TOTAL CHAOS: Chaos Group Launched Its Second Annual Computer Graphics Conference

On May 17, Chaos Group launched its Total Chaos conference in Sofia, Bulgaria with a keynote from the minds behind V-Ray and Corona. The company reinforced its dedication to research and innovation, its commitment to bringing V-Ray to diverse creative industries and its continuing support for the creative community.
After an energetic performance from Rio Dance Crew 360 and singers Torlashki Napevi, CCO Lon Grohs welcomed the 1,000-strong audience of Total Chaos attendees to the Sofia Tech Park. Next, Peter Mitev, Chaos Group’s co-founder and CEO, presented the highlights of a busy year for V-Ray and Corona including the launch of V-Ray Next for all major platforms, V-Ray for Unreal, Corona 2 and 3 for 3ds Max and Corona for Cinema 4D.
The teams behind V-Ray and Corona have been collaborating closely on new technology. At Total Chaos, Corona’s Research and Development Partner Jaroslav Křivánek officially launched Chaos Research, a laboratory which will combine resources, experiment with new ideas and create the rendering technology of the future.
Jaroslav handed over to Corona’s Founding Partner and Main Developer Ondřej Karlík, who celebrated the innovative renderer’s 10th birthday with a demonstration of recently introduced features of Corona, including its caustic effects, and gave a glimpse at how they’ll be refined in the future.
No Total Chaos Keynote would be complete without a few words from Vlado Koylazov, Chaos Group’s co-founder and CTO. He introduced some of the exciting features users can expect in V-Ray Next updates for Maya, 3ds Max and Unreal, as well as the official release of V-Ray for Houdini.
VP of Product Management Phil Miller joined Vlado on stage to wrap things up. Together, they introduced a brand new demo of Project Lavina, the incredible real-time iteration of the V-Ray engine.
The day started with an incredible keynote from the most important people behind V-Ray and Corona. Then, the 1,000-strong crowd dispersed to check out a diverse array of presentations from professionals in the CG industry.

·Art track
Arch viz and interior design was the focus of the first two talks on Total Chaos’ biggest stage, with WeWork’s Gregory Rogers and Kengo Kuma Architect’s Tomohiro Matsunaga deconstructing workflows and delving into the role V-Ray plays in their visuals.
Then, we switched lanes to a presentation from Sonja Christoph. Her inspirational and moving talk looked back on a varied career which has taken her from work on movies, including Tomorrowland and Doctor Strange, to her current role as an environment artist at Massive Entertainment for games such as The Division 2.

There are many ways of representing the human form, and a trio of presenters showed their approaches to digital characters. Victor Hugo charmed the crowd with his uniquely stylized characters, Ian Spriggs showed how he’s using traditional techniques with cutting-edge technology and anatomy expert Scott Eaton blew the audience's minds with his research in AI and human figures. In a hugely exciting announcement, Ian even debuted a new portrait of THU event founder Andre Luis.
·Women in tech panel

Total Chaos was host to a packed discussion on how women can forge successful careers in the worlds of tech and CG. Juice’s Natalia Lasota, Chaos Group’s Albena Ivanova, Avengers: Endgame’s Production Technology Manager Piya Wadia, Massive Entertainment’s Sonja Christoph and INK’s Ioanna Ivanova talked about their unique career paths and switching between industries, personal and workplace challenges, advice on time and stress management and communication in the workplace, and — above all — how to follow your heart and stay true to yourself. 

The Code track area is all about delving into the nuts and bolts of the technology behind powerful CG software. The lineup included software developers Javor Kalojanov (Weta Digital), Steven Parker (NVIDIA), Adrian Graham (Google), Prof. Dr.‐Ing. Philipp Slusallek (German Research Center for Artificial Intelligence), Attila Áfra and Jim Jeffers (Intel), and Asen Atanasov (Chaos Group).

This is where Chaos Group’s CTO and Co-founder Vlado Koylazov unveiled some supersmart new features coming to V-Ray Next for 3ds Max, including memory tracking, shader debugging, GPU advances and bump shadow improvements. He also shed light on a new Light Cache algorithm which even works with Project Lavina, Chaos Group’s real-time ray tracing technology.

·Craft track
Volvo revved up the Craft Track with a presentation on how it has developed a fully integrated pipeline for real-time and offline rendering and the knock-on effect this has had on the way its cars are built. Porsche’s Andre Matos was in swift pursuit with a look at how V-Ray GPU and VRscans have supercharged his workflow, and he was followed by fascinated and varied talks from Tobias Nientiedt (OTTO), Tarran Kundi (Woods Bagot), Adam Tunikowski and Natalia Lasota (Juice), and Anthony Christov (IDEA Academy).

