Cinema 4D Tutorial: Making a Ring Full of Small Balls
C4D is a 3D software developed by MAXON in Germany. Its interface is simple in 3D production software, which is easier to learn and use for Maya and 3ds Max. It can model material, light and bind animation rendering and other functions, and it has powerful built-in film and television VFX, animation design, industrial medicine, physics, etc. C4D can be used in many industries. It belongs to the same kind of software as Maya and 3ds Max, but it has been on Apple computers in the early days. In recent years, it has been widely used in WINDOWS.
Fox Renderfarm, the best cloud rendering service, will introduce how to use C4D to make some shapes full of rings in this tutorial. The reference work was originally made by a 3d artist from Behance.
In the ring above, you can see that it is mainly composed of three parts, a small ball filled with the ring, a layer of spiral shape outside the ring, and scattered small balls. The outside will make these things step by step. First of all, I will make a small ball full of rings. This requires first making a ring for the shape.
- First make a Circle, click the C button to convert it into an editable object, and compress the Circle into an ellipse.
- Add a second Circle and use the Loft modifier to make the two circles into a circle.
First add three spheres of different sizes, which can be arbitrary. Then add Cloner, then place the three spheres under Cloner, change the Mode under Cloner to Object, drag and drop Sweep under Object, and change the Mode of Distribution to Volume.
The three small balls have generated a ring full of small balls based on the ring, and my Count value is 1000.
Now you can add dynamics. Right-click under Cloner and select Simulation tags to add Rigid Body. Note that in the Collision property of Rigid Body, Inherit Tag selects Apply Tag to Children, and Individual Elements selects ALL.
Right-click on Sweep and select Simulation tags, and add Collider Body. Select Static Mesh in Collision's Shape under Collider Body.
Now play the animation, and you can see that the ball will fall down due to dynamics. I constantly test the drop of the balls and change the number of balls in the Count in Cloner until the balls fill up the ring.
Now you can see that the ball is basically filled, and then start to make a layer of the spiral shape of the outer ring. I hide the ball first and add a spiral shape. Add a Spline Wrap to the spiral shape, then add the line to the Spline of the Spline Wrap, select Y for Axis.
Select the spiral shape to convert it into Current State To Object, and get a new editable spline. Hide the most recent backup, close the new spiral, and adjust the smoothness.
Re-create the two rings and adjust them to a larger one and a smaller one, then select the two circles and right-click-Connet Objects+Delete, and then move the axis to the middle of the two rings.
Add a Sweep, and then put the previous ring and spiral under the Sweep. If the staked object is thick, you can change the thickness of the object by directly changing the size of the ring.
Display the previous balls to see if they match, if they don’t match, just adjust them again.
I made a simple scene for rendering. The light used a simple three-point light source: left and right cold and warm light plus the main light source at the top, and found a suitable position in the scene. The main light source brightness is 100.
I added a light again, placed it behind the model, and lowered the intensity of the light. I copied a clone again, changed the mode to grid arrangement, and copied the collision body label of the shell to a backplane, and played the animation to get the scattered spheres on the ground.
Now set the shader for the ball. I used a simple shader, added a Diamind effect to it, and reduced the width of the highlights.
Now set the shader for the ball. I used a simple shader, added a Diamond effect to it, and reduced the width of the highlights.
How to Create Goblin in Zbrush
Fox Renderfarm, your best cloud rendering services provider, will share with you a ZBrush tutorial about how to create Goblin from 3D character artist, Hongmin Zheng. Hongmin Zheng is good at making realistic and stylized character models. In this tutorial, he made a Goblin that had stolen the king's gold coin. This work was inspired by the other 3D artist Jianxi Wang's amazing concept.
It is necessary to collect references to make the artwork more authentic and credible, especially the texturing, modeling and posing. I collected a lot of references first, then selected and organized them again.
The model was made with ZBrush, using a basic spherical shape as the basis to sculpt the overall model of the head, especially some facial features, such as its big nose, cracked mouth, ears, belly, and sparse hair.
I prefer to use SnakeHook in conjunction with SculptrisPro for quick styling in the Blocking stage, and also turn on AccuCurve to make the shape more rigid.
