Rainy Scene Performance of Building Exterior

The best cloud rendering services provider and 3ds Max render farm, Fox Renderfarm will share with you a tutorial of using 3D to make 2D style scene.In this case, we show the use of 3ds Max to create 2D animated movie-style scenes and will focus on explaining the Makoto Shinkai-style picture performance. From his animation works, we can feel a strong personal style, exquisite light, and shadow applications, strong light and dark contrast and gorgeous colors are the biggest features of his works, these features make his works look more real. Reference material from Makoto Shinkai’s animated film "Koto no ha no niwa".Some pictures material comes from the 2D animated film "Koto no ha no niwa", and some screenshots are found for reference.The whole idea:Composition layout and lighting testMaterial adjustment and rendering settingsUse of channelsColor comparison and synthesisComposition layout and lighting testIt is very important to make scene lights in this style, often in small details, such as the bright and dark junction of very bright objects, reflections in small details, the color gradient of objects under the influence of light, and the objects interspersing and blocking, the resulting changes in light are all things we need to pay attention to. Every time I watch an animation, I am always moved by these nuances. The models used in this tutorial are very simple. When doing interior scenes, it is often to build a simple BOX first and modify the approximate shape to test the lights to see if they meet the expectations. But when making, it is better to have an imaginary picture first, so that you can judge whether you have achieved the desired effect when you are done, but you must know what kind of effect you want before you do it.This is a scene from the animated movie "Koto no ha no niwa", which is real in Shinjuku Gyoen Park, Japan. What I want to do now is to make the 2D animation feel with 3D. First, use a simple model to determine the main pavilion. And the location of the surrounding trees, place the camera, as the picture shows:Then we can see through the original animation that the light is shining from the bottom left corner.Here, a standard target parallel light is used as the main light source. The angle of light and the attenuation range of the illuminated area are adjusted. The shadow length and direction of the trees are observed and adjusted to a suitable position. Adjust the UVW in the shadow parameters to blur the tree projection to make it unreal. Open the environment and effects panel, add a VRaySky map to the environment map, drag it to the material panel by example, check the first column, pick the target parallel light in the scene, and set the map light intensity to 0.03. You will get a sky environment that matches the scene lighting, making the rendering more realistic.A high light and dark contrast picture is needed here, so no ambient light is used in this scene. In addition, a VRayLight was created in the direction of the light to simulate a small range of strong sunlight. It can produce more intense light and shade. The parameter settings are the shape of the light is spherical, the intensity is 200, the color is warm, and the light is not visible.Open GI and test the lighting effect, as follows:After the lights are almost well, we start to refine the scene, and finally, it looks like this:In order to simulate the feeling of the rainy season in the original animation, I used the 3ds Max particle system to simulate some raindrops, created a standard particle flow source, and added a random rotation to make the raindrops have some random changes.I also used the MultiScatter plugin to plant some grass.Material adjustment and rendering settingsIn terms of materials, I will focus on the material of the pavilion and the surface of the water. The material of the pavilion must be rendered wet and wet. Because the scene is rainy, I chose mirror high reflection on the material. I did not check Fresnel. The top will be completely reflected in the surrounding trees, plus the projection of the tree occlusion to get a similar effect.The water surface did not make it reflect the sky and clouds like the original painting, but chose a green that matches the scene, as shown in the following figure:The material of water is as follows:Next, we can adjust the rendering parameters. Anti-aliasing uses Catmull-Rom with a certain sharpening effect, which can make the details of the trees richer. Turn on the reflection environment. A VRayHDRI map is added to the reflection environment. The exposure selection is the last one. The term Reinhard mixed exposure is similar to the combination of exponential exposure and linear exposure. Set the blend value to 0.7.VRayHDRI is displayed as a sphere with an intensity of 4.Using the VRayHDRI map can increase the reflection details of some scenes. Turn on the GI and use the Irradiance Map for the first bounce. The first bounce is the first global light calculation for the direct light. The second bounce uses the Light Cache. Actual calculation, turn on display calculation phase. As the picture shows:Open the rollout of the light cache, set the light subdivision to 1500, andcheck the options in the figure.The rendering effect is as follows:Now please follow the best CPU &x26; GPU render farm and cloud rendering services provider to our next part: Creation Analysis: Using 3D to Make 2D Style Scene（2）.

