V-Ray 3.4 For Sketchup To Make A Work "Container Cabin"


A rendering exercise using V-Ray 3.4 for SketchUp, which uses the public model of the 3D Warehouse. The software used including SketchUp, V-Ray, Photoshop.

1. Preparation

An existing model is used here, and the model is derived from the 3D Warehouse.

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The model has a high level of detail and can be used directly as an exercise. The position of the camera uses a lower angle to look up at the building.

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After choosing this angle, I began to think about what kind of effect I would end up with. In architecture and landscape design, there are many times when you need to further express your plan. After browsing through many excellent renderings, we will find that rendering performance requires artistic effects, and this performance is related to architectural photography and aesthetics.

In this work, I observed this angle and felt that the day view was too dull, so I conceived a picture of the evening, and the energy radiated from the back of the building. Then start the arrangement.

2. Model

First of all, in order to add reflection trees to the glass, I copied a batch of trees to the front of the building.

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Then in the building, some furniture models were added to add detail.

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3. Material

After the model is finished, it will start to be rendered.

In terms of material, the structural part of the building is mainly black steel, which is the general metal making parameter. However, in order to pursue the details, it also benefits from the new material property layer. I added a rust map to the metal as a mask to make the metal more Details. (Reflect Gloss - Use Mix texture in Reflection Glossiness and use rust maps to make two gray masks.)

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The cement wall uses a higher resolution texture,

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White wall also uses a texture,

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Then start to illuminate the scene. In the process of lighting, it is not necessary to be too restrictive to the light. In many cases, it needs to be adjusted according to your own feelings.

The light source of the entire scene is divided into three parts.

The first is the dome lighting, which uses a cool-toned dusk HDR.

The second is the V-Ray sphere light behind the building. The height of the sun is in line with the HDR sun height and the angle is very low.

The third is the lighting in the building's interior, placed directly on top of the building, thanks to interactive rendering, constantly adjusting the intensity and color of the light source.

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Interactive rendering greatly facilitates the adjustment of the light. On the ground, I used the VFS grass directly, which is very easy to use, much faster than making grass.

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4.Rendering and post-production

I did not make too many adjustments and directly pulled up the plot parameters. And added Z channel, MID.

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First, camera raw adjusts the color level, then uses the mask to buckle out the sky, mixing two skyes. Then use the channel to select the background tree to lower the hue, give a curve, raise the shadow and then brush out some details of the dark part, then take a screenshot, then use camera raw to adjust the color gradation, hue contrast and so on. Finally, add light to the architectural lights, and add vignetting around.