In this production, we can use any method to sculpt, such as using Curvetube to make the shape of the mouth, adding balls to make the eyes. And there is no need to consider lines or levels in this part. SculptrisPro is a great feature just like DynaMesh. They make creation more unrestrained.
The new version of the stroke preview function is great, which allows us to always pay attention to the outline of the model. The display of the outline is always the most important part of the model carving.
Using DynaMesh, this stage only needs to adjust the whole, ignoring all details. Take a look at the silhouette of the model from multiple angles.
I used clayBuildup to brush. Then I adjusted all parts of the model in the TPOSE stage.
Because it's not animation, there is no need to bind bones. As long as I confirm the shape of the model, I can start placing it. At the beginning, I tried to disassemble some joints that need to move as much as possible. This makes it easy to adjust POSE, silhouettes, etc..
A single SUB has a small number of faces, and the operation is more smooth. We can watch and test repeatedly. At this time, we pay attention to the parts you are interested in, such as the feeling of the head. We can also add a little material and color to preview.
I used Marvelous Designer to make the clothing. I made a shape, and then adjusted it manually.
Some of the props can be reduced in number of faces, or some simple models can be made instead. For example, the gold coin treasure in the Goblin bag can be replaced with simple geometry.
After checking that the silhouette and the structure were fine, I started to choose the place I was interested in or the visual center to start visual development. I spent a lot of time on the two areas of the head and hands. But the important point is that the primary and secondary models are separated. Silhouette is always in the first place, followed by level one and level two. The simple understanding of level is the volume of the object, the larger the volume, the more priority. BTW, don't focus on small details too much.
While grooming, we need to look for a lot of real references. The initial effect was not good. I repeatedly modified the hands and hair many times, and finally strengthened the hair level and added some long and short collocations.
When adjusting the model, I often think about how to make the model look more speedy and attractive. In the end, I added details such as falling gold coins on the basis of the fluttering of the pants. It is also interesting and reasonable. At this stage, I also consciously optimized each area, such as considering the character’s body fat percentage and skin texturing and so on.
Texturing and Rendering
When making textures, I use colors to distinguish the painting areas. I can use the method to quickly find the layers.
Because the character tends to be more stylized, most of the textures are directly painted with Substance Painter.
The last step is rendering when the model is completed. In fact, I prefer a more dramatic atmosphere and lighting. I originally wanted to build a small scene based on this atmosphere to do some interaction. The light uses 3 point light sources.
What is Rendering? How to Accelerate the Rendering Speed?
In order for 3D projects to be displayed visually at all, they have to be rendered. Although this process is done by computer processors, this work step is very time-consuming due to the enormous computing power.
But what exactly happens when rendering? To put it simply: A finished single image or an entire scene from moving images is calculated pixel by pixel from the raw data of a 3D model previously created in a corresponding program. In the case of moving images, one must also note that one second of the finished scene consists of several “frames”. For a movie, for example, that's 24 frames per second. And when rendering, each individual frame is calculated as a single image.
The duration of the calculation of these frames are depending very much on the quality and the level of detail of the project, but above all on the set lighting conditions and the corresponding surface reflections, the given perspective and of course any errors that may be contained. In the end, the calculations are extremely complex and result from the previous work steps such as modeling, texturing, shading, lighting and animation. And so rendering is also the last big step in the implementation of a 3D project.
600 Years of rendering time for a character from "The Load of the Rings"?
To give you an idea of what that means in practice: In the 2003 Oscar for the best visual effects film "The Lord of the Rings: The Two Towers", the character "Treebeard" - an animated tree creature - was in the long version can be seen for 13:45 minutes. This means that a total of 19,800 frames (i.e. single images) had to be rendered. In this figure, the calculation of a single frame took about 48 hours, which in turn means a total of 950,400 calculation hours for all frames together. That would be the equivalent of 39,600 days or over 600 years for a single computer processor.
No wonder, then, that the executing VFX studio Weta Digital increased the already enormous technical equipment of around 2,250 processor cores by another 500 while production was still running. In the end, with this concentrated computing power, rendering “Treebeard” alone should have taken about 14 days. But the long version of the film lasts almost four hours and consists of a lot of animated content. It's hard to imagine how long it must have taken to render the entire movie. And mind you, this does not even include the artistic work, only the calculation is finished images.
