The Guide of V-Ray Rendering Manual Model (3)

In the Guide of V-Ray Rendering Manual Model (2), when you work hard on the lights and the lens, you suddenly find that the lack of details is a big problem. Finally, let's talk about the details of the drawings.
About the details, one to point out is that if you still have the passion for learning and the desire to know, you should do it in 3d MAX and MAYA, or even ZBrush and Houdini.
Try to use high-quality textures, in addition to the resolution of the touch, more importantly, it usually provides more than diffuse reflection, but also provides textures used by other important channels, which saves you the time to go to PS .
Use texture to create a material similar to the following (gravel floor)
But in most cases of architecture, there is no need to be so complicated, too complicated and sometimes make your material look worse.
In this wooden hand model, the wood part Rifle does not even add reflection. As for the glass, a dirt texture is used, which is attached to the transparency of the diffuse reflection.


Another point you need to be aware of is: avoiding repetitiveness. By adjusting the texture UV of each face, the regularity is disrupted.
Any manual model has a logical structure of basic production. Keeping these frameworks in a timely manner is a common way to improve the credibility of the model, and it is simple.

Manual models always leave some hand marks in the production. For example, in the position where the plate is joined, the cut position or the corner portion, there will be signs of wear or stains. In V-Ray, the dirt program texture is usually used to simulate. Essentially the dirt map works the same way as AO. What it looks like in the model. The wood map is used in the regular part of the dirt map, and the dirt part is given a white color directly.


Although we can use permutations to increase the detail of the model surface, the most fascinating beauty maps are all used for full-mode rendering.
For most of the partners who already have some experience with V-Ray, the picture does not show the feeling, not that you will not use the software, sometimes focusing on the secondary aspect, losing important aspects, such as: life ps Material, but not willing to work hard on modeling. I hope that the guide of v-ray rendering manual model compiled by Fox Renderfarm can help you.

Interested

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
More
2019-08-21
V-Ray For Sketchup To Make A Rendering Imitate The Penda Style
V-Ray For Sketchup To Make A Rendering Imitate The Penda Style
This is a rendering that imitates the Penda style and is the first attempt to simulate a manual model with rendering. The style of Penda has always been very much liked and yearned by me. It is elegant and readable. The following reference picture shows an indoor project from Penda. The software used is SketchUp, V-Ray, Photoshop. Step 1: Create a model Firstly, look at the material of the reference model, here is composed of four materials, the bottom of the board, the floor plan, the placed character model. There is a rough plan to do before you do it, such as material or floor plan. The original model used in SketchUp is now a work in the previous exercise, and the models on the side are scattered into random placements. Then there is the element in which to add the floor plan. You can make the found design material into a png format in Photoshop, and then use this png into SketchUp to adjust it to the appropriate size. Place it on top of the board as follows, Step 2: Material adjustment The choice of material is actually very important. The color of the wood is dark and the color of the metal will affect the final rendering. Then you need to adjust the reflection, roughness, and reflection values of the material. During the adjustment, the board uses very weak reflections and roughness. If it needs to be more realistic, you can add a embossed iron map to increase the detail of the wood grain. The character model used for decoration needs to pay attention to the subdivision and simulate the feeling of smooth plastic. And the focus is on the texture of the metal model, because the Penda's picture has a feeling of powder, so the metal is pink and purple, and Glossiness is connected to the gray map. Step 3: Lighting and rendering This part chose V-Ray to make lighting, and chose to turn off the skylight, and then played a large light source on the top of the model to simulate the light source, the color is white by default, and the subdivision is increased. Then adjust the AO layer, the picture is as follows: Step 4: Photoshop late adjustment First copy a layer in soft light mode, the texture looks increased, and then adjust the contrast. And adding some dirt will make the model look more realistic. Finally, the periphery is blurred, the focus is simulated, and the final product is finished. Although the final result is still far from the style of Penda, the overall process of rendering is the same.
More
2019-08-15
V-Ray 3.4 For Sketchup To Make A Work "Container Cabin"
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. 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. 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. Then in the building, some furniture models were added to add detail. 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.) The cement wall uses a higher resolution texture, White wall also uses a texture, 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. 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. 4.Rendering and post-production I did not make too many adjustments and directly pulled up the plot parameters. And added Z channel, MID. 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
More
2019-08-14
Foxrenderfarm

Powerful Render Farm Service

    Business Consulting

    Global Agent Contact:Gordon Shaw

    Email: gordon@foxrenderfarm.com

    null

    Media Contact: Rachel Chen

    Email: rachel@foxrenderfarm.com