Blender's EEVEE Engine, Subverting The CG Production Process

Blender is a great 3D software with a real-time rendering engine - EEVEE. Similar to unity3d and unreal, this engine can create, adjust, and represent 3D objects and materials by using PBR workflows.

How to use the EEVEE engine:

You can see that the changes are reflected in the upper rendering engine, the default is the EEVVEE rendering engine. And the whole window is a bit gray, in fact, it is in the state of rendering, but the material of this box is not PBR at all.
EEVVEE uses the PBR workflow, which is the same as unity and unreal, and has both Metallic and Specular workflows. As shown below, you can choose the nodes you need:

There are four textures required for the Metallic process: 1.Base Color
2.Metallic
3.Roughness
4.Normal
There are four textures required for the Specular process:
1.Base Color
2.Specular
3.Roughness
4.Normal
Of course, these four textures are basically required. If you have other textures, you can import them for free.
Below we import the model

Correspond to the texture, plus HDR map

Well, the effect is not bad. But there are a few more features that make the picture look better, and then find the Post Processs Stack in the properties bar.

They are:
1. Ambient Occlusion Ambient Occlusion
2. Motion Blur motion blur
3. Depth of Field Depth of Field
4. Bloom glow
High energy part
Blender's latest version of the Cycle engine has joined the Principled node of the PBR process.
This node is used to render the material that uses the PBR process offline.
Already convenient, right?
However, after seeing a lot of official documents and trying, I found that the Principled rendering node, working in both the Cycle engine and the EEVEE engine, and the effect is close!
what does this mean?
The following two images are shown, which are the same model, the same set of textures, the same material nodes, and the same lighting. In short, the settings are the same, that is, the real-time rendering and offline rendering engine switching.

From-cycle

EEvEE engine screenshot

Only switch the Cycle engine and open the window for real-time rendering
Although there are differences, they are basically similar.
The traditional rendering process is as follows:
Vray or Arnold for Maya
1. Draw a texture
It may be a PBR process, perhaps a traditional process, in a substance painter, Quixel production, or other software. However, there is no guarantee that the material preview will be the same as the final render.
2. Rendering test
Import textures into Maya and test renderings using Vray, Arnold, or other rendering engines. And confirm the final model material assets.
3. Adjust the light according to the lens
The rendering staff lights in different movie scenes according to different environments. With Maya plus Vray Arnold, rendering tests can take a lot of time and eventually render the final film.
With EEvEE's Blender, these four steps will reduce the time of production and are more friendly to the creator:
Blender_EEvEE_Cycle_workflow

  1. Draw a texture
    Whether you are making a texture in the substance painter or Quixel, as long as it is a PBR material, you only need to pay attention to the effect of the material at this time, because the effects of the EEvEE and Cycle engines will be basically the same.
  2. Rendering test
    Importing the texture of the PBR process into Blender, whether it is EEvEE or Cycle engine, the performance is quite consistent with the software for making the material.
    Here, you can use the EEvEE real-time rendering engine to quickly create a variety of lights, a variety of ambient light, and quickly view the interaction between your material and light.
    And you can switch directly to Cycle without any adjustments and directly render offline. Cycle can also render in real time in windows, and it is very fast.
    It also saves a lot of guessing and waiting time. It is more convenient to light up than before, and the effect can be seen directly, and the rendering is basically the same.
  3. Adjust the light according to the lens
    In this step, the rendering can be quickly illuminated with EEvEE and interacted in real time. You can see the interaction of light with the surface of the object, closer to the final result.
    Then directly switch Cycle offline rendering to further adjust the final rendering of the finished product, real-time and fast.
    I hope this will give you some inspiration and help.
    Author: DigitalCat