60 Million rendering hours for the Disney film "Frozen"
But whoever thinks that rendering will be accelerated by technological developments is only partially correct. Because the developing technological possibilities naturally also improve the quality of the projects. The production team of the world-famous Disney animation film "Frozen" from 2013 cope with a total of 60 million rendering hours. And although the Walt Disney Animation Studios had increased the number of processor cores from 5,300 to 30,000 within two years and thus had one of the world's largest data centres, rendering the entire film still took over 83 days with all the computing power 24 hours without a break. But Disney doesn't just work on one project, so it probably took longer. And another small comparison: Incidentally, a single supercomputer from this time would have taken more than 900 years to render the film ...
These are of course examples from professional productions with the highest standards. And of course, for you and your studio, how to accelerate the rendering speed? The best cloud rendering service provider, Fox Renderfarm with enormous computing power worth choosing. Fox Renderfarm was founded in 2011 and is now the largest provider in this area in Asia. In a so-called “render farm( "render farm")”, many physical servers and thus computer processors are combined to form a gigantic “supercomputer”. At Fox Renderfarm, for example, there are currently over 20,000 physical servers that are currently used for rendering by over 1.5 million end-users from over 50 countries. In total, Fox Renderfarm "renders" 1 petabyte of finished graphics results per month for its customers, which corresponds to one million gigabytes. Join and try $25 free trial now!
What is cloud-based rendering?
With the development of cloud computing, cloud-based rendering has come out in the CG industry. What is cloud-based rendering? Cloud-based rendering, aka cloud rendering, is a cloud service that relies on cloud computing, also you can call it an online render farm. That means users submit a local file to a cloud server, then a remote computer cluster completes the rendering. Finally, users shall download the rendered task from the cloud server.
Cloud-based rendering refers to the technology that transfers the 2D or 3D graphics rendering from the client to the cloud server, the application of cloud rendering can greatly simplify the client. That’s to say, with display and network access functions, users can enjoy top-level graphics processing capabilities, which will make the same graphics application appear on different terminal devices without distinction.
What difficulties does cloud rendering face?
The difficulties faced by cloud rendering are more complex than conventional cloud computing applications. This is mainly due to the demanding requirements of 3D rendering for hardware performance and command response. The cloud rendering system may face the rendering requests of thousands of users, which will be huge pressure on the back-end server system. Compared with conventional cloud computing applications, when cloud-based rendering meets the needs of the same number of users, the hardware performance needs at least several tens of times higher than that of cloud computing, such as Gmail, Google Docs, and other commercial applications to scientific computing.
Cloud rendering requires servers with amazing graphics performance, otherwise, it cannot meet the simultaneous rendering requests of a large number of users.
Efficient data transmission or synchronization capabilities
Efficient and accurate matching between the cloud computing environment and the user's local CG production environment
Network and storage. Cloud rendering needs to connect to mass storage to save the rendered digital content products. Rendering 1 hour of HD sequence requires about 1TB of storage resources. When all rendering servers output data to the central storage at the same time, network planning becomes a yardstick to measure the final performance of the cluster system.
Efficient, stable, and reasonable task distribution management tool. No matter how strong a single rendering node is, it will also cause a waste of resources without good management. Rendering management does not simply the arrangement of render machines. Qualified rendering management solutions embrace a well-designed system architecture. Different technical indicators need different solutions. It can be said that the hardware selection and construction only completed 20% of the overall construction of the render farm and 50% of the effort needed to plan the rendering investment.
Cluster computing has a problem of efficiency. The number of CPUs and rendering time will be different from the actual situation, and the actual time used by different systems is not the same. The larger the number of CPUs, the shorter the rendering time, and they are inversely proportional. But in fact, the time spent on animation rendering and the number of CPUs is not linearly inversely proportional. The key to the problem lies in communication and software algorithms, including network communication and communication between the PC's internal CPU, memory, and hard disk. How many node computers, based on the number of CPUs, are used in the system are also issues that need to be considered. This requires a cluster rendering management software with excellent algorithms for scheduling to exert the performance of each CPU.
What are the advantages of using a cloud-based rendering services?
