How to Make a Sci-fi Spaceship with 3ds Max(2)

Your private cloud rendering service provider, Fox Renderfarm, is sharing an article for you this time on how to make a fish-shaped spaceship with 3ds max. Introduction This work is inspired by spoons. One day, I saw the spoons when I was eating in the restaurant, I suddenly felt that the spoons turned upside down looked like some kind of fish, and some of them looked like a science fiction-style spaceship. Suddenly I wanted to make this inspiration into a spaceship that can travel in the sky and water. Modeling After returning home, I spent one night combining some handsome sea creatures, such as whales, sharks, etc. and drew this manuscript with a pencil. Later, I thought the shape looked good, and finally decided to make it into a model with 3ds Max. The next step is more challenging for me because it is very challenging to make a 2D concept map into a 3D model. In particular, the 2D concept map will only serve as a reference work, while other angles and details need to be found from references and other materials. The road to spaceship design has just begun. In the production, I constantly modify the details, such as changing the original single tail to a double tail. I also tried to add a co-pilot position next to the tail, but after adding it, it felt unreasonable. Later, the cockpit was changed to a jet engine compartment. Two red fuel tanks were added on both sides of the tail (although some people say they are like batteries)! All models are not very difficult, but they are constantly adjusting their shapes during the production process. But this may have something to do with the person who made it, and I like it very much from the angle in the picture below, the eyes look very imposing. Because I have previous experience in industrial design, the design of the spaceship engine is not too difficult for me. The final model is completed! As long as the overall shape and parts are reasonable, well, the overall shape looks streamlined and comfortable. Texturing When designing the concept map, I have already considered the material of the spaceship. First of all, the main body of the ship is made of car paint, which is very common in industrial styling, and it is not very difficult to make. The texture of the spaceship mainly uses the standard material of V-Ray, and then some blending. This part is mainly to add different materials and textures to the 1 and 2 masks in the mixed material. The important point is that the "Falloff" map is used in the mask, and the default color sorting of attenuation is white on black. Here you should use the invert button to reverse it and turn it into black on white. 1.The setting of "Material 1" is relatively simple. It is the color displayed in the dark part after the "Attenuation" mask, so the color is black (or a dark color in a certain color system, which is close to black). "Diffuse" is pure black and "Reflection" is pure white, which means 100% complete reflection. Pay attention to check Fresnel reflection. Keep the refraction options as default. 2." Material 2" is relatively complicated. The reason for saying this is because the material in Material 2 is the "Shellac" material. You should know that its function is to change the color, highlight, and Reflection of "Base Material" and “Shellac Material”, and mixed them by the value of "Shellac Color Blend". In fact, the settings of the two materials are almost the same, but it should be noted that the diffuse color of "Shellac Material" is the color of the car paint. For example, if you want the model to be yellow, then change it to yellow here. And the diffuse black of "Base Material" is an attenuation color, so that the material can richly reflect the contrast of different angles.

Continue the 3ds Max Tutorial: A "Country Shop" Scene Production Sharing(1), the NO.1 render farm, Fox Renderfarm still share with you the production to make a country shop with 3ds Max, ZBrush, Marvelous Designer, Substance Painter, Photoshop, and Substance Alchemist. Low polygon production The low polygon production uses the high polygon that was previously sculpted, mainly to make the model clean by reducing the lines. The cloth is made using Topogun, a topology tool. Topology is a simple but patient task. Topology is divided into two ways: First, you can use editing and adjustment tools to reduce the surface and the surface to get it. You can also use the automatic topology tool, and then adjust it manually (Method: Set the number of faces first and then click the Retopologize tool) . The low polygon should be as simple as possible, but the shape of the model should be kept unchanged. UVS After the low polygon production is completed, it is the work of UVS. Before UV work, you need to divide the smooth group first, and then cut the UVS seams according to the group. Seams will affect the final texture production, so try to hide the seams in places that are not obvious or corners when working. UVS work also needs to consider the size of the texture. Baking We need to match the high poly and low poly in 3ds Max. The edge silhouette must match and overlap, and then the high poly and low poly of the same part must be named and matched, and then the normals will be baked in Substance Painter. In order to get a better normal map, an average normal and a vertical normal will be baked out first, and then the interior of the vertical normal and the edges found on average will be retained in Substance Painter. Texturing When making textures, we give priority to making the overall color and then adding details. It is easier to add details on the basis. First, I separated several types of textures and distributed them according to the workload. Each person is responsible for several different things. When making, remember to start with the whole, don't be obsessed with the details, you can also communicate with other people and give each other suggestions. When the textures are almost the same, I will add sharpening to the top texture to make the details more obvious, that is, create a new layer and add a sharpening filter. The texture production of other models also uses the same method, first the whole and then the details. Grass production The grass did not use plants. Instead, some patches were created in 3ds Max and placed where needed. After the reference processing of the grass I was looking for, a transparent texture was placed on the patch. Rendering Now you can integrate all the finished models. Before integration, you need to organize all the models, textures, and file names. The final rendering used Marmoset Toolbag because after the HDR we used in Substance Painter was imported into Marmoset Toolbag, their effects would not differ too much. For the lighting part, we use three lights, one main light source has a warmer color tone, and two auxiliary light sources have a cooler color tone. Adjust the camera to enhance the contrast and test the final rendering effect while adjusting.

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.