3D Works \Mouse! Mouse!\ Production Analysis

This work is the result of whim. The mouse is a relatively common animal at home. When you see it, you want to shoot it on the bricks. The mechanical characters of science fiction and the ordinary environment can have a certain association. From the visual performance, through the stop of the instantaneous action, the viewer has a kind of front and back association effect, let's share the production process with you.

Software used: 3ds Max, V-Ray, PS

First, the composition

Firstly, you only need to set up a simple scene. The object is just a basic form instead. The focus is on the choice of the position and the layout of the object. Since the CG single frame rendering is performed, the object layout can be performed according to the camera view after the camera is positioned, and the layout and positioning map are as follows:

Second, modeling and UV

  1. The production of the hand

Modeling begins after the composition and general object layout are completed. This is a time-consuming basic work, but it is also the key to determining the final quality of the work. It requires basic modeling ability and patience. First select the opponent model, followed by the arm, because the movement of the whole hand determines the "pose" of the work, so I chose to make the first. Then carry out UV deployment and splitting. Specifically as shown below:

  1. The production of clothing

Because the character has a large movement, the clothes must be matched to have a real dynamic performance. The clothing was first modeled in 3ds Max and then imported into Mudbox for engraving. After engraving, it was imported into 3ds Max. Again, the model finishes splitting the UV for the next mapping. Figure:

  1. The production of the head and expression

With the correct posture and the appropriate expression, the character of the work can be more vivid and interesting. In the head of the character, I made some settings in advance, and the hat of the character was also carved in Mudbox, and the number of faces was reduced after completion. Level import 3ds Max to split the UV.

  1. The production of mouse

The mouse must conform to the appearance of the mouse and mechanize it. It is necessary to make some set-ups in advance. Here, only the modeling process and the UV split map are shared.

Since the mouse is a mechanical model, there is no need to rig the bones, and only the "father-child association" can be used to put POSE. The links are as follows:

  1. Model production of small objects

The model of small objects is relatively simple to make, and some of them can be completed by referring to the network search image. Here, I only share the partially completed production pictures.

Third, the material and texture

Some of the main models of this work were UV-split and mapped in Mudbox. The rest of the small objects are just attached to the map in 3ds Max and a UV Maping modifier is added. It only takes some time to split the UV, which saves a lot of time.

  1. Arm texture

After splitting the UV in 3ds Max, you can import the model into Mudbox for texture mapping. Mudbox is very powerful in drawing textures. What I use here is the "projection" function in Mudbox. Map rust or dirt directly onto the imported model and map the model in real time.

Character clothing and head can be drawn in this way. What is needed is the splicing of texture.

  1. Clothing and head texture

It is similar to the method of making an arm.

  1. Mouse texture and chair back texture performance
  1. Complete the texture of all objects

After the texture is drawn in Mudbox, the texture is exported to the PS, and the adjustment in the PS can be added to the corresponding object channel in 3ds Max.

Fourth, lighting and rendering

  1. Lighting layout

Once you've finished making all the textures, you can start designing and laying out the lights. This is indoors, and at night, the light from the computer is dark. The main light source comes from:

A. The dimly lit front wall lamp (the wall lamp is not visible here, so only the light is used to express his presence).

B. The computer screen light.

C. The weak light outside the window.

The specific layout is as follows:

  1. Rendering settings

After the lighting layout, the rendering parameters can be adjusted and tested. The screenshots of the V-Ray rendering settings are shown in the figure:

3.Output the rendering

When outputting, in addition to the output of the rendered image itself, only the output of the Z channel is made.

Fifth, the adjustment of post-production

I chose to add depth-of-field effects with DFusion and color correction in post-production, and imported the file into DFusion to add depth-of-field effects with Depth Blur.