Powerful rendering speed
Fox Renderfarm is one of the top three render farms in the world with plenty of rendering nodes and flexible solutions, which could definitely save your time in the rendering process.
- Secure & Confidential
Fox Renderfarm has implemented a set of security strategies including banking security level computing center, Uninterruptible Power Supply, 24/7 CCTV monitoring, and strong encryption of data transmission. Fox Renderfarm has successfully completed MPAA’s Content Security Best Practices and officially become a TPN accredited vendor. We are committed to building a more secure cloud render farm that better protects the privacy of the project of our beloved customers.
- 24/7 Customer Service and Technical Support
Fox Renderfarm has an outstanding team with over 20 years’ experience in the CG industry. Around the clock customer service and technical support could always be a lifesaver if users met any problem when rendering.
We also provide customized rendering services and a Key Account service team, which aims to provide the best cloud rendering solutions and technical support for our dear customers.
- Affordable pricing
Fox Renderfarm offers students, teachers, and educational institutions an affordable pricing scheme (Diamond level membership) to support educational purposes.
We support flexible solutions with the best price for clients by lowering the cost from our end.
- Easy to Use
Fox Renderfarm has both webpage version and desktop client version, which are user-friendly, such as drag and drops project submission, preview during rendering, etc. The UI and pipeline are optimized continuously according to users' habits of the animation industry, which are easy to use.
We also provide free services of Raysync Cloud for our users in the rendering process, which is a cloud-based platform for data storage and transferring at a high speed.
- CSR: Green Data Center
The electricity of Fox Renderfarm's green data center is all generated by wind and water power which is natural & clean. The data center is located where the climate is dry and the temperature is extremely low all year round, so it's not necessary to use air conditioners for cooling most times. The average PUE of our data center is under 1.2 which means the energy-saving ability is highly effective. Every time you use Fox Renderfarm for rendering, you are making contributions to the reduction of carbon dioxide emissions.
What Is the Difference Between GPU Mining and GPU Render Farm?
The mining here is a blockchains category
A blockchain is a shared transaction record database of a system of all participating nodes based on the Bitcoin protocol, which is a publicly available book.
Mining is the process of adding transaction records to the public account book. Mining is done by the mining machine. A block contains information such as block headers and transaction data. Among them, the ruler of the blockchain stipulates that the SHA-256 hash value of the block header must start with multiple 0s, which makes the calculation of the hash value difficult, and most of the time requires multiple attempts (each attempt is based on the nonce value) to determine how many zeros the hash value begins, you can get a hash value that is recognized by all nodes in the chain. At this time, you can write transaction data to form a block.
Obviously, the more nodes, the more difficult it is to calculate the hash value. The process of calculating this hash value is the mining process.
According to the mining ecosystem, mining can be divided into CPU mining, GPU mining, FPGA mining, ASIC mining and so on.
The early mining operation method is to use the CPU to calculate the hash value. As the number of blocks increases, the difficulty level of calculating the hash value increases to a certain extent. The electricity cost of the operation exceeds the return obtained by calculating the hash value, and the CPU mining method has no practical value.
It is to use the GPU to calculate the hash value. GPU mining has the advantage of faster computing speed than CPU mining because:
The CPU has the computing burden of the system and all programs running on the system;
The CPU can execute 4 32-bit (128-bit SSE instructions) operations per clock cycle, while GPUs such as the Radeon HD 5970 can perform 3200 32-bit (3200 ALU instructions) operations. The GPU operation speed is more than 800 times the CPU speed. . Although the CPU can increase its core count to 6, 8, 12, etc., the GPU is still much faster than the CPU.
GPU mining is to calculate the hash value of the new block, write the transaction data, generate the block to connect to the blockchain, and obtain virtual currency returns, such as bitcoin, Ethereum, and so on.
GPU rendering is the use of GPU computing units for graphics processing, such as calculating the light and material of a pixel in the projection surface of the camera, and finally coloring the pixel, obtaining image information, and writing to a file or displaying it on a display device.
A GPU render farm is a network of computing nodes with many GPU devices installed, usually dedicated to GPU rendering to obtain image files. Such as the foxrenderfarm.
Of course, GPU render farm can be retrofitted for GPU mining.
