How to Convert 2D Concepts to 3D Firearms in 3DS MAX


First of all, as the best CPU & GPU render farm service provider, Fox Renderfarm will share with you the process of using 3DSmax and Substance Painter to make 2D concepts to 3D Gun models. This production mainly uses PBR (Physically based rendering) technology. The software used is 3DS MAX. If you are a beginner in 3DS MAX, you may encounter some problems when using 3DS MAX, then it is worth reading the following articles that can help you clear up your confusion.

How to Use 3DS MAX to Convert 2D Concepts to 3D Firearms

Then in the following content Fox Renderfarm will talk about how to bake normal ID and make the material with Substance Painter and in 3DS MAX high poly and low poly, finally rendering the effect.

First, let's take a look at the final result:

How to Convert 2D Concepts to 3D Firearms in 3DS MAX 1

This 3D gun refers to the works in the game "Call of Duty", is also a style of firearms that is very popular, not only in terms of shape, but also the production of materials are top works. The main color of this 3D gun is pure black, which looks very low-key, but still gives a bright feeling, because the performance is very realistic and gives a sense of metallic heft. It is rich in detail.

And we can very clearly see the difference in its roughness, highlighting, metallicity and other parameters properties. The various materials make the whole 3D gun look coordinated, and the texture of the metal is after a long time of use. Metal parts will also have fallen ash and wear. The overall style is still very much in line with the requirements of high-end games in our market now. At the same time we also look for other real firearms pictures to use as a reference to analyze the metal texture and the traces after use.

1. Modelling

Any gorgeous model is slowly outlined in detail with geometric shapes, so you can initially use only simple geometric shapes, it is important to know how to grasp the proportion, as well as splitting the structure. Some structures will be more complex to do as one, UV is also difficult to expand. We can divide the barrel, the body, the stock, and the magazine parts. There is a scope that can be done separately. After determining the shape, then go to each piece separately to add lines to outline the structure and refine.

How to Convert 2D Concepts to 3D Firearms in 3DS MAX 2

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2. Optimization Modeling

In this part you have to pay attention that you need to try to produce all visible structures. Proportions are still important, and inaccuracies need to be fine-tuned. When it comes to the finer parts you must not focus on only one structure to do. Delay too much time in a structure, the final bulk may lead to overall incoherence.

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3. Modelling High Poly

You need to be careful not to let the high poly have a distorted surface as much as possible. The best line is a loop line. You can add the chamfer command in the model editor to adjust the softness of the line, and add the turbosmooth command, provided that the low poly is divided into smooth groups first. If the chamfer command does not work well and needs to be modified, you can also adjust it manually. Ensure the smoothness of the lines at the corners and reduce defects.

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How to Convert 2D Concepts to 3D Firearms in 3DS MAX 7

4. Modelling Low Poly

Low poly is obtained by reducing the number of faces by high poly. Some structures or lines that are very messy are not suitable to be reduced. You can use topogun to topology to get low poly, and then make adjustments in 3DSMAX. Try to make the low poly wiring neat, do not have a distorted surface, in order to facilitate future UV work, improve the utilization of UV.

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5. UV Unwrap Low Poly

Here you can see that the uvS are very fragmented, and there needs to make a certain gap between each uv, because the mapping is a pixel concept, if the gap is too small will lead to the interpolation of your mapping pixels, and it will be very difficult to deal with the location of the seams when drawing.

How to Convert 2D Concepts to 3D Firearms in 3DS MAX 9

Also need to pay attention to the placement of the uv, one is the spacing, one is the size of the ratio, the structure with a relatively large area, or the place with many details. You can enlarge the uv a little, so that the uv accounts for a larger area, the accuracy of the mapping is also increased.

6. Bake Normals

The normal line is equivalent to the high poly model, and there are many ways to bake the normal line, 3DSmax can do it, Substance Painter can also do it. We use Substance Painter to name the baked normals.

How to Convert 2D Concepts to 3D Firearms in 3DS MAX 10

The first thing to do is to match the high and low poly models inside 3DSmax to split the structure. Do not bake where the model is interspersed, or the articulation will have a serious black edge.

After splitting, naming. Similarly, the same structure of high and low poly models, the naming should correspond, for example, qiang_low corresponds to qiang_high naming suffix.

Low poly models are exported in FBX format, high poly models are exported in OBJ format. It is recommended to export in batches, because if the normals need to be modified, you can focus on that batch for modification and then pour it in, which is much more efficient than the whole export. Less waiting time.

Substance Painter baking normals: with average normals (average normals selected), the structure of the hover piece will be distorted, but the edge seams will be fine. The effect of using vertical normals (without average normals selected) is the opposite of average normals.

