3ds Max Tutorials: How to Set A Realistic Interior Lighting

The No.1 render farm, Fox Renderfarm will share with you a tutorial about how to make a country shop scene with 3ds Max, ZBrush, Marvelous Designer, Substance Painter, Photoshop, and Substance Alchemist. In the production process, in order to show more details, we made it into a relatively broken scene. Next, I will introduce and show the process of making this scene, I hope you can learn some useful things from it. Introduction The whole scene of this project can be roughly divided into small parts such as houses, floors, square boards, round logs, trash cans, air conditioners, cloth, electric boxes, beverage bottles, headlights, grass, and wires. The PBR process is used, 3ds Max is mainly used to make the model, ZBrush completes the sculpting, Marvelous Designer makes the cloth, and Substance Painter, Photoshop, and Substance Alchemist complete the texture production. Blocking In order to control the scale of the overall model and facilitate the production of sub-components in the later stage, it is convenient to build a simple model at the beginning. The most important thing is to determine the position and size of each component in the entire scene. In this process, I used a model as a reference for all other components. Modeling The model-making process is to continuously refine on the basis of Blocked and add more rich details. The line in Polygon should be loop-based as much as possible, mainly to facilitate the subdividing of a mesh at the back. When making a model, you must not forget the relationship between a single part and the overall proportion. The proportion is the result of continuous adjustment and optimization. House carving, The production of the house is very simple, starting directly from a simple box, but the focus of this part of the work is the high-poly sculpture. I plan to make a dilapidated house, so I try to look dilapidated while ensuring the hardness of the house, so the surface details should be enough. Because of the lack of learning skills, it took a long time to start carving and the work progress was slow. I encountered many errors when engraving the bricks. Finally, with the help of a friend, I changed to another production method: using surface noise to make the bricks, which saved a lot of time. First, find the appropriate material image, use ZBrush's surface noise generation, adjust the parameters to get the final effect. Finally, I tested the combination of multiple brush effects and finally found the most suitable way. Finally got a high-poly model of this house. Ground carving The production of the ground is also very simple, starting from a simple box. I first used 3ds Max to make the basic model and made the main grooves, and then imported it into ZBrush for sculpting. First, use the brush to adjust the corners, and then add small details such as missing corners and cracks, bricks, etc. One thing to pay attention to is the hardness of the ground. The hard areas must be hard enough. After the house and the ground are made, combine them to adjust (note the size of the groove on the ground). I think the high-poly sculptures are very interesting. I will think of this artwork whenever I see houses and bricks in my later life. The part of Hard surface The production of hard surface models is relatively smooth. The most important part is to control the scale of the model and the distribution of lines and then assign smooth groups, and then use the chamfer command to distinguish between smooth groups, and remove the option of minimum angle. After adjustment, add the turbo smooth command on this basis. If there is a problem with the corners of the model, you need to modify the smooth group or add the Edit Poly command to the chamfer command to modify the line distribution. Try to make the line distribution reasonable. Then add turbo smooth command and there will be no problem. Fabric and wood part Fabric making: The fabric is made using Marvelous Designer software. First, adjust the size and shape of the fabric in Marvelous Designer. Then import the cloth into ZBrush for detailed sculpting, because the cloth exported by Marvelous Designer is a patch, without thickness, and all triangular faces. So you need to use the automatic topology tool ZRemesher for topology in ZBrush. Then we got a clean mesh with the same shape as before, and now we can sculpt details on this model. Wood production: The wood in this scene is relatively old, and they all use the brushes in ZBrush to sculpt the details. Organize all the models that have been made, and then assemble them according to the design in 3ds Max. Now you can see the appearance of the house. Part 2 will be continued.

1 month rendered in 2 hours, the fastest GPU & CPU cloud rendering services provider, Fox Renderfarm still shares with you 3ds Max tutorials, how to make a tomahawk in 3ds Max. Introduction Hello everyone! What I want to share with you today is to use 3ds Max to make a tomahawk and share some skills and techniques used in the production process. This is a relatively basic tutorial, including modeling, sculpting, pbr texturing. Concept This tomahawk was inspired by a weapon concept image in "World of Warcraft". It looks cool and looks very beautiful. So I want to make it into a 3D version in my own way. In the concept drawing, I first observed the outline of the front and side and modified some details. These main structures are very important for making the model. We can see the white and black side profile in the figure below. The black is obviously more three-dimensional than the white. Modeling Firstly, I split the model into three parts, the handle, the main body, and the axe body on both sides. Each part is modeled in the most suitable way, and then merged. This part is very easy and simple to make this type of mode in 3ds Max. The axe body on both sides of the battle axe is very important, so its shape is very important. The thread exists for structure, so please add enough thread at the turning point, and pay attention to the thickness of the axe since it needs to have layers. Models that can be made separately, please make them separately. Use as few faces as possible, and make transitions as smooth as possible. UVs UV production can be divided into four parts, - Plane projection: put the messy uv in a box. - Dismantling: adjust the UV without stretching and saving space. - Operation: solve stretching. - UV placement: a. The UV of objects with a larger model can be enlarged, and the UV can be reduced if there is less texture information; b. Try to optimize the UV space, and then the seams. Texturing Now that the model is complete, we can start making textures. Firstly, I filled in the background color. For example, If the overall concept map is blue, fill it with blue. If the overall concept map is red, fill it with red. We can use the concept map for reference. As the background color, don't use too dark or too bright colors. The next step is to create a hand-painted texture. There is a concept map for reference, just follow it to draw it. When drawing, pay more attention to the light source. I want it to look like a cold light source illuminates from the upper left, so that it can have a good sense of volume. In this step, large blocks of colors and changes need to be drawn, and no details are needed. Next is the details. It should be noted that no matter what we draw, such as bandages, decorations, and bumps on the handle, we need to pay attention to the sense of volume. Final effert：

For example, if we want to make such a more complicated robot model, what should we do? Structure Build a rough head model structure, paying attention to the overall proportional structure. First of all, don't rush to make a detailed structure, we must first build the overall outline of the model. In this way, the key structure of the model is roughly constructed, without worrying about the details of the model, just the simplest geometry. For this model, it is a symmetrical structure, so we only need to make half of the head, and then copy the other half with symmetry. After ensuring that the proportional relationship is basically accurate, we can move on to the next step. Details Refine the preliminary model, and further make the topological structure, pay attention to the quasi-structure line with uniform and appropriate wiring. The next step is to add details, follow the reference to make some lines of the concave and convex structure of the model, this step needs to be as accurate as possible. The surface and line parts need to be as reasonable as possible, More subdivision is needed for smooth areas, less subdivision for flat areas, and the curvature of the model is adjusted. Finally, the topological structure of the model is made. The following is to make the topological structure of the model. For this model, it is more complicated, and the key consideration is the red shell part. Although the other parts look complicated, they are actually composed of relatively simple small parts, which are easier to handle. Continue to add details and deal with parts of the hard surface model. Since there are many problems will be encountered at this stage, adjustments and changes are required. Tips: During this process, we can press the Q key to quickly open and close the subdivision surface to check the effect of the model. After that is the production of eye sockets, ears and other structures. These are not difficult, but require patience and time. Finally, some small parts will be added to perfect some deficiencies. Now the model is basically completed. Thanks!