Call For Submissions: FGT3D Explorer Challenge; Win Pen Tablet Bundle and More Prizes!
FGT3D Explorer Challenge is still ongoing!
We would like to invite all CG artists to submit their artworks and show their talents.
TIME FOR ENTRIES: March 1st - May 9th, 2021 (UTC+8)
3 Professional artworks and 3 Student artworks will be selected and awarded!
The prizes are provided by our awesome sponsors, including Corona Renderer, TopoGun, Friendly Shade, Graswald, Raysync, Textures.com, Texturebox and iCube R&D Group.
HOW TO SUBMIT
Use this submission form to submit your entry before the deadline is over.
Also, you can join the community and enter the FGT3D Challenge!
Enjoy your creation and happy render!
Fox Renderfarm Team Submit now
Discovering New Things With Innocence and Euphoria in 3D World
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What an amazing Cyberpunk Neo Dharavi! The artwork, rendered with Fox Renderfarm, is created by Rahul Venugopal, an outstanding Matte Painter / Environment TD from Framestore. In our exclusive interview, he talked about how he created the Cyberpunk artwork and his 13-year exciting CG journey. Read more...
Star Wars: The Bad Batch, An Original Animated Series Launched Exclusively on Disney+
Check out the brand-new trailer for Lucasfilm’s “Star Wars: The Bad Batch,” an original animated series launching exclusively on Disney+.
The Bad Batch follows the elite and experimental clones of the Bad Batch (first introduced in The Clone Wars) as they find their way in a rapidly changing galaxy in the immediate aftermath of the Clone War. Members of Bad Batch—a unique squad of clones who vary genetically from their brothers in the Clone Army—each possess a singular exceptional skill that makes them extraordinarily effective soldiers and a formidable crew. In the post-Clone War era, they will take on daring mercenary missions as they struggle to stay afloat and find new purpose.
“Star Wars: The Bad Batch” makes its debut on Tuesday, May 4, with a special 70-minute premiere, followed by new episodes every Friday starting on May 7.
Cyberpunk Art, ArchViz Render, Blender Tutorial & More
Let’s give it up for the FGT Art February Winner, 2021！
Congrats! The project, Cyberpunk Neo Dharavi, is created by Rahul Venugopal, a Matte Painter at Framestore. An Exclusive Interview is on the way, please stay tuned! Who’s our next FGT Art winner? Shine your talent and win great prizes! Submit Now
How To Interpret The ‘Underwater’ New Home Of The Blue Whale Skeleton In 3D: Introducing ArchViz Artist, Sonny Holmberg
What a perfect 3D interpretation of the ‘Underwater’ new home of the blue whale skeleton! In the exclusive interview, we can find out how Sonny created the beautiful artwork and his experience of being an outstanding artist and the founder of an architect studio. Read more...
We Love ‘imperfections’: Introducing Award-winning Archviz Studio, Imperfct*
Have a look at the strong contrast and excellent composition. In our exclusive interview, Massimiliano, CEO & Founder of Imperfct*, told us how they made the impressive contrast between the cold exterior and the warm interior. Read more...
How to Make an Appealing Snow Fairy in Blender
Besides Olaf, Yeti and Sid, what can you think of when it comes to snow creatures? Here’s the exclusive interview with Jesse, revealing how he demonstrated the anatomy beauty of muscle and bones. Read more...
FGT3D Explorer Challenge is now calling for submissions!
TIME FOR ENTRIES：March 1st - May 9th, 2021 (UTC+8)
Enjoy your creation and happy render!
Fox Renderfarm Team Submit now
Maya Tutorial: How to Make An Axe(2)
Maya Cloud Rendering
When I feel that there is no problem with the overall shape, I can start the middle mold of the detailed blade part. Continue to refine the three structural parts that were just split.
We have refined the structure of the three parts. At this point, the basic shape of the entire model has basically reached the structure in the concept map.
If these details are attached to the basic structure, if it is not easy to make in Maya, you can use the advantages of ZBrush's rapid sculpting for quick sculpting.
This stage is just a transitional model, there is no need to sense volume or sculpt, like some smaller details, I just quickly generated the basic shape attached to the details on the whole.