As the leading cloud rendering services provider and GPU &x26; CPU render farm, Fox Renderfarm is here to continue to share with you how to make 2D scene with 3D.Creation Analysis: Using 3D to Make 2D Style Scene（1）In this article, we still show the use of 3ds Max to create 2D animated movie-style scenes and will focus on explaining the Makoto Shinkai-style picture performance.The use of channelsWhen rendering into a map, we need to add some channels to the rendering elements to help us post-process the scene. I added VRGI channels, VR lighting channels, VR reflection channels, VR shadow channels, VR highlight channels, and Z channel. The Z channel needs to test the distance of the camera in advance. It can be measured directly with a tape measure, or the camera's ambient range display can be turned on. The rendering results are as follows:Adjust the color and compositionIn the last step of color processing, you must first have a clear understanding of the overall picture effect processing ideas. Let's analyze the original picture of Makoto Shinkai first. "Koto no ha no niwa" uses the delicate design and delicate application of color elements to enhance the overall expression of the work. In the picture, the author uses a variety of green and gray with different purity and brightness. Multi-tones such as blue, white, and white are painted and painted. The crystal clear and colorful colors contrast with each other, forming the vivid art style of the film. The courtyard scene uses high-purity dark green forest leaves as the main thing, and the dark parts are generally biased to cool gray, so we must focus on these factors in the post-processing.Select the color of the GI channel and the reflection channel for the superposition method, and select the soft light for the superposition method of the light channel. Adjust the opacity of the screen overlay according to the picture conditions. The Z channel is reserved, and then the center of the picture is brightened with warm colors. The colored sky map gives the original image a soft light overlay. The opacity is set to 50% to make the picture breathable. Then adjust the color balance, saturation, and curve of the overall picture to improve the overall color purity and contrast of the picture. Warm color filter, as shown below:Next, use the Z channel to create the blue fog effect in the dark part at the top of the screen. Display the Z channel separately, adjust the color level to make the black and white obvious. Then, in the RGB channel, Ctrl + left mouse button to select the white selection area. One layer, fill it with blue-gray, and adjust the opacity as shown:Create a new layer, use the radial gradient in the gradient to make a rainbow in the upper left corner, wipe out the desired shape, and then add a Gaussian blur to give the rainbow a foggy feel.Next, create a soft light effect for the overall screen. Ctrl + Alt + Shift + E stamps all visible layers duplicates one layer and uses Image-Adjust- Threshold to change the image to black and white. Similarly, select the white part of the selection, Ctrl + J duplicates one layer, uses soft light for the superposition method, and gives a Gaussian blur with a value of 10, so that you can get a soft light effect that enhances the bright part of the overall picture, adding a depth of field effect, and the final effect is shown in the figure:Fox Renderfarm hopes it will be of some help to you. It is well known that Fox Renderfarm is an excellent cloud rendering services provider in the CG world, so if you need to find a 3ds Max render farm, why not try Fox Renderfarm, which is offering a free $25 trial for new users? Thanks for reading!

Your powerful CPU &x26; GPU cloud rendering services and TPN-Accredited cloud render farm, Fox Renderfarm still shares with you the 3ds Max tutorial. In this tutorial, I conceived a sci-fi style scene, and named it "Fortress".IntroductionBefore 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.LightingAfter 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.Now please follow the best CPU &x26; GPU cloud rendering service and TPN-Accredited render farm to our next part: 3ds Max Tutorials: Making a Sci-fi Scene in 3ds Max (2).