London’s INK Studio has made a name for itself in creating clean-but-playful images, animation and VR experiences for the likes of Honda and Audi, and in Ioanna Ivanova’s presentation she showed off some of the tricks of the trade. She demonstrated how Cinema 4D can be used for quick and easy previews, showed a head-spinning Escher ad — and revealed why you should never, ever try to work with cats.
The Craft track finished with a journey into the (occasionally horrific) heart of Hellboy from Bulgarian VFX studios Nu Boyana and WorldWide FX.
Total Chaos's second and final day was every bit as good as the first. The line-up of 34 presentations and discussions across four stages demonstrated the incredible diversity of the CG industry. The crowds were astonished by AI-powered world builder Promethean AI, inspired to create a mobile game with Gameloft Sofia, learning how Blur Studio coordinates artists around the world or discovering the inner workings of Chaos Cloud.
Architecture and design was the theme of the Art track’s morning session. Gensler’s Scott de Woody was the first to grace the Total Chaos podium with his overview of the multinational architecture firm’s approach to creating buildings people want to work in — including an appropriately triangle-based HQ for chip firm NVIDIA.

Continuing the architecture theme was KPF’s Cobus Bothma, who detailed how the company built its cutting-edge pipeline with new V-Ray tools such as V-Ray for Unreal for creating Hololens scale models and easy, beautiful real-time walkthroughs in Project Lavina. The trip down the VR rabbit hole continued with Marko Margeta and Jose Pareja Gomez of Zaha Hadid Architects, and Factory Fifteen’s exhilarating Nissan Formula E experience.
Madrid-based creative studio Beauty and The Bit has brought big-screen sensibilities to the arch viz movie with “Landmark.” In his presentation, art director Victor Bonafonte Morales explained his initial intentions and demonstrated how his sketches and previz fed into the final movie.

Meanwhile, in the Craft track, Ingenuity’s Grant Miller went procedural with a guide to how the company uses Houdini and V-Ray for Houdini to create environments populated with dense fauna, crowds of thousands for a Kelly Clarkson music video and piles of bodies for The Walking Dead. There are sure to be some audience members who will make use of Grant’s techniques to cut out the fiddly bits of their VFX pipelines.

Quickfire round! Back in the Art track, ILM’s David Wortley and Falk Boje showed how V-Ray for 3ds Max has been used seamlessly to create environments in big movies including Black Panther’s Wakanda, A Wrinkle in Time’sfloating mountains, Jurassic World: Fallen Kingdom’s Isla Nublar, Star Wars: The Last Jedi’s Skellig Island (with Phoenix FD for the sea) and Rogue One’s tropical battleground. Despite covering so many films, there was no shortage of tips and tricks here.

The Assassin’s Creed series takes pride in its accurate historical recreations — albeit with a dash of 21st-century parkour. In Yavor Yakovliev’s presentation, he showed how Ubisoft Sofia used procedural techniques to recreate Ancient Egypt for Assassin’s Creed: Origins. Next door, in the Craft track, Slashcube’s Thomas Vournazos flew us to “Moon Village.” Developed in conjunction with architect SOM, the European Space Agency and the Massachusetts Institute of Technology, this short film used Corona for Cinema 4D to visualize a human colony on Earth’s natural satellite.

How can VR help the architecture industry? And what happens when we create spaces in VR without the constraints of the real world? These are the questions Agile Lens’s Alex Coulombe answered with his dynamic and charming presentation. He looked at how VR has changed the way we plan and explore prospective theaters, and how it inspires new forms of architectural, artistic and theatrical expression.

The day came to an epic end with two major players in the visual effects industry. Digital Domain’s Deke Kincaid showed the evolution of the company’s digital humans and characters, culminating in a thorough breakdown of its spellbinding V-Ray rendered work on Avengers supervillain, Thanos. After DD’s analysis of the 750,000-year-old big bad, Method Studios showed the techniques it used to create a photorealistic baby with an adult voice for a commercial project.
The wheels are already turning on Total Chaos 2020. Stay tuned, and we’ll see you in Sofia next year!
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Tutorial: V-Ray for 3ds Max Making Forest Park Restaurant
Tutorial: V-Ray for 3ds Max Making Forest Park Restaurant
As the leading cloud rendering services provider, Fox Renderfarm is here to tell you how to make forest park restaurant using V-ray for 3ds Max.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 AssignmentIn 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.!Tutorial V-Ray for 3ds Max Making Forest Park Restaurant-1Because 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.!Tutorial V-Ray for 3ds Max Making Forest Park Restaurant-2After 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.!Tutorial V-Ray for 3ds Max Making Forest Park Restaurant-3The 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.!Tutorial V-Ray for 3ds Max Making Forest Park Restaurant-4Since 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.!Tutorial V-Ray for 3ds Max Making Forest Park Restaurant-5 !Tutorial V-Ray for 3ds Max Making Forest Park Restaurant-6In the end, the complete building body was initially obtained.!Tutorial V-Ray for 3ds Max Making Forest Park Restaurant-7 2. Scene LightingThis 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.!Tutorial V-Ray for 3ds Max Making Forest Park Restaurant-8 !Tutorial V-Ray for 3ds Max Making Forest Park Restaurant-9The 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.!Tutorial V-Ray for 3ds Max Making Forest Park Restaurant-10 !Tutorial V-Ray for 3ds Max Making Forest Park Restaurant-11 3. Environmental Modeling and Material AssignmentThe 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.!Tutorial V-Ray for 3ds Max Making Forest Park Restaurant-12However, 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.!Tutorial V-Ray for 3ds Max Making Forest Park Restaurant-13The 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.!Tutorial V-Ray for 3ds Max Making Forest Park Restaurant-14The 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.!Tutorial V-Ray for 3ds Max Making Forest Park Restaurant-15In 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.!Tutorial V-Ray for 3ds Max Making Forest Park Restaurant-16 4. Vegetation AdditionHere we use the itoo's grass model, convert it to a proxy, and use the advpainter for manual distribution.!Tutorial V-Ray for 3ds Max Making Forest Park Restaurant-18 !Tutorial V-Ray for 3ds Max Making Forest Park Restaurant-17 5. Rendering and Post-ProductionThe 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.!Tutorial V-Ray for 3ds Max Making Forest Park Restaurant-19After 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,!Tutorial V-Ray for 3ds Max Making Forest Park Restaurant-20The 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.Fox Renderfarm hopes it will be of some help to you. As you know, Fox Renderfarm is an excellent cloud render farm in the CG world, so if you need to find a render farm, why not try Fox Renderfarm, which is offering a free $25 trial for new users? Thanks for reading!Article reference article shared by 3d artist Yu Dejie
72 Tips And Technical For V-Ray in 3ds Max That You Should Know
72 Tips And Technical For V-Ray in 3ds Max That You Should Know
In writting this article, the leading cloud rendering service provider, Fox Renderfarm wants 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. 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.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. Avoid using the DOF of the physical camera, you can use other plugins instead. 72. After all, using a render farm can make the works more realistic, most useful in time-saving and money saving.
3ds Max Tutorial: Analysis of Building Rendering in Dusk
3ds Max Tutorial: Analysis of Building Rendering in Dusk
Fox Renderfarm, as a leading archive render farm, brings to you the analysis of architectural renderings at dusk made with 3ds Max and V-Ray. An outstanding works include two aspects: one is the picture effect, including color matching and composition of the picture. This is the key, as well as professional knowledge and photography skills, and the level of appreciation of photographic works. Another aspect is technology, which can use various tools. This is extremely critical. You must fully understand what to do and how to do it. If you can balance these two aspects well, you can make effective worksSoftware used3ds Max, V-Ray, Solid Rocks, Forest Pack Pro, Siger Shaders, Photoshop Cs6, Red Giant Magic Bullet and Nik Software.Reference pictureBefore the production of the artwork, the key step is to find the correct reference photos, prepare the reference for the future atmosphere, lighting and post-production, and try to approximate the reference photos.!3ds Max Tutorial Analysis of Building Rendering in Dusk (12)Basic SettingsLinear Workflow is a highly recommended way of working, the basic settings are shown in the figure,!3ds Max Tutorial Analysis of Building Rendering in Dusk (1)ModelingAll models are based on flat design drawings. The basic model of this figure is made using Autocad and then imported into 3ds Max. The details after that are added based on your own imagination without any reference.The terrain and surrounding environment are modeled using Forest Pack Pro, which can make stones, grass, and trees with a random and natural feel. The plants on the side of the building should be arranged according to the layout indicated in the drawings of the landscape design.!3ds Max Tutorial Analysis of Building Rendering in Dusk (2)Materials and texturingAll textures in the scene use the Siger material as the base texture. Based on this texture, the texture effect is made according to the needs of the project. Keep the texture as simple as possible, using only some basic channels, such as Diffuse Map, Specular Map, Bump Map, etc. It is produced according to the reference in the reference. Using the texture library is a time-saving method. You don't need to spend a lot of time to make each texture from beginning to end. You can make some adjustments on the basis of the texture library to meet the requirements of the project.The material of the swimming pool is a little tricky in refraction on the water surface, and the final result is very close to the reference picture.!3ds Max Tutorial Analysis of Building Rendering in Dusk (3)LightingHDRI lighting technology is one of the very useful ways to achieve real effects, which can get very realistic and accurate lighting effects. When setting the position of the main light source sun, you can have several options, place it on one side, use warm colors, and then set a transition light source from warm to cold and light to dark. This transition light source can give with a more natural effect on the picture, the light won't appear too flat.In terms of outdoor light sources, the Dome light plus HDRI method uses Peter Guthrie's PG SKIES 2028 for the texture, and the indoor light uses a standard Target combined with V-Ray shadows and V-Ray surface light to match the IES. The small downlight on the ceiling uses V-Ray light to simulate the feel of a light bulb.!3ds Max Tutorial Analysis of Building Rendering in Dusk (4)RenderingThis part is a bottleneck for many people. How to set a set of effective parameters? A very old but extremely useful plugin for Solid rocks is used here. Solid Rocks has a very useful set of V-Ray parameters. The interface is very simple. As long as you know V-Ray, you can understand it. Basically it covers all the parameters needed. It is very convenient and quick to use. For those who are not interested in going deeper V-Ray's parameters are very suitable for those who influence the rendering process behind the scenes. Here are the very basic parameters.!3ds Max Tutorial Analysis of Building Rendering in Dusk (5)In V-Ray Elements, it is required to be able to control some effects such as light and dark contrast, reflection and refraction, etc. The V-Ray Raw Global Illumination channel has been added for better post-control. Finally, if you want the effect to be realistic, especially if your local machine fails to meet the rendering hardware requirements, often when the machine crashes, it is recommended that you use a cloud rendering services to render.Post-productionThe beginning of a work starts from the post-production period, and the earliest reference picture found determines the effect of the final artwork.In the post-production processing, try to keep everything simple, use the V-Ray Raw Global Illumination channel, change the layer to Hue / Saturation overlay mode, and adjust it to indoor without exposure. Then add some texture on the left cement floor.!3ds Max Tutorial Analysis of Building Rendering in Dusk (7)So far, everything has been made with 3ds Max and V-Ray. If you need to adjust the color, you can use the Selective Color adjustment layer, because only this layer can make every color in the scene controllable. The principle is keep the effect of the transition light in the scene, because the four colors in this layer basically cover all the colors in the scene, so this provides the flexibility of color control of this scene, which can well harmonize various colors and tones.The color balance is changeable, so a good reference picture is necessary, as long as you try to imitate the effect in that photo, the trick is actually to find a photo close to the existing rendering effect as a reference, so for post-processing the process is relatively easy.You can also use Hue / Saturation or Curves with this Selective Color adjustment layer.!3ds Max Tutorial Analysis of Building Rendering in Dusk (8)Observe the artwork with your own eyes and make adjustments, such as the halo of the light bulb, you can simply draw a halo around the light bulb to simulate the temperature of the light bulb (the light bulb has no color, only the temperature). This halo can be made a little bit The feeling of exposure.!3ds Max Tutorial Analysis of Building Rendering in Dusk (9)There are two main plugins used in the final step: Magic Bullet Photolooks and Nik Software. The main purpose is to better integrate the adjustments made before, so that the colors, brightness, saturation and saturation in the picture are more natural.As a night scene, you must be aware of the characteristics of the light at night. In photography technology, you need to reduce the shutter speed to get more light through the lens, and observe more photographic works to simulate the characteristics of such photos to achieve realistic effects.!3ds Max Tutorial Analysis of Building Rendering in Dusk (10)Because real photos do not have anti-aliasing, you can use Analog Efex Pro 2 to simulate some graininess and do a little blurring, so that the picture will look more like a real photo and more natural.Hue is a difficult topic to define. It is definitely wrong in real photography, but in the post-production of PS adjustment, this hue technology is used everywhere because the human eye is seeing a picture with a color tone. Unconscious people will think this is a photo, so I will use this feature to use this color tone technology in PS. The suggestion is not to use it excessively, but to control it when using it so as not to cause unnatural effects.The final step is to use High Pass Filter to sharpen the picture, the final renderings,!3ds Max Tutorial Analysis of Building Rendering in Dusk (11)Above is the analysis of architectural renderings at dusk made with 3ds Max and V-Ray brought by Fox Renderfarm. As the leading cloud rendering service provider, Fox Renderfarm continues to bring the latest news about 3D art. We hope you can learn something from our article.
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