately as far as possible to reduce the difficulty of UV splitting.

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UV splitting

The UV is expanded using RizomUV, and then the model is separated by layers, and the model of a graph is placed in one layer. A total of three pictures were made, one for the body and objects, one for the tires and site, and one for the ground. When splitting UV, pay attention not to be too broken. It can be unfolded without stretching. In the later period, it is good to divide smooth groups in 3da Max and adjust them. The same materials and objects should be placed in one area.

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Smoothing groups division

There are many problems in this link. It is easy to see that the UV is not broken after distinguishing the smooth group, or the UV is broken and not moved away. There is also a situation that the smooth group is not divided well, and the problem of black surface will occur when making the low polygon version. Here summarizes some problems that are easy to occur before baking the normal line.

Matching degree between high-poly and low-poly.
Whether the smooth group division is correct or not.
Check whether the UV is broken after the split sliding group, and whether there is stretching and UV boundary overlap after the UV split.

Smoothing Groups：

Faces less than or equal to 90 degrees are separated by smooth groups, UVs are broken, and the Middle distance is moved one or two pixels away. Note:

90 degrees or less than 90 degrees do not separate smooth groups, and the low-poly effect is incorrect.
The smooth group shall be separated, and the UV shall be removed and disconnected.

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Baking

I've sorted out the high-poly and the low-poly together in 3ds Max, and then I'll bake them in Substance Painter together, and import them into 3ds Max to modify some errors. One of the tips is that when you have four tires, you only need to make one when baking and normal maps, and then copy it to get four tires.

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Texturing with Substance Painter

When I made the texture, I first made the body part, starting with some large pieces of material. After setting the material of the texture and the degree of old and new, other textures will take this as a reference, especially rust and damage and other places, as far as possible to achieve unity.

The first is the base layer of the material, which is changed from a pure metal material. This material itself has a lot of details, so it is suitable as the base material of the body.

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Then it is necessary to calculate the object relationship and the color of the dark part in the groove, do the overall dirt and rust, and then remove the paint effect, and then there are some textures on the surface and relatively weak dirt and rust and dirt dust on the body. These are the large frames made of materials, and after the completion of this large frame, some refinement is carried out.

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The glass needs to be treated here with a separate roughness change, so that scratches appear on the glass or the wiper brush after the dirty effect, if there is no interior can not let the glass through.

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Lighting and rendering

For lighting, I used the most common 3 point light sources. The main light source is brighter, the main shadow direction is played, the side light uses a cooler light source, as long as the supplementary light is illuminated, metering here or paying attention to the effect of playing the outline of the object. And then turn to the angle you want to show to check, see if the light source is good and then adjust the light position.

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