The Creative Process Sharing of Work \Childhood’s Bedroom\

This work inspired by China's 60s and 80s, I decided to create a bedroom in my childhood. The collection of materials and model creation is the focus of the previous period. For this purpose, I have searched for a large number of photos, collected and produced models. The focus of the material is dirty, dusty, and irregular. The focus of the light is to open up the spatial level with volume light, which makes the picture more chronological.

The software used: 3ds Max, V-Ray

1. Materials collection

These things are all from the 60s to the 80s of the last century. 2. Create a model

There are a lot of small objects in the scene, it is difficult to model one by one, some directly call the model library, and some are done with poly. But pay attention to some problems in Items, such as proportion, shape, color, brand, placement, and mutual matching, in order to better create a sense of time.

Attention to detail:

Some tiny details are the key to determining the realism, and the model can be created using the model. Wall wires are created directly with spirals, paying attention to the slack of the wires and the aluminum wire card and the fixed nails. Switch sockets also have to match the style of the year.

Stripped red painted windows and old-fashioned latches should be standard in those years.

Vintage photo frames, new year pictures, paper-cuts, calendars, and black-and-white photos temporarily inserted on the closet door add to the atmosphere.

3. The material

Green paint wall surface, the surface is a weak Diffuse green paint, the inner layer is yellow sand, and a black and white mask shows the texture of the wall surface stained with water. The choice of black and white maps is the key, and the traces of water stains must conform to the real situation.

Wood grain of wardrobes, tables and chairs. Wood grain is the key material to be expressed in the scene, wardrobe, table and chair, bed frame, door and window are all the same kind of nodes, only the depth and color change. They use a deep and light wood grain to represent the surface layer and the inner layer, and then use VrayDrit for true mixing. For each wood grain to be more natural, each is mixed with Mix. The powerful VrayDrit works with model lights and camera angles to simulate extremely realistic and natural effects, which is hard to achieve by drawing textures!

Cement floor: The principle is the same as wood grain, a layer of rough ground, a layer of high-gloss ground mixed with VrayBlend, showing the wear of the ground. The undulation of the concrete floor is directly added to the trace Displace. In order to express the water stains on the face of the wash basin, a layer of VrayBlend is nested.

Others like the wooden boxes, wooden doors, wooden windows, chairs are all done with Mix, VrayBlend, VrayDrit, the same principle can be applied to other objects.

4. Lighting

The scene lighting mainly shows the lighting effect at dusk, using the principle of real lighting, adding surface light to fill the light, avoiding black dead ends and reducing noise. Here I used parallel light as the sun.


Light parameters: The three faces are the main light, and the brightness is reduced in turn to make the light softer.

Sunlight volume light parameters: the addition of volume light is the finishing touch, open the space level, and more vicissitudes.

5. Rendering

Anti-aliasing filters are used by Mitchell-Netravali, and GI uses the mainstream Brute force + Light Cache. In order to produce a higher quality parameter, Subdivs mult opens to 3, which also opens the detail enhancement and outputs the TIFF format, which is very time-consuming.

6. Post-production

The post-production of this work is very simple, adjust the picture contrast, color curve, edge sharpening, but too much adjustment will reduce the quality.

In brief, during the production, technique is not a problem. Good works must in a good theme or style, and creativity is more important than technique. As a work of art, it is not only technology, but also aesthetic improvement, style control, material use, and efficient processes. I hope to create more good works in mutual learning!

Author: Liu Lei

Welcome to join us

render farm free trialfox got talent

Recommended reading

China Film Administration Release New License Logo


Maya 2018 Arnold's Method of Making Motion Vector Blur in AOV Channel


How the Redshift Proxy Renders the Subdivision


Arnold\ V-Ray\ Octane\ Conora\ RedShift, Which Renderer Is The Best?


Corona Renderer Learning - Denoising


Arnold\ V-Ray\ Octane\ Conora\ RedShift, Which Renderer Is The Best?


Is This Simulated By Houdini? No! This Is Max!


Arnold Render Farm | Fox Render Farm




V-Ray 5 for 3ds Max Is Now Shipping
V-Ray 5 for 3ds Max Is Now Shipping
V-Ray 5 for 3ds Max is now shipping — and it’s more than a renderer! V-Ray 5 for 3ds Max brings a modern and efficient material library workflow, faster look-development with material presets and flexible post-processing features that save you time and let you go beyond just rendering. V-Ray 5 lets you do more with your renderer than ever before. Composite renders and interactively relight your scenes in the new V-Ray Frame Buffer. Set up materials fast with new presets and over 500 ready-made shaders. V-Ray 5 helps you save time and make your renders look even better. Download and try it now at:
V-Ray for Maya: Male Character 3D Avatar Production
V-Ray for Maya: Male Character 3D Avatar Production
This time, Fox Renderfarm, your TPN-Accredited cloud render farm, will bring you a tutorial on how V-Ray for Maya and ZBrush makes a male character and layered rendering in Nuke, which is shared by 3d artist Ciqujingnian. This tutorial uses V-Ray, Maya 2018, ZBrush, Substance Painter, Mari, Nuke 11 and other software. The article will talk about how to make high poly and low poly 3D model in Maya and ZBrush, as well as baking rendering, Substance paint and Mari to make material maps, and finally render the map in Maya. High poly 3D modeling The high poly 3d model uses a medium-sized head model that was previously made. The initial carving took about half a day. After that, the UV was split and the XYZ texturing was done in Mari to make the ZBrush detail. The following picture is after the projection. There are some personal experiences here. I am used to changing the perspective window of ZBrush according to the reference picture when sculpting to be consistent. It may be helpful for the sculpting to be closer to the reference picture. The commonly used ZBrush perspective value is about 35 or 50. After that, I chose Mari to project the texture, because he supports up to 32000 pixels, and the resolution is very good. After the projection is completed, output three channels of RGB respectively, and then create a new layer in ZBrush, and paste RGB to the displacement map position in ZBrush, adjust the intensity and apply the high poly 3d model to the displacement map. Texturing The basic skin of human skin is made using matte textures and then projected in Mari. As for the background images without light, you can use the existing ones, or find or buy them on some texture websites. The projection of the background color map can basically ensure that we do not have too much chromatic aberration and highlight exposure after the projection, and the remaining small chromatic aberration and defects can be modified in PS. The projection method is very simple. You can use a seamless skin texture as the base layer at the bottom layer, with a higher repetition rate, and then project it. Pay attention to the retention of details. This greatly improves the details of the model after rendering. As for baking, it is baking displacement and normal effect in ZBrush, and then enter the Substance Painter to draw the details. After importing Substance Painter, first, create a new layer and paste the projected texture on the color layer. Afterward, the character beard and eyebrows are mainly drawn in Substance Painter. Here I recommend the brush in Substance Painter for hair. In this project, I don't want to overlay the faces to make a beard, so I used several brushes to draw the beard in the Substance Painter. The result is not bad. Afterward, what was done in Substance Painter was the drawing of metallicity and roughness, mainly by adding a layer of bloodstains first. Create a new layer and change the color to dark red and the metal degree to about 0.1. The roughness is about 0.7, and it can be adjusted according to personal preference in the later period. Then create a new black mask and use the stain brush to draw the bleeding stains, and then adjust the height layer to give him a little bump effect. The stain layer is made by Smart Mask Dirty. When outputting, I chose the V-Ray method and added a roughness texture layer myself. Because I used the Aisurface shader in V-Ray, I need a roughness texture. Finally, two layers of highlights were made, and the other layer was directly adjusted and drawn on the projected skin with PS. Remember to ensure that one layer is a large highlight, and the other layer is a detail highlight. Rendering First, create a camera, set the angle and size. I chose 1024X1024 pixels as the size of the test rendering, the precision is adjusted to the lowest, mainly depends on the effect of the rendered lights. The rendering time was changed to 0.2 minutes. The layout of the light is a rectangular light behind the top left and right exhibitions, and a Domlight is added as ambient ball lighting to fill the light. Give the head a basic material ball and paste the replacement node to test the replacement effect. The parameters of SSS test rendering are: Still adjusted according to the rendering effect, Density was changed to 1.5, usually around 1.7. After the test is completed, paste the previous replacement and paste Diffuse to SSS1, SSS2, and SSS3 at the same time. There is no option to draw SSS textures here, but just use Diffuse to change the color to the corresponding flesh color, orange, and high saturation. Then copy the previously made eyeballs. The eyeballs use a common production method. The pupil is made as an object, and the replacement and the texture can be used. The white part of the eye is a Blend fusion material ball, a 3SSS material ball and a material ball with the strongest refractive index of 1.667 with refracted highlights. Use a black and white map or Ramp node to use a transparent material in the middle, and use 3SSS for the external. The material can be drawn on the 3SSS material paste. Finally, use a mixed material to mix another layer of external highlights! The part of the eyeball is enough. Finally, 4 lights and Diffuse, SPC, Reflection, AO and other textures were rendered in layers, and an EXR format was output and put into Nuke for synthesis. Compositing Here we put some layered rendered images first, then go into Nuke composition. The four lights used directly in the composition stage are added with a Color Correct node under each to change the color of the light. Now I feel that the highlight and reflection effects are a little worse, and the highlight and reflection are superimposed to enhance its effect. Then it is to modify the chromatic aberration, use the Shuffur copy to separate the three RGB channels, and overlay the Transform node on each layer, and adjust the size to make the edge have a dispersion effect. Then gave a gradient background and corner darkening effect. Then I also tried to increase the halo and depth of field effects, but it didn't feel particularly matched. Since the whole production time is in a hurry, there are many other problems. The final rendering is as shown below. I hope you like it.
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 works Software used 3ds Max, V-Ray, Solid Rocks, Forest Pack Pro, Siger Shaders, Photoshop Cs6, Red Giant Magic Bullet and Nik Software. Reference picture Before 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. Basic Settings Linear Workflow is a highly recommended way of working, the basic settings are shown in the figure, Modeling All 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. Materials and texturing All 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. Lighting HDRI 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. Rendering This 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. 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-production The 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. 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. 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. 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. 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,

Powerful Render Farm Service

    Business Consulting

    Global Agent Contact:Gordon Shaw



    Media Contact: Rachel Chen