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.


Creation Analysis: Using 3D to Make 2D Style Scene(2)
Creation Analysis: Using 3D to Make 2D Style Scene(2)
In this article, we still show the use of 3ds Max to create 2D animated movie-style scenes and will focus on explaining the -style picture performance. The use of channels When rendering into a map, we need to add some channels to the rendering elements to help us post-process the scene. I added VRGI channels, VR lighting channels, VR reflection channels, VR shadow channels, VR highlight channels, and Z channel. The Z channel needs to test the distance of the camera in advance. It can be measured directly with a tape measure, or the camera's ambient range display can be turned on. The rendering results are as follows: Adjust the color and composition In the last step of color processing, you must first have a clear understanding of the overall picture effect processing ideas. Let's analyze the original picture of Makoto Shinkai first. "Koto no ha no niwa" uses the delicate design and delicate application of color elements to enhance the overall expression of the work. In the picture, the author uses a variety of green and gray with different purity and brightness. Multi-tones such as blue, white, and white are painted and painted. The crystal clear and colorful colors contrast with each other, forming the vivid art style of the film. The courtyard scene uses high-purity dark green forest leaves as the main thing, and the dark parts are generally biased to cool gray, so we must focus on these factors in the post-processing. Select the color of the GI channel and the reflection channel for the superposition method, and select the soft light for the superposition method of the light channel. Adjust the opacity of the screen overlay according to the picture conditions. The Z channel is reserved, and then the center of the picture is brightened with warm colors. The colored sky map gives the original image a soft light overlay. The opacity is set to 50% to make the picture breathable. Then adjust the color balance, saturation, and curve of the overall picture to improve the overall color purity and contrast of the picture. Warm color filter, as shown below: Next, use the Z channel to create the blue fog effect in the dark part at the top of the screen. Display the Z channel separately, adjust the color level to make the black and white obvious. Then, in the RGB channel, Ctrl + left mouse button to select the white selection area. One layer, fill it with blue-gray, and adjust the opacity as shown: Create a new layer, use the radial gradient in the gradient to make a rainbow in the upper left corner, wipe out the desired shape, and then add a Gaussian blur to give the rainbow a foggy feel. Next, create a soft light effect for the overall screen. Ctrl + Alt + Shift + E stamps all visible layers duplicates one layer and uses Image-Adjust- Threshold to change the image to black and white. Similarly, select the white part of the selection, Ctrl + J duplicates one layer, uses soft light for the superposition method, and gives a Gaussian blur with a value of 10, so that you can get a soft light effect that enhances the bright part of the overall picture, adding a depth of field effect, and the final effect is shown in the figure:
Creation Analysis: Using 3D to Make 2D Style Scene(1)
Creation Analysis: Using 3D to Make 2D Style Scene(1)
In this case, we show the use of 3ds Max to create 2D animated movie-style scenes and will focus on explaining the -style picture performance. From his animation works, we can feel a strong personal style, exquisite light, and shadow applications, strong light and dark contrast and gorgeous colors are the biggest features of his works, these features make his works look more real. Reference material from Makoto Shinkai’s animated film "Koto no ha no niwa". Some pictures material comes from the 2D animated film "", and some screenshots are found for reference. The whole idea: 1. Composition layout and lighting test 2. Material adjustment and rendering settings 3. Use of channels 4. Color comparison and synthesis Composition layout and lighting test It is very important to make scene lights in this style, often in small details, such as the bright and dark junction of very bright objects, reflections in small details, the color gradient of objects under the influence of light, and the objects interspersing and blocking, the resulting changes in light are all things we need to pay attention to. Every time I watch an animation, I am always moved by these nuances. The models used in this tutorial are very simple. When doing interior scenes, it is often to build a simple BOX first and modify the approximate shape to test the lights to see if they meet the expectations. But when making, it is better to have an imaginary picture first, so that you can judge whether you have achieved the desired effect when you are done, but you must know what kind of effect you want before you do it. This is a scene from the animated movie "Koto no ha no niwa", which is real in Shinjuku Gyoen Park, Japan. What I want to do now is to make the 2D animation feel with 3D. First, use a simple model to determine the main pavilion. And the location of the surrounding trees, place the camera, as the picture shows: Then we can see through the original animation that the light is shining from the bottom left corner. Here, a standard target parallel light is used as the main light source. The angle of light and the attenuation range of the illuminated area are adjusted. The shadow length and direction of the trees are observed and adjusted to a suitable position. Adjust the UVW in the shadow parameters to blur the tree projection to make it unreal. Open the environment and effects panel, add a VRaySky map to the environment map, drag it to the material panel by example, check the first column, pick the target parallel light in the scene, and set the map light intensity to 0.03. You will get a sky environment that matches the scene lighting, making the rendering more realistic. A high light and dark contrast picture is needed here, so no ambient light is used in this scene. In addition, a VRayLight was created