How To Make a Green Bamboo Leaf Forest Cabin With 3ds Max And V-Ray

This article is organized from Fox Renderfarm, the world's leading render farm. It mainly teaches how to use existing models to make green bamboo leaf cabins. The main software used is 3ds Max, V-Ray, Photoshop, etc..

After opening the model, first check and organize the model. After the group is set up, the angle is selected. After repeated comparisons, the following angles are selected:

Next, start to paste the material, the scene is small, the material is relatively simple, the effect is as follows:

The main material of the model is composed of three materials: wall and glass and wood. The parameters are as follows:

Wall material

Glass material

Wood material
Next, start the lighting layout. First, create a vraysun as the main light source in the scene. Environment and reflection add an HDRI texture and use it as the background to get the following effects:

The lighting and environmental parameters are as follows:

The next step is to add plants. This stage has a great influence on the whole work. Therefore, it takes a lot of time to arrange and combine, including the spatial relationship of the whole scene, the relationship between each plant and the shadow relationship. Tested, scrutinized. Get the following effects:

The adjusted plant plane distribution is as follows:

Now that the scene has been completed, the effect is not bad, but the dark part is not well lit and the color is too dark. Therefore, we added a parallel lamp to the scene to add light to the dark part. The room also added a face light to reflect the space, and increased the dark part multiplication in the exposure control. The parameters are as follows:

Finally, the following effects are obtained, and then the big picture can be rendered. Everyone has their own big picture parameters. I won't go into details here, and I will use it with ease.

Next, go to the post adjustment section, here is the original rendering:

First make an overall adjustment to the rendered image, through soft light, color balance and other processing to get the following effects:

Then add a gray sky map to set a tone for the picture:

Then add a vignetting around, and spray some fog on the plants behind the building to increase the sense of space and emphasize the visual center of the picture:

Continue to darken the foreground and adjust the materials in the scene to make the relationship more reasonable and better integrated into the whole tone.

Next, spray warm light on the bright part to enhance the feeling of the sun. Then create a brightness contrast adjustment layer, as follows:

Create a color balance adjustment layer:

Reduce saturation:

Add a little more exposure:

Then, copy one layer as a whole and the blend mode is soft light.

Finally, if you want to make the work more realistic and the light more natural, it is best to use cloud rendering service, time saving. The tutorial is for reference only. Maybe you can change other methods based on the above, such as using cloud rendering, it may be made. For more different works, get a free $20 free trial of Fox Renderfarm.
Author: Green Bamboo Leaves