Sampling 4*4

After getting the two normal maps, use Photoshop to merge the UV selection maps: vertical normal - average normal, sorted from top to bottom. Select the selection map to reduce a few pixels and then enter the vertical normal to add a mask directly.

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7. Texturing

First, create several groups corresponding to the entire gun with several materials, then put a fill layer in each group to give a different color, and then add a color selection mask to the group and select the corresponding structure.

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Make each piece of structure has a basic formula, first make the basic material (base color), then make a bright dark color to highlight the volume of the heavy feeling (fill layer + black mask + generator), and then make bump, mottled, dirty, old, dust, scratches and other details.

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Now is time to export the mapping. Use the shortcut Shift+Ctrl+E to export the texture. And export Substance Painter's background scene image, because you will need it later.

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8. Rendering

Here we use the Marmoset Toolbag, but you can also use Fox Renderfarm for a faster cloud rendering. First import the model FBX file into the Marmoset Toolbag, then find the location of our Substance Painter mapping and the scene map, give the model a material ball, and paste our mapping on the right side of the Marmoset Toolbag. Click FlipY to flip it.

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Then select the image in Sky and choose the Panorama.exr environment image in Substance Painter, change the environment background to darker. You can also change the Mode to Color according to your personal preference.

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Then play two lights to illuminate the sense of volume, add sharpening inside the camera, adjust the curve. These can be set in the rendering menu.

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How to Convert 2D Concepts to 3D Firearms in 3DS MAX 18

Click Settings to set our picture size accuracy. In Image you can adjust the Width, Height and Sampling. The higher the sampling, the higher the precision of our image, but it means a slower output. Choose the output format. Just leave the rest as default. Click F11 to output the image.

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Above is all the explanation, now you can try it yourself to convert 2D concepts to 3D firearms. Maybe you also want to learn how to make the hard surface of firearms. Fox Renderfarm always provides you with first-hand news about 3D modeling and cloud rendering services. Thanks for reading!