These are very time-consuming if they are directly modelled in Maya or 3ds Max, so what we need is to use the advantages of each software to quickly achieve the final effect. The software used is not important, the effect is the final.
The specific operation is also very simple:
- If the generated thickness is too thick, adjust the thickness and generate again
- Separation model
- Then adjust the shape according to the original painting.
We need to take the topologies of the models planned in ZBrush into low-polygon models and import them into Maya for further mid-model refinement. Finally, some detailed models such as nails and ropes are put on, and then the models are merged, and the preparatory work is done for the model carving. At the edge, I deliberately added some notches and bumps to make this axe look like it is often used.
When making this model, there are more cumbersome parts. Don't be afraid. Just break the 2D concept map into many small parts, and then distinguish the priority and make it step by step according to the previous plan.
Then sculpt some worn details to the model in ZBrush. Then you can go to ZBrush to carve some broken details. In this process, you need to pay attention to the overall structure and don't make too much detail. Do it first, then do it again, otherwise, the model will look too trivial.
There are no details everywhere because they will distract the viewer. We only need to have relatively large damage in the distant view, middle-level details in the mid-range, and close-range views to see the texture of the details, and all the things can be combined to form a very beautiful model.
When making a model, you will need to make the main character first, and then other accessories. The overall model's picture needs to be coordinated, instead of focusing all the energy on a broken sculpture. We need to use damage and details to set off the subject, not to make those details too attractive.
Maya Tutorial: How to Make An Axe(1)
In this article, Fox Renderfarm, the best cloud rendering service provider in the CG industry, shares a tutorial from 3D artist G on how to make an axe with Maya. G is a 3D artist and has been engaged in model making for the game industry.
Before entering the CG industry, he also made many mistakes that the beginners would make. In the process of making some 2D concept drawings into 3D works, he gradually realized that as a 3D artist. From flat thinking to three-dimensional thinking, it is necessary to have a good analysis and judgment ability for the understanding and grasp of the sense of space, especially when the 2D concept map is produced in 3D.
G will mainly show the production process of the model and explain how to decompose the 2D drawing into a 3D drawing. I hope this article will be helpful for beginners.
I looked for a cool weapon concept map as a reference. The concept map of this axe has beautiful lines and a simple structure, which is very suitable for 3D.
Before making it, I will observe the concept map first, and then have a blueprint in terms of structure, proportion and colour scheme. Take the following picture as an example. This axe looks very sharp, and the middle position is thicker, forming a strong contrast. Moreover, we need to infer the thickness and curvature of the side from the ratio and contrast of light and shadow, which is very important.
Compared with the two weapons, the first one I personally feel is that it is not a knife, because it does not have a sharp blade similar to figure 2, so it must have a heavy texture. In addition, there are sharp thorns on both ends. I can imagine the way this weapon is used. It should first stun the opponent like a hammer, and then pierce his vitals with the spikes. It's bloody to think about it. Since this weapon is very heavy, I would imagine that the person using it should be very strong and domineering!
Preparatory work is very necessary. If you need more, you can find more reference pictures, such as the thickness reference of the side, otherwise, the model will be unreasonable.
My habit is to decompose the weapon according to the structure of the original concept painting before making the model, especially for this very complicated weapon, this step is more important. No matter how complicated things are, as long as they are broken down step by step, they will not be so complicated.
The important point is that you should not directly make it on the basis of the concept map. If one of the structures has a problem, then a lot of repeated modifications are required, so that you need to redo it. This will be a waste of time and will lengthen the production cycle. Therefore, the early disassembly analysis is very important.
In this project, first of all, we need to determine the main shape, which is basically divided into two parts: one part is the definable thing, the handle, etc.; the other part is the main body of the blade.
My principle of production is the structure must be made with the least amount of surface in the early stage.
What can be determined is that some parts of the above picture, such as the handle and the bottom of the lower end, are cylindrical, so you can make all these simple things first, and give a reference to the width of the blade.
The main body of the blade is as follows:
The main structure of the blade is composed of two red areas as a basic structure, and other details can be ignored. Therefore, the structure of our first step is as follows:
The model of the blade must be made with the least number of faces, and the whole structure must be made first before the other things. This production step requires a lot of patience and time because we need to modify the shape as much as possible to be similar to the concept map in a small number of faces. Because this low-profile model will be a draft of our final effect. Of course, you can also import the reference image into the background image as a reference.