in the direction of the light to simulate a small range of strong sunlight. It can produce more intense light and shade. The parameter settings are the shape of the light is spherical, the intensity is 200, the color is warm, and the light is not visible. Open GI and test the lighting effect, as follows: After the lights are almost well, we start to refine the scene, and finally, it looks like this: In order to simulate the feeling of the rainy season in the original animation, I used the 3ds Max particle system to simulate some raindrops, created a standard particle flow source, and added a random rotation to make the raindrops have some random changes. I also used the MultiScatter plugin to plant some grass. Material adjustment and rendering settings In terms of materials, I will focus on the material of the pavilion and the surface of the water. The material of the pavilion must be rendered wet and wet. Because the scene is rainy, I chose mirror high reflection on the material. I did not check Fresnel. The top will be completely reflected in the surrounding trees, plus the projection of the tree occlusion to get a similar effect. The water surface did not make it reflect the sky and clouds like the original painting, but chose a green that matches the scene, as shown in the following figure: The material of water is as follows: Next, we can adjust the rendering parameters. Anti-aliasing uses Catmull-Rom with a certain sharpening effect, which can make the details of the trees richer. Turn on the reflection environment. A VRayHDRI map is added to the reflection environment. The exposure selection is the last one. The term Reinhard mixed exposure is similar to the combination of exponential exposure and linear exposure. Set the blend value to 0.7. VRayHDRI is displayed as a sphere with an intensity of 4. Using the VRayHDRI map can increase the reflection details of some scenes. Turn on the GI and use the Irradiance Map for the first bounce. The first bounce is the first global light calculation for the direct light. The second bounce uses the Light Cache. Actual calculation, turn on display calculation phase. As the picture shows: Open the rollout of the light cache, set the light subdivision to 1500, and check the options in the figure. The rendering effect is as follows:
Rainy Scene Performance of Building Exterior
Rainy Scene Performance of Building Exterior
This is a rainy scene performance of building exterior, from 3D artist Han Shilin. The software used is SketchUp, 3ds Max, V-Ray for 3ds Max, Photoshop, and Substance Painter, etc. How to be "realistic"? "Realism" doesn't just give each material a very accurate parameter that can be applied to any environment, so that it can render a very realistic effect. It also refers to realistic performance = according to your own visual experience, controlling parameters to make the map in line with expectations. The difference between the two understandings is that the former has no control and expectation of the final result, and is based on the idea that "parameters are correct.". Reference The reference picture is very important, this is an expectation of the final effect, such as light and shadow, atmosphere, composition. And it is recommended to combine all the reference pictures into one plate. In order to show a sense of tranquility and quietness, a darker, rainy weather was set. The architectural details of this scene are not many, the atmosphere of light and the treatment of the ground part are very important. Modeling Grasshopper makes the appearance, imports SketchUp to make the main body of the building, and then imports into 3ds Max, and rendered with V-Ray. The process is very simple. The important thing is to do a good job of layering, otherwise, it will become more troublesome when importing into 3ds Max. As for the composition, a very low angle was used, as much as possible to expose the ground material and the wider sky. Texture The main body of the building is far away from the lens, so only ordinary materials are needed, and the texture of the materials can be maintained. Taking the skin material as an example, the rest of the building materials are very basic. Sidewalk and road eaves: indoor concrete texture package, because there will be a lot of dirt in the outdoor scene, so the concrete texture and the dirt texture are mixed together. The area in the close shot is relatively small, so the repeatability of the material is serious. Since it is a rainy scene, the roughness value is also very low. PS. The main building can be modeled in SketchUp and then imported into 3ds Max. The environment and settings of the scene are best created with 3ds Max because the SketchUp model will have some problems when imported into 3ds Max, such as the UV will be messed up. Performance details (Substance Painter draws some textures) From the perspective of the camera, the pavement greatly affects the picture, so its material is very important. You need to import this pavement into Substance to draw textures. Import the mesh file that needs to draw textures into Substance Painter. Remember to turn off the channels other than the natural color when drawing the natural color map. After drawing the natural color map, create a new layer and draw the bump. Then you can add some standing water to both sides of the road. There are many ways to draw. One of the simpler methods is to add a material to adjust a very flat height and then apply it several times with a dirt brush to get a better random effect. Because what to do is a rainy scene, there is no wet feeling. So adjust the level of the roughness layer. One thing to note is that if you want to get the same effect in 3ds Max as in Substance Painter when importing the texture, adjust the blur to 0.2. For sharper effects, lower it. In addition, the imported map gamma needs to pay attention to, the map color of the natural color is selected automatically, and the rest are all 1.0. Then it is relatively simple work and found some model-rich scenes from Evermotion's model library. Such as the middle and lower left cars. After that, I used V-Ray rendering in 3ds Max, and finally adjusted it in Photoshop.

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