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Behind the Scenes: 3D Game Scene
Behind the Scenes: 3D Game Scene
Today, as the leading cloud rendering service provider, Fox Renderfarm will share a production process of a 3D game scene. This project uses the standard PBR process, and uses 3ds Max to complete the basic modeling, determines the proportion of objects. Finish sculpting in ZBrush for high poly, topology in Maya, baking in Marmoset Toolbag 3, finish making PBR materials in Substance Painter, and finally use Marmoset Toolbag 3 for rendering.!Behind-the-Scenes-3D-Game-Scene 1The production is divided into three parts:1. Modeling2. Material production3. Rendering ModelingBefore production, determine what materials, objects, and overall proportions are in the scene, and then determine the production order according to the proportions. Most of the scene in this scene is walls and stones and wooden furniture, so they are the focus of the production.Quickly set up their approximate proportions in 3ds Max.!Behind-the-Scenes-3D-Game-Scene 2Complete the medium face number modelAfter establishing the proportion of large objects, continue to build the remaining objects in the scene. And further enrich the details of the model. There are a large number of repeated objects, and several different shapes can be made.!Behind-the-Scenes-3D-Game-Scene 3Taking the above book as an example, many different types have been produced, which can reduce visual repetitions very well.There are two pieces of cloth in the scene. Here we take the pillow as an example,!Behind-the-Scenes-3D-Game-Scene 4This production uses the cloth calculation that comes with 3ds Max. The specific process is as follows,!Behind-the-Scenes-3D-Game-Scene 5Create blocking objects:!Behind-the-Scenes-3D-Game-Scene 6Create a pillow base model (the higher the number of segments, the better the simulation effect),!Behind-the-Scenes-3D-Game-Scene 7Squash and find the cloth in the modifier,!Behind-the-Scenes-3D-Game-Scene 8 Simulation!Behind-the-Scenes-3D-Game-Scene 11 !Behind-the-Scenes-3D-Game-Scene 9 !Behind-the-Scenes-3D-Game-Scene 12The end result is a simple pillow model. (The shape of the wrinkles of the fabric should be well organized, and the top is a simple demonstration. Similarly, curtains may have better effects).Finally in 3ds Max medium face model,!Behind-the-Scenes-3D-Game-Scene 13Next, import the model into ZBrush for sculpting. High Poly sculptureHere is an example of a house's walls and stones:!Behind-the-Scenes-3D-Game-Scene 14The medium face model was imported into ZBrush because of the irregular shape of the stone. You can use Dynamesh (dynamic mesh) in geometry editing to edit the model.!Behind-the-Scenes-3D-Game-Scene 15Brushes 1, 2, and 3 are used for large-scale carving of stones. Brush No. 4 adjusts shape to prevent penetration. Finally, brushes 5 and 6 are used to flatten some edges and corners to make the structure hard. Thus reflecting the texture of the stone.The big ideas on the wall are the same. Finally, use the surface noise, adjust the curve, and the noise ratio to simulate the graininess of the wall and stone surface.!Behind-the-Scenes-3D-Game-Scene 16Finally, add some details such as cracks and bumps to enrich the picture. Use the brush No. 6 mentioned above to suppress it again for better results.Take the wooden table as an example below, first determine the material to be carved, and then look for the corresponding reference picture. 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,!Behind-the-Scenes-3D-Game-Scene 17The sculpting process needs to be combined with actual life, so as to achieve a more realistic effect. In this scene, the wooden table is a little bit decayed, so the edge of the table will not be made into a hard, right-angled structure, so when carving, you can use the brush to make the right-angled portion of the edge more rounded, so reflect the texture you want to express. With appropriate deformation, it can increase the visual impact more vividly (adjust the place with the Move brush a little).!Behind-the-Scenes-3D-Game-Scene 18 !Behind-the-Scenes-3D-Game-Scene 19The wood in the scene needs to have an old feeling, so cracks are a good way to show that the objects are worn out. At this time, you need to use the reference picture. For example, a crack on a window plate can be carved according to the crack in the reference figure. This can better and more realistically and quickly reflect the material.!Behind-the-Scenes-3D-Game-Scene 20 !Behind-the-Scenes-3D-Game-Scene 21 !Behind-the-Scenes-3D-Game-Scene 23 !Behind-the-Scenes-3D-Game-Scene 22The final High Poly display,!Behind-the-Scenes-3D-Game-Scene 24Low polygon model and bakingThe final low-poly model was reduced using ZBrush, and then imported into Maya for final low-poly model production. This can get Low Poly models faster, but the wiring will be relatively less neat. Note that it is important to distinguish between the smooth group and split UV where the angle is close to 90 degrees.!Behind-the-Scenes-3D-Game-Scene 26 !Behind-the-Scenes-3D-Game-Scene 25The final baking uses Marmoset Toolbag 3. 2. MaterialAfter baking all the normals and IDs, import Substance Painter to make the material. 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 successfully importing, bake the rest of the textures in the texture set-baking model textures.Wall material basic processFirst of all, we make the natural color of the material, and the natural color layer can add filters appropriately to increase the details.!Behind-the-Scenes-3D-Game-Scene 27Add a dark color and use the Dirt generator. Partially unsatisfactory add a drawing layer to fix it. Add bright colors and color variations to create the approximate effect of wall decay. Here, it is mainly modified by hand-drawn layers. Continue adding color changes and roughness changes. Try to be as close to real effects as possible.Finally, you can add an adjustment layer to increase the brightness. The material made in Substance Painter should be imported into Marmoset Toolbag 3 and the brightness will be a bit lower than that seen in Substance Painter. The wall material production is complete.!Behind-the-Scenes-3D-Game-Scene 28And because the furniture in the scene should reflect the old feeling, the overall color is grayish and dark. The damage and abrasion are to reflect the original color of the wood, so the color saturation will be higher than the surface color.!Behind-the-Scenes-3D-Game-Scene 29 3. RenderingFinally, before importing into Marmoset Toolbag 3, you need to set up the lighting, the main light 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.!Behind-the-Scenes-3D-Game-Scene 30The explanation of the production process of a 3D game scene is over. We hope this sharing will help you. Fox Renderfarm is an excellent CPU&GPU cloud render farm, so if you need to find a render farm, why not try Fox Renderfarm, which is offering a $25 trial for new users.Source: Thepoly