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 , 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.
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
71 Tips And Technical For V-Ray In 3ds Max
71 Tips And Technical For V-Ray In 3ds Max
In writting this article, I want to share some tips in the rendering process for V-Ray in 3ds Max, which can save rendering time and improve rendering speed. 1.Try to limit the number of Ploygons, the less the faster rendering speed. 2.If you use V-Ray, use Proxy instead of the high-surface model. 3.When making shadows, subdivisions are best not to be too high. 4.Remove unwanted objects from the scene. 5.If the model is very small on the output screen, the texture resolution should not be too high. 6.Avoid excessive use of glossiness and highlights. You can achieve approximate results with simple diffuse, bump and reflection (0.95 ~ 0.75). Also try not to use Archshaders. 7.Use the high number of models near the camera or the main visual range. 8.When V-Ray is used in outdoor scenes, the built-in direct light (such as the sun made by yourself) and V-Ray's ambient light are much faster than V-Raysun and sky. You only need to adjust the color to achieve V-Raysun and sky effects. 9.Understand the difference between copy and instance, and the appropriate application, simple but effective. 10.Clear the undo data, especially the list of commands in the command line above, because this will eat a lot of memory. There is a need to clear, undo is not enough and it is very troublesome. 11.Regarding system resource management, turn off anti-virus software (such as norton or mcafee) when rendering, because this will slow down. 12.It is best to use textures in the details of the model. 13.Use the xref scene. 14.Optimize the model, such as using polycruncher and other plugins, MAX2010 already has ProOptimizer. 15.When making smooth surfaces (curves/meshsmoothing), note the value of iteration. 16.When using V-Ray's irradiance map, check the interpolation so that the value is the same as the reflection and refraction interpolation in the submenu. 17.Are you sure you want to use the time killer caustics effect? 18.When V-Ray renders, the first pass selection, brute force vs. irradiance map, is judged according to the case. 19.The core parameters, noisehreshold (noise threshold) and AA (AntiAlias) subdivision (anti-aliased subdivision), based on the case. 20. Fine-tune the parameters of glossy reflection and frosted materials, based on the case. 20.Avoid using the DOF of the physical camera, you can use other plugins instead. 21.Use render elements to make various channel outputs. Then do the post-synthesis system, which can shorten the rendering time, such as using some common synthesis software AE, Combustion, etc. 22.Evermotion Archshaders and Archinterior/Exterior's default material settings are time killers that need to be adjusted and rendered. 23.Commonly used Irradiance and Light Cache (save to file) options, if the scene is unchanged, you can skip the calculation part, directly access the cached data graph, and the rendering speed will be faster. 25. A balance is achieved between the output screen resolution and the irradiance map setting. For example, if you are 3600pixel large image, set min/max=-4;-3 (equal to "very low" preset option), interp. samples to 25 (smooth surface). or min/max=-4;-2 26.Before setting all the shaders, try to place the material in the Override mtl: Material button in the V-Ray: Global switches in the render dialog. Then test which parameter values are the fastest and the best. Use this method to get the optimal settings. 27.Too much light will also consume rendering time. 28.When rendering the test, please use the preset parameters, the speed is faster. 29.ADAPTIVE QMC improves detail and is slower; Adaptive Subdivision makes the picture smoother and less detailed, but faster. Based on the case. 30.Please check the render region division, region sequence, etc. in Raycast Parameters... 31.When using V-Ray's displacement, if 2d mapping and related settings eat a lot of memory, please limit the use area of the displacement. 32.It is recommended to use 3ds max 64 bit 33.Using the X-refs feature allows you to manipulate large, bulky external reference scenes in the main scene. 34.3ds Max handles 9000 scenes with 10k facets more efficiently than 200000 1K facets. So attaching objects can increase execution efficiency. 35.Using mrProxy or V-RayProxy in Mental Ray or V-Ray, Proxy is designed to efficiently load models and renders. 36.Bitmap Proxies: Reduces the amount of memory consumed in the scene. 37.Data resources are concentrated in one path for management, not to be scattered around. 38.Local computer operations can avoid the damage caused by remote network traffic jams or files. Remember to do backups often. 39.3ds Max users with a systematic organizational concept know how to use Layers, Groups and Selection sets. 40.Write MAX s to simplify heavy work and increase productivity. 41.Photoshop and post-production software (AE, Combustion) will be used, which will save a lot of rendering time. 42.Good knowledge of photography, training your own visual observation ability, you can immediately see where you need to modify and immediately stop rendering when rendering, you don't have to wait until you finish it to judge whether it is good or bad. 43.If the texture is too large, such as 3600pixel or above, please lower the AA (anti-aliasing) value, min/max=-1; 2. 