The final rendering is as below:

Author: Liang Xi


A Production Process Sharing Of The 3D Works "Redemption" By Arnold For Maya
A Production Process Sharing Of The 3D Works "Redemption" By Arnold For Maya
I am very happy to share with you the production process of the work of Redemption. I have shown a way of thinking and process of making this work. And I also learned something new from the project, I hope everyone can learn something from it. The software used in this work is Maya, Zbrush, Marvelousdesigner, SubstancePainter. Collection of materials Collecting the information you need is a very important part of the project before it is started. This is a very important part. I have been collecting enough information before I start the next step. But some of my friends, they will look for reference materials while making this way, it will take more time and effort, and the effect is not very good. I think that while doing the reference, it is better to take a day or two to collect and classify the required materials, so that you can also collect your own database. ## Production ### 1. Composition The composition of the work is very important, directly affecting the final effect. I use a relatively small composition of the work of "Redemption", which is very interesting in the composition. ### 2. Model At the beginning of the production, I will quickly build a simple model, not too detailed, all models are as simple as possible, the sooner the better. This stage of production I try to control in one day. At this stage, I need to complete the simple and fast, then determine the angle of the camera and arrange the lights. ### 3. High poly workflow The high poly workflow phase is a very important part. Whether it is game production or film and television model production, the high poly workflow stage is very important. After the large shape and the composition of the screen are determined, I will start from the main body of the character and proceed progressively according to the composition and the primary and secondary relationship. According to the principle of subject, local, subject. Some common brushes and some post-production texture aids used by individuals as follow, ### 4. Texture I used the more popular PBR process in drawing the texture. Substancepainter is the most common drawing software for this type of texture drawing. The character face and skin use Mari. Character skin replacement, skin color is made in Mari, Mari is a very powerful software. ### 5. Render and post-synthesis This work uses the Anorld for Maya, and the entire rendering process takes about 4 days. In addition, a separate AOV layer is rendered to facilitate further modification of the color and scene atmosphere in the PS. The above is the whole process of the project of "Redemption", I will introduce it to you here. I also found some deficiencies in the production, I hope that my production can give you new ideas, we can all learn new things in the project. BY: Qi Gong
Willys Jeep Production Analysis, A Real Photo-Level Rendering Tutorial
Willys Jeep Production Analysis, A Real Photo-Level Rendering Tutorial
The first step in creation is a material collection, which requires careful observe and study of the structure of the car body. It is only after you understand the image and structure that you can start modeling, which will improve efficiency and prevent excessive modification. The main software used was: 3ds Max, V-Ray 1. Polygon modeling After the conception, the production started. The first thing to start is the creation of the model. The model here is mainly based on the mechanical body, so it can be done with the polygon modeling tool in 3ds Max. Since there are no shortcuts, only basic modeling ability and patience are required. Of course, modeling takes a considerable part of the time. 2. UV deployment: Considering that the vehicle has a certain degree of damage and dirt, it is necessary to specifically paint the damaged paint and dirt at a specific position, which requires UV splitting of some models. The UV split is using 3ds Max's default Unwarp UVW tool. The UV of the car body, tires, ammunition box and fuel tank must be split, and the small parts can be used without UV removal. Only UVW Mapping can be used with appropriate mixed materials (textures). Here only the UV split of some key models is shown, as shown below. However, some models such as: steering wheel, seat, armrest, car suspension system including sandbags, obstacles, stones do not need to be split, but with UVW Mapping with Composite texture or VRayBlend Mtl material can be used, so for trivial small Objects can save a lot of time to remove UV and improve work efficiency. There are also some models that are used with the VRayBenldMal material in conjunction with the UVW Mapping tool. 3. The drawing of the map: After the model UV is split, the texture map is drawn. The software used here is Mudbox2014. Mudbox is very powerful in drawing textures. The real-time model mapping makes the texture alignment and seam processing very simple and efficient. Very high. The display here takes the car body and the ammunition box as an example. The main tool used in Mudbox is Projection, which maps textures, dirt, and LOGO to a UV-removed model. Since Projection can be projected with photos or processed images in PS, this can greatly increase the authenticity of the creation, so Mudbox's texture drawing is also widely used in next-generation game production and