Big News! 3ds Max 2021 Is Now Available
Big News! 3ds Max 2021 Is Now Available
Hey guys! You know? 3ds Max has updated the new version 3ds Max 2021.1. As the leading cloud rendering service provider, Fox Renderfarm, will check out the new features in the lately released 3ds Max 2021.1 with you together, including texture baking improvements, Arnold as Default Renderer, expanded PBR workflow capabilities, viewport, fluid and modeling tool enhancements.The feature-rich update is targeted at modernizing and upgrading performance for artist workflows across design visualization and media and entertainment disciplines. Bake to Texture:- Output now supports multi-tile UV mapping (UDIM)- Animated map outputs are now supported as well as multiple animated frames- Various usability improvements.Model courtesy of TurboSquid and their artist, Luke_Ahearn. Fluids:- The Fluid loader is now exposed so that object types such as particle systems can work with the data- The Velocity channel now reports correct information when not using meters as your default scene scale. This fix will enable motion blur in your renderer- PRT now supports a signed and unsigned integer values (via .ini change). Interactive Extrusion and Inset:- Users can now utilize a Shift+Drag (left mouse button) with the Move transform tool to extrude polygon component selections when using an Editable Poly or an Edit Poly modifier- Shift+Drag with the Scale transform tool now performs a polygonal inset action on selected polygon component selections when using an Editable Poly or an Edit Poly modifier- Clone/Copy actions are now performed with Ctrl+Shift+Drag when using the Move transform tool on the polygon component on and Editable Poly or an Edit Poly modifier. Viewport Improvements:- Depth of field now affects the environment map- Vignetting scale is now the same value as defined in the camera- Matte/Shadows material now work in the viewport- Each view can now have its own exposure, white-balance and vignette settings. Arnold Renderer:- MAXtoA 4.0.4- AOV token system- Animation support for Alembic- Increased shader spinner accuracy- Bake to Texture support for projection of normals from high to low resolution, normals spaces, and Mikkt. Enhancements and Changes Weighted Normals Modifier Now includes support for multi-threaded processing to enhance speed and performance when performing calculations as well as other stability improvements. Explicit Normals Preservation for Mesh Applying an Edit Mesh modifier no longer invalidates explicit normals, nor do the following actions: Attach, Detach to Object, Detach to Element, Clone to Object, Clone to Element, Detach as Clone to Element. PBR Material Both PBR materials now support displacement. Shared Views Shared Views now supports Physical material. SketchUp Model Importation There is improved handling of internal edge visibility, improving the imported mesh quality, and SketchUp 2020 models are now supported. Slate Material Editor The Slate Material Editor now pans and zooms smoother and faster when using a 4k monitor. In addition, the Search field has been improved to perform global search through all materials and maps in the editor. For example, if you were searching for the Advanced Wood map and typed "wood," the old search would not find it but now it will. Render Output Size HDTV resolution of 1280 x 720 is the new default output size. UDIM DisplayWhen you work with UDIM, you are now able to view all textures in the viewport when using the Bitmap Lookup OSL shader, instead of just viewing one as when using the Multi-Tile map. User Defined Defaults Allows you to set your own default values for ParamBlock2 supported spinner, radial, checkbox, or input field through MAXScript calls. Viewport Depth of field now affects the environment map, the vignetting scale is now the same value as defined in the camera, Matte/Shadows materials now work in the viewport, and each viewport can now have their own exposure, white-balance and vignette settings. ConclusionThese are all the update points of 3ds Max 2021.1. Let's make more good artworks with 3ds Max in the future! As a leading cloud render farm, Fox Renderfarm, will continue to bring you the latest news about 3ds Max. Thank you for reading!From: ``
3ds Max Tutorials: 3D Toilet Scene in Silent Hill (1)
3ds Max Tutorials: 3D Toilet Scene in Silent Hill (1)
Today your TPN-Accredited cloud rendering service provider, Fox Renderfarm will share with you a toilet scene made with reference to the horror and thriller game *Silent Hill*. The process is from the original painting to the 3ds Max model production, then to the texturing in Substance Painter, and finally the Marmoset Toolbag for rendering. Let’s have a look at the final effect:!3ds Max Tutorials 3D Toilet Scene in Silent Hill-8Software used: 3ds Max, ZBrush, Substance Painter, Photoshop, Marmoset ToolbagHow long does it take: one and a half weeks IntroductionThis is a personal project for practice, the purpose is to learn some new skills and improve workflow, and make your work better.In this project, the production is not so difficult, but the texturing and rendering took a lot of time. A lot of tests were carried out in these two stages, and the most perfect results were obtained. And through texturing in Substance Painter production and rendering with Marmoset Toolbag, the overall thrilling atmosphere of the scene is perfectly displayed, making people feel as if they are on the scene at a glance.The whole production process is divided into five parts: target, modeling, UV, texturing, rendering, etc. ModelingThe scene is based on the original setting of the game scene, so the model production is not too difficult. In the early stage, I first decide the angle of the scene, and then increase or decrease the number of model faces according to the distance from the scenes.First import the image into 3ds Max, build the entire room with simple shapes and then start adding props and details. For the smaller details, such as the breakage and cracks of the wall tiles, they are all made by Dam Standard brush, OrbFlatten_Edgeprotect, and Alpha.Part of the details after the carving is completed:!3ds Max Tutorials 3D Toilet Scene in Silent Hill-12!3ds Max Tutorials 3D Toilet Scene in Silent Hill-4!3ds Max Tutorials 3D Toilet Scene in Silent Hill-14 UVMost of the work in the UV part is relatively simple, and the most difficult part is the broken tiles and gravel falling from the ground.1. The small pieces are baked as much as possible in the post-production2. Reduce the number of faces of other models that are not part of the visual center3. Use the correct model resolution to make the size of the texture, etc.Follow the leading cloud render farm, Fox Renderfarm, for the next part: 3ds Max Tutorials: 3D Toilet Scene in Silent Hill (2)").
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