44.Make sure to turn on the system multi-threading option. 45.Use a smaller size for the rendering test. 46.Area Rendering: Only test the important range, so have more time to check the Shader and adjust the results you want. 47.Try not to add Glossy (gloss, highlight) effect unless you think the effect will be good. 48.The more the number of scene model faces, the more memory is consumed. Some techniques can reduce the amount of RAM used. Adjust the Raycaster settings in the System volume column (reducing Max. levels, increasing Min. leaf size, increasing Face/level coefficient, switching Static to Dynamic) Default Geometry) 49.When rendering, using 2d displacement mapping will consume a lot of rams, especially large displacement maps. If so, you can use 3d displacement mapping. If you have multiple Displacement modifiers, but share a displacement map, And to set the same parameter value, it is best to replace the Displacement modifier with the attribute instance, that is, multiple models share a Displacement modifier. 50.Bitmap filtering: Summed area uses more RAM than Pyramidal. Summed area is only suitable for smaller textures. 51.Shadow maps obviously consume RAM, you can use raytraced V-RayShadows instead. 52.When the scene has only a simple model (no fine-grained model), you can use only the first Light Bounces. 53.Image sampler (AA anti-aliasing): V-Ray's anti-aliasing function requires a large amount of RAM to store data. The amount of memory depends on the bucket size (Rendering region division) and sampling rate (sampling rate). To reduce memory usage, you can reduce it. The bucket size and the use of different Image sampler, such as Adaptive QMC sampler memory usage is less than the Adaptive subdivision sampler. 54.Global illumination caches: Irradiance maps, photon maps and V-RaylightMtl maps all require additional memory for storage, with separate methods to control RAM. For example, the memory usage of Irradiance maps is based on the number of samples, so you can lower the Min/Max value and use the loose threshold values (higher Color threshold, higher Normal threshold, lower Distance threshold). For example, the memory usage of photon maps is based on the number of photosns, which can reduce the Diffuse subdivs of V-Ray material or increase the maximum Max. density. 55.Decrease the trace depth as much as possible. 56.Even if V-Ray's VFB (Visual frame buffer) is selected, MAX's VFB will still be colored, taking up extra RAM. You can turn off the "GET RESULOTION FROM MAX" option and set the MAX output resolution to 100×100. Set the correct resolution of V-Ray VFB. 57.Sometimes it is considered that the rendering settings are slower. If you check the scene carefully, see if there are any unused Polygons, or if there is any useless material in the Polygon? shader editor outside the Camera lens? Affect the speed of Render. 58.Sometimes the model in AutoCad is far from the coordinate center, and we call it in max, but render is very long, you can move this model to the coordinate center [0,0,0] position in AutoCad. 59. Avoid overlapping models, so you must raise the render setting to remove spots or blemishes. 60. It takes a lot of time to calculate a large image, so you can use a similar Super Render to split the block rendering. 61.Do not increase the Reflection/refraction value in V-Ray Global swithces, about 2~3 to meet most of the requirements. 62.The REFLECT ON BACKSIDE parameter can be turned off in the Option option of the V-Ray material. 63.If you spend a lot of time to render a flat and ungraded result, and similar to the contour map, you can check the Use interpolation in the reflection in the shader, and then adjust the reflect interpolation min/max = -3 in the Reflection volume. -1 64.Avoid using the Bump map with the glossiness of the check-in interpolation, which will produce a lot of impurities. 65.If you render 3600pixel and other large images, you can only count small sheets, such as 1600 or 2200, then use the PS/PP profit filter, or zoom in ssplinepro, unless the laser output, no one will notice . 66.Irradiance map with light cache can meet most of the rendering quality requirements. 67.After determining the GI solution (such as Irradiance + light cache), the setting of image sampling and antialiasing becomes extremely important. 68.The HSph. subdivs of Irradiance maps are adjusted upwards from 20 until the impurities are removed. Generally, good results can be obtained between 20 and 50. 69.The default min/max=1 of the Adaptive QMC sampler; 4 is only used for testing, min/max=3; 6 meets most high quality requirements, and the best between min and max should not exceed 2 or 3. 70.When Light Cache's Subdivs value is used for testing purposes, 100 is used for large scenes; 250 is used for small scenes or indoor scenes. When used as product output, multiply by 10, 1000 for large scenes; 2500 for small scenes or Indoor scenes (more details). In actual rendering, adjust according to the current environment. 71.After all, using a render farm can make the works more realistic, most useful in time-saving and money saving.

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