Using V-Ray For 3ds Max To Create A Real Grass Field

Grass field is an important element of natural landscape scenes, so how can we make natural and real grass field in the simplest way? Contrast the two pictures as below, it is not difficult to find that when we are making grass for renderings, the perspective can be realized by texture mapping, and the close-up needs solid model to create a sense of reality. Of course, 3ds Max's own hair system can be used to make close-up grass field model and large area of wildflower model. The main software used is 3ds Max and V-Ray, PS. 1.Grass leaf modeling
First, a separate grass is to be made, we take a kinds of grass as a reference for model making. After creating the patch, we edit the polygon, continue to segment, and slowly adjust the shape of the grass. Establish the segment number plane
Editable polygon
Adjust the stem shape of the grass
Continue the segmentation number to facilitate the bending deformation. The shape adjustment of the leaf is completed
Only affect the axis measurement, center to the object, move to the bottom of the grass, rotate the direction of the axis, in order to prepare the bending command
Use the bending command to adjust Copy a few grasses, using different bending methods and twisting operations. Since the growth law of the grass is relatively random, we try to adjust the different curvature and the size of the grass. The model of the blade is made, so that it is convenient to draw the grass for a while. 2. Make the texture of grass leaf
Next, we made the texture of the grass in photoshop, created a 1000X111 size image, then used a piece of grass material as the texture, buckled the part of the blade, dragged it into the image we created, try to ps into what we want The color and texture of the foliar texture. Below we use unwrap UVW to expand the model UV and then map the blade model. Then copy the model and make some edits to the copy model to make them look different.
3. Advanced drawing
Below we draw a circle as a reference ground and then convert it into an editable polygon. Use the plugin advpainter_1.5.1, which is a special object for making random placements, such as flowers and plants, hair, etc. Add the grass you just made to the plugin, make some numerical adjustments, and then draw. Click on Paint to draw, then we have to select the ring we just created, and it is easy to draw a piece of grass like a ps brush. In order to avoid taking up too many points, we can edit the polygons, then export the v-ray grid and save the file. 4. Fast terrain
Create a new scene and quickly create a terrain. After the plane is edited to the editable polygon, the deformation is drawn, and then the terrain is given a soil material, and the haystack model just created is imported. Now we are starting to use the Multiscatter tool to grow grass. This plugin can quickly create large patches of grass or forest. Now combine all the objects into a default object, then redistribute the inside to pick up the ground. Add the two v-ray meshes we just prepared to export the object. Set the number of distributions, set the two hay objects to different shapes, and assign different colors. The way the dots are displayed and the inherent colors of the objects will make the whole scene display clearer. So we will arrange the grass, you can try different values to see the effect. 5.Scene test
The v-ray physical camera and vraysun are used to adjust and test the scene. For the close-up part, we need to locally strengthen the ground to make the grass and the ground more integrated. When using the Multiscatter tool to grow grass, if the terrain is too large, you can use the boundary linear cutting tool to reduce the area of the grass distribution and display only the parts that the camera can see. This form is very practical for handling large scenes.   

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3D Tutorial: Noctis Lucis Caelum(2)
3D Tutorial: Noctis Lucis Caelum(2)
Continue to the 3D Tutorial: Noctis Lucis Caelum(1), your TPN-Accredited cloud render farm, Fox Renderfarm still shares with you the tutorial. Grooming After the UV is completed, the next step is to make the hair. The hair production in this project uses Hair Farm, which can easily simulate a large number of hair effects in 3ds Max. Perform rough modeling according to the hairstyle in the sketch, and then adjust the shape of the hair through the modifier. Create a rough model first, then adjust the shape. Rendering test, Then use 3ds Max's default hair and fur to make some short hairs. Final render, Texturing Next is the processing of the background props of the character. The texturing is drawn using Substance Design, and 3 textures of AO, CURVITY, and Normal are baked. In Substance Painter, the 3 textures were used for processing. Output: The material of the leather jacket, Skin texture The skin texture is processed in Mudbox. Firstly, projection maps are used, and some high-quality real-life skin scan materials are used to make bump maps. On the basis of some materials, a better projection material was obtained by modifying the highlights and shadows and then imported into Mudbox for projection. The displacement map was baked in ZBrush. All materials include an Overal Color map, Base specular map, Oil specular map, Scatter color map, Sub-Surface-Scattering, Bump map, Displacement map. Displacement Map Lighting settings The rendering is done by V-Ray. The basic light is composed of three-point light sources, covering a key light, a fill light, a rim light, but you need to pay attention to the color. For example, if you want white clothes to look textured, the auxiliary lighting needs to be a little blue. The environment uses the following HDR. Final render and compositing The scene and the characters are rendered separately and finally composited in PS. Finally, I added some halo and motion blur to the scenes, adjusted the contrast and color, and darkened the background, and brightened the upper left corner. When adjusting the color, you should pay attention to integrity. Many of these aspects are related to art theory and basic knowledge. This needs to be accumulated gradually in daily learning.
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2020-09-17
3D Tutorial: Noctis Lucis Caelum(1)
3D Tutorial: Noctis Lucis Caelum(1)
This time, your TPN-Accredited cloud render farm, Fox Renderfarm shares with you a 3d tutorial about Noctis Lucis Caelum. Software used:3ds Max、Hair Farm、V-Ray、Photoshop、Mudbox、Substance Painter Introduction Character artist Weilong Zhang has been in the CG industry for five years. He shared the production process of the work "Noctis Lucis Caelum" and explained the problems encountered and its solutions. Pre-production Before starting, I had a general idea, and then I drew the idea in my mind into a sketch. Before starting to make a model, you also need to consider the composition of the scene, such as the position of the characters. At the same time, glass is used to replace the existence of the visual focus behind the character, and the existence of lines is expressed by the halo and some windows in the background. The bright surface of the window allows the visual center point to be concentrated on the black dark part on the upper right side, which enhances the pressure of the scene and highlights the role. The light of the character gradually changes from right to left, and the background changes from left to right, so that the scene will not be focused and a halo is added to the left in the later stage. Building the model To save time, the model uses a head model modification from a previous project, making sure that the scale of the model is similar to the scale in the design diagram. But the most important point is to pay attention to the direction of the bones and muscles for a more attractive character. Of course, in some cases, in order to achieve better results, appropriate modifications can be made while ensuring that the planning structure is correct. Weilong Zhang has been engaged in the production of CG characters for many years, and he has his own production method. His method is to draw all the bones and muscles of the head in his own way, taking into account the angle of the scene, lighting, and the lines of the face. The clothes are also sculpted in ZBrush, but you need to pay attention to the distribution of folds on the fabric to be reasonable. In order to speed up, Weilong Zhang still uses some alpha. The insert stitch 01 brush is used on the clothesline, and the zipper chain uses a brush called IMM ZipperM. Once you are satisfied with the carving of the clothes, use the topology tool ZRemesher to perform automatic topology, and then import it into 3ds Max for adjustment. Skin details The details on the face such as pores can be drawn manually, or you can find some alpha to make the pores. This is the final step, but pay attention to leaving a layer. The glass behind the character is made with the Rayfire. The UV processing is very simple, and it is made by UV Master directly. To be continue..
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2020-09-17
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: https://www.chaosgroup.com/vray/3ds-maxnew
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