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:
2. 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:
3. 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.
4. 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:
5. 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.
2. Clothing and head texture
It is similar to the method of making an arm.
3. Mouse texture and chair back texture performance
4. 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:
2. 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
How to render large scenes with Redshift in Cinema 4D
Arnold\ V-Ray\ Octane\ Conora\ RedShift, Which Renderer Is The Best?
How the Redshift Proxy Renders the Subdivision
How to Render High-quality Images in Blender
China Film Administration Release New License Logo
Maya 2018 Arnold's Method of Making Motion Vector Blur in AOV Channel
Corona Renderer Learning - Denoising
Redshift for Cinema 4D Tutorial: Interior Design Rendering
Previous: Hum3D’s Winner Announcement - Newsletter
Next: To Rebuild Avatar With Arnold For Maya