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Maya Tutorial: How to Make An Axe(2)
Maya Tutorial: How to Make An Axe(2)
When I feel that there is no problem with the overall shape, I can start the middle mold of the detailed blade part. Continue to refine the three structural parts that were just split. We have refined the structure of the three parts. At this point, the basic shape of the entire model has basically reached the structure in the concept map. If these details are attached to the basic structure, if it is not easy to make in Maya, you can use the advantages of ZBrush's rapid sculpting for quick sculpting. This stage is just a transitional model, there is no need to sense volume or sculpt, like some smaller details, I just quickly generated the basic shape attached to the details on the whole. These are very time-consuming if they are directly modelled in Maya or 3ds Max, so what we need is to use the advantages of each software to quickly achieve the final effect. The software used is not important, the effect is the final. The specific operation is also very simple: - Masking - If the generated thickness is too thick, adjust the thickness and generate again - Separation model - Then adjust the shape according to the original painting. We need to take the topologies of the models planned in ZBrush into low-polygon models and import them into Maya for further mid-model refinement. Finally, some detailed models such as nails and ropes are put on, and then the models are merged, and the preparatory work is done for the model carving. At the edge, I deliberately added some notches and bumps to make this axe look like it is often used. Summary When making this model, there are more cumbersome parts. Don't be afraid. Just break the 2D concept map into many small parts, and then distinguish the priority and make it step by step according to the previous plan. Then sculpt some worn details to the model in ZBrush. Then you can go to ZBrush to carve some broken details. In this process, you need to pay attention to the overall structure and don't make too much detail. Do it first, then do it again, otherwise, the model will look too trivial. There are no details everywhere because they will distract the viewer. We only need to have relatively large damage in the distant view, middle-level details in the mid-range, and close-range views to see the texture of the details, and all the things can be combined to form a very beautiful model. When making a model, you will need to make the main character first, and then other accessories. The overall model's picture needs to be coordinated, instead of focusing all the energy on a broken sculpture. We need to use damage and details to set off the subject, not to make those details too attractive.
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Maya Tutorial: How to Make An Axe(1)
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In this article, Fox Renderfarm, the best cloud rendering service provider in the CG industry, shares a tutorial from 3D artist G on how to make an axe with Maya. G is a 3D artist and has been engaged in model making for the game industry. Before entering the CG industry, he also made many mistakes that the beginners would make. In the process of making some 2D concept drawings into 3D works, he gradually realized that as a 3D artist. From flat thinking to three-dimensional thinking, it is necessary to have a good analysis and judgment ability for the understanding and grasp of the sense of space, especially when the 2D concept map is produced in 3D. G will mainly show the production process of the model and explain how to decompose the 2D drawing into a 3D drawing. I hope this article will be helpful for beginners. Reference I looked for a cool weapon concept map as a reference. The concept map of this axe has beautiful lines and a simple structure, which is very suitable for 3D. Before making it, I will observe the concept map first, and then have a blueprint in terms of structure, proportion and colour scheme. Take the following picture as an example. This axe looks very sharp, and the middle position is thicker, forming a strong contrast. Moreover, we need to infer the thickness and curvature of the side from the ratio and contrast of light and shadow, which is very important. Compared with the two weapons, the first one I personally feel is that it is not a knife, because it does not have a sharp blade similar to figure 2, so it must have a heavy texture. In addition, there are sharp thorns on both ends. I can imagine the way this weapon is used. It should first stun the opponent like a hammer, and then pierce his vitals with the spikes. It's bloody to think about it. Since this weapon is very heavy, I would imagine that the person using it should be very strong and domineering! Preparatory work is very necessary. If you need more, you can find more reference pictures, such as the thickness reference of the side, otherwise, the model will be unreasonable. Modeling My habit is to decompose the weapon according to the structure of the original concept painting before making the model, especially for this very complicated weapon, this step is more important. No matter how complicated things are, as long as they are broken down step by step, they will not be so complicated. The important point is that you should not directly make it on the basis of the concept map. If one of the structures has a problem, then a lot of repeated modifications are required, so that you need to redo it. This will be a waste of time and will lengthen the production cycle. Therefore, the early disassembly analysis is very important. In this project, first of all, we need to determine the main shape, which is basically divided into two parts: one part is the definable thing, the handle, etc.; the other part is the main body of the blade. My principle of production is the structure must be made with the least amount of surface in the early stage. What can be determined is that some parts of the above picture, such as the handle and the bottom of the lower end, are cylindrical, so you can make all these simple things first, and give a reference to the width of the blade. The main body of the blade is as follows: The main structure of the blade is composed of two red areas as a basic structure, and other details can be ignored. Therefore, the structure of our first step is as follows: The model of the blade must be made with the least number of faces, and the whole structure must be made first before the other things. This production step requires a lot of patience and time because we need to modify the shape as much as possible to be similar to the concept map in a small number of faces. Because this low-profile model will be a draft of our final effect. Of course, you can also import the reference image into the background image as a reference. For Part two of the tutorial, Maya Tutorial: How to Make An Axe(2)
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2021-03-31
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