For Part two of the tutorial,
Maya Tutorial: How to Make An Axe(2)
Arnold for Maya Tutorial: How to Render Wireframe
Arnold for Maya
When making some work, we need to render some special effects, such as only showing the wireframe of the model. In this article, Fox Renderfarm, your best cloud rendering service provider, will show you how to use Arnold for Maya to render the mesh, show the model in wireframe or show the individual wireframe alone.
First, you need to modify the settings in the Arnold renderer, and then open the Hypershade to select the shader aiWireframe, the shader that implements the wireframe.
Let's look at the properties of the aiWireframe shader, the detailed values: Edge Type is divided into Polygons, Triangles, Patches; Fill Color: This is the colour of the entity of the model itself. After testing, this node is connected to SurfaceMaterial for transparency and masking, but it has no effect, so, the node should be able to accept RGB information. About the LineColor the LineWidth, shown as below,
Settings of aiWriteframe
The setting of this material is used as backup content for later use. We use this node as transparency information, to link the rendered material transparency node. We add the basic Arnold shader aiStandarSurface to the model to be rendered, and we can choose to adjust the colour in the basic shader.
The key step is to connect the aiWriteframe shader we made earlier to the Opacity node of the basic shader.
aiWriteframe link transparent node
Next, we need to remove the Opaque node from the basic attributes of the model. A model can easily adjust the Opaque node in Arnold. But if there are many models, it will waste a lot of energy and time to adjust each model in turn.
In Maya, you can adjust multiple model attributes at the same time through the attribute bar.
Remove Opaque in the attribute
The method of batch adjustment of model attributes is in the AttributeSpreadSheet of GeneralEditors under windows. The detailed selection of the attributes of the model is to render the first AIOpaque in the Arnold window, and then click to enter 0. 0 is off and 1 is on here.
Modify model properties in bulk
Let's take a look at the test results. The picture on the left is the rendered reb colour effect, and the one on the right is the effect with channels.
So, regarding the grid now that it can be displayed transparently, how to achieve a mask effect that blends transparency and opacity?
First, use the same method to make the first shader, and then use Maya’s most primitive basic shader: surfacesShader, this can control the masking effect very well, we use the made aiWireframe to link the Out Color of the surface shader so that we can achieve the transparency effect of the mask.
You can see the masked transparency effect below,
Basically, this is how it is made. Of course, you can also use this method to make other effects. Hope to help you.
3D Art, Character Design, 30% Discount For Freelancers & More
Shifting the Boundary of Physical and Virtual Worlds in 3D Art: Introducing Designer & Director, LIU Xin
LIU Xin, an excellent Designer & Director, always thinks out of the box, experimenting with creative approaches, no matter the physical or the digital ones. The distinctiveness and uniqueness in his artworks help him win praise and awards in the industry. Phygital Shopping Cart is one of them, and got the 2020 CGarchitect Awards in the Student (Film) category sponsored by Fox Renderfarm. Read more...
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The amazing 3D Stylized Characters are created by Jorge Yepez, an excellent 3D artist based in Ecuador. Here’s the exclusive interview with Jorge, one of our accredited freelancers of the GoCreation Program, revealing how he created these dedicated works and his CG journey. Read more...
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To empower CG Freelancers to create more excellent CG artworks, Fox Renderfarm is willing to provide preferential prices and subsidies for CG freelancers through our “GoCreation Program”. Apply now
Discovering The Greatest Wish Of All In Wish Dragon
Receiving cumulative revenue gross of US$25 million at the Chinese box office, Wish Dragon, the first original feature developed and animated by China’s Base Animation, co-financed by Sony Pictures Animation, rendered with Fox Renderfarm, hit Chinese theatres nationwide on January 15th and will be released on Netflix internationally later this year. Read more...
FGT3D Explorer Challenge is now calling for submissions!
TIME FOR ENTRIES：March 1st - May 9th, 2021 (UTC+8)
Enjoy your creation and happy render!
Fox Renderfarm Team Submit now
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