Article reference from 3D artist Han Shilin

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Creation Analysis: Using 3D to Make 2D Style Scene(1)
Creation Analysis: Using 3D to Make 2D Style Scene(1)
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](https://en.wikipedia.org/wiki/The_Garden_of_Words)", and some screenshots are found for reference. The whole idea: 1. Composition layout and lighting test 2. Material adjustment and rendering settings 3. Use of channels 4. Color comparison and synthesis Composition layout and lighting test It 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 settings In 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, and check the options in the figure. The rendering effect is as follows:
The Guide of V-Ray Rendering Manual Model (1)
The Guide of V-Ray Rendering Manual Model (1)
Let's take a look at the effect of rendering a picture below, which looks very much like a photo of a hand model. How to achieve this kind of effect like a manual model is actually very simple, because the V-Ray artificial light source comes with such a huge "fake" incomparable property that can render your model. You will find that you are uncontrollably rendering your building into a hand model, and most of the time you are not willing. Well, it's actually very simple, stemming from the contrast between the small scales actually rendered using V-Ray artificial light sources. Let's take a look at the real manual model photo. Well, this is the final result we want to achieve. The scale of the building is very large, and the V-Ray artificial light source will have a small sense of scale. In such a contrast, it will look like a manual model. For example, the following Siza's work Borges & Irmao Bank. If you change an object with a small scale, you will not have this contrast when you render it. You don't feel that it is a fake model, and you are more inclined to believe that it is real. Like this camera. How to achieve Let's take a look at the implementation process. The first step is to build a model In the second step, all ambient light is turned off, and two side light sources are added at two angles. (in order to compare the effects in both directions) The third step, rendering (wood material is only diffuse texture, no processing) Degree of completion The first thing you need to consider is the degree of completion. This is a state. Obviously not only manual model rendering, but in any form of rendering work, completion is the most important one. High-computation works are not authentic, but let you completely forget the question of true truth, so that your attention can be paid attention to the design or the content itself. The biggest reason for the many disturbing renderings is that the completion is too low, and the entire image is full of wear, missing, and various bugs. Improving the so-called completion is not a difficult job, just a little care and patience. Come together to improve the degree of completion Since it is a manual model, should it be placed on a certain booth? Then add the booth Since it is a booth, maybe you will see the ground and the wall? Then add the ground and the wall Usually the manual model will install a few led lights to make the model more beautiful, then fill the internal lights Since there is lighting, we probably need to prepare a few sockets and plugs. Add some paper people and paper trees to set off the volume of the building (so does it look better?) Finally, add a nameplate, um, or you can also attach a glass cover, work ~ (put the phone across) Wow, the effect looks great! So when you don't know how to add details, what you should do is find some references to see how the real manual models are placed. Remember, look at it! It's not hard to find out, if you still have a perfect attitude in the case of ensuring the degree of completion, then you need to pay attention to the lighting and composition (or shooting angle). From: Rifle Graphics
Tutorial: V-Ray for 3ds Max Making Forest Park Restaurant
Tutorial: V-Ray for 3ds Max Making Forest Park Restaurant
The case study presented to you this time is based on a person's conceptual design - a restaurant that is intended to be built next to a waterfall and surrounded by vegetation. From design to final performance, it is all done by one person. The overall production idea is worth sharing with you. The software used is 3ds Max, V-Ray for 3ds Max, Photoshop. 1.Architectural modeling and material assignment In the early stages of design, conceptual sketches can be drawn in the form of paper and pencil. According to the characteristics of the Tongas National Forest Park, combined with personal preferences, the general appearance of the base is restored and the general shape of the restaurant is designed. The 3ds Max was then used to complete the modeling of the restaurant, refining the details of each part of the restaurant from three dimensions. Because this design does not require the display of interior details, some ready-to-use chair models can be used directly, without the need for exquisiteness. Together with the temporarily created table and luminaire model, it is placed inside the building, so that the interior has certain details related to the subject. After the main body model is completed, the corresponding materials are given to each part. The structural part of the building is mainly black steel. The material is generally created by the method of making metal. However, in order to make the surface of the material more vivid, a texture of stainless steel is used as the mask, gloss map and bump map, the metal surface has a slight color change and reflection gloss changes. The following is a node diagram of the material. In addition to the base material, the dirt effect is added to make the stain effect appear on the concave corner of the steel. Of course, this effect can be selected by adding PS in the later stage. Since the main body of the building is far away from the camera, all aspects of the details can be appropriately reduced, especially the object that is occluded. Therefore, the rest of the restaurant model uses only three material balls, one is glass and the other is wood (for table) The same one), one is stainless steel. Stainless steel may be a more interesting material, but it is not clear in this scene, so it only gives a diffuse reflection and bump. In the end, the complete building body was initially obtained. 2.Scene lighting This step can be made according to personal habits. Here, lighting, modeling, and materials are synchronized. At the beginning of the modeling, the lighting is placed according to the design, because the lighting is an indispensable part of the design. Because it is a conceptual scene, the illumination does not have to be too limited to reality. It can be adjusted according to preferences. In order to highlight the existence of the main body of the building, you can use the shadow to block the less important places, and at the same time highlight the context of the scene and form a contrast between cold and warm. It even reduces the difficulty of the late fog. The light source of the scene is mainly divided into three parts. The first is V-Ray sunlight, from the perspective of the camera, from left to right, and the sun is low. The second is a dome dome lamp loaded with an HDR from Peter Guthrie at dusk, but the overall tone is cold. The third part is the lighting in the building. The spherical light of the v-ray is placed directly inside the luminaire. Combined with the double-sided material properties of the luminaire, the lighting environment can be guaranteed while ensuring the visual effect of the luminaire itself. Finally, four spotlights are used. Illuminate the bottom of the second floor to highlight the outline of the building's main body. 3.Environmental modeling and material assignment The next step is to start the environment modeling, first creating a large plane that covers the range seen by the camera and uses it as the ground around the building. However, the surrounding area of the restaurant is not a flat ground, there is a river passing by, you can use the drawing function in the editable polygon to create the bump effect of the ground, and use the noise modifier to further add subtle height changes to the ground. At this point, create a plane, use it as a water surface, combined with the ground with high and low changes before, easily produce the effect of water. Of course, when brushing the terrain, you should consciously shape the riverbed instead of carving it at will. Use a similar approach to create more undulating relationships for the ground and get a preliminary environment. The ground is almost done, and there is no difficulty in this step. Next is the cliff waterfall, you can first use the spline to hook out the plane of the cliff, then use the "clothing generator" modifier to generate the grid, and finally use the "replacement" modifier (placed the noise map) to generate the height difference Of course, use the soft selection to determine the area where the bump is to be generated before using the noise. In the upper part of the cliff, considering that the camera could not see her full picture, I only built a small part of the top of the cliff and then combined it with the model. Use the plane to pull out a simple shape, then use the turbine to smooth the mesh, and finally use the noise modifier to give the model a bump change that simulates the rough effect of the rock surface. However, a cliff does not seem to be enough, so I copied a few more, and finally got the following effect, the environment has been basically built. The environmental model has been roughly completed, and the corresponding materials are given to the various parts of the environment, including the dirt on the ground, the rocks behind the restaurant, and the rocks on the cliff. In order to reduce the workload, it is not intended to increase the details on the model, but to directly use the texture with sufficient information to achieve complex surface effects. Real displacement Texture by Christoph Schindelar is a seamless map of 3D scanning with accurate diffuse, normal, gloss and displacement information to create realistic and reliable surface effects. In order to show the high quality of the material, I made a few small tests. The following three materials are given to the scene, and the distribution is as follows. 4.Vegetation addition Here we use the itoo's grass model, convert it to a proxy, and use the advpainter for manual distribution. 5.Rendering and Post-Production The scene is now almost processed, and finally the remaining material is filled, such as the water surface, and finally a complete scene. Raise the render parameters and add the render element zdepth (set the distance according to the scale of the scene) and change the output resolution to 2560×1440. Let's take a look at the changes from model to lighting to final rendering. After rendering the basemap, put it into Photoshop to adjust it. Content like waterfalls and water fog, which is handled later in the post, is very advantageous for still frames. Because the color of the waterfall itself is not complicated, its characteristics are mainly reflected in the light effect of water vapor and the water body on both sides. At this time, you only need to use the polygon to simply pull out the waterfall, and process it into black and white, then use the color scale to remove the unnecessary parts, and finally repair it with a brush to get a pure waterfall "flowing body". Take one of the waterfalls as an example, The only thing left is to polish. Adjust the overall color brightness and tendency, add a halo to the exposed area, add the lens vignetting effect, and the final result is born. Article reference article shared by 3d artist Yu Dejie

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