Teach You The Use Of Hdr Maps In VR

HDR is a high dynamic range texture, the full name is High Dynamic Range, in short, is the light beyond the ordinary light color and intensity. With the help of HDR, we can use color values beyond the normal range, so we can render more realistic 3D scenes. Generally, computers use 8bit (256) or 16bit (65536) levels to distinguish images when representing images. The brightness of the image, but this area hundreds or tens of thousands can not reproduce the real natural lighting conditions, beyond this range you need to use HDR map.
Below are two contrasting renderings

The first picture is the picture with the HDR map added, skylight (HDR map) + reflection (HDR map) + refraction (HDR map) + VR surface light (off the effect of highlights, affecting reflection); the second picture is skylight The effect of the 1.0+VR surface light (which affects the high light and affects the reflection).
HDR textures are better suited for use in open environments. When you want to represent a single object, or a group of objects, HDR maps perform well in scene illumination and refraction. However, indoor scenes and outdoor scenes are not suitable.
The role of HDR maps is mainly used to achieve scene illumination and analog reflection refraction, so that objects behave more realistically.
Let's take a look at how to use HDR maps:
I created a simple scene with two glass cups, a metal teapot, a ceramic dish, and a metal spoon fork.

Settings in the render panel: default lighting: off, skylight: off

There is no light source in the scene, and the rendering is black.

We started to make the scene light up, turn the sky on, and render the image.

See, at this time the object of the scene does not show texture, below we open the reflection channel, click once, find VRHDR, and open the refraction channel, drag the VRHDR of the reflection channel to the refraction channel, and associate the copy.

Drag the HDR of the reflection channel onto the shader and copy it.

Edit the parameters of the HDR map on the shader

In this case, I adjusted two places. Everyone looked at what kind of effect they wanted and tried more. The rotation angle of the texture and the multiplier affect the rendering.

The picture at this time

You can also add HDR textures to the skylight channel to achieve the effect of lighting the scene, but usually the hdr color will affect the object itself (like the image below), so this requires us to adjust by changing the color of hdr.

Click in the light channel, find the RGB Tint, associate it to the shader, and then associate the hdr map to the RGBTint.

These three colors make the color of the texture black and white.
Render the picture, you will see that this picture is brighter than the previous HDR when there is no HDR, the contrast is high, the color is positive.

Finally, we put a light on the side to make the picture layer richer.

Welcome to join us

render farm free trial

Recommended reading

How to render large scenes with Redshift in Cinema 4D


Arnold\ V-Ray\ Octane\ Conora\ RedShift, Which Renderer Is The Best?