some film production. After the drawing is completed, the texture is baked and output to the PS for further color correction and adjustment. In this example, the textures that I baked include: inherent color map, highlight map, and bump map. The final effect of the car and small scene: Since the ground is going to do some careful division, the ground UV is also removed and imported into Mudbox for texture processing. According to the division of the texture (gravel land and grassland), the model of the ground is treated separately, that is, one side is the grass and the other side stone. The model of the stone is processed in 3ds Max, and the stone on the ground is brushed out by the default model drawing tool of 3ds Max. The grass itself uses a proxy model, and the whole grass is planted using the 3ds Max plug-in Forest. 4. Background elements Since the idea is a hand-type of willys jeep, some of the hand-made tools are used as background elements. The main tools are airbrushes, air pumps, model knives and paint bottles, and these objects are very industrial. It can also respond to the car body, so use it as a background element. The paint bottles can be used in a variety of colors to increase the color of the background image, and the colorful colors used in the background will not be overwhelming. The photo only reflects the history of Willys Jeep, and also adds elements of the background image. 5. Lighting and rendering In order to have a strong sense of sunshine, VRaySun is used here because VRSun is better and simpler to show true sunlight. Putting it on the front of the model has a meaning of "bright guidance". The warm and bright light on the grass can also form a contrast with the obstacles on the gravel floor under the shadow of the back, the ammunition box and the sandbag. The specific light position layout is as follows: The main parameters of VRay specific parts are as follows: 6. Post-production adjustment Post-production used are DF and PS. The output Z channel can be used as a depth of field and fog effect. The specific effects are as follows: Depth of field effect selection is synthesized in PS. Of course, it can be added in AE or DF according to personal preferences and habits. In PS, you can adjust the depth of field effect by adding "Z channel" to Alpha in the channel layer and then using "Filter Blur Lens Blur". Basic color correction and fog and glow are added in DF. Summary: Even if the production of jeep is completed, the production process and ideas are expected to be helpful to everyone, thank you! Author: Rui City
Make Glass Effects With Maya Base Materials
Make Glass Effects With Maya Base Materials
Today, I shared with you a tutorial about how to use the Maya basic material and the mental ray material to achieve the glass effect, I hope to help everyone. The basic principle of materials: Law of Conservation of Energy When light hits the surface of an object, there are three general reactions: absorption, reflection, and refraction. The reflection is divided into diffuse reflection and specular reflection. According to the Law of Conservation of Energy, energy can not be disappear, only conversion can occur. Reflected energy can be divided into diffuse reflection and specular reflection, while diffuse reflection is generally diffuse in our CG production process, while specular reflection is generally specular, and refraction is generally refraction. Let the incident energy be 100%, which is 1, and finally we can use the formula: 1>=diffuse+specular+refraction. All reflections have a Fresnel Effect The main factor determining the Fresnel Effect is the refractive index. When the refractive index is close to 1, the difference between the reflectance of the 90 degree angle of view and the 0 degree angle of view is larger. When the refractive index value is higher, the reflectance of the 90 degree angle of view and the 0 degree angle of view is closer to 1. Generally, the refractive index of transparent objects is between 1.3 and 1.9, and plastic, rubber, and baking varnish are also around this range. The metal is 4-10. Use Maya basic material to achieve glass effect Here we use the blinn material that everyone is most familiar with and use the basic principles mentioned above to make the glass. This scene uses HDR for illumination, and in the Mental ray it uses IBL nodes. The key settings are as follows: Open the IBL node. If the FG does not open automatically, please turn it on manually. Turn off the default lighting for the scene, at the end of the common tag. Enable color management and set the following to turn on linear workflow. The result of the rendering is as follows. Give the model a blinn material and adjust the transparency to full transparency. Turn on the refraction under the raytracing option tab and adjust the refractive index to a value of 1.7 or similar to get the result shown below. This is because the number of refractions is set very small by default, a simple scenario to illustrate. A mirror with two opposite sides with a small ball in the middle. The mirror gives a highly reflective material. Both mirrors give the same material, but the reflections in the opposite mirror are not, because the limits of the number of reflections and refractions are limited. When rendering, if the computer calculates according to the display, it must calculate the reflection between the two mirrors infinitely. In order to avoid this, the software introduces the limit of reflection