Using 3ds Max To Makes The Materials And Lighting In Scenes Of “Clone”

This is a production process of a second-generation game scene model. The main software used is 3ds Max.

Model and texture

1. The basic model

Step one, I make the approximate shape of the scene as a reference, then put the shape of the model base in 3ds Max, and then make the following props with the basic shape, the wall of the scene and the UV of the ground will be reused. Part of the props I slowly added according to the scene.

With a small pattern that is made, it can make the repeatability of some models look less obvious.

The basic shape of the scene in Figure 1.

Figure 2 basic line diagram of the scene

Figure 3 use of small patterns

2. Production of prop

The production process of the prop model is basically the same, first the high mold, the baking normal map, and then the low mold.
Here is a simple example:

High and low modes of small objects in Figure 4.

3. Reuse the UV and small pattern

Wall UV reuse:

Reuse of ground UV maps.

Reuse of small patterns.

Wireframe of the final model in 3ds Max,

4. The production of textures

For textures we need to use diffsue, specular, normals, displacement, gloss, detail, and detail (gradient can also be used). The detail can be done with the diffsue, and the gloss must be done in the specular channel in the old version.

If you used the latest version, then put in the normals channel, displacement placed in its own channel. Export the tif, pay attention to the normals_dnn, displacement_displ, normals_dnna, using underscore plus suffix.

eg,

The basic texture gradient can also be used.

The preparation of the import engine
Set different IDs for different materials of objects and collisions.

Cryengine engine parameters.

Lighting, birth points, particles, sound, environmental impact, basic processes.

For example,

Create a birth point, find Spawnpoint under Entity, put in the scene, and create a simple flowchart.

The Cryengine material

There are several examples of how to represent different materials.

Metal Material

Light

The overall preview effect of the scene.

Author: Zhepu Wu

Reference: https://read01.com/5yyGn.html

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Big News! 3ds Max 2021 Is Now Available
Big News! 3ds Max 2021 Is Now Available
Hey guys! Let’s check out the new features in the lately released 3ds Max 2021.1, including texture baking improvements, Arnold as Default Renderer, expanded PBR workflow capabilities, viewport, fluid and modeling tool enhancements. The feature-rich update is targeted at modernizing and upgrading performance for artist workflows across design visualization and media and entertainment disciplines. Bake to Texture: - Output now supports multi-tile UV mapping (UDIM) - Animated map outputs are now supported as well as multiple animated frames - Various usability improvements. Model courtesy of TurboSquid and their artist, Luke_Ahearn. Fluids: - The Fluid loader is now exposed so that object types such as particle systems can work with the data - The Velocity channel now reports correct information when not using meters as your default scene scale. This fix will enable motion blur in your renderer - PRT now supports a signed and unsigned integer values (via .ini change). Interactive Extrusion and Inset: - Users can now utilize a Shift+Drag (left mouse button) with the Move transform tool to extrude polygon component selections when using an Editable Poly or an Edit Poly modifier - Shift+Drag with the Scale transform tool now performs a polygonal inset action on selected polygon component selections when using an Editable Poly or an Edit Poly modifier - Clone/Copy actions are now performed with Ctrl+Shift+Drag when using the Move transform tool on the polygon component on and Editable Poly or an Edit Poly modifier. Viewport improvements: - Depth of field now affects the environment map - Vignetting scale is now the same value as defined in the camera - Matte/Shadows material now work in the viewport - Each view can now have its own exposure, white-balance and vignette settings. Arnold renderer: - MAXtoA 4.0.4 - AOV token system - Animation support for Alembic - Increased shader spinner accuracy - Bake to Texture support for projection of normals from high to low resolution, normals spaces, and Mikkt. Enhancements and Changes Weighted Normals Modifier Now includes support for multi-threaded processing to enhance speed and performance when performing calculations as well as other stability improvements. Explicit Normals Preservation for Mesh Applying an Edit Mesh modifier no longer invalidates explicit normals, nor do the following actions: Attach, Detach to Object, Detach to Element, Clone to Object, Clone to Element, Detach as Clone to Element. PBR material Both PBR materials now support displacement. Shared Views Shared Views now supports Physical material. SketchUp model importation There is improved handling of internal edge visibility, improving the imported mesh quality, and SketchUp 2020 models are now supported. Slate Material Editor The Slate Material Editor now pans and zooms smoother and faster when using a 4k monitor. In addition, the Search field has been improved to perform global search through all materials and maps in the editor. For example, if you were searching for the Advanced Wood map and typed "wood," the old search would not find it but now it will. Render output size HDTV resolution of 1280 x 720 is the new default output size. UDIM display When you work with UDIM, you are now able to view all textures in the viewport when using the Bitmap Lookup OSL shader, instead of just viewing one as when using the Multi-Tile map. User Defined Defaults Allows you to set your own default values for ParamBlock2 supported spinner, radial, checkbox, or input field through MAXScript calls. Viewport Depth of field now affects the environment map, the vignetting scale is now the same value as defined in the camera, Matte/Shadows materials now work in the viewport, and each viewport can now have their own exposure, white-balance and vignette settings. From: `http://help.autodesk.com/view/3DSMAX/2021/ENU/?guid=GUID-9C24A540-EDA3-4BE3-BBF6-EB5C005BE8CC`
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2020-06-10
Behind the Scenes: Spy House Production (3)
Behind the Scenes: Spy House Production (3)
Next, we will share the production process of two other materials: Making wood material Pay attention to the following points when making wooden materials: • When you split the UV, try to place the squares as much as possible to ensure that the post-texture image will not be distorted. • It is also necessary to consider the utilization rate of UV space and try to give priority to the things you can see, which can improve the quality of the material. • The texture of the wooden structure is simple to produce, and it is necessary to find a lot of references that combine with the situation of the scene. For example, what does the wooden structure look like in an underground wet environment for a long time? Or the wood in this environment is more corroded? So to make such a feeling, a lot of references is very important. Substance Painter wood texture production • Import the baked Normal stickers and prepared materials into Substance Painter. Before creating something, create two fill layers, leaving only the Color option. One layer puts the AO diagram on the Color and adjusts to a positive overlay, which is used to improve the dark color. Another layer puts the Curvature map on Color and adjusts to Overlay, which is used to improve the bright color of the edge. After these operations are completed, the production of the texture begins. Pay attention to the production of wooden texture: Consider the actual situation of the scene. Take the scene we made (spy house) as an example. For a long time in a dark and humid environment, the corrosion will be relatively serious. Afterward, it should be noted that the edges of the wood will not be particularly bright. The bright edges of the wear marks will also be darker, and then the scratches and the wear of the places where they are often used. A little brightness is needed here. Finally, there is dust accumulation and stains in places that are not often encountered. After these things are done, you can basically get a good real texture. The material for making paper and book When making a single-page paper with no thickness, please pay attention to the following points: 1. When you split the UV, try to place the square as far as possible to ensure that the textures in the later period will not be distorted. 2. The texture of the paper is simple to produce, without Hight Polygon, just baking Low Polygon Normal. How to make paper in Substance Painter: Import the baked Normal map and prepared materials into Substance Painter. Create a layer (unfilled layer), select Color for the material and put the material in Base Color, and select None for UV Wrap. In F1 3D/2D mode, place the picture material in the corresponding position. Just pay attention to the book texture production: from the beginning, it is necessary to distinguish between the shell and the content. If it is made into one, it will not be easy to separate when making the texture. Marmoset Toolbag 3 rendering Finally imported into Marmoset Toolbag 3 for rendering, the first is to layout the light source, choose to add an HDR suitable for the scene, adjust the Child Light to the appropriate position to make the model produce a 45-degree shadow. Because the scene is larger, more lights are added, but when rendering, pay attention to adjusting the size and illumination range of those fill lights to prevent the mutual influence of light. I hope our learning and sharing can help you, thank you.
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2020-06-04
Behind the Scenes: Spy House Production (2)
Behind the Scenes: Spy House Production (2)
Material production After baking all normals, AO, and curvature, import Substance Painter to make materials. It is worth noting that the normals baked in Marmoset Toolbag 3 and Maya use OpenGL mode in Substance Painter, and the normals baked in 3ds Max use DirectX mode. The first step after successfully importing the model must be to check whether the normal direction is correct. After successful import, the remaining textures are baked in the texture set-baking model texture. The following uses the sofa leather material to share the basic process of the material: the production of sofa leather material. Inherent color of the leather Choose a suitable material map and paste it in the color channel, adjust other parameters appropriately to make the effect more natural Bump height Create a new fill layer to keep the height channel, paste the height map corresponding to the background color layer, and add Level to adjust the height. At the same time, add anchor points to ensure that the color changes with the height. AO layer The AO diagram of the model pasted in the AO channel is that the dark parts of the edges are deepened, and the bumps are more three-dimensional. Roughness Adjust the roughness of the sofa surface. Frequent contact with objects will wear more, such as the edge of the cushion, the inner and upper sides of the armrest, the bottom of the sofa, the top of the backrest, etc. Grunge textures can be added to make the effect more natural. The edge fades Create a fill layer and add a generator to produce a faded edge wear effect. Adding only one generator effect will be very stiff. Add a few more layers to interrupt the continuous effect to make the wear more natural, and finally, add hand-painted details. Details added Use the Grunge map to add scratches, stains, and other details to the surface. Dust There are two kinds of dust: dust accumulated in corners and trace dust on the surface. Create a fill layer to leave the color, roughness, and height, and then use the generator to calculate the dust position adjustment parameters to make the effect natural, and you can appropriately add hand-painted details. Gap treatment Manually add black to deal with gaps and other details.
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2020-06-03
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