How the Redshift Proxy Renders the Subdivision


How to Render High-quality Images in Blender


China Film Administration Release New License Logo


Maya 2018 Arnold's Method of Making Motion Vector Blur in AOV Channel


Corona Renderer Learning - Denoising


Redshift for Cinema 4D Tutorial: Interior Design Rendering




3D Tutorial: Noctis Lucis Caelum(2)
3D Tutorial: Noctis Lucis Caelum(2)
Continue to the 3D Tutorial: Noctis Lucis Caelum(1), your TPN-Accredited cloud render farm, Fox Renderfarm still shares with you the tutorial. Grooming After the UV is completed, the next step is to make the hair. The hair production in this project uses Hair Farm, which can easily simulate a large number of hair effects in 3ds Max. Perform rough modeling according to the hairstyle in the sketch, and then adjust the shape of the hair through the modifier. Create a rough model first, then adjust the shape. Rendering test, Then use 3ds Max's default hair and fur to make some short hairs. Final render, Texturing Next is the processing of the background props of the character. The texturing is drawn using Substance Design, and 3 textures of AO, CURVITY, and Normal are baked. In Substance Painter, the 3 textures were used for processing. Output: The material of the leather jacket, Skin texture The skin texture is processed in Mudbox. Firstly, projection maps are used, and some high-quality real-life skin scan materials are used to make bump maps. On the basis of some materials, a better projection material was obtained by modifying the highlights and shadows and then imported into Mudbox for projection. The displacement map was baked in ZBrush. All materials include an Overal Color map, Base specular map, Oil specular map, Scatter color map, Sub-Surface-Scattering, Bump map, Displacement map. Displacement Map Lighting settings The rendering is done by V-Ray. The basic light is composed of three-point light sources, covering a key light, a fill light, a rim light, but you need to pay attention to the color. For example, if you want white clothes to look textured, the auxiliary lighting needs to be a little blue. The environment uses the following HDR. Final render and compositing The scene and the characters are rendered separately and finally composited in PS. Finally, I added some halo and motion blur to the scenes, adjusted the contrast and color, and darkened the background, and brightened the upper left corner. When adjusting the color, you should pay attention to integrity. Many of these aspects are related to art theory and basic knowledge. This needs to be accumulated gradually in daily learning.
3D Tutorial: Noctis Lucis Caelum(1)
3D Tutorial: Noctis Lucis Caelum(1)
This time, your TPN-Accredited cloud render farm, Fox Renderfarm shares with you a 3d tutorial about Noctis Lucis Caelum. Software used:3ds Max、Hair Farm、V-Ray、Photoshop、Mudbox、Substance Painter Introduction Character artist Weilong Zhang has been in the CG industry for five years. He shared the production process of the work "Noctis Lucis Caelum" and explained the problems encountered and its solutions. Pre-production Before starting, I had a general idea, and then I drew the idea in my mind into a sketch. Before starting to make a model, you also need to consider the composition of the scene, such as the position of the characters. At the same time, glass is used to replace the existence of the visual focus behind the character, and the existence of lines is expressed by the halo and some windows in the background. The bright surface of the window allows the visual center point to be concentrated on the black dark part on the upper right side, which enhances the pressure of the scene and highlights the role. The light of the character gradually changes from right to left, and the background changes from left to right, so that the scene will not be focused and a halo is added to the left in the later stage. Building the model To save time, the model uses a head model modification from a previous project, making sure that the scale of the model is similar to the scale in the design diagram. But the most important point is to pay attention to the direction of the bones and muscles for a more attractive character. Of course, in some cases, in order to achieve better results, appropriate modifications can be made while ensuring that the planning structure is correct. Weilong Zhang has been engaged in the production of CG characters for many years, and he has his own production method. His method is to draw all the bones and muscles of the head in his own way, taking into account the angle of the scene, lighting, and the lines of the face. The clothes are also sculpted in ZBrush, but you need to pay attention to the distribution of folds on the fabric to be reasonable. In order to speed up, Weilong Zhang still uses some alpha. The insert stitch 01 brush is used on the clothesline, and the zipper chain uses a brush called IMM ZipperM. Once you are satisfied with the carving of the clothes, use the topology tool ZRemesher to perform automatic topology, and then import it into 3ds Max for adjustment. Skin details The details on the face such as pores can be drawn manually, or you can find some alpha to make the pores. This is the final step, but pay attention to leaving a layer. The glass behind the character is made with the Rayfire. The UV processing is very simple, and it is made by UV Master directly. To be continue..
V-Ray for 3ds Max Tutorial: How To Create a Sniper Robot
V-Ray for 3ds Max Tutorial: How To Create a Sniper Robot
In this production, I will explain how to create a sniper robot using the hard surface of 3ds Max, and include the texture and shader process. Hard surface modeling is also applicable to a variety of mechanical models, the main software used are 3ds Max, Photoshop, V-Ray and so on. Basic model There is a general idea before the production, you can use the basic functions of 3ds Max to make a rough shape with a simple BOX, and adjust the shape and proportion on this basis. Be sure to adjust all of them before you start adding details. The order of this step is very important. Basic model after adjusting shape and scale Once all the basic model shapes and proportions have been determined, you can add details to the large model on this basis. As for the more detailed places, you can adjust after the completion of the big block. Detail Now that the important parts of the model have been completed, you can add details to these locations. For example, cutting gaps, adding screws and things that are common on mechanical parts. As shown in the image below, most of them use bevels, edge extrusion, chamfering, etc. The tangent at the edge must pay attention to the position of the line to achieve a smooth effect. In this project, some 3ds Max TurboSmooth modifiers were used. TurboSmooth is used to make some smooth surfaces very easy to use, but also to keep the face on the model to a minimum, and can also effectively reduce the final rendering time, if you want the work more realistic and speed up the rendering speed, you can use a render farm, like Fox Renderfarm. Making ammunition belt This section is very simple, you can make a single model, then copy a few and group them into a group, and then use Path Deform Binding to transform. Here you can use the deformer to try to change the Rotation and Twist values to modify more shapes. UV For UV, UV splitting can be done depending on the color of the model and the different materials. The model is divided into six textures,including body, outer body, internal parts and joints, wires, tubes, small pieces, details, screws and weapons. Lighting and materials First set a scene of HDRI lights, a fill light, a yellow fill light, a blue point light source, and then baked an AO map. Material Make a texture in Photoshop: 1. Draw a color layer for the theme 2. Yellow details of the robot 3. Use channels to increase rust details 4. Make a peel on the robot paint Finally, add some text and logo to the material, and finally use V-Ray to render.
Fackbook Customer ReviewsFoxrenderfarm

Powerful Render Farm Service

    Business Consulting

    Global Agent Contact:Gordon Shaw

    Email: gordon@foxrenderfarm.com

    Marketing Contact: Rachel Chen

    Email: rachel@foxrenderfarm.com