and refraction to improve the performance. There are raytracing, reflection, and refraction under the quality label of Mental ray. Their values correspond to the number of reflections and refractions that will be calculated, and max trace depth is the maximum limit of the sum of these two values. Find the raytrace option for the blinn ball. There is a reflection limit below, which is also the limit on the number of reflections. You will find that this value is set to a few, then the reflection will be done several times. The same is true for refraction. Generally, it is more than 9 times. The figure of the glass is adjusted after the number of refractions. The result is that the black place disappears, but the refraction is not good. For glass objects, there is no diffuse reflection, and some are specular reflection and refraction. So, turn off color or diffuse first, and adjust the reflectivity and specular color to the highest. In the blinn material, the control of reflection is that when both reflectivity and specular color are 1, it is total reflection. After adjusting the specular roll off to 0, the effect of this value is to control the Fresnel Effect. This value can be used instead of the sampler info and ramp nodes to implement Fresnel control. The above image has the result of Fresnel Feflection, but the reflection of the cup perpendicular to the plane of your line of sight is almost invisible, and the value of eccentricity does not work. My blinn's transparency is all 1, the reflection is 0 on the 90 degree view, and the reflection is 1 on the 0 degree view. I use a method to correct the refractive energy of different perspectives, that is, transparency. Here we use the classic method of sampler info plus ramp. Insert the facingRatio of the sampler info into the vCoord of the ramp. Set the ramp end to the white end to be black. Insert this ramp into a lambert to render the cup. This set of nodes can control different perspectives to get different values. The set of nodes just made is just right, inserted into the transparency channel of the previous blinn material. Still feeling too dark, we can control the color on the ramp to adjust to acceptable results. The bottom of the cup is especially black. This is because the lighting method I use is IBL, mainly relying on FG photons. The photon of FG is also reflected and refraction times. Turn on the FG's refraction limit and increase it a little, so that light can penetrate the wall of the cup to illuminate the ground at the bottom of the cup. Finally, the ground texture is added, the intensity of the HDR is enhanced, the illumination is enhanced, and the material properties are finely adjusted to obtain the glass of the pure blinn material below. You can also add some color to the color of the ramp that is inserted into the transparency to create colored glass, but don't expect the result too much. It is also possible to add a little refracting blur to the glass. For refraction blur, please select Mi Refraction Blur under the mental ray label of the material, limit is the number of times of refraction blur, and rays is precision. Increase the blur and create the effect of frosted glass. Of course, this property will slow down the rendering speed, please use it with caution. You can also attach a texture to the bump to make the glass look less regular. Making glass with mental ray material Mental ray's architectural materials have many advantages. Compared to blinn, there is a huge optimization - built-in energy conservation. Even if there is a problem with the settings, the result is still a forced result, which is different from the setting. When you give the material a color, then constantly adjust its reflectivity and you will understand. The mia material is set so that the reflectance of the 0 degree angle of view and the 90 degree angle of view is 1, that is, no Fresnel reflection is generated, and the default mia has Fresnel reflection. The following are the effects of Reflecity=0, 0.3, 0.6 and 1 respectively. When the reflection of the mia material is turned to 1 and the Fresnel Reflection is turned off, it is the mirror, which perfectly reflects the surrounding environment without itself. Then adjust the reflectance to 1, the refractive index is adjusted to 1.7, the transparency is adjusted to 1, that is, fully transparent, open the brdf shutter, check the use fresnel reflection, this option will let the refractive index control the Fresnel reflection. And the larger the max distance, the lighter the glass color, and the smaller the max distance, the darker the glass color. Shadow of glass and caustics The shadow of the glass is the first thing to be clear: the shadow of the glass is solid and opaque! Blinn material, shadow attenuation under raytracing options, the smaller the value, the more transparent the shadow, the larger the value, the more opaque the shadow. The mia material also has a shadow calculation similar to blinn, and when max distance is used, your shadow method must be segments to get the correct shadow effect. Now use the mia material, then pay attention to the refractive caustic and transparent shadow options under the advanced refraction, and want to use the caustics shadow, so check the former, and adjust the photon and so on to enhance the caustics. This gives a good caustics effect, which is the effect of making glass using Maya's basic material. Author: Dai Wei

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