3ds Max Tutorials: Semi-realistic 3D Game Scene Interior Production Sharing (2)
Fox Renderfarm, as the best Maya render farm and cloud rendering services provider, in the CG industry, the tutorial we shared for you this time is from the 3D artist Thepoly, on how to use 3ds Max and Maya and other software to make a semi-realistic 3D game scene interior production process.
Taking the wooden table as an example below, first of all, we must determine the material to be sculpted and then look for the reference picture corresponding to it. Because the wood in the scene is too old, you need to find some pictures of old wood when looking for reference pictures, for example,
The carving process needs to be combined with actual life, so as to achieve a more realistic effect. In this scene, the wooden table is a bit decayed, so the edge of the table will not be made into a hard and sharp right-angle structure, so you can use a brush to make the right-angle part of the edge more smooth when carving. Reflect the texture to be expressed. Coupled with appropriate deformation, it can more vividly increase the visual impact (the modified place is slightly adjusted with the Move brush).
The wood in the scene has to make a sense of oldness, so cracks are a good way to show that the objects are worn out, and reference pictures are also needed at this time. For example, the cracks on the window plate can be carved according to the cracks in the reference picture. This can reflect the material better, more realistically, and faster.
The final high poly showed as below:
Low polygon model and baking
The final low-poly model uses ZBrush to complete the reduction and then imports into Maya to make the final low-poly model. This can get the low polygon model faster, but the wiring will be less neat. Note that near 90-degree angles, it is necessary to distinguish between smooth groups and split UVs.
The final baking used Marmoset Toolbag 3.
Material production
After baking all normals and IDs, import Substance Painter to make materials. It is worth noting that the normals baked in Marmoset Toolbag 3 and Maya use OpenGL mode in Substance Painter, and the normals baked in 3ds Max use DirectX mode. After successful import, the remaining textures are baked in the texture set-baking model texture.
Wall material basic process
First, we make the intrinsic color of the material. The intrinsic color layer can add filters to increase details.
To add dark colors, use the Dirt generator. Add a drawing layer to repair some unsatisfactory areas. Add bright colors and color changes to create a rough effect of wall corruption. Here mainly relies on hand-drawn layers to modify. Continue to add color changes and roughness changes. Try to get as close to the real effect as possible.
Finally, you can add an adjustment layer to increase the brightness. The material made in Substance Painter should be led to Marmoset Toolbag 3, which will be a little lower than the brightness seen in Substance Painter. The wall material is finished.
The furniture in the scene is gray and dark because of the old feeling. The damage and abrasion are to reflect the original color of the wood, so the saturation of the color will be higher than the color of the surface.
3. Rendering
Before finally importing into Marmoset Toolbag 3, the lights must be set before rendering. Establishes the main light, and the auxiliary light supplements the light source to maintain the brightness of the picture. And to turn on high DPI and oversampling, turn on GI global illumination and AO environment occlusion.
The final effect showed as below:
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