The Guide of V-Ray Rendering Manual Model (2)

If you have a higher pursuit of rendering, you need to pay attention to two aspects (lights and lenses), let's start with the light. It's important to note that we don't have a complete set of lighting parameters for you. Each scene is completely different. If you want to get some kind of once-and-for-all parameters, you can't do it! In each of the following examples, we have debugged the number, intensity, and angle of the lights more than twenty times. It is right to master the correct logical thinking.
Lighting is very important for visual experience!
Strong contrast between light and dark, can draw lines and increase the geometric readability of the model, which is the most common form of manual model performance. The lighting arrangement in this case is also the easiest, you only need to arrange a V-Ray artificial light source in the right place. Directional Light is the most preferred.
As follows, Ando's Koshino house has only one directional light source. Yes, there is only one.

As for the location of the lamp, look at the producer. We rendered 72 different angles of lighting effects and assembled them into a gif, hoping to inspire you.

Of course, it is not necessary for the manual model to make the light too dark. It can also be brighter.

To render a bright scene, first you need a bright background.

Although it may not be necessary, there is no harm in understanding the lighting of the products in the studio. Try to understand the three points of lighting? Use the primary three-point lighting knowledge to add three or more light sources and coordinate the brightness relationship between them. Usually, like this

In fact, not so complicated. We are actually the light of this cloth

Globally covers the brightness of 200 gray, the rendering mode check light is as follows

Add wood material, wood material only uses diffuse map, then, render it.

Since the V-Ray artificial light source will "small" the large-scale model on the look and feel, then the manual model must use artificial light source? Of course not, the effect of ambient light is also very good. Compared with artificial light sources, the ambient light is less excessively carved and more natural.

We made a model with reference to it.

All ambient light is turned off, a V-Ray Volume Light is added, and an HDRI image is loaded as a light source. At the same time, a face was added outside the window, and a self-illuminating material was made from an outdoor photo.

Give the appropriate intensity of hdri, adjust the desired angle of sunlight, and then render the model to check the lighting.

Then add the material, this time the wood material, added a little reflection, but it is very weak. Slightly added some ambient light occlusion (AO), global subdivision.
2, other parameters remain the default

After talking about the idea of lighting, let's talk about the lens. For the manual model, the core of the lens is a word: depth of field. Depth of field can make the rendering result more in line with the camera's usage habits. Usually the model is small and the shooting distance is close. The proper depth of field effect can highlight the model itself and shape the sense of space on the macro.
After turning on the depth of field and adjusting the appropriate aperture size, the wooden house above is rendered into a picture.

When you work hard on the lights and the lens, you will find that a maddening problem is highlighted: when the model is displayed without reservation, the details are displayed with unreserved .
Handmade models leave scratches, breaks, and stains due to cutting, sanding, and pasting. These details not only make the model more realistic, but also give the model a unique temperament.
From: Rifle Graphics

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3D Tutorials: Making a Sci-fi Scene in 3ds Max(2)
3D Tutorials: Making a Sci-fi Scene in 3ds Max(2)
Continue the 3D Tutorials: Making a Sci-fi Scene in 3ds Max(1), the fastest GPU and CPU cloud rendering services provider, Fox Renderfarm still share with you the part of texturing and rendering in making a Sci-fi scene. Texturing Making textures is the most interesting part of the work, but realistic textures are also the most difficult to make. Understanding the texture we want to make is the first thing to do. The more common items in life, the more troublesome it is to make. So it is very important to find a reasonable reference. For this project, I used the V-Ray shader to set the material. First of all, I chose the V-Ray Mtl material type, paying attention to the highlight setting. For the metal material setting, first, add a texture to the diffuse, reflect the falloff to simulate Fresnel, and fine-tune the color in the curve and falloff parameters. Because of the difference in metal texture, the robot's metal texture drawing has been slightly adjusted. For example, the metal texture of this robot is divided into three types, and their highlights will be somewhat different. I have used the Reflect glossiness adjustment in V-Ray Mtl. Rendering When the model, textures, and lights are all made, we can start rendering. As a 3D artist, rendering time is an issue that cannot be ignored. The rendering of this project uses layered rendering, which facilitates the post-processing of files and also speeds up rendering time, but the downside is that the lighting is not well controlled. If the lighting is adjusted, many files need to be re-rendered. As for the production of CG scenes, it is crucial to the tone and atmosphere of the whole scene. Whether we can grasp the overall picture feeling is the key to the success or failure of creating CG scenes. The atmosphere can be created by adding special effects such as atmosphere, and the adjustment of the overall color of the picture is often achieved through color correction. There are two commonly used color correction methods, one is to directly color correct in 3ds Max, and the other is to color correct in PHOTOSHOP. I personally prefer to use PHOTOSHOP. After the 3ds Max rendering work is completed, it is now the work of entering PHOTOSHOP, we need to further add details to the picture. I adjusted the color, brightness, saturation, etc. to make the picture look more comfortable. Next, add details to the picture, including weeds, smoke, light-emitting energy bars, etc. I made a variety of attempts but finally chose red. The final adjustment was the background. I wanted to add a distant city to the background, so I used 3ds Max to build a simple background city, then rendered it into PHOTOSHOP, and directly found some image materials to superimpose on it. The next step is to add a distant city to the screen. Because it is a faraway view, the city can quickly create a few boxes in Max, and then roughly render it, import it into PHOTOSHOP, and find the material to be directly superimposed on it. This saves the time to show the UV texture. Finally, I want to add some clouds to the sky to make it look more natural. I used a brush to paint the clouds in PHOTOSHOP.
3D Tutorials: Making a Sci-fi Scene in 3ds Max(1)
3D Tutorials: Making a Sci-fi Scene in 3ds Max(1)
Your powerful CPU & GPU cloud rendering services, Fox Renderfarm still shares with you the 3ds Max tutorial. In this tutorial, I conceived a sci-fi style scene, and named it "Fortress". Introduction Before 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. Lighting After